■■^^.v ?#• fmm 7^ usf Q^arnell Htnittecaitg SItbratg Stifara, ^»ta ^nrh ..VJv'b.y.ak.y>j...ot...C>A.v»o!rjfc.sS Date Due Cornell University Library Z8969.5 .U58 Joseph and Elizabeth Robins Pennell coll olin 3 1924 029 627 944 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029627944 LIBRARY OF CONGRESS THE JOSEPH AND ELIZABETH ROBINS PENNELL COLLECTION OF WHISTLER- lANA SHOWN IN DIVISION OF PRINTS LIBRARY OF CONGRESS SOUTHWEST PAVILION CATALOGUE COMPILED BY JOSEPH & ELIZABETH ROBINS PENNELL WASHINGTON GOVERNMENT PRINTING OFFICE LIBRARY BRANCH MAY 1 92 1 "><'/ «> (-C. PORTRAIT OF J. M. N. WHISTLER PEN DRAWING BY THT! ARTIST. NO. 279 IN THE CATALOGUE INTRODUCTORY NOTE The extraordinary collection, of which this brief catalogue lists only the fraction selected for a special exhibit, repre- sents thirty years of ardent effort on the part of Mr. and Mrs. Pennell to gather together every item — book, essay, manu- script and print — and to record every significant reference to the life, the work, and the repute, of the artist and writer whom they esteemed the greatest of modern times, and to whom they were personally devoted. Their motives in form- ing it are indicated in the Preface which follows. Their opportunities — as prompt admirers of the work, as intimates and confidants of the man, and as his chosen biographers — were unique. And the resulting collection has, as a record, a completeness probably unparalleled by that of any other artist or writer. Their gift of it to the United States and the coincident gift by Mr. Freer of his own Whistler Collection — similarly comprehensive on the purely artistic side — ensures to the National Capital (place of his earliest public associations) resources for the study of Whistler's art and personality such as do not and could not exist elsewhere. The Freer Collec- tion — in a building of its own^will not be accessible to the public for several months. But in the meantime — and espe- cially in connection with the meeting here of the American Federation of Arts and the Ainerican Institute of Architects — it has seemed well to present an immediate exhibit of repre- sentative items from the collection. This exhibit, selected by Mr. and Mrs. Pennell and arranged under their direction, is now installed in the southwest pavilion of our Division of Prints and adjacent spaces. This brief list of the items — forerunner of the complete catalogue which we hope to issue later — has also been personally compiled by them. The collection reached Washington in 1917, and the gift of it was acknowledged in the Librarian's Report for that year. The damage, referred to at the close of the Preface — damage certainly due to moisture, but whether in transit or in prior storage has never been ascertained — fortunately did not affect the items of most concern to the main purpose of the material. Herbert Putnam Librarian of Congress May 1st, 1921. OUR WHISTLERIANA The collection was begun by us over thirty years ago. We expect still to add to it, as long as we live; and we hope, indeed, that it may be added to by others so long as there continues an interest in the life and work of one who was not only the greatest of American artists, but, in our judgment, the greatest artist of modern times. Great also as an artist in words. Hence, much of the col- lection relates to Whistler the writer : a phase of his work the interest in which will, we are sure, increase with time. On this side — the literary and biographic — the collection is almost complete. It is certainly more nearly so than any other known to us. It includes many personal records which are unique — among them nearly four hundred letters ad- dressed mostly to us. It includes all the papers in the Whistler-Ruskin lawsuit, once in the possession of Mr. Anderson Rose. It includes over a hundred volumes of articles and clippings concerning Whistler ; these date mainly from 1900, when he asked us to write his life. It includes all save two of the catalogues of his exhibitions. The present Exhibit represents only about one-tenth of the Collection. That such comprehensiveness was worth while rests not merely upon the eminence of Whistler's place as an artist, but upon the fantastic changes in the estimates of him by the public: veering from blame to praise and then again to the petty detraction characteristic of the Insular and the Ignorant. On the artistic side, the first items that we secured were the French set, and the Thames series of etchings. These were given to us by Mr. Frederick Keppel, who knew how much we admired Whistler's work and how we later learned to love the man himself. We might have had the Venice sets — and others — but at the time the price seemed for us prohibitive. Also, when we mentioned to Whistler himself a liking for one of his prints or books — a liking which might tempt us to buy