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Title Portrait of William Thorne 1905 Private collection Oil on Canvas 77.50 x 54.60 cm (30.5 x 21.5 in.) inscribed: To my friend Thorne, John S. Sargent 1905 Lord Airedale, Sir James Kitson 1905 Natasha Private collection Oil on canvas  95.5 x 70 cm  (37.6 x 27.6 in) Signed and dated 1905 Mme. Eugenia Errazuriz c. 1905 Private collection Charcoal 25  x 18 in.  John Seymour Lucas 1905 National Portrait Gallery, London Oil on canvas 69.8 x 54.9 cm (27 1/8 x 21 5/8 in.) NPG 5219 Portrait of Ena Wertheimer: A Vele Gonfie 1905 Tate Gallery, London Oil on canvas  163  x 108 cm  Bequeathed by Robert Mathias 1996 Hylda, Almina and Conway, Children of Asher Wertheimer 1905 Tate Gallery, London Oil on canvas  188 x 133.3 cm  signed Presented by the widow and family of Asher Wertheimer in accordance with his wishes 1922 Countess of Warwick and Son (Frances Evelyn 'Daisy' Maynard) 1905 Worcester Museum, Worcester, Massachusetts. Oil on canvas  103 x 63 cm Signed and dated  Sir Henry William Lucy (1845-1924) 1905 National Portrait Gallery, London Oil on canvas 72.4 x 53.3 cm (28 1/2 x 21 in.) NPG 2930 Mrs. Ernest G. Raphael  (Flora Cecilia Sassoon) 1905  Natasha Private collection Oil on canvas  163.8 by 114.3 cm (64½ by 45 in.) signed John S. Sargent, u.l. and dated 1905, u.r. Mrs. Adolph Hirsh 1905 Private collection Oil on canvas 120.65 x 93.98 cm (47.5 x 37 in.) Duke of Marlborough Family (9th Duke) 1905 Natasha Duke of Malborough collection,  Blenheim Palace  Oxfordshire, England Oil on canvas  332.7 x 238.8 cm (131 x 94 in.) Landscape in Oxfordshire 1905 ?? Private collection Oil on canvas 17 x 21 in The Shadowed Stream 1900-1920 Museum of Fine Arts, Boston Watercolor on paper 34.3 x 24.1 cm (13 1/2 x 9 1/2 in.) Zoe Oliver Sherman Collection 23.727 Portrait of Miss Eliza Wedgewood c. 1905  Natasha Essay Private collection Watercolor and Pencil on Paper 53.5 x 36cm (21 x 14 in.) signed and dedicated for my friend Eliza Padre Sebastiano c. 1904-1906 Metropolitan Museum of Art, NY Oil on canvas  56.5 x 71.1 cm (22 1/4 x 28 in.) Rogers Fund, 1910 Melon Boats c. 1905 The Brooklyn Museum, New York Watercolor on paper 13.81 x 19.75 in. Miss Eden 1905 Private Collection Watercolor  on paper 47.5 x 33.5 cm (19 x 13 1/2 in.) Inscribed ll: John S. Sargent INscribed lr: 1905 Lady Helen Vincent ("mug")  c. 1905 Natasha York City Art Gallary, England Charcoal on paper  24 x 18 in.  (JSS portrait of  Lady Helen Vincent 1904)  Mrs. Sackville-West  1905 Natasha Nigel Nicolson Charcoal on paper  24 x 18 in. Gertrude Kingston c. 1905 Private collection Charcoal 24  x 18 in.  In a Lacatine Port 1905-06 The Brooklyn Museum, New York Watercolor and pencil on paper  30.6 x 46 cm (12 1/16 x 18 1/8 in.) Venetian Passageway c. 1905  Metropolitan Museum of Art, NY Watercolor, gouache, and graphite  on white wove paper  53.9 x 36.8 cm (21 3/16 x 14 1/2 in.) Gift of Mrs Francis Ormond, 1950 Ponte Della Canonica, Venice 1903-7 Isabella Stewart Gardner Museum, Boston  Watercolor 45.8 x 30.6 cm signed u l: To Miss Wertheimer / John S. Sargent. Purchased at auction, Anderson Galleries, New York, February 1920.  The Portal of S. Giorgio Maggiore, Venice 1905 ?? Private collection Watercolor on paper  9 1/2 x 13 3/4 in. Signed lower right: John S. Sargent Rio de Santa Maria Formosa 1905 Rhode Island School of Design Museum of Art, Providence Watercolor on paper 35.08 x 48.74 cm (13.81 x 19.19 in) Gondoliers' Siesta 1905 Adelson Galleries, NY Private collection Watercolor on paper 35.6 x 50.8 cm (14 x 20 in.) (Overview of Venice) Group with Parasols c. 1905 Private collection Oil on canvas 55.2 x 70.8 cm (21 3/4 x 27 7/8 in.) Collection of Rita and Daniel Fraad Blue Gentians  1905  Private collection  Watercolor  on paper  24.13 x 35.56 cm (9.5 x 14 in.)  The Siesta 1905 Natasha Harrison Family Watercolor and gouche on paper 35.3 x 50.2 cm (13 7/8 x 19 3/4 in.) Peter Harrison Asleep c. 1905  Private collection Watercolor and on paper 35.3 x 47.7 cm (12  x 18  in.) Peter Harrison (Siesta) c. 1905  Private collection Watercolor and on paper 33 x 24.8 cm (13 x 9 3/4  in.) In the Simplon Valley c.1905 219 KB Fogg Art Museum, Cambridge, Massachusetts Oil on canvas 38 1/8 x 45 5/8 in (actual) Framed 44 7/8 x 52 1/2 x 2 7/8 in Bequest of Grenville L. Winthrop (Essay in notes) Val d'Aosta, Purtud 1905 Adelson Galleries Private collection Watercolor on paper mounted on board  35.6 x 50.8 cm (14 x 20 in.)  Valley of Mar Seba, Palestine 1905 Adelson Galleries Private collection Oil on canvas 69.9 x 97.8 cm (27-1/2 x 38-1/2 in.)  The Plains of Esdraelon 1905 Tate Gallery, London Oil on canvas  71.1 x 110.5 cm  Purchased 1957 The Lake of Tiberias 1905-1906?  Private Private collection Watercolor 12.1 x 18.1 in. The Mountains of Moab 1905 Natasha Tate Gallery, London  Oil on canvas 65.4 x 111.1 cm  Purchased 1957 -- T00124  David in Saul's Camp date?  Natasha Private collection Oil en grisaille on canvas  44.5 x 64.1 cm (17½ x 25¼ in.) Saddle Horse Palestine 1905 Private collection Watercolor 14 x 10  in.  Two Arab Women c. 1905 Metropolitan Museum of Art, New York Oil on canvas 53.3 x 64.1 cm (21 x 25 1/4 in.) Gift of Mrs. Francis Ormond, 1950 (50.130.19) Egyptian Water Jars 1905? Private collection Watercolor and pencil on paper laid down on board 25.4 x 35.6 cm (10 x 14 in) Bedouin Mother 1905 The Brooklyn Museum, New York Watercolor on paper 45.41 x 30.48 cm (17.88 x 12 in.) Bedouin Camp 1905 Private Collection watercolor Size? Arab Gypsies in a Tent 1905-06 The Brooklyn Museum, New York Watercolor heightened with white on paper 30.5 x 45.7 cm (12 x 18 in.) Purchased by Special Subscription Bedouins 1905-06 Natasha The Brooklyn Museum, New York Transparent watercolor with touches of opaque watercolor on off-white, thick, rough-textured wove paper 45.7 x 30.5 cm (18 x 12 in.) Black Tent 1905-06 The Brooklyn Museum, New York Watercolor on paper 30 x 45.42 cm (11.81 x 17.88 in.) Gourds 1905-08 The Brooklyn Museum, New York Watercolor on paper 35.6 x 50.8 cm (14 x 20 in) Purchased by Special Subscription The Dead Sea 1905 Private collection Oil on canvas 55.9 x 71.1 cm (22.01 x 27.99 in)  Mending a Sail 1905 The Brooklyn Museum, New York Watercolor on paper 11 x 13.81 in. Mosque Jerusalem c 1905-1906  Private collection Watercolor 12 x 18  in.  Arab Woman 1905-1906 Metropolitan Museum of Art, New York Watercolor and gouache on off-white wove paper 18 x 12 in. (45.7 x 30.5 cm) Gift of Mrs. Francis Ormond, 1950 (50.130.43) Arab Stable 1905-06 The Brooklyn Museum, New York Watercolor on paper 27.64 x 36.53 cm (10.88 x 14.38 in.) Landscape with Goatherd c. 1905 Metropolitan Museum of Art, New York Oil on canvas 61.6 x 81 cm (24 1/4 x 31 7/8 in.) Gift of Mrs. Francis Ormond, 1950 (50.130.17) Jerusalem 1905-1906  Columbia University, New York City Watercolor, gouache, and graphite on off-white wove paper 30.5 x 45.5 cm (12 x 17 7/8 in.) Inscriptions: [on verso on upper left]: 139 From Jerusalem / by J.S.Sargent / E.S.; [at center top]: 7/5 [encircled]; [at center]: 4/4; [at lower left]: NA  Gift of Mrs. Francis Ormond, 1950 (50.130.45) Near the Mount of Olives 1905-06 Syndics of the Fitzwilliam Museum, Cambridge, England Oil on canvas 64.8 X 96.5 cm (25 1/2 X 38 in.)

