Waddington's /Jun 18, 2014
€20,131.53 - €26,842.05
Artworks in Arcadja365
Some works of John LaveryExtracted between 365 works in the catalog of Arcadja
Auction: Whyte's -Sep 29, 2014 - DublinLot number: 35
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Description: Sir John Lavery RA RSA RHA (1856-1941) LADY IN GREEN (MRS. CARA H.), 1903 oil on canvas signed lower right; signed again and inscribed with titled and dated at 5 Cromwell Place, London on label on reverse; also with exhibition label, partially removed Caledonian Railway label and label indicating name and address of original owner, all on reverse 35 x 24in. (88.90 x 60.96cm) Provenance: The property of E.F.B. Johnston, Esq., K.C. Toronto; Harry Diamond, Toronto purchased circa 1958; His Estate, Toronto; Private collection Exhibited: The Art Museum of Toronto (now the Art Gallery of Ontario), the "Second Exhibition Catalogue of a Loan Collection of paintings of the English, Old Master, Modern Dutch, French and other European Schools Contributed by Private Collectors" from 24th November - 16th December 1909, catalogue no. 38 Literature: The Art Museum of Toronto, The Second exhibition catalogue The recovery of Lavery's previously unrecorded Lady in Green from a private collection in Canada sheds new light upon an important phase of his work in the early years of the twentieth century. Although much is known about his management of the International Society of Sculptors, Painters and Gravers as its vice-president, his close relationship with its president, James McNeill Whistler, in the years leading up to the latter's death in 1903, has not been fully described. During the preceding five years, the Irish painter established his London base, was frequently in Berlin and Paris, made his first visit to the United States, and retained his close connections with Glasgow where he executed a large mural for the City Chambers. While his movements cannot be accurately plotted following the society's foundation in 1898, the consistent feature of his work during these years was the influence of Whistler. Both revered the work of Velazquez and from Lavery's early days as one of the leading 'Glasgow Boys', the American had been a guiding hand. Lavery admired the older artist's ceaseless search for harmony in colour and tone, and observed his readiness to remove hours of strenuous, concentrated labour on a painting, if he was not satisfied with the result. This often led to scraping down the picture surface, and removing excess paint, so as not to 'embarrass the canvas' - as the American put it. Visiting Whistler in the nineties he would have had the opportunity to admire small sketches such as Rose and Silver: Portrait of Mrs Charles Whibley (fig 1). Although he later came to the opinion that contact with Whistler prevented him from 'painting with any vigour' for a time, it is undoubtedly true that some of Lavery's subtlest and most evocative portraits were painted as a result. In these the sitter was often unidentified and the works, when shown, were simply entitled according to their particular colour harmonies - hence, A Lady in Green. In the present case the sitter's identity continues to remain a mystery, as does the picture's early history prior to its arrival in Toronto. At that point it became the property of Ebenezer Forsyth Blackie Johnston KC, described by his peers in the Canadian Club as 'an earnest patron of the fine arts and an assiduous collector of high class oil paintings and watercolours'. And while Johnston's collection remains to be explored we may note his wider interests in modern Dutch art - Hague School painting that allied him closely with Lavery's early Scottish patrons. Lady in Green (fig 2) was thus a sophisticated purchase by a sophisticated patron, and it slips seamlessly into the general pattern of Lavery's painting in the years leading up to 1903. During that year he exhibited the portrait of Idonea La Primaudaye at the New Gallery - a picture which, like the present example employs a gilded ladder-back chair as its only visible prop (fig 3). Described as 'quiet, yet accomplished', the portrait of Miss La Primaudaye carries the same air of distinction evident in Lady in Green and it forms part of a sequence that includes ladies in pink, purple and black. These pictures were often described as 'evocations', rather than detailed studies of character and physiognomy. They were decorous rather than dutiful and in at least one instance, that of Nora (Private Collection), harmonies of colour and tone were considered so subtle that reproduction would fail to do it justice. The sequence was however, best summed up by James Stanley Little in 1902, when he wrote, … Mr Lavery's art grows on one. More and more, as one looks at it, its subtle charm, both in the sense of refined and elegant craftsmanship, and in the sense of spiritual and intellectual qualities, pervades the onlooker … Everything that leaves Lavery's easel has the stamp of finality and spontaneity upon it which marks the master hand. Such an encomium applies as much to the present work as to others of the period.
