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      Thomas Lawrence, 1769 – 1830

      The 100 Most Famous Thomas Lawrence Paintings, Ranked

      The best-loved painting by Thomas Lawrence is Satan Summoning His Legions (1797). John Philip Kemble (1757–1823), as Coriolanus (1798) and Lord Granville Leveson Gower, later 1st Earl Granville (1809) come next among the canvases readers know best. Our catalogue holds 466 works by Thomas Lawrence: here are the 100 most famous, each with its year, its museum and what makes it memorable.

      Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated október 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.

      Portrait of Thomas Lawrence
      Thomas Lawrence · 1769 – 1830
      Born · died
      1769 – 1830, Bristol
      Movement
      Romanticism
      Works in our catalogue
      466
      Most famous
      Satan Summoning His Legions (1797)
      Most works at
      Royal Collection

      Top 10 Thomas Lawrence paintings: the canvases everyone knows

      Satan Summoning His Legions (1797) by Thomas Lawrence
      1

      Satan Summoning His Legions

      1797 · Oil On Canvas

      In the vast, dramatic expanse of Sir Thomas Lawrence’s 1797 masterpiece, Satan Summoning His Legions, viewers are transported into the heart of a cosmic rebellion. This monumental oil on canvas, measuring an imposing 432 x 274 cm, serves as a breathtaking window into the depths of Miltonic epic. The painting captures the precise moment of transition described in John Milton’s Paradise Lost—the chilling command to "Awake, arise, or be for…

      John Philip Kemble (1757–1823), as Coriolanus (1798) by Thomas Lawrence
      2

      John Philip Kemble (1757–1823), as Coriolanus

      1798 · Oil On Canvas · Guildhall Art Gallery, London

      To stand before this portrait of John Philip Kemble as Coriolanus is to step directly into the tempestuous heart of the late eighteenth century. Sir Thomas Lawrence has captured not merely a likeness, but an overwhelming emotional state—a moment suspended between public grandeur and private turmoil. The composition immediately draws the viewer into its dramatic embrace, dominated by the figure shrouded in shadow. It is a masterclass in Romantic sensibility,…

      Lord Granville Leveson Gower, later 1st Earl Granville (1809) by Thomas Lawrence
      3

      Lord Granville Leveson Gower, later 1st Earl Granville

      1809 · Oil On Canvas · Yale Center for British Art, New Haven

      In the sweeping annals of British portraiture, few eras capture the intoxicating blend of aristocratic poise and romantic idealism quite like the Regency period. Sir Thomas Lawrence’s portrait of Lord Granville Levan Gower, completed between 1804 and 1809, serves as a breathtaking window into this gilded age. As a quintessential emblem of high society, the painting transcends a mere physical likeness; it is a meticulously crafted tableau that speaks to…

      William van Mildhert (1765–1836), Durham püspöke (1826–1836) (1829) by Thomas Lawrence
      4

      William van Mildhert (1765–1836), Durham püspöke (1826–1836)

      1829 · Akril vászonon · Auckland Castle, Auckland

      William van Mildhert (1765–1836), Bishop of Durham (1826–1836) – Egy Elegáns Régészeti Ünnepélyes Tábla A William van Mildhert életét és művészetét, Sir Thomas Lawrence nagy mester alkotása révén ismerjük meg. Ez nem egy egyszerű portré, hanem egy időszak ikonikus képe, amely tükrözi az angol Régész Kor széleskörű kulturális és művészi világát. A tábla 1829-ben született és őrzött közös ingatlanként Durham Egyetem területén található meg. A kép egy nagy előadású műalkotás,…

      John, Count Capo d'Istria (1776-1831) (1819) by Thomas Lawrence
      5

      John, Count Capo d'Istria (1776-1831)

      1819 · Oil On Canvas · Royal Collection, London

      In the sweeping landscape of early 19th-century portraiture, few works capture the intersection of political gravity and aristocratic grace as masterfully as Sir Thomas Lawrence’s 'John, Count Capo d'Istria (1776-18ABS)'. Painted in 1819, this exquisite oil on canvas serves as a profound window into an era defined by shifting borders and the rise of influential statesmen. The subject, John, Count Capo d'Istria, emerges from the frame not merely as a…

