Hedy Lamarr, M-G-M, 1940. Photograph by Laszlo Willinger.
Hedy Lamarr (1914-2000) posed for this glamour portrait in 1940. The legendary Austrian beauty was 27 years old. Since her first American film, Algiers, in 1938, Lamarr was considered one of the most beautiful women in the movies, if not the world.
This publicity photograph of Lamaar is for the 1940 American adventure film Boom Town. It co-stars Clark Gable, Spencer Tracy and Claudette Colbert. This beautiful color portrait was taken by László Willinger (1909-1989), a German-born emigré who made many glamour photographs of celebrities starting in the later 1930’s.
In Boom Town, Lamarr plays Karen VanMeer, a sophisticated and elegant corporate spy. She is recruited by Clark Gable who plays “Big John” McMasters, an oil speculator.
Nadar was born on April 6, 1820 to 26-year-old Thérèse Maillet and 49-year-old Victor Tournachon at 195 rue Saint-Honoré in Paris. His parents didn’t marry until 1826. After Gaspard-Félix (Nadar’s birth name) was born his parents moved to 26 rue de Richelieu. A younger brother, Adrien, was born in 1825. In an age of political censorship, Victor Tournachon’s printing business began to decline and the family moved again to 45 rue Saint-André-des-Arts on the Left Bank. Tournachon brothers’ upbringing was marked by this financial difficulty of their father, especially after the July Revolution in 1830. After Victor Tournachon closed his business in 1833 he moved with his family to Lyon. Gaspard-Félix stayed in school at Versailles where he started his creative writing and had a natural inkling for making friends. His school career effectively ended in 1837 when his father died and Gaspard-Félix moved to Lyon. Though he started medical studies with the idea of supporting his mother and brother, it belied his active interest in journalism.
In 1838, Gaspard-Félix returned to Paris. Into the 1840’s his expanding circle of friends became his new family where his nickname of Nadar began to evolve and he started a journalism career working for up-and-down literary publications, writing reviews and short stories, and drawing caricatures. Throughout the 1840’s he traveled in bohemian literary circles, made the rounds of Paris cafés and met a string of artists, writers, critics and poets such as Gérard de Nerval (1808-1855), Charles Baudelaire (1821-1867) and Théodore de Banville (1823-1891) – all of whom became subjects for Nadar’s photography. Part of the reward for this aesthetic conviction was to spend time in a Paris debtor’s prison at the start of the 1850’s. While Nadar’s literary and artistic activities continued for the next forty years he also remained a type of eccentric politically-radical bohemian even after he was rich and famous.
Mid-nineteenth-century Paris was a city in upheaval both politically and physically. The Revolution of 1848 ended up toppling the constitutional monarchy and replacing it with a second republic. Georges-Eugène, Baron Haussmann’s renovation of Paris literally turned over the old city. These developments perfectly mirrored Nadar’s character to be restlessly innovative, curious, energetic, concrete, and persuasive. In a writing career that worked in the burgeoning literary world of newspapers, magazines, journals, gazettes, etc., and, as the press was starkly partisan, Nadar encountered many personalities who favored the liberal side of the political and cultural spectrum. By way of a journal for which he was editor in chief, Nadar in 1839, met Honoré de Balzac. An active member of the Société des gens de lettres since 1844, Nadar connected to the professional literary group for friends, funds and more writing opportunities, mainly short pieces for periodicals. Nadar never became disenchanted with writing or wanting to be a literary celebrity, but starting in 1844, began to augment his skills and income by publishing caricatures. He made sketches and drawings for a short-lived Journal du dimanche, the influential Le Charivari, an antisocialist LeJournal, a new weekly La Revue comique, and also Journal pour rire (which became Journal amusant), Tintamarre, Illustrated London News, and Count Charles de Villedeuil’s L’Éclair. Nadar’s success as a draughtsman – as well as his intuitive grasp of the emerging celebrity culture in Paris – led to the establishment in 1850 of the first studio under the Nadar brand name. Patronage for his caricatures allowed him in 1854 to move to 13 rue Saint-Lazare with his mother who, with Adrien, had returned to Paris in 1845. This address eventually served as Nadar’s photographic studio. When Nadar began his photographic services career there was a handful of professional photographers in Paris. By 1870, around the time Nadar exited the full-time profession in 1873, there were many hundreds. Nadar was at the start of a cultural sensation. Practicing a new and exciting medium, the photographer still held an undetermined and possibly precarious socio-economical position in Paris –was he an artist or technician? Was Nadar’s photographic services installed in what should be called a studio or shop?
Nadar married Ernestine-Constance Lefèvre (1836-1909) in 1854, a woman half his age, who fully supported her husband’s photographic venture. His young wife was one of his first—and final–photographic models. Nadar’s portraits included a wide range of sitters, many of whom were bohemian friends and notable personalities of his day. Nadar who for years had made portrait caricatures of celebrities such as in his lithographic project, Panthéon Nadar, now took their photographic portraits. A large number of Nadar portraits included painters, sculptors, actors, writers, historians, philosophers, politicians, journalists, and musicians as well as the public bourgeois clientele. The subject Nadar photographed the most was Nadar himself. A sitter would be welcomed into the outdoor courtyard on rue Saint-Lazare which served as Nadar’s studio. His first work was often done in the natural light that achieved a high contrast between light and dark on the sitter’s features. Like in a theatrical production, sitters were costumed by Nadar in place of their street clothes which worked to generalize their social position and contemporaneity. Using plain dark backgrounds and no props to begin, Nadar’s portraits are spare. Another key practice by Nadar to achieve a successful portrait is the photographer’s skillful lighting of the sitter. From the mid1850s until the early 1870s Nadar’s relaxed and easy style inviting friends and celebrities into his studio for portraits resulted in a sympathetic rapport between a seductive and energetic photographer and his trusting and extemporaneous subjects enthusiastically interacting to produce these portraits.
Adrien learned how to take photographs from Gustave Le Gray (1820-1884). Le Gray, who was the same age as Nadar, was already one the most important photographers of his time. Adrien first set up photographic services with his older brother taking portraits. Yet Adrien and Le Gray remained contacts for Nadar only through the 1850s: Le Gray fled France in 1860 because of creditors and the brothers split professionally in a lawsuit brought by Nadar and decided in 1859. In April 1860 Nadar took over renting Le Gray’s sumptuous studio at 35, rue des Capucines and expanded it with an iron-and-glass penthouse which opened in September 1861. This became Nadar’s fashionable quarters until 1872 when he retired and, in 1873, left a thriving photographic business to his son, Paul Nadar. In 1861 the new establishment, lavish and sporting its famous outdoor sign “Nadar,” one of its unforgettable modern notes made by 21-year-old Antoine Lumière (1840-1911), was packaged to attract the urban bourgeois. Nadar also looked to charge high prices based on his appeal as an anti-establishment photographer who sometimes took erotic photographs and always cultivated Paris’s society of artists and political radicals.
At the new studio his photographs were more polished than his and Adrien’s work on rue Saint-Lazare in the 1850’s. Nadar took photographs of Sarah Bernhardt (1844-1923) and George Sand (1804-1876) in several sittings. Nadar was a man of constant curiosity and enthusiasm which led to creative innovations in taking photographs. In addition to portraiture, Nadar used artificial light to photography the Paris catacombs in 1864. For anyone who has visited this underground necropolis, it is naturally always pitch dark. The Paris sewers, a modern marvel, also attracted Nadar’s camera and artificial lighting. The first aerial photographs in history were taken by Nadar when he hooked up a gondola to a balloon and lifted into the air over Paris in 1865. It promoted both the cause of human flight and his photography business. During the seige of 1870, Nadar took to the air again with his camera for patriotic reasons.
The Great Nadar: The Man Behind the Camera, Adam Begley, Tim Duggan Books, NY, 2017.
Nadar: Gaspard-Félix Tournachon (55), James H. Rubin, Phaidon Press, 2001.
The World of Proust as seen by PaulNadar, edited by Anne-Marie Bernard, The MIT Press, Cambridge, MA, 2002.
Nadar, Maria Morris Hambourg, Françoise Helibrun, Philippe Neagu, et.al., Harry N. Abrams, 1995.
Nadar, Self Portrait, 1854.
Nadar, Self Portrait, 1855.
Nadar, atelier at 35, boulevard des Capucines, c. 1861.
The Nadars, c. 1864. Paul Nadar (1856-1939), Gaspard-Félix Nadar (1820-1910), Ernestine-Constance Nadar née Lefèvre (1836-1909).
Nadar (and Adrien Tournachon), Gérard de Nerval (1808-1855), 1855. The poet played a major role in introducing French readers to the works of German Romantic authors, including Friedrich Gottlieb Klopstock (1724-1803), Gottfried August Bürger (1747-1804), Johann Wolfgang von Goethe (1749-1832) and Friedrich von Schiller (1759-1805). His own poetry was a major influence on Marcel Proust (1871-1922), André Breton (1896-1966), and the avant-garde movement of Surrealism in 1920’s that sought to release the creative potential of the unconscious mind. Nadar claimed that Nerval sat for him just once and only days before the bohemian poet committed suicide.
Nadar, Charles Baudelaire (1821-1867), 1855. In an early portrait by Nadar, his friend Baudelaire reclines in an armchair with an intense and dreamy gaze. The poet and critic was involved in producing poems to be published in 1859 as Les Fleurs du mal. Baudelaire’s critique of photography was its negative impact on judgement and feeling of the beautiful.
Nadar, Charles Baudelaire (1821-1867), 1855. The lumpy coat is likely a costume provided by Nadar that helps contrast the sitter’s slim frame and fine facial features. The formal gesture of the right hand inside the coat, a pose known in Ancient Greece to indicate good manners, had appeared in eighteenth century art to establish calm and deliberation in its subject so posed. Baudelaire’s left hand in the pocket is informal and could intentionally serve to undermine or mock the classical gesture.
Nadar, Baudelaire, c. 1856.
Nadar, Baudelaire, c. 1857.
Nadar, Charles Baudelaire (1821-1867), c. 1862. Rather than dreamy, Baudelaire’s expression — mouth turned down, eyes gleaming — is defiant and the pose is stern but whimsical.
Nadar, Charles Baudelaire (1821-1867), c. 1862.
Nadar, Théodore de Banville (1823-1891). Banville was a French poet , writer and critic who was a leader of the Parnassians and whose work was later influential on French Symbolism. His first book of verse, Les Cariatides (“The Caryatids”) in 1842, owed much to the style and manner of Victor Hugo (1802-1885). The chief quality of his poetry is its technical virtuosity — he experimented with forms such as the ballad and rondeau that had been neglected for 300 years — though contemporaries also admired his poems’ erudition, wit and whimsy. His best-known collection, Les Odes funambulesques (“Fantastic Odes”) published in 1857, is dedicated to Hugo who praised it. Such is the first stanza of Mascarades: Le Carnaval s’amuse!/ Viens le chanter, ma Muse,/En suivant au hasard/ Le bon Ronsard!
Nadar, Théodore de Banville, 1854.
Nadar, Henri Murger (1822-1861), Paris, c. 1855.
Nadar, Charles Philipon, Paris, 1854. The founder of Le Charivari in 1831, among other popular journals, Charles Philipon (1800-1862) was Nadar’s mentor and an important collaborator in Nadar’s bid to establish himself as a caricaturist. Philipon and Nadar, though from different generations, both shared an energetic and inventive personal character as well as a keen interest, skill, and talent for contemporary caricature (though censorship killed political cartoons after 1851). Charles Philipon, however, being the better businessman, provided Nadar in this period with editor in chief jobs at new magazines that Philipon founded and, until the day he died in 1862, stayed solicitous of Nadar’s future in illustration. Except that, after Charles Philipon died, Nadar lost all interest in the practice.
Adrien Tournachon (1825-1903), c. 1855. In the mid-to-late 1850’s Adrien collaborated closely with his older brother in the photographic studio’s services. Their work in this period is often enmeshed so that an exact delineation between them can be difficult to ascertain. Is this photograph a self portrait or a collaborative (self-)portrait? The photograph presents Adrien at about age thirty, wearing casual attire and posing with a bohemian air marked by a broad-brimmed dark straw hat and holding a hand-rolled and lit cigarette in his mouth. Adrien Tournachon opened a photographic studio at 11, boulevard des Capucines in 1853. The two brothers worked together closely in photography which each also worked in other professions, Nadar as a caricaturist and Adrien as a painter (whom Nadar helped to establish). Adrien’s photography career included being active in newly-formed photographic societies, securing a patent for a photo-mechanical process, and later specializing in horse and animal photography as well as other photography-related businesses.
Jean-Charles Deburau (1829-1873) as Pierrot series, c. 1855. Another collaborative project by Nadar and his brother Adrien. Nadar issued the invitation for Deburau to pose in the studio. Deburau is dressed as Pierrot, the famous commedia dell’arte character. These are rare full-length portraits in Nadar’s oeuvre and include Pierrot in a variety of dramatic poses, some more natural than others, in strongly sculptural light and shadow. There is Pierrot surprised, Pierrot listening, Pierrot in pain, Pierrot laughing and, most famously, Pierrot photographer which explicitly suggests the performative dialogue between sitter and photographer.
Pierrot with fruit basket.
Pierrot with medicine.
Pierrot the thief.
Pierrot in pain.
Pierrot with coin money.
Pierrot jumping through a window.
Pierrot with envelope.
Nadar, Théophile Gautier (1811-1872), Paris, c. 1855. Gautier was a French poet, dramatist, novelist, journalist, and art and literary critic.
Théophile Gautier, c.1856.
Nadar, Jules Michelet (1798-1874), c. 1858. Historian of France. Nadar positions his camera lens below the subject so that Michelet can look out from above and has arranged the light reflectors to sculpt Michelet’s features in high relief.
Nadar, Prince Adam Jerzy Czartoryski (1770-1861), c. 1858. A Polish patriot, Nadar’s portrait of the prince was exhibited in 1859 at the Société Française de Photographie. In 1848 Nadar had volunteered to fight for the liberation of Poland when Lamartine called for an expeditionary force of 300 Polish and 200 French (including Nadar) to incite revolution against a Russian regime there since 1830. Nadar was captured, spent time in prison in Germany, and returned by foot to Paris.