it — the thing itself would be apt to come to us with a dedication signed with the Butterfly. A glance at the collection shows how many items reached us in this happy way. Paintings were, of course, beyond us, though there were many now become the pride of public and private collections, which at the time we could have had for a trifle of their later values. LIBRARY OF CONGRESS We have given the collection to the United States to be permanently kept in the Print Division of the Library of Congress and we wish to thank the Government for accept- ing it, and the Librarian and the members of the Print Division for so admirably presenting it. We know that Whistler would have appreciated the honor of having this phase of his life work preserved in the Capital of the country he was so proud of. And because his paint- ings and drawings are in the Freer Collection in the National Museum, students of Whistler (and they are growing in number daily) can now in the same city study all phases of Whistler's art. Finally, we hope that other collectors of Whistleriana may help round out and make perfect and complete this record of the life work of the great artist and author. Joseph Pennell, Elizabeth Robins PennElLj Authors of the Authorized Life of Whistler. A number of items were damaged in transit from London to Washington, somewhere, somehow, no one will ever know — one of the little incidents of the Great War. THE JOSEPH AND ELIZABETH ROBINS PENNELL COLLECTION OF WHISTLERIANA, SHOWN IN DIVISION OF PRINTS, LIBRARY OF CONGRESS, SOUTHWEST PAVILION SECOND FLOOR K or W after a print refers to Kennedy's or Way's Catalogue THE yVHISTLER-RUSKIN TRIAL. NOS. 1-14. CASE 1-A Paintings exhibited at the Grosvenor Gallery, 1877, and shown at The Trial in evidence. 1 ARRANGEMENT IN BLACK NO. III. PORTRAIT OE HENRY IRVING AS PHILIP OF SPAIN. OIL. Two states of the painting. Left in the Metropolitan Museum, New York. Photographs. 2 NOCTURNE IN BLACK AND GOLD. THE FALLING ROCKET. OIL. The painting Ruskin objected to. His criticism in Fors Clavigera caused Whistler to take action against him after the picture was exhibited at the Grosvenor Gallery, 1877. Owned by Mrs. Samuel Untermeyer. From Nocturnes, Marines and Chevalet Pieces. Goupil and Company. Photograph. 3 NOCTURNE IN BLUE AND SILVER. OLD BATTERSEA BRIDGE. OIL. Shows original frame designed by Whistler with But- terfly on it. Old Batter sea Bridge and Irving were, after The Falling Rocket, the most discussed pictures in court during the Trial. National Gallery of British Art. Photograph. CASE 1-B Documents in the Whistler-Ruskin Trial and copy of Fors Clavigera for July, 1877, containing the libel, page 201. 4 WRIT ISSUED BY JAMES ANDERSON ROSE. Whistler's solicitor summonsing William Michael Ros- setti, W. C. Wills and Albert Moore to attend at the High Court as witnesses for Whistler. tIBRARY OS CONGRESS 5 COMPI^ETE BRIE? FOR THE PLAINTIEE. WHISTLER. Marked with Serjeant Parry's fee of thirty guineas. 6 OVERDRAFT FOR £lOO^ ON THE LONDON AND WESTMINSTER BANK. Drawn by Mr. Nightingale, builder of the White House. 7 VOLUME OF LETTERS FROM WHISTLER TO ANDERSON ROSE, HIS SOLICITOR, AND TO SERJEANT PARRY, HIS COUNSEL, AND LETTERS OF CONGRATULATION TO WHISTLER ON THE VERDICT IN HIS FAVOR. Although Whistler gained the case and drove Ruskin from the Slade Professorship at the University of Ox- ford, he became bankrupt, owing to the costs of the action. The White House and his effects were sold for debt and he destroyed many of his works. The Sheriff's announcement of the sale is in CASE 10-B. Forty let- ters from Whistler concerning the Trial are in this volume. 8 FORS CLAVIGERA, JULY 2ND, LETTER LXXIX. Contains the libel by Ruskin on page 201. Whistler underscored the libel and added the query on the margin "How does he know this?" The pamphlet has many other comments by him. The libel was "For Mt. Whistler's own sake, no less' than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." 9 ANOTHER COPY OF BRIEF FOR WHISTLER. With corrections, letters and documents in the case. 10 MR. RUSKIN^S CO.STS. A four page circular (two pages of text) issued by the Fine Art Society of London asking subscriptions to pay Ruskin's costs. 11 WRIT ISSUED TO J. Edgar boEhm, martin colnaghi, and ALGERNON GRAVES. Not one of them appeared for Whistler. Exhibition o^ whiStlEriana CASE l^C Paintings exhibited in the Grosvenor Gallery in 1877 and produced as evidence at The Trial. 12 ARRANGEMENT IN BIvACK AND BROWN. THE EUR JACKET. OIE. From the Goupil Portfolio of Nocturnes, Marines, and Chevalet Pieces. Photograph. Worcester Museum. 13 NOCTURNE, BLUE AND GREEN. OIL. Owned by Estate of W. C. Alexander. Photograph. 14 ARRANGEMENT IN GREY AND BLACK, NO. II. PORTRAIT OE THOMAS CAREYEE. OIL. Glasgow Art Gallery. Photograph. whistler's brown paper PAMPHLETS. NOS. 15-2 7. CASE 1-D Art and Art Critics. Venice. Pastels. Etchings and Dry-Points. "Notes" — "Nocturnes" — "Harmonies." 