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Thomas Lawrence

France (Bristol 1769 -  London 1830 ) Wikipedia® : Thomas Lawrence
LAWRENCE Thomas Portrait Of The Hon. Charles James Fox

Sotheby's
Jul 5, 2017
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Variants on Artist's name :

Sir Thomas Lawrence

Lawrence Sir Thomas

 

Artworks in Arcadja
796

Some works of Thomas Lawrence

Extracted between 796 works in the catalog of Arcadja
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
Thomas Lawrence - Mrs Siddons

Thomas Lawrence - Mrs Siddons

Original 1819
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Net Price
Lot number: 352
Other WORKS AT AUCTION
Description:
After Sir Thomas Lawrence PRA, British 1769-1830- ''Mrs Siddons''; stipple engraving, engraved by W Nicholls, printed by John Hassell, 1st December 1819, 31.5x24.2cm: together with a quantity of other pictures to include a hand-coloured etching of Paris, a silhouette picture of a lady standing full-length, two tinsel pictures, a reproduction print in colours after Vermeer, an offset lithograph in colours after David Hutter of a male nude, signed and numbered within the plate, a watercolour of a
Thomas Lawrence -  Portrait Of A Gentleman

Thomas Lawrence - Portrait Of A Gentleman

Original
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Gross Price
Lot number: 372
Other WORKS AT AUCTION
Description:
Sir Thomas Lawrence PRA (1769-1830) Portrait of a gentleman, believed to be William Wellesley-Pole, 3rd Earl of Mornington (1763-1845) Oil on canvas in a period Carlo Maratta frame 76 x 63.5cm; 30 x 25in Painted c.1810-1815, The stretcher is incised Brown, High Holborn Provenance: Entered Christie~s London for appraisal 8th March 1921 (541 DH) by Eva Charlotte Yorke Long, Clairville, Wray Common Road, Reigate. Her great grandfather was Edward Bligh (1797-1872) who was the brother-in-law of Helena Paterson/Bligh who became the second wife of the sitter~s son, William Pole-Tylney-Long-Wellesley, 4th Earl of Mornington (1788-1857) Private English Collection Private St. Louis Collection, USA who donated in 1970s to: The H. Leslie Perry Library, Henderson, North Carolina Private English Collection William Wellesley-Pole was the brother of Arthur Wellesley, 1st Duke of Wellington and Richard Colley Wellesley, 1st Marquess Wellesley. He was an Anglo-Irish politician and in 1821 was created 1st Baron Maryborough. He held various offices including Master of the Mint and Postmaster-General, he was also Clerk of the Ordnance around the time of the Battle of Trafalgar. On his death in 1845 his son William inherited his titles. Both Wellesley-Pole~s brothers had portraits painted by Lawrence.
Thomas Lawrence - Portrait Of The Hon. Charles James Fox

Thomas Lawrence - Portrait Of The Hon. Charles James Fox

Original
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Gross Price
Lot number: 65
Other WORKS AT AUCTION
Description:
THE PROPERTY OF A NOBLEMAN Sir Thomas Lawrence, P.R.A. PORTRAIT OF THE HON. CHARLES JAMES FOX (1749–1806) BRISTOL 1769 - 1830 LONDON oil on canvas 76.2 x 63.5 cm.; 30 x 25 in. Painted for the Hon. Edward Bouverie (1738–1810), Delapré Abbey, Northamptonshire, a close friend and political supporter of the sitter; Aubrey Claud Davidson-Houston (1906–1995), 4 Chelsea Studios, London SW6 (according to a label on the back of the frame); Private collection, England, acquired circa 1996. K. Garlick, 'A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', in Walpole Society, vol. XXXIX, 1964, Appendix II, p. 270, no. 61 or 62; K. Garlick, Sir Thomas Lawrence. A complete catalogue of the oil paintings, Oxford 1989, p. 190, under the entry for no. 307; G. Ashton, Sir Thomas Lawrence, London 2006, p. 70, no. 19, reproduced in colour, p. 71.
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