May 3, 2019
Artworks in Arcadja395
Some works of John Singer SargentExtracted between 395 works in the catalog of Arcadja
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JOHN SINGER SARGENT (American, 1856-1925) Lot 0022 DetailsShipping & PaymentAuction Terms & InfoLot 0022roundel, seated male sgn. John S. Sargent in image transfer lithographic on laid paper (crayon on transfer laid watermarked paper); 17 by 16.5 in. (sight); matted, framed under glass, 24.5 in. squareCondition
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John Singer Sargent (Massachusetts / UK / Italy; 1856-1925) portrait of a woman in profile believed to be the artist's sister, Emily Sargent, ca. 1892-1898 pencil and charcoal on paper signed lower left. Provenance: From the estate of The Honorable James and Betty Anton. Indianapolis. 9 " H x 9 3/4 " W (sight), 21 " H x 21 1/4 " W (frame)
Auction: Sotheby's -May 21, 2019 - New YorkLot number: 47
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John Singer Sargent LANCELOT ALLEN 1856 - 1925 signedJohn S. Sargent(upper left) and dated1894(upper right) oil on canvas 36 by 24 inches (91.4 by 61 cm) Provenance Mary Catherine Romilly (Kate) Allen, Cilrhiw, United Kingdom, 1894(the sitter's aunt, commissioned from the artist) Rachel Mary Allen, 1933 (her sister) Bertram Wedgwood Allen, Pembroke, United Kingdom, 1949(their second cousin) Mrs. Bertram Allen, 1955(his wife) Lieutenant Colonel J.R.C. Allen (their son, by descent) A. Alfred Taubman, Bloomfield Hills, Michigan, 1984 (acquired from the above) Estate of the above (sold: Sotheby's, New York, November 18, 2015, lot 17) Acquired by the present owner at the above sale Exhibited London, Royal Academy of Arts,Royal Academy Winter Exhibition, 1926 of Works by the Late John S. Sargent, R.A.,1926, no. 35, p. 12(asLancelot, son of the late Judge Wilfred Allen) Literature William Howe Downes,John S. Sargent: His Life and Work, London, 1926, p. 342 My Magazine, 1926, p. 299, illustrated The Hon. Evan Charteris, K.C.,John Sargent, London, 1927, p. 265 Charles Merrill Mount,John Singer Sargent: A Biography, New York, 1955, no. 941,p. 434 David Mc Kibbin,Sargent's Boston with An Essay & A Biographical Summary & A Complete Check List of Sargent's Portraits, Boston, Massachusetts, 1956, p. 81 Richard Ormond and Elaine Kilmurray,John Singer Sargent: Portraits of the 1890s, vol. II, New Haven, Connecticut, 2002, no. 309, pp. 92-93, 183,illustrated p. 93 Catalogue Note We aregrateful to Elaine Kilmurray for preparing the following essay: The American writer and critic Mariana G. Van Rensselaer wrote: "It is one of Mr. Sargent\’s greatest distinctions that he never fails of entire success when he has a child before him" ("John S. Sargent,"Century Illustrated Magazine,vol. 43, no. 5, March 1892, p 798). The child before him in the present portrait is (Richard) Lancelot Baugh Allen (1887-1918), the only son of Wilfred Baugh Allen (1849-1922) and his wife, Anne Sophia, (1856-1946), daughter of the Rev. Robert Wedgwood. The Allens of Cilrhiw were a junior branch of a landed family from Pembrokeshire, South Wales. Lancelot was educated at Eton and trained as a lawyer. He went on to practice as a barrister in Canada and he served in World War 1 as Lieutenant in the 67thBrigade, Royal Field Artillery from 1915-18. He married Marion Irvine in 1917, but the marriage was short-lived and childless. Lancelot died in Egypt, aged thirty-one, on December27th, 1918, shortly after the end of the war, and was buried in Cairo War Memorial Cemetery. His name is one of those inscribed on a war memorial in the church of St Michael and All Angels, Bramcote, Nottinghamshire. Sargent\’s portrait represents Lancelot aged seven (not eight, as indicated by the inscription on the original backing panel). It was painted in the artist\’s studio, 33 Tite Street in Chelsea. The painted grey chair with a split-cane back and seat on which Lancelot is seated is in Louis-Seize style. It belonged to a set, one of which is visible in later photographs of Sargent\’s studio at 31 Tite Street (Sargent enlarged his London studio in 1900. He leased the house next door [number 31] in Tite Street, knocked through the dividing wall, and used number 31 as his entrance). Sargent also used the chair in his portrait of the art collector and philanthropist, Henry Gurdon Marquand (1897, The Metropolitan Museum of Art, New York). When the portrait was exhibited in the Sargent Memorial Exhibition at the Royal Academy in 1926, a note in the catalogue read \‘Painted, in three sittings, in 