Auguste Préault (1808-1879), Paris, c. 1854. A student of David d’Angers (1788-1856), Préault was a sculptor who first exhibited at the Paris salon in 1833. Works by Préault are in the Louvre, d’Orsay, and other museum collections mainly in France.
Created in 1842, the medallion titled Le Silence in the Louvre is one of the most famous works of Auguste Préault, who was the romantic sculptor par excellence. Reduced to its simplest expression, the deeply-engraved artwork — a funereal figure with a finger on the lips evoking the chasm between Life and Death — both fascinates and terrifies. This is the sculptural work on the tomb of Jacob Roblès in Père Lachaise where Préault abandoned recent traditional funerary imagery begun by his mentor David D’Angers of artwork that evokes the person who died, and fashioning in its place an enigmatic and mysterious evocation of death itself. Préault, who died in 1879, is also buried in Père Lachaise.
Nadar, Pierre-Clément-Eugène Pelletan (1813-1884), c. 1857. Protestant minister, mystic, socialist pamphleteer, an associate of George Sand and Lamartine. This is lionizing portrait – gleaming eyes, furrowed brow – that epitomized for the photographer the nobility of the Romantic hero.
Nadar, Benoît Molin (1810-1894), Paris, 1858. A student of Baron Gros (1771-1835), Molin was a portrait, genre, Religion and History painter. Molin regularly exhibited at the Salon starting in 1843 and became the Director of Chambéry Musée des beaux-arts in 1850.
Molin, Le Baiser rendu (Judas et Satan), 1840s, Chambéry; musée des beaux-arts.
Nadar, Gioachino Rossini (1792-1868).
Gioachino Rossini: William Tell Overture (1829). London Philharmonic, Alfred Scholz.
Alexandre Dumas père (1802-1870), Paris, c. 1855.
Based on the 1844 novel Le Comte de Monte Cristo (The Count of Monte Cristo) by Alexandre Dumas père, this excerpt from the 1998 French-Italian TV miniseries finds Edmond Dantès (Gerard Depardieu), who is now the Count of Monte Cristo, encountering his beautiful former fiancée, Mercédès (Ornella Muti). When the count as a young man is unjustly betrayed and sent to the Château d’If – from which he escapes after several years – Mercédès has married not only another man but one of the Count’s betrayers. Though Mercédès regrets marrying Fernand and not waiting for Dantès, she never stops loving Dantès and ends up being miserable for it.
François-Louis Lesueur (1820-1876), Paris, c. 1855. Lesueur was a French actor.
Lesueur, c. 1855.
Nadar (and Adrien Tournachon), Edmond Goncourt (1822-1896) and Jules Goncourt (1830-1870), Paris, c. 1855.
Joan of Arc on Horseback, 1874, Place des Pyramides, Paris by Frémiet. The pedestal was designed by the architect Paul Abadie (1812-1884). The model for Joan was Aimée Girod (1856–1937).
Nadar, Louis-Charles-Auguste-Couder (1789-1873), c. 1856. French painter and student of Jean-Baptiste Regnault (1754-1829) and Jacques-Louis David (1748-1825).
Couder, Le Serment du Jeu de Paume, 20 juin 1789, 1848, Musée de la Révolution française, Vizelle.
Nadar, Mariette (Standing Nude), c. 1855.
Nadar, Mimi, c. 1857.
Nadar, Draped Standing Nude, c. 1858.
Mademoiselle de Sanzillon, Paris, c. 1858.
Finette, c. 1857.
Mère Marie Jamet, c. 1860. From an inscription on the back of the photograph, it is speculated, though by no means certain, that this is the founder and mother superior of the Petites Soeurs des Pauvres (Little Sisters of the Poor).
Nadar (and Adrien Tournachon?), Musette (also Mariette), c. 1855.
Young woman in profile, c. 1859.
Nadar (Adrien Tournachon), Jules Janin (1804-1874), Paris, c. 1855. Known as the “prince of critics,” Janin enjoyed a 40-year-career as a theater critic, novelist, and literary historian from the 1830’s to the 1870’s.
Kopp (d. 1872), Paris, c. 1857. Kopp was a comic actor at the Théâtre des Variétés, a theatre and “salle de spectacles” on the boulevard Montmartre in Paris. Several opéra bouffe by Jacques Offenbach premiered there in the 1860’s.
Le Théâtre des Variétés, sur le boulevard Montmartre, à Paris (IIe).
Le Théâtre des Variétés, Paris.
Le Théâtre des Variétés, Paris.
Nadar (and Adrien Tournachon), Émile Blavier, 1854. A young sculptor who gained recognition at the Salon of 1852.
Blavier, Buste de fillette au chignon.
Marie Laurent (1826-1904), Paris, c. 1856.
Hector Berlioz (1803-1869), Paris, c. 1857.
Hector Berlioz’s Symphonie fantastique: Épisode de la vie d’un artiste … en cinq parties (Fantastic Symphony: Episode in the Life of an Artist… in Five Parts) was composed in 1830. and is one of the most important orchestral works of the period. Franz Liszt made a piano transcription of it in 1833. Leonard Bernstein described the symphony as the first musical expedition into psychedelia because of its hallucinatory and dream-like nature. The symphony is in five movements:
Rêveries – Passions (Reveries – Passions) – C minor/C major
Un bal (A Ball) – A major
Scène aux champs (Field scene) – F major
Marche au supplice (March to the Scaffold) – G minor
Songe d’une nuit du sabbat (Dream of the Night of the Sabbath) – C major
The Chicago Symphony Orchestra performances is conducted by Stéphane Denève.
Paul Chenavard (1807-1895), Paris, c. 1857.
Nadar, Pierre-Alfred Ravel (1811-1881). Master comic on the Paris stage at the Théâtre du Palais-Royal for a quarter of century. Each brilliant conversationalists, both sitter and photographer were both at the height of their powers.
Foyer, Théâtre du Palais-Royal, 38 Rue de Montpensier, (1e).
Théâtre de la Montansier/Théâtre du Palais-Royal, 1er, Paris.
Rosine Stolz (1815-1903), Paris, c.1857.
Pierre Cicéri (1782-1868), Paris, c.1857.
Jean-Baptiste-Camille Corot (1796-1875), Paris, c. 1857.
Honoré Daumier (1808-1879), Paris, c. 1857. Four masterful portraits taken in the same sitting. Nadar and Daumier both started their cartoon careers under Charles Philipon. Daumier started by drawing and was prompted, again by Philipon, to model unbaked clay figurines of lawmakers in the July Monarchy. For the rest of his long career Daumier was a master in drawing, painting, sculpture and lithography where the contemporary human element was key admired by Delacroix and Baudelaire. Daumier was friends with the sculptor Préault, painters Corot, Daubigny, Rousseau, and Dupré, and writers Théodore de Banville and Théophile Gautier. Although his first large solo exhibition (at Impressionist art dealer Durand Ruel’s gallery) was when the caricaturist was 70 years old, he had already been compared to novelist Balzac and philosopher Saint-Simon in that his art chronicled an era in French history.
Honoré Daumier (1808-1879), Paris, c. 1857.
Honoré Daumier (1808-1879), Paris, c. 1857. This portrait of Daumier was exhibited in 1859 at the Société Française de Photographie.
Honoré Daumier (1808-1879), Paris, c. 1857.
Daumier, Caricature de Photographie-A Collection of Ten Lithographs, lithograph, 36 x 24 cm. (14.2 x 9.4 in.), c. 1840–1867
Honoré Daumier, Le Défenseur (The Defender), 1860.
Daumier, Le passé, le présent, l’avenir, lithographie, 19.6 x 21 cm, Coll. privée, “La Caricature.”
Daumier, Les deux amateurs d’estampes (The Two Connoisseurs), crayon, pen and watercolor, c. mid-1860’s, 35 x 32 cm, signed bottom right: h.Daumier. Victoria and Albert Museum, London.
Daumier, L’amateur d’estampes (The Print Collector), c. 1860, oil on panel, 35 x 26 cm, bottom right: h.D. The Philadelphia Museum of Art.
Gustave Doré (1832-1883), Paris, c. 1857.
Nadar, Gustave Doré, Paris, 1867.
Jean Journet (1799-1861), Paris, c. 1858. Fourierist “apostle.” Champfleury included Journet in his Excentriques and Nadar looked to achieve a passionate and inspired image in this photographic portrait portrait to offset Courbet’s anti-idealized artwork of Journet included below (Lithograph in black on wove paper, 1850, The Art Institute of Chicago).
Maria L’Antillaise, Paris, c. 1858.
Young Model, Paris, c. 1858.
François Guizot (1787-1874), Paris, c. 1857.
Moses Saphire (1795-1857), Paris, c. 1857. A cartoonist and satirist known as Maurice Gottlieb.
Eugène Delacroix (1798-1863), Paris, 1858.
Delacroix, Two Bearded Heads, after Veronese (detail from “The Marriage at Cana”), 1820, oil on canvas.
Delacroix, Lion Hunt (detail), 1861, The Art Institute of Chicago.
Adolphe Crémieux (1796-1880), Paris, c. 1858.
Juliette Adam (1835-1936), Paris, c. 1858.
Isadore Severin, Baron Taylor (1789-1879), Paris, c. 1858.
Nadar, Philippe de Chennevières-Pointel (1820-1899), c.1855. Museum administrator and scholar. A good friend of Baudelaire who praised Chennevières’ modesty in the face of his humanitarian ideals and work ethic.
Emma Livry (1842-1863), Paris, c. 1859.
Nadar, Self Portrait, c. 1858.
Nadar, Self-Portrait, c. 1859.
Nadar, Self-Portrait, c. 1860.
Nadar, Self Portrait in artificial light, c.1859-1860.
Manet, Steamboat Leaving Boulogne, 1864, oil on canvas, The Art Institute of Chicago.
Manet, Le Christ mort et les anges / Le Christ aux anges (The Dead Christ with Angels), 1864, Oil on canvas, The Metropolitan Museum of Art, New York.
Nadar, Legrand, c. 1858. An understudy to Baptise Deburau as Pierrot and a friendly rival to Charles Deburau, Legrand was short and stocky and in his performances was known for his deftness in pantomime to convey character, especially sentiment and tears.
George Sand (1804-1876), Paris, 1864.
Sarah Bernhardt (1844-1923), Paris, c. 1864.
Sarah Bernhardt in her late teens, c. 1859.
Sarah Bernhardt (1844-1923), Paris, c. 1864.
In 1893 Sarah Bernhardt (1844-1923) took over the direction of the Théâtre de la Renaissance in Paris. Built in 1873, the theater stands next to the Porte Saint-Martin monument constructed in 1674. During the next six years (until 1899) many productions premiered in Bernhardt’s theater: Gismonda, a Greek melodrama in four acts, by Victorien Sardou (1831-1908) in 1894; La Princesse Lointaine, a play based on the story of a 12th-century troubadour, by Edmond Rostand (1868-1918) in 1895; two plays by Maurice Donnay (1859-1945), Amants in 1896 and L’Affranchie in 1898; La Figurante by François, Vicomte de Curel (1854-1928) in 1896; and two other productions in 1898, La Ville morte by Gabriele D’Annunzio (1863-1938) and Lysiane, a five-act play, by Romain Coolus (1868-1952). In 1896, Sarah Bernhardt in the Théâtre de la Renaissance, played the title role in Alfred de Musset’s Lorenzaccio, performing the part at the age of 52 and declared by the critics to be “from beginning to end, and at every moment, incomparably sublime.”
Detail, Façade above entrance doors, Théâtre de la Renaissance, Paris (10e).
Stage, Théâtre de la Renaissance, 20 boulevard Saint-Martin (10th), Paris.
Théâtre de la Renaissance in Paris. Sarah Bernhardt directed this theater from 1893 to 1899. It was built in 1873.
Sarah Bernhardt photographed by Nadar.
Sarah Bernhardt photographed by Nadar in the title role of Théodora in 1884.
In 1899 Sarah Bernhardt signed a long lease for the Théâtre des Nations/Théâtre Lyrique at 2 Place du Châtelet in the Fourth arrondissment and renamed it Théâtre Sarah-Bernhardt. It was designed by Gabriel Davioud (1824-1881) and built in 1862 by Baron Haussmann (1809-1891). It was virtually completely destroyed by fire in May 1871 at the end of Paris Commune and rebuilt according to the original plans in 1874. The renowned actress produced there until her death in 1923.
The Théâtre Sarah-Bernhardt is the Théâtre de la Ville today.
Impressive Haussmannian architecture of the Théâtre de la Ville (the former Théâtre Sarah-Bernhardt) has stood opposite the Théâtre du Châtelet, on the square of the same name in Paris, since 1862.
Théâtre Sarah-Bernhardt today is Théâtre de la Ville.
Program for a production of La Vierge d’Avila in 1907-1907 at the Théâtre Sarah-Bernhardt.
Sarah Bernhardt photographed by Nadar in a production of La Tosca in 1887.
The Divine Sarah in a gouache from c. 1900-1903 by Manuel Orazi (1860-1934).
Carlotta Grisi ( 1819-1899), Paris, 1865.
Jules Champfleury (1821-1889), Paris, c. 1865.
Gustave Courbet (1819-1877), Paris, c. 1866.
Courbet, Woman With A Parrot, 1866, oil on canvas, 51 x 77 in. (129.5 x 195.6 cm), The Metropolitan Museum of Art. New York. When this painting was shown in the Salon of 1866, critics censured Courbet’s “lack of taste” as well as his model’s “ungainly” pose and “disheveled hair.” Yet the provocative picture found favor with a younger generation of artists who shared Courbet’s disregard for academic standards.
Nadar, Charles-François Daubigny (1817-1878), c. 1857. Born near Paris into a family of artists, Daubigny was first taught by his father, the artist Edme François Daubigny. His uncle Pierre Daubigny, a miniaturist, was also influential in his life. Daubigny carried on the tradition by his son Karl Daubigny (1846-1886), an accomplished landscape painter.
