< Digitized by the Internet Archive in 2016 https://archive.org/details/portraitsofwhistOOgall ■) [f w h ( If Ai BY THE SAME AUTHOR Aubrey Beardsley’s Drawings : A Catalogue and a List of Criticisms Wit/i hitherto unfiublished drawings and fiortraits. 1903. Whistler’s Art Dicta and Other Essays With facsimiles of letters and drawings. 1904. Whistler: Notes and Footnotes and Other Memoranda (Whistler, Chikle Hassam, Leonardo, and Puvis as caricaturists, etc.) Illus- trated. 1907. Modern Art at Venice and Other Notes Illustrated. 1910. Whistler’s Pastels and Other Modem Profiles (W'histler, Emest Haskell, Zom, W'inslow Homer, Everett Shinn, etc.) Illustrated. 1912. JVe%v edition, enlarged. 1913. The Portraits and Caricatures of James McNeill Whistler: An Icon- ography Twenty rejiroductions, ten hitherto unfiublished. 1913. Notes on Some Rare Portraits of Whistler With sijc hitherto unfiublished fiortraits. 1916. Ceitain Contemporaries: A Set of Notes in Art Criticism (\Mlliam Glackens, Ernest Ltiwson, John Sloan, Walter Gay, Steinlen, etc.) Illustrated. 1916. The Portraits of Albert Gallatin Three refiroductions, after Sharfiles, Stuart, and Peale. 1917. Paul Manship: A Critical Essay on his Sculpture and an Iconography Illustrated. 1917. Vermeer of Delft Illustrated. 1917. TOT(TRAITS OF WHISTLER in s Portraits of Whistler CT^TICAL STUDT AND AN^ICON^gRAPHT BY A. E. GALLATIN WITH FORTY ILLUSTRATIONS Often I have found a portrait superior in real instruction to half a dozen biographies, carlyle NEW YORK: JOHN LANE COMPANY LONDON: JOHN LANE, THE BODLEY HEAD 1918 Copyright^ 1918, by Albert Eugene Gallatin CONTSJV'TS THE PORTRAITS OF WHISTLER : A Critical Study 3 ICONOGRAPHY I. Portraits by Himself {a) Paintings 25 (b) Black and TV kite Chalk Drawings 29 ( c ) Pen and Ink Drawings 29 {d) Pencil Drawings 30 ( (? ) Etchings 31 { f) Dry-points 33 II. Portraits by Various Artists ( a ) Paintings 34 {b) Pen and Ink Drawings 40 ( c ) Other Mediums 46 III. Plastic Portraits 59 IV. Caricatures ( a ) Pen and Ink Dfnwings 61 ( b ) Other Mediums 68 V. Photographs 73 VI. Literature 77 INDEX 81 C V ] ■l'« ■‘'S' ';’' v'Muot/iM Ai* .ffn.; filiK'»*l vtj ‘i , ' ' ' ■ * ' ' * * I ■ • \»r\v -*'^ '» ■^ - A ’V>T^ ^ i^’i V' ►^‘■vvV ' ^ ^ vvss^H\ uYVi lf^\ ■ < I j./i I Vti t* I 'M ) ■ ♦ i .!(/ -f l: 1 r. y »;{(:, ^ J. ' ■■ ■■" i LIST OF ILLUSTRATIONS Whistler. Whistler in the Big Hat Following page 32 Whistler. Whistler Smoking Facing page 25 Whistler (attributed). Portrait of Whistler Following page 32 Whistler. Whistler in Painting J acket Following page 32 Whistler (attributed). Whistler in His Studio Following page 32 Whistler. Whistler in His Studio Follonnng page 32 Whistler. Brown and Gold — Portrait of Whistler Following page 32 Whistler. Portrait of Whistler Following pjage 32 Whistler. Portrait of Whistler Following page 32 Whistler. Portrait of Whistler Following page 32 Fantin-Latour. Portrait of Whistler Following page 40 Fantin-Latour. Portrait of Whistler Following page 44 Thomas R. Way. Whistler Printing Etchings Following page 40 William M. Chase. Portrait of Whistler Following page 40 Giovanni Boldini. Portrait of Whistler Folloiving page 40 Giovanni Boldini. Portrait of Whistler Following page 58 Giovanni Boldini. Portrait of Whistler Folloiving page 58 Giovanni Boldini. Portrait oj Whistler George du Maurier. Portrait of JVhistler {with du Maurier Following page 5 8 and Charles Keene) Following page 44 Sir Edward J. Poynter. Portrait of Whistler Folloiving page 5 8 Sidney Starr and W histler. Portrait of IV lustier Folloiving page 44 William Rothenstein. Portrait of Whistler '[ vii ] Following page 44 LIST OF ILLUSTRATIONS Sir Francis Seymour Haden. Portrait oj Whistler John W. Alexander. Portrait of Whistler Paul Helleu. Portrait of Whistler Paul Helleu. Portrait of Whistler Paul Rajon. Portrait of Whistler William Nicholson. Portrait of Whistler Ernest Haskell. Portrait of Whistler Mortimer Menpes. Portrait of Whistler Charles Keene. Caricature of Whistler Charles Keene. Caricature of Whistler Linley Sambourne. Caricature of JThistler Phil May. Caricature of Whistler Aubrey Beardsley. Caricature oJ Whistler Walter Crane. Caricature of Whistler “Spy” (Leslie Ward). Caricature of Whistler “Ape” (Carlo Pellegrini). Caricature of Whistler E. T. Reed. Caricature of Whistler “Max” (Max Beerbohm). Caricature of Whistler Following page 58 FoUounng page 58 Following page 58 Following page 58 FoUounng page 58 Following page 58 FoUounng page 58 Following page 58 FoUounng page 72 Following page 72 Following page 72 Following page 72 Following page 72 Following page 72 Following page 7^2 Following page 72 FoUounng page 72 Following page 72 C viii ] TT{EFAC8 T his book is partly based upon my “ The Portraits and Carica- tures of James McNeill Whistler: An Iconography” (1913), and my “Notes on Some Rare Portraits of Whistler” (1916). The material gathered for these books has now been recast, re- vised, greatly amplified, and largely augmented; many illustra- tions have also been added. Much of the Critical Essay was written for this book, and in its present form the book is really new. Numerous of the portraits listed under the division of the Icon- ography entitled “ Portraits by Various Artists” were not executed from life and possess but little value. It has been thought best, however, to include everything, if only as a means of identifica- tion. In order to ascertain the comparative importance of a given item, the index should be consulted to see if it is mentioned in the Critical Essay ; reference to this will disclose such facts as are desired. If an item is not mentioned in the Critical Essay, it may be concluded that it possesses little or no value. When a certain portrait is not an original, but a copy from another, this is stated in the Iconography. Many of the portraits have been frequently reproduced: it has been decided that nothing was to be gained by listing all of these multiple reproductions, but that where a portrait was not reproduced for this book, one reference would be given, preferably to an easily consulted source. This applies only to reproductions made by photographic processes; all etchings. [ ix D PREFACE wood-engravings, etc., made from portraits have been recorded. I am indebted to Mr. and Mrs. Joseph Pennell for numerous courtesies accorded me when preparing my first book on the sub- ject; I have also frequently had occasion to refer to their author- ized “Life” of Whistler. Whistler was almost as great a person- ality as he was an artist, and he was fortunate in having had such a Boswell. My acknowledgments are due to Mr. Charles L. Freer, who has presented his unrivalled Whistler collection to the Na- tion, for giving me information concerning several items in his collection, and for permitting me to reproduce a chalk drawing of Whistler by himself. I am equally grateful to Mr. Edward G. Kennedy, who stood to Whistler for his portrait, which is now in the Metropolitan Museum of Art, and who prepared the magnifi- cent Grolier Club albums of reproductions of Whistler’s etchings, for giving me considerable information and for lending me for reproduction three portraits of Whistler by Boldini. I am likewise under a debt of gratitude to Mr. Howard Mansfield, author of an exhaustive catalogue of Whistler’s etchings, for calling my atten- tion to a number of items and for lending me portraits for repro- duction. It is a pleasure, also, to acknowledge the assistance given me, when preparing my first book, by Mr. Pickford Waller ( who sent me many items, including a portrait for reproduction), Mr. Elmer Adler, Mr. Don C. Seitz, the late Sir Hugh Lane, Mr. Henry Reinhardt, and Mrs. Eugene Meyer, Jr., who gave me in- C X J PREFACE formation upon certain points or who lent me portraits or carica- tures for reproduction. I also wish to thank Mr. Walter Sickert for recently writing me with reference to his portraits of Whistler, as I do Mr. C. L. Rutherston, who sent me the portrait by Wil- liam Rothenstein, now described and reproduced for the first time. Neiv Tork^ July^ 1918 . A. E. G. THE TOT^RAITS OF WHISTLER t THE TOT6 ] THE PORTRAITS OF WHISTLER temporary etchers, and his subject’s brother-in-law, Sir Seymour Haden’s portrait of Whistler possesses considerable interest. It is a very spirited little drawing, and evidently gives us a good idea of how Whistler looked in his earlier years. The inscription on it was written by Delatre, the famous printer of etchings, to whom Whistler entrusted the printing of a number of his early plates, and of whom he etched a portrait. Paul Helleu made two dry-point portraits of Whistler. One of them, a half-length, seated, which was done at the time Boldini was painting Whistler’s portrait ( 1897 ), and in pose is almost iden- tical with it, is an excellent sketch. The other portrait was not a great success. With the exception of a dry-point Helleu made of Edmond de Goncourt, I believe these are the only portraits of a man that he ever made. It is to be regretted that Helleu did not essay a portrait with the trois crayons, for these examples of his work are less superficial than the dry-points; on rare occasions, indeed, in charm and grace they suggest the work of a twentieth- century Watteau. Very significant, being life-like portraits and masterfully drawn, are the two dry-points and the sketch in pencil by Boldini. The dry-point that shows Whistler asleep was sketched on the copper after the last pose for the full-length portrait which is now in the Brooklyn Institute of Arts and Sciences, and from which the other dry-point, which exists in only one impression, was made. It was done immediately after dejeuner, when it was always Whistler’s custom to indulge in a nap; it is interesting to compare it with the drawing made by Sir Edward J. Poynter in 1856, which also shows c 17 : THE PORTRAITS OF WHISTLER the artist dozing. Mr. Edward G. Kennedy, who was present in Boldini’s studio when this dry-point of Boldini’s was made, has given me some interesting details concerning