15 WHISTLER V. RUSKIN. ART AND ART CRITICS. J. A. M.N. WHISTLER. LONDON : CHATTO AND WINDUS. Printed by Spottiswoode and Co., New Street Square and Parliament Street. Brown paper cover with Butterfly, The White House, Chelsea, Dec. 24, 1878. The first of Whistler's brown paper booklets. Dedicated to Albert Moore, the one artist who had the courage to testify for him at the Trial. The pamphlet gives Whistler's reasons for bringing the action against Ruskin and contains his comments on the proceedings in court. 16 THE SAME. TtlIRD EDITION. Third Edition added on title-page. 17 VENICE PASTELS. LONDON. Printed by T. Way, 21 Wellington Street, Strand. Cata- logue of Exhibition of Pastels held at the Fine Art Society's, January 1881, after Whistler's return from Venice. This copy gives notes of the prices by D. Croal Thomson. T. R. Way copied in pastel all or nearly all, and his copies were later sold at Sotheby's. LIBRARY 0^ CONGRESS 18 CAVIARE TO THE CRITICS. 8vo, four pages, exceedingly rare issue printed for dis- tribution among friends, 1883. First published in The World, February 21, 1883, included with it Whistler's letter to The World, February 28th. 19 ETCHINGS AND DRY-POINTS^ VENICE. SECOND SERIES. J. MCNEILL WHISTLER, TITE STREET, CHELSEA. "Out of their own mouths shall ye judge them," on page after title. Catalogue of Exhibition of the Twenty-Six Venice and other Etchings, held at the Fine Art Society's in 1883. After each number is printed a quotation from the criticisms of his previous exhibitions. 20 LETTER TO MR. MORGAN, THOMAS WAY'S MANAGER. Way printed the Catalogue of Etchings and Dry-Points. Whistler writes "If it be possible, the first thing in the morning without retarding the work, see that the mar- ginal note that at present reads 'You can't always some- times generally tell' is altered to 'Sometimes, generally, always.' " A Catalogue of the First Series of Etchings and Dry-Points was published, a four page circular with- out a cover. 21 "notes" — "harmonies" — "nocturnes." J. MCNEILL WHISTLER, TITE street, CHELSEA, MAY, 1884. FIRST Edition. Catalogue of an Exhibition of Pastels, Water-colours and Paintings at Dowdeswell's Galleries. Contains L'Envoie, Proposition No. 2. The Exhibition was an Arrangement in Flesh Colour and Gray. 2 2 CAVIARE TO THE CRITICS. Pages from Etchings and Dry-Points, showing change in paper, type and spacing of page, in the Sixth Edition. 23 "notes" — "harmonies" — "nOCTURNES." J. MCNEILL WHISTLER, TITE STREET, CHELSEA, MAY, 1884. Another copy. Inserted, a page from the Catalogue of James Tregaskis, where it is described as "now exces- sively rare." 24 ETCHINGS AND DRY-POINTS. VENICE. SECOND SERIES. SIXTH Edition. Printed on the verso of title, "T. Way, 21 Wellington Street, Strand." The four pages of Caviare to the Critics added at the end and Whistler's letter to The World of February 28, 1883. 10 Exhibition oi' whistluriana 25 "notes" — "harmonies"- — ^"NOCTURNES." SECOND SERIES. J. MCNEILL WHISTLERj 133 NEW BOND STREET, W., MAY 1886. Second Exhibition of Oils, Water-Colours and Pastels. Dowdeswell's Galleries: Arrangement in Brown and Gold. 2 6 ETCHINGS AND DRY-POINTS. VENICE. SECOND SERIES. Another copy of the Sixth Edition, Way's address no longer appears on verso of title. The Catalogue has been set up again and printed on different paper. 27 THE SAME. Another copy of the Sixth Edition, again with Way's address on verso of title. whistler's TEN o'clock. NOS. 28-47. CASE 1-E Copies of the "Ten O'Clock." 28 MR. whistler's "TEN o' CLOCK." BUTTERFLY. LONDON. (1886 ON COVER, 1885 ON TITLE-PAGE.) PUBLISHED BY chatto and WINDUS. Printed by T. Way. In Way's handwriting "One of twenty-five copies." 29 THE SAME. London, 1888. Printed by Spottiswoode. 30 MR. whistler's ten o'CLOCK. A LECTURE BY JAMES MCNEILL WHISTLER. PORTLAND, MAINE. THOMAS BIRD MOSHER. MDCCCCXVI. Contains a pretended letter from us to Mosher dated August 24th, 1911, made to look as if we had written it for Mosher. It was stolen from The Life. We are not aware if the whole book has been stolen or not. Bound in boards and made up according to the notions of Mosher. Swinburne's Fortnightly article, his poem Before the Mirror, and other matter added. 31 MR. whistler's "ten o' CLOCK." LONDON. 1886 ON COVER, 1885 ON TITLE-PAGE. Printed by T. Way. 32 MR. whistler's "TEN o'clock," 1891. BOSTON AND NEW YORK, HOUGHTON MIEFLIN AND COMPANY. THE RIVER- SIDE PRESS, 1891. "Copyrighted 1888 by J. A. M. Whistler. All rights reserved," on verso of title. 11 LIBRARY O'B CONGRESS 33 THK "rtN o'CIvOCk/' Opinions of the Press. Collected and Arranged by Whistler. Cover. 34 INVITATION CARD TO THE "'TEN o' CLOCK." Given at Princes Hall, Piccadilly, February 20, 1885. Card designed by Whistler. 