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Annie Etching, 1857-58, Kennedy 10, (iv/V), edition unknown. 4 3/4 x 3 1/8 in. Signed in the plate. This is a fine, early impression of the penultimate state printed on gold-toned chine applique. The margins are wide. The condition is very good apart from a very faint suggestion of discoloration from a previous mat opening and tape reside in places, verso, not affecting the image in any way. Fourth state impressions are far more desirable than final state impressions. $2,400 |
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Billingsgate Etching, 1859, Kennedy 47 (viii/VIII). 6 x 9 in. Signed in the plate. A fine, dark impression with full margins. SOLD |
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Black Lion Wharf Etching, 1859, Glasgow 54 (iv/IV); Kennedy 42 (iii/III), Glasgow cites 104 impressions. 5 7/8 x 8 3/4 in. Signed and dated in the plate, lower right. This is a fine, strong impression printed on light cream laid paper without a watermark. The margins are most likely full with a deckle edge on three sides. The condition is excellent. This print, along with the Limeburner (Glasgow 55), are probably the two best images from the Thames Set. Black Lion Wharf was published with the rest of the set in 1871 by Ellis and Green. This is one of Whistler's most popular early etchings. $5,000 |
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C.L. Drouet, Sculptor Etching and drypoint, 1859, Glasgow 3 (ii/II, restored), Kennedy 55 (ii/II), edition unknown. 8 3/4 x 6 in. Signed, dated and titled in the plate. This is a good albeit late impression after the cancellation marks have been removed. The paper is a white wove and the margins are wide and probably full. SOLD |
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Dog on the Kennel Etching, 1858, Kennedy 18, only state; edition unknown. 2 3/4 x 3 1/2 in. Signed in the plate upper right. This is a fine impression of this rare print. The paper is a thin Japanese with wide margins. Very good condition. Minor discoloration along the very top edge of the sheet. (See The Unsafe Tenement (K17) for some similarities.) SOLD |
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Eagle Wharf Etching, 1859, Glasgow 50 (i/I), Kennedy 41 (i/I); edition unknown. 5 7/16 x 8 3/8 in. Signed and dated in the plate. This is a superb, dark impression printed on light cream laid paper. The margins are wide and probably untrimmed. The condition is fine apart from a few tiny, incidental losses here and there at the sheet edges. This stellar print was published as part of the Thames Set. Eagle Wharf was in Wapping on the River Thames in London. SOLD |
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En Plein Soleil (In Full Sunlight) Etching, 1858, Glasgow 11 (iii/III); Kennedy 15 (ii/II); edition unknown. 4 x 5 1/4 in. Signed in the plate, lower left. This is a fine impression printed on chine appliqué. The margins are wide measuring about 3 to 3 1/2 inches around. The condition is very good apart from minor staining at the upper edge of the top margin and along the extreme left edge. As indicated in the plate, this impression was printed by Delatre in Paris and was published as part of Whistler's French Set. SOLD |
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Fumette Etching, 1858, Glasgow 12 (v/V), Kennedy 13 (iv/IV); edition unknown. 6 1/2 x 4 3/8 in. Signed in the plate lower right. This is a fine impression printed on off-white laid paper. The margins are wide and the condition is quite good other than for a very faint suggestion of toning from an early mat opening. "Fumette," ("Eloise"); a working girl, a young seamstress or milliner, described in the Glasgow catalogue as a "grisette." She was also known to be a woman of vivid and fiery character. SOLD |
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Greenwich Park Etching and drypoint, 1859, Glasgow catalogue 41 (iii/III), Kennedy 35 5 x 7 15/16 in. Signed in the plate, lower left. This is a fine, rich impression printed on thin, cream Japanese paper. The margins are full. This lovely landscape print is known in 38 impressions in the Glasgow catalogue. The sitters have not been indentified. $1,800 |
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Hurlingham Etching, 1879, Kennedy 181 (iii/III); edition unknown. 5 3/8 x 7 3/4 in. Signed in the plate with the artist's butterfly signature. This is a fine, luminous impression printed in black ink on off-white laid paper with a fleur-de-lis watermark. The margins are wide. The condition is also fine. This view of the Thames was just up-river from where Whistler lived in Chelsea.
