Sir Thomas Lawrence, P.R.A.

According to the inscription, London, Christie's, A Catalogue of The Remaining Pictures and Unfinished Sketches of Sir Thomas Lawrence, 18 June 1831, unknown lot number;
Major General, the Hon. Sir Charles Greville, K.C.B. (1780-1836);
Mistress Macgregor of Cardney, Perthshire;
with J.E. Dell’s, Brighton;
purchased by the family of the current owner in the 1920s

The work is in good condition. the medium is particularly fresh and well preserved. The paper has darkened a little, particularly at the extreme edges of the sheet. The work is not laid down.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

It has been suggested that Lawrence created this ravishing drawing and the following lot, in around 1789, when he was a young man of no more than twenty years of age. By this time, Lawrence had moved from Bath to London and his draughtsmanship was being celebrated as ‘outstripping all his fellow students.’¹

With great finesse and sensitivity Lawrence has brought Venus, with her long hair and soft skin, to life. However, rather than working from a life model, it would appear that the pose was inspired by a classical sculpture. Three versions of this sculpture are known: one was recorded as being in Rome, another was in Amsterdam in the collection of Gerrit Uylenburgh (1625-1679) and a third was owned by Sir Peter Lely (1618-1680) in London.² These sculptures are now believed lost, although, in the mid 17^th century, Jan de Bisschop made three drawings and two engravings from one of them.³ There is also a third drawing by Lawrence of this figure (seen in the same pose as the present work) at the Yale Center for British Art.   

According to an early inscription on the backboards of both the present and following lots, the drawings were acquired by Major General, the Hon. Sir Charles Greville at Lawrence’s posthumous studio sale in June 1831. Greville, a career soldier and Member of Parliament, was the second surviving son of George, 2^nd Earl of Warwick. The Greville family had been steeped in the art world since the early 18^th century. Sir Charles’ grandfather, the 1^st Earl, was a patron of Canaletto, his own father, the 2^nd Earl, was an amateur artist, while his uncle, the Hon. Charles Francis Greville, was credited with bringing the secret of aquatint to England. We would like to thank Susan Sloman for her help in cataloging this lot. 

1. M. Levey, 'Sir Thomas Lawrence', Dictionary of National Biography, on-line edition

2. F. Lammertse and J. Van der Veen, Uylenburgh & Son, Art and Commerce from Rembrandt to De Lairesse 1625-1675, exhibition catalogue (Zwolle) 2006, p. 236

3. One of these drawings survives in the Foundation Custodia in Paris, while the other two are in the Victoria and Albert Museum, London (Dyce 1212.10 1889 and 1212.11 1889)