1398
SARGENT JOHN SINGER: (1856-1925)
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SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painter of his generation. An excellent A.L.S., John S. Sargent, four pages, 8vo, Broadway, Worcestershire, 26th September (1885), to a friend, evidently a fellow artist, in French. Sargent thanks his friend for their letter and kind words of encouragement, remarking ´Ils sont arrivés à point car je suis aux prises avec un tableau qui me donne un mal horrible´ (Translation: ´They came just at the right time because I am struggling with a painting that is giving me a terrible headache´) and continuing to add that he has been late in writing due to a lack of news regarding "Pays", evidently a painting Sargent had been entrusted with by his correspondent, explaining ´Jusqu´à present pas d´acquéreur. Le marchand que j´avais en vue n´est qu´un crétin. Un autre qui aurait pu apprécier votre tableau a fait faillite, et l´amateur avait quitté Londres quand j´y suis arrivé. Je devais aller chez lui à la campagne...... mais il m´est arrivé de me fendre la crane contre une pierre en piquant ma tete dans une rivière, ce qui m´a invalidé pourtant quelque temps (Je suis tout à fait bien maintenant). Votre tableau est maintenant dans l´atelier d´Abbey a Londres où plusieures personnes l´ont admiré. Si vous n´etes pas pressé de la faire revenir, voulez-vous que nous l´envoyons à l´institut, c´est l´exposition la plus importante de l´hiver? Elle ouvre à la fin de novembre je crois. Vous avez au moins un partisan assez influent dans le comité qui ferait son possible pour bien exposer le tableau´ (Translation: ´So far, no buyer. The dealer I had in mind is just a moron. Another who might have appreciated your painting went bankrupt, and the enthusiast had left London when I arrived. I was supposed to go to his house in the country... but I ended up splitting my skull on a rock when I stuck my head in a river, which left me incapacitated for a while (I'm perfectly fine now). Your painting is now in Abbey's studio in London where several people have admired it. If you are not in a hurry to have it returned, would you like us to send it to the institute, it is the most important exhibition of the winter? It opens at the end of November I believe. You have at least one fairly influential supporter on the committee who would do his best to ensure the painting is properly displayed´). In concluding Sargent returns to the subject of his own troublesome painting, ´Je fais un tableau dans un jardin avec des enfants et des fleurs. C´est le daible´ (Translation: ´ I am painting a garden with children and flowers. It's the devil´). A letter of wonderful content, not least for its reference to Sargent´s painting which, despite the apparent difficulties it was presenting the artist with, would become one of his finest, and the first of his works to be acquired by a public museum. Some minor age toning to the edges, only very lightly touching some of the text and signature, otherwise VGJohn Singer Sargent made his first visit to Broadway, the picturesque Cotswolds village, in September 1885. Little known and remote at the time, Broadway was the home to a small colony of artists and Sargent had been encouraged to visit to recuperate from a bad head wound, mentioned in the present letter. Indeed, Broadway had been recommended by Sargent´s friend, the American artist Edwin Austin Abbey (1852-1911) who is also referred to in the present letter, and who had permanently settled in London in 1883.Whilst in Broadway, Sargent commenced work on the painting (which he writes was giving him ´a terrible headache´) that would become one of his most admired works, Carnation, Lily, Lily, Rose (1885-86). The oil painting depicts two young girls, Dolly and Polly, the daughters of Sargent´s friend, the illustrator Frederick Barnard. They are captured in the garden of Farnham House, strewn with pink roses, accents of yellow carnations and tall white lilies, and the girls light paper lanterns as day turns to evening. Sargent wanted to capture the exact level of light at dusk, so he painted the picture en plein air in the Impressionist manner. Every day from September to November 1885, he painted outdoors in the few minutes when the light was perfect. Sargent resumed work on the painting the following summer, again in Broadway, and finally finished the painting by the end of October 1886.Carnation, Lily, Lily, Rose was exhibited at the Royal Academy summer exhibition in 1887 and Sir Frederic Leighton, President of the Royal Academy, encouraged the Tate Gallery to purchase the work later that year. It was the first of Sargent's works to be acquired by a public museum, and today remains part of the Tate collection, on display at Tate Britain.
