James Abbott McNeill Whistler, ‘Maunder's Fish Shop, Chelsea’, 1890, Christie's

Without watermark, signed with the butterfly in pencil, an impression of the second, final state, before the published edition of approximately 500-1000 impressions issued in The Whirlwind 2 (27 December 1890), with margins, the left edge slightly irregular, otherwise the full sheet, pale light-staining, scattered foxing, otherwise in good condition, framed.
Image 190 x 170 mm., Sheet 322 x 205 mm.

Chicago 37; Way 28; Levy 42

Rosalind Birnie Philip (1873-1958), London (Lugt 406).

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