Hale, Mary Newbold P. C ? -1963) the Mark Borghi Fine Art Inc - American Art - John Singer Sargent (1856-1925) Page 1 of 3 Available Inventory Online Exhibitions Previous Exhibitions Inside the Artist's Studio John Singer Sargent (1856-1925) The Letter Executed 1902 Pencil on paper Inscribed illegibly upper right and dated Dec 9 02 10 x 7.5 inches Ex-Collection: The Artist Gift of the Artist to Mary Newbold Patterson Hale By descent in the family above until 2002 Next work NotE: Extensive Correspondance to and from Mary Hale is filed separately under "DOROL HOMOLIAL - Estate." American Art Mary Newbold Patterson Hale was the American cousin of John Singer Sargent. T years of Sargent's life were spent between Boston and London. Sargent spent a gr at the Patterson home while working on the Boston public murals series. Mary Patter "Our mothers were first cousins; his mother was an only child, my mother had I brothers and sisters, so that Sargent and ourselves have no first cousins on our mo In the years between 1916 and 1925, when Sargent frequented Boston, it was chance to be with him-in his daily life and work in his studio on the scaffoldina of http://borghi.org/american/sargent6.html 10/3/2003 Mark Borghi Fine Art Inc - American Art John Singer Sargent (1856-1925) Page 2 of 3 or Museum, with his books and plays, friends and music... (Carter Ratcliff, Jc Sargent, New York, 1982, p235.) The Sargent Knew By Mary Newbold Patterson Hale Originally published in The World Today, November 1927 Author's Note This aspect of John Singer Sargent to one of his cousins may, I worth. Our mothers were first cousins; his mother was an only child, my mother had brothers and sisters, so that the Sargents and ourselves have no first cousins on OI side. In the years between 1916 and 1925, when Sargent frequented Boston, it was chance to be constantly with him in his daily life and work, in his studio, on SC Library or Museum, with books and plays, friends and music John Singer Sargent was born at Florence, January 12th 1856, the second child of and Mary Newbold Singer Sargent, childless for two years since the death of their fi the younger children only two sisters, of whom one married, lived to grow up anc close knit devoted family of his later years. Sargent's own contribution to the history of his schooldays was that his fondness fc in his schoolbooks made his teachers and parents despair of his learning what was them. That what he drew was lively and true may be seen by the pencil drawings father enclosed in letters to Sargent's grandparents and the Newbold great-aunts ar A score of these were exhibited in Boston a few months after his death, and all of 1 drawings convey some idea or aspect important in the child's mind. The copies of bi and flowers are done with conscientious fidelity, and were probably taken from a boc writes to his grandmother Sargent, telling her (July 11, 1864) what good models he and that he and his sisters have lessons in writing arithmetic and geography with his He recognized beauty as beauty at an early age; indeed, no one who knew him CO he had ever been unaware of it. He said his first distinct memory was of i cobblestone in the gutter of the Via Tornabuoni in Florence of a colour so love thought of it continually, and begged his nurse to take him to see it on their daily wall He must have been what our nurse called "a biddable child," for there floated dow end of his generation a long list of things "your cousin John Sargent would never h coupled with a mythical belief that he arose at dawn and practiced for hours on a p he probably built and assuredly tuned. He preferred porridge to all other food fo earned breakfast, and his favorite pastimes were playing scales and brushing his sisters, too, were rare and perfectional beings, although they never attained such he did in our mythology. The interchange of letters, fifty or sixty years ago, in our wide family circle was fu and Mrs Sargent came of a tribe of punctilious and voluminous scribes. Letters a infrequent meetings when the Philadelphia cousins were in Italy and France made J and Violet Sargent vivid and real to their unseen cousins in America. "Emily is a dea writes one of the cousins to my mother from Paris in the autumn of 1865. "The chi beautiful manners, and Johnny seems artistic." Why did we not hate these paragons' http://borghi.org/american/sargent6.html 10/3/2003 Mark Borghi Fine Art Inc - American Art - John Singer Sargent (1856-1925) Page 3 of 3 Il was III iviay, 1005, mal Jonn Sargent whole 10 nis granamouner Sargent that nis expecting to go to America the following week, and that they would miss him "because he always does everything for us, and I do not know what we shall do with Mrs. Sargent, herself a clever painter in water colours, used to go sketching with he the teacher in those days, with a spirited decision and quick choice which were cha She ruled that no matter how many sketches were begun each day one must b "Sargent works with vehemence and accuracy," said John Briggs Potter and thi dictum was told in response. "That," said Mr. Potter "was the beginning of it." John Sargent's fist languages were Italian and English and he seems early to h German, for he writes in 1864 that they were hoping their mother will find them nurse, that they may not forget their German. His speech was accurate, having a de easy correctness, free of any suspicion of pedantry. His vocabulary was large, an used words form a language other than the one he was speaking. He was clear ver was mentally, and would describe intricate objects or compositions in a most unde way. MB/FA Mark Borghi Fine Art, Inc. - 52 East 76th Street - New York, NY 10021 Tel. 212.439.6425 - Fax. 212.396.1824 http://borghi.org/american/sargent6.html 10/3/2003 Sand Beach, Schooner Head Page 1 of 3 John Singer Sargent's Sand Beach, Schooner Head (Frontpage) (What's New) (Thumbnails Index) (Refer This Site) Nate: Richard W Hale