Lithographic crayon, with traces of scraping and stumping, on fine-grained transfer paper laid down on cream wove paper
Signed recto, center left and upper right, in lithographic crayon: [artist's butterfly monogram]
161 x 245 mm (primary support); 239 x 323 mm (secondary support)
Gift of Walter S. Brewster
Extended information about this artwork
Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonné (London, 1995), p. 475, no. 1312 (ill.).
The Lithographs of James McNeill Whistler: A Catalogue Raisonné, ed. Harriet K. Stratis and Martha Tedeschi (Chicago and New York, 1998), I:p. 506, no. vii (ill.).
Harriet K. Stratis, “Whistler’s Printers and Their Transfer Papers: A Technical Study,” The Whistler Review: Studies on James McNeill Whistler and Nineteenth-Century Art 2, ed. Martha Tedeschi and Nigel Thorp (Glasgow, 2003), p. 22 (ill., fig.7).
Meg Hausberg and Victoria Sancho Lobis. Whistler and Roussel: Linked Visions. Department of Publishing of The Art Institute of Chicago, 2015 (https://publications.artic.edu/whistler/reader/linkedvisions ; Accessed August 24, 2015), Essay para. 11, fig. 13 (ill.), Checklist para. 4, cat. 3.4 (ill).
The Art Institute of Chicago, “Summer Exhibitions, James McNeill Whistler - Paintings, Prints, Whistleriana,” July 20-October 29, 1939, cat. 6, as “Asleep.”
The Art Institute of Chicago, “Drawings Old and New,” February 1946, p. 26, pl. 26, cat. 55 (ill.), as “Reclining Draped Nude.”
The Art Institute of Chicago, “Whistler and Roussel: Linked Visions,” June 20-September 27, 2015, Essay para. 11, fig 13 (ill.), Checklist para. 4, cat. 3.4 (ill.).
Carmen Rossi, probably acquired from Whistler’s studio, 1903 [MacDonald 1995; Stratis and Tedeschi 1998]. Sold, Drouot, Paris, November 25, 1903, lot 7, as “La Sieste.” Sold, Drouot, Paris, May 27, 1924, lot 137, as “Sommeil.” Sold by Marcel Guiot, Paris, to Walter S. Brewster (1872-1954), Chicago, June 25, 1924 [Macdonald 1995; stamp (Lugt 2651 a-b), mount, lower left, in blue]; given to the Art Institute, 1933.
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