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1885 thru 1886

Title
Madame Paul Poirson
1885-86 
Detroit Institute of Arts
Oil on canvas
149.9 x 85 cm (59 x 33 1/2 in.)
Founders Society Purchase with funds from Mr. and Mrs. Richard A. Manoogian, Beatrice W. Rogers Bequest Fund, Gibbs-Williams Fund, and Ralph Harman Booth Bequest Fund

Essay and picture about two-thirds down page.


 
  Mrs. Alice Mason
1885

Private collection
Oil on canvas
154.9 x 104.1 cm (61 x 41 in.)
Inscription: (Upper left:) John S. Sargent 1885 signed



Judith Gautier
1885
Detroit Institute of Arts
Oil on panel 
99.1 x 62.2 cm.
Gift of Mr. and Mrs. Ernest Kanzler 

 
Portrait of Madame La Comtesse Jacques De Ganay ( Renee De Maille)
1885
Natasha
Private colection
Oil on canvas 
Oval 28 ¾ x 19 5/8 in
Signed and dated upper left John S.Sargent 

 
Claude Monet Painting
c.1885
Tate Gallery, London
Oil on canvas
54 x 64.8 cm (21 1/4 x 25 1/5 in.)
Presented by Miss Emily Sargent and Mrs Ormond through the National Art-Collections Fund 1925


Mrs. Edward Burckhardt and her Daughter Louise
1885
Private collection
Oil on canvas
200.7 x 142.2 cm (79.0 x 56.0 in.)

 
Pointy (portrait of Louise Burckhardt's dog)
1885
Private collection
Oil on panel
 27.3 x 21.6 cm (10.7" x 8.5 in.)
 inscribed “Pointy”; back of canvas inscribed “To my friend Louise from John S. Sargent.” Mrs. Kenneth D. Robertson
   
My Dining Room
ca. 1883-86
Smith College Museum of Art, Northampton, Massachusetts
Oil on canvas
73.66 x 60.325 cm  (29 x 23 3/4 in.)
Purchased with the gift of Mrs. Henry Tomlinson Curtiss (Mina Kirstein, class of 1918) in memory of William Allan Neilson 
ACCESSION #  SC 1968:10 

 
Home Fields
1885 

Detroit Institute of Arts
Oil on canvas 
73  x 96.5 cm (28 3/4 x 38 in.)
City of Detroit Purchase 

 
Femme en Barque
also known as
By the River 

1885

Private collection
Oil on canvas
51.44 x 69.85 cm (20.25 x 27.5 in.)



At Broadway
1885
Private collection
Oil
18.5 x 24  in.
Signed

 
Girl with a Sickle 
1885
Private collection
Oil on canvas
 59.69 x 39.37 cm (23.5 x 15.5 in.)

 
Reapers Resting in a Wheatfield
1885
The Metropolitan Museum of Art, NY
Oil on canvas 
71.1 x 91.4 cm (28 x 36 in.)
Gift of Mrs. Francis Ormond, 1950

 
The Candelabrum
1885 
Private collection
Oil on canvas 
 52.7 x 66.67 cm (20.75 x 26.25 in.) 

 
Mrs. Frederick Barnard
1885 
Natasha
Tate Gallery, London
Oil on canvas 
104.1 x 57.1 cm
Bequeathed by Miss Dorothy Barnard 

 
Portrait of Alfred Parsons
1885?
Natasha
Private collection
Charcoal
17.5 x 23 in.


Mrs Frank Millet
("Lily", nee Elizabeth Merrill)
1885-1886 
Private collection
Oil on canvas
87.3 x 67.3 cm (34 3/8 x 26 1/2 in).

 
Whitby - Fishing Boats
1885 
Fine Arts Museums of San Francisco
Oil 
47.0 x 66.0 cm (18 ½ x 26)
inscribed: To my friend Mrs. Vickers John S. Sargent

 
Young Girl Wearing a White Muslin Blouse
1885
Private collection
Oil on canvas 
48.9 x 38.1 cm (19.25 x 15 in.) 

 
Sketchbook ("Carnation/ Lily") Robert Louis Stevenson
1880-1885
Sargent at Harvard, Boston
Mostly graphite and charcoal, and some pen and brown ink, on off-white wove paper, bound in a beige canvas sketchbook
25.5 x 35 cm (actual)

 
Robert Louis Stevenson and His Wife
1885
Natasha Essay
Bournemouth, August 1885 
Private collection 
(Steve Wynn collection)  
Oil on canvas 
52.1 x 62.2 cm (20 1/2 x 24 1/2 in.)

