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PORTRAITURE CATALOGUE of JAMES McNEIL WHISTLER
CATALOGUE OF AN EXHIBITION OF PORTRAITURES OF
JAMES MCNEILL WHISTLER
THE MEMORIAL ART GALLERY ROCHESTER, NEW YORK
ILLUSTRATED
PRIVATELY PRINTED MCMXV
£
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ACKNOWLEDGMENT
Without much generous assistance it would have been impossible to make this collection and to prepare this catalogue.
Most significant have been the constant encouragement and the ever ready sug- gestions of Mrs. Elizabeth Robbins Pen- nell. ““The Life of JamesMcNeil Whistler’? by Mr. and Mrs. Pennell must necessarily be the best authority for reference and it has been constantly used.
Mr. George Haushalter kindly pre- pared the notes on the chemical action of the oils used by Whistler.
To those friends who have taken inter- est in my collection, who have added items of importance, who have read my notes and who have made many helpful suggestions—to each and all I should like to take this opportunity to express sincere appreciation.
April first, 1915
ILL @sat RATIONS
GUARINO. No. 85. Cotor Print.
Frontispiece
REICH. No. 45. HALFTONE ENGRAVING.
Facing page 28 GREAVES. No. 31. HALFTONE ENGRAVING.
Facing page 34 BEERBOHM. No. 38. HALFTONE ENGRAVING.
Facing page 40
MENPES. No. 64. HALFToNE ENGRAVING.
Facing page 46 BINNS. No. 74. HALFToNE ENGRAVING.
Facing page 52 MAY. No. 91. Line ENGRAVING.
Facing page 58
CLARK. No. 87. HALFToNE ENGRAVING. Facing page 62
INTRODUCTION
HESE portraitures chronologically arranged depict the life of one of the greatest of artists, James Mc- Neill Whistler. The influence of Whis- tler in the field of art is felt more than that of any other individual of the last half century. During the twelve years since his death he has become universally accepted as the foremost artist of Amer- ican birth. His work was new and rad- ical, the world was not prepared to un- derstand him; hence he was often called a fanatic. Now that the world has caught up we recognize a genius.
Before Whistler, pictorial art chiefly concerned itself with the telling of stories and the commemoration of events. But disregarding precedent, he developed novel and revolutionary theories. With him the mission of art was to decorate.
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When the beginner observes a picture, he is attracted by its subject. Later he sees the color, the skill of drawing, the composition, the harmony and the pic- turesque or decorative qualities. Only on attaining this highest state of apprecia- tion does he see what was so obvious to Whistler.
For Whistler attaches no special im- portance to his subject. Nor is his me- dium significant. Whether with oil, etch- ing-needle, pastel or lithographic stone his thought is presented simply but sub- tly. Never does he attempt to tell a story. His work is to be looked at—not through.
So consistent and paramount was this feeling for the picturesque that it entered into every expression, even affecting his daily life. It influenced his choice of words, his dress, his selection of com- panions, and was decidedly evident in making enemies.
16
Whistler taught the world that beauty is everywhere, that it always has been and always will be. His own words are—‘‘the story of the beautiful is already complete —hewn in the marbles of the Parthenon, and broidered with the birds, upon the fan of Hokusai—at the foot of Fusiyama.”
The desire to have two or three good likenesses of Whistler was the beginning of this collection. When investigation disclosed the large number of existing portraits the instincts of the collector were awakened.
Although the collector of Whistleriana may find much in this catalogue to inter- est him, it was particularly designed for the general public.
Six of the illustrations are from pic- tures not reproduced before. The notes first give the medium of the picture; whenever it is a reproduction the medium of the original is also stated. Remarks of
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a bibliographical nature are liberally ap- pended in the hope that an acquaintance with the life of the man will be followed by an appreciation of the work of the artist.
When an artist is exceptionally versa- tile and is a real contributor to civiliza- tion the quantity of literature with refer- ence to him is usually very great. Nearly eight hundred Whistler bibliographical notices were catalogued by Mr. Don C. Seitz in 1910. (“Writings By and About Whistler,” Edinburgh.) Since that time the number has perhaps doubled. Indeed it is almost impossible to read any mod- ern art criticism without finding numer- ous references to Whistler.