was the Sand Beach, Schooner Head husband of are of Sargents John Singer Sargent -- American painter 1917? Private collection Boston cousins, May N.P. Watercolor 13.2x20.7 in. Hale [1981?] Jpeg: Askart.com Scooner Head is loacted in Acadia National Park, which is only a couple of miles south of Bar Harbor Maine. This painting, along with "Schooner Catherine Somes" was painted while Sargent was visiting cousins. The two paintings were in the Hale family and the figure on the beach was belived to have been of Mary Newbold Patterson Hale though never finished. http://www.jssgallery.org/Paintings/Sand_Beach_Schooner_Head.htm 8/22/2015 Sand Beach, Schooner Head Page 2 of 3 FILD It would be Mary Hale whom would write one of the most wonderful accounts of John after his death in an Beaver Dam Pond) article for the World Today, November The Sleur de 1927, called "The Sargent I Knew." Tain Monts Entrance Precipice Trailhead Champian Mountain 1054 Note: Schooner Heart Sold by Sothebys; 12/5/1996; Lot 22; 3 Estimated $123,500 The Bow Overlook The Bective Askart site had this painting dated 158 Schooner 520 Head Road 1921. The source had misdated other known paintings so this is suspect Great Head Trail Gorham Mountain VEG 525 See the year in review 1917 Sand Beach Old Scaker Forum: Thunder Hole Map: Acadia Vacations Hiking On Mount Desert Island From: Abby Ann Newbold Vigneron Date: Tue, 24 Jul 2001 Hi Natasha, Your Sargent site is really wonderful. I came to your site looking for the full text of his second cousin Mary Hale's article for the World Today in November 1927. Is this available anywhere online or in any form other than one of those massive books? Some of the pictures you 'published' from the Sotheby's sale of December 1996 used to be in my family. We had to sell them when my grandmother Hale (daughter-in-law of Mary [Newbold] Patterson Hale) died because of estate taxes. Schooner Catherine Somes 1917? http://www.jssgallery.org/Paintings/Sand_Beach_Schooner_Head.htm 8/22/2015 Sand Beach, Schooner Head Page 3 of 3 The Schooner Cate and Sand Dunes at Schooner Head were both painted while he was visiting my great-grandmother, but I don't know the year. My family has always believed that the figure in white on the beach was meant to be my great grandmother. Sincerely, Abby Ann Newbold Vigneron From Natasha Date 8/3/2001 Dear Abby, What a wonderful treat to hear from you. Yes, I have just keyed in Mary Hales article, and have put it on my site so you can see it here. Without a doubt, her article was a remarkable, insightful, and tender reflection of John Singer Sargent and is one of the best accounts of him from the people that knew him personally. You can tell from the way she wrote, that she must have been a wonderful woman. Can you tell me where Mary Hale lived, was it in Maine? Was there any story behind the trip to Maine? Do you know anything about the Schooner Catherine Somes? Make sure I have this right, the woman on the sand is Mary Hale -- the same Mary hale who wrote the article -- is that right? All my best and thanks for the kind words, Natasha J/V Virtual Gallery JSSGallery org By: Natasha Wallace Copyright 1998-2002 all rights reversed Created 2/26/2001 Updated 5/7/2002 http://www.jssgallery.org/Paintings/Sand_Beach_Schooner_Head.htm 8/22/2015 The Sargent I Knew Page 1 of 4 The Sargent I Knew by Mary Newbold Patterson (page 1 of A Hale 5) (Frontpage) (What's New Page) (Refer This Site) The Sargent I Knew By Mary Newbold Patterson Hale Orinally published in The World Today, November 1927 Author's Note -- This aspect of John Singer Sargent to one of his cousins may, I hope, have worth. Our mothers were first cousins; his mother was an only child, my mother had no married brothers and sisters, so that the Sargents and ourselves have no first cousins on our mother's side. In the years between 1916 and 1925, when Sargent frequented Boston, it was my happy chance to be constantly with him -- in his daily life and work, in his studio, on scaffolding of Library or Museum, with books and plays, friends and music John Singer Sargent was born at Florence, January 12th 1856, the second child of FitzWilliam and Mary Newbold Singer Sargent, childless for two years since the death of their fist-born. Of the younger children only two sisters, of whom one married, lived to grow up and make the close knit devoted family of his later years. Sargent's own contribution to the history of his schooldays was that his fondness for drawings in his schoolbooks made his teachers and parents despair of his learning what was printed on them. That what he drew was lively and true may be seen by the pencil drawings which his father enclosed in letters to Sargent's grandparents and the Newbold http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew.htm 8/22/2015 The Sargent I Knew Page 2 of 4 great-aunts and cousins. A score of these were exhibited in Boston a few months after his death, and all of the original drawings convey some idea or aspect important in the child's mind. The copies of birds, boats, and flowers are done with conscientious fidelity, and were probably taken from a book which he writes to his grandmother Sargent, telling her (July 11, 1864) what good models he finds in it, and that he and his sisters have lessons in writing arithmetic and geography with his father. He recognized beauty as beauty at an early age; indeed, no one who knew him could believe he had ever been unaware of it. He said his first distinct memory was of a porphyry cobblestone in the gutter of the Via Tornabuoni in Florence of a colour so lovely that he thought of it continually, and begged his nurse to take him to see it on their daily walks. He must have been what our nurse called "a biddable child," for there floated down to the far end of his generation a long list of things "your cousin John Sargent would never have done," coupled with a mythical belief that he arose at dawn and practiced