it; when Whistler “ settled back for slumber on Boldini’s sofa, his back to the win- dow, Boldini seized a ‘point’ and a plate, which were on the table among other things, and in fifteen minutes or so, the extraordinary dry-point was the result. It is remarkable that it is absolutely like Whistler as he reclined there, his back supported by cushions and his feet on the floor; also, that a work on copper should be completed so rapidly and with such astonishing precision. That was Whistler’s last sitting to Boldini, as he took a mild dislike to that painter; why, he did not say, but possibly because the painted por- trait was so extraordinarily, so startlingly, like him. He always wanted to be depicted as over six feet high and to look like a Major-General.” The long series of dry-points by Mortimer Menpes contain plates which are frequently amusing as well as being of value as likenesses ; several, however, are in rather questionable taste. The water-colour sketch by Menpes which has been reproduced is very well executed. The wood-cut by William Nicholson is very fine and was one of Whistler’s favourite portraits of himself. Excellent, also, is Ernest Haskell’s charcoal drawing, which I have repro- duced. Mr. Haskell informs me that he made this drawing in 1 898, from memory, on the same day that he visited the Louvre with Whistler. Of interest, also, are the drawings by Maurice Greiffenhagen and Sidney Starr ( which was worked on by Whistler), as are the [ 18 ] THE PORTRAITS OF WHISTLER etchings by Edwin Edwards and Walter Sickert. The same is true of the chalk drawing by Thomas R. Way and his lithograph, a bust portrait, as well as his lithograph which was worked on by Whistler. The drawing by Will Rothenstein is also of interest. VI The Caricatures: Keene^ Beardsley A'' Spy A MaxT Samhourne^ Partridge^ Furniss^ Reed^ May^ Pennington^ Crane^ Menpes^ Haskell^ and Simpson Whistler, with his eccentric clothes, his “ white lock,” his French top hat, and his wand-like walking-stick constantly invited atten- tention from the caricaturists : files of the English illustrated papers of his period contain almost numberless caricatures of him — many of them very ill-natured and offensive. Judged as a work of art, the caricature of Whistler as Mr. Punch, delivering the famous “ Ten O’clock ” lecture on art, carries off the palm among the caricatures. It is brilliant both in conception and in execution ; Whistler was an ardent admirer of Keene’s genius and regarded him as the greatest artist since Hogarth that Eng- land has produced. This caricature is very different in character from the many others which appeared in Punch during the sev- enties and eighties, most of them being in very poor taste. The other caricature by Keene is a slight sketch. The two caricatures by Aubrey Beardsley are disappointing. Beardsley ranks as one of the greatest masters of black and white the world has known, but caricaturing was scarcely his forte. “Spy’s” lithograph entitled “A Symphony,” which was published in Vanity Fair, is quite diverting; the caricature by him owned by C 19 3 THE PORTRAITS OF WHISTLER the New York Public Library is devoid of merit, “Spy" was the former pseudonym of Leslie Ward, painter and sculptor, who was knighted in 1918. Only second in interest to the pen and ink drawing by Charles Keene referred to above is the dry-point by Carlo Pellegrini, who signed his work “Ape." Although termed a caricature, this dry- point is an excellent portrait and one strong in characterization; the peculiarities of the subject have been but very slightly exag- gerated. But for that matter, why should not a caricature be as good a counterfeit of the man as a portrait, for is not the most reli- able history of a nation written by her satirists and her caricatur- ists A file of Punch is a unique history of England; nowhere else can the historian find such a reliable record of her social structure, her manners, her customs, and her political life. In many cases it has been a toss-up whether to classify a certain picture as a por- trait or as a caricature ; certainly the Pellegrini dry-point is a far more important likeness than many of the so-called “portraits." We must remember, too, that Whistler himself, as he chose the world to know him, was a caricature of himself. It is worth while to note here that the impression of this print owned by the Met- ropolitan Museum of Art ( it is from the H. B. Dick collection ) was printed by Whistler, and bears his “butterfly" in pencil. The caricatures by Max Beerbohm are very engaging and witty. It is as “Max" that Mr. Beerbohm has courted and won enduring fame in both the fields of literature and caricature. No English essayist is more a master of distinguished style than he, none excel him in grace of expression or in wit or charm — not [ 20 ] THE PORTRAITS OF WHISTLER even Lamb or R. L. S. ; and these same qualities we find in his cari- catures. In one of his uncollected essays “ Max” has said that the true caricature is that which “ with the simplest means most accu- rately exaggerates to the highest point the peculiarities of a human being, at his most characteristic moment, in the most beautiful man- ner.” This is the precept that he himself has followed. Whistler was twice caricatured on the London stage: the first time in a play entitled “The Grasshopper,” which was produced at the Gaiety Theatre in 1878, the second time in a burlesque of “ Trilby.” A caricature of Whistler, a large painting, was executed by “Ape” and used as a property in “The Grasshopper.” Also worthy the attention of the collector are the caricatures by Linley Sambourne, J. Bernard Partridge, Harry Furniss,E.T. Reed, Phil May, Harper Pennington, Walter Crane, Ernest Has- kell, and Joseph Simpson. VII The Plastic Portraits: The Photographs : Literature The bust of Whistler by Sir J. Edgar Boehm, R. A., and the plaque by Rodin are the only plastic portraits possessing any importance. Thomas R. Way tells us in his book entitled “ Memories of James McNeill Whistler” that the terra-cotta bust by Boehm was once owned by Whistler and was in the drawing-room of the White House at Chelsea. Mr. Way says that as far as he can recall it was the only work by a living artist that he ever saw in Whistler's rooms. Shortly after Whistler’s death in 1903, Rodin was commissioned [ 21 ] THE PORTRAITS OF WHISTLER to execute a monument to his memory, which was to have been erected at Chelsea, the part of London where Whistler lived for many years and which he often immortalized in his works. Unfor- tunately the monument was still in an unfinished condition at the time of Rodin's death in 1917; it is planned, however, to com- plete the memorial and eventually to set it up at Chelsea. A part of the composition, a rather ungainly figure entitled “ Muse," which was modelled in 1906, is reproduced in Gustave Coquiot’s“ Rodin" (Paris, 1915). A portrait of Whistler, in the form of a plaque, was modelled for this monument and will form a part of it. Regarded as documents, of course all of the many photographs and snap-shots of Whistler are of value. Particularly interesting are the three photographs by Dornac, showing Whistler in his Paris studio. The written descriptions of Whistler’s appearance are innumer- able: I have endeavoured to select a few of the most graphic ones. None of them is better than that written by Mr. Arthur Symons, a master of style and one of England’s greatest critics of the arts. [ 22 ] ICO^G%A^HT I t V. I No. 2 IC01^G%A^Hr THE MEASUREMENTS ARE GIVEN IN INCHES. THE WORDS “RIGHT” AND “left” refer TO THE RIGHT AND LEFT OF THE SPECTATOR I The Portraits by Himself (iz) Paintings 1. WHISTLER IN THE BIG HAT Head and shoulders ; face, seen in three-quarters, is turned to left. Over the artist's hair reposes a large, round, black hat. His coat is brown; the background is dark. Signed Whistler, in lower left-hand corner. Oil, on canvas. Painted in 1857 or 1858. Height, 19 Width, 15^ . Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection) . Presented by Whistler to Ernest Delannoy. Bought by Samuel P. Avery from Henri Valentin in 1871. Bought by Charles L. Freer from Samuel P. Avery. Shown at the Bos- ton Memorial Exhibition., 1904; number 55. Shown at the Paris Memorial Exhibition., 1905; number 1. Reproduced. 2. WHISTLER SMOKING Head and shoulders; face, seen in three-quarters, is turned to left. A straw hat, about which is a grey ribbon, is perched upon the artist’s long, black, curly hair. He wears a black coat, and about his neck is a loose black scarf with white spots. In his right hand, which is just indicated, he holds a cigarette; smoke issues from his mouth. The background is a dark neutral colour. [ 25 ] THE PORTRAITS OF WHISTLER Signed Whistler, in lower right-hand corner, in red. Oil, on wood panel. Painted about 1860. Height, 10^ . Width, 7^ . Property of H. R. Ickelheimer, New York. Bought by Jacques Sdigmann^ Paris picture-dealer^ from a French family in 1913. Bought by Henry Reinhardt^ Paris picture-dealer^ from Seligmann in 1913. Bought by Mr. Ickelheimer from Reinhardt in 1913. Reproduced. 3. PORTRAIT OF WHISTLER (attributed to Whistler) Half-length. The artist, whose head is seen almost in profile, fac- ing toward the right, wears a loose black coat and a low white collar. On his head is a round black hat. A study. Not signed. Oil, on canvas. Painted about 1867. Height, 28. Width, 22. Property of National Gallery of Art, Washington, D.C. (Charles L. Freer collection) . Shown at the Whistler exhibition held at the Metropolitan Museum of Art., New York., in 1910. Reproduced. 4. WHISTLER IN PAINTING JACKET Half-length; face, seen in three-quarters, is turned to left. The artist wears a grey painting jacket and a round black hat; in his left hand he holds three paint-brushes. Signed with “butterfly,” at left of canvas, below centre. A “but- terfly” has also been placed on the frame. Oil, on canvas. It is believed that this picture was started about 1867 and finished at a later date. C 26 ] ICONOGRAPHY Height 29 %. Width, 21. Property of Harry Glover Stevens, Detroit, Michigan, U. S. A. Formerly owned by the late George McCulloch. Shown at the London Memorial Ex- hibition., 1905; number 30. Reproduced. 