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CONCERNING THE ETCHINGS,-  OF.
MR. WHIS T LER


FREDERICK KEPPEL &* CO.
2o EAST i6TH STREET
ArE W YORK








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CONCERNING THE ETCHINGS
OF
MR. WHISTLER.
kIN,


FREDERICK KEPPEL 6 CO.
20 EAST 16TH STREET
NE W YORK




THE DEVINNE PRESS.
/1' 7




Whistler's portrait of himself.
Dry-point, executed in I859.
141942
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PROPOSITIONS BY MR. WHISTLER.
REPRINTED FROM HIS BOOK,
"THE GENTLE ART OF MAKING ENEMIES."
I. That in Art it is criminal to go beyond the
means used in its exercise.
II. That the space to be covered should
always be in proper relation to the means used
for covering it.
III. That in etching, the means used, or the
instrument employed, being the finest possible
point, the space to be covered should be small
in proportion.
IV. That all attempts to overstep the limits
insisted upon by such proportions are inartistic
thoroughly, and tend to reveal the paucity of
the means used, instead of concealing the same,
as required by Art in its refinement.
V. That the huge plate, therefore, is an
offense-its undertaking an unbecoming display of
determination and ignorance-its accomplishment
a triumph of unthinking earnestness and uncontrollable energy-endowments of the "' duffer."
VI. That the custom of "Remarque" emanates from the amateur, and reflects his foolish
5




facility beyond the border of his picture, thus
testifying to his unscientific sense of its dignity.
VII. That it is odious.
VIII. That, indeed, there should be no margin on the proof to receive such "Remarque."
IX. That the habit of margin, again, dates
from the outsider, and continues with the collector in his unreasoning connoisseurship - taking curious pleasure in the quantity of paper.
X. That the picture ending where the frame
begins, and in the case of the etching, the white
mount, being inevitably, because of its color,
the frame, the picture thus extends itself irrelevantly through the margin to the mount.
XI. That wit of this kind would leave six
inches of raw canvas between the painting and
its gold frame, to delight the purchaser with the
quality of the cloth.


6




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7 -MR. WHISTLER'S ETCHINGS.
By JOSEPH PENNELL.
THE EDITOR OF THE DAILY CHRONICLE.
Sir-Mr. Whistler's plate, "Black Lion
Wharf," or "The Black Lion," a reproduction
of which is, I believe, to be published in to-day's
Chronicle, is one of the greatest engraved plates
that has been produced in modern times. I would
even say that it is the greatest etching of modern
times were it not for the fact that it is but one
of a set known as "The Thames Series," etched
by the master some thirty-five years ago. This
"Thames Series," although not, as I propose
to point out, the first etched work of Mr. Whisti ler, is, however, the first of that long succession
of series which he has been issuing from that
time until the present.
In the Thames plates, it was Mr. Whistler's
aim to show the river as it was in 1859, and each
one of them is a little portrait of a place, a perfect work of art.  For the rendering, as Mr.
Whistler has rendered them, of these old houses
in which every brick and every tile has been
studied, every window frame rightly drawn, every
bit of color truly suggested, is as much portrai9




ture, and as difficult to accomplish, as to give the
portrait of the old lighterman sitting in his barge.
So difficult is it, indeed, that but two men in the
whole history of the world have done such a
thing.  The one a Dutchman of the seventeenth
century, the other an American happily living
and working to-day. The one, Rembrandt, died
virtually uncared for and ignored by his contemporaries; if the other lives and still works, it is
only because he has the courage of a great artist,
which has enabled him, during a whole lifetime,
to fight through the insults and abuse that have
been hurled at him unceasingly from the highest
critical authority in England, as John Ruskin was
considered at one time, to the veriest half-penny
a liner; none was too high or too low to revile
this artist, the man who certainly - we all know
it now -will carry on the traditions of art to
future generations.  Now everything that he has
produced is perfect, he is told; but as he himself has said, if it has been found good to-day,
why was it not also good at the time it was
brought forth?
As I have said, these etchings are perfect portraits
of the London that we of the younger generation
have never seen, but Mr. Whistler has made it so
real for us that it will live forever. We may talk
of Hollar, of Canaletto, of Piranesi, of Hogarth,
so




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Becquet (The Fiddler).
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led by Whistler for the United States Coast Survey.




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but not even that master makes us feel the reality
of London as Mr. Whistler does.
Among the other plates in the same set, are the
"Forge," a dry point, excessively rare; the
"Limehouse," a view down the Reach at low
tide, with tangled barges lying in the mud; "The
Lime-Burner," with its beautiful suggestion of
light and shade; "Wapping"; the "Custom
House," which even Mr. Hamerton was compelled to praise in a niggardly fashion, though to
his last day he never had any true understanding
of the art of Mr. Whistler.  While this series
alone is enough to win immortality for any man,
it marks but one period in his life's work.  The
first etchings, I believe, that Mr. Whistler produced were a series of maps made for the United
States Coast Survey, and in their original state are,
I fancy, virtually unknown. At any rate I do not
think they were ever published, as the artist and
the chief of the survey had, I have heard, diametrically opposite opinions as to what a tree should
look like in a map.   Really the first series of
plates, I think, is that known as "The French
Series," possibly because, as I have always understood, it was made in Germany, though published
in France. Among these are "The Unsafe Tenement," "'The Cabaret," and several other plates
perfectly well known. Next came many portraits
3                 I7