for hours on a piano which he probably built and assuredly tuned. He preferred porridge to all other food for his hard- earned breakfast, and his favorite pastimes were playing scales and brushing his teeth. His sisters, too, were rare and perfectional beings, although they never attained such heights as he did in our mythology. The interchange of letters, fifty or sixty years ago, in our wide family circle was full and free, and Mrs. Sargent came of a tribe of punctilious and voluminous scribes. Letters and the not infrequent meetings when the Philadelphia cousins were in Italy and France made John, Emily, and Violet Sargent vivid and real to their unseen cousins in America. "Emily is a dear little girl," writes one of the cousins to my mother from Paris in the autumn of 1865. "The children have beautiful manners, and Johnny seems http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew.htm 8/22/2015 The Sargent I Knew Page 3 of 4 artistic." Why did we not hate these paragons? It was in May, 1865, that John Sargent wrote to his grandmother Sargent that his father was expecting to go to America the following week, and that they would miss him very much "because he always does everything for us, and I do not know what we shall do without him." Mrs. Sargent, herself a clever painter in water colours, used to go sketching with her son, she the teacher in those days, with a spirited decision and quick choice which were characteristic. She ruled that no matter how many sketches were begun each day one must be finished. "Sargent works with vehemence and accuracy," said John Briggs Potter and this maternal dictum was told in response. "That," said Mr. Potter "was the beginning of it." John Sargent's fist languages were Italian and English and he seems early to have known German, for he writes in 1864 that they were hoping their mother will find them a German nurse, that they may not forget their German. His speech was accurate, having a delightful and easy correctness, free of any suspicion of pedantry. His vocabulary was large, and he rarely used words form a language other than the one he was speaking. He was clear verbally as he was mentally, and would describe intricate objects or compositions in a most understandable way. Next A Biddable Child I A Musical Genius Spoiled Painted Diaries I Portrait of Sargent I At the Front in France Note: Copyright 2001 Natasha Wallace All rights reserved http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew.htm 8/22/2015 The Sargent I Knew Page 1 of 5 The Sargent I Knew by Mary Newbold Patterson Hale < (page 2 of 5) (Frontpage) (What's New Page) (Refer This Site) A Musical Genius Spoiled If, as Mark Twain says, a child's first duty is to choose his parents carefully, John Sargent discharged that duty faithfully, and began his years as a student life in France with the fullest equipment in their power to give. At twenty he went to Paris to work in the studio of Carolus-Duran. His piano teacher solemnly protested against his decision, and warned Dr. and Mrs. Sargent that they were robbing the world of a great pianist. His rapid rise to fame was not because of his great talent alone; he would have come less quickly to the front had it not been seconded by an indomitable habit of work, unceasing, unremitting, which resulted in a deftness almost magical, and a power of swift completion which gave his canvases the look of having burst into bloom all at one moment. In the summer of 1876 Mrs. Sargent came to America with her son and elder daughter, their first visit to this side of the Atlantic, when Sargent declared and registered his American citizenship. His cousins remembered him that summer as much for his delightful music as for his continual sketching, and a passionate Italian love song, the words composed of the names of patent medicines. Music was his constant delight and he never lot his facility, although long ago he gave up all semblance of practicing. He read music quickly and accurately, had a strong sense of rhythm, a first rate music memory and a catholic taste down to Debussy. There he stopped, saying, "It is not music it is massage." Sargent enjoyed playing duets, always playing the bass with the same concentration with which he read, painted or played chess, giving himself entirely to the present interest. He read widely in several languages, and had a clear memory of what he read, with a quick sense of relation to one thing to http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew2.h 8/22/2015 The Sargent I Knew Page 2 of 5 another, and the development of thought and principles from one age to another. He was very fond of memoirs, and would read all available ones of any period with a keen appetite; also a few romances with a keen eye for the construction of the plot and reality of the characters and always travels and history. He wrote his own letters, scouting the idea of a secretary, and his handwriting was very difficult to decipher. One day a lady brought me a letter over which she had puzzled for three days. She could make out that is was something about he portrait, but that was all. It was a six-page letter giving the full details of shipping of her portrait from London, name of the agent, and the steamer by which it was to be sent, dates, etc., and all a Rosetta stone to her! Every morning he attacked his letters, opening all in familiar handwritings, answered all he could, and shoved aside the remainder, which was sometimes forgotten, so that terrible accumulations gathered for a day of reckoning in spite of his honourable intentions. A single letter, or even a brace, was sure to be answered promptly, but a great mass of papers seemed to swamp him and render him helpless. All sorts of people wrote to him on all sorts of subjects, some of them probably autograph hunters, and many of these letters he would answer, until time and endurance were exhausted, when he would stop, for a long time, but