L.S. Lowry RA 1887-1976

L.S. LOWRY - BIOGRAPHY

Childhood and Youth

Laurence Stephen Lowry was the only child born to Robert and Elizabeth Lowry. Robert was an estate agent; Elizabeth a schoolteacher, and budding concert pianist. Lowry later said of his father that he was a "cold fish [...] a queer chap in many ways [...] nothing moved him. Nothing upset him. Nothing pleased him. It was as if he had got a life to get through and he got through it". Lowry's mother, who had set her heart on a daughter rather than a "clumsy boy", even dressed her toddler son in white frocks. Childbirth had been extremely difficult for Elizabeth. It left her so physically and emotionally damaged she was unable to continue her work as a teacher and also lost interest in her piano practice. Though this left her embittered and cantankerous, Lowry remained a devoted son who lived with (and cared for) his mother until her death. While she could be a very cruel woman, Lowry refused to speak ill of her: "My mother was an altogether different kind of person. And she had a wonderful eye for beautiful things [...] Unfortunately, she did not really understand my paintings, but she understood me in her curious way and I can't ask for more than that".

Given his upbringing, it is little surprise that Lowry was a reserved child, with few friends and an underachiever at school. One anecdote tells of how he would hide behind his mother's skirts when she played piano at his Sunday school each week. Elizabeth Lowry was also opposed to the idea that her son might pursue a career as an artist, wishing for him a more conventional working life in business. Lowry nevertheless began taking recreational art lessons with his uncle Tom who was himself a failed Royal Academy student. On seeing his doodles and his drawing of "little ships on the sea" his aunt suggested that he might consider some more formal training by attending art classes. Lowry recalled, "I'd nothing against the idea and I was willing to try anything rather than take the usual humdrum job".

Education and Early Career

Given his poor school record, Lowry's parents willingly paid for their son to attend evening art classes to help him foster his only hobby. There were no thoughts of Lowry becoming a professional painter, however, and he began full-time work as a trainee clerk at a local accounting firm. Nevertheless, Lowry joined an evening class at the Manchester School of Art in earnest in 1905 where he studied life drawing under French Impressionist painter Pierre Adolphe Valette. He recalled, "I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris". The Lowry family were living in the middle-class Manchester suburb of Victoria Park. But, in 1909, due to financial difficulties brought on by Robert Lowry's redundancy, they moved to the less prosperous area of Pendlebury. Curator Helena Roy wrote, "Lowry enjoyed an affluent childhood, but his family experienced a distinct drop in social standing resulting in [their] move to the industrial suburb of Pendlebury. His reaction to his surroundings went from loathing to obsession". She suggests, in fact, that the emotional distance he kept from his subjects could be put down to a "solid Lancashire Conservativism" that perhaps reflected his initial "discomfort with his ambiguous social class".

Now in his early twenties, Lowry began work as a rent collector for the Pall Mall Property Company. According to doctors O'Connell and Fitzgerald (who published a joint paper on the observation that Lowry displayed symptoms of Asperger's) "He was frequently noted to be clumsy, with ill-fitting clothes and an odd appearance. While working as a rent collector, local groups of children often mimicked his unusual gait and posture and made fun of him".
Lowry knew that he was under no time constraints to collect rent, so long as he didn't pocket any of the money for himself. Although he studied periodically at the Royal Technical Institute of Salford (between 1915 and 1925) Lowry honed his style mostly by sketching street scenes as he carried out his day-to-day work duties. His moment of epiphany came one day having just missed a train connection. He recalled, "I saw the Acme Company's spinning mill: the huge, black framework of rows of yellow-lit windows [...] against the sad, damp-charged, afternoon sky. The mill was turning out hundreds of little, pinched figures, heads bent down [...] I watched this scene - which I'd looked at many times without seeing - with rapture".