 
Terra Gosse
1885
Collection of Dr. and Mrs. John J. McDonough
Oil on canvas
63.5 x 48.3 cm (25 x 19 in.)

 

Dorothy Barnard
1885

Private collection
Oil on canvas
72.39 x 49.53 cm (28 1/2 x 19 1/2 in)




Study of Barnard Children for Carnation, Lily, Lily, Rose (graphite)
1885-86
The Tate Gallery, London
Pencil on paper

(Two studies)


 
 Carnation, Lily, Lily, Rose
1885-86
Natasha essay
Tate Gallery, London
Oil on canvas
174 x 153.8 cm (68 1/2 x 60 1/2 in.)
Purchased from the artist, 1887

(Essays Wet-canvas)
(Caricature of Sargent's painting)


 
Self-Portrait in Profile (graphite)
C.1885-90
Fogg Art Museum, Boston
Graphite on off-white wove paper
21.2 cm. x 12.3 cm
Inscription: l.l., graphite: J. S. 301
Gift of Miss Emily Sargent and Mrs. Francis Ormond in memory of their brother, John Singer Sargent, 1931.70

 
Portrait of Mrs. Robert Harrison
(née Helen Smith) 
1886
Natasha
Tate Gallery,  London 
Oil on canvas
157.8 x 80.3 cm
Bequeathed by Miss P.J.M. Harrison 2000; T07693

 
Sir Edmund Gosse
1886
Natasha
National Portrait Gallery, London
Oil on canvas
54.6 x 44.5 cm (21 1/2 x 17 1/2 in.)
NPG 2205

 
Millet's Garden3
1886
Private collection
Oil on canvas
68.6 x 86.4 cm (27 x 35 in.)

 



The Old Chair
1886
Collection of the Ormond Family
Oil on canvas
66 x 55.9 cm (26 x 22 in.)

 
Roses
1886
Private collection
Oil
Size?

 
Poppies 
1886
Private Collection
Oil on canvas 
24 3/8 x 35 7/8 in.

 
In the Orchard
c. 1886
Natasha
Private collection
Oil on Canvas
61 x 73.7 cm (24 x 29 in.)

 
Landscape with Rose Trellis
1886
Private Collection
Oil on canvas
20.5 x 25 in.

 
Portrait of Jacques-Emile Blanche
c. 1886
Natasha
Musée des Beaux Arts - Rouen (Normandy)
Oil on canvas 
81.9 x 48.9 cm (32 1/4 x 19 1/4 in.)
Inscription u l: à mon ami Blanche
Inscription u r: John S Sargent

 
A Gust of Wind
1886-87 
Natasha
Private collection
Oil on canvas
61.6 x 38.1 cm (24.25 x 15 in)

 
Self Portrait 1886
1886
Natasha
Aberdeen Art Gallery and Museums, UK
Oil on canvas
34.5 x 29.7 cm
signed and dated:  John S. Sargent 1886

 
Dr. FitzWilliam Sargent 
1886
Sargent House Museum, Gloucester, Massachusetts
Oil on canvas

36.8 x 34.3 cm  (14 1/2 x 13 1/2 in.)

 
Mrs. Cecil Wade
1886
Nelson Atkins Museum of Art, KC
Oil on canvas 
167.6 x 137.8 cm (66 x 54 1/4 in.)
Gift of the Enid and Crosby Kemper Foundation

 
Mrs. Douglas Dick
1886
Private collection
Oil
63 x 36 in.
Signed and dated

 
Brigadier Archibald Campbell Douglas
1886
Private collection
Oil on canvas
63 3/4 x 35 3/4 in.
 
A Rose Trellis (Roses at Oxfordshire)
c.1886
Private Collection
Oil on canvas
27 x 17 in.

 
1885                (29 years old)
Year In Context

He starts the year in Paris. He is commissioned by his landlord and friend and patron, Paul Poison, to paint a portrait of his daughter, Suzanna and another of his wife in lieu of rent. He paints a double portrait of Charlotte Louise Burchardt and her mother.

In March he probably visits his family in Nice.

In May he exhibits The Misses Vickers (1884) and Mrs. Albert Vickers (1884) at the Salon and Lady Playfair at the Royal Academy, Mrs. Alice Mason at the Grosvenor, London.

He exhibits with Monet and other Impressionists at the Galerie Georges-Petit, Paris: Exposition internationale de peinture. Three portraits along with Le verre de Porto are shown -- he gets little notice.

