SIR JOHN LAVERY, R.A., R.H.A., R.S.A. | Under the Trees, Ranelagh

The French Galleries, London and Edinburgh;
Hazlitt, Gooden and Fox, London;
Sotheby's, London, 8 November 1989, lot 42, where purchased by present owner

Probably London, Leicester Galleries, Cabinet Pictures by John Lavery, 1904, no.8 (as The Lake, Ranelagh)

The canvasboard appears sound; some minor vertical surface abrasions to the left and right edges, only visible upon close inspection. May benefit from a light clean otherwise the work appears in good overall condition. Ultraviolet light reveals an opaque varnish, there may be some retouchings to the above mentioned abrasions. Held in a gilt plaster 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."

By 1898, relocating permanently from Glasgow to London became a business necessity, rather than an aesthetic choice, for Lavery. In the previous two years he had been camping out in Alfred East’s studio in Spencer Street, Westminster, while the landscape painter was away, and this temporary arrangement must come to an end. Should he wish, however, to work en plein air the options were limited. There were the big central London parks, but these were often crowded and the more select Ranelagh Gardens with their tree-lined pond, quickly became a favourite sketching ground. It was but a short cab ride from his new establishment in Cromwell Place. Now part of the gardens at Royal Hospital, at the turn of the twentieth century it provided the setting for a long series of canvases in which a hammock slung between the trees symbolised summer’s ease for a number of different models. The present study coincides with the first of these and it is likely that Lavery’s German model, Mary Auras, posed for the girl. Studying reflections the surface of the pond under the leafy shade on a summer’s day, the painter’s thoughts must inevitably have returned to his youthful impressions painted at Grez-sur-Loing, where figures often posed by the water’s edge. In the present instance, the hammock has yet to be unfurled and Lavery’s model, places her parasol by the side of her chair and her bonnet on the grass beside her. Then, aware of the artist’s presence, she looks round to observe him sketching.  

Professor Kenneth McConkey