WALTER GREAVES | JAMES ABBOTT MCNEILL WHISTLER ON THE WIDOW'S WALK AT HIS HOUSE IN LINDSEY ROW, CHELSEA

With the Rosenbach Galleries, Philadelphia;

By whom sold, New York, Christie's, 26 January 2011, lot 233. 

"Whistler’s portraits of his friends and fellow artists are some of my favorite paintings, so what a treat to see the tables turn with this portrait of Whistler himself by his neighbor, friend, and student Walter Greaves. While their relationship might not have been perfect, the wit with which Greaves has painted Whistler is as fascinating as their friendship."

Calvine Harvey

Walter Greaves' relationship with Whistler was fraught with intrigue, marked by scandal, and characterized by adoration and hero worship. Walter and his brother Henry met Whistler in 1863, when Whistler fortuitously became their neighbor at Lindsey Row in Chelsea. The brothers became Whistler's studio assistants, buying his art supplies and preparing his canvases and colors. They became devoted followers for over fifteen years, and as Gordon Fleming points out, "Whistler's domination over the brothers was total. They even tried to look like him. They wore hats, ties and gloves like his, and they grew little moustaches."¹ 

Greaves' most notable artistic success in 1910 was marred by widespread controversy. In a one-man show at the Goupil Gallery, London, he exhibited 50 paintings, which influential writer Clutton-Brock of The Times considered remarkable and original, providing a glowing review for the relatively unknown painter. However, this unexpected achievement for the self proclaimed "pupil of Whistler," created an outrageous art scandal, venomously spearheaded by Whistler biographer Joseph Pennell. At his most vociferous, Pennell claimed many of the exhibited works were actually attributable to Whistler himself.

1. G. Fleming, James Abbott McNeill Whistler: A Life, St Martin's, New York, 1991, p.100).