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La Marchande de Moutarde |  National Gallery of Art, Washington, DC (1943.3.8410) | |
| Number: | 20 | |
| Date: | 1858 | |
| Medium: | etching | |
| Size: | 157 x 90 mm | |
| Signed: | 'Whistler' at lower left | |
| Inscribed: | 'Imp. Delatre. Rue St. Jacques. 171.' (2-3); crossed out (4); removed (5) | |
| Set/Publication: | 'French Set', 1858 | |
| No. of States: | 5 | |
| Known impressions: | 75 | |
| Catalogues: | K.22; M.22; T.11; W.16 | |
| Impressions taken from this plate (75) | ||
PUBLICATION
11: Wedmore 1886 A .
12: English Etchings by English Artists and Essays relating to the art, ed. W. Holmes May, London, part 67, 1888.
13: 30 October 1886, pp. 299-300.
EXHIBITIONS
After its exhibitions in Paris and The Hague, it was shown in Whistler's one-man show in London in 1874. 16 In an 1874 review it was related both to the work of Rembrandt Harmens van Rijn (1617-1681), and to French language and culture:
14: Paris Salon 1859 (cat. no. 3673).
15: Hague 1863 . See REFERENCES: EXHIBITIONS.
16: London Pall Mall 1874 (cat. no. 40).
17: 'Mr Whistler's Etchings', The Builder, 5 July 1874 (in GUL PC1/73).
). 19 An early impression, 'before the address of the printer' Auguste Delâtre (1822-1907), was shown at the Glasgow International Exhibition in 1888, lent by Bernard Buchanan MacGeorge (1845?-1924) (). It was also mistakenly titled 'La Marchande de Montarde' in the catalogue. 20
Bryan Lathrop (1844-1916) also lent one to the Caxton Club, Chicago, in 1900 (). 21
Impressions also appeared in print dealer's shows, particularly at H. Wunderlich & Co. (1898, 1903) and F. Keppel & Co. (1902) in New York, and Obach & Co. in London (1903), including first and second states shown in New York and London in 1903. Charles Lang Freer (1856-1919) bought an impression of the second state from the 1898 show (
). 18: Liverpool 1874 (cat. no. 511).
19: New York 1881 (cat. no. 24).
20: Glasgow 1888 (cat. no. 2552-10)
21: Chicago 1900 (cat. no. 16).
22: Boston 1904 (cat. no. 10); New York 1904a (cat. no. 17); London Mem. 1905 (cat. no. 16); Paris Mem. 1905 (cat. no. 297).
SALES & COLLECTORS
) in the summer of 1859 through Francis Seymour Haden, Sr (1818-1910), to whom he wrote on 20 June: 'I enclose two drafts on Liverpool amounting to £63 sterling and as requested by you, for the etchings - they arrived in good order and are considered very fine, doing Jemmy great credit'. 23 The set was given by Winans's descendants to the Metropolitan Museum of Art, New York.23: GUW #07079.
). 24 In 1904, the museum bought an impression as published in English Etchings from the London dealer E. Parsons (). 24: V&A, Register for Prints, p. 33.
). Whistler himself bought back an impression of La Marchande de Moutarde from Edmond Gosselin (1849-1917), in 1888 for 80 francs, presumably with the aim of re-selling it. 25
25: 28 December 1888, GUW #13076.
The etching was also, of course, sold with the 'French Set'; for instance, a complete set was bought by Colnaghi's in 1894 for £6.0.0. 27 A single impression was sold at the J.M. Gray sale in November 1894 for £1.12.0. 28 The Kupferstichkabinett, Berlin, paid far more - £9.10.0 - for an impression bought from Obach & Co. in 1902 (
).26: Sotheby's, 30 April 1876 (lot 740); 15 December 1896 (lot 263); and 3 March 1892 (lots 59-60); Wedmore 1886 A (cat. no. 16).
27: Christie's, 31 July 1894 (lot 8).
28: 'J.M. Gray sale', The Academy, 17 November 1894, p. 405.
) and another, that had come from the collection of Francis Seymour Haden, Sr (1818-1910), in 1898 (). There was very little dfference between them except that one was on cream and the other on ivory laid paper.); Jean-Louis-Henri Le Secq (1818-1882) and Atherton Curtis (1863-1944) in Paris (); Guy John Fenton Knowles (1879-1959) (, ); and Henry Nazeby Harrington (1862-1937) (). From Henry Studdy Theobald (1847-1934) and Ernest Stephen Lumsden (1883-1968) () and from Thomas Barclay () impressions went to the Scottish National Gallery, from Arthur Haythorne Studd (1863-1919), to the British Museum (). A second state from the Royal Collection was sold through Agnew's and went first to Theodore de Witt (dates unknown) and later to Lessing Julius Rosenwald (1891-1971) who gave it to the National Gallery of Art (). Likewise, two impressions went from the Glasgow collector Bernard Buchanan MacGeorge (1845?-1924) to Albert W. Scholle (1860-1917) and Rosenwald, and thence to the National Gallery (, ).); Harry Brisbane Dick (1855-1916) (, ); Alfred Atmore Pope (1842-1913) and his daughter Theodate Pope (1867-1946) ();Bryan Lathrop (1844-1916) (); Charles Deering (1852-1927) (); Ralph King (1855-1926) and his wife (), and Albert Henry Wiggin (1868-1951) (). In due course Boston Public Library, Metropolitan Museum of Art, Hill-Stead Museum, Boston Museum of Fine Arts, the Art Institute of Chicago, Cleveland Museum of Art and other major collections benefitted from these collectors' generosity.