Thomas Lawrence - 75 Years of Collecting - Vancouver Art Gallery

Thomas Lawrence
Portrait of Sir John McMahon, 1841
oil on canvas
92.0 cm x 71.1 cm
Collection of the Vancouver Art
Gallery, Gift of Mr. Christopher
Spencer
VAG 40.1
75 Years of Collecting
Vancouver Art Gallery
1 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
Image source: Sir Thomas Lawrence, Self
Portrait, oil on canvas, c. 1825.
www.royalacademy.org.uk
75 Years of Collecting
Vancouver Art Gallery
Artist's Biography
Nationality: British
Born: 1769-04-13, Bristol, England
Died: 1830-01-07
Sir Thomas Lawrence (April 13, 1769 — January 7, 1830), an English painter,
was born at Bristol.
His father was an innkeeper, first at Bristol and afterwards at Devizes, and at the
age of six Thomas was already shown off to the guests of the Black Boar as an
infant prodigy who could sketch their likenesses and declaim speeches from
Milton. In 1779 the elder Lawrence had to leave Devizes, having failed in
business and the precocious talent of the son, who had gained a reputation
along the Bath road, became the support of the family. His debut as a crayon
portrait painter was made at Oxford, where he was well patronized, and in 1782
the family settled in Bath, where the young artist soon found himself fully
employed in taking crayon likenesses of the fashionables of the place at a
guinea or a guinea and a half a head. In 1784 he gained the prize and silver-gilt
palette of the Society of Arts for a crayon drawing after Raphael's
Transfiguration, and presently beginning [began] to paint in oil.
Throwing aside the idea of going on the stage which he had for a short time
entertained, he came to London in 1787, was kindly received by Reynolds, and
entered as a student at the Royal Academy. He began to exhibit almost
immediately, and his reputation increased so rapidly that he became an
associate of the Academy in 1791. The death of Sir Joshua in 1792 opened the
way to further successes. He was at once appointed painter to the Dilettanti
Society, and principal painter to the king in lieu of Reynolds. In 1794 he was a
Royal Academician, and he became the fashionable portrait painter of the age,
having as his sitters all the rank, fashion and talent of England, and ultimately
most of the crowned heads of Europe. Caroline of Brunswick was one of his
favourite subjects and is reputed to have been his lover for a time. In 1815 he
was knighted; in 1818 he went to Aachen to paint the sovereigns and
diplomatists gathered there, and visited Vienna and Rome, everywhere receiving
flattering marks of distinction from princes, due as much to his courtly manners
as to his merits as an artist. After eighteen months he returned to England, and
on the very day of his arrival was chosen president of the Academy in the room
of [Benjamin] West, who had died a few days before. This office he held from
1820 to his death. He was never married.
Sir Thomas Lawrence had all the qualities of personal manner and artistic style
necessary to make a fashionable painter, and among English portrait painters he
takes a high place, though not as high as that given to him in his lifetime. His
more ambitious works, in the classical style, such as his once celebrated Satan,
are practically forgotten.
The best display of Lawrence's work is in the Waterloo Gallery of Windsor, a
collection of much historical interest. Master Lambton painted for Lord Durham
at the price of 600 guineas, is regarded as one of his best portraits, and a fine
head in the National Gallery, London, shows his power to advantage. The Life
and Correspondence of Sir T. Lawrence, by D.E. Williams, appeared in 1831.
Source: "Thomas Lawrence," Wikipedia, the free encylcopedia.
www.wikipedia.org. March 26, 2006.
2 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Artistic Context
Nationality: British
Training: studied under Thomas Barker; Royal Academy Schools, London
Peers: Joshua Reynolds; John Hoppner
Group: Royal Academy; Romanticism
Provenance: Chris Spencer; purchased from the descendants of Sir John
McMahon
Subject: Portraits
Bibliography
Sir Thomas Lawrence
Publication
[transcription of excerpt]
McMahon
535. Sir John McMahon, 1st Bt., MP
(1754-1817)
Son of J. McMahon, butler to the Earl of Leitrim. Private Secretary and Keeper
of the Privy Purse to the Prince Regent. Created Baronet, 1816.
(b) 1816. Canvas, size unrecorded
Whereabouts unknown
REFERENCES: Farington, 1 November 1816.
