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Thomas Lawrence

(Bristol 1769 -  London 1830 ) Wikipedia® : Thomas Lawrence
LAWRENCE Thomas Portrait Of Lady Georgina North

Sotheby's /Dec 10, 2015
83,321.74 - 111,095.65
82,932.00

Find artworks, auction results, sale prices and pictures of Thomas Lawrence at auctions worldwide.
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Variants on Artist's name :

Sir Thomas Lawrence

 

Artworks in Arcadja
692

Some works of Thomas Lawrence

Extracted between 692 works in the catalog of Arcadja
Thomas Lawrence - Portrait Head Of Mrs Jens Wolff, In Profile To The Right, Wearing A Turban

Thomas Lawrence - Portrait Head Of Mrs Jens Wolff, In Profile To The Right, Wearing A Turban

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Lot number: 76
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Lot Description Sir Thomas Lawrence, P.R.A. (Bristol 1769-1830 London) Portrait head of Mrs Jens Wolff, in profile to the right, wearing a turban pencil, black and red chalk 7 3/8 x 5 ¾ in. (18.7 x 14.6 cm.) Provenance Miss Elizabeth Croft until 1854. Dr. S. H. Nicholson; Sotheby's, London, 26 November 1929, lot 39 (to Sabin). with Leger Galleries, London, 1953. with Agnew's, London, 1954. with Colnaghi's, London, 1962, where purchased by the father of the present owner. Literature K. Garlick, 'A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', Walpole Society XXXIX, 1964, p. 249, no. 3. Exhibited London, British Institution, 1830, no. 62, lent by Miss Croft. View Lot Notes >
Thomas Lawrence - Portrait Of Mrs. John Allnutt, Née Eleanor Brandram, Half-length

Thomas Lawrence - Portrait Of Mrs. John Allnutt, Née Eleanor Brandram, Half-length

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Lot number: 154
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Sir Thomas Lawrence, P.R.A. (Bristol 1769-1830 London) Portrait of Mrs. John Allnutt, née Eleanor Brandram, half-length oil on canvas 30 x 24¾ in. (76.2 x 62.9 cm.) Provenance Mrs Knox, granddaughter of the sitter, from whom acquired by the following. with Agnews, London. Sir James Linton; Robinson and Fisher, London, 12 December 1907, lot 175 (2,900 gns. to the following). with Colnaghi's, London. Judge Elbert J. Gary; (†), American Art Association, New York, 28 April 1928, lot 28 ($15,000 to the following). with Duveen, New York. with Scott & Fowles, New York, 1931. Mrs Thomas Chadburn, New York, 1961. Anonymous sale; Christie’’’’s, London, 11 July 1986, lot 81, where acquired by the present owner. Pre-Lot Text PROPERTY FROM A FLORIDA ESTATE Literature R.S. Gower, Sir Thomas Lawrence, London, Paris and New York, 1900, p. 104. 'Mrs. Allnutt by Sir Thomas Lawrence', The Burlington Magazine, XII, October 1907-March 1908, p. 255, pl. II. W. Armstrong, Lawrence, London, 1913, p. 108. A. Graves, A Century of Loan Exhibitions: 1813-1912, London, 1913, I, p. 651. K. Garlick, Sir Thomas Lawrence, London, 1954, p. 24. K. Garlick, Sir Thomas Lawrence, Oxford, 1989, p. 135, no. 20. Lot Notes Eleanor Brandram (1789-1866) was the daughter of Samuel Brandram of Lee, Kent. A woman of exceptional beauty, in 1815 she became the second wife of John Allnutt (1773-1863) of Clapham common. The present portrait, which Kenneth Garlick dates to c. 1815, was likely commissioned around the time of their wedding (loc. cit., 1989). Eleanor has the vivacious countenance of a young woman in her mid-twenties. She gazes out at the viewer with confident, piercing blue eyes and a spray of flowers in her hair. Sir Thomas Lawrence lavished special attention of the depiction of Mrs. Allnutt’’’’s crimson velvet dress, which appears all the more vivid set against the cool blues of the background. The artist would have been inclined to produce his best work, as her husband was a discerning art collector and patron of Lawrence as well as many of his contemporaries, including Constable and Turner. Years earlier, in 1797-1798 Lawrence captured Mr. Allnutt’’’’s likeness in a full-length portrait with a horse in a landscape, which was sold at Christie’’’’s, London, on 16 April 1982, lot 91 (fig. 1). A wine merchant by profession, John Allnutt lent large sums of money to Lawrence, secured on a policy of insurance: as much as £5,000 was, it is said, repaid at Lawrence's death.
Thomas Lawrence - Studies From Nature: The Source Of The Manifold At Ilam Park