1905                             (49 years old) Year In Context February: complains about drudgery of commissioned portraits  (see Sargent's letter to Curtis). He exhibits at the inaugural exhibition of the Albright Art Gallery, Buffalo, New York. March: he meets, in London, the American artist Clarence Rudolph Mattei. Madame Gautreau (Madame X) writes Sargent requesting that he show her portrait in Germany by invitation of the German Kaiser who had requested her portrait, the very portrait Gautreau wanted destroyed in 1884. In April, John gives another exhibition at the Carfax Gallery, London, where he shows forty-seven works, of which forty-four are watercolors. Of the three oils, he shows Madame X (1884) publicly for the first time since the the '84 Salon; Nude Egyptian Girl, and A Javanese Dancer. Footnote 1 Portrait commissions continue, both from British patrons and Americans coming to London. In the Spring Mrs. J.P. Morgan, Jr. (the wife of the American banker) sits to Sargent. He asked that she bring a box of dresses for the first sitting so that he could choose as to which was best for her. He set up a mirror in which she should watch him paint. She found the whole experience "thrilling. . . He is very agreeable. I had 13 sittings." [2] May: his group portrait of the Marlborough family is exhibited at the Royal Academy. An Artist in his Studio is bought by the Museum of Fine Arts, Boston for $1,000. This is the first non-portrait to be purchased of his by an American museum. At the New English Art Club he shows three subject paintings and then two watercolors at the Royal Water-Colour Society: Purtud, Bed of a Glacier Torrent was one and it served as his "Diploma" panting into the Society. June: London. Summer: on to Purtud with his friend Peter Harrison, Dorthy Palmer, his sister Violet with two of her daughters Rose-Marie and Reine. Then to Giomein above Breuil on the Italian side of the Matterhorn with Peter and his brother Ginx Harrison, Alma Harrison, Dorthy Palmer, Polly Barnard and Lillian Mellor. November: Syria and a second trip to Palestine or the Middle East for the purpose of "getting new fuel for his decorative work" -- the Boston Public Library. He paints over a dozen oils and over forty watercolors (considered by many to be some of his most substantial work) but he states in a letter he was fearing the trip was not working. Other places visited include: Jordan Valley, Nazareth, Mount Tabor, Plain of Esdraelon, Jerusalem, Jaffa, and Baalebek in Lebanon