      The 3rd Marquess of Hertford (1823) by Thomas Lawrence
      6

      The 3rd Marquess of Hertford

      1823 · Painting · Wallace Collection, London

      To stand before this portrait of The 3rd Marquess of Hertford is to step directly into the polished drawing rooms and sophisticated salons of early nineteenth-century England. Painted in 1823, this work captures not merely a likeness, but an entire epoch—the height of Regency elegance and aristocratic confidence. Sir Thomas Lawrence, master chronicler of the British elite, has rendered the Marquess with a masterful blend of formality and undeniable vitality.…

      LA COMTESSE D'INCHIQUIN by Thomas Lawrence
      7

      LA COMTESSE D'INCHIQUIN

      Oil On Canvas · Louvre Múzeum, Párizs

      In this portrait, we encounter the Comtesse d'Inchiquin, captured in a moment of quiet composure. The sitter is presented in a three-quarter view, her presence defined by an air of dignity and refinement that speaks to her social standing. There is a certain stillness here; she sits facing us slightly, her hands resting upon the soft folds of a draped garment or perhaps the arm of a chair. The composition…

      William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806) (1803) by Thomas Lawrence
      8

      William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806)

      1803 · Oil On Canvas · University College, Oxford

      In the grand tapestry of British portraiture, few works capture the intersection of political gravity and artistic elegance as profoundly as Sir Thomas Lawrence’s 1803 masterpiece, William Windham. This portrait is far more than a mere recording of a statesman's features; it is a compelling visual narrative of power, intellect, and the pervasive influence of aristocratic patronage during the Napoleonic era. As the viewer encounters Windham, they are met with…

      More Thomas Lawrence canvases, 11 to 100

      George IV (1822) by Thomas Lawrence
      #13

      George IV

      1822 · Wallace Collection

      To stand before Sir Thomas Lawrence’s “George IV” is to be transported directly into the opulent drawing rooms of early nineteenth-century England, where every brushstroke whispers of a…

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      Queen Charlotte (1789) by Thomas Lawrence
      #14

      Queen Charlotte

      1789 · National Gallery

      In the grand tapestry of British portraiture, few works capture the delicate balance between sovereign authority and human vulnerability as exquisitely as Sir Thomas Lawrence’s 1789 masterpiece, Queen…

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      Robert Southey (1774–1843) (1810) by Thomas Lawrence
      #15

      Robert Southey (1774–1843)

      1810 · Llyfrgell Genedlaethol Cymru / The National Library of Wales

      Robert Southey és Thomas Lawrence Együtt – Egy Regency Szégyenének Megköszönhető Érzelmi Utazás A XVIII századi brit művészet egyik legkiemelkedőbb alakja, Sir Thomas Lawrence nem csak egy kiváló…

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      Portrait of David Lyon (1825) by Thomas Lawrence
      #16

      Portrait of David Lyon

      1825 · Thyssen-Bornemisza Múzeum

      Sir Thomas Lawrence's “Portrait of David Lyon,” completed in 1825, stands as a quintessential emblem of the English Romantic era’s preoccupation with aristocratic grandeur and psychological nuance. Currently…

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      A Gypsy Girl (1794) by Thomas Lawrence
      #21

      A Gypsy Girl

      1794

      In 1794, Thomas Lawrence painted A Gypsy Girl. This work belongs to the Romanticism movement of the 19th Century. The canvas captures a portrait of a woman with…

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      Admiral John Markham (1793) by Thomas Lawrence
      #25

      Admiral John Markham

      1793 · Yale Center for British Art

      This oil on canvas portrait, executed around 1793, depicts Admiral John Markham in a bust-length composition. The subject is positioned slightly off-center, facing the viewer with a steady,…

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      Sir Alexander Mackenzie (1800) by Thomas Lawrence
      #26

      Sir Alexander Mackenzie

      1800 · Kanadai Nemzeti Galéria

      This oil on canvas portrait presents Sir Alexander Mackenzie, a figure of significant historical weight. Painted by Thomas Lawrence in 1800, the work captures the likeness of a…

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      John Bradburne (d.1809 ) (1800) by Thomas Lawrence
      #27

      John Bradburne (d.1809 )

      1800 · Walker Art Gallery

      Sir Thomas Lawrence’s “John Bradburne,” painted in 1800, is more than just a likeness; it's a carefully constructed embodiment of Regency-era dignity and restrained power. This portrait, measuring…

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      MRS ISAAC CUTHBERT by Thomas Lawrence
      #28

      MRS ISAAC CUTHBERT

      Louvre Múzeum

      Sir Thomas Lawrence's "Mrs. Isaac Cuthbert" is more than just a portrait; it’s a meticulously crafted window into the opulent world of Regency England. Painted around 1795, this…

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      Ewan Law, M.P. (1788) by Thomas Lawrence
      #29

      Ewan Law, M.P.