Thomas Lawrence - Studies From Nature: The Source Of The Manifold At Ilam Park

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Lot number: 15
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Sir Thomas Lawrence, P.R.A. (Bristol 1769-1830 London) Studies from Nature: The Source of the Manifold at Ilam Park; and A View of Dovedale looking towards Thorpe Cloud oil on paper, laid down on canvas 17¾ x 27 in. (45 x 68.6 cm.) (2)a pair Provenance William Russell; Christie's, London, 23 February 1861, lots 161 and 162, as 'Sir Thomas Lawrence, P.R.A., 'A small woody Landscape, with figures by Stothard, R.A.' and 'The Companion' (each bought in at £2 15s.). William Russell; (+), Christie's, London, 6 December 1884, lot 81 (8 gns. to Buttery). Thomas Agnew & Sons; Christie's, London, 18 June 1920, lot 83 (6 gns. to Maitland). Col. M.H. Grant, collector and art historian, by 1925, from whom (presumably) acquired by Capt. R.S. de Q. Quincey (1896-1965), breeder, The Vern, Marden, Herefordshire. Anonymous sale [Pictures from the Collection of Captain R.S. de Q. Quincey]; Christie's, London, 18 April 1996, lot 25, 'The Source of the Manifold at Ilam Park', and lot 26, 'A View at Dovedale looking towards Thorpe Cloud' (sold £188,500 and £265,500 respectively). Sold privately, on behalf of the purchaser at the 1996 sale, to the following, in 2003, Sold privately, on behalf of the purchaser in 2003, to the current owner in 2011. PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Literature Col. M.H. Grant, The Old English Landscape Painters, Leigh-on-Sea, 1925, II, p. 202, pl. 121. K. Garlick, Sir Thomas Lawrence, London, 1954, p. 64, pls. 20 and 21. Anon., exhibition review, The Times, 28 October 1961, p. 4, 'The two early landscapes which so uniquely illustrate a capacity for landscape painting, otherwise confined to the backgrounds of the portraits'. K. Garlick, 'A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence', The Walpole Society, XXXIX, 1964, p. 209. K. Garlick, Sir Thomas Lawrence: A complete Catalogue of the oil paintings, Oxford, 1989, no. 890, pls. 7a and b. K. Garlick, 'Two Lawrence Landscapes', The Ashmolean, 1993, pp. 15-20, figs. 1 and 2. M. Levey, Sir Thomas Lawrence, New Haven and London, 2005, pp. 104-5, pls. 58 and 59. Lot Notes These remarkable landscapes are unique in Lawrence's oeuvre, being his only pure landscapes. Fresh and spontaneous, they feel astonishingly modern, yet were painted early in the artist's career, probably soon after 1790. In their free and confident handling of paint, they are fine examples of the precocious talent which saw Lawrence rapidly establish himself in London in the late 1780s; the character of the two can be paralleled to the background of the celebrated portrait of Queen Charlotte (London, National Gallery), exhibited at the Royal Academy in 1790. The late Sir Michael Levey noted a brooding quality in the pictures, commenting that the 'secluded tree-filled glades are painted with a passionately dramatic response to deep, lush countryside, away from all human habitation, giving an exciting, claustrophobic sense of foliage and terrain rising to shut out the sky.' The two pictures demonstrate an original talent for landscapes which Lawrence was to suppress in preference for the career as a portrait painter which alone would secure him the financial resources which his pattern of living--and later collecting--necessitated. The title used by Lupton for each picture in 1834--'Study from Nature'--certainly expresses their character. The tradition that they were 'painted at Ilam Hall, Derbyshire, when Lawrence was painting the Watts Russell family there', is recorded in a letter of 1951 from Colonel Grant to Kenneth Garlick (Garlick, 1993, p. 15). Garlick suggested that the Mr. Watts from whom Lawrence received a half-payment of 15 guineas about 1790, was David Pike Watts, whose daughter Mary married Jesse Russell (1786-1875), second son of Jesse Russell (b. 1743), of London and Wolthamstow: the younger Jesse assumed the name of Watts Russell in 1817. Ilam Hall was rebuilt for him and his wife: it is now demolished, but the estate is owned by the National Trust. In the 1861 and 1884 sale catalogues it is implied that the figures in both pictures are by Thomas Stothard. There is in fact little reason to suppose that the pictures are not entirely by Lawrence himself, although Garlick considered it possible that the figures and animals in View of Dovedale might be by Stothard; he observed that 'it may well be that on [Lawrence's] return [to London] he employed Stothard to complete [the picture] and put in the animals and figures' (Garlick, 1993, p. 16). Whether the younger painter would have been in a position to employ Stothard, who became an Associate of the Royal Academy in 1791, is uncertain, and it may be that the reference to Stothard represents no more than a confused memory of the latter painter's recorded visit to Ilam in 1825, long after the present pictures were executed. It is perhaps significant that the View of Dovedale, by nineteenth-century standards the more 'complete' of the two compositions, was copied at an early date. The copy in question is now at Tabley House, Cheshire, University of Manchester (Catalogue of Pictures at Tabley House, 1899, no. 8; Garlick, 1964, as a repetition; 1993, p. 17, fig. 3 as a copy).
Thomas Lawrence - Portrait Of Lady Georgina North

