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Creator:
Sir Thomas Lawrence, 1769–1830, British
Title:

Portrait of William Lock II of Norbury Park, Surrey

Additional Title(s):

Portrait of William Lock II (1767-1847) of Norbury Park, Surrey

William Lock the Younger

Date:
ca. 1800
Medium:
Oiled charcoal and blue-gray ground on canvas
Dimensions:
Frame: 34 1/2 x 28 x 3 1/4 inches (87.6 x 71.1 x 8.3 cm) and Sheet: 26 x 19 inches (66 x 48.3 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Fund and Friends of British Art Fund
Copyright Status:
Public Domain
Accession Number:
B1994.11
Classification:
Drawings & Watercolors
Collection:
Prints and Drawings
Subject Terms:
coat | costume | man | portrait | shirt
Associated People:
Lock, William, the younger (1767–1847), artist
Access:
On view
Link:
https://collections.britishart.yale.edu/catalog/tms:4253
Export:
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The virtuoso portrait painter Sir Thomas Lawrence was an extremely talented draftsman, despite his lack of formal training, and he frequently drew for pleasure as an antidote to the pressures and tedium of his professional life. It has been suggested that Lawrence's sensitive portrait of the younger William Lock may be a study for an untraced portrait of the sitter exhibited as the royal Academy in 1791. Lock's attire and hairstyle indicate a later dating however, and Lawrence did not usually make preliminary drawings for his paintings, preferring to prepare them by drawing directly on the canvas with chalk. This technique clearly fascinated his sitters. Joseph Farington recorded in his diary for 7 May 1794: "This morning I sat to Lawrence when He drew in my portrait with black chalk on the Canvass, which employed him near 2 hours. He did not use colour today. - This is his mode of beginning," and Lady Elizabeth Leveson-Gower recalled: "what struck me most…was the perfection of the drawing of his portraits before any colour was put on." Lawrence also made a number of chalk portraits on canvas which he seems to have regarded as drawings in their own right, and no. 13 almost certainly falls into this category. Moreover, the portrait was owned by Lock, which implies that Lawrence would have considered it a finished work. The sitter was the son of the connoisseur William Lock (1732-1810), was one of Lawrence's first sitter and a close friend of the artist. The younger Lock (1767-1847) was a keen patron of the arts and an aspiring artist, but after viewing Rome he lost faith in his talent and gave up painting, though he continued to draw.

Cassandra Albinson, Thomas Lawrence, Regency power & brilliance , Yale Center for British Art, New Haven, 2010, pp. 130,..., No. 19, NJ18 L42 T56 2010 + (YCBA)

Dr. Kenneth Garlick, A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence, Volume of the Walpole Society, v. 39, Walpole Society, 1962-1964, p. 235, N12 W35 A1 39 + (YCBA)

Susan Owens, The art of drawing : British masters and methods since 1600, V&A Publishing, London, 2013, pp. 60,. 61, fig. 41, NC228 .O92 2013 OVERSIZE (YCBA)

Leslie M. Scattone, New Information on Lawrence's ' Portrait of Joseph Henry ', Burlington Magazine, vol. 155, no. 1321, April 2013, pp. 247, 249, fig. 40, N1 B87 (LC)+ OVERSIZE (YCBA)

Peter Wagner, The ruin and the sketch in the eighteenth century, vol. 2, Wissenschaftlicher Verlag Trier, Trier, 2008, p. 207, fig. 6, N6766 .R75 2008 (YCBA)


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