Mature Period

Lowry began to wonder to himself whether other artists had painted these dour industrial scenes before and, after some investigation, concluded that the "grey and depressing" subject matter meant that only "such a damn fool [as] himself" would be drawn to the topic of Northern Industrialism (and not least "because there's no money in it"). Lowry committed to paint nothing but industrial/urban landscapes. His earliest oil works used a very dark and sombre colour palette. However, Manchester Guardian journalist D. B. Taylor, one of the few commentators to have taken an interest in Lowry at this time, suggested that he try bringing some light to his "dingy" paintings. On Taylor's advice, Lowry altered his style, often using stark white backgrounds, and eliminating shadows altogether. It would prove to be the beginnings of an upturn in Lowry's painting career. He said later of this period, "Occasionally, I would sell a painting just when I was literally fed-up and all hope was gone. I've never been married [...] and so I shared my joys and sorrows with my parents [...] Oh, you should have seen the excitement when I sold a picture. My parents were so happy even if they didn't really understand my work".

Lowry's father passed away from pneumonia in 1932. He left behind sizable debts and also the task of caring for his mostly bedridden mother, who suffered from neurosis and depression. Lowry's mother became physically and emotionally dependent on her son who found time to paint (largely from memory) only after she had fallen asleep. According to O'Connell and Fitzgerald, "Lowry painted late into the night after his day's work at the office and disliked it when this routine was interrupted". They added that "When asked about the fact that he never married, he replied: 'I was obsessed with painting; I couldn't have gone on as I did and been fair to a wife. When I painted seriously I painted not from ten till four, you know, but from ten till about twelve or two o'clock in the morning. You couldn't do that to be fair to the wife'".

Lowry exhibited works in galleries in Canada, France, and Northern England and held his first one-man exhibition, at the Reid and Lefevre Gallery in London in 1939. Although the Lefevre exhibition significantly increased Lowry's profile - he had by now sold some sixty pieces in total with one being bought by The Tate Gallery - many were less than enthusiastic about his urban landscapes. One critic wrote in the Apollo art magazine that Lowry was "a self-taught painter, a Sunday painter, a primitive," while a critic for The Spectator wrote "I resent the Lowry automaton so fiercely and I am inclined to think that some part of (his) convention rises out of his ability to draw the human figure". Likewise, a critic wrote in The Times that although they found Lowry's work to be original, it was also "narrow and repetitive, with the human figures appearing like insects". Lowry's response to such criticism was rather indifferent: "Let people have their opinions. If they don't like my work, they don't".

In 1938, his mother's health in irreversible decline, Lowry produced a small number of what are known as his despairingly expressionistic "red-eye" portraits. In October 1939, just as he was starting to gain serious recognition, his beloved mother passed away. Lowry was so devastated at his loss (to which the "red-eye" portraits attest) he contemplated suicide. He said at the time, "I have no family, only my studio, Were it not for my painting, I couldn't live. It helps me forget that I am alone".

At the outbreak of World War Two, Lowry volunteered as a fire watcher patrolling the rooftops of department stores in Manchester before, in 1943, becoming an official war artist. By the end of the war he was starting to receive serious recognition and accepted an honorary Master of Arts degree from the University of Manchester in 1945. In the wake of his mother's death, Lowry had neglected the upkeep of the family home, which was finally repossessed by the landlord in 1948. By this point, however, Lowry was financially secure and had earned enough from sales of his paintings to purchase a property known as "The Elms" in the leafy district of Mottram in Longdendale. He was able to set up a studio in the house but found himself less than enamoured with his new surroundings: "It does nothing for me. I know there's plenty to paint here but I haven't the slightest desire to work locally" he said. His new-found wealth meant that he was able to start collecting works by artists he admired, most notably the Pre-Raphaelite , Dante Gabriel Rossetti. Lowry, who said of the artist, "there is no one like Rossetti, his pictures are quite wonderful", even started a "Rossetti Society" for which he acted as president.

In 1952 income from his art was enough he was able to resign from the Pall Mall Property Company and, in 1953, he accepted the role of Official Artist at the coronation of Queen Elizabeth II. Although still somewhat reclusive, he did start to build and maintain a number of important artistic friendships, including Harold Riley (a painter from Salford known for his works that focus on sporting events), and the Cumberland artist Sheila Fell, who he met in November 1955, and called "the finest landscape artist of the mid-20th century". Indeed, he supported Fell's career by purchasing a number of her paintings, which he then donated to local museums.
By 1955 Lowry's standing had risen to such a degree he was elected as an Associate Member of the Royal Academy of Arts, and a full Royal Academician in 1962. Already an honorary Doctor of Letters at the University of Manchester (awarded in 1961), he received the same accolade from the Universities of Salford and Liverpool (both in 1975) and served as a visiting tutor at the prestigious Slade School of Fine Art. However, Lowry also holds some kind of record for the most honours declined, including an appointment to the Order of the British Empire twice (in 1961 and 1965), a knighthood in 1968, and appointments to the Order of the Companions of Honour twice (in 1972 and 1976). Explaining his decision to decline this national recognition he said "There seemed little point, once mother was dead" and explained to the British Prime Minster, Harold Wilson, "All my life I have felt most strongly against social distinction of any kind".