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SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painter of his generation. An excellent A.L.S., John S. Sargent, four pages, 8vo, Broadway, Worcestershire, 26th September (1885), to a friend, evidently a fellow artist, in French. Sargent thanks his friend for their letter and kind words of encouragement, remarking ´Ils sont arrivés à point car je suis aux prises avec un tableau qui me donne un mal horrible´ (Translation: ´They came just at the right time because I am struggling with a painting that is giving me a terrible headache´) and continuing to add that he has been late in writing due to a lack of news regarding "Pays", evidently a painting Sargent had been entrusted with by his correspondent, explaining ´Jusqu´à present pas d´acquéreur. Le marchand que j´avais en vue n´est qu´un crétin. Un autre qui aurait pu apprécier votre tableau a fait faillite, et l´amateur avait quitté Londres quand j´y suis arrivé. Je devais aller chez lui à la campagne...... mais il m´est arrivé de me fendre la crane contre une pierre en piquant ma tete dans une rivière, ce qui m´a invalidé pourtant quelque temps (Je suis tout à fait bien maintenant). Votre tableau est maintenant dans l´atelier d´Abbey a Londres où plusieures personnes l´ont admiré. Si vous n´etes pas pressé de la faire revenir, voulez-vous que nous l´envoyons à l´institut, c´est l´exposition la plus importante de l´hiver? Elle ouvre à la fin de novembre je crois. Vous avez au moins un partisan assez influent dans le comité qui ferait son possible pour bien exposer le tableau´ (Translation: ´So far, no buyer. The dealer I had in mind is just a moron. Another who might have appreciated your painting went bankrupt, and the enthusiast had left London when I arrived. I was supposed to go to his house in the country... but I ended up splitting my skull on a rock when I stuck my head in a river, which left me incapacitated for a while (I'm perfectly fine now). Your painting is now in Abbey's studio in London where several people have admired it. If you are not in a hurry to have it returned, would you like us to send it to the institute, it is the most important exhibition of the winter? It opens at the end of November I believe. You have at least one fairly influential supporter on the committee who would do his best to ensure the painting is properly displayed´). In concluding Sargent returns to the subject of his own troublesome painting, ´Je fais un tableau dans un jardin avec des enfants et des fleurs. C´est le daible´ (Translation: ´ I am painting a garden with children and flowers. It's the devil´). A letter of wonderful content, not least for its reference to Sargent´s painting which, despite the apparent difficulties it was presenting the artist with, would become one of his finest, and the first of his works to be acquired by a public museum. Some minor age toning to the edges, only very lightly touching some of the text and signature, otherwise VGJohn Singer Sargent made his first visit to Broadway, the picturesque Cotswolds village, in September 1885. Little known and remote at the time, Broadway was the home to a small colony of artists and Sargent had been encouraged to visit to recuperate from a bad head wound, mentioned in the present letter. Indeed, Broadway had been recommended by Sargent´s friend, the American artist Edwin Austin Abbey (1852-1911) who is also referred to in the present letter, and who had permanently settled in London in 1883.Whilst in Broadway, Sargent commenced work on the painting (which he writes was giving him ´a terrible headache´) that would become one of his most admired works, Carnation, Lily, Lily, Rose (1885-86). The oil painting depicts two young girls, Dolly and Polly, the daughters of Sargent´s friend, the illustrator Frederick Barnard. They are captured in the garden of Farnham House, strewn with pink roses, accents of yellow carnations and tall white lilies, and the girls light paper lanterns as day turns to evening. Sargent wanted to capture the exact level of light at dusk, so he painted the picture en plein air in the Impressionist manner. Every day from September to November 1885, he painted outdoors in the few minutes when the light was perfect. Sargent resumed work on the painting the following summer, again in Broadway, and finally finished the painting by the end of October 1886.Carnation, Lily, Lily, Rose was exhibited at the Royal Academy summer exhibition in 1887 and Sir Frederic Leighton, President of the Royal Academy, encouraged the Tate Gallery to purchase the work later that year. It was the first of Sargent's works to be acquired by a public museum, and today remains part of the Tate collection, on display at Tate Britain.
Autograph Letters, Manuscripts & Historical Documents Auction featuring the Collection of a Leicestershire Gentleman Part I
Sale Date(s)
Lots: 1-580
Lots: 581-1140
Lots: 1141-1640
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