James Abbott McNeill Whistler. 1834-1903.
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Etchings and Drypoints: Portraits
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. Delâtre Rue St. Jacques. 171" lower right. $2,750.
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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. A fine impression on cream laid paper with full margins. $1,750. Another impression on very slightly blue-toned paper with wide margins. Signed and titled in the plate. $1,850.
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.
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Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii. 9 x 6 (sheet 10 1/2 x 7 5/16). A very rich impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy’s hair. In the first state there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, one head remains visible in this strong early impression of the final state. Printed on fine cream laid paper. Signed and dated in the plate. $5,500.
Another impression
Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii. 9 x 6 (sheet 11 1/4 x 7 3/4. A fine cleanly wiped impression, with velvety burr from the drypoint work, especially in the boy’s hair. Professionally repaired paper loss in the top center margin, just outside the image. Printed on fine cream laid paper. Signed and dated in the plate. $3,000.
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. A good impression on cream colored laid paper with full margins and deckle edges. Signed in the plate.$1,750.
Views: England:
The 'Adam and Eve', Old Chelsea. 1879. Etching. Kennedy 175.ii. 6 15/16 x 11 7/8 (sheet 7 7/8 x 13). Illustrated: Illustrated: Beall, American Prints in the Library of Congress; Salaman, The Great Painter-Etchers from Rembrandt to Whistler; Modern Masters of Etching. A rich impression with plate tone, printed on laid paper, probably from an antique volume. Signed with the butterfly in the plate. $3,500.
Eagle Wharf (Tyzac, Whiteley & Co). 1859. Etching. Kennedy 41. 5 7/16 x 8 7/16 (sheet 6 3/8 x 8 7/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Probably a proof from the 1871 edition of the Thames Set published by Ellis and Green. A rich impression printed in black ink on 'Van Gelder' cream laid paper on the full sheet with deckle edges. Illustrated: Tyler, American Etchings of the Nineteenth Century. Signed and dated in the plate. $5,500.
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. $1,750.
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 laid paper countermarked '1804'. Signed with the butterfly in the plate and in pencil. $7,500.
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. $3,500.
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). Illustrated: Print Collector's Quarterly 1 (1911): 35. 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. $12,500.
Limehouse. 1859. Etching. Kennedy 40.iii. 5 x 7 7/8 (sheet 7 7/8 x 10 1/16). Issued as plate 12 in "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). A rich impression printed on cream laid paper. Signed and dated in the plate. $5,500.
The Little Wheelwright's. 1884. Etching. Kennedy 245. Only state. 2 5/8 x 3 7/8 (sheet 5 x 6 7/16). Printed with plate tone on white laid paper. Imperceptible center horizontal crease. There was no published edition; consequently the image is extremely rare. Unsigned. $3,000.
Longshoremen. 1859. Drypoint. Kennedy 45. 5 7/8 x 8 3/4 (sheet 7 1/4 x 10 9/16). A rich impression with plate tone, printed on cream colored laid paper. Signed in the plate. $4,750.
France: French Set
Liverdun. 1858. Etching. Kennedy 16.ii. 4 3/16 x 6 (sheet 6 1/2 x 9 1/16). Series: Douze Eaux-Fortes d'après Nature (French set). A very rich impression in warm brown/black ink printed on cream laid paper. Signed in the plate. $1,500.
The La Marchande de Moutarde. 1858. Etching. Kennedy 22.v. 6 1/4 x 3 1/2 (sheet 7 5/8 x 4 7/8). Series: Douze Eaux-Fortes d'après Nature (French set). As published in English Etchings, 1888 in an edition of 200. A very rich impression in warm brown/black ink on cream laid paper with a partial watermark. Signed in the plate. $1,750.
The Music Room. 1859. Etching and drypoint. Kennedy 33 ii. 5 11/16 x 8 1/2 (sheet 8 1/2 x 11 1/4). An exceptionally rich impression printed on antique laid paper. Unsigned. $9,750.
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. $2,750.
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. $1,250.
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: Illustrated: Print Collector's Quarterly 1 (1911): 37; 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'. The scens is the balcony of the Angel Inn at Rotherhithe, looking northwest toward the City; the dome of St. Paul's is visible on the horizon at the far left. Signed in the plate. $13,500.
Another Proof:
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii. 10 5/8 x 7 5/8 (sheet 13 1/2 x 9 5/8). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). A rich impression printed on very fine cream laid paper. Signed in the plate. $13,500.