Two portraits of McMahon by or attributed to
Lawrence belonged to members of the McMahon family in 1952, one of which
followed the design of (a). Without inspection it is not possible to make a
judgement of them. A third, said to have been painted for a colleague of
McMahon's in the Royal service of the name of Marrable, was presented by
Chris Spencer to the Vancouver Art Gallery in 1933. It appears from a
photograph to be of studio quality.
3 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
The Times of London
Publication
1907
[transcription of excerpt]
...and Lawrence's "Sir John McMahon," lent by Mrs. Marrable (127). the former
a seated full-length, is an excellent and characteristic example of the painter's
best period; and the latter, which was given by McMahon himself to the family of
the present owner, is one of those exact and scholarly portraits by which
Lawrence conquered and retained to the end of his life, the admiration of his
contemporaries.
British Historic Paintings
Publication
1984
[transcription]
Jan 13 - Apr 30
British Historic Paintings
Most of the paintings in this exhibition were acquired by the Gallery in the early
Thirties as part of the collection of works donated to the Gallery by its founders.
It was the Founders' intention to establish a representative collection of
historical British art as a nucleus upon which the future collection would be built.
In his introduction to the exhibition, Vancouver Collects, in 1973, Wylie Thom,
then Vancouver Art Gallery registrar wrote: "It is to the credit of the founders that
many of the paintings now considered to be among the finest in the Collection
were purchased either by or from them during the early years of the Gallery's
existence".
The exhibition is comprised of landscapes and portraits, typical of 18th and 19th
century British art. Included is Joseph Highmore (1692-1780), the earliest
artist represented in the collection. A contemporary of William Hogarth and a
student of Kneller, the successor to Van Dyke in English Portrait taste,
Highmore's portrait of Miss Elizabeth Hervey is one of the more striking English
portraits in the collection. It will be on view along with Hogarth's Portrait of Mr.
Bridgeman and others.
Love of the English countryside is reflected in the landscape of John Crome
(1768-1821). Crome was the founder of the Norwich School whose principal
concern was to establish a school of English landscape painting. English country
life, another popular subject of the period, is represented in two paintings by
George Morland, The White Horse and Post Boys and Horses.
4 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Further Reading
Garlick, Kenneth. A Catalogue of the Paintings, Drawings and Pastels of Sir
Thomas Lawrence. London: The Walpole Society, 1964.
Goldring, Douglas. Regency Portrait Painter: the Life of Sir Thomas Lawrence,
P.R.A. London: MacDonald, 1951.
Levey, Michael. Sir Thomas Lawrence. London: National Portrait Gallery,
1979.
Levey, Michael. Sir Thomas Lawrence. New Haven: Yale University Press for The
Paul Mellon Centre for Studies in British Art, 2005.
Sir Thomas Lawrence as Painter and Collector. Columbus: Columbus Gallery of
Fine Arts, 1955.
Exhibition History
Exhibitions at the Vancouver Art Gallery
Historical Works from the Permanent Collection. December 4, 1982 - March
20, 1983.
British Historic Paintings. January 13, 1984 - April 30, 1984.
Contemporary and Historic Art from the Collection. January 1, 1991 -
December 31, 1991.
Out of This Century. October 23, 1999 - January 23, 2000.
Face to Face: Four Centuries of Portraits. June 19, 1999 - October 3, 1999.
Long Time: Selections from the Permanent Collection. May 19, 2001 - February
10, 2002.
75 Years of Collecting: Portrait of a Citizen. September 23, 2006 - January 1,
2007.
Selected Exhibitions Outside of the Vancouver Art Gallery
Art Gallery of Greater Victoria, Victoria. The Age of Elegance. November 9,
1961 - December 3, 1961.
5 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Archival History
Catalogue Card
Miscellaneous History
[transcription]
40.1 LAWRENCE
Label (on backing): SIR THOMAS LAWRENCE. P.R.A./ a portrait of Sir John
McMahon three quarter length, 36 IN/ x 23 1/2" (Exhibited at Old Masters Royal
Academy/Burlington House 1907, purchased from the descendants of Sir John
McMahon.
Label (on backing): Cooling Galleries Ltd./ 92 New Bond Street London.