Auction: Christie's -Jun 26, 2014 - LondonLot number: 170
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Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) Miss Delphine Reynolds and her Sheltie signed 'J. Lavery' (lower left) oil on canvas 42¾ x 24½ in. (108.5 x 62.2 cm.) Painted in 1936-37. VARIOUS PROPERTIES Royal Academy Illustrated, London, Royal Academy, 1937, p. 80, illustrated. 'Scottish Art to the Fore’’’’, Dundee Courier, 1 May 1937, p. 5. K. McConkey, John Lavery, A Painter and his World, Edinburgh, 2010, p. 201. Glasgow, Royal Glasgow Institute of the Fine Arts, 1937, no. 483. London, Royal Academy, 1937, no. 196.
Auction: Christie's -Jun 25, 2014 - LondonLot number: 41
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Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) Anna Pavlova as The Swan (Study) signed twice and dedicated 'To 'MONA'/FROM J. Lavery 11 July 1918/J Lavery' (lower right), signed again, inscribed and dated 'ANNA PAVLOVA/AS THE SWAN. (STUDY)/BY/JOHN LAVERY/5 CROMWELL PL./LONDON/1911' (on the reverse) oil on canvas 30 x 25 in. (76.2 x 63.5 cm.) Painted in 1911. The Property of Mrs. M. MacDonell; Sotheby's, London, 21 November 1973, lot 51. Alexander Grant, by whom bequeathed to the present owners in 2011. PROPERTY FORMERLY IN THE COLLECTION OF ALEXANDER GRANT, C.B.E. Alexander Grant (1925-2011) was Principal dancer with the Royal Ballet and had a very long and distinguished career, particularly noted for excelling in Frederick Ashton's productions, especially La Fille mal gardée, which he continued to coach and stage around the world after his retirement from dancing. He was appointed C.B.E. in 1965, and his other awards included New Zealand's Arts Icon Award, the Queen Elizabeth II Coronation Award - the highest honour bestowed by the Royal Academy of Dance - and the De Valois Award for Outstanding Achievement in Dance. K. McConkey, Sir John Lavery, 1993, pp. 118-9, fig. 144, illustrated. K. McConkey, John Lavery, A Painter and his World, 2010, pp. 109-11.
Auction: Waddington's -Jun 18, 2014 - TorontoLot number: 52
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Lot 52 Sir John Lavery (1856-1941) LADY IN GREEN (MRS. CARA H.) Irish Oil on canvas; signed lower right, titled and dated 1903 at Cromwell Place, London to artist label verso 35.0" / 88.9cm (height) x 24.0" / 61.0cm (width) Est. $30000/40000 Provenance: The property of E.F.B. Johnston, Esq., K.C. Toronto;Harry Diamond, Toronto purchased circa 1958;His Estate, Toronto Literature: The Art Museum of Toronto, The Second exhibition catalogue Exhibited: The Art Museum of Toronto (now the Art Gallery of Ontario), the “Second Exhibition Catalogue of a Loan Collection of paintings of the English, Old Master, Modern Dutch, French and other European Schools Contributed by Private Collectors” from 24th November - 16th December 1909, Cabtalogue No. 38 label verso Leave an Absentee Bid Request Telephone Bidding Download our Absentee Bid Form PDF Download our Telephone Bid Form PDF Share on:
Auction: Adams -May 28, 2014 - DublinLot number: 113
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Description: Sir John Lavery RHA RA RSA (1856-1941) Dover Harbour, 1917 (The Fleet at Anchor) Oil on canvas, 51 x 76cm (20 x 30'') Signed. Signed again, inscribed with title and dated 1917 verso (label for Hon. S. Holt verso) Provenance: Purchased privately through the Frederick Gallery, February 1998, by John P. Reihill, Deepwell, Blackrock, Co. Dublin Early in 1917 Lavery commenced a series of works of The Harbour at St-Jean-de-Luz showing Norwegian Cargo ships finding safe haven in the Bay. This scene,although similar , is not as tranquil as it appears there are some German bombers in the sky. In May 1917 Gotha IV twin engine bi-planes replaced the earlier Zeppelin German bombers. These caught several English coastal towns such as Folkestone, bombed on Whitsun 25th May 1917 , unprepared for daylight raids . This picture is thought to have been painted later in 1917 when Dover was bombed several times from the beginning of September of that year. Lavery was to return to paint in Dover in May the following year showing the towns coastal defences including the anti-submarine netting. Several of these works are now in The Imperial War Museum in London.