Seymour Seated (A Little Boy). 1858. Etching. Kennedy 29.ii. 5 5/16 x 3 3/4 (sheet 11 7/8 x 7 3/8). A rich, tonal impression printed on cream laid paper with wide margins. Arthur Charles Haden, Whistler's nephew, would have been around six years old at the time this portrait was made. $2,750.
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. $2,750.
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. $5,500.
The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191, between iv and v. 9 1/4 x 12. Series: Twelve Etchings: First Venice Set. Edition 100. Illustrated: Print Collector's Quarterly 1 (1911): 53. A fine, atmospheric impression printed with rich plate tone, presumably an unrecorded intermediate state between iv and v, before the drypoint on the hats of the men seated at the table, and the drypoint under the table, and before the baby's eyes are clearer. A proof printed in brown in on toned laid paper with a partial Strasbourg lily 1814 laid paper. Signed in pencil by Whistler with the butterfly and 'imp' on the tab. $32,500.
Vauxhall Bridge. 1861. Etching. Kennedy 70.ii. 2 5/8 x 4 1/2 (sheet3 5/8 x 7 3/4). A rich impression printed on pale cream laid paper with a partial watermark. Signed and dated in the plate. $1,750.
The La Vieille aux Loques. 1858. Etching. Kennedy 21.ii/iii. 8 1/8 x 5 3/4 (sheet 13 1/8 x 10 3/8). Series: (Douze Eaux-Fortes d'après Nature) (French set). A very rich impression in warm brown/black ink on white wove paper with full margins. Signed in the plate. $2,250.
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.
Lithotints.
Early Morning. 1878. Lithotint. Way 7, Levy 16, Tedeschi, Stratis and Spink 9.iii/iv. 6 1/2 x 10 3/16 (sheet 7 3/8 x 10 11/16). Edition 15 instates i and ii; 'several hundred' in iii and iv, according to Way. A fine impression on cream wove paper, with the legend outside the image trimmed. Printed by Way for inclusion in the July 18, 1878 issue of Picadilly but never issued. Signed with the butterfly in the stone. $5,500.
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The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is commonly the case. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Signed with the butterfly in the stone.
Ando Hiroshige. 1797-1868. Kyobashi and the Bamboo Bank ofthe Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Trimmed margins. Excellent color and condition.
$22,500 the pair.
Lithographs.
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. $5,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 11 1/2 x 8 7/16). Printed on cream laid paper. One of 13 impressions listed by Way, before the images was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. The machine-printed images are on smooth ivory paper. Way's seal (Lugt 2456). Signed with the butterfly in the stone. $5,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 9 3/16 x 7). Printed on smooth ivory paper. One of the impressions ltransferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone. $1,250.
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. $650.
Gaiety Stage Door. 1879 and 1887. Lithograph. Way 10, Levy 21, Tedeschi, Stratis and Spink 14.ii. 4 7/8 x 7 5/8 (12 1/8 x 13 7/8). An excellent impression on greyish ivory proofing paper (small set), mounted onto white plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., in the portfolio as published in Notes 1887-88. Deaccession stamp verso: The William Hayes Fogg Museum of Harvard University 13.210. Fogg Art Museum Harvard University Duplicate. Ex-collection E.C. Blum, the curator of The Brooklyn Museum. Signed with the butterfly in the stone. $3,500.
Gants de Suede. (Suede Gloves.) 1890. Lithograph. Way 26, Levy 40, Tedeschi, Stratis and Spink 35. 8 1/2 x 4 (sheet 11 1/4 x 7 5/8). As printed by Way and published in The Studio, London April 16, 1894 with their blindstamp. Printed on the full sheet of cream wove paper. Monogrammed with the butterfly in the stone. The subject is the artist's sister-in-law, Ethel Birnie Phillips. $850.
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 listed by Way and 30 posthumous impressions printed by Goulding in 1904. The stone was cancelled. 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.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 12 x 8). Printed on laid paper with a foolscap 7-pointed collar watermark. One of the impressions pulled by Way from the original stone before the printed text was added, and before the image was transferred to supplementary stones and printed for inclusion in the December 27, 1890 edition of The Whirlwind. $5,500.
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.
The Smith's Yard. 1895. Lithograph. Way 88; Levy 126; Tedeschi, Stratis and Spink 124. 7 3/4 x 6 1/2 (sheet 11 1/16 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $450.
The Tyresmith. 1890. Lithograph. Way 27, Levy 41, Tedeschi, Stratis and Spink 36. 6 3/4 x 6 7/8 (sheet 1- 5/8 x 7 7/8). Printed in cream laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published editon was machine printed from supplementary stones on smooth ivory wove paper, which has often discolored to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. $5,500.
Whistler Portraits and Reproductive Works.
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. $2,500
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