In 1913 Mr. Albert E. Gallatin pub- lished his valuable Iconography of Whis- tler. (“The Portraits and Caricatures of James McNeill Whistler,” John Lane, New York). This records according to
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the medium 202 portraits and caricatures. There are perhaps half as many more not yet listed.
There are in this catalogue sixteen items not listed by Gallatin and a number of statements that do not agree with his iconography; but all of these have been substantiated.
Gallatin notes thirty portraits and sketches of Whistler by Walter Greaves, four of which with two others unlisted are shown in this exhibition, and one of the latter, No. 31, is reproduced. Com- pare this drawing with the Stereoscopic Company’s and the Mendelssohn photo- graphs Nos. 44, 72. It is very evident that Greaves’ inspiration was not always from life. A large number of similar drawings by Greaves are in circulation.
The most important Whistler collec- tion is that of Mr. Charles L. Freer of Detroit, Michigan. Mr. Freer’s noble
generosity has made his works of art the property of the nation, and they will be placed in a special building erected for the National Gallery of Art at Wash- ington.
The Freer collection includes sixteen portraits of Whistler. Six of these are catalogued here, no reproduction has been published of any of the other ten.
The portraitures in this exhibition are arranged according to the period of Whistler’s life which they appear to por- tray without respect to the time of their execution.
This arrangement shows how artists are often assisted by other artists or by photographs. Compare Nos. 45, 46 and 47 with No. 44, and No. 112 with No. aii.
Miss Rosalind Bernie Philip, Whis- ler’s niece and executrix, has a self oil portrait of the artist that has never been
20
reproduced. Her unwillingness to per- mit a reproduction to be published is par- ticularly unfortunate as is made clear by Mr. George Haushalter in an opinion especially written for this catalogue. Mr. Haushalter has made a scientific and ex- haustive study of the chemical action of oil colors, with special reference to those of Whistler:
“Whistler learned the principle of low tone from Gleyre, who advised the free use of black, and taught his pupils to work out their harmonies on their pal- lette, before soiling the canvas with the tentative brushings.
‘“Whistler’s gamut of color was the per- fection of restraint, though rich and thoughtful; but he seems to have neg- lected to inquire into the purity of his materials, consequently his paintings, like the work of so many modern artists, are darkening far away from their original clarity.
21
“A man so exquisite and refined must have demanded the best pigments and materials obtainable, yet he combined them, apparently unwisely, with turpen- tine, the most destructive of all vehicles according to Jacque Blocx of Antwerp.
“Tt is already imperative that repro- ductions of Whistler’s oil paintings be made, with the greatest art at our com- mand.”
22
PORTRAITURE CATALOGUE
1 1846
Photograph of the pastel miniature of James (stand- ing) and his brother William, done when the for- mer was about twelve. It is the earliest recorded likeness of Whistler, who was born in Lowell, Mass- achusetts, July 10, 1834. The original, now in the Charles L. Freer collection, was for a long while in Stonington, Connecticut, where the Whistlers re- turned in 1849, ‘The artist is unknown. The por- trait was most likely executed in Russia. ~
G 107
| rats ~~
2 1848
Photogravure of oil painting made by Sir William Boxall in 1848, while Whistler was living with his sister, Mrs. Seymour Haden, at 62 Sloane Street, London, and was tutoring with a clergyman. His father, who was building a railroad for the Russian government, had sent him from Russia. Whistler remained in London until his father died in the year following. ‘This portrait was shown in the Royal London Academy in 1849. When the Royal Acad- emy hesitated to admit Whistler’s portrait of his mother in 1872, Sir William Boxall threatened to resign. Perhaps no incident better illustrates how revolutionary Whistler’s interpretation of art ap- peared to his contemporaries. “The original portrait is in the possession of Miss Philip, in London.
G 30
25
04; 42.
Gb. 14S Gb. (+6
3 1850 Halftone engraving made from daguerreotype taken after the Whistlers returned to America and were again living in Connecticut. It was from here that Whistler went to West Point to follow his father’s career. He entered July 1, 1851, and when he left, June 16, 1854, was at the head of the class in drawing.
