ATTRIBUTED TO JAMES ABBOTT MCNEIL WHISTLER, 1834 - 1903, AMERICAN, MASTER DRAWING FOR THE BLACK LION

ATTRIBUTED TO JAMES ABBOTT MCNEIL WHISTLER, 1834 - 1903, AMERICAN, MASTER DRAWING FOR THE BLACK LION WHARFInscribed with Artist's butterfly monogram lower right, Interior mounted with stamp for 'Robert Gueraut', with further pencil title to lower margin 'The Pool of London', in the present work, there are several indications of pentimenti between the pencil drawing and the etched line, dated to 1859 (sheet has been carefully extended and joined to lower third and identified as mid 19th Century French drawing paper).(sheet 20.4cm x 27.6cm, sight 20cm x 26cm, mount 35cm x 43cm)N.B. significantly this work was mounted by Robert Gueraut, Fine Art Publisher and Master Etcher, whose life long friendship and collaboration with Alphonse Legros is well documented, along with his collaborations with James Tissot, Edward Burne-Jones, Lord Leighton, De Nittis, William Morris and Whistler. Further examples of similar mounts, and etchings owned by Gueraut are to be found among his collection of 162 works that is now in the British Museum collection. Robert Gueraut was also closely involved with Alphonse Thibaudau, co-publisher of Whistler's Set of Twenty Six Etchings ( known as the 'Second Venice Set'). The initial lack of success of these etchings led to Thibaudau fleeing London leaving his assets behind, and the end of his dealings with Whistler. Robert Gueraut is believed to have been among his creditors.Prof Kathleen Lochnan, author 'The Etchings of James McNeil Whistler' [New Haven Yale University Press 1984] notes that the etching for Black Lion Wharf 'was reversed so that it appears to be the right way round', and that 'in which case it is unique among Whistler's etchings'. For this to be achieved, a master drawing would be copied in reverse - via vellum or tracing paper - to the plate prior to etching. After his initial success with this etching and under the guidance of Legros, Whistler subsequently chose to work directly into the copper plate, by-passing the need for any transfer drawing.In the present work, there are several indications of pentimenti between the pencil drawing and the etched line,Further Notes:The figure posing as a sailor in this drawing is identified as the artist and printmaker Alphonse Legros who also posed for Whistler's early major success' - 'Wapping' [YMSM 035]. Their subsequent fall out - some accounts report that Whistler struck Legros in the face with his cane - seems to have revolved around the success of this painting, and the exploitation by Whistler of his Wapping and Thames etchings using the skills and techniques he had learned from Legros. It has been suggested that Legros felt he was entitled to share of the income from the sale of these etchings having been the source of Whistlers ideas and initial talent as a printmaker.A version of The Back Lion composition is to be seen on the wall of Whistler's most famous work 'Arrangement in Grey and Black No 1', better known as 'Whistler's Mother' (1871)