Adams /May 28, 2014
€15,000.00 - €20,000.00
Artworks in Arcadja362
Some works of John LaveryExtracted between 362 works in the catalog of Arcadja
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.
Auction: Whyte's -May 26, 2014 - DublinLot number: 34
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Sir John Lavery RA RSA RHA (1856-1941) A STREET IN TANGIER oil on board signed lower left; inscribed A Street in Tangier / by John Lavery / 5 Cromwell Pl / London""; also with typed Pyms Gallery, London label on reverse"" 10 by 14in., 25 by 35cm. L With Pyms Gallery, London, c.1990; Their sale, 1992; Sotheby````s, 13 May 2005, lot 60;Private collection Cabinet Pictures by John... More Sir John Lavery RA RSA RHA (1856-1941) A STREET IN TANGIER oil on board signed lower left; inscribed A Street in Tangier / by John Lavery / 5 Cromwell Pl / London""; also with typed Pyms Gallery, London label on reverse"" 10 by 14in., 25 by 35cm. L With Pyms Gallery, London, c.1990; Their sale, 1992; Sotheby````s, 13 May 2005, lot 60;Private collection Cabinet Pictures by John Lavery````, Leicester Galleries, London, 1904 , no. 7 (?) as Tangier, A Street;````A Free Spirit, Irish Art 1860-1960````, Royal Hibernian Academy, Dublin, 1990 Kenneth McConkey, ````The White City - Sir John Lavery in Tangier````, GPA Irish Arts Review, 1989, p. 62 (illustrated);Kenneth McConkey, A Free Spirit, Irish Art 1860-1960, 1990 (Antique Collectors Club in association with Pyms Gallery, London), p.101 (illustrated) The ````chief note```` of Tangier was ````whiteness```` according to RB Cunninghame Graham. In an essay on artists```` haunts in 1909 he described a city that throughout the nineteenth century had provided writers and painters with an instant authentic experience of Muslim culture. (Footnote 1) A short sea crossing from the southernmost tip of Europe, its souks, mosques, and moonlit rooftop music and dancing formed an essential part of the texture of western European Orientalism. Graham````s observations are confirmed by the series of small luminous oil sketches recently produced by his close friend, John Lavery, and reproduced to illustrate the article.(2) It took a painter to tell him what he was seeing and on several occasions he pays tribute to the artist - theirs was a lifelong friendship. Lavery had known the ````adventurer-laird of Gartmore```` for at least eighteen years and recently, in company with The Times correspondent, Walter Harris, they had ridden across the desert together to visit the Sultan````s court at Fez.(3)But it was the ````white houses, sands like snow, and, above all dazzling white atmosphere```` of the old coastal city overlooking the Straits of Gibraltar that enchanted them. In the maze of the Kasbah, ````the Arabs flitted to and fro, silent as shadows they seemed like a population of uncloistered friars````, said Graham in his introduction to the catalogue of Lavery````s exhibition in 1904.(4) He could easily have been looking at the present picture. Under a vivid cobalt canopy the whitewashed houses glowed in the sunlight, and sharp shadows cut rectangles of pale blue, violet and ochre - their irregular shapes, performing an abstract theatre, that momentarily disorientated the western eye. Lavery first confronted this marquetry of intersecting planes in 1891 in a small study painted from the rooftop of the Hotel Continental, but it was only on subsequent visits that the secrets of narrow alleyways revealed themselves in the furtive glance from a doorway in the infamous Rue des Femmes, or the bustle of figures retreating up the hill from the souk at the call to prayer. This was the essential appeal of a setting vividly described by the Irish painter, Norman Garstin, when in 1897 he wrote to fellow artists, that wall in front of you is homely whitewash, and steeped for a moment in a violet shade; a door opens and a rectangular slab of yellow white light from the opposite wall of the patio makes you blink and deepens the violet of the near wall; purple patches of shade stain the patio````s red tiles with silhouetted pictures of fig leaves (5)This was Lavery````s quest in small studies that, like the present example, were painted not as preparations for larger works, but as ends in themselves. They were vivid snapshots of familiar corners that he would give to painter-friends like Alfred East - and others like Cunninghame Graham.(6) Such pictures are difficult to date precisely, although it is likely that A Street in Tangier, precedes the trip to Fez in 1906. Its specific location and the vantage point from which it was painted remain to be determined - although it is likely to show the winding street that leads up into the Kasbah.Throughout the years 1891-1920, when he visited Morocco regularly, Welsh, Scots, English, Canadian and French artists - Frank Brangwyn, Arthur Melville, Alfred East, James Wilson Morrice and Henri Matisse - all felt the rejuvenating effect of the ````white atmosphere```` of Tangier, but it was Lavery, in small stunning pictures of the streets of the old city who definitively caught it. Prof Kenneth McConkeyApril 2014Footnotes:1 RB Cunninghame Graham, ````The Atmosphere of Morocco````, in Alfred East introd., Sketching Grounds, 1909 (Studio Special Number), p.145. 2 The two had probably met on Lavery````s first visit to the city in 1891, when according to Graham, he rode swiftly to the rescue after the painter````s horse had bolted. In Lavery````s account, he helped to rescue Graham from a group of belligerent Moors when he was haranguing them on his favourite topics - Free Speech and Democracy - neither of which they could remotely comprehend; see Walter Shaw Sparrow, John Lavery and his Work, n.d. , (Kegan Paul, Trubner, Trench and Co), p.84.3 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 96-7.4 RB Cunninghame Graham, ````Introduction?````, Cabinet Pictures by John Lavery, 1904 (Exhibition catalogue, Leicester Galleries, London), p.75 Norman Garstin, ````Tangier as a Sketching Ground````, The Studio, vol 11, 1897, p. 178. 6 East, a student friend from the Haldane Academy in Glasgow, owned several small Moroccan street scenes.