The Wertheimer portraits are a series of twelve portrait paintings made by John Singer Sargent (1856–1925) of and for the British art dealer Asher Wertheimer (1843–1918) and his family. The series amounts to Sargent's largest private commission.
The Wertheimer portraits are a series of twelve portrait paintings made by John Singer Sargent (1856–1925) of and for the British art dealer Asher Wertheimer (1843–1918) and his family. The series amounts to Sargent's largest private commission.
Asher Wertheimer was born in London. His father, Samson, was born in Germany, and was related to court Jews such as Samson Wertheimer (1658–1724) and members of the Gomperz and the Oppenheimer families. Samson Wertheimer became a leading art dealer in London, and Asher continued the business from premises on Bond Street after his father's death.
Asher Wertheimer married in 1873. His wife Flora (1846–1922) was the daughter of another London art dealer. Of their twelve children, four sons and eight daughters, two daughters died in infancy. The other ten children survived into adulthood, but the two eldest sons both died before their 30th birthdays:
The two surviving sons, Conway and Ferdinand, later changed their surname to "Joseph Conway", perhaps to avoid anti-German sentiment during the First World War. Two daughters, Ena and Betty, both trained at the Slade School of Art.
The family became close friends of the artist John Singer Sargent. He often dined at their home at 8 Connaught Place, where the dining room – sometimes described as "Sargent's mess" – was decorated with eight of the family portraits. Mr and Mrs Wertheimer commissioned Singer Sargent to paint two portraits to celebrate their 25th wedding anniversary in 1898, and ten more commissions followed in the next decade:
Sargent's portrait of Asher Wertheimer was a success when exhibited at the Royal Academy of Arts, later described by Robbie Ross in The Art Journal in 1911 as "the only modern picture which challenges the Doria Velázquez at Rome". However, the accompanying portrait of Flora Wertheimer with pearls and a white dress was less successful. Sargent was asked to paint a second version of Flora, in which she is seated and dressed in black, which was better received.
Wertheimer died in 1918, and left nine of the family portraits to the British nation. In accordance with his will, they were delivered to the National Gallery in 1922, after his wife's death, where they were displayed together in their own room. They were soon transferred to the new Tate Gallery of British Art. (A tenth, the A Vele Gonfie portrait of Ena, was bequeathed to the Tate Gallery in 1996.) There were some negative reactions to the donation, with the historian Sir Charles Oman commenting that "these clever, but extremely repulsive, pictures should be placed in a special chamber of horrors", and later commentators have seen some anti-Semitic elements in the portrayal of the family, although they themselves were very happy with them.
The other two family portraits are held in US galleries. The first portrait of Flora Wertheimer in a white dress was inherited by her daughter Hylda and later came into the collection of the New Orleans Museum of Art. A 1908 portrait of Betty is held by the Smithsonian American Art Museum, in Washington, DC. All twelve portraits were reunited for an exhibition at the Jewish Museum in New York in 1999–2000.
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