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John Lavery Sold at Auction Prices

Portrait painter, Genre Painter, Landscape painter, Painter, b. 1856 - d. 1941

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          • Sir John Lavery RA RSA RHA (1856-1941) Portrait of a Lady Oil on canvas, oval, 77.5 x 65cm (30½ x 25½) Signed
            May. 29, 2024

            Sir John Lavery RA RSA RHA (1856-1941) Portrait of a Lady Oil on canvas, oval, 77.5 x 65cm (30½ x 25½) Signed

            Est: €6,000 - €8,000

            Sir John Lavery RA RSA RHA (1856-1941) Portrait of a Lady Oil on canvas, oval, 77.5 x 65cm (30½ x 25½) Signed

            Adam's
          • Sir John Lavery RHA RA (1856-1941) Arthur Griffith and Michael Collins A pair, lithographic prints, 44.5 x 36.4cm (17.5 x 14.25''); & 43.5 x 34 cm (17.25 x 13.25'') respectively. Artists' proof blindstamp on margin, published by Wilson Hartn
            May. 29, 2024

            Sir John Lavery RHA RA (1856-1941) Arthur Griffith and Michael Collins A pair, lithographic prints, 44.5 x 36.4cm (17.5 x 14.25''); & 43.5 x 34 cm (17.25 x 13.25'') respectively. Artists' proof blindstamp on margin, published by Wilson Hartn

            Est: €6,000 - €8,000

            Sir John Lavery RHA RA (1856-1941) Arthur Griffith and Michael Collins A pair, lithographic prints, 44.5 x 36.4cm (17.5 x 14.25''); & 43.5 x 34 cm (17.25 x 13.25'') respectively. Artists' proof blindstamp on margin, published by Wilson Hartnell & Co., Dublin (1922) Each signed in pencil by the artist and the sitter. Lavery and his wife Hazel got to know Griffith and Collins during the Treaty negotiations in London, where the original portraits were painted. The couple used their social connections to assist the Irish delegates while negotiations were ongoing. Within months however the two men were dead, Griffith having suffered a heart attack, while Collins was assassinated at Béal na Bláth. The original portrait of Griffith is in Dublin City Gallery, The Hugh Lane, while Collins’ portrait is believed lost.

            Adam's
          • Sir John Lavery RA RSA RHA (1856-1941) MISS ALICE FULTON AT PAISLEY LAWN TENNIS CLUB, 1889
            May. 27, 2024

            Sir John Lavery RA RSA RHA (1856-1941) MISS ALICE FULTON AT PAISLEY LAWN TENNIS CLUB, 1889

            Est: €60,000 - €80,000

            Sir John Lavery RA RSA RHA (1856-1941) MISS ALICE FULTON AT PAISLEY LAWN TENNIS CLUB, 1889 oil on canvas signed and dedicated [To Miss Alice Fulton] lower right h:10  w:14 in. During the early summer of 1889 John Lavery returned to Paisley to make kit-kat sketches of members of the Clark family, the town’s Provost, Robert Cochrane, and other dignitaries who had been invited to the reception held for The State Visit of Queen Victoria to the Glasgow International Exhibition in the previous year [1]. These tiny portraits would come together with 250 others in a large commemorative canvas depicting the event (Glasgow Museums). The year had begun in a flurry of travel arrangements and studio bookings. By the late spring the project was well underway. Lavery had just returned from Darmstadt where he had painted the portrait of Princess Alix of Hesse, (Private Collection) and other members of the royal retinue, when the short trip from Glasgow to Paisley was arranged. A visit, however brief, could not be made without calling upon friends in the town where he had staged his first solo exhibition in 1886. Principally these were members of the Fulton family who, on that particular day, had taken their daughter, Alice, to the local tennis club. The friendship began within months of Lavery’s return from Grez sur Loing at the end of 1884, when the artist came to the attention of Joseph Fulton, Alice’s father. The co-owner of a large cloth scouring, finishing and dyeing works, inherited from his grandfather, the family was one of Paisley’s biggest employers. The family lived in some style, at Glenfield House, a baronial mansion built in 1859, on an estate overlooking the town. There, three small dams were constructed to supply soft water to the Fultons’ factory from a burn that flowed from the nearby Glenifer Braes. The mill-owner offered Lavery a cottage adjacent to one of these ponds, close to the house, to act as his studio (fig. 1) while he painted the portraits of Alice and Eva, his daughters (Paisley Art Institute), and other works in the district [2]. During these years Lavery also maintained a studio in St Vincent Street, Glasgow, in what might be described as the artist’s quarter, in close proximity to Glasgow Art Club, of which he was a member. The present tennis club sketch is one of two known to have been painted on the spot, relating to a larger, more finished canvas depicting the blossoming cherry tree canopy that fringed the court (fig 2) [3]. Swiftly executed, the present sketch carries all the freshness of the moment when a conversation continues, oblivious to the girl whose eye engages the painter. Three years before, when a mere infant and commanded to sit still, Lavery had been obliged to resort to photographs to obtain her likeness. Ten years on from the present sketch, he would return for more formal portraits of her and her uncle, when she adopted a distinctly Whistlerian pose (fig 3). However, in the midst of a year when time was measured in end-on appointments, dropping into the Paisley Lawn Tennis Club, was a moment of delight. One had only to open a little pochade box or erect a lightweight tripod easel for the picture to come to him, unbidden. Lavery would later describe such moments as ones that brought him to ‘concert pitch’. These were times when in the elysian garden of women, the scene composed itself if you were quick enough to grasp its essence. In the present instance, there was no hesitation. [1] For further reference to this project, see Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), pp. 43-48. [2] Thereafter, what was originally ‘Burn Crook’, became known as ‘Lavery Cottage’. The Pond at the Glen, Paisley, (fig 1) represents the view of Glenfield House (now demolished) a few steps from Lavery’s cottage. [3] McConkey 2010, p. 49; see also Kenneth McConkey, ‘Tennis Parties’ in Ann Sumner ed., Court on Canvas, Tennis in Art, 2011, (exhibition catalogue, Barber Institute, Birmingham), pp. 63-4. In the companion sketch (Private Collection), Alice holds a tennis racquet on her lap and the women on the left, one holding a scarlet parasol, have swopped places. The background, simply indicated with a broad brush, represents one of the courts.

            Whyte's
          • WWI ARRIVAL OF GERMAN DELEGATES AFTER JOHN LAVERY
            May. 04, 2024

            WWI ARRIVAL OF GERMAN DELEGATES AFTER JOHN LAVERY

            Est: $100 - $150

            An English WWI era lithograph poster after the oil painting Night and the Arrival of the German Delegates: HMS Queen Elizabeth, 15 November 1918 by John Lavery, Irish, 1856 to 1941, a painter best known for his portraits and wartime depictions. Inscribed lower center. Published in England. First World War English Posters For Collectors.

            Antique Arena Inc
          • Tangier
            May. 02, 2024

            Tangier

            Est: €30,000 - €50,000

            Sir John Lavery, R.A., R.S.A., R.H.A 1856 - 1941 Tangier oil on canvas unframed: 33 by 41 cm.; 13 by 16 1/4 in. framed: 38.5 by 46.5 cm.; 15 by 18 1/4 in. ----------------------------------------------------- Sir John Lavery, R.A., R.S.A., R.H.A 1856 - 1941 Tangier huile sur toile sans cadre: 33 by 41 cm.; 13 by 16 1/4 in. avec cadre: 38.5 by 46.5 cm.; 15 by 18 1/4 in.

