Here, you can see how he had constructed a framework to duplicate the barreled ceiling of the Library and would hold the canvases in their concaved shape. 

Sargent entered into the lease towards the end of 1895 after the first installation -- effectively moving from Morgan Hall where he and Abbey worked together. Now on his own, with Abbey's part of the project over, he would keep this studio for the next twenty-one years -- pretty much over the whole remaining span of his library decoration project.  

From '95 on, according to Charteris, John would be working here more than at Tite Street. It served as his hide-away of sorts as he had grown so popular he could rarely get any privacy at Tite Street.

[The Avenue studio was a large space]  with an adjoining room where he worked at the architectural part of his decorations . . . They were removed from the thoroughfare with an unwelcoming approach through a back yard. Here he would withdraw from the world, like a bandit to his fastness, and admit visitors or not as he liked. An unanswered rap on the door was no proof that Sargent was not within. If he answered, it was invariably in his short-sleeves, generally with a cigarette in his mouth, and always with a robust welcome. Scores of pencil studies lay about and vast canvases were in position against the wall, with regards to these he was always curious to hear the views of a layman, and ready to discuss his criticism and approval. The contents of his workshop next door, where he worked out problems of lighting and calculations of architecture proportion and geometrical relations, were much more recondite; here the amateur could only display a totally unintelligent interest. His famous picture 'Gassed' was painted at Fulham Road, also the 'Generals of the War' and the decorations of Boston.
(Hon. Evan Charteris, K.C.; John Sargent; Benjamin Blm, Inc. 1927; p.155)

The Avenue, 76 Fulham Road was collectively a group of studios favoured by artists and sculptors in the latter part of the nineteenth century.

In the 1880s the Avenue became the working address for painters that included William Linnell, Edward John Poynter (later President of the Royal Academy between 1896-1918) and Charles Edward Hallé [1], the co-founder of the Grosvenor and New Galleries where Sargent exhibited. Sir Joseph Edgar Boehm, Sculptor in Ordinary to Queen Victoria had his studio there, as did his pupil Alfred Gilbert [off site] and his follower Edward Onslow Ford [off site]. It was at no.8 the Avenue that Gilbert worked on his most famous work, the Shaftesbury Memorial, commonly known as ‘Eros’ which was completed in 1893. Sargent took a lease on a studio at the Avenue two years later in '95, his Tite Street residence proving unsuitable for mural work. Elizabeth McAllister in her 1929 biography of Gilbert says that Sargent took over the sculptor’s studio [no.8 The Avenue], although most sources say that Sargent occupied nos.12 and 14, no.12 being the studio formerly used by the painter Matthew Ridley Corbet from 1887 onwards. Gilbert befriended Sargent, enlisting his service to contribute to the 1895 Centennial Exhibition of Lithography in Paris. Years later Gilbert presented Sargent with a cast of Victory, a favourite gift for his closest friends. Understandably, Sargent’s continuing work on the murals for Boston Library took on a sculptural effect. He made studies for the figure of Moses using the Italian model Angelo Colarossi, father of the boy who modelled for Gilbert’s Eros. At his studio in Fulham Road, Sargent built a one third scale model of the Boston Library commission to help him envisage the scheme as it developed, the whole structure assembled on wheels and moved about the studio by means of a system of chains and pulleys.

Sargent continued using the Fulham Road studio for more than twenty years. He lent it briefly to Whistler in early 1896, ten years after he himself had moved into Whistler’s old studio at 31 Tite Street. The larger studio at Fulham Road also afforded Sargent the privacy that eluded him at his home half a mile away. In later years Sargent’s neighbours at the Avenue would include the infamous occultist Aleister Crowley, who would have Masonic meetings at his apartment at studio no.33.[2]

The Avenue Studios today

• 73, Notre Dame de Champs, Paris
• Boulevard Berthier studio, Paris
• Tite Street studio, London
• Morgan Hall Fairford, Gloucestershire
• Fulham Road Studio, London
• See the year in review 1894-1895

C.E.Hallé, who was to have his own studio in ‘the Avenue’, writes this in his ‘Notes from a Painter’s Life’ (1909): 

• British History online, Artists and Chelsea
• Rose Amy Pettigrew
  
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