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- 1905 -
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 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 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.
FootnoteFootnote 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
 
 
FootnoteFootnote 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.
 

O
 
 
 
 
 
 
 
 

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