Thomas Lawrence - Portrait Of Lady Georgina North

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Lot number: 201
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Sir Thomas Lawrence P. R .A. BRISTOL 1769 - 1830 LONDON PORTRAIT OF LADY GEORGINA NORTH (D. 1836) oil on canvas 76.2 by 63.5 cm.; 30 by 25 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Lord North, Wroxton Abbey, Banbury; From whom purchased by ‘Temple’’ in 1907; With Thos. Agnew & Sons, London; Mr. Eugene Cremetti, London; With James Connell & Sons, London; With Scott&Fowles, New York; Mrs. Stevenson Scott, New York, by 1955; With Newhouse Galleries, Inc. New York; From whom purchased by a private collector on 12 October 1972; Their anonymous sale (‘Property from an Estate’’), New York, Sotheby’’ s, 27 May 2004, lot 278, for $108,000, where purchased by the present owner. Literature K. Garlick, Sir Thomas Lawrence, Boston 1955, p.52; K. Garlick, 'A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence', in The Walpole Society, vol. XXXIX, Glasgow 1964, p. 152; K. Garlick, Sir Thomas Lawrence, a complete catalogue of the oil paintings, Oxford 1989, p. 246, cat. no. 609 (b), reproduced. Catalogue Note Lady Georgina North was the third daughter of the 3 Earl of Guilford and sat for Lawrence on three different occasions. The first, circa 1806-07, was for a portrait with her sister, Susan, Countess of Guilford, a painting today in the J.B. Speed Art Museum, Louisville, Kentucky. The present portrait was the last of the three portraits and was painted in 1828, towards the end of the artist’’s life. On his death in 1830 Lawrence left many unfinished paintings in his studio. A large number of them were completed by his studio in preparation for sale. The present work fortunately escaped un-tampered, however, and as such retains a remarkable sense of vividness and modernity, in particular in the artist’’s bravura and unrestrained treatment of the sitter’’s dress.
Thomas Lawrence - Portrait Of Thomas Lister