3 5 SPECIMEN PAGES OE "OPINIONS OE THE PRESS." CASE 1-F Copies of the "Ten O'Clock." 36 THE "ten o'clock." Galley proof of the first pages. 3 7 THE "ten o'clock." Thomas Way's corrected copy, without title on cover, and with printer's name T. Way written in. Also written suggestions for the title. 38 THE SAME.' Whistler's original design in pen-and-ink for the cover. 3 9 THE SAME. Proof sheets of the 1885 edition. Set up in book form, with corrections by Whistler. 40 THE SAME. Early copy printed by T. Way, 1886 on cover, 1885 on title-page. 41 THE SAME. 1885 on cover and title. At the bottom of title-page: "The Rights of Translation and Reproduction are Re- served." On cover note by Whistler referring to cor- rections. 42 THE SAME. 1888 on cover and title. Printed by Spottiswoode. 43 LE TEN o'clock. TR.\DUCTI0N ERANQAISE DE M. STE- PHANE MALLARME. LE TEN o'clock DE M. WHISTLER. LONDRES. PARIS, 1888. IMPRIMERIE DE LA REVUE INDE- PENDANTE. PARIS, II CHAUSSEE. d'ANTIN. The French translation made by Stephane Mallarme, the French poet and Whistler's friend. 12 EXHIBITION OP WHISTI,ERIANA 44 THE "ten o'clock." PUBLISHED BY THE REPRESENTA- TIVES OF THE LATE JAMES MCNEILL WHISTLER. SOLE SELLING AGENT, ERNEST DRESSEL NORTH, 4 EAST 39TH STREET, NEW YORK CITY. Printed at the Marion Press. 45 MR. whistler's "TEN o'CLOCk" TOGETHER WITH MR. SWINBURNE'S COMMENT AND MR. WHISTLEr'S REPLY. OLD DOMINION SHOP. CHICAGO, MCMIV. Japan paper copy. 46 JAMES MCNEILL WHISTLER'S ZEHNUHR-VORLESUNG (TEN o'clock) dEutsch von theodor KNORR. STRASSBURG, 1904. J. H. Ed. HEITZ (HElTZ UNO MtJNDEL). 47 MR. whistler's "TEN o'CLOCk" AS DE'tlVERED IN LONDON AT CAMBRIDGE AND AT OXEORD. TOGETHER WITH HIS proposition AND PROPOSITION NO. 2. THE AI.DERBRINK PRESS, CHICAGO, MCMVII. Edition suppressed by Freer. This is one of the very few copies existing. BUTTERFLIES FOR THE GENTLE ART, "TEN o' CLOCK" AND THE BARONET AND THE BUTTERFLY. NOS. 48-50. CASE 1-B Original Drawings by Whistler and Reproductions. 4 8 DRAWINGS AND REPRODUCTIONS FOR THE BARONET AND THE BUTTERFLY. The reproductions in several instances are not those of the drawings by which they are placed. 49 BUTTERFLIES: ORIGINALS AND REPRODUCTIONS. 50 butterflies: ORIGINALS AND REPRODUCTIONS. THE GENTLE ART OF MAKING ENEMIES. NOS. 51-57. CASE 1-H Various Editions of the book. 51 THE GENTLE ART OF MAKING ENEMIES. EDITED BY SHERI- DAN FORD. PARIS, DELABROSSE ET CIE, 1890. Samuel P. Avery's copy, containing the correspondence between Whistler and Theodore Child in their writing ; also letters from Child to Avery, Whistler's letters to various newspapers, a photograph of Whistler, and other documents. The First Paris Edition, suppressed by Whistler. 13 LIBRARY Of CONGRESS B2 THE SAME. Edited by sheridan Eord. new york. FREDERICK STOKES AND BROTHERS, 1890. The publishers' name in the American edition is Stokes. The book was printed in France or Belgium. No other change. The original title in the proof sheets was The Gentle Art of Making Enemies. J. McNeill Whistler as the Unattached Writer. With some Whistler Stories Old and New. Edited by Sheridan Ford. Brentano's. London, Paris, New York, Washington, Chicago, 1890. Dedicated "To John McLure Hamilton A Great Painter and A Charming Comrade. In Memory of Many Pleasant Days." 53 the gentle art op making enemies as pleasingly Exemplified in many instances, whEREin the seri- ous ONES OP THIS earth, CAREEULLY EXASPERATED, HAVE BEEN PRETTILY SPURRED ON TO UNSEEMLINESS AND IN- DISCRETION, WHILE OVERCOME BY AN UNDUE SENSE OP RIGHT. (BUTTERPLY.) LONDON. MDCCCXC. WILLIAM HEINEMANN. One of a Special Edition of ten, bound in brown paper with gold lettering and Butterfly on the side. Black lettering and gold Butterfly on the back. Contains letter from Heinemann stating facts. 54 THE GENTLE ART OP MAKING ENEMIES. NEW YORK. J. W. LOVELL AND COMPANY, 1891. Authorized American edition. Presentation copy from Whistler to James Carlton Young with note by the author on fly leaf: "For the 'Ornamented' green that covers this multitude of sins, I, at least, am in no way responsible." Butterfly. 55 THE SAME. ENGLISH EDITION. Large Paper edition signed by Whistler, numbered 37. This copy contains four studies by Whistler for Butter- flies used in the volume. 56 THE SAME. 1904. THIRD EDITION. WILLIAM HEINE- MANN. LONDON. 5 7 THE SAME. GERMAN TRANSLATION: DIE ARTIGE KUNST SICH PEINDE ZU MACHEN. VON MACNEILL WHISTLER. BERLIN. 1909. BRUNO CASSIRER. EXHIBITION OP NOCTURNES, MARINES & CHEVALET PIECES, ETC. NOS. 5 8-7 4. CASE 2-A Paintings, Poster, Catalogue Cover. 14 EXHIBITION 0*' WHISTLERIANA 68 THE MUSIC ROOM. OIL. Owned by Colonel Hecker. From The Goupil Portfolio. Photograph. 59 SKETCHES FOR POSTER, COVER AND TITLE-PAGE OE THE CATALOGUE EOR THE EXHIBITION OE NOCTURNES, MARINES & CHEVALET PIECES IN 1892. Photographs. 