Late Period and Death

In 1966, Lowry said in an interview "I do and I don't enjoy the life of a recluse [...] I'm getting no younger. I'm fed-up to tell the truth. I feel really that I've done the job I set out to do of putting the industrial scene on the map as best I can. Now I want to get out of it. I should have got out of it in 1948, but people wouldn't let me - 'You must paint more pictures.' I was a damn fool to listen [...] I've never searched for all this so-called success. There's no money in painting - the tax-man takes it all".

In the final years of his life, Lowry regularly frequented local football matches as a fan of Manchester City (Lowry's ties to the club were acknowledged in 2016 when the club's owners gifted an unspecified artwork by Lowry to their outgoing Head Coach, Manuel Pellegrini) and took annual holidays to the Seaburn Hotel in Sunderland, where he painted beach and port scenes, as well as scenes of nearby coal mines. Many of these pieces were executed in pencil or charcoal on napkins or scrap paper, and then gifted to passers-by, who had no idea that these drawings would soon be of value. He also produced his series of uncharacteristic fetishistic works, known as "the Mannequin Sketches" or "Marionette Works", which remained hidden from the public until shortly after his death. The art critic Philip Hensher suggested that once they came to light "the new pictures actually enhance[d] Lowry's reputation".

Carol Ann Lowry (no relation), was a thirteen year-old girl who, prompted by her mother, had written to Lowry in 1957 asking for advice on how to become an artist. Some months later, Lowry himself announced himself unexpectedly at Carol Ann's home in Heywood, Lancashire. Lowry took young Carol Ann under his wing, taking her to galleries, restaurants, on seaside vacations, and even paid for her convent education and art classes at Rochdale College of Art. She later described him as "wise, fascinating and interesting" and referred to him affectionately as "Uncle Laurie". Carol Ann said in an interview many years later that she could not "help but feel it was fate that brought us together, that enabled each of us to fulfil a need in the other". She added that "Very much later, when I was grown up, people put it into my head that he might have felt differently towards me, as a man feels towards a woman, but I absolutely cannot believe it to have been so. I don't think there was ever a physical thing for him, with any Woman". Lowry continued to correspond with Carol even after her marriage (although he didn't attend the wedding).

Lowry died of pneumonia at the Woods Hospital in Glossop, Derbyshire in 1976, not long after a stroke he had suffered in his own home. He was buried in a plot next to his parents in the Southern Cemetery in Manchester. At the time of his death, Lowry's estate was valued at just under £300,000, which he bequeathed, together with a large number of paintings and drawings - including some by Rossetti - to Carol Ann Lowry.

The Legacy of L. S. Lowry

In 1976, shortly after his death, a career retrospective of Lowry's work was staged at the Royal Academy. It drew more than 350,000 visitors; an all-time attendance record for a twentieth century artist at the Academy. The exhibition divided critics, however. Some praised him as a significant artist with a unique vision; others dismissing him as solely a social commentator. What is not in doubt is that Lowry has achieved great popularity with the British public. As Chris Stephens, head of display at Tate Britain, put it, "Lowry is a victim of his fan base. The same qualities that make him popular are those that cause him to be less seriously celebrated by the artistic establishment".

Whatever the critical reservations, there can be no disputing the fact that Lowry has entered the hearts and minds of the British public. Lowry's appeal was confirmed shortly after his death when a pop song dedicated to his memory, Matchstalk Men and Matchstalk Cats and Dogs (Lowry's Song) (written and performed by the folk duo Brian and Michael) reached No. 1 in the music charts, where it reigned for three weeks. In 1987, to mark the centenary of Lowry's birth, the City of Salford and the BBC jointly commissioned a dance performance, titled A Simple Man. Aired by the BBC in 1988, it won the BAFTA (British Association of Film and Television Art) award for the best arts program of 1988. In 2000, a dedicated Lowry art gallery opened in Salford Quays, and is home now to over fifty of his paintings and close to three hundred drawings. The feature film Mrs. Lowry and Son followed in 2019 to fine critical notices. The film explored the central relationship in Lowry's life with the mother who he always thought he had failed as a son. And it was this lifetime of loneliness, regret and solitude that has helped breath added pathos into his vision of industrial northern England.