5. WHISTLER IN HIS STUDIO (attributed to Whistler) Full-length; standing, face nearly in profile, facing the spectator. The artist is dressed in white and holds a palette in his right hand ; his left hand holds a brush. Behind him stands a woman with her back to him, holding a Japanese fan, and facing another woman who is seated on a sofa. There is a mirror behind the artist's head and a small print in gold frame at the extreme right. This paint- ing is believed to be an earlier version, or sketch, for the following painting ( number 6). It is lower in tone and more broadly painted. Not signed. Oil, on canvas. Painted about 1874. Height, 23^. Width, 18. Property of Municipal Art Gallery, Dublin, Ireland. Presented to the Municipal Art Gallery by the late Sir Hugh Lane. Shown at the Lon- don Alemorial Exhibition., 1905; number 15. Shown at the Tate Gallery., London., with other paintings by Whistler., 1912; number 17. Reproduced. 6. WHISTLER IN HIS STUDIO The painting is the same in composition as the above version ( num- ber 5). Signed with “butterfly,” at right of canvas. Oil, on canvas. Painted about 1874. C 27 ] THE PORTRAITS OF WHISTLER Height, 23. Width, V7% . Property of Art Institute of Chicago. Formerly owned by Douglas Freshfield. Purchased in 1912 by The Friends of Ameri- can Art and presented to the Art Institute. Shown at the London Memorial Exhibition., 1905; number 13. Reproduced. 7. BROWN AND GOLD — PORTRAIT OF WHISTLER Half-length; face, seen in three-quarters, is turned towards the right. He is gesticulating with his left hand. He wears a monocle and his white lock of hair is in evidence. His coat is black, the background dark ; in his button-hole is the rosette of an Officer of the Legion of Honor. Signed with “ butterfly," at right of canvas. Oil, on canvas. Painted about 1894. Height, 26. Width, 18^. Property of Mrs. George W. Vanderbilt, Washington, D.C. Purchased by the late George W. Vanderbilt from Whistler. Shown at the Boston Me- morial Exhibition., 1904; number 1. Shown at the Paris Memorial Exhibition., 1905; number 29. Reproduced. 8. BROWN AND GOLD— PORTRAIT OF WHISTLER Full-length. The artist wears a long, brown overcoat. This paint- ing was subsequently rubbed down by Whistler, and almost de- stroyed. Oil, on canvas. Painted about 1894. Property of Miss Rosalind Birnie Philip, London. Shown at the Paris Universal Exhibition of 1900 (^American Section., number 108). C 28 ] ICONOGRAPHY ( 6 ) Black and White Chalk Drawings 9 . PORTRAIT OF WHISTLER Head and shoulders. The artist, who is seen almost in profile, faces to the right. Height, 10/4 . Width, 6/4 . Formerly oivned by P. and D. Colnaghi and Ohach^ London. Reproduced in A. E. Gallatin's Whistler"' s Pastels and Other Modern Profiles {Neuo York and London: John Lane., 1912 , 1913 ). 10. PORTRAIT OF WHISTLER Head. Full-face. The artist wears a soft round hat. Height, 6^ . Width, 5/4 . Property of National Gallery of Art, Washington, D.C. (Charles L. Freer collection). Reproduced. 11 . PORTRAIT OF WHISTLER Half-length. The artist is seen leaning over a table, drawing; the head is slightly turned to the right and the white lock of hair is visible. Height, 10. Width, 6^. Property of National Gallery of Art, Washington, D.C. (Charles L. F reer collection) . Formerly oxvned by Thomas Way. Reproduced "in E.R. and J. PenncWs The Life of James McNeill Whistler (^London: William He'inemann; Philadelphia: J. B. Lippincott Company., 1908 , etc.'). (c) Pen and Ink Drawings 12-14. THREE PORTRAITS OF WHISTLER Full-length. Rough sketches made on Whistler’s journey to Al- sace in 1858 with Ernest Delannoy. c 29 ] THE PORTRAITS OF WHISTLER Reproduced in Jifth edition of E. R. and J. Pennell's The Life of James McNeill Whis- tler (London: William Heinemann; Philadelphia: J. B. Lippincott Company^ 1911). 15. PORTRAIT OF WHISTLER Full-length. The artist is seen standing; by his side is Mrs. Pat- terson and her little dog. A slight sketch done at Chelsea in 1882. The drawing contains some wash. Reproduced in catalogue of Maggs Brothers^ London (dealers in drawings^ etc()^ num- ber 295; October^ 1912. 16. PORTRAIT OF WHISTLER Half-length. The artist, who wears an overcoat, with the collar turned up, has inclined his head slightly to the right. This is a carefully executed drawing for the artist’s portrait of himself en- titled “Brown and Gold,” the partly destroyed painting owned by Miss Rosalind Birnie Philip (number 8 ). Signed with “ butterfly.” Height, 4. Width, 3}i . Property of Joseph Pennell. Reproduced in frst four editions of E. R. and J. Pennell's The Life of James McNeill Whistler. 17. PORTRAIT OF WHISTLER Full-length; standing. An extremely slight sketch. Property of Pickford Waller, London. Reproduced in Books and Book-Plates (l.ondon) ■t’ool. zu, number 3 (1903—04). (t/) Pencil Drawings i 8 . PORTRAIT OF WHISTLER Quarter-length. The drawing contains some wash. [ 30 ] ICONOGRAPHY Executed in 1845 or 1846. Height, . Width, 3. Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection). Formerly owned by Sir Seymour Haden. Unpublished. 19-24. SIX PORTRAITS OF WHISTLER These portraits are contained in six of a set of forty drawings, illustrating both indoor and outdoor scenes, made by Whistler in 1858 during his Rhine trip with Ernest Delannoy. Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection) . Formerly owned by Sir Seymour Haden. Unpublished. 25. PORTRAIT OF WHISTLER Head; turned slightly to right. Height, 1 "A . Width, 1 ^ . Property of Mortimer Menpes. Reproduced in The Studio (^Londoii) January., 1907. [e) Etchings 26. PORTRAIT OF WHISTLER Quarter-length; full-face, bending forward. The artist’s left arm rests on a table: the hand is raised and holds a cigarette. Signed “J.W.” Height, Ayk. Width, 3*/i6. Second State: There is more shading in the background. Wedmore 1; Mansfield 9; Kennedy 7. Reproduced. C 31 3 THE PORTRAITS OF WHISTLER 27. THE TITLE TO THE FRENCH SET (First version, rejected) Full-length. The artist is seated, sketching, with back to spectator. A group of people are watching him at work. Inscribed as in follow- ing etching, except that “Douze” reads “Treize.” Etched in 1858. Height, . Width, 43/i6. This is the first attempt, which was rejected, for the following etching. The impression in the British Museum is probably unique. Not mentioned in Wedmore, Mansfield, or Kennedy. Reproduced in Print Collector’s Bulletin (^Boston'), Aprils 1917. 28. THE TITLE TO THE FRENCH SET Full-length; seated. The artist is seen sketching, surrounded by a group of children. He wears gaiters and loose trousers and on his head is a broad-brimmed hat. Inscribed; “Douze Eaux Fortes d’apres Nature par James Whistler. Imp. Delatre, Rue St. Jacques, 171, Paris, Nov. 1858. A Mon viel Ami Seymour Haden.” Signed “J. Whistler.” Etched in 1858. Height, 4^ . Width, 5 Y\ . Wedmore 20; Mansfield 25; Kennedy 25. 29 . PORTRAIT OF WHISTLER Head, turned to left. Height, 2. Width, lY- Lightly etched on a plate measuring 11^ by 6^ inches, containing two other por- traits, a head and a full-length figure. The only impressions known are from the can- celled plate. Mansfield 102; Kennedy 101. C 32 3 No. 1 i ■y ( 't No. 3 I \ No. 4 No. 5 1 I No. 6 T-. ■■ w ■ift \ - ». 4 No. 7 No. 10 * V No. 26 I 14 'i Mii / I j 1 j, ■<“! 'I ' " ■ \ ( 1 No. 30 X r . I * S * f- I / i '•> '3 V I \ . »' , ''m S’ .'-I 'I ICONOGRAPHY {/) Dry-points so. PORTRAIT OF WHISTLER Half-length, The artist, who wears a low-crowned hat with broad brim, bends forward; he is sketching. Signed “ Whistler, 1859.” Height, 9. Width, Second state: The hat is heavily shaded. Wedmore 52; Mansfield 54; Kennedy 54. Reproduced. 31. PORTRAIT OF WHISTLER Head and shoulders; full face. The artist wears a broad-brimmed hat. Height, 2%. Width, 3^. This portrait, which is lightly etched, was made on the lower right hand comer of the plate known as “Fumette’s Bent Head.” Second state: Signed “Whistler, 1859.” Wedmore 51; Mansfield 57; Kennedy 57. 32. WHISTLER WITH THE WHITE LOCK Head and shoulders; almost full-face. The artist, who regards the spectator, has turned his head slightly to the left. His white lock of hair is conspicuous. Lightly sketched near the top of the plate. Height, 4y& . Width, . Wedmore 142; Mansfield 169; Kennedy 172. C 33 ] THE PORTRAITS OF WHISTLER II Portraits by Various Artists (a) Paintings All of the paintings here listed are in oil^ on canvas 33. SIR V^ILLIAM BOXALL Half-length ; facing to left. Whistler as a boy of fourteen. He wears a wide white collar. Painted in 1848. Property of Miss Rosalind Birnie Philip, London. Exhibited at The Royal Academy in London in 1849. Reproduced in E. R. and J. PenneW s The Life of James McNeill Whistler (^London: William Heinemann; Philadelphia: J. B. Lippincott Company^ 1908, etci). 34. I. H. J. T. FANTIN-LATOUR Three-quarters length ; standing, facing to right. The artist wears a frock coat. The fifth figure from the left, in the foreground, of the painting entitled “Hommage a Delacroix.” Property of Musee des Arts Decoratifs, Paris (Moreau-Nelaton collection) . Exhibited at the Paris Salon of 1864. Reproduced in Theodore Buret’s Histoire de J. McN. Whistler et de son CEuvre (^Paris: H. Floury^ 1904). 35. I. H. J. T. FANTIN-LATOUR Head and shoulders, facing to left; seen nearly full-face. The artist wears an Oriental garment, with no collar. This head was cut from a canvas entitled “Hommage a la Verite — le Toast,” shown at the Paris Salon of 1865 and later destroyed. Height, 18. Width, 14. Property of National Gallery of Art,Washington, D. C. (Charles L. Freer collection) . C 34 ] ICONOGRAPHY Formerly owned by the late Samuel P. Avery. Reproduced. 36 . WALTER GREAVES Half-length; seated on a bench. Dated 1869. Height, 24. Width, 20. Sold at auction at Anderson Galleries, New York, 5 March, 1912. 