SOLD |
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La Vieille au Loques (The Old Rag Woman) Etching and drypoint, 1858, Glasgow 27 (iii/IV), Kennedy 21 (ii/III); edition unknown. 8 1/16 x 5 3/4 in. Signed in the plate, lower right, and along the bottom, Imp. Delatre, Rue St. Jacques 171. This is a very fine, lifetime impression printed with plate tone on a thin China paper. The margins are wide and the condition is very good. (There's a skillful and barely noticeable repaired split in the upper left margin which goes to the image but not within.) This early work was published in this state as part of the French Set. This was a popular print during Whistler's lifetime and that interest continues to this day. $1,700 |
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Limehouse Etching and drypoint, 1859, Glasgow 48 (vi/VI), Kennedy 40 (iii/III), edition unknown. 5 x 8 in. Signed and dated in the plate, lower right. This is a fine, dark impression of the final state, before cancellation. The paper is a cream-colored fibrous, thin Japanese. The condition is very good apart from slight lightening of the paper within an earlier mat opening. This print was published as part of Whistler's celebrated Thames Set in 1871. The plate was cancelled around 1894-95. SOLD |
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Little Arthur Etching, 1857-58, Glasgow 8 (iv/IV), Kennedy 9 (v/V); from a small edition. 2 3/16 x 1 16/16 in. Signed in the plate, lower left. This is a superb, crisp impression printed in black ink on chine appliqué. The paper is a sturdy, white wove and this large sheet measures an astonishing 17 x 11 15/16 in. The condition is fine. Although Kennedy records this as the fifth state, there are only four states as described in the online Glasgow catalogue. "The copper plate may have been reduced in size in London, and Delâtre's name removed, for the fourth state, when Whistler and Haden undertook to print the edition. It was then printed for the English edition of the 'French Set.'" There were two formal editions of the "French Set," ('Twelve Etchings from Nature'); the Paris edition of twenty impressions (3rd state), and the English edition of 50 impressions in the fourth state. This is the finest impression we have seen of this print. The dramatic inking of the plate conveys a Rembrandt like flair of detail and shadow; successfully rendered on a very small scale. SOLD |
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Little Arthur Etching, 1857-58, Glasgow 8 (iv/IV), Kennedy 9 (v/V); 61 impressions are noted in the Glasgow catalogue. 2 3/16 x 2 in. Signed in the plate, lower left. This is a fine dark impression printed on light cream wove paper. The margins are wide measuring about 1 to 1 3/8 in. The condition is fine apart from very slight toning along the top edge of the sheet. Although Kennedy records this as the fifth state, there are only four states as described in the online Glasgow catalogue. "The copper plate may have been reduced in size in London, and Delâtre's name removed, for the fourth state, when Whistler and Haden undertook to print the edition. It was then printed for the English edition of the 'French Set.'" There were two formal editions of the "French Set," ('Twelve Etchings from Nature'); the Paris edition of twenty impressions (3rd state), and the English edition of 50 impressions in the fourth state. The dramatic inking of the plate conveys a Rembrandt like flair of detail and shadow; successfully rendered on a very small scale. $2,000 |
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Long Venice Etching with drypoint, 1879-80, Glasgow 211 (viii/VIII); Kennedy 212 (v/V), edition 36. 5 x 11 15/16 in. Signed in the plate with the butterfly. Signed in pencil on the tab, lower left. This is a very fine impression printed on cream laid paper without a watermark. The condition is excellent. This exceptional panorama of the Grand Canal was published by Messrs Dowdeswell and Thibaudeau as part of "A Set of Twenty-six Etchings" (the 'Second Venice Set') in 1886. SOLD |
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Longshore Men Etching, 1859, Glasgow 52 (iii/IV); Kennedy 45 (i/I), edition unknown. 6 x 8 7/8 in. Signed and dated in the plate, lower right. This is a fine, crisp impression printed without much plate tone. The paper is Japanese and the margins are probably full and untrimmed. Very good condition apart from a couple of ink smudges in the margin and two other tiny spots of discoloration. In this, the third state, the verticle lines through the hat of man in the back with the pipe have yet to be removed. This successful print was never part of a published set, i.e. the Thames Set, even though it fits nicely within that theme. SOLD |
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Old Westminster Bridge Etching, 1859, Kennedy 39 (i/II), edition unknown. 3 x 7 3/4 in. Signed and dated in the plate. A superb impression of the rare first state. In fine condition. Trimmed on three sides to the platemark and with 1/2" of margin on the top, presumedly by the artist. There is an inscription verso in pencil, "This proof, before steel-facing, was given by Whistler to the recent owner in the year 1865. F.K."
