James Abbott McNeill Whistler, ‘Florence Leyland’, Christopher-Clark Fine Art

Original drypoint printed in black ink on laid Japan paper.

Signed in the plate with the artist’s butterfly monogram lower right.

A fine impression of Glasgow’s eleventh and final state, Kennedy’s ninth state of nine, of this a scarce and delicate drypoint, printed after the restoration and removal of the cancellation lines, and after the addition of the colon to the right of the inscription “I am Flo” circa 1879.

Catalog: Kennedy 110 ix/ix; Mansfield 109; Grolier Club 100; Thomas 79; Glasgow 136 xi/xi.

Sheet Size: 9 5/8 x 6 3/4 inches

About James Abbott McNeill Whistler

James Abbott McNeill Whistler changed the course of art history with his radical techniques and adoption of Asian design principles, which emphasized a two-dimensional flattening of painted forms and their arrangement into abstract patterns. A London-based expatriate, Whistler embraced and promoted the doctrine that art should not serve narrative, but rather project the artist’s subjective feelings through the handling of the medium. His revolutionary methods changed existing approaches to oil paint, pastel, watercolor, etching—even interior design and the decorative arts. The flat, expressive, and radically simplified forms in his Venice pastels, and his use of fluid blue and gray pigments in his abstract nocturnes, altered how his contemporaries like Édouard Manet and Edgar Degas saw and understood art. He scandalously named one of his most famous paintings Arrangement in Grey and Black, No. 1 (1871), suggesting the reduction of a portrait of his mother to an arrangement of formal elements.

American, 1834-1903, Lowell, MA, United States, based in London, United Kingdom