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Thomas Lawrence

France (Bristol 1769 -  London 1830 ) Wikipedia® : Thomas Lawrence
LAWRENCE Thomas  Portrait Of A Gentleman, Believed To Be Philip John Miles

Lawrences
Jan 19, 2018
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Variants on Artist's name :

Sir Thomas Lawrence

Lawrence Sir Thomas

 

Artworks in Arcadja
821

Some works of Thomas Lawrence

Extracted between 821 works in the catalog of Arcadja
Thomas Lawrence - Head Study Of A Lady

Thomas Lawrence - Head Study Of A Lady

Original
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Lot number: 59
Other WORKS AT AUCTION
Description:
Sir Thomas Lawrence, P.R.A. (Bristol 1769-1830 London) Head study of a lady oil on canvas 16 3/8 x 11 ½ in. (41.5 x 29.2 cm.) Provenance Eliot Hodgkin (1905-1987) and Maria Clara "Mimi" Henderson Hodgkin, London, by whom acquired in Paris in 1957; Christie's, London, 7 December 2007, lot 243, where acquired by the present owner.
Thomas Lawrence - Portrait Of Charles Gardiner, 1st Earl Of Blessington

Thomas Lawrence - Portrait Of Charles Gardiner, 1st Earl Of Blessington

Original
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Price:

Lot number: 184
Other WORKS AT AUCTION
Description:
Sir Thomas Lawrence, P.R.A. (Bristol 1769-1830 London) Portrait of Charles Gardiner, 1st Earl of Blessington (1782-1829), full-length, in coronation robes, by a draped table and balustrade oil on canvas 93 ½ x 56 ½ in. (237.5 x 143.6 cm.) Provenance By inheritance in the sitter's family to Lady Jennifer Fowler (1949-2013), Rahinston, Summerhill, Ireland; Christie's, London, 8 December 2010, lot 273. Art market, London, where acquired by the present owner. Literature (Probably) K. Garlick, Sir Thomas Lawrence, London, 1954, p. 51, no. 2, and Appendix III, p. 73, no. 22. (Probably) K. Garlick, \‘A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence\’, Walpole Society, XXXIX, London, 1964, p. 38, no. 2 and Appendix IV, p. 293, no. 201. K. Garlick, Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings, Oxford, 1989, p. 154, under no. 111(b). Exhibited Boston, Museum of Fine Arts, April 2014, on loan. The son of the Irish peer and landowner, Luke, 1st Viscount Mountjoy (1745-1798), Charles Gardiner succeeded his father as 2nd Viscount in 1795 before being created Earl of Blessington in 1816. Two years later, after the death of his first wife with whom he had several children, he married Margaret Farmer, née Power (1789-1849). The Irish born Countess had previously been unhappily married to Maurice St. Leger Farmer, a Captain in the 47th Regiment of Foot. After only three months of marriage however, in March 1804, the couple had separated. Having resigned his commission, Farmer travelled to India, returning to Ireland in 1816 where he died a year later after falling from a window while drunk. The widowed Margaret formed a close attachment with Captain Thomas Jenkins of the 11th Light Dragoons and was living with him when she met Lord Blessington. Blessington was obliged to reimburse Jenkins £10,000 for the clothing and jewelry acquired for her. The debt settled, Blessington and Margaret married in February 1818 and established their London residence in St James\’s Square. The couple travelled to Italy in 1822 where the Countess later met Lord Byron at Genoa. She recorded the details of their meetings and later published them in her Conversations with Lord Byron in 1824. The Earl died of a sudden stroke in Paris in 1829. Following her husband\’s death, Margaret became a celebrated writer, editing several popular journals of the day, as we as a literary hostess at Gore House in South Kensington, surrounding herself with writers like Charles Dickens, Hans Christian Anderson and Benjamin Disraeli (who wrote his 1837 novel Venetia there). Lawrence\’s portrait of the Earl is likely that recorded in The Claims of Works of Art, Books etc. under the Estate of the late Sir Thomas Lawrence, drawn up by the artist\’s executor Archibald Keightley in 1830. A painting of the \‘Late Earl of Blessington\’ was recorded as having been started in 1815 or 1816 and as \‘4/5 finished...w.l. [whole length] price 300 Gs\’ (Garlick, op.cit., 1964). The later date would appear to be entirely appropriate for the portrait, since it was in this year that the sitter, who wears the ermine lined robes of his position, was created Earl of Blessington. Indeed, the commission of a full-length portrait in the regalia of his new station was presumably designed to commemorate this institution. As the leading portraitist of English Society during the early nineteenth century, Lawrence was an obvious and fashionable choice for such a commission. Indeed, his work was evidently admired by the Earl and his wife. In the posthumous inventory of the painter\’s studio, five paintings were recorded as belonging to the Earl\’s estate including, alongside the present work, two portraits of the Countess and Lawrence\’s portrait of the actor John Philip Kemble Kemble as Cato (London, National Portrait Gallery, inv. no. 6869), which Blessington had commissioned in 1811. Another portrait of Margaret, Countess of Blessington (fig. 1; London, Wallace Collection, inv. no. P558) had been painted by Lawrence in circa 1821 and was exhibited at the Royal Academy the following year where, according to Lord Byron, it \‘set all London raving\’. The present portrait appears to have passed to the sitter\’s sister, the Honourable Louisa Gardiner, who had married the Rev. Robert Fowler (d. 1841) of Rahinston House in County Meath, Ireland in 1796. It remained in the family at Rahinston until 2010.
Thomas Lawrence - Portrait Of A Gentleman, Possibly William Scott, Baron Stowell