G 181
4
1856 Halftone engraving after the pencil drawing made by Sir Edward J. Poynter in a Paris cafe. Poynter made other sketches; three not as yet reproduced are in the Charles L. Freer collection. Whistler went to Paris in 1855 after having spent three years at West Point and a few months in the employ of the United States Coast Survey at Washington, where he learned the art of etching. G 108
5 1857 Halftone engraving after photograph made about 1857. Whistler was now living in the Latin Quar- ter of Paris and had attended the studio of Gleyre. G 182
26
6 1858 Zinc engraving after pen and ink sketches made by Whistler on a remarkable journey to Alsace in 1858 with Ernest Delannoy. It was during this adven- turesome trip that Whistler made most of the French set of etchings. He is also said to have earned his way by making sketches. <A collector could very profitably follow in his footsteps to pick up some of the stray sketches. G 21-23 7 1859 Photogravure engraving after oil painting by Whis- tler now in the Charles L. Freer collection and made in 1859. ‘The appearance of the French set of etch- ings in 1859 brought Whistler almost immediate recognition and for the forty-four years following he was constantly before the public.
Gl
8 1859 Etching by Henri Guerard, signed artist’s proof, sixth state. After self portrait No. 7. The plate was etched for Mr. Samuel P. Avery who at the time owned the original portrait.
Gl
9 1859 Halftone engraving from the wood engraving made in 1879 by Frederick Juengling after self portrait No. 7. Gl 27
10 1859 Halftone engraving after the dry-point by Whistler. This is a reproduction of the first of two states. Proofs from this plate are exceedingly valuable.
G ll
11 1859 } Halftone engraving of chalk drawing by Whistler. About the period that this drawing was made Whis- tler was beginning to divide his time between London and Paris. After his second journey to Europe Whistler never returned to the United States, but was always very loyal to his native land.
G 24
£2 1859 Halftone engraving after self portrait in black and white chalk in the Charles L. Freer collection. It was not until 1859 that Whistler really settled down to work. We find record of few real results before this date. G 25 13 1859 Halftone engraving after the black and white chalk drawing by Whistler formerly owned by Mr. Thomas Way, and now in the Charles L. Freer collection. The drawing evidently was made at the same time as No. 12.
G 26
28
14
1859 Zinc engraving after pen and ink sketch by George Du Maurier showing Whistler with Charles Keene and Du Maurier. Many a story is told of the days Whistler and Du Maurier spent together while liv-
ing in the Latin Quarter of Paris. G 82
15 1860
Zinc engraving after the pen and ink drawing by George Du Maurier made as an illustration for “Trilby.” In 1894 “Harper’s Magazine’ (New York) began to publish Du Maurier’s great novel in serial form. Whistler and Du Maurier were then no longer on friendly terms, so when Whistler found himself pictured in the March number as “Joe Sibley” he objected to Harper Brothers. In consequence, the first edition of this number was sup- pressed and the re-issue did not contain this picture called “The Two Apprentices” nor the description of “Joe Sibley” to which Whistler had objected. The following October number of “Harper’s Mag- azine’ contained an apology to Whistler.
G 83
31
16 1860 Zinc engraving after pen and ink drawing by George Du Maurier made for illustration for his novel “Trilby.” Apparently Whistler did not object to this picture as it appeared in book form under the title of “All As It Used To Be,” as did also the illus- tration called “Taffy a L’Echelle.” Whistler is rep- resented leaning against the wall, at the right.
G 85
17 1860 Halftone engraving after pen and ink drawing by George Du Maurier made for a private theatrical program, London, 1860. Whistler, who is the right hand figure at the top, now had a studio in Chelsea, London, and was working on several important paintings as well as on the Thames set of etchings.
G 81
18 1860 Halftone engraving after oil painting on wood by Whistler called ‘““Whistler Smoking.” This portrait has recently been brought to America by Mr. H. R. Ickelheimer of New York City. G2
32
19 1861 Etching by Whistler, eighth state, called ‘“The Lit- tle Pool.” The man sketching is said by the Pen- nells to be Whistler. ‘The scene is laid along the Thames River. G 12
20 1861 Halftone engraving made of an early impression of the dry-point by Whistler called “Whistler With the White Lock.”” Good proofs from this plate sell at remarkably high prices.