not forever. Once a lady wrote begging him to sign the portrait he had painted of Abraham Lincoln, as she felt it would add greatly to the value of the picture, which she proposed bringing to Boston for his signature. Sargent wrote a civil reply, pointing out that as he was born in 1856 he had not begun to paint portraits professionally before the president was assassinated. He was very patient under such attacks, though his paraphrase of Meredith was a cry from the heart: "So hard it seems that one must read Because another needs must write!" Sargent's second visit to America was in the 'eighties. He was no longer the student of the 'seventies or the rising painter, but the risen. Carolus-Duran had chosen Sargent to paint his portrait, an honour which he followed http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew2.htm 8/22/2015 The Sargent I Knew Page 3 of 5 by the compliment of becoming jealous as Sargent's fame grew. That portrait, and El Jaleo had brought Sargent to the front, and were the prelude to the years of portrait painting and the first part of the mural decorations in the Boston Public Library. Several visits to America were made in the 'eighties and 'nineties and the first series of visits closed in 1903. The child of the nursery myth and the fading letters was father to the man we knew. His ceaseless industry was rooted in the habits formed in childhood; his consideration for others, the outgrowth of courteous daily life of a family whose father "does everything for all of us." The ready give and take of Sargent's talk was in part the echo of what he had heard in his early days, to which his own wit and love of the ludicrous added much. He was a remarkable mimic, and with all his wit, mimicry, and common sense never said unkind things. Meanness and unfairness he would denounce, but the ordinary Sargent's Letters unkind and derogatory speech or comment was alien to him, kindly, courteous, helpful, truly interested in the work of any other painter, sculptor, or musician, always encouraging and giving time and thought to other people's tangles. Much had been written and more has been said about the "psychology" in Sargent's portraits. His are portraits of a painter whose hand accurately recorded what was before his eyes, fixing on the canvas for all time what was there in the flesh, which usually expressed what spirit, if any, was behind it. Ninety-nine men use there eyes so little that when the hundredth records a less incomplete vision, the ninety and nine rise up and accuse him of extra ocular powers, as if some inner eye had ranged a hidden field. Sargent painted the people he saw, and his amazing skills enabled him to put their exteriors on the canvas as he saw them, not as he divined or inferred their inner selves to be. He saw more and recorded more fully than other painters, just as he saw and noticed more things in a strange room than most people do. Sargent was not always fortunate in his sitters, and it should be remembered that at the time that he was painting some uninspiring portraits, he was also giving us such canvases as Miss http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew2.htm 8/22/2015 e Elizabeth Chanler (Mrs. John Jay Chapman), the Hon. Lura Lister, Miss Beatrice Goelet, Lady Victoria Stanley, and Mr. And Mrs. Field -- this last a presentation of enduring love, confidence, and protection which blinds one to its technical perfections. The beautiful relation of the couple if given to us by the same co-ordination of the eye and hand that put upon the canvas less charming and interesting people. It Carolus-Duran 2nd painting is a notable contradiction and a flight 1879 into the realm of the unlikely to suppose that one whose kindly use was not to speak in disparagement of others, should chose to paint the less lovely aspect of the sitter, leaving a belittling and enduring statement in paint. Sargent saw this or that; he knew what he saw and his hand painted El Jaleo it surely. 1882 Next A Biddable Child I A Musical Genius Spoiled I Painted Diaries I Portrait of Sargent I At the Front in France Note: The Honorable Laura Lister 1896 Mrs. John J. http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew2.htr 8/22/2015 The Sargent I Knew Page 1 of 3 The Sargent I Knew by Mary Newbold Patterson Hale (page 3 of 5) (Frontpage) (What's New Page) (Refer This Site) Painted Diaries In the years between the two series of American visits Sargent's life was busy and full as ever. It was impossible for him to accept all the commissions that came to him, and he tried to withdraw completely from painting portraits, although he had to go on with many already promised to clear the ground for the future. Honours were heaped upon him; in the catalogue of the memorial Exhibition is a list of thirty decorations and degrees bestowed upon The Fountain at Villa him in America, Belgium, Germany, Torlonia in Frascati, Italy France, and England. (Mrs. De Glehn painting Miss Wedgwood & Miss Sargent her husband) Sketching The work for the Boston Library was 1908 always on hand; holidays in Switzerland were filled with outdoor painting begun in childhood, holidays when Miss Sargent and Mrs. Ormond and her children were with Sargent, as his many water colours show. Other travelers wrote in their diaries; he painted his, and his sisters, his nieces and nephews, Miss Wedgewood, the Misses Barnard, Mr. And Mrs. De Glehn, Mr. Harrison are all on its pages. Palestine, the The Siesta Dolomites, Corfu, Italy, Spain, Portugal, 1905 Turkey, Norway, Greece, Egypt, France, the Balearic Islands are on record. The two Harrison brothers Fortunately, museums and private with Poly Barnard The Dead Sea, Palestine collections are rich in oil and water 1905-1906? colours of his many travels, for his industry and love of his work were equal, and the sum of it all would be astounding if we could ever come at it. [Editor's note -- hey, I'm trying] To see one of