37. WALTER GREAVES Full-length; standing on a bridge. Dated 1869. Height, 75% . Width, 39. Property of Rosenbach Company, Philadelphia. 38 . WALTER GREAVES Three-quarters length; leaning against a rail. Dated 1869. Height, 36. Width, 22. Property of Rosenbach Company, Philadelphia. 39. WALTER GREAVES Full-length; in Whistler’s studio. Whistler’s portrait of his mother is on an easel. Dated 1869. Height, 40. Width, 36. Property of Rosenbach Company, Philadelphia. 40 . WALTER GREAVES Half-length; seated by side of Thames River. The artist wears a top-hat and is smoking a cigarette. C 35 ] THE PORTRAITS OF WHISTLER Painted in 1869. Property of G. Norton Northrop, Minneapolis, Minnesota, U. S. A. 41 . WALTER GREAVES Three-quarters length; standing. Dated 1870. Height, 30/4 . Width, 25. Property of Rosenbach Company, Philadelphia. 42 . WALTER GREAVES Three-quarters length; seated on a balcony. Dated 1870. Height, 25. Width, 19. Sold at auction at Anderson Galleries, New York, 18 February, 1913. 43. WALTER GREAVES Quarter-length. Dated 1871. Property of Walter T. Spencer, London. 44. WALTER GREAVES Full-length; standing. Dated 1871. Property of Walter T. Spencer, London. 45. WALTER GREAVES Three-quarters length; in evening clothes. Dated 1871. Height, 44. Width, 34. Property of Rosenbach Company, Philadelphia. [ 36 ] ICONOGRAPHY 46 . WALTER GREAVES Half-length ; in grey frock coat. Dated 1871. Height, 31. Width, 26. Property of Pennsylvania Academy of Fine Arts, Philadelphia. 47- WALTER GREAVES Full-length; standing in front of a stone wall. Dated 1872. Height, 36. Width, 23. Property of Rosenbach Company, Philadelphia. 48 . WALTER GREAVES Three-quarters length; standing, pointing to river. Dated 1874. Height, 36. Width, 28. Property of Rosenbach Company, Philadelphia. 49. WALTER GREAVES Half-length ; standing. Dated 1874. Height, 36. Width, 24. Sold at auction at Anderson Galleries, New York, 5 March, 1912. 50 . WALTER GREAVES Three-quarters length; painted on London Embankment. Dated 1874. Property of John Lane, London. L S7 '] THE PORTRAITS OF WHISTLER 51 . WALTER GREAVES Three-quarters length. The artist is painting on banks of the Thames River. Dated 1875. Property of James Swan, Detroit, Michigan, U. S. A. 52 . WALTER GREAVES Half-length; facing to left. Height, 30. Width, 25. Property of Toledo Museum of Art, Toledo, Ohio, U.S.A. 53. WALTER GREAVES Three-quarters length; standing, pointing to river. Dated 1875. Height, 41. Width, 35. Property of Rosenbach Company, Philadelphia. 54. WALTER GREAVES The artist is seen seated, with legs crossed, and is painting. Height, 49. Width, 32. Property of Rosenbach Company, Philadelphia. 55. THOMAS R. WAY Full-length. The artist is seen standing and bending over a table, at work printing etchings. His press is at the left, as is also the figure of Thomas Way. A small white dog is seen in the fore- ground. Painted in London in 1880. Height, 10. Width, 12. Property of A. E. Gallatin, New York. Reproduced. C 38 ] ICONOGRAPH Y 56. WILLIAM MERRITT CHASE Full-length. The artist is seen standing, facing to right and hold- ing a painter’s “ wand.” His clothes are black and the background is brown. Inscribed: “To my friend Whistler, Wm. M. Chase, London, 1885.” Height, 72. Width, 36. Property of Metropolitan Museum of Art, New York. Formerly owned by William Hall Walker.^ New York. Mr. Walker bought the painting from Chase and bequeathed it to the Metropolitan Museum (1917). Reproduced. 51. WALTER SICKERT Full-length. Whistler, who wears a cap, is seen standing at his easel and painting, in the foreground of a small landscape painted on the beach at Dieppe. Property of Comte Robert de Montesquiou, Paris. Unpublished. 58 . GIOVANNI BOLDINI Full-length. The artist is seated on a Louis XVI chair, facing spec- tator. His right hand is raised to his head; his left hand and arm hold his top-hat and overcoat. Painted in 1897. Height, 67. Width, 37^ . Property of Brooklyn (New York) Institute of Arts and Sciences. Exhibited at Paris Universal Exhibition of 1900. Reproduced. 59. MORTIMER MENPES Three-quarters length (nearly); seated, facing to left. c 39 ;] THE PORTRAITS OF WHISTLER Reproduced^ in colour^ in Mortimer Menpes' Whistler as I Knew Him {London : Adam and Charles Black; New York: The Macmillan Company^ 1904), Go. MORTIMER MENPES Head and shoulders. The artist is seen in profile, looking down. A sketch, executed mostly in black. Height, 18. Width 14/4 . Unpublished. 61 . MORTIMER MENPES Full-face. A smaller sketch, on same canvas as number Go. Exe- cuted mostly in black. Unpublished. (6) Pen and Ink Drawings 62 . GEORGE DU MAURIER Full-length. A figure in a drawing showing Whistler and du Maurier calling at a photographer’s. Reproduced in Punch {Londori)-, 6 October., 1860. 63 . GEORGE DU MAURIER Full-length; seated, wearing a cap. The artist is with du Maurier and Aleco lonides. The upper portion of a drawing made for the programme of some private theatricals held at the London house of Alexander lonides, in which Whistler took part. i86i. Reproduced in jirst four editions of E. R. and J. Pennell's The Life of James McNeill Whistler {London: William Heinemann; Philadelphia: J. B. Lippincott Company., 1898, etc.^. 64 . GEORGE DU MAURIER Full-length; standing. The artist is seen walking with du Maurier C 40 ] No. 35 No. 55 No. 56 V P ■ .1 Co/iyright Detroit Publishing Co. No. 58 4 . ■! r j -11 1 ICONOGRAPH Y and Charles Keene; he is the figure at the left of the drawing. Height, . Width, 29/i6. Property of Howard Mansfield, New York. Reproduced. 65. GEORGE DU MAURIER Full-length. A figure, seen at left, in a drawing entitled “Taffy a L'Echelle.” An illustration for du Maurier’s novel Trilby. Property of J. P. Morgan, New York. Reproduced in Harper’s Magazine {Nerv YorJi)., February., 1894. Also reproduced in the novel when published in book form the following year. 66. GEORGE DU MAURIER Full-length. A figure, seen near the right, in a drawing entitled “ All as It Used to Be.” An illustration for du Maurier’s novel Trilby. Property of J. P. Morgan, New York. Reproduced in Harper’s Magazine {New York')., March., 1894. Also reproduced., but with the addition of a beard., in the novel zvhen published in book form the following year. 67 . GEORGE DU MAURIER Full-length. A figure, the left hand, in a drawing entitled “The Two Apprentices.” An illustration for du Maurier’s novel Trilby. Property of .J. P. Morgan, New York. Reproduced in Harper’s Magazine {New YorF)., March., 1894. 68. I. H. J. T. FANTIN-LATOUR Head ; profile, to left. Reproduced. C 41 3 THE PORTRAITS OF WHISTLER 69. SIR EDWARD J. POYNTER Sketch showing Whistler at work. Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection) . Formerly owned by Sir Francis Seymour Haden. Unpublished. 70. SIR EDWARD J. POYNTER Sketch showing Whistler at work. On same sheet of paper as above drawing. Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection) . Formerly owned by Sir Francis Seymour Haden. Unpublished. 71. JOHN WATKINS Drawn from the bust by Sir J. Edgar Boehm. Reproduced in L’Art (Paris') .,vol. x.,page 9 (1877). 72. [UNKNOWN] Head. Reproduced in Figaro (parts)., 28 February., 1885. 73. MAURICE GREIFFENHAGEN Full-length. The artist is engaged in conversation with a group of men. Height, . Width, 8/4. Reproduced in Judy (^London)., 16 March., 1887. 74. SIDNEY STARR AND WHISTLER Head and shoulders ; turned to left and seen almost in profile. Exe- cuted for The Whirlwind ( London ) , in which Whistler was in- C 42 ] ICONOGRAPH Y terested, but not published. The drawing was made by Starr and afterwards worked on by Whistler, who also put his “ butterfly” on it. Dated 1890. Property of Pickford Waller, London. Reproduced. 75. WALTER SICKERT A drawing of Whistler and Mrs. William Whistler. Property of Comte Robert de Montesquiou, Paris. 76 . WILLIAM ROTHENSTEIN F ull-length ; standing, facing to left. Drawn from memory in Paris about 1894. Height, 9 A- • Width, . Property of C. L. Rutherston, Bradford, England. Reproduced. 77. [UNKNOWN] Reproduced in Daily Graphic (^Londoii)., 6 April., 1897. 78 . [UNKNOWN] Reproduced in Daily Graphic {Londori)., 6 April., 1897. 79. “A.C. G.” Reproduced in Westminster Budget {Londori)., April., 1897. 80 . [UNKNOWN] Drawn from a photograph. Reproduced in The Star {Londori)., 18 July., 1903. n 43 ] THE POE TR JITS OF WHISTLER 8i. [UNKNOWN] Head and shoulders. Drawn from a photograph. Reproduced in Staats Zeitung (JJeiv Tori), 19 July, 1903. 82. R. LILLIE Half-length. The artist is seated, facing to left and smoking a cigarette. Drawn from a photograph by London Stereoscopic Company (number 277). Reproduced in Daily Chronicle (^London'), 20 July, 1903. 83. PHIL MAY Full-length. The artist is shown in conversation with Oscar Wilde. Reproduced in Phil May's Sketch Book {London, 1903). 84. [UNKNOWN] Head and shoulders ; facing to left, seen nearly in profile. Drawn from a photograph. Reproduced in News of the World {London^, 19 July, 1903. 85. [UNKNOWN] Drawn from a photograph. Reproduced in Daily News {London^, 20 July, 1903. 86 . “M. D.” Drawn from a photograph. Reproduced in Daily Express {London'), 20 July, 1903. 87. [UNKNOWN] Drawn from a photograph. Reproduced in Daily Graphic {Londo7i),20 July, 1903. [ 44 ] ' No. 68 No. 74 No. re f- \ 4 ‘Vi m •1 ) ICONOGRAPHY 88. [UNKNOWN] Head and shoulders; facing to left, seen nearly in profile. Drawn from a photograph. Reproduced in Weekly Dispatch {Londoii)i 19 July^ 1903, and in Weekly Budget {Londori)., 25 Jidy^ 1903. 89. GEORGE BENTHAM Head and shoulders. Drawn from the bust by Boehm (number 190). Reproduced in '’'"Mr. Whistler's Ten O' Clock" (^Chicago: Old Dominion Shop^ 1904). 90. [UNKNOWN] Head and shoulders (nearly). In an advertisement of Franklin Simon and Company, New York. Reproduced in New York Times, 21 February^ 1907. 91. “C. A. M.” Head and shoulders; facing to right. Drawn from a photograph. Reproduced in Sunday Independent (^Duhlhi)-, 6 July^ 1913. 92. JACQUES REICH Head. Drawn from a photograph. Reproduced in Appletons' Cyclopaedia of American Biography (^Nexu York'). 