Lowry Chronology

1887
Laurence Stephen Lowry is born in Stretford, Manchester to middle class parents
Robert Lowry, a clerk, and his wife Elizabeth.

1898
The Lowry family move to the respectable leafy neighbourhood of Victoria Park. Home
to Manchester's intelligentsia, citizens include artist Ford Madox Brown and the
Pankhurst family.

1904
Lowry becomes a clerk in the firm of Thos. Aldred & Son, Chartered Accountants in
Manchester.

1905
Lowry attends drawing and painting classes at the Municipal College of Art,
Manchester, where he studied under the newly appointed French tutor Adolphe
Valette: I cannot over-estimate the effect on me at the time of the coming into this
drab city of Adolphe Valette, full of the French Impressionists, aware of everything
that was going on in Paris. He had a freshness and a breadth of experience that
exhilarated his students.1907
Lowry works as a claims clerk with the General Accident, Fire & Life Assurance
Corporation in Manchester. He begins private art classes with the American portrait
painter William Fritz.
Sees a large exhibition of Impressionist Paintings in Manchester including works by
Monet, Morisot, Pissarro, Renoir, Degas and Manet.

1909
Forced by financial circumstances, the Lowry family move from the relative opulence
of Victoria Park to the industrial area of Station Road, Pendlebury in Salford. For the
first time Lowry is able to walk from his home and encounter crowded streets
dominated by cotton mills or coal mines, or explore open countryside or farmland
around Swinton and Clifton.
Lowry begins part time life drawing classes at Salford School of Art.

1910
Lowry is made redundant by the General Accident, Fire & Life Assurance Corporation.
He is employed as a rent collector and clerk by the Pall Mall Property Company, Ltd,
collecting rents from many of the inner city districts - a job he continues until his
retirement in 1952.
Lowry sees the play Hindle Wakes by Stanley Houghton. A gritty working class story
set in the Lancashire town of Hindle, Lowry recalls this being the first time he saw
beauty in the industrial environment.

1919
Exhibits three paintings at the Annual Exhibition, Manchester Academy of Fine Arts,
Manchester.

1921
Exhibition of Pictures by Tom H. Brown, Laurence Stephen Lowry, Roland Thomasson
held at the offices of architect Rowland Thomasson at 87 Mosely Street Manchester. In
his first public exhibition, Lowry exhibits twenty-five oils and two pastels, including
Coming Out of School priced £10 10s, A Hawker's Cart £10 10s and Bad News £18 18s.
None of Lowry's pictures sell, but it attracts attention from the press.

1926
Manchester Art Gallery purchase An Accident 1926.

1927
Exhibits in Young Artists, Royal British Artists Galleries, London. Organised by the Daily
Express, the exhibition features Lowry's Coming out of School 1927.

1928 - 1938
Lowry regularly exhibits at the Paris Salon d'Automne and the Artistes Francais.

1932
Death of Lowry's father Robert.

1934
Elected a member of the Royal Society of British Artists.
Exhibits alongside Lucien Pissarro, Stanley Spencer and Walter Sickert at the Royal
Museum and Art Galleries, Salford.

1939
First solo exhibition in London at Alex Reid & Lefevre Gallery. The show attracts a large
number of reviews in the national press and a large number of sales. In the
accompanying exhibition catalogue, the critic Eric Newton writes Like Cezanne he has
gone straight to lifehis only concern as an artist is to translate his attitude to it
into paint. He belongs to no school, but he may ultimately be the founder of one
.


The Tate Gallery purchase Dwellings, Orsdall Lane, Salford 1927 for £15. Lowry is so
delighted with the acquisition he donates his preliminary drawing for the work to the
gallery as a gift.
Death of mother Elizabeth.
Gives a talk to the Artists' International Association titled 'Painting in Pendlebury'.

1940
During World War II works as a firewatcher on the roofs of Manchester's large
department stores, giving him aerial views of the city much used in his paintings.