Thomas Lawrence - Portrait Of Thomas Lister

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Lot number: 42
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Sir Thomas Lawrence, P.R.A. BRISTOL 1769 - 1830 LONDON PORTRAIT OF THOMAS LISTER, 1ST BARON RIBBLESDALE (1752–1826) oil on canvas 240 by 149.2 cm.; 94 1/2 by 58 3/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance By descent from the sitter to his great-grandson, Thomas Lister, 4th Baron Ribblesdale (1854–1925); By inheritance to his second wife, Ava Lowle Willing, Lady Ribblesdale (1868–1958); By whom sold ('The Property of the Rt. Hon. The Lady Ribblesdale'), London, Christie's, 10 July 1953, lot 9, to Agnew for £420; With Thomas Agnew & Sons, London; Peter Wilson (d. 1984), London; Private collection, England. Exhibited London, Royal Academy, Old Masters, Winter 1904, no. 92. Literature Rev H. L. Lyster Denny, Memorials of an Ancient House, 1913, p. 148, reproduced; Sir W. Armstrong, Lawrence, London 1913, p. 160; K. Garlick, Lawrence, London 1954, p. 55, Appendix II, 125, IV, 173; K. Garlick, 'A Catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', in The Walpole Society, vol. XXXIX, 1964, p. 167; K. Garlick, Sir Thomas Lawrence. A complete catalogue of the paintings, Oxford 1989, p. 257, no. 674, reproduced. The sitter was the son of Thomas Lister, of Gisburne Park, Yorkshire, and his wife Beatrix, daughter of Jessop Hulton of Hulton Park, Lancashire. Educated at Westminster and Brasenose College Oxford, he served as Member of Parliament for Clitheroe from 1773 to 1790. In 1775, at the outbreak of the American War of Independence he fitted out a frigate at his own expense which he placed at the disposal of the Government, and in 1779 fitted out a regiment of light horse called Lister’’’’s Light Dragoons and gazetted a Major in the army. In 1789 he married Rebecca, daughter and co-heir of Joseph Fielding, and in 1797 was created 1st Baron Ribblesdale of Gisburne. The family seat, Gisburne Park, situated in the Ribble Valley six miles north-east of Clitheroe, was built between 1727 and 1736, the manor having been first acquired by the Lister family in 1614. The house and estate passed from father to son until the death of Thomas Lister, 4th Baron Ribblesdale in 1925. A liberal politician, and a government whip in the House of Lords under Gladstone from 1880 to 1885, and Master of the Buckhounds under both Gladstone and Rosebery, the 4th Baron was a Trustee of the National Gallery from 1909 to 1925 and is remembered today from his famous portrait by John Singer Sargent (National Gallery, London). His two sons having both been killed in action, the eldest in Somaliland and the younger at Gallipoli in the First World War, he was survived by two sisters and his second wife, Ava Lowle Willing, the American socialite and former wife of John Jacob Astor IV. In 1944 the remaining estate was sold, and in 1985 the house was converted into a private hospital and rehabilitation centre. Painted circa 1805, a price of £126 is recorded in the Coutts list for this portrait. Lawrence’’’’s executor refers in his list to ‘Ports of late Ld. & Ldy Ribblesdale abt 30 yrs since 300 Gs each’’’’ 1 and it seems that the painting was originally intended to be one of a pair, together with a portrait of the sitter’’’’s wife. No full-length finished portrait of Rebecca, Lady Ribblesdale is known, however, and the pendant this picture is probably the unfinished head of Lady Ribblesdale, which has been cut down from a larger canvas, in the Ackland Art Museum, at the University of North Carolina.
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