James Abbott McNeill Whistler. 1834-1903.

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Etchings and Drypoints.

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. A rich impression with plate tone, printed on laid paper, probably from an antique volume. Signed with the butterfly in the plate. $3,500.

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. Delâtre Rue St. Jacques. 171" lower right. $2,750.

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. $1,750.

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.

Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii. 9 x 6 (sheet 10 1/2 x 7 5/16). fine 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. $6,500.

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.

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 paid 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). 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.

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.

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.

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. $3,500.

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. $1,000.

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'. 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 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. $3,500.

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. 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. Price upon request.

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.

Windows, Bourges. Etching. Kennedy 400.ii. 5 7/8 x 3 1/8. A well-inked, beautifully wiped impression printed by Whistler on cream laid paper. Collector's seals verso: Howard Mansfield, Lugt 1342; Harris Whittemore, Lugt 1382a Signed with the butterfly in the plate and with the butterfly and 'imp' in pencil on the tab. There was no formal edition of the plate, which is quite rare. $20,000.

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. $17,500.

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.

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.

The Thames. 1896. Lithotint. Way 125; Levy 178; Spink, Stratis, Tedeschi 161.iii. 10 3/8 x 7 5/8 inches (sheet 15 1/4 x 11). Printed in black ink on heavy white wove paper. Goulding impression in an edition of 121, printed in 1903 and 1904, commissioned by Rosalind Birnie Philip, with her seal verso [Lugt 2456]. There are 29 lifetime impressions listed and printed by Way. A subtle tonal impression. Monogrammed with the butterfly in the stone. $9,750.

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. $850.

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.$750.

The Garden Porch. 1894. Lithograph. Way 140, Levy 104, Tedeschi, Stratis and Spink 88. 8 1/2 x 6 7/16 (sheet 11 7/16 x 8 7/8). Way lists only 8 impressions; however 12 have been identified to date. The stone was cancelled. Collector's seal verso, W.S. Brough (Lugt 2653). The scene is in the Rue du Bac, Paris. Beatrix, Whistler's wife, and her sister, Ethel, are the two figures facing the viewer. Printed on cream laid Japanese vellum. Signed with the butterfly in the stone. A fine impression of this extremely rare image. $15,000.

La Jolie New Yorkaise. 1894. Lithograph. Way 61, Levy 92, Tedeschi, Stratis and Spink 99. 8 3/4 x 6 ( sheet 13 3/16 x 8 3/4). Proof from the edition of 25 lifetime impressions recorded by Way (there were 30 posthumous impressions printed by Goulding in 1903). The stone was cancelled. Printed on thin, transparent laid paper. Signed with the butterfly in the stone and in pencil.

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.

The Little Steps, Lyme Regis. 1895/96. Lithograph. Way 94, Levy 146, Tedeschi, Stratis and Spink 131.i/ii. 8 3/4 x 5 3/4 ( sheet 12 3/4 x 8 1/8). Proof from the edition of 15 lifetime impressions recorded by Way (there were 30 posthumous impressions printed by Goulding in 1903). The stone was cancelled. Printed on cream laid paper Basle-Crozier surrounded by shields of the 12 cantons of the Helvetian Confederation with 'HN' countermark (Chicago 41). Signed with the butterfly in the stone and in pencil. A rare lifetime impression of the first state. $12,500.

In the late summer of 1895, Whistler and his wife visited the seaside resort of Lyme Regis in Dorset. During their stay, Whistler drew 7 images on lithographic transfer paper, and sent them to his printer, Thomas Way, in London. Whistler wrote to Way that the image 'ought to be a beauty' (letter 148) and he considered the drawing 'the best of the lot' (letter 150). Unfortunately the professing didnt go well; however Whistler reworked the stone after he returned to London.

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.

The Master Smith. 1895. Lithograph. Way 84, Levy 123, Stratis, Spink, Tedeschi 120.ii. 4 x 2 3/4 (sheet 11 1/8 x 8 3/4)/ Way lists 15 impressions without distinguising between states i and ii. There were 36 postumous impressions by Goulding. This is a lifetime impression printed on Japanese velluem. Signed with the butterfly in pencil, lower left. Provenance: Charles Sessler Gallery, Philadelphia. A fine impression of this very scarce image. $15,000.

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

Allinson Gallery Index.

American Fine Prints.

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