Portrait of an unknown sitter thought to be American

Alphonse Legros 1837-1911, was a French painter and sculptor, who lived in London from 1863 until his death in 1911. He was a teacher of etching and drawing and became Slade Professor of Art at University College London and prior to that taught at the South Kensington School, he taught by way of demonstration rather than instruction and taught his pupils to draw from memory which is what this picture displays. The picture was drawn in 1907 which we know from the Infrared imaging of the watermark, Legros would almost certainly have known this sitter from his early days in England and presented him here as when he first knew him , in his early 20's, and this drawing would have been used to demonstrate his ability to draw from memory. Legros believed in instructing his pupils how to draw from memory which is a vitally important skill if you want to become a painter. This is a museum quality drawing and is is rare for Legros as his drawings are sometimes unfinished or reduced to a sketch, this is a completed study and probably drawn within an hour, this was the aim of Legros in teaching to show his pupils that it was possible to achieve such quality in so short a time. In my view one of the best draughtsman in pencil and charcoal of all time. As we are unsure of the sitter we do think this is an American artist who lived in the UK, and knew Legros . John Singer Sargent drew a similar picture in charcoal of Keith MacLeod although somewhat inferior to this and there maybe a possibility that this sitter is he. Enclosed are photos of Legros the master and of his signature which at some point was adapted by an unknown miscreant. The signature of John Singer Sargent has been adapted from the Alphonse Legros one that was the original signature, any doubts can easily be rectified if you place a Legros signature and superimpose a Sargent over it you will see where the signature has been deliberately adjusted, we studied around 700-800 Legros signatures and the same for Sargent's signature, after a full examination it was certainly noticeable that Sargent signed his works with a 'G' that looks like a 'Q' and the Legros signature is written with a large loop on the 'G'. The only difference therefore displays the difference in the signatures and it is very obvious how the signature has been changed. The reason for the deliberate forging of Sargent's signature is because picture of this quality in Sargent's hand would probably be worth around £60K -£80K,and the Legros drawing is of a considerable difference. This picture is signed albeit falsely. I have included a further biography of Alphonse Legros for your information. Alphonse Legros (1837–1911) was a French painter, etcher, and sculptor, best known for his sombre realism and his influential role in the revival of etching in the 19th century. Born in Dijon to a working-class family, Legros moved to Paris as a young man, where he trained briefly at the École des Beaux-Arts and became associated with the circle of Gustave Courbet and the Realist movement. Legros’s art rejected academic idealisation in favour of plain, often austere depictions of rural life, religious subjects, and human suffering. His paintings and prints are marked by dark tonalities, strong modelling, and a grave, introspective mood, reflecting both his sympathy for ordinary people and his moral seriousness. Alongside painting, he became an exceptional etcher and medallist, admired for his technical mastery and expressive line. In 1863 Legros settled permanently in England, where his reputation flourished. He was appointed Slade Professor of Fine Art at University College London in 1876, a post he held for nearly two decades. As a teacher, he had a profound impact on British art, encouraging close observation, disciplined technique, and respect for craftsmanship. His students included artists who would shape late Victorian and Edwardian art. By the end of his life, Legros was recognised as a key figure linking French Realism with British artistic practice. His work is represented in major museum collections, and he remains respected for both his art and his lasting influence as a teacher and printmaker.