60 THE BALCONY. OIL. In the Charles L,. Freer Collection, National Gallery of Art, Washington, D. C. From The Goupil Portfolio. Photograph. CASE 2-B Catalogues, 1892, and other Exhibitions. 61 NOCTURNES, MARINES & CHEVALET PIECES. Letter from Whistler to the printer Way, with correc- tions. 62 THE SAME. Cancelled first edition of Catalogue, unbound. 63 THE SAME. Second Edition. The rarest of the brown paper Cata- logues. On title-page was: "Small Collection Kindly Lent by their Owners. The "by" fell out when the edition was being made ready for press. Whistler saw proof, was delighted and the edition was issued with "Small Collection Kindly Lent their Owners" on the title-page. Joseph Pennell's press copy, containing his notes. • 64 TPIE SAME. Third edition, "By" restored. Illustrated London Neivs written in on last page. 65 CATALOGUE OE AN EXHIBITION OE DRAWINGS AND LITHO- GRAPHS OF THE ALHAMBRA BY JOSEPH PENNELL. WITH AN INTRODUCTION BY J. MCNEILL WHISTLER. JAMES S. EARLE & SONS, PHILADELPHIA. This Exhibition and Mr. Whistler's Introduction brought about the Sickert Case, Walter Sickert writing an in- sulting and libellous article in The Saturday Review accusing Joseph Pennell, and indirectly Whistler, of issuing lithographs which were not lithographs. Sickert lost his case, Frank Harris lost his post as Editor of The Saturday Review, and Whistler and Pennell proved that they knew something about lithography as an art. (See CASES 12-G and 12-H.) 16 LIBRARY Olf CONGRESS 66 THE SAME. FREDERICK KEPPEL & CO. NEW YORK. 189T. Catalogue of the New York Exhibition. 67 THE SAME. i Containing facsimile of Whistler's Letter. Catalogue of the Fine Art Society of the first Exhibition in London. 1896. 68 CATALOGUE OE A COLLECTION OE DRAWINGS BY PHIL MAY. THE EINE ART SOCIETY. 1895. With a note on Phil May's drawings by Whistler. 69 DRAWINGS AND LITHOGRAPHS OE THE ALHAMBRA, BY JOSEPH PENNELL. FREDERICK KEPPEL AND CO. 1897. 70 THE SAME. ALBERT ROUILLER. CHICAGO. 1899. 71 NOCTURNES, MARINES & CHEVALET PIECES. Third Edition printed on the back. 72 THE SAME. Fifth Edition printed on the back. 7 3 WILDE V. WHISTLER, BEING AN ACRIMONIOUS CORRESPOND- ENCE ON ART BETWEEN OSCAR WILDE AND JAMES A. MCNEILL WHISTLER. LONDON. PRIVATELY PRINTED. MCMVI. Large Paper Edition of 100. Contains Oscar Wilde's notice of the "Ten O'Clock" in The Pall Mall Gazette, February 21, 1885, and correspondence published in The Gentle Art. 74 THE SAME. One of 400 copies. Small paper Edition. ILLUSTRATIONS AND DESIGNS. NOS. 75-85. CASE 2-C Wood-Engravings and Designs for China. 75 WOOD-ENGRAVING EROM ONCE A WEEK. Engraved by Dalziel. Proof. See No. 79. 7 6 SKETCHES FOR PLATES. To be decorated by Whistler, and a letter from Sir Henry Thompson about his blue china. Photograph. 7 7 invitation and other cards to view sir henry Thompson's blue and white nankin porcelain. Design at bottom said to be by Rossetti. Portraits of Whistler and Murray Marks in the invitation card at the top. 16 Exhibition o? whisti.e;riana 78 wood-engraving from once a week. Engraved by Dalziel. Proof. See No. 79. CASE 2~D Books illustrated by Whistler. 79 HISTORICAL AND LEGENDARY BALLADS BY WALTER THORN- BURY. LONDON. CHATTO AND WINDUS^ 1876. Contains four illustrations made by Whistler for Once a Week in which they first appeared. On margin of drawing originally called The Morning Before the Mas- sacre of St. Bartholomew — here illustrating a poem, Lady Mabel's Lovers — Sala wrote "Jimmy Whistler, clever, sketchy and incomplete like everything he has done. A loaf of excellent fine flour but slack-baked." Three other Whistlers included are : Count Burckhardt, The Major's Daughter, The Relief Fund in Lancashire, engraved by Dalziel Brothers ancl Joseph Swain. The four were the first illustrations Whistler made for maga- zines. 80 A CATALOGUE OE BLUE AND WHITE NANKIN PORCELAIN FORMING THE COLLECTION OF SIR HENRY THOMPSON. ILLUSTRATED BY TI-IE AUTOTYPE PROCESS FROM DRAWINGS BY JAMES WHISTLER, ESQ. AND SIR HENRY THOMPSON. LONDON : ELLIS AND WHITE. 1878. Large Paper copy, so far as is known the only one ; for- merlv in the possession of S. P. Avery. Contains his book plate. Cover, gold on yellow. Probably designed by Whistler. SOa STEPHANE MALLARME. VERS ET PROSE. MORCEAUX CHOISIS. AVEC UN PORTRAIT PAR JAMES M. N. WHISTLER. PARIS: LIBRAIRIE ACADBMIOUE DIDIER. PERRIN ET CIE, LIBRAIRES-EDITEURS, 1893. Frontispiece, Whistler's lithograph of Mallarme. On fly-leaf, Whistler's autograph inscription "To Joseph Pennell" signed by the Butterfly. 81 A CATALOGUE OF BLUE AND WHITE NANKIN PORCELAIN. Ordinary edition. Cover printed in gold on blue. Both editions contain twenty-seven drawings by Whistler, the finest drawings of decorative objects ever made by a Western artist. Signed by Whistler. 82 BELOW THE SALT, BY C. E. RAIMOND. LONDON. WILLIAM HEINEMANN. Cover design by Whistler. 