            Sotheby's
          • Sir John Lavery
            Apr. 25, 2024

            Sir John Lavery

            Est: €10,000 - €14,000

            (Belfast 1856–1941 Kilmoganny) Cigarette Makers in Seville, signed J. Lavery, inscribed on the reverse “cigarette makers in Seville by John Lavery. A mark of sincere esteem to B. McCoy 1924”, oil on canvas laid down on board, 34 x 25.5 cm, framed

            Dorotheum
          • SIR JOHN LAVERY (IRISH 1856-1941), THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT
            Mar. 13, 2024

            SIR JOHN LAVERY (IRISH 1856-1941), THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT

            Est: £15,000 - £25,000

            SIR JOHN LAVERY (IRISH 1856-1941)ORIGINAL SKETCH FOR 'THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT'Signed, dated 1917 and dedicated to Lord Charles Darling (lower left), variously inscribed by Lord Darling (verso)Oil on canvas-board25.5 x 38cmProvenance:Collection of Charles John Darling, 1st Baron Darling (1849-1936)Thence by descent to the present ownerThe board is inscribed verso by Charles Darling as follows: 'The original sketch made for Court by Sir John Lavery ARA for his picture of the hearing of the appeal of Sir Roger Casement against his conviction for High Treason - Monday 17th July 1917.Sargeant Sullivan (for appellant) addressing the Court. The justices (from left to right) Scrutton, Bray, Darling (presiding), Lawrence, Atkin.Charles Darling'By 1916, having recently requested an oil sketch of his late wife (lot 44), Mr Justice Darling was well aware of Lavery's pre-eminence. Regarding himself as something of an aesthete, the vainglorious judge, had been portrayed during his rise to the Bench, by Charles Wellington Furse (National Portrait Gallery) and George Henry (Colchester and Ipswich Museums) in 1890 and 1898 respectively, and in 1904, having secured Lavery's small sketch of his daughter, he returned to the painter for his own controversial portrait (fig 1). Even though its theatrical air matched the sitter's reputation, portraying Darling as a hanging judge was considered inappropriate by some.Now a widower, Darling had just received the news that his only son (see lot 45) was severely wounded on the Western Front when he received the call to preside over the Casement Appeal in July 1916. For public and personal reasons, leniency in this instance was not an option for a staunch Unionist who had trained Edward Carson in his chambers. Since his own portrait was painted, he had seen Lavery take on important commissions and maintain his pre-eminence with the portrait of the Royal Family, 1913 (National Portrait Gallery). In 1915, he would have noted the newsworthiness of the artist's Wounded, London Hospital, (Dundee Museum and Art Gallery), painted in the wake of the retreat from Mons, and shown in an Academy exhibition castigated for largely ignoring the unfolding horror of war. This was an artist unafraid to tackle a difficult project and, in the summer of 1916, when Darling was appointed to try the Casement Appeal, he was in a position to offer just such a testing opportunity. To read the full catalogue note written by Kenneth McConkey please follow the link below:

            Dreweatts 1759 Fine Sales
          • SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS
            Mar. 13, 2024

            SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS

            Est: £7,000 - £10,000

            SIR JOHN LAVERY (IRISH 1856-1941)PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARSOil on canvasSigned (centre right); further signed, titled and dated 1910 (transcribed verso, not in artist's hand)38 x 33cm (14¾ x 12 in.)Provenance:Collection of Charles John Darling, 1st Baron Darling (1849-1936)Thence by descent to the present ownerSuave and stylish, the portrait of the dashing young Lieutenant John Clive Darling is almost unique in Lavery's oeuvre. Although small in scale, in its precision, it cannot be regarded as a sketch of the type preferred by the sitter's father, Sir Charles Darling, then serving as a judge on the Oxford circuit. In 1904 the judge had written to Lavery requesting a small sketch of his daughter, Diana Janet Darling, making his specification clear:What I should like would be an impression, or sketch - such as Vandyke (sic) and others sometimes made as preliminary to a portrait and I should like it small ... I don't want a highly finished work but should prefer a study. Darling may well have also been thinking back to the swagger of his son's first portrait, painted by William James Yule in 1896, when the present sitter was aged nine. It had been one of the most admired portraits of its day. Educated at Eton and Sandhurst, John Clive Darling (1887-1933) joined the 20th Hussars in 1906, rose to the rank of captain in 1913 and retired as Major in 1923, publishing an account of his regiment's actions in the Great War. Following the retreat from Mons in 1914 where the Hussars participated in the first (and last) cavalry charge, he and his brigade were consigned to the trenches where, in 1916, he was wounded in action. Mentioned in dispatches he was awarded the Distinguished Service Order. In recovery at Hill House Red Cross Hospital, Lyndhurst, Hampshire, he met, and in 1918, married Eleanor Joan Powell. In retirement, Darling raised and exhibited New Forest ponies and contributed to local causes.

            Dreweatts 1759 Fine Sales
          • SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF MARY CAROLINE, LADY DARLING
            Mar. 13, 2024

            SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF MARY CAROLINE, LADY DARLING

            Est: £3,000 - £5,000

            SIR JOHN LAVERY (IRISH 1856-1941)PORTRAIT OF MARY CAROLINE, LADY DARLINGOil on canvas-boardSigned (lower right); variously inscribed in Lord Darling's hand (verso)35.5 x 25.5cm (13¾ x 10 in.)Provenance:Collection of Charles John Darling, 1st Baron Darling (1849-1936)Thence by descent to the present ownerMary Caroline Darling (née Greathed, 1863-1913), was a General's daughter. She married Charles Darling in 1885, the year in which her husband was called to the Bar, while unsuccessfully contesting the Hackney South constituency for the Conservatives. During her husband's political career, which lasted until 1897, she gave birth to a son, John Clive Darling (see lot 45). Two daughters followed when her husband returned to the Bench. Lavery was first commissioned to paint her portrait when painting her husband in his robes of office, following that of their daughter, Diana Janet Darling. The present sketch, as indicated on its reverse, was painted two years after Lady Darling's death from a photograph taken in 1892. Kenneth McConkey

            Dreweatts 1759 Fine Sales
          • SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY
            Mar. 13, 2024

            SIR JOHN LAVERY (IRISH 1856-1941), PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY

            Est: £7,000 - £10,000

            SIR JOHN LAVERY (IRISH 1856-1941)PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY, STUDY FOR A FULL LENGTH PORTRAITOil on canvas Signed (lower left)35.5 x 25cm (13¾ x 9¾ in.)Provenance:Minnie Plowden, thence by descent to the present owner Literature:Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 71In 1898 Lavery, with the help of fellow Glasgow Boys and under the Presidency of James McNeill Whistler, established the International Society of Sculptors, Painters and Gravers, with the idea of staging annual exhibitions or 'art congresses' in London. As Vice-President, Lavery's three contributions to this radical departure were Portrait Group (Père et Fille), 1897, (Musée d'Orsay, Paris), A Garden in France, 1897 (National Gallery of Ireland, Dublin) and Mrs Roger Plowden and Humphrey for which the present canvas is the oil sketch. It is not entirely clear where and when the painter met the Plowdens. A member of an old Catholic legal and clerical family that hailed at the time of the Crusades from Shropshire, Roger Herbert Plowden was the son of a banker in Rome where, in his early years he led the life of a country gentleman. After his marriage to the daughter of Henry Jump of Woolton, near Liverpool in August 1883, he and his wife led a peripatetic existence between Rome, the south of France, their house at 32 Portman Square, London and Scottish estates, leased for the hunting and shooting seasons. They had been living in Rome before returning recently to Scotland where in 1897 Plowden rented and then purchased the Strachur estate on Loch Fyne from the Duke of Argyll. As with most large portrait commissions (fig. 1) Lavery planned his composition with a swift sketch as shown in Lot 43. In comparing the two it is instantly apparent that the composition has been reversed and the boy's leg positions changed. His silver suit has also been replaced by a black tabard. Sittings cannot have been easy since Minnie Plowden was unwell and increasingly immobile. As a 'mother and son' subject, the finished work is nevertheless a fine complement in tone, colour, handling and scale to the Orsay 'father and daughter'. For its part, the sketch is also more than a snapshot, making play with the flash of red in the sitter's cape and creating, in its soft greys, its own fine harmonies. Kenneth McConkey

