Sotheby's /Sep 13, 2016
€8,258.32 - €11,797.60
Artworks in Arcadja442
Some works of John LaveryExtracted between 442 works in the catalog of Arcadja
Auction: Bonhams -Nov 23, 2016 - LondonLot number: 50
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Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941) Moonlight - The Bridge signed 'J Lavery' (lower right) oil on canvas 62.8 x 76.2 cm. (24 3/4 x 30 in.) Painted in 1912 Footnotes Provenance Lord & Lady Lucas, by 1914 Sale; Phillips, London, 19 June 1984, lot 17 Sale; Phillips, London, 7 June 1994, lot 36, where acquired by The Jefferson Smurfit Group Private Collection, Dublin Sale; Whyte's, Dublin, 26 April 2005, lot 110, where acquired by the present owner Private Collection, Ireland Exhibited London, Grosvenor Gallery, A Retrospective Exhibition of the Works of John Lavery, 1880-1914, 1914, cat.no.146 (where lent by Lord Lucas) The new-year 1912 saw John Lavery en famille at Dar-el-Midfah, his house on Mount Washington, in the outskirts of Tangier. Shortly before his arrival the SS Delhi had run aground close by at Cap Spartel and he immediately made his way there to record the stricken ship. However the most important event of this particular season was the wedding of his only daughter, Eileen, in March, and he, and his second wife, Hazel, hosted many friends and local dignitaries for the reception. The busy social calendar, nevertheless, did not restrict his painting activities and a number of canvases were produced in and around his garden overlooking the Straits of Gibraltar. These, as in previous years, were beach and clifftop views, to which the present picture is a significant addition. It represents the road crossing a small bridge, near the entrance to the path leading to Lavery's house. He had worked there during the day (see My House in Morocco, 1912, Fife Council) but returning at night was a daring departure. In fact venturing even this short distance from the security of his villa after darkness was dangerous in 1912. Although an international Protectorate, on account of its strategic importance, Tangier was surrounded by brigands and rebel groups who reaped rich rewards from kidnapping prominent western visitors. The painter's friend Walter Harris, The Times correspondent, had been one of these luckless foreigners. Indeed such was the weakness of the Sultan's rule, and the descent into lawlessness throughout Morocco, that in the month of Eileen's wedding, the country was invaded by French troops under General Lyautay. However, none of this mattered to the painter as he blocked in the inky hillsides and warm blue-grey of the sky hanging over the roadside scene. An eerie moonlight picks out the tiny figures on the far side of the bridge and the houses in the distance, and a single star twinkles in the sky. All is still – despite the border clashes. It was a sufficiently haunting impression for Lavery to wish to recall the painting from Lord and Lady Lucas for his major retrospective exhibition at the Grosvenor Gallery in 1914. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.
Auction: Sotheby's -Nov 22, 2016 - LondonLot number: 13
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Sir John Lavery, R.A., R.S.A., R.H.A. MARIANA, ‘IS THIS THE END? TO BE LEFT ALONE, TO LIVE FORGOTTEN AND DIE FORLORN.’’’’’’’’ 1856-1941 signed and dated l.l.: J. LAVERY 1880 oil on board 30 by 23.5cm., 11¾ by 9¼in. Provenance Bonhams, Edinburgh, 8 December 2011, lot 116 Exhibited Glasgow, Royal Glasgow Institute of the Fine Arts, 1881, no 577; Paisley, Paisley Art Institute, 1882, no 215 Literature Kenneth McConkey, John Lavery, A Painter and his World, 2010, Atelier Books, p.15 Catalogue Note Lavery’’’’’’’’s earliest exhibited works in Paisley and Glasgow indicate his reliance on saleable romantic subject matter. As a part-time student at the Haldane Academy (Glasgow School of Art), while working for a photographer to support himself, he had little success at first, but between 1879 and his removal to Paris in November 1881, his work developed rapidly. While experimenting with modern life subjects and portraiture, popular authors such as Dickens, Goethe, Scott and Shakespeare supplied him with heroines. His quotation which accompanies the title in the present instance, is taken from the closing lines of stanza five of Tennyson’’’’’’’’s Mariana in the South, a reworking of the theme of rejection in love, derived from Shakespeare’’’’’’’’s Measure for Measure. The reference is however, of little significance, since as one contemporary observed, Lavery habitually gave romantic titles to simple studio studies in order to make them saleable. We are grateful to Kenneth McConkey for preparing this catalogue note.
