Later Victorian Portraits Catalogue

James Abbott McNeill Whistler (1834-1903), Painter and etcher

Self-portraits
Possible self-portraits
Undated self-portrait
By other artists
Undated portraits
Possible portraits
Posthumous portraits
Caricatures
Undated caricatures
Possible caricatures
Posthumous caricatures
Photographs
Undated photographs

The following list has been prepared by Dr Joanna Meacock, formerly of the Whistler Etchings Catalogue Raisonné Project, University of Glasgow. It includes more detail on provenance than other entries in the Later Victorian Portraits Catalogue, and the text layout is slightly more expansive. The many caricatures of Whistler have been allocated a section of their own. [1]


James McNeill Whistler was the single most depicted artist prior to the twentieth century. More than four hundred portraits by approximately one hundred artists represent this American expatriate from the age of ten to his death at the age of sixty-eight. Denker 1995, p.16.


Self-portraitsback to top


1845–6
Pen and ink and watercolour drawing on white wove paper, 116 x 77mm, inscr. on recto at right side ‘1845 or / 1846’ and on verso (in Charles Lang Freer’s hand) ‘Portrait of Whistler in 1845’, head-and-shoulders, with curly hair parted on left, wearing shirt or smock with rounded collar; Freer GA, Smithsonian Inst., Washington, DC, 98.144.
Prov. Probably passed by Whistler or mother to half-sister Deborah and to her husband Francis Seymour Haden after marriage, 1847; sold through Wunderlich’s, New York, to Charles Lang Freer, Detroit, 1898; bequeathed to Freer GA, 1919.
Ref. Gallatin 1913a, p.23, no.14 (as Portrait, pencil with wash); Gallatin 1918, pp.30–31, no.18 (as pencil with wash); and MacDonald 1995, pp.10–11, no.12.
Repr. Lochnan 1984, p.3 (as pencil and watercolour, by American School); Denker 1995, p.23 (as pencil and watercolour, James McNeill Whistler by unidentified artist); and MacDonald 1995, p.11, no.12.

1849–51
Watercolour drawing on cream paper, 106 x 88mm, Man Looking at a Picture of the Virgin Mary and Jesus, as ragged man in front of an icon in a wood; priv. coll.
Prov. Samuel Hammond; family descent; priv. coll., 1973.
Exh. Oils, Water Colors, Pastels and Drawings, Copley Hall, Boston, 1904 (ref. exh. cat., p.21).
Ref. Pressley 1972, p.151 (as ‘Artist seen from the rear, painting’); and MacDonald 1995, pp.15, 17, no.52.
Repr. MacDonald 1995, p.17, no.52.

1854–5
Pen and black ink drawing on pale cream paper, 132 x 185mm, Connoisseurs in a Studio, signed lower left ‘J.A. Whistler’, seated in front of easel smoking, left hand on knee, wearing hat, in studio interior, with a figure drinking coffee commenting on picture on easel, another figure seated behind, one serving coffee and a servant with jug opening door on right; priv. coll., New York.
Prov. Family of Johnson Hellen; by descent to present owner.
Ref. and repr. MacDonald 1995, p.56, no.186.
According to family tradition this represents Whistler in his studio with two sons of Johnson Hellen of Washington. It was ‘drawn Nov 84 / Feb 85 when Whistler worked at the drawing division of the US Coast & Geodetic Survey’ (MacDonald).

c.1855–6
Oil, support and measurements unknown; untraced.
Ref. Young, Macdonald & Spencer 1980, vol.1, p.3, no.8.

c.1855–60
Oil on wood, 258 x 185mm, Whistler Smoking, signed lower right corner ‘Whistler’, head-and-shoulders to left, long black curly hair, wearing straw hat with grey ribbon and white-spotted black scarf, cigarette in hand; priv. coll.
Prov. French family; purchased by Jacques Seligmann, picture dealer, Paris, 1913; bought by Henry Reinhardt, picture dealer, Paris, May 1913; bought by H.R. Ickelheimer, New York, June 1913; by family succession to Mrs Thibault de Saint-Phalle, New York, by 1980.
Ref. Gallatin 1913a, pp.17–18, no.2; Gallatin 1918, pp.25–6, no.2 (as c.1860); Young, Macdonald & Spencer 1980, vol.1, p.3, no.9; and Denker 1995, p.27.
Repr. Gallatin 1913a, facing p.17; Gallatin 1918, facing p.25; Pennell & Pennell 1921, facing p.29 (as ‘Attributed to Whistler’); Young, Macdonald & Spencer 1980, vol.2, pl.2; Denker 1995, p.27; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/75.

Pen and ink drawing by unidentified artist after item above; untraced.
Ref. Gallatin 1918, p.45, no.93.
Repr. Public Ledger (Philadelphia), 1 Dec. 1913.


1857–8
Etching, Early Portrait of Whistler, signed in plate lower right ‘J.W.’, two states, quarter-length to front, holding cigarette in left hand, left arm resting on table, heavily shaded behind; impressions colls S.P. Avery Coll., The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL (1st state, platemark 118 x 79mm, paper 192 x 148mm); Freer GA, Smithsonian Inst., Washington, DC, 98.208 (1st state, black ink on ivory laid paper, platemark 118 x 79mm, paper 192 x 148mm) and 98.209 (1st state, black ink on ivory laid paper, platemark 118 x 80mm, paper 215 x 163mm).
Ref. Wedmore 1886, no.1; Mansfield 1909, no.9; Kennedy 1910, no.7; Gallatin 1913a, p.21, no.9; Gallatin 1918, p.31, no.26; Denker 1995, p.26; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, no.7 (New York); Gallatin 1918, p.31, no.26 (2nd state); and Denker 1995, p.27 (New York).

c.1857–9
Oil on canvas, 463 x 381mm, Self-portrait with a Hat, signed lower left ‘Whistler’, head-and-shoulders to left, wearing broad-brimmed hat and spotted neckerchief; Freer GA, Smithsonian Inst., Washington, DC, 06.57a–b.
Prov. Given by Whistler to artist friend Ernest Delannoy, in Paris, possibly Aug. 1859 (certainly before 1865); after Delannoy’s death auctioned Hôtel des Ventes, Paris, bought by Henri Valentin; sold to Samuel P. Avery, New York, 17 July 1871; sold to Charles Lang Freer, Detroit, Mar. 1906; bequeathed to Freer GA, 1919 (Gallatin 1913a, p.17, no.1 says in NGA, Washington [Charles L. Freer coll.] in 1913.)
Exh. Loan Exh. of Paintings, Met., New York, 1874 (36, as Head of a young man; Academy Charity Exh., Academy of Music, Baltimore, 1876 (as Portrait of the Artist by himself); 1st Annual Exh., Soc. of American Artists, Kurtz G., New York, 1878; Union League Club, New York, 1881 (55, as Portrait of Himself); Loan Coll. of Paintings, Met., New York, 1881 (as Self-Portrait); Loan Coll. Paintings and Sculpture, Met., New York, 1885–6 (99, as Portrait of Whistler); Loan Exh. of Portraits for St John’s Guild, National Academy of Design, New York, 1898–9 (253, as The Artist); Oils, Water Colors, Pastels and Drawings, Copley Hall, Boston, 1904 (55); and Oeuvres de J.M. Whistler, Ecole des Beaux-Arts, Paris, 1905 (1, as Portrait of Whistler with Hat).
Ref. Gallatin 1913a, p.17, no.1 (as Portrait of Whistler with Hat, c.1859); Gallatin 1913b, p.152, no.1 (as Portrait of Whistler with Hat, c.1859); Gallatin 1918, p.25, no.1 (as Whistler in the Big Hat, 1857/8); Young, Macdonald & Spencer 1980, vol.1, pp.7–8, no.23; and Denker 1995, pp.27, 29.
Repr. Pennell & Pennell 1908, vol.1, facing p.190; Bookman, suppl., Oct. 1912, p.25 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); Gallatin 1913a, facing p.24; Gallatin 1913b, p.153, fig.7; Gallatin 1918, facing p.32, no.1; Pennell & Pennell 1921, facing p.29 (as Whistler in the Big Hat; Young, Macdonald & Spencer 1980, vol.2, pl.8; and Denker 1995, p.28 (as Portrait of Whistler in a Beret); and as wood-engr. by Frederick Juengling, 140 x 118mm, Scribner’s Magazine, Aug. 1879; and Boughton 1903, p.216 (as Portrait of Himself in his Student Days.
The painting dates to 1857–8 according to Theodore Duret in 1904, 1857–9 according to Duret in 1914.

Etching, six states, by Henri Charles Guérard (1846–1897) after item above, undated; limited edition, 85 impressions; other impressions 1st state, limited to 6 impressions, before background put in; 6th state, limited to 35 impressions, with portrait of Guérard on lower margin; another state has a copy of Whistler’s autograph and butterfly on lower margin (Met., New York, 17.3.635, platemark 328 x 224mm, paper 434 x 314mm).
Ref. Gallatin 1918, p.50, no.123.


1858
Pencil drawing on off-white wove paper, sheet taken from sketchbook, 98 x 150mm, inscr. upper left corner ‘Succès d’Erneste à Cologne’, whole-length, seated drawing, surrounded by onlooking children; Freer GA, Smithsonian Inst., Washington, DC, 98.154.
Prov. Probably given by artist to half-sister Deborah or her husband Francis Seymour Haden; sold through Wunderlich’s, New York, to Charles Lang Freer, Detroit, 1898; bequeathed to Freer GA, 1919.
Ref. Gallatin 1918, p.31, nos 19–24 (one of six drawings); MacDonald 1995, pp.84–5, no.271; and Denker 1995, p.29.
Repr. Lochnan 1984, p.54, fig.65; Denker 1995, p.28; and MacDonald 1995, p.84, no.271r.

Pencil tracing on the verso of item above.
Ref. MacDonald 1995, pp.84–5, no.271.
Repr. Lochnan 1984, p.54, fig.66; and MacDonald 1995, p.84, no.271v.
The tracing was used to transfer the image to the copper plate for the title page to the ‘French Set’ of etchings.


Pencil drawing on off-white wove paper, 206 x 154mm, An Artist Sketching, inscr. lower left corner (possibly by Francis Seymour Haden) ‘SH’ and dated lower right corner (unknown hand) ‘1858’, whole-length, seated on chair, right leg crossed over left, wearing large-brimmed hat, drawing, watched by three young people; Freer GA, Smithsonian Inst., Washington, DC, 98.207.
Prov. Probably given by artist to half-sister Deborah or her husband Francis Seymour Haden; sold through Wunderlich’s, New York, to Charles Lang Freer, Detroit, 1898; bequeathed to Freer GA, 1919.
Exh. Possibly Memorial Exh., New G., London, 1905 (122A, as Croquis de la Série des Voyages du Rhin. Groupe de paysans).
Ref. Gallatin 1918, p.31, nos 19–24 (one of six drawings); Denker 1995, p.30; and MacDonald 1995, p.84, no.270.
Repr. Lochnan 1984, p.53 (as Mr. Whistler, seated, sketching; three people watching him); Denker 1995, p.31 (as Whistler Drawing); and MacDonald 1995, p.84, no.270 (as An Artist Sketching).

Pencil drawing, 200 x 143mm, An Artist Sketching, design for title page of ‘French Set’ of etchings; untraced.
Prov. Sold Sotheby’s, 4 May 1949 (12), bought by M. Stewart.
Ref. MacDonald 1995, p.85.

Pencil drawing on white paper, 151 x 98mm, inscr. upper right corner ‘Blanchissage à Cologne’, whole-length to left, standing, wearing white suit and bow tie, holding shirt, jug and wash basin at feet; Freer GA, Smithsonian Inst., Washington, DC, 98.201.
Ref. Gallatin 1918, p.31, nos 19–24 (one of six drawings); and Denker 1995, p.30.
Repr. Denker 1995, p.31.
The sketch illustrates Whistler’s Rhine trip with Ernest Delannoy.

Pen and ink sketches on paper, dimensions unknown, Sketches of the Journey to Alsace, Paris, c.Oct. 1858, three featuring Whistler:
(a) Whistler and Delannoy Walking, inscr. ‘we then set off, with nothing but a blouse on our backs-’, two whole-length figures, with hats and stick; untraced.
Prov. Sent by artist to half-sister Deborah Haden.
Ref. Gallatin 1918, pp.29–30, nos 12–14; and MacDonald 1995, p.89, no.286.
Repr. Pennell & Pennell 1911, facing p.36; and MacDonald 1995, p.89, no.286a.

(b) Whistler Bribing a Gendarme, inscr. ‘the man who gardes [sic] the life of his Emperor understood the neatness of my argument.’, Whistler wearing wide-brimmed hat, smock and neckerchief, with gendarme; untraced.
Prov. Sent by artist to half-sister Deborah Haden.
Ref. Gallatin 1918, pp.29–30, nos 12–14; and MacDonald 1995, p.89, no.286.
Repr. Pennell & Pennell 1911, facing p.36; and MacDonald 1995, p.89, no.286d.

(c) Whistler’s Return to the Café Voltaire, inscr. ‘my entré [sic] at the Café Voltaire on Sunday evening was of the most triumphant! Comment! t’es pas mort!’, Whistler surrounded by eager friends; untraced.
Prov. sent by artist to half-sister Deborah Haden.
Ref. Gallatin 1918, pp.29–30, nos 12–14; and MacDonald 1995, p.89, no.286.
Repr. Pennell & Pennell 1911, facing p.36; and MacDonald 1995, p.89, no.286e.

Etching, Title to ‘The French Set’, inscr. upper edge ‘Douze / Eaux Fortes / d’apres [sic] Nature / par / James Whistler’, lower edge ‘Á [sic] / Mon viel [sic] Ami Seymour Haden.’, and dated upper edge ‘Imp. Delatre rue St. Jacques 171. Paris. Nov 1858-’, one state, whole-length, seated, drawing, surrounded by onlooking children; impressions colls AI Chicago, 1933.268 (black ink on ivory wove paper, platemark 112 x 147mm, paper 309 x 438mm); Hunterian MAG, U. of Glasgow, GLAHA 46712 (black ink on blue wove paper, platemark 112 x 147mm, paper 467 x 329/338mm); Met., New York, 1970.121.69 (platemark 112 x 146mm); NGA, Washington, DC, 1943.3.8415 (114 x 146mm); and British Prints: 18th–20th Centuries, Campbell Fine Art, London, cat.3, 1991 (404, early impression, yellowish China paper, mounted on light white plate paper, as first issued, platemark 112 x 145mm, paper 179 x 226mm).
Ref. Thomas 1874, no.1; Wedmore 1886, no.20; Mansfield 1909, no.25; Kennedy 1910, no.25; Gallatin 1913a, p.21, no.10; Denker 1995, pp.29–30; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, no.25 (untraced impression); Gallatin 1918, p.32, no.27; Lochnan 1984, p.54, fig.67 (Met., New York); and Denker 1995, p.29 (NGA, Washington).
Thomas, Wedmore and Gallatin regard the figure as Whistler; Pennell states Ernest Delannoy posed on Whistler’s behalf.

Etching, Whistler Sketching, inscr. upper edge ‘Treize Eaux [‘E’ reversed] Fortes [‘s’ reversed] d’apres [‘d’ reversed] Nature’, lower ‘par / James [‘s’ reversed] Whistler. [‘s’ reversed] / à Mon viel Ami Seymour Haden’, and lower edge ‘Imp. Delatre. Rue St. [superscript ‘t’] Jacques. 171. / Paris. Nov. 1858’, one state, whole-length, seated, drawing, back turned to viewer, surrounded by group of onlooking adults and children; BM, London, 1916,1216.1 (on ivory laid paper, platemark 155 x 107mm, paper 167 x 117mm, probably unique). Ref. Gallatin 1918, p.32, no.27; Denker 1995, p.30; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, appendix no.443 (K25b, as Whistler Sketching); Print Collector’s Bulletin (Boston), Apr. 1917; Pennell & Pennell 1921, facing p.45 (as Unpublished Title to French Set); Lochnan 1984, p.53 (as Treize eaux-fortes d’apres nature); and Denker 1995, p.31 (as Whistler Sketching).

c.1858
Pencil drawing on cream wove paper, 164 x 107mm, Three Figures, inscr. lower right corner (possibly by Francis Seymour Haden) ‘SH’, whole-length, rear view, wearing broad-brimmed hat and coat (his ‘chapeau bizarre’), on right, with possibly Henri Fantin-Latour wearing top hat on left and bonneted female figure between; Freer GA, Smithsonian Inst., Washington, DC, 98.183.
Prov. Probably given to half-sister Deborah or her husband Francis Seymour Haden; sold through Wunderlich’s, New York, to Charles Lang Freer, Detroit, 1898; bequeathed to Freer GA, 1919.
Ref. Gallatin 1918, p.31, nos 19–24 (one of six drawings); Denker 1995, p.43; and MacDonald 1995, pp.89–90, no.287.
Repr. Curry 1984 (as Whistler with Friends); Denker 1995, p.43 (as Whistler with Friends, 1859); and MacDonald 1995, p.90, no.287 (as Three figures).
The figures of Whistler and Fantin-Latour are identified by Curry.

1859 or earlier
Oil on canvas (subsequently mounted on prestwood), 635 x 762mm, now Brown and Silver: Old Battersea Bridge, x-ray reveals beginnings of self-portrait beneath, head-and-shoulders to left, long black curly hair and moustache; Addison G. of American Art, Andover, MA, 1928.55.
Prov. Brown and Silver … commissioned by Alexander C. Ionides, 1859 (according to son Luke Ionides); on death passed to widow, 1890; on her death in Feb. 1892 passed to son Alexander Ionides; sold through David Croal Thomson, London dealer, before Aug. 1895, for over £500 (according to Whistler); bought through Agnew, London, from H. Thorburn, 1899; sold to Edmund Davis, 28 Jan. 1899; bought by David Croal Thomson, by 1926; bought by Agnew, 1928; sold to Lancelot H. Smith on behalf of Thomas Cochran, New York, May 1928; acquired by Cornelius N. Bliss, Washington, DC; presented to Addison G. of American Art, 1928.
Ref. Young, Macdonald & Spencer 1980, vol.1, pp.12–13, no.33.
Repr. Young, Macdonald & Spencer 1980, vol.2, pl.366 (x-ray).

1859
Drypoint, Portrait of Whistler, signed and dated in plate lower right ‘Whistler. 1859.’, two states, head and torso to front, seated, bending forwards sketching, wearing low-crowned, broad-brimmed hat; impressions colls Freer GA, Smithsonian Inst., Washington, DC, 98.288 (1st state, platemark 226 x 152mm); AI Chicago, 1938.1945 (2nd state, black ink on ivory Japanese paper, platemark 225 x 151mm, paper 387 x 264mm); Hunterian MAG, U. of Glasgow, GLAHA 46744 and 46746 (both dark brown ink on white laid paper, platemark 227 x 152mm), and three other impressions, 49979, 50544 and 49979 (cancelled state, black ink on white laid paper, platemark 226 x 152mm, paper 324 x 251mm); publ. in set of 57 cancelled plates by the FAS, London, 1879; and V&A, London, 19799 (2nd state, black ink on lightweight ivory laid paper, platemark 225 x 150mm, paper 348 x 225mm).
Ref. Wedmore 1886, no.52; Mansfield 1909, no.54; Kennedy 1910, no.54; Gallatin 1913a, p.22, no.11; Gallatin 1918, p.33, no.30; Denker 1995, pp.37–8; and Whistler Etchings Catalogue.
Repr. Menpes 1904, facing p.12; Kennedy 1910, no.54 (2nd state; listed as owned by the Lenox Library, 1910, became part of New York PL, 1911); Bookman, suppl., Oct. 1912, p.25 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); Gallatin 1918, after p.32 (2nd state); ‘West Point Painter’, Radio Times, 17 July 1953, advert for James McFarlan television biography, produced by Peter Duval Smith (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/78 [detail], PC20/15); Denker 1995, p.38 (1st state, Japanese paper, 225 x 150mm, S.P. Avery Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL); and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/57 (V&A).

Drypoint, Fumette’s Bent Head, with self-portrait at lower right corner, two states, head-and-shoulders, full-face, wearing broad-brimmed hat; impressions colls Freer GA, Smithsonian Inst., Washington, DC, 98.287 (1st state, black ink on Japanese paper, platemark 229 x 155mm); NGA, Washington, DC, 1949.5.532 (1st state, black ink on Japanese paper, platemark 225 x 152mm, paper 317 x 249mm); and S.P. Avery Coll., The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL (black ink on paper).
Ref. Wedmore 1886, no.51; Mansfield 1909, no.57; Kennedy 1910, no.57; Gallatin 1918, p.33, no.31; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, no.57 (untraced impression).

1850s
Pen and ink drawing on paper, Whistler with Uncombed Hair, in letter; J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC.
Ref. Denker 1995, p.23.
Repr. Denker 1995, p.24.

Pen and ink drawing on paper, Whistler Examining his Foot, in letter; J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC.
Ref. Denker 1995, p.23.
Repr. Denker 1995, p.25.

1861
Etching, The Little Pool, eight states, signed and dated in plate left side ‘Whistler, 1861 -’ and inscr. lower edge ‘The Works of James Whistler: Etchings and Dry Points, are on View at E. Thomas’ Publisher. / 39. Old Bond Street.’ (the ‘Thames Set’), whole-length, seated sketching on bulkhead above Thames; impressions colls BM, London, 1872,0713.406 (1st state, black ink on medium weight antique laid buff paper, platemark 102 x 125mm, paper 148 x 167mm); NGA, Washington, DC, 1943.3.8448 (2nd state, dark brown ink on grey laid paper, platemark 102 x 125mm, paper 167 x 184mm); and Colby College, Waterville, ME, 153.2004 (3rd state, black ink on ivory antique laid paper, platemark 103 x 124mm, paper 206 x 272mm).
Ref. Wedmore 1886, no.72; Mansfield 1909, no.73; Kennedy 1910, no.74; Gallatin 1913a, p.22, no.12; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, no.74 (untraced impression).
Wedmore describes the figure as ‘an artist’; Mansfield and Kennedy state it is Percy Thomas (1846–1922); Pennell and Gallatin claim it is Whistler.

1865
Oil on millboard, 622 x 463mm, The Artist’s Studio, whole-length to right, looking to front, standing with palette and brush, wearing white suit, with two models behind him, one seated on sofa and one standing in robe with fan; Dublin CG, The Hugh Lane, Reg.6.
Prov. Charles Augustus Howell, London; left as security with lawyer; passed to executrix Alice Chambers, 1890; auction, Robinson & Fisher, London, 1901, but did not sell after Whistler declared picture was not by him (according to Pennell & Pennell 1921); auction, Robinson & Fisher, London, after Whistler’s death, 1903; probably bought by Hugh Lane, Dublin and London; gifted to foundation of Dublin Municipal Gallery of Modern Art, 1904.
Exh. Pictures presented to the City of Dublin, Royal Hibernian Academy, Dublin, 1904 (77, as The Artist’s Studio); Memorial Exh., New G., London, 1905 (15); and Loan Coll., Tate, London, 1912 (3).
Ref. Pennell & Pennell 1908, vol.1, pp.184–5; Gallatin 1913a, pp.19–20, no.5; Gallatin 1913b, pp.154, 156, no.4; Gallatin 1918, p.27, no.5 (as Whistler in his Studio (attributed to Whistler), c.1874); Pennell 1920, pp.130–31; Pennell & Pennell 1921, pp.69–70; Young, Macdonald & Spencer 1980, vol.1, p.36, no.62; and Denker 1995, p.56.
Repr. Phythian 1908, p.358 (as Portrait of the Artist in his Studio); Gallatin 1913a, after p.24 (as Whistler in his Studio, ‘attributed to Whistler’, oil on canvas); Gallatin 1913b, p.157, fig.10; Gallatin 1918, after p.32; Young, Macdonald & Spencer 1980, vol.2, pl.36; Denker 1995, p.57; Gray 2004, p.239, no.142; and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC21/55, PC10/56.

Oil on paper mounted on panel, 629 x 464mm, The Artist in His Studio, London, Aug. 1865 (touched up July 1895), signed right side with butterfly (style suggests added c.1870/71), whole-length, wearing white suit, standing at easel with brush in left hand (painted in front of mirror), with two female models, one standing, one seated on sofa; AI Chicago, 1912.141.
Prov. Acquired from Whistler by brother Dr William McNeill Whistler; put on sale (with Whistler’s help), Aug. 1892; with Goupil G., London, Jan.–Mar. 1893; taken to Whistler’s Paris studio, Mar. 1893; returned to Dr Whistler; Whistler and Théodore Duret attempted sale, Paris, Apr. 1894; offered to E.G. Kennedy of Wunderlich’s, New York, July 1895; sold to Goupil G., London, Dec. 1896; according to Whistler sold to J.P. Heseltine, trustee of NG, London; Douglas Freshfield, by Oct. 1897; passed to Brown & Phillips, London dealers, not before 1911; sold to Colnaghi, London dealers; sold to Reinhardt, New York and Chicago dealer, Sept. 1911; purchased by The Friends of American Art and presented to AI Chicago, 26 Jan. 1912.
Exh. College for Men and Women, 29 Queen Square, London, 1889, arranged by Walter Sickert (as The Artist in his Studio); 3rd Annual Exh., RSPP, Grafton G., London, 1893 (183, as An Interior); Selected Works by Painters of the English, French and Dutch Schools, Goupil G., London, 1898 (22, as In the Studio); Memorial Exh., New G., London, 1905 (13, as Whistler in his studio); and Cult of Beauty, V&A, London, 2011 (no cat. no.).
Ref. Pennell & Pennell 1908, vol.1, pp.184–5; Gallatin 1913a, p.20, no.6; Gallatin 1913b, p.156, no.5; Gallatin 1918, pp.27–8, no.6 (as c.1874); Young, Macdonald & Spencer 1980, vol.1, pp.36–7, no.63; and Tedeschi & Salvesen 1998, p.73.
Repr. ‘Some Early Pictures by Mr. Whistler’, AJ, Oct. 1897, p.289; Lavery, Ludovici & Pennell 1905, p.79, no.13; Pennell & Pennell 1908, vol.1, facing p.184; Pennell & Pennell 1911, facing p.196; Gallatin 1913a, after p.24; Gallatin 1913b, p.157, fig.11; Gallatin 1918, after p.32; Connoisseur, vol.95, 1935, p.74; Ormond 1966, p.464, no.4 (as The artist in his studio, dated 1864); Young 1968a, p.305, pl.5 (as c.1867–8); Van Devanter & Frankenstein 1974, p.95, no.40; Young, Macdonald & Spencer 1980, vol.2, pl.37; Merrill 1998, p.84, fig.2.5; Tedeschi & Salvesen 1998, p.55; Calloway & Orr 2011, p.98, fig.66 (as The Artist in his Studio); and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC22/15, PC23/60.
Whistler claimed this painting was a study for a large picture (never executed) to include portraits of Henri Fantin-Latour, Albert Moore and Jo Hiffernan: letter from Whistler to Fantin-Latour, 16 Aug. 1865, J. & E.R. Pennell Coll. of Whistleriana, Manuscript Division, Lib. of Congress, PWC 1/33/1 (see Whistler Correspondence, 11477). It appears to be related to the previous item.

c.1867
Oil, support and dimensions unknown, half-length, wearing hat; untraced.
Prov. Possibly owned by G. McCulloch.
Ref. Rossetti 1903, p.22; Pennell & Pennell 1908, vol.1, pp.80, 137; and Young, Macdonald & Spencer 1980, vol.1, pp.45–6, no.78.
The portrait is sketchy, probably a study.

late 1860s
Pastel and ?pen drawing, Jimmy Whistler, possibly joint effort with Walter Greaves, head-and-shoulders to left, head facing viewer, with white lock and moustache, in front of easel, right arm outstretched to canvas, wearing light-coloured painting jacket and dark necktie, picture on wall in background; Chelsea Arts Club, London.
Ref. Photograph NPG SB (Whistler) (given by Tom Pocock).
Repr. Pocock 1970, facing p.32; The Yearbook, London, 1987; and Cross 1992, p.vi..

1870–75
Oil on canvas, 700 x 553mm, half-length, facing right, white lock and moustache, wearing loose black coat, low white collar and round black hat; Freer GA, Smithsonian Inst., Washington, DC, 04.62a–b.
Prov. Given by Whistler to shopkeeper, Chelsea, in lieu of debt (according to Charles Lang Freer for modelling but according to Rosalind Birnie Philip and Harold J.L. Wright of Colnaghi, London, for grocery debt); given to recipient’s daughter Mrs Eason; bought by Obach, London dealers; bought by Charles Lang Freer, May 1904 for approx. £2000 (part of deal to purchase Peacock Room); bequeathed to Freer GA, 1919.
Exh. Paintings in Oil and Pastel, Met., New York, 1910 (10, ill. as frontispiece to catalogue, as Sketch of Mr Whistler).
Ref. Pennell & Pennell 1911, p.57 (as Portrait attributed to Whistler); Gallatin 1913a, p.18, no.3 (as Portrait, attr. to James McNeill Whistler, c.1867); Gallatin 1913b, p.152, no.2 (as Portrait, c.1867); Gallatin 1918, p.26, no.3 (as Portrait of Whistler, c.1867); Young, Macdonald & Spencer 1980, vol.1, p.75, no.124; and Denker 1995, p.64.
Repr. Pennell & Pennell 1921, facing p.25; Gallatin 1913a, after p.24; Gallatin 1913b, p.153, fig.8; Gallatin 1918, after p.32; Young, Macdonald & Spencer 1980, vol.2, pl.77; and Denker 1995, p.65.
The portrait is sketchy, probably a study. Pennell thought this probably not genuine, owing to the presence of a white lock; Freer thought it genuine.

1871–3
Chalk drawing on brown wove paper laid on card, 284 x 184mm, Self-portrait, half-length, turned to right; AI Chicago, RX18296/15.
Prov. Apparently formerly owned by Thomas Robert Way (inscription on photograph, J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC); possibly sold at auction, Christie’s, London, 9 July 1906 (40, as A Portrait of the Artist), bought by Obach, London dealers; photographed by Frederick O. Benn of Chicago; acquired by AI Chicago, before 1991.
Ref. MacDonald 1995, pp.150, no.422.
Repr. MacDonald 1995, p.151, no.422; and Tedeschi & Salvesen 1998, p.128 (dated 1871).