Label (on frame): Lent by Mrs. Marril (?)[Marrable]/(?) S.W.A./
60 Cleveland Square/Hyde Park W/oil/ Portrait of Sir John McMahon the/ Private
Physician to King George IV/ Half figure seated to L. full face/ dark curtain
background
Right Hon. Sir John McMahon
Miscellaneous History
[transcription]
Right Hon. Sir JOHN McMAHON, Bart.
A member of his Majesty's most honourable The Privy Council; Late Private
Secretary Secretary-Extrordinary and Keeper of The Privy Purse, to his Royal
highness The Prince Regent, etc.etc.etc.
The fate and fortune of the subject of this memoir has been not a little
extraordinary; for without the possession of any shining talents, or extraordinary
accomplishments, either of mind or body; and although unaided by birth,
alliances, and family connexions[sic], he attained not only a high rank in the
state, but died possessed of no inconsiderable share of wealth, favour, and
honours.
Sir John McMahon was a native of Ireland; being the eldest son of Mr. John
McMahon, who was originally bred in the family of Robert Clements, Esq. of the
county of Leitrim, a gentleman of considerable fortune and influence in the
sister island. His mother resided for many years also, in the same house. Thus
coming into the world, while perhaps both his parents were in great obscurity,
who could have contemplated the future fate of this boy? Who could have
dreamed of his future rise? Who would have dared to prognosticate that he
himself should have lived to confer places, and titles, and honours? That he, for
many years, should have possessed the entire confidence of his Prince; and
ranked with privy counsellors, nobles, and grandees? But in a free country, birth
is a secondary consideration.
Born about the year 1754, young McMahon received such an education as
seemed befitting for his station in life. At a riper age he repaired to Dublin, and
we have been informed by one of his contemporaries that he obtained, perhaps
through the interest of the family of Clements (who were afterwards ennobled
and became in succession, Barons, Viscounts, and Earls of Leitrim), some little
post under government. We are ignorant of the cause, but certain it is, that Mr.
McMahon emigrated soon after to America, and applied to a Scotch gentleman,
6 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
who was then raising a provincial regiment,
/regiment
afterwards called the "Pennsylvania Rangers," for an ensigncy in that corps.
Lieutenant-Colonel James Chalmers (the gentleman alluded to) declined his
services, but he, at the same time, pointed out "his countryman Lord Rawdon
(since Earl of Moira and Marquis of Hastings) as a more proper person to apply
to." This officer lived long enough to see him a great man, and was afterwards
accustomed to tell this story at his table in Chelsea, always adding, "my refusal
and my hint made this young fellow's fortune."
Having solicited the nobleman mentioned above, Mr. McMahon soon after
obtained a stand of colours, and in the course of a few months became a great
favourite. He was present at all the actions and skirmishes in which Lord
Rawdon happened to be engaged in the Trans-Atlantic continent, most of which
were fortunate and even successful. At one period, indeed, they penetrated into
the southern states, and high hopes were entertained that some great changes
might be effected by their gallant achievements. But they did not succeed in any
degree equal to their wishes, and, perhaps, to their merits; yet it must be
allowed, that their operations were far less disastrous than the two armies under
Burgoyne and Cornwallis, both of whom were reduced to the necessity of piling
their arms.
Mr. McMahon returned to England, and by means of his gallant, kind, and
courteous patron, now become Earl of Moira, in due time, attained the rank of a
field officer. He afterwards became a lieutenant-colonel in the army, by brevet,
and if we are not greatly mistaken, being then married, was permitted to sell his
commission, at the same time, by way of especial favour, retaining his rank in
the army. But the good and amiable Earl did not stop here, for he projected
something far better for the officer who had been so many years under his
protection. Colonel McMahon (for so he was now called) seemed to be formed
by nature for a courtier. He made a most graceful and elegant bow, which he
regulated in due proportion to the rank and influence of those he addressed. His
voice was exactly modulated so as to soothe and to please; for it exhibited those
under-tones which never disturb the nerves of the great and powerful. He also
wrote a letter in the politest style possible and with all due
observance of etiquette: nor was he unacquainted with the arts of rendering
himself useful on every possible occasion.
