Carl Larsson
A Sweden Museum
Carl Larsson's Oil Paintings
Carl Larsson Museum
May 28, 1853–January 22, 1919. Swedish painter.		 Carl Larsson

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Here are all the paintings of Lemuel Francis Abbott 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
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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