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

Mrs Blackwood, the artist's grandaughter, by 1946;
Miss Fitzgerald, the artist's secretary;
Christie's, London, 12 May 2006, lot 101

The original canvas is sound. The paint surface is stable and in good overall condition. Under ultraviolet light there is retouching to the upper left and upper right corners and along the upper edge. There are also small spots of retouching along the right and lower edges, a small area of sweeping retouching in the clouds above the horizon in the lower right quadrant and a small area of retouching near the left edge above the horizon in the lower left quadrant. Held in a gilt wood frame. Please telephone the department on 020 7293 6132 if you have any questions regarding the present work.
"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.
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North Berwick was painted in 1921, the year Sir John Lavery was elected as a Royal Academician having established himself as one of the leading portraitists of his generation. From a humble upbringing in Belfast, he ascended the social ranks to create a distinguished body of work representing wealthy and famous society figures. His style is characterised by a sketch-like approach which draws attention to the workings of the paint brush. When Lavery turned his focus to landscapes, he carried over this technique in preference to more finished and formal productions.

 

Lavery received his first training at the Haldane Academy of Art in Glasgow and maintained ties with Scotland throughout his career. He painted a number of views of North Berwick in 1921 and 1922 and a comparable version to the present work resides in the Tate Collection. North Berwick conjures an idyllic scene united by a bright and harmonious palette. The expansive sky gives the painting an extensive feeling of space and a sense of ease resonates in the confident and free handling of the brush work.