Sir Max Beerbohm

The work is on laid paper which has not been laid down. The sheet is attached to the mount by two pieces of adhesive tape along the left edge. There is a crease through Whistler's lower body, and two small horizontal creases along the right edge. There is a small mark on the reverse of the sheet in the top left corner which appears to be the result of old adhesive. Held beneath glass in a simple frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Max Beerbohm first met James Abbott McNeill Whistler in 1896 at a party held by the distinguished author and critic, Edmund Gosse. The two men liked each other immensely immediately. Both were provocative performers who refused to be confined as artists or authors. The dandy Whistler, meticulous in his appearance, must have appeared as an ideal candidate for Beerbohm, who went on to produce a number of caricatures of Whistler over a number of years.

Beerbohm recorded his first impressions of Whistler in his diary. 'Tiny - Noah's Ark - flat-brimmed hat - band almost to top - coat just not touching the ground - button of the Legion of Honour - black gloves - Cuban belle - magnificent eyes - exquisite hands, long and lithe - short palms.' (N. John Hall, Max Beerbohm: Caricatures, Yale University Press, New Haven and London, 1997, p.117). It is fascinating to see how heavily Beerbohm relied on these first impressions in the creation of his caricatures. In the present work, Beerbohm has completely encompassed Whistler in his coat, leaving only his facial features and an 'exquisite' hand on show. Yet in these few features Beerbohm encompasses the idiosyncracies of the man. Whistler's trademark cane protrudes diagonally from his jacket. A tuft of his wild hair sprouts from his colossal hat, described by Beerbohm as the 'white plume that used to stand out so bravely against the dark locks.' (N. John Hall, 1997, p.117). Beerbohm's caricature of his friend expresses Whistler's independence of mind and his desire to stand out from the crowd.