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  Undated Paintings
The lack of dates (in some cases) doesn't necessarily mean the painting hasn't been dated by someone. It just means I don't recall or have knowledge of a date at this time. If you run across a date I would appreciate you dropping me a note
Title
An American Portrait (unnamed)
Natasha
Date: Unknown


Daisy, Princess of Pless
Undated
Natasha
Private collection
Charcoal on paper, "Mug" 
61 x 48.3 cm (24 x 19 in.)
signed John S. Sargent, l.r. 


Harvey Cushing
Natasha
Date?
Yale Medical Library
Charcoal
Size?


Gladys, Countess de Grey, later Marchioness of Ripon, wife of the Earl de Grey (later Marquess of Ripon)
Date?
Private collection
Unknown
Size?


Portrait of Helen Howe "Mug"
Date?
Natasha
Private collection 
Charcoal
17.5" x 13.5 in. 

Note - appears 1920's



Portrait of Ramalho Ortigão "Mug"
1915 or older
Natasha
Private collection
Charcoal
15.1" x 9.8 in.






Portrait of W. S. Gilbert
Date?
Natasha
Private
Pencil
11 x 8 in.


Comprodon, Spain
date?
Natasha
National Gallery of Art
watercolor
46.7 x 31.2 cm (18 3/8 x 12 1/4 in.) 
Ailsa Mellon Bruce Collection

(close-ups)



Portrait of a Man
Date?
Natasha
Private collection
Oil
24 x 18 in. 

Note -- Maybe a friend in France early 80's? but he could also be Italian or Spanish which could put the date as late as 1914 ish?



Man Reading
Undated
Reading Public Museum, Pennsylvania
Oil on canvas.
64.1 x 56.5 cm (25 1/4 x 22 1/4 in) 


Cresenzo Fusciardi
Date?
Natasha
Fogg Art Museum, Cambridge, Massachusetts
Charcoal on paper
61 x 46.4 cm (24 x 18 1/4 in.)


Portrait of a Child
Date?
Natasha
Private
Watercolor
14.75 x 13.5 in.

Note-- the inscription reads: "To my Friend Madame Tam_____ . . . ". (can't read) there is  precedence of watercolors of his friends in Paris so probably 1878-1884?



Near Versailles
Date?
Natasha
Private collection
Watercolor
13.7 x 9.5 in.

Note- might be during the time he was painting with Monet in the late 80's



Persian Artifact with Faience
Date?
Natasha
Private collection
Watercolor
13 x 9.6 in.

Possibly during his studies at the  Ecole or just after and sort of falls in line with "A Parisian Begger Girl" '77-'78 and "The Little Fruit Seller" '79



Figure Studies
Date?
Natasha
Private collection
mixed
8.7 x 10 in.

Note - could be during his Venetian Studies 1880/1882



Study of a Young Man (lithograph)
Date?
National Gallery of Art
Lithograph
Size?
Gift of Dr. and Mrs. George Benjamin Green

Note -probably in study for the Boston murals



Reclining figures David in Saul's Camp
Date?
Natasha
Museum of Fine Arts, Boston
Charcoal on paper
Sheet: 47.5 x 62 cm (18 11/16 x 24 7/16 in.)
Gift of Mrs. Francis (Violet) Ormond 37.52


By the Fire
Date?
Natasha
Private 
Charcoal
8.5 x 13 in


Daffodils in a Vase
Date unknown
Sargent at Harvard
Oil on canvas
24 3/4 x 29 1/2 in (actual)
Framed 28 x 33 1/2 in
Gift of Mrs. Francis Ormond


Magnolias
Date?
Natasha
Private collection
Watercolor
12 x 18  in. 


In the Dollmites
Date?
Natasha
Private collection
Watercolor
15.7" x 21 in. 


The Library in Venice
Date?
Natasha
National Gallery of Art
Watercolor with white gouache over graphite
56.8 x 45.1 cm (22 3/8 x 17 3/4 in.) 
Ailsa Mellon Bruce Collection


Base of a Palace Alley
Date?
Natasha 
Private collection
Watercolor
14.2 x 20 in


Grand Canal, Venice
Natasha
National Gallery of Art
Date?
Watercolor over graphite
approx. 40.6  x 45.5 cm (16 x 17 7/8 in.) 
Ailsa Mellon Bruce Collection


Bridge and Campanile, Venice
Natasha
National Gallery of Art
Watercolor over black chalk
49.6 x 35.2 cm (19 1/2 x 13 7/8 in.)

(close-ups)



At Pompeii
Date?
Natasha
Private
Watercolor
9.75 x 13.75 in


 
From a Friend: 

It is unusual to meet so marvelously endowed a man possessing such simplicity of manner, such goodness of heart, such genuine human kindness in his nature. He had the innate bearing and dignity of a noble man. His life was to my mind the fullest imaginable, for he was ever alert, in his joy over the petal of a flower, over a feather of a small bird, in the mystery of the propelling  power of a little snake in the grass. He knew a great deal about natural history. He knew a  great deal because he usually remembered everything he had read. He was the most voracious and discriminating reader I have ever met. He belied the French saying "Pour devenir un grand artiste il faut etre, il faut rester fruste." Fruste de connaisances the meant, i.e. not to know too many things, not know too much[1]. He  was just a glorious exception as a genius always is, and just could not help being almost omniscient with so exceptional a memory as was his. To have known so great, so lovable, so delightful a man has been one of the greatest privileges of my life. To have appreciated the honor of enjoying also his friendship many explain to you the profound affection in which I hold today his memory. 

Yours sincerely, 
C.M. Loeffler

January 30, 1926
(Loeffler's letter to Charteris, P.147-149)
 
 
 

In November of 1927, Sargent's cousin Mary Newbold Patterson Hale, wrote her recollections of John for The World Today called "The Sargent I Knew"

 












 
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By:  Natasha Wallace
Copyright 1998-2008 all rights reserved

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 O

 1)
"Pour devenir un grand artiste il faut ètre, il faut rester fruste." Fruste de connaisances they meant, i.e  . . .

To become a great artist it is necessary be, it is necessary to remain fruste. By fruste they meant, i.e. not to know too many things, not know too much