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John Lavery

Ireland (1856 -  1941 ) Wikipedia® : John Lavery
LAVERY John Moonlight  The Bridge

Bonhams /Nov 23, 2016
21,071.61 - 29,266.13
Not Sold

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Variants on Artist's name :

Sir John Lavery, R.A., R.S.A., R.H.A.

 

Along with John Lavery, our clients also searched for the following authors:
James Abbot Mcneill Whistler, Bill Brandt, Laura Knight, Louis Le Brocquy, William Nicholson, Robert Adams, Roger Hilton
Artworks in Arcadja
459

Some works of John Lavery

Extracted between 459 works in the catalog of Arcadja
John Lavery - Portrait Of Mary Barron Tottie

John Lavery - Portrait Of Mary Barron Tottie

Original 1905
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Lot number: 394
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Description:
Description: John Lavery (Irish, 1856-1941) Portrait of Mary Barron Tottie Signed "J. Lavery" u.r., identified and dated "1905" on an exhibition label from The Art Museum of the Americas (see below), Washington, D.C. Oil on canvas, 44 x 34 in. (111.7 x 86.3 cm), in a faux-tortoiseshell frame. Condition: Lined, retouch primarily to background in u.r. quadrant, craquelure, surface grime. Provenance: Private collection in England until 1977; The Belgrave Gallery, Ltd., London; Kate Moffatt, London, 1983; Private Collection (location not specified), 1984; St. Luke's Gallery Washington, D.C., to the present private Massachusetts collection in 1995. Literature: Walter Shaw-Sparrow, John Lavery and his Work (Boston: Dana Estes & Co., 1912), listed under "Portraits of 1905" as Mrs. Tottie, of Sherlocks, Ascot, p. 186; Belgrave Gallery, Masters of Modern British Painting 1890-1945 (London: Belgrave Gallery, 1977), #20, illustrated. Exhibitions: Organization of American States, The Art Museum of the Americas, Off the Mall: Inside Washington's Foremost Art Galleries, September 15-October 16, 1993, lent courtesy of St. Luke's Gallery. N.B. Accompanied by a copy of the invoice from St. Luke's Gallery, Washington, D.C., dated December 12, 1995
John Lavery - An East Wind

John Lavery - An East Wind

Original 1912
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Net Price
Lot number: 25
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Lot 25: Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse Notes: In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkey January 2017 ANTIQUE LANDSCAPE Provenance: Adam's, 1 April 2009, lot 131; Private collection h:10 w:14in. Sir John Lavery RA RSA RHA (1856-1941) Exhibited: 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 oil on canvas laid on board
John Lavery -  Study Of Esther Mclaren

John Lavery - Study Of Esther Mclaren

Original
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Lot number: 46
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SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (1856-1941) STUDY OF ESTHER MCLAREN Signed, inscribed and dated 'To Miss Esther McLaren, Dec 31st 1891', oil on canvas 46cm x 36cm (18in x 14in) Note: After the completion of The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888, for Glasgow Corporation, a two year all-consuming project, John Lavery's monumental canvas was shipped to London and was collecting favourable reviews in the early summer of 1891 at MacLean's Galleries in Haymarket. Its 254 related oil sketches, an inventory of the great and good of the west of Scotland, were being claimed by sitters when, at the suggestion of fellow artist, William Patrick White, the painter was invited to Glencarron Lodge, in Ross and Cromarty, the rented summer retreat of John McLaren, former Liberal MP and Lord Advocate for Scotland. Here the painter was asked to decorate the Gun Room with landscape and family picnic sketches. From this agreeable interlude the proposal to paint McLaren family portraits emerged and Katherine and Esther, the judge's two eldest daughters would be his first sitters. The news of this commission quickly spread. Fellow 'Glasgow Boy', James Guthrie, in an amusing Christmas watercolour showing Esther dancing while Katherine plays the cello, expressed the hope that they would 'keep steady' while posing for the struggling painter. Both young women were musical; Esther casting herself in the role of Carmen in Bizet's popular opera. Clearly, despite the formality of the finished product, the McLaren girls were a challenge - as the present lively sketch reveals. Normally works of this type provided source material and helped plan a composition, but this does not appear to be the case in this instance. While unrelated to the double portrait, it nevertheless initiated a relationship that developed apace during the next three years in which Esther not only sat for a full face study, but also for a separate full-length, A Lady in Brown, and a much-praised half-length profile portrait, A Lady in Black, shown at the Paris Salon, the Royal Academy, and in the inaugural exhibition at the Carnegie Institute in Pittsburgh. With this, she had effectively become Lavery's muse. Sittings took place at the McLaren's house at 46 Moray Place, Edinburgh, where the present sketch is likely to have been painted. Esther's shamrock brooch may well have been worn in deference to the painter, and while elsewhere, her hair is tightly pinned, here the auburn tresses are given free rein. Knowing her love of Bizet, the present portrait was always referred to as The Gypsy Girl in the McLaren family. Tight definition in the face is indicated in a few swift lines that follow the form, and as she turns, Esther's pale blue eyes catch the viewer. For the painter, this fleeting moment occasioned a bravura performance, and cemented a friendship that would outlast Judge McLaren's immediate commission.
John Lavery - Moonlight  The Bridge

John Lavery - Moonlight The Bridge

Original 1912
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Lot number: 50
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Description:
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.
John Lavery - Mariana

John Lavery - Mariana

Original 1880
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Lot 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.
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