Daubigny, The Village of Groton, 1857, Oil On Panel, 29.8 x 53.7 cm (11 3/4 x 21 1/8 in.), Fine Arts Museums of San Francisco.
Nadar, Jean-François Millet (1814-1875), c. 1857. Nadar admired Millet of whom he wrote in 1857 was “one of the most serious talents of the French school.” Some wanted to make Millet’s canvases into sociopolitical manifestos such as in Courbet’s works, but Millet was not intentionally political. Rather Millet’s works looked to depict a toiling peasantry with monumentality and the noble simplicity.
Millet, The Angelus, c 1857, Oil on canvas, 55.5 x 66 cm, Musée d’Orsay.
Jacques Offenbach (1819-1880), Paris, 1875.
The famous can-can from Orphée aux Enfers (“Orpheus in the Underworld”) composed in 1858.
Charles Garnier (1825-1898), Paris, 1877. Architect of the opulent Opéra Garnier constructed between 1861 and 1875. The Palais Garnier is probably the most famous opera house in the world and one of the symbols of Paris.
Featured Image: Self-Portrait, Hans Holbein the Younger, 1542/3, black and colored chalks, 23 x 18 cm, Florence, Galleria degli Uffizi. This is the only secure self portrait in the Holbein oeuvre.
Self-portrait Hans Holbein The Younger, Oil on paper, mounted on oak, 16.5 x 14 cm, inscribed on the left and right of the head: H H; on the left above the shoulder: AN [N] O. 1554 / ETATIS SVE/45, Kunstmuseum Basel, donated by Prof. J.J. Bachofen-Burckhardt Foundation in 2015. While Lüdin was probably working from a graphic reproduction, the unknown painter of this picture, if not Holbein’s own drawing, surely had one of the copies made shortly after his death in the narrow workshop environment. This is one more Hans Holbein self-portrait based on the secure Florentine drawing.
Self-Portrait Hans Holbein, copy by Johannes Lüdin, c. 1647-1667, Oil on canvas, 61.5 x 47.5 cm, Kunstmuseum Basel. In fall 1526 twenty-nine-year-old Hans Holbein crossed the channel from Antwerp to England where the German immigrant’s first concerns were to find work, useful friends, and a place to stay. While Lüdin’s painting was given as a gift to a major art collector in Basel and probably based on a graphic model whose type proliferated after 1600, it is the drawing in the Uffizi (see Featured Image) that remains the only secure self-portrait image according to current Holbein scholarship.
Introduction by John P. Walsh
Hans Holbein the Younger was born in Augsburg, Germany, in 1497. After 1515, he lived and trained in Basel, Switzerland. Over two visits, one starting in 1526 and another in 1532, Holbein spent a total of thirteen years in Henry VIII’s England until the artist’s death in 1543. The focus for this post is Holbein’s first visit to England which lasted two years – specifically, from around September 1526 to mid-August 1528. His second, more permanent, visit to England started in 1532 (Holbein likely arrived in the spring) and lasting to his death, almost certainly from plague, in late 1543. It was during that second, longer visit in England that Holbein became the most important court artist in the time of Henry VIII. His first visit is characterized by the activity of a young immigrant German artist – Holbein was about 29 years in 1526 – getting established in a foreign land and developing a mastery of his craft.
Holbein arrived in England in late 1526 with a letter of introduction from Dutch humanist Desiderius Erasmus (1466-1536) addressed to Sir Thomas More (1478-1535). This was not the first time Erasmus wrote to More asking him to temporarily lodge a friend.1 More would be appointed Lord Chancellor in 1529, but in 1526 Sir Thomas was the Speaker of the House of Commons and Chancellor of the Duchy of Lancaster. By 1526, Erasmus and More had been friends for more than a quarter century. They met during Erasmus’s first high-spirited stay in England in summer 1499. In that year, Erasmus was 33 years old and More twelve years his junior. Other major protagonists in this story – namely, Hans Holbein the Younger and the future King Henry VIII – were just children in 1499.2 While Erasmus began writing seriously on theological topics during his first English stay he also reveled in the gentle and happy personality of More. Part of More’s reception to Holbein in 1526 by way of Erasmus’s request may go back to the two old friends’ first meeting in England in 1499. After Erasmus had been encouraged by More to bring his money into England which More assured the relatively poor scholar would be safe, most of it was confiscated by English customs at Erasmus’ departure. This unpleasant shock not only left Erasmus with keen anger towards England for months afterwards—he never, however, blamed More (and one other English friend) for the misinformation—but left him lacking for money in Paris and elsewhere for several years thereafter.3 Similar to Holbein’s effort in 1526, Erasmus returned to England in 1505 to improve his fortunes by staying with his new friends, including Thomas More, and working to establish a network of influential English contacts. Erasmus emigrated in large part to access various English scholars as well as to counteract friends in the Netherlands who were mostly ignoring his work. It was by way of a new English contact that Erasmus in June 1506 ventured to Italy where he stayed for three years.4 Back in England on his third visit in 1509, Erasmus wrote his Praise of Folly, probably his most enduringly famous work, while living in the house of Thomas More. But writing and lecturing (at Cambridge) brought Erasmus little profit.5 It was only when the Archbishop of Canterbury, another English friend, gave him a stipend in 1512 that Erasmus was relieved of practical destitution. But the favored scholar would remain chronically in need of money and wrote more books to help fill the need. A scholar’s life in cold Britain, however, following three years in Italy’s southern climes, proved tiresome for Erasmus. He found his many months of writing and teaching at Cambridge to be like “a snail’s life, staying at home and plodding.”6 Erasmus was lonely; the plague was frequently about; and, for whatever his labors, he was making literally no money. Further, a state of war between England and France commenced in June 1513 which alarmed and depressed Erasmus, prompting him to publish his first anti-war writings and resolved to leave the island as soon as he could. He sailed for Antwerp in the summer of 1514.7
In 1526 when Erasmus wrote to More asking him to welcome German artist Han Holbein the Younger, both old friends had achieved literary fame in Europe. Thomas More’s Utopia appeared in Latin in 1516, edited by Erasmus and published in Louvain. During the first years of the Reformation, Erasmus remained More’s link to the Continent as they continued their amiable correspondence following Erasmus’ settling in Basel, Switzerland, in 1521. That city would be Erasmus’s dwelling place for the next eight years. Erasmus relied on More’s friendship in the 1520’s as the disputes of the Reformation intensified.8 In 1523 when Hans Holbein the Younger painted two portraits of Erasmus, the young German artist and the older Dutch humanist had been acquainted for some years. Before Holbein joined the workshop of Hans Herbst (c. 1470-1552) in 1516 or had been taken into the Basel painters’ guild in 1519, the teenage Holbein provided a pen and ink drawing for the Basel edition of Erasmus’s Praise of Folly in 1515 which apparently pleased the humanist. From 1519 to 1526 before his first visit to England, Holbein, now in his 20’s, was a whirlwind of artistic activity in Basel. His expressive drawings and paintings were a leading feature, but he demonstrated talent and skill in the many topical arts of his time, including printmaking, metal engraving, frescoes, and altarpieces.9
By 1523 Holbein desired to focus his talent on portrait painting.10 Basel’s most famous resident of Basel was certainly Erasmus. Before his relocation to the Swiss city, the writer and theologian had been famously embroiled in controversies swirling around German reformer Martin Luther (1482-1546). Erasmus came to Basel from Louvain to escape these difficulties and live in relative tranquility.11 In 1523 in Basel Holbein painted three portraits of Erasmus of Rotterdam. One exists today in Basel (in the Öffentliche Kunstsammlung), in Paris (Louvre) and in London (on loan from the Longford Castle collection to the National Gallery). The Reformation was, for the foreseeable future, taking its toll in terms of the visual and plastic arts. Erasmus described to More the state of the arts on the Continent, citing Basel in particular: “Here the arts freeze.”12
Historian David Starkey has called Holbein’s three-quarter profile portrait of Erasmus which was sent to the Archbishop of Canterbury William Warham (c.1450-1532) as a gift in 1524 as “the most important portrait in England”13 Starkey claims the painting is the beginning of portraiture itself when so-called “realism” was introduced into art. By way of Erasmus’s portrait to Warham, Thomas More learned of Holbein’s artwork up to two years prior to the young artist’s arrival in England. It is probable that like Erasmus before him, Holbein lodged in More’s house during his first English visit. Such accommodation provided practical hospitality to a friend’s friend on many levels including the fact that immigrant artists in England were disallowed from dwelling within the city gates of London (More’s house was in nearby Chelsea). Further, More, as a rising political figure in England, became Holbein’s first patron and in that way could secure Holbein’s modern art portraiture for himself. Indeed, the major work of Holbein’s first stay in England between 1526 and 1528 is the portrait of the household of Thomas More as well as the famous portrait of Sir Thomas painted around the same time. In this first two-year period in England Holbein also set to work on a variety of artistic projects, but the portraits highlighted the stay.
Like his famed classicist sponsor Erasmus before him, Holbein came to England to improve his fortunes as an artist. Holbein had visited France in 1524 with the hope for a royal commission but was ignored.14 While English guild artists required Holbein’s exclusion from London proper, the time restriction on his stay was owed to the city of Basel. At the cost of losing his citizenship, Holbein was allowed no more than two-year’s absence from the Swiss city. On August 29, 1528, Holbein returned to Basel.15 This marked the end of Holbein’s first visit to England, but not before he had developed many new influential contacts and established his mastery of craft within the orbit of one of Europe’s most dynamic royal courts. Little more than three years later, in spring 1532, with his old friend Thomas More in the last throes of service as Lord Chancellor (More would almost immediately resign that year as dangerous political storms grew), Holbein returned to England. The Continent’s political and religious revolution was creeping across the channel for England’s own idiosyncratic reasons such that the English world Holbein visited in the 1520’s was rapidly declining. A revolutionary zeal was emerging, especially under Thomas Cromwell between 1535 and 1539, which would inspire new challenges for artistic accomplishment which Hans Holbein the Younger met and engaged throughout his second rewarding visit in England from 1532 to 1543.16
Hans Holbein the Younger: Portrait of Erasmus, 1523, oil on wood, 42 x 32 cm, Louvre, Paris.
One of Holbein’s study drawings of Erasmus’s hands for the profile portraits, silverpoint and chalks, 1523. Louvre.
Hans Holbein the Younger: Portrait of Erasmus, 1523, oil on wood, 73.6 x 51.4 cm, London, National Gallery. Erasmus gifted this portrait to the Archbishop of Canterbury in 1524. The humanist is shown in three-quarter profile wearing a fur collar overcoat seated behind a table with his hands on an inscribed book. Behind the classicist and theologian are painted symbolic elements of the sitter’s profession and achievements: a Renaissance pilaster, green curtain and shelf of books with glass bottle. David Starkey of the National Gallery called this portrait “arguably the most important portrait in England” where “portraiture actually begins.”
Hans Holbein the Younger: Portrait of Erasmus, 1523, paper mounted on wood, 36.8 x 30.5 cm, Öffentliche Kunstsammlung, Basel. Closely related to the Louvre portrait, it is lightly smaller but offers the same strict profile of the sitter. The profile derives from an ancient classical pose signifying political or intellectual power. In this painting Erasmus’s writing can be discerned: it is the opening of a commentary on the gospel of St. Mark dedicated to the king of France. (Wolf, p. 39)
Hans Holbein the Younger in England, 1526 to 1528.
Hans Holbein the Younger: Thomas More (1477-1535), 1527, oil on oak panel, 29.5 in x 23.7 in. (74.9 cm x 60.3 cm), Frick Collection, New York. More became Lord Chancellor in 1529 where thereafter the great humanist scholar, author, and statesman, who resigned in 1532, defied the Act of Supremacy of 1534 that made Henry VIII head of the Church in England and was beheaded on July 6, 1535 for high treason. The “S-S” chain of office More wears in Holbein’s painting is an emblem of service to the King. (Frick, p. 48) More’s execution, coming in quick succession to John Fisher’s two weeks earlier, grieved Erasmus in Basel. Later, Erasmus in a letter lamented More’s involvement in “that dangerous business” which should have been left to “the theologians,” and ignored More’s plea on behalf of his conscience. (Huizinga, p. 183).
Hans Holbein the Younger: Thomas More, 1526/1527, black and colored chalks, 9.8 x 29.9 cm sheet of paper, outlines pricked for transfer. The inscription is a later addition (18th century). Royal Collection Windsor.
Hans Holbein the Younger: Thomas More, black and colored chalks, and brown wash on paper, 37.6 x 25.5 cm. Royal Collection Windsor. More’s career included study at Oxford and becoming a lawyer. He became a MP in 1504, King’s Councillor in 1518, was knighted in 1521, and became Speaker of the House of Commons in 1523. More became Lord Chancellor of England in 1529, but practical politics proved outside More’s forte. He resigned the office in 1532 and was beheaded for high treason in 1535. Thomas More was Holbein’s first patron in England, the German artist to enjoy a happier fate as the preeminent painter in the court of Henry VIII starting in the 1530’s. (Ganz, pp. 231-232)
Frick Collection, New York City. Holbein the Younger’s Thomas More (1527) and Thomas Cromwell (1533) with El Greco’s Saint Jerome (1610) above the fireplace.
Hans Holbein the Younger: Portrait of a Lady with a Squirrel and a Starling (Anne Lovell), 1528, oil on oak, 56 x 38.8 cm, National Gallery, London. Recent scholarship has produced interesting speculations as to the identity of this unknown woman who, in any case, was in Thomas More’s circle (Foister, p. 30; Ganz, p. 232).
Hans Holbein the Younger: Alice Middleton, Lady More, 1527, Corsham Court (private collection) near Bath, England, oil and tempera on oak, 14 1/2 x 10 5/8 in. This is a color study for the large family picture. The color chalk study is missing. Alice was Thomas More’s second wife.