1871–5
Chalk drawing on brown paper, 170 x 135mm, Portrait of the Artist, head-and-shoulders; coll. Walter Klein, New York.
Exh. Memorial Exh., New G., London, 1905 (113b, as Portrait of the Artist); Oeuvres de J.M. Whistler, Ecole des Beaux-Arts, Paris, 1905 (123, as Portrait de Whistler); and Artists and Writers (Benjamin Sonnenberg Coll.), Pierpont Morgan L., New York, 1971 (15).
Prov. Acquired by dealer and writer A.W. Thibadeau; sold by order of trustees, Sotheby’s, London, 9 Dec. 1889 (1140, as His Own Portrait), bought by Deprez, London dealer; J.P. Heseltine by 1905; Lord Leverhulme sale, Anderson G., New York, 4 Mar. 1926 (354, ill.); Hon. Alvan T. and Mrs Fuller; sold by Fuller Foundation, Christie’s, London, 1 Dec. 1961 (10), bought by Weitzner, London dealer; Robert Lehman, New York (according to Parke-Bernet); B. Sonnenberg by 1971; sold at Sotheby Parke-Bernet, New York, 7 June 1979 (681, ill.), bought by R.M. Light, New York dealer; sold to Walter Klein.
Ref. and repr. MacDonald 1995, pp.150, no.423.

c.1872
Oil on canvas, 749 x 533mm, Arrangement in Grey: Portrait of the Painter, signed above dado on left with butterfly (also signed with butterfly on frame), half-length, body facing left, looking out at viewer, wearing round hat and grey painting jacket, holding three paintbrushes in right hand; Detroit IA, 34.27.
Prov. Sold by Whistler to A.C. Ionides for son Alexander; sold through Goupil’s to George McCulloch, London, July 1895; bequeathed to widow (later Mrs Coutts Michie), 12 Dec. 1907; bought by Harry Glover Stevens, Detroit, 1909; bequeathed to Detroit IA, 1934.
Exh. 5th exh., Soc. French Artists, Deschamps G., London, 1872 (130, as Arrangement in Grey and Black No. 2 – A Portrait); G. Durand-Ruel, Paris, 1873; Nocturnes, Marines & Chevalet Pieces, Goupil G., London, 1892 (30, as Grey and Black. Sketch); Connoisseur’s Treasures (Alexander Ionides Coll.), Goupil G., London, 1895 (10, as Portrait of the Artist); Memorial Exh., New G., London, 1905 (30, as Portrait of the Artist); Modern Works in Painting and Sculpture (George M. McCulloch Coll.), RA Winter 1909 (299, as Portrait of the Painter).
Ref. Gallatin 1913a, p.19 (as Portrait); Gallatin 1913b, p.154, no.3 (as Portrait); Gallatin 1918, pp.26–7, no.4 (as Whistler in Painting Jacket, started c.1867, finished at later date); Young, Macdonald & Spencer 1980, vol.1, pp.74–5, no.122; Denker 1995, pp.59–61; and Beal 2002, p.80, fig.57 (full-page details p.78).
Repr. Way & Dennis 1903, facing p.4; Glasgow Evening News, 5 Sept. 1904 (as ‘Portrait of Whistler by Whistler’, cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/10); Lavery, Ludovici & Pennell 1905, p.86, no.30; ‘The Real Whistler: Life Story of the Great Artist’, Daily Chronicle, 22 Oct. 1908 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/81); ‘Books of the Day. A New Life of Whistler’, Lady’s Pictorial, 7 Nov. 1908 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/89); Pennell & Pennell 1908, vol.2, frontispiece; Gallatin 1913a, after p.24; Gallatin 1913b, p.155, fig.9; Gallatin 1918, after p.32; Young, Macdonald & Spencer 1980, vol.2, pl.30; J. Masheck, Art in America, vol.69, no.8, Oct. 1981, p.128; Denker 1995, p.60; MacDonald, Galassi & Ribeiro 2003, p.3, fig.2; and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC21/9, PC21/31 (in collection of George McCulloch, ie. between 1895 and 1907), PC21/67 (advert for 4th ed. of the Pennells’ Life of James McNeill Whistler), PC22/35, PC 22/105, PC23/2.

Etching, 133 x 127mm, by Percy Thomas (1846–1922) after item above; NPG D4997 (on chine appliqué, 130 x 98mm).
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (120).
Repr. Thomas 1874, frontispiece; London 1979, frontispiece.

Etching by William Brassey Hole after Whistler; no impressions traced.
Ref. Gallatin 1918, p.53, no.137.
Repr. Bookman, suppl., Oct. 1912, facing p.19 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/27, PC22/129); ‘Some Early Pictures by Mr. Whistler’, AJ, Oct. 1897, facing p.290 (254 x 181mm); and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/3. See also mounted repr. after Hole, NPG D1400.


Charcoal and wash drawing on brown paper, 263 x 173mm, Self-portrait, head-and-shoulders to right; priv. coll., USA.
Prov. New York coll.; William O’Leary, Detroit dealer, 1884; possibly sold Christie’s, London, 9 July 1906 (40, as A Portrait of the Artist), bought by Obach, London dealers; possibly sent to Charles Lang Freer, 13 Oct. 1908, but returned 31 Dec. 1908; possibly sold Christie’s, London, 21 July 1911 (77, as Portrait of the Artist), bought by Wallis, London dealers; according to Gallatin, with Colnaghi & Obach, London, 1912; O’Leary, by 1928; private collector, Scranton, PA; bought by Knoedler, New York dealers, June 1958; sold to private collector, 25 Sept. 1958; bequeathed to present owner.
Ref. Gallatin 1913a, p.23, no.24 (as Portrait, chalk); Gallatin 1918, p.29, no.9 (as Portrait of Whistler, black and white chalk); Denker 1995, p.64; and MacDonald 1995, pp.172–3, no.463.
Repr. Gallatin 1912, facing p.10; Denker 1995, p.66 (image reversed); and MacDonald 1995, p.172, no.463r.

c.1872–7
Oil on canvas, 685 x 1355mm, Cremorne Gardens, No.2, unfinished, at right of canvas, seated at table with other people, face not defined; Met., New York, 12.32.
Prov. Bought by Thomas Way, London printer, from auctioneers, who rejected it as unsaleable, before White House sale of 1879; given to Thomas Robert Way (Whistler tried to repossess it 1896); with Agnew, London dealers, 1903 (according to Charles Lang Freer); sold by T.R. Way to A.H. Hannay, a few years after Whistler’s death in 1903, for £1200 (according to Pennell 1920); offered for sale through F.C. Yardley, East Sheen, 1909; at A.H. Hannay’s house in Albemarle Street, London, under offer to NG of Victoria, Melbourne, Aug. and Sept. 1910, for £4000 (Pennell advised price too high); bought from Percy M. Turner, London dealer, by Met., New York, John Stewart Kennedy Fund, 1912.
Exh. Memorial Exh., New G., London, 1905 (25, as Cremorne Gardens, No.2).
Ref. Way & Dennis 1903, p.61; Lavery, Ludovici & Pennell 1905 p.84, no.25; Gallatin 1913b, p.151; and Young, Macdonald & Spencer 1980, vol.1, p.94, no.164.
Repr. Way 1903, p.13; Way & Dennis 1903, after p.60; Kenin 1979, p.173; Young, Macdonald & Spencer 1980, vol.2, pl.90; and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC21/53, PC21/71, PC22/97 (colour lithograph).
The figure of Whistler is identified in Way & Dennis 1903. According to Thomas Robert Way this portrait was ‘more or less destroyed’ by Whistler at the time of his bankruptcy, 1879.

c.1878
Pen and dark brown ink drawing on white laid paper, 109 x 174mm, Whistler Sitting Under an Umbrella, on back of letter from Whistler to the Director of the Gazette des Beaux Arts, inscr. ‘Wont I tho’ just!’, whole-length, seated cross-legged under large oriental-looking umbrella or parasol; Dept of Special Colls, Glasgow UL, MS Whistler G18.
Prov. In Whistler’s studio at death, 1903; bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1955.
Exh. 8th Liverpool Biennial, 2014 (The Bluecoat, Gallery 2).
Ref. and repr. MacDonald 1995, pp.247, no.681.

Chalk and pastel drawing on brown paper laid down on card, 160 x 122mm, Portrait of the Artist, head-and-shoulders to front, wearing soft round hat; Freer GA, Smithsonian Inst., Washington, DC, 99.26.
Prov. Goupil, London dealers by 1898; sold to Charles Lang Freer, Detroit, 1 Aug. 1899; bequeathed to Freer GA, 1919.
Exh. Howard G., Sheffield, 1898 (58, as Portrait of the Artist).
Ref. Gallatin 1913a, p.23, no.25; Gallatin 1918, p.29, no.10; and MacDonald 1995, p.247, no.682.
Repr. Gallatin 1913a, after p.24; Gallatin 1918, after p.32; and MacDonald 1995, p.247, no.682.

c.1879
Chalk and pastel drawing on brown paper, 277 x 180mm, Portrait of the Artist, signed right side with butterfly, half-length to right, with white lock and moustache, handkerchief in pocket, leaning over table; Freer GA, Smithsonian Inst., Washington, DC, 05.148.
Prov. Given by Whistler to Thomas Way, London; bought by Charles Lang Freer, Detroit, June 1905 (as Portrait of Whistler); bequeathed to Freer GA, 1919.
Exh. Memorial Exh., New G., London, 1905 (203, as Portrait of the Artist).
Ref. Gallatin 1913a, p.24, no.26; Gallatin 1918, p.29, no.11; Denker 1995, p.126; and MacDonald 1995, pp.247–8, no.683.
Repr. Way & Dennis 1903, facing p.8 (as Portrait Study of the Artist, by Himself); Lavery, Ludovici & Pennell 1905, p.71, no.203; Pennell & Pennell 1908, vol.1, facing p.136 (as Portrait of Whistler, chalk); Pennell & Pennell 1911, facing p.104; Pennell & Pennell 1912, p.25; Curry 1984, pl.204 (as Portrait of the Artist); Denker 1995, p.127 (as c.1878, chalk); MacDonald 1995, p.248, no.683r; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/27 (cropped).

Drypoint, Whistler with the White Lock, one state, head-and-shoulders, almost full-face, with white lock; impressions colls Freer GA, Smithsonian Inst., Washington, DC, 03.37 (black ink on light green laid paper, platemark 117 x 80mm); NGA, Washington, DC, 1943.3.8505 (platemark 117 x 79mm, paper 197 x 162mm); U. of Michigan MA, Ann Arbor, 1954/1.369 (black ink on pale green laid paper, platemark 119 x 82mm, paper 201 x 142mm); and Met., New York, 17.3.75 (platemark 116 x 79mm, paper 200 x 159mm).
Prov. Listed by E.G. Kennedy, no owner given, 1910.
Ref. Wedmore 1886, no.142; Mansfield 1909, no.169; Kennedy 1910, no.172; Gallatin 1913a, p.22, no.13; Gallatin 1918, p.33, no.32; and Whistler Etchings Catalogue.
Repr. Menpes 1904, facing p.98; Kennedy 1910, no.172; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/57.

1881–6
Pencil drawing on white laid paper, 128 x 73mm, Portrait of Whistler, inscr. (by Pickford Waller) ‘SUGGESTION BY WHISTLER FOR HIS PORTRAIT’, very sketchy, whole-length, right arm raised to just below shoulder height; priv. coll., England.
Prov. Acquired from Whistler by Pickford Waller; Sotheby’s, London, 25 June 1980 (183, as Portrait Study, The Property of a Gentleman), bought by Michael Parkin, London dealer; M. Parkin and Clarendon G., London, 1984; Jeremy Howard, London dealer, June 1984; consigned to Knoedler, New York dealers, 10 Dec. 1984; bought by present owner.
Exh. Possibly New York, 1918–19; Artist Delineated, Clarendon G., London, 1984 (32, ill. p.28 of catalogue); and Notes, Harmonies, Nocturnes, M. Knoedler & Co., New York, 1984 (9, as Caricature).
Ref. Gallatin 1918, p.30, no.17; and MacDonald 1995, p.319, no.847.
Repr. Guthrie 1903–4, p.145; and MacDonald 1995, p.319, no.847v.

1882
Pen, brown ink and wash drawing on grey paper laid down on card, 110 x 84mm, Whistler with His Friend Mrs Patterson, Tite Street, London, whole-length, left hand on hip, with Jane Patterson shown from behind, wearing bonnet and holding closed parasol, and dog; priv. coll.
Prov. Given by Whistler to Mrs Patterson, Aug. 1882; probably sold to Maggs Bros, London, 109 Strand, Jan. 1912; part of album in Maggs sale, Oct. 1912 (3699, as Whistler with His Friend Mrs Pattison and Her Little Dog); M. and J. Moore; Phoebe Boyle; Kennedy, New York dealers, May 1970; James Fosburgh, New York, from 22 Dec. 1972; Manay coll.; sold Sotheby’s, New York, 11 Oct. 1991 (311, as Mrs Jane Patterson and her dog); bought by private collector.
Ref. Gallatin 1913a, p.24, no.27 (as Portrait); Gallatin 1918, p.30, no.15; and MacDonald 1995, p.328, no.872.
Repr. Maggs 1912, pl.XIII (Dept of Special Colls, Glasgow UL, MS Whistler PC21/65); Kennedy 1970, p.28 (as The Artist with Jane Patterson); and MacDonald 1995, p.328, no.872.

c.1885
Pencil drawing on white paper, 200 x 260mm, Portrait Studies of the Artist, His Brother Dr Whistler, and Others, head-and-shoulders, head turned slightly to right, background heavily shaded, on right, with five other portrait studies, incl. William McNeill Whistler (1836–1900) at top, possibly William’s wife Helen in centre, possibly Beatrice Godwin or Maud Franklin in profile lower left, and possibly Mortimer Menpes lower right; untraced.
Prov. Probably given by Whistler to Mortimer Menpes (owned 1907); Sotheby’s, London, 16 Dec. 1964 (5, as A Sheet of portrait studies), bought by Farlow; Sotheby’s, London, 22 Nov. 1972 (19, as Portrait studies of the Artist, his brother Dr Whistler, & others, bought by MacLean; Derby; bought by Davis and Long, New York dealers, Jan. 1973; with Meredith J. Long, Houston dealer, July 1973; sold by Davis and Long to private collector.
Ref. Gallatin 1913a, p.24, no.28; and MacDonald 1995, p.382, no.1016.
Repr. Wood 1907a, p.345 (with heads transposed); Sotheby’s, London, 22 Nov. 1972 (19); and MacDonald 1995, p.382, no.1016.

1888
Pencil drawing on cream laid paper, 216 x 172mm, Studies of Heads and of the Château at Chenonceau, on back of letter from Whistler to RBA, autumn 1888, inscr. right side ‘Drapers Shop. / Red and Black. / Sign of the Heart / Evening. Clocktower / Forge’ and lower left ‘Blois - / Paris - / Trix -’, head only to front, lowered; Dept of Special Colls, Glasgow UL, MS Whistler R221.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1955.
Ref. and repr. MacDonald 1995, p.430, no.1182.

1890
Pen and ink drawing begun by Sidney Starr (1857–1925) and completed by James McNeill Whistler (see below, ‘By other artists, 1890’).

?1893–4
Oil on canvas, 262 x 206mm, three-quarter-length to right, right hand on hip, with white lock and moustache; Fogg AM, Harvard U., 1943.930.
Prov. According to Manson given to reliner in Paris, possibly in payment for work done; apparently sold to official at Louvre, after 1903; sold to Jean Guiffrey, keeper of paintings at Louvre; bought by P.M. Turner, London dealer; bought by E.A. Lewis, London, by Aug. 1929; bought through J. Stransky, New York dealer, by G.L. Winthrop, New York, 1929; bequeathed to Harvard U., 1943.
Ref. Young, Macdonald & Spencer 1980, vol.1, p.185, no.416.
Repr. Young, Macdonald & Spencer 1980, vol.2, pl.256.
The portrait has a smooth finish and closely resembles a studio photograph of Whistler by H.S. Mendelssohn (see below, ‘Photographs, c.1886’).

c.1895–1900
Oil on canvas, 958 x 515mm, Brown and Gold, whole-length, standing, left hand on stomach, right hand extended, wearing long brown overcoat; Hunterian MAG, U. of Glasgow, GLAHA 46376.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1958.
Exh. Exposition Universelle, Paris, 1900 (108, American section, as Brown and Gold).
Ref. Letter from R.B. Philip to A.E. Gallatin, 2 Dec. 1913, Dept of Special Colls, Glasgow UL, MS Whistler P554; Pennell & Pennell 1908, vol.2, pp.204, 251; Gallatin 1913a, p.21, no.8; Gallatin 1913b, p.158, no.7 (where it is wrongly stated that the painting was destroyed by Whistler); Gallatin 1918, p.28, no.8 (as Brown and Gold – Portrait of Whistler, c.1894); Pennell & Pennell 1921, pp.40, 199; Young, Macdonald & Spencer 1980, vol.1, pp.195–6, no.440; and Denker 1995, p.143.
Repr. Sutton 1966b, pl.124; Young, Macdonald & Spencer 1980, vol.2, pl.280; Dorment & MacDonald 1994, p.285, no.205; Denker 1995, p.143; MacDonald, Galassi & Ribeiro 2003, p.14, fig.14; and Vann 2004, p.101.
Whistler’s stance here is similar to that of Velázquez’s Pablo de Valladolid (Prado, Madrid) of which Whistler owned a photograph (Dept of Special Colls, Glasgow UL). According to Gallatin, the portrait was repainted in part after exhibition in 1900 and ‘almost destroyed’; Rosalind Birnie Philip believed it was just rubbed down in 1900 but not repainted.

1896
Pen and black ink drawing on cream laid paper, 195 x 152mm, Whistler Raiding the Chelsea Arts Club, on back of letter from Whistler, London, to Rosalind Birnie Philip, 110 rue du Bac, Paris, postmarked 24 Nov. 1896, inscr. ‘I walked into the Chelsea Arts Club alone / on the Monday night! – to see, as I said, / These Gentlemen in the first throes of digestion with the “toad in their belly!”’, whole-length, with top hat and monocle, a demonic figure surrounded by shadows; Dept of Special Colls, Glasgow UL, MS Whistler P323.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1955.
Exh. 8th Liverpool Biennial, 2014 (The Bluecoat, Gallery 2).
Ref. MacDonald 1995, p.532, no.1482.
Repr. Dempsey 1966, p.31; and MacDonald 1995, p.532, no.1482.

Lithograph by Thomas Robert Way and James McNeill Whistler (see below, ‘Photographs, c.1895’).

c.1896
Oil on canvas, 515 x 313mm, Self-portrait, half-length to right, looking to front, in Fitzroy Street studio, London; Hunterian MAG, U. of Glasgow, GLAHA 46373.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; bequeathed to U. of Glasgow, 1958.
Ref. Young, Macdonald & Spencer 1980, vol.1, p.202, no.460; and Denker 1995, pp.143–4.
Repr. Young, Macdonald & Spencer 1980, vol.2, pl.295; and Denker 1995, p.144.
According to Rosalind Birnie Philip – recording a note on the stretcher by Harold Wright – this portrait was made c.1896 (although other evidence suggests that Whistler worked on it in Paris, 1898).

Oil on canvas, 521 x 318mm, Self-portrait, half-length to right, looking to front, in Fitzroy Street studio, London, left side of face deeply shadowed (perhaps in process of being changed – study related to next item, more finished than previous item); Hunterian MAG, U. of Glasgow, GLAHA 46329.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1935.
Ref. Young, Macdonald & Spencer 1980, vol.1, p.202, no.461.
Repr. Shaw 1968, p.201, fig.5; and Young, Macdonald & Spencer 1980, vol.2, pl.341.

c.1896–8
Oil on canvas, 624 x 465mm, Gold and Brown, signed right side with butterfly, half-length to right, gesticulating with left hand, with white lock and monocle, wearing red ribbon of the Légion d’Honneur; NGA, Washington, DC, 1959.3.2.
Prov. Sold by Whistler to George W. Vanderbilt, Asheville; bequeathed to his widow (later Mrs Edith Stuyvesant Gerry), Washington, DC, 1914; given to NGA, Washington, DC, 1959.
Exh. ISSPG, London, 1898 (179, as Gold and Brown); Oils, Water Colors, Pastels and Drawings, Copley Hall, Boston, 1904 (1); and Oeuvres de J.M. Whistler, Ecole des Beaux-Arts, Paris, 1905 (29, as Brun et Or – Portrait de Whistler).
Ref. Gallatin 1913a, pp.20–21 (7, as Brown and Gold); Gallatin 1913b, pp.156, 158 (6, as Brown and Gold); Gallatin 1918, p.28, (7, as Brown and Gold – Portrait of Whistler, c.1894); Young, Macdonald & Spencer 1980, vol.1, pp.202–3, no.462; and Denker 1995, pp.143–4 (as Gold and Brown: Self-Portrait).
Repr. Bénédite 1905, pl.1; Masters of Art, Boston, December 1907; Pennell & Pennell 1908, vol.2, facing p.202; Gallatin 1913a, after p.24; Gallatin 1913b, pp.155, fig.12; Gallatin 1918, after p.32; Young 1968b, p.307, fig.10; Young, Macdonald & Spencer 1980, vol.2, pl.296; Dorment & MacDonald 1994, p.284, no.204; and Denker 1995, p.145.
This portrait was seen by Charles Lang Freer in Whistler’s studio in 1902.

1897
Pen and black ink drawing on cream laid paper, 256 x 205mm, on back of letter from Whistler, Garlant’s Hotel, London, to Rosalind Birnie Philip, 110 rue du Bac, Paris, dated 28 Oct. 1897, inscr. ‘I think my dear Major I will have to come back – when I get over this! I must arrange otherwise – Half a mind to bring all my pictures over there? I wonder?’, in bed with cocktail glass and medicine bottle on table beside him; Dept of Special Colls, Glasgow UL, MS Whistler P362 / Hunterian MAG, U. of Glasgow, GLAHA 46397.
Prov. In Whistler’s studio at death, 1903, bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1955.
Exh. Whistler, Nationalgalerie, Berlin, 1969 (131, as Karikatur).
Ref. MacDonald 1995, pp.546–7, no.1519; and Whistler Etchings Catalogue (as 225 x 205mm).
Repr. Spencer 1969, no.131; and MacDonald 1995, p.546, no.1519r.

Pen and black ink drawing on the verso of item above, inscr. centre ‘outside Garlant’s window this morning’ and lower right ‘Inside Garlant’s window this Morning!’, whole-length, standing beside bed in coat, devilish face adapted from butterfly signature, electric light overhead.
Exh. Whistler, Nationalgalerie, Berlin, 1969 (131 as Karikatur).
Ref. MacDonald 1995, pp.546–7, no.1519.
Repr. Spencer 1969, no.131; and MacDonald 1995, p.546, no.1519v.

1898–1900
Pen and brown ink drawing on cream laid paper, 112 x 88mm, Portrait of Whistler, signed right side with butterfly and on verso, part of signed Whistler letter, ‘[… Whi]stler’s acknowledgements / […Dai]ly Mail - / [… p]aralised [sic] with gratitude / […a]t the delicacy and kind / […] you chew the food you / […] Readers – Of course you / Pray receive my compliments / J. McNeill Whistler’ and calculations and numbers in unknown hands, half-length to right, wearing overcoat with upturned collar over shoulders, heavy shadow behind; J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC.
Prov. Probably acquired from Whistler’s Paris studio by Carmen Rossi; Hôtel Drouot auction sale, Paris, 25 Nov. 1903 (6, as Portrait de Whistler), bought by W. Marchant of Goupil’s, London dealers; bought by Joseph Pennell, £40, receipt 11 Dec. 1903; given by E.R. and J. Pennell to Lib. of Congress, 1917.
Exh. Brabazon & Whistler, Goupil G., London, 1903–4 (183, as James McNeill Whistler); Memorial Exh., New G., London, 1905 (181, as Portrait of Whistler); Whistler, Arts Council G., London and Knoedler G., New York, 1960 (129); and Notes, Harmonies, Nocturnes, M. Knoedler & Co., New York, 1984 (5).
Ref. Gallatin 1913a, p.24, no.29; Gallatin 1913b, p.158 (as preliminary sketch for Brown and Gold); Gallatin 1918, p.30, no.16 (as drawing for Brown and Gold); Denker 1995, p.144; and MacDonald 1995, p.553, no.1533.
Repr. Drouot, Paris, 25 Nov. 1903 (6); Lavery, Ludovici & Pennell 1905, p.66, no.181; Pennell & Pennell 1908, vol.2, facing p.202 (as study for Portrait, Brown and Gold); Pennell & Pennell 1921, facing p.40 (as Sketch from the Portrait in the 1900 Paris Exhibition); MacDonald 1984, no.5; Dorment & MacDonald 1994, p.283, no.203; Denker 1995, p.145 (as Self-Portrait); and MacDonald 1995, p.553, no.1533.
Pennell & Pennell 1921 wrongly state that this portrait was drawn from Brown and Gold (see above, ‘c.1895–1900’).


Possible self-portraitsback to top


c.1855–6
Pencil, pen, brown and black ink drawing on cream wove paper, 233mm diam., An Artist in His Studio, inscr. on manuscript lower right ‘J. Whistler / Au 5 imo No / Rue Galeres / Quatier [sic] 4’ and on open book on floor ‘Fuseli’, whole-length, seated at desk in studio; Freer GA, Smithsonian Inst., Washington, DC, 06.104.
Prov. Bought from Knoedler, New York, by Charles Lang Freer, Detroit, 1906; bequeathed to Freer GA, 1919.
Ref. Stubbs 1948, p.30 (as An artist in his studio); Denker 1995, pp.25–6 (as c.1856); and MacDonald 1995, p.64, no.211.
Repr. Merrill 1992, p.21, fig.8; Denker 1995, p.25; and MacDonald 1995, p.64.
The figure is possibly Whistler (according to Denker).

1858
Pencil drawing on off-white wove paper, 107 x 148mm, Four Men on a Boat, inscr. lower left corner (possibly by Francis Seymour Haden) ‘SH’ and lower right corner (unknown hand) ‘1858’, three men with back to viewer, one facing smoking pipe; Freer GA, Smithsonian Inst., Washington, DC, 98.199.
Prov. Probably given to half-sister Deborah or her husband Francis Seymour Haden; sold through Wunderlich’s, New York, to Charles Lang Freer, Detroit, 1898; bequeathed to Freer GA, 1919.
Ref. Gallatin 1918, p.31, nos 19–24 (one of six drawings); and MacDonald 1995, pp.80–82, no.262r.
Repr. MacDonald 1995, p.82, no.262r.
Gallatin 1913b suggests the man on the left with curly hair is Whistler.

1892
Pen and purple ink drawing on cream laid paper, 111 x 173mm, Heads of Man and Woman, by James McNeill Whistler or Beatrice Whistler, on back of letter from Whistler to press, c.May 1892, head only, lowered, with female head, possibly Beatrice Whistler (by Whistler); Dept of Special Colls, Glasgow UL, MS Whistler X78.
Prov. In Whistler’s studio at death, 1903; bequeathed to sister-in-law Rosalind Birnie Philip; given to U. of Glasgow, 1955.
Ref. and repr. MacDonald 1995, p.481, no.1336.

Undated self-portraitback to top


Oil on canvas, half-length, seated, body turned right, head facing viewer, with moustache, wearing jacket and bowtie; priv. coll.
Ref. NPG SB (Whistler).

Drypoint, Portrait Sketches, head, upside down, along with two other portrait sketches, one whole-length, the other head only; impressions colls Yale Center for British Art, New Haven, L.2005-120.16 (1st state, platemark 176 x 302mm, paper 246 x 321mm); Hunterian MAG, U. of Glasgow, GLAHA 50327 (platemark 284 x 170mm; publ. in a set of 57 cancelled plates by the FAS, London, 1879; trimmed and stuck on the envelope containing the copperplate); and whereabouts unknown (cancelled state, platemark 291 x 175mm; publ. in set of 57 cancelled plates by the FAS, London, 1879; listed by Kennedy 1910, no owner given).
Ref. Mansfield 1909, no.102; Gallatin 1918, p.32, no.29; and Whistler Etchings Catalogue.
Repr. Kennedy 1910, no.101.


By other artistsback to top


c.1844
Watercolour, 281 x 233mm, by C.A.F. Fiessler, Whistler with a Paintbrush and Palette, half-length to right, palette in left hand, brush in right, wearing smock, at a table painting figure of girl, tasselled curtain behind; priv. coll.
Ref. Denker 1995, pp.21–2.
Repr. P.G. Konody, ‘Art and Artists: The Roussel Memorial Exhibition’, unidentified press cutting (Dept of Special Colls, Glasgow UL, MS Whistler PC20/12); and Denker 1995, p.22.

1847
Pastel miniature, 527 x 413mm oval, by Émile-François Dessain (1808–1882), Portrait of J. McNeill Whistler and his Brother William (Dr William Whistler, three-quarter-length, standing, with arm on shoulder of seated brother William Gibbs McNeill Whistler, in landscape; Freer GA, Smithsonian Inst., Washington, DC, 04.412a–b.
Prov. Mrs Dr George D. Stanton; Miss Emma W. Palmer.
Ref. Gallatin 1913a, p.35, no.107 (as 1841, crayon); Gallatin 1918, p.46, no.96 (as 1841, crayon); and Denker 1995, p.22.
Repr. Pennell & Pennell 1908, vol.1, facing p.26 (as The Two Brothers); Bookman, suppl., Oct 1912, p.21 (cutting, Dept of Special Colls, Glasgow UL, PC22/129); Denker 1995, p.23; and photographic reproduction (Dept of Special Colls, Glasgow UL, PH1/171).
According to Gallatin the miniature shows Whistler at age 7.

1848
Oil on canvas, 765 x 610mm, by William Boxall, Whistler at Age Fourteen, half-length, head turned to left, wearing wide white collar; Hunterian MAG, U. of Glasgow, GLAHA 43500.
Prov. Rosalind Birnie Philip, London.
Exh. RA 1849; RA 1852; 3rd Annual Exh., RSPP, Grafton G., London, 1893 (ill. in catalogue vol.1, p.13, no.11).
Ref. Gallatin 1913a, p.25, no.30; Gallatin 1918, p.34, no.33 (as 1848); and Denker 1995, p.23.
Repr. Pennell & Pennell 1908, vol.1, frontispiece (as Portrait of Whistler as a Boy); Denker 1995, p.24; and photograph, Dept of Special Colls, Glasgow UL, MS Whistler PH1/94.

1856
Pencil drawing, 152 x 152mm, by Edward John Poynter, Whistler Napping, drawn from life in Parisian café, 27 Sept. 1856, quarter-length, profile to right, asleep, wearing soft hat and loosened bow tie, with object in mouth (possibly unlit cigarette or toothpick, according to Gallatin); untraced.
Prov. Mrs Eugene Meyer, Jr., New York, by 1913.
Ref. Gallatin 1913a, p.35, no.108; Gallatin 1918, p.46, no.97; and Denker 1995, p.33.
Repr. Gallatin 1913a, facing p.35; Gallatin 1918, facing p.58; and Denker 1995, p.33.

1858
Pencil drawing, 186 x 132mm, by Edward John Poynter, Portrait of Whistler, signed and dated left side ‘Decr. [superscript ‘r’] EJP 1858’, head-and-shoulders to right, looking at viewer, wearing tilted broad-brimmed hat with ribbon, neckerchief and jacket, hair hanging in curls over ears; Freer GA, Smithsonian Inst., Washington, DC, 98.145.
Prov. Sir Francis Seymour Haden.
Ref. Gallatin 1918, p.47, no.98; and Denker 1995, p.35.
Repr. Lochnan 1984, p.49; and Denker 1995, p.35.

c.1858
Pen and ink drawings, 181 x 225mm, by Edward John Poynter, Whistler Drawing Poynter and Back View of Whistler Seated, half-length, looking at viewer, seated at easel, wearing hat, bowtie and waistcoat, in interior (with fireplace and pictures in background), and half-length, rear view, seated by desk reading, in interior with lamp lit, in shadow; Freer GA, Smithsonian Inst., Washington, DC, 98.146.
Prov. Sir Francis Seymour Haden.
Ref. Gallatin 1913a, p.32, nos 87, 88; Gallatin 1918, p.42, nos 69, 70; and Denker 1995, pp.34–5.
Repr. Lochnan 1984, p.65 (as Whistler drawing); and Denker 1995, p.34.

Sepia drawing, 171 x 159mm, by Francis Seymour Haden, inscr. (by Auguste Delâtre) ‘Whistler - / dessin […] - / […] S. Haden. Aug. Delâtre’, half-length, near profile to right, seated, with long hair, wearing large hat, bow tie and waistcoat; S.P. Avery Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Prov. Auguste Delâtre; Samuel P. Avery; bequeathed to New York PL.
Ref. Gallatin 1916, p.9; Gallatin 1918, p.47, no.99; Denker 1995, p.35; and Print Collector’s Quarterly, vol.5, 1915, p.435 (ill.)
Repr. Gallatin 1916, pl.I; Gallatin 1918, after p.58; and Denker 1995, p.35.

1859
?Oil on panel by Edward John Poynter, on Wines and Beers Sideboard designed by William Burges, head only in quatrefoil, with moustache, wearing tilted hat; V&A, London, 8042:1 to 3-1862.
Ref. Denker 1995, pp.35, 37.
Repr. Denker 1995, p.36.

?1860
Pen, ink and wash drawing, 254 x 381mm, by Walter Greaves, Whistler Sketching on the Thames, signed and inscr. lower left ‘W. Greaves / 60’ (three years before Whistler met the Greaves brothers), whole-length to right, rear view, seated outdoors sketching in boat on Thames at Chelsea, Henry Greaves (1844–1904) holding oar and looking out at viewer, Alldin’s Coal Wharf and Cadogan Pier in background; coll. Tom Pocock.
Prov. Mrs C. Marchant; Sotheby’s, London, 20 July 1966 (27), bought by Tom Pocock.
Ref. Letter from T. Pocock to R. Ormond, 2 Feb. 1967, NPG NoA (Greaves); and Denker 1995, p.102.
Repr. NPG SB (Whistler); Pocock 1970, facing p.33; and Denker 1995, p.102.

