CONTENTS
| Page | |
| CHAPTER I. THE WHISTLER FAMILY. THE YEARS EIGHTEEN THIRTY-FOUR TO EIGHTEEN FORTY-THREE | [1] |
| Whistler's Ancestors—His Parents—Birth—Early Years | |
| CHAPTER II. IN RUSSIA. THE YEARS EIGHTEEN FORTY-THREE TO EIGHTEEN FORTY-NINE | [6] |
| Life in Russia—Schooldays—Begins his Art Studies in the ImperialAcademy of Fine Arts—Death of Major Whistler—Return to America | |
| CHAPTER III. SCHOOLDAYS IN POMFRET. THE YEARS EIGHTEEN FORTY-NINE TO EIGHTEEN FIFTY-ONE | [18] |
| The Pomfret School and Schoolmates—Early drawings | |
| CHAPTER IV. WEST POINT. THE YEARS EIGHTEEN FIFTY-ONE TO EIGHTEEN FIFTY-FOUR | [20] |
| Whistler as Cadet in the U.S. Military Academy—His Studies—Failure—Storiestold of him—His Estimate of West Point | |
| CHAPTER V. THE COAST SURVEY. THE YEARS EIGHTEEN FIFTY-FOUR AND EIGHTEEN FIFTY-FIVE | [27] |
| Life in Washington—Obtains Position as Draughtsman in the U.S. Coastand Geodetic Survey—First Plates—Resignation—Starts for Paris | |
| CHAPTER VI. STUDENT DAYS IN THE LATIN QUARTER. THE YEARS EIGHTEEN FIFTY-FIVE TO EIGHTEEN FIFTY-NINE | [33] |
| Arrival in Paris—Enters as Student at Gleyre's—His Fellow Students—Adventures—Journey to Alsace | |
| CHAPTER VII. WORKING DAYS IN THE LATIN QUARTER. THE YEARS EIGHTEEN FIFTY-FIVE TO EIGHTEEN FIFTY-NINE CONTINUED | [46] |
| His Studies—Work at the Louvre—Visit to Art Treasures Exhibition at Manchester—Etchings—Paintings—Rejection at the Salon and Exhibitionin Bonvin's Studio | |
| CHAPTER VIII. THE BEGINNINGS IN LONDON. THE YEARS EIGHTEEN FIFTY-NINE TO EIGHTEEN SIXTY-THREE | [53] |
| In London with the Hadens—First Appearance at Royal Academy—Kindnessto French Fellow Students—Shares Studio with Du Maurier—Gaieties—Mr.Arthur Severn's Reminiscences—Work on the River—Jo—Etchings Published by Mr. Edmund Thomas | |
| CHAPTER IX. THE BEGINNINGS IN LONDON. THE YEARS EIGHTEEN FIFTY-NINE TO EIGHTEEN SIXTY-THREE CONTINUED | [63] |
| Paintings and Exhibitions—The Music Room—Visits to Mr. andMrs. Edwin Edwards—Summer in Brittany—"The White Girl"—BernersStreet Gallery—Baudelaire on his Etchings—Illustrations—Salondes Refuses—First Gold Medal | |
| CHAPTER X. CHELSEA DAYS. THE YEARS EIGHTEEN SIXTY-THREE TO EIGHTEEN SIXTY-SIX | [76] |
| Settles with his Mother at No. 7 Lindsey Row, Chelsea—The GreavesFamily—The Limerston Street Studio and Mr. J. E. Christie—Rossetti—TheTudor House Circle, Swinburne, Meredith, Frederick Sandys, Howell—"Blueand White"—W. M. Rossetti's Reminiscences | |
| CHAPTER XI. CHELSEA DAYS. THE YEARS EIGHTEEN SIXTY-THREE TO EIGHTEEN SIXTY-FOUR CONTINUED | [86] |
| The Japanese Pictures—"The Princesse du Pays de la Porcelaine"—Japanese Influence—"The Little White Girl"—Fantin's "Hommage àDelacroix"—"The Toast"—Arrival in London of Dr. Whistler—AtTrouville with Courbet—Journey to Valparaiso | |
| CHAPTER XII. CHELSEA DAYS CONTINUED. THE YEARS EIGHTEEN SIXTY-SIX TO EIGHTEEN SEVENTY-TWO | [97] |
| Return to London—Removal to No. 2 Lindsey Row—The House and its Decorations—The 1867 Exhibition in Paris—Affair at the Burlington Fine Arts Club—"Symphony in White, No. III." the First PictureExhibited as a Symphony—Theories—Development—Discouragement—Mr. Fred Jameson's Reminiscences—Decoration—Hamerton's "Etchingand Etchers"—Etchings and Dry-points—Exhibitions—Rejection at theRoyal Academy—First Exhibition of Picture as a Nocturne—Relationsto the Royal Academy | |