G'13
21 1861 Dry-point proof made from the original plate badly worn. See No. 20. G 13
ae 1864
Halftone engraving after oil painting by Fantin Latour made in 1864, and called “Hommage a’ De- lacroix.”” Whistler is the fifth figure from the left. The group is composed of Cordier, Duranty, Legros, Fantin Latour, Whistler, Champfleury, Manet, Braequemond, Bandelaire and de Balleroy, famous French contemporaries of Whistler. ‘The original is the property of the French government.
G 31
33
23 1864 Halftone engraving after a pastel attributed to Fan- tin Latour.
G i111
24 1865 Proof of photogravure engraved by Charles X. Har- ris after oil painting by Fantin Latour now in the Charles L. Freer collection. This head was cut from a portrait group similar to No. 22.
G 32
25 1865 Photogravure after a photograph taken in Paris about 1865. Reproduced for the Mansfield cata- logue of Whistler etchings and dry-points published by the Caxton Club of Chicago in 1909. G 196
26 1867
Halftone engraving after oil painting, attributed to Whistler, in the Charles L. Freer collection. The authenticity of this picture is disputed and it bears considerable resemblance to the work of Walter Greaves. G3
34
,
27 1867 Halftone engraving of self portrait, oil on canvas, called “Whistler in His Studio.” There has been much controversy over this picture. The original, in Dublin, is the property of the Municipal Art Gal- lery. The painting is unsigned. Compare with No. 28A. G5
28-A 1867 Halftone engraving after oil painting by Whistler, now the property of the Chicago Art Institute. This picture is signed with the butterfly and it also is called “Whistler in His Studio.” See 27. G 6
28-B 1867 Color print of No. 28A. G 6 29 1869
Halftone engraving after oil painting by Walter Greaves showing Whistler in his studio at No. 2 Lindsey Row, Cheyne Walk, Chelsea; dated 1869. Whistler appears to be at work on the portrait of his mother and if this painting of Greaves is authen- tic Whistler had started on his most famous portrait two years before the date set by the Pennells.
G 36
37
30 1869 - Photograph of an oil painting by Walter Greaves in the possession of an American collector. Another of the great number of so-called Greaves portraits.
31 1870 Pen and ink and wash drawing by Walter Greaves. First reproduced for this catalogue. Greaves was encouraged by London dealers to make portrait sketches to supply the demand which began several years after Whistler’s death.
32 1870 Pen and ink and wash drawing by Walter Greaves.
33 1870 Halftone engraving after oil painting by Walter Greaves. G 37 34 1870 Halftone engraving after oil painting by Walter Greaves. G 40 35 1870 Halftone engraving after the sketch in oil by Walter Greaves.
G 129
38
36 1870 Photogravure engraving after painting in oil by Whistler. One of the finest of Whistler’s self por- traits. Now in the collection of Mr. Harry G. Stevens, of Detroit, Michigan. G 4
37 1870 Lithograph after the water-color drawing by Max Beerbohm called “Dante Gabriel Rosetti in His Back Garden.” Whistler shown leaning against wall on extreme left. ‘The pre-Raphaelite school is de- lightfully caricatured.
G 168
38 1870 Photograph of pen and ink drawing by Max Beer- bohm. Reproduced in this catalogue.
39 1872
Halftone engraving of the plaster bust modelled by Sir Edgar Boehm. This bust is now in the possession of H. R. H. Princess Louise, Duchess of Argyle. When Whistler’s effects were sold at auction in 1880, Mr. Thomas Way bought the bust for six guineas. It was executed about the time that Whis- tler painted the famous portrait of Carlyle and sev- eral other important pictures.
G 142
39
40 1878
Lithograph by Leslie Ward entitled “A Symphony” and published by “Vanity Fair” (London) in 1878. This is the best known of all caricatures of Whistler. The original is owned by the National Portrait Gal- lery, London, England. In 1878 Whistler brought his suit against John Ruskin which resulted in a verdict of one farthing damages for Whistler, but which was really a great moral victory.