            Dreweatts 1759 Fine Sales
          • SIR JOHN LAVERY (IRISH 1856-1941), A GREY DAY
            Mar. 13, 2024

            SIR JOHN LAVERY (IRISH 1856-1941), A GREY DAY

            Est: £10,000 - £15,000

            SIR JOHN LAVERY (IRISH 1856-1941)A GREY DAY Oil on canvas-board Signed (lower right)25.5 x 35.5cm (10 x 13¾ in.)Provenance:William Marchant & Co., The Goupil Gallery, London (1908)Exhibited:London, William Marchant & Co, The Goupil Gallery, Paintings by John Lavery RSA, RHA, 1908, no 50Literature:Walter Shaw Sparrow, John Lavery and his Work, London, 1911, p. 189Although we cannot be certain where A Grey Day was painted, given that it passed through the Goupil Gallery in 1908, it seems very likely that the present work represents the Straits of Gibraltar viewed from a hillside to the west of the Medina at Tangier. Having recently purchased a house and garden on the hilltop in question - Mount Washington - Lavery had the opportunity to study the moods of the sea from several discreet vantage points. This accounts for the variety of effects that characterise the many seascapes that followed - the high and low horizons, for instance, that appear in this and other small seascape sketches, such as A Rough Sea (Paisley, Art Institute Collection, held by Paisley Museum and Art Galleries), also shown in the Goupil exhibition. While many of these small sketches were painted in full winter sunshine, there were occasions when grey overhanging clouds must have reminded the artist of his earliest paintings of the Irish Sea seen from the Antrim coast in the late 1880s. Vivid colour arrived with his first visits to the North African coast in the 1890s, but it was a decade later when he returned to a more sustained engagement with the great maritime trade route that other, larger 'grey days' appeared (for example, see A Grey Day, Tangier, 1911 held by the Art Institute of Chicago from the George F. Porter Collection). While artists' enchantment with the sea stretches back to the romantic generation and beyond, the importance of the little sketches of 1906-8, lies in the fact that they provide instances in which Lavery reassesses one of Whistler's favourite themes and works through the more recent advances he had noted in Monet's work. In the first exhibitions of the International Society of Sculptors, Painters and Gravers, as the society's vice-president and prime mover, he had the opportunity to view the work of these mentors at close quarters, and move on. Up until the outbreak of war, every winter with only one exception, was spent on the Moroccan heights and seascapes with passing ships became a leitmotif. With its heavy sky, breaking waves and wrack-strewn sands, A Grey Day hailed this renewed fascination. Kenneth McConkey

            Dreweatts 1759 Fine Sales
          • WWI ARRIVAL OF GERMAN DELEGATES AFTER JOHN LAVERY
            Mar. 09, 2024

            WWI ARRIVAL OF GERMAN DELEGATES AFTER JOHN LAVERY

            Est: $100 - $150

            An English WWI era lithograph poster after the oil painting Night and the Arrival of the German Delegates: HMS Queen Elizabeth, 15 November 1918 by John Lavery, Irish, 1856 to 1941, a painter best known for his portraits and wartime depictions. Inscribed lower center. Published in England. First World War English Posters For Collectors.

            Antique Arena Inc
          • John LAVERY 1856-1941 Jasmin, Fez - 1920 Huile sur toile
            Dec. 30, 2023

            John LAVERY 1856-1941 Jasmin, Fez - 1920 Huile sur toile

            Est: MAD600,000 - MAD800,000

            John LAVERY 1856-1941 Jasmin, Fez - 1920 Huile sur toile Signée en bas à droite "J. Lavery" Signée, datée, titrée et située au dos "JASMIN. / BY JOHN LAVERY. / 5 CROMWELL PLACE LONDON. / FEZ.1920." h: 76,20 w: 63,70 cm Provenance : Fine Art Society, Londres, circa 1970 Sotheby's, New York, 24/01/1980, lot 326 Schweitzer Galleries, New York Collection particulière, Royaume-Uni Bonhams, Londres, 30/06/2021, lot 21 Collection particulière, Royaume-Uni Commentaire : Signed lower right "J. Lavery" Signed, dated, titled and located on the reverse "JASMIN. / BY JOHN LAVERY / FEZ.1920." Lot en provenance hors Maroc Estimation 600 000 - 800 000 MAD

            Artcurial
          • SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel
            Dec. 14, 2023

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel

            Est: $10,000 - $15,000

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel Choate (1870-1958) oil on canvas 36 5⁄8 x 25 5⁄8 in. (93.2 x 65.2 cm.)

            Christie's
          • Sir John Lavery RA RSA RHA (1856-1941) LONDON HOSPITAL, 1914
            Dec. 04, 2023

