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John Lavery

Ireland (1856 -  1941 ) Wikipedia® : John Lavery
LAVERY John An East Wind

Whyte's /Feb 27, 2017
15,000.00 - 20,000.00
22,000.00

Find artworks, auction results, sale prices and pictures of John Lavery at auctions worldwide.
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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
470

Some works of John Lavery

Extracted between 470 works in the catalog of Arcadja
John Lavery - Study For A Moorish Dance

John Lavery - Study For A Moorish Dance

Original 1892
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Lot number: 42
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John Lavery (1856 - 1941) Lot 42: Sir John Lavery RA RSA RHA (1856-1941) STUDY FOR A MOORISH DANCE, 1892 Description: signed, dated and inscribed with title lower right; with James Connell & Sons [Glasgow] label on reverse; with Belfast Art Gallery and Museum label on reverse inscribed with title, and owner's details [Saml. E. Thompson, Edenderry House, Woodvale Road, Belfast] Dimensions: h:9.50 w:7.50in. Medium: oil on canvas
John Lavery -  Evening

John Lavery - Evening

Original
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Lot number: 201
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Sir John Lavery, R.A., R.S.A, R.H.A. (1856-1941) Evening, Montreux signed 'J Lavery' (lower right), signed again and inscribed 'EVENING, MONTREUX/By/JOHN LAVERY' (on the reverse) oil on canvas-board 20 x 24 in. (50.8 x 61 cm.) Having had a memorable winter stay at Wengen in 1912, the Laverys were keen to return to the Alps after the Great War. As always on \\\‘holidays\\\’, the painter packed his painting kit and, liberated from the studio, with great gusto, produced landscapes of Montreux and its immediate environs. The present view of the Lake of Geneva (Lac Léman), with the twinkling lights of the town off to the left, justly represents the exceptional character of the setting. Elsewhere, in Twilight, Lake of Geneva, 1924, Lavery was to abandon the town entirely for an aerial view of the lake and mountains looking towards the mouth of the Rhone and rising foothills of Mont Blanc. Sheltered from the cold Rise, or north wind, the town was commended by Baedeker to \\\‘persons with delicate lungs\\\’ as a winter residence. The Laverys arrived in Montreux on 12 December 1923 and stayed at the Palace Hotel. In a diary given to him as a Christmas present by his wife, Hazel, he notes that he was instructed by his doctor not to climb above 3,000 feet because it would be 'too much' for his blood pressure. He ignored the advice and every other day went up to Caux to paint what he described as \\\‘the airman's view\\\’. Lavery's interest in getting above the clouds was the after-effect of several momentous flights he took as an Offical War Artist. On one occasion in Switzerland, the Laverys were joined by his daughter Eileen, and her husband, the Master of Sempill. With Lord Sempill, a skilled aviator, Lavery took to the air and flew over the mountains and the lake, commemorating the event in a small canvas (private collection). Montreux, which from the time of Byron and Shelley attracted writers and artists, in the inter-war period boasted Hemingway, Scott Fitzgerald, Joyce and Anna de Noailles amongst its visitors. In the aftermath of war, its sanatoria, perched on the hills at Glion and Caux, practicing avant-garde health-cures were also popular. With its casino, the first in Switzerland, and its splendid location at the eastern extremity of Lake Geneva, it lay at the centre of what became known as the 'Swiss Riviera'. A label (verso) indicates a date of 1920 for the picture, but there is no evidence to sustain this date. We are very grateful to Professor Kenneth Mc Conkey for preparing this catalogue entry.
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: 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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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.
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