WHISTLER, James McNeill

J.M.Whistler lithograph titled ‘Chelsea Rags, 1888’

Description

J.M.Whistler transfer lithograph printed in black on cream handmade laid paper with the watermark O.W.P & A.C.L.  ONE OF ONLY 47 impressions  printed by Goulding in 1904, the stone was erased the same year. Posthumous edition.Way states that there were only 13 lifetime impressions of this plate. There is a small impurity in the paper, otherwise in good condition.

Image 180 x 159 mm (image); 310 x 238 mm (sheet)

Sheet size 375 x 260mm ( 14 7/8 x 10.5 inches)

Item details

Reference: Chicago 26 I/I; Levy 35; Way 22: Chicago Catalogue Raisonneé state that  this image was also published in The Albermarle in 1892, of which there were 500-1000 copies. 

‘The published edition of this subject was machine printed on a smooth ivory wove paper, which has often discoloured to cream, by Thomas way from a supplementary stone or stones in order to protect Whistler’s original stone from wear. The retransferring process resulted in some losses in the lightest lines and a slight appearance of spottiness is evident when periodical prints are compared to life-time impressions pulled from the original matrix.’

Provenance:  From Whistler’s  sister –in –law’s estate, Miss Rosalind Birnie Philip.

His lithographs, with the exception of the published editions, are quite rare. Levy, states that the lithographs were not at that time considered as an art form and were generally unpopular with the public. Lithography had been used as a form of reproduction since the 1830’s when the only way a printer could reproduce an image was to either use lithography, wood engravings & wood cuts. Photographic illustration began to emerge in the 1880’s. Therefore, the use of lithography, although taken on board with the early print makers in the early 19th century, was scorned by the general public.
Whistler was encouraged by Thomas Way to take up lithography. Levy states that Whistler would make a stone and maybe only take a few impressions from it, making more impressions when the demand was there. He never made more than 100 impressions from the one stone. After Way did the first catalogue of his graphic work, 130 works were listed, although Whistler had made 160 prints. A few months after the catalogue was published, Whistler broke off his friendship with Way and retrieved all of his stones from Way’s keeping.

‘The Lithographs of James McNeill Whistler. A catalogue Raisonne’ by Spink, Stratis & Tedeschi is an invaluable book in regard to Whistler lithographs. They state that when Whistler died, part of his estate included 103 original stones and 18 transfer drawings was left to Rosalind Birnie Philip. As his executrix , she commissioned Frederick Goulding’s firm to print posthumous editions.

Fifty-five posthumous editioned subjects were exhibited at Robert Dunthorne’s Gallery in 1904. Goulding in fact pulled from ninty-four stones and transferred and printed ten previously untransfered lithographic drawings. Posthumous stamps were made for these plates, but not all of the impressions were stamped with her mark. Therefore the watermark on the paper helps to date the impression.Unlike etching plates which can be kept for some time and refaced, lithographic stones are hard to maintain. Many were erased after the Goulding edition.