Sargent's water colours in the making always reminded me of the first chapter of Genesis, when the evening and the morning were the first In the Dollmites day, order developed from chaos, and one thing after another was created of its kind. Having chosen his subject and settled himself with the sunshade, hat and paraphernalia all to his liking, he Light and Shadows, Corfu would make moan over the difficulty of 1909 the subject and say, "I can't do it," or "It's unpaintable," and finally, "Well, let's have a whack at it." Perfect absorption would follow, and after what looked like a shorthand Workman at Carrara, Italy formula in pencil was on the block, the C. 1911 most risky and adventurous technique would come into play, great washes of colour would go on the paper with huge http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew3.htm 8/22/2015 The Sargent I Knew Page 2 of 3 brushes or sponges, and muttering of "Demons! Demons!" or "The devils own!" would be heard at intervals. All the time the picture was growing surely, swiftly; he worked through to the end, only stopping when it was a In the Luxembourg subject where light and tide changed Santiago de Compostela, Spain Gardens, Paris before he could get it all in, and two 1903 1879 "goes" were necessary. Change of light Sargent could understand and condone, but change of tide affronted him. When he was painting the Schooner Catherine and got the row-boats where he wanted them in the foreground, he was most resentful when the tide changed their position. He kept us hauling the "beastial boats" into place, and was afraid that we could not get them back in place the second day, as of course we did. Massage in a Bath House C 1890-91 Sargent's private life was simple; his The Sphinx, Egypt house, 31 Tite Street, Chelsea, C 1890-1891 adjoining the flat next door which had been his first dwelling and studio in London, was filled with beautiful things which he enjoyed and lived with, but no habit of material things had dominion over him, and all the comforts and conveniences of modern life were used as a means to free him from petty cares and distractions from his work. His usually lunched with his sisters, Miss Emily Sargent, seeing her and Mrs. Schooner Catherine Somes Ormond almost every day. 1917 He was a much-sought guest and charming one, as well as a delightful host. The stage was one of his interests, and here, too, he was catholic, enjoying all good acting from Duse to Dan Leno, the opera, Spanish and Russian dancing, tumblers, acrobats, music hall artists, Charley Chaplin, and such films as the delightful "Thief of Bagdad." This catholicity was possible to one of his sincerity; he detested sentimentality and airs, which he classified as "flip- flap", but for true feeling he had a deep and sensitive respect. One phase of his sincerity was the open way in which he met people, and one often hears, "I met him only once, but I feel as if I really knew him." Next A Biddable Child I A Musical Genius Spoiled I Painted Diaries I Portrait of Sargent I At the Front in France Note: Copyright 2001 Natasha Wallace All rights reserved http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew3.htm 8/22/2015 The Sargent I Knew Page 1 of 3 The Sargent I Knew by Mary Newbold Patterson (page 4 of A Hale 5) (Frontpage) (What's New Page) (Refer This Site) Portrait of Sargent There are few portraits of John Sargent; he disliked being drawn or painted or modelled. A long serious of photographs begins with a little boy of perhaps seven, and closes a year before his death. St. Gardens made a portrait medallion of him in 1889-90, he painted his own portrait twice -- once for Uffizi and again for the national Academy of Design. The most characteristic likeness is in Herkomer's group of Royal Academicians [1], hanging in the Tate gallery. Mr. Saint-Gaudens's medallion Raymond Crosby's delightful portrait of John Singer Sargent drawing is Sargent himself [n/a], his head bent over book, music, or chess Bronze, board. It shows the profile well 6.4 cm (2 1/2 in.) diameter remembered by all who played duets Musée d'Orsay, Paris, with him, and I especially prize it as my France first recollection of him is playing duets when I was a very small child. In 1916 Sargent came to America after an absence of thirteen years, to install the last portion of his decorations in the Boston Public Library. He was lame, for a big packing case had fallen on him in his studio as he was seeing the decorations off. A small bone in one foot had been broken and he had been in bed for a fortnight, delaying his journey. He pitched into his work here at once, despite his temporary ailment, gathering up the threads of old friendships and made new ones, finishing his Library work and accepted a commission to decorate the dome of the Boston Museum of Fine Arts, painted two portraits of Mr. Rockefeller and a portrait of President Wilson [n/a]. John D. Rockefeller He traveled to the Canadian Rockies in Sr the summer and Florida in the winter 1917 [1917], and Fenway Court, the Fogg http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew4.htr 8/22/2015 The Sargent I Knew Page 2 of 3 Museum, and the Worcester Museum are the richer because of those journeys. "Rockerfellering" at Ormond was mitigated by the sea bathing, for Sargent was a strong swimming and delighted in the exercise. Miami held him because of the beauties of Viscaya. "It is very hard to leave this place," he wrote me. "There is so much to paint, not here but at my host's brother's villa. It combines Venice and Frascati and Aranjuez, and all that one is likely never to see again. Hence this linger- longering." In the spring of 1917 he returned to England at the worst phase of the submarine attacks. He had planned the changes in the dome of the Boston Art Museum to be finished in London. Sargent detested the packing which these moves entailed and was bothered by the disposition of the hoards of possessions