John Singer Sargent's Fulham Road Studio (Frontpage)  (What's New)  (Thumbnails)  (Refer This Site)


Studio no14 rear entrance

One third scale model of the Boston Library
Fulham Road Studio

The Boston Public Library

London Directory
The Avenue
 76 Fulham Road


(Earliest directory on the shelf at Kensington Library)
No.1A Miss Gwenny Griffiths, artist
No.2 George Edward Wade, sculptor 
No.3 Sir Edward John Poynter P.R.A., artist 
No.3A George Wilson, sculptor
No.4 Miss Frances Fairman, artist 
No.5 John Henry Monsell Furse, sculptor 
Nos.6 & 8 Henry Charles Furse, sculptor
No.7 Miss Fortunée De Lisle, artist 
No.9 Miss Mabel Young, artist
No.10 Albert Toft, sculptor 
No.11 Trevor A. Batty, artist 
No.12 & 14 John Sargent, artist 
No.15 H. Harris Brown, artist

( . . . )

No.1A Miss Annie Louise Swynnerton, artist
No.1 George Edward Wade, sculptor
No.4 Lionel Fritz Roselieb
No.5 Miss Gwenny Griffiths, artist
No.6 Henry Charles Fehr, sculptor
No.8 John Tweed, sculptor
No.9 Miss Mabel Young, artist
No.11 Julius Olsson ARA JP, artist


No.1A Miss Annie Louise Swynnerton, artist
No.1 George Edward Wade, sculptor
No.4 Lionel Fritz Roslyn
No.5 Miss Gwenny Griffiths, artist
No.6 Henry Charles Fehr, sculptor
No.8 John Tweed, sculptor
No.9 Miss Mabel Young, artist
No.11 Julius Olsson ARA JP, artist


No.1A Miss Annie Louise Swynnerton, artist
No.1 George Edward Wade, sculptor
No.4 Lionel Fritz Roslyn
No.5 Miss Gwenny Griffiths, artist
No.6 Henry Charles Fehr, sculptor
No.7 Ronald Gray, artist
No.8 John Tweed, sculptor
No.9 Miss Mabel Young, artist
No.11 Frederick Pegram, artist
No.11 Nicolas Faberge, artist


Volume missing


No.1A Miss Annie Louise Swynnerton, artist
No.1 George Edward Wade, sculptor
No.3 Miss Flora Lion, artist
No.4 Lionel Fritz Roslyn
No.5 Miss Gwenny Griffiths, artist
No.6 Henry Charles Fehr, sculptor
Nos.7&8 John Tweed, sculptor
No.9 Miss Mabel Young, artist
No.10 Montague Barstow, artist
No.11 Frederick Pegram, artist
No.11 Nicolas Faberge, artist

Very little excitement there, then, apart from Mr Roselieb who doubtlessly changed his surname to Rosslyn to try and sound less Germanic.

Fulham Road Studio
(12–14 The Avenue,  Fulham Road)
(located at 76 Fulham Road within Sydney Close)
Interior Photo
In his Fulham Road studio, Sargent could spread out and "paint nothing but Jahovah," or the murals for the Boston Public Library which wouldn't fit at all in Tite Street. 

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)

From: Scott Thomas Buckle
scott bu  c
Date: Sun, 13 Mar 2005

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

Originally it was built as a studio and foundry for Baron Carlo Marochetti who lived just behind at 34 Onslow Square from 1849 till his death. Marochetti was a well-known sculptor and one of his notable works was a collaboration with Sir Edwin Henry Landseer on the lions which sit at the base of Nelson's Column in Trafalgar Square. After Marochetti’s death in 1867, the Avenue was divided into smaller individual studios.
(Sydney Mews)

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

The collection of 15 artists studios that were originally called 'The Avenue' still survive today. The main entrance to 'Avenue Studios' is a large black door located in Sydney Close, a quiet mews off the Fulham Road and faces west.

"The Avenue" front entrance from Sydney Close
Looking northeast at west elevation


"The Avenue" front entrance
The door leads through to a long hallway with the doors to individual studios on either side along its length. Sargent used Nos. 12 and 14 for his mural work and they are situated at the far end of the hallway on the left. 
The back end of 'Avenue Studios' can be accessed via Sydney Mews, which is a little further along the Fulham Road. Each of the studios has a second door which opens onto the mews wrapping the back of the building on three sides. The odd numbered studios run along the south side of the building which we are seeing here:


The back end of 'Avenue Studios' 
South Elevation, View looking West

At the east end of the building, or its rear, is No. 15 and No. 14 The picture below shows the corner window of studio No. 14.

North east corner of  'the Avenue Studios' 
Studio No. 14 window

and around the corner, on the north side, are the even numbered studios seen here:

North Elevation, View looking East
showing back entrances

The first of these from the rear is No. 14

Studio No. 14 rear entrance

Studio No. 14 again on a different day/month

and beside it to the right is studio No.12

Studio No. 14 & 12

The following photograph shows studios (left to right) No.14, 12 and 10

Studios No. 14, 12 and 10

A look through the window of a neighbouring studio  . . .

Studio No. 10

shows that the structure of the studios, particularly the ceiling supports seems to be unchanged from Sargent's day or from even earlier when the studios acted as a foundry for the sculptor Baron Marochetti.

Special thanks to Scott Thomas Buckle, of London, a friend of the JSS Gallery, for all his help regarding the research and photos for this page. 

  Sargent's Sudios


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

“…Baron Marochetti took me in hand and I entered his studio as a pupil. I was then twelve years old, and my work with him was much interrupted, as my people only spent three months of the year in London, and I was not allowed to remain there by myself; but during those three months I was every day at the studio, a large block of buildings at the back of Onslow Square, now the Avenue Studios…

…It was here that I first met Thackeray, who lived next door to the Baron on Onslow Square, and also Landseer, who executed the lions now at the base of Nelson’s statue in Trafalgar Square in Marochetti’s studio.”


I realized that there is no studio number 33 at the Avenue, although several websites affirm that Masonic meetings were taking place there. Only one site corrects this to No. 2 (website located here under  A.C. annotations to the Abbey p. 31) - I guess that Crowley was up to some numerological trick with his mystical friends.

Other Sources


Fulham Road & Tite Street
Studios, London

John Ballantyne
 British (1815-1897)

Sir Edwin Henry Landseer
(Landseer's lions)
c. 1865
(painted at the Avenue studios during the sculpting of the Lions)

 Alfred Gilbert

'Shaftesbury Memorial
The Angel of Christian Charity "Eros"


Map, Fulham Road & Tite Street
Studios, London


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By:  Natasha Wallace
Copyright 1998-2005 all rights reserved
Created 11/1/2002