The Corresponence of James McNeil Whistler
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Document associated with: Lemercier (fl. 1862)
Record 1 of 1

System Number: 06134
Date: 22 November 1895
Author: Thomas Robert Way[1]
Place: London
Recipient: JW
Place: [London]
Repository: Glasgow University Library
Call Number: MS Whistler W131
Document Type: ALS[2]


22 Novr 1895

Dear Mr Whistler

I am writing you a line only, now, to say that we find we cannot send you the ballance [sic] of the proofs today. We are so extremely busy that we have only been able to get 3 or 4 more done and as I hope to have them all complete by Monday [p. 2] next, I shall keep these and send them alltogether, also a copy of the seated wash figure[3], which does not appear in the list sent to you, and which Mr Huish[4] tells me you do not intend to exhibit. I am glad you found the texture of our paper give a lithographic character to your line. Anyone would be bold who should say these last two drawings[5] were not made direct onto stone. I found from studying the Papier Vegetal in Paris that it is intended to be laid over a grained surface and that a grained stone is reccomended [sic] by Duchatel[6].

with kind regards, I remain yours sincerely

Tom. R. Way.

This document is protected by copyright.


1.  Thomas Robert Way
Thomas Robert Way (1861-1913), printer, lithographer and painter [more].

2.  ALS
Published in Spink, Nesta R., The Lithographs of James McNeill Whistler, gen. eds Harriet K. Stratis and Martha Tedeschi, Chicago, 1998, vol. 2, p. 149, no. 162.

3.  seated wash figure
Probably Study (C.6).

4.  Mr Huish
Marcus Bourne Huish (1843 - d.1921), barrister, writer and art dealer, Director of the Fine Art Society [more].

5.  two drawings
Fifth of November (C.133) and Sunday, Lyme Regis (C.134).

6.  Duchatel
In late October Way visited Paris to see the Centenaire de la lithographie exhibition at the Champ de Mars. He may also have met the printer Duchâtel at Lemercier's workshop, where he would have been able to see the 'papier végétal' and discuss its application. Alternatively, he may have inquired about the transfer paper from a lithographic supplier in Paris, or obtained a copy of Duchâtel's Traité de lithographie artistique, Paris, 1893. See Spink, op. cit.