With the full possession of these qualities, he was introduced to his Royal
Highness the Prince of Wales, at a period when the royal residence of Carlton
House, was in a state of eclipse. But he remained long enough in the adjoining
mansion in Pall-Mall, to behold all its former splendour revived and augmented;
and the Regency conferred on, and enjoyed in full plenitude, by his new
protector. One of the first acts of the Prince, after being placed at the head of
the executive government, was to reward his fidelity, and from being private
secretary, the Colonel accordingly became keeper of the Privy Purse, a Privy-
Counsellor, and Secretary-Extraordinary.
As His Royal Highness, in his capacity of Duke of Cornwall, had himself been for
several years in opposition, Sir John had a delicate task to perform, when he
beheld his patron dismiss the whigs, and take other men to his bosom, and his
councils. The Earl of Moira and he, were of course no longer of the same party;
and all the Right Honourable Secretary's quondam [fromer] friends, seemed to
have bid an eternal adieu to Carlton House. A feeble and inefficacious attempt,
was, however, at one period made, to nominate the above-mentioned
nobleman, Premier: but, as it proved difficult, if not impossible, to arrange the
subordinate characters, this appointment never took place. His lordship,
7 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
notwithstanding this, was offered the Viceroyship of Ireland,; but Lord Moira
refused to return to his native country, unless he could carry the olive-branch
thither to the Catholics. At length, he repaired India [to] as Governor-General,
with a great salary, and an immense patronage; and has been lately advanced
in the peerage, to a marquisate. How far Sir John McMahon, may have
contributed to the latter event, we know not; but it is most likely, as he has
never been accused of ingratitude, that he did all in his power to return the
numerous good offices conferred on himself, while a poor, unknown, and
unfriended youth. For the patriots, with whom he had leagued in former times,
he always had at command a handsome bow, an
/an
undeviating smile, an uniform compliment. We have known him, not only
disclaim any pretensions to influence himself, but jocularly to assert that "his
Royal Highness possessed little or none!" Another courtier, of still older date,
carried this much further; for reversing the noble saying of a King of France,
"that he forgot all the injuries done him as Duke of Orleans;" this bold statesman
observed on one accasion [occasion], to a most meritorious, and much injured
officer: "that George II., was not bound by the promises of the Prince of
Wales!" We are sure that the. Monarch himself would most heartily have
disdained so base and so mean sentiment, we are conscious, that the subject
of this memoir, always endeavoured to reflect honour on the Regent.
At length, after the lapse of many years, Sir John McMahon, began to feel the
pressure of disease, if not of old age; and the demise of his wife, a few months
before, was the forerunner of his own fate. He had resigned his station about
the person of the Prince, some time previously to his demise, but he appears
still to have retained no inconsiderable share of influence, which he exercised in
behalf of several respectable branches of his family. In 1814, he procured for
his half-brother, now the Right Honourable Sir William McMahon, a baronetcy,
and also provided for him handsomely, by means of a negotiation with the late
Right Honourable John P. Curran, who was prevailed upon to resign the
Mastership of the Rolls, in consequence of obtaining a vary large pension.
Another half-brother, who had acquired considerable rank in the army, was
honoured with the high and confidential station of Aide-de-Camp, to the Prince
of Whales, with a reversion of his own title.
Having retired to Bath, for the benefit of the air and waters, Sir John McMahon
died there, September 12, 1817, leaving behind him a large fortune, which
could never possibly have been obtained from the income of his several places,
all of which did not exceed the sum of £3,000., or £4,000. per annum. The
assertion, however, is ridiculous, that at the time of his demise, he had, "a
floating
/floating
balance at his 'banker's, of £70,000.," for he was too well acquainted with the
value of money, to lose the interest of so large a sum. A little before his last
illness, he built a beautiful little villa, in Kent, on an estate which he had
purchased, within ten or twelve miles of town. In his person, he was small, and
devoid of beauty. His face too, was seamed and scarred with the small-pox; but
as his conversation was pleasant, and he possessed all the graces, any
impression arising from a transient view, soon wore off, and was obliterated. By
his will, dated April 26, 1816; the Right Honourable Sir Wiliam McMahon,
Master of the Rolls in Ireland, is left his sole executor, and residuary legatee,
with a bequest of £20,000. The personal property, is sworn to be under
£90,000. ten thousand pounds are given to Colonel (now) Sir Thomas
McMahon, Bart.; to Susan-Elizabeth Wylde, otherwise Mitford £5000.; "to
Thomas Marrable, Esq., a dear and esteemed friend, £2,000, and with my last
8 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
prayers," adds he, "for the glory and happiness of the best-hearted man in the
world, the Prince Regent, I bequeath him, the said Thomas Marrable, an
invaluable servant."