?Pen and ink drawing by Walter Greaves, signed and inscr. lower right ‘W. Greaves 1860’ (three years before Whistler met Greaves brothers), whole-length to left, rear view, seated outdoors sketching in boat on Thames at Chelsea, probably Henry Greaves (1844–1904) holding oar, in profile, boats and wharf buildings in background; untraced.
Ref. Letter from Malcolm Rogers to S.V. Matthews, 20 Oct. 1981, NPG NoA (Greaves).
Repr. NPG SB (Whistler).

1861
Pencil drawing, 279 x 194mm, by Francis Lathrop (1849–1909), inscr. and dated ‘Whistler, 1861’, head-and-shoulders, profile to left, one of three figures seated at table in outdoor café on river bank; S.P. Avery Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Ref. Gallatin 1918, p.47, no.101.

1862
Pen and ink caricature by George Du Maurier, in letter to Ellen Du Maurier, July 1862, head, facing forward with monocle, evening at Little Holland House; untraced.
Repr. Du Maurier 1951, facing p.224.
See also Du Maurier, Hunt, Millais, Prinsep, Sandys, Walker, Watts.

1863
Pen and ink drawing with wash, 140 x 200mm, by Henri Fantin-Latour (1836–1904), sketch for Hommage à Delacroix (see following item), inscr. and dated ‘11. Septembre 1863. / 1 Moi / 2 Legros / 3 Whistler / 4 Manet / 5 Bracquemond / 6 Duranty / 7 Myianus regarde le public [?] / 8 Guillaume / 9 Cordier’, whole-length, seated with legs crossed, in centre of group of figures gathered around bust of Delacroix; Dept des Arts graphiques, Louvre, Paris, RF 12696r.
Ref. Denker 1995, pp.45–7.
Repr. Denker 1995, p.46.

Ref. Letter from H. Fantin-Latour to J.M. Whistler, 19 July 1863, Dept of Special Colls, Glasgow UL, MS Whistler F13.

1864
Oil on canvas, 1600 x 2502mm, by Henri Fantin-Latour (1836–1904), Hommage à Delacroix, signed and dated 1864, three-quarter-length, standing in front of framed portrait of Delacroix, wearing frock coat, in group of ten men, incl. Fantin-Latour and Edouard Manet; M. d’Orsay, Paris; RF 1664.
Exh. Salon, Paris, 1864; Exposition Universelle, Paris, 1889.
Ref. Gallatin 1918, p.34, no.34; and Denker 1995, p.45.
Repr. Duret 1904; Pennell & Pennell 1908, facing p.130; Denker 1995, p.44; and Tedeschi & Salvesen 1998, p.8.

Caricature drawing by Bertall & Co. (Albert d’Arnoux) for Le testament de César Girodot, par Fantin-Latour, after item above; untraced.
Repr. Le Journal amusant, 4 June 1864; and Jullien 1909, p.65.

Pen and ink caricature drawing by André Gill (1840–1885) for Moi et Delacroix, avec mes amis autour, par Fantin, after item above; untraced.
Ref. Gallatin 1918, p.67, no.238.
Repr. Le Salon pour rire, 1864; and Juillien 1909, p.64.


1865
Sketches by Henri Fantin-Latour (1836–1904) for Le toast: hommage à la vérité including:
(a) charcoal drawing, 137 x 223mm, inscr. and dated at upper edge ‘Verité / 20 du moins / que Whistler [underlined] / Manet / 15 de moins que Whistler / 15 au soir -16 Janvier 1865 matin Fantin’ and illegible inscr. at lower right, in group of eight men, incl. Edouard Manet, in contemporary dress around nude figure of Truth in niche, with violinist representing Music and artist with sketchbook representing Art; Dept des Arts graphiques, Louvre, Paris, RF 12418r.
Ref. Denker 1995, p.50.
Repr. Denker 1995, p.51.

(b) charcoal, pen and ink drawing, 160 x 232mm, dated upper edge 16–17 Jan. 1865, in front of table in group of nine figures, incl. Edouard Manet; Dept des Arts graphiques, Louvre, Paris, RF 12419r.
Ref. Denker 1995, pp.51–2.
Repr. Denker 1995, p.52.

Oil on canvas, 468 x 366mm, by Henri Fantin-Latour (1836–1904), Portrait of Whistler, head-and-shoulders, in collarless oriental robe with button at neck; Freer GA, Smithsonian Inst., Washington, DC, 06.276a–b.
Prov. Samuel P. Avery, New York.
Ref. Gallatin 1913a, p.25, no.32; Gallatin 1918, pp.34–5, no.35; and Denker 1995, p.53.
Repr. Boughton 1903, p.212; Brinton 1908; Gallatin 1918, facing p.40; Pennell & Pennell 1921, facing p.25; Denker 1995, p.54; and Merrill 1998, p.74, fig.1.29.
This portrait is from the painting Le toast: hommage à la vérité (exh. Salon, Paris, 1865; later destroyed). The heads of Whistler, Vollon and Fantin-Latour were preserved.

1866
Pencil and grisaille watercolour drawing, 490 x 622mm, by Walter Greaves and Henry Greaves (1844–1904), Whistler in the Cremorne Gardens, signed and dated lower right ‘H. & W. Greaves / 1866’, Whistleresque figure standing with cane and hat by Venus fountain (Whistler according to Pocock; Henry Greaves according to Denker), another Whistleresque figure in top hat sitting with legs crossed at table (Walter Greaves according to Pocock; Whistler according to Denker) with Tinnie (sister of the Greaves brothers), Chinese bandstand in background; Michael Parkin Fine Art, London.
Prov. Arthur Jeffress, London; Sotheby’s, London, 13 May 1987 (86, as 510 x 610mm, dates of Henry Greaves wrongly given as 1850–1900).
Ref. Denker 1995, p.103.
Repr. Pocock 1970, facing p.48; and Denker 1995, p.103.

1869
Watercolour over pencil drawing heightened with white, 616 x 489mm, by Walter Greaves, James McNeill Whistler in the Cremorne Gardens, Chelsea, signed and dated lower edge ‘W. Greaves / 1869’ and inscr. ‘ROYAL CREMORNE GARDEN / OPEN DAILY / E.T. SMITH’S BENEFIT A BALLOON ASCENT / DANCING ON THE CRYSTAL PLATFORM / GRAND DISPLAY OF FIREWORKS’ (on advertising board), whole-length, seated with legs crossed at table, leaning over to talk to man with top hat and cane, Chinese bandstand in background; Peter Nahum Ltd, London.
Prov. [possibly Exhibition of English Drawings and Watercolours, 1720–1920, Maas G., London, 1966]; Phillips, London, 6 Nov. 1989 (85, ill.); and Christie’s, London, 23 June 1994 (47, ill.).
Ref. Denker 1995, pp.103–4 (as 1865).
Repr. Denker 1995, p.104.

Oil on canvas by Walter Greaves, signed and dated ‘W. Greaves / 1869’, half-length to left, in front of railing by Thames, wearing flat round hat, with white lock, moustache and monocle, right hand holding brush and left (obscured) holding rectangular palette; untraced.
Ref. Daily Telegraph, 27 Dec. 1932, p.7.
Repr. Daily Telegraph, 27 Dec. 1932, p.1 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC20/38); photograph NPG SB (Whistler).

Oil on canvas, 609 x 508mm, by Walter Greaves, dated 1869, half-length, seated on a bench; untraced.
Prov. Sold at auction, Anderson, New York, 5 Mar. 1912.
Ref. Gallatin 1913a, p.26, no.33; and Gallatin 1918, p.35, no.36.

Oil on canvas by Walter Greaves, A Portrait of Whistler, signed and dated ‘W. Greaves 1869’, whole-length to left, right hand holding cane, left hand on hip, with moustache and monocle, wearing top hat, buttoned-up overcoat and bows on shoes, in front of railing by Thames; untraced.
Repr. Pennell & Pennell 1921, facing p.143.
Possibly the same as the following item.

Oil on canvas, 1918 x 991mm, by Walter Greaves, dated 1869, whole-length, standing on a bridge; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913.
Ref. Gallatin 1913a, p.26, no.34; and Gallatin 1918, p.35, no.37.

Oil on canvas, 914 x 559mm, by Walter Greaves, dated 1869, three-quarter-length, leaning against a rail; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913.
Ref. Gallatin 1913a, p.26, no.35; and Gallatin 1918, p.35, no.38.
Possibly the same as the following item.

Oil on canvas by Walter Greaves, three-quarter-length to left, in front of railing by Thames, Old Battersea Bridge in background, with white lock, moustache and monocle, right arm outstretched along railing; untraced.
Prov. Rosenbach Co., Philadelphia, by 1921.
Repr. Pennell & Pennell 1921, facing p.142.

c.1869
Oil on canvas by Walter Greaves, half-length, seated by Thames, wearing top hat and smoking cigarette; untraced.
Prov. G. Norton Northrop, Minneapolis, MN.
Ref. Gallatin 1918, pp.35–6, no.40.

1870
Oil on canvas, 813 x 559mm, by Walter Greaves, James McNeill Whistler, signed and dated lower left corner ‘W. Greaves / 1870’, half-length, seated holding palette and brush, with white lock, moustache and monocle, wearing flat round hat, black suit and white cravat, outdoors by Thames; NPG, Smithsonian Inst., Washington, DC, NPG.91.125.
Prov. Christie’s, London, 2–3 Mar. 1978 (103, ill.); and Schweitzer G., New York.
Ref. Denker 1995, pp.100–101.
Repr. Denker 1995, p.100.

Oil on canvas, 775 x 635mm, by Walter Greaves, dated 1870, three-quarter-length, seated on a balcony; untraced.
Prov. Rosenbach Co., Philadelphia.
Ref. Gallatin 1918, p.36, no.41.

Oil on canvas, 635 x 483mm, by Walter Greaves, dated 1870, three-quarter-length, seated on a balcony; untraced.
Prov. Sold at auction, Anderson, New York, 18 Feb. 1913.
Ref. Gallatin 1913a, p.26, no.38; and Gallatin 1918, p.36, no.42.

1871
Oil on canvas, 914 x 451mm, by Walter Greaves, Whistler on the Chelsea Embankment, signed and dated lower right ‘W. Greaves. / 1871.’, whole-length, standing by Thames, left hand on hip, holding cane in air, with monocle, moustache and little goatee beard, wearing top hat, long black coat and white tie; Charles Goldsmith, Inc., New York.
Prov. Christie’s, London, 11 June 2003 (11).
Ref. and repr. Denker 1995, p.101 (as 914 x 457mm).

Oil on canvas, 762 x 635mm, by Walter Greaves, Portrait of James Abbott McNeill Whistler, signed and dated lower right corner ‘W. Greaves / 1871’, half-length, standing to right, looking at viewer, right hand on hip, with white lock, moustache and monocle, wearing grey buttoned-up frock coat; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913; purchased by Pennsylvania Academy of Fine Arts, Philadelphia, 1914; Sotheby’s, New York, 29 Oct. 2002 (17); and Christie’s, 17 June 2014 (99, ill.).
Exh. Possibly First American Exh. of the Original Work of Walter Greaves, Rosenbach G., Philadelphia, 1911 (5 or 6).
Ref. Gallatin 1913a, p.27, no.42; and Gallatin 1918, p.37, no.46.
Repr. Art Newspaper, vol.131, Dec. 2002, p.40.

Oil on canvas by Walter Greaves, dated 1871, quarter-length; untraced.
Prov. Walter T. Spencer, London, by 1913.
Ref. Gallatin 1913a, p.27, no.39; and Gallatin 1918, p.36, no.43.

Oil on canvas by Walter Greaves, dated 1871, whole-length, standing; untraced.
Prov. Walter T. Spencer, London, by 1913.
Ref. Gallatin 1913a, p.27, no.40; and Gallatin 1918, p.36, no.44.

Oil on canvas, 440 x 340mm, by Walter Greaves, dated 1871, three-quarter-length, in evening clothes; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913.
Ref. Gallatin 1913a, p.27, no.41; and Gallatin 1918, p.36, no.45.
Repr. Pennell & Pennell 1921, facing p.142.

1872
Terracotta bust on ebonised wood plinth, 679mm high, by Joseph Edgar Boehm, James McNeill Whistler, facing left, with moustache, wearing jacket, shirt and necktie; NPG, Smithsonian Inst., Washington, DC, NPG.65.74.
Prov. Bought by Thomas Way at Whistler’s bankruptcy sale, Sotheby’s, London, 12 Feb. 1880.
Exh. RA 1873 (1410).
Ref. Gallatin 1913a, p.41, no.142; Gallatin 1918, p.59, no.190; 1965 Annual Report, NPG, Smithsonian Inst., Washington, DC, 1966, p.348; and Denker 1995, pp.64–5.
Repr. Way & Dennis 1903, facing p.1; Pennell & Pennell 1908, vol.2, facing p.36; Kenin 1979, p.170; and Denker 1995, p.67.

Terracotta bust on plinth, approx. 609mm high, cast after item above; untraced.
Prov. HRH Princess Louise, Duchess of Argyle; sold in aid of the Red Cross, 1915, for 75 guineas.
Ref. The Year’s Art 1916, p.402.
Repr. Bookman, suppl., Oct. 1912, p.37 (cutting, Dept of Special Colls, Glasgow UL, PC22/129)

Pen and ink drawing by John Watkins (exh. 1880–1904) after bust by Boehm, c.1877; untraced.
Ref. Gallatin 1918, p.42, no.71.
Repr. L’Art, vol.10, 1877, p.9.

Pen and ink drawing by George Bentham after bust by Boehm, c.1904; untraced.
Ref. Gallatin 1918, p.45, no.89.
Repr. Whistler 1904.


Pencil and watercolour drawing, 489 x 622mm, by Henry Greaves (1844–1904) and Walter Greaves, A Balloon Ascent from Cremorne Gardens, signed and dated lower left ‘H. & W. Greaves / 1872’ and inscr. ‘ADMISSION Gs’ (on booth) and ‘CREMORNE’ (on balloon), whole-length, standing at left, with moustache, monocle and cane, wearing top hat, beside female figure with bonnet and parasol; priv. coll.
Ref. Denker 1995, p.104.
Repr. Denker 1995, pp.104–5.

Oil on canvas, 914 x 584mm, by Walter Greaves, dated 1872, whole-length to left, head turned to front, standing in front of stone wall, left hand on hip, right hand resting on cane, with moustache, monocle and top hat; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913; sold Christie’s Interiors, New York, 8–9 Feb. 2011 (189).
Ref. Gallatin 1913a, p.27, no.43; and Gallatin 1918, p.37, no.47.

1874
Oil on canvas, 890 x 711mm, by Walter Greaves, Portrait of Whistler on the Thames, signed and dated lower left corner ‘W. Greaves / 1874’, half-length to right, standing, left hand on cane (almost obscured), with monocle, wearing black frock coat, white cravat and top hat, by railing in front of Thames; Ferens AG, Hull, KINCM:2005.4986.
Prov. J. Rochelle Thomas sale, 1919; purchased by Jonathan Clark Fine Art, London; purchased for Ferens AG, 1989.
Exh. Possibly USA, 1920s.
Repr. ‘J. Rochelle Thomas’, Connoisseur, vol.22, no.216, Aug. 1919.

Oil on canvas, 914 x 711mm, by Walter Greaves, signed and dated lower left ‘W. Greaves 1874’, half-length to left, standing, holding brush in right hand (gesturing to river) and square palette in left, with moustache, monocle and round-brimmed hat; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913; sold Christie’s Interiors, New York, 8–9 Feb. 2011 (190).
Ref. Gallatin 1913a, p.27, no.44; and Gallatin 1918, p.37, no.48.

Oil on canvas, 914 x 609mm, by Walter Greaves, dated 1874, half-length, standing; untraced.
Prov. Sold at auction, Anderson, New York, 5 Mar. 1912.
Ref. Gallatin 1913a, p.27, no.45; and Gallatin 1918, p.37, no.49.

Oil on canvas by Walter Greaves, dated 1874, three-quarter-length, painted on London Embankment; untraced.
Prov. John Lane, London, by 1913.
Ref. Gallatin 1913a, p.28, no.46; and Gallatin 1918, p.37, no.50.

Portrait, medium unknown, 127 x 101mm, by Percy Thomas (1846–1922), signed and dated 1874; untraced.
Prov. Abbott & Holder, London, April–May 1995, list 297, no.405.

Etching, 133 x 95mm, by Percy Thomas (1846–1922), signed and dated 1874; one impression exh. Artists and Writers, Parkin G., London, 1976 (54).

1875
Oil on canvas by Walter Greaves, signed and dated lower left ‘W. Greaves 1875’, three-quarter-length, holding brush in right hand (gesturing to river) and square palette in left, with white lock, moustache and monocle, wearing flat round hat, in front of railing by Thames, boats in background; untraced.
Prov. Rosenbach Co., Philadelphia, by 1921.
Repr. Pennell & Pennell 1921, facing p.142.
Possibly the same as the following item.

Oil on canvas, 1041 x 889mm, by Walter Greaves, three-quarter-length, standing, pointing to river; untraced.
Prov. Rosenbach Co., Philadelphia, by 1913.
Ref. Gallatin 1913a, p.28, no.47; and Gallatin 1918, p.38, no.53.

Oil on canvas by Walter Greaves, dated 1875, three-quarter-length, painting on banks of Thames; untraced.
Prov. James Swan, Detroit, MI, by 1918.
Ref. Gallatin 1918, p.38, no.51.

c.1875
Oil on canvas 428 x 635mm, by unknown artist, Whistler and the Leyland Family in the Billiard Room, Speke Hall, whole-length, seated second from left with head tilted back; Walker AG, Liverpool, WAG9524. Exh. 8th Liverpool Biennial, 2014 (The Bluecoat, Gallery 2).

1876
Oil on canvas, 760 x 610mm, by Walter Greaves, Portrait of James Abbott McNeill Whistler, signed and dated lower left ‘W. Greaves / 1876’, half-length, with moustache and monocle; untraced.
Prov. Mrs E. Crane Chadourne; gifted to Corcoran GA, Washington, DC; Sotheby’s, New York, 3 May 1979 (74, ill.).

Oil on canvas laid on panel, 1219 x 787mm, by Walter Greaves, Whistler at His Easel, signed and dated lower right ‘W. Greaves / 1876’, three-quarter-length, seated, holding palette in left hand and brush in right, with white lock, moustache and monocle, in interior at easel painting Thames Nocturne, river scene on wall behind; Michael Parkin Fine Art, London.
Prov. Rosenbach Co., Philadelphia, by 1913; Sotheby’s, 26 Apr. 1972 (14); Roland, Browse and Delbanco, London, May–June 1974 (14, ill.); Sotheby’s, London, 13 Nov. 1985 (7); Phillips, 2 Mar. 1999 (50, ill.); Christie’s, London, 14 June 2005 (29, ill.).
Exh. Walter Greaves: Pupil of Whistler, Michael Parkin G., London, 1989 (ill., frontispiece); and In Pursuit of the Butterfly, NPG, Washington, DC, 1995.
Ref. Gallatin 1913a, p.28, no.48; Gallatin 1918, p.38, no.54; and Denker 1995, pp.99–100.
Repr. Pennell & Pennell 1921, facing p.42; and Denker 1995, p.96.

Crayon drawing, 241 x 229mm, by Walter Greaves Whistler Standing in a Lecture Hall, signed and dated 1876; untraced.
Prov. Michael Parkin Fine Art, London, 1984.
Exh. Walter Greaves, 1846–1930, and the Goupil Gallery: Paintings, Drawings and Etchings, Michael Parkin Fine Art, London, 1984 (42).
Ref. Greaves 1984, no.42.

1877
Pencil drawing on paper, 146 x 83mm, by Edward William Godwin (1833–1886), Whistler Painting Maud Franklin, inscr. and dated upper edge ‘Jimmy Whistler Aug 14, 77’, whole-length, rear view, in studio, painting on canvas, extra brushes in left hand, wearing waistcoat; V&A, London, E.244-1963, p.74.
Ref. Denker 1995, p.127.
Repr. Young, Macdonald & Spencer 1980, vol.2, pl.410; and Denker 1995, p.128.

Oil on canvas, 762 x 635mm, by Walter Greaves, Portrait of James Abbott McNeill Whistler, signed and dated left side ‘W. Greaves / 77’, half-length to left, seated, with white lock, moustache and monocle, wearing flat wide-brimmed hat, dark suit, white shirt and white cravat, against neutral wall with wainscoting across the bottom quarter of the canvas, the corner of a framed and mounted picture on wall behind figure at right; untraced.
Prov. Walter T. Spencer, London; Carl B. Spitzer; gifted to Toledo MA, 1910; sold by Toledo MA (to benefit Acquisitions Fund), Sotheby’s, New York, 18 Apr. 2007 (179, ill.).
Ref. ‘Portrait of Whistler’, Toledo Museum of Art Museum News, vol.4, Nov. 1910; Gallatin 1918, p.38, no.52 (as c.1875); Catalogue of European Paintings, Toledo MA, OH, 1939, pp.316–17; and Wittmann 1976, pp.70–71.
Repr. Toledo Museum of Art Museum News, vol.4, Nov. 1910; and Wittmann 1976, p.70, pl.337.

c.1878
Oil on canvas, 1905 x 914mm, by Carlo Pellegrini (‘Ape’), Portrait of J.M. Whistler, signed left side ‘Ape’, whole-length to front, standing, right hand on hip, hat in left hand, with white lock, moustache and monocle, wearing black suit and white shirt; untraced.
Prov. John W. Simpson, New York, by 1913.
Exh. (as stage prop) The Grasshopper, play produced by John Hollingshead, Gaiety Theatre, London, Dec. 1877.
Ref. Pennell & Pennell 1911, p.157; Way 1912, pp.21–2; Gallatin 1913a, p.44, no.154; and Gallatin 1918, p.69, no.245.
Repr. Gallatin 1913a, after p.48; and Merrill 1992, p.105, fig.44; and New York PL, Digital Gallery ID ps_prn_700.

c.1870s
Pen and wash drawing by Walter Greaves, The Hotel, Cremorne Gardens, with Whistler, signed lower right ‘W. Greaves’, at a table, seated on a bench, legs crossed, with moustache, wearing top hat, watching passing lady, Chinese bandstand on right of composition, hotel on left; untraced.
Prov. Messrs Spink & Son, 1940.
Repr. ‘Whistler’s Chelsea and Drawings by James Ward’, Sphere, 27 July 1940 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC20/13).

1880
Pencil drawing, 175 x 103mm, by Robert Blum (1857–1903), inscr. lower edge ‘Venice ’80 / No doubt this is “Jimmy” / W. J. Baer’, whole-length, rear view, sketching out of window, in shirt sleeves; Cincinnati AM, 1916.119.
Ref. and repr. Denker 1995, p.111.
William J. Baer was the executor of the artist’s estate. When Blum’s sketchbooks were taken apart Baer made notations on the individual pages.

Monotype in black ink, 224 x 154mm, by Charles Abel Corwin (1857–1938), Portrait of Whistler, signed lower right corner ‘Corwin’, quarter-length, head lowered, with white lock and moustache, wearing black suit and loosely arranged tie; Met., New York, 60.611.134.
Ref. Denker 1995, pp.111, 113.
Repr. Metropolitan Museum of Art Bulletin, vol.33, no.4, winter 1975–6, p.241; Foster 1980, p.43; ‘Monograph on Monotypes’, Apollo, vol.113, Feb. 1981, p.118, no.1; Lochnan 1984, p.209; and Denker 1995, p.112.

Oil on canvas, 257 x 306mm, by Thomas Robert Way, The Room at Air Street, whole-length, standing examining etching plate, wearing overalls, in studio printing Venice etchings, printing press to left, Way looking out of window, small white dog in foreground; A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1913a, p.28, no.49; Gallatin 1916, pp.9–10; Gallatin 1918, p.38, no.55; and Denker 1995, p.125.
Repr. Gallatin 1916, pl.II; Gallatin 1918, after p.40; and Denker 1995, p.126.
The printing studio in Air Street, Regent Street, London was taken for Whistler by The Fine Art Society in 1880.

Lithograph, 101 x 127mm, by Thomas Robert Way after item above; untraced.
Ref. Gallatin 1918, p.52, no.132.
Repr. Way 1912, facing p.40 (as The Room in Ayr Street).


publ. 1880
Design by R. Caton Woodville (1825–1885) for Whistler in Venice, signed lower left corner ‘R. Caton Woodville’, head-and-shoulders, with monocle and straw hat, at Café Florian, Piazza San Marco; untraced.
Ref. Denker 1995, pp.109–10.
Repr. as woodcut, ILN, 8 Oct. 1880, p.361; and Denker 1995, p.109.

c.1880
Etching by Mortimer Menpes, White Ducks, or the Five Faces of Whistler, whole-length, left hand towards face, with white lock and moustache, wearing white trousers and dark blazer, with four other lighter sketches of Whistler’s head and torso in different poses; impressions colls Met., New York, 1984.1161.21 (platemark 175 x 149mm, paper 255 x 277mm); and BM, London, 1920,0306.22 (platemark 173 x 150mm, paper 250 x 230mm); also Sotheby’s, London, 2 Dec. 1977 (153, ill., 174 x 150mm, on laid india paper).
Ref. Denker 1995, p.122.
Repr. Denker 1995, p.122; and Wedd et al. 2001, p.98, fig.90.

Portrait, medium and dimensions unknown, by Walter Greaves, signed right side ‘W. Greaves’ and inscr. (Greaves’s hand) lower edge ‘James McNeill Whistler’, whole-length to left, standing, right hand holding cane into air, left hand on hip, with white lock, moustache and monocle, wearing flat round hat, buttoned-up overcoat and bows on shoes; untraced.
Prov. ‘Whistler Portraits – An Important and Unique Collection of 30 Fine Original Drawings in Wash, Pencil, Charcoal etc., of Portraits of J. McNeill Whistler, signed by W. Greaves, size of drawings 9_ ins. By 7 ins., separate mounts, in folding box container’, B.T. Batsford Ltd, Booksellers & Publishers, Cat.107, 1951 (486, ill. pl.4).
Another version in the collection of Mark Sobey, Basle, 1967.

Drypoint by Mortimer Menpes, three-quarter-length to right, near profile, seated leaning on chairback, arms folded, with white lock, moustache and monocle in left eye; Phillips, London, 2 July 2001 (327, ill., platemark 195 x 150mm, signed in pencil, on cream laid paper, deckle edges).
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/135.

publ. early 1880s
Design by unidentified artist, head-and-shoulders, wearing large hat.
Ref. Gallatin 1913a, p.38, no.131; and Gallatin 1918, p.52, no.134.
Repr. as wood-engr., 76 x 51mm, New York Sun, early 1880s.

1885
Oil on canvas, 1883 x 921mm, by William Merritt Chase (1849–1916), James McNeill Whistler, inscr., signed and dated upper left ‘To my friend Whistler / Wm M. Chase / London 1885’, whole-length to right, head turned to viewer, standing, left hand on hip, right hand holding cane (or painter’s ‘wand’), index finger placed elegantly on tip, with white lock and moustache, wearing black clothes; Met., New York, 18.22.2.
Prov. Bought from Chase by William Hall Walker, New York; bequeathed to Met., New York, 1917.
Ref. Gallatin 1913a, p.28, no.50 (as 1886); Gallatin 1918, p.39, no.56; and Denker 1995, pp.116–17.
Repr. Century Magazine, June 1910; Gallatin 1918, after p.40; Connoisseur, vol.88, 1931, p.319; Young 1962, p.191, fig.3; Wilmerding 1975, p.89; Burke 1980, vol.3, p.82; and Denker 1995, p.116.

Etching, one state, 213 x 104mm, by Henri Charles Guérard (1846–1897) after item above, 1885–8; impressions colls Met., New York (1885); AI Chicago, 1927.3395 (etching, drypoint, roulette and aquatint on light green paper, c.1888); also Sotheby’s, London, 15 June 1983 (232).
Ref. Gallatin 1918, p.50, no.124.
According to Gallatin, only one impression was printed.


publ. 1885
Pen and ink drawing by unidentified artist, head only; untraced.
Ref. Gallatin 1913a, p.32, no.89; and Gallatin 1918, p.42, no.72.
Repr. Figaro, 28 Feb. 1885.

1886
Charcoal drawing, 830 x 432mm, by John White Alexander (1856–1915), Portrait of Whistler, signed and dated lower right ‘J W Alexander / London 86’, and autographed on margin ‘J. McNeill Whistler’ with butterfly, three-quarter-length to left, head turned to viewer, standing, left hand on hip, cloak over left shoulder, with white lock, moustache and monocle; Met., New York, 23.230.2.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1913a, p.35, no.110; Gallatin 1918, pp.47–8, no.102; and Denker 1995, p.114.
Repr. as halftone engr. by H. Davidson, Bacher 1907, p.108; Gallatin 1913a, after p.40; Gallatin 1918, after p.58; and Denker 1995, p.115.

c.1886
Drypoint by Mortimer Menpes, Six Studies of Whistler, six quarter-length, half-length and three-quarter-length poses on same plate, some with hat, some with buttoned-up overcoat, some with monocle; impressions colls MFA, Boston, 1991, 850 (drypoint on laid paper, 193 x 136mm); Cleveland MA, 1924.71 and 1949.109; also Graphic Works: Prints, Drawings and Watercolours, Richard McEvoy Fine Art, June 1992 (14, ill., as Studies of James Abbott McNeill Whistler, c.1886, platemark 188 x 140mm, paper 283 x 236mm, black ink on wove paper, with strong burr and plate tone, signed in pencil, inscribed ‘imp.’); and Portrait of the Artist, touring exh., Wolsely Fine Arts, London, 1999 (71, ill., as c.1886, platemark 188 x 140mm, signed in pencil at lower right, inscribed ‘imp’).
Ref. Gallatin 1913a, p.30, nos 70–75; Gallatin 1918, p.55, nos 156–61; and Denker 1995, p.122 (as 1880s).
Repr. Menpes 1904, facing p.146; Denker 1995, p.123; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/24 (courtesy of A. & C. Black).
According to the Wolsely exh. cat. there were about 10 impressions.

1887
Drawing by John Dawson Watson, signed and dated lower right ‘J. D. W. / 1887’, quarter-length, profile to left, with moustache and monocle; untraced.
Prov. Bonhams, London, 2 Nov. 1995 (60, ill.).

publ. 1887
Pen and ink drawing, 156 x 216mm, by Maurice William Greiffenhagen, whole-length, engaged in conversation with group of men; untraced.
Ref. Gallatin 1913a, p.32, no.90; and Gallatin 1918, p.42, no.73.
Repr. Judy, 16 Mar. 1887.

Drypoint by Mortimer Menpes, Whistler, signed lower left ‘Menpes’, three-quarter-length to right, with white lock and moustache, possibly a monocle in left eye, body sketchy, head detailed; no impressions traced.
Repr. Dowdeswell 1887, p.98.

c.1887
Drypoint by Mortimer Menpes, Whistler Times Seven, seven full-length portraits, with long coat, top hat and cane, in variety of poses; impressions coll. Michael Palmer (as 1880s, 140 x 190mm); also Sotheby’s, London, 11 May 2001 (187, ill., with Way lithograph of Whistler and three etchings by Orivida Pissarro) (etching, unsigned, brown ink, with plate tone); Bonhams, 30 June 2003 (180, ill., 230 x 275mm, laid paper, signed in pencil); and Campbell Fine Art, Tunbridge Wells, Cat.11, summer 2004 (467, ill., etching with soft ground etching, signed in pencil, antique laid paper, platemark 232 x 275mm, paper 280 x 347mm).
Ref. Denker 1995, p.122 (Palmer).
Repr. Denker 1995, p.124.

c.1887–8
Pencil, crayon and wash drawing, 279 x 191mm, by Walter Greaves, Portrait of James McNeill Whistler, P.R.B.A., signed lower right ‘W. Greaves’ and inscr. lower edge (Greaves’s hand) ‘James McNeill Whistler’, three-quarter-length to left, with moustache and monocle, wearing top hat; untraced.
Prov. Exhibition of Early English Watercolours, Martyn Gregory, London, 15 Nov.–6 Dec. 1986 (ill.); and Tricorns and Turbans, Martyn Gregory, London, 1987 (33, ill.).
Repr. Burlington Magazine, no.1001, Oct. 1986, p.xiv (bw advert).
Whistler was president of the RSBA 1887–8.

late 1880s
Gouache drawing by (John) Bernard Partridge; see NPG 3541.

