Drypoint Landscape Prints

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...

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...

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...

Newspaper Stall, Rue de Seine. 1893. Etching and drypoint. Kennedy catalog 432 state .ii; Glasgow catalog 474 state ii. 3 3/16 x 7 13/16 (sheet 7 7/8 x 12). Glasgow records 13 known impressions. A very rich impression in warm brown/black ink printed on cream antique paper with a coat of arms with a tower watermark. Signed with the butterfly in the plate. Housed in a 12 x 15 1/2 x 1-inch ornate gold leaf frame, ------------------------------------------------------------------------------------------------ The Rue de Seine is in the Latin Quarter of Paris, France. The area was the site of several etchings by Whistler...

Nocturne: Furnace. 1879-80. Etching and drypoint. Kennedy 213.vii; Glasgow 208.xii. 6 5/8 by 9 1/8 (image and sheet). Published by Messrs Dowdeswell and Thibaudeau with A Set of Twen...