Whistler Etching

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

An antique etching on heavy cream wove paper after American artist James Abbott McNeill Whistler

. Whistler made this etching during his trip to Venice during 1879-80, but it was not published until 1886

JAMES ABBOTT McNEILL WHISTLER (1834 – 1903) WHEELWRIGHT, 1880 (G.240 vi/ix

James Abbott McNeil Whistler (American, 1834-1903), "Portrait of Drouet", Etching, 1859, signed and

French Set, 1858. Reference: Kennedy 9. On one impression Whistler identified the boy as Arthur Haden

JAMES McNEILL WHISTLER (American 1834–1903 London) THAMES WAREHOUSES, 1859 (K 38 ii/ii; Glascow

JAMES ABBOTT McNEILL WHISTLER (1834 – 1903) THE BEGGARS 1879-80 (Glasgow 190 x/xvii: K.194 ii

Signed in pencil with the butterfly, twice (recto and verso); Signed in the plate upper left Edition: 44 known impressions per Glasgow catalog raisonne. Annotated in pencil verso: ...

Society of British Artists, a society which nominated James Whistler its President in 1886. He was elected

James Abbott McNeill Whistler, (1834-1903) Etching and drypoint. Signed in the plate lower center

Annie Seated. 1858-59. Etching and drypoint. Kennedy 30.ii; Glasgow 32.iii. 5 3/4 x 3 3/4

, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a Catalogue Raisonné, University of

James Abbott McNeill Whistler, etching, edition 61, 4th state of 4, 1858, Kennedy 9. Signed in the

Signed on plate. The American artist James Abbott McNeill Whistler can be considered a forerunner

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

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

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

Etching from James A. M. Whistler's Thames Set ("A Series of Sixteen Etchings of Scenes on the

Whistler, James A. M. LIMEHOUSE. Glascow 48 vi; Kennedy 40 iii. Etching, 1859. The final state

Whistler, James A. M. ALDERNEY STREET. Glascow, 246, K.238, M236, W.196. Etching, 1881. The second

Signed “Whistler” in the plate and dated “1861” Published in: Passages from Modern English Poets

wooden bridge, beloved by Whistler, is seen a dredger at work in the river; on the mud, in the foreground

JAMES Abbott McNeill WHISTLER (1834-1903) THE RAG GATHERERS 1858 (K.23 v/v) Etching on laid

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

JAMES McNEILL WHISTLER (American 1834-1903 London) FULHAM 1879 (K 182 ii/ii; Glasgow 181 iii/iv

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

JAMES ABBOTT McNEILL WHISTLER (1834-1903) Little Arthur Signed in the plate Etching Framed Plate

, Whistler went to London for his sister's wedding to Seymour Haden, a key figure in 19th century etching

The Music Room. 1859. Etching and drypoint. Kennedy catalog 33 state ii; Glasgow catalog 39 state

Bibi Lalouette. 1859. Etching and drypoint. Kennedy catalog 51. state i; Glasgow catalog 33 state

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

archival mat, suitable for framing. The etching was exhibited at the Royal Academy in 1860. Whistler

James Abbott McNeill Whistler, 'En Plein Soleil' from the French Set (Douze eau-fortes d'apres

An original etching and drypoint on watermarked laid paper by American artist James Abbott McNeill

The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1

Whistler's largest and most celebrated etchings of Venice. Catalogue reference: Kennedy 191; Glasgow 233

Newspaper Stall, Rue de Seine. 1893. Etching and drypoint. Kennedy catalog 432 state .ii; Glasgow

Artist: James Abbott McNeill Whistler Date: 1879. “The Tiny Pool” Medium: Etching and drypoint

1858-59, Whistler lived with the model, Héloise, in Rue Saint-Sulpice, Paris. Although Whistler had

Not signed. The American artist James Abbott McNeill Whistler can be considered a forerunner of the

La Marchande de Moutarde Etching printed in dark brownish black on heavy cream wove paper, 6 1/4x3

A very good impression of this etching on antique cream laid paper. MacDonald's third state (of 3).

Glasgow catalog records 32 known impressions. A scarce early etching -- there was no published edition. A

Etching and drypoint printed in black ink on cream laid Japan paper, 6 x 8 7/8 inches (152 x 225 mm

serving as a model to Whistler for etchings and painted portraits, most notably the Arrangement in White

as Haarlem; Haarlem also is reminiscent of Whistler’s Thames etchings (particularly in the use of the

New York Stock Exchange Etching, 1925 Signed in pencil lower right (see photo) Condition: Wrinkles

titled in pencil. A striking image that reflects the influence of Whistler's Venice etchings. Ernest

whom influenced her work. Her etchings in particular are said to show the influence of Whistler. After

Charming original etching by American born, British based artist James Abbott McNeil Whistler (1834

Original etching and drypoint printed in dark umber ink on laid paper. Hand-signed with the

Venice, Whistler. Twelve Etchings, commonly referred to as the "First Venice Set." Catalog: Kennedy 193

Artist: James Abbott McNeill Whistler (1834-1903) Title: Alderney Street Medium: Etching (second