      1788 · Detroit Institute of Arts

      The gaze of Ewan Law, M.P., meets the viewer from within a frame that captures a specific moment of political and social standing. This portrait, titled Ewan Law,…

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      Sir Samuel Romilly (1808) by Thomas Lawrence
      #31

      Sir Samuel Romilly

      1808 · National Portrait Gallery

      In this bust-length portrait of Sir Samuel Romilly, Thomas Lawrence presents an elderly gentleman with a quiet, commanding presence. The subject is positioned slightly off-center, his body turned…

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      The Marchioness of Sutherland (1816) by Thomas Lawrence
      #34

      The Marchioness of Sutherland

      1816 · The Walters Art Museum

      Sir Thomas Lawrence’s “The Marchioness of Sutherland,” painted in 1816, is more than just a portrait; it's a meticulously crafted window into the opulent world of early 19th-century…

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      George IV (1762–1830) (1830) by Thomas Lawrence
      #35

      George IV (1762–1830)

      1830 · Walker Art Gallery

      In this formal portrait, Sir Thomas Lawrence captures the essence of George IV through a lens of neoclassical majesty. The composition is centered on the figure of the…

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      Portrait of a Lady (1800) by Thomas Lawrence
      #36

      Portrait of a Lady

      1800 · Wallace Collection

      Portrait of a Lady is an oil on canvas painting by the artist Thomas Lawrence. The work is dated 1790. This portrait depicts a single female subject, presented…

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      Lady Caroline Lamb (d.1828) (1827) by Thomas Lawrence
      #37

      Lady Caroline Lamb (d.1828)

      1827 · Bristol Museum - Art Gallery

      Explore the life & art of Thomas Sully (1783-1872), a British-American portrait painter famed for his Romantic style. Discover portraits of Jefferson, Adams, Lafayette & 'Passage of the…

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      Thomas Lawrence's canvases, period by period

      What Thomas Lawrence painted most

      The four subjects that return most often on these canvases, each with its best-loved example.

      Where Thomas Lawrence's canvases hang

      The 8 museums that hold the most of the paintings on this page.

      Museum City Works by Thomas Lawrence Paintings from this list
      Royal Collection, LondonRoyal Collection London 43 John, Count Capo d'Istria (1776-1831), Ercole, Cardinal Consalvi (1757 1824), Princess Amelia (1783-1810)
      Művészeti Múzeum, Boston, BostonMűvészeti Múzeum, Boston Boston 5 Portrait of a Man in a Blue Coat, William Lock of Norbury (1732–1810), William Eden (1744–1814), Baron Auckland
      Wallace Collection, LondonWallace Collection London 6 The 3rd Marquess of Hertford, George IV, Portrait of a Lady
      Hermitaeus-múzeum, SzentpétervárHermitaeus-múzeum Szentpétervár 4 Portrait of Klemens Wenzel von Metternich, Portrait of Count Mikhail S. Vorontsov (1782-1856), Portrait of Emily Harriet Wellesley-Pole (Lady Raglan) (1792-1881)
      Louvre Múzeum, PárizsLouvre Múzeum Párizs 10 LA COMTESSE D'INCHIQUIN, Portrait of the Children of John Angerstein, MRS ISAAC CUTHBERT
      Yale Center for British Art, New HavenYale Center for British Art New Haven 5 Lord Granville Leveson Gower, later 1st Earl Granville, Admiral John Markham, Samuel Lyson
      Bavári Állami Festırménygyűjtemények, MunchenBavári Állami Festırménygyűjtemények Munchen 3 Henry Phipps, 1st Earl of Mulgrave, Portrait of George Canning, Lady Orde with her Daughter Anne
      Guildhall Art Gallery, LondonGuildhall Art Gallery London 5 John Philip Kemble (1757–1823), as Coriolanus, George Dance the Younger (1741–1825), Architect and Surveyor

      Thomas Lawrence's best-loved canvas of each decade

      1. 1780s
        Queen Charlotte (1789) by Thomas Lawrence
        Ranked 14 of 100

        Queen Charlotte

        Age 11 – 20 · National Gallery

        In the grand tapestry of British portraiture, few works capture the delicate balance between sovereign authority and human vulnerability as exquisitely as Sir Thomas Lawrence’s 1789 masterpiece, Queen…