of one sort or another, which gathered about him as by atomic attraction. He lived at Copley Plaza Boston, and opposite on the Trinity Place side of the hotel was a large open space where the school of Technology had stood, scattered over with heaps of brick and rubbish of the demolished buildings. This, Sargent was inspired to think, was the best place to deposit packages of old clothes or what not, so he tied up newspaper parcels and placed them amidst the rubbish, one or two at a time, under cover of night, looking out of the tail of his eye the next morning as he passed by to his studio to see if the packages were gone. The first deposit lingered a day or two, and he was beginning to despair, but on the third day it was gone! Thus encouraged he made daily contributions to the comfort of the great unknown and unwashed until all the things he did not want had passed from his possession. Next http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew4.htn 8/22/2015 The Sargent I Knew Page 3 of 3 A Biddable Child I A Musical Genius Spoiled I Painted Diaries I Portrait of Sargent I At the Front in France Note: 1) Image of Herkomer's painting is not available online Sir Hubert Von Herkomer (1849-1914 British painter) "The Council of the Royal Academy" 1908 Tate Gallery London Oil on canvas 297.2 X 622.3 cm signed Presented by the artist 1909 N02481 S Virtual Gallery JSSGallery . org By: Natasha Wallace Copyright 1998-2004 all rights reserved Created July 30, 2001 Updated 1/8/2004 Help Me Identify Broken Links http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew4.htn 8/22/2015 The Sargent I Knew Page 1 of 3 The Sargent I Knew by Mary Newbold Patterson Hale (page 5 of 5) (Frontpage) (What's New Page) (Refer This Site) At the Front in France Two months he was in France, painting at the front for the British Government, and on his return to London finished his picture, Gasses, exhibited at the Royal Gassed Academy of 1919, and came to Boston 1918-19 that spring staying until the autumn of 1920. He made numbers of black and white portrait drawings, "mugs," he called them, the only portrait of Lady Cholmondeley, one of Sir Philip Sasoon, and the portrait of Dr. Lawrence Lowell, President of Harvard, are among the latest fortunate exceptions to his rule. Several times Sargent went back and forth between London and Boston. Miss Sargent often came with him, and the Portrait of Hon. Claire Stuart Spring of 1925 found them in London, "Mug" preparing to sail together on Saturday, 1923 Abbott Lawrence the 18th of April, for Boston. Lowell (1856- 1943) The dome was long since finished, and 1923 the last decorations for the staircase leading to it were either safely in Boston or on the water. Two portraits, Lady Curzon and Mr. George Macmillan [n/a], had been sent to the Royal Academy, and on Tuesday, the 14th, Sargent made a portrait drawing of Princess Mary. His work was done. The next day his packing was to begin, a really dreadful undertaking, for he did it himself with thought and care, doing Sir Philip Sassoon and undoing, dreading and hating it, 1923 and enjoying his victories over the pure cussedness of inanimate objects. He dined with his sisters, who had gathered together some of their intimates for a farewell. He was in high spirits, "genial and wonderful," one of his guest wrote, "never in a better form, and waving good night to us as he walked away from Emily's." A http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew5.htm 8/22/2015 The Sargent I Knew Page 2 of 3 shower came on, and Mr. Nelson-Ward overtook him in a taxi and made him drive the short distance to Trite Street. "Au revoir in six months," said Sargent at the door. His servants heard him moving about for a while; after a little the house fell quiet. And then the end came, "on a midnight without pain," we may believe. In the morning he was found, sitting up on his pillows, reading lamp still burning, an open volume of Voltaire fallen from his hand. Death had found him -- conscious, active, ready; calmly he answered the summons and was gone from us for ever. What is John Sargent's greatest legacy to those that come after him? His friends, left poor indeed by his going from the world he so enriched, might say it is the example of what one man may be to another, be he kith or kin, in the sureness of honour, loyalty, and kindliness which John Sargent had in so great a measure that his genius seemed the lesser part of him in comparison. The world inherits his paintings, full of colour and beauty, holding the rapture of sunshine and running water, the wonder and glow of youth, the calm authority and wisdom of riper years. Under this accomplishment lies the foundation of a single-minded devotion to a definite end. Some of us still believe that the function of art is the perpetuation of beauty, and the work that Sargent has left us testifies to that faith. The servant of beauty, from the early days when the colour of porphyry stone enthralled him, John Sargent worked to perpetuate beauty with all the might that was in him to the last day of his life, and bequeaths to the world his formula. End A Biddable Child I A Musical Genius Spoiled I Painted Diaries Portrait of Sargent I At the Front in France http://www.jssgallery.org/Essay/The_Sarent_I_Knew/The_Sargent_I_Knew5.htm 8/22/2015 MBF A- Mark Borght Fine Art Inc - Aean Art - Jonn singer Sargent (1090-1923) rage 101 I M B / F A artist home inventory exhibitions email estates John Singer Sargent (1856 -1925) Mary Newbold Patterson Hale was the American cousin of John Singer Sargent. The last ten years of Sargent's life were spent between Boston and London. Sargent spent a great of time at the Patterson home while working on the Boston public murals series. Mary Patterson writes: "Our mothers were first cousins; his mother was an only child, my mother had no married brothers and sisters, SO that Sargent and ourselves have no first cousins on our mother's