Documents associated with: World, The (London)
Record 13 of 168
System Number: 11987
Date: [25 November 1878?]
Author: James Anderson Rose
Recipient: Walker Martineau and Company
Repository: Library of Congress
Call Number: Manuscript Division, Pennell-Whistler Collection, PWC
Document Type: MsDc
In the High Court of Justice
Queens Bench Division
- v -
Extracts from Newspapers comprised in Plaintiffs Notice to admit
Walker Martineau & Co
[p. 2] The Architect
July 14 - 1877
Lastly, the mannerisms and errors of these pictures, whatever may be their extent are never affected or indolent. The Work is natural to the Painter, however strange to us, and it is wrought with utmost conscience of care, however far to his own or our desire the result may yet be incomplete - Scarcely so much can be said of any other Pictures of the modern Schools; their eccentricities are almost always in some degree forced; and their imperfections gratuitously, if not impertinently indulged. For Mr Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted Works
into the Gallery in which the ill-educated conceit of the Artist so nearly approached the aspect of wilful imposture - I have seen and heard much of Cockney impudence before now, but never expected to hear a Coxcomb ask 200 Guineas for flinging a pot of paint in the Public's face.
[p. 3] The World
July 18 - 1877
In the last number of Fors Clavigera, Mr Ruskin liberates his soul about the Grosvenor Gallery thus,
"Sir Coutts Lindsay is at present an Amateur in Art and Shopkeeping, He must take up either one or the other business if he would prosper in either - If he intends to manage the Grosvenor Gallery rightly he must not put his own Works in it until he can answer for their quality: if he means to be a Painter he must not at present superintend the erection of Public Buildings, or amuse himself with their decoration by China and Upholstery. The Upholstery of the Grosvenor Gallery is poor in itself and very grievously injurious to
the the best pictures it contains; while its glitter as unjustly veils the vulgarity of the worst"
Of Mr Whistler he says:
"Scarcely so much can be said for any other pictures of the modern Schools their eccentricities are almost always in some degree forced, and their imperfections gratuitously if not [p. 4] impertinently indulged - For Mr Whistler's own sake, no less than for the protection of the purchaser Sir Coutts Lindsey ought not to have admitted Works into the Gallery in which the ill-educated conceit of the Artist so nearly approached the aspect of wilful imposture. I have seen and heard much of Cockney impudence before now, but never expected to hear a Coxcomb ask Two hundred Guineas for flinging a pot of paint in the public's face"
"Has corrupted the system of Art teaching all over England into a state of abortion and falsehood from which it will take 20 years to recover"
Also says that,
"The Professorships of Messrs Agnew at Manchester have covered the walls of that Metropolis with exchangeable property on the exchanges of which the Dealer always makes a commission and to which perhaps one canvas in a hundred is of some intrinsic value [p. 5] and may be hereafter put to quite a permanant use.
This is pleasant reading - I think I shall subscribe to the Fors Clavigera.
[p. 6] The Athenaem
July 21 - 1877
It is reported to be Mr Whistler's intention to bring an Action for Libel, or something analogous to that, against Mr Ruskin, on account of opinions expressed with regard to the Artist, his Works or both, we do not gather which.
1. [25 November 1878?]
The case of Whistler v. Ruskin was heard at the Queen's Bench of the High Court on 25-26 November 1878.
3. Walker Martineau and Company
Lawyers representing Ruskin.
This document consists of handwritten copies of three newspaper articles used as evidence in the Whistler v. Ruskin case.
Addd in another hand, possibly by J. A. Rose.
7. The Architect
This is an excerpt from Ruskin, John, 'Letter the Seventy-ninth' Fors Clavigera, 2 July 1877, pp. 181-213.
8. Coutts Lindsay
Sir Coutts Lindsay (1824-1913), Bart., co-founder of the Grosvenor Gallery [more]. JW exhibited seven oils at the 1st Summer Exhibition, Grosvenor Gallery, London, 1877 (cat. nos. 5, 6A, 6, 4, 8, 9 and one ex. cat). These were Nocturne in Blue and Silver (YMSM 113), Nocturne: Blue and Gold - Old Battersea Bridge (YMSM 140) as 'Nocturne in Blue and Silver', Nocturne: Grey and Gold - Westminster Bridge (YMSM 145), Nocturne in Black and Gold: The Falling Rocket (YMSM 170), Arrangement in Black and Brown: The Fur Jacket (YMSM 181) as 'Harmony in Amber and Black', Arrangement in Brown (YMSM 182) and Arrangement in Black, No. 3: Sir Henry Irving as Philip II of Spain (YMSM 187). Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle (YMSM 137), was exhibited in the entrance gallery (ex. cat.).
Coutts Lindsay was an amateur artist.
11. Gordon Smith
12. Henry Cole
Sir Henry ('King') Cole (1808-1882), civil servant and museum director [more]. The title and position of Cole and Lindsey were being used by JW's lawyers to suggest Ruskin was extreme in his criticism of others beside JW.