Hans Holbein the Younger: Portrait of Thomas More with his family, 1527, pen and black ink on paper, Öffentliche Kunstsammlung, Basel. This is the preparatory drawing for a group portrait of the family of Sir Thomas More that was the major work of Holbein’s first period in England. The finished painting, whether on canvas or wood or a mural, is missing and was probably destroyed. It is the first nondevotional or ceremonial group portrait made north of the Alps (Ganz, p. 276). This is the household into which Holbein had taken up residence during his first visit to England. Thomas More lived outside London in a country house with his second wife Alice, his father John, his son John and bride to be Anne, three married daughters, eleven grandchildren and a live-in relative (Margaret Giggs). From left is Elizabeth Dauncy, More’s second daughter; Margaret Giggs; More’s father; Thomas More’s future daughter-in-law, Anne Cresacre; Sir Thomas More; More’s son; court entertainer Henry Patenson; More’s youngest daughter, Cecily Heron; eldest daughter, Margaret Roper; and More’s second wife, Alice. The Latin inscriptions in brown ink of the sitters’ names and ages were added a by astronomer-in-residence Nikolaus Kratzer (whose portrait was painted by Holbein).
Holbein’s preparatory drawing of Elizabeth Dauncey, middle daughter of Thomas More. In 1525 she married Sir William Dauncey who served Henry VIII and was a member of parliament. This drawing’s later inscription (not by Nikolaus Kratzer) is inaccurate in its identification. (see – https://www.royalcollection.org.uk/collection/400046/sir-henry-guildford-1489-1532)
Margaret Giggs Clement was Thomas More’s foster daughter. In 1526 she married John Clement, a court physician. Margaret eventually had eleven children and died in exile in the Netherlands in 1570. While the extant More family group drawing by Holbein shows Margaret leaning towards John More, this drawing may actually have served as the now-lost or destroyed painting’s final study. The exact meaning of the inscription “Mother Iak” is unknown. Royal Collection, Windsor.
Hans Holbein the Younger: Anne Cresacre (c.1511-1577), for the More family portrait. Royal Collection, Windsor.
Hans Holbein the Younger: Cecily Heron (b, 1506 or 1507), youngest daughter of Sir Thomas More. She was married to Giles Heron, a Member of Parliament who was hanged for treason in 1540. Royal Collection, Windsor.
Hans Holbein the Younger: Sir John More (c.1451 – 1530), black and colored chalks, 35.1 x 27.3 cm. Thomas More’s father was a respected judge and described by a biographer as “very virtuous” and “merry.” Royal Collection, Windsor.
(Below) Hans Holbein the Younger: John More, black and colored chalks, 38.1 x 28.1 cm. Thomas More’s son. Royal Collection, Windsor.
Hans Holbein the Younger: Sir Henry Guildford (1478-1532), Controller of the Royal Household, inscribed and dated, 1527, oil and tempera on wood, 32 1/8 x 26 in. (82.6 x 66.4 cm), Royal Collection, Windsor. Wearing the collar of the garter for his military service – which was the occasion for the portrait – Guildford, a physical giant of a man, holds the wand of office as Comptroller of the King’s Household. Sir Henry stands against a deep blue background, decorated with the twisting vine found in several Holbein portraits. Above the sitter’s head is a curtain rail, from which hangs a rich green curtain. This detail has lost context in the separation of the portrait from its companion, that of Guildford’s wife Mary.
Sir Henry Guildford, Black and colored chalks, and pen and ink on paper, 38.3 x 29.4 cm. The drawing is a study for the painted portrait. Sir Henry was one of Henry VIII’s closest friends and an early patron of Holbein.
Hans Holbein the Younger: Mary Wotton, Lady Guildford, inscribed and dated, 1527, tempera and oil on oak, 34 1/4 x 27 13/16 in.( 87 × 70.6 cm), St. Louis Art Museum. Mary was Sir Henry Guildford’s second wife. They married in 1525. She holds a devotional book.
Mary Wotton, Lady Guildford, 1527, black and colored chalk on paper, 55.2 x 38.5 cm, Kunstmuseum Basel, Kupferstichkabinett. A study from life for the painted portrait. In the portrait Holbein muted the sitter’s overall playful expression and smile. Mary outlived Sir Henry to marry again.
Hans Holbein the Younger: William Warham (1456-1532), Archbishop of Canterbury (first version), 1527, Oil and tempera on wood, 30 in x 25.75 in., Lambeth Palace, London.
Hans Holbein the Younger: William Warham, Archbishop of Canterbury (second version), 1527, Tempera on wood, 32.3 in x 26.4 in. (82 cm x 67 cm), Musée du Louvre, Paris. Both versions include the episcopal crucifix of gold and jewels with Warham’s coat-of-arms and his motto, prayer books and the Archbishop’s jeweled miter. Warham had this “original replica” painted to reciprocate for a portrait of Erasmus he received. The color is richer in the replica. The brown curtain is replaced with a green one. A later copy of this painting resides in the National Portrait Gallery in London.
Hans Holbein the Younger: William Warham, Archbishop of Canterbury, 1527. Colored chalk on paper, 40.1 x 31 cm, The Royal Collection, Windsor. This is the preparatory drawing for the Louvre portrait. The sitter had been in his position since 1504 and remained there until his death in 1532. The similarities between the Holbein portrait of Erasmus (1523) and that of Warham (1527) are striking for their compositional elements and the conveyance of each sitter’s function by way of iconographical symbols so that these forms are a portrait template.
Hans Holbein the Younger: Portrait of Nikolaus Kratzer (1487-1550), 1528, Tempera on oak, 83 x 67 cm, Musée du Louvre, Paris. The sitter was born in Munich and studied in Cologne and Wittenberg. With an appointment as professor to Corpus Christi College in Oxford, Kratzer relocated to England. As a humanist, he became friends with Thomas More and his family and, starting in 1519, served as an astronomer to Henry VIII’s court. The painting, created during Holbein’s first stay in England, continues to exemplify Holbein’s lively style of illustrating a sitter’s career. Kratzer was a maker of mathematical and geometrical instruments and is shown in practical involvement with these tools. Compared with the Guildford portraits of the year before, Holbein expresses a new subtlety of lighting and refined range of tones.
Hans Holbein the Younger: Double Portrait of Sir Thomas Godsalve and His Son John, 1528, Resin tempera on oak, 35 x 36 cm, Gemäldegalerie, Dresden. Thomas Godsalve (1481-1542) was a notary from Norfolk. Holbein cleverly shows him writing his name and age on a sheet of paper. By 1528, the Godsalves were among London’s most wealthy and politically influential men. (Wolf, p. 51) His son John (1510-1556) later had a double portrait of himself and his wife painted by Holbein.
Hans Holbein the Younger: Sir Henry Wyatt of Allington Castle, c. 1528?, oil on oak, 15.4 × 12.2 in. (39 × 31 cm), Musée du Louvre, Paris. Sir Henry Wyatt served in the court of Henry VII and Henry VIII and a member of the latter’s Privy Council. Sir Henry was part of the circle of Thomas More. N.B. This portrait, once thought to have been painted during Holbein’s first visit to England from 1526 to 1528, is today believed to have been painted towards the end of Sir Henry’s life.
Hans Holbein the Younger: Sir Bryan Tuke, c. 1527/1528 or c. 1532/1534, oil on wood, 49 x 39 cm, National Gallery of Art, Washington, D.C. The sitter is about 57 years old. The date of the painting is unknown and its conjecture is based on its style although that leads to at least two possibilities. The physical mass of the body and the sitter’s expression suggest Holbein’s last year in England (mid 1528) although the painting’s other features (notably its horizontal lines of text) suggest the painting was made after Holbein’s return to London in 1532. There are further later additions after that. The subject, Bryan Tuke (1470-1545), was, starting in 1509, Clerk of the Signet and then Cardinal Wolsey’s secretary. By 1528 Sir Bryan was Treasurer of the Royal Household and secretary to the king for French affairs, a post he held until his death in 1545. There exist several versions of this portrait.
Hans Holbein the Younger: St. Thomas, 1527, Pen and black ink, brush and gray wash, heightened with white gouache, 8 1/16 x 4 1/8 in. (20.4 x 10.5 cm). Metropolitan Museum of Art, New York. Holbein produced a diversity of art in England, including design and decorative works (at Greenwich), book illuminations, and sacred art. St. Thomas is part of a series of apostles of which nine are known. The ultimate application of these drawings is not known and even may have reached their final form in these studies. (Foister, p. 128)
Hans Holbein the Younger: Noli Me Tangere, 1526-1528?, Oil on oak panel, 76.7 x 95.8 cm, Royal Collection Windsor. Holbein paints the gospel narrative of Mary Magdalen meeting Jesus Christ at his resurrection, with angels illuminating the tomb and night breaking for dawn. Between the major figures, a rushing Peter and John in the background are discussing matters. Royal Collection, Windsor.
Hans Holbein the Younger: Sir Nicholas Carew, 1527, black and colored chalk sheet: 54.8 x 38.5 cm, Kunstmuseum Basel, Kupferstichkabinett, Amerbach-Cabinet. Sir Nicholas was Henry VIII’s Master of the Horse until he was implicated in one of the various popular uprisings against the same king’s religious policies in the mid-1530’s, and summarily executed in 1539. (Foister, p.121)Hans Holbein the Younger: Portrait of an Unknown Englishman, 1527, black and colored chalk and leadpoint on prepared paper; outlines traced blind, 38.9 x 27.7 cm, Kunstmuseum Basel, Kupferstichkabinett.
Hans Holbein the Younger: Portrait of an Unknown Englishwoman, 1527, black and colored chalk and leadpoint on prepared paper; outlines traced blind, 38.9 x 27.7 cm, Kunstmuseum Basel, Kupferstichkabinett. These two drawings were prepared for transfer to panels for painting portraits, neither of which survive.
Erasmus and the Age of Reformation, Johan Huizinga, Harper & Brothers, New York, reprint 1957, p. 223.
Huizinga, p. 29.
Huizinga, pp. 35-36.
Huizinga, p. 58.
Huizinga, pp. 79-81.
Huizinga, p. 83.
Huizinga, p. 85.
Huizinga, p. 87.
Hans Holbein The Younger: The German Raphael, Norbert Wolf, Taschen, Cologne, Germany, 2006, p. 28.
Wolf, p. 38.
Huizinga, p. 161.
Wolf, p. 45.
See podcast – https://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-erasmus.
Wolf, p. 39.
Holbein in England, Susan Foister, Tate Publishing, London, 2006, p. 13.
An Advanced History of Great Britain: From the Earliest Times To the Death of Edward VII, T.F. Tout, M.A., Longmans, Green, and Co, New York, London, Bombay and Calcutta, 1913, p.342.
SOURCES: An Advanced History of Great Britain: From the Earliest Times To the Death of Edward VII, T.F. Tout, M.A., Longmans, Green, and Co, New York, London, Bombay and Calcutta, 1913. Erasmus and the Age of Reformation, Johan Huizinga, Harper & Brothers, New York, reprint 1957. Five centuries of British painting: from Holbein to Hodgkin, Andrew Wilton, London: Thames & Hudson, 2001. Holbein in England, Susan Foister, Tate Publishing, London, 2006. Hans Holbein The Younger: The German Raphael, Norbert Wolf, Taschen, Cologne, Germany, 2006. The Frick Collection /A Tour, Edgar Munhall, et.al, The Frick Collection, New York, 1999. The Paintings of Hans Holbein: First Complete Edition, Paul Ganz, Phaidon, London, 1950.
https://www.flickr.com/groups/536163@N24/ – retrieved February 26, 2018
Hans Holbein the Younger: ‘A man very excellent in taking of physionamies’ (sic) – Dr Susan Foister – https://www.youtube.com/watch?v=3UnbWlZnYv4 – retrieved February 26, 2018.
http://sammlungonline.kunstmuseumbasel.ch/eMuseumPlus – retrieved February 26, 2018.
Marlene Dietrich. Paramount, 1947. Photograph by A.L. “Whitey” Schafer.
MARLENE DIETRICH: This Hollywood glamour portrait of forty-six-year-old Marlene Dietrich (1901, Berlin – 1992, Paris) wearing a green turtleneck sweater was taken when the movie actress was starring in Golden Earrings, a romantic spy film made by Paramount Pictures. It was her comeback film following World War II. It was in 1947—the same year that this photograph by A.L. “Whitey” Schafer was made— that Dietrich received what she called her life’s proudest achievement: the Medal of Freedom. While Golden Earrings was a decent film, its main purpose was to provide the actress with a job. Further, it would lead into her next project—the 1948 American romantic comedy A Foreign Affair directed by Billy Wilder—which made Dietrich once again a top star. Following Dietrich’s meteoric rise at Paramount Pictures starting in 1930 her acting parts later stagnated as film directors —including Josef von Sternberg and others—seemed to use her more as a piece of expensive cinematic scenery than as a serious dramatic actress. Like other leading ladies of the time, the Hollywood glamour machine in the 1940’s transformed Dietrich into a golden-haloed blond which accentuated her magnificent cheekbones and sultry eyes under penciled-arc eyebrows and painted nails that this color portrait makes evident. Photographer A. L. “Whitey” Schafer (1902-1951) was a longtime still photographer who started shooting stills in 1923 and continued in that line of work at Columbia Pictures when he moved there in 1932. Personally outgoing, he was appointed head of the stills photography department at Columbia three years later. In the 1940’s Shafer wrote copiously on his craft and advocated for techniques in glamour photography that are seen in this Dietrich color portrait. In 1941 he published Portraiture Simplified, a book in which he argues that “portraiture’s purpose is the realization of character realistically.” Among his technical observations Shafer wrote elsewhere that “composing a portrait is comparable to writing a symphony. There must be a center of interest, and in all portraits this naturally must be the head, or your purpose is defeated. Therefore, the highest light should be on the head.” It was in 1941 that Schafer replaced Eugene Richee (1896-1972) as department head of still photography at Paramount Studios. Shafer remained in that position where he photographed the stars until he died at 49 years old in an accident in 1951.
Elizabeth Taylor. MGM, 1949. Photograph by Hymie Fink.
