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  • Under the Trees, Ranelagh framed print in a black frame leaning against a white plaster wall on oak floorboards in morning light
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  • Detail of Under the Trees, Ranelagh by John Lavery showing the seated woman in white and dappled water
  • Under the Trees, Ranelagh by John Lavery in a black frame above a low oak sideboard in a bright room
  • Under the Trees, Ranelagh by John Lavery in an oak frame above a cream sofa in a neutral living room
  • Under the Trees, Ranelagh by Sir John Lavery, c.1898, woman in white seated under trees by a river
  • Under the Trees, Ranelagh by John Lavery in a black frame
  • Under the Trees, Ranelagh by John Lavery in a light oak frame
  • Sir John Lavery Under the Trees, Ranelagh unframed print, lady on a chair on green grass by water
  • Under the Trees, Ranelagh by John Lavery in a textured white frame
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Under the Trees, Ranelagh (c.1898) – Sir John Lavery Art Print

Under the Trees, Ranelagh (c.1898) – Sir John Lavery Art Print

€60,00 EUR
€60,00 EUR
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John Lavery

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By 1898, Lavery's move from Glasgow to London had become permanent — he'd been borrowing a Westminster studio from a fellow painter, and that arrangement couldn't last. Working outdoors meant finding somewhere quieter than London's crowded central parks, and Ranelagh Gardens — now part of the Royal Hospital Chelsea grounds, a short cab ride from his new home at Cromwell Place — became his favourite sketching ground.

This study is the first in a series Lavery painted there, all featuring a hammock slung between the trees as a symbol of summer ease. The hammock here hasn't been unfurled yet — his model, likely his regular sitter Mary Auras, has set her parasol beside her chair and her bonnet on the grass, and turned to look back at the artist sketching her. Studying the light on the pond that day, Lavery's mind reportedly drifted back to his early years painting at Grez-sur-Loing, where he'd first learned to pose figures by water.

Sizes & Format

  • A4 (21 × 29.7 cm) · A3 (29.7 × 42 cm) · A2 (42 × 59.4 cm) · A1 (59.4 × 84.1 cm)
  • 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 up to A4 ship flat; larger sizes ship rolled in a protective tube.

Free Worldwide Shipping

Framed prints are packed with protective corners and wrap, boxed with reinforced edges, and braced with internal supports for extra rigidity (max 3 frames per package). Every order ships free, made to order and delivered from the hub closest to you: Ireland 3–7 business days · UK 4–8 · USA 5–10 · Canada 6–12 · Australia 7–14.

Framed in black, natural wood or white, or unframed. Printed on archival matte paper and made to order.

Frame options and sizes
Frame finishes
  • Black — ash
  • Natural wood — oak
  • White — ash
All frames are 20 mm deep, made from responsibly sourced timber.
Glazing
Shatterproof clear acrylic — lighter than glass.
Paper
Archival matte paper — uncoated, off-white, acid-free and FSC-certified. No gloss, no laminate.
Sizes
  • A4 21x29.7 cm / 8x12″ — Unframed, black, natural wood, white
  • A3 (29.7 x 42 cm) — Unframed, black, natural wood, white
  • A2 (42 x 59.4 cm) — Unframed, black, natural wood, white
  • A1 (59.4 x 84.1 cm) — Unframed, black, natural wood, white
Hanging
Framed prints arrive ready to hang, with a hanging kit for portrait or landscape. Unframed prints arrive without a frame — up to A4 ship flat, larger sizes ship rolled in a protective tube.
Care
For indoor use. Keep out of direct sunlight and away from damp. Dust with a dry cloth; wipe the acrylic with a soft, slightly damp cloth.
Shipping
Free worldwide shipping. Made to order and sent from the production hub closest to you — Ireland 3–7 business days, UK 4–8, USA 5–10, Canada 6–12, Australia 7–14. Framed prints are boxed with protective corners and internal supports.
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