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Portrait of Arthur Atherley as an Etonian, by Thomas Lawrence

Portrait of Arthur Atherley as an Etonian

Thomas Lawrence, 1792

From €29Museum-quality print, also on canvas and framed.

Print size
Or on canvas, ready to hang

344 g/m² canvas on a 3 cm wooden stretcher. The image fills the canvas and wraps around the edges.

Frame

Free shipping on two prints. Three or more, 10% off them all.

  • Museum matte paper, 200 g/m²
  • Printed for you, no warehouse stock
  • White border, the whole painting
  • Tracked shipping
  • Secure payment with Stripe
  • Damaged in transit? Free replacement

How it looks above a 2-metre sofa

Frequently asked questions

Which size should I choose?

This work is available in 30 × 40 cm, 50 × 70 cm, 70 × 100 cm. As a guide: 30 × 40 cm (about 12 × 16 in) for shelves, corners or gallery walls; 50 × 70 cm (about 20 × 28 in) above a dresser, a headboard or a desk; 70 × 100 cm (about 28 × 39 in) as the centrepiece of a living room or the wall above the sofa. Below the buy buttons you can see it to scale above a 2-metre sofa.

Does it come framed?

The print arrives unframed with a white border, ready to frame. If you choose a black or oak frame, it arrives mounted behind acrylic glazing, ready to hang. Canvases come stretched on a wooden frame.

When will it arrive?

Printed to order at the lab closest to your address. It arrives in 4–8 working days in Spain and the EU, and in 6–12 working days in the US, Mexico and other destinations.

What if it arrives damaged?

Email us a photo within 30 days of delivery and we will send you a new one free of charge or refund you.

Can I send it as a gift?

Yes. At checkout you can write a gift message and ship it to the recipient's name and address. The parcel shows no prices.

About the work

Artist
Thomas Lawrence
Date
1792
Medium
Oil on canvas
Dimensions
125,73 × 100,33 cm
Collection
Los Angeles County Museum of Art (LACMA)
Print up to
70 × 100 cm
Reference
XDV-4056

What the museum label doesn't tell you

Look at the hands: one clenches a yellow glove, the other holds the hat as if about to drop it. And that gaze is too steady for a face framed by curls that look almost girlish. Lawrence isn't painting a boy dressed as a man - he's painting the exact discomfort of stopping being one.

That red coat isn't fashion, it's the captain's uniform for Ad Montem, a medieval Eton ritual that lasted until 1847. Arthur Atherley wore it for the Royal Academy show in 1792, then later traded schoolboy ceremony for a Whig seat in Westminster.

Is the restlessness you see the ritual, or the politician already showing through?

Sources (4)

Complete the wall

They look great together

Two ship free. Three or more, 10% off them all.

By the same artist

More by Thomas Lawrence

See all their works
Pope Pius VII, Thomas LawrencePope Pius VIIThomas Lawrence, 1819From €29Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby, Thomas LawrenceElizabeth Farren (born about 1759, died 1829), Later Countess of DerbyThomas Lawrence, 1790From €29Francis Charles Seymour-Conway, Third Marquess of Hertford, Thomas LawrenceFrancis Charles Seymour-Conway, Third Marquess of HertfordThomas Lawrence, 1822From €29John Julius Angerstein (1736–1823), Thomas LawrenceJohn Julius Angerstein (1736–1823)Thomas Lawrence, 1823From €29Lady Maria Conyngham (died 1843), Thomas LawrenceLady Maria Conyngham (died 1843)Thomas Lawrence, 1824From €29Lady Mary Templetown and Her Eldest Son, Thomas LawrenceLady Mary Templetown and Her Eldest SonThomas Lawrence, 1802From €29The Calmady Children (Emily, 1818–1906, and Laura Anne, 1820–1894), Thomas LawrenceThe Calmady Children (Emily, 1818–1906, and Laura Anne, 1820–1894)Thomas Lawrence, 1823From €29Portrait of Benjamin West, Thomas LawrencePortrait of Benjamin WestThomas Lawrence, 1818From €29

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