Index

 Footnotes
 
 

Footnote 1

Q Did Gautreau's letter precede the exhibit or did it come after? It is very odd that after 22 years, Sargent would just start exhibiting what would be, by then, a hugly public curiosity, popular, and controversial painting of Madame X.  In searching through the literature, I ran across a reference to Madame Gautreau's letter in Charteris' book, when Sargent mentions it the following year in a letter to Major Roller (p.64-65):     Plazzo Barbaro, Venice, October 3rd, 1906 My dear Roller, I think I know what Mme. Gautreau wants to see me about. She wrote me last year of a matter of vital importance -- it was that the Kaiser who was such a dear, thought her portrait the most fascinating woman's likeness that he has ever seen, and that he wishes me to have an exhibition in Berlin of my things. I wrote that I was abroad and couldn't manage it. But to tell you the truth, I don't want to do it. It is a tremendous trouble for me to induce a lot of unwilling people to lend me their "pautrets" and Berlin does not attract me at all. So if you are taken into Mme. Gautreau's confidence, and I wish you would tear your shirt for it, please discourage her from giving me the K.K. command. Yrs. sincerely, John S. Sargent (He did eventually exhibit in Berlin) So the interesting question is: did Gautreau's request release Sargent's self imposed exile from public exhibition of what he himself considered his greatest work; or did he do so on his own by showing it at the Carfax Gallery, London, for what Ferber and Gallati write (in their book called Masters of Color and Light) as John's attempt to draw larger audiences to his watercolors? The question is interesting only in what it might reveal of the person. If he exhibits only after Gautreau's approval. It shows John's continued respect and sensitivity to Gautreau feelings after all these years regarding her own portrait, even though she disavowed it during the traumatic exhibition of 1884 and they parted anything but friends. If however, he breaks his self imposed exile, why did he wait until 1905? It was only seven years after the scandal that Gautreau again was painted, this time  by Gustave Courtois, in a very similar pose in profile, with in an even more daring dress and again with the dress strap off her shoulder -- by then times had changed. Clearly he could have shown it sooner; and clearly there would have been huge demand to have done so. It would seem to me that Guatreau's letter preceded Sargent's exhibition. You can read within Sargent's letter to Major Roller, a continued bitterness regarding Guatreau and her family and his rejection at the salon. Though he does eventually exhibit in Germany. But in answering this question, it would seem to hinge on how and when the Kaiser had requested her portrait and I'm not sure we could ever find that out. Or if we had Guatreau's letter to Sargent, but I don't know if it was saved.

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