1880s
Drypoint by Mortimer Menpes, Whistler with Monocle, signed in plate lower right ‘Mortimer Luddington Menpes imp’, head-and-shoulders, with moustache and monocle, smiling; impressions colls MFA, Boston, 1991.849 (platemark 168 x 149mm, on laid paper, 213 x 200mm); and Cleveland MA, 1924.74.
Ref. Gallatin 1913a, p.31, no.76.
Repr. Brush and Pencil (Chicago), Aug. 1903; Lochnan 1984, p.233 (as Portrait of Whistler with Monocle, 184 x 132mm, Reid G., Guildford, Surrey); and Denker 1995, p.121 (as Whistler with Monocle).

Charcoal drawing, 347 x 204mm, by Paul Adolphe Rajon, signed along tie ‘P. Rajon’ and inscr. ‘À mon ami Whistler’, head-and-shoulders, head turned slightly to left, with white lock, moustache and monocle; untraced.
Prov. Wilfred Buckley, England, by 1913.
Ref. Gallatin 1913a, p.36, no.115; and Gallatin 1918, p.52, no.135.
Repr. Eddy 1903, frontispiece; Gallatin 1918, after p.58 (as photogravure); Print Collector’s Quarterly, vol.6, 1916, p.425 (as crayon; cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/67); and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/119.

Lithograph by Paul Adolphe Rajon after item above, signed on stone along tie ‘P. Rajon’, head-and-shoulders to left, head facing viewer, with white lock, moustache and monocle, wearing jacket and necktie; impressions colls Birmingham MAG (green paper, 298 x 213mm); MFA, Boston, M26257; and Cleveland MA, 1947.474; also Sotheby’s, London, 26–7 Nov. 1979 (624) and 2 Dec. 1977 (172, ill., 230 x 160mm); Artist as Portrait, FAS, London, 2000; Bonhams, London, 2005 (222, ill., green laid paper, 273 x 197mm); and Christie’s, London, 14 Oct. 1980 (303, with print by J. Pennell).
Ref. M. Salaman, Court and Society Review, 1 July 1886.
Repr. Boughton 1903, facing p.212 (as ‘from the soft-ground etching by Rajon’); and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC20/26 (owned by Kennedy & Co.), PC21/13 (woodcut).

Chromolithograph, 155 x 215mm, after lithograph above, as cigar-box label for Whistler Cigar, Leopold Powell and Co., Tampa, Florida, 1910, inscr. upper edge ‘WHISTLER’ and lower edge ‘James Abbott McNeill Whistler’, head-and-shoulders to left, with moustache and monocle, beneath reproductions of six of Whistler’s paintings, incl. Arrangement in Grey and Black, No.2: Portrait of Thomas Carlyle (1872–3; Kelvingrove AGM, Glasgow) and Harmony in Grey and Green: Miss Cicely Alexander (1872–4; Tate); A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photography, New York PL.
Ref. Gallatin 1913a, p.39, no.141; Gallatin 1918, p.57, no.184; and Denker 1995, p.155.
Repr. Denker 1995, p.154.

Pen and ink drawing by unidentified artist after charcoal drawing above; untraced.
Ref. Gallatin 1918, p.46, no.95.
Repr. As advertisement for Whatman’s drawing paper, International Studio (New York), Apr. 1918.


1890
Pen and ink drawing on paper, 222 x 191mm, begun by Sidney Starr (1857–1925) and completed by James McNeill Whistler, James McNeill Whistler, signed lower left with butterfly and dated upper right ‘1890’, head-and-shoulders, near profile to left, with moustache and monocle; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.
Prov. Pickford Waller, London, by 1913.
Exh. The Wilde Years, Barbican AG, London, 2000 (174).
Ref. Gallatin 1913a, pp.32–3, no.91; Gallatin 1918, pp.42–3, no.74; and Denker 1995, p.132.
Repr. Gallatin 1913a, after p.40; Gallatin 1918, after p.44; Denker 1995, p.132; and Sato, Lambourne & Holland 2000, p.127, no.174.
Executed for The Whirlwind (London), but not used.

1891
Etching and drypoint by Mortimer Menpes, half-length, near profile to right; impressions Bonhams, London, 7 Feb. 1979 (78, ill. pl.4, as Right Profile and his Famous Cloak, etching and drypoint printed with tone, signed in pencil, 182 x 140mm); and Lawrences, Crewkerne, 29 Oct. 1987 (40, drypoint, printed monogram ‘MM’, 184 x 139mm).

Etching, 191 x 140mm, by Mortimer Menpes, dated ‘1891’ (in pencil), half-length, near profile to right; no impressions traced.
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (76, as Whistler: Right Profile in his Famous Cloak).

1892
Etching, 248 x 152mm, by Ernest Haskell (1876–1925), signed with monogram and dated ‘1892’ (in pencil), head-and-shoulders; ?V&A, London
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (60).
Ref. London 1979, no.60; and Country Life, vol.152, 23 Nov. 1972, p.1370, no.3 (ill.).
Repr. London 1979, back page.

c.1894
Pen and ink drawing, 248 x 191mm, by William Rothenstein, signed ‘W. R’, Paris, drawn from memory, whole-length to left, standing, holding manuscript in right hand and cane in left, with left hand on hip, wearing overcoat; AI Chicago, 1933.242.
Prov. C.L. Rutherston, Bradford, England, by 1918.
Ref. Gallatin 1918, p.43, no.76.
Repr. Gallatin 1918, after p.44.

Pen and ink drawing, 248 x 191mm, by William Rothenstein, inscr. and signed lower right ‘J. M. Whistler W.R.’, three-quarter-length, standing, profile to left, left hand on hip, holding small cane in left hand, right hand holding volume, wearing long coat; untraced.
Ref. Rothenstein 1926, p.5, no.38.
Repr. Rothenstein 1926, pl.8.

1895
Etching by Mortimer Menpes, Wiser than the Wise, head-and-shoulders to right, head tilted and turned to front, with white lock, moustache and monocle in left eye; impressions Cleveland MA, 1924.66; also Christie’s, London, 18 May 1976 (405, ill., etching, signed in pencil below platemark, ‘Mortimer Menpes imp’); Bonhams, London, 7 Feb. 1979 (80, ill. pl.4, etching with drypoint, 1st state, 185 x 140mm); Lawrences, Crewkerne, 29 Oct. 1987 (40, ill.) (three impressions, platemark 192 x 139mm).
Repr. Mullaly 1980, p.332, no.6.

publ. 1895
Drypoint by Mortimer Menpes, J. McNeill Whistler, signed lower left ‘Menpes.’, three-quarter-length to right, looking at viewer, with white lock and moustache; no impressions traced.
Prov. Walter Dowdeswell, London.
Repr. The Year’s Art 1895, frontispiece; and possibly unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/135 and NPG SB (Whistler).

c.1895
Lithograph, 222 x 165mm, by Thomas Robert Way, Sketch of Whistler, Whilst He was Retouching a Stone, signed in monogram lower section ‘TRW’, half-length, in profile, bent over lithographic stone; priv. coll.
Prov. Mrs T.R. Way, in 1921.
Ref. Gallatin 1916, p.10; Gallatin 1918, p.52, no.133; and Denker 1995, pp.125–6.
Repr. Way 1912, facing p.126; Pennell & Pennell 1921, after p.14 (as Whistler Making a Lithograph at Way’s); Denker 1995, p.127; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/30.

Crayon drawing by Thomas Robert Way, half-length, in profile, bent over lithographic stone; untraced.
Ref. Gallatin 1913a, p.36, no.114.
Possibly the same as item above, mistaken for a crayon drawing.

c.1896
Lithograph by Thomas Robert Way, J.A.M. Whistler with White Lock, inscr. left side with butterfly, quarter-length, body turned to left, head facing viewer; impressions Boston PL, MA (205 x 140mm); and Christie’s, London, 19 Oct. 1971 (320).
Ref. Denker 1995, p.134.
Repr. Denker 1995, p.136 (Boston).

1897
Pencil drawing, 140 x 110mm, by Giovanni Boldini, study for item below, signed lower left ‘Boldini’; untraced.
Prov. On sale at Sotheby’s, 22 June 1983 (541, as A Portrait of James Abbot [sic] McNeill Whistler).

Oil on canvas, 1704 x 952mm, by Giovanni Boldini, James A. McNeill Whistler, signed and dated lower left ‘Boldini / 1897’, whole-length to front, seated sideways on Louis XVI chair, holding silk top hat and coat in left hand, right elbow resting on chairback, right hand resting on forehead (little finger raised), wearing formal evening dress, in interior with bare floorboards; Brooklyn M., New York 09.849.
Exh. Exposition Universelle, Paris, 1900; Realism to Symbolism, Wildenstein, New York, and Philadelphia MA, 1971.
Ref. Gallatin 1913a, pp.28–9, no.51; Gallatin 1918, p.39, no.58; G.A. Reynolds 1984, p.61, cat.10; and Denker 1995, pp.138–9.
Repr. ‘The New Gallery’, MA, NS, 1903, p.433 (process engr.); Duret 1904; Gallatin 1918, after p.40; Pennell & Pennell 1921, facing p.18; Cardona 1951, no.16; Howe 1959, no.32; Guzzi 1967, pl.58; ‘Art Across North America: Outstanding Exhibitions: Whistler’s World’, Apollo, vol.93, June 1971, p.520, fig.3; Butler 1971, p.210, no.8; Kenin 1979, p.165; G.A. Reynolds 1984, p.37; Denker 1995, p.139; MacDonald, Galassi & Ribeiro 2003, p.13, fig.13; and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC22/29 (signed ‘Always / J. Mc.N. Whistler’), and PC22/37.

Etching, 527 x 298mm, by Jacques Reich (1852–1923) after item above, 1916 (1st state with remarque after Whistler’s Arrangement in Grey and Black: Portrait of the Artist’s Mother [1871; M. d’Orsay, Paris]; 2nd state no remarque; 3rd state same as 2nd but printed after plate steel faced; all three states signed); impressions Campbell Fine Art, London (418, cream Japanese-style paper, signed in pencil by Reich, with remarque etching of head of Whistler’s ‘grandmother’ [sic] and printed facsimile of Whistler’s signature in lower margin, platemark 651 x 474mm, paper 525 x 296mm); Artist as Portrait, FAS, London, 2000 (178, inscr. in pencil below platemark by Reich as special proof ‘Remarque Proof No. 20’), same impression on sale, 100 Portraits and a Coffin, Roy Davids Ltd, Great Haseley, Oxon., 1999 (5), again at Roy Davids, Mar. 2004, again at Creative Encounters (Roy Davids Coll.), Bonhams, London, 3 Oct. 2005 (224); and different impression, 100 Portraits and a Coffin, Roy Davids Ltd, Great Haseley, 1999 (92).
Ref. Gallatin 1918, p.58, no.187.
Repr. Davids 2000, no.178.


Wash drawing by unidentified artist after Boldini, half-length; untraced.
Ref. Gallatin 1918, p.58, no.189.
Repr. As advertisement for Whatman’s drawing paper, Arts and Decoration (New York), Apr. 1918.

Pencil drawing on paper, 197 x 152mm, by Giovanni Boldini, Study of a Console Table and a Sketch of Whistler, signed and dated lower left ‘Boldini 1897’, head-and-shoulders and right hand on forehead, with moustache; coll. Vito Doria, Bologna.
Ref. G.A. Reynolds 1984, p.61, cat.9.
Repr. G.A. Reynolds 1984, p.36.

Drypoint on zinc by Giovanni Boldini, James McNeill Whistler (Whistler Asleep), half-length, near profile to right, seated on sofa, back supported by cushions, wearing formal jacket, asleep in Boldini’s Parisian studio, between poses for oil portrait (see above); impressions colls Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL; NPG, Smithsonian Inst., Washington, DC, NPG70.74 (platemark 197 x 297mm, paper 312 x 461mm); M. Boldini, G. Civica d’Arte Moderna, Ferrara (framed and formerly hung in Boldini’s studio); and AI Chicago, 1933.250; also collection of A.E. Gallatin, ref. P.&D. Colnaghi, spring 1979 (123) (white laid van Gelder paper, 200 x 301mm, exh. Forgotten Printmakers, Kovler G., Chicago, 1967–8 [94]).
Ref. Gallatin 1913a, p.29, no.55 (impression signed in pencil by Boldini); Gallatin 1915; Gallatin 1916, pp.10–12; Gallatin 1918, pp.50–51, no.127; Cardona 1951, p.107; Prandi 1970, p.78, no.24; and Denker 1995, p.140.
Repr. Gallatin 1916, pl.III; Gallatin 1918, after p.58; Pennell & Pennell 1921, after p.18; Prandi 1970, p.79; G.A. Reynolds 1984, p.36 (Ferrara); Boldini, exh. cat., Palazzo dell Permanente, Milan, 1989, p.272, no.31/I (platemark 396 x 285mm, paper 270 x 375mm); Denker 1995, p.140 (NPG, Smithsonian Inst., Washington, DC); and Print Collector’s Quarterly, vol.5, 1915, p.443.
According to Edward G. Kennedy, who was present, the drypoint was carried out in 15 minutes. According to Gallatin 1918, a very rare print in an edition of about 25 .

Drypoint on zinc, 222 x 298mm, by Giovanni Boldini, signed lower right ‘Boldini’ (in pencil), quarter-length to front, left hand to head, with moustache and monocle, wearing evening dress, posing for Boldini’s oil portrait (see above); no impressions traced.
Prov. According to Gallatin, Edward G. Kennedy, New York, owned the only copy in existence, 1913.
Ref. Gallatin 1913a, p.30, no.56; and Gallatin 1918, p.51, no.128.
Repr. Gallatin 1913a, facing p.40; Gallatin 1918, after p.58; London 1979, no.23 (as etching).
According to Gallatin 1918, made after Boldini’s oil portrait.

Drypoint by Paul César Helleu, James McNeill Whistler, dated ‘97’, half-length to front, seated sideways on chair, left hand resting on head in elegant manner, right hand on hip, with monocle; impressions colls NPG, Smithsonian Inst., Washington DC, NPG.87.224 (328 x 253mm); J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC; and priv. coll.; also Bonhams, London, 17 Nov. 1982 (75, pale grey laid paper, 345 x 260mm, signed in pencil ‘Helleu’).
Ref. Gallatin 1913a, p.29, no.54; Gallatin 1918, p.50, no.125; and Denker 1995, p.141.
Repr. Revue de L’Art, 10 Dec. 1903; ‘The International Society’s Whistler Exhibition’, unidentified press cutting, 1905, p.1 (Dept of Special Colls, Glasgow UL, MS Whistler PC22/132); Bookman, suppl., Oct. 1912, p.43 (cutting, Dept of Special Colls, Glasgow UL, PC22/129); Gallatin 1918, after p.58; Pennell & Pennell 1921, after p.18 (Lib. of Congress); G.A. Reynolds 1984, p.36 (priv. coll.); Country Life, 5 June 1986; Denker 1995, p.142 (NPG, Washington, DC); Print Collector’s Quarterly, vol.5, 1915, p.439; and unidentified press cuttings, Dept of Special Colls, Glasgow UL, MS Whistler PC21/53 (inscr. ‘13 March 97’ at upper left, ‘le Clare’ at lower left, reproduction by M.L. Dumont) and PC21/75.
Helleu wrote across the cancelled plate that the edition was limited to 28 impressions.

publ. 1897
Pen and ink sketches by unidentified artist, two poses; untraced.
Ref. Gallatin 1913a, p.33, nos 92, 93; and Gallatin 1918, p.43, nos 77, 78.
Repr. Daily Graphic, 6 Apr. 1897.

Pen and ink drawing by A.C.G.; untraced.
Ref. Gallatin 1913a, p.33, no.94; and Gallatin 1918, p.43, no.79.
Repr. Westminster Budget, Apr. 1897.

c.1897
?Oil on canvas, 457 x 305mm, by circle of Giovanni Boldini, A Portrait of James Abbot [sic] McNeill Whistler; untraced.
Prov. Christie’s, 8 Feb. 1985 (89, ill.).
Related to Boldini’s oil portrait (see above, ‘1897’).

Drypoint by Paul César Helleu, James McNeill Whistler, head-and-shoulders to front, with monocle and raised eyebrows; A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL (152 x 102mm).
Ref. Gallatin 1916, pp.12–13; Gallatin 1918, p.50, no.126; and Denker 1995, pp.140–41.
Repr. Gallatin 1916, pl.IV; Gallatin 1918, after p.58; Denker 1995, p.141; and Print Collector’s Quarterly, vol.5, 1915, p.438.
According to Gallatin 1918, the edition was limited to 10 or 12 impressions all cropped as in his reproduction.

Oil on canvas by Alfred Reginald Thompson after item above, 1962; Chelsea Arts Club, London.
Ref. Typescript list in NPG NoC.

Woodcut by William Nicholson, James McNeill Whistler, whole-length to left, standing, wearing evening dress and ribbon of the Légion d’honneur; impressions colls Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE (254 x 225mm); AI Chicago, 1933.237 (woodblock, 440 x 355mm); also Symbolist and Art Nouveau Prints, sale exh., Matthiesen Fine Art Ltd, London, 1980 (1) (woodcut, black ink with shades of beige, brown, grey, pink and red watercolour added by artist, on china paper laid down by artist on card, 253 x 224mm, signed and inscribed ‘No. 10’ in pen and ink by artist on backing card); William Rothenstein. A Unique Collection 1933, Carlisle CAG, 1971 (42); and James McNeill Whistler 1834–1903: A Centenary Tribute, FAS, London, 2003, exh. cat., p.46.
Transfer lithographic impressions NPG D7816 (inscr. lower left ‘W. NICHOLSON’, printed), NPG D2895 and NPG D32970; also Garton & Co., Devises, Wilts., Sept.–Oct. 1987 (17) (246 x 225mm, colour, on wove paper); Artist as Portrait, FAS, London, 2000 (177, ill.) (432 x 394mm [estimate in frame], inscr. ‘James McNeill Whistler’); Bonhams, London, 6 Dec. 2000 (218O, ill.); Bonhams and Brooks, London, 27 Mar. 2001 (81, ill., 120 x 100mm, lot includes two impressions, second different size); Michael Parkin Fine Art, London, 1972 (92, 251 x 222mm); Christie’s, London, 9–10 Oct. 1979 (220, dated 1899); Artists and Writers, Parkin G., London, 1976 (55, 248 x 235mm); and Artists of the Yellow Book, Clarendon G. and Parkin G. (244, 254 x 229mm).
Ref. Gallatin 1913b, p.37, no.116; Gallatin 1918, p.53, no.138; and Denker 1995, pp.93–4.
Repr. New Review, vol.17, Sept. 1897 (colour lithograph, captioned ‘James McNeill Whistler’); Nicholson 1898; Nicholson 1899, no.9; AJ, 1899, p.384; Gallatin 1918, after p.58; Pennell & Pennell 1921, facing p.200; MA, 1900, p.286; William Rothenstein. A Unique Collection 1933, exh. cat., Carlisle CAG, 1971, p.9, no.20; London 1983, p.69, no.244; and Denker 1995, p.95.
Nicholson’s portrait was commissioned by W.E. Henley, publisher of the New Review. Only a few proofs were printed from the original block, hand-coloured, numbered and signed by artist. Whistler appears spare and elegant, as though lit on a stage; the portrait is executed in black and white except for the red ribbon of the Légion d’honneur (liked by Whistler).

1898
Pastel on paperboard, 490 x 490mm, by Alice Pike Barney (1857–1931), James Abbott McNeill Whistler, signed and dated upper left ‘Alice Barney / 1898’, head only to left, with white lock and monocle; Smithsonian American AM, Washington, DC, 1951.14.110.
Ref. Denker 1995, pp.144–5.
Repr. McClelland 1978, no.9; and Denker 1995, p.146.

Ink, charcoal, chalk and watercolour drawing, 247 x 151mm, by Ernest Haskell (1876–1925), James McNeill Whistler, signed and dated left side ‘ERNEST HASKELL / 1898’, head-and-shoulders, profile to left, wearing top hat and monocle; Cleveland MA, 24.72.
Prov. W.V. Keller, by 1913; Ralph King, Cleveland, OH, by 1918; gifted by Mr and Mrs Ralph King to Cleveland MA, 1924.
Ref. Gallatin 1913a, p.38, no.133; Gallatin 1918, p.54, no.142 (as charcoal); and Denker 1995, p.147.
Repr. Life, Christmas number, 1898; poster to advertise American edition of Whistler 1899; as platinotype (248 x 152mm); as photogravure (plate worked on by Haskell); Gallatin 1918, after p.58; Bulletin of the Cleveland Museum of Art, no.9, Nov. 1933, frontispiece; and Denker 1995, p.149.

1902
Pastel by Mrs Albert Clifford Barney, drawn from memory, head only to left; untraced.
Ref. Gallatin 1918, p.56, no.177.
Repr. ConWay 1912, opp. p.179.

publ. 1902
Design by Ernest Haskell (1876–1925) after unidentified photograph, head only, near profile to left; no impressions traced.
Ref. Gallatin 1913a, p.39, no.134 (as woodcut, published Critic, 1903); and Gallatin 1918, p.54, no.141.
Repr. as wood-engr., 83 x 57mm, Critic (New York), Sept. 1902.

c.1902
Charcoal drawing by Joseph Czajkowski (1872–1947), head only to right; untraced.
Ref. Gallatin 1913a, p.33, no.95 (as pen and ink); and Gallatin 1918, p.56, no.176 (as charcoal).
Repr. Bowdoin 1902, frontispiece to London ed.

publ. 1903
Pen and ink drawing by M.D. after unidentified photograph; untraced.
Ref. Gallatin 1913a, p.34, no.102; and Gallatin 1918, p.44, no.86.
Repr. Daily Express, 20 July 1903.

Drypoint by Mortimer Menpes, half-length, seated, profile to right; no impressions traced.
Ref. Gallatin 1913a, p.31, no.78; and Gallatin 1918, p.55, no.162.
Repr. Brush and Pencil (Chicago), Aug. 1903.

Drypoint by Mortimer Menpes, head only, laughing; no impressions traced.
Ref. Gallatin 1913a, p.31, no.77; and Gallatin 1918, p.55, no.170.
Repr. Brush and Pencil, Chicago, Aug. 1903.

Drypoint by Mortimer Menpes, head only, laughing; no impressions traced.
Ref. Gallatin 1918, p.56, no.171.
Repr. Brush and Pencil, Chicago, Aug. 1903.

Drypoint by Mortimer Menpes, half-length, profile; no impressions traced.
Ref. Gallatin 1918, p.56, no.172.
Repr. Brush and Pencil, Chicago, Aug. 1903.

Pen and ink drawing by unidentified artist after unidentified photograph; untraced.
Ref. Gallatin 1913a, p.33, no.96; and Gallatin 1918, p.43, no.80.
Repr. The Star, 18 July 1903.

Pen and ink drawing by unidentified artist after unidentified photograph, head-and-shoulders; untraced.
Ref. Gallatin 1913a, p.33, no.97; and Gallatin 1918, p.44, no.81.
Repr. Staats Zeitung (New York), 19 July 1903.

Pen and ink drawing by unidentified artist after unidentified photograph, head-and-shoulders, near profile to left; untraced.
Ref. Gallatin 1913a, p.34, no.100; and Gallatin 1918, p.44, no.84.
Repr. News of the World, 19 July 1903.

Pen and ink drawing by unidentified artist after unidentified photograph; untraced.
Ref. Gallatin 1913a, p.34, no.101; Gallatin 1918, p.44, no.85.
Repr. Daily News, 20 July 1903.

Pen and ink drawing by unidentified artist; untraced.
Ref. Gallatin 1913a, p.34, no.103; and Gallatin 1918, p.44, no.87.
Repr. Daily Graphic, 20 July 1903.

Pen and ink drawing by unidentified artist after unidentified photograph, head-and-shoulders, near profile to left; untraced.
Ref. Gallatin 1913a, p.34, no.104; and Gallatin 1918, p.45, no.88.
Repr. Weekly Dispatch (London), 19 July 1903; and Weekly Budget, 25 July 1903.



Undated portraitsback to top


Pencil drawing, 79 x 60mm by Giovanni Boldini, whole-length to left, crouching in front of painting, wearing light jacket and dark trousers, possibly smoking; untraced.
Prov. Edward G. Kennedy, New York, by 1913.
Ref. Gallatin 1913a, p.38, no.130; and Gallatin 1918, p.51, no.129.
Repr. Gallatin 1913a, after p.40; and Gallatin 1918, after p.58.

Etching, 140 x 102mm, by George Du Maurier; no impressions traced.
Exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983 (229).
Ref. London 1983, p.65, no.229.

Etching, 117 x 165mm, by Edwin Edwards (1823–1879), Whistler at Moulsey, seated sketching at Moulsey lock; no impressions traced.
Ref. Gallatin 1913a, p.29, no.53; and Gallatin 1918, p.47, no.100.

Oil on canvas by Henri Fantin-Latour (1836–1904); untraced.
Exh. 3rd Annual Exh., RSPP, Grafton G., London, 1893 (198, ref. in catalogue, vol.1, p.48).

Pen and ink drawing by Henri Fantin-Latour (1836–1904), head only, profile to left; Louvre, Paris, RF 12802, recto.
Ref. Gallatin 1913a, p.32, no.86; and Gallatin 1918, p.41, no.68.
Repr. Gazette des Beaux-Arts, 1 May 1905; and Gallatin 1918, after p.44.

Pastel drawing, 343 x 241mm, attributed to Henri Fantin-Latour (1836–1904), inscr. lower right ‘À l’ami Whistler / Fantin’, three-quarter-length to right, standing, leaning on cane in right hand, smiling out at viewer, with moustache, wearing frock coat, in front of flowers and framed canvas – pose similar to Fantin-Latour’s Hommage à Delacroix (see above, ‘1864’); untraced.
Prov. Believed to have been presented to Whistler by Fantin-Latour; Arthur Kay, Glasgow, by 1913.
Ref. Gallatin 1913a, p.36, no.111; and Gallatin 1918, p.41, no.68.
Repr. Gazette des Beaux-Arts, 1 May 1905; and Gallatin 1913a, facing p.36.
According to Gallatin 1918, the drawing is ‘tinged with caricature’ and the ‘faulty draughtsmanship’ brings its attribution into question.

Statuette by Edward William Godwin (1833–1886); untraced.
Exh. RA 1912 (ref. exh. cat., vol.17, p.59).

Pencil drawing by Henry Greaves (1844–1904), inscr. ‘Whistler / from a drypoint by Mortimer Menpes / HG’, nine studies of Whistler, incl. heads, quarter-lengths and half-lengths, some wearing hat, all with moustache and monocle; untraced.
Prov. Christie’s, London, 11 Oct. 1973 (24, multiple lot).
This seems to be a composite image based on several Menpes drypoints.

Oil on canvas, 762 x 508mm, by Walter Greaves, Whistler and Maud Franklin, signed lower right ‘W. Greaves’, whole-length, standing, leaning on elbow, with moustache and monocle, in elegant Aesthetic interior, Maud examining a porcelain vase; Whistler House MA, Lowell, MA.
Ref. and repr. Denker 1995, p.102.

Oil on canvas, 924 x 1000mm, by Walter Greaves, Whistler’s Studio, signed and inscr. lower right corner ‘W Greaves / 1869’, whole-length to front, brush in right hand, left hand on hip, in studio in front of framed Arrangement in Grey and Black: Portrait of the Artist’s Mother (1871; M. d’Orsay, Paris), palette table to left, various paintings hung on wall or propped up on floor, incl. Nocturne: Blue and Gold – Old Battersea Bridge (1872–3; Tate, London); priv. coll.
Prov. Rosenbach Co., Philadelphia, by 1913; Sotheby’s, London, 24 Mar. 1994 (35).
Ref. Gallatin 1913a, p.26, no.36; Gallatin 1918, p.35, no.39; and Denker 1995, pp.106–8.
Repr. Pennell & Pennell 1921, facing p.154; and Denker 1995, p.108.
Greaves gives the date as 1869, but Arrangement in Grey and Black: Portrait of the Artist’s Mother and Nocturne: Blue and Gold – Old Battersea Bridge had not been painted at this date. The Pennells also question the hanging arrangement, angled table palette and shape of the room as inaccurate.

Oil on canvas by Walter Greaves; see NPG 4497.

Oil on canvas by Walter Greaves, signed upper right ‘W. Greaves’, half-length to left, standing, right hand raised (perhaps holding something obscured), left hand on hip, with moustache and monocle, wearing top hat and buttoned-up overcoat, pictures on wall in background; ?coll. B. Sewell.
Prov. Sotheby’s, London, 14 July 1971 (4).
Repr. Greaves 1984, frontispiece (in photograph of Walter Greaves with William Marchant at the Goupil G., London, 1911).

Oil on canvas, 495 x 355mm, by Walter Greaves, whole-length to right, standing, right hand in pocket, palette and brushes in left hand; untraced.
Prov. Property of deceased’s estate, Bonhams, London, 25 Mar. 2003 (20); Bonhams, London, 21 Oct. 2003 (44).

Oil sketch on paper, 305 x 228mm, by Walter Greaves, three-quarter-length, seated on chair in interior, holding brush in right hand and palette in left, painting, with moustache, wearing large hat; untraced.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1913a, p.38, no.129; and Gallatin 1918, p.48, no.107.
Repr. Gallatin 1913a, after p.40.

Watercolour, 222 x 302mm, by Walter Greaves, Whistler in His Studio Painting the Portrait of His Mother, signed lower edge ‘W. Greaves’, whole-length, rear view, standing, brush and easel in hand, in studio painting framed picture propped against wall, door on left, various brushes on floor, and three vases of flowers around studio; untraced.
Prov. Christie’s, London, 2 Mar. 1979 (1, ill.).
Ref. Denker 1995, p.105.
Repr. Denker 1995, p.107.

Pencil and watercolour, 330 x 457mm, by Walter Greaves, Whistler in the Studio with the Portrait of His Mother, signed ‘W. Greaves’ (on rug), whole-length, rear view, standing, brush in hand, in studio in front of framed picture of mother, on wall above Arrangement in Grey: Portrait of the Painter (1871; Detroit IA), on floor to left Nocturne: Blue and Gold – Old Battersea Bridge (1872–3; Tate), surrounded by various other canvases, painting equipment on table (set up like easel) and set of drawers – detail probably inaccurate; priv. coll.
Prov. Sold at Christie’s, London, 21 Jan. 1972 (115).
Exh. D’Offay Couper G., London, 1968.
Ref. Denker 1995, pp.105–6.
Repr. Sphere, 27 Apr. 1940 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC20/9); Pocock 1970, facing p.33; Denker 1995, p.107; Walkley 1994, p.80 (b/w); and MacDonald 2003, p.33, fig.30.

Oil on canvas by Walter Greaves, quarter-length, slightly to right, with top hat, moustache and monocle, wearing pale-coloured jacket and dark tie; untraced.
Ref. Pocock 1970, facing p.32.

Oil on canvas by Walter Greaves, half-length; untraced.
Prov. Frank James (mayor of Merthyr Tydfil and founder of Cyfarthfa Castle MAG, 1910).
Exh. Merthyr Tydfil, Wales, 1921 (loaned by Frank James).
Ref. Pennell & Pennell 1921, p.141 (wrongly states that the museum bought the portrait); Cyfarthfa Castle MAG, Merthyr Tydfil, museum records.