ELIZABETH TAYLOR: Though still a teenager, by 1949 when this photograph was made Elizabeth Taylor (1932, London-2011, Los Angeles) was celebrated as her up-and-coming generation’s great beauty. Elizabeth debuted in films in 1942 at ten years old and it seemed her life and beauty blossomed in front of the cameras. This photograph captures her near the beginning of her cinematic career as an MGM star and later two-time Oscar winner. Who exactly was her photographer Hymie Fink? His identity remains a small mystery. Was Hymie Fink a studio photographer? Freelancer? Pseudonym for an unknown talent or combination of unknown talents? His name appears from time to time among the stars starting in the late 1930’s until his death was announced by Hedda Hopper in the mid-1950’s. The gossip columnist ended her newspaper column for September 28, 1956 with this epitaph: “Hymie Fink, one of the sweetest men in Hollywood, died of a heart attack on Jane Wyman’s TV set. Hymie photographed every star and every major event in (Hollywood) for twenty-five years.”
Lana Turner. 1939, photograph by László Willinger.
LANA TURNER: Before she became in the 1940’s the well-known Hollywood platinum sensuous blond of movie legend and fame, Lana Turner (1921-1995) was just a pretty redhead from Idaho named Julia Jean Turner. By the time this color portrait was made (it is not retouched) a 18-year-old Lana Turner had been discovered three years earlier in a manner that has made it into the annals of show-biz mythology. The immediate result of her discovery in a Hollywood malt shop was a movie contract with producer-director Mervyn LeRoy (1900-1987). The title of Lana’s first film in 1937 for Warner Brothers proved prescient for her career: They Won’t Forget. In her debut in this courtroom drama, pretty 16-year-old Lana Turner played a five-minute part where her appearance on screen strutting in a tight-fitting sweater and cocked beret created such a stir among audiences that Hollywood began to figure it had a full-budding sex symbol on its hands. Walter Winchell coined the term “America’s Sweater sweetheart” for Lana Turner because of her appearance in about twenty seconds of celluloid flickering onto movie screens in dark theaters throughout America that year. Over the next two decades there would be a long line of Hollywood actresses who throughout the 1940’s and 1950’s wore tight sweaters over specialty bras to emphasize their bust line for appreciating admirers. In 1938 Lana moved with LeRoy to MGM where she stayed to make 44 mostly glamorous films until the early 1960’s. She became one of Hollywood’s biggest stars. Originally groomed to be a new Harlow, Lana followed this sex-bomb course in full force when in 1941 the studio dyed her hair white blonde for Ziegfeld Girl, where she co-starred with Judy Garland and Hedy Lamarr and stole the show.Hungarian-born photographer László Willinger (1909 – 1989) started his professional career in Vienna, Austria, but left Europe for America in 1937. He joined MGM that same year and soon made this lush shot of 18-year-old Lana Turner in a silky green dress seated on a red divan or chair with her head turned and slightly bloodshot eyes looking to one side. Willinger’s color portrait of red-headed Lana Turner emphasizes the sensuality of her personality manifested in her full red sensuous lips and painted nails. László Willinger left MGM in 1944 and established his own photography studio in Hollywood where for the next 40 years he successfully practiced his craft. About her own reputedly rowdy personal life in those MGM years Lana Turner later remarked: “My plan was to have one husband and seven children, but it turned out the other way…”
DIETRICH – “Miss Dietrich to Receive Medal,” The New York Times, November 18, 1947;
http://vintagemoviestarphotos.blogspot.com/2014/11/a-l-whitey-schafer.html; They Had Faces Then. Annabella to Zorina: The Superstars, Stars and Starlets of the 1930’s, John D. Springer and Jack D. Hamilton, Citadel Press, Secaucus, New Jersey, 1974. Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.
http://archives.chicagotribune.com/1956/09/29/page/22/article/diana-dors-isnt-homesick-shes-set-for-film-in-britain; Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.
TURNER – Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.
Lana Turner interview with Phil Donahue, 1982 – https://www.youtube.com/watch?v=uhu6_V7pNL0
“Hollywood Photographer Dies,” The Hour, Associated Press, August 9, 1989 – https://news.google.com/newspapers nid=1916&dat=19890814&id=azIiAAAAIBAJ&sjid=uXQFAAAAIBAJ&pg=1804,2177679
Former Miss Denmark Elsa Sørensen was a popular glamour model in the mid-1950’s and early 1960’s.
By John P. Walsh
Dane Arden (1934-2013) was an international magazine model in the 1950’s and 1960’s. She was born Elsa Sørensen on March 25, 1934 in Copenhagen, Denmark, and, after she won the title of Miss Denmark as a teenager went with her family to live in Vancouver, Canada. Her debut in the September 1956 issue of Playboy magazine gave her much publicity and she went on to appear multiple times in that American men’s entertainment and lifestyle publication. Dane Arden also modeled for magazines such as the U.S. version of Australia’s Adam magazine. Elsa moved to Los Angeles, married twice, and died on April 18, 2013 at age 79 years following complications from a bicycle accident in Vero Beach, Florida.
In addition to Playboy, Elsa Sørensen appeared in the U.S. version of Adam magazine using the name Dane Arden which she used for all her non-Playboy modeling assignments.
In one favorite set of non-nude color photographs of Dane Arden—this from 1956, the same time as her Playboy shoot—22-year-old Dane Arden expresses her beauty, physical dynamism and engaging personality as she poses as a carhop bringing fast food to people in their cars at drive-in restaurants. Working carhops first appeared in the early 1920’s along expanding and popular interstate roads and were mostly boys and men. But during and after World War II the role was increasingly performed by women. By the mid 1950’s abundant drive-ins had to compete for customers in fast-moving automobiles and so carhop uniforms were eye catching. Uniforms on busy roads would be often creatively thematic with military, airline, space age, and cheerleader uniforms predominating. In this photograph Dane Arden is an especially alluring carhop who wears a skimpy plaid-patterned matching fringed halter top and short shorts with fringed apron cut to size. Wearing the typical flat shoes and head gear worn by many female car hops at the time, Dane Arden proffers the perfect uniform to greet her customers with their cups of hot coffee.
Dane Arden (Elsa Sørensen) in 1956 in her carhop uniform. In the mid 1950’s drive-ins competed for customers in fast-moving automobiles using eye-catching carhop uniforms.
There’s a fifteen-minute color documentary filmed in the mid 1970’s at the legendary Keller’s Drive-In in Dallas, Texas. Their original location opened in 1950 but closed in 2000. Today the oldest restaurant in the chain is the one that opened on Northwest Highway in Dallas in 1955. There are two more Keller’s restaurants are on Garland Road and Harry Hines Boulevard. Keller’s Drive-In remains a classic spot to enjoy their no-frills burger and a cold beer. Founder Jack Keller —who once worked at Kirby’s Pig Stand which became the nation’s first drive-in restaurant empire—died in 2016 at 88 years old. The documentary is about carhops and the American Graffiti-style drive-in culture which once littered America’s roads from coast to coast.
MORE GLAMOUR COLOR PHOTOGRAPHS OF DANE ARDEN/ELSA SØRENSEN:
Elsa Sørensen enjoys a waterfall.
Elsa Sørensen by the fireplace.
Elsa Sørensen in orange Capri pants.
Dane Arden posed both nude and non-nude for pop-culture magazines like Tempo, Adam, and Playboy in the 1950’s and 1960’s.
Dane Arden observed that it took longer for her to achieve an attractive “disheveled look” in a swimsuit for a beach shoot than if she prepared for a fancy dress-up photographic session.
Dane Arden displayed the blonde bombshell image that became very popular in mid-20th century American popular culture.
Elsa Mattingly (Elsa Sorensen) (Dane Arden).
Elsa Sørensen was Playboy‘s Miss September 1956.
Dane Arden, Escapade magazine, 1956.
Dane Arden biography – Lentz III, Harris M., Obituaries in the Performing Arts, McFarland, 2013 and http://www.pulpinternational.com/pulp/entry/1960-photo-of-Danish-model-Elsa-Sorensen-aka-Dane-Arden.html (retrieved Aug. 28, 2017); women carhops – Koutsky, Kathryn Strand, Koutsky, Linda, and Ostman, Eleanor, Minnesota Eats Out: An Illustrated History, Minnesota Historical Society Press, 2003, p. 134; carhops history – http://www.history.com/this-day-in-history/last-day-for-texas-celebrated-drive-in-pig-stands (retrieved Aug. 28, 2017); story of Keller’s – http://res.dallasnews.com/interactives/kellers/ published on March 18, 2015 and http://www.dallasobserver.com/restaurants/the-man-who-brought-us-one-of-dallas-greatest-burgers-has-died-8271874 (retrieved Aug. 28, 2017).
Captain Thomas Lee (c.1551-1601) had his portrait painted by 33-year-old Marcus Gheeraerts the Younger (Bruges, 1561-1636) in London in 1594. Captain Lee was 43 years old and had worked as a military adventurer for English colonization in Ireland since the early 1570s. The young artist was the son of Gheeraerts the Elder, a painter and printmaker associated with the Tudor court starting in the late 1560s and into the 1570s. Fleeing religious persecution in Flanders, Gheeraerts the Elder (c. 1520 – c. 1590) arrived into England with his 7-year-old son Marcus in 1568. By 1594, when the portrait of Captain Lee was made, Gheeraerts the Younger was already a rising young contemporary artist working in Elizabeth I’s Tudor court (Gheeraerts the Elder had likely returned to Flanders in 1577). Sir Roy Strong, the English art historian who served as director of both the National Portrait Gallery and the Victoria and Albert Museum in London is unequivocal about Gheeraerts the Younger’s artistic importance to English art history when he wrote that Gheeraerts is “the most important artist of quality to work in England in large-scale between (Hans) Eworth (c. 1520 – 1574) and (Anthony) van Dyck (1599-1641).”1 In addition to a discussion of the featured early painting of Captain Lee, a complete collection of Marcus Gheeraerts the Younger’s 33 signed and dated works, documented and dated works, inscribed and dated works, and inscribed and undated works is included in this post following this introduction.
At 22 years old in 1583, Marcus Gheeraerts the Younger’s world in and around London was ideally enclosed by marriage to the sister of talented Tudor court painter John De Critz (c.1555-c.1641). De Critz, like his new brother-in-law Gheeraerts the Younger, was a child expatriate from Flanders to England in 1568.2 In 1571 Gheeraerts the Elder had married his son’s future wife’s sister, making father and son Gheeraerts also eventually brothers-in law.3 Over two decades later, in 1602, Gheeraerts the Younger’s sister married the court artist Isaac Oliver (c.1565-1617).4 This was typical social behavior at the Tudor court where many active artists were connected by ties of marriage, family, and artistic training as well as shared European origin. In Gheeraerts the Younger’s circle, for instance, John De Critz was apprenticed to the wealthy portrait painter Lucas de Heere (1534-1584) who may also have helped train Gheeraerts the Younger. De Heere – like Gheeraerts the Younger and De Critz – was a religious refugee to England from Flanders. Isaac Oliver, Gheeraerts the Younger’s other brother-in-law, studied under leading Tudor portrait miniaturist and goldsmith Nicholas Hilliard (c.1547-1619) 5 Roy Strong links Hilliard to Gheeraerts by way of the supreme artistic quality found in both of these contrasting artists’ masterpieces.6 One remarkable technical innovation that the young artist applied in his portraits was the use of stretched canvas in place of wood panel that allowed for larger and lighter surface areas on which to paint and more easily transport pictures of the grand gentlemen and ladies of the time.
By way of marriage to an Irish Catholic woman, Captain Thomas Lee became a man of considerable property in Ireland but had separated from his wife by the time of this portrait. The next year – in 1595 – Lee remarried an Englishwoman. Over the decades, Captain Lee’s military reputation became one of an enfant terrible which did not mellow over time. Rather it would be powerful friends who looked to explain Thomas’s frequent reckless political and military behavior as a justifiable occupational hazard of the longtime soldier in Ireland. Lee posed for Gheeraerts when the captain was straight off the battlefield from Ulster chieftain Aodh Mag Uidhir (Hugh Maguire, d. 1600) and in London for delicate negotiations. To presumably express Thomas’s faithful service to the Crown, the portrait includes a Latin inscription in the tree that refers to Mucius Scaevola (c. 500 BC), an ancient perhaps mythical Roman fighter who remained loyal to Rome even after he was captured by mortal enemies. Thomas was related to Sir Henry Lee – they were paternal half cousins. Sir Henry up until his recent retirement in 1590 (though still active and influential in political affairs) was Elizabeth I’s Champion for nearly a quarter of a century and the creator of the stunning imagery included in her publicly-popular Accession Day festivals that Sir Henry annually planned. Along with Gheerearts the Younger’s Elizabethan allegorical portrait Lady in Fancy Dress (The Persian Lady) (#30 below) as well as the Ditchley portrait of Queen Elizabeth I (#31 below), both painted in the early 1590s, Henry may have helped devise the symbolism in Captain Lee’s portrait which also came from Ditchley – Sir Henry Lee’s timber-framed family house set in north Oxfordshire wooded farmland– around that same time. While the painting’s landscape where Captain Lee stands is likely a representation of Ireland’s wild landscape, Henry Lee’s symbolism may provide other more subtle and humorous features. Troublesome Thomas, for example, stands under an oak, which may refer to Sir Henry’s political protection but also that these trees are prone to dangerous lightning strikes. The final seven years of Captain Thomas Lee’s life iterated this legendary standard: at times negotiating with or killing Irish enemies he also served time in prison in Ireland on a charge of treason. Ultimately, Sir Henry could not save his familial junior – Thomas faced execution in England for treason against Elizabeth I in 1601.