side. In the years between 1916 and 1925, when Sargent frequented Boston, it was my happy chance to be with him-in his daily life and work, in his studio, on the scaffolding of the Library or Museum, with his books and plays, friends and music...' (Carter Ratcliff, John Singer Sargent, New York, 1982, p235.). The Sargent / Knew return to john singer sargent By Mary Newbold Patterson Hale Originally published in The World Today, american art November 1927 Author's Note -- This aspect of John Singer Sargent to one of his cousins may, I hope, have worth. Our mothers http://borghi.org/american/sargent.hale.html 2/16/2010 MBF A- Mark Borghi Fine Art Inc - American Art - John Singer Sargent (1856 -1925) Page 2 of 5 were first cousins; his mother was an only child, my mother had no married brothers and sisters, SO that the Sargents and ourselves have no first cousins on our mother's side. In the years between 1916 and 1925, when Sargent frequented Boston, it was my happy chance to be constantly with him -- in his daily life and work, in his studio, on scaffolding of Library or Museum, with books and plays, friends and music John Singer Sargent was born at Florence, January 12th 1856, the second child of FitzWilliam and Mary Newbold Singer Sargent, childless for two years since the death of their fist-born. Of the younger children only two sisters, of whom one married, lived to grow up and make the close knit devoted family of his later years. Sargent's own contribution to the history of his schooldays was that his fondness for drawings in his schoolbooks made his teachers and parents despair of his learning what was printed on them. That what he drew was lively and true may be seen by the pencil drawings which his father enclosed in letters to Sargent's grandparents and the Newbold great- aunts and cousins. A score of these were exhibited in Boston a few months after his death, and all of the original drawings convey some idea or aspect important in the child's mind. The copies of birds, boats, and flowers are done with conscientious fidelity, and were probably taken from a book which he writes to his grandmother Sargent, telling her (July 11, 1864) what good models he finds in it, and that he and his sisters have lessons in writing arithmetic and geography with his father. He recognized beauty as beauty at an early age; indeed, no one who knew him http://borghi.org/american/sargent.hale.html 2/16/2010 MBF A- Mark Borghi Fine Art Inc - American Art - John Singer Sargent (1856-1925) Page 3 of 5 could believe he had ever been unaware of it. He said his first distinct memory was of a porphyry cobblestone in the gutter of the Via Tornabuoni in Florence of a colour SO lovely that he thought of it continually, and begged his nurse to take him to see it on their daily walks. He must have been what our nurse called "a biddable child," for there floated down to the far end of his generation a long list of things "your cousin John Sargent would never have done," coupled with a mythical belief that he arose at dawn and practiced for hours on a piano which he probably built and assuredly tuned. He preferred porridge to all other food for his hard-earned breakfast, and his favorite pastimes were playing scales and brushing his teeth. His sisters, too, were rare and perfectional beings, although they never attained such heights as he did in our mythology. The interchange of letters, fifty or sixty years ago, in our wide family circle was full and free, and Mrs Sargent came of a tribe of punctilious and voluminous scribes. Letters and the not infrequent meetings when the Philadelphia cousins were in Italy and France made John, Emily, and Violet Sargent vivid and real to their unseen cousins in America. "Emily is a dear little girl," writes one of the cousins to my mother from Paris in the autumn of 1865. "The children have beautiful manners, and Johnny seems artistic." Why did we not hate these paragons? It was in May, 1865, that John Sargent wrote to his grandmother Sargent that his father was expecting to go to America the following week, and that they would miss him very much "because he always does everything for us, and I do not know http://borghi.org/american/sargent.hale.html 2/16/2010 MBFA- Mark Borghi Fine Art Inc - American Art - John Singer Sargent (1856 -1925) Page 4 of 5 what we shall do without him." Mrs. Sargent, herself a clever painter in water colours, used to go sketching with her son, she the teacher in those days, with a spirited decision and quick choice which were characteristic. She ruled that no matter how many sketches were begun each day one must be finished. "Sargent works with vehemence and accuracy," said John Briggs Potter and this maternal dictum was told in response. "That," said Mr. Potter "was the beginning of it." John Sargent's fist languages were Italian and English and he seems early to have known German, for he writes in 1864 that they were hoping their mother will find them a German nurse, that they may not forget their German. His speech was accurate, having a delightful and easy correctness, free of any suspicion of pedantry. His vocabulary was large, and he rarely used words form a language other than the one he was speaking. He was clear verbally as he was mentally, and would describe intricate objects or compositions in a most understandable way. return to john singer sargent Mark Borghi Fine Art Inc 52 East 76th Street NewYork - New York - 10021 te I. .212.439.6425 - fa X 212.396.1824 2442 Main Street Bridgehampton - New York -11932 te I. 631.537.7245 - fax 631.537.4400 http://borghi.org/american/sargent.hale.html 2/16/2010 Mary Newbold Patterson - 19808 - Individual Information - PhpGedView Page 1 of 1 Mary Newbold Patterson (19808) Surname: Patterson Gender: Female OF Birth: about 1874 -- of Boston, Suffolk, Massachusetts Given Names: Mary Newbold Hit Count:9 Personal Facts and Details Notes Close Relatives Tree ALL Personal Facts