Whistler with the White Lock

1890–1900 (?)

Not on view

Way worked with Whistler as a lithographic printer (and also published an important catalogue raisonné of Whistler's lithographs). This print resembles several of Whistler's self-portraits but, unlike those works,emphasizes a distinctive white lock of hair. This puzzled contemporaries who compared it to a feather resting atop the artist's head. It now seems likely that the feature was caused by Waardenburg Syndrome.

Artwork Details

Object Information

Overview

Signatures, Inscriptions, and Markings

Provenance

Title: Whistler with the White Lock
Artist: Thomas Robert Way (British, London 1861–1913 London)
Artist: After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London)
Sitter: James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London)
Date: 1890–1900 (?)
Medium: Lithograph
Dimensions: sheet: 9 1/8 x 6 in. (23.1 x 15.2 cm)
Classification: Prints
Credit Line: Harris Brisbane Dick Fund, 1917
Object Number: 17.3.986
Curatorial Department: Drawings and Prints

More Artwork

Arrangement in Grey and Black: Portrait of the Artist's Mother, Thomas Robert Way British, Lithograph on chine collé; first state — Arrangement in Grey and Black: Portrait of the Artist's Mother
Thomas Robert Way
After James McNeill Whistler
1892

On the Wharfe, Bolton Abbey, William Callow British, Watercolor — On the Wharfe, Bolton Abbey
William Callow
September 30, 1858

Moulin Rouge: La Goulue, Henri de Toulouse-Lautrec French, Lithograph printed in four colors; three sheets of wove paper — Moulin Rouge: La Goulue
Henri de Toulouse-Lautrec
Printer Affiches Américaines, Charles Lévy
1891

Nocturne: Palaces, James McNeill Whistler American, Etching and drypoint; printed in dark brown ink on drum mounted medium weight ivory laid paper. — Nocturne: Palaces
James McNeill Whistler
1879–80

Stroh Violin, George Evans & Co. English, Mahogany and aluminum, British — Stroh Violin
George Evans & Co.
first quarter 20th century

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