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SIR JOHN LAVERY, R.A., R.H.A., R.S.A. | Sunset, The Caravan
估價
40,000 - 60,000 GBP
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招標截止
描述
- Sir John Lavery, R.A., R.H.A., R.S.A.
- Sunset, The Caravan
- signed l.r.: J Lavery; also signed, titled and dated 1911 on the reverse
- oil on canvas
- 77 by 64cm., 30¼ by 25in.
來源
Cooley Gallery, Old Lyme, Connecticut, 1995
展覽
Washington, John F. Kennedy Center for Performing Arts, Irish Paintings from the Collection of Brian P. Burns, 13 - 28 May 2000, illustrated p.51
出版
Adele Dalsimer and Vera Kreilkamp, 'Introduction', Irish Paintings from the Collection of Brian P Burns, 2000, (exh. cat., John F Kennedy Center for the Performing Arts, Washington, p.51
Condition
Original canvas. There is a very minor surface abrasion to the canvas in the upper left corner, only visible upon very close inspection. The work appears in very good overall condition, with strong passages of impasto. Under ultraviolet light there seems to be no signs of retouching. Held in a gilt plaster frame with a canvas inset.
"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."
"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."
拍品資料及來源
The Laverys spent the early months of 1911 in Tangier and returned in December for an extended winter sojourn that would take them into the spring of the following year. On the first of these trips, the painter heard that having been fêted with a solo exhibition at the recent Venice Biennale, a monograph on his life and work by Walter Shaw Sparrow was commissioned. Secondly, after numerous calls in the press, his international reputation was finally being recognized by his election at long last to the Royal Academy. The following winter visit of 1911-12 was auspicious for very different reasons in that the Laverys would be joined in the new year by Eileen, the painter’s twenty-one-year-old daughter, who was due to marry her fiancé, the young solicitor, James Dickinson, in March. For the occasion, all the important members of the expatriate community gathered in the garden of Dar-el-Midfah, the painter’s house. That month also saw the invasion of Morocco by French forces under Marshall Lyautey – an incursion designed, so all were led to believe, to bring stability to an increasingly volatile state.
However, not long after the Laverys arrival, on the night of 11th December, the SS Delhi ran aground off Cap Spartel and a rescue mission involving French and British warships was mounted. After attempts were made to refloat the vessel, it began to break up and it took several days for all passengers and crew to be ferried to safety. Lavery rushed to the scene to record the broken vessel. Although the exact circumstances of the creation of Sunset, The Caravan remain obscure, it is probable that the picture represents a section of the more thickly wooded bays around the Cap with a group of survivors being led to safety in the ‘White City’. It is equally possible that the canvas represents the escort of the Princess Royal and her husband, the Duke of Fife, who had been subjected to a second rescue when their longboat capsized during the disembarkation. Unlike other passengers who were ferried to Gibraltar on Naval vessels, they were taken to the British Legation at Tangier for recovery.
Other paintings of the disaster reveal choppy seas around the entrance to the Straits where rocks and sandbanks lie hidden. At this time of day however, the colours deepen, the palette darkens and the eye struggles with detail. It was only just possible to discern a column of horses, led by an out-rider, making their way along a sandy shelf at the water’s edge. At this distance from Tangier, all travellers were in peril, even though the notorious villain, El Raisuli, and his gang had been tamed. As they make their way to safety, the heavens are streaked with fiery clouds, and the sun sinks to the Atlantic horizon. The day’s end is surely as dramatic as the rescue.
Professor Kenneth McConkey
However, not long after the Laverys arrival, on the night of 11th December, the SS Delhi ran aground off Cap Spartel and a rescue mission involving French and British warships was mounted. After attempts were made to refloat the vessel, it began to break up and it took several days for all passengers and crew to be ferried to safety. Lavery rushed to the scene to record the broken vessel. Although the exact circumstances of the creation of Sunset, The Caravan remain obscure, it is probable that the picture represents a section of the more thickly wooded bays around the Cap with a group of survivors being led to safety in the ‘White City’. It is equally possible that the canvas represents the escort of the Princess Royal and her husband, the Duke of Fife, who had been subjected to a second rescue when their longboat capsized during the disembarkation. Unlike other passengers who were ferried to Gibraltar on Naval vessels, they were taken to the British Legation at Tangier for recovery.
Other paintings of the disaster reveal choppy seas around the entrance to the Straits where rocks and sandbanks lie hidden. At this time of day however, the colours deepen, the palette darkens and the eye struggles with detail. It was only just possible to discern a column of horses, led by an out-rider, making their way along a sandy shelf at the water’s edge. At this distance from Tangier, all travellers were in peril, even though the notorious villain, El Raisuli, and his gang had been tamed. As they make their way to safety, the heavens are streaked with fiery clouds, and the sun sinks to the Atlantic horizon. The day’s end is surely as dramatic as the rescue.
Professor Kenneth McConkey