"To Sir Walter Farquhar, Bart., the preserver of my life for many years, 600
guineas;" and to another medical attendant, "£5OO."
It might be doing injustice to the memory of Sir John, were we to withhold an
eulogium, evidently penned by the hand of friendship, and perhaps of gratitude.
"He was a gentleman, of most kind and courteous manners, steady and
constant in his friendship, zeal, fidelity, and affection. With the best qualities of
the heart, we may add, that he had a very cultivated understanding, and a
sound judgment.
"The clearest head, with the sincerest heart!
"He was among the best letter-writers of his time and in the performance of that
duty, always did honour to the sentiments of his Royal master; and rendered
even a refusal of a request, palatable to the parties."
Sir John McMahon was in the sixty-third or sixty-fourth year of his life.
Conservation and Restoration of Permanent Collection
Conservation
[transcription of excerpt]
Artist: Sir Thomas Lawrence
Title: Portrait, Sir John McMahon
Insurance Value: 5000
Conservation Cost: 40
36 1/4 " x 28 1/4"
Cleaned and discoloured surface varnishes removed. Small losses inpainted to
unify surface of painting.
9 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Hahn Correspondence
Correspondence
1939
[transcription]
Mr. Hahn sent the Lawrence to Roberts. Here's the reply to him!
[this is written in a different hand than the letter]
69, Park Hill
S.W.4
PHONE: MACAULAY 1845
21/2/39
Dear Mr. Hahn,
I congratulate you on having got such a fine Lawrence — they aren't to be got
easily today.
I think you will find what I have written useful to you. You will see that I refer to
"The Annual Biography and Obituary," which is too long for me to copy and I am
not well enough to do so. The book will be found in the [BM?]. But I will lend
you my copy to have it typed up if you will undertake to let me have it back this
week. You could send a messenger for it with a letter, but not before midday.
Yours truly,
[signedM. Roberts]
Notes
Miscellaneous History
1939-02-21
[transcription]
Period Lawrence frame [written in a different hand than the text]
B57
3501 [written on side in different hand]
The Right Hon Sir John MacMahon
(1754-1817)
By
Sir Thomas Lawrence, PRA
(1769-1830)
canvas 36 x 27 in.
Vancouver Art Gallery
1145 West Georgia St.
Vancouver, B.C.
[stamped on]
This brilliant portrait of a distinguished looking gentlemman, Private physician
and friend to the Prince Regent, is famliar to collectors from Charles Turner's
mezzotint of the version in the Royal Collection, in which he holds a scroll in his
10 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
right hand; that was exhibited at the Royal Academy in 1814, and was almost
certainly based on this rather earlier version. Both are recorded in Armstrong's
"Lawrence", p. 150. The present version was lent to the Old Masters in 1907,
no. 127 by Mrs. Marrable, and was described in The Times of Feb 13 of that
year, "as given by Mac[Mc]Mahon himself to the family of the present owner, is
one of those exact and scholarly portraits by which Lawrence conquered, and
retained to the end of his life the admiration of his contemporaries".
It is difficult to add anything to what The Times says. The picture is transparently
fine and in perfect condition. It would be impossible to obtain a finer example of
this great master. Very little has been published concerning this distinguished
man. The fullest account I know of appeared in "The Annual Biography and
Obituary for the Year, 1818", pp 312-317.
London Feb 21, 1939
[signed M. Roberts]
EXHIBITED BURLINGTON HOUSE 1907
JAPAN-BRITISH EXHIBITION 1910
MENTIONED IN ARMSTRONG BOOK ON LAWRENCE
[written at the bottom of page in different hand]
Chris Spencer Correspondence
Correspondence
1940-01-10
[transcription]
January 10th, 1940.
Chris Spencer Esq.,
The David Spencer Co.,
Vancouver, B.C..
Dear Mr. Spencer:
Referring to today's meeting of the Purchase and Acceptance Committee, I am
desired by the Chairman to convey to you on behalf of himself and his
colleagues, the deep sense of appreciation felt by the committee for your
generous offer to present to the Gallery the painting by Sir Thomas Lawrence
referred to at the meeting.