(Frederick Keppel). Ex-collection: H.H. Benedict (Lugt 1298). SOLD |
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Pierrot Etching, 1889, Kennedy 407 (iv/IV). 9 x 6 3/8 in. Signed on the tab in pencil. A superb impression in fine condition. One of the very rare Amsterdam etchings printed in proofs only. This impression bears two tiny pencil circles on the verso which current scholarship suggests is Whistler's way of describing an especially fine impression. Provenance: Private collection, New England. SOLD |
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Reading by Lamplight Etching and drypoint, 1859, Glasgow 37 (iii/III); Kennedy 32 (ii/II), Glasgow lists forty known impressions. 6 1/4 x 4 3/4 in. Signed in the plate, lower right. This is a very fine impression printed on antique cream laid paper without a watermark. The margins appear to be full and untrimmed. The condition is fine. The sitter is Deborah Haden (1825-1908), the wife of Seymour Haden. SOLD |
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San Giorgio Etching and drypoint, 1879-80, Glasgow 214 (iv/V), Kennedy 201( iii/IV); 38 impressions recorded in the Glasgow catalogue. 8 1/16 x 11 7/8 in. Unsigned. This is a fine impression before the butterfly in the plate and without a pencil signature. Trimmed along the platemark. The condition is very good. The paper bears a small fleur de lis watermark. This charming print was published as part of the Second Venice Set. SOLD |
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Seymour Standing under a Tree Etching and drypoint, 1858-1959, Glasgow 30 (ii/III), Kennedy 31 (ii/III); edition unknown. 5 1/4 x 3 7/8 in. Signed in the plate. This is a fine, early impression of the second state of three printed on cream laid paper. The margins are wide and probably full. The condition is also fine apart from a suggestion of toning in the mid margin area from an early mat. This early print is described by Katharine Lochnan as, "Whistler's first landscape etching." (See: The Etchings of James McNeill Whistler, Yale University Press, 1984; page 69.) The online Glasgow catalogue cites only 29 known impressions from this plate. (In the third state the legs have been redrawn to be closer together.) $2,600 |
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Thames Police Etching and drypoint, 1859, Glasgow 53, (v/v), Kennedy 44, (iii/III); edition unknown. 6 x 8 15/16 in. Signed and dated in the plate, lower right. This is a very good impression as published in the Thames Set. The paper is a thin Japanese and the margins are probably full. (The condition is very good apart from slight toning in the outer extremities of the margins.) Provenance: Kennedy Galleries, NY (their label) and Tracy Dows (Lugt 2427). SOLD |
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The Beggars Etching and drypoint, 1879-1880, Kenedy 194 (ix/IX), Glasgow 190 (xvii/XVII); 57 known impressions cited in Glasgow. 12 x 8 1/4 in. Unsigned. This is a very fine, dramatic impression printed in 1903 by Frederick Goulding. The paper is a cream, fine laid with a strasbourg lily watermark. The margins appear to be full and untrimmed. "The Beggars" is from Whistler's First Venice Set (A Series of Twelve Etchings). The Glasgow online catalogue of Whistler's etchings does a remarkable job sorting through the seventeen described states which is considerably more than the nine listed by Kennedy. Frederick Goulding, the master printed, was asked to fill out the edition of this print not long after Whistler died. (Goulding printed 22 proofs to complete the project.) Our impression is inscribed on the verso in ink, "F. Goulding, Printer, Nov. 27, 1903." The Glasgow catalogue states, "These last proofs, closely modelled on Whistler's, are fine examples of Goulding's work, dramatic in their use of ink tone to enhance the etched lines. They show the plates had survived in fine condition, and draw to an end the epic history of Whistler's Beggars." The plate was subsequently cancelled. SOLD |