and Details Events of dose relatives View Details for Birth about 1874 of Boston, Suffolk, Massachusetts Immediate Family (F3188) Marriage Richard Walden Hale - [View Family (F3188)] 14 May 1903 (Age 29) of Boston, Suffolk, Richard Walden Hale Husband 1871 Massachusetts Private Son - LDS Baptism 30 October 1996 (Age 122) LDS Temple: Bountiful, Utah LDS Spouse Sealing Richard Walden Hale - [View Family (F3188)] 13 November 1996 (Age 122) LDS Temple: Bountiful, Utah LDS Endowment 13 August 1997 (Age 123) LDS Temple: Bountiful, Utah Globally unique Identifier A3C3455B8E15D511B15BDC03644C5670F048 Last Change 2 April 2007 - 09:49:56 http://halefam.org/FamilyHistory/individual.php?pid=19808&ged=halefamgen.ge 10/30/2013 451 Marlborough | Back Bay Houses Page 5 of 11 By 1946, 451 Marlborough was the home of Carl Samuel Dorr, a retired salesman, and his wife, Edith M. (Moulton) Dorr, who operated it as a lodging house. They previously had lived at 432 Marlborough. Carl Dorr died in 1952 and Edith Dorr moved soon thereafter. 451 Marlborough continued to be a multiple dwelling, either a lodging house or apartments. By 1964, 451 Marlborough was owned by Barnett N. Samuels, who also owned 455 Marlborough. In March of 1964, Garland Junior College acquired 451 and 455 Marlborough from Barnett Samuels. In April of 1964, it acquired 453 Marlborough from Edward McGrath and 457 Marlborough from Jack Aifer. Garland Junior College subsequently razed all four houses and constructed a one-story school building in their place. 453 Marlborough (Demolished) By the 1888-1889 winter season, 453 Marlborough was the home of Miss Annie E. Bursley and her sister, Miss Caroline Wright Bursley. They operated a private school in the house. They previously had lived at 96 Chestnut and operated their school at 106 Chestnut. Annie E. Bursley is shown as the owner of 453 Marlborough on the 1895 and 1898 Bromley maps. Annie and Caroline Bursley were daughters of Captain Ira Bursley of Barnstable. He went down with his ship, the Hottinguer, which was wrecked off the Irish Coast on January 14, 1850. By the mid-1890s, the Bursley sisters had ceased operating their school at 453 Marlborough. It continued to be their home. During the 1900-1901 winter season, they were living elsewhere and 453 Marlborough was the home of Arthur Marsh Merriam and his wife, Margaret Elizabeth (Coleman) Merriam. They previously had lived at 17 Hereford. They also maintained a home in West Manchester. By the 1901-1902 season, 453-457 Marlborough (ca. 1942), photograph by Bainbridge Bunting, courtesy of The Gleason Partnership they had moved to 393 Marlborough and 453 Marlborough was once again Annie and Caroline Bursley's home. http://backbayhouses.org/451-marlborough/ 8/22/2015 451 Marlborough Back Bay Houses Page 6 of 11 During the 1903-1904 winter season they were traveling abroad and 453 Marlborough was the home of Richard Walden Hale, an attorney, and his wife, Mary Newbold (Patterson) Hale. They had married in May of 1903 and 453 Marlborough probably was their first home together. They also maintained a home in Dover which they made their year-round residence later in 1904. Annie and Caroline Bursley resumed living at 453 Marlborough during the 1904-1905 winter season. Annie Bursley died ca. 1905 and Caroline Bursley moved soon thereafter. By the 1905-1906 winter season, 453 Marlborough was the home of Dr. Harvey Parker Towle and his wife, Alice M. (Buswell) Towle. They previously had lived in an apartment at 409 Marlborough. Alice Towle is shown as the owner of 453 Marlborough on the 1908, 1917, 1928, and 1938 Bromley maps. They also maintained a home in West Harwich. Harvey Towle was a physician and dermatologist. He maintained his office at 453 Marlborough. In 1935, the Towles were joined by their daughter, Mrs. Alison Umbsen, the widow of Gustave Henry Umbsen. She previously had lived in San Francisco, where her husband died in March of 1935. The Towles' unmarried daughter, Elizabeth Towle, also lived with them. Harvey Towle died in October of 1937, and Alice Towle and her daughters moved soon thereafter to Newton. 453 Marlborough was shown as vacant in the 1939 and 1940 City Directories. By 1941, 453 Marlborough was the home of Joseph Luther Moulton, a real estate broker, and his wife, Alice W. (Hopkinson) Moulton, an artist. They previously had lived in Newton. They had moved by 1942. By 1942, 453 Marlborough was the home of Mrs. Edna Walsh, widow of William M. Walsh, who operated it as a lodging house. She previously had lived at 57 Westland. She continued to live at 453 Marlborough until about 1944. 453 Marlborough continued to be a multiple dwelling, either a lodging house or apartments during the 1940s and 1950s. By 1960, 453 Marlborough was the home of Edward McGrath. It continued to be a multiple dwelling. In April of 1964, Garland Junior College acquired 453 Marlborough from Edward McGrath. On the same day, it also acquired 457 Marlborough from Jack Aifer. It previously had acquired 451 and 455 http://backbayhouses.org/451-marlborough/ 8/22/2015 Sand Beach, Mt Desert (Mrs. Richard W. Hale), (painting) | Collections Search Center, S Page 1 of 1 Smithsonian Institution Search Results CollectionsSearchCenter record_ID:siris_ari_2156201 documents - page 1 of 1 About I © 2012 Smithsonian I Terms of Use I Privacy I Contact Sand Beach, Mt Desert (Mrs. Richard W. Hale), (painting) Painter: Sargent, John Singer 1856-1925 Medium: Watercolor Type: Paintings Date: 1921 Topic: Landscape--Maine--Mt. Desert Island Landscape--Beach Landscape--United States--New England States Control number: IAP 81690560 Notes: McKibbin, David, "Sargent's Boston," Boston, Museum of Fine Arts, 1956 Data Source: Art Inventories Catalog, Smithsonian American Art Museums Record ID: siris_ari_215620 Visitor Tag(s): No tags yet, be the first! Add Your Tags! http://collections.si.edu/search/results.htm?print=yes&q=record_ID:siris_ari_215620 10/30/2013