G 145
4] 1878 Halftone engraving after charcoal drawing made in 1913 by Max Beerbohm. Shows Joseph Pennell seated in the pose of Whistler’s portrait of Carlyle with caricature of Whistler by Leslie Ward (No. 40) in frame on wall. Entitled “Mr. Joseph Pen- nell thinking of an old ’un.” Whistler’s butterfly is caricatured with a bee.
42 1878 Halftone engraving after retouched crayon drawing by Leslie Ward. Original in the S. P. Avery col- lection of the New York Public Library. G 147
40
No. 38.
43 1878 Halftone engraving after painting by Carlo Pelle- grini made for use in a play given at the Gaiety Theater, London. G 154
de 1879 Photograph by the London Stereoscopic Company. This is perhaps the best likeness of Whistler extant and is much used as a model. Negative made Jan- uary 10, 1879. G 201
45 1879 Pencil drawing by Jacques Reich made after photo- graph by the London Stereoscopic Company. First reproduced in this catalogue.
46 1879 Zinc engraving of pen and ink drawing after the Stereoscopic Company photograph. Published in “Whistler” by T. Martin Wood (T. C. & E. C. Jack, London, n. d.).
47 1879 Zinc engraving after pen and ink drawing by Gard-
ner C. Teall.
43
48 1879 Zinc engraving of pen and ink caricature by Gard- ner C. Teall, published in 1896, called ‘“Whistler by Candle Light.” G 165 49 1880 Halftone engraving of the crayon drawing made for Elbert Hubbard by Jules Maurice Gaspard. G 136
50 1880 Lithograph by Thomas R. Way, made from the oil painting by the same artist, showing Whistler print- ing etchings. It was in 1880 that Whistler executed his famous Venetian etchings and pastels.
G 49
51 1881 Halftone engraving of photograph by Otto H. Bacher, the etcher, taken in Whistler’s Tite Street Studio. G 197 52 1881 Halftone engraving made from photograph taken in Whistler’s Tite Street Studio, Chelsea, London, by the Hon. Frederick Lawless, the sculptor. Whistler stands in the center of the group.
G 183
53 1882 Zinc engraving after pen and ink caricature by Har- per Pennington. Published in “Century Magazine” (New York) October, 1902, over the caption ‘A Certain Master.”
G 167
54 1882
Halftone engraving after pen and ink and wash sketch made by Whistler and presented as a souvenir to Mrs. Patterson, who with her dog appears in the sketch. 1880 to 1890 was a very important period of Whistler’s life. During this time he did some of his most noteworthy work.
Gz
55 1885 Halftone engraving after pencil sketch made by Whistler. Original owned by Mortimer Menpes. This was reproduced in the “Studio” (London and New York) February, 1907. G 28
56 1885 Halftone engraving after eight studies of Whistler made by Mortimer Menpes in dry-point.
G 60-67
45
57 1885 Halftone engraving of dry-point containing six stud- ies of Whistler by Mortimer Menpes. G 70-75
58 1885 Dry-point by Mortimer Menpes. Artist’s proof signed. Whistler saw nothing of Menpes after 1886. Their most intimate period was between 1884 and 1886.
G 59 59 1885 Halftone engraving after dry-point by Mortimer Menpes. G 78 60 ‘ 1885
Dry-point proof by Mortimer Menpes. Signed by the artist. G 57-58
61 1885
Dry-point, signed artist’s proof by Mortimer Menpes. G 76
46
No. 64
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62 1885 Etching, signed artist’s proof by Mortimer Menpes after dry-point No. 61.
63 1885
Zinc engraving of pen and ink drawing after the etching by Mortimer Menpes, No. 62.
64 1885
Dry-point, signed artist’s proof by Mortimer Menpes. Reproduced in this catalogue.
65 1885
Dry-point, signed artist’s proof by Mortimer Menpes. Showing Whistler biting his tongue. G 79
66
1885
Dry-point proof of two rather crude studies made by Mortimer Menpes about 1885. Signed by the artist. G 68, 69
67
1885
Color print after oil painting by Mortimer Menpes. This painting with a number of dry-points and some photographs of Whistler was made in the middle eighties. Shortly afterwards Whistler ceased to see anything of Menpes and developed a great horror of the latter’s writing his life. A year after Whistler’s death Menpes published “Whistler As I Knew Him.” (London, 1904.) There is a decided sim- ilarity in Menpes’ studies. G 52
49
68 1886 Halftone engraving of snapshot showing Whistler with Mortimer Menpes. Taken in Menpes’ garden.
