The Corresponence of James McNeil Whistler
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System Number: 03357
Date: [11 December 1893][1]
Author: JW
Place: Paris
Recipient: Thomas Robert Way[2]
Place: London
Repository: Freer Gallery of Art, Washington, D.C.
Call Number: FGA Whistler 114
Credit Line: Charles Lang Freer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C.: Gift of the Estate of Charles Lang Freer
Document Type: ALS[3]

110. Rue du Bac. Paris.

My dear Tom -

The Brittany proofs[4] have come - & they are capital - Only there is one thing - When you find in the sheets I send you, a defective one - either too spotted with mildew - or wormeaten - don't use it - This time there are a couple with a tiny hole in each - Those sort of sheets I can take back one of these days, to do for smaller etchings - for all Dutch paper is getting awfully rare - The specimen proof[5] you sent on some curious paper that you say you can get, I don't [p. 2] really much like as far as the paper itself goes - It is a little too coloured - too dark - That Japanese of Mons. Marty's[6] was really wonderful! - Hand made - Does your Father[7] think we could ever get any? - Your little imprint[8], by the way, is very delicate and well placed - I like it - moreover it will just make the distinction between this publication & the proofs - so that's all right -

Your letter[9] was very nice my dear Tom - and now about Gleeson White and the Studio[10] - It strikes me that he might have the second drawing I did from my sister in law[11] - you know the one standing with the pair of gloves drawn out in the two hands - The first, seated, was published in the "Whirlwind[12]" - but this second has not I believe been published at all - You will of course know. The "Albemarle" had I think, the rag shop Chelsea[13]. Anything else? I dont remember - You might send me the list -

You know I had several destroyed - Now among them did I destroy a little draped figure of a girl standing reading a letter[14]? I rather hope not - for I have a proof that I now think well of! -

Do you remember? Something like this - I have not the drawing by me - [sketch][15] If you have the stone, I wish you would print me a dozen proofs - and send them on -

Also I should like half a dozen beautiful pulls of the dancing girl[16] - and half a dozen of the little nude figure resting holding a cup of tea[17] -

Now in printing, I think that some of the sheets are perhaps too big - The pretty size is the smaller Dutch - and print always a little[18] higher up in the paper than down - Among the [p. 3] lying down figure[19] of these last is one with rather more margin at the bottom than the others - and you have no idea how much daintier she looks! -

Another little thing to notice is that when the sheet has a cut edge and a rough one, I would always put the straight cut edge at the top. [sketch of sheet of paper] Also when, as is often the case, there are written figures - numbers - in the corner of the page, tell your printer to be careful to choose the other side of the paper for his impression -

Of course if any of these things be published - Gleeson White - or others - We will proceed as in the case of the Whirlwind - I mean as to the printing - transferring to other stone etc - otherwise I give no more away - So I must know what any of these Gentlemen propose to pay me -

I am off now -
So Adieu for the time -

[butterfly signature]

This document is protected by copyright.


Thomas Way Junr.
21. Wellington Street
Strand -
London -
Angleterre -
[postmark:] PARIS - 80 / R. DU BAC / 8E 11 / DEC / 93
[postmark on verso:] LONDON W. C. / S. M. P. / KM / DE 12 / 93


1.  [11 December 1893]
Dated from the postmark. The date '12 Dec 93' is written in pencil in another hand on p. 1.

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

3.  ALS
Published in Spink, Nesta R., The Lithographs of James McNeill Whistler, gen. eds Harriet K. Stratis and Martha Tedeschi, Chicago, 1998, vol. 2, pp. 82-83, no. 69.

4.  Brittany proofs
The Marketplace, Vitré (C.62) and The Clock-Makers, Paimpol (C.65); see #03355.

5.  specimen proof
An impression of The Draped Figure, Seated (C.72); see #06106.

6.  Marty's
André E. Marty (b. 1857), journalist, illustrator and print publisher [more].

7.  Father
Thomas Way (1837-1915), lithographic printer [more].

8.  little imprint
'T. WAY. IMP T. LONDON', was used to identify the 107 prints of The Draped Figure, Seated (C.72) published for L'Estampe originale; see #06107.

9.  letter
Not identified.

10.  Gleeson White and the Studio
Joseph William Gleeson White (1851-1898), writer on art, first editor of the Studio [more]. Gleeson White seems to have first contacted Way in December 1892; see #06098. Gants de suède (C.35) was published in The Studio, vol. 3, no. 13, April 1894; see letter #03362.

11.  sister in law
Ethel Whibley (1861-1920), née Philip, JW's sister-in-law [more].

12.  Whirlwind
Another lithographic portrait of E. B. Philip, The Winged Hat (C.34), published in The Whirlwind: A Lively and Eccentric Newspaper, vol. 2, no. 17, 25 October 1890.

13.  rag shop Chelsea
Chelsea Rags (C.26) was published in The Albemarle, vol. 1, no. 1, January 1892; see #06090.

14.  girl standing reading a letter
The Novel: Girl Reading (C.32). The image had not been destroyed; see #06108.

15.  sketch
There are two pen sketches of standing figures, Sketch of 'The Novel - Study of a girl reading' (M.1402). Inscribed in pencil in another hand on the verso of the envelope, 'sketches'.

16.  dancing girl
The Dancing Girl (C.29).

17.  cup of tea
JW was mistaken. T. R. Way wrote suggesting that he meant the nude leaning against the chest of drawers and reading (The Little Nude Model, Reading (C.33); see #06108). This request for the reprinting of earlier lithographs corresponds to the interest shown in JW's lithography by dealers and collectors in late 1893; see #03356.

18.  little
Double underlined.

19.  lying down figure
Nude Model, Reclining (C.73).