James McNeill Whistler

Drypoint, 1859, a superb, rich impression of this exceptionally rare and important print, Kennedy's first state (of two), with velvety burr printing on the lines throughout, and with a delicate veil of plate tone imparting a soft, atmospheric effect, on golden Japan paper, with margins, in good condition apart from adhesive remains along the upper margin edge

Ex coll. Howard Mansfield (L. 1342); Harris Whittemore (L. 1384a), his sale, Parke-Bernet, January 17-18, 1949, lot 128, illustrated; anon. buyer; sold, Christie's New York, January 18, 1990, lot 294, illustrated

While Kennedy describes two states of this print, there is a state prior to the first, offered by P. & D. Colnaghi & Co., Ltd.; see their catalogue, A Catalogue of Fine Prints, 1496-1956, 1979, no. 106, illustrated.

 

Whistler was first introduced to 17^th century Dutch engraving by way of the comprehensive collection amassed by his brother-in-law, Sir Francis Seymour Haden.  However, it was in the fall of 1857, while viewing the unprecedented abundance of paintings and prints by artists such as Rembrandt and van Dyck at the landmark Manchester Art Treasures exhibition, that he became inspired to take up his own needle.  For the duration of 1858 he focused on etching, experimenting largely with portraiture and local Parisian scenes, but by the autumn of 1859 he had turned his attention solely to drypoint. It is clear Whistler delighted in reviving this technique; not only was the velvety burr more painterly, but the brief lifespan of the raised edge which produced it lent the early proofs an almost unique quality.  Portrait of Whistler is the most important work to come out of this period, if not of his entire oeuvre.  Its evocation of Rembrandt’s Self-Portrait in a Velvet Cap and Plume (fig. 1) is evident not only in the choice of medium and subject matter, but also in its unapologetic concentration on the artist's face and costume, with only a few lines to indicate the background.   Furthermore, the conspicuous absence of etching in the lower sheet is clearly a direct reference to the first state of Anthony van Dyck’s Self-Portrait of the Artist (fig. 2) a plate which was likely intended to be turned over to assistants who would flesh out the figure and his surroundings.