English power became increasingly absolute in 17th century Ireland. In the 1590’s, the Protestant Ascendancy in Ireland believed turning their backs on the mostly Catholic natives was the most effective governing strategy. While an oath of allegiance to the Crown remained law to divest Irish rebels of their property to English rule, it was not vigorously applied until the arrival in 1604 into Ireland of Lord Deputy Arthur Chichester (1563-1625) and thereafter. The 1590’s continued to implement England’s new plantation system in Ireland which amounted to confiscating Irish property for English and Scottish settlers. While this provided quick and lucrative rewards for the conquerors, the political situation was not free of ambiguity. English laws were attacked by Irish chiefs seeking protection under older common law. Protestant settlers had their own uneasy relationship with the English Crown who, in turn, fought a tug of war with an English Parliament. About half of settlers in Ulster were Presbyterians who were dissenters from the English church at war with Anglo- and Gaelic Irish Catholics. Moreover, London viewed new Protestant landowners in Ireland – such as Captain Thomas Lee – with as much, if not more, suspicion as despoiled Catholics. The Crown believed that the new Protestant vanguard in Ireland had the power to usurp the island’s treasure more readily than pillaged Catholics who could, ironically perhaps, be better disposed to the idea of royal governance.7
While Thomas Lee’s special status is expressed in the painting’s lace embroidery on his rolled-up shirt and inlaid pistol and Northern Italian-made helmet, the Captain is dressed as a common foot-soldier who traveled through Ireland barelegged (which in itself is humorous and serious) and lightly armed. Sir Henry must have been one of Marcus Gheeraerts the Younger’s earliest patrons, as the Ditchley collection had several portraits which can be ascribed to him.8
Strong, Roy, The English Icon: Elizabethan & Jacobean Portraiture, The Paul Mellon Foundation for British Art London Routledge and Kegan Paul Limited New Haven Yale University Press, 1969, p.22.
Hearn, Karen, Marcus Gheeraerts II: Elizabethan Artist, In Focus (Tate Publishing), 2003, p. 11ff.
See Roger Chauviré, A Short History of Ireland, New American Library, 1965; T.W. Moody & F.X. Martin, editors, The Course of Irish History, Mercier Press, Cork, 1978; http://www.tate.org.uk/art/artworks/gheeraerts-portrait-of-captain-thomas-lee-t03028 – retrieved May 28, 2017.
The Captain Thomas Lee portrait was first recorded at Ditchley by Vertue in 1725 who noted there a portrait of ‘Lee in Highlanders Habit leggs naked a target & head piece on his left hand his right a spear or pike. Ætatis suae.43.ano.Dni 1594’.
SIGNED AND DATED WORKS (8 works):
1. Marcus Gheeraerts The Younger, Louis Frederick, Duke of Württemberg, 1608, oil on canvas, 225.1 x 113.1 cm, St James Palace. Probably painted for James I though first recorded in Charles II’s collection. (Strong 255, The English Icon). Gheeraerts II painted portraits of several foreign dignitaries on their visits to the English court. Louis Frederick, Duke of Württemberg visited James I in London for three months in the latter part of 1608 and likely the artist produced this work at that time.
2. Marcus Gheeraerts the Younger, William Camden, 1609, oil of panel,, 76.2.x 58.5 cm, Bodleian Library, Oxford. Given to the Schools by Camden Professor (1622-1647) Degory Whear. (Strong 256).
3. Marcus Gheeraerts the Younger, Lucy Davis, Countess of Huntingdon, 1623, oil on panel, 76.8 x 62.3 cm, Private Collection. (Strong 257).
4. Marcus Gheeraerts the Younger, William Pope, 1st Earl of Downe, 1624, oil on panel, 62.3.x 47.1 cm, Trinity College, University of Oxford. It was presented to Trinity College in 1813 by Henry Kett. (Strong 258).
5. Marcus Gheeraerts the Younger, Elizabeth Cherry, Lady Russell, 1625, oil on canvas, 194.5 x 105.6 cm, The Duke of Bedford. This painting has been at Woburn Abbey since 1625. (Strong 259).
6. Marcus Gheeraerts the Younger, Sir William Russell, 1625, oil on canvas, 195.6 x 111.8 cm, The Duke of Bedford. Always at Woburn Abbey. (Strong 260).
7. Marcus Gheeraerts the Younger, Richard Tomlins, 1628, oil on panel, 111.8 x 83.9 cm. The Bodleian Library, Oxford. It was in the Library in 1759. (Strong 261).
8. Marcus Gheeraerts the Younger, Anne Hale, Mrs. Hoskins, 1629, oil on panel, 111.8 x 82.7 cm. Jack Hoskins Master, Esq. The painting remains in the family. (Strong 262).
DOCUMENTED AND DATED WORKS (3 works):
9. Marcus Gheeraerts the Younger, Barbara Gamage, Countess of Leicester, and her children, 1596, oil on canvas, 203.2 x 260.3 cm, The Viscount De L’Isle. Always at Penshurst Place near Tonbridge, Kent, 32 miles southeast of London; first recorded 1623. (Strong 263).
10. Marcus Gheeraerts the Younger, William, 2nd Lord Petre, 1599, oil on panel. 111.8 x 90.2.cm. The Lord Petre; custody of the Essex County Record Office. (Strong 264).
11. Marcus Gheeraerts the Younger, Katherine Somerset, Lady Petre, 1599, oil on panel, 111.8 x 90.2 cm. The Lord Petre. Always at Ingatestone Hall, the 16th century manor of the Barons Petre in Essex, England. Queen Elizabeth I spent several nights there in 1561. (Strong 265).
INSCRIBED AND DATED WORKS (18 works):
12. Marcus Gheeraerts the Younger, Unknown Lady (Mary Rogers, Lady Harington), 1593, oil on panel, 114.3 x 94 cm, Tate (purchased 1974). The identity for the sitter is speculative, although her age (23 years old) is inscribed. It is one of the earliest known portraits by Gheeraerts. (Strong 266).
12a. Detail, Unknown Lady (Mary Rogers, Lady Harington), 1593. The sitter is identified in part by the clothes she wears: the distinctive black and white pattern on her dress heralds the Harington coat of arms. The sitter is 23 years old and her portrait may have been painted in connection with a visit to Kelston (The Harington homestead) in 1592 by Queen Elizabeth. The Latin inscription in the painting reads, “I may neither make nor break” a dramatic phrase whose meaning is no longer clear.
13. Marcus Gheeraerts the Younger, Captain Thomas Lee in Irish Dress, oil on canvas, 1594 (purchased 1980), Tate Britain. (Strong 267).
13a. Detail, Marcus Gheeraerts the Younger, Captain Thomas Lee in Irish Dress, oil on canvas, 1594, Tate Britain.
14. Marcus Gheeraerts the Younger, Sir Francis Drake, 1594, oil on canvas, 137.1 x 114.3 cm, private collection. Knighted by Queen Elizabeth in 1581, Sir Francis Drake, vice admiral (c. 1540 – 1596), circumnavigated the globe in a single expedition between 1577 and 1580. Drake was second-in-command of the English fleet against the Spanish Armada in 1588. Though he opened up the Pacific Ocean to European trade, Drake’s seafaring career ended in his mid-fifties when he died of dysentery following a failed attack on Spain’s Puerto Rico in 1596. (Strong 268).
15. Marcus Gheeraerts the Younger, Unknown Man (Called the Earl of Southampton), 1599, location unknown. (Strong 269).
16. Marcus Gheeraerts the Younger, Unknown Lady, 1600, oil on panel, The Lord Talbot de Malhide. (Strong 270).
17. Marcus Gheeraerts the Younger, Sir Henry Lee, oil on canvas, 1600, private collection on loan since 2008 to Tate Britain. Sir Henry Lee (1533–1611) was a Tudor Court favorite under Elizabeth I, appointed as Queen’s Champion and Master of the Armoury. Sir Henry organised the annual public Accession Day festivals in honor of the queen and commissioned the famous Ditchley portrait of Elizabeth I by Gheeraerts for his house at Ditchley in Oxfordshire. In 1597 he was made a Knight of the Garter and in the painting wears that order’s gold chain and bejeweled medal of St George slaying the dragon. (Strong 271).
18. Marcus Gheeraerts the Younger, Sir Henry Lee in Garter Robes, 1602, oil on canvas, 216.2 x 137.2 cm. Always at Ditchley until 1933. Today at The Armourers & Brasiers’ Company of the City of London. Founded in 1322, the livery company was awarded its first Royal Charter in 1453 from King Henry VI. In 1708 the Armourers joined with the Brasiers and received its current charter from Queen Anne. (Strong 272).
18a. Detail, Sir Henry Lee in Garter Robes, 1602. One of Gheeraerts II’s finest portraits, Sir Henry Lee is a former man of action, whose old head is remarkably shrewd.
19. Marcus Gheeraerts the Younger, Christophe de Harlay, Comte de Beaumont, 1605, oil on canvas, The Marquess of Salibury. The Comte de Beaumont was the French ambassador to England at a time when the Kings of England and France were looking in their own ways for a diplomatic solution to the religious controversies in Europe. The painting was made for Robert Cecil, 1st Earl of Salisbury, a politician who had won James I’s trust. (Strong 273).
20. Marcus Gheeraerts the Younger, Alexander Seton 1st Earl of Dunfermline, 1606. Alexander Seton, 1st Earl of Dunfermline (1555–1622), a Scot, was regarded as one of the finest legal minds of his time. Seton served as Lord President of the Court of Session (top judge) from 1593 to 1604, Lord Chancellor of Scotland (top presiding officer of state) from 1604 to 1622 and Lord High Commissioner to the Scottish Parliament. (Strong 274).
21. Marcus Gheeraerts the Younger, Anne of Denmark, 1614, oil on panel, 109.4 x 87.3 cm, Windsor Castle. Anne married a future James I of England in 1589 at age 15. The Queen consort bore James three children who survived infancy, including the future Charles I (reigned 1625-1649). Once fascinated with his bride, observers regularly noted incidents of marital discord between the dour and ambitious James and his independent and self-indulgent wife. Before she died in 1619 the royal couple led mainly separate lives. (Strong 275).
22. Marcus Gheeraerts the Younger, Ulrik, Duke of Schleswig-Holstein, 1614, oil on canvas, 211.2 x 114.3 cm, The Duke of Bedford. Prince Ulrik of Denmark, (1578 – 1624) was the second son of King Frederick II of Denmark and his consort, Sophie of Mecklenburg-Güstrow. As second-born Ulrick bore the merely titular rank of Duke of Holstein and Schleswig although he later became Administrator of Schwerin. After his sister Anne became Queen of England, Ulrik was godfather to Princess Mary. (Strong 276).
23. Marcus Gheeraerts the Younger, Sir John Kennedy, oil on canvas, 1614, The Duke of Bedford. Immediately after James I’s accession Elizabeth Brydges – Maid of Honour of Queen Elizabeth I – married Sir John Kennedy, one of the king’s Scotch attendants, at Sudeley Manor, Gloucestershire, England. Chandos appears to have opposed the match, and it was rumored early in 1604 that Kennedy had a wife living in Scotland. But James I wrote to Chandos (19 Feb 1603/4) entreating him to overlook Sir John’s errors because of his own love for his attendant. Elizabeth apparently left her husband and desired to have the matter legally examined, but as late as 1609 the lawfulness of the marriage had not been decided upon. Lord Chandos declined to aid his cousin, and Sir John Kennedy’s wife died deserted and in poverty in 1617. (Strong 277).
24. Marcus Gheeraerts the Younger, Catherine Killigrew, Lady Jermyn, 1614, oil on panel, 73.7 x 57.2 cm, Yale Center for British Art. (Strong 278). Catherine Killigrew was 35 years old when she sat for this portrait. The wife of a MP, and mother of three children, Catherine was the daughter of Sir William Killigrew (d. 1622) who was a courtier to Queen Elizabeth I and to King James I. Sir William served as Groom of the Privy Chamber. (Strong 278).
25. Marcus Gheeraerts the Younger, Probably Mary (née Throckmorton), Lady Scudamore, oil on panel, 1615, 45 in. x 32 1/2 in. (1143 mm x 826 mm), National Portrait Gallery, London, purchased 1859. The sitter, once identified wrongly as the Countess of Pembroke, is probably Lady Scudamore about whom little is known. The portrait is likely for the occasion of her son’s marriage (John, later Viscount Scudamore) to Elizabeth Porter of Dauntsey, Wiltshire. The inscribed motto ‘No Spring Till now’, and wreath of flowers suggest the hope that this marriage must have represented within the family. (Strong 279).
26. Marcus Gheeraerts the Younger, Sir Henry Savile, 1621, 216.2 x 127 cm, Bodleian Library, Oxford. Gift from the sitter’s widow, 1622. Sir Henry Savile (1549-1622) was an enterprising Bible scholar. When he did not qualify for the role of Provost of Eton, he had Queen Elizabeth I waive the college’s rules for him. As Warden of Merton – a post secured with the help of influential friends – he was unpopular with students and faculty but the college itself flourished. Sir Henry’s brother was a powerful lawyer who helped guide his brother’s career which included knighthood in 1604. (Strong 280).
27. Marcus Gheeraerts the Younger, Sir Henry Savile, 1621, oil on canvas, 1621, 203.7 x 122 cm, Eton College. A second smaller copy of Bible scholar and administrator Sir Henry Savile. (Strong 281).
28. Marcus Gheeraerts the Younger, William Herbert, Earl of Pembroke, 1628, oil on panel, 68.5 x 48.2 cm, Philip Yorke. William Herbert, 3rd Earl of Pembroke (1580 –1630), founded Pembroke College, Oxford, under James I’s tutelage, in 1624. The year before, in 1623, the First Folio of Shakespeare’s plays had been dedicated to him and his brother Philip Herbert, Earl of Montgomery (the later 4th Earl of Pembroke). A bookish man, following failed marriage negotiations over the dowry payment, the 3rd Earl of Pembroke impregnated a mistress at court who he then refused to marry. He eventually married in 1604 but had an extra-marital affair with a cousin that produced two illegitimate children. A patron of the arts, William Herbert, 3rd Earl of Pembroke died suddenly at 50 years old in 1630 and was buried in Salisbury Cathedral in the family vault at the foot of the altar. (Strong 282)
29. Marcus Gheeraerts the Younger, Charles Hoskins, 1629, oil on panel, 66.1 x 52.7 cm, Jack Hoskins Master. Esq. (Strong 283).