      2. 1790s
        Satan Summoning His Legions (1797) by Thomas Lawrence
        Ranked 1 of 100

        Satan Summoning His Legions

        Age 21 – 30

        In the vast, dramatic expanse of Sir Thomas Lawrence’s 1797 masterpiece, Satan Summoning His Legions, viewers are transported into the heart of a cosmic rebellion. This monumental oil…

      3. 1800s
        Lord Granville Leveson Gower, later 1st Earl Granville (1809) by Thomas Lawrence
        3 of 100

        Lord Granville Leveson Gower, later 1st Earl Granville

        Age 31 – 40 · Yale Center for British Art

        In the sweeping annals of British portraiture, few eras capture the intoxicating blend of aristocratic poise and romantic idealism quite like the Regency period. Sir Thomas Lawrence’s portrait…

      4. 1810s
        John, Count Capo d'Istria (1776-1831) (1819) by Thomas Lawrence
        Ranked 5 of 100

        John, Count Capo d'Istria (1776-1831)

        Age 41 – 50 · Royal Collection

        In the sweeping landscape of early 19th-century portraiture, few works capture the intersection of political gravity and aristocratic grace as masterfully as Sir Thomas Lawrence’s 'John, Count Capo…

      5. 1820s
        William van Mildhert (1765–1836), Durham püspöke (1826–1836) (1829) by Thomas Lawrence
        Canvas 4 of 100

        William van Mildhert (1765–1836), Durham püspöke (1826–1836)

        Age 51 – 60 · Auckland Castle

        William van Mildhert (1765–1836), Bishop of Durham (1826–1836) – Egy Elegáns Régészeti Ünnepélyes Tábla A William van Mildhert életét és művészetét, Sir Thomas Lawrence nagy mester alkotása révén…

      6. 1830s
        George IV (1762–1830) (1830) by Thomas Lawrence
        35 of 100

        George IV (1762–1830)

        Age 61 · Walker Art Gallery

        In this formal portrait, Sir Thomas Lawrence captures the essence of George IV through a lens of neoclassical majesty. The composition is centered on the figure of the…

      About Thomas Lawrence's canvases: your questions answered

      What is the best-known painting by Thomas Lawrence?Read the answer

      Satan Summoning His Legions (1797), followed by John Philip Kemble (1757–1823), as Coriolanus (1798) and Lord Granville Leveson Gower, later 1st Earl Granville (1809).

      What age was Thomas Lawrence when Satan Summoning His Legions was painted?Read the answer

      Thomas Lawrence, born in 1769, was 28 years old: Satan Summoning His Legions dates from 1797.

      What are the 10 most famous paintings by Thomas Lawrence?Read the answer

      Satan Summoning His Legions, John Philip Kemble (1757–1823), as Coriolanus, Lord Granville Leveson Gower, later 1st Earl Granville, William van Mildhert (1765–1836), Durham püspöke (1826–1836), John, Count Capo d'Istria (1776-1831), The 3rd Marquess of Hertford, LA COMTESSE D'INCHIQUIN, William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806), The Two Sons of the 1st Earl of Talbot and Portrait of the Children of John Angerstein. Each canvas in the ranking above comes with its year and its museum.

      How many works did Thomas Lawrence paint in all?Read the answer

      466 works by Thomas Lawrence are in our catalogue, dated 1780 to 1830.

      Where can I see Thomas Lawrence's most famous canvases?Read the answer

      Mostly in Royal Collection (London), Művészeti Múzeum, Boston (Boston) and Wallace Collection (London); the list above names each museum and its canvases.

      When did Thomas Lawrence paint the best-loved canvases?Read the answer

      In 1800s, which gave 32 of the 100 works on this page, Lord Granville Leveson Gower, later 1st Earl Granville among them.

      Which are Thomas Lawrence's earliest and latest famous canvases?Read the answer

      The earliest canvas here is Portrait of Georgina Lennox, later Countess Bathurst (1780); the latest is George IV (1762–1830) (1830).

      What did Thomas Lawrence paint most often?Read the answer

      Portraiture (13), Regency era (13) and Portrait (12), across the 100 works on this page.

      Which medium did Thomas Lawrence paint in most often?Read the answer

      Oil On Canvas, used in 29 of the 100 works on this page.

      Which movement is Thomas Lawrence's painting part of?Read the answer

      Romanticism and Neoclassicism, as the canvases on this page show.

