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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.
  • Alternate title :: Portrait of William Lock II (1767-1847) of Norbury Park, Surrey
  • Alternate title :: William Lock the Younger
  • Bibliograpic reference ::
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: The ruin and the sketch in the eighteenth century, vol. 2, Wissenschaftlicher Verlag Trier, Trier, 2008, p. 207, fig. 6, N6766 .R75 2008 (YCBA)
  • Bibliograpic reference :: Thomas Lawrence, Regency power & brilliance, Yale Center for British Art, New Haven, 2010, pp. 130,..., No. 19, NJ18 L42 T56 2010 + (YCBA)
  • Dimension depth :: 8.3cm
  • Dimension height :: 66.0cm
  • Dimension height :: 87.6cm
  • Dimension width :: 48.3cm
  • Dimension width :: 71.1cm
  • Exhibition :: Seeing Double : Portraits, Copies and Exhibitions in 1820s London
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Exhibition :: Thomas Lawrence - Regency, Power and Brilliance
  • Located in :: YCBA, 222, Screen, 5
  • Located in :: 222
  • Located in :: 5
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: On view
  • Located in :: Screen
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Subject Concept :: coat
  • Subject Concept :: costume
  • Subject Concept :: gaze
  • Subject Concept :: long hair
  • Subject Concept :: man
  • Subject Concept :: portrait
  • Subject Concept :: posing
  • Subject Concept :: shirt
  • Subject Concept :: solemn
  • ...
  • Yale Center for British Art, Paul Mellon Fund and Friends of British Art Fund
  • Portrait of William Lock II of Norbury Park, Surrey