93. [UNKNOWN] Head and shoulders. Drawn from Whistler’s portrait of himself as a young man, in which he wears a straw hat and is smoking a cigarette (number 2). Reproduced in Public Ledger (^Philadelphia^ ^ 1 December^ 1913. C 45 ] THE PORTRAITS OF WHISTLER 94 . [UNKNOWN] Half-length; facing to left. In an advertisement of the Pierce- Arrow automobile. Reproduced in Evening Post {New York') 4 January^ 1915, and in other newspapers. 95. [UNKNOWN] Head and shoulders; facing to left. Drawn from the charcoal drawing by Paul Rajon (number 135). In an advertisement of Whatman’s drawing paper. Reproduced in International Studio {New YorJt)., April., 1918. ( r ) Other Mediums 96. [UNKNOWN] Three-quarters length; standing and seen nearly full-face. The right-hand figure in an oval miniature, with his brother, Dr. Whistler, when they were boys [aet. seven). Crayon. Executed in 1841. Property ofNational Gallery of Art, Washington, D.C. (Charles L. Freer collection) . Formerly owned by Airs. George D. Stanton and Aliss Emma W. Palmer. Reproduced in E. R. and J. PenneW s The Life of James AIcNeill Whistler {London: William Heinemann; Philadelphia: J. B. Lippincott Company., 1898, e^c.). 91 . SIR EDWARD J. POYNTER Head and shoulders; profile, to right. The artist wears a soft hat; in his mouth is a toothpick; he is asleep. Pencil. Drawn from life in a Paris cafe, 27 September, 1856. Height, 6. Width, 6. Property of Mrs. Eugene Meyer, Jr., New York. Reproduced. [ 46 ] ICONOGRAPHY 98. SIR EDWARD J. POYNTER The artist wears a broad-brimmed hat ; his hair hangs in curls over his ears. Pencil. Executed in 1858. Height TA, . Width, 5% . Property of National Gallery of Art, Washington, D. C. (Charles L. Freer collection) . Formerly owned by Sir Francis Seymour Haden. Unpublished. 99. SIR FRANCIS SEYMOUR HADEN Half-length ; profile, to right. He wears a large flat hat over his long hair. Sepia. Drawn about 1858. Height, 6^ . Width, 6. Property of New York Public Library (Samuel P. Avery collection). Reproduced. 100. EDWIN EDWARDS The artist is seen sketching, seated, at Moulsey lock. The title of the plate is “Whistler at Moulsey.” Etching. Height, 45 ^. Width, 6)^. 101. FRANCIS LATHROP Head and shoulders; profile, to left. The artist is one of three fig- ures seated at a table in an outdoor cafe on a river bank. Under the portrait of Whistler is written “Whistler, 1861.” Pencil. Height, 11. Width, 7 Vs. Property of New York Public Library (Samuel P. Avery collection). 102. JOHN W. ALEXANDER Three-quarters length; standing, facing to left. C 47 ] Charcoal. THE PORTRAITS OF WHISTLER Drawn in London in 1886. Height, 33. Width, 17/4. Property of A. E. Gallatin, New York. Reproduced. 103 . WALTER GREAVES Full-length; standing, facing to left. Pen and ink, with wash. Property of Elmer Adler, Rochester, New York. 104 . WALTER GREAVES Pen and ink, with wash. Property of Elmer Adler, Rochester, New York. 105 . WALTER GREAVES Full-length; seated. Pen and ink, with brush work. Height, 10. Width, 7/4 . Sold at auction at Anderson Galleries, New York, 5 March, 1912. 106 . WALTER GREAVES Full-length; standing. Pen and ink, with brush work. Height, 12. Width, 7. Sold at auction at Anderson Galleries, New York, 5 March, 1912. 107 . WALTER GREAVES Three-quarters length ; seated. Sketch in oil, on paper. Height, 12. Width, 9. Property of A. E. Gallatin, New York. Reproduced in A. E. Gallatin's The Portraits and Caricatures of James McNeill Whis- tler QNerv York and London: John Lane, 1913). 108 . WALTER GREAVES Three-quarters length; standing. [ 48 ] Sepia. ICONOGRAPHY Height, 9}( . Width, 6. Property of A. E. Gallatin, New York. Unpublished. 109-118. WALTER GREAVES Ten drawings. Half-length and three-quarters length. Sizes from by 6 to 11^ by 8/4 . Sold at auction at Anderson Galleries, New York, 5 March, 1912. Pencil and pen and ink. 119. WALTER GREAVES Full-length (nearly); standing on a wharf. Sepia. Height, 8/4 . Width, 6^ . Formerly property of M. Knoedler and Company, New York. Unpublished. 120 . WALTER GREAVES A sketch from memory. Property of William Marchant, London. 121 . PERCY THOMAS Made from Whistler's portrait of himself entitled “ Whistler in Painting Jacket” (number 4). Etching. Height, 5^ . Width, 3^ . Frontispiece to Ralph Thomas'' s A Catalogue of the Etchings and Drypoints of James Abbott Macneil Whistler ^London., privately printed.^ 1874). 122 . FREDERICK JUENGLING Made from Whistler's portrait of himself entitled “ Whistler in the Big Hat” (number 1 ). Wood-engraving. Height, 5/4 . Width, 4^4 . Reproduced 'in Scribner’s Magazine iNerv YorF)., August., 1879. C 49 ] THE PORTRAITS OF WHISTLER 123. HENRI GUERARD Made from Whistler’s portrait of himself entitled “ Whistler in the Big Hat” (number 1 ). Etching. Height, 8^. Width, 7% (etched surface). Height, 12. Width, 8)4 (plate mark). The edition was limited to eighty-five impressions, of which there are six states. The first state, limited to six copies, is before the background was put in ; the sixth state, lim- ited to thirty-five copies, has a portrait of Guerard on the lower margin; another state has a copy of Whistler’s autograph and “butterfly” on the lower margin. 124. HENRI GUERARD Made from the portrait by William M. Chase (number 56). Etching. Height, 8)4 . Width, 4)4 . Only one copy of the first state was printed (property of A. E. Gallatin, New York). 125. PAUL HELLEU Half-length; seated; full-face; head resting on hand. Dry-point. Height, 13)4 . Width, 10)4 . The edition was limited to twenty-eight impressions (Helleu wrote this across the de- faced plate). Reproduced. 126. PAUL HELLEU Head and shoulders; full-face. Dry-point. Height, 6. Width, 4. The edition was limited to ten or twelve impressions; all are cut as in the reproduction. Reproduced. 127. GIOVANNI BOLDINI Half-length. The artist is asleep upon a sofa. Dry-point. Height, 7)4. Width, 12. C 50 ] ICONOGRAPHY The edition was about twenty-five. Drawn at the time Boldini was painting his por- trait of Whistler, between two of the poses (1897). Reproduced. 128. GIOVANNI BOLDINI Head and shoulders. Made from portrait of Whistler owned by the Brooklyn Institute of Arts and Sciences (number 58). Dry-point. Height, 11 Width, 8^. What is believed to be the only copy in existence is owned by Edward G. Kennedy, New York. Reproduced. 129. GIOVANNI BOLDINI Full-length. The artist is stooping in front of a canvas and paint- ing. Pencil. Height, 3/4 . Width, 2^4 . Property of Edward G. Kennedy, New York. Reproduced. 130 . I. H. J. T. FANTIN-LATOUR (attributed to) Three-quarters length; standing, facing to right. Inscribed: “A Lami Whistler Fantin.” Pastel. Height, 13^. Width, Reproduced in A. E. GallatirC s The Portraits and Caricatures of James AIcNeill Whistler: An Iconography (^Nexv York and London: John Lane., 1913). 131 . THOMAS R. WAY Head and shoulders; facing to right, and showing the white lock of hair. Lithograph. Height, 8. Width, 5/4 . C 51 ] THE PORTRAITS OF WHISTLER Another state of this lithograph is almost identical with above, but is signed “T. R. Way” under the “butterfly.” An impression of this version is in the British Museum, London. Height, 5^ . Width, 3^ . 132. THOMAS R. WAY Made from his painting showing Whistler at work printing etch- ings (number 55 )• Lithograph. Height, 4. Width, 5. Reproduced in Thomas R. Way's Memories of James McNeill Whistler (London and New York: John Lane., 1912). 133. THOMAS R. WAY Half-length. Sketch of the artist while he was retouching a litho- graphic stone. Chalk. Reproduced in Thomas R. Way's Memories of James McNeill Whistler (London and New York: John Lane., 1912). 134. [UNKNOWN^] Head and shoulders. The artist wears a large hat. Wood-engraving. Height, 3. Width, 2. Reproduced in New York Sun in the early eighties. 135. PAUL RAJON Head and shoulders. The head, which is slightly turned to the left, shows the artist’s white lock and his monocle. Inscribed: “A mon ami Whistler.” Charcoal. Property of Wilfred Buckley, England. This drawing has been reproduced in photogravure. Height., 11^- Width., 8^. Reproduced. C 52 ] ICONOGRAPHY 136. THOMAS R. WAY AND WHISTLER Full-length; showing the artist’s back. He is standing in front of a wall. Drawn from a photograph. Lithograph. Height, 3 ^ . Width, 2 . Reproduced in Mr. Whistleds Lithographs. The Catalogue Compiled by Thomas R. Way {London: George Bell and Sons., 1896). 137- WILLIAM HOLE Made from Whistler’s portrait of himself entitled “ Whistler in Painting Jacket” (number 4). Etching. Height, 10. Width, 7^ . Reproduced in Art Journal {Londoii)-, October., 1897. 138. WILLIAM NICHOLSON Full-length; standing, facing to left. Height, 9J4. Width, sH- A few proofs were printed from the original block bered, and signed by the artist. Reproduced. 139. WILLIAM NICHOLSON (after) Reproduction of above portrait; same size. The lithograph con- tains an inscription, “James McNeill Whistler,” which does not appear beneath the original wood-engraving. Lithograph, in colour. Reproduced in New Review {Londoii)i "ool. xvii. Aftei~wards included in the artist's Twelve Portraits, first series {London: William Heinemann, 1899). Wood-engraving. : these were hand-coloured, num- 140. WALTER SICKERT The artist is seen in his studio, at work on his table palette. Only one impression (property of Mr. Clifton of Carfax, England). Etching. [ 53 D THE PORTRAITS OF WHISTLER 141. ERNEST HASKELL Head ; facing to left and seen nearly in profile. Engraved from a photograph. Wood-engraving. Height, 3%. Width, 2/^. Reproduced in The Critic (New York)., September., 1902. 142. ERNEST HASKELL Head and shoulders; profile, to left. He wears a top-hat. Charcoal. Property of Ralph King, Cleveland, Ohio. Reproduced in Life {Nexv Tori)., Christmas number., 1898. Also reproduced on poster to advertise American edition of Whistler's book The Baronet and the Butterfy. Also re- produced by the platinotype and the photogravure processes. The latter plate was worked on by Haskell. The platinotype measures 9% by Reproduced. 