            Sir John Lavery RA RSA RHA (1856-1941) LONDON HOSPITAL, 1914

            Est: €60,000 - €80,000

            Sir John Lavery RA RSA RHA (1856-1941) LONDON HOSPITAL, 1914 oil on canvas signed lower right; signed, titled, dated and with William Rodman & Co. label on reverse h:25  w:30 in. Provenance: Collection of the Artist; By whom donated to Lady Dixon in aid of The Ulster Division Fete, 1917; With William Rodman & Co, Belfast; Collection of Malcolm Mercer; Thence by descent to Stanley Mercer; Phillips, London, 13 November 1984, lot 78; Private collection; Christie's, London, 6 November 1992, lot 53, Private collection Literature: 'By Private Wire', Belfast Newsletter, 3 July 1917, p. 5 Wounded by John Lavery RA, Sold for a War Charity, The Sphere, 14 July 1917, p.viii (ill.); Kenneth McConkey, John Lavery: A Painter and his World, Atelier Books, Edinburgh, 2010, pp.125, 231 When Lavery's large retrospective exhibition at the Grosvenor Galleries drew to a close in the summer of 1914, the artist and his wife set off for a tour of Ireland in the knowledge that tensions were increasing in Europe. They were in Dublin when war was declared on 4 August, but delayed their return in order to visit the north coast. When they got back to London, St James's Park had been requisitioned as a military camp and the city was in uproar. As weeks went by, with the rout of Belgium and the arrival of 250,000 refugees, early euphoria and predictions of a swift victory evaporated. Lavery quickly realized that his best way to support the war effort was through his work, but Government restrictions blocked his early ambitions to equip a motor-bus and drive to the Western Front. So, in March 1915 he arranged to paint the wounded at London Hospital. The 'London' had been the first hospital to receive casualties in the early weeks of the war. By the end of the month the painter was installed in the hospital's Charlotte Ward, observing Miss Frances Grace Coombe - affectionately referred to as 'Sister Charlotte' - attending a wounded soldier. At least two general views of the ward were painted alongside the present canvas, and these became the source material from which Wounded, London Hospital, 1915, the Dundee canvas, was painted at the artist's studio in Cromwell Place (fig 1&2) (2). The present version is unique in indicating both setting and central motif. It also tells us that the actual soldier only became Scots belatedly in the exhibited canvas. The finished picture was shown at the Royal Academy in 1915 where one critic described it as 'the most remarkable achievement' in an exhibition that was widely criticized for failing to come to grips with what was described as an unprecedented 'struggle for existence' (3). Lady Cynthia Asquith, who confirmed that the Academy seemed 'unaffected by cataclysm', saw Wounded: London Hospital as one of the very few authentic attempts to address the effects of war, noting its '… very good atmosphere', and that 'it almost made one smell the antiseptics' (4). It was immediately popular with the wider public and those soldiers able to visit the show tended to congregate in front of it (5). By the time the large version arrived in its permanent home in Dundee at the beginning of 1917, the title had been changed to The First Wounded, London Hospital, 1914, even though as MP and RHR Park point out, over 2000 soldiers are likely to have been treated around the time the picture was actually being painted. None of this however, detracts from the documentary character of the present study. Lavery for instance, is likely to have included the wounded soldier with a foot sling simply because he was there at the time. Foot injuries following the severe winter of 1914-5, when many infantrymen suffered frostbite and trench fever was common. This figure was however, excluded from the final work, while the table containing bowls, bottles and dressings was transformed into a metal trolley. Perhaps to underwrite the circumstantial authenticity of the scene, the artist also chose to identify his principal soldier as a Gordon Highlander in the Dundee version. Lavery continued to report on the war, also painting the wounded of St George's Hospital who, on good days, with their nurses, took the air in Hyde Park. He also saw the death tolls rise when the Ulster and Munster Divisions were slaughtered on the banks of the Somme in July 1916. On the first anniversary of that terrible offensive, a series of fund-raising activities were organized throughout Ulster, on what was named 'Forget-Me-Not' Day, 29 June 1917. The occasion was marked in London by a Garden Fete at Hampden House in Green Street, home of the Duke of Abercorn on 4 July to which the present study was generously donated (6). It is not known if the Laverys attended this event, opened by Sir Edward Carson and Lady Londonderry. (7) Shortly thereafter, Lavery received his commission as an Official War Artist and was off to paint Naval operations, including the North Sea convoys which he observed from armed airships. Intrepid though this was, he considered that in avoiding the Western Front, his war experience was limited. However, as the present work indicates, no one in 1915 was more committed than he to reporting on the great 'struggle for existence', and those who suffered in its wake - and while others re-imagined Napoleonic or Crimean battle scenes confected in khaki and grey, he stood out for documentary authenticity. In its central motif , there is no better sense of human vulnerability than in the pale exposed flesh of the young soldier addressed with Samaritan tenderness by Sister Coombe. The effects of war can only be truly seen to be believed when recorded with sympathy by the consummate artist-reporter. Kenneth McConkey 1. A label on the frame relates to an earlier exhibit at the Carnegie International Exhibition in Pittsburgh, and not the present work. Lavery clearly decided to re-use this original frame when the present picture was donated to the Ulster Division Fete. A label on the stretcher refers to a subsequent sale by William Rodman & Co of Belfast. A further inscription relates to subsequent ownership. 2. The picture was to be reproduced in colour by the Fine Art Society and placed on sale for the benefit of the hospital. See MP Park and RHR Park, 'Art in Wartime: The First Wounded, London Hospital, August 1914', Medical Humanities, vol 37, no. 1, June 2011, p. 23-26; also Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 125-7. As Park and Park point out, this large canvas was originally entitled Wounded, London Hospital, 1915 when shown at the Academy, and given that it was being painted at the time of the Academy submission deadline, it could not represent the first wounded soldiers who arrived at the London Hospital shortly after the outbreak of war. 3. Anon 'The Royal Academy Exhibition, 1915', The Studio, vol 65, 1915, p. 25. 4. Lady Cynthia Asquith, with a foreword by LP Hartley, Diaries, 1915-1918, 1968 (Hutchinson), p. 43, (entry for 15 June 1915). 5. Anon, 'Popular Academy Pictures - The First Public Day', The Times, 4 May 1915, p. 11. Such was its popularity that prints were made by the Fine Art Society, and sold in aid of the hospital, while the present work was illustrated in The Sphere. 6. Lavery actually gave the picture to his old friend Mrs Kerr Smiley of Drumalis, with the intention that it be raffled for funds to support the wounded; see 'By Private Wire', Belfast Newsletter, 3 July 1917, p. 5. The garden fete, scheduled for a few days earlier, had to be transferred indoors due to bad weather. 7. 'The Ulster Fete in London', Londonderry Sentinel, 5 July 1917, p. 2. Sir Edward Carson, whose portrait Lavery had recently painted along with that of John Redmond, delivered the opening speech. Imperialist sentiments prevailed. Carson used the occasion to praise his 'own boys' in their 'rush to the colours', while Lady Londonderry spoke of the Ulster Division's bravery as 'one more shot for the honour of Ulster and the Empire'. The amount raised on behalf of Lady Carson's fund 'to provide gifts for the sick, wounded and prisoners of war from the Ulster Division' was over £1000.

            Whyte's
          • Sir John Lavery RA RSA RHA (1856-1941) SWITZERLAND [HAZEL AND ALICE], 1913
            Dec. 04, 2023

            Sir John Lavery RA RSA RHA (1856-1941) SWITZERLAND [HAZEL AND ALICE], 1913

            Est: €180,000 - €220,000

            Sir John Lavery RA RSA RHA (1856-1941) SWITZERLAND [HAZEL AND ALICE], 1913 oil on canvas signed lower left; signed, titled, dated and inscribed [Hazel and Alice] on reverse h:15  w:25 in. Provenance: George & Maura McClelland Collection; Private collection Exhibited: Dublin, Irish Museum of Modern Art, The Hunter Gatherer, The Collection of George and Maura McClelland, n.d. [2004], (exhibition catalogue by Catherine Marshall) Literature: The Hunter Gatherer, The Collection of George & Maura McClelland, Catherine Marshall, IMMA, Dublin, 2004, p.105 (illustrated) as Winter Sports, Switzerland, 1918 (1) In the summer of 1912 Lavery was commissioned to paint the British Royal Family at Buckingham Palace and sittings were booked in the King's and Queen's diaries for the following February (2). The arrangements meant that the painter's annual four month sojourn at his house in Tangier had to be abandoned and a shorter winter holiday substituted at Wengen in Switzerland. The added incentive was undoubtedly winter sports, coupled with the recent opening of the Jungfrau railway which had been under construction for nearly twenty years. Visitors could travel all the way to the summit, or stop at viewing platforms en route. The attraction was too great and in December the painter, his wife, Hazel, and step-daughter, Alice, checked in at the Hotel Regina Blümlisalp for a stay lasting until the end of January. The 'holiday' proved to be one of the most concentrated painting episodes of Lavery's life. The visual excitement was intense. Not since the late 1880s, when he painted studies of the Glasgow International Exhibition at Kelvingrove, was he so busy, and each day brought different challenges. Skaters, skiers, sledgers and curlers, 'downhill racers' and uphill Alpinists were painted along with dramatic landscapes of the Jungfrau, the 'Mönch' and other peaks from the respendent Lauterbrunnen valley range. The weather, especially when there had been an over-night snowfall, was challenging, not least when on one occasion at the end of the holiday the eight-year-old Alice was famously heard to complain to her mother, 'isn't it a pity we married an artist!' as they posed in what must have been freezing conditions (3). Lavery reported to his daughter, Eileen, that 'the snow is so soft, Alice rolls in it like a snowball' (4). The present canvas (fig 1) is one of four featuring Hazel and Alice. Two landscapes set mother and daughter emerging from woodland (figs 2&3). In both, the child is seen either sitting on or dragging her luge as in the present work. The third, Japanese Switzerland, (fig 3) presents the pair as silhouettes against a snowy hillside, its title clearly suggested by its similarity to Japanese prints (5). Although he never visited Japan, Lavery had collected Japanese fans and other artefacts in his youth and he clearly admired the abstracting processes adopted by the Ukioye masters - their simplifications of forms and space, allied to a heightened consciousness of shape that we find in the present canvas. As in Japanese Switzerland, figures perform in front of him, and his task is to capture the moment when shape alone gives solidity to form. Of the group, that simply entitled Switzerland, presents an additional unidentified woman, standing with Hazel on a hillside, as Alice brings up the rear. Alice's brilliant red costume is not without significance for Lavery reports that she had won first prize as 'a devil' in the hotel's costume ball wrapped no doubt in her mother's red coat, 'red stockings and red wig with horns …' (6) Hazel's companion is unidentified, but may well be Lady Violet Frances Mabel Mond (1867-1945), who with her husband Sir Alfred Mond, and daughter, Mary, were staying at the hotel. Mary, a playmate for Alice, was the subject of a little head study as well as The Skater, (Private Collection) in an 'action' tribute to her fearlessness on the ice. The latter work was purchased by her mother before they left to return to England (7). It is however, the remarkable spontaneity of the present canvas that makes it stand out among the Wengen group. Surveying the snowy landscape on a Swiss mountainside, according to the writer, Robert Louis Stevenson, makes 'the nerves to tighten and the mouth to smile' (8). Lavery would claim that experiences like this brought him to 'concert-pitch' and prepared him for the longeurs of portrait sittings in the London studio (9). They took him away from the plodding seriousness that face-painting had become in the hands of many of his contemporaries. However, as the present canvas indicates, such scenes were not merely a form of limbering up. These canvases stand alone and on their merits. Each reveals the unique qualities of the moment of realization. Not merely practice pieces, as vivid impressions, they charm the eye and for the style and spontaneity in Switzerland, there is nothing quite comparable. Kenneth McConkey 1. Erroneously dated 1918, this work dates from 1912-13. 2. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books, Edinburgh), pp. 119-123. 3. Quoted from unpublished ms, 1924 Diary (page for 2 Jan). Also quoted with minor variation in John Lavery, The Life of a Painter, 1940 (Cassel), p. 131. 4. Letter to Eileen, dated 19 January 1913, Private Collection. 5. Kenneth McConkey, Towards the Sun, The Artist Traveller at the turn of the Twentieth Century, 2021 (Paul Holberton Publishing), pp. 240-241. 6. Ibid. Mephistopheles, the Faustian demon, is traditionally represented in bright red costume and hat. 7. Lavery's The Skater: Miss Mary Mond was sold Christie's 19 May 2000. The Mond family returned to England on 19 January 1913. 8. RL Stevenson, 'Davos in Winter', Essays of Travel, 1912 (Chatto and Windus), p. 200; quoted in McConkey 2021, pp. 81-2. Lavery's snow scenes, particularly in the present example, recall the famous sequence in DH Lawrence's Women in Love (1920). Lawrence was of course traversing the Alps from Germany to Italy in 1912-13. 9. Lavery is likely to have borrowed the expression, 'concert pitch', and the idea of being in tune with nature, from Stevenson who uses it referring to young painters in Grez-sur-Loing during Lavery's first visit to the artists'colony; see 'Fontainebleau: Village Communities of Painters', The Magazine of Art, 1884, p. 343.

