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John Singer Sargent

United States (Firenze 1856 -  Londra 1925 ) Wikipedia® : John Singer Sargent
Sargent John Singer Head Of A Young Girl

Swann Galleries
Jun 14, 2018
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Artworks in Arcadja
375

Some works of John Singer Sargent

Extracted between 375 works in the catalog of Arcadja
John Singer Sargent - River Bank, Near Oxford

John Singer Sargent - River Bank, Near Oxford

Original 1888
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Lot number: 49
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John Singer Sargent (1856-1925) River Bank, near Oxford oil on canvas 17 x 21 in. (43.2 x 53.3 cm.) Painted circa 1888. Provenance The artist. Flora Priestley, gift from the above. Robert Childers Barton, Glendalough House, Annamoe, County Wicklow, Ireland, by bequest from the above, 1944. Coe Kerr Gallery, New York, 1976. Ira Spanierman, Inc., New York. Acquired by the late owner from the above, 1979.
John Singer Sargent - Two Tarpon

John Singer Sargent - Two Tarpon

Original 1917
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Lot number: 1672
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1672 John Singer Sargent (American, 1856-1925) Two Tarpon, 1917, signed and dated lower left "John S Sargent 1917", watercolor and pencil on paper, 21 x 15-1/4 in. (sheet); gilt wood frame with linen mat, 27-1/2 x 21 in. Note: Lit: Ormond, R., & Kilmurray, E. (2016). John Singer Sargent. Figures and landscapes, 1914-1925: The complete paintings, Volume IX. New Haven: Yale University Press.; ill. #1841, p. 194. This watercolor is discussed at length in the chapter "Florida and Pocantico Hills, 1917". Sargent spent "...almost three months in Florida", and caught the tarpon on a fishing trip near the Florida Keys on a yacht belonging to Charles and James Deering. A letter from Sargent discussing the "tarpon over six feet long, and weighing 140 pounds..." is quoted on page 162. Illustrated on p. 194 is Fig. 150, Two Tarpon, a pencil drawing of the same subject, in the permanent collection of the Fitzwilliam Museum, Cambridge, England (1530.2). It is inscribed upper right "Harbor Key/Tarpons caught/April 16, 1917", also lower left "6 ft 10 inches long / weight 140 lbs" Also: Kennedy Quarterly, vol. 9, no. 2 (June 1969-April 1971), p. 150, ill. p. 121. Exhibited: Boston 1921, no.55; Boston 1922, no. 7; Paris 1923, no. 32; Kennedy Gallery, New York, "American Masters: Paintings, Watercolors, Pastels and Drawings From the 18th, 19th and 20th Centuries", 1969, no. 99 as "Fish". Provenance:Mrs. George Agassiz; Richard C. Storey; Kennedy Galleries, New York, 1969; Private Collection Condition: minimal fading, all edges taped to mat, board edges in good condition; frame with abrasion and gilt loss at left vertical edge, general wear commensurate with age
John Singer Sargent - Mrs. Charles Anstruther-thomson

