in Red: Lamplight (GLAHA 46315). By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner Louise Jopling and Henry Labouchère insisted that they should be married before the end of the week. The marriage ceremony was arranged; as a member of Parliament, Labouchère arranged for the Chaplain to the House of Commons to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony. The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the Pall Mall Gazette, so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud. Whistler's reputation in London and Paris was rising and he gained positive reviews from critics and new commissions. His book The Gentle Art of Making Enemies was published in 1890 with mixed success, but it afforded helpful publicity. In 1890, he met Charles Lang Freer, who became a valuable patron in America, and ultimately his most important collector. Around this time, in addition to portraiture, Whistler experimented with early colour photography and with lithography, creating a series featuring London architecture and the human figure, mostly female nudes. He contributed the first three of his Songs of Stone lithographs to The Whirlwind a Neo-Jacobite magazine published by his friend Herbert Vivian. Whistler had met Vivian in the late 1880s when both were members of the Order of the White Rose, the first of the Neo-Jacobite societies. In 1891, with help from his close friend Stéphane Mallarmé, Whistler's Mother was purchased by the French government for 4,000 francs. This was much less than what an American collector might have paid, but that would not have been so prestigious by Whistler's reckoning. After an indifferent reception to his solo show in London, featuring mostly his nocturnes, Whistler abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892 and resided at n° 110 Rue du Bac, Paris, with his studio at the top of 86 Rue Notre Dame des Champs in Montparnasse. He felt welcomed by Monet, Auguste Rodin, Henri de Toulouse-Lautrec, and by Stéphane Mallarmé, and he set himself up a large studio. He was at the top of his career when it was discovered that Trixie had cancer. They returned to