            Whyte's
          • A Moorish Landscape - Evening
            Nov. 22, 2023

            A Moorish Landscape - Evening

            Est: £15,000 - £25,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 A Moorish Landscape - Evening signed J Lavery (lower right); signed John Lavery, titled, dated 1914 and inscribed with the artist's address (on the reverse) oil on canvasboard unframed: 25 by 35cm.; 10 by 14in. framed: 38.5 by 48 cm.; 15 by 19in. Executed in 1914.

            Sotheby's
          • Hampstead Heath
            Nov. 22, 2023

            Hampstead Heath

            Est: £60,000 - £80,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 Hampstead Heath signed J Lavery (lower right); also signed John Lavery, titled and dated 1921 and inscribed SNOW AND SLEET/ GUTTER SOUND/ ORKNEY/ 1916 (on the reverse) oil on board unframed: 63.5 by 76cm.; 25 by 30in. framed: 76.5 by 89cm.; 30 by 35in. Executed in 1921.

            Sotheby's
          • Portrait of Margaret Jean Fairlie Dunn
            Nov. 22, 2023

            Portrait of Margaret Jean Fairlie Dunn

            Est: £6,000 - £8,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 Portrait of Margaret Jean Fairlie Dunn signed J. Lavery and dated 89 (lower right) oil on canvas unframed: 46 by 36cm.; 18 by 14in. framed: 70.5 by 60.5cm.; 27¾ by 23¾in. Executed in 1889.

            Sotheby's
          • Mrs O'Sullivan and her Family
            Nov. 22, 2023

            Mrs O'Sullivan and her Family

            Est: £50,000 - £70,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 Mrs O'Sullivan and her Family signed J. Lavery (lower left); also signed, titled, inscribed KERRY and dated 1924 (on the reverse) oil on canvasboard unframed: 51 by 61cm.; 20 by 24in. framed: 65 by 75cm.; 25½ by 29½in. Executed in 1924.

            Sotheby's
          • Ariadne
            Nov. 21, 2023

            Ariadne

            Est: £300,000 - £500,000

            Sir John Lavery, R.A., R.H.A., R.S.A. 1856 - 1941 Ariadne signed twice J Lavery (lower right) oil on canvas unframed: 174 by 113cm.; 68½ by 44½in. framed: 193 by 133.5cm.; 76 by 52½in.

            Sotheby's
          • A Moorish Harem
            Nov. 21, 2023

            A Moorish Harem

            Est: £300,000 - £500,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 A Moorish Harem signed J Lavery, inscribed FEZ and dated 1907 (lower right) oil on canvas unframed: 125 by 103.5cm.; 49½ by 40¾in. framed: 145 by 119.5cm.; 57 by 47in. Executed in 1907.

            Sotheby's
          • Sir John Lavery. 1917. "The East Wind". Large coastal scene with figures sunning on the beach. Signed lower right. Oil on board. Inscribed, dated, and signed on reverse along with small original inventory label with n...
            Nov. 12, 2023

            Sir John Lavery. 1917. "The East Wind". Large coastal scene with figures sunning on the beach. Signed lower right. Oil on board. Inscribed, dated, and signed on reverse along with small original inventory label with n...

            Est: $30,000 - $50,000

            Sir John Lavery. 1917. "The East Wind". Large coastal scene with figures sunning on the beach. Signed lower right. Oil on board. Inscribed, dated, and signed on reverse along with small original inventory label with number "15119" and "cunn="(?). Sight: 25 x 30in. Overall: 33 x 38in.

            Tremont Auctions
          • SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) Portrait of the Artist's
            Oct. 19, 2023

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) Portrait of the Artist's

            Est: $25,000 - $35,000

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) Portrait of the Artist's Daughter, Alice oil on canvas board 13 7/8 x 10 in. (35.3 x 25.4 cm.)

            Christie's
          • Sir John Lavery RA RSA RHA (1856-1941) HE WON'T BITE YOU
            Oct. 02, 2023