| CHAPTER XIII. NOCTURNES. THE YEARS EIGHTEEN SEVENTY-TWO TO EIGHTEEN SEVENTY-EIGHT | [112] |
| Nocturnes—Extent of Debt to Japanese—Methods and Materials—Subjects—Originof Title—His Explanation in "The Gentle Art" | |
| CHAPTER XIV. PORTRAITS. THE YEARS EIGHTEEN SEVENTY-ONE TO EIGHTEEN SEVENTY-FOUR | [118] |
| The Mother"—"Carlyle"—"Miss Alexander"—Mr. and Mrs. Leyland—Mrs. Louis Huth—Show of his own Work in Pall Mall—Indignation roused by his Titles | |
| CHAPTER XV.THE OPEN DOOR. THE YEAR EIGHTEEN SEVENTY-FOUR AND AFTER | [128] |
| Whistler's Gaiety and Hospitality—His Amusement in Society—His Dinners and Sunday Breakfasts—Reminiscences of his EntertainmentsTalk—Clubs—Restaurants—The Theatre | |
| CHAPTER XVI. THE PEACOCK ROOM. THE YEARS EIGHTEEN SEVENTY-FOUR TO EIGHTEEN SEVENTY-SEVEN | [143] |
| Work at Exhibitions and in the Studio—Portrait of Irving—"Rosa Corder"—"The Fur Jacket"—"Connie Gilchrist"—The PeacockRoom—Mr. Leyland's House in Prince's Gate—Its Decoration—Whistler'sScheme for the Dining-room and its Development—The Work Finished—Quarrelwith Leyland | |
| CHAPTER XVII. THE GROSVENOR GALLERY. THE YEARS EIGHTEEN SEVENTY-SEVEN AND EIGHTEEN SEVENTY-EIGHT | [152] |
| Sir Coutt Lindsay's New Gallery—First Exhibition at the Grosvenor—Whistler's Contributions—Ruskin's Criticism of "The Falling Rocket"in "Fors Clavigera"—Whistler sues him for Libel—Etchings—Lithographs—Drawings of Blue and White for Sir Henry Thompson's Catalogue—Caricatures—Sendsa Second Time to the Grosvenor | |
| CHAPTER XVIII. THE WHITE HOUSE. THE YEAR EIGHTEEN SEVENTY-EIGHT | [159] |
| Paris Universal Exhibition of 1878—Harmony in Yellow and Gold—Whistler as Decorator—Lady Archibald Campbell's Appreciation—Planfor Opening an Atelier for Students—No. 2 Lindsey Row given up—E. W.Godwin builds the White House for him—His Mother's Health—She leaveshim for Hastings—Money Difficulties—Mezzotints of the "Carlyle" andRosa Corder" | |
| CHAPTER XIX. THE TRIAL. THE YEAR EIGHTEEN SEVENTY-EIGHT | [166] |
| Whistler's Reasons for the Action against Ruskin—His Position and Ruskin's compared—Refusal of Artists to support Whistler—Trial in the Exchequer Chamber, Westminster—Verdict—The General Criticism—Mr. T. Armstrong and Mr. Arthur Severn on the Trial—Collection to pay Ruskin'sExpenses—Failure to raise one for Whistler—"Whistler v. Ruskin" | |
| CHAPTER XX. BANKRUPTCY. THE YEARS EIGHTEEN SEVENTY-EIGHT AND EIGHTEEN SEVENTY-NINE | [181] |
| Whistler again at the Grosvenor—His Critics—His Financial Embarrassments—His Manner of meeting them—Declared Bankrupt—"The Gold Scab"—Commission from the Fine Art Society for the Venetian Etchings—Starts for Venice—The Sale of the White House—Sale of Blue andWhite, Pictures, Prints, &c., at Sotheby's | |
| CHAPTER XXI. VENICE. THE YEARS EIGHTEEN SEVENTY-NINE AND EIGHTEEN-EIGHTY | [189] |
| Whistler's Arrival in Venice—First Impressions—Disappointments andDifficulties—His Friends in Venice and their Memories of him—Duveneckand his "Boys"—Whistler's Hard Work—His Lodgings and Restaurants—TheCafés—Stories told of him—Reminiscences of Mr. Harper Pennington and Mr. Ralph Curtis | |
| CHAPTER XXII. VENICE. THE YEARS EIGHTEEN SEVENTY-NINE AND EIGHTEEN EIGHTY CONTINUED | [196] |
| His Work in Venice—Pastels and his Methods—Etchings—Printing—Japanese Method of Drawing—Water-colours and Paintings | |