143, 144. MORTIMER MENPES Two studies. Three-quarters and quarter-length, on same plate. Dry-point. Reproduced in Mortimer Menpes's Whistler as I Knew Him (London: Adam and Charles Black; New York: The Macmillan Company., 1904). 145. MORTIMER MENPES Head and shoulders. Dry-point. Reproduced in Mortimer Menpes' s Whistler as I Knew Him. 146-153. MORTIMER MENPES Eight studies. Head; quarter-length; three-quarters length, on same plate. Dry-point. Reproduced in Mortimer Menpes' s Whistler as I Knew Him. C S4 ] ICONOGRAPHY 154, 155. MORTIMER MENPES Two studies. Head and head and shoulders, on same plate. The artist is seen asleep. Dry-point. Reproduced in Mortimer Menpes's Whistler as I Knew Him. 156-161. MORTIMER MENPES Six studies. Quarter-length; half-length ; three-quarters length, on same plate. Dry-point. Reproduced in Mortimer Menpes's Whistler as I Knew Him. 162. MORTIMER MENPES Half-length; seated; profile, to right. Dry-point. 163. MORTIMER MENPES Head and shoulders; head turned to right. Dry-point. Height, 7 * 5 / 16 . Width, 5’5/i6. 164-168. MORTIMER MENPES Five studies. One full-length ( standing), two head and shoulders, one half-length, one three-quarters length. Dry-point. Height, . Width, 5 *5 /j6. 169. MORTIMER MENPES Half-length; standing, facing to right. Dry-point. Reproduced in Art Journal {Londoii)-, Vol. 50. 170. MORTIMER MENPES Head. The artist is laughing. Dry-point. Reproduced in Brush and Pencil {Chicago) August., 1903. C 55 D THE PORTRAITS OF WHISTLER 171. MORTIMER MENPES Head. The artist is laughing. Reproduced in Brush and Pencil (Jdhicagd)t August^ 1903. 172. MORTIMER MENPES Half-length; profile. Reproduced in Brush and Pencil (jChicagd) •, August^ 1903. 173. MORTIMER MENPES Head and shoulders ; his tongue is visible. 174. MORTIMER MENPES Head and shoulders; full-face, laughing. Dry-point. Dry-point. Dry-point. Charcoal. 175. MORTIMER MENPES Head and shoulders. Head turned to left, but facing spectator. Water-colour. Height, 5. Width, 3 /4 . Property of A. E. Gallatin, New York. Reproduced. 176. JOSEPH CZAJKOWSKI Head ; facing to right. Charcoal. Frontispiece to English edition of TV. G . BowdoirH s James McNeill TVhistler (London: The De La Afore Press., 1902). 177- MRS. ALBERT CLIFFORD BARNEY Head; facing to left. Drawn from memory, in 1902. Pastel. Reproduced in John J. Conway’s Footprints of Famous Americans in Paris (London and New York: John Lane., 1912). C 56 ] ICONOGRAPHY 1 78. JULES MAURICE GASPARD Head and shoulders. Drawn from a photograph by Elliot and Fry, London. Pastel. Height, 20. Width, 14. Reproduced in Elbert Hubbard"' s Wh'istler (^East Aurora., Nexv York: The Roycrofters., 1902). 179-182. CYRUS CUNEO Four drawings. They show Whistler in his Academy in Paris. Wash. Height, 15^. Width, 11. Reproduced "in Centuiy Magazine (^Nexv TorE)., November., 1906. 183. ROBERT KASTOR Made from a photograph by London Stereoscopic Company, Lon- don (number 277). Etching. Height, 5)4. Width, 4. 184. [UNKNOWN] Head and shoulders. The border contains reproductions of six of the artist's paintings. Chromo-lithograph. Height, 4^ . Width, 5]4 . Reproduced on cover of box for the Wh'istler Cigar (^Leopold Powell and Company., Tampa., Florida) . 185. JOSEPH SIMPSON Head; facing to right. Wash. Reproduced "in Holbrook Jacksoii’s All Manner of Folk (^London: Grant Richards., Ltd.., 1912). C 57 ] THE PORTRAITS OF WHISTLER 186. JACQUES REICH Head and shoulders ; facing to left. Drawn from a photograph by London Stereoscopic Company. Pencil. 187. JACQUES REICH Made from the portrait painted by Boldini (number 58). Etching. Height, 20^ . Width, 11^. The first state has a remarque after Whistler’s portrait of his mother ; the second state has no remarque; the third state is the same as the second, but was printed after the plate had been steel faced. All three states are signed. 188. C. B. FALLS Full-length ; seated. Drawn from a photograph by Dornac (num- ber 282). Pen and ink, with wash. Reproduced in Puck {New TorR), 30 May, 1914. 189. [UNKNOWN] Half-length; seated. Drawn from the portrait painted by Boldini (number 58). Wash. In an advertisement of Whatman! s drawing paper. Reproduced in Arts and Decoration {Jlew Tori), April, 1918. [ 58 ] 'Vf'A''-' No. 97 r i v.» I I \ 0 ' \ ll No. 99 ■ ■ % \ t ^ wt if ^*** 1 i No. 102 s I / t It' •n i » No. 125 No. 126 .1 ■‘l! I 'j i No. 127 k \ ■ t \ *i F • ( ij '■i I No. 128 / n 1 •4 /■ r\ % 1 i./ 4 :■ "f I i ■0 I \ No. 129 No. 135 No. 138 •f - No. 142 V No. 175 ICONOGRAPHY III Plastic Portraits 190. SIR J. EDGAR BOEHM Head and shoulders, facing to left. Modelled in the round. Modelled in 1872. Height, 19K (including pedestal, 24). Cast in terra-cotta. Property of H. R. H. Princess Louise, Duchess of Argyle. Formerly owned by Thomas Way^ having been bought by him at the bankruptcy sale of Whistled s paintings ^ porcelain^ etc.^ which was held at Sotheby's in London on 12 February^ 1880. Reproduced in first four editions of E. R. and J. PennelPs The Life of James McNeill Whistler {London: William Heinemann; Philadelphia: J. B. Lippincott Company^ 1908, eA'.). 191. LOUIS BRUNO ZINN Head. Modelled in the round ( the face only ) ; from a photograph. Modeled in 1905. Circumference, 89. Cast in terra-cotta. Used as a decoration^ together with a model of Rembrandt' s head^ on faqade of Fred- erick Keppel and Company's buildings 4 East 59th Street^ New Fork. 192. VICTOR DAVID BRENNER Half-length; standing, facing to left. A plaque, modelled in bas- relief. Struck in bronze, with a few in silver. Height, 2/4 . Width, 3/4 . Modelled to commemorate the Whistler Memorial exhibition held in London in 1905. The edition was two hundred, half this number being struck at the Paris mint and half at the Philadelphia mint. C 59 ] THE PORTRAITS OF WHISTLER 193. AUGUSTE RODIN Head. A plaque. Executed in plaster. To be cast in bronze. 194. F. HARRIMAN WRIGHT Full-length; seated. Modelled in the round. Partly based on the portrait by Boldini (number 58 ). Height, syi . Width, A<% . Cast in plaster and coloured to imitate terra-cotta. A statuette in form of a child’s savings bank. Published by The Artists'' Mart of America. Only a few were put on the market; the company was short-lived. C 60 ] ICONOGRAPHY IV Caricatures [a) Pen and Ink Drawings 195. CHARLES KEENE Full-length; standing. The artist holds a book under one arm and is smoking a cigarette. Inscribed “Drypoint.” Signed “ C. K.” Drawn about 1870. Height, &A- • Width, 4% . Reproduced in Drawings and Paintings by Artists of Norfolk and Suffolk in the Col- lection of J. P. Bfeseltine^. (fLondon: privately printed^ 1914). Reproduced. 196. CHARLES KEENE Three-quarters length; standing. The artist is seen in profile, to left; right hand raised. The drawing represents Whistler as Mr. Punch delivering his “Ten O’clock” lecture. Height, 6/4 . Width, 11/4 . Property of Howard Mansfield, New York. A headpiece for Punch (London), Vol. 89 (4 July, 1885). Reproduced. 197. [UNKNOWN^ A figure in a drawing entitled “The World, the Flesh and the Devil” (Whistler and Ruskin). Reproduced in The Hornet {Londorf., 4 December., 1878. 198. LINLEY SAMBOURNE A figure in a drawing entitled “ Whistler versus Ruskin — An Ap- peal to the Law.” The judge is seen handing Whistler the farthing C 61 D THE PORTRAITS OF WHISTLER damages which was awarded him. Ruskin is depicted as a pelican and Whistler's legs as penny whistles. Reproduced in Punch {Londori)-, 7 December^ 1878. Reproduced. 199. [UNKNOWN] Reproduced in The Hornet iLondon)-, 15 January., 1879. 200 . [UNKNOWN] Full-length. A figure in a drawing entitled” Tom, Jerry and Young Logic at a Private View.” Reproduced in Punch (^London')., 13 May., 1882. 201 . ”A. B.” Reproduced in The World {Londori)-, 27 November., 1884. 202 . “A. B.” Entitled “Jimmy Whistler — Drury Lane Lobby.” Reproduced in Back Numbers {Londoii). 203. J. BERNARD PARTRIDGE Reproduced in Lady’s Pictorial {^Londoii)-, 28 February., 1885. 204. J. BERNARD PARTRIDGE A figure in a drawing entitled “At the Whistleries,” showing Whistler surrounded by caricatures of his paintings. Height, 10^. Width, 15. Reproduced in Judy (^Londoti) ., S December., 1886. [ 62 ] ICONOGRAPHY 205 . HARRY FURNISS Full-length. Whistler is represented as a pavement artist. Entitled “London Paved With Gold.” Reproduced in Punch (LondQri)i 19 March., 1881. 206 . HARRY FURNISS Whistler is represented as a bird, in a cage. Entitled “Notes from a Whistler — The Whistler a Few Bars Behind.” Reproduced in Punch {Londori)-, 24 March., 1883. 207 . HARRY FURNISS Head. A figure in a drawing entitled “At Burlington House. The ‘ Swarry.’ ” Reproduced in Punch (^Londoii)., 27 June., 1885. 208 . HARRY FURNISS Full-length. One of the artists in a procession of dancing artists. Reproduced in Punch (^Londoii), 7 August^ 1886. 209 . HARRY FURNISS Full-length. Entitled “ Mr. Punch’s Twelfth-Night Characters — The Licensed Vistler.” Reproduced in Punch (Londori)., 7 January., 1888. 210. HARRY FURNISS Full-length. The artist is standing, facing to left and smoking a cigarette. Reproduced in Strand Magazine (London). C 63 ] THE PORTRAITS OF WHISTLER 211. [UNKNOWN] Full-length; holding a Japanese parasol. Reproduced in Punch (London)-, 19 June^ 1886. 212. [UNKNOWN] Full-length; standing. Entitled “Latest from Paris.” Reproduced in Punch (London) •, 21 May^ 1887. 213 . EDWARD TENNYSON REED Whistler as a butterfly. Entitled “ The Mephistophelian Whis- tlerian Butterfly ‘on the Pounce' at Antwerp.” This was apropos of the pirated edition of The Gentle Art of Making Enemies. Reproduced in Punch (^London) ^ 28 June^ 1890. 214 . PHIL MAY Head. Entitled “On the Brain — Mr. Whistler.” Ruskin is also caricatured. Reproduced in Pick-Me-Up (Londori)-, 9 January^ 1892. Reproduced. 215 . AUBREY BEARDSLEY The head of a full-length figure of a faun. A part of a cover and title-page design. Reproduced in Hie Dancing Faun., by Florence. Farr (^London : Elkin Mathews and John Lane., 1893). 