1942
Appointed official war artist.

1943
Paintings by Josef Herman and L. S. Lowry, Alex Reid & Lefevre Gallery, London.

1945
Paintings by L. S. Lowry, Lefevre Gallery, London. Almost a sell-out, the show elicits a
barrage of criticism in the national press. The Manchester Guardian review, Any
doubts London may have had about Mr. Lowry's stature among contemporary painters
should be dispelled by the present exhibition. Here is a completely independent artist
with a subject matter of his own and a style which has nothing to do with contemporary
fashion, and will therefore, not easily go out of fashion
. Strange as is his vision of
industrial Lancashire, it is authentic
.

1947
The first reproduction of Lowry's work is released. Punch and Judy 1947 is produced
on cheap post-war paper in a large edition of 6,000 and sold modestly for about £3.

1948
Leaves Salford and after a six month stay in Swinton, moves to Mottram in Longendale
in Cheshire near the Pennine moors. Mottram was not an industrial area and Lowry
later made great claims to dislike both his house and area.
Eric Newton gives a radio talk on Lowry for the BBC Home Service (now Radio 4).

1949
Exhibits alongside John Minton, Michael Rothenstein, Julian Trevelyn, Fred Uhlman
and Carel Weight at the Artist's International Association.
Coming out of School 1927 is presented to the Duveen Paintings Fund. Inaugurated by
Lord Duveen to purchase works by contemporary British artists for presentation to
museums and touring exhibitions.

1950
Exhibits in Painters' Progress: The Live's Work In Brief of some Living British Painters,
Whitechapel Art Gallery, London.
Commissioned by the Arts Council to produce a large painting for the Festival of
Britain exhibition 60 Paintings for 51. Lowry produces Industrial Landscape: River
Scene
, 1950 (collection New Walk Gallery, Leicester). The exhibition is organised to
encourage public collections to purchase works that reflect the British way of life.

1951
Retrospective Exhibition of Works by L. S. Lowry, MA, RBA, Art Gallery, Salford. The
Manchester Guardian sum up Lowry's success Lowry is now universally considered to
be a real minor artist.
1952
Commissioned by the Medical Committee of Ancoats Hospital in memory of the late
surgeon Peter McEvedy. In Ancoats Hospital Outpatient's Hall 1952, Lowry chooses to
depict the inhabitants of the waiting room rather than the exterior of the hospital.
The first monograph on the artist The Discovery of L. S. Lowry by Maurice Collis is
published. Here Lowry is promoted as one of the originals of modern art, a native
genius whose work lay within a tradition of the eccentric outsider.
Lowry retires with a full pension from The Pall Mall Property Company Ltd.
Commercially successful and having more freedom to travel, he spends time in the
North East and paints in Wales and Cornwall.

1955
Paintings and Drawings by L. S. Lowry, Josef Herman, Pottery Nehemiah Azaz,
Wakefield City Art Gallery, Wakefield. Lowry is represented by 54 works.

1956
Exhibition of realist pictures selected by John Berger: "Looking Forward", South London
Gallery, London. The show includes forty artists including Josef Herman, Carel Wright,
Ruskin Spear and Edward Middleditch, representing aspects of realist painting.

1957
BBC documentary directed by John Reid brings Lowry to a wider audience. 2 million
viewers.

1958
Arts Council Collection of Paintings and Drawings: Part IV since the War, Arts Council of Great Britain,
London. Michael Andrews; Frank Auerbach; Francis Bacon; Lucian Freud;
Derrick Greaves; Adrian Heath; Josef Herman; Roger Hilton; Edward Middleditch;
Sidney Nolan; Victor Pasmore; William Scott.
A permanent Lowry Gallery is set up at Salford Art Gallery.

1959
L. S. Lowry Retrospective Exhibition, City of Manchester Art Gallery, Manchester.
Includes seventy of Lowry's paintings and forty-three drawings.

1962
Lowry elected a Royal Academician.
The Works of L. S. Lowry, ARA, Graves Art Gallery, Sheffield. Exhibition of 96 oils and 73
watercolours and drawings.

