James Abbott McNeill Whistler. 1834-1903.
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Afternoon Tea. 1897. Lithograph. Way 147; Levy 224; Tedeschi, Stratis and Spink 173. 7 1/2 x 6 (sheet 14 13/16 x 9 9/16). Edition 100 printed by Clot, issued by Ambroise Vollard in L'Album d'estampes originales de la Galerie Vollard (second album, Paris 1897). A rich impression printed onthe full sheet. Monogrammed in the stone. $6,500.
Annie. 1857. Etching. Kennedy 10. 4 5/8 x 3 1/8 (sheet 6 7/8 x 5 1/4). Series: Twelve Etchings from Nature. Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on cream laid paper with full margins. Signed "Whistler" in the plate, lower left, and "Imp. Delatre Rue St. Jacques. 171" lower right. $3,500.
Annie Seated. 1858. Etching and drypoint. Kennedy 30.ii. 5 3/4 x 3 3/4. Illustrated: Beall, American Prints in the Library of Congress; Lumsden, The Art of Etching; Keppel, The Golden Age of Engraving. Signed in the plate. Signed in the plate. $3,000.
One of the most charming of Whistler's early etchings, this portrait study of Annie Haden was etched around 1859. The etching is not to be found among the Twelve Etchings from Nature, having only been available as an independent print. Annie Haden was the eldest daughter of Whistler's half-sister, Deborah and the famous etcher, Sir Francis Seymour Haden. At the time of this etching, she would have been about 10 or 12 years old.
Billingsgate. 1859. Etching. Kennedy 47.viii. 57/8 x8 3/4 (sheet 8 5/16 x 10 1/16). A rich impression printed on cream laid paper with a partial fleur de lys countermark. A few circular pressure marks in the image and in the top margin, consistent with the circular addtions to the sky in the final state. Signed in the plate. $1,750.
The Doctor. 1895. Lithograph. Way 78; Levy 117; Tedeschi, Stratis and Spink 110. 18 1/2 x 6 (sheet 10 x 7 3/8). Edition of about 3,000 published in The Pageant, November, 1896. A fine impression printed on off-white glossy wove paper.Unsigned. $850.
The Dog on the Kennel. 1858. Etching and drypoint. Kennedy 18. 2 7/8 x 3 1/2(sheet 6 x 8 9/16). Signed in the plate. Printed in brown ink on antique cream laid ledger paper,with ink page annotations. A rich impression with plate tone. The dog and the kennel are incorporated separately in Whistler's etching, The Unsafe Tenement, which is part of the Thames set. The Dog in the Kennel, however, is extremely scarce. $3,750.
Drouet, Sculpteur. 1859. Drypoint. Kennedy 55.ii. With the cancellation lines in the nose erased. Two of the cancellation lines are just visible on the bridge of Drouet's nose. 8 7/8 x 6 (sheet 11 x 8 7/8). Illustrated: Salaman, Modern Masters of Etching: Whistler. Signed in the plate. A good impression on cream colored laid paper with full margins and deckle edges. Pristine condition. $2,250.
Early Morning Battersea (Cadogan Pier). 1859. Drypoint. Kennedy 75 only state. 4 1/2 x 6 (sheet 5 1/2 x 6 7/8). Issued as plate 15 in "Sixteen Drypoints or Scenes on the Thames and Other Subjects" (Thames Set #15). Printed in black ink on fine cream laid paper countermarked Blauw. Unsigned. $2,750.
Fulham. 1879. Etching. Kennedy 182.ii. 5 1/4 x 8 (sheet 8 3/4 x 10 1/4). Printed on the full sheet of antique cream paid paper countermarked '1804'. Signed with the butterfly in the plate and in pencil. Price upon request.
Hurlingham. 1879. Etching and drypoint. Kennedy 181.ii/iii. 5 5/16 x 7 13/16 (sheet 6 3/4 x 10 1/16). A a rich impression printed on cream laid paper with a partial Strasbourg Lily countermark. Printed on the full sheet with deckle edges. Monogrammed with the butterfly in the plate. Hurlingham is in Fulham, London. $4,000.
The Lime-Burner. 1859. Etching. Kennedy 46.ii. 9 3/4x6 7/8 (sheet 10 13/16 x 7 7/80. Issued as plate 9 in "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Probably from the 1871 edition of the Thames Set published by Ellis and Green.Two unobtrusive foxing spots in the image; otherwise excellent condition. A rich impression printed in dark brownish black on antique cream laid paper with a lifetime coat of arms countermark. Price upon request.
