James Abbott Mc Neill Whistler (1834-1903) Limehouse. 1878. Lithographie (lithotint). 264 x 172. Levy 8 ; Way 4. Superbe et très fraîche épreuve sur chine appliqué sur vélin blanc fort, signée du papillon au crayon. Quelques infimes traces filiformes de frottement en surface (uniquement visibles à jour rasant). Toutes marges. Tirage à 30 épreuves. « ... in 1887, after Mr Whistler’s return from Venice, the set known as Art Notes was published by Messrs Boussod, Valadon & Co. Thirty sets, on large paper, signed, were issued in brown paper covers at four guineas each. The set consisted of six lithographs, Limehouse, Battersea Bridge, Reading, Gaiety Stage Door, and Victoria Club. As the Limehouse drawing failed to yield more fine impressions than those already taken, it was omitted from the seventy sets on smaller paper at two guineas. […] The lithotints are made with washes of ink on the stone, and an occasional use of chalk, and scraped ; these afford only a limited number of proofs. » (Thomas R. Way, « Introduction to the catalogue of 1896 », in M. Levy, Whistler Lithographs, a Catalogue Raisonné, London, Jupiter Books, 1975, p. 11-12).
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James Abbott Mc Neill Whistler (1834-1903)
Limehouse. 1878. Lithographie (lithotint). 264 x 172. Levy 8 ; Way 4. Superbe et très fraîche épreuve sur chine appliqué sur vélin blanc fort, signée du papillon au crayon. Quelques infimes traces filiformes de frottement en surface (uniquement visibles à jour rasant). Toutes marges. Tirage à 30 épreuves. « ... in 1887, after Mr Whistler’s return from Venice, the set known as Art Notes was published by Messrs Boussod, Valadon & Co. Thirty sets, on large paper, signed, were issued in brown paper covers at four guineas each. The set consisted of six lithographs, Limehouse, Battersea Bridge, Reading, Gaiety Stage Door, and Victoria Club. As the Limehouse drawing failed to yield more fine impressions than those already taken, it was omitted from the seventy sets on smaller paper at two guineas. […] The lithotints are made with washes of ink on the stone, and an occasional use of chalk, and scraped ; these afford only a limited number of proofs. » (Thomas R. Way, « Introduction to the catalogue of 1896 », in M. Levy, Whistler Lithographs, a Catalogue Raisonné, London, Jupiter Books, 1975, p. 11-12).
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