James Abbott McNeill Whistler, ‘MAUNDER’S FISH SHOP, CHELSEA’, 1890, Christopher-Clark Fine Art

Collections in which impressions of this state of this lithograph can be found: The Art Institute of Chicago (3 impressions); Hunterian Art Gallery, University of Glasgow (10 impressions); British Museum, London (1 impression); Freer Gallery of Art, Smithsonian Institution, Washington, D.C. (1 impression); National Gallery of Art, Washington, D.C. (1 impression); The University of Michigan Museum of Art, Ann Arbor (1 impression); Museum of Fine Arts, Boston (1 impression); New York Public Library (1 impression).

Signature: Hand-signed with the artist’s butterfly monogram in pencil lower right, also signed on the stone with the butterfly on the storefront.

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