Little Doorway, Lyme Regis. 1895. Lithograph. Way 83, Levy 122, Tedeschi, Stratis and Spink 119.9 x 6 (13 1/2 x 9 3/4). Edition of 15 lifetime impressions and 30 posthumous impressions printed by Goulding in 1904. Printed on cream laid paper with a Strasbourg Lily/LVG with a IV countermark (Chicago 289), indicating a posthumous impression. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $6,500.
Little Evelyn. 1896. Lithograph. Way 110; Levy 159; Tedeschi, Stratis and Spink 146. 7 x 4 1/2 (sheet 12 5/8 x 9 1/2). Printed by Thomas Way for The Art Journal, 1896. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone, to the left of Evelyn's shoulder. $850.
The Long Gallery, Louvre. 1894. Lithograph. Way 52; Levy 83; Tedeschi, Stratis and Spink 146. 8 3/8 x 5 3/4 (sheet 11 1/4 x 7 3/4). As published in The Studio, 1894, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $825.
According to Tedeschi, Stratis and Spink, "During his first sojourn in Paris as a student, Whistler copied paintings in the Louvre and would certainly have frequented the longest room in the great complex, the Grande Galerie. The gallery was divided into six bays and, at its eastern end, adjoined the Salon Carré, which contained the 'gems of the collection.' Whistler's lithograph shows the eastern bay of the Grande Galerie, where paintings by masters of the Italian High Renaissance were displayed. His choice of subject matter follows the eighteenth-century tradition of depicting groups of spectators studying and copying works of art in museums and princely collections. Whistler captured not only the scale ofthe long room, but also the quality of light and the glassy character of its highly polished floor. With only a minimal use of the stump in the half-dome above the doorway, he durther emphasized the depth ofthe view" (pp. 269-270).
Nursemaid and Child. 1859. Etching. Kennedy 37.ii. 3 7/8 x 5 1/4 (sheet 7 3/4 x 8 7/8). A rich impression printed on cream laid paper with full margins. Signed 'Whistler' in the plate, lower left. $4,000.
Old Hungerford Bridge. 1861. Etching. Kennedy 76. A rare undescribed impression, before the small figures at the lower right-hand corner were burnished out. Before publication in The Thames Set. Later issued as plate 6 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). Printed on off-white wove paper with full margins. A rich impression with burr on the left-hand tower and on the sail of the large boat on the right. $8,000.
The Rag Gatherers'. 1857. Etching. K 23.v. 6 x 3 1/2. Signed in the plate. A fine impression on cream laid paper with wide margins. $1,750.
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii. 10 5/8 x 7 5/8 (sheet 14 1/4 x 8 5/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler. A rich impression printed on cream laid paper with a rampant winged horse countermark with the letters 'P F'. Paper loss in the top right and lower left corners, well away from the image; otherwise excellent condition. Signed in the plate. Price upon request.
Savoy Pigeons. 1896. Lithograph. Way 118; Levy 164; Tedeschi, Stratis and Spink 154. 8 x 5 3/4 (sheet 11 1/16 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $650.
Seymour Standing Under a Tree. 1856-57. Etching. Kennedy 31.ii/iii. 5 3/16 x 3 3/4 (sheet 11 3/4 x 8). A fine impression printed on fine cream laid paper, with wide margins and deckle edges on 3 sides. Signed in the plate. $4,000.
Thames Police (Wapping Wharf). 1859. Etching. Kennedy 44.iii. 8 7/8 x 5 7/8 (sheet 6 13/16 x 9 13/16). Issued as plate 2 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set) in 1871 printed by Ellis and Green. Printed on Strasbourg watermarked laid paper. Signed and dated in the plate. $7,500.
The Wine Glass. 1857-58. Etching. Kennedy 27.ii. 3 1/4 x 2 1/4 (sheet 5/8 7 x 4 3/8) A well-inked, beautifully wiped impression printed on cream laid paper. Signed in the plate. Price upon request.
Whistler Portraits
William Brassey Hole, R.S.A., R.S.W., R.E. 1847-1926.
Portrait of Whistler. 1897. Etching. 10 x 7 (sheet 10 1/2 x 7 1/2). As published in The Art Journal. Etched after the self-portrait by Whistler. Signed in the plate. $250.
Sir Leslie Ward. 1851-1922.
A Symphony. Portrait of James Abbott McNeill Whistler. 1877. Chromolithograph. As published in Vanity Fair, January 12, 1878. Signed in the image. A delightful caricature of the master. $300.
Thomas Robert Way. 1861-1913.
J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $3,500
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