1260—21 2 17 LIBRARY OF CONGRESS THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. NOS. 83-100. CASE 2-E Original Designs by Whistler, and Photographs. 83 WALL OE THE FIRST INTERNATIONAL EXHIBITION. Showing group of paintings and drawings by Whistler. This Exhibition was held at Knightsbridge, London. 1898. Photograph. 84 DESIGNS BY WHISTLER. For cover of Catalogue and Seal of the International So- ciety, of which Whistler was President from its founda- tion until his death. 85 WALL OE WHISTLER MEMORIAL EXHIBITION AT THE NEW GALLERY, LONDON. 1905. SHOWING WHISTLER'S SYSTEM OE HANGING AND LIGHTING. Photograph. CASE 2-F Catalogues of International Exhibitions. 86 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. CATALOGUE OE THE EXHIBITION OE INTER- NATIONAL ART. 189 8. PRICE SIXPENCE. Catalogue of the First Exhibition held at the Skating Rink, Knightsbridge, London. 87 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. ART CONGRESS. CATALOGUE OF THE EX- HIBITION, 1899. "a LARGE AND NOT PARTICULARLY PLEASANT GALLERY." ATHENAEUM. OVER ONE HUNDRED ILLUSTRATIONS. (TWELVE IN PHOTOGRAVURE.) PRICE HALF-A-CROWN NET. (SEAL OF SOCIETY ON COVER.) Printed by William H. Ward &-Co. at the Holbein Press. Special Edition. Bound in brown boards. Whistler's Nocturne, Broivn and Gold — Chelsea Rags, reproduced by photogravure, his Blue and Silver — Trouville by process. 88 THE SAME. CATALOGUE OF THE THIRD EXHIBITION. 1901. Printed by The Printing Arts Co. at the Holbein Press. Same cover, with Society's seal, but without quotation. Special edition. Bound in brown boards. With photo- gravures and process blocks. Photogravure of Whistler's Phryne the Superb, Builder of Temples, frontispiece. Royal Institute Galleries. 18 EXHIBITION Olf WHISTL^IANA 89 THE SAME. CATALOGUE OE THE EXHIBITION, 1899. PRICE ONE SHIEEING. Printed by Wm. H. Ward & Co. at the Holbein Press. Whistler designed the cover for the Catalogue of the Second Exhibition, with the Society's monogram and seal, and added the sub-title : Art Congress. Illustrations printed together following text. Press copy with Mrs. Pennell's notes. Inserted, article by D. S. MacColl from The Saturday Review, May 27, 1899. 9 THE SAME. CATALOGUE OE THE EOURTH EXHIBITION, 1004. PRICE SIXPENCE. First Exhibition held in the New Gallery. Two invi- tation cards inserted. 91 THE SAME. CATALOGUE OF THE ElFTH EXHIBITION, 1905. EIRST EDITION. Quotation from Whistler — "Art is the Science of the Beautiful" on title-page; also Under Revision. Carl Hentschel, Ltd. 9 2 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. RULES. The Rules of the Society were published in brown paper covers — without date. 9 3 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. ART CONGRESS. CATALOGUE OE THE SIXTH EXHIBITION, 1906. SECOND SECTION. (UNDER REVISION. ) With this Catalogue, the Society gave up their Presi- dent's brown paper cover, though they retained his de- sign, and Ballantyne and Company, printers. 94 ILLUSTRATED SOUVENIR. CATALOGUE OE THE EXHIBITION OE INTERNATIONAL ART. KNIGHTSBRIDGE. PREPARED BY CARL HENTSCHEL AND CO. (PUBLISPIERS TO THE COUNCIL). LONDON, WILLIAM HEINEMANN, 189 8. Large paper copy of Catalogue of First International Exhibition. Illustrated. Whistler's Blue and Coral — The Little Blue Bonnet, frontispiece. Inscription "With Carl Hentschel's Compliments, 1898." 95 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. ART CONGRESS. CATALOGUE OE THE SEVENTH EXHIBITION, 1907. (UNDER REVISION.) PRICE SIXPENCE. 96 THE SAME- CATALOGUE OF THE EIGHTH EXHIBITION. 1908. PRICE SIXPENCE. 19 LIBRARY Of CONGRESS 97 THE SAME. CATALOGUE OE THE NINTH EXHIBITION, 1909. PRICE SIXPENCE. 98 THE SAME. CATALOGUE OF THE EXHIBITION OE FAIR WOMEN, 1909. (PRICE SIXPENCE.) (UNDER REVISION.) Press copy with Mrs. Pennell's notes. Whistler's Sym- phony in White No. s — The Gold Girl and twenty-two lithogfaphs were exhibited. 99 THE SAME. CATALOGUE OE THE TENTH EXHIBITION, 1910. HELD AT THE GRAFTON GALLERIES, GRAFTON STREET, W. (PRICE SIXPENCE.) First International Exhibition held at the Grafton Gal- leries. The Society gave up the brown paper cover and design by Whistler, retaining only the seal. 100 THE SAME. CATALOGUE OP THE ELEVENTH EXHIBITION, 1911. HELD AT THE GRAFTON GALLERIES, GRAFTON STREET, W. (PRICE SIXPENCE.) WILUAM CLOWES AND SONS, LTD., PRINTERS. The seal is all that remained of the Whistler design and tradition. Even that is gone now. THE BARONET AND THE BUTTERFLY. NOS. 101-116. CASE 2-G Documents in the Eden Case. 101 ORIGINAL DRAWING OF BUTTERFLIES. With Whistler's directions to photo-engraver and printer. 102 LE FIGARO. SUPPLEMENT I,ITTERAIRE. SAMEDI 29 DE- CEMBRE, 1894. Contains an appreciative article on Whistler by Georges Rodenbach, a friend of Whistler's. No doubt written in anticipation of the Eden Trial to explain to the French public what a distinguished artist Whistler was. 103 PALL MALL GAZETTE, MARCH 21, 1895. Leader on the Eden Case after the first Trial when everything went in favor of Sir William Eden, who brought the Case against Whistler. But Whistler scored when it was taken up to the Cour de Cassation. 