If convenient to you, I will arrange for the Robson Transfer Co. to call on Tuesday
morning to bring the picture to the Gallery. We are planning to hang it in the
south Gallery just before the time fixed for the meeting of the Council on January
19th.
Yours very truly,
A.S. Grigsby
Secretary-Treasurer
ASG/MH
11 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Chris Spencer Correspondence
Correspondence
1940-01-20
[transcription]
January 20th, 1940.
Chris Spencer Esq.,
The David Spencer Co.,
Vancouver, B.C..
Dear Mr. Spencer:
I was sorry that you were not able to be at yesterday's Council Meeting and to
hear the sincere expressions of admiration for the beautiful Lawrence painting
which is now in position in the south Gallery.
The Council unanimously asked me to convey to you the deep sense of
appreciation felt for this magnificent addition to our permanent collection made
possible through your generosity.
Yours very truly,
A.S. Grigsby
Secretary-Treasurer
ASG/MH
Gavlick Correspondence
Correspondence
1951-12-13
[transcription]
BARBER INSTITUTE OF FINE ARTS
THE UNIVERSITY BIRMINGHAM 15
SELly Oak 0962
December 13th 51.
Dear Mr. Morris,
I am working on a new catalogue of the paintings of Sir Thomas Lawrence and
Professor Anthony Blunt tells me that when he was in Vancouver he saw a
portrait of Sir John McMahon by Lawrence in your gallery. I would be most
grateful if you would be so kind to tell me its size and what is known of its
previous history. I would also be grateful if you would send me a photograph
together with your account.
Yours sincerely,
Kenneth Gavlick
(Assistant Curator)
12 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Gavlick Correspondence
Correspondence
1952-01-09
[transcription]
xxxxxxx TA 2488
January 9th, 1952
Mr. Kenneth Gavlick,
Assistant Curator,
Barber Institute of Fine Arts,
The University,
Birmingham 15, Eng.
Dear Mr. Gavlick:
In reply to your letter of December 13th I give below an exceprt from the records
on the Lawrence painting. We have no photograph available so am sending you
a half tone cut.
"Exhibited Royal Academy, Burlington House, 1907.
Exhibited in Japan at British Exhibition, 1910.
Mentioned in Armstrong's book on Lawrence.
From the collection of Mrs. Marrable, P.S.W.A.
Purchased from the descendants of Sir John McMahon by Mr. Chris Spencer
and presented to the Vancovuer Art Gallery, 1933."
Yours sincerely,
Curator.
JAM/pl
13 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Correspondence
Conservation
1965-10-22
[transcription]
October 22nd, 1965.
Richard B. Simmins,
Director
Vancouver Art Gallery,
1145 Georgia Street,
Vancouver, B.C.
Dear Mr. Simmins:
The following is the report of the paintings submitted for examination with regard
to restoration treatment:
1. "Portrait of Sir John McMahon" by Sir Thomas Lawrence, unsigned. Oil on
canvas 36 x 28 submitted without frame.
CONDITION
a. Stretcher is of 19th Century type having no mitred corners. It is also pressing
against the canvas.
b. Painting has been glue re-lined at one time.
c. An area of cleavage and several small losses exists at upper left corner,
drapery section and in nose and mouth of sitter.
d. A layer of discoloured yellowed varnish covers this work. A cleaning test
carried out indicates a somewhat paler sky region at left, more pink tones in
flesh areas, etc.
Treatment:
1. Photograph painting before restoration.
2. Face the painting with protective tissue before work commences.
3. Clean painting with appropriate solvents and mixture of such.
4. Fill areas of loss with gesso and make it level with surrounding areas.
5. In-paint above with colour to match surrounding areas.
6. Varnish painting with non-yellowing type varnish.
7. Apply protective backing to rear of picture to help prevent accidental damage,
and collections of dust and dirt which eventually rots canvas.
Cost of above.............$250.00
Sincerely yours,
[signed Sari Stolow]
Sari Stolow.