30. Marcus Gheeraerts the Younger, Lady in Fancy Dress (The Persian Lady), 1590s, oil on panel, 216.5 x 135.3 cm, Hampton Court. first recorded in the collection of Queen Anne but believed to be part of the Royal Collection before that time. In the cartouche a sonnet reads: “The restless swallow fits my restless minde, Instill revivinge still renewinge wronges; her Just complaintes of cruelty unkinde, are all the Musique, that my life prolonges. With pensive thoughtes my weeping Stagg I crowne whose Melancholy teares my cares Expresse; hes Teares in sylence, and my sighes unknowne are all the physicke that my harmes redresse. My only hope was in this goodly tree, which I did plant in love bringe up in care: but all in vaine, for now to late I see the shales be mine, the kernels others are. My Musique may be plaintes, my physique teares If this be all the fruite my love tree beares.” Portrait of a Woman is a good example of Elizabethan allegorical portraiture. Importantly, the painting may be related to the Ditchley portrait of Elizabeth I (Strong 285) as well as the portrait of Captain Thomas Lee (Strong 267 ). How may these three portraits be connected to an entertainment given by Sir Henry Lee, the Queen’s Master of the Armouries and Champion of the Tilt, when the Queen visited Ditchley in 1592? (Strong 284).
31. Marcus Gheeraerts the Younger, Queen Elizabeth I (“The Ditchley Portrait”), oil on canvas, 1592, 95 in. x 60 in. (2413 mm x 1524 mm). National Portrait Gallery, London. Bequeathed by Harold Lee-Dillon, 17th Viscount Dillon, 1932. Queen Elizabeth was nearly 60 years old when this portrait was made. It is traditionally understood to have been painted on the Queen’s visit to Ditchley, the timber-framed family house set in north Oxfordshire wooded farmland of Sir Henry Lee (1533-1611). Like John II Walshe (d.1546/7) of Little Sodbury, Gloucestershire, who was King’s Champion to Elizabeth’s father Henry VIII, Henry Lee served at that standard for Queen Elizabeth from 1570 until his retirement about two years before this painting was made. Ditchley once provided lodging and access to the royal hunting ground of Wychwood Forest. (Strong 285).
Queen Elizabeth I is standing on a map of England.
Detailed study of the beautiful garment and accessories.
Detail of garment and accessories in The Ditchley Portrait.
A bejeweled fan in Queen Elizabeth I’s right hand. Detail from The Ditchley Portrait of 1592 by Marcus Gheeraerts the Younger. In the decade before The Ditchley Portrait the artist’s father, Gheeraerts the Elder, had painted a full- length oil on panel portrait of Elizabeth I. In the ensuing handful of years practical technical innovation in art is in evidence in the Elizabethan court: for the son’s oil portrait of the same royal personage was produced on canvas on a much larger scale.
Queen Elizabeth I. Ditchley portrait detail. The three fragmentary Latin inscriptions in the painting have been interpreted as: “She gives and does not expect”; “She can, but does not take revenge”; and, “In giving back, she increases.” An inscribed sonnet, whose author is not known, takes the sun as its subject. At some later date the canvas was cut more than 7 centimeters fragmenting the final words of the each line.
32. Marcus Gheeraerts the Younger, Sir Henry Lee, 1590s, oil on canvas, 117 x 86.4 cm, The Ditchley Foundation. Always at Ditchley. The painting and inscribed verses memoralize an incident where Bevis – Lee’s dog – saved his master’s life. “More faithfull then favoured…” (Strong 286).
33. Marcus Gheeraerts the Younger, Michael Dormer, mid 1590s, oil on canvas, 122 x 91.5 cm, J.C. H. Dunlop, Esq. There are Latin inscriptions which surround and are written across the globe and shield. (Strong 287). The world of Sir Henry Lee bears down again on the young artist’s portrait of Michael Dormer, an Oxfordshire neighbor to Sir Henry. In Dormer’s three-quarter-length portrait, the right hand is posed similarly to Thomas Lee’s portrait. As that portrait is the ostensible centerpiece of this discussion, we have traveled full circle through Gheeraerts II’s verifiable portraiture in Elizabethan and Jacobean England.
Here then concludes the complete collection of Marcus Gheeraerts the Younger’s signed and dated works (Strong 255-262); inscribed and dated works (Strong 266-283); and, inscribed and undated works (Strong 284-287). Not included here are works dated and attributed to the artist (Strong 288-294) and attributed and undated (Strong 295-313). The last group includes several well-known portraits including William Cecil, Lord Burghley, c. 1595, in the National Portrait Gallery (Strong 295) and Robert Devereux, 2nd Earl of Essex, c. 1596, in collection of the Duke of Bedford. (Strong 300).
Strong 255 – Hearn, Karen, Marcus Gheeraerts II, Elizabethan Artist (In Focus series), Tate Publishing, 2002, p. 29.
The following 49 works by John Singer Sargent (1856-1925) in oil, watercolor, and pastel begin to present Sargent’s professional output during his formative years in France and England and his trips to the United States. While Sargent’s early portrait subjects range from famous people such as writer Robert Louis Stevenson (1850-1894) and actress Ellen Terry (1847-1928) in her role as Lady Macbeth, this post looks at mostly Sargent’s first portraits of family and friends, which included artists, writers, musicians, and romantic interests. Sargent’s artistic practice developed within a swiftly expanding social circle of prominent American expatriates and Europeans which included portrait commissions from business, military, legal and medical practitioners.His portrait work extended to their wives and children. It was during this creative period that Sargent painted his well-known group portrait The Daughters of Edward D. Boit (1882) and (to be included in a future post) the portrait of the exotic and controversial Madame X (Mme. Virginie Amélie Avegno Gautreau). Each of the following art works is specifically identified in its brief caption. The text includes the art work’s title (usually the sitter’s name), year of production, dimensions, markings and location, if known. Further, it often discusses how the sitter knew Sargent as well as the historical context of the painting and some provenance and exhibition history.
VIOLET SARGENT, c. 1875, oil on panel, 27.7 x 23.5 cm (10 ½ x 9 ¼ in.), private collection. Originally inscribed across the top “Violet” but removed in a later cleaning. The sitter was the artist’s youngest sister (1870-1955).
Resting, c. 1875, oil on canvas, 8½ x 10 9/16 in. (21.6 x 26.8 cm), inscribed upper right: John S. Sargent, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Informal pose and setting, bold treatment of light, this is one of the artist’s early outdoor works. The identity of the sitter is unknown.
MRS. EMILY SARGENT PLEASANTS, c. 1876, oil on canvas, 55.8 x 40.6 cm (22 x 16 inches), private collection. The artist’s aunt (his father’s sister). Dr. Pleasants (Emily’s husband) visited the artist’s family in France in 1875, but it is not known if she came along. The next year the 20-year-old American artist, born in Florence, Italy, visited the United States for the first time and went to the Pleasants home in Radnor, Pennsylvania. The high-backed rocking chair in the painting points to this portrait being done there.
FRANK O’MEARA, c. 1876, oil on canvas, 44.5 x 39.5 cm (17½ x 15½ inches), inscribed upper left: John S. Sargent. Inscribed upper right:1875. Typewritten label on reverse signed by Austin Strong, 14/5/1931, The Century Association, New York. O’Meara was an “impecunious and dreamy” Irish art student with Sargent in Carolus-Duran’s atelier. Sargent painted it for O’Meara to give to an American girl during a summer romance. Then Isobel Osbourne (1858-1953) returned home and married somebody else.
MRS. CHARLES DEERING, c.1877, oil on canvas, 55.8 x 43.2 cm (22 x 17 in.), Rhode Island School of Design. The family of Annie Rogers Case (1848-1876) met the Sargents in Florence in the 1860s. Her father (“the Admiral”) owned a Sargent Salon picture and dined with them on Christmas Day 1874. In 1876 JSS visited with the Deerings at Newport, Rhode Island, but did not paint Annie’s portrait. Mrs. Deering died the next year in childbirth. In the Sargent-Deering letters preserved at Chicago the artist agreed to the widower’s request to paint a posthumous work of his wife.
VIOLET SARGENT, 1877, oil on canvas, 34.9 x 25.4 cm (13 3/4 x 10 in), inscribed upper right: Violet 17th May 1877/7 years old. Location unknown. Sargent’s younger sister, the later Mrs. Frances Ormond. It had been owned by French Academic painter Auguste-Alexandre Hirsch (1833 -1911).
HARRIET LOUISE WARREN, 1877, oil on panel, 26.7 x 21 cm (10 1/2 x 8 1/4 in), inscribed lower right: JSS/Jan 18 1877. Private collection. Harriet Louise Warren (1854-1919) and Sargent were early friends. Later, in 1890, the artist painted her daughter, Beatrice.
EMILY SARGENT, c.1877, oil on canvas, 31.1 x 22.9 cm (12 ¼ x 9 in.), private collection. Six siblings comprised the FitzWilliam and Mary Newbold Singer Sargent family. John was the second oldest and only boy. Of his five sisters only two lived to adulthood. This is JSS’s sister Emily (1857-1936) born one year after him. About 20 years old in this painting, the two were inseparable at home and roamed Europe and America together. Emily was a watercolorist and naturally cheerful.
Eugène JUILLERAT, c. 1877-78, oil on canvas, 40.6 x 31.1 (16 x 12 ¼ in.), inscribed upper right: à mon ami Juillerat/J.S. Sargent. Inscribed on label on back by sitter on April 19, 1927. Private collection. Juillerat and Sargent were the same age and both studied under Carolus-Duran in Paris. Juillerat was an award-winning lithographer and sculptor receiving medals at the Salons of 1895 and 1899 and at the Exposition Universelle in 1900.
Head of an Italian Girl, 1878, oil on canvas, 45.7 x 38.1 (18 x 15 in.), Inscribed upper center: To my cousin Kitty Austin/ John S. Sargent; upper left: 1878. The Sargents had roots in New England yet resettled in Philadelphia where JSS’s father was a surgeon and married JSS’s mother. With the death of their firstborn, the Sargents left for Europe and stayed. JSS was born in Italy in 1856. He first visited the U.S.A. at 20 years old. This painting’s whereabouts and sitter’s identity are unknown.
MARY TURNER AUSTIN, oil on canvas, 45.7 x 38.1 (18 x 15 in.), Inscribed upper left: to my friend, Mary, John S. Sargent. The Christopher Whittle Collection. The Austins, like the Sargents, were American expats in Europe. Dr. Sargent mentions the Austins in correspondence and writes that the girls are “quite attractive.” Mary was an art student. Chicago artist J.C. Beckwith at dinner with the Sargents hoped to see “the pretty Miss Austin.” French artist Auguste Hirsch owned this portrait.
Head of an Italian woman, c. 1878-1881, oil on canvas, 45.7 x 38.1 (18 x 15 in.), Inscribed upper right: J. S. Sargent. The Arkell Museum, Canajoharie, New York. Gift of Bartlett Arkell. Hair piled at the nape of the neck is a typical mid1870s woman’s hairstyle, though the dress is less fashionable. The model may be a Sargent cousin – a later Mrs. Wurts – who owned this picture in 1926.
Portrait Sketch, c. 1910, graphite on thin, slightly textured off-white laid paper (tissue) 10 x 9.1 cm (3 15/16 x 3 9/16 in.). Gift of Mrs. Francis Henry Taylor, The Worcester Art Museum, Worcester, Massachusetts. Dated c.1910, this drawing had been only recently identified as the same model as “Head of an Italian Woman” painted by Sargent sometime between 1878 and 1881 and today in the Arkell Museum.
CARMELA BERTAGNA, c.1879, oil on canvas, 59.7 x 49.5 (23.5 x 19.5 in.), inscribed upper L: à mon ami Poirson; upper R: John S. Sargent; lower L: Carmela Bertagna/rue du/16 Maine. Bequest F.W. Schumacher. The picture’s history is muddled by the sitter’s questioned identity (a professional model, possibly Carmela B.), its stylistic clues (no later than 1880), diverse inscriptions (to later friends) and exactly from whom it was acquired before it was given to the Columbus Museum of Fine Arts.
Mme. François BULOZ, 1879, oil on canvas, 54 x 46.2 cm (21.25 x 18.25 in.), Inscribed lower L: à mon amie Me Buloz/John S. Sargent/Ronjoux 1879, Los Angeles County Museum of Art. Mme. Buloz was from a family of writers and musicians. In summer 1879, Sargent was in the Savoy to paint her daughter Marie’s full length portrait for her marriage. Madame complained that this portrait, painted in haste, made her look ten years older than she was.
MARIE-LOUISE PAILLERON, 1879, 38.7 x 45.1 cm (15.25 x 17.75 in.), Inscribed, upper R: à ma petite amie Marie-Louise/John S. Sargent 1880, private collection. Daughter of Marie (Buloz) and Edward Pailleron, Sargent’s first important patrons. Two years after this portrait, Marie-Louise (1870-1950) was the subject of an important double portrait with her brother Edouard.
MARIE-LOUISE PAILLERON, 1879, watercolor on paper? Dimensions? Untraced. Sargent did other wash drawings of Marie-Louise that are better documented. The head on the left has a halo or other decorative design. This image was taken from a photograph the sitter made available in 1948 when the sketch was in her house at Ronjoux.
FANNY WATTS, 1877, oil on canvas, 105.7 x 83.5 cm (41.5/8 x 32.7/8 in.), inscribed upper R: John S. Sargent. Philadelphia Museum of Art. Following money reverses in the U.S.A., Fanny’s New York family traveled in the 1860s to Nice and Florence and met the Sargents. JSS and Fanny began a romance in 1876 that was nixed by Mrs. Sargent. The portrait is the artist’s attempt to reminisce about their time together. Dr. Sargent thought it his son’s “first serious work” and showed it at the Salon. Fanny and JSS stayed lifelong friends.
CAROLUS-DURAN, 1879, oil on canvas, 116.8 x 95.9 cm (46 x 37 3/4 in.), inscribed upper R: à mon cher maître M. Carolus Duran, sur élève affectioné/John S. Sargent 1879. Clark Art Institute, Massachusetts. Portrait painter and teacher Carolus-Duran (1838-1917) had a profound influence on JSS’s artistic practice in the mid to late 1870s. The sitter wears a red ribbon of the Légion d’honneur in his buttonhole. Being JSS’s second portrait exhibited at the Salon, this painting received critical praise in Europe and America.