Pencil and watercolour, 254 x 191mm, by Walter Greaves, Portrait of James Abbot [sic] McNeil [sic] Whistler, inscr. lower third ‘to / Wilfred Lawson. / from Walter Greaves / two Chelsea friends / of James McNeill / Whistler’ and signed lower right ‘W. Greaves’, quarter-length to right, seated, head resting on left hand, with white lock and moustache; untraced.
Prov. Christie’s, London, 13 Jan. 1993 (98).
Possibly the same item as in the following sales: Christie’s, London, 24 Mar. 1982 (35, ill., head-and-shoulders, pencil and wash, 10_ x 7_ in., signed with inscription); Christie’s, London, 18 June 1984 (271, pencil and wash, 10_ x 7_ in.), with two other unframed drawings by Greaves in which Whistler features.

Pen and sepia ink drawing, 235 x 152mm, by Walter Greaves, three-quarter-length, standing; untraced.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1918, pp.48–9, no.108.

Pen and sepia ink drawing, 216 x 162mm, by Walter Greaves, near whole-length, standing on a wharf; untraced.
Prov. M. Knoedler and Co., New York.
Ref. Gallatin 1918, p.49, no.119.

Pencil, pen and ink drawing with wash, 406 x 635mm, by Walter Greaves, in Cremorne Gardens; untraced.
Exh. Walter Greaves, 1846–1930, and the Goupil Gallery: Paintings, Drawings and Etchings, Michael Parkin Fine Art, London, 1984 (16).

Pen and ink drawing, 266 x 216mm, by Walter Greaves, Whistler Holding a Paintbrush, signed ‘W. Greaves’ (on Whistler painting, upper left), half-length, seated indoors painting, holding palette and brush, with white lock, moustache and hat, and border of peacock feather/Japanese wave motifs at right and lower edges; priv. coll.
Ref. and repr. Denker 1995, p.100.

Ink and wash drawing on paper, 280 x 188mm, by Walter Greaves, James McNeill Whistler, Full Length with Cane, signed lower right ‘W. Greaves’ and inscr. lower edge ‘James McNeil [sic] Whistler’, whole-length, with cane; Hunterian MAG, U. of Glasgow, GLAHA 42325.

Ink and wash drawing on paper, 280 x 195mm, by Walter Greaves, James McNeill Whistler, Head and Shoulders, signed lower right ‘W. Greaves’ and inscr. lower edge ‘James McNeil [sic] Whistler’, head-and-shoulders; Hunterian MAG, U. of Glasgow, GLAHA 42326.

Pen and ink drawing with wash, 210 x 165mm, by Walter Greaves, Whistler Sketching from the Balcony of the Adam and Eve, signed lower right ‘W. Greaves’, whole-length, standing on balcony drawing, wearing hat, Old Battersea Bridge visible in background; priv. coll.
Ref. Denker 1995, pp.102–3.
Repr. Denker 1995, p.103.

Pencil, ink and wash drawing on buff paper by Walter Greaves, signed lower right corner ‘Greaves’, half-length to left, seated, with white lock and moustache, wearing hat, pictures on wall behind; untraced.
Prov. Sotheby’s, London, 6 Nov. 1974 (2).

Pen, ink and wash drawing, 305 x 254mm, by Walter Greaves; untraced.
Exh. 20th Century British Painting, NG, London, 1940 (297); Walter Greaves, 1846–1930, and the Goupil Gallery: Paintings, Drawings and Etchings, Michael Parkin Fine Art, London, 1984 (28).
Ref. Greaves 1984, no.28.

Pen and ink with wash drawing by Walter Greaves, whole-length to left, standing; untraced.
Prov. Elmer Adler, Rochester, NY, by 1918.
Ref. Gallatin 1918, p.48, no.103.

Pen and ink with wash drawing by Walter Greaves; untraced.
Prov. Elmer Adler, Rochester, NY, by 1918.
Ref. Gallatin 1918, p.48, no.104.

Pen and ink drawing with brushwork, 254 x 191mm, by Walter Greaves, whole-length, seated; untraced.
Prov. Sold at auction at Anderson G., New York, 5 Mar. 1912.
Ref. Gallatin 1913a, p.37, no.117; and Gallatin 1918, p.48, no.105.

Pen and ink drawing with brushwork, 305 x 178mm, by Walter Greaves, whole-length, standing; untraced.
Prov. Sold at auction at Anderson G., New York, 5 Mar. 1912.
Ref. Gallatin 1913a, p.37, no.118; and Gallatin 1918, p.48, no.106.

Pencil, pen and ink drawings, various sizes from 216 x 153mm to 292 x 216mm, by Walter Greaves, ten drawings, half-length and three-quarter-length poses, standing; untraced.
Prov. Sold at auction at Anderson G., New York, 5 Mar. 1912.
Ref. Gallatin 1913a, p.37, nos 119–28; and Gallatin 1918, p.49, nos 109–18.

Crayon drawing, 178 x 165mm, by Walter Greaves, Whistler Drawing; untraced.
Exh. Walter Greaves, 1846–1930, and the Goupil Gallery: Paintings, Drawings and Etchings, Michael Parkin Fine Art, London, 1984 (120).
Ref. Greaves 1984, no.120.

Crayon and chalk drawing, 273 x 178mm, by Walter Greaves, Whistler in his Studio, signed; untraced.
Exh. Walter Greaves, 1846–1930, and the Goupil Gallery: Paintings, Drawings and Etchings, Michael Parkin Fine Art, London, 1984 (130).
Ref. Greaves 1984, no.130.

Sketch by Walter Greaves, drawn from memory; untraced.
Prov. William Marchant, London.
Ref. Gallatin 1918, p.49, no.120.

Black paint, pencil and white chalk drawing, 254 x 178mm, by Walter Greaves, signed lower edge ‘W. Greaves’, head-and-shoulders, with moustache, monocle and round-brimmed hat; Huntington AG, San Marino, CA, 67.42.

Pen and ink drawing, 267 x 184mm, by Walter Greaves, signed lower right ‘W. Greaves’, head-and-shoulders, with moustache, monocle and top hat; Huntington AG, San Marino, CA, 77.24.

Black crayon, brush and grey ink drawing, 331 x 221mm, by Walter Greaves; Yale Center for British Art, New Haven.
Ref. Noon 1979, p.129, no.255.

Pen, ink and black chalk drawing, 260 x 165mm, by Walter Greaves; Chelsea Arts Club, London.
Ref. Typescript listing in NPG NoC (described as ‘at easel’).

Wash drawing, 92 x 92mm, by Walter Greaves; V&A, London.
Prov. H.H. Harrod Bequest.
Ref. Victoria and Albert 1957, p.98.

Portrait, medium and dimensions unknown, by Walter Greaves; untraced.
Prov. Robinson & Fisher, London, 4 June 1914 (60).

Pen, ink and wash drawing on paper, 280 x 185mm, by Walter Greaves; untraced.
Prov. Christie’s East, New York, 15 June 1999 (355).

Pencil and watercolour drawing, 184 x 260mm, by Walter Greaves; untraced.
Exh. Summer Exh., Mercury G., London, 1971 (81).

Etching by Paul César Helleu, half-length; no impressions traced.
Exh. Kunsthalle, Hamburg, 1977.
Ref. Pantheon, vol.35, heft 3, July–Sept. 1977, p.250 (cutting, Courtauld Inst. L., London, R 4612/891962 4M 9/71 TP).

Engraving by Paul César Helleu, half-length; Cabinet des Estampes, BNF, Paris.
Ref. Bulletin des Musée Royaux des Beaux-Arts de Belgique, vol.15, 1966, p.27 (cutting, Courtauld Inst. Lib., London, D 14837/1/125 2m 1/61 DL).

Oil on canvas by Mortimer Menpes, James McNeill Whistler, three-quarter-length to left, seated, left hand on thigh, right holding brush or cane, with white lock, moustache and monocle, wearing buttoned-up frock coat, smiling; untraced.
Ref. Gallatin 1913a, p.29, no.52; Gallatin 1918, pp.39–40, no.59; and Denker 1995, pp.120–22.
Repr. Menpes 1904, frontispiece; and Denker 1995, p.122.

Oil sketch on canvas, mostly in black, 457 x 368mm, by Mortimer Menpes, two portraits, head-and-shoulders, in profile, looking down, and full-face; untraced.
Ref. Gallatin 1918, p.40, nos 60–61.

Drypoint by Mortimer Menpes, J.M. Whistler, head-and-shoulders, full-face, head tilted to right, with moustache and monocle, smiling; impressions Bonhams, London, 7 Feb. 1979 (as Roguish Smile – Evening, etching and drypoint, printed in sepia, signed in pencil, 130 x 100mm); Christie’s, London, 14 Oct. 1980 (258, 133 x 97mm, on laid paper, signed in pencil); Phillips, London, 4–5 May 1982 (274, ill., 132 x 97mm, signed in pencil, ‘roguish smile, evening’); Lawrences, Crewkerne, 29 Oct. 1987 (40, ill., with printed initials, platemark 133 x 95mm, ‘At 2 in the morning smiling as ever’); and Campbell Fine Art, Tunbridge Wells, Kent, Cat.8, Spring 2000 (340, as Whistler: Roguish Smile, Evening, c.1903, signed with initials on plate, india paper laid on white wove paper, warm brown ink, with plate tone, platemark 134 x 98mm, paper 325 x 253mm).

Etching by Mortimer Menpes, Double Portrait of James McNeill Whistler, two head-and-shoulders images of Whistler asleep; impressions AI Chicago, 1933.259 (255 x 240mm); also Lawrences, Crewkerne, 29 Oct. 1987 (40, ill., platemark 184 x 133mm).
Ref. Denker 1995, p.140.
Repr. Denker 1995, p.141 (Chicago).

Etching, 191 x 140mm, by Mortimer Menpes; no impressions traced.
Exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983 (238).
Repr. London 1983, p.67, no.238.

Drypoint by Mortimer Menpes, two studies on same plate, three-quarter and quarter-length to right, looking out at viewer, with white lock, moustache and monocle, in three-quarter-length holding cane in left hand; impressions Cleveland MA, 1924.78; also Bonhams, London, 7 Feb. 1979 (79, ill. pl.4, as The Dual Faces of Whistler and the Famous Cane, etching and drypoint); Lawrences, Crewkerne, 29 Oct. 1987 (40, ill., platemark 184 x 139mm); and Creative Encounters (Roy Davids Coll.), Bonhams, London, 3 Oct. 2005 (223, ill., known as Dual Faces with Cane, etching, platemark 203 x 152mm).
Ref. Gallatin 1913a, p.30, nos 57, 58; and Gallatin 1918, p.54, nos 143, 144.
Repr. Menpes 1904, facing p.136; and reproduction Dept of Special Colls, Glasgow UL, PH1/111 (circular stamp on verso of The Kensington Fine Art Society, 26 Alfred Place West, South Kensington).

Drypoint by Mortimer Menpes, head-and-shoulders to left, with white lock, moustache and monocle in left eye; Lawrences, Crewkerne, 29 Oct. 1987 (40, ill., platemark 139 x 184mm, two impressions, varying states).

Drypoint by Mortimer Menpes, head-and-shoulders to right, facing viewer, with white lock, moustache and monocle in left eye; Lawrences, Crewkerne, 29 Oct. 1987 (40, ill., platemark 184 x 133mm).

Drypoint by Mortimer Menpes, head-and-shoulders to right, with white lock, moustache and monocle; no impressions traced.
Ref. Gallatin 1913a, p.30, no.59; and Gallatin 1918, p.54, no.145.
Repr. Menpes 1904, facing p.138.

Etching with drypoint by Mortimer Menpes, A Portrait of Whistler, head-and-shoulders to right, looking at viewer, with white lock, moustache and monocle; Sotheby’s, Sussex, 10–19 Dec. 1991 (562, 165 x 145mm, signed in pencil).
Repr. Menpes 1904, facing p.138.

Drypoint by Mortimer Menpes, Eight Faces of Whistler, eight studies on same plate, head, quarter-length and three-quarter-length, some with hat, some with monocle; impressions Sotheby’s, London, 5 Apr. 1977 (397, ill., etching, 188 x 139mm, printed in sepia); Bonhams, London, 7 Feb. 1979 (77, ill. pl.4, etching with drypoint printed with tone, signed in pencil, 188 x 148mm); A Look at British Printmakers, Parkin G., London, 1981 (36); Garton & Co., Devises, Wilts., autumn 1985 (5, ill., as Eight Studies of Whistler, signed, 188 x 137mm, with plate tone and rich burr, laid paper); and Campbell Fine Art, Tunbridge Wells, Kent, Cat.8, spring 2000 (339, as Whistler: Eight Faces, c.1887, etching, proof impression, dark brown ink, on laid antique paper, signed in pencil, platemark 190 x 139mm, paper 232 x 180mm).
Ref. Gallatin 1913a, p.30, nos 60–67; Gallatin 1918, p.54, nos 146–53; and London 1981, no.36.
Repr. Menpes 1904, facing p.142.

Drypoint by Mortimer Menpes, two studies on same plate, head and head-and-shoulders, asleep; no impressions traced.
Ref. Gallatin 1913a, p.30, nos 68, 69; and Gallatin 1918, p.55, nos 154, 155.
Repr. Menpes 1904, facing p.144.

Drypoint, 201 x 151mm, by Mortimer Menpes, head-and-shoulders, head turned to right; no impressions traced.
Ref. Gallatin 1913a, p.31, no.79.

Drypoint, 174 x 151mm, by Mortimer Menpes, five studies on same plate, one whole-length standing, two head-and-shoulders, one half-length, one three-quarter-length; no impressions traced.
Ref. Gallatin 1918, p.55, nos 164–8.

Drypoint by Mortimer Menpes, half-length to right, standing; no impressions traced.
Ref. Gallatin 1918, p.55, no.169.
Repr. AJ, vol.50.

Drypoint by Mortimer Menpes, head-and-shoulders, tongue showing; no impressions traced.
Ref. Gallatin 1913a, p.31, no.79; and Gallatin 1918, p.56, no.173.

Drypoint by Mortimer Menpes, head-and-shoulders; impressions Cleveland MA, 1975.146 and 1924.73.
Repr. Cleveland Bulletin, vol.63, no.2, Feb. 1976, p.49, fig.99.

Etching by Mortimer Menpes, head-and-shoulders to right, facing viewer, with white lock, moustache and monocle in left eye; Christie’s, London, 18 May 1976 (407, signed in pencil below platemark, ‘Mortimer Menpes imp’).

Etching with drypoint by Mortimer Menpes, Monocle in Left Eye – “as at ten o’clock”; Bonhams, London, 7 Feb. 1979 (82, 1st state, signed in pencil, 137 x 188mm) and (83).

Etching with drypoint, 184 x 146mm, by Mortimer Menpes, head-and-shoulders; no impressions traced.
Repr. The Illustrators: The British Art of Illustration, 1800–1999, Chris Beetles G., exh. cat., London, 1999, p.58, no.83.

Etching with drypoint, 178 x 146mm, by Mortimer Menpes; no impressions traced.
Exh. Artists and Writers, Parkin G., London, 1976 (50).

Etching, 191 x 184mm, by Mortimer Menpes; no impressions traced.
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (77).

Coloured lithograph, 407 x 330mm, by Mortimer Menpes; no impressions traced.
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (90).

Lithograph, 345 x 240mm, by Mortimer Menpes; no impressions traced.
Ref. Sotheby’s, Sussex, 12 Feb. 1990 (2504).

Portrait, medium and dimensions unknown, by Mortimer Menpes; untraced.
Exh. A Look at British Printmakers, Parkin G., London, 1981 (35).
Ref. London 1981, no.35.

Charcoal drawing by Mortimer Menpes, head-and-shoulders, full-face, laughing; untraced.
Ref. Gallatin 1918, p.56, no.174.

Crayon drawing by Mortimer Menpes, Mr. J. McNeill Whistler, head-and-shoulders to front, smiling, with white lock, moustache and monocle; untraced.
Repr. Black & White, 2 Apr. 1892, p.428 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC13).

Chalk drawing, 230 x 167mm, by Mortimer Menpes; untraced.
Prov. Sotheby’s, London, 1 Feb. 1978 (44).

Watercolour drawing, 127 x 89mm, by Mortimer Menpes, signed upper edge ‘Mortimer Luddington Menpes’, head-and-shoulders, head turned to left, but looking at viewer, with white lock, moustache and monocle, wearing jacket, white collar showing; untraced.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1918, p.56, no.175.
Repr. Gallatin 1918, after p.58.

Black chalk and pastel drawing, 231 x 155mm, by Mortimer Menpes, Portrait of James McNeill Whistler, half-length to right, facing viewer, with white lock, moustache and monocle – a study in reverse for an etching; untraced.
Prov. Recent Acquisitions, Anthony d’Offay Fine Art, London, Apr.–June 1968 (26, ill.); Sotheby’s, London, 9 Dec. 1970 (5).

Pencil drawing, 215 x 150mm, by Mortimer Menpes, Portrait Study of Whistler, signed and inscr. ‘to Miss Elizabeth Robins from Mortimer Menpes’, half-length to right, facing viewer, with white lock, moustache and monocle – a study in reverse for an etching; untraced.
Prov. Sotheby’s, Pulborough, 19–29 July 1983 (2708, ill.).

Soft-ground etching, 279 x 203mm, by Paul Adolphe Rajon, signed and inscr. in pencil; no impressions traced.
Exh. Mark of Whistler, Michael Parkin Fine Art, London, 1979 (94).

Soft-ground etching, 228 x 178mm, by Paul Adolphe Rajon, signed; no impressions traced.
Exh. Artists and Writers, Parkin G., London, 1976 (52).

Soft-ground etching, 248 x 191mm, by Paul Adolphe Rajon; no impressions traced.
Exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983 (249).
Repr. London 1983, p.70, no.249.

Pen and ink drawing by Jacques Reich (1852–1923) after unidentified photograph, head only; untraced.
Ref. Gallatin 1918, p.45, no.92.

Pencil drawing by Jacques Reich after unidentified photograph by London Stereoscopic Co., head-and-shoulders to left; untraced.
Ref. Gallatin 1918, p.58, no.186.

Etching by Jacques Reich, whole-length; M. of Art and Archaeology, U. of Missouri, Columbia, MO.
Ref. Muse: Annual of Museum of Art and Archaeology, University of Missouri-Columbia, no.8, 1974, p.12.

Plaster plaque, cast in bronze, by Auguste Rodin, head only; untraced.
Ref. Gallatin 1918, p.60, no.193.

Oil on canvas by Walter Sickert, James McNeill Whistler, whole-length, standing at easel painting, wearing cap, in foreground small landscape painted on beach at Dieppe; untraced.
Prov. Comte Robert de Montesquiou, Paris.
Ref. Gallatin 1918, p.39, no.57.

Pen and ink drawing by Walter Sickert, with Mrs William Whistler; untraced.
Prov. Comte Robert de Montesquiou, Paris.
Ref. Gallatin 1918, p.43, no.75.

Etching, one state, one impression, by Walter Sickert, at work on palette table in studio; untraced.
Prov. Mr Clifton of Carfax, England, by 1918.
Ref. Gallatin 1918, p.53, no.140.

Lithograph, 203 x 140mm, by Thomas Robert Way, head-and-shoulders to right, with white lock; impressions BM, London (137 x 95mm) and different state, signed ‘T. R. Way’ under butterfly.
Ref. Gallatin 1913a, p.36, nos 112–13; and Gallatin 1918, pp.51–2, no.131.

Lithograph by Thomas Robert Way; Sotheby’s, London, 11 May 2001 (187, with Menpes etching of Whistler).

Lithograph by Thomas Robert Way; no impressions traced.
Exh. Artists and Writers, Parkin G., London, 1976 (51, signed, 210 x 140mm).

Child’s money box, plaster coloured to imitate terracotta, by F. Harriman Wright, whole-length, seated; no examples now known.
Prov. Published by The Artists’ Mart of America, only few on market, company short-lived.
Ref. Gallatin 1918, p.60, no.194.
Partly based on Boldini’s oil portrait (see above, ‘1897’).

Portrait, medium and dimensions unknown, by unidentified artist, head-and-shoulders to front, with moustache, wearing shirt and necktie; untraced.
Prov. Tom Pocock.
Ref. NPG ref. neg. 33275.

Chalk drawing by unidentified artist, quarter-length to left, head turned to viewer, with moustache and white lock; untraced.
Ref. Sale, unidentified location, 13. Feb. 1938; NPG SB (Whistler).

?Lithographed poster by unidentified artist, Whistler used WHATMAN, half-length, right hand on forehead, little finger raised; unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/57.
This poster for a contest run by Whatman is related to Boldini’s portrait (see above, ‘1897’).

Woodcut by unidentified artist, J. McNeill Whistler, inscr. lower right ‘No 65’[?], head-and-shoulders to left, with white lock and moustache; unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/13.


Possible portraitsback to top


Oil on panel by Henri Fantin-Latour (1836–1904), Portrait of James McNeill Whistler, Paris, quarter-length, body turned to left, face to viewer, with moustache; untraced.
Ref. Catalogue of Prints, Etchings, Drawings and Paintings, Browne & Browne, Fine Art Dealers, Carliol Tower, 37 Carliol Street, Newcastle-Upon-Tyne (ill.).
The portrait is very unlikely to be Whistler, bearing little resemblance to him.

Oil on canvas, 508 x 406mm, attributed to Walter Greaves, Portrait of James McNeill Whistler, inscr. upper left ‘J. A. MacNeal [sic] Whistler.’ and upper right ‘W. Greaves’ (apocryphal signature), quarter-length, near profile to left, with moustache; untraced.
Prov. Sotheby’s, New York, 30 Sept. 1997 (78).
The attribution and subject are dubious: the figure does not look like Whistler.


Posthumous portraitsback to top


1905
Monochrome wash drawings by Cyrus Cuneo (1879–1916):
(a) signed lower right corner ‘CYRUS CUNEO’, whole-length, holding palette in left hand and brush in right, with moustache and monocle, painting onto canvas on easel in Académie Carmen surrounded by eager art students, stools and painting equipment in foreground; untraced.
Ref. Cuneo 1906a and Cuneo 1906b; Gallatin 1913a, p.39, nos 137–40; Gallatin 1918, p.57, nos 179–82; and Denker 1995, p.146.
Repr. Cuneo 1906a, p.21 (halftone engr. by Hiram C. Merrill [1866–1958], captioned ‘Whistler started to “transfer” to the canvas’); and Cuneo 1906b.

(b) pencil and monochrome wash drawing, 394 x 292mm, signed lower left corner ‘CYRUS CUNEO’, whole-length, seated, holding book in left hand, gesturing with right, with moustache and monocle, reading from The Gentle Art of Making Enemies in Académie Carmen, surrounded by art students, canvases and painting equipment; untraced.
Prov. Christie’s, London, 14 Oct. 2004 (18).
Ref. Cuneo 1906a and Cuneo 1906b; Gallatin 1913a, p.39, nos 137–40; Gallatin 1918, p.57, nos 179–82; and Denker 1995, p.146.
Repr. Cuneo 1906a, p.23 (halftone engr. by Hiram C. Merrill, captioned ‘Drawing from his pocket his “Gentle Art of Making Enemies,” he solemnly read us extracts’); and Cuneo 1906b, p.539.

(c) signed lower edge ‘CYRUS CUNEO’, whole-length, wearing gloves, overcoat and top hat, leaning over to comment on work of male students in Académie Carmen; untraced.
Ref. Cuneo 1906a and Cuneo 1906b; Gallatin 1913a, p.39, nos 137–40; Gallatin 1918, p.57, nos 179–82; and Denker 1995, p.146 (as Whistler Criticising at His Paris School).
Repr. Cuneo 1906a, p.25 (halftone engr. by Hiram C. Merrill, captioned ‘How beautifully you’ve painted the candle! Good morning, gentlemen’); Cuneo 1906b; and Denker 1995, p.147.

(d) signed and dated lower right corner ‘CYRUS CUNEO 05’, whole-length, holding handkerchief in right hand and gesturing towards canvas with left, with moustache and monocle, wearing black jacket and bow tie, surrounded by female art students in Académie Carmen; untraced.
Ref. Cuneo 1906a and Cuneo 1906b; Gallatin 1913a, p.39, nos 137–40; Gallatin 1918, p.57, nos 179–82; and Denker 1995, p.146.
Repr. Cuneo 1906a, p.26 (halftone engr. by Hiram C. Merrill, captioned ‘He was daintily wiping his finger-tips on a snowy handkerchief which the massier held before him’); and Cuneo 1906b.

Terracotta relief, 2260mm circumference, by Bruno Louis Zimm (1876–1943; pupil of Augustus Saint-Gaudens), after unidentified photograph, James McNeill Whistler, head (within circular frame), with moustache, lock and monocle; untraced.
Prov. Modelled for façade of Frederick Keppel and Co. Print Gallery, 4 East 39th Street, New York, beside relief of Rembrandt’s head.
Ref. Gallatin 1913a, p.41, no.143; Gallatin 1918, p.59, no.191 (as Zinn); and Denker 1995, p.152.
Repr. Denker 1995, p.153.

c.1905
Bas-relief plaque, struck in bronze, with a few in silver, 64 x 89mm, by Victor David Brenner (1871–1924), half-length to left, standing – on obverse a peacock and Whistler’s butterfly; untraced.
Prov. Modelled to commemorate Memorial Exh., New G., London, 1905, edition of 200, half struck at Paris mint and half at Philadelphia mint.
Ref. Gallatin 1913a, p.41, no.144; and Gallatin 1918, p.59, no.192.

c.1907
Pen and ink drawing by unidentified artist, head-and-shoulders; untraced.
Ref. Gallatin 1918, p.45, no.90.
Repr. Advertisement for Franklin Simon and Co., New York, New York Times, 21 Feb. 1907.

c.1910
Pen and ink drawing by Joseph Simpson, Whistler, signed lower right ‘Simpson C’, head only, to left; untraced.
Ref. Gallatin 1913a, p.34, no.105.
Repr. Hinshaw 1910, p.735; and Jackson 1912, frontispiece.

c.1912
Wash drawing by Joseph Simpson, Whistler, head only, to right; untraced.
Ref. Gallatin 1918, p.57, no.185.
Repr. Jackson 1912.

1912–13
Oil study, 654 x 914mm, by Frank Salisbury for The Great Artists of Chelsea, Whistler included in group composition, with likenesses of Holbein, Turner, Wren, and others; untraced.
Prov. Christie’s, 25 Sept. 1985 (46).
Repr. Christie’s, 4 Nov. 1994 (78).
The subsequent mural by Salisbury, The Great Artists of Chelsea (1913); Chelsea Town Hall, London.
See also Hunt, Keene, Lawson, Rossetti, Scott.

c.1913
Pen and ink drawing by C.A.M. after unidentified photograph, head-and-shoulders to right; untraced.
Ref. Gallatin 1913a, p.34, no.106; and Gallatin 1918, p.45, no.91.
Repr. Sunday Independent (Dublin), 6 July 1913.

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, three-quarter-length to front, standing at top of stairs, to the right of John Everett Millais, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London.
Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, 2013 (55, ill. with key [no.67]). Repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.
See also Alexander, Alma-Tadema, Anderson, M.E. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Millais, Terry, Tree, Waller, Watts, C. Wyndham.

c.1915
Pen and ink drawing by unidentified artist, half-length to left; untraced.
Ref. Gallatin 1918, p.46, no.94.
Repr. Advertisement for Pierce-Arrow automobile, Evening Post (New York), 4 Jan. 1915 and other newspapers.

1917
Oil on canvas, 629 x 756mm, by Walter Greaves, Whistler Arranging the Portrait of His Mother, signed and dated lower right ‘W. Greaves. / 1871.’, whole-length, standing in front of empty canvas with brush in hand, in studio with mother seated in profile against wall with curtain and pictures, two vases containing blossom at right; Fogg AM, Harvard U., 1975.75.
Ref. Denker 1995, pp.104–5.
Repr. Denker 1995, p.106.

1928
Bronze bust on plinth by Edmund Thomas Quinn (1868–1929), James McNeill Whistler, Artist, looking to front, with moustache and monocle; Hall of Remembrance of American Artists, Rotunda of Gould Memorial L., New York U., L-5-22-28.
Repr. In photograph showing W. Francklyn Paris (Master of Ceremonies), Chancellor Elmer Ellsworth Brown of New York U., Mrs Gass Gilbert, Edward J. Kennedy (President of the Whistler Memorial Committee) and Edmund Quinn, at the unveiling (Dept of Special Colls, Glasgow UL, PH1/252).

1930
Plaster bust, 890mm high, by Frederick William MacMonnies (1863–1937), Whistler; priv. coll.
Ref. and repr. Denker 1995, p.154.

1992
Oil on canvas, 1524 x 1524mm, by R.B. Kitaj, Whistler versus Ruskin (Novella in Terre Verte, Yellow and Red), dated 1992, whole-length, knocking John Ruskin out of boxing ring; Marlborough Fine Art Ltd, London.
Exh. Marlborough Fine Art, London, 1993.
Ref. Denker 1995, pp.75–6.
Repr. Denker 1995, p.75; also repr. LA Louver.

2005
Bronze, 2438 x 900mm approx on 1219mm granite plinth, by Nicholas Dimbleby, James McNeill Whistler, whole-length, looking right, sketchbook in left hand, pencil in right; Chelsea, London.
Ref. Art Quarterly, spring 2003, p.20; and S. Tait, ‘The artist returns’, Independent, 15 Sept. 2005, p.51.
Repr. S. Tait, ‘Putting the clubman Whistler on a pedestal’, The Times, 14 Jan. 2003; Art Quarterly, spring 2003, p.20 (maquette); and Independent, 15 Sept. 2005, p.51.
Commissioned by Chelsea Arts Club, 2003, unveiled Sept. 2005.

Caricaturesback to top


publ. 1860
Design by George Du Maurier, with top hat, moustache and monocle, with two smoking gentlemen (Du Maurier and T.R. Lamont), entering a photographer’s studio from right; untraced.
Prov. Coll. E.H. Coles, 1948.
Ref. Gallatin 1913a, p.31, no.80 (as No Smoking by Artists in Photographer’s Studio); Gallatin 1918, p.40, no.62; and Denker 1995, p.39.
Repr. Whiteley 1948, p.51; and Du Maurier 1951, facing p.32; and as wood-engr., Punch, 6 Oct. 1860, p.140 (where captioned ‘No smoking here, sir!’ etc.); supplement to Punch, ‘George Du Maurier Centenary Number’, 7 Mar. 1934; Ormond 1969; and Denker 1995, p.39.

Design by George Du Maurier, with hat, moustache and monocle, sitting painting on large ornamental ‘O’, legs forming tail of letter ‘Q’; untraced.
Ref. Denker 1995, pp.39–40.
Repr. as wood-engr., Punch, 27 Oct. 1860, p.163 (captioned ‘A Chance for Dr. Cullen’); Denker 1995, p.40; and MacDonald, Galassi & Ribeiro 2003, p.7, fig.5.

1861
Design by George Du Maurier for programme for private theatricals at London house of Alexander Ionides, dated on shield ‘1861.’ and on lower swag ‘Tulse Hill. / 14th January’ and inscr. on banner supported by two posts ‘The Thumping Legacy.’, whole-length to right, seated, with hat, moustache and monocle, right leg crossed over left, cane in right hand, glass in left hand, with Du Maurier and ‘Aleco’ Ionides; untraced.
Ref. Gallatin 1913a, p.31, no.81; and Gallatin 1918, p.40, no.63 (as 1861).
Repr. Pennell & Pennell 1908, vol.1, facing p.84; and Ormond 1969, fig.26.

publ. 1865
Design by C.H. Bennett for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, whole-length, miniature body with exaggerated head, profile to right, wearing hat and monocle, sitting upon a canvas on right-hand side of composition; untraced.
Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig.4; and McMaster 2009, p.21, fig.11.
See also Calderon, Faed, Frith, Leighton, Millais.

c.1870
Pen and ink drawing, 159 x 121mm, by Charles Keene, inscr. upper left ‘Drypoint’, lower right ‘C.K.’, and on lower half of paper ‘[…] looked not […] for […] arms of the […] will for month’, whole-length, rear view, standing, holding book under left arm, smoking cigarette, with top hat and monocle, a second portrait, head only, wearing top hat, scored out in shadows to right of figure; untraced.
Prov. Heseltine sale, Sotheby’s, London, 29 May 1935 (429, as 152 x 114mm); Sotheby’s, London, 13 Nov. 1973 (16, ill.); Summer Selection exh., Thomas Agnew & Sons Ltd, London, 23 July–20 Sept. 1974 (8, as 152 x 124mm).
Ref. Gallatin 1918, p.61, no.195.
Repr. Heseltine 1914; and Gallatin 1918, facing p.72.

publ.1877
Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, head-and-shoulders, rear view, in bottom right-hand corner, holding brush to canvas, partly obscured by Japanese umbrella; untraced. Repr. London Society, April 1877, p.270; loose copy RA Archive, SP/6/41.
See also Calderon, Leighton, Marks, Millais, Prinsep.

c.1877–8
Watercolour and gouache drawing by Leslie Ward (‘Spy’); see NPG 1700.