104 REVUE DES GRANDS PROCES CONTEMPORAINS PARAISSANT MENSUELLEMENT sous la DIRECTION DE GASTON LEBRE. MAY, 189 5. LE PORTRAIT DE LADY EDEN. 105 LE DROIT. JOURNAL DES TRIBUNAUX. DIMANCHE 24 MARS, 1895. Report of Second Eden Trial in the Cour de Cassation. 20 Exhibition oi* whisti,Eriana 106 ORIGINAI, DRAWINGS. HEAD-PIECE POR DEDICATION "ThE big stick" and TAIL-PIECE FOR THE BARONET AND THE BUTTERFLY, "the TOAD IN THEIR BELLY." Whistler's directions to photo-engraver written on mar- gins of drawings, reproduction of Toad placed by orig- inal. Dedication "To those Conferes across the Channel who, refraining from intrusive demonstration, with a pluck and a delicacy all their own, 'sat tight' during the struggle, these decrees of the Judges are affectionately dedicated." For long Whistler taunted the artists of London with "The Toad in their Belly." CASE 2-H Documents in the Eden Case. 107 AFFAIRE JAMES MCNEILL WHISTLER. The French lawyer Maitre Beurdeley's statement of the case pointing out that with Sir William Eden, it was a question of money. 108 AFFAIRE JAMES MCNEIL WHISTLER. Last page of the lawyer's statement. 109 THE BARONET AND THE BUTTERFLY. A VALENTINE WITH A VERDICT. The French publisher's announcement, probably printed at the Ballantyne Press for Heinemann, and taken over by May with the book. 110 NOTES FOR TRIAL. Made by Whistler and Maitre Beurdeley, probably dur- ing the Trial, on a sheet of Whistler's black-edged paper. ] 1 1 THE BARONET AND THE BUTTERFLY. Large Paper copy. Edition limited to 250. No. 17, signed on page opposite title with Butterfly. 112 TELEGRAM. From Whistler to Heinemann after judgment was given in his favor at the second Trial in the Cour de Cassa- tion, December 20, 1897: "Whistler wins all along." 113 EDEN VERSUS WHISTLER, THE BARONET AND THE BUTTER- FLY (BUTTERFLY) A VALENTINE WITH A VERDICT. PARIS. LOUIS-HENRY MAY. (1899.) Printed at the "Valentine" Press, Paris, really the Bal- lantyne Press, London, for Heinemann, who was to have been the publisher. Ordinary edition. Whistler's ac- count of the Second Eden Trial in the Cour de Cassation 21 LIBRARY 01^ CONGRESS (the French Court of Appeal). Comments printed on margin. On fly-leaf in Whistler's writing, "To Mrs. Pennell — who 'also was present.' " Butterfly. 114 lawyer's note. Made probably during the Trial at Whistler's dictation on a sheet of Whistler's black-edged paper. 115 LETTRE DE MR. THOMSON, DIRECTEUR DE LA MAISON GOUPIE A LONDRES. Translation of a letter from Mr. D. Croal Thomson, Di- rector of the Goupil Gallery, London, in support of Whistler. Evidently, first draft with many corrections. 116 lawyer's NOTE. Note for argument in Whistler's defense, Eden Trial. THE WHISTLER MEMORIAL EXHIBITION IN LONDON. 1905. NOS. 117-125. CASE 3-A The London Memorial Exhibition. New Gallery. 117 THE NEW GALLERY. Top : South Room opening on Court with paintings and water-colours, showing velarium and portraits of Miss May Alexander, Miss Kinsella and Mrs. Huth. Bottom : Opposite side of the same Room, showing Ltike lonides, one of the Vatparaisos, F. R. Leyland, and Dr. Whistler. Photographs. 118 THE SAME. The West Room, showing The Mother, Irving and Sara- sate, and the effect of the velarium. Photographs. 119 THE SAME. Top : Central Hall, showing arrangement of Whistler's prints. Bottom : West Room with velarium, showing The White Girl, Miss Alexander, and Whistler's Portrait of Himself holding the Brushes. Photographs. CASE 3-B Catalogues of the London Memorial Exhibition. 120 THE INTERNATIONAL SOCIETY OE SCULPTORS, PAINTERS AND GRAVERS. MEMORIAL EXHIBITION OF THE WORKS OE THE LATE JAMES MCNEILL WHISTLER, FIRST PRESIDENT OF THE INTERNATIONAL SOCIETY OF SCULPTORS, PAINTERS, AND GRAVERS, IN THE NEW GALLERY, REGENT STREET^ Exhibition OF whisti.Eriana I,ONDON, PROM THE TWENTY-SECOND OF FEBRUARY TO THE FIFTEENTH OF APRIL 1905. HELD UNDER THE AUSPICES OF THE SOCIETY. Printed at the Ballantyne Press, London, and published by William Heinemarin for the International Society of Sculptors, Painters, and Gravers, at the New Gallery, Regent Street. Edition de Luxe. Bound in brown boards. With many illustrations. Joseph Pennell's an- notated copy. The Christie Catalogue of the Henry Irving Sale inserted. 121 THE SAME. One of twelve copies of the Catalogue, prepared for the opening of the Exhibition by Rodin. White paper cover with gilt lettering. 122 THE SAME. Ordinary edition, without illustrations. Sixth Edition, the last issued. 