Documents associated with: Parry, John Humffrey
Record 14 of 16
System Number: 08784
Date: [November 1878]
Recipient: James Anderson Rose
Repository: Library of Congress
Call Number: Manuscripts Division, Pennell-Whistler Collection, PWC 4/62
Document Type: ALS
Dear Rose -
Enclosed rough list of some pictures exhibited at the Academy and winter Exhibitions of Dudley &c &c -
asked for by Serjeant Parry to show that reputation has been established for very many years as
habitual exhibitor at Academy -
[p. 2] Pictures Exhibited -
"At the Piano" . . . . Exhibited in the Academy . . . Bought by John Philip R A.
"La Mère Gerard" . . Academy -
"The White Girl" (Symphony in White No. 1) . . Paris - most notorious
"Alone with the Tide" . . . . . . . . Academy -
"Wapping" - . . . . Academy - & Paris International
"Taking down scaffolding of Old Westminster Bridge" - . . . Academy
"Ships in the ice, Thames" . . . Academy -
"The Little White Girl" (Symphony in White No. 2).} Academy
Upon which a poem by Swinburne}
[p. 3] "The Scarf" . . . . . . Academy -
"Golden Screen" . . . Academy
"The Lange Lize [sic]" . . . Academy
"Old Battersea Bridge" Academy
"Sea and Rain" Academy
"Symphony in [White] No. 3" Academy
"Arrangement in Flesh Color & Grey. Princesse des [sic] Pays de la
Porcelaine Porcelaine" . . . . . . Paris Salon -
"Variations Flesh Color & Green"
"Arrangement in Grey & Black }
Portrait of the Painter's Mother"} Academy -
"Nocturne in Blue & Silver No. 1 - . .} Dudley Gallery
" " No. 2". }
Nocturne in Grey & Gold - No. 1. }
" Blue & Silver No. 3 } Dudley Gallery
"Harmony in Grey Valparaiso" }
Nocturne in Blue & Gold - } Dudley Gallery
" Black & Gold - }
Harmony in Pink & Grey } Dudley Gallery
" " Grey & Green }
"Nocturne in Grey & Gold" (snowpiece) Grosvenor -
" " Blue & Silver No. 5. " "
1. [November 1878]
These notes were made in preparation for the case of Whistler v. Ruskin, which was heard at the Queen's Bench of the High Court on 25-26 November 1878.
4. At the Piano
At the Piano (YMSM 24) was shown at 92nd Exhibition of the Royal Academy of Arts, Royal Academy, London, 1860; La Mère Gérard (1) (YMSM 26) and The Thames in Ice (YMSM 36) in 1861; The Coast of Brittany (YMSM 37) in 1862 as 'Alone with the Tide'; Wapping (YMSM 35) in 1864; The Last of Old Westminster (YMSM 39) in 1863; Purple and Rose: The Lange Leizen of the Six Marks (YMSM 47) in 1864; Brown and Silver: Old Battersea Bridge (YMSM 33), Symphony in White, No. 2: The Little White Girl (YMSM 52), The Scarf (YMSM 59) and Caprice in Purple and Gold: The Golden Screen (YMSM 60) in 1865; Symphony in White, No. 3 (YMSM 61) and Sea and Rain (YMSM 65) in 1867; Variations in Flesh Colour and Green: The Balcony (YMSM 56) in 1870; and finally, Arrangement in Grey and Black: Portrait of the Painter's Mother (YMSM 101) in 1872. Despite refusing to exhibit paintings at the Royal Academy thereafter, and presenting himself as anti-establishment, JW was prepared to use his earlier successes as part of his case against Ruskin.
Symphony in White, No. I: The White Girl (YMSM 38) was a 'succes de scandale' at Ouvrages de peinture, sculpture, gravure, lithographie et architecture, refusés par le Jury de 1863, et exposés, par décision de S. M. l'Empereur, au salon annexe, Palais des Champs Elysées, Paris, 1863.
7. Paris International
Universal Exhibition, Paris, 1867.
Algernon Charles Swinburne (1837-1909), poet and critic [more]. Verses from Swinburne's poem 'Before the Mirror: Verses under a Picture' were attached to the original frame and published in the Royal Academy catalogue in 1865 (Swinburne 1866, pp. 149-52; Pennell 1911, frame repr f. p. 124; Lang 1959, I, p. 120).
9. Arrangement in Flesh Color & Grey.
La Princesse du pays de la porcelaine (YMSM 50) was exhibited at 83rd exhibition, Ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivants, Palais des Champs Elysées, Paris, 1865.
Variations in Violet and Green (YMSM 104) and Nocturne: Blue and Silver - Chelsea (YMSM 103), were shown at 5th Winter Exhibition of Cabinet Pictures in Oil, Dudley Gallery, London, 1871, the latter as 'Harmony in Blue-Green - Moonlight'. Symphony in Grey and Green: The Ocean (YMSM 72), Nocturne: Blue and Gold - Southampton Water (YMSM 117), shown as 'Nocturne in Grey and Gold', and Nocturne in Blue and Silver (YMSM 118) were exhibited in 1872. The latter has not been identified with certainty but might be Nocturne: Blue and Silver - Battersea Reach (YMSM 119). JW may have confused the title of Symphony in Grey and Green: The Ocean (YMSM 72) with that of a 'Harmony in Grey' at 5th Exhibition, Society of French Artists, London, 1872, which has been identified as Symphony in Grey: Early Morning, Thames (YMSM 98). Variations in Pink and Grey: Chelsea (YMSM 105) was in the Dudley Gallery show in 1873. Finally, Nocturne: Grey and Gold - Westminster Bridge (YMSM 145) and Nocturne in Black and Gold: The Falling Rocket (YMSM 170) were shown in 9th Winter Exhibition of Cabinet Pictures in Oil, Dudley Gallery, London, 1875. JW did not actually exhibit his 'Nocturnes in Blue and Silver' as a numbered sequence, and his titles varied radically, so that it is difficult to identify exhibits.
Nocturne: Blue and Gold - Old Battersea Bridge (YMSM 140) was shown as as 'Nocturne in Blue and Silver' in 1st Summer Exhibition, Grosvenor Gallery, London, 1877, and Nocturne: Grey and Gold - Chelsea Snow (YMSM 174) as 'Nocturne in Grey and Gold' in the following year.
Added in another hand, circled.