1964
L. S. Lowry, Abbott Hall Gallery, Kendal.
A Tribute to Lowry, Monks Hall Museum, Eccles. Marking Lowry's 77th birthday.
Kenneth Clark, Ernst Gombrich, Henry Moore, Josef Herman, Victor Pasmore and
others donate work to the exhibition or write commemorative appreciations.
Lowry purchases Dante Gabriel Rosetti's portrait of Jane Morris Prospence 1882 for
5,000 guineas

1965
Receives the Freedom of the City of Salford.

1966
Major touring exhibition of Lowry's work organised by the Arts Council of Great Britain

1967
Coming out of School 1927 is reproduced on a postage stamp by the Post Office.

1968
The Loneliness of L. S. Lowry, Crane Kalman Gallery, London.

1973
L. S. Lowry: An Exhibition to celebrate the 125th Anniversary of the Liverpool Trades
Council
, Walker Art Gallery, Liverpool.

1975
Lowry receives two honorary degrees from the University of Salford and University of
Liverpool.

1976
Lowry dies on 23 February at Woods Hospital, Glossop, aged 88, following an attack of
pneumonia.
L. S. Lowry R. A., The Royal Academy of Arts, London. This exhibition featured 328
works, the largest to date.

L.S. Lowry RA

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L.S. Lowry RA - Lady Standing

L.S. Lowry

Lady Standing

Oil on Board

12½ x 7 ins (31.75 x 17.78 cms)

P.O.A.

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L.S. Lowry RA - Men at a Meeting

L.S. Lowry

Men at a Meeting

Pencil drawing

14¼ x 10¼ ins (36.20 x 26.04 cms)

P.O.A.

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L.S. Lowry RA - Middlesbrough Town Hall

Pencil drawing

9¾ x 13¾ ins (24.77 x 34.92 cms)

P.O.A.

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L.S. Lowry RA - On The Clyde

L.S. Lowry

On The Clyde

Oil on Board

10½ x 14½ ins (26.67 x 36.83 cms)

P.O.A.

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L.S. Lowry RA - River Irwell From The Adelphi

Pencil drawing

10 x 14 ins (25.40 x 35.56 cms)

P.O.A.

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L.S. Lowry RA - Standing Figure

L.S. Lowry

Standing Figure

Pencil drawing

13 x 9¾ ins (33.02 x 24.77 cms)

P.O.A.

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L.S. Lowry RA - Berwick-upon-Tweed Harbour

Pencil drawing

11¾ x 16½ ins (29.85 x 41.91 cms)

Reserved Reserved

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L.S. Lowry RA - A Cliff Top

L.S. Lowry

A Cliff Top

Oil on Board

10 x 14 ins (25.40 x 35.56 cms)

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L.S. Lowry RA - Blaenau Ffestiniog

L.S. Lowry

Blaenau Ffestiniog

Pencil drawing

10 x 13¾ ins (25.40 x 34.92 cms)

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L.S. Lowry RA - Child with Doll

L.S. Lowry

Child with Doll

Pencil drawing

16 x 11¼ ins (40.64 x 28.58 cms)

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L.S. Lowry RA - Church Spire

L.S. Lowry

Church Spire

Pencil drawing

14¾ x 9¾ ins (37.47 x 24.77 cms)

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L.S. Lowry RA - Church at Rockcliffe

Pencil drawing

6¼ x 8 ins (15.88 x 20.32 cms)

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L.S. Lowry RA - Cottage on Roe Green

Pencil drawing

8¼ x 5 ins (20.96 x 12.70 cms)

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L.S. Lowry RA - Group of Children

L.S. Lowry

Group of Children

Pencil drawing

10 x 14 ins (25.40 x 35.56 cms)

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L.S. Lowry RA - Head of a Woman with Side Buns

Pencil drawing

22 x 15 ins (55.88 x 38.10 cms)

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L.S. Lowry RA - Hulme Place Salford

L.S. Lowry

Hulme Place Salford

Pencil drawing

10 x 14 ins (25.40 x 35.56 cms)

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L.S. Lowry RA - In the National Gallery, One Sunday Afternoon

Pencil drawing

16½ x 11¾ ins (41.91 x 29.85 cms)

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L.S. Lowry RA - Industrial Lanscape

L.S. Lowry

Industrial Lanscape

Pencil drawing

10½ x 12½ ins (26.67 x 31.75 cms)

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L.S. Lowry RA - Industrial Scene with Figures

Oil on Board

6 x 4 ins (15.24 x 10.16 cms)