216 . AUBREY BEARDSLEY Head and shoulders; nearly full-face. Property of Pickford Waller, London. Drawn for Bon Mots of Samuel Foote and Theodore Hook (^London: J. M. Dent and Company, 1894); reproduced on page 190. Reproduced. [ 64 ] ICONOGRAPHY 217. GEORGE GATCOMBE Entitled “An Unharmonious Nocturnal Study.” 218. R. WREGE Entitled “ Breaking a Butterfly.” 219. GEORGE DU MAURIER Full-length. The artist is standing, facing to left and seen in pro- file. Du Maurier also appears in the drawing. Drawn in a letter written on 21 September, 1894, to a Mr. Harrison, and sold for the benefit of the British Red Cross at auction in London, April, 1918. Height, 2^ . Width, 19/i6. Formerly property of Henry Sotheran and Company^ London. Reproduced in The Literary Digest (^Nexu YorF)-, 20 April., 1918. 220. S. McMANUS Reproduced in Liko Joko {Londoii)., 20 October., 1894. 221 . [UNKNOWN] Head ; facing to left. Reproduced in Critic (Nexv TorF)., 17 November., 1894. 222 . CHARLES LYALL Reproduced in Pall Mall Gazette (^Londoii) ., January., 1895. 223. “H. F.” Entitled “Mr. Whistler Looking Rather Black.” Reproduced in Liko Joko {Londoii)., 30 March., 1895. 224. [UNKNOWN] Entitled “ Oliver T. Whistler Asking for Moore.” Reproduced in Liko Joko (^Londoii)., 6 April., 1895. C 65 ] THE PORTRAITS OF WHISTLER 225. [UNKNOWN] Entitled “ The Warlike Whistler." Reproduced in Ally Sloper (Londori)-, 6 Aprils 1895. 226. GARDNER C. TEALL Entitled “Mr. Whistler by Candle Light." Reproduced in Chap Book {Chicago) ^ 1 February^ 1896. 227. GARDNER C. TEALL Reproduced in Bookman {New Tork)^ February^ 1901. 228. HARPER PENNINGTON Full-length. Entitled “A Certain Master." Reproduced in Century Magazine {New Tork)^ October^ 1902. 229. HARPER PENNINGTON Head and shoulders. 230. “MAX" [MAX BEERBOHM] Full-length ; profile, to right. There is another figure in the draw- ing. Inscribed “ Monsieur le Disciple." The technique of Aubrey Beardsley has been copied. 231. “MAX " Entitled “A Nocturne — Mr. Whistler Crossing the Channel." 232. FINCH MASON Inscribed “Jimmy." Height, 14. Width, 10. Property of Walter T. Spencer, London. C 66 1 ICONOGRAPHY 233. FINCH MASON Inscribed “A Regular First Nighter." Height, 14. Width, 10. Property of Walter T. Spencer, London. 234. [UNKNOWN] The drawing shows Whistler at his easel. Reproduced in Evening Sun (^Neiv YorJt)^ 10 January^ 1903. 235. PICKFORD WALLER Reproduced in Books and Book-Plates CLondoii)i number 3. 236. [UNKNOWN] Full-length; standing. Entitled “Wittier indeed! " Reproduced in The Bookman {Nexv TorR)^ August^ 1904. 237- JOSEPH SIMPSON Head, facing to left. Reproduced in The International Studio (New TorJt)-, July^ 1905. 238. “GILL” One of the figures in a caricature of Fantin-Latour’s painting entitled “ Hominage a Delacroix,” which contains a portrait of Whistler. Reproduced in Adolph Juilliei'C s Fantin-Latour (Paris^ 1909). 239. WALTER CRANE Whistler as a butterfly. Height, 27 lie. Width, 3^. Property of A. E. Gallatin, New York. Reproduced in Walter Crane's William Morris to Whistler (London : George Bell and Rons., 1911). Reproduced. C 67 ] THE PORTRAITS OF WHISTLER 240. [UNKNOWN] Full-length. The drawing shows Whistler painting three portraits of Lady Meux, simultaneously. Height, 4^ . Width, tyi . The drawing contains some water-colour. Property of Rosenbach Company, Philadelphia. Reproduced in Graphic {London)-, 25 March^ 1911. [b) Other Mediums 241. “SPY’' [LESLIE WARD] Drawing made for following cartoon. Height, 13^. Width, 8^. Property of National Portrait Gallery, London. 242. “SPY" Full-length; standing. Entitled “A Symphony.” Lithograph, in colour - Height, 12/4^ . Width, 7/4^ . Reproduced in Vanity Fair {London)-, 12 January, 1878. Reproduced. 243. “SPY.” Three-quarters length; standing. A sketch on the back of drawing for above caricature; somewhat similar to the caricature itself. Body-colour . Unpublished. 244. “SPY” Full-length; standing. Crayon drawing, with stumping, also touches of water-colour. C ^8 ] ICONOGRAPH Y Height, 7/4 . Width, 4 }( . Property of New York Public Library (S. P. Avery collection). Reproduced in A. E. Gallatin's The Portraits and Caricatures of James McNeill Whis- tler: An Iconography {London and New York: John Lane^ 1913). 245. “APE” [CARLO PELLEGRINI] Full-length; standing. Oil. Height, 75. Width, 36. Property of John W. Simpson, New York. Reproduced in A. E. Gallatin’s The Portraits and Caricatures of James McNeill Whis- tler: An Iconography. 246. “APE” A sketch. Pencil. Height, 4. Width, 1 . Drawn in 1883. Property of Pickford Waller, London. Unpublished. 247. “APE” Full-length; standing. The artist wears a long overcoat and a top- hat. Dry-point. Height, 13^4. Width, 10)4. Reproduced. 248. MORTIMER MENPES Chalk, on sandpaper. Reproduced in The London; The National Magazine {London^, Alay, 1907. 249. EDWARD TENNYSON REED Half-length. The artist is descending the stairway. 4 69 ] Pencil. THE PORTRAITS OF WHISTLER Height, 6/4 . Width, 5}4 . Property of A. E. Gallatin, New York. Reproduced. 250. PICKFORD WALLER Water-colour. Height, 7 % . Width, 4^4 • Property of Pickford Waller, London. Unpublished. 251. FINCH MASON Full-length. Pencil and water-colour . Height, 10. Width, 7. Property of Frank Hollins, London. 252. FINCH MASON Pencil, wash and chalk. Property of Walter S. Brewster, Chicago. 253. “KYD” [J. CLAYTON CLARK;] Full-length. The artist is dressed in black. Entitled “Jimmy in Paris.” Lithograph, partly coloured by hand. Height, 11/4 • Width, 7. 254. “MAX” [MAX BEERBOHM] Full-length. A figure in a caricature entitled “Dante Gabriel Ros- setti in His Back Garden.” Water-colour. Reproduced in Mux Beerbohni’s The Poet's Corner {London: William Heinemann, 1904). n 70 : ICONOGRAPHY 255. “MAX” Full-length; standing. The artist wears a top-hat. Pencil and water-colour. Height, 10^ . Width, 7/^ . Reproduced. 256. “MAX” Copy of the caricature by Leslie Ward C^“Spy”J entitled “A Sym- phony ” ( number 242 ) . Charcoal. The picture hangs on the wall of a room showing J oseph Pennell posing as Whistler’s portrait of Carlyle; entitled “Mr. Joseph Pennell thinking of an old ’un.” 257- H. WHARTON EDWARDS Three-quarters length; standing, facing to left. Inscribed “Great Whistler Alone in His True Colours But Not by Himself.” ^epia and yellow water-colour. Height, 6^ . Width, . Property of Walter S. Brewster, Chicago. Reproduced in Walter S. Brewster s Catalogue of an Exhibition of Whistleriana {Chicago: privately printed., 1917). 258. [UNKNOWN] Full-length; standing. Drawn from a photograph. JVash, with pen and ink. Reproduced in Life {^Nexv YorE)., 8 November., 1894. 259. [UNKNOWN] Full-length; full-face. JVash. Reproduced in The Book Buyer (^Nexv TorE)., February., 1895. C 71 ] THE PORTRAITS OF WHISTLER 260. ERNEST HASKELL Half-length. Drawn from memory. Charcoal, with wash. Original drawing destroyed. Reproduced in The Bookman (JSfew Tori), August, 1899. 261. ERNEST HASKELL Full-length. Drawn from memory. India ink, with wash. Reproduced in The Critic {New Tori), January, 1901. 262. L. J. BINNS Full-length; standing. Black and white, with water-colour. Height, 75 ^ . Width, 5% . Property of Kennedy and Company, New York. 263. ANTHONY GUARINO Full-length; standing, facing to right. Oil. Reproduced, in colours, in Catalogue of an Exhibition of Portraitures of James McNeill Whistler {Rochester, Neiv Tork: privately printed for Elmer Adler, 1915). [ 72 ;] No. 195 w ‘V 'i 1 #■ r No. 19(i Uu l\'nni.9.'i‘um of J I By Permission of Punch. No. 198 V No. 214 No. 216 Permission of G. Bell and Sons. No. 239 By Permission of Vayiify Fair. No. 242 •f V t ■ r i I t No. 247 T 1 fi- . TT •I No. 2-t9 (' No. 255 ICONOGRAPH Y V Photographs 204- [UNKNOWN] Half-length; facing to left. Whistler as a boy. Small oval da- guerreotype. Reproduced in first four editions of E. R. and J. PennelV s The Life of James McNeill Whistler (^London: William Heinemann; Philadelphia: J. B. Lippincott Company^ 1908, etcl). 205. [UNKNOWN] Head and shoulders. The artist’s face seen nearly in profile, facing to left. Small oval. Reproduced in frst four editions of E. R. and J. PenneWs The Life of James McNeill Whistler. 200. [UNKNOWN] Three-quarters length. The artist is standing and seen full-face. He wears an overcoat and one hand rests on the back of a chair. Cabinet size. Taken in 1865. Reproduced in The Print Collector’s Quarterly (Bostoii)., December., 1916. 207. [UNKNOWN] Three-quarters length. The artist is standing and seen in profile, to left. Cabinet size. Taken in Paris about 1865. Reproduced as frontispiece to Howard Mansfeld' s A Descriptive Catalogue of the Etchings and Dry-points of James Abbott McNeill Whistler (^Chicago: Hie Caxton Club, 1909). C 73 ] THE PORTRAITS OF WHISTLER 268. OTTO H. BACHER Full-length ; standing. Taken in Whistler’sTite Street studio, Chel- sea. Reproduced in Otto H. Bached s With Whistler in Venice (^New York: The Century Company., 1908). 269. HON. F. LAWLESS Half-length. One of a group of five men, taken in Whistler’s Tite Street studio, Chelsea, in 1881. Reproduced in Jirst four editions of E. R. and J. PennelVs The Life of James McNeill Whistler. 270. [UNKNOWN] Full-length; seated; seen nearly full-face. Taken with Mortimer Menpes. A snapshot. Reproduced in Mortimer Menpes' s Whistler as I Knew Him {London: Adam and Charles Black; New York: The Macmillan Company., 1904). 271. [UNKNOWN] Full-length; seated; profile, to left. Taken with Mortimer Menpes. A snapshot. Reproduced in Mortimer Menpes' s Whistler as I Knew Him. 272. [UNKNOWN] Full-length, standing; profile, to left. Taken with Mortimer Men- pes and William M. Chase. Reproduced in Mortimer Menpes' s Whistler as I Knexv Him. 273. MORTIMER MENPES Full-length. The artist holds a painter’s “wand” under his arm. Reproduced in Metropolitan Magazine {New YorL) ., September., 1904. [ 74 ] ICONOGRAPHY 274. [UNKNOWN] Full-length; standing. The artist, who wears a top-hat, holds a painter’s “wand.” William M. Chase, Mortimer Menpes, and another man are in the picture. Taken in 1885. Reproduced in Katherine M. Roof’s The Life and Art of William Merritt Chase (^New York: Charles Scrihneds Sons^ 1917). 