Lot 14
  • 14

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

Estimate
8,000 - 12,000 GBP
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Description

  • Sir John Lavery, R.A., R.S.A., R.H.A.
  • The Garden Steps
  • signed l.r.: J LAVERY and indistinctly dated 80
  • oil on canvas
  • 45.5 by 30.5cm., 18 by 12in.

Provenance

Christie’s, London, 30 October 1970, lot 175;
Lawrences Auctioneers, Crewkerne, 18 January 2013, lot 1641

Condition

The canvas has been lined. There is craquelure throughout. Under UV light, there is considerable retouching apparent in parts, mainly to the background around the figure and to the left side of the canvas to the green, where there is extensive infilling to the craquelure. In a gilt composition 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."

Catalogue Note

For Lavery the year 1880 began with the acceptance of what would be his first exhibited work at the Glasgow Institute of the Fine Arts, Pious Reflections (Private Collection). Comparison of this with The Garden Steps, the present work, reveals a growing maturity that would culminate with his encounter with Bastien-Lepage in Paris a few years later. Confident handling, and careful management of form and colour are becoming clear in this study of a fashionable woman descending a steep flight of garden steps. The rustic wooden bannister suggests that this is a particular location, seen also in Waiting (1881, Renfrew Museums and Galleries). The woman carrying a red flower may, in the present instance, also be identifiable, although little is known about the artist’s social networks at this early date.

We are grateful to Kenneth McConkey for preparing this catalogue note.