| CHAPTER XXIII. BACK IN LONDON. THE YEARS EIGHTEEN EIGHTY AND EIGHTEEN EIGHTY-ONE | [202] |
| Return to London andSudden Appearance at Fine Art Society's—PrintsVenice Plates—Exhibition of "The Twelve" at the Fine Art Society's—Exhibitionof Venice Pastels—Decoration of Gallery—Bewilderment ofCritics and Public—Death of his Mother—"The Piper Papers"—ThePortrait of his Mother exhibited in Philadelphia—Etchings begin to beshown in America | |
| CHAPTER XXIV. THE JOY OF LIFE. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-FOUR | [210] |
| Takes aStudio at No. 13 Tite Street—His "Joyousness"—Letters to thePress—His "Amazing" Costumes—Portrait of Lady Meux—His OtherSitters—Mrs. Marzetti's Account of the Painting of "The Blue Girl"—LadyArchibald Campbell's Reminiscences of the Sittings for her Portrait—Portraitof M. Duret—"The Paddon Papers"—Second Exhibition ofVenice Etchings at the Fine Art Society's—Excitement it created—The"Carlyle" at Edinburgh—Proposal to buy it for Scottish National PortraitGallery—Comes to nothing—Whistler involved in a Church Congress | |
| CHAPTER XXV. AMONG FRIENDS. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-SEVEN | [222] |
| Joseph Pennell meets Whistler—First Impressions—The "Sarasate"—Sir Seymour Haden | |
| CHAPTER XXVI. AMONG FRIENDS. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-SEVEN CONTINUED | [225] |
| Whistler's Friends in Tite Street—Sir Rennell Rodd's Reminiscences—Oscar Wilde—Reasons for the Friendshipand for its short Duration—The Followers—Their Devotion and their Absurdities—Mr. Harper Pennington's Reminiscences of Whistler in London | |
| CHAPTER XXVII. THE STUDIO IN THE FULHAM ROAD. THE YEARS EIGHTEEN EIGHTY-FIVE TO EIGHTEEN EIGHTY-SEVEN | [233] |
| Whistler moves to the Fulham Road—Description of the new Studio—Pictures in Progress—Mr. William M. Chase, his Portrait and hisReminiscences—Plans to visit America | |
| CHAPTER XXVIII. THE "TEN O'CLOCK." THE YEARS EIGHTEEN EIGHTY-FOUR TO EIGHTEEN EIGHTY-EIGHT | [239] |
| Whistler writes the "Ten O'Clock"—Proposes to publish it as Article—Then to deliver it as Lecture in Ireland—Exhibition of his Work in Dublin—Arrangeswith Mrs. D'Oyly Carte for Lecture in London—The "TenO'Clock" given at Prince's Hall—The Audience—The Critics—Analysisof the "Ten O'Clock"—Its Delivery in Other Places—Its Publication—Swinburne's Criticism | |
| CHAPTER XXIX. THE BRITISH ARTISTS. THE RISE. THE YEARS EIGHTEEN EIGHTY-FOUR TO EIGHTEEN EIGHTY-SIX | [250] |
| Approached by the British Artists—Elected a Member of the Society—His Position as Artist at this Period and the Position of the Society—Reasonsfor the Invitation and his Acceptance—His Interest in the Society—HisContributions to its Exhibitions—The Graham Sale—Publication ofTwenty-Six Etchings by Dowdeswell's—Exhibition of Notes, HarmoniesNocturnes, at Dowdeswell's—Elected President of the British Artists | |
| CHAPTER XXX. THE BRITISH ARTISTS. THE FALL. THE YEARS EIGHTEEN EIGHTY-SIX TO EIGHTEEN EIGHTY-EIGHT | [262] |
| Whistler as President—His Decoration of the Gallery and Hanging ofPictures—Indignation by Members—Visit of the Prince of Wales—GrowingDissatisfaction in the Society—Jubilee of Queen Victoria—Whistler'sCongratulatory Address—British Artists made a Royal Society—Dissatisfactionbecomes Open Warfare—The Crisis—Wyke Baylisselected President—Whistler's Resignation | |
