James Abbott McNeill Whistler, ‘Maunder's Fish Shop, Chelsea’, 1890, Christopher-Clark Fine Art

Original lithograph printed in black ink on antique laid paper bearing the “Seven Provinces” watermark (Stratis 271).

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

A superb lifetime impression of Spink’s second and final state of this rare lithograph Printed after the letters in the shop name were slightly scraped to make them more legible, from the edition recorded by T.R. Way in his 1905 catalogue to have been only 28, printed by Thomas Way (apart from the posthumous edition of 33 printed by Goulding in 1903).

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