            Sir John Lavery RA RSA RHA (1856-1941) HE WON'T BITE YOU

            Est: €20,000 - €30,000

            Sir John Lavery RA RSA RHA (1856-1941) HE WON'T BITE YOU watercolour signed and titled lower right; with artist's label on reverse; also with Fine Arts Society Ltd. [London] label on reverse h:14  w:20 in. Although its subject - an infant's cautious encounter with a curious dog in a Scottish garden - appears inconsequential at first, the watercolour, 'HE WON'T BITE YOU' gives us an early glimpse into the wealthy middle-class enclave of the Renfrewshire town of Paisley. Having exhibited at the town's Art Institute, John Lavery had recently secured the patronage of two of its most prominent citizens - James and Joseph Fulton, whose ancestors had introduced silk manufacture to Scotland in the eighteenth century. Modest beginnings grew into a major 'scouring' industry in the nineteenth century, in part due to the development of starch and dye stuffs that enabled the Fultons' father, William, to purchase a hillside estate adjacent to the town, known as The Glen. There, in 1859, he constructed a large 'Scottish baronial' pile, Glen House (1) which his son, James, filled with a formidable collection of French and Scottish paintings, 54 of which were donated to the Paisley Art Institute after his death (2). Then, in 1886, James's brother, Joseph, and sister-in-law, Elizabeth, commissioned Lavery to paint portraits of their daughters, the eldest of whom, Eva, also posed for the present watercolour (3). In return for his services, the painter was given free range of the estate and was offered Burn Cottage within walking distance of the house as a studio, while he worked on the portraits (4). With this as his base, Lavery painted a series of views of the nearby hills known as the Gleniffer Braes and part of the Fulton domain. Eva, with her shock of red hair, remained a favourite model and is likely to have posed for the girl in Convalescence 1885. While both house and cottage have been demolished, it is possible that the blossoming border with the 'burn' in the background is a continuation of that in the present work (5). A label fragment, preserved on the reverse of He won't bite you suggests that it is likely to have been shown at Lavery's first solo exhibition in Paisley (6). Thanks to the Fultons, the Coatses, the Smileys and Clarks, Paisley was booming in the 1880s, its factories supplying the empire, and Lavery, as he found his feet, received commissions from all four of its principal families. At this point, the painter, now approaching thirty, had returned from France, where the modern Naturalism of Bastien-Lepage held sway. Lavery was also aware of the growing public consciousness of the Impressionists, and watercolour at first seemed like a quick, convenient and translucent way of registering the passing scene. He won't bite you can therefore be comfortably placed within the Fulton suite of pictures when his use of the medium was at its height (7). Here, the soft colours of the hillside garden, overlooking the roofs and gables of the town are noteworthy, while uneven patches for grass in the foreground are reminiscent of the garden setting of On the Loing, An Afternoon Chat, 1884 (Ulster Museum, Belfast), that Lavery had brought back from Grez-sur-Loing, and recently shown at the Glasgow Institute of the Fine Arts (8). While he made use of Burn Cottage, Lavery's main studio was in central Glasgow close to the Art Club, where his radical approach drew the attention of other young painters who became members of celebrated 'Glasgow Boys'. With Arthur Melville, James Guthrie, Edward Arthur Walton and Robert Macaulay Stevenson, Lavery was part of the inner circle, described by one of its members as a 'brotherhood'. Several Scots contemporaries, from 1886 onwards, adopted the idea of painting figures surrounded by blossoming trees. Outside this avant-garde circle, however, the Fultons were the first to recognise Lavery's abilities as the charming He won't bite you indicates. Prof Kenneth McConkey September 2023 1. Glen House was demolished sometime after Fulton's death in 1933, probably sometime in the 1960s. For further reference to Lavery's work at The Glen, see McConkey 2010, p. 31. Lavery painted the Fulton house and pond from a location close to his studio (Private Collection; see Hunt Museum, Limerick, Lavery & Osborne, Observing Life, 2019, exhibition catalogue, pp. 18-19). 2. The Fulton Bequest contains works by Courbet, Corot, Troyon and the Barbizon masters. 3. It also seems not unlikely that the infant, keeping well back from the straining border collie, is her younger sister, Alice. Lavery's portraits of Alice, 1886 and 1900 are in the Paisley Art Institute Collection, while an oil sketch inscribed to Alice, c. 1889 is in a private collection. James Fulton's portrait by Lavery is also part of the Art Institute bequest, as are views of the Gleniffer Braes. 4. Burn Cottage, renamed Lavery Cottage, fell into disrepair and was demolished in 1966 after its last occupant left. 5. McConkey, 2010, p. 32. Eva may also have modelled for one of the foreground spectators in The Tennis Party (Aberdeen Art Gallery). She later married Henry S Samuel, son of Sir Saul Samuel CB, KCMG, who had made a fortune mining for copper in New South Wales and was presented at court; see Portsmouth Evening News, 11 April 1895, p. 3. 6. Portraits, Pictures and Sketches painted in the Neighbourhood by John Lavery, opened at the Clark Hall, Paisley at the end of November 1886 and ran into the following month. 7. A reportedly 'heavily restored' oil version of the present subject passed through Phillips, London on 7 December 1991 as an 'attributed' work, and remains unlocated. Other watercolours, including the magisterial A Rally (Glasgow Museums), are known. 8. On the Loing, An Afternoon Chat was first shown at the Glasgow Institute of the Fine Arts in February1885, (no. 697), and later that year at Paisley Art Institute, 1885, (no. 276).

            Whyte's
          • SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941)
            Jul. 04, 2023

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941)

            Est: £6,000 - £8,000

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) The Moorish Dancer oil on panel 29.5 x 20.2 cm. (11 1/2 x 8 in.) Provenance Sale; Regents of Finchley, London, 15 March 1992, lot 252, where purchased by the present owner Exhibited Bangor, Ava Gallery, Modern Masters, 16 March-8 April 2005 Literature Kenneth McConkey, John Lavery, Canongate Press, Edinburgh, 1993, p.86 We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot. Lavery first travelled to North Africa in 1891 and was immediately captivated by it, above all by the city of Tangier and its inhabitants. Professor Kenneth McConkey relates this panel to a series of studies Lavery made towards the large composition 'A Moorish Dance', which he intended as his Royal Academy exhibition piece of 1893. This particular study concentrates on the dancer and simplifies the musicians into a single shape. “To observe ‘A Moorish Dance’, Lavery placed himself in the casbah and carefully recorded the players of viols, tambourines and drums…the immediacy of Lavery's swaying Arab girl…the éclat in the slashing greens and reds of the Arab dress" (Kenneth McConkey, John Lavery', Canongate Press, Edinburgh)

            Chiswick Auctions
          • Sir John Lavery (Belfast 1856-Kilmoganny 1941) - Seated woman reading a book, 1886
            Jun. 16, 2023

            Sir John Lavery (Belfast 1856-Kilmoganny 1941) - Seated woman reading a book, 1886

            Est: €28,000 - €9,999,999

            oil painting on canvas Signed lower left J.Lavery and dated. On the back written by Dr. Michele Biancale who certifies the work

            ArtLaRosa
          • An Indian Lady (Madame Meta?)
            May. 10, 2023

            An Indian Lady (Madame Meta?)

            Est: €15,000 - €20,000

            Sir John Lavery, R.A., R.S.A., R.H.A. 1856 - 1941 An Indian Lady (Madame Meta?) signed J Lavery (lower left) oil on canvas unframed: 61 by 51cm.; 24 by 20in. framed: 74 by 63cm.; 29 by 24¾in. Executed circa 1930s. __________________________________________________________________________ Sir John Lavery, R.A. 1856 - 1941 An Indian Lady (Madame Meta?) signé J Lavery (en bas à gauche) huile sur toile sans cadre: 61 by 51cm.; 24 by 20in. avec cadre: 74 by 63cm.; 29 by 24¾in. Executé au début des années 1930.

            Sotheby's
          • The Three Moors
            May. 10, 2023

            The Three Moors

            Est: €30,000 - €50,000

            Sir John Lavery, R.A., R.H.A., R.S.A. 1856 - 1941 The Three Moors signed J Lavery (lower right) oil on canvasboard unframed: 25.5 by 35cm.; 10 by 13¾in. framed: 50.5 by 60cm.; 19¾ by 23½in. Executed circa 1907. __________________________________________________________________________ Sir John Lavery, R.A.,R.H.A., R.S.A. 1856 - 1941 The Three Moors signé J Lavery (en bas à droit) huile sur panneau toile sans cadre: 25.5 by 35cm.; 10 by 13¾in. avec cadre: 50.5 by 60cm.; 19¾ by 23½in. Exécuté vers 1907.

            Sotheby's
          • John Lavery and his work suite of plates, with the original titled and numb
            May. 10, 2023

            John Lavery and his work suite of plates, with the original titled and numb

            Est: €100 - €150

            John Lavery and his work suite of plates, with the original titled and numbered folding envelope, numbered 79 which is the same limitation number as the book (lot 48). The envelope is a bit torn on the folds/rubbed etc. Handmade paper. 20 stunning full-page Photogravure plates, hand printed in black and sepia.