EDOUARD PAILLERON, 1879, oil on canvas, 127 x 94 cm (50 x 37 in.), Inscribed lower L: John S. Sargent. Musée d’Orsay. Edouard Pailleron (1834-99) was JSS’s first major patron. How the 45-year-old famed poet and playwright met the unknown 23-year-old painter is a mystery. One impetus may be the favored portrait of Carolus-Duran at the Salon of 1879. This casually posed portrait of studied bohemianism was painted in Paris in summer 1879 and soon paired with one of Mme. Pailleron.
MADAME EDOUARD PAILLERON, 1879, oil on canvas, 208.3 x 100.3 cm (82 x 39.5 in.), Inscribed lower R: John S. Sargent/Ronjoux 1879. National Gallery of Art, Washington D.C. JSS’s first full length portrait depicts Mme. Pailleron (1840-1913). It was painted at her parents’ house at Chambéry in the Savoy. She posed at the entrance to the allée des Tilleuls with house and garden behind. At the Salon of 1880 critics remarked that the black satin dress was out of place in an outdoor setting.
Robert de Cévrieux, 1879, oil on canvas, 84.5 x 48 cm (33.25 x 18.875 in.), inscribed lower L: John S. Sargent, 1879. Museum of Fine Arts, Boston. The Salon of 1879 was a watershed for JSS’s artistic career. Out of it came six portrait commissions in Paris including presumably this 6-year-old and his terrier. Carolus-Duran, by now JSS’s former teacher, painted children holding pets which were exhibited in mid1870s Salons. The child wears a velvet suit with no pant legs and matching jacket.
JEANNE KIEFFER, 1879, oil on canvas, 43.2 x 35.6 cm (17 x 14 in.), inscribed upper right: John S. Sargent 1879. Private collection. By his early 20s JSS was seen by some as an artist of “great talent and a real future” but also described as “practically starving.” This portrait is quirky for the direct frontal pose of the sitter and that the pink dress was an afterthought. The artist had originally painted the 7-year-old sitter in a black velvet dress.
Le Vicomte de Saint-Périer, 1879, oil on canvas, 61 x 50.5 cm (24 x 19.875 in.), inscribed upper L: John S. Sargent. Musée d’Orsay. JSS was paid 1500 francs – nearly a year’s wages for a typical French worker – for this portrait of a well-connected professional soldier. The expressive realism of the head recalls his recent portraits of Edouard Pailleron and Carolus-Duran.
HENRY St JOHN SMITH, 1880, oil on canvas, 62.2 x 49.5 cm (24.5 x 19.5 in.), inscribed upper R: John S. Sargent 1880. Portland Museum of Art, Maine. Boston lawyer St. John Smith (1852-1896) graduated from Harvard in 1872 and went to Europe virtually annually. In 1880 he was a most eligible bachelor. Smith saw JSS’s studio in Paris and didn’t like it but friends Augustus Jay and Boston artist Francis Brooks Chadwick intervened and this head-and-shoulders portrait earned JSS another 1500 franc commission.
PETER AUGUSTUS JAY, 1880, oil on canvas, 45.8 x 37.5 cm (18 x 14.75 in.), inscribed upper L: John S. Sargent 1880. Private collection. The future U.S.A. Ambassador to Argentina is painted when he was a 3-year-old with golden shoulder-length hair and dressed in a bibbed white blouse. It was when Henry St John Smith was with the boy’s father Augustus “Gussie” Jay at JSS’s Paris studio as Smith was having his portrait painted that the commission for the child’s portrait probably originated.
ELEANOR JAY CHAPMAN, c.1881, oil on canvas, 43.8 x 53.3 cm (17.25 x 21 in.), inscribed upper L: John S. Sargent. Private collection. In 1881 Eleanor was the 16-year-old daughter of a stockbroker and, through her mother, a descendant of John Jay, first Chief Justice of the U.S.A. She and her younger sister Beatrix had their portraits painted by JSS in Paris (Beatrix’s was later destroyed). There is no evidence for how the Chapmans met JSS, but it happened before the father’s financial collapse in 1882.
EDWARD BURCKHARDT, 1880, oil on canvas, 55.2.x 46.4 cm (21.75 x 18.25 in.), inscribed lower L: To my friend Valerie/John S. Sargent Paris June 1880. Private collection. JSS was an intimate friend of Swiss businessman Edward Burckhardt (1815-1903) and his American wife and their family. This portrait – which has inspired little positive critical commentary – was painted in Paris in May 1880.
MRS. JAMES LAWRENCE, oil on canvas, 61 x 45.7 cm (24 x 18 in.), inscribed upper R: John S. Sargent 1881. JSS painted companion portraits of Boston’s James Lawrence (1853-1914) and new wife Caroline Estelle Mudge (1850-1920). Neither portrait has survived – both were destroyed by fire in Hingham, Massachusetts, in 1939. In 1888 it was noted that the sitter wore a black dress in front of a red background.
The Pailleron Children, 1881, oil on canvas, 152.4 x 175.3 cm (60 x 69 in.), upper right: John S. Sargent. Des Moines Art Center. Édouard (b.1865) and Marie-Louise (b.1870), children of JSS’s first patron, are seated on a bench, the boy dressed in suit with Eton collar and silk bow tie and she, hair up, wearing a satin dress with lace trim. Only after Carolus-Duran calmed Marie-Louise did she cooperate during the 83 sittings for this work done in JSS’s studio and exhibited at the Salon of 1881.
MARIE-LOUISE PAILLERON, c.1881, watercolor, 27 x 20 cm (10.625 x 7.875 in.). Private collection. Aside from a couple of dabs of blue, the portrait is executed nearly in one color, that is, en grisaille. Marie-Louise wears her hair “down” unlike in the formal portrait with her older brother done at the same time where the 10-year-old was exasperated by the artist’s insistence that she wear her hair “up.”
MARIE-LOUISE PAILLERON, c.1881, pen, ink and wash on paper, 23.2 x 18.1 cm (9.125 x 7.125 in.), Metropolitan Museum of Art, New York. A second monochrome facial study of 10-year-old Marie-Louise by JSS. The work has a playful aspect in that the paper’s back side (or verso) has a child’s drawing of a house.
DR. POZZI (or DR. POZZI AT HOME), 1881. Oil on canvas, 204.5 x 111.4 cm (80 ½ x 43 7/8 in.). Inscribed upper right: John S. Sargent 1881. UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles.
DETAIL of the left hand -DR. POZZI, 1881.
MADAME Ramón SUBERCASEAUX, c. 1880-81, oil on canvas, 165.1 x 109.9 cm (65 x 43 ¼ in.). Inscribed, lower right: John S. Sargent. Private collection.
Madame Ramón Subercaseaux, c. 1881, sepia wash, 22.2 x 32.4 cm (12 ¾ x 8 ¾ in.), inscribed, lower right: John S. Sargent. Private collection. This is not a study for the painting but a derivation from it. The artist made it for the painting’s reproduction in the Salon catalogue.
MRS. JOHN JOSEPH TOWNSEND, 1881, oil on canvas, 124.5 x 83.8 cm (49 x 33 in.). Inscribed, upper right: John S. Sargent Paris 1881. Location unknown. Catherine Rebecca Bronson (1833-1926) was from a family of U.S.A. politicians and married a New York businessman. The Bronsons were part of the same American expat community in Florence and Venice as the Sargents. This is JSS’s first portrait of the old family friend. She sits on a low couch, right elbow on pillows and holds a swan’s-down fan.
MRS. JOHN JOSEPH TOWNSEND, c. 1882, oil on canvas, 69.9 x 56.5 cm (27½ x 22¼ in.). Inscribed, upper left: to my dear friend Mrs Townsend/John S. Sargent. Location untraced.
JOHN JOSEPH TOWNSEND, 1882, oil on canvas, 128.9 x 86.4 cm (50 ¾ x 34 in.). Incribed, upper right: John S. Sargent/Paris 1882. Private collection. Mr. Townsend (1825-1889) was a New York lawyer who served in the State Assembly. A Columbia University trustee and Union Club president, he married Catherine Bronson, an old Sargent family friend, in 1854.
BEATRICE TOWNSEND, c. 1882, oil on canvas, 81.9 x 58.4 cm (32 ¼ x 23 in.). Inscribed, upper center: to my friend/Mrs. Townsend/John S. Sargent. National Gallery of Art, Washington, D.C. (Mellon Collection). (Eleanor) Beatrice Townsend (1870-1884), born in New York, was the sixth of seven children of Mr. and Mrs. Townsend. The teenager died tragically of peritonitis, an abdominal disease.
MR. AND MRS. JOHN FIELD, 1882, oil on canvas, 111.8 x 82.5 cm (44 x 32½ in.). Inscribed, upper right: John S. Sargent, Paris 1882. Pennsylvania Academy of Fine Arts, Phil. Gilbert Stuart painted the father of Mrs. Field (Eliza Willing Spring Peters, 1820-1897) and she was painted by Thomas Sully in 1841 and now by JSS. Europe travel led Mr. Field (1815-1887), a trader, into art collecting. In a June 1882 letter, British writer Vernon Lee noted that it was either the Fields or Townsends who were nonstop talkers.
Isabel Vallé, 1882, oil on canvas, 132.1 x 81.3 cm (52 x 32 in.). Inscribed, upper left: John Singer Sargent; upper right: Paris 1882. Private collection. Likely exhibited at the third exhibition of the Cercle des arts libéraux in 1882 on rue Vivienne in Paris. Isabel Vallé (1864-1947) became Mrs. Austin but later divorced. The three-quarter-length portrait of the 18-year-old possesses a “soft, liquid beauty.”
Mrs. Jules Félix Vallé, 1882, 50.8 x 40.6 cm (20 x 16 in.), Inscribed, upper right: John S. Sargent/1882. Lost. Mrs. Vallé was Isabel Vallé’s mother.
MRS. DANIEL SARGENT CURTIS, 1882, oil on canvas, 71.1 x 53.3 cm (28 x 21 in.). Inscribed, upper left: Venice 1882; upper right: John S. Sargent/to his kind friend Mrs Curtis. Spencer Museum of Art, KS. Ariana Randolph Wormeley (1833-1922) was from a family of writers and linguists. At 20 years old she married Dr. Sargent’s cousin and moved from Boston to a palazzo in Venice where she established a fashionable salon. JSS called her the Dogaressa and was a frequent guest in later years.
MADEMOISELLE BOUSSENET-DUCLOS, 1882, oil on canvas, 55.6 x 46 cm (21 7/8 x 18 7/8 in.). Inscribed, upper left: John S. Sargent; upper right: 1882. Verso: Mr. John Sargent/ 8….. Private collection. The whereabouts of this portrait of a young woman dressed in a black outdoor coat with fur edging, was unknown until it reappeared in public in 1988.
MADAME ALLOUARD-JOUAN. c. 1882, oil on canvas, 74.9 x 55.9 cm (29½ x 22 in.). Inscribed, upper left: à Mme Allouard Jouan/témoignage d’amitié; upper right: John S. Sargent. Musée du Petit Palais, Paris. Shown at French art dealer Georges Petit’s 1882 exhibition the portrait was described as being painted “with verve by the hand of a master…”
MME. PAUL ESCUDIER, 1882, oil on canvas, 128.3 x 90.2 cm (50½ x 35½ in.). Inscribed,lower right: John S. Sargent 1882. Private collection. Louise Lefevre (1861-1950) married Paul Escudier (1858-1931), a sometime French entertainment lawyer. This informal portrait with a beautiful subject and setting in delightful light, the sitter’s identity is not certain. Sometimes compared to Belgian artist Alfred Stevens, the work’s reflection in the mirror seems to evoke Jan Van Eyck.
MME. PAUL ESCUDIER, c. 1882, oil on canvas, 73.2 x 59.5 cm (18 ¾ x 23 ½ in.). Inscribed, upper left: à Madame Escudier/John S. Sargent. Clark Art Institute, Massachusetts. The sitter is dressed in a black coat and diamond pin – ready possibly for a soirée – wearing a fashionable white-ribboned black hat for a finish.
LOUISE BURCKHARDT (or LADY WITH A ROSE), 1882, oil on canvas, 213.4 x 113.7 cm (84 x 44¾ in.). The Metropolitan Museum of Art, New York.
DETAIL of the right hand-LOUISE BURCKHARDT (or LADY WITH A ROSE), 1882.
DAUGHTERS OF EDWARD D. BOIT, 1882, oil on canvas, 221.9 x 221.6 cm (87 3/8 x 87 5/8 in.). Museum of Fine Arts, Boston, 1882. The group portrait depicts the four daughters of JSS’s friend and fellow American painter, Edward Boit and wife, Mary Louisa. In Europe the Boits lived in Rome and in Paris where this painting, directly influenced by Velázquez, was painted in the family flat on Avenue de Friedland. Exhibited at G. Petit and the Salon. The Japanese vases remain in the family today.
Judith Gautier, c. 1883-1885. Detroit Institute of Arts, oil on panel. 39 x 24 1/2 in., (99.1 x 62.2 cm)
Judith Gautier or Gust of Wind, c, 1883-1885, private collection, oil on canvas, 24 1/8 x 15 in. (61.3 x 38.1 cm).
Margaret Stuyvesant Rutherfurd White (Mrs. Henry White), 1883, oil on canvas, 225.1 × 143.8 cm (88 5/8 × 56 5/8 in.), National Gallery of Art, Washington, D.C. , from Corcoran Collection , 2014.
REFERENCE: John Singer Sargent, Complete Paintings, Volume 1: The Early Portraits by Richard Ormond and Elaine Kilmurray, Yale University Press/Paul Mellon Centre, 1998.
16-Sir William Morice, 3rd Bt (c.1707-1750) 1745, 123 x 99 cm, St. Michael’s Mount, Cornwall.
Sir William had his portrait painted by an artist other than Reynolds when Sir William traveled to Italy in 1729 and 1730. In Italy Sir William bought art – mainly Canalettos. In 1731 he married Lady Lucy Wharton but seven years later they divorced. In 1741 Anna Bury became his wife. Reynolds paints Sir William wearing a brownish silk tunic and grey cloak with a red velvet hat lined in fur.