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The Kitchen Etching, 1858, Glasgow 16 (ii/III), Kenedy 24 (ii/III); 67 impressions are recorded in the Glasgow catalogue. 8 7/8 x 6 1/8 in. Signed in the plate in the lower right. This is a very fine impression printed with plate tone on chine appliqué. The margins are substantial measuring about 1 1/8" to 1 1/2" in. The condition is fine apart from a very faint suggestion of toning within an earlier mat opening and traces of an old adhesive, verso, along the top edge of the sheet. This outstanding early work by Whistler was published in the "French Set" in this state with the name and address of the printer in the lower right ("Imp. Delâtre. Rue St. Jacques. 171."). An impression of the first state has not been located by the Whistler Etchings Project. Thirty-nine impressions of this important etching are listed in museum collections and today it's considered to be an uncommon print. SOLD |
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The Kitchen Etching, 1858, Glasgow 16 (ii/II); Kennedy 24 (ii/III); Glasgow cites 67 known impressions. 9 x 6 1/4 in. Signed in the plate, lower right. This is a very fine, rich impression printed on a light cream laid paper. The margins are substantial. The condition is excellent. This outstanding, early work was published in the French Set in this state. Auguste Delâtre was the printer and his name and address appear in the plate, lower right. SOLD |
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The Lime-Burner Etching and drypoint, 1859, Glasgow 55 (ii/III), Kennedy 46 (ii/II); Glasgow mentions 103 impressions taken from the plate. 9 7/8 x 6 7/8 in. Signed and dated in the plate, lower right. This is an exceptionally fine impression printed with carefully articulated plate tone. The paper is an antique laid with a hard to determine watermark. The margins are full and the condition is fine. This exceptional early work was published in the Thames Set in 1871. The Lime-Burner was quite popular among collectors at the time it was published and continues to be popular today. The plate was acquired by Charles Lang Freer in 1896 and bequeathed to the Freer Gallery of Art. SOLD |
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The Little Mast Etching and drypoint, 1879-1880, Glasgow 196 (v/VIII); Kennedy 185 (iv/IV), edition 50. 10 1/2 x 7 1/4 in. Signed in the plate with the butterfly, upper right. Signed on the tab, lower left, with the pencil butterfly and "imp." This is a very fine impression printed in dark brown ink on cream-colored laid paper. There's a partial Strasbourg Lily watermark showing which appears to be # 301 in the Art Institute of Chicago catalogue of the lithographs. The condition is excellent apart from traces of two old paper hinges on the right side, verso, which are inconsequential. The printed surface is pristine. This outstanding Venice etching was published in the First Venice Set. SOLD |
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The Little Pool Etching and drypoint, 1861, Glasgow catalogue 79 (ix/IX), Kennedy 74 (viii/IX); 76 impressions cited in Glasgow. 4 x 5 in. Signed and dated in the plate. This is a fine impression with modest margins. There's a trace of old paper tape along the top edge, verso. This plate was included in the Thames Set and was published as such in this, the ninth state. This impression is a duplicate from the Fogg Art Museum, Harvard University, and bears their stamp on the verso. $1,200 |
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The Mast Etching and drypoint, 1879-80, Kennedy 195, (iv/VI)**, edition unknown. 13 3/8 x 6 3/8 in. Signed in pencil with an elaborate butterfly lower left, just below the image. A superb impression printed in black ink on a full sheet of 18th century laid paper, without watermark. Full margins. Very good condition other than a repair in the margin at right. This is a newly discovered state between iv and v, with the butterfly just added but before the background is cleaned. There is selective inking around the standing figure at right. This remarkable proof impression sheds new light on current Whistler scholarship. Provenance: Knoedler, New York. SOLD |
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The Mill Etching, 1889, Kennedy 413 (ii/V), very small edition. 6 1/4 x 9 3/8 in. Signed in the plate with the butterfly and signed on the tab in pencil. This is a superb impression of the rare second state of five. Fine condition apart from traces of old hinges, verso. Trimmed along the platemark as usual. This late, great Dutch view is presented here in an exceptional impression. SOLD |
