Oil On Canvas, Real Flavor of Old Masters

All Lemuel Francis Abbott 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
165  
Admiral Alexander Hood, Lemuel Francis Abbott
  		 Admiral Alexander Hood   1795 National Maritime Museum, Greenwich, London 1270 x 1016 mm
166  
Admiral Alexander Hood_a, Lemuel Francis Abbott
  		 Admiral Alexander Hood_a   1795 National Maritime Museum, Greenwich, London 762 x 635 mm
171  
Admiral Robert Roddam, Lemuel Francis Abbott
  		 Admiral Robert Roddam   1783 National Maritime Museum, Greenwich, London 764 x 632 mm
164  
Captain John Cooke, Lemuel Francis Abbott
  		 Captain John Cooke   1797-1805 National Maritime Museum, Greenwich, London 762 x 635 mm
167  
Captain William Locker, Lemuel Francis Abbott
  		 Captain William Locker   1795-1800 National Maritime Museum, Greenwich, London 775 x 640 mm
94449  
George Macartney, 1st Earl Macartney; Sir George Leonard Staunton, 1st Bt, Lemuel Francis Abbott
  		 George Macartney, 1st Earl Macartney; Sir George Leonard Staunton, 1st Bt   circa 1785(1785) Medium oil on canvas Dimensions 39 x 49 in (99.1 x 124.5 cm) cjr
52757  
Head of a man, Lemuel Francis Abbott
  		 Head of a man   mk223 oil on canvas
70614  
Portrait of Captain George Montagu, Lemuel Francis Abbott
  		 Portrait of Captain George Montagu   18th century Portrait of Captain George Montagu (1750?C1829)
73662  
Portrait of Captain George Montagu, Lemuel Francis Abbott
  		 Portrait of Captain George Montagu   Portrait of Captain George Montagu (1750?C1829) 18th century cjr
82845  
Portrait of William Cowper, Lemuel Francis Abbott
  		 Portrait of William Cowper   1792(1792) Medium Oil on canvas Dimensions 127 x 101.6 cm (50 x 40 in) cyf
77605  
Rear-Admiral, Lemuel Francis Abbott
  		 Rear-Admiral   1800(1800) Oil on canvas 63.5 x 76.2 cm (25 x 30 in) cjr
161  
Rear-Admiral Sir Horatio Nelson, Lemuel Francis Abbott
  		 Rear-Admiral Sir Horatio Nelson   1800 National Maritime Museum, Greenwich, London 76.2 x 63.5cm
77839  
Rear-Admiral Sir Horatio Nelson, Lemuel Francis Abbott
  		 Rear-Admiral Sir Horatio Nelson   Oil on canvas 63.5 ?? 76.2 cm (25 ?? 30 in) cjr
162  
Rear-Admiral Sir Horatio Nelson_a, Lemuel Francis Abbott
  		 Rear-Admiral Sir Horatio Nelson_a   1800 National Maritime Museum, Greenwich, London 76.2 x 63.5cm
163  
Rear-Admiral Sir Robert Calder, Lemuel Francis Abbott
  		 Rear-Admiral Sir Robert Calder   1797 National Maritime Museum, Greenwich, London 762 x 635 mm
170  
Rear-Admiral Sir Thomas Pasley, Lemuel Francis Abbott
  		 Rear-Admiral Sir Thomas Pasley   1795 National Maritime Museum, Greenwich, London 765 x 638 mm
169  
Sir Peter Parker, Lemuel Francis Abbott
  		 Sir Peter Parker   1799 National Maritime Museum, Greenwich, London 2413 x 1524 mm
168  
Vice-Admiral Sir Andrew Mitchell, Lemuel Francis Abbott
  		 Vice-Admiral Sir Andrew Mitchell   1795-1803 National Maritime Museum, Greenwich, London 762 x 635 mm
94450  
Warren Hastings, Lemuel Francis Abbott
  		 Warren Hastings   18th century cjr
Lemuel Francis Abbott
1760-1803 Lemuel Francis Abbott Locations English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of Lord Nelson (e.g. 1798; London, N. Mar. Mus.). His style is crisp but scratchy in technique, and often the anatomy of his figures is inaccurate. Paint is handled in a manner comparable with that of Gainsborough Dupont, but Abbott sense of composition is superior. In 1798 he was certified insane, but he continued to exhibit at the Royal Academy in London for two further years. Several of his works were probably finished by another hand.



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