Etchings Institutions search term: wunderlich
Florence Leyland |  Freer Gallery of Art (1898.341) | |
| Number: | 136 | |
| Date: | 1874 | |
| Medium: | drypoint | |
| Size: | 215 x 140 mm | |
| Signed: | butterfly at lower right | |
| Inscribed: | ' "I am Flo" ' at right (6) | |
| Set/Publication: | 'Cancelled Plates', 1879 | |
| No. of States: | 11 | |
| Known impressions: | 43 | |
| Catalogues: | K.110; M.109; T.79; W.96 | |
| Impressions taken from this plate (43) | ||
PUBLICATION
EXHIBITIONS
). 16
A few years later, in 1881, Samuel Putnam Avery (1822-1904) lent an impression to the Union League Club in New York. 17 An impression was also shown at the Glasgow International Exhibition in 1888, lent by Bernard Buchanan MacGeorge (1845?-1924) (probably
). 18 Another was lent by Bryan Lathrop (1844-1916) to the exhibition organised by the Caxton Club in Chicago in 1900 (). 19
Impressions also appeared in several print dealers' shows, at Obach & Co. in London in 1903; in New York, at H. Wunderlich & Co. in 1898 and in two 1903 shows, and with Frederick Keppel (1845-1912) of F. Keppel & Co. in 1904. Charles Lang Freer (1856-1919) bought works from the 1898 show (
, ). 20
Howard Mansfield (1849-1938) lent his impression to the Whistler Memorial show in Boston in 1904 (
). Lenders were generous in loans to exhibitions big and small. Three different states were shown at the comprehensive Grolier Club show in New York in 1904, and impressions were also shown at the Whistler Memorial Exhibitions in London (lent by King Edward VII) and Paris in 1905. 21
13: London Pall Mall 1874 (cat. no. 35).
14: 'Notes from London', 13 June 1874, from an unidentified press-cutting, GUL PC1/61.
15: 'Mr Whistler's Etchings', The Builder, 5 July 1874 (GUL PC1/73).
16: Liverpool 1874 (cat. no. 481).
17: New York 1881 (cat. no. 126).
18: Glasgow 1888 (cat. no. 2552-4)
19: Chicago 1900 (cat. no. 91).
20: New York 1898 (cat. no. 91); see REFERENCES: EXHIBITIONS.
21: London Mem. 1905 (cat. no. 96).
SALES & COLLECTORS
). At the same time Freer bought other - both earlier and later - impressions from the Haden collection (, ). Freer had already - in 1889 - bought a later impression from Keppel & Co. () and, with an obsessive desire for completeness, bought a later state in 1905 from Thomas Way (1837-1915) in London ().22: 19-22 October 1877, GUW #12736.
23: New York 1909 (cat. no. 61).
); it shows that Avery was buying from London print dealers as well as from the artist. Another impression, possibly annotated with the number '11-' by Whistler, was bought by William Cleverly Alexander (1840-1916), about the same date
().24: 22-27 October [1877], GUW #12737.
At auction, in the sale of the collection of John W. Wilson (dates unknown) in 1887 (lot 411) 'Eleanor Leland' [sic] 'with indication of hoop on the left, fine impression on India paper' was bought by Alphonse Wyatt Thibaudeau (ca 1840- d.1892) for £6.0.0, a good price reflecting the quality of the impression, which is reproduced below. 26
, and ) were sold in 1892, and were bought by print dealers for good prices. 27 Lot 149 was described as a 'trial proof' and bought by Edmund F. Deprez (1851-1915) for £8.8.0; lots 150 and 151 'with autograph signature' were bought by Robert Dunthorne (b. ca 1851) for £7.5.0 and £6.15.0 respectively (one of these was probably ). Beatrice Whistler (1857-1896) wrote to another print dealer, Edward Guthrie Kennedy (1849-1932) in New York:27: Sotheby's, 3 March 1892 (lots 149-151).
I saw our old friend Mr Keppel was buying largely - but I did not see your name - ' 28
28: [19 March 1892], GUW #09676.
). 29 The Art Institute also benefitted from the generosity of John Henry Wrenn (1841-1911) and his wife, who bequeathed an an impression of the first state, originally owned by the Glasgow collector Bernard Buchanan MacGeorge (1845?-1924) and probably sold through Wunderlich's (). In Germany, Hermann Heinrich Meier (1845-1905) left an impression to be given to the Kunsthalle Bremen after his wife's death, and it was received there in 1910 (
). However, a sad fate befell an impression acquired by the Staatliche Graphische Sammlung, Munich, 1904, which was destroyed in a fire after a bombing raid in 1944 ().29: Christie’s, 8-9 March 1892 (lots 302, 303).