Thomas Lawrence - Portrait Of A Gentleman, Possibly William Scott, Baron Stowell

Original
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Gross Price
Lot number: 389
Other WORKS AT AUCTION
Description:
Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of a gentleman, possibly William Scott, Baron Stowell (1745-1836) Oil on canvas in a gilded period frame topped with a detachable coronet of a Baron 77 x 63cm; 30 x 25in Provenance: Private Collection, Lincolnshire. William Scott, Baron Stowell was a famous English judge who was knighted in 1788, made a Fellow of the Royal Society in 1793 and judge of the High Court of Admiralty in 1798. He was raised to the peerage in 1821 as Baron Stowell taking his title from the name of his estate, Stowell Park, Gloucester. Stowell married for the second time in 1813 at the age of 68 and this present portrait may have been painted to celebrate this event with the detachable Coronet added to the frame in 1821. Sir Thomas Lawrence is also recorded as having painted Stowell in c.1823.
Thomas Lawrence - Portrait Of Lady Elizabeth Lowther (died 1869)

Thomas Lawrence - Portrait Of Lady Elizabeth Lowther (died 1869)

Original
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Lot number: 5
Other WORKS AT AUCTION
Description:
Sir Thomas Lawrence P.R.A. PORTRAIT OF LADY ELIZABETH LOWTHER (DIED 1869) BRISTOL 1769-1830 LONDON oil and black chalk on canvas 28 by 23 1/4 in; 71 by 59 cm. Provenance Delivered to the sitter's father, William Lowther, 1st Earl of Lonsdale (1757-1844), in 1830 by Lawrence's executor; Thence by descent to James Lowther, 7th Earl of Lonsdale (1922-2006); By whom sold ("The Property of the Rt. Hon. the Earl of Lonsdale"), London, Sotheby's, 17 July 1974, lot 45; There acquired by a private collector; By whom anonymously sold ("The Property of a Lady"), London, Sotheby's, 6 December 2012, lot 131; Thereacquired. Literature K. Garlick, Sir Thomas Lawrence; A complete catalogue of the oil paintings, Oxford 1989, pp. 230-231, under no. 518, reproduced. Catalogue Note Lady Elizabeth Lowther was the eldest daughter of William, 1st Earl of Lonsdale and his wife Lady Augusta Fane, daughter of John, 9th Earl of Westmorland. Lady Elizabeth died unmarried in 1869. This oil sketch relates to a finished portrait painted by Lawrence in 1811 (oil on canvas, 91.4 by 71/1 cm.) which has descended in the sitter\’s family. Lawrence\’s oil sketches provide a fascinating insight into his working methods as he began a new portrait commission. A master draughtsman, he maintained his belief \“that the picture, whatever it is, be first accurately drawn on the canvas.\”1 In this sketch, we see the head of Lady Elizabeth, with her face and part of her hair fully painted in oil while the back of her head, still unfinished, is rendered in black chalk drawn directly onto the canvas Another of Lawrence\’s sitters, Lady Elizabeth Leveson-Gower, whose portrait he painted in 1817-18 and who saw his preliminary drawing of her, recalled that \“what struck me most during my two hours\’ sittings in Russell Square was the perfection of the drawing of his portraits, before any colour was put on—the drawing itself was so perfectly beautiful that it seemed almost a sin to add any colour.\”2 When Lawrence died in 1830, some 200 unfinished portraits were found in his Russell Square house, a few dating as far back as the 1790s. Most of them, such as this portrait, were given to the sitters or their families.3 A copy of this sketch, which had descended in the Cavendish-Bentinck family, (oil and pencil on board, 40.1 by 34.7 cm.) was sold at Sotheby's, London, 26 October 2016, lot 1018. The sitter's sister, Lady Mary Lowther (died 1862) was married to Maj.-Gen. Lord Frederick Cavendish-Bentinck (1781-1828). 1. In a letter of circa 1790 to Lord Malden; see M. Levey, Sir Thomas Lawrence, New Haven & London 2005, pp. 2, 320, note 6. 2. Lord R.S. Gower, Sir Thomas Lawrence, London 1900, pp. 37-38. 3. See K. Garlick, Sir Thomas Lawrence, London 1955, p. 17.
Thomas Lawrence -  Portrait Of A Gentleman, Believed To Be Philip John Miles

Thomas Lawrence - Portrait Of A Gentleman, Believed To Be Philip John Miles

Original 1822
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Net Price
Lot number: 2185
Other WORKS AT AUCTION
Description:
SIR THOMAS LAWRENCE, PRA (1769-1830) PORTRAIT OF A GENTLEMAN, BELIEVED TO BE PHILIP JOHN MILES, MP (1773-1845) Bust length, wearing a dark coat, white neckcloth and winged stock, oil on canvas 74.5 x 62cm. * Miles was a notable Bristol figure, a very wealthy businessman and parliamentarian who was apparently Bristol's first recorded millionaire and a partner in the Miles Bank (that later merged with Nat West). Miles owned Leigh Court and Kings Weston estates on both banks of the River Avon in Bristol and also the Manor or Walton in Gordano, Clevedon as well as many more lands in the Bristol area. Lawrence himself was born in Bristol in 1769: the family lived in Redcross Street until Thomas Lawrence Senior took over the running of a coffee house and inn on Broad Street. This portrait may be dated to c.1815-1820. The sitter would appear perhaps to be in his forties. The only other known image of Miles is believed to be a small unascribed mezzotint portrait, published in 1822. Miles was a great friend of Richard Hart Davis (1766-1842), another Bristol born merchant and banker, who was also painted by Lawrence in 1815. Philip John Miles was also a friend of Richard Hart Davis and in 1813 he purchased his famous Old Masters art collection which became the nucleus of the celebrated Leigh Court Collection, dispersed in 1899. Provenance: By descent in the family of the sitter until sold with other family portraits at auction in 2014, where purchased by the present owner. ++ Old lining; a little scattered retouching
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