            Purcell Auctioneers
          • Attributed to Sir John Lavery RA RSA RHA (1856-1941) WOMAN SITTING IN AN INTERIOR
            Mar. 06, 2023

            Attributed to Sir John Lavery RA RSA RHA (1856-1941) WOMAN SITTING IN AN INTERIOR

            Est: €5,000 - €7,000

            Attributed to Sir John Lavery RA RSA RHA (1856-1941) WOMAN SITTING IN AN INTERIOR oil on panel bearing signature lower right h:14  w:9.50 in. Provenance: Gorry Gallery, Dublin; Private collection

            Whyte's
          • LAVERY, JOHN ZUGESCHRIEBEN. KÜSTENLANDSCHAFT.
            Mar. 04, 2023

            LAVERY, JOHN ZUGESCHRIEBEN. KÜSTENLANDSCHAFT.

            Est: -

            LAVERY, John zugeschrieben Küstenlandschaft Öl/Leinwand. Rechts unten undeutlich signiert. 27 x 46 cm. Pastos gemalte, steile Küstenlandschaft unter bedecktem Himmel Altersspuren. Wenn J. Lavery, dann: Irischer Maler (1856 Belfast - 1941 Kilkenny), Schüler der Akademie Glasgow und der Heatherley School of Art London, studierte in Paris unter Robert-Fleury und Bouguereau an der Académie Julian. Tätig auch in Tanger/Marokko. 1913 Ritterwürde. Literatur : Thieme/Becker. LAVERY, attributed to John Coastal Landscape Oil / canvas. Signed indistinctly lower right. 27 x 46 cm. Pastos painted steep coastal landscape under overcast sky Traces of age. If J. Lavery, then: Irish painter (1856 Belfast - 1941 Kilkenny), student of the Glasgow Academy and the Heatherley School of Art London, studied in Paris under Robert-Fleury and Bouguereau at the Académie Julian. Also active in Tangier, Morocco. 1913 knighthood. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

            Auktionshaus Wendl
          • Sir John Lavery (Belfast 1856-Kilmoganny 1941) - Portrait of a woman reading, 1886
            Feb. 24, 2023

            Sir John Lavery (Belfast 1856-Kilmoganny 1941) - Portrait of a woman reading, 1886

            Est: -

            Signed and dated on the lower left . The painting in question has been certified by Dr. Michele Biancale (Sora 1878, Rome 1931), one of the most important and influential art critics and scholars of the last century as testyfied by the authentication on the back. Sir John Lavery, born in Belfast in 1856, was one of the influential portrait painters of the last century, highly sought after in the art market to this day, with his portraits of Edwardian society, including commissions from Edward Carson, Winston Churchill (his neighbour) and portraits of the British Royal Family. He was so influential that his wife Hazel's portrait was used as an image on Irish banknotes. In Italy as well he had great success, he participated in important international exhibitions especially after his important personal exhibition at the Venice Biennale in 1910, and many Italian artists were influenced by his style.

            ArtLaRosa
          • SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel
            Feb. 01, 2023

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel

            Est: $25,000 - $35,000

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH, 1856-1941) Portrait of Mabel Choate oil on canvas 36 5/8 x 25 5/8 in. (93.2 x 65.2 cm.)

            Christie's
          • Sir John Lavery oil on board
            Jan. 20, 2023

            Sir John Lavery oil on board

            Est: $60,000 - $90,000

            Sir John Lavery (British 1856-1941), oil on board titled The Beach Deauville - Morning, signed lower left, titled verso and dated 1926, 19 7/8" x 23 3/4".  Provenance: Normandy Farms, Pennsylvania, Strassburger Estate. NO in-house shipping for this lot.

            Pook & Pook Inc.
          • Portrait of Helen Dorothea McCulloch Jowitt
            Dec. 14, 2022

            Portrait of Helen Dorothea McCulloch Jowitt

            Est: £8,000 - £12,000

            Property from a British Private Collection Sir John Lavery, R.A., R.S.A., R.H.A. British 1856 - 1941 Portrait of Helen Dorothea McCulloch Jowitt signed J Lavery lower left and signed, inscribed and dated MRS. FREK. MCC. JOWITT. / BY / JOHN LAVERY / 5 CROMWELL PL / LONDON. / 1913 on the reverse oil on canvas Unframed: 76.3 by 63.5cm., 30 by 25in. Framed: 99.5 by 86.5cm., 39¼ and 34in. Bid on Sotheby's

            Sotheby's
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MRS LEO D'ERLANGER
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MRS LEO D'ERLANGER

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MRS LEO D'ERLANGER Signed and stamped, inscribed verso, oil on board (49cm x 25cm (19.25in x 9.75in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 191 Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 Mrs Leo d’Erlanger (née Edwina Prue, 1907-1994) was a New Yorker, and junior editor of Vanity Fair when she married Baron Leo Frédéric Alfred d'Erlanger, son of the painter and musicologist, Baron Rodolphe François d’Erlanger. In the twenties he joined the family bank run by his uncle, Emile. Both Rodolphe and Emile were friends of the Laverys, the painter having supported their protest against internment as enemy aliens during the Great War. Lavery painted a second sketch of Mrs d’Erlanger at the Court (Sold Bonhams 14 November 2012) and her portrait was also painted by Laszlo in 1937. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN Signed and stamped, inscribed and dated 1931 verso, oil on canvas board (49cm x 17.75cm (19.25in x 7in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 192 (as 'Miss Anabel Mann') Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 One of the three daughters of the Scots portrait-painter, Harrington Mann, and his wife, Florence Sabine-Pasley, the interior designer, known as ‘Dolly Mann’. Annabel as a baby was painted by her father c.1910 (City Art Centre, Edinburgh), while Annabel and her Toys (Russell-Cotes Art Gallery and Museum, Bournemouth), shows her as an infant in 1912. Other portraits followed, and by the late 1920s Annabel Mann was being photographed in the press as an attendee at fancy dress balls, along with other ‘bright young things’. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ALICE TRUDEAU
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ALICE TRUDEAU

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ALICE TRUDEAU Signed and stamped, inscribed and dated 1931 verso, oil on canvas board (49cm x 14.75cm (19.25in x 5.75in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 194 (as 'Miss Alice Tindeau') Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 Alice Trudeau (1904-1991) was the daughter of Edward Livingston Trudeau and Hazel Martyn. Her father died before her birth and when her mother married Lavery in July 1909, she became his stepdaughter. Thereafter she featured prominently in Lavery’s paintings as a keen golfer, tennis player and horsewoman. She married John A McEnery (Jack), of Kilkenny, an Irish farmer and horse breeder, in March 1930 in Cannes, against her mother’s wishes. Witnesses to the marriage were Lord and Lady Derby, Sir Stuart and Lady Coats and Sir Alan and Lady Johnstone. Lavery died at her home, Rossenarra House, in January 1941. She remarried in 1963 to Denis Rolleston Gwynn, (1893-1971), the journalist and historian and her later years were spent at Beauparc in Co Meath. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY PONSONBY
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY PONSONBY

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY PONSONBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas board (49cm x 29.5cm (19.25in x 11.5in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 195 Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 Lady Ponsonby (née Dorothea Parry, 1876-1963) married Arthur Ponsonby, Queen Victoria’s secretary, in 1898. Objectors to Britain’s involvement in the Great War, Dorothy Ponsonby and her husband were active in the Union of Democratic Control. During the 1920s their daughter, Elizabeth, was prominent among the ‘Bright Young Things’. After a successful diplomatic career under the Labour Government of Ramsay MacDonald, Ponsonby was raised to the peerage in 1930, hence his wife and daughter’s presence in Their Majesties’ Court. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas board (49cm x 19.5cm (19.25in x 7.75in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 197 Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 Lady Veronica Brenda Hornby (née Hamilton-Temple-Blackwood, 1910-1971) was the daughter of the third Marquess of Dufferin and Ava. A formidable character, in the twenties she practiced her Charleston on the young John Betjeman when he stayed in Clandeboye, the Dufferin’s country home in County Down. Her niece, Caroline, the wife of Lucian Freud, based the character of ‘Aunt Lavinia’ on her in her autobiographical novel, Great Granny Webster (1977). She married Sir Roger Anthony Hornby, a stockbroker, in December 1931 – a wedding marked by the Laverys with a gift of cream-white china that apparently ‘inspired the bride to decide that her bedroom is to be a symphonie de blanc majeur’ (The Sketch, 16 December 1931, p. 461). This was to be the first of Lady Veronica’s four marriages and it ended in divorce in 1940. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY
            Dec. 08, 2022