Watercolour with chalk drawing by Leslie Ward (‘Spy’); see NPG1700a.

Watercolour and pencil drawing on blue paper, 525 x 387mm, by Leslie Ward (‘Spy’), signed lower right ‘Spy’, whole-length to left, standing with left hand on hip, cane in right hand, with white lock, monocle and cigarette, wearing hat, long coat and bows on shoes; NGA, Washington, DC, 1949.5.521.
Ref. Denker 1995, p.70.
Repr. Denker 1995, p.72.

Chromolithograph, 388 x 185mm, after item above; publ. ‘Men of the Day, No. LXX: Mr. James Abbott M’Neill Whistler’, Vanity Fair, 12 Jan. 1878 (as A Symphony); copies incl. Cleveland MA, 24.84.
Exh. Artists and Writers, Parkin G., London, 1976 (53); and Random Scots, Daniel Shackleton, Edinburgh, 1988 (26).
Ref. Gallatin 1913a, p.43, no.145; Gallatin 1918, p.68, no.242; and Denker 1995, p.64.
Repr. Bookman (New York), Oct. 1912, frontispiece (copy Dept of Special Colls, Glasgow UL, MS Whistler PC21/31 [detail] and PC22/129); Gallatin 1918, after p.72; Pennell & Pennell 1921, facing p.143; Merrill 1992, p.20, fig.7; Denker 1995, p.62; and ‘A Famous Whistler Caricature’, unidentified press cutting, possibly 1905 (mentions opening of Whistler exhibition at New G.), Dept of Special Colls, Glasgow UL, MS Whistler PC21/19.


publ. 1878
Design by unidentified artist for A Contemptuous Verdict, inscr. lower left ‘XX’, half-length, left hand on hip, with moustache and monocle, in witness box; untraced.
Repr. Mayfair, 3 Dec. 1878 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC2); Merrill 1992, p.131, fig.55; and MacDonald, Galassi & Ribeiro 2003, p.9, fig.8.

Design by unidentified artist for The World, the Flesh and the Devil (Whistler and Ruskin); untraced.
Ref. Gallatin 1913a, p.43, no.149; and Gallatin 1918, p.61, no.197.
Repr. Hornet, 4 Dec. 1878.

Design by (Edward) Linley Sambourne for Whistler Versus Ruskin. An Appeal to the Law, signed lower left corner ‘SAMBOURNE DE -’, rear view, facing judge and jury, as bird with feathery coat and penny-whistle legs, with Ruskin as pelican; untraced.
Ref. Gallatin 1913a, p.43, no.148; Gallatin 1918, pp.61–2, no.198; Denker 1995, pp.72–4; and Dearden 1999, no.142.
Repr. as wood-engr., Punch, 7 Dec. 1878, p.254 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/138); Gallatin 1918, after p.72; Punch, 13 Jan. 1954 (detail); Merrill 1992, p.253, fig.63; Denker 1995, p.74; Dearden 1999, p.114; and MEPL, London, 10140935.

Design by unidentified artist for Funny Folk’s Fairy Tales; or, Old Friends with New Faces, whole-length, with white lock, moustache and monocle, on tiptoes in garden, hanging out his paintings on washing line, while bird with Ruskin’s head hovers above, palette and paint brush on ground and sign reading ‘BLACK & GOLD’; untraced.
Ref. Denker 1995, pp.71–2.
Repr. as wood-engr., Funny Folks, 28 Dec. 1878 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC2); Merrill 1992, p.104, fig.43 (detail); and Denker 1995, p.73.

Design by Alfred Bryan for At the Play, head only, slightly profile to left, with pronounced quiff, at the end of a row, at a performance by Henry Irving, among 92 prominent figures also including the Prince and Princess of Wales; untraced.
Ref. Denker 1995, pp.78–9.
Repr. as chromolithograph, 317 x 503mm, printed by Maclure, MacDonald & Co, World, Dec. 1878 (with key; print V&A, London, S.3730-2009); and Denker 1995, p.79.
See also Burnaby, Holl, Leighton, Millais, Orchardson, Prinsep.

Design by Alfred Bryan for Days with Celebrities. (46). Mr. Ruskin, inscr. left side below caricature of Whistler ‘HE TURNETH ROUND ON A FASHIONABLE ARTIST.’ and lower edge ‘AB’, whole-length, lying on floor, holding palette in right hand, with white lock, moustache and monocle, being spiked with giant quill by Ruskin – one of many little caricatures on page of Ruskin with various artistic and literary figures; untraced.
Repr. Judy, ?1878; and Pennell & Pennell 1921, facing p.322 (as ‘Caricatures of Trial’).

publ. 1879
Design by unidentified artist; untraced.
Ref. Gallatin 1913a, p.44, no.150; and Gallatin 1918, p.62, no.199.
Repr. Hornet, 15 Jan. 1879.

Design by Alfred Bryan for Mr. J. Whistler. An Arrangement in Done-Brown, signed lower right beneath easel ‘AB’, three-quarter-length to right, with white lock and monocle, cigarette in mouth, holding palette and brushes in left hand, painting on to canvas with right hand ‘DAMAGES ONE FARTHING’; untraced.
Ref. Denker 1995, p.71.
Repr. as wood-engr., The Entr’acte and Limelight Almanack 1879, p.46; Merrill 1994, p.204, fig.56; and Denker 1995, p.73.

?1870s
Design by George Du Maurier, in Louise Jopling’s studio with Jopling and other guests (Jopling saying ‘Oh, do sing for me! The ices have given out, and I want the people to go!’); untraced.
Ref. Jopling 1925, p.90.
Repr. Punch (details unknown).
See also Du Maurier, Jopling, Leighton.

c.1880
Pencil drawing on paper by Ralph Wormeley Curtis (1854–1922), signed lower right ‘Ralph Curtis’ and inscr. upper right ‘A Nocturne at Mrs. Bronson’s!’, whole-length, seated holding glass, with monocle, wearing black suit; untraced.
Ref. and repr. Denker 1995, p.110.

publ. 1881
Pen and ink drawing by Harry Furniss for London Paved With Gold, signed lower left ‘H.F.’, whole-length, lying on pavement drawing, with hat at feet to receive money, white lock, moustache and monocle, wearing dark jacket and pale trousers; untraced.
Ref. Gallatin 1918, p.63, no.205.
Repr. Punch, 19 Mar. 1881, p.132 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/9).

Drawing by unidentified artist for An Arrangement – Not Mr. Whistler, quarter-length to right, with palette, maulstick and brushes in left hand, with excessively large, upstanding white lock (almost like feathery attachment), curly hair, curled moustache and eyebrows, monocle in left eye; untraced.
Repr. as woodcut, Moonshine (London), 16 Nov. [1881] (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC15/43).

Pen and ink drawing by T. Raffles Davison (1853–1937), whole-length, in conversation outside FAS with John Ruskin; coll. FAS, London.
Ref. Dearden 1999, no.162.
Repr. British Architect, 16 Dec. 1881; FAS 100 [FAS Centenary Exh.], London, 1976, fig.B; Dearden 1988–91, p.27; and Dearden 1999, p.129.

c.1881
Pen, ink, watercolour and pencil drawing, 127 x 190mm, by Charles Hallam Elton Brookfield (also attrib. to Mortimer Menpes) for Lady Meux Triplex, whole-length, posed like fencer, with three long brushes as swords, simultaneously painting three portraits of Lady Meux, with white lock, spectacles and moustache, wearing waistcoat, holding two other brushes and maulstick in left hand; Rosenbach M&L, Philadelphia, 2005.0211 (D 2/12). Prov. Rosenbach Co., Philadelphia, by 1918. Ref. Gallatin 1913a, p.48, no.180; Gallatin 1918, p.68, no.240; and Denker 1995, pp.126–7. Repr. Graphic, 25 Mar. 1911, p.426; Pennell & Pennell 1921, facing p.3; Kenin 1979, p.185; Denker 1995, p.128; and MacDonald, Galassi & Ribeiro 2003, p.160, fig.149 (dated before 1911). publ. 1882 Drawing by unidentified artist, inscr. lower edge ‘Jimmy’, whole-length to left, holding cane in right hand, fur-lined cloak over left arm, with top hat, moustache and monocle, smoking cigarette; untraced. Repr. [Unidentified periodical], 2 [unknown month] 1882 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC4); and MacDonald, Galassi & Ribeiro 2003, p.10, fig.9. 1883 Watercolour, 445 x 562mm, by George Pipeshanks [John Wallace] (1842–1905), ‘Copes Christmas Card’, playing penny whistle, seated on rung of ladder of art, blocking the way of John Ruskin who attempts to climb it, at a country fair among more than 100 figures; Mark Samuels Lasner Collection, on loan to U. of Delaware L., Newark, DE. Exh. Yale Center for British Art, New Haven (and other venues), 1984–5 (170); and Newark, DE, 2002. Ref. Denker 1995, pp.79–80. Repr. Denker 1995, p.80; and Stetz 2007, front cover. See also {Burnaby}, Herkomer, Leighton, Millais, Ruskin.

publ. 1883
Drawing by Alfred Bryan for The Only Jones, signed lower left ‘A.B.’ and inscr. lower edge ‘MR. JAMES WHISTLER’, three-quarter-length, cane under left arm, right hand in pocket, with top hat, moustache and monocle, wearing overcoat; untraced.
Repr. Judy, 14 Mar. 1883 (cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC3).

Pen and ink drawing by Harry Furniss for Notes from a Whistler: The Whistler a Few Bars Behind, as monocled bird in cage, with four other illustrations parodying Whistler’s etchings; untraced.
Ref. Gallatin 1918, p.63, no.206; and Denker 1995, p.81.
Repr. as wood-engr., Punch, 24 Mar. 1883, p.133; and Denker 1995, p.80 (wrongly dated 23 Mar. 1883).

c.1883
Drypoint by Carlo Pellegrini (‘Ape’), Whistler, whole-length to front, jauntily posed with hands in pockets, cane protruding from right pocket, right foot forwards, with top hat, cane and monocle, wearing buttoned-up raincoat; impressions colls NGA, Washington, DC, 1949.5.487 (330 x 254mm approx., signed upper left corner ‘APE’); BM, London (cancelled state); also coll. Harris B. Dick, New York, 1913 (346 x 257mm, signed with butterfly, ref. Gallatin 1913a, pp.44–5, no.156, repr. The Artist [London], Jan. 1908).
Ref. Gallatin 1918, p.69, no.247; and Denker 1995, p.69 (as 330 x 354mm).
Repr. by Cranford Press, Chiswick, in green ink (Dept of Special Colls, Glasgow UL, MS Whistler PC21/1, signed lower right ‘Ape’ and inscr. lower left ‘to G.A. Sala / Carlo Pellegrini’); Gallatin 1918, after p.72; Pennell & Pennell 1921, facing p.6; Harris 1976, p.56, no.10 (BM, London); and Denker 1995, p.70.

Watercolour drawing, 300 x 160mm, by Carlo Pellegrini, related to item above, whole-length to front, head tilted to right, with monocle, cane protruding upwards from right pocket, wearing top hat and buttoned-up raincoat; untraced.

Pencil drawing, 102 x 38mm, by Carlo Pellegrini; untraced.
Prov. Pickford Waller, London, by 1913.
Ref. Gallatin 1913a, p.44, no.155; and Gallatin 1918, p.69, no.246.


1884
Pen and ink drawing on paper, 117 x 197mm, by Alfred Bryan, Whistler Playing Tennis, signed lower left ‘A.B.’, with monocle, wearing short sleeves and bowtie, playing a version of lawn tennis, partnered with an American minister (the ‘Jimmies’) against Justice Henry Hawkins, 1st Baron Brampton and Henry Irving (the ‘Harries’), ‘a most fashionable and philosophic game […] spite of all that Diplomatic Literature and Impressionist Art could do, Law and the Drama romped home easy winners’; Hunterian MAG, U. of Glasgow, GLAHA 42233.
Ref. and repr. Denker 1995, p.82.

publ. 1884
Drawing by Alfred Bryan, whole-length, with white lock, moustache and monocle, in loin cloth, dancing with spear, with other figures as warring tribesmen, incl. James Russell Lowell, Robert Peal and Robert Browning; untraced.
Repr. World, Christmas number, 27 Nov. 1884, p.25 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC21/63, PC21/57 [detail]).

Pen and ink drawing by Alfred Bryan, signed lower left corner ‘AB’, head only at top of maulstick, smoking, towering over brushes labelled Rembrandt, Claude and Turner; untraced.
Ref. Gallatin 1913a, p.44, no.151; Gallatin 1918, p.62, no.201; and Denker 1995, pp.82–3.
Repr. as wood-engr. by J. Swain, World, Christmas number, 27 Nov. 1884 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/139); and Denker 1995, p.83.

publ. 1885
Drawing by Alfred Bryan for Ten O’Clock, signed lower left ‘AB’, whole-length, on stage, leaning towards audience, left hand behind back, right hand gesturing towards audience, with white lock, moustache and monocle, plant at left; untraced.
Repr. Judy, 18 Feb. 1885 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC5).

Pen and ink drawing by (John) Bernard Partridge for J. A. McN. Whistler’s “Ten O’Clock” Whistle, signed lower section with monogram ‘J.B.P.’, whole-length to left, left hand on hip, right hand on table (with glass and carafe), with white lock, moustache and monocle, butterfly signature (encircled) and whistle to side; untraced.
Ref. Gallatin 1913a, p.44, no.152; and Gallatin 1918, p.62, no.203.
Repr. Lady’s Pictorial, 28 Feb. 1885 (Dept of Special Colls, Glasgow UL, MS Whistler PC5).

Pen and ink drawing by Harry Furniss for At Burlington House. The ‘Swarry’, signed lower right ‘Harry Furniss’, head and torso, with moustache and monocle, holding card on which written ‘WHISTLER 100£’; untraced.
Ref. Gallatin 1918, p.63, no.207.
Repr. as wood-engr. by Swain, ‘Interiors and Exteriors. No.13.’, Punch, 27 June 1885, p.310.

Pen and ink drawing, 165 x 292mm, by Charles Keene for Ten O’Clock Lecture, signed lower left corner ‘CK’ and inscr. on curtain behind ‘VOLUME 89’, three-quarter-length, standing, profile to left with oversized nose and chin, hat in left hand, right hand raised in dramatic gesture, orating on platform, beside table with water carafe and glass; untraced.
Prov. Howard Mansfield, New York, by 1913.
Ref. Gallatin 1913a, p.47, no.171; Gallatin 1918, p.61, no.196; and Denker 1995, p.84.
Repr. as wood-engr. Punch, 4 July 1885, p.1 (headpiece); Gallatin 1913a, after p.48; Gallatin 1918, after p.72; and Denker 1995, p.86.
Keene shows Whistler as Mr Punch delivering his ‘Ten O’Clock’ lecture.

c.1885
Ink drawing on card, 54 x 38mm, by Alfred Bryan, Portrait Head of Whistler with a Cigarette, signed lower right corner ‘A.B.’, head-and-shoulders, with monocle and cigarette; Hunterian MAG, U. of Glasgow. GLAHA 42231.
Ref. and repr. Denker 1995, p.83.

Pen and ink over pencil drawing on wove paper, 198 x 121mm, by Harper Pennington, Portrait of Whistler with a Paintbrush, whole-length, holding paintbrush, with white lock, moustache and monocle, in shirt sleeves, butterfly signature on right; NGA, Washington, DC, 1988.53.5.
Exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983 (248).
Ref. Denker 1995, p.113.
Repr. London 1983, p.70, no.248; and Denker 1995, p.114.

publ. 1885
Drawing by Harper Pennington for A Chat with Mr. Whistler in Chelsea, head-and-shoulders, with white lock, moustache and monocle, stylized butterfly behind haloing head; untraced.
Repr. ‘Pictures of 1885’, Pall Mall Gazette ‘Extra’, no.17, May 1885, p.76 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC9/90); and advertisment, ‘The Complete Whistler. / Published To-Day’, Pall Mall Gazette, 22 Oct. 1908 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/71).

Drawing by unidentified artist, three-quarter-length, pointing with right hand at letter ‘X’, left hand in pocket, with moustache and monocle in left eye, whistle at his right side; untraced.
Repr. Worcester Journal, 21 Jan. 1885 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC8); Weekly Mercury, 31 Jan. 1885 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC5); and Eastern Morning News (Hull), 2 Feb. 1885 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC6).

Drawing by unidentified artist, head-and-shoulders to left, with white lock, moustache and cravat; untraced.
Repr. Figaro, 28 Feb. 1885 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC5).

1886
Drawing by John White Alexander (1856–1915) for Why Do You Tarry, Mr. Whistler?, dated lower left corner ‘4th. Dec. 20.86.’, whole-length to left, looking at viewer, as clown, standing in front of clock with question mark on face, with palette and brushes on stool to his right; untraced.
Ref. Denker 1995, p.87.
Repr. as wood-engr., Judy, 8 Dec. 1886; Evening Telegram, 20 Dec. 1886; and Denker 1995, p.88.

publ. 1886
Pen and ink drawing by unidentified artist for Note of a recently ‘Established President’, whole-length, standing, hands on hips, with white lock and monocle, with parasol above heading in the centre of which is butterfly signature haloing him and outer section like a clock; untraced.
Ref. Gallatin 1918, p.64, no.211; and Denker 1995, pp.84, 86.
Repr. as wood-engr., Punch, 19 June 1886, p.300; Judy, 8 Dec. 1886; Denker 1995, p.87; and MacDonald, Galassi & Ribeiro 2003, p.12, fig.12.

Drawing by Harry Furniss for An Affair of Art, signed lower left ‘Harry Furniss’, whole-length, as PSBA, playing palette like a banjo, part of parade of dancing artists in front of female figure personifying Art; untraced.
Ref. Gallatin 1918, p.63, no.208; and Denker 1995, p.86.
Repr. as wood-engr., Punch, 7 Aug. 1886, p.71; Judy, 8 Dec. 1886; and Denker 1995, p.87.
See also Lindsay, Leighton, Millais.

Pen and ink drawing by Harry Furniss for The Walnut Season, signed lower right ‘Harry Furniss’, head only to right, as walnut, with moustache and monocle, with other characters including Walt Whitman and William Morris; untraced.
Repr. Punch, 7 Dec. 1886 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC8).

Pen and ink and pencil drawing, 374 x 273mm, by (John) Bernard Partridge for At the Whistleries. Suffolk Street, signed ‘J. Bernard Partridge feint’, whole-length to front, with monocle, top hat and cane, in centre surrounded by caricatures of his paintings, including portrait of Lady Colin Campbell (upper left, now destroyed); Fogg AM, Harvard U., 1943.729.
Ref. Gallatin 1913a, p.44, no.153; Gallatin 1918, p.62, no.204; and Denker 1995, pp.83–4.
Repr. Judy, 8 Dec. 1886; Pennell & Pennell 1921, facing p.178; Young, Macdonald & Spencer 1980, vol.2, pl.425 (as ‘Caricature of Harmony in Black, No.10’; and Denker 1995, p.85.

c.1886
Drawing by (John) Bernard Partridge for The White Feather, signed right side ‘J.B.P. after [butterfly]’, whole-length, hands on hips, with white lock, moustache and monocle, wearing long gown and hat/halo, mock butterfly signature, parody of portrait of Maud Franklin (lost) and paintings such as Harmony in Red: Lamplight (1884–6; Hunterian MAG, U. of Glasgow); untraced.
Ref. Denker 1995, p.83.
Repr. as wood-engr., unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC3; Young, Macdonald & Spencer 1980, vol.2, pl.423 (as ‘Caricature of Whistler as Harmony in Black, No.10’); and Denker 1995, p.84.

1887
Drawing by H.M., signed with initials lower left, whole-length, but of comic proportions, holding a palette and large paint brush, and gesturing to a sign reading ‘Royal Institute’, within larger composition illustrating the numerous cultural attractions of London; untraced.
Repr. as engr., Moonshine (London), 21 May 1887 (captioned ‘The Shows of the Period’), copy Russell-Cotes AGM, Bournemouth, BORGM:2004.5.3; and Bailey 1996, p.23, fig.3.
See also: Leighton, Irving, Terry.

publ. 1887
Pen and ink drawing by G.E.B.[?] for A May Meeting: Latest from Paris, signed in monogram lower right ‘G.E.B.’ and inscr. on document held by Whistler ‘Le Siffleur’, whole-length to front, standing, holding cane in right hand and document in left hand, with moustache and monocle, wearing top hat, large bow around neck and black gloves; untraced.
Ref. Gallatin 1918, p.64, no.212.
Repr. Punch, 21 May 1887, p.249 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC7/74); and MacDonald, Galassi & Ribeiro 2003, p.12, fig.11.

Drawing by unidentified artist for The High Priest of ‘Impressionism’, half-length to right, body sketchy, face more detailed, with white lock and moustache; untraced.
Repr. Entertainment Gazette, 22 Oct. 1887 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC9/7).

1888
Drawing by unidentified artist for Banquet to Sir Coutts Lindsay, half-length, profile to left, with dark locks, moustache and monocle, wearing evening clothes, standing with others; untraced.
Repr. Illustrated Sporting and Dramatic News, 31 Mar. 1888, p.74 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC9/74).
See also Lindsay, P.R. Morris.

publ. 1888
Drawing by Harry Furniss for Mr. Punch’s Twelfth-Night Characters: The Lincensed Vistler, inscr. ‘PAINT’ (on beer barrel) and ‘conclusion’ (formed by paint flowing from barrel), whole-length, right hand on head, left hand on hip, right leg crossed over left ankle, oversized feet, leaning with right elbow on beer barrel, with white lock, moustache and monocle, wearing top hat, large bow around neck and apron; untraced.
Ref. Gallatin 1918, p.63, no.209.
Repr. Punch, 7 Jan. 1888, p.11 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/9).

Drawing by unidentified artist, inscr. beneath image ‘WHISTLER.’, whole-length to left, near profile, hands behind back, chin raised, with top hat, moustache and monocle; untraced.
Repr. ‘The Private View of the Royal Academy’, Pall Mall Budget, 10 May 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC9/98, PC21/38).

Drawing by ‘CH’ for With Our Compliments to the Lady Whistler, signed lower left ‘CH’ and inscr. beneath image ‘LADY WHISTLER TO GENTLEMAN WHISTLER: “You’ve had your innings. It’s my turn now.”’, whole-length, profile to right, hands in pockets, with oversized curly hair and prominent chin, facing Beatrice Whistler; untraced.
Repr. Pall Mall Gazette, 31 May 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC9/114).

Drawing by unidentified artist for This is indeed a rude Wyke-ening!, whole-length to right, right hand in trouser pocket, holding sack in left hand, with white lock, moustache and monocle, chair and curtain in background; untraced.
Repr. Illustrated Bits, 23 June 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC11).

Drawing by unidentified artist for The Fate of an ‘Impressionist’, inscr. upper edge ‘Mrs. W.E. Godwin … is a remarkably clever artist and decorative draughtswoman. Since she has been under the influence of the great James McNeil [sic] it can be readily imagined that her undoubted artistic talents have been considerably matured.…’, whole-length, profile to right, on knees, hands together in supplication, with moustache, wearing pin-striped suit jacket, with hat, cane and gloves laid aside, in front of lady with face hidden by fan; untraced.
Ref. Denker 1995, p.88.
Repr. Illustrated Bits, 21 July 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10); Pall Mall Gazette, 1 Aug. 1888; Denker 1995, p.89; and MacDonald, Galassi & Ribeiro 2003, p.190, fig.182.

Drawing by ?Alfred Bryan for Mr. ‘Bunthorne’ Whistler, whole-length to left, right hand gesturing, left hand behind back, with white lock, moustache and monocle; untraced.
Repr. Bradford Citizen, 31 Aug. 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC11).
Related to the caricature Ten O’Clock (see above, ‘publ. 1885’).

1889
Drawing by (John) Bernard Partridge for The Tragickal Historie of the Lion & the Butterfly, signed and dated lower right ‘J. Bernardus Perdix narrauit mdccclxxxix’, whole-length to front, running, white lock streaming behind, with moustache and monocle, lion being dragged along beside him; untraced.
Repr. Judy, 17 Apr. 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

publ. 1889
Drawing by unidentified artist for James Abbott McNeill Whistler, head-and-shoulders to left, with white lock and moustache; untraced.
Repr. Times (Buffalo, NY), 13 Jan. 1889; and Daily Picayune (New Orleans), 20 Jan. 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by unidentified artist for A Bazaar Room, whole-length, profile to right, skinny, painting own face, looking into mirror; untraced.
Repr. Funny Folks, 23 Mar. 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by unidentified artist after unidentified photograph for Mr Whistler, quarter-length to left, skinny, with white lock, moustache and monocle; untraced.
Repr. Illustrated Weekly Telegraph, 11 May 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by Alfred Bryan for Days with Celebrities. (403). Their Backs, inscr. ‘MR JAMES WHISTLER’, head-and-shoulders, rear view, with curly hair, moustache and monocle and cane just visible; untraced.
Repr. Moonshine (London), 25 May 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by unidentified artist for The Christie Murray Dinner. Nocturne By Butterfly, oval with multiple caricatures of Whistler as a butterfly with white lock, moustache and monocle, surrounded by four additional butterflies; untraced.
Repr. Mirror, 16 June 1889, p.3 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by unidentified artist, whole-length to left, hands in jacket pocket, with moustache, wearing cap; untraced.
Repr. W. O’Leary, ‘Whistler as an Etcher’, News (Chicago), 20 Oct. 1889 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC11/17).

c.1889
Drawing by Charles Lyall for Mr. Whistler, signed lower left ‘C Lyall’, whole-length, with exaggeratedly large head, left hand behind back, right hand fondling moustache, with white lock, moustache and monocle, wearing evening wear with tails and bows on shoes; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/53.

1880s
Ink drawing on card, 181 x 55mm, by Alfred Bryan, Whistler in a Toga, signed lower right ‘AB’, whole-length, dark-skinned and bare-footed in ethnic robe with necklace of teeth and shells, with monocle and old woman’s stick; Hunterian MAG, U. of Glasgow, GLAHA 42232.
Ref. Denker 1995, p.83.
Repr. Denker 1995, p.84.

Pencil, wash and white chalk drawing, 212 x 85mm, by George Finch Mason (1850–1915), Jimmy at Play, inscr. ‘Jimmy en fète [sic] / A Sketch at the / Eton + Harrow / Match - in the Eighties’ (in pencil), whole-length to left, standing, with top hat, cigar and cane; AI Chicago, 1933.231.
Prov. Walter Stanton Brewster, Chicago, by 1918.
Ref. Gallatin 1918, p.70, no.252.

1880s–1890s
Pen and ink caricatures by Harry Furniss; see NPG 3617 and NPG 3618.

publ. 1890
Pen and ink drawing by ‘E.T.R.’ [Edward Tennyson Reed] for The Mephistophelian Whistlerian Butterfly ‘On the Pounce’ at Antwerp, whole-length, as butterfly with moustache, monocle and cane, wearing top hat, about to pounce on figure representing journalist Sheridan Ford carrying his pirated edition of The Gentle Art of Making Enemies; untraced.
Ref. Gallatin 1913a, p.45, no.157; Gallatin 1918, p.64, no.213; and Denker 1995, pp.88–9.
Repr. as wood-engr., ‘Our Booking-Office’, Punch, 28 June 1890, p.309 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC12/10, PC22/11); and Denker 1995, p.89.

Drawing by Alfred Bryan, for Days with Celebrities. (470). If they had been of Hebrew Extraction (No.2.), signed lower right ‘AB’ and inscr. beneath caricature ‘MR WHISTLER’, head only, profile to left, with curly hair, white lock, moustache and oversized nose, cigarette in mouth, with caricatures of others including Oscar Wilde, Timothy Michael Healy and (John) Sims Reeves; untraced.
Repr. Moonshine (London), 29 Nov. 1890, p.253 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC11/31).

c.1890
Drawing by (John) Bernard Partridge, whole-length; untraced.
Exh. The Wilde Years, Barbican AG, London, 2000.
Ref. Sato, Lambourne & Holland 2000, p.24.

publ. 1891
Drawing by unidentified artist, inscr. above ‘Mr Whistler Artist’, head-and-shoulders to left, with moustache and monocle, within a circle at upper right, superimposed above scene with portrait of Thomas Carlyle; untraced.
Repr. ‘At the Opening of the South Glasgow Exhibition of Modern Art’, Evening Times (Glasgow), 2 May 1891 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC11/42).

publ. 1892
Drawing by Phil May for On the Brain – Mr. Whistler, signed lower right ‘PHIL MAY’, inscr. upper left ‘RUSKIN.’ and lower edge ‘No. 31. On the Brain. – Mr. Whistler’, head-and-shoulders, smiling, with monocle, with John Ruskin as little elf standing on his head, butterfly in turn stinging Ruskin; untraced.
Ref. Gallatin 1918, p.64, no.214; Denker 1995, pp.74–5; and Dearden 1999, no.236.
Repr. as wood-engr., Pick-Me-Up, 9 Jan. 1892, p.242; Gallatin 1918, after p.72; Merrill 1992, p.58, fig.26; Denker 1995, p.75; and Dearden 1999, p.168.

Drawing by ‘EJW’ for Rembrandt, Titien [sic], Vélasquez [sic] et Cie. Whistler, Successeur, signed in monogram lower right, whole-length, holding palette in left hand and brush in right, body arched, with moustache and monocle; untraced.
Repr. Punch, 9 Apr. 1892, p.428 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC13).

1892–3
Pen and ink drawing by Aubrey Beardsley, Whistler as Pan, whole-length, seated on elegant Regency sofa, right leg tucked up, with monocle, curly dark hair, and the horns, ears and legs of a faun, wearing dainty shoes with bows, beside tall elongated lamp; untraced.
Ref. Gallatin 1918, p.64, no.215; and Denker 1995, p.136.

Lithograph after item above, 176 x 53mm; priv. coll.
Ref. Denker 1995, p.136.
Repr. Farr 1893, cover and title page; Denker 1995, p.137; and Calloway 1998, p.82.


1892–8
Pen and ink drawing, 313 x 196mm, by Max Beerbohm (in manner of Aubrey Beardsley), Burning Incense to Whistler, inscr. top right ‘Monsieur le Disciple’, whole-length, profile to right, with another, smaller figure; AI Chicago, 1933.241.
Prov. Sold by Albert Roullier Gallery, Chicago, to Walter Stanton Brewster, Chicago, 20 Apr. 1928 [invoice]; given to AI Chicago, Feb. 1933.
Exh. Life Imitates Art, The Aesthetic Movement, 1890–1900, Wright MA, Beloit, WI, 1987.
Ref. Gallatin 1918, p.66, no.230.

1894
Pen and ink drawing on blue paper, 156 x 192mm, by George Du Maurier, Whistler Showing Claws to Du Maurier, in autograph letter from Du Maurier to Mr Harrison, 21 Sept. 1894, whole-length to left, standing, with oversized head and hands, coming after a sweating/crying Du Maurier wearing spectacles; AI Chicago, 1933.225.
Prov. Sold for benefit of British Red Cross, auction, London, Apr. 1918; Henry Sotheran and Co., London; Walter Stanton Brewster, Chicago; given to AI Chicago, Feb. 1933.
Ref. Gallatin 1918, p.65, no.219; and Denker 1995, p.93.
Repr. Literary Digest (New York), 20 Apr. 1918; and Denker 1995, p.93.

publ. 1894
Pen and ink drawing by Phil May, signed lower right ‘PHIL MAY’, whole-length, profile to left, left hand on hip holding cane, right hand holding monocle up to eye, with curly hair and moustache, wearing top hat, engaged in conversation with Oscar Wilde; untraced.
Ref. Gallatin 1913a, p.34, no.99; and Gallatin 1918, p.44, no.83.
Repr. Graphic, 1894 (captioned ‘“That was an awfully good joke you made last night. I wish I could say it was mine.” / “You will, my boy, you will!”’); Sketch, 7 Mar. 1894, p.308 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC21/45); and MacDonald, Galassi & Ribeiro 2003, p.11, fig.10.