| CHAPTER XXXI. MARRIAGE. THE YEAR EIGHTEEN EIGHTY-EIGHT | [271] |
| Whistler's Wedding—Reception at the Tower House—His Wife—HisDevotion—Influence of Marriage | |
| CHAPTER XXXII. THE WORK OF THE YEARS EIGHTEEN EIGHTY TO EIGHTEEN NINETY-TWO | [274] |
| Water-colours—Etchings, Belgian and Dutch—Exhibition of Dutch Etchings—Lithographs | |
| CHAPTER XXXIII. HONOURS. EXHIBITIONS. NEW INTERESTS. THE YEARS EIGHTEEN EIGHTY-NINE TO EIGHTEEN NINETY-ONE | [279] |
| Honours from Paris, Munich, and Amsterdam—Dinner to Whistler—ParisUniversal Exhibition of 1889—Exhibition of Whistler's Work inQueen Square—Moves to No. 21 Cheyne Walk—M. Harry's Impressionsof the House—Portrait of the Comte de Montesquiou—W. E. Henley and"National Observer"—New Friends | |
| CHAPTER XXXIV. "THE GENTLE ART." THE YEAR EIGHTEEN NINETY | [288] |
| Whistler Collects his Letters and Writings—Work begun by Mr. SheridanFord—Mr. J. McLure Hamilton's Account—Action at Antwerp to suppressFord's Edition—Mr. Heinemann publishes "The Gentle Art" forWhistler—Summary of the Book—Period of unimportant Quarrels | |
| CHAPTER XXXV. THE TURN OF THE TIDE. THE YEARS EIGHTEEN NINETY-ONE AND EIGHTEEN NINETY-TWO | [298] |
| The "Carlyle" bought by the Glasgow Corporation—"The Mother"bought for the Luxembourg—The Exhibition at the Goupil Gallery—Mr.D. Croal Thomson's Account—Success of the Exhibition—The Catalogue—Commissions—Demandfor his Pictures—Mr. H. S. Theobald's Reminiscences—Whistler'sIndignation at Sale of Early Pictures by Old Friends—Invitedto show in Chicago Exhibition—Not known at R.A.—Decorationsfor Boston Public Library | |
| CHAPTER XXXVI. PARIS. THE YEARS EIGHTEEN NINETY-TWO AND EIGHTEEN NINETY-THREE | [310] |
| Whistler goes to Paris to live—Joseph Pennell with him there in 1892 and1893—Lithographs—Colour work—Studio in Rue Notre-Dame-des-Champs—Apartmentin the Rue du Bac—Etchings printed—Afternoons inthe Garden—Day at Fontainebleau—Wills signed—Mr. E. G. Kennedy'sPortrait—Rioting in the Latin Quarter | |
| CHAPTER XXXVII. PARIS CONTINUED. THE YEARS EIGHTEEN NINETY-THREE AND EIGHTEEN NINETY-FOUR | [320] |
| Whistler's Friends in Paris—Mr. MacMonnies', Mr. Walter Gay's, andMr. Alexander Harrison's Reminiscences—Mr. A. J. Eddy's Portrait—Portraitsof Women begun | |
| CHAPTER XXXVIII. TRIALS AND GRIEFS. THE YEARS EIGHTEEN NINETY-FOUR TO EIGHTEEN NINETY-SIX | [327] |
| Du Maurier's "Trilby"—Apology—Mrs. Whistler's Illness—The EdenTrial—Whistler Challenges George Moore—In Lyme Regis and London—Portraitsin Lithography—Mr. S. R. Crockett's Account of the Sittings forhis Portrait—Mrs. Whistler's Death—New Will | |
| CHAPTER XXXIX. ALONE. THE YEAR EIGHTEEN NINETY-SIX | [336] |
| Work and Little Journeys—Mr. E. G. Kennedy's Reminiscences—Eveningswith Whistler—Visit to the National Gallery—Whistler goes to livewith Mr. Heinemann at Whitehall Court—Mr. Henry Savage Landor—Mr.Edmund Heinemann—Eden Affair—Last Meeting with Sir SeymourHaden—Christmas at Bournemouth | |
| CHAPTER XL. THE LITHOGRAPH CASE. THE YEARS EIGHTEEN NINETY-SIX AND EIGHTEEN NINETY-SEVEN | [346] |
| Mr. Walter Sickert's Article in "Saturday Review"—Joseph Pennell sueshim for Libel—Whistler the Principal Witness—In the Witness-box underCross-examination—Verdict—Whistler's Pleasure | |