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY

            Est: £1,500 - £2,000

            SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas board (49cm x 34.5cm (19.25in x 13.5in)) Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 200 Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932, ill. (unpaginated) Lady Veronica Brenda Hornby (née Hamilton-Temple-Blackwood, 1910-1971) was the daughter of the third Marquess of Dufferin and Ava. A formidable character, in the twenties she practiced her Charleston on the young John Betjeman when he stayed in Clandeboye, the Dufferin’s country home in County Down. Her niece, Caroline, the wife of Lucian Freud, based the character of ‘Aunt Lavinia’ on her in her autobiographical novel, Great Granny Webster (1977). She married Sir Roger Anthony Hornby, a stockbroker, in December 1931 – a wedding marked by the Laverys with a gift of cream-white china that apparently ‘inspired the bride to decide that her bedroom is to be a symphonie de blanc majeur’ (The Sketch, 16 December 1931, p. 461). This was to be the first of Lady Veronica’s four marriages and it ended in divorce in 1940. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.

            Lyon & Turnbull
          • After Sir John Lavery, RA, RSA, RHA (1856-1941) "A Study of Michael Collins," stamped artist
            Dec. 07, 2022

            After Sir John Lavery, RA, RSA, RHA (1856-1941) "A Study of Michael Collins," stamped artist

            Est: €1,500 - €2,000

            After Sir John Lavery, RA, RSA, RHA (1856-1941) "A Study of Michael Collins," stamped artist proof, Signed by the artist and the sitter Collins, published by Wilson Hartnell & Co., Dublin, c. 1922, some foxing in attractive later gilt frame. (1)

            Fonsie Mealy Auctioneers
          • John Lavery Print on Canvas Boating on the Thames
            Nov. 28, 2022

            John Lavery Print on Canvas Boating on the Thames

            Est: $300 - $500

            Framed print on canvas by John Lavery titled Boating on the Thames. It measures approx 40" x 30" (48" x 38" framed). Shows minor frame wear. We believe this to be a work of John Lavery, but it is unsigned. Have a similar item to sell? Contact us at [email protected] Please review all photos closely. The non-appearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Juniors Auction Services 561-510-0345 / [email protected] UPS Store (561) 631-8997 / [email protected] DM Postal (561) 469-6137 / [email protected] For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.

            Market Auctions Inc.
          • Sir John Lavery RA RSA RHA (1856-1941) A LADY IN BROWN (THOUGHT TO BE MISS MARGARET EDITH BANNATYNE), 1905
            Nov. 28, 2022

            Sir John Lavery RA RSA RHA (1856-1941) A LADY IN BROWN (THOUGHT TO BE MISS MARGARET EDITH BANNATYNE), 1905

            Est: €10,000 - €15,000

            Sir John Lavery RA RSA RHA (1856-1941) A LADY IN BROWN (THOUGHT TO BE MISS MARGARET EDITH BANNATYNE), 1905 oil on canvas signed and dated lower right h:29.50  w:23.50 in. Provenance: Mark Bannatyne Esq; to Margaret Edith Bannatyne, later Mrs Margaret Edith Bannatyne Cobb; Thence by descent; Bonhams, 3 April 1997, lot 25; Private collection; Adam's, 28 May 1997, lot 89A; Private collection Although many Lavery portraits are easily identifiable, there are occasions when recorded commissions cannot be matched to extant works. We can nevertheless be fairly certain that A Lady in Brown represents Margaret Edith Bannatyne, the daughter of Mark Bannatyne, a wealthy senior partner in Bannatyne, Kirkwood and Co, one of the oldest and most respected firms of Glasgow solicitors. (1) Bannatyne was known in artistic circles during the Edwardian period as the administrator of the Haldane Academy scholarships awarded to students at Glasgow School of Art. He would have been well aware of Lavery's pre-eminence among artists of the Glasgow School since he had painted the impressive Modern Glasgow mural of 1899-1901, in the City Chambers (Glasgow's City Hall). In 1904 he commissioned Lavery to paint Edith's elder sister, Kathleen, (Hunterian Art Gallery, University of Glasgow) and we can only assume that so satisfactory was the result, the second commission was booked. (2) Lavery was of course renowned for his 'ladies in brown', one of which was awarded the gold medal at the first Carnegie Institute International Exhibition in 1896. Many others followed - including those of his wife, Hazel - almost to the point that although they became a sort of signature, they offered, within a restricted range of Old Master tones, the opportunity, as here, to explore character and personality in depth. Prof Kenneth McConkey 1. Bannatyne, Kirkwood and Co, now Bannatyne, Kirkwood, France and Co, was founded in 1785. The Bannatyne descendants are no longer directly connected to the firm. I am grateful to Robert Taylor, senior partner at BKF & Co, for checking their records on my behalf. We have however established that the last Bannatyne descendant died the year before the present portrait was consigned to Bonhams in 1997. Sadly, Bonhams records, due to the fact that it was merged with Phillips around this time, no longer exist. 2. This is confirmed by a note in the artist's picture register, where it is referred to as Miss Bannatyne (in Brown). For this reason, the present title, A Lady in Brown, has been proposed. I am grateful to the present owners for their diligent research into Margaret Edith Bannatyne Cobb's family records. Although Bonhams is unable to confirm the identity of the consigner in 1997, the picture appears, nevertheless, to have come from a deceased estate directly connected to the Bannatyne succession.

            Whyte's
          • Sir John Lavery R.A., R.S.A., R.H.A. (Irish, 1856-1941) Portrait Studies for 'HRH The Prince of Wales receiving from the Lord Mayor, Letters Patent under the Mayoralty Seal granting Livery to the Honourable Company of Master Mariners'
            Nov. 23, 2022

            Sir John Lavery R.A., R.S.A., R.H.A. (Irish, 1856-1941) Portrait Studies for 'HRH The Prince of Wales receiving from the Lord Mayor, Letters Patent under the Mayoralty Seal granting Livery to the Honourable Company of Master Mariners'

            Est: £2,000 - £3,000

            Sir John Lavery R.A., R.S.A., R.H.A. (Irish, 1856-1941) Portrait Studies for 'HRH The Prince of Wales receiving from the Lord Mayor, Letters Patent under the Mayoralty Seal granting Livery to the Honourable Company of Master Mariners' signed 'J. Lavery' (lower right), variously inscribed 'MRS PHILLIP./LADY BROADBRIDGE./ALD. SIR WILLIAM BURTON.' oil on canvasboard 50.5 x 60cm (19 7/8 x 23 5/8in).

            Bonhams
          • Sir John Lavery (Irish 1856-1941)
            Nov. 20, 2022

            Sir John Lavery (Irish 1856-1941)

            Est: $3,000 - $5,000

            Sir John Lavery (Irish 1856-1941) Double sided, oil on canvas, portraits. A 3/4 portrait of a beauty with drapery about her shoulders, circa 1910. 24in.x 36in. The second, a full length portrait of a musician, titled upper left 'Woman in Brown.' 18in. x 29in Framed: 31in. x 43in. Sir John Lavery RA RSA RHA was a Northern Irish painter best known for his portraits and wartime depictions.

            Fine Estate Inc.
          • SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) A Villa on the Riviera oi
            Nov. 10, 2022

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) A Villa on the Riviera oi

            Est: $250,000 - $350,000

            SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941) A Villa on the Riviera oil on canvas 28 x 25 in. (71.1 x 63.5 cm.)

            Christie's
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