Whistler Etching

Whistler's mid-1800's model Eloise, a modiste, from Whistler's etching of her "Fumette Standing". Among

, and typographer Henri Charles Guérard after Whistler. Etching on paper. Signed on a plate, titled

James Abbott McNeill Whistler (American, 1834-1903) Little Court, 1880-1 Etching and drypoint

Signed 'Whistler' lower left, titled 'Annie', center, and annotated 'Imp. Delâtre Rue St. Jacques

Whistler can be considered a forerunner of the Post-Impressionist movement. Very good conditions.

James Whistler (1834-1903), Venus, 1859. Etching and drypoint, printed in black ink on laid paper

contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNeill Whistler can be

taken by Impressionists and Symbolists. Whether in painting, etching, or lithography, Whistler sought to

James Abbott McNeill Whistler (1834 - 1903, British) "Fulham (Chelsea Church)" Etching Year 1865

specialty, and he roamed habitats up and down the East Coast to capture images for etching. Bishop published

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the

was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to

THEODORE CASIMIR ROUSSEL, RBA (1847-1926) The Street, Chelsea Embankment Etching, signed in the

Etching (Reproduction). Measures 20 x 16 inches and is framed. The piece is in Very Good Condition.

"La Mere de Whistler" is an original etching and drypoint signed by the French artist Auguste

20 in x 16 in - image size Etching (Reproduction). Measures 20 x 16 inches and is framed. The

20 in x 16 in - image size Etching (Reproduction). Measures 20 x 16 inches and is framed. The

"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed

saw James McNeill Whistler’s etchings for the first time. He left for Europe in 1928 and studied for

Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove paper by Paul Albert

Whistler, James A. M. OLD WESTMINSTER BRIDGE. Etching and Drypoint, 1859. Glascow 47,Kennedy 39

JAMES ABBOTT McNEILL WHISTLER (1834-1903) THE RAG GATHERERS 1858 (Glasgow 29 v/v, - K.23

Whistler, James A. M. SAN BIAGIO. Etching and Drypoint, 1880. Glascow 237, K.197; M.194; W.163

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32

James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state

, Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler; Guichard

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in

Barges, Dordrecht Etching, c. 1886 Signed in the plate with the butterfly Edition: One of 10 known

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in

James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly

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

James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on

The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid pa...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with

lithotintl of the old wharves and shipping.” Whistler had made an etching (also called Limehouse) in this

to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street crash.

60 proofs". In very good condition. Beautiful, subtle etching in the Whistler tradition.

Whistler, he printed his etchings personally, then trimmed them at the plate mark and left his signature on

etchings of Whistler, and Marin was surely aware of and influenced by Whistler. But, according to Zigrosser

Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to

Whistler created over one hundred etchings and lithographs of New York City from 1904 to 1924. During the

: This is the same building depicted by Whistler in his etching "The Balcony Amsterdam", 1899 (K. 405iii

, and France. James Whistler is known for figure, landscape, and portrait painting, etching. Born

, France. James Whistler is known for figure, landscape, and portrait painting, etching. Born in

. Etching and drypoint on laid watermarked paper. Published in "Sixteen Etchings of Scenes on the Thames

the details: Etching, 1859, Kennedy 46, Rare 1st State, Laid Paper. Signed & dated in the plate

Signed and dated on plate. Eighth state of 8 (final state), after different works with drypoint, with margins.  Published in 1878/79 on Japan paper in "The Portfolio". Matting includ...

English early restrike of etching titled "The Thames Police", from The Thames Set (Catalogue