Pen and ink drawing by S. McManus; untraced.
Ref. Gallatin 1913a, p.45, no.160; and Gallatin 1918, p.65, no.220.
Repr. Lika Joko (London), 20 Oct. 1894.

Pen and ink drawing with wash by unidentified artist after unidentified photograph, whole-length, standing; untraced.
Ref. Gallatin 1918, p.71, no.258.
Repr. Life (New York), 8 Nov. 1894.

Drawing by unidentified artist for The Man Whistler at the Telephone, whole-length, standing with brush and palette (inscr. ‘MY PLATFORM’) beside waste paper basket full of criticism, at feet copies of Trilby and The Gentle Art of Making Enemies, in background another figure of Whistler on telephone; untraced.
Ref. Denker 1995, p.93.
Repr. as wood-engr. Life (New York), 8 Nov. 1894 (captioned ‘The Man Whistler at the Telephone: Are there any more publications in which I am mentioned? If so, send my lawyer to them at once. It’s dirty work, but I like it, and I am getting famous.’); and Denker 1995, p.94.

Pen and ink drawing by unidentified artist, head to left; untraced.
Ref. Gallatin 1918, p.65, no.221.
Repr. Critic (New York), 17 Nov. 1894.

Pen and ink drawing by Aubrey Beardsley, head-and-shoulders, with dark curly hair, moustache and monocle, wearing high rounded collar and black tunic with puffy sleeves;AI Chicago, 1933.224.
Prov. Pickford Waller, London, by 1918.
Ref. Gallatin 1913a, p.45, no.157; and Gallatin 1918, p.64, no.216.
Repr. Jerrold 1894, p.190; and Gallatin 1913a, after p.48.

Pen and ink drawing by George Du Maurier, as Paris art student Joe Sibley; untraced.
Ref. Gallatin 1913a, p.32, no.83.
Repr. as wood-engr., Du Maurier 1894a – illustration suppressed when novel issued in book form.

Drawing by George Du Maurier, whole-length, with legs crossed and hands in pockets, leaning against wall in background of fencing match in a studio; untraced.
Prov. J.P. Morgan, New York.
Ref. Gallatin 1913a, p.32, no.85; Gallatin 1918, p.41, no.66; and Denker 1995, p.91.
Repr. as wood-engr., Du Maurier 1894a (captioned ‘All As It Used to Be’); Du Maurier 1894b, p.133 (with addition of beard); and Denker 1995, p.92.

Pen and ink drawing by George Du Maurier, with moustache and monocle, at left running away from brawl in a studio; untraced.
Prov. J.P. Morgan, New York.
Ref. Gallatin 1913a, p.32, no.84; Gallatin 1918, p.41, no.65; and Denker 1995, p.91.
Repr. as wood-engr. Du Maurier 1894a (captioned ‘Taffy à l’échelle!’); Du Maurier 1894b, p.85; and Denker 1995, p.92.

Pen and ink drawing by George Du Maurier, whole-length, on left; untraced.
Prov. J.P. Morgan, New York.
Ref. Gallatin 1918, p.41, no.67.
Repr. as wood-engr., Du Maurier 1894a (captioned ‘The Two Apprentices’).

c.1894
Pen and ink drawing on wove paper, 211 x 117mm, by Aubrey Beardsley, Caricature of James McNeill Whistler, whole-length to left, seated on Chinese-style sofa, with fly away dark curly hair and monocle, aging profile (losing chin) and tiny feet, wearing boating hat, sunflower pinned to coat, in forest pointing at butterfly; NGA, Washington, DC, 1943.3.1454.
Exh. The Cult of Beauty, V&A, London, 2011 (no cat. no.).
Ref. Denker 1995, pp.13–17.
Repr. Wilson 1983, fig.32; Denker 1995, p.138; Calloway 1998, p.79; and Calloway & Orr 2011, p.188, fig.162.

publ. 1895
Pen and ink drawing by Charles Lyall; untraced.
Ref. Gallatin 1913a, p.45, no.161; and Gallatin 1918, p.65, no.222.
Repr. Pall Mall Gazette, Jan. 1895.

Wash drawing by unidentified artist, whole-length, full-face; untraced.
Ref. Gallatin 1918, p.71, no.259.
Repr. Book Buyer (New York), Feb. 1895.

Pen and ink drawing by ‘H.F.’ [?Harry Furniss] for Mr. Whistler Looking Rather Black; untraced.
Ref. Gallatin 1913a, p.45, no.162; and Gallatin 1918, p.65, no.223.
Repr. Lika Joko (London), 30 Mar. 1895.

Pen and ink drawing by unidentified artist for Oliver T. Whistler Asking for Moore; untraced.
Ref. Gallatin 1913a, pp.45–6, no.163; and Gallatin 1918, p.65, no.224.
Repr. Lika Joko (London), 6 Apr. 1895.

Pen and ink drawing by unidentified artist for The Warlike Whistler; untraced.
Ref. Gallatin 1913a, p.46, no.164; and Gallatin 1918, p.66, no.225.
Repr. Ally Sloper (London), 6 Apr. 1895.

publ. 1896
Pen and ink drawing by Gardner C. Teall for Mr. Whistler by Candle Light; untraced.
Ref. Gallatin 1913a, p.46, no.165; and Gallatin 1918, p.66, no.226.
Repr. Chap Book (Chicago), 1 Feb. 1896.

publ. 1897
Drawing by Arthur Boyd for Mr. Whistler in the Witness Box, inscr. upper left ‘BIGHAM CROSS EXAMINING’, half-length, in profile, in witness box, with one gloved hand and the other holding art work which he examines; untraced.
Ref. Denker 1995, p.90.
Repr. as wood-engr., Daily Graphic, 6 Apr. 1897; and Denker 1995, p.90.

Pen and ink drawing by George Du Maurier, whole-length, standing, with monocle, wearing top hat and black cloak with ribbon, in front of Velásquez painting; untraced.
Prov. Howard Mansfield, New York, by 1913.
Ref. Gallatin 1913a, p.31, no.82.
Repr. Critic (New York), 13 Nov. 1897.

Drawings by (John) Bernard Partridge for Mr. Whistler in his Element: Called by Mr. Joseph Pennell in the ‘Saturday Review’ Libel Case, signed lower right ‘J.B. Partridge’, two poses:
(a) inscr. lower right ‘MR WHISTLER. / W[…] FOR MR PENNELL’, three-quarter-length to left, near profile, left hand leaning on rail, right hand gesturing, with moustache, wearing coat, on witness stand; untraced.
(b) inscr. upper edge ‘MR WHISTLER AWAITS HIS TURN’, half-length to front, with moustache and monocle, shown with defendants and plaintiff; untraced.
Repr. Unidentified press cutting, 1897, Dept of Special Colls, Glasgow UL, MS Whistler PC22/13.

1898
Lithograph, ink on glossy white paper, 460 x 315mm, by Ernest Haskell (1876–1925), poster for James McNeill Whistler’s The Baronet and the Butterfly (1897), signed and dated ‘ERNEST / HASKELL / EH [in monogram] / 1898’ and inscr. ‘WHISTLER’S / NEW BOOK / The / BARONET AND / THE BUTTERFLY / For Sale Here / R.H. RUSSELL Publisher NEW YORK’; Hunterian MAG, U. of Glasgow, GLAHA 24756.

publ. 1898
Pen and ink drawing by Max Beerbohm for A Nocturne – Mr. Whistler Crossing the Channel, whole-length, profile to left, on broomstick, with moustache and monocle, wearing top hat, black gloves and long black coat, with starry sky background; untraced.
Ref. Gallatin 1918, p.66, no.231.
Repr. Idler, Feb. 1898; Beerbohm 1958, no.30; and Hart-Davis 1972, p.157, no.1768.

1898–1901
Ink and wash drawing on paper, 206 x 184mm, by Max Beerbohm, Whistler transformed into a candlestick, signed right side ‘Max’, four small drawings, the first whole-length, profile to left, with monocle, holding cane, wearing top hat, long black coat reaching ground and black gloves, in next two drawings gradually transformed, in fourth now a candle in a holder extinguished with a snuffer; Hunterian MAG, U. of Glasgow, GLAHA 42184.
Ref. Hart-Davis 1972, p.157, no.1774; and Hall 1997, p.120.
Repr. Hart-Davis 1972, p.218, fig.58; and Hall 1997, p.120, no.102.
According to Hall, inspired by French caricaturist Charles Philipon’s famous Les Poires (1834), in which bourgeois King Louis-Philippe dissolves into a pear (also meaning ‘fathead’).

1899
Drawing by Ernest Haskell (1876–1925), James Abbott McNeill Whistler, signed and dated upper left ‘ERNEST HASKELL / 1899’, whole-length to right, with monocle and cane, wearing straw hat, overcoat and gloves; untraced.
Ref. Denker 1995, p.148.
Repr. as wood-engr., Critic (New York), Jan. 1901, p.33; and Denker 1995, p.149.

publ. 1899
Charcoal drawing with wash by Ernest Haskell (1876–1925), drawn from memory, head-and-shoulders; destroyed.
Ref. Whistler Correspondence, 08522, 10814; Gallatin 1913a, p.39, no.135; and Gallatin 1918, p.72, no.260.
Repr. Review of Whistler 1899 in Bookman (New York), Aug. 1899.

1890s
Drawing by Max Beerbohm, Mr. Whistler, signed left side ‘Max’, whole-length, standing, profile to right, wearing top hat and overcoat that reaches the ground (no feet showing), with moustache and monocle, carrying black gloves and cane in left hand; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.
Repr. Hall 1997, p.116, no.98; and Hall 2002, no.12.
The drawing as described by Beerbohm: ‘Tiny – Noah’s Ark – flat-brimmed hat – band almost to top – coat just not touching the ground – black gloves – magnificent eyes – exquisite hands, long and lithe – short palms’ (Hall 2002, no.12).

Pen and ink drawing with wash, 263 x 190mm, by Max Beerbohm, Mr. Whistler, signed right side ‘Max’, whole-length, standing, profile to left, wearing top hat and overcoat that reaches feet, with large uplifted eyebrows, moustache and monocle, carrying black gloves and cane in left hand; Houghton L., Harvard U., MS Eng 696(6).
Ref. Gallatin 1916, pp.13–14; Gallatin 1918, p.71, no.255 (as pencil and watercolour); and Denker 1995, p.155.
Repr. Gallatin 1916, pl.V; Gallatin 1918, after p.72; Denker 1995, p.156; and Hall 1997, p.117, no.99.

Pen and ink drawing, 152 x 140mm, by Max Beerbohm, Mr. Whistler, signed left side ‘Max’, whole-length, standing, profile to left, wearing top hat and overcoat that reaches feet, with large uplifted eyebrows, moustache and monocle, carrying black gloves and cane in left hand; untraced.
Prov. Chris Beetles, St James’s, London, May 1986.
Exh. Collection of Sir W.M. Rothenstein, Leicester G., London, 1946 (51).
Repr. Country Life, 1 May 1986.

Pencil drawing, 165 x 140mm by Edward Tennyson Reed, Whistler Descending the Stairs, signed and inscr. lower right ‘Souvenir / E.T.R.’ [‘A memory of Jimmy Whistler: on the stairs of the Beefsteak Club. Soliloquy: ‘Jimmy, my boy! you were in form to-night!’].’, half-length, descending stairs, with moustache and monocle and flying hair, carrying hat and cane, wearing cloak; A.E. Gallatin Coll., The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1916, p.14; Gallatin 1918, pp.69–70, no.249; and Denker 1995, p.88.
Repr. Gallatin 1916, pl.VI; Gallatin 1918, after p.72; [possibly Print Collector’s Quarterly, vol.5, 1915, p.437]; and Denker 1995, p.89.

1900
Pen and ink drawing, 318 x 260mm, by Walter Sickert, signed, dated and inscr. lower right ‘Sickert. Chelsea 1900’, head-and-shoulders to right, head bent, wearing hat; AI Chicago, 1933.229.
Ref. Denker 1995, p.148.
Repr. Denker 1995, p.151.

1901
Coloured chalks drawing by Robert Ponsonby Staples; see NPG 2188.

c.1901
Drawing by Max Beerbohm, signed lower right ‘Max’ and inscr. lower left ‘Mr James McNeill Whistler’, whole-length, standing, profile to left, wearing top hat and overcoat that reaches ground (no feet showing), with monocle, large uplifted eyebrows and moustache, hands in black gloves and cane in right hand; untraced.
Prov. D’Offay Couper G., London, 1972.
Ref. Hart-Davis 1972, p.157, no.1769.
Repr. Hart-Davis 1972, p.218, fig.57.

publ. 1901
India ink drawing with wash by Ernest Haskell (1876–1925), drawn from memory, whole-length; untraced.
Ref. Gallatin 1913a, p.47, no.172; and Gallatin 1918, p.72, no.261.
Repr. Critic (New York), Jan. 1901.

Pen and ink drawing by Gardner C. Teall; untraced.
Ref. Gallatin 1913a, p.46, no.166; and Gallatin 1918, p.66, no.227.
Repr. Bookman (New York), Feb. 1901.

publ. 1902
Drawing by Harper Pennington for A Certain Master, whole-length; untraced.
Ref. Gallatin 1913a, p.46, no.167; Gallatin 1918, p.66, no.228; and Denker 1995, p.113.
Repr. Century Magazine (New York), Oct. 1902.

Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, three quarter length, facing front with monocle, top right hand corner, wearing toga; untraced. Repr. Punch, 21 May 1902, p.363; and Trippi 2002, p.167, fig.136.
See also Alma-Tadema, Brock, Crane, East, Frampton, Goodall, Herkomer, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells.
publ. 1903
Pen and ink drawing by unidentified artist, at his easel; untraced.
Prov. Walter T. Spencer, London, by 1918.
Ref. Gallatin 1913a, p.47, no.174; and Gallatin 1918, p.67, no.234.
Repr. Evening Sun (New York), 10 Jan. 1903.

publ. 1903–4
Pen and ink drawing by Pickford Waller (1873–1927); untraced.
Ref. Gallatin 1913a, p.48, no.176; and Gallatin 1918, p.67, no.235.
Repr. Books and Book-Plates (London), vol.4, no.3, 1903–4.



Undated caricaturesback to top


Drawing by ‘A’, signed lower right ‘A’, whole-length, with moustache, monocle and cane, wearing top hat, cigarette in mouth; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/33.

Drawing by Henry Mayo (‘H.M.’) Bateman for One Afternoon Whistler Came In, signed lower left ‘H. M. Bateman 15.’, whole-length, right hand on hip, left hand on cane, with top hat, moustache and monocle, wearing black gloves and large bow around neck, bottle on string hanging from left wrist, visiting old artist in nightgown, smoking in front of easel, with cat; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/15.

Drawing by Max Beerbohm, signed upper right ‘Max’, tiny figure, profile to right, with hat and cane, wearing long coat, facing a giant Sir William Eden stooping with hands in pockets; untraced.
Ref. Hart-Davis 1972, p.56, no.459.
Repr. Eden 1933, facing p.44; Pearson 1952, facing p.160 (as The Baronet and the Butterfly: Sir William Eden and Whistler); and unidentified press cutting, Nov. 1952, Dept of Special Colls, Glasgow UL, MS Whistler PC20/32.

Drawing, 197 x 311mm, by Max Beerbohm, Il est avec Whistler le peintre de la nuit, whole-length, profile to left, on tip toes, carrying lantern with right hand, cautioning Walter Sickert (behind him) with left hand, with moustache and monocle, wearing tall hat, black gloves and long coat; BM, London, 1914,0910.2.
Ref. Hart-Davis 1972, p.139, no.1537.
Repr. Thorpe 1935, facing p.64.

Drawing by Max Beerbohm, Mr. Whistler, signed lower right ‘Max’, whole-length to left, three-quarter face, standing, wearing long coat, with large uplifted eyebrows and white lock protruding from tall black hat, hands in black gloves, cane in left hand; Harvard UL.
Exh. Beerbohm exh., Grolier Club, New York, 1944; and Beerbohm exh., American Academy of Arts and Letters, New York, 1952.
Ref. Hart-Davis 1972, p.157, no.1773.
Repr. Gallatin 1944; and Wallis 1947, p.42.

Drawing by Max Beerbohm, Mr. Whistler, whole-length, standing, profile, wearing long coat reaching to ground and tall black hat, with cane; untraced.
Prov. Mrs Albert Ehrman, 1972.
Ref. Hart-Davis 1972, p.157, no.1775.

Drawing by Max Beerbohm, Caricature of Whistler, inscr. lower left ‘The Master / ([postulate?] fine impression / with all the […])’, whole-length, near profile to left, leaning forwards with hands behind back, with moustache and monocle, wearing long coat; untraced.
Repr. Rothenstein 1931–2, vol.1, facing p.103, fig.15.

Black and white drawing with watercolour, 193 x 133mm, by L.J. Binns, whole-length, standing; untraced.
Prov. E.G. Kennedy and Co., New York, by 1913; Kennedy and Co., by 1918.
Ref. Gallatin 1913a, p.47, no.175; and Gallatin 1918, p.72, no.262.

Pen and ink drawing on paper, 198 x 255mm, by ‘Bo’, James McNeill Whistler at a Private View, signed lower left ‘Bo’; Hunterian MAG, U. of Glasgow, GLAHA 46398.

Pen and ink drawing by Alfred Bryan for Jimmy Whistler – Drury Lane Lobby; untraced.
Ref. Gallatin 1918, p.62, no.202.
Repr. Back Numbers (London).

Pen and indian ink drawing, 90 x 65mm, by Alfred Bryan, Caricature of Whistler, signed lower right ‘AB’, three-quarter-length to left, with white lock, moustache and monocle, smoking cigarette; untraced.
Prov. On sale at Bonhams, London, 12 Mar. 1992 (24, ill.).

Pen and ink drawing, 89 x 64mm, by Alfred Bryan; untraced.
Exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983 (188).
Repr. London 1983, p.55, no.188.

Watercolour drawing, 613 x 495mm, by J. Clayton Clarke (‘Kyd’) (exh. 1855–75), Jimmy, whole-length, with monocle, wearing top hat and black cloak with elaborate bow, standing in front of Velázquez painting; V&A, London, E.890-1948.
Prov. H.H. Harrod Bequest, 1948.
Ref. Victoria and Albert 1957, p.120; and Denker 1995, pp.58–9.
Repr. Denker 1995, p.59.

Watercolour drawing on paper laid on board, 355 x 250mm, by J. Clayton Clarke (‘Kyd’) (exh. 1855–75), Jimmy, inscr. on verso ‘Whistler an original diary / J. Kyd’; Hunterian MAG, U. of Glasgow, GLAHA 42383.

Lithograph, partially coloured by hand, 286 x 178mm, by J. Clayton Clarke (‘Kyd’) (exh. 1855–75), Jimmy in Paris, whole-length, dressed in black; no impressions traced.
Ref. Gallatin 1913a, p.47, no.173; and Gallatin 1918, p.70, no.253.

Pen and ink drawing, 79 x 65mm, by George Du Maurier, whole-length (on left), wearing cap and monocle, smoking, walking with Du Maurier and Charles Keene; coll. Howard Mansfield, New York.
Ref. Gallatin 1918, pp.40–41, no.64.
Repr. Gallatin 1918, facing p.44.

Pencil, pen and ink drawing on buff paper, 180 x 100mm, by George Du Maurier, Portrait of Whistler, whole-length, standing, facing viewer, right side of face in shadow, right foot forwards, with moustache and monocle, wearing open-fronted painter’s smock; untraced.
Prov. Sotheby’s, London, 7 Mar. 1990 (101, ill.).

Drawing by Sir William Eden, Whistler at Work, whole-length to left, rear view, seated, right leg crossed over left, palette in left hand, brush in right hand, painting two girls on small canvas on easel; untraced.
Repr. Eden 1933, facing p.78.

Sepia and yellow watercolour drawing, 165 x 114mm, by G. Wharton Edwards (1859–1950), Great Whistler Alone in His True Colours But Not by Himself, three-quarter-length to left, standing; untraced.
Prov. Walter Stanton Brewster, Chicago.
Ref. Gallatin 1918, p.71, no.257.
Repr. Brewster 1917.

Drawing by Harry Furniss, whole-length to left, standing, smoking cigarette; untraced.
Ref. Gallatin 1918, p.63, no.210.
Repr. Strand.

Pen and ink drawing by George Gatcombe, An Unharmonious Nocturnal Study; untraced.
Ref. Gallatin 1918, p.65, no.217.

Oil on canvas by Anthony Guarino, whole-length to right, standing; untraced.
Ref. Gallatin 1918, p.72, no.263.
Repr. Adler 1915 (in colour).

Drawing by Holbrook Jackson, head-and-shoulders, profile to right, with moustache and monocle; untraced. Repr. ‘A Note on Whistler’s Masterpiece’, T.P.’s Christmas Number, unknown date, p.29 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/125). Pencil and watercolour drawing on paper, 440 x 355mm, by Wyncie King (1884–1961), Joseph Pennell with Whistler, signed lower edge ‘WYNCIE KING’, as diminutive butterfly on toy cart being pulled by Pennell as old giant; AI Chicago, 1933.260|http://www.artic.edu/aic/collections/artwork/14429?search_id=8}.
Ref. and repr. Denker 1995, p.161.

Pencil drawing by Homer Dodge Martin (1836–1897); Princeton UAM, x1944-245.
Repr. Mather 1945, p.8, fig.8.

Pen and ink drawing, 355 x 254mm, by George Finch Mason (1850–1915), Jimmy; untraced.
Prov. Walter T. Spencer, London, by 1918.
Ref. Gallatin 1913a, p.46, no.169; and Gallatin 1918, p.66, no.232.

Pencil and watercolour drawing, 216 x 76mm, by George Finch Mason (1850–1915), Jimmy, signed ‘Finch Mason’, wearing long overcoat; V&A, London, E.1009-1948.
Prov. H.H. Harrod Bequest, 1948.

Watercolour drawing, 216 x 76mm, by George Finch Mason (1850–1915), whole-length; V&A, London, E.1009-1948.
Prov. H.H. Harrod Bequest, 1948.
Ref. Victoria and Albert 1957, p.138.

Pen and ink drawing, 355 x 254mm, by George Finch Mason (1850–1915), A Regular First Nighter; untraced.
Prov. Walter T. Spencer, London, by 1918.
Ref. Gallatin 1913a, p.47, no.170; and Gallatin 1918, p.67, no.233.

Pencil and watercolour drawing, 254 x 178mm, by George Finch Mason (1850–1915), whole-length; untraced.
Prov. Frank Hollins, London, by 1918.
Ref. Gallatin 1918, p.70, no.251.

Pen and ink drawing by Phil May, Sketch of Whistler, whole-length, near profile to left, left hand on hip holding cane point upwards, right hand holding monocle to eye, wearing top hat and buttoned-up overcoat; untraced.
Repr. Pennell & Pennell 1921, facing p.189.

Drawing possibly by Phil May, head only, with white lock, moustache and monocle (similar to features in May’s On the Brain – Mr. Whistler, see above, ‘publ. 1892’), with other heads; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/35 (detail).

Drawing by Harper Pennington, head-and-shoulders; untraced.
Ref. Gallatin 1913a, p.46, no.167; and Gallatin 1918, p.66, no.229.

Pen and ink drawing by Harper Pennington, Sketch of Whistler, inscr. lower half ‘came in. / (P.s. They’ve found my ink, & / I’ve addressed the envelope. / Don’t laugh at my “butterfly” – / it has a simple evolution, & / not a conscious imitation – e.g. / [drawings showing evolution of signature]’, whole-length, profile to left, holding book in left hand, cane outstretched in right hand, wearing coat and top hat; untraced.
Repr. Pennell & Pennell 1921, facing p.202.

Drawing by William Rothenstein, several caricatures on same sheet; untraced.
Prov. William Rothenstein, in 1913.
Ref. Gallatin 1913a, p.45, no.159.

Watercolour drawing, 197 x 121mm, by Pickford Waller (1873–1927); untraced.
Prov. Pickford Waller, London, 1918.
Ref. Gallatin 1913a, p.48, no.177; and Gallatin 1918, p.70, no.250.

Crayon drawing with stumping and touches of watercolour, 191 x 108mm, by Leslie Ward (‘Spy’), whole-length, standing; S.P. Avery Coll., The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Prov. Samuel Putnam Avery, New York.
Ref. Gallatin 1913a, p.43, no.147; and Gallatin 1918, p.68, no.244.
Repr. Gallatin 1913a, facing p.48.

Pen and ink drawing by R. Wrege, Breaking a Butterfly; untraced.
Ref. Gallatin 1918, p.65, no.218.

Pencil drawing, 118 x 92mm, by unidentified artist, Penny Whistler, head-and-shoulders; V&A, London, E.3244-1948.
Prov. H.H. Harrod, 1948.
Ref. Victoria and Albert 1957, p.15.

Drawing by unidentified artist, whole-length, with top hat, moustache and monocle, wearing black gloves and large bow around neck, stylized sunflowers behind, dancing cherub with cymbals below; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/25.

Woodcut by unidentified artist, quarter-length, with spikey white lock, curly moustache and monocle in left eye, wearing buttoned-up coat; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/57.

Drawing by unidentified artist, whole-length, in toga, with Ruskin on right arm, as members of Roman Senate; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/57.

Drawing by unidentified artist, Art: An Outrage in Sulphur and Treacle, whole-length, profile to left, with curly hair and moustache, wearing dressing gown, painting on canvas from jars labelled ‘TREACLE’ and ‘SULPHUR’; untraced.
Repr. Unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/75.


Possible caricaturesback to top


c.1882
Pen and ink drawing by unidentified artist for Tom, Jerry and Young Logic at a Private View, whole-length, with top hat, moustache and monocle, in crowd; untraced.
Ref. Gallatin 1918, p.62, no.200.
Repr. Punch, 13 May 1882, p.225.
Possibly Whistler – the resemblance is cursory.

undated
Oil on canvas, 1168 x 800mm, by Ralph Wormeley Curtis (1854–1922), James McNeill Whistler, signed and inscr. ‘R. M. Curtis / 18[22?]’, seated at table, with moustache and monocle, smoking cigarette, woman with fan beside him; untraced.
Prov. Christie’s, London, 5 June 1981 (94, ill.).
The sitter is unlikely to be Whistler: there is no white lock and the resemblance is cursory.


Posthumous caricaturesback to top


c.1904
Pen, ink and watercolour drawing, 201 x 303mm, by Max Beerbohm, Dante Gabriel Rossetti in his Back Garden, whole-length, with monocle, top hat and cane, with ten others incl. A.C. Swinburne, who pulls his white lock; Birmingham MAG, 1981P2.
Exh. Carfax G., London, 1904; Artists and Writers, Parkin G., London, 1976 (36); Piccadilly G., London, 1980 (25); British Watercolours from Birmingham, Tokyo, 1992 (7); Visions of Love and Life, New York and Birmingham, 1995 (118); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (102);
Ref. Gallatin 1913a, p.46, no.168; Gallatin 1918, p.70, no.254; Hart-Davis 1972, no.1268, p.119 and Denker 1995, pp.157–8; repr. Beerbohm 1904 and 1943 (no number); Beerbohm 1922 (1987, supplementary pl.3); The Times, 1 Jan. 1972; Dunn 1984, pl.15; Walkley 1994, p.191, fig.154; Denker 1995, p.158; Hall 1997, p.209, fig.198; Dearden 1999, p.202, no.300; and Cruise 2011, p.111, fig.140.
See also Burne-Jones, Hunt, W. Morris, Rossetti, Ruskin, Scott.

publ. 1904
Pen and ink drawing by unidentified artist for Wittier Indeed!, whole-length, standing; untraced.
Ref. Gallatin 1918, p.67, no.236.
Repr. Bookman (New York), Aug. 1904.

publ. 1905
Pen and ink drawing by Joseph Simpson, signed lower right ‘SIMPSON’, head, near profile to left, with curly hair, moustache and monocle, and pronounced nose and chin; untraced.
Ref. Gallatin 1918, p.67, no.237.
Repr. International Studio (New York), July 1905; MacFall 1905, frontispiece (to special run of 1000 only); ‘The Butterfly as Wasp’, unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/4.

publ. 1906
Pen and ink drawing on Japanese paper, 171 x 127mm, by Joseph Simpson; untraced.
Ref. Gallatin 1913a, p.48, no.176.
Repr. El Dario (Mexico City), 4 Nov. 1906.

before 1907
Pen and ink and watercolour drawing on paper, 320 x 204mm, by Max Beerbohm, Sir William Eden and Mr Whistler, signed lower right ‘Max’, as butterfly, William Eden in hunting clothes attempting to catch him in net, Eiffel Tower in background; Hunterian MAG, U. of Glasgow, GLAHA 42182.
Ref. Hart-Davis 1972, p.56, no.458; and Denker 1995, p.156.
Repr. Hart-Davis 1972, p.219, fig.59; and Denker 1995, p.157.
‘Probably dates from before 1907 when Beerbohm published a caricature of Sir William Eden visiting Paris in A Book of Caricatures.’

Pen and ink with watercolour drawing, Sir William Eden and Mr Whistler, by Max Beerbohm, signed lower right ‘Max’, as butterfly, William Eden in hunting clothes attempting to catch him in net, Eiffel Tower in background; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.
Repr. Hall 1997, p.118, no.100 (looks identical to item above).

1907
Pencil, pen, ink and watercolour drawing, 330 x 215mm, by Max Beerbohm, Sir William Eden Revisiting Paris, signed and dated lower left ‘Max 07’, as phantom haunting William Eden in Paris; AI Chicago, 1926.1549.
Exh. Beerbohm exh., Carfax G., London, 1907.
Ref. Hart-Davis 1972, p.56, no.457; and Denker 1995, p.157.
Repr. Beerbohm 1907; and Denker 1995, p.157.

publ. 1907
Chalk drawing on sandpaper by Mortimer Menpes; untraced.
Ref. Gallatin 1918, p.69, no.248.
Repr. The National Magazine (London), May 1907.

1908
Pen and ink drawing, 64 x 86mm, by Walter Crane, Whistler as a Butterfly, signed in monogram, head only, with antennae, based on Whistler’s butterfly signatures; A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Prov. A.E. Gallatin, New York.
Ref. Gallatin 1913a, p.48, no.179; Gallatin 1918, p.67, no.239; and Denker 1995, p.155.
Repr. Crane 1911; Gallatin 1918, after p.72; and Denker 1995, p.155.

publ. 1913
Pencil and wash drawing, 279 x 241mm, by Max Beerbohm, Mr. Joseph Pennell Thinking of the Old ‘Un, Joseph Pennell posing as Whistler’s Arrangement in Grey and Black, No.2: Portrait of Thomas Carlyle (1872–3; Kelvingrove AGM, Glasgow), a copy of Leslie Ward’s A Symphony (see above, ‘c.1877–8’) hanging on wall; Robert Taylor Coll., Dept of Rare Books and Special Colls, Princeton UL.
Exh. Beerbohm exh., Leicester G., London, 1913; and Beerbohm memorial exh., Leicester G., London, 1957.
Ref. Gallatin 1918, p.71, no.256 (as Mr. Joseph Pennell thinking of an old ‘un, charcoal); Hart-Davis 1972, p.110, no.1149; and Denker 1995, pp.158, 160.
Repr. Beerbohm 1913, no.6; Denker 1995, p.159; and Hall 1997, p.121, no.103.

1916
Watercolour, pen and ink drawing, 337 x 273mm, by Max Beerbohm, Blue China, signed and dated bottom right ‘Max 1916’, diminutive Whistler, with monocle, recommending porcelain vase (of same height) to a tall Thomas Carlyle; Tate, A01047.
Exh. Modern Loan Exh., Grosvenor G., London, 1917; and Beerbohm exh., Leicester G., London, Sept. 1921; and Tate, 1923.
Ref. Hart-Davis 1972, p.40, no.241; and Denker 1995, p.158.
Repr. Beerbohm 1922; Beerbohm 1943; and Denker 1995, p.159.