June: Takes Vernon Lee to the Salon and to the Louvre (24th/25th). 

Decides to move to London and takes a lease at 13 (later 33) Tite street, Chelsea, Whistler's old studio.Beyond Henry James and other American artists living in England he knows few people.

He and Edwin Austin Abbey in August takes a boating trip  on the Thames River where he gets the idea for Carnation, Lilly, Lilly, Rose.  On the trip he injures his head in a diving accident and then gashes it open again. Abbey talks him into convalescing at Broadway, between Worcestershire and London with a group of his art friends. Other artists in this little Broadway colony include Abbey, Francis Davis Millet, Edwin Blashfield, Alfred Parsons, Frederick Barnard, Edmund Gosse, and Henry James. 
Footnote 1See Footnote 1

At this point Sargent is still despondent over the Madame X scandal. He has been painting mostly friends since then, new commissions have been few and was not received well at the Impressionist show. He tells Edmund Gosse he's thinking of leaving painting.


At Broadway he paints his friends there such as  Mrs. Frederick Barnard, and begins Carnation, Lilly, Lilly, Rose. Home Fields is probably at Broadway.

In October he travels from Broadway to Bournemouth to paint a portrait of Mr. and Mrs. Robert Louis Stevenson.

By November he returns to London but tours southern England with Abbey and is back at Broadway and Frank Millet's Farnham House for Christmas.  

 


1886                           (30 years old)
Year In Context

January, he's in London and paints in his studios in Kensington and lives at Bailey's Hotel. During this time he paints Mrs. Robert Harrison.

When spring comes, Sargent shows Mrs. Albert Vickers (1884), The Misses Vickers (1884) and Robert Harrison (n/a) at the Royal Academy, London. At the Grosvenor Gallery, London, he shows a portrait study; at the Society of American Artists, New York, he shows Mrs. Wilton Phipps (n/a) and Mrs. John W. Field (n/a); and at the Paris Salon he shows Charlotte Louise and Mrs. Burckhardt (1885).

He decides not to exhibit again with the Impressionists at the Galeri Geoges-Petit, Paris.

By March he decides where he's going to make his professional fight and digs in his heels. He decides London will be permanent home base, gives up his Paris boulevard Berthier studio to Giovannie Boldini, and helps found the New English Art Club, in London where he's elected to the selection committee. 

On June 26th he arrives at Broadway and stays with Abbey and the Millets at their new home: Russell House. While there he paints scenes and studies from the surrounding area including Millet's Garden, Poppies, Roses, and possibly In the Orchard and probably Edmund Gosse.

July, he is off to Paris briefly then on to Gossensass, Switzerland with his family.

In August he's in Bayreuth for the Wagner festival.

By autumn he's back in England and spends time between Broadway and London where he executes portrait commissions. Mrs. Cecil Wade is one of John's first major commissioned paintings since the Madame X showing and he finishes Carnation, Lilly, Lilly, Rose.

On October 28th, Henry James introduces Sargent to Isabella Stewart Gardner. She is an eccentric art collector from Boston, who fell in love his painting  El Jaleo  (1882) and had it hanging in her home in Boston. Their association would prove to be beneficial as she would later introduce him to countless clients in America. They would eventually become very good friends.
 


    

 
Index
Footnote 1Footnote 1
    The Broadway Colony
    This is one of the most interesting periods for Sargent. Here he is at his lowest ebb, and yet he is with friends and wonderful artists. The creative energy in this group must have been incredible. 
    One of the most interesting ways to learn about a person is to learn about whom they associate. 

3



  • Edwin Blashfield,  (1848-1936), an American expatriate painter. thirty-seven years old at the time of Broadway, like Sargent, he would later do mural work in America . Born in New York, he studied art in Paris in 1867. His most significant work is considered The Acension which is in a church by the same name in New York. He also painted Development of Civilization which decorates the central dome of the Library of Congress (see Study for); painted in the State Capital of South Dakota called The Spirit of the West,  and another painting in the governor's reception room Only by our mistakes do we learn. With his wife, he wrote Mural Painting in America, 1913 and together they edited  Vasari's Lives of the Painters. Prior to giving up portraits he painted The New Dress, 1874

  • Frederick Barnard (1846-1896) an artist and has one of his his works entitled "Race Meeting" hanging at the Tate Gallery, London (image n/a). John paints his wife while at Broadway.
 



  • Henry James in 1913 Sargent paints his portrait (link to portrait with essay)




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