| CHAPTER XLI. THE END OF THE EDEN CASE. THE YEARS EIGHTEEN NINETY-SEVEN TO EIGHTEEN NINETY-NINE | [350] |
| M. Boldini's Portrait of Whistler—In London—Visits to Hampton—Journey to Dieppe—The Eden Case in the Cour de Cassation—Whistler'sTriumph—"The Baronet and the Butterfly"—The Whistler Syndicate:Company of the Butterfly | |
| CHAPTER XLII. BETWEEN LONDON AND PARIS. THE YEARS EIGHTEEN NINETY-SEVEN TO NINETEEN HUNDRED | [357] |
| Illness in Paris—Fever of Work—Portrait of Mr. George Vanderbilt—Other Portraits and Models—Pictures of Children—Nudes—Pastels—SpanishWar—Journey to Italy—"Best Man" at Mr. Heinemann'sWedding—Impressions of Rome—Mr. Kerr-Lawson's Account of his Stayin Florence—Winter in Paris—Loneliness—Meetings with old StudentFriends—Dr. Whistler's Death—Dinner at Mr. Heinemann's—Mr.Arthur Symon's Impressions of Whistler | |
| CHAPTER XLIII. THE INTERNATIONAL. THE YEARS EIGHTEEN NINETY-SEVEN TO NINETEEN HUNDRED AND THREE | [369] |
| The International Society of Sculptors, Painters, and Gravers—Whistlerelected First President—Activity of his Interest—First Exhibition atKnightsbridge—Second Exhibition—Difficulties—Third Exhibition atthe Royal Institute—Exhibitions on the Continent and in America—Whistler's Presidency ends only with Death | |
| CHAPTER XLIV. THE ACADÉMIE CARMEN. THE YEARS EIGHTEEN NINETY-EIGHT TO NINETEEN HUNDRED AND ONE | [377] |
| School opened in the Passage Stanislas, Paris—Whistler and Mr. FrederickMacMonnies propose to visit it—History of the School written, at Whistler'srequest, by Mrs. Clifford Addams—Her Account—His Methods—HisAdvice—His Palette—Misunderstandings—Mrs. Addam apprenticed toWhistler—Men's Class discontinued—Third Year begins with Woman'sClass alone—School closed—Mr. Clifford Addams made an Apprentice—Mr.MacMonnies' Account—Comparison with Other Art Schools | |
| CHAPTER XLV. THE BEGINNING OF THE END. THE YEAR NINETEEN HUNDRED | [393] |
| Whistler authorises J. and E. R. Pennell to write his Life and Mr.Heinemann to publish it—Whistler gives his Reminiscences—Photographingbegan in Studio—Paris Universal Exhibition—Interest in theBoer War—The "Island" and the "Islanders"—The Pekin Massacreand Blue Pots—Domberg—Visit to Ireland—Sir Walter Armstrong'sReminiscences of Whistler in Dublin—Irritation with Critics of hisPictures in Paris—Increasing Ill-health in the Autumn—Serious Illness—Starts for the South | |
| CHAPTER XLVI. IN SEARCH OF HEALTH. THE YEARS NINETEEN HUNDRED AND ONE AND NINETEEN HUNDRED AND TWO | [407] |
| Tangier—Algiers—Marseilles—Ajaccio—Winter in Corsica—Visit from Mr. Heinemann—Dominoes—Rests for the First Time—Return to Londonin the Spring—Work in the Summer—Illness in the Autumn—Bath—No.74 Cheyne Walk—Annoyances—Journey to Holland—Dangerous Illnessin The Hague—Mr. G. Sauter's Account of his Last Visit to FranzHals at Haarlem | |
| CHAPTER XLVII. THE END. THE YEARS NINETEEN HUNDRED AND TWO AND NINETEEN HUNDRED AND THREE | [423] |
| Return to No. 74 Cheyne Walk—Illness—Gradual Decline—Work—Portraits—Prints—Exhibition of Silver—Degree of LL.D. from GlasgowUniversity—St. Louis Exposition—Worries—Last Weeks—Death—Funeral—Grave | |
| APPENDIX | [437] |
| INDEX | [439] |
LIST OF ILLUSTRATIONS
G., after an etching, refers to the Grolier Club Catalogue of Whistler's Etchings, 1910