123 IN MEMORIAM. JAMES MCNEILL WHISTLER. LONDON. FEBRUARY 20, 1905. A Speech delivered by Professor Walter Raleigh, at the Cafe Royal, London, at the Banquet on the Occasion of the Opening of the Whistler Memorial Exhibition, Feb- ruary 20, 1905. Published by William Heinemann for the International Society, and printed at the Ballantyne Press, London. Brown paper cover. 124 THE INTERNATIONAL SOCIETY OF SCULPTORS, PAINTERS AND GRAVERS. MEMORIAL EXHIBITION. White paper cover with gilt letters. Catalogue given to Queen Alexandra on the occasion of the Royal Visit to the Memorial Exhibition, and returned by her to Joseph , Pennell in exchange for his as the leaves were not cut. The only other copy like this was given King Edward. Butterflies on cover drawn by Joseph Pennell to explain the monogram to the Queen. Inserted, Notice of the Royal Visit from The Times, 5th of March, 1905, and a manuscript list of the Lords and Ladies in attendance. 12 5 THE INTERNATIONAL SOCIETY OF SCULPTORS, PAINTERS AND GRAVERS. MEMORIAL EXHIBITION. Circular issued by William Heinemann to announce the Edition de Luxe of the Catalogue. The Circular was the cause of a law suit. 125a,b,C TICKETS TO THE MEMORIAL EXHIBITION. 125d MENU AND TOAST LIST OF THE BANQUET ON THE OPENING OF THE MEMORIAL EXHIBITION. 23 library op congress whisti,e;r me;moriai, exhibitions in boston and paris. nos. 12 6-134. CASE 3-C The Boston Memorial Exhibition, Copley Hall, 1904. 126 THE BOSTON MEMORIAL EXHIBITION. Top : Wall, Gold and Brown, Whistler's Portrait of him- self, center. Bottom: Opposite wall, Whistler's Portrait of Mrs. Whistler, Harmony in Red-Lamplight^ center. Photo- graphs. 12 7 THE SAME. Rooms hung with Whistler's prints. Photographs. 12 8 THE SAME. Painting Gallery, La Princesse du Pays de la Porcelaine, center. Photographs. CASE 3-D Catalogues of the Boston and Paris Memorial Exhibi- tions. 129 ETCHINGS, DRY-POINTS, & LITHOGRAPHS. (BUTTERELY) MEMORIAL EXHIBITION OE THE WORKS OF MR. J. MCNEILL WHISTLER. BOSTON. [l904.] Catalogue of the Prints in the Boston Memorial Exhi- bition. Brown paper cover, with Butterfly. 130 OIL PAINTINGS, WATER COLORS, PASTELS, & DRAWINGS (BUTTERFLY) MEMORIAL EXHIBITION OE THE WORKS OE MR. J. MCNEILL WHISTLER, BOSTON. [l904.] Second volume of the Catalogue of the Boston Memorial Exhibition. Brown cover, with Butterfly. 131 JAMES MAC NEILL WHISTLER. Cover for L'CBuvre de James Mac Neill Whistler, a Port- folio of Reproductions of the most important works shown in the Paris Memorial Exhibition. Whistler's name spelled incorrectly. 18 2 l'oEUVRE de JAMES MACNEILL WHISTLER. Title-page Portfolio. Whistler's name rndsspelled. "Sous le Haut Patronage de M. le Ministre de I'lnstruc- tion Publique, des Cultes et des Beaux-Arts et de M. le Sous-Secretaire d'P.tat des Beaux-Arts." Introduction by M. Leonce Benedite, Conservateur of the \Luxem- bourg. Edition of 500 issued, the first 25 on Japan paper, each copy with name of subscriber printed on it. This is No. 4, "Imprime pour Mrs. Joseph Pennell." 24 i;XHIBITION OF WHISTIvERIANA 133 Exposition dEs oeuvres de james mcnEill whistler (EUTTERELY.) PALAIS DE E'eCOLE DES BEAUX-ARTS QUAI MAEAQUAIS. PARIS. MAI, 1905. Catalogue of the Paris Memorial Exhibition. Brown paper cover with an enlargement of the Butterfly often used by Whistler as signature to his letters. 134 THE SAME. Another copy of the catalogue with same cover and Butterfly. BIOGRAPHY OE WHISTI,ER AND BOOKS ABOUT HIM. NOS. 135-171. CASE 3-E Photographs of Family Portraits and Places Associated with Whistler. 135 PORTRAITS OE WHISTLER'S FATHER AND MOTHER. Top: Anna Matilda McNeill, wife of George W. Whistler. Photograph. Major George W. Whistler. Portrait painted by Whistler from a lithograph, when about twenty. Photo- graph. Bottom : Left to right. Miniature of Major George W. Whistler, artist un- known. Painting of Major George W. Whistler, artist unknown, in Library, Springfield, Mass. The same miniature. Artist unknown. Photographs. 13 6 PLACES ASSOCIATED WITH WHISTLER'S EARLY LIEE. Top : Hoiise in which Whistler was born, Lowell, Massa- chusetts — now Whistler Museum. Middle: Church in which Whistler was baptised, St. Anne's, Lowell, Massachusetts. Bottom: Old Corner House, Stonington, Conn., where Whistler stayed as a boy on his return from Russia. Photographs. 137 PORTRAITS OE WHISTLER AND DR. WHISTLER. Top: Photograph given to Rossetti with inscription by Whistler. Bottom : Left to right. Dr. William Gibbs McNeill Whistler in his uniform as Surgeon in the Confederate Army. Miniature of the two brothers — James M. N. Whistler, fifteen years, and William Whistler, thirteen years. Artist unknown. 25 tiBRARY 01* Congress J. A. McN. Whistler with autograph below, the Butter- fly left half way up. Given to Reginald Western of London in 1879. Butterfly drawn with ink on original photograph. Photographs. CASE 3-F The Authorized Life of Whistler. 138 THE LIFE OE JAMES MCNEIIX€' ^#*:'^*r ^..4^s *,-??..■: .v"^^ :*ii