By the late 1920s, Lavery had a signature genre few other painters attempted: "portrait interiors," wealthy sitters shown at ease inside their own opulent rooms. It started almost by accident — a 1921 Royal Academy submission of the Double Cube Room at Wilton — and grew into a full exhibition at the Leicester Galleries in 1925, successful enough that dealer Joseph Duveen arranged an American tour: Fifth Avenue, Boston, Pittsburgh, Harrisburg, ending in Palm Beach. By the time Lavery got home, he had more interior commissions than he could take.
His pupil Winston Churchill was the one who first pointed him toward the French Riviera as a winter destination, replacing the Tangier house Lavery had kept for decades. Mrs. Osler was painted there in 1929, at the Osler family's villa in Cap d'Antibes. Janet Winifred Christie Osler was married into a well-connected Canadian family — her husband's uncle, Sir William Osler, was Regius Professor of Medicine at Oxford — and Lavery caught her reclining with an ease that would have been unthinkable in a respectable portrait before the war. A woman lounging that casually on a sofa, painted with that much warmth, was Jazz Age liberation made visible.
Lavery liked the portrait enough to take on a second Osler commission not long after, painting Janet's daughter-in-law the following year.
Sizes & Format
40 × 50 cm / 16 × 20″
Available framed (black, white, wood) or unframed
Print & Frame Details
Archival matte paper, 250gsm (110lb), acid-free and FSC-certified — off-white, uncoated. Framed prints: solid oak or ash wood frame, 20mm thick, with shatterproof protective glazing. Ready to hang, hanging kit included. Unframed prints ship flat.
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