W., after a lithograph, refers to Mr. T. R. Way's Catalogue of Whistler's Lithographs, 1905
| Page | |
| Portrait of the Artist (By Himself) (Oil) | [Frontispiece] |
| In the George McCulloch Collection | |
| Portrait of Whistler as a Boy (By Sir William Boxall) (Oil) | [12] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| The Two Brothers (Miniature) | [12] |
| Lent by Miss Emma Palmer; formerly in the possession of Mrs. GeorgeD. Stanton and Miss Emma W. Palmer | |
| Bibi Lalouette (Etching. G. 51) | [20] |
| Street at Saverne (Etching. G. 19) | [20] |
| From the "French Set" | |
| La Mère Gérard (Oil) | [24] |
| In the possession of William Heinemann | |
| Head of an Old Man Smoking (Oil) | [24] |
| In the Musée du Luxembourg | |
| Portrait of Whistler (Etching. G. 54) | [40] |
| Sketches of the Journey to Alsace (Pen Drawings) | [40] |
| Portrait of Whistler in the Big Hat (Oil) | [44] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Drouet (Etching. G. 55) | [44] |
| At the Piano (Oil) | [52] |
| In the possession of Edmund Davis, Esq. | |
| Wapping (Oil) | [52] |
| In the possession of Mrs. Hutton | |
| The Thames in Ice, the Twenty-fifth of December 1860 (Oil) | [60] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Rotherhithe (Etching. G. 66) | [60] |
| From the "Sixteen Etchings" | |
| The Music Room—Harmony in Green and Rose (Oil) | [68] |
| In the possession of Colonel F. Hecker | |
| Annie Haden (Dry-Point. G. 62) | [68] |
| The White Girl—Symphony in White, No. I. (Oil) | [76] |
| In the possession of J. H. Whittemore, Esq. | |
| Jo (Dry-Point. G. 77) | [76] |
| The Blue Wave (Oil) | [84] |
| In the possession of A. A. Pope, Esq. | |
| The Forge (Dry-Point. G. 68) | [84] |
| From the "Sixteen Etchings" | |
| The Morning before the Massacre of St. Bartholomew | [92] |
| (Wood-Engraving from "Once a Week," vol vii. p. 210) | |
| The Last of Old Westminster (Oil) | [92] |
| In the possession of A. A. Pope, Esq. | |
| Portrait of Whistler (By Himself) (Chalk Drawing) | [104] |
| Formerly in the possession of Thomas Way, Esq. | |
| Weary (Dry-Point. G. 92) | [104] |
| Study in Chalk for the Same | |
| Formerly in the possession of B. B. MacGeorge, Esq. | |
| The Lange Leizen of the Six Marks—Purple and Rose (Oil) | [108] |
| In the J. G. Johnson Collection, Philadelphia | |
| The Balcony—Harmony in Flesh-Colour and Green (Oil) | [108] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| La Princesse du Pays de la Porcelaine—Rose and Silver (Oil) | [112] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Variations in Violet and Green (Oil) | [112] |
| In the possession of Sir Charles McLaren, Bart. | |
| The Little White Girl—Symphony in White, No. II. (Oil) | [124] |
| In the National Gallery, London | |
| Portrait of Dr. Whistler (Oil) | [124] |
| In the possession of Burton Mansfield, Esq. | |
| Valparaiso Bay—Nocturne: Blue and Gold (Oil) | [132] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Symphony in White, No. III. (Oil) | [132] |
| In the possession of Edmund Davis, Esq. | |
| Whistler's Table Palette (Photograph) | [144] |
| In the possession of Mrs. Newmarch | |
| Sea Beach with Figures (Study for the Six Projects) (Pastel) | [144] |
| The Three Figures—Pink and Grey (Oil) | [144] |
| In the possession of Alfred Chapman, Esq. | |
| Nocturne—Blue and Green (Oil) | [148] |