and plates, from Chelsea to the Lower River, from
Paris to London, among them the "Thames Series," which latter won for their author the
strongest kind of recognition in the land of the
other great etcher, Holland, if, at that time, nowhere else. Artists-I don't mean painters with
titles before and after their names-have, however,
always appreciated the art of Mr. Whistler.
But from I860 to I880, although very many
plates were made, I do not think Mr. Whistler
brought out any consecutive series.  About I881
he went to Venice, and after an absence from
London of a year or more-his longest from the
metropolis until he shook for ever the dust of this
unappreciative place off his feet-he brought back
some fifty or sixty coppers which are now called
masterpieces-true, they always were by artistsbut were then known as " another crop of Mr.
Whistler's little jokes," by that truthful person,
Henry Labouchere. This, however, was mild.
A chorus of abuse was uttered by Frederick Wedmore, P. G. Hamerton, Harry Quilter, and many
others, who, fortunately for themselves, did not
sign their names.  But those who did have ever
since been trying to the best of their ability to
prove that, whenever they write about Mr. Whistler, they always make themselves ridiculous. Since
then Mr. Whistler has gone on steadily working.




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Eagle Wharf.




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The Lime-Burner.


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Several plates were done in provincial France; still
others in Holland.  One or two studies of long
lines of canals, windmills in the distance, are in
feeling much the same as Rembrandt, but in line
much superior to Mr. Whistler's only rival.  In
fact, Sir Francis Seymour Haden said not very long
ago that if he were compelled to give up his Rembrandts or his Whistlers, the Rembrandts would go
first - an appreciation that was certainly genuine.
After the French work came a Belgian set; but I
am not sure if these have ever been regularly published; and I do not believe I am revealing any
secrets when I say that I have seen the first proofs
of another French series which, when they are issued, will delight the handful of people who know,
by their beauty of line, their grace of subject, their
exquisite handling. In this last Paris series, when
the world sees it, all save the critics will be compelled to acknowledge that here are consummate
plates by the master.  All his work is alike perfect. It has only been produced under different
circumstances, and is an attempt to render different
effects or situations. Therefore the methods vary,
but the results are always the same-great. Consequently the " - Black Lion Wharf " is appropriate,
not only as an illustration of the riverside of London a quarter of a century ago, but as showing a
characteristic example of the marvellous work of
4                 25




the master.  And it proves conclusively also, as I
have pointed out before, as The Daily Chronicle
has pointed out as well, that great artists to-day,
in showing their work to the public through the
Press, are doing but what the great masters of the
past did when they showed theirs to the same
public through the Church.  I do not expect the
critics to understand me-that, however, is unimportant.  But I would say to the readers of The
Daily Chronicle that never in the history of the
world has there been such a series of remarkable
drawings published by a daily paper, and never
before have two great artists like Mr. Whistler and
Sir Edward Burne-Jones contributed to a daily
journal.  Their motives may have been deliberately mis-stated, but one of their real reasons is
their interest in the most striking experiment in
modern journalism. There is another point which
this plate of Mr. Whistler's emphasizes - that
work which is really good looks well under any
conditions.
LONDON, February 22, I895.


26




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I Longshoremen




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WHISTLER'S THAMES ETCHINGS.
By MONSIEUR F. COURBOIN,
ASSISTANT CURA TOR OF THE PARIS PUBLIC COLLECTION OF PRINTS AND DRA WINGS.
REPRINTED FROM THE BULLETIN DE L'ART ANCIEN E'
MODERNE, PARIS, DECEMBER, 1903.
LA,,SUITE    DE   LA  TAMISE"
DE J. McN. WHISTLER.
Dans ses Graveurs du XIX siecle, M. Henri
Beraldi, apris avoir constate que les estampes de
Whistler ne sont pas communes en France, ajoute
cette petite phrase: " Le Cabinet des estampes
n'en possede aucune."
Le Cabinet des estampes s'est amende depuis
cette constatation; il possede aujourd'hui quelques
eaux-fortes de Whistler et notamment une "Suite
de la Tamise," dont les excellentes epreuves offrent
pour l'histoire de la gravure au xixe siecle un certain interet de curiosite.  On sait que Whistler
avait commenc6 par tirer lui-meme quelques
belles epreuves d'artiste, avant ' edition defectueuse publiee en I87I; puis, que les planches,
35