G 191
69 1886 Halftone engraving after photograph showing Whis- tler and Menpes, taken at the same time as No. 68.
G 192
70 1886 Halftone engraving of snapshot of Mortimer Menpes and William M. Chase, with Whistler. G 193
71 1886 Halftone engraving of a photograph by Mortimer Menpes. G 199 72 1886
Halftone engraving after photograph by H. S. Men- delssohn of London, England. Whistler executed many important lithographs at this period.
G 194
50
te 1886 Bronze plaque modelled by Victor David Brenner and cast in 1905 to commemorate the London Whis- tler Memorial Exhibition. Two hundred plaques were cast, one hundred at the Paris Mint and the remainder at the Philadelphia Mint. After Mendel- ssohn photograph, No. 72. G 144
74 1886 Water color drawing by L. J. Binns, after Men- delssohn photograph, No. 72. Reproduced for the first time in this catalogue.
G 175
75
1886 Halftone engraving after the pen and ink caricature by Charles Keene. Whistler is shown as “Punch” delivering the “Ten O'clock.” ‘This lecture was first given in London on February 20, 1885, at 10 P. M. GAl7i
76 1886 Photograph of the plaster study made for stone carv- ing on the facade of the Frederick Keppel & Com- pany building, New York City, modelled by Louis Bruno Zinn.
G 143
51
77 1886 Pencil sketch made by Jacques Reich from photo- graph.
78 1886 Zinc engraving proof of illustration published in Appletons’ “Cyclopaedia of American Biography.” Made by Jacques Reich after photograph.
79 1886 Photogravure of charcoal drawing by Paul Rajon. The original hung in Whistler’s studio during 1886. G 115
80 1886 Halftone engraving after the charcoal drawing by Paul Rajon. G 115 81 1886
Halftone engraving of the charcoal drawing by John W. Alexander. The original is autographed on the margin by Whistler.
G 110
52
74
No.
82 1886 Halftone engraving after oil painting by the artist, called “Brown and Gold,” now the property of Mr. George W. Vanderbilt, New York City. As far as is known, the last self portrait.
G7
83 1886 Halftone engraving of pen and ink drawing made by Whistler after oil portrait of himself called “Brown and Gold.” ‘This, however, is not No. 82, but is a painting in the possession of Miss Bernie Philip, Whistler’s executrix. Miss Philip refuses to permit any reproduction of the original.
G 29
84 1886 Photograph of the painting in oil by William M. Chase. The original painting has been exhibited sev- eral times and is now in the collection of Mr. Will- iam Hall Walker, New York City. G 50
85 1886 Oil painting by Anthony Guarino done in Whis- tlerian style. This portrait is now shown for the first time, and is first reproduced as a frontispiece to this catalogue.
55
86 1886 Halftone engraving after pen and ink wash drawing by Gardner C. Teall. G 166
87
1888 Pen and ink and water color drawing by J. Clay- ton Clark. ‘The same artist executed a number of similar drawings, most likely not drawn from life; signed “Kyd.” In 1888 Whistler married Mrs. E. W. Goodwin, the widow of his friend and architect, and was a most devoted husband. Mrs. Whistler died in 1896. Reproduced for this catalogue. G 173
88
1890 Zinc engraving after pen and ink drawing by E. T. Reed. Published in “Punch” (London). Cari- catured at the time Whistler attempted to seize the pirated edition of “The Gentle Art of Making En- emies” that Sheridan Ford published in Antwerp in 1890. G 157
89 1890 Halftone engraving after pen and ink drawing by S. Starr. Whistler is said to have worked on this drawing and to have affixed his butterfly signature.
G 91
56
90 1892 Zinc engraving of pen and ink drawing by Aubrey Beardsley. Like many other drawings made of him, this one did not please Whistler any too well. ‘The several years preceding and following this one pro- duced the masterly lithographs.