275. w. B. NORTHROP The artist is seen driving in a landau, with Mrs. Brown-Potter. Reproduced in W. B. Northrop"' s With Pen and Camera (^London; R. A. Everett and Company^ 1904). 276. ELLIOTT AND FRY (London) Head and shoulders. 277- LONDON STEREOSCOPIC COMPANY Three-quarters length; seated, smoking a cigarette. Height, Width, 4}i . 278. H. S. MENDELLSSOHN (London) Three-quarters length; standing, holding a painter’s “wand.” Height, 5 % . Width, 4. 279. H. S. MENDELLSSOHN (London) Similar to above, but full-length. Height, 7)i . Width, . 280-284. WILLIAM HEINEMANN Four snapshots. Three are full-length, one is three-quarters length ; all were taken out of doors. n V5 ] THE PORTRAITS OF WHISTLER Reproduced in jirst four editions of E. R. and J. Pennells The Life of James McNeill Whistler. 285. DORNAC (Paris) Full-length; standing. Whistler is seen at his printing-press in his studio on the rue Notre-Dame-des-Champes, Paris. Height, 10. Width, 8. Reproduced in fifth edition of E. R. and J. Pennell's The Life of James McNeill Whistler. 286. DORNAC (Paris) Full-length; seated on a sofa. Taken in Whistler’s studio on the rue Notre-Dame-des-Champes, Paris. Height, 8. Width, 10. Reproduced in frst four editions of E. R. and J. Pennell's The Life of James McNeill Whistler. 287. DORNAC (Paris) Full-length; seated on a chair. Taken in Whistler’s studio on the rue Notre-Dame-des-Champes, Paris. Height, 10. Width, 8. C 76 ] ICONOGRAPHY VI Literature OTTO H. BACHER In With Whistler in Venice. “ One day, some time later, as several of us were leaving the Academy of Fine Arts, we saw the American consul, Mr. Grist, and a curious, sailor-like stranger coming down the steps of the iron bridge that crosses the Grand Canal. The latter was short, thin, and wiry, with a head that seemed large and out of proportion to the lithe figure. His large, wide-brimmed, soft, brown hat was tilted far back, and suggested a brown halo. It was a background for his curly black hair and singular white lock, high over his right eye, like a fluffy feather carelessly left where it had lodged. A dark sack coat almost covered an extremely low turned-down collar, while a narrow black ribbon did service as a tie, the long pennant-like ends of which, flapping about, now and then hit his single eyeglass.” MORTIMER MENPES In Whistler as I Knew Him. “ In appearance Whistler was slight, small-boned, and extremely dainty. He seemed always to have a sparkling air about him. His complexion was very bright and fresh; his eyes were keen and brilliant; and his hair, when I knew him, was, save for one snowy lock, of a glossy raven-black. His dress was quaint, and a little different fi'om that of other men, and his whole appearance, even his deportment, was studied from the artistic standpoint.” ARTHUR SYMONS In an essay on Whistler published in Studies in Seven Arts. “ And the man, whom I had only before seen casually and at a distance, seemed to me almost preposterously the man of his work. At dinner he had been the controversialist, the acrobat of words; I understood how this little, spasmodically alert, irritably sen- sitive creature of brains and nerves could never have gone calmly through life, as Rodin, for instance, goes calmly through life, a solid labourer at his task, turning neither to [ 77 ] THE PORTRAITS OF WHISTLER the right nor to the left, attending only to his own business. He was a great wit, and his wit was a personal expression. Stupidity hurt him, and he avenged himself for the pain. All his laughter was a crackling of thorns under the pot, but of flaming thorns, setting the pot in a fury of boiling. I never saw any one so feverishly alive as this little, old man, with his bright, withered cheeks, over which the skin was drawn tightly, his darting eyes, under their prickly bushes of eyebrow, his fantastically-creased black and white curls of hair, his bitter and subtle mouth, and, above all, his exquisite hands, never at rest. He had the most sensitive fingers I have ever seen, long, thin, bony, wrinkled, every finger alive to the tips, like the fingers of a mesmerist. He was proud of his hands, and they were never out of sight ; they travelled to his moustache, crawled over the table, grimaced in little gestures. If ever a painter had painter’s hands, it was Whistler. And his voice, with its strange accent, part American, part deliberately French, part tuned to the key of his wit, was not less personal or significant. There was scarcely a mannerism which he did not at one time or another adopt, always at least half in caricature of itself.” FRANK HARRIS In Contemporary Portraits. “At first sight I was struck, as I imagine every one was struck, by his appearance; an alert, wiry little person of five feet four or five; using a single eyeglass and very neatly dressed, though always with something singular in his attire — the artist’s self-conscious protest which gave him a certain exotic flavor and individuality. He wore his abun- dant curly black hair rather long, and just over the forehead a little lock of quite white hair like a plume; in the street a French top hat — a stove-pipe, as it is called — with a straight brim which shouted :‘I ’m F rench, and proud of it ! ’ at the passers by. “ The second or third time I met him I noticed that his features were well shaped : both chin and forehead broad ; the eyes remarkable, piercing, and aggressive ; a grey- ing black moustache, inclined to curl tightly, added a note of defiance. Though they were not really alike, the expression of his face reminded me of Edmond de Goncourt and Tourgenief’s description of his eyes: ‘luisants et sombres et pas bons du tout’ (shining, sombre eyes, anything but kindly) . Whistler’s eyes were grey-blue and gim- let-keen — ‘anything but kindly,’ and the moustache and carriage intensified the cocky challenge of the fighter : Whistler always reminded me of a bantam. c 78 : ICONOGRAPHY “In every assembly he always stood apart; with a certain perky distinction; an unsparing, frank critic: one talked to him, drew him out expecting incisive, caustic comment.” WILLIAM B. OSGOOD FIELD In a Diary written in Paris in 1897. '"^December 19: Yesterday evening the great Whistler came in to see George [George Vanderbilt, whose portrait he was then painting] and remained for dinner. What an extraordinary man! He entertained us through dinner by lauding the French people over the English. Some paper here has pleased him very much by the remark ‘ Vistlaer a vomis 1’ Angleterre ! ’ He kept saying this over at intervals with the greatest delight. He is old and wonderful. His hair, which is quite long, falls over his forehead in grey ringlets. His eyebrows are black and bushy, the type of Mephistopheles’. His moustache is a confused mass, assuming the form of a droop and curl on the end. The upper edge of the lower lip holds a small fringe, and his necktie is formed of black silk with two ends coming well out on the left shoulder and one short loop passing out to the right. The silk is about one inch wide and looks like the remnant of some larger piece, the edges being unbound. After each attack of laughter, the ends of the silk tie have to be adjusted on the lapel and left shoulder. His hands are quite remarkable, his fingers long and tapering, and show to great advantage in handling the ends of his tie. This is the picture as it presents itself to me. His conversation is very interesting. He is very de- cided, just verges enough on the eccentric to be interesting — with the most satisfied and perfect self-appreciation I have ever seen in any human being.” C 79 ] INDEX TO artists’ and photographers’ names The numerals refer to pages Alexander, John W., 16, 47, 48. “Ape” (Carlo Pellegrini), 20, 21, 69. “B., A.,” 62. Bacher, Otto H., 74. Barney, Mrs. A. C., 56. Beardsley, Aubrey, 19, 64. Beerbohm, Max (“Max”), 20, 21, 66, 70, 71. Bentham, George, 45. Binns, L. J., 72. Boehm, Sir J. Edgar, 21, 59. Boldini, Giovanni, 15, 17, 18, 39, 50, 51. Boxall, Sir William, 13, 34. Brenner, Victor D., 59. Chase, William M., 14, 15, 39. Clark, J. Clayton (“ Kyd”), 70. Crane, Walter, 21, 67. Cuneo, Cyrus, 16, 57. Czajkowski, Joseph, 56. “D., M.,” 44. Domac, 22, 76. du Maurier, George, 15, 16, 40, 41, 65. Edwards, Edwin, 19, 47. Edwards, H. Wharton, 71. Elliott and Fry, 75. Falls, C. B., 58. Fantin-Latour, 13, 16, 34, 41, 51. Furniss, Harry, 21, 63. “F., H.,” 65. “G., A. C.,” 43. Gaspard, J. M., 57. Gatcombe, George, 65. [ “Gill,” 67. Greaves, Walter, 13, 14, 35, 36,37, 38, 48, 49. Greiffenhagen, Maurice, 18, 42. Guarino, Anthony, 72. Guerard, Henri, 50. Haden, Sir Francis Seymour, 17, 47. Haskell, Ernest, 18, 21, 54, 72. Heinemann, William, 75. Helleu, Paul, 17, 50. Hole, William, 53. Juengling, Frederick, 49. Kastor, Robert, 57. Keene, Charles, 19, 61. “Kyd” (J. Clayton Clark), 70. Lathrop, Francis, 47. Lawless, F., 74. Lillie, R., 44. Lyall, Charles, 65. McManus, S., 65. “M., C. A.,” 45. Mason, Finch, 66, 67, 70. “Max” (Max Beerbohm), 20, 21, 66,70. May, Phil, 16, 21, 44, 64. Mendellssohn, H. S., 75. Menpes, Mortimer, 15, 18, 39, 40, 54, 55, 56, 69, 74. Nicholson, William, 18, 53. Northrop, W. B., 75. Partridge, J. Bernard, 21, 62. Pellegrini, Carlo (“Ape”), 20, 21, 69. Pennington, Harper, 21, 66. 81 ] INDEX Poynter, Sir Edward J., 16, 17, 42, 46, 47. Rajon, Paul, 16, 52. Reed, E. T., 21, 64, 69. Reich, Jacques, 45, 58. Rodin, Auguste, 21, 22, 60. Rothenstein, William, 19, 43. Sambourne, Linley, 21, 61. Sickert, Walter, 15, 19, 39, 43, 53. Simpson, Joseph, 21, 57, 67. “Spy” (Leslie Ward), 19, 20, 68, 69. Starr, Sidney, 18, 42. Stereoscopic Company, 75. Teall, Gardner C., 66. Thomas, Percy, 49. Waller, Pickford, 67, 70. Ward, Leslie (“Spy”), 19, 20, 68, 69. Watkins, John, 42. Way, Thomas R., 14, 19, 38, 51, 52, 53. Whistler, James McNeill, 6, 7, 8, 9, 10, 11, 12, 16, 25, 26, 27, 28, 29, 30, 31, 32, 33, 42, 53. Wrege, R., 65. Wright, F. Harriman, 60. Zinn, Louis B., 59. Two hundred and fifty copies printed during November, 1918, by D. B. Updike, The Merrymount Press, Boston, U.S.A. 4 r. ? \ .’ <■ '•^• kiW!*- 1 ‘■•yjf ' '' ■ •‘ ' <■ . .1 s ■ - k I,. V. I