James Abbott McNeill Whistler

The Lithographs of JAMES MCNEILL WHISTLER. A Catalogue Raisonné.

1998

Illustrated with 13 drawings by Leonard Baskin. Large Folio in cloth-backed portfolio in cardboard slipcase. New York: Medicina Rara, 1972. One of 2500 copies (there were 300 copi...

Schutz, Anton (1894-1977). 543 Hub of the World. Published in New York, 1927. Original etching. Signed in pencil. Sheet size: 19 x 13 5/8 in. Plate size: 13 7/8 x 10 5/8 in.

Pochoir print, Plate 15, from Relais by Edouard Benedictus. Printed by J. Saudé. Paris, Éditions Vincent, Fréal et Cie, 1930. Framed in a red-stained handmade wood frame with UV f...

Pair of original 19th Century watercolors displayed in custom w=k black stained frames.

Paintings in Oil and Pastel by James A. McNeill Whistler, New York, March 15 to May 31, 1910, by New York Metropolitan Museum of Art. 1st Ed softcover catalog. There were 46 painting...

Etching and drypoint in black ink on fine ivory laid Japan paper. Second state of two. Signed and dated in plate lower right "Whistler. 1859". Very good condition. Ref. Kennedy 51 i...

Signed 'Whistler' lower left, titled 'Annie', center, and annotated 'Imp. Delâtre Rue St. Jacques. 171' in the plate lower right. From the portfolio: "Douze Eaux-Fortes d'après Natur...

Chelsea Rags. Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. "And his interest in London has not been restricted to the Thames. Seeing the beautiful, where other men might be discouraged by dullness, he has taken his subject, now in the little cheap shop opening a low window upon the street, now in the forgotten church hidden away in a lonely square. And Chelsea Rags, the Shops of Chelsea, the Drury Lane, as well as The Butcher's Dog, are impressions of vague Rembrandtesque interiors where figures, grim or graceful, peer from out deep shadows— shops as lovely in his prints as the halls of a Veronese, or the palaces of a Claude." Elizabeth Robins...