JOHN SINGER SARGENT (1856-1925)
JOHN SINGER SARGENT (1856-1925)
JOHN SINGER SARGENT (1856-1925)
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JOHN SINGER SARGENT (1856-1925)
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On occasion, Christie's has a direct financial int… Read more Visionary: The Paul G. Allen Collection
JOHN SINGER SARGENT (1856-1925)

An Archway

Details
JOHN SINGER SARGENT (1856-1925)
An Archway
oil on canvas
18 1/2 x 14 1/4 in. (46.9 x 36.2 cm.)
Painted circa 1879-80
Provenance
Violet Sargent Ormond (sister of the artist, 1925).
Jean-Louis Ormond, Vevey (son of the above, 1955).
Private collection (by descent from the above, 1986).
Coe Kerr Gallery, New York (acquired from above, 1987).
Mr. and Mrs. Harry Spiro, New York (1990).
A.J. Kollar Fine Paintings, Seattle.
Acquired from the above by the late owner, 2002.
Literature
R. Ormond and E. Kilmurray, John Singer Sargent: Figures and Landscapes, 1874-1882: The Complete Paintings, vol. IV, New Haven, 2006, pp. 242 and 408, no. 755 (illustrated, p. 242).
Special notice

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

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Max Carter Vice Chairman, 20th and 21st Century Art, Americas

Lot Essay

Richard Ormond writes of the present work, "This imposing archway appears to be the entrance to a church or public building. Within the inner recess is a groined roof, low steps running parallel to the recess, a gold-framed picture or tablet on the wall, and a small, dark doorway, possibly with a curtain in front of it... The picture is similar in style and subject to the architectural studies painted by Sargent in southern Spain late in 1879, especially in the subtle treatment of light; the honey-coloured tones of the pillars, arch and pavement stand out against the cool greens of the recess." (John Singer Sargent: Figures and Landscapes, 1874-1882: The Complete Paintings, vol. IV, New Haven, 2006, pp. 242.)
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