reprises par la Fine Art Society, avaient donn6
des epreuves suffisantes entre les mains du fameux
imprimeur Goulding.
Nous devons de connaitre la suite de leur histoire a l'obligeante communication de M. Frederick Keppel, qui emploie autant de courtoisie que
de sagacit6 a drainer vers son magasin de NewYork les belles estampes de notre vieux continent.
Rappelons, pour les amateurs qui ne sont point
necessairement au courant des procedes du tirage
de l'eau-forte, que, pour eviter l'usure trop rapide
d'une planche de cuivre grave, on commence
par la recouvrir, au moyen d'un bain galvanique,
d'une mince couche d'acier: c'est ce qu'on appelle l'aci6rage. Les premiers essais de ce procede, qui a caus6 une revolution dans l'art de la
gravure du xixe siecle, ont coincid6 avec les premieres eaux-fortes de Whistler (I857).    Aujourd'hui, la technique de 1'acierage est bien
6tablie, et le moindre imprimeur en taille douce
est capable d'aci6rer lui-meme les planches qu'on
lui donne a tirer; mais, voila quarante ans, on
se m6fiait, et l'acierage courait le risque d'etretout comme le fameux pont d'Asnieres-trop
solidement fait.  C'est ce qui arriva au planches
de Whistler, et la facheuse 6dition de 1871 n'est
mauvaise que parce qu'on a exagere les precautions prises pour la faire bonne.
36




Rag Gatherers.


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Annie, seated


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Adam and Eve Tavern.    Old Chelsea.


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Billingsgate.








En examinant ces planches, Frederick Keppel
pensa que, sous leur " blindage," les cuivres
devaient etre en aussi bon etat qu'au moment ou
Whistler en tirait ses belles 6preuves d'artiste; il
n'hesita donc pas a acheter la " suite" et a faire
immediatement d6saci6rer les planches.  I1 avait
devine juste: les cuivres de Whistler avaient ete
sauves par leur couche d'acier, comme ceux de
Van Dyck l'avaient autrefois ete par l'encre oubliee et durcie dans les tailles.  C'est un peu
l'histoire de l'affreux badigeon qui a conserv6e
tant de fines boiseries et auquel on est si reconnaissant... quand il est bien parti.
Ajoutons que Whistler, en voyant les excellentes epreuves que donnaient de nouveau ses
planches, manifesta une violente surprise - on sait
que le maitre avait des fayons a lui de manifester
et que Frederick Keppel, apres avoir fait tirer
sur les " cuivres nus"   le nombre restreint de
tres belles epreuves que ces cuivres pouvaient
donner, biffa irremediablement les planches pour
6viter toute possibilite de tirage mediocre a l'avenir.
C'est ainsi que, s'il n'a pas les rarissimes
epreuves tirees par Whistler lui-meme, le Cabinet
des estampes possede, de la " suite de Tamise,"
des epreuves tres superieures a celles qui ont ete
mises dans le commerce.
45




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Bibi Lalouette.
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The Kitchen.
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Bibi Valentin.




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Street at Saverne.


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THE FOLLOWING ETCHINGS BY
MR. WHISTLER MA Y A T PRESENT BE SEEN IN
THE STOCK OF
MESSRS. FREDERICK KEPPEL & CO.,
20 EAST SIXTEENTH STREET,
NEW YORK.
April ninth, I9o4.
THE   THAMES SERIES.
Black Lion Wharf.
Thames Police. (Custom House.)
The Forge.
Westminster Bridge.
Rotherhithe. (Wapping.)
Old Hungerford Bridge.
The Pool.
Becquet (The Fiddler).
The Lime-Burner.
The Little Pool.
Eagle Wharf.
Limehouse.
Thames Warehouses.
Millbank.
Early Morning. Battersea.
Chelsea Bridge and Church.
55


I




OTHER ETCHINGS.


Adam and Eve Tavern. Old Chelsea.
Annie, seated.
Battersea Bridge.
Bibi Lalouette.
Bibi Valentin.
Bridge, The.
Bucking Horse, The.
Coast Survey.
Dog on the Kennel, The
Doorway, The.
Doorway and Vine.
Elinor Leyland,
Fanny Leyland.
Finette.
Fishing Boat.
Fish Shop, Venice.
Florence Leyland.
Fumette.
Furnace Nocturne.
Gondola under the Bridge.
Greenwich Park.
Guild House, Brussels.
56






Fumette.


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La Viejille aux Loques.


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Hurlingham.


Kitchen, The.
Landscape with the Horse, The.
Little Arthur.
Little Boy, A.
Little Forge, The.
Little Pool.
Little Putney.
Little Venice.
Liverdun.
Lobster Pots.
Long Lagoon.
'Longshoremen.
Long Venice.
Mast, The.
Melon Shop, Houndsditch.
Mere G6rard, La.
Model Resting, The.
Music Room, The.
Old Clothes Exchange.
Petticoat Lane.
Ponte Piovan.
Putney Bridge.
Quiet Canal.
63






Rag Gatherers, The.
Reading in Bed.
Retameuse, La.
Riva, The: No. Two.
Rue des bons Enfants, Tours.
Salute: Dawn.
San Biagio.
San Giorgio.
Seymour.
Shipping, Venice.
St. James's Place, Houndsditch.
Stables.
Street at Savere.
Swan and Iris.
Tatting.
Three Figures.
Tiny Pool.
Title to French Set.
Troop Ships.
Unsafe Tenement, The.
Upright Venice.
Vauxhall Bridge.
Vieille aux Loques, La.
Wheelwright.
Wild West.
Wine Glass, The.
64




The Beggars.


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San Biagio.




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