Whistler Etching

This oil painting evolved by exploring the possibility of translating the strong personality of Whistler's mid-1800's model Eloise, a modiste, from Whistler's etching of her "Fumette...

Portrait De Ma Mere is a beautiful etching realized by the French painter, engraver, lithographer, and typographer Henri Charles Guérard after Whistler.

Signed at lower center: butterfly in pencil Sheet (trimmed to platemark with tab reserved) This work was part of “A Set of Twenty-Six Etchings by James A. McN. Whistler,” 1886 (see ...

Not signed. Edition of the "Gazette des Beaux-Arts" .The American artist James Abbott McNeill Whistler can be considered a forerunner of the Post-Impressionist movement. Very good co...

Frederick Wedmore, whose catalogue of Whistler’s etchings was published in 1886, certainly disapproved of the image and described it as ‘the nude seen by Mr Whistler with rather comm...

Signed and dated on plate. An early state on the 5 issued, with very fresh impression and marked contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNei...

James Whistler was an exceptionally skilled printmaker whose etchings and lithographs are celebrated for their subtle tonal effects and refined line.

James Abbott McNeill Whistler (1834 - 1903, British) "Fulham (Chelsea Church)" Etching Year 1865 8" x 5 1/8 unframed 13.75 x 17.25" framed

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotate...

Etcher and painter Richard Bishop was born in Syracuse, New York and studied engineering at Cornell University. After serving in World War I, he settled in Philadelphia. Game birds a...

'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.'

He realized the artistic potential of printmaking at a local exhibit when he saw James McNeill Whistler’s etchings for the first time. He left for Europe in 1928 and studied for near...

Along with Whistler he became a member of the Royal Society of British Artists in 1887 only to resign with Whistler and his followers in 1888.

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 Brouet in the lower right.

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

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

The work was issued in 1858 as part of Whistler’s series Twelve Etchings from Nature.

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...

"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed and dated the piece in the plate.

"Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist "Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove...

Whistler, James A. M. OLD WESTMINSTER BRIDGE. Etching and Drypoint, 1859.

JAMES ABBOTT McNEILL WHISTLER (1834-1903) THE RAG GATHERERS 1858 (Glasgow 29 v/v, - K.23) Etching on laid paper, signed and dated in the plate, image 5 7/8” x 3 ½”, full sheet 8 x...

Whistler, James A. M. SAN BIAGIO. Etching and Drypoint, 1880.

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...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859.

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...

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”.

Illustrated: Salaman, The Great Painter-Etchers from Rembrandt to Whistler, Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler; Guichard, British ...

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

Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right.

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 Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”.

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

James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”.

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

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...

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 Whist...

The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery.

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate).

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...

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); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

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

Whistler had made an etching (also called Limehouse) in this area much earlier, in 1859.

He was one of many artists to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street crash.

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

Roussel was a student and admirer of Whistler, and, like Whistler, he printed his etchings personally, then trimmed them at the plate mark and left his signature on a tab.

Although he was familiar with Meryon, his etchings were more impressionistic and “loose”; many see similarities with the etchings of Whistler, and Marin was surely aware of and influ...

Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques.

This influential colleague of Whistler created over one hundred etchings and lithographs of New York City from 1904 to 1924.

Reference: Novak 119 Note: This is the same building depicted by Whistler in his etching "The Balcony Amsterdam", 1899 (K. 405iii) Provenance: Herman Armour Webster (1878-1970) ...