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L.S. Lowry RA - Lake Scene - Buttermere

Pencil drawing

5 x 6¾ ins (12.70 x 17.15 cms)

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L.S. Lowry RA - Life Drawing of a Man

Pencil drawing

22¾ x 15 ins (57.79 x 38.10 cms)

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L.S. Lowry RA - Lorry near Bowes

L.S. Lowry

Lorry near Bowes

Pencil drawing

9¾ x 13¾ ins (24.77 x 34.92 cms)

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L.S. Lowry RA - Man Looking Out to Sea

Oil on Board

14 x 10 ins (35.56 x 25.40 cms)

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L.S. Lowry RA - Maryport

L.S. Lowry

Maryport

Pencil drawing

10 x 13¾ ins (25.40 x 34.92 cms)

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L.S. Lowry RA - Mount with Figures

L.S. Lowry

Mount with Figures

Pencil drawing

16 x 11¾ ins (40.64 x 29.85 cms)

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L.S. Lowry RA - Newbiggin-by-the Sea

Oil on canvas

18 x 22 ins (45.72 x 55.88 cms)

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L.S. Lowry RA - Old House

L.S. Lowry

Old House

Pencil drawing

9¾ x 13¾ ins (24.77 x 34.92 cms)

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L.S. Lowry RA - On The Canal Clifton

Pastel

11 x 15 ins (27.94 x 38.10 cms)

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L.S. Lowry RA - Portrait of a Woman

L.S. Lowry

Portrait of a Woman

Pencil drawing

15 x 13 ins (38.10 x 33.02 cms)

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L.S. Lowry RA - Preparatory sketch for Burford Church

Pencil drawing

7 x 5¼ ins (17.78 x 13.34 cms)

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L.S. Lowry RA - Salvation Army Girl

L.S. Lowry

Salvation Army Girl

Pencil drawing

7¼ x 4¾ ins (18.42 x 12.07 cms)

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L.S. Lowry RA - Seascape

L.S. Lowry

Seascape

Oil on canvas

8 x 12 ins (20.32 x 30.48 cms)

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L.S. Lowry RA - Smith of Newbiggin

L.S. Lowry

Smith of Newbiggin

Pencil drawing

5 x 3¾ ins (12.70 x 9.53 cms)

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L.S. Lowry RA - Standing Girl in High Heels

Oil on Board

15 x 5¾ ins (38.10 x 14.61 cms)

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L.S. Lowry RA - Steeple

L.S. Lowry

Steeple

Pencil drawing

9½ x 7 ins (24.13 x 17.78 cms)

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L.S. Lowry RA - Street Scene With Figures

Graphite

5 x 7 ins (12.70 x 17.78 cms)

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L.S. Lowry RA - Study For The River Irwell

Pencil drawing

13 x 19¾ ins (33.02 x 50.17 cms)

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L.S. Lowry RA - The Coal Boat

L.S. Lowry

The Coal Boat

Oil on Board

5 x 9 ins (12.70 x 22.86 cms)

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L.S. Lowry RA - The Ferry Boat at Knott End

Oil on Board

6¼ x 8½ ins (15.88 x 21.59 cms)

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L.S. Lowry RA - The Ferry Slip at Knott End on Sea

Pencil drawing

10 x 13½ ins (25.40 x 34.29 cms)

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L.S. Lowry RA - The Half Witted Child

Pencil drawing

14¼ x 10¼ ins (36.20 x 26.04 cms)

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L.S. Lowry RA - The Lane

L.S. Lowry

The Lane

Pencil drawing

9¾ x 13¾ ins (24.77 x 34.92 cms)

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L.S. Lowry RA - Two Heads

L.S. Lowry

Two Heads

Oil on canvas

12 x 16 ins (30.48 x 40.64 cms)

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Featured Artist

L.S. LOWRY (1887-1976)

This is a selection of the L.S. Lowry works we have for sale now and have sold recently. Contact the gallery for the availability of other Lowry paintings and drawings.

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General Information

Opening Times
Tues - Sat 10.00am - 5.00 pm
All other times by appointment

Contact

Clark Art Ltd
155, Ashley Road, Hale
Cheshire, WA14 2UW

Tel: +44 (0)161 929 5150
Mobile: +44 (0)7973 755680
Email: art@clark-art.co.uk