IF IT IS YOUR DESIRE TO PROCEED WITH THE TREATMENT AS RECOMMENDED
PLEASE SIGN BELOW:
PLEASE PROCEED
SIGNED: [RBC] INSUR VALUE [$8000]
DATE [Oct. 27/65]
(Please return one signed copy only)
14 / 17

Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Conservation Treatment Proposal
Conservation
1989-08
[transcription]
VANCOUVER
ART
GALLERY
750 HORNBY STREET, VANCOUVER, B.C. CANADA V6Z 2H7 TELEPHONE
(604)682-5621
O.K.
EXAMINATION DATE: AUGUST 1989
Conservation Treatment Proposal
Artist: SIR THOMAS LAWRENCE
Title: PORTRAIT OF SIR JOHN MCMAHON. 1814.
OIL ON CANVAS
ACC. NO.: 40.1
Proposed Treatment:
SUPPORT: Glue-lined. Repaired tear directly above sitter's head. Stretcher:
expansion. Good.
GROUND/PAINT LAYERS: Good.
SURFACE COATING: Synthetic varnish, type unknown. Undiscoloured.
GENERAL CONDITION: Structurally sound. Clean. Some retouchings have gone
a little matt, i.e. tear above sitter's head.
PROPOSED TREATMENT: Adjust surface gloss of matt retouchings with local
application of varnISh, and /or overall spray application.
FRAME
CONDITION: Good. New backing board. Framed with nails and strips of metal
no cushion in rebate.
PROPOSED TREATMENT: Refit in frame with cushioning.
Conservation Appoval: [signed but signature unclear]
Curatorial Approval:
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Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
Examination Treatment Report
Conservation
1999-01-04
[transcription]
VANCOUVER ART GALLERY
EXAMINATION TREATMENT REPORT
ARTIST: Sir Thomas Lawrence. ACC. NO.: VAG 40.1
TITLE: Portrait of Sir John McMahon
MEDIUM: Oil on Canvas
DIMENSIONS: 91.0 x 71.0
DATE: 1814
MARKS: none
AUXILIARY SUPPORT: Wooden stretcher. Butt joined. 2 cross-bars, one
horizontal one vertical. 12 keys; 2 at each corner, one at either end of cross
bars. Keys are secured with nails. Stretcher has good bevel and canvas of
painting sits well away from wood of stretcher. Reverse of stretcher bars are
covered in brown and dark grey paper. Paper is adhered with water soluble glue.
The reverse of stretcher bars are extremely dusty.
SUPPORT: Canvas has been glue-lined onto a medium weave linen canvas.
There is no documentation in the VAG conservation files to suggest when this
treatment was carried out. In October, 1965, Sari Stolow treated the already
lined painting for areas of lifting paint and discolored varnish (see Stolow report
in conservation file). Original tacking margins have been cut away (most likely
during the glue lining process) The lining canvas is attached to the stretcher with
metal tacks. Original canvas is well adhered overall to lining canvas. No out of
plane deformations. Reverse of canvas is very dusty and dirty.
PAINT LAYERS: Oil. Texture of canvas visible through paint layers. Good
condition. No lifting or flaking paint as seen by Sari Stolow in 1965. Few pin
point losses upper left corner.
SURFACE: Varnished. Glossy. Areas of uneven gloss where paint layers were
touched up in past i.e. above sitters head. Entire surface is covered in thin layer
of dirt.
FRAME: Wooden with ornate, gold-painted, compo surface. Front of frame in
good condition. Reverse of frame covered in brown paper, glued overall with
water soluble glue. Numerous holes in surface of wood making reverse look
used and worn overall. Rebate of frame is unlined.
2.
TREATMENT PROPOSAL
Painting:
1. Vacuum reverse of canvas and stretcher to remove all loose dust and dirt.
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Thomas Lawrence
Portrait of Sir John McMahon, 1841
75 Years of Collecting
Vancouver Art Gallery
2. Surface clean painting with saliva followed by rinse with distilled water.
3. Remove paper residue from reverse of stretcher bars using poultice of methyl
cellulose.
4. Supply reverse of painting with protective corex backing.
Frame:
1 Remove all unwanted hardware, i.e. nails, staples and old hanging devices.
2. Vacuum reverse and remove all paper residue
3. Fill holes in wood using appropriate wood fill.
4. Pad rebate of frame with synthetic Ducco felt.
TREATMENT RECORD:
As above.
Painting surface cleaned by Monica Smith
Backing board applied and frame upgraded by Beth Wolchock
Report by: Monica Smith
Date: January 4, 1999.
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