Sir Thomas Lawrence, P.R.A.

William Hooker Carpenter (1792–1866), London;
His sale, London, Christie's, 16 February 1867, lot 17;
Probably anonymous sale, London, Christie's, 21 February 1919, lot 260, probably as 'Portrait sketch of a man wearing a white stock';
Probably Alexander Huth, Leverhulme Sale, Anderson's Galleries, New York, 17–19 February 1926, lot 158, described as 'an extremely fine study';
Bought by Samuel Seabury.

Sir W. Armstrong, Lawrence, London 1913, p. 139;
K.Garlick, 'A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', Burlington Magazine, London 1964, vol. XXXIX, pp. 106–07;
K. Garlick, Sir Thomas Lawrence, Oxford 1989, p. 209, cat. no. 411, as 'whereabouts unknown'.

ENGRAVED:
In mezzotint by Charles Turner (1774–1857) in 1831

The canvas has an old relining which is sound. The paint surface has been recently revarnished and is in very godo overall condition. Restoration is confined to a few scattered localized retouchings, the largest of which are a 1x1 cm by his necktie and a horizontal scrape of 2 cm on his cheek.
"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."

This sympathetic portrait of the celebrated artist and playwright was begun in circa 1826, by which time he had been a friend of Lawrence’s for almost forty years. Prince Hoare’s father, the artist William Hoare, encouraged Lawrence when he was young and even suggested that he should go to Italy with his son. In fact it seems they first met in 1787 – a visit by Prince Hoare is recorded in Lawrence’s letter to his mother from which it is clear that Hoare encouraged his young friend to concentrate on painting oils. They travelled together and saw works by such artists as Reynolds, Gainsborough and West. Hoare was also a playwright and he had a number of plays which were performed in both Bath and in London. In a letter to his mother Anne, towards the end on his life in May 1829, Lawrence refers affectionately to Hoare as ‘my old Bath friend’.