John Singer Sargent - Mrs. Charles Anstruther-thomson

Original 1898
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Lot number: 76
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John Singer Sargent 1856 - 1925 signedJohn S. Sargent(upper left) oil on canvas 58 1/2 by 38 1/2 inches (148.6 by 97.8 cm) Paintedcirca1898. Provenance Agnes Anstruther-Thomson (the sitter) Grizel Ansthruther-Thompson, Baroness Kunt Bonde (by descent, daughter of the above) Baron John Bonde, Colinsburgh, Scotland (by descent, son of the above) Sold: Sotheby's, New York, May 29, 1981, lot 52 Private collection (acquired at the above sale) Spanierman Gallery, New York, 1989 Acquired by the present owner from the above Exhibited London, New Gallery, Eleventh Exhibition, Summer1898, no. 223, n.p. Denver, Colorado, Denver Art Museum,American Impressionism and Realism: The Painting of Modern Life,1885-1915, December 1994-March 1995, n.p. Denver, Colorado, Denver Art Museum, November 1997-November 1998 (on loan) Literature "Art. At the New Gallery,"Academy, April 30, 1898, p. 479 "The New Gallery,"Illustrated London News, vol. 112, May 21, 1898, p. 741 Fernand Khnopff, "The New Gallery,"Magazine of Art, vol. 22, 1898, p. 430 "The New Gallery,"Punch, May 14, 1898, p. 220 A. Lys Baldry, "The Art of J. S. Sargent, R.A.: Part I,"International Studio, vol. 10, April 1900, p. 21 William Howe Downes, John S. Sargent: His Life and Work, Boston, Massachusetts, 1925, p. 184 Evan Charteris,John Sargent, London, 1927, p. 267 Charles Merrill Mount,John Singer Sargent: A Biography, New York, 1955, no. 9817, p. 436 David Mc Kibbin,Sargent's Boston, Boston, Massachusetts, 1956, p. 126 Richard Ormond and Elaine Kilmurray,John Singer Sargent: Portraits of the 1890s, vol. II, New Haven, Connecticut, 2002, no. 355, pp. 140, 189, illustrated p. 140 Catalogue Note AgnesAnstruther-Thomson was the daughter of James Alexander Guthrie, a director of the Bank of England. In 1882, she married the prominent Scottish landowner Charles Anstruther-Thomson. A fashionable member of London society, she held salons at the couple\’s townhouse in Rutland Gate. Her sister-in-law, the writer and artist Clementina Anstruther-Thomson, was a close friend and student of John Singer Sargent, and had posed for him a decade earlier in 1889. Mrs. Charles Anstruther-Thomson is a work of stunning subtlety and balance. Using a narrow range of light and color, the artist captures the tone and texture of his model's diaphanous dress, which reveals her attractive sinuous silhouette. Sargent\’s use of dramatic chiaroscuro and vigorously applied impressionistic brushstrokes exemplifies his expertise in capturing the fleeting effects of light. The bright yellow highlights of her dress are reflected harmoniously in the side table, while the rosy flesh tones of her face are set off by the warm red highlights in her gown. The present work is a striking example of Sargent\’s genius in portraiture, demonstrating his ability to capture a complete impression through the distillation of an observed moment. In discussing Sargent\’s portraiture from the 1890s, Richard Ormond and Elaine Kilmurray have noted: \“Many of Sargent\’s sitters in the 1890s were members of the new plutocracy, who were transforming traditional upper-class society. Together with American millionaires, they created a boom in the market for the work of English portrait painters of the eighteenth century, whose popularity and prices soared during the last quarter of the nineteenth century. […] It is not difficult to see why Sargent should have appealed to this new type of patron. The artist endowed them with social prestige, power and glamour – they were sanctioned by the sweep of his brush\” (John Singer Sargent: Portraits of the 1890s, vol. II, New Haven, Connecticut, 2002, p. 4).
John Singer Sargent - Alexander Henry Higginson

John Singer Sargent - Alexander Henry Higginson

Original 1917
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Lot number: 96
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John Singer Sargent ALEXANDER HENRY HIGGINSON 1856 - 1925 signedJohn S. Sargent.and dated1917(lower center) charcoal on paper laid down on card 25 by 18 3/8 inches (63.5 by 46.7 cm) signedJohn S. Sargent.and dated1917(lower center) charcoal on paper laid down on card 25 by 18 3/8 inches (63.5 by 46.7 cm)
John Singer Sargent - Head Of A Young Girl

John Singer Sargent - Head Of A Young Girl

Original 1875-1978
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Lot number: 12
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JOHN SINGER SARGENT Head of a Young Girl. Pencil on cream wove paper on tan card stock mount, circa 1875-78. 160x155mm; 6 1/4x6 1/8 inches. Signed in pencil, upper left recto. Sold Sotheby's, London, March 5, 1930, lot 115; L. Crispin Warmington, London; sold Sotheby's, London, March 28, 1972, lot 4; Thomas Agnew & Sons, Ltd., London, with the original label on the frame back; private collection, Philadelphia, thence by descent; private collection, New York. This drawing will be incuded in the forthcoming John Singer Sargent catalogue raisonné by Richard Ormond and Elaine Kilmurray, New York. Sargent (1856-1925) was born in Florence, Italy, to American ex-patriates who encouraged his artistic pursuits from a young age. After studying with the German-American artist Carl Welsch in Rome and later at the Accademia di Belle Arti in Florence, he moved to Paris to train with the renowned portraitist Carolus-Duran (1837-1917). In addition to studying with Carolus-Duran, as well as Léon Bonnat (1833-1922), Sargent enrolled in the École des Beaux-Arts in 1874, where he studied drawing, with an emphasis on anatomy and perspective. Training in both a traditional academic setting and the progressive atelier of Carolus-Duran, which encouraged use of the alla prima method of applying oil paint to a previously-painted wet surface, Sargent developed a painterly style known for its characteristic flourishes of color. This freer approach to formal rendering, in which gestural bruststrokes and strong colors present a momentary impression of the artist's initial perception, also persists in his drawings. These characteristics are manifest in the current lot. The subject is depicted frontal, her face sensitively modeled with pale tones and subtle shading. Her hair is sketched with sure pencil strokes that create sharp contrasts of dark areas against bright highlights, and the bow worn around her neck is similar in appearance to those worn by the subjects in Sargent's Harriet Louise Warren, 1877, and Emily Sargent, 1877. Sargent's free and gestural use of line and shading captures the fleeting appearance, as well as the inner emotional state, of the sitter.
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