Thomas LAWRENCE (Bristol 1769 - 1830), Portrait... - Lot 114 - Osenat

Lot 114
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Estimation :
4000 - 5000 EUR
Result with fees
Result : 8 750EUR
Thomas LAWRENCE (Bristol 1769 - 1830), Portrait... - Lot 114 - Osenat
Thomas LAWRENCE (Bristol 1769 - 1830), Portrait studio of King Charles in X at the Tuileries Palace, in dark blue uniform laced with silver, wearing the Garter and St Esprit star, the Golden Fleece and the St Esprit ribbon, his feathered hat on his left arm. Oil on canvas, wooden frame and gilded stucco (small stucco accidents) circa 1825-1841. 63 x 42 cm -1825-1841: Name of the canvas supplier: " Vallé & Bourniche - 3, rue de l'Arbre-Sec " History: Lawrence was the greatest portrait painter of his generation. He was appointed principal painter to George III in 1792 after Reynolds' death and received occasional commissions, however, it was not until after 1814 that George IV began to employ him seriously. In 1825, he commissioned him to paint full-length portraits of King Charles X, along with that of his son the Duke of Angouleme, for 500 guineas each. Lawrence executed them in Paris from August to November 1825. The King is depicted in a dark blue uniform laced with silver, his feathered hat on his left arm, wearing the Star of the Garter and the Holy Spirit, the Golden Fleece and the ribbon of the Holy Spirit, he also wears the Garter below his right knee. The Tuileries Palace is visible in the background. George IV took possession of the portrait in 1829 which was hung in the palace of St James. In the 1840s it was, as it is today, in the Waterloo Chamber. The Waterloo Chamber is a large room in Windsor Castle displaying portraits of the soldiers, rulers and diplomats responsible for the overthrow of Napoleon and the restoration of the monarchies and states of Europe. This project was begun in 1814 when George IV took the opportunity of the Treaty of London to commission Lawrence to paint distinguished visitors. The portrait group grew over the next decade as Lawrence continued to obtain commissions for portraits at the various congresses that followed the Battle of Waterloo in 1815. Most of the twenty-eight portraits were delivered after his death on Ja
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