1894\’. According to David Mc Kibbin\’s index card for the picture (John Singer Sargent catalogue raisonné archive), Lancelot\’s mother read Rudyard Kipling\’sThe Jungle Bookto him during sittings, a touching reminder of the boy\’s youth. In his portraits of children, Sargent avoids the sentimentality associated with Victorian imagery of childhood. He respects the integrity of his young sitters and Lancelot, wearing a sober dark blue velvet jacket with silver buttons and darker trousers, does not ingratiate himself with the spectator, but looks directly out at him meeting his fictive gaze. The simple, narrow format emphasizes the quiet reserve of the composition, the restrained tones relieved only by spare red highlights at the collar and cuff of the jacket, a color echoed in the red inscription and date. The boy\’s self-contained demeanor is disarming, and knowledge of his tragically brief life introduces a retrospective poignancy to Sargent\’s portrayal. It is not known how Sargent and the Allens were introduced. There are two important connections, but neither appears to predate 1894 when the portrait of Lancelot was painted. The Allens were related to the family of Josiah Wedgwood (1730-1795), the celebrated potter, by more than one inter-marriage, and Sargent and his sister Emily were close to Lancelot\’s aunt, Eliza Wedgwood, but this life-long friendship did not really begin until 1896, when Sargent painted Mrs. Robert Wedgwood (Eliza\’s mother and Lancelot\’s grandmother). Another of Lancelot\’s aunts, Elisabeth Jessie Allen (1845-1918) was a friend and confidante of Henry James, with whom she conducted a long, wide-ranging and sparkling correspondence. Daniel and Ariana Curtis introduced James to Miss Allen at their Venetian home, the Palazzo Barbaro, in 1899, but again this was several years after the portrait of Lancelot was painted.
Auction: Skinner -May 10, 2019 - BostonLot number: 320
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Description: John Singer Sargent (American, 1856-1925) Olive Grove Signed and inscribed "John S. Sargent-San Vigilio" l.l., titled and dated to 1913 in the catalogue raisonné (see below). Watercolor and pencil on paper, 15 7/8 x 20 7/8 in. (53.0 x 40.4 cm), framed. Condition: Sheet hinged to backing with linen tape near upper corners on the reverse, very gentle toning (also to the reverse), scattered small loose threads of paper along edges. Provenance: John S. Ames, Boston; his heirs, 1959; through to the estate of Elizabeth M. Ames, Boston. Literature: Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1908–1913, Complete Paintings, Volume VIII (New Haven and London: Yale University Press, 2014), cat. no. 1734, illus. p. 326. Exhibitions: The Memorial Exhibition of the Works of the Late John Singer Sargent, Museum of Fine Arts, Boston, November 3–December 27, 1925, cat. no. 98 (watercolors); Memorial Exhibition of the Work of John Singer Sargent, The Metropolitan Museum of Art, New York, January 4–February 14, 1926, cat. no. 1 (watercolors); Loan Exhibition of Sargent Water Colors, Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, May–June, 1933, cat. no. 17. N.B. An abundant feature of the Mediterranean landscape, olive trees were the subject of several watercolors Sargent painted while visiting Italy and Greece. The grove depicted here lay on the shores of Lake Garda near the Italian fishing village of San Vigilio. Provenance: The estate of Elizabeth M. Ames. EstimateItems may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.
Auction: Heritage -May 3, 2019 - DallasLot number: 68133
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John Singer Sargent (American, 1856-1925) Two Studies of the Head of a Man, circa 1920 Pencil on paper 8-1/8 x 10-7/8 inches (20.6 x 27.6 cm) (sheet) Signed lower right: John S. Sargent PROVENANCE: Alexander James, Dublin, New Hampshire; [With]Adelson Gallery, New York; Copley Society of Art, Boston, Massachusetts; Private collection, Wellesley, Massachusetts. EXHIBITED: Copley Society of Art, Boston, Massachusetts, "125 Anniversary Exhibition," February 26-March 20, 2004; The Tavern Club, Boston, Massachusetts, May 2007. Alexander James, a previous owner of the present work, was a painter and son of philosopher, William James and nephew of the writer, Henry James. Alexander James aided Sargent as a model in Dublin, New Hampshire, where Sargent was working on the World War I murals for the Weidner Library at Harvard University. This work has been authenticated by the John Singer Sargent Catalogue Raisonné Committee.