| In the National Gallery, London | |
| Nocturne—Blue and Silver (Oil) | [148] |
| In the possession of the Executors of Mrs. F. R. Leyland | |
| The Mother—Arrangement in Grey and Black (Oil) | [160] |
| In the Musée du Luxembourg | |
| Portrait of Thomas Carlyle—Arrangement in Grey and Black,No II.(Oil) | [160] |
| In the Corporation Art Gallery, Glasgow | |
| Portrait of Cicely Henrietta, Miss Alexander—Harmony in Grey and Green (Oil) | [164] |
| In the National Gallery, London | |
| Portrait of F. R. Leyland—Arrangement in Black (Oil) | [164] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Portrait of Mrs. F. R. Leyland—Symphony in Flesh-Colour and Pink (Oil) | [172] |
| In the possession of H. C. Finck, Esq. | |
| Portrait of Miss Leyland (Pastel) | [172] |
| In the possession of the Executors of Mrs. F. R. Leyland | |
| Portrait of Mrs. Louis Huth—Arrangement in Black, No. II. (Oil) | [180] |
| In the possession of the Executors of the Family | |
| Fanny Leyland (Study for the Etching. G. 108) (Pencil Sketch) | [180] |
| Formerly in the possession of J. H. Wrenn, Esq. | |
| Whistler in his Studio (Oil) | [196] |
| In the Chicago Art Institute | |
| Maud Standing (Etching. G. 114) | [196] |
| Portrait of Sir Henry Irving as Philip II. of Spain—Arrangement in Black, No. III. (Oil) | [200] |
| In the Metropolitan Museum, New York | |
| Portrait of Sir Henry Cole (Oil) (Destroyed) | [200] |
| From a photograph lent by Pickford R. Waller, Esq. | |
| Portrait of Miss Rosa Corder—Arrangement in Black and Brown | [208] |
| In the possession of H. C. Finck, Esq. | |
| The Peacock Room (Photograph) | [208] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Drawing in Wash for "A Catalogue of Blue and White NankinPorcelain, forming the Collection of Sir Henry Thompson."London: Ellis and White. 1878 | [216] |
| In the possession of Pickford R. Waller, Esq. | |
| Study (Lithotint. W. 2) | [216] |
| From a print lent by T. R. Way, Esq. | |
| Tall Bridge (Lithograph. W. 9) | [224] |
| From a print lent by T. R. Way, Esq. | |
| Nocturne (Lithotint. W. 5) | [224] |
| From "Notes" published by Goupil From a print lent by T. R. Way, Esq. | |
| Old Battersea Bridge—Nocturne in Blue and Gold (Oil) | [232] |
| In the National Gallery of British Art, Tate Gallery | |
| The Falling Rocket—Nocturne in Black and Gold (Oil) | [232] |
| In the possession of Mrs. S. Untermeyer | |
| The Bridge (Etching. G. 204) | [244] |
| From the "Second Venice Set" By the permission of Messrs. Dowdeswell | |
| The Doorway (Etching. G. 188) | [244] |
| From the "First Venice Set" By the permission of the Fine Art Society | |
| The Beggars (Etching. G. 194) | [252] |
| From the "First Venice Set" By permission of the Fine Art Society | |
| The Rialto (Etching. G. 211) | [252] |
| From the "Second Venice Set" By the permission of Messrs. Dowdeswell | |
| Portraits of Maud (Oil) (Destroyed) | [258] |
| From photographs lent by Pickford R. Waller, Esq. | |
| Jubilee Memorial from the Society of British Artists to QueenVictoria, 1887 (Illumination) | [258] |
| In the Royal Collection at Windsor | |
| Portrait of Lady Meux—Harmony in Pink and Grey (Oil) | [268] |
| In the possession of H. C. Finck, Esq. | |
| The Salute, Venice (Water-Colour) | [268] |
| In the possession of B. B. MacGeorge, Esq. | |
| The Yellow Buskin—Arrangement in Black (Oil) | [276] |