Auction: Whyte's -Oct 24, 2016 - DublinLot number: 164
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Lot 164: Sir John Lavery RA RSA RHA (1856-1941) LADY EVELYN FARQUHAR signed lower right; numbered lower left; with label affixed verso detailing the edition number Notes: Sheet size: 13 by 8.25in. h:8 w:5.25in. Sir John Lavery RA RSA RHA (1856-1941) engraving; (no. 150 from an edition of 160)
Auction: Sotheby's -Sep 13, 2016 - LondonLot number: 9
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Sir John Lavery, R.A., R.H.A., R.S.A. 1856-1941 PORTRAIT DE FEMME AU CHAPEAU signed and dedicated l.l.: To/ EGOR HESSLING/ J. Lavery oil on panel 43 by 24cm., 16¾ by 9½in. Read Condition Report Read Condition Report Register or Log-in to view condition report Or Saleroom Notice Provenance Sotheby's, London, 18 May 2001, lot 179, where purchased by the previous owner Catalogue Note Throughout his career Lavery employed models in a variety of guises. Besides posing for large literary and historical compositions in his early years, they frequently stood in for busy clients who had no time to pose for anything other than the head in a full-length portrait. In these instances, not only did they model clothes, but they also assisted the painter in arriving at an agreeable composition and colour harmony. Although no large version of the present arrangement has been found, Lavery clearly exploits the flash of bright red tunic as a foil to the overall palette of tans and khakis – a combination of hues found frequently in Whistler’’’’’’’’s work. While small sketches of this kind were a way of limbering up, they were also favoured by the discerning few for their suave spontaneity. Lavery was liberal in their disposal. Once admired, a little study would be inscribed and presented to a client even if there was no personal or family connection between the model or sitter and the recipient. In all Lavery’’’’’’’’s extensive correspondence there appears to be no references to Egon Hessling, the Paris-based author, editor and publisher, although it is probable that they met in May 1904 when Lavery was in the French capital. During the years up to and immediately after the Great War, Hessling produced illustrated folios of French furniture in the Louvre and Musée des Arts Décoratifs collections which became style guides for interior designers such as Elsie de Wolfe and Edith Wharton. Since the present sketch must date from c1900, we might propose that models such as Vera Christie or Nora Johnson be considered in the present case. However, much more likely is Idonea La Primaudaye, one of the three elegant daughters of a ship’’’’’’’’s captain who, after his naval service, skippered the St Ives lifeboat in the mid -1880s. Although Blanche and Nancy La Primaudaye also appeared in Lavery’’’’’’’’s studio between 1900 and 1905, the tall, slim Idonea, then in her mid-twenties, was his favourite model. She was, according to Brinsley Ford (in conversation with the author), ‘rather bohemian’’’’’’’’, and her family appears to have moved to Jersey before the girls’’’’’’’’ arrival in London. Her lineage may also explain why the present work with its Hessling connection, has always been known by its French title. Kenneth McConkey See MoreSee Less Suggested Lots JUMP TO LOT Irish Art Lot No. Invalid Now Irish Art 13 September 2016 | 2:30 PM BSTLondon Buy Catalogue Contact Info Contact Info Charlie Minter Deputy Director
Auction: Christie's -Jul 13, 2016 - LondonLot number: 188
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Sir John Lavery, R.H.A., R.A., R.S.A. (1856-1941) The Girl in Pink signed and dated 'J. LAVERY 83' (lower left) and signed again 'LAVERY' (on the reverse) oil on canvas 31 7/8 x 19 ¼ in. (81 x 49 cm.) Anonymous sale; Christie's, London, 17 May 2001, lot 46, where purchased by the present owner. Percy Jacomb Hood, a student at Colarossi’’’’’’’’s atelier in Paris in 1883 recalled one particular contemporary ‘who was in the habit of faking backgrounds to his costume studies and making them into pictures which were bought by some dealer in Glasgow’’’’’’’’. This was none other than John Lavery, a young painter who had worked his way to what many regarded as ‘the capital of art’’’’’’’’. With no family support, he was however, obliged to ‘fake’’’’’’’’ literary subjects – costume pieces from Goethe, Thackeray and Dickens - that could easily be sold. The present ‘Vanity Fair’’’’’’’’ figure demonstrates the increasing sophistication that, after little more than a year of consistent practice was becoming evident in his work. This particular year, 1883, would be crucial: the summer would see him at Grez-sur-Loing painting its celebrated ancient stone bridge, and year would end with the decision not to return to the ateliers, but to concentrate his energies on plein air painting instead. The present unidentified model features in a number of canvases during 1882 and 1883 as Une Jeune Parisienne (1882), in Between the Sittings (1882, both private collections), in A Conquest (1882, Glasgow Museums) and in other works. A watercolour version of the subject is known.