Provenance

Sir Thomas Lawrence

British, 1769 - 1830

Explore selected works

See all 22 works of art
Pietro Testa, The Prophecy of Basilides, c. 1648/1649, pen and brown ink with black and brown washes over black chalk with traces of red chalk, on two joined sheets of greenish-blue laid paper, squared in red chalk, laid down on old mount, William B. O'Neal Fund and Gift of Funds from Ann and Matthew Nimetz, and from Andrea Woodner, 2022.160.1

The Prophecy of Basilides

Pietro Testa · c. 1648/1649 · pen and brown ink with black and brown washes over black chalk with traces of red chalk, on two joined sheets of greenish-blue laid paper, squared in red chalk, laid down on old mount ·  Accession ID  2022.160.1

Hans von Aachen, The Madonna Enthroned with Saint John the Baptist and Saint John the Evangelist, 1589, pen and brown ink with brown wash over traces of graphite, heightened with white gouache, incised throughout and verso reddened for transfer, on laid paper, Wolfgang Ratjen Collection, Purchased as the Gift of Ruth Cole Kainen, 2007.111.45

The Madonna Enthroned with Saint John the Baptist and Saint John the Evangelist

Hans von Aachen · 1589 · pen and brown ink with brown wash over traces of graphite, heightened with white gouache, incised throughout and verso reddened for transfer, on laid paper ·  Accession ID  2007.111.45

Giulio Romano, The Sacrifice of a Goat to Jupiter, c. 1527/1528, pen and brown ink with brown wash over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1973.47.1

The Sacrifice of a Goat to Jupiter

Giulio Romano · c. 1527/1528 · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1973.47.1

Lodovico Carracci, The Virgin and Child Appearing to Saints George and William, pen and brown ink with brown wash over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1972.49.3

The Virgin and Child Appearing to Saints George and William

Lodovico Carracci · · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1972.49.3

A crowned, bearded man sits facing us on a throne, and he holds a sword and orb in this vertical drawing, which was made using black ink on parchment-colored paper. A three-peaked, jeweled crown nestles in a twisted turban on the man’s head. He faces us but his eyes look to our right, and he has a long, hooked nose and flowing hair and beard. A band of ornate jewels could be a collar resting over his shoulders and on his chest, or it could be that the edge of his robe is elaborately decorated. His robe has voluminous, flowing long sleeves and his garment is decorated with bands of jewels and fringe at the shoulders, hem, and down the front. His left hand, on our right, rests on a round orb about the size of an orange, and he holds the hilt of a jewel-encrusted sword upright with his other hand so the tip of the sword rests on the ground. The artist signed the work with his initials at the bottom center: “AD.”
Albrecht Dürer, An Eastern Ruler Seated on His Throne, c. 1495, pen and black ink on laid paper, Ailsa Mellon Bruce Fund, 1972.22.1.a

An Eastern Ruler Seated on His Throne

Albrecht Dürer · c. 1495 · pen and black ink on laid paper ·  Accession ID  1972.22.1.a

Gian Jacopo Caraglio, The Marriage of the Virgin, c. 1526, engraving on laid paper, Ailsa Mellon Bruce Fund, 2007.39.1

The Marriage of the Virgin

Gian Jacopo Caraglio · c. 1526 · engraving on laid paper ·  Accession ID  2007.39.1

A muscular man stands with one hand on a walking stick and the other braced on the underside of a stone block above his head in this full-length, vertical drawing. The man’s body faces our left in profile, but he turns his face to look up and off to the right. Short, curling horns nestle among his curly hair, and he has a curly goatee. He has a furry brow, like a goat, a flattened nose, and drooping eyes. His lips are parted, and his top eye teeth and bottom middle teeth show. His right hand, to our left, reaches up to the stone overhead. He holds his other arm across his body to brace that hand on a waist-high staff. He stands with his weight on his left foot, closer to us, and his other ankle crosses in front so the balls of that foot rest on the ground. A rectangular frame is drawn with brown ink, and the corners are shaded sage green. More drawn frames suggest stepped molding within a frosty green band. Cursive text in the lower right corner reads, “alla porta di fontana Bellio di bronzo p piu di dua volte il vivo b 7 erano dua variati.”
Benvenuto Cellini, A Satyr, 1544/1545, pen and brown ink with brown wash over black chalk on laid paper; laid down, with framing line in brown ink, Woodner Collection, Patrons' Permanent Fund, 1991.190.2

A Satyr

Benvenuto Cellini · 1544/1545 · pen and brown ink with brown wash over black chalk on laid paper; laid down, with framing line in brown ink ·  Accession ID  1991.190.2

Giulio Romano, The Four Elements, c. 1530, pen and brown ink with brown wash on laid paper, Wolfgang Ratjen Collection, Patrons' Permanent Fund, 2007.111.95

The Four Elements

Giulio Romano · c. 1530 · pen and brown ink with brown wash on laid paper ·  Accession ID  2007.111.95

Rembrandt van Rijn, Beggar Man and Woman, c. 1630/1631, pen and brown ink on laid paper; laid down, The Armand Hammer Collection, 1991.217.7

Beggar Man and Woman

Rembrandt van Rijn · c. 1630/1631 · pen and brown ink on laid paper; laid down ·  Accession ID  1991.217.7

Enea Vico, Venus and Mars Embracing with Vulcan at his Forge, 1543, engraving on laid paper, Ailsa Mellon Bruce Fund, 1972.34.5

Venus and Mars Embracing with Vulcan at his Forge

Enea Vico · 1543 · engraving on laid paper ·  Accession ID  1972.34.5

Bibliography

1831

  • Williams, D. E. Life and Correspondence of Sir Thomas Lawrence, Kt.. 2 vols. London, 1831.

1921

  • Ref Number: 2445
    Lugt, Frits. Les marques de collections de dessins & d'estampes; marques estampillees et ecrites de collections. Amsterdam: Vereenigde drukkerijen, 1921.

1954

  • Garlick, Kenneth. Sir Thomas Lawrence. London, 1954.

1969

  • Millar, Sir Oliver. The Later Georgian Pictures in the Collection of Her Majesty the Queen. 2 vols. London, 1969: 1:59-79.

1979

  • Levey, Sir Michael. Sir Thomas Lawrence 1769-1830. Exh. cat. National Portrait Gallery, London, 1979.

1989

  • Garlick, Kenneth. Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings. Oxford, 1989.

1992

  • Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 152-153.