1920
Pencil and watercolour drawing on paper by Max Beerbohm, The Mercilessness of Youth, signed lower right ‘MAX’ and inscr. lower left ‘Post-Impressionist: “No man with any real talent could have behaved like that!”’, as portrait by Walter Greaves, being regarded by Bohemian figure; untraced.
Exh. Beerbohm exh., Leicester G., London, May 1921.
Ref. Hart-Davis 1972, p.157, no.1770.
Repr. Beerbohm 1921 (dated 1920).

Pencil and watercolour drawing on paper, 356 x 220mm, by Max Beerbohm, The Mercilessness of Youth, signed lower right ‘MAX’ and inscr. lower left ‘Post-Impressionist: “No man with any real talent could have behaved like that!”’ and ‘Spoilt’ (diagonally across image), as portrait by Walter Greaves, being regarded by Bohemian figure; Hunterian MAG, U. of Glasgow, GLAHA 42183.
Ref. Denker 1995, p.160; and Hart-Davis 1972, p.157, no.1771.
Repr. Denker 1995, p.160.

1926
Pencil, black chalk and watercolour drawing, 304 x 272mm, by Max Beerbohm, signed and dated bottom right ‘max 1926’, Mr. Whistler Giving Evidence in the Case of Pennell v. The Saturday Review and Another. The Last of Whistler’s celebrated court appearances in defense of art, half-length, with monocle, wearing overcoat and gloves, top hat and small book beside him, in dock; Birmingham MAG, 1946P24.
Exh. Ghosts, Leicester G., London, 1928; ‘Max’ in Retrospect, Leicester G., London, 1952; Beerbohm memorial exh., Leicester G., London, 1957.
Repr. Pearson 1952, facing p.160; N. Wallis, ‘At the Galleries: The Maximilian Period’, Observer, 11 May 1952 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC20/49); ‘Aspects of Victorian Art’, editorial, Apollo, vol.76, Dec. 1962, p.744 [pp.744–7], fig.1 (as pen and wash, 304 x 273mm); R. Mortimer, ‘Arrangements to Delight the Eye’, Sunday Times, 1 Dec. 1963 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/146); Kenin 1979, p.192; Denker 1995, p.156; and Hall 1997, p.119, no.100.
‘Another’ was Whistler’s former pupil Walter Sickert, who had allegedly slandered Joseph Pennell by claiming that a transfer lithograph was not an original print.

c.1931
Pencil drawing by Max Beerbohm, Shades of Rossetti, Ruskin, Swinburne, Pater and Whistler wondering that so much space has been devoted to this other later Romantic – and whether even he is the ‘Last one’, half-length, shoulders to front, profile slightly to left, with monocle, with five other heads; priv. coll.
Ref. Hart-Davis 1972, p.161, no.1829.
Repr. Dearden 1999, p.202, no.308.
W.B. Yeats is the late Romantic being referred to.
See also Rossetti, Ruskin.

1934
Woodcut by Charles W. Hemingway, Whistler Learned his Art from the Japanese, signed and dated upper right ‘1934 / C.H.’ and inscr. upper right ‘WHISTLER’ (in Chinese-looking characters arranged vertically), head-and-shoulders to front, with moustache and monocle, Mount Fuji in background with rising sun, butterfly at lower right; publ. Aberdeen Press and Journal, 10 July 1934 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC20/50).

1936
Drawing by Max Beerbohm, If they were flourishing in this our day, head only, profile to left, clean shaven, wearing glasses, surrounded by 15 other eminent Victorians ‘shorn of eccentricities of hair, beard, whiskers and clothes; instead dressed and coiffured in the drab uniformity of 1936’, in a scene with W.E. Gladstone as protagonist; untraced.
Ref. Hart-Davis 1972, p.67, no.595.
Repr. Manchester Guardian, 13 Mar. 1936; and Dearden 1999, p.203, no.309.
See also Leighton, Rossetti, Ruskin.

c.1948
Drawing by unidentified artist, whole-length to right, rear view, palette and brushes in left hand, painting lady’s evening gown on canvas on easel (no model painted), beside Arrangement in Grey and Black: Portrait of the Artist’s Mother (1871; M. d’Orsay, Paris), mother turning in her picture with gesture of shock; untraced.
Repr. New York Herald, 5 Sept. 1948 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC20/41); and MacDonald 2003, p.11, fig.4.

1962
Design by Alfred Reginald Thompson for cover of menu for Chelsea Arts Club’s Annual Dinner, 1962, three-quarter length to left, left hand on hip, wine glass and cane in right hand, with white lock, moustache and monocle, wearing wide-brimmed hat and long coat, at end of line of past Chelsea Arts Club members including Augustus John, John Singer Sargent and Philip Wilson Steer; untraced.
Ref. Cross 1992, p.132.

1974
Pen and ink drawing, 349 x 279mm, by David Levine, three-quarter-length to front, outsize head with white lock, moustache and monocle, palette in left hand, little finger of right hand raised; untraced.
Exh. David Levine: Caricatures and Watercolours, Ashmolean M., Oxford, 1987.
Repr. ‘On the Make in Paris and London’, New York Review of Books, 8 Aug. 1974.


Photographsback to top


c.1844
Albumen silver print, 110 x 78mm, by unidentified photographer, at about age 10, whole-length to left, standing leaning on table, wearing suit and bowtie; Dept of Special Colls, Glasgow UL, MS Whistler PH1/93.
Ref. Denker 1995, p.21.
Repr. Denker 1995, p.20; and MacDonald 2003, p.18, fig.15.

c.1847
Daguerreotype, 110 x 78mm, by unidentified photographer, oval, half-length to left, seated in chair; no print traced.
Ref. Gallatin 1913a, p.49, no.181; Gallatin 1918, p.73, no.264; and Denker 1995, p.22.
Repr. Pennell & Pennell 1908, vol.1, facing p.230; and Denker 1995, p.23.

1860–65
Silver print, 162 x 116mm, by unidentified photographer, whole-length, looking to right, away from camera, seated on chair by fence in sun, left leg over arm of chair, wearing hat and pale-coloured suit with dark tie; Charles Lang Freer Papers, Freer GA Archives, Smithsonian Inst., Washington, DC.
Repr. Denker 1995, p.162; and MacDonald, Galassi & Ribeiro 2003, p.6, fig.4.

c.1865
Carte-de-visite, 95 x 55mm, by Étienne Carjat, Paris, three-quarter-length, leaning against upholstered chair, wearing coat, waistcoat and bowtie, monocle hanging from chain; prints colls Dept of Special Colls, Glasgow UL, MS Whistler PH1/95 (as c.1865, exh. In Pursuit of the Butterfly, NPG, Washington, DC, 1995); The Rob Dickins Coll., Watts G., Compton, COMWG2008.4519 (signed lower left ‘Et. Carjat’, exh. Victorian Art World in Photographs, NPG, London, 1984 [24]); and J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC (bound in S.P. Avery’s copy of Sheridan Ford’s pirated edition of Whistler’s Gentle Art of Making Enemies).
Ref. Denker 1995, p.42 (as c.1865).
Repr. Pennell & Pennell 1921, facing p.282 (as c.1878 [Washington]); Maas 1984, p.161, no.306 (Compton); Denker 1995, p.42 (Glasgow); and Warner 1997, p.238 (Washington) detail).

Photograph, 95 x 55mm, by Étienne Carjat, three-quarter-length, profile to left, left hand on hip, with hair parted on left and moustache, wearing coat, waistcoat and bowtie; prints colls Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE; Dept of Special Colls, Glasgow UL, MS Whistler PH1/96 (signed lower left margin ‘Et. Carjat’, exh. In Pursuit of the Butterfly, NPG, Washington, DC, 1995).
Ref. Denker 1995, p.42 (as c.1863).
Repr. Print Collector’s Quarterly, vol.6, 1916, p.374 (dated 1865); Denker 1995, p.42; and Fredeman 2002–10, vol.3, p.529, pl.6 (Lasner).

Cabinet-size photograph by unidentified photographer, three-quarter-length, full-face, standing, one hand resting on chairback, wearing overcoat; no print traced.
Ref. Gallatin 1918, p.73, no.266.
Repr. Print Collector’s Quarterly, vol.6, 1916, p.374.

Cabinet-size photograph by unidentified photographer, Paris, three-quarter-length, profile to left, standing; no print traced.
Ref. Gallatin 1913a, pp.50–51, no.196; and Gallatin 1918, p.73, no.267.
Repr. Mansfield 1909, frontispiece.

Photograph by unidentified photographer, inscr. ‘To my friend Rosetti / J. Whistler’, head-and-shoulders to left, with hair parted on left and moustache, wearing buttoned-up coat; J. & E.R. Pennell Coll. of Whistleriana, Prints and Photographs Division, Lib. of Congress, Washington, DC; also Dept of Special Colls, Glasgow UL (vignette; repr. MacDonald 2003, p.66, fig.61, where dated 1870s).
Repr. Merrill 1998, p.51, fig.1.6.

1870s
Photograph by unidentified photographer, quarter-length, body facing left, head facing forwards, with white lock and moustache, wearing buttoned-up coat; Picture Post Library.
Repr. Pearson 1952, frontispiece.

c.1870s
Photograph by unidentified photographer, head-and-shoulders to left, near profile, with white lock and moustache; no print traced.
Ref. ‘The Genesis of Jim Whistler’, Illustrated American, 25 May 1895, p.651 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC20/14).

c.1878–9
Gelatin silver print, 156 x 95mm, by London Stereoscopic Co., three-quarter-length to left, standing, left hand on hip holding cigarette, wearing coat; prints colls Dept of Special Colls, Glasgow UL, MS Whistler PH1/229 (out of focus); Charles Lang Freer Papers, Freer GA Archives, Smithsonian Inst., Washington, DC (signed in ink left side with butterfly and inscr. in ink lower edge ‘J.A. McN. Whistler 1878.’).
Ref. Denker 1995, p.76 (dated 1878).
Repr. Merrill 1992, frontispiece; and Denker 1995, p.76 (Washington).
For dating, see letter from London Stereoscopic Co. to J.M. Whistler, 28 Dec. 1878 (Whistler Correspondence, 08858).

Photograph, 165 x 121mm, by London Stereoscopic Co., three-quarter-length, seated, smoking a cigarette; no print traced.
Ref. Gallatin 1913a, p.51, no.201; and Gallatin 1918, p.75, no.277.

Etching, 140 x 102mm, by Robert Kastor after photograph above; impressions A.E. Gallatin, New York, 1918.
Ref. Gallatin 1918, p.50, no.124.

Pen and ink drawing by R. Lillie after photograph above; untraced.
Ref. Gallatin 1913a, p.33, no.98; and Gallatin 1918, p.44, no.82.
Repr. Daily Chronicle, 20 July 1903.


Photograph by Bacard fils, Paris, signed in ink left side with butterfly and in ink lower right ‘J. McNeill Whistler’, head-and-shoulders to left, with white lock and moustache, wearing buttoned-up overcoat; Charles Lang Freer Papers, Freer GA Archives, Smithsonian Inst., Washington, DC.
Repr. MacDonald 1995, p.ii.

Photograph by London Stereoscopic Co., signed in ink left side with butterfly and in ink lower right ‘J. McNeill Whistler’ (very close to item above), quarter-length to left, with white lock and moustache, wearing buttoned-up overcoat; no print traced.
Repr. Merrill 1998, p.245, fig.6.10 (dated 1879, credited to NPG, Smithsonian Inst., Washington, DC).

Albumen print, 147 x 102mm, by London Stereoscopic Co., three-quarter-length to left, seated, resting left elbow on cushioned podium, left hand on chin, holding cigarette in right hand; prints colls Dept of Special Colls, Glasgow UL, MS Whistler PH1/97 (inscr. in pencil ‘Whistler’), PH1/98 (reduced size, mounted on paper, signed in ink ‘J. Mc:Neill Whistler [butterfly]’), PH1/99 and PH1/105, and PH1/100–104, 106 (same as PH1/99 but in slipcase); The Rob Dickins Coll., Watts G., Compton, COMWG2008.399; George A. Lucas Coll. of the Maryland Inst., College of Art, on indefinite loan to Baltimore MA (signed and dated 25 Apr. 1879 and inscr. by Whistler on verso ‘Paris in difficulty’, and signed on recto right side with butterfly); NPG, Smithsonian Inst., Washington, DC, NPG.83.8; BL, London, Manuscript Coll., Add. 54316, 292; another print exh. Artists of the Yellow Book, Clarendon G. and Parkin G., London, 1983; and T. Pepper Coll. (carte-de-visite, cropped to half-length, NPG ref. neg. 29242, repr. Daily Express, 28 Sept. 1933 [cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC20/40]).
Ref. Denker 1995, p.76 (as 1878).
Repr. ‘Mr. Whistler in Bond Street’, Pictorial World, 26 Mar. 1892, p.616 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC13); ‘Whistler’s Peacock Room for America’, New York Herald, 17 July 1904, p.8 (detail in magazine section); Pearson 1952, facing p.161; Merrill 1992, p.283, fig.70; Denker 1995, p.77 (Glasgow); Merrill 1998, p.337, fig.7.19 (after New York Herald); Tedeschi & Salvesen 1998, p.4 (Glasgow); MacDonald, Galassi & Ribeiro 2003, p.8, fig.7; and unidentified press cutting, 1890, Dept of Special Colls, Glasgow UL, MS Whistler PC22/11 (detail), Whistler PC11/28, c.1890 (detail).

Drawing by ‘FER’ after photograph above, for J. McNeill Whistler: A Famous American on his Way to the United States, signed left side ‘FER’ and inscr. lower edge ‘Always sincerely [butterfly] / MR. WHISTLER AND HIS AUTOGRAPH.’, half-length; untraced.
Repr. Citizen (Brooklyn, NY), 2 Dec. 1888 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC10).

Drawing by ‘EJW’ after photograph above, for Mr. John [sic] McNeill Whistler, quarter-length; untraced.
Repr. as engr. by ‘R.T, and Co.’, ILN, 26 Mar. 1892, p.384 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC18/15); and ‘The Cult of Mr. Whistler. By a Worshipper’, Review of Reviews 1892, p.387.

Etching by Robert Kastor after photograph above; AI Chicago, 1933.227.


c.1880–86
Photograph, 206 x 156mm, by unidentified photographer, whole-length, profile to left, standing, left hand on hip, right holding paintbrush, at easel table in front of framed Portrait of Maud Franklin (1886; untraced) in the Fulham Road studio; Dept of Special Colls, Glasgow UL, MS Whistler PH1/120.
Ref. Denker 1995, pp.127–8.
Repr. Denker 1995, p.129; Wedd et al. 2001, p.100, fig.94; and MacDonald, Galassi & Ribeiro 2003, p.3, fig.1.

1881
Photograph by Hon. Frederick Lawless (fl.1889), signed and dated lower right corner ‘Lawless / 1881’ and inscr. upper right ‘For the Dogino [?] from / the Artist (F. L.) / 20 years after he / took it, in / “Jimmy’s” / Studio, / London.’, half-length, standing in front of little statuette, with four other men, including Lawless, in Tite Street studio, Chelsea; Curtis coll., 1912.
Ref. Gallatin 1913a, p.49, no.183; and Gallatin 1918, p.74, no.269.
Repr. Pennell & Pennell 1908, vol.2, facing p.10; Bookman, suppl., Oct. 1912, p.36 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); MacDonald, Galassi & Ribeiro 2003, p.153, fig.147; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/30.

1881–4
Photograph by Otto Bacher (1856–1909), whole-length to left, standing, left hand on hip, with monocle, in front of large canvas in the Tite Street Studio, Chelsea; Dept of Special Colls, Glasgow UL, MS Whistler PH1/221.
Ref. Gallatin 1913a, p.51, no.197; Gallatin 1918, p.74, no.268; and Denker 1995, p.113.
Repr. Bacher 1907, p.103; Bacher 1908, p.43; Denker 1995, p.114; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC22/79.
Taken ‘with “detective” camera, before the days of the kodak’.

1885
Platinum print by unidentified photographer; see NPG P356.

Platinum print, 170 x 113mm by Mortimer Menpes, summer 1885, whole-length, rear view, head turned looking over left shoulder, cane in right hand, cloak over left shoulder, with white lock, moustache and monocle, wearing top hat, outdoors at The Vale, Chelsea – portrait of Menpes in tennis costume on reverse of mount; prints Dept of Special Colls, Glasgow UL, MS Whistler PH1/112 (dated 1886) and PH1/114 (dated 1886, inscr. by Whistler in pencil lower left of mount ‘To Birnie with love [butterfly]’, printed butterfly signature lower right of mount).
Prov. Sotheby’s, London, 1 July 1977 (265, ill.); bought for US collection.
Repr. Maas 1984, p.161, no.307; and as halftone engraving, printed signature of butterfly on mount, Dept of Special Colls, Glasgow UL, MS Whistler PH1/113.

Photographs by unidentified photographer, outdoors, five poses:
(a) gelatin silver print, 83 x 48mm, whole-length, standing, left hand on hip, cloak over left shoulder and cane in right hand, wearing top hat, by fountain, next to William Merritt Chase; William Merritt Chase Archives, Parrish AM, Southampton, NY.
Ref. Denker 1995, p.118.
Repr. Denker 1995, p.119.

(b) gelatin print, 89 x 114mm, whole-length, standing, left hand on hip, cloak over left shoulder and cane in right hand, wearing top hat, by railings with (left to right) unidentified man, William Merritt Chase and Mortimer Menpes; William Merritt Chase Archives, Parrish AM, Southampton, NY.
Ref. Gallatin 1918, p.75, no.274; and Denker 1995, pp.118–19.
Repr. Roof 1917; and Denker 1995, p.119.

(c) 90 x 114mm, whole-length, profile to left, standing, left hand on hip, cloak over left shoulder and cane in right hand, wearing top hat, on lawn in front of shrubbery with Mortimer Menpes and William Merritt Chase; prints priv. coll.; and Christie’s, London, 25 Oct. 1984 (344).
Ref. Gallatin 1918, p.74, no.272; and Denker 1995, p.119.
Repr. Menpes 1904, facing p.152; Young, Macdonald & Spencer 1980, vol.2, pl.421; Denker 1995, p.120; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/40 (detail without Menpes, inscr. ‘WHISTLER AND CHASE, 1885 / SHOWING COSTUME EACH WORE IN THE PERIOD / PHOTOGRAPH BY MORTIMER MENPES’).

(d) whole-length, near full-face, seated on chair, right leg crossed over left, lifting top hat with right hand, holding cane with left hand, wearing buttoned-up overcoat, in garden with Mortimer Menpes to his right; no print traced.
Ref. Gallatin 1913a, p.50, no.191; and Gallatin 1918, p.74, no.270.
Repr. Menpes 1904, facing p.148; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/33.

(e) whole-length, profile to left, sitting on cane-seated chair, holding cane outstretched in left hand, wearing buttoned-up overcoat, in garden with Mortimer Menpes to his right; no print traced.
Ref. Gallatin 1913a, p.50, no.192; and Gallatin 1918, p.74, no.271.
Repr. Menpes 1904, facing p.148.

c.1886
Photograph, 188 x 124mm, by Heyman Seleg Mendelssohn, London, whole-length to left, standing, left hand on hip holding cane, cloak over left shoulder, with white lock, moustache and monocle; prints colls Dept of Special Colls, Glasgow UL, MS Whistler PH1/107 (dated c.1884, signed in ink right side with butterfly and inscr. by Whistler in ink lower margin ‘To my Pupil Rix Birnie’), PH1/108 (dated c.1884), PH1/109–10 (dated c.1884/6, exh. In Pursuit of the Butterfly, NPG, Washington, DC, 1995).
Ref. Gallatin 1913a, p.50, no.195; Gallatin 1918, p.75, no.279 (as by Mendellssohn); and Denker 1995, p.114.
Repr. Pennell & Pennell 1921, facing p.6 (as by Mendelsohn, ‘about the time of his return from Venice’, i.e. 1880); Young, Macdonald & Spencer 1980, vol.2, pl.437 (as by Mendellsohn, dated c.1890); Merrill 1992, p.73, fig.30 (dated c.1888); Denker 1995, p.115 (dated 1886); and ‘New Departure by Whistler’, Literary Digest (New York), 23 Jan. 1897 (half-length in oval; copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/141).

1880s/90s
Photograph by unidentified photographer, Liverpool, out of focus, quarter-length to left, with white lock, moustache and monocle, wearing dinner jacket and bowtie; Dept of Special Colls, Glasgow UL, MS Whistler PH1/119.

1891
Photograph, 154 x 208mm, by Robinson and Thompson, Liverpool, whole-length to left, seated on wooden chair, right leg crossed over left, with moustache and monocle, top hat on knee, with the hanging committee of the Annual Exhibition of the Liverpool Art Society at the Walker AG, 1891; prints Dept of Special Colls, Glasgow UL, MS Whistler PH1/174 and PH1/115 and PH1/116–18 (smaller version).
Ref. Denker 1995, pp.131–2.
Repr. Denker 1995, p.130 (dated 1894).

1895
Photograph, 170 x 227mm, by E. Vallois Photography, Paris, 11 July 1895, whole-length, standing, with monocle, moustache and handkerchief in breast pocket, third from right, at the wedding of Ethel Whibley (née Birnie Philip, Beatrice Whistler’s younger sister) and Charles Whibley, to his left, Beatrice Whistler seated in dark hat beside Rosalind Birnie Philip and mother, in garden of 110 rue du Bac; Dept of Special Colls, Glasgow UL, MS Whistler PH1/167.
Ref. Denker 1995, p.134.
Repr. Lochnan 1984, p.266 (dated July 1894); Denker 1995, p.136 (dated July 1895); Tedeschi & Salvesen 1998, p.87 (dated July 1894); MacDonald, Galassi & Ribeiro 2003, p.201, fig.198 (dated 11 July 1895).
For dating, see letters from Edward Guthrie Kennedy to J.M. Whistler, 9 July 1895 (Whistler Correspondence, 07253); and Edward Guthrie Kennedy to J.M. Whistler, 16 July 1895 (Whistler Correspondence, 07256).

c.1895
Photograph by unidentified photographer, whole-length, body turned to left, head facing camera, left hand in coat pocket, holding white straw hat in right hand, with moustache, in the garden at 110 rue du Bac, wall, trellis and trees in background; Dept of Special Colls, Glasgow UL, MS Whistler PH1/121.

Photograph by unidentified photographer, whole-length, body turned to left, left hand in coat pocket, wearing white straw hat, in garden at 110 rue du Bac, similar to item above but taken from a distance; Dept of Special Colls, Glasgow UL, MS Whistler PH1/122.

Photograph, 121 x 90mm, by unidentified photographer, whole-length, body turned to left, head facing camera, holding white straw hat in left hand, with moustache, in garden at 110 rue du Bac; Dept of Special Colls, Glasgow UL, MS Whistler PH1/126.
Ref. Denker 1995, p.134.
Repr. Denker 1995, p.134; and unidentified press cutting, Dept of Special Colls, Glasgow UL, MS Whistler PC21/30.

Photograph by unidentified photographer, winter, whole-length, rear view, turned slightly to right, in garden, hands in pockets, wearing coat, facing wall in the garden at 110 rue du Bac; Dept of Special Colls, Glasgow UL, MS Whistler PH1/123.

Photograph, 106 x 83mm, by unidentified photographer, winter, whole-length, rear view, right hand on hip, hat in left hand behind back, facing wall in the garden at 110 rue du Bac; Dept of Special Colls, Glasgow UL, MS Whistler PH1/124.
Ref. Denker 1995, p.134.
Repr. Denker 1995, p.135 (wrongly stated to be Whistler PH1/123).

Lithograph (1st state), ink on paper, 219 x 141mm, by Thomas Robert Way after photograph above, 1896, signed lower right centre ‘T. R. Way’ and inscr. lower left corner ‘1st state’; Hunterian MAG, U. of Glasgow, GLAHA 45381.
Ref. Denker 1995, p.134.
Repr. Denker 1995, p.135.

Lithograph (2nd state), ink on paper, 219 x 141mm, by Thomas Robert Way and James McNeill Whistler after photograph above, 1896, signed lower right ‘T. R. Way / & J. McN. Whistler.’ and inscr. lower left corner ‘2nd state -’; Hunterian MAG, U. of Glasgow, GLAHA 45382.
Ref. Gallatin 1913a, p.38, no.132; Gallatin 1918, p.53, no.136; and Denker 1995, p.134.
Repr. Denker 1995, p.135 (as 22.2 x 14.5cm); and Tedeschi & Salvesen 1998, p.130 (dated 1895/96).


Photograph by unidentified photographer, whole-length, near profile to right, with female figure, sofa at left with coats, cane, top hat and umbrella, staircase at right, in studio at rue Notre-Dame-des-Champs; Dept of Special Colls, Glasgow UL, MS Whistler PH1/127.

1899
Albumen prints by Dornac Studio, Paris, in studio on the rue Notre-Dame-des-Champs, three known poses:
(a) 193 x 260mm, whole-length to left, head turned to face camera, seated on sofa, right leg crossed over left, left hand on hip with Nocturne in Blue and Silver: Screen with Old Battersea Bridge (1872; Hunterian MAG, U. of Glasgow) and printing press in background; A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL.
Ref. Gallatin 1913a, pp.49–50, no.189; Gallatin 1918, p.76, no.286; Denker 1995, p.133; and Hunterian MAG records.
Repr. Pennell & Pennell 1908, vol.2, facing p.144; Bookman, suppl., Oct. 1912, p.34 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); Pennell & Pennell 1921, after p.18; Denker 1995, p.132; Calloway & Orr 2011, p.101, fig.68; and unidentified press cutting, Dept of Special Colls, U.of Glasgow, Whistler PC21/29.

(b) 263 x 203mm, whole-length, standing, looking at etching, at printing press; prints colls A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL; and Lib. of Congress, Washington, DC.
Ref. Gallatin 1913a, p.49, no.188; Gallatin 1918, p.76, no.285; and Denker 1995, p.133.
Repr. Pennell & Pennell 1908, vol.2, facing p.136; London 1979, frontispiece; Lochnan 1984, p.257 (as Whistler at his printing press in the rue Notre-Dame-des-Champs, Paris, dated 1893); and Denker 1995, p.133.

(c) whole-length, seated on chair, surrounded by works of art facing wall and The Dancer (c.1900; Hunterian MAG, U. of Glasgow), on wall; prints colls A.E. Gallatin Coll., Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL (260 x 203mm); and Dept of Special Colls, Glasgow UL, PH1/125 (dated 1890s, exh. AG of Ontario, Toronto, 1984).
Ref. Gallatin 1913a, p.50, no.190; Gallatin 1918, p.76, no.287; and Denker 1995, pp.133–4.
Repr. Denker 1995, p.133; MacDonald, Galassi & Ribeiro 2003, p.14, fig.15 (dated c.1898).

Pen and ink drawing by Cyril Bentham Falls after pose (a) above, c.1914; untraced.
Ref. Gallatin 1918, p.58, no.188.
Repr. Puck (New York), 30 May 1914.


c.1900
Photograph by W.B. Northrop, seated, leaning forwards to look at camera, in landau beside Mrs Brown-Potter, with footman and horse, in front of half-timbered house; no print traced.
Ref. Gallatin 1913a, p.51, no.198; Gallatin 1918, p.75, no.275; and Denker 1995, p.148.
Repr. Northrop 1904, p.241 (captioned 'Mrs Brown-Potter and the Late McNeill Whistler'); and Denker 1995, p.151.

1900–1901
Photograph by William Heinemann, Corsica, whole-length, seated in front of stone wall, with moustache, wearing heavy overcoat and panama hat; no print traced.
Repr. Pennell & Pennell 1921, facing p.208 (as Whistler Sketching in Corsica).


Undated photographsback to top


Photograph by Elliott & Fry, London, head-and-shoulders; no print traced.
Ref. Gallatin 1913a, p.51, no.200; and Gallatin 1918, p.75, no.276.

Pastel drawing, 508 x 355mm, by Jules Maurice Gaspard (1862–1919) after photograph above; untraced.
Ref. Gallatin 1913a, p.39, no.135 (as crayon); and Gallatin 1918, p.57, no.178.
Repr. Hubbard 1902, vol.2, between pp.30, 31


Photograph by William Heinemann, A Glimpse of Whistler, whole-length, wearing straw hat, seated outdoors on cobbles, by wall, etching; priv. coll.
Ref. Gallatin 1913a, p.49, nos 184–7; Gallatin 1918, pp.75–6, nos 280–84; and Denker 1995, p.148.
Repr. Pennell & Pennell 1908, vol.2, facing p.266; ‘The Life of James McNeill Whistler’, ILN, 24 Oct. 1908 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/87); Bookman, suppl., Oct.1912, p.29 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); and Denker 1995, p.150.

Photograph by William Heinemann, A Glimpse of Whistler, whole-length, standing in garden, holding straw hat; priv. coll.
Ref. Gallatin 1913a, p.49, nos 184–7; Gallatin 1918, pp.75–6, nos 280–84; and Denker 1995, p.148.
Repr. Pennell & Pennell 1908, vol.2, facing p.266; Bookman, suppl., Oct. 1912, p.29 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); and Denker 1995, p.150.

Photograph by William Heinemann, A Glimpse of Whistler, whole-length, wearing hat, leaving shop or café; priv. coll.
Ref. Gallatin 1913a, p.49, nos 184–7; Gallatin 1918, pp.75–6, nos 280–84; and Denker 1995, p.148.
Repr. Pennell & Pennell 1908, vol.2, facing p.266; Bookman, suppl., Oct. 1912, p.29 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); and Denker 1995, p.150.

Photograph by William Heinemann, A Glimpse of Whistler, three-quarter-length, in profile, head bent, wearing straw hat, out of doors, with book/folio under left arm; priv. coll.
Ref. Gallatin 1913a, p.49, nos 184-–7; Gallatin 1918, pp.75–6, nos 280–84; and Denker 1995, p.148.
Repr. Pennell & Pennell 1908, vol.2, facing p.266; ‘The Life of James McNeill Whistler’, ILN, 24 Oct. 1908 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/87); Bookman, suppl., Oct. 1912, p.29 (copy, Dept of Special Colls, Glasgow UL, MS Whistler PC22/129); and Denker 1995, p.150.

Photograph, 146 x 102mm, by Heyman Seleg Mendelssohn, London, three-quarter-length, standing, holding ‘painter’s wand’; no print traced.
Ref. Gallatin 1913a, p.50, no.194 (as by H.S. Mendellssohn); and Gallatin 1918, p.75, no.278 (as H.S. Mendellssohn).

Cabinet photograph by Heyman Seleg Mendelssohn, London, head-and-shoulders to left, near profile, with white lock and moustache; no print traced.

Albumen print by Heyman Seleg Mendelssohn, London, head-and-shoulders to left, near profile, with white lock and moustache, wearing coat and necktie; prints colls Dept of Special Colls, Glasgow UL, MS Whistler PH1/228; priv. coll.; also Christie’s, London, 25 Oct. 1984 (218).
Ref. NPG ref. neg. 45366.

Photograph by Mortimer Menpes, whole-length, holding cane under arm; no print traced.
Ref. Gallatin 1913a, p.51, no.199; and Gallatin 1918, p.74, no.273.
Repr. as photogravure for presentation by Whistler; and Metropolitan Magazine (New York), Sept. 1904.

Photograph by unidentified photographer, small oval, quarter-length, near profile to left; no print traced.
Ref. Gallatin 1913a, p.49, no.182; and Gallatin 1918, p.73, no.265.
Repr. Pennell & Pennell 1908, vol.1, facing p.230.

Photograph by unidentified photographer, quarter-length to left, seated at table, chin on hand; no print traced.
Ref. Gallatin 1913a, p.51, no.202.
Repr. Herald (New York), 18 July 1903.


Footnote
1) The Walter S. Brewster Collection of Whistleriana, Art Institute of Chicago, has not yet been checked for this iconography.

Carol Blackett-Ord