G 158
91
1892
Zinc engraving of the pen and ink drawing showing Whistler with Oscar Wilde. ‘This illustrates one of Whistler’s bon mots. Wilde: “That was an aw- fully funny joke you made last night. I wish I could say it was mine!” Whistler: “You will, my boy, you will!” The drawing of Whistler is repro- duced in this catalogue.
G 99
92 1893 Halftone engraving after photograph by Dornac, made in Whistler’s studio, rue Notre-Dame-des- Champs, Paris, in 1893. At this time Whistler was conducting his famous school.
G 188
93 1893 ) Halftone engraving published by “The Burr McIn-
tosh Monthly” of photograph by Dornac. G 188
57
94
1893 Halftone engraving of another photograph by Dor- nac taken at the same time as No. 88. This shows one of Whistler’s elaborate studios and the Whis- tlers were then living and entertaining at No. 110 Rue du Bac. G 189
95 1893 Zinc engraving of the wood cut by Ernest Haskell published in 1903. G 134
96 1893 Pen and ink and wash drawing made by C. B. Falls after photograph.
97 1893 Zinc engraving after drawing by C. B. Falls, No. 96, published by “Puck” (New York City) May 30, 1914.
98 1894 Halftone engraving after pen and ink and wash drawing (unsigned) published in “Life’ (New York), Nov. 8, 1894.
58
tt
nad
99 1895 Halftone engraving after pen and ink drawing made by Charles Lyall. G 161 100 1895 Lithograph by Thomas R. Way made from a photo- graph. Whistler is said to have worked on this plate.
101 1895 Lithograph by Thomas R. Way, showing the artist working on a lithograph stone. The lithograph was made from a painting by the same artist. G 114 © 102 1895 Lithograph by Thomas R. Way printed and signed by the artist. Thomas Way, the father of Thomas R. Way, taught Whistler considerable about litho- graphy and, like many others, he has a place in history because of his association with Whistler. G 112 103 1895 Chromo-lithograph, embossed, made by Edwin J. Sonn for Messrs. Leopold and Company, to appear on inside cover of “Whistler Cigar” box. The por- trait evidently suggested by Way’s lithograph is sur- rounded by sketches of six of Whistler’s paintings, framed.
G 141
61
104 1897 Halftone engraving after the oil painting by Gio- vanni Boldini. Boldini also made two dry-points. This portrait was painted shortly after the death of Mrs. Whistler, a loss from which Whistler never entirely recovered. G 51 105 1897 Halftone engraving of dry-point proof made by Gio- vanni Boldini after his portrait of Whistler. ‘There is only one known impression of this plate.
G 56
106 1897 Dry-point proof by Giovanni Boldini unsigned, made while Whistler slept between poses for the oil por- trait by the same artist. “This dry-point is said not to have met with Whistler’s entire approval.
G 55
107 1897 Halftone engraving of pencil sketch made by Gio- vanni Boldini. G 130 108 1897 Zinc engraving after dry-point by Paul Helleu. Made from the Boldini portrait of Whistler, No. 104. . G 54
62
No. 87
109 1897 Lithographic reproduction hand-colored of the wood-cut by William Nicholson made in 1897 at the suggestion of Mr. William Heinemann.
G 116
110 1897 Lithograph included in William Nicholson’s “Twelve Portraits.” (London, 1899.) See No. 109. G 116
111 1897 Platinotype after the charcoal drawing made by Ernest Haskell in 1898. G 133
112 1898 Zinc engraving proof of the pen and ink drawing by Joseph W. Simpson. ‘This caricature was first re- produced by T. N. Foulis as frontispiece in the lim- ited edition of Haldane Macfall’s “Whistler” (Ed- inburgh and London, 1905). The proofs were lim- ited to one hundred.
G 178
113 1898 Halftone engraving of the charcoal and wash draw- ing by Ernest Haskell. G 135
65
ONE HUNDRED AND THIRTY COPIES OF THIS CATALOGUE HAVE BEEN PRINTED ON IMPERIAL JAPANESE HAND MADE PAPER BY THE CRAFTSMAN PRESS OF ROCHESTER, NEW YORK, IN APRIL, 1915. ALL ARE NUMBERED AND: SIGNED BY THE CATALOGUER, OF WHICH
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