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The Music Room Etching and drypoint, 1859, Glasgow 39 (iv/IV), Kennedy 33 (ii/II); edition at least 54. 5 3/4 x 8 1/2 in. Unsigned. This is a fine impression, selectively inked, and printed on a fine laid paper with a difficult to read watermark. The margins appear to be full and untrimmed. The condition is generally fine apart from a faint suggestion of a circular stain (?) in the right margin, well away from the image. On the left is Seymour Haden. James Reeves Traer is in the middle and Deborah Haden is at right. The Glasgow online catalogue of Whistler's etchings cites 54 known impressions of this work. Provenance: Wunderlich & Co., New York. SOLD |
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The Unsafe Tenement Etching, 1858, Kennedy 17 (iv/IV); edition unknown. 6 1/8 x 8 7/8 in. Signed in the plate. This is a very fine impression printed on thin Japanese paper. The condition is fine. The margins measure about 1" along the sides and bottom and 1/2" along the top. With the initials verso in pencil, "EW"; not in Lugt. SOLD |
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The Unsafe Tenement Etching, 1858, Glasgow 18 (iii/IV), Kennedy 17 (iii/IV); Glasgow lists 74 known impressions. 6 1/4 x 8 3/4 in. Signed in the plate, lower right. Signed in pencil with the butterfly, lower left. This is a fine, luminous impression printed on a light cream wove paper. The margins are full and the condition is also fine. (There's some subtle inking in the lower left corner which looks like a possible fingerprint and then there's a bit of stray printer's ink to the right of the platemark.) This impression is printed with plate tone. Impressions in this third state were published in the French Set also known as "Douze Eaux-fortes d'après Nature." This impression is from the celebrated collection of B.B. MacGeorge (Lugt 394) who was especially well known for his Whistler collection; "Les estampes de Whistler, que MacGeorge possédait aussi en très belles épreuves..."
$5,500 |
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The Wine Glass Etching, 1859, Glasgow 38 (ii/II); Kennedy 27 (ii/II); Glasgow states forty impressions were taken from the plate. 3 1/4 x 2 1/8 in. Signed in the plate lower left. This is a superb impression printed on thin Japanese paper. The margins are apparently full and the sheet measures 6 1/2 x 4 3/8 in. The condition is fine. This stellar and unique etching is Whistler's only still life. This plate was etched in London at the home of Seymour Haden. Whistler certainly had a chance to view Haden's collection of Rembrandt etchings and it's possible that Rembrandt's "The Shell," was an inspiration for this print. (See Katharine Lochnan, "The Etchings of James McNeill Whistler," (1984), pg. 59.) "The Wine Glass" has always been a highly sought after print and the great collectors of Whistler etchings owned it. Among them are Charles Lang Freer, Philippe Burty, Joshua Hutchinson, Howard Mansfield, Harris G. Whittemore, Lessing J. Rosenwald and Peter Lunder, among others. SOLD |
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Title page for the French Set (Douze Eaux Fortes d'après Nature) Etching, 1858, Glasgow 22, Kennedy 25; (only state), edition unknown. 4 3/8 x 5 5/8 in. Signed, dated and titled in the plate. Dedicated to Seymour Haden with "a Mon Viel Ami." This is an especially fine impression printed on light cream laid paper with full margins. (The watermark, Britannia, is listed as #60 (lifetime impressions) in the Art Institute volume II on Whistler's lithographs.) The condition here is very fine. Glasgow cites 56 known impressions which makes this an uncommon print. The initials "RB" appear on the verso in ink which is not listed in Lugt. SOLD |
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Vauxhall Bridge Etching, 1861, Kennedy 70, (ii/II), edition unknown. 2 3/4 x 4 1/2 in. Signed and dated in the plate. This is a fine, crisp impression printed with light plate tone. The condition is very good and the margins are wide. This impression is printed on a laid paper with a partial crown and shield watermark. SOLD |
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Venus Etching, 1859, Kennedy 59, (ii/II); edition unknown. 6 x 9 in. Signed and dated in the plate. This is a superb, beautifully inked impression in fine condition. The paper is an 18th century sheet with a watermark dated 1765. The margins are wide. This beautiful, early work is not easy to come by today. SOLD |
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