La Mère Gérard
|Size:||129 x 90 mm|
|Signed:||'Whistler - ' at lower left (2-final)|
|Inscribed:||'Imp. Delatre. Rue St. Jacques. 171.' at lower centre (4)|
|Set/Publication:||'French Set', 1858|
|No. of States:||4|
|Catalogues:||K.11; M.13; T.6; W.9|
|Impressions taken from this plate (53)|
Impressions also appeared in public galleries, such as in Philadelphia in 1879; and in private clubs, for the connoisseur, such as the Union League Club in New York, to which Samuel Putnam Avery (1822-1904) lent 'Trial proof; only one.' and 'The same. The finished state' in 1881 (, and possibly ). 14 Bernard Buchanan MacGeorge (1845?-1924) lent his impression to an international exhibition in Glasgow in 1888 (). 15
Impressions were for sale in print dealer's shows, particularly by H. Wunderlich & Co. (1898, 1903) and F. Keppel & Co. (1902) in New York and by Obach & Co. in London in 1903. Charles Lang Freer (1856-1919) bought several impressions, originally from the collection of Francis Seymour Haden, Sr (1818-1910), from Wunderlich's in 1898 (, , ). 16 Both Bryan Lathrop (1844-1916) and Freer lent impressions to the exhibition organised by the Caxton Club, Chicago, in 1900 ( and ). 17
After Whistler's death, impressions were exhibited in the comprehensive Memorial Exhibitions in New York in 1904 and in Paris and London in 1905 - an impression was lent by King Edward VII to the latter. 18
12: Hague 1863; see REFERENCES : EXHIBITIONS.
14: New York 1881 (cat. nos. 12, 13).
15: Glasgow 1888 (cat. no. 2552-9)
17: Chicago 1900 (cat. nos. 9, 9a).
SALES & COLLECTORS
19: Thomas 1874 (cat. no. 6).
20: GUW #07079.
21: V&A, Register for Prints, p. 33.
22: Sotheby's, 30 April 1876 (lots 730, 731).
23: 'English Etching', The Standard, London, 25 April 1878, p. 2 (GUL PC1/94).
Major private collectors included Charles Lang Freer (1856-1919), who bought four impressions from F. S. Haden's collection through H. Wunderlich & Co.: three third states (, , ) and a final state (). The third states are not radically different but they do reveal slight variations in inking and paper, and show the very obsessive nature of Freer's collecting. They were bequeathed with the rest of his collection to the Freer Gallery of Art.
24: Sotheby's, 3 March 1892 (lot 52), Christie's, 8-9 March 1892 (lot 52); Christie's, 13-14 July 1897 (lot 297).