Edinburgh · Charleston · Lake Geneva

Carrie
Stubbs

Between worlds.

Portrait painter and sculptor · 1905–1990

Music · George Gershwin, Prelude No. 2, 1926 · “Glory to God, My Son’s Come Home”, Gullah spiritual, 1926

Chanteur Spirituelle — Carrie Stubbs, Charleston 1927

Charleston, 1927.

A young spirituals singer, painted during her time in South Carolina. For decades, Charleston Bride was in the collection of the Morris Museum of Art, its painter unaccounted for — signed, yet in effect unattributed. Now she has a history.

Chanteur Spirituelle — Carrie Stubbs, oil, Charleston 1927
Chanteur SpirituelleCharleston, 1927 · private collection
Charleston Bride — oil on canvas, Morris Museum of Art
Charleston BrideMorris Museum of Art, Augusta, Georgia

“Neither condescending nor patronizing … an engrossing individual engaging the viewer with an honest and forthright gaze.”

Estill Curtis Pennington · A Southern Collection, 1992

Musée de Montreux · fonds Carrie Stubbs

The Montreux fonds.

From a prize drawing at eleven to egg tempera in the fifteenth-century manner.

The Pillow Fight — pencil drawing by Carrie Stubbs, 1916
The Pillow Fight, 1916Aged eleven · Royal Drawing Society Prize
Seated Nude with a Green Drape — Carrie Stubbs, 1925
Seated Nude with a Green Drape, 1925
Profile of a Child — egg tempera on panel by Carrie Stubbs
Profile of a ChildEgg tempera on panel
Costumes on a Chequered Floor — gouache by Carrie Stubbs
Costumes on a Chequered Floor

The painter

Carrie Stubbs · 1905–1990

Early years

1905–1926

Edinburgh · Europe · Mexico · Slade School of Fine Art · Geneva

Charleston & America

1927–1929

Marriage to Rollo Stubbs · New York · Charleston · Chanteur Spirituelle

Lake Geneva

1929–1990

Clarens · Montreux · portrait practice · exhibitions · 1976 retrospective

Selected sittersJean Cocteau · Konrad Adenauer · Auguste Piccard · Raymond Aron · the Prince of Siam

CollectionsMorris Museum of Art · Musée de Montreux · La Tour‑de‑Peilz

Carrie Stubbs at her easel, 1973
At her easel · L’Est Vaudois, 1973

“I have such a capacity for happiness.”

Carrie Stubbs, as remembered by Edita Spinosi · Montreux, 2005

This account draws on the Carrie Stubbs fonds at the Musée de Montreux, on archival material, and on conversations with people close to Carrie Stubbs and her family. Her surviving works remain dispersed across public and private collections.

Research basis

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