Sir John Lavery, R.A., R.S.A., R.H.A.

The colours are more subtle and slightly darker than the illustration suggests. The canvas board is sound. There are some minor light surface scratches to the sitter's shoulder and the varnish has discoloured otherwise in good overall condition. Under ultraviolet light, there are some small spots of retouching along the upper edge. Held in a plaster gilt frame.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Throughout his career, Lavery often painted small sketches in preparation for larger canvases. This applies to portraits as much as to other genres. A sketch would begin the process of close observation of the sitter's features, note a characteristic pose or record the essential shape and proportions of a face or figure. The present Portrait of a Lady is one such work.

What we see is an Edwardian lady wearing a cerise dress with her hair tied back and garlanded in flowers. She may be performing in a pageant, attending a masque, or taking part in the re-staging of a well-known Pre-Raphaelite painting as part of a society charity event. Such performances, in which Hazel Lavery participated, were increasingly fashionable in the years leading up to the Great War.

Hair style, facial shape and drapery in this instance makes it possible to tentatively suggest that the model is Mrs Ralph Peto, whose portrait Lavery first painted in 1910 and exhibited in the Royal Society of Portrait Painters exhibition. A well-known beauty and socialite, Frances Ruby Vera Lindsay, was the cousin of Lady Diana Manners, the daughter of the Duke of Rutland. She grew up with the Manners sisters and according to Lady Diana, '... did not lack for swains, being very beautiful and spirited' (Lady Diana Cooper, Autobiography, vol 1 (The Rainbow Comes and Goes), 1958, single vol ed., Michael Russell, 1979, p. 56). In 1907 she accompanied the Manners' daughters to Florence, touring the galleries with her Baedeker and 'making eyes at the uniformed officers' (Ibid, p. 63). Two years later she married Major Ralph Harding Peto (1877-1945) of the Royal Hussars and quickly became friendly with Hazel Lavery, participating with her in charity events such as the Savoy Theatre Cinema Supper, the Petticoat Lane Fair at the Albert Hall, and the 'Picture Ball' where she appeared as a Bacchante holding a lyre. A work which bears comparison to the present sketch, Mrs Ralph Peto as a Bacchante was painted to commemorate this latter occasion. Other social events before the birth of her daughter, Rosemary, in 1916 are noted in Duff Cooper's diaries. Sadly after furious rows, fuelled by accusations of heavy drinking on her husband's part, Ruby's marriage to Peto ended in divorce in 1923. She died in 1951. 

Kenneth McConkey