Antique Whistles

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper.

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893.

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the pla...

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”.

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed w...

Whistler, James A. M. AFTERNOON TEA. Way 147, Levy 114, TS&S 173.

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88.

James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the l...

James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on...

The Forge Drypoint, 1861 Signed in the plate lower right (see photo) Published as part of the Thames Set, 1871 Printed between 1894 and 1896 when the plate was canceled. This impress...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

Whistler, James A. M. THE LITTLE COURT CLOTH FAIR.

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

A very good impression of this extremely scarce drypoint. MacDonald's eleventh state "b" (of 11b), restored after cancellation. Sheet size - 12" x 8.75". Catalogue reference: Kenned...

The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe portfolio.

The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe portfolio.

The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe portfolio.

The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe portfolio.

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202.

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/2 x 8 inch...

Medium: offset lithograph (after the watercolor). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 7 3/4 x 5 1/...

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/4 x 8 inch...

The painting is signed and inscribed on the reverse and is presented in a newly made Whistler-style frame, carefully selected to complement the restrained tonality and decorative cha...

Early moonlit scene of an unidentified city with similarities in the nocturnes of Whistler and Greaves. Presented in a impressionist Montparnasse style frame. unsigned Measurements ...

This one has all of the bells and whistles. Incredible patina, an adjustable top, the best casters I've seen on one of these. its an outstanding example and is ready to add strong st...

A finely carved marble figure of Mousse Siffleur, also known as The Whistling Boy or The Whistling Ship’s Boy, after Victor Szczeblewski (Polish, 1859-1901).

Furthermore, the shouts and whistles of the public prevented the listening of the speeches prepared by the "futurists".

Furthermore, the shouts and whistles of the public prevented the listening of the speeches prepared by the "futurists".

Indeed, Duveneck’s Venetian prints were reportedly mistaken for works by Whistler when exhibited in London—a confusion that irritated Whistler but testifies to their immediate associ...

The painting is housed in a newly made Whistler-style frame. Its broad, pale finish and restrained gilded reeded details complement the painting’s period character without distractin...

For Whistler, art was a "science of beauty"!

He became associated with a group of avant-garde artists who were much influence by the work of Whistler. A regular exhibitor at the Royal Academy and Royal Society of British Paint...

This work is one the iconic images of the modern etching revival, which began in France in the 19th Century, reached its apogee with Whistler and continued into the 20th Century. So ...

Whilst still a student, he was commissioned by Whistler to help in the printing of his Venice etchings.

EDUCATION: Chicago Art Institute 1889, Academie Julian, Paris, with William Bouguereau, Robert Fleury and later James Whistler Art Students League as a student of William Merritt Cha...

He transformed the perception of commercial printmaking into a celebrated fine art.Influenced deeply by his close friend James McNeill Whistler, Pennell developed a style defined by ...

Throughout his career he exhibited widely, including at the Royal Academy in London, the Royal Birmingham Society of Artists, Liverpool, and the prestigious New English Art Club, who...

The whole picture is built on one collision — the cold silver of the moon against the earthy dark of the cloud — and it belongs to the group of nocturnal marines Stevens painted in t...

Original vintage magazine cover poster for Western Electric News featuring a colourful Art Deco design by the American graphic artist and illustrator Gertrude Nott Welling (1896-1937...

It depicts a Venice scene in the muted Scottish tradition of Waterson, Herald and Whistler. A fine painting in a gilt gallery frame.

impressionist portrait, lady in white painting, belle epoque portrait, elegant female portrait, tonalism painting, atmospheric portrait art, society portrait painting, impressionist ...

In 1888, he went to the Académie Julian in Paris, where he worked under Benjamin-Constant and Jean-Paul Laurens, also receiving advice from Whistler. In Paris, he also became acquain...

He died in 1858, 10 years before Monet, Van Gogh, Whistler, and a host of Impressionist painters became eager collectors of Japanese art.

Fantin-Latour’s flower paintings were particularly appreciated in England, where, through James McNeill Whistler and Sir John Everett Millais, Fantin-Latour found a patron in Edwin E...

This painting successfully demonstrates Whistler’s influence on Genth through the integration of the nude form and the landscape.

He died in 1858, 10 years before Monet, Van Gogh, Whistler, and a host of Impressionist painters became eager collectors of Japanese art.

The Olmec tradition, represented by a much smaller corpus of pieces than the two previous ones, includes figures in various positions, masks, bird-shaped whistles, pectorals, spoon-s...

From the early 1860’s he lived at 2 Prospect Place, Cheyne Walk but by 1870 had moved to 62 Cheyne Walk, a fashionably artistic area of London where his brother Edward also lived wit...

He was invited to become a guest member of the Vienna Secession and was invited along with other foreign artists, such as Auguste Rodin and James Whistler, to exhibit in their first ...

A Meiji period bronze of a cricket catcher, shown holding a whistle to his mouth with his left hand and a long rod in his right hand, wearing traditional clothing with a wide-brimmed...

He was invited to become a guest member of the Vienna Secession and was invited along with other foreign artists, such as Auguste Rodin and James Whistler, to exhibit in their first ...

Lauder Research Center Horter’s principal artistic precedents included James McNeill Whistler, Charles Meryon, Giovanni Battista Piranesi, and his American contemporary Joseph Pennell.

Lauder Research Center Horter’s principal artistic precedents included James McNeill Whistler, Charles Meryon, Giovanni Battista Piranesi, and his American contemporary Joseph Pennell.

Lauder Research Center Horter’s principal artistic precedents included James McNeill Whistler, Charles Meryon, Giovanni Battista Piranesi, and his American contemporary Joseph Pennell.

The works Marin created in Europe most strongly reflect the influence of James McNeill Whistler, especially the pastels he rendered in Venice.

His family mixed in artistic circles with Whistler, John Singer Sargent and Hercules Brabazon being friends.

You’ve got that right!!! (Insert Whistle!!!) This is a pair of fantastic vintage hardwired pendant lights composed of frosted glass globes bearing lovely, intricately hand painted av...

It is accompanied by a text written by his daughter, Dorothy Menpes, who was Whistler's godchild. Condition: Near Fine.

Many of his paintings show the influence of his association with James Whistler and family friend John Twachtman. He wrote a book about his association with Twachtman, Theodore Robin...

Laurens and Constant, 1897-1900; also with Whistler in Paris. Exhibited: Pan-Am. Expo, Buffalo, 1901 (prize); St.