Head of an Old Man Smoking probably dates from the spring of 1858.
In 1858 the Maison Fontaine, frame-makers at Cité Bergère, No. 2, and Faubourg Montmartre, No. 6, Paris, sent Whistler a bill for purchases during the year, including frames for size 6 canvasses in February and March. 1 The French canvas size 6 is 41 × 33 cm for a figure, 41 × 27 cm for a landscape, and 41 × 24 cm for a marine. Head of an Old Man Smoking y025 matches the size for a figure canvas, which suggests that this painting could have been painted early in 1858.
Head of an Old Man Smoking, Musée d'Orsay
La Mère Gérard (1), Colby College Museum of Art
The technique is comparable to other paintings of this period, particularly La Mère Gérard (1) y026 and, to a lesser extent, Portrait of Luke A. Ionides y032.
The Pennells in their biography of Whistler implied a date of about 1859, which is possible, stylistically, but the evidence points to a date of 1858. 2
Head of an Old Man Smoking, Musée d'Orsay
La Mère Gérard (1), Colby College Museum of Art
Several possible titles have been suggested:
The earliest known title, 'Head of an Old Man Smoking', also used in the 1980 catalogue, has been retained.
Head of an Old Man Smoking, Musée d'Orsay
A head and shoulders portrait of an elderly, wrinkled and weather-beaten man, looking directly at the viewer, wearing a battered hat and smoking a pipe. He has a brown jacket over a white shirt, but no cravat. It is in a vertical format.
The first owner, Charles L. Drouet (1836-1908), told the Pennells in 1900 that the sitter, who sat to Whistler for 40 sous, was a seller of 'pots-de-chambre' (chamber pots). 8 The Pennells however, interpreted the subject later as:
'Head of an Old Man Smoking, an old pedlar of crockery whom Whistler came across one day by chance in the Halles, brought to his studio and painted, a full face with large brown hat, for long the property of M. Drouet.' 9
Head of an Old Man Smoking, Musée d'Orsay
A vivid portrait, painted in bold colours, thickly impasted on the face, hat and shirt, and worked with a palette knife on the shirt. The colours are clearly separated, the brushstrokes distinct. The hat is outlined in black, but the outline of the shoulders is blurred. By contrast the background and coat are merely scrubbed in thinly. An area at the top of the hat has been scraped off, and there are thin scratched lines over the coat.
Unknown. The verso bears the names of two Paris art suppliers and frame makers, 'J. BOVARD / toiles et couleurs' and 'André Chenue / Lavetier Emballeur / 5 Rue de la Terrasse Paris'. J. Bovard (fl. 1850/1862) had premises in the rue de Buci (Bussy) in the 1850s, until about 1862; his firm continued as 'La maison Bovard Chabot' (or Chabod) until the end of the century, and under 'Chabod veuve' (the widowed Mme Chabod) from 1900-1905. Andre Chenue (fl. 1890s) represented a long established and still existing logistics company, and was frequently employed by the artist in the late 19th century.
According to the Pennells, Charles Lang Freer (1856-1919) of Detroit wanted it, but was not prepared to give Drouet the 2000 francs asked. 10
It was not exhibited in Whistler’s lifetime.
COLLECTION:
EXHIBITION:
1: 28 October 1858, GUW #01434.
2: Pennell 1908 [more], vol. 1, p. 74.
3: Œuvres de James McNeill Whistler, Palais de l'Ecole des Beaux-Arts, Paris, 1905 (cat. no. 3).
4: Bénédite 1905 A [more], at p. 407.
5: Joseph Whistler Revillon (1886-1955) notes the source of these titles as 'owner' and 'P': Revillon, Draft Catalogue [more] (cat. no. 22).
6: YMSM 1980 [more] (cat. no. 25).
7: Musée d'Orsay website at http://www.musee-orsay.fr.
8: Pennell 1921C [more], pp. 92-93.
9: Pennell 1908 [more], vol. 1, p. 74.
10: Pennell 1921C [more], pp. 92-93.
11: GUW #01434.