Cape Town Lens: Image from page 504 of “Life of James McNeill Whistler,” (1911)

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Image from page 504 of “Life of James McNeill Whistler,” (1911)

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Identifier: jamesmcnei00penn
Title: Life of James McNeill Whistler,
Year: 1911 (1910s)
Authors: Pennell, Elizabeth Robins,
Subjects: American Art
Publisher: J. B. Lippincott company
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council – METRO

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Text Appearing Before Image:
ns Hotel, and then at the Savoy. Work ofone sort or another marked these moves : the lithograph of KensingtonGardens from the De Vere Hotel; at the Savoy most pathetic drawingsof his wife, The Siesta and By the Balcony, and the Thames from thehotel windows. He had during the first months no studio in London.He worked for a while in Mr. Walter Sickerts; Mr. Sargent lent hisearly in 1896, when there was talk of a lithograph of Cecil Rhodes anda portrait of Mr. A. J. Pollitt, of whom he made a lithograph, thoughthe painting, begun later in Fitzroy Street, was destroyed. He interested himself in the experiments of others. In the winterof 1895 J. was asked by the Daily Chronicle to edit the illustration ofa series of articles on London in support of the Progressive CountyCouncil. It was an event of importance to illustrators, process-men,and printers : the first effort in England for the artistic illustrationof a daily paper. The Daily Graphic was illustrated, but its draughts-328 [1895-96

Text Appearing After Image:
THE REACH WATER-COLOUR la the possession of Mrs. Knowles (See page 271) Trials and Griefs men were trained to adapt their drawings to the printer. The schemenow was to oblige the printer to adapt himself to the illustrator. Everyillustrator of note in London contributed. Burne-Jones frontispieceto William Morris* News from Nowhere was enlarged and printedsuccessfully. J. asked Whistler to let him try the experiment ofenlarging one of the Thames etchings. Whistler was interested.Black Lion Wharj was selected and printed in the Daily Chronicle,February 22, 1895, the very day of the month, Washingtons Birthday,when, ten years later, the London Memorial Exhibition opened. Withits publication the success of the series was complete, not politically,for the twenty-four drawings were said to have lost the Progressivestwenty-five seats. The etching stood the enlarging superbly. J. madethe proprietors pay for the print, the first time Whistler was paid forthe use of one of his works not made as

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