| In the Wilstach Collection, Memorial Hall, Philadelphia | |
| Portrait of M. Théodore Duret—Arrangement in Flesh-Colour and Pink (Oil) | [276] |
| In the Metropolitan Museum, New York | |
| Portrait of Pablo Sarasate—Arrangement in Black (Oil) | [304] |
| In the Carnegie Institute, Pittsburgh | |
| Portrait of Lady Colin Campbell—Harmony in White and Ivory (Oil) (Destroyed) | [304] |
| From a photograph lent by Pickford R. Waller, Esq. | |
| Annabel Lee (Pastel) | [312] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| The Convalescent (Water-Colour) | [312] |
| In the possession of Dr. J. W. MacIntyre | |
| Portrait of Miss Kinsella—The Iris, Rose and Green (Oil) | [328] |
| In the possession of Miss Kinsella | |
| Whistler at his Printing Press in the Studio,Rue Notre-Dame-des-Champs, Paris | [328] |
| From a photograph by M. Dornac | |
| Illustration to Little Johannes Portrait of a Lady (Drawings on Wood) | [336] |
| In the Pennell Collection, Library of Congress, Washington | |
| Water-Colour Landscape | [336] |
| Loaned by Mrs. Mortimer Menpes | |
| The Master Smith of Lyme Regis (Oil) | [340] |
| In the Boston Museum of Fine Arts | |
| The Smith, Passage du Dragon (Lithograph. W. 73) | [340] |
| Portrait of Mrs. A. J. Cassatt | [344] |
| The Beach (Water-Colour) | [344] |
| In the possession of Mrs. Knowles | |
| Shop Window at Dieppe (Water-Colour) | [344] |
| The Thames (Lithotint. W. 125) | [348] |
| Firelight—Joseph Pennell, No. I. (Lithograph. W. 104) | [348] |
| From "Lithography and Lithographers"By the permission of T. Fisher Unwin, Esq. | |
| Study in Brown (Oil) | [356] |
| In the possession of the Baroness de Meyer | |
| Study of the Nude (Pen Drawing) | [356] |
| In the possession of William Heinemann, Esq. | |
| The Little Blue Bonnet—Blue and Coral (Oil) | [360] |
| Formerly in the possession of Wm. Heinemann, Esq. | |
| Rose and Gold—Little Lady Sophie of Soho (Oil) | [360] |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Model with Flowers (Pastel) | [368] |
| In the possession of J. P. Heseltine, Esq. | |
| Girl with a Red Feather (Oil) | [368] |
| In the possession of the Executors of J. Staats Forbes | |
| A Freshening Breeze (Oil) | [376] |
| In the possession of J. S. Ure, Esq. | |
| Lillie in Our Alley—Brown and Gold (Oil) | [376] |
| In the possession of J. J. Cowan, Esq. | |
| The Sea, Pourville (Oil) | [388] |
| In the possession of A. A. Hannay, Esq. | |
| The Coast of Brittany—Alone with the Tide (Oil) | [388 ] |
| Formerly in the possession of Ross Winans, Esq. | |
| The Fur Jacket—Arrangement in Black and Brown (Oil) | [388] |
| Picture in Progress:From a photograph lent by Pickford R. Waller, Esq. Completed Picture:In the Worcester Museum, Massachusetts | |
| Portrait of Mrs. Walter Sickert | [404] |
| In the possession of Mrs. Cobden-Sanderson | |
| Portrait of Miss Woakes | [404] |
| In the possession of Messrs. Knvedler and Co. | |
| The Chelsea Girl | [416] |
| Portrait of E. S. Kennedy | [416] |
| In the Metropolitan Museum, New York | |
| Gallery at the London Memorial Exhibition | [428] |
| Gallery at the Boston Memorial Exhibition | [428] |
| Whistler's Grave in Chiswick Cemetery adjoiningChiswick Churchyard | [428] |
| Monument in Whistler's Memory at the United States MilitaryAcademy at West Point | [428] |