      Which Thomas Lawrence canvases hang at the Royal Collection?Read the answer

      The Royal Collection, London holds 8 of the works on this page, among them John, Count Capo d'Istria (1776-1831), Ercole, Cardinal Consalvi (1757 1824) and Princess Amelia (1783-1810).

      Can I buy a reproduction of a Thomas Lawrence canvas?Read the answer

      Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.

      Thomas Lawrence: a life in paint

      A Brushstroke of Regency Splendor: The Life and Art of Sir Thomas Lawrence

      Sir Thomas Lawrence, a name synonymous with the elegance and sophistication of the Regency era, was more than just a portrait painter; he was a chronicler of his time. Born in Bristol in 1769 amidst the vibrant bustle of a port city, his early life was marked by movement – following his father’s innkeeping ventures across Devizes and finally settling in the fashionable spa town of Bath. It was within these convivial settings that Lawrence's artistic talent first began to shine, sketching remarkably accurate portraits for local patrons while still supporting his family. This nascent skill, honed without formal instruction but fueled by innate observation and a keen eye for detail, hinted at a prodigious gift – a gift he would soon transform into a celebrated career.

      Ascension to Portraiture’s Pinnacle

      The move to London in 1789 marked the true beginning of Lawrence's ascent. He quickly established himself as a portrait painter in oils, securing his first royal commission – a captivating portrait of Queen Charlotte – and instantly catapulting him into the heart of London society. This wasn’t merely about technical skill; Lawrence possessed an extraordinary ability to capture not just likeness but also *character*, imbuing his subjects with a flattering yet insightful presence. He became a master of portraying the glamour, refinement, and social dynamics of the Regency period, painting nobility, royalty, and prominent figures with a virtuoso handling of paint that drew comparisons to Sir Joshua Reynolds, whom he deeply admired. Lawrence’s election as an associate, then full member, of the Royal Academy in 1791 and 1794 solidified his position within the established art world – a testament to his growing reputation and artistic merit. His success was further underscored by his appointment as Painter-in-Ordinary to the King in 1800, a prestigious role that granted him unparalleled access to the highest echelons of power and provided a steady stream of lucrative commissions.

      The Waterloo Chamber and Artistic Innovation

      Lawrence’s career reached its zenith during the Napoleonic Wars, particularly with his commission to paint portraits for the Waterloo Chamber at Windsor Castle. This monumental undertaking – intended to commemorate the decisive victory over Napoleon – demanded not only technical mastery but also a profound understanding of composition and scale. The resulting series of portraits, depicting allied leaders from across Europe, showcased Lawrence’s ability to capture gravitas, authority, and the complex relationships between nations. These works were more than just paintings; they were powerful statements about British leadership and the triumph of reason over tyranny. Beyond this grand project, Lawrence continued to innovate in his portraiture style, refining his use of light and shadow, experimenting with color palettes, and developing a distinctive technique that blended classical elegance with a subtle sense of Romanticism.

      Personal Life and Complexities

      Despite his professional triumphs, Lawrence’s personal life was marked by both passion and sorrow. He became deeply involved with the Siddons family – Sarah Siddons, a celebrated actress, and her daughters, Maria and Sally. These relationships provided him with inspiration and companionship but also brought heartache and scandal to his reputation. Lawrence struggled financially throughout much of his career, often burdened by debt despite earning substantial sums from his commissions. He was known for his meticulous attention to detail, sometimes spending weeks perfecting a single portrait, which contributed to the delays and financial pressures he faced. Furthermore, Lawrence’s sitters reflected the social landscape of his time – including both slave owners and abolitionists – a stark reminder of the moral ambiguities inherent in Regency society.

      A Lasting Legacy

      Sir Thomas Lawrence died in London in 1830 at the age of 61, leaving behind a remarkable body of work that continues to captivate audiences today. His portraits are celebrated for their elegance, technical brilliance, and ability to capture the essence of his subjects – offering a vivid glimpse into the world of Regency England. While his reputation experienced a decline during the Victorian era, largely due to shifting artistic tastes, Lawrence’s legacy has been partially restored in recent decades, recognizing him as one of Britain's most accomplished and enduring portraitists. His influence can be seen in the works of later painters who sought to emulate his style and capture the spirit of an era, solidifying his place as a pivotal figure in British art history. His work remains a testament to his talent, charm, and enduring contribution to the world of art.

      All 466 works by Thomas Lawrence →