Mrs. William Lock of Norbury
Framed: 36 1/2 x 31 5/16 inches (92.71 x 79.53 cm)
- 124
The exhibition of the Royal Academy, MDCCXXIX, Royal Academy, London, 1829, no. 455.
British Institution, London, 1851, no. 98.
Exhibition of Works by The Old Masters, and by Deceased Masters of the British School, Including a Collection of Drawings by John Flaxman, R.A., The Burlington House, Royal Academy, London, January 3-March 12, 1881, no. 39, as Portrait of Mrs. Locke.
First Hundred Years of the Royal Academy, 1769-1868, The Burlington House, Royal Academy, London, Winter 1951-1952, no. 159, as Mrs. Locke.
Sir Thomas Lawrence, Regency Painter: A Loan Exhibition of his Portraits, Worcester Art Museum, Massachusetts, April 27-June 6, 1960, no. 22, as Mrs. William Locke.
Thomas Lawrence was the most influential portraitist in Europe by the early 1800s. Best known for his depictions of the English royal family, he also painted several portraits of the family of William Lock, a friend and important patron.
Known for his ability to capture the character of his subjects, here Lawrence conveyed the affluence and propriety of Lock’s wife, Frederica Augusta, with heavy, broad strokes of contrasting black and white paint.
The sitter, Frederica Augusta Lock (née Schaub, 1750-1832), Norbury Park, England, 1829-1832;
By descent to her daughter, Amelia Angerstein (née Lock, 1776-1848) and her husband John Angerstein (1773-1858), Blackheath, England, 1832;
By descent to their son, William Angerstein (1811-1897), Greenwich, England, by 1858-July 4, 1896;
Purchased at his sale, Pictures and Portraits of the Early English School, the Property of the Trustees of William Angerstein, Esq., Christie, Manson and Woods, London, July 4, 1896, lot 113, by Beadel, 1896 [1];
John Angerstein Lancelot Smythies, (1919-1994), Somerset, England, by 1951-1953;
Purchased from Smythies by Thomas Agnew and Sons, London, stock no. 1048, July 16, 1953-1954 [2];
Purchased from Agnew by The Nelson-Atkins Museum of Art, Kansas City, MO, 1954.
NOTES:
[1] In some published references, this painting is described as having been bought in (failing to sell) at the July 4, 1896 sale. However, it was not included in a list of pictures from William Angerstein’s collection that were left unsold after the sale. This list, dated January 6, 1898, was sent by Julius H. W. Angerstein to Sir Edward Poynter, director of the National Gallery, London and President of the Royal Academy. According to Lynda McLeod, librarian at Christie’s, in a letter to MacKenzie Mallon, December 10, 2012, NAMA curatorial files, Beadel was a buyer who purchased several portraits at the sale for quite a lot of money, including a Reynolds portrait of Mrs. Angerstein and a Lawrence of John Julius Angerstein. His purchase of at least three portraits of Angerstein family members at the 1896 sale may mean Beadel was associated with the family.
[2] The National Gallery, London, Thomas Agnew and Sons Ltd. Archive, NGA27/1/1, Picture Stock Books.
The exhibition of the Royal Academy, MDCCXXIX, exh. cat. (London: W. Clowes, [1829]).
“The Portraits of Sir Thomas Lawrence,” Court Journal (May 9, 1829) [repr. in Duncan Wu, ed., New Writings of William Hazlitt (Oxford: Oxford University Press, 2007), 253], as Mrs. Locke, sen.
Exhibition of Works by the Old Masters, and by Deceased Masters of the British School. Including a Collection of Drawings by John Flaxman, R.A., exh. cat. (London: Wm. Clowes and Sons, 1881), 12, as Portrait of Mrs. Locke.
Ronald Gower, Romney and Lawrence (New York: Scribbner and Welford, 1882), 104, 112, 117, as Mrs. Locke.
“The Seymour and Angerstein Pictures,” The London Times (July 6, 1896): 14, as portrait of Mrs. Locke, widow of William Locke, of Norbury-park.
“Après l’Enchère: Vente d’une collection de tableaux et de portraits ayant appartenu à William Angerstein, Esq.,” Revue Biblio-Iconographique 1, no. 36 (July 11, 1896): 576, as Portrait de Mrs. Locke.
Catalogue of Pictures and Portraits of the Early English School, the Property of the Trustees of William Angerstein, Esq. ([London]: Christie, Manson and Woods, 1896), 6, as Portrait of Mrs. Locke.
“Pictures by Sir Thomas Lawrence: Original Prices and Present Values,” The Art Journal 66 (April 1904): 124, as Mrs. Lock.
Walter Armstrong, Lawrence (New York: Charles Scribner’s Sons, 1913), 94, 147, as Mrs. Locke and erroneously as (Elizabeth Jennings).
Algernon Graves, A Century of Loan Exhibitions, 1813-1912, vol. II, H to Q (New York: Burt Franklin, 1913), 652, 656, as Mrs Locke.
Vittoria Colonna Caetani Sermoneta, duchessa di, The Locks of Norbury: The Story of a Remarkable Family in the XVIIIth and XIXth Centuries (London: J. Murray, 1940), 352-54, as Mrs. Lock.
Douglas Goldring, Regency Portrait Painter: The Life of Sir Thomas Lawrence P.R.A. (London: MacDonald, 1951), 312.
Winter Exhibition, 1951-52: The First Hundred Years of the Royal Academy, 1769-1868, exh. cat. (London: Royal Academy of Arts, 1951), 74, as Mrs. Locke.
“New Acquisition,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 22, no. 3 (December 1954): (repro.), as Mrs. William Lock I of Norbury.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 132, (repro.), as Mrs. William Lock of Norbury.
Kenneth Garlick, ed., Sir Thomas Lawrence, Regency Painter: A Loan Exhibition of his Portraits, exh. cat. (Worcester, MA: Worcester Art Museum Publications, 1960), 14-15, 58-59, (repro.), as Mrs. William Lock.
Kenneth Garlick, ed., The Thirty-Ninth Volume of the Walpole Society, 1962-1964: A Catalogue of the Paintings, Drawings, and Pastels of Sir Thomas Lawrence (Glasgow: University Press, 1964), 128, 276, as Lock, Mrs William (1750-1832).
Kenneth Garlick, “Lawrence’s Portraits of the Locks, the Angersteins and the Boucherettes,” The Burlington Magazine 110, no. 789 (December 1968): 668, 670, (repro.), as Mrs William Lock.
Algernon Graves, Art Sales: From Early in the Eighteenth Century to Early in the Twentieth Century (Mostly Old Master and Early English Pictures), vol. II, H to REMB (New York: Burt Franklin, 1970), 129, as Mrs. Locke seated in Red Chair.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 155, (repro.), as Mrs. William Lock of Norbury.
John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), 192, as Mrs. William Lock of Norbury.
Kenneth
Garlick, Sir Thomas Lawrence: A complete
catalogue of the oil paintings (Oxford: Phaidon, 1989), 226, (repro.), as Mrs William Lock.
