Art by Medium: Engraving

A superb, early impression of this very scarce etching etching and drypoint on antique cream laid paper, with selective wiping and warm plate tone. Sixth or seventh state (of 9), or an intermediate state between the sixth and seventh states, with the carafe and the glass on the table very faintly visible and with the light, curved scratch through the base of the lowest tree trunk. MacDonald cites approximately 60 known impressions in all nine states. Signed with the butterfly and inscribed "imp" in pencil on the tab, lower left. From "Twelve Etchings." According to MacDonald, "The site is the courtyard of the Ca' da Mosto, north of the Rialto bridge in the district of Cannaregio, Venice, Italy. This view, drawn accurately on the copper plate, is reversed, as usual, in the print." This is one of Whistler's largest and most celebrated etchings of Venice...

Etching from James A. M. Whistler's Thames Set ("A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects") originally published in 1871. Masterfully executed and highly detailed etching of two workers at a shipyard in Rotherhithe. Signed and dated in plate ("Whistler 1860") Paper size: 14.82"H x 11.19"W (37.6cm x 28.4cm) Plate size: 10.63"H x 7.69"W (27cm x 19.6cm) Presented in a new white mat with new backing. Title Rotherhithe (aka: Wapping) Artist James Abbott McNeill Whistler 1834 - 1903 Year 1860 Technique etching and drypoint Image Size 6 7/8 x 11 7/8" platemark Signature plate signed "Whistler" lower left image Edition Size 118 known impressions (Glasgow) Annotations dated "1860" in lower left Reference G70; Kennedy 66; M. 66; T.41; W.60 Paper antique-white laid, with KF watermark in center State vi/vi Publisher Published in the "Thames Set" in 1871 by Keppel (Published in this state in the 'Thames Set'. Diagonal drypoint lines augment the shading across the chest and pipe of the man on the left.) Born in Lowell, Massachusetts, James Whistler became one of the most influential late 19th-century American painters and etchers, although he lived primarily in England. He worked in a wide variety of styles that included Impressionism, Symbolism, and Art Nouveau. He was especially influential in the Tonalist movement and was a catalyst for those who wanted to break away from prescribed academic methods, credited with being the first American modernist to influence European art. He also created 179 lithographs, having received a commission in 1879, and from that time, he worked in graphics, pastel, and watercolor, and favorite subjects were subtly delineated cityscapes or ships at docks. He was raised both in New England and in Russia where his father, an engineer, was commissioned by the Czar to build the Moscow-St. Petersburg railroad. In 1847, Whistler went to London for his sister's wedding to Seymour Haden, a key figure in 19th century etching, and association with this man stimulated Whistler's interest in that medium. After the father's death in 1849, the family returned to the United States, and he entered the Military Academy at West Point where he did illustrations for student publications and also worked as surveyor and cartographer in U.S. Coastal and Geodetic Surveys. In 1855, determined to have a fine art career, he sailed for Europe and never returned to the United States. He studied in Paris with Charles Gleyre and became a part of avant-garde circles that included Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Gustave Courbet, and Edgar Degas. In 1859, he settled in England but stayed in close touch with his Parisian friends. His style was independent of realism and of those such as John Ruskin who thought art...

J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. 10 1/8 x 7 1/2 (sheet 12 3/4 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set), plat...

Etching and drypoint printed in black ink on cream laid Japan paper, 6 x 8 7/8 inches (152 x 225 mm), full margins. Kennedy's 8th state (of 8). From the special edition of 100 impres...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32. Third state of three, with the revisions to the si...

An original etching and drypoint on watermarked laid paper by American artist James Abbott McNeill Whistler (1834-1903) titled "The Rag Gatherers", 1858. The fifth (final) state of f...

This is an excellent impression of this scarce etching with strong contrasts. “Chelsea Bridge and Church” 1871. Image Size is 4 x 6 3/4 inches. Fram...

A superb, finely detailed impression, in dark sepia ink, on off-white laid paper, with full margins (1 to 1 1/4 inch). Edition 61, 4th state of 4. Signed in the plate, lower left. In...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32. Third state of three, with the revisions to the si...

Bibi Lalouette. 1859. Etching and drypoint. Kennedy catalog 51. state i; Glasgow catalog 33 state ii. 9 x 6. Glasgow records 67 known impressions. A fine impression, printed with ton...

Clifford R. James 19th-20th century, after James Abbott McNeill Whistler. 1834-1903. The Little White Girl 1922. Mezzotint printed in colors. 20 x 13 (frame 32 x 25). Edition 250. Signed in pencil. Provenance: the estate of Katherine W. Mellon, Stonington, CT. Housed in a gold Whistler-style frame. An extremely large an impressive presentation. The painting is in the National Gallery, London. -------------------------------------------------------------------------------------------------Joanna Hiffernan (ca. 1843 – after 1903) was an Irish artists' model and muse who was romantically linked with Whistler and later the French painter Gustave Courbet. Whistler first met Hiffernan in 1860 while she was at a studio in Rathbone Place, and she went on to have a 6-year relationship with him, during which period she modeled for some of his most famous paintings. She was in France with Whistler during the summer of 1861, and while in Paris during the winter of 1861–62 she sat for Symphony in White...

Annie Seated. 1858-59. Etching and drypoint. Kennedy 30.ii; Glasgow 32.iii. 5 3/4 x 3 3/4. Illustrated: Beall, American Prints in the Library of Congress; Lumsden, The Art of Etching; Keppel, The Golden Age of Engraving. Signed in the plate. A fine impression on cream laid paper with full margins. Signed and titled in the plate. Housed in an archival 20 x 16-inch mat suitable for framing. ------------------------------------------------------------------------------------------------- Ann Harriet Haden, known as Annie (Born 1848) was the eldest daughter of Whistler...