Pioneering and influential American-born artist (1834–1903), best known for his distinctively evocative portraits, city-scenes, and landscapes. Uncommon ALS signed with his well-known ‘butterfly’ signature, four pages on two adjoining 5.75 x 4 black-bordered sheets, May 1899. Letter to his publisher William Heinemann, who supported Whistler in his protracted lawsuits against William Eden. In part: “I have had a letter from Webb to the same effect advising me to let it alone. Also I had myself been thinking that perhaps one ought to ignore utterly the doings of the ‘ruffians’ of the streets. ‘So! as you say. But more, my dear Heinemann, do let us hear what you are doing—or what is to be done…Another question, unanswered—how many copies, Edition de luxe, is May to give me? Get a copy of the catalogue of the ‘International Exhibition’—latest edition, and see my quotations under the pictures. The Butterflies have come. Of course the Baronet must have given up all hope of prosecution." Partial separation along hinge, uniform mild toning to pages, and a central vertical fold, otherwise fine condition.
Eden, the 1st Baron Auckland, was a British statesman and diplomat who had commissioned Whistler to paint a portrait of his wife—only to pay Whistler less than the price agreed upon. When Whistler refused to deliver the completed portrait, protracted legal battles ensued. Whistler wrote of the conflict in the 1899 book, Eden Versus Whistler: The Baronet And The Butterfly. He cited an ‘absolute’ and ‘divine right’ to ‘control the destiny of his handiwork’—despite the argument made by some that he should ‘let it alone.’ In the end, a French court determined that an artist owns his work until it is delivered to another party, ruling in favor of Whistler and allowing him to keep the painting. Interesting insight as Whistler fights for his artistic rights. Pre-certified John Reznikoff/PSA/DNA and RRAuction COA.
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