HARRIS SCHRANK FINE PRINTS

  James A.M. Whistler (1834-1903), Nocturne: Furnaces, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. References: Kennedy 213, Glasgow 208, eleventh state (of 12), published in the Second Venice Set. In generally good condition (repaired thin spots upper right and a tiny spot lower right), trimmed by the artist on the platemark except for the tab, 6 5/8 x 9 1/8 inches. A fine impression, printed in a dark brown/black ink on ivory laid paper. This impression has been meticulously wiped by the artist, generally from the center outward thus illuminating the central furnace [...]

James Whistler (1834-1903), Longshoremen, etching and drypoint, 1859 [signed and dated in the plate]. References: Glasgow 52, fourth state (of 4), Kennedy 45. In excellent condition, with margins, 5 15/16 x 8 3/4, the sheet 8 1/16 x 11 1/16 inches. A very fine impression, an early impression of this state, printed in a dark brownish/black ink on an ivory thin laid Japan paper.  In the later impressions the curling drypoint lines on the left arm of the man at the left tend to fade; in this impression they are clear. Later impressions tend to be cleanly wiped; in this [...]

  James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 191, fourth state (of 6), Glasgow (MacDonald et al) 223, 7th state (of 9), before the eyes are added to the child at the left, and without the carafe on the table. From the First Venice Set. In excellent condition, trimmed by the artist to the platemark except for the signature tab. 9 1/2 x 11 7/8 inches. A fine impression, printed on laid paper, with subtle plate tone.  With Whistler’s three tiny circles in pencil verso, indicating [...]

James Whistler (1834-1903), The Garden, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed imp; also inscribed ox verso, on early 18th Century laid paper with the watermark Arms of Amsterdam. References: Kennedy 210, sixth state (of 8).  Glasgow 194, probably 8th state (of 15), before the figure of the woman at the right in the doorway turns toward her right (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) From the Second Venice Set, edition of 30 plus 12 individual proofs [...]

  James Abbott McNeill Whistler  (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on 18th Century laid paper, a proof impression apart from The Second Venice Set. References: Glasgow 243, only state; Kennedy 237, only state. In very good condition, with very wide margins, 6 3/8 x 3 7/8, the sheet 11 x 8 3/4 inches. A fine early impression, printed in brownish/black ink. Drury Lane, London, was known then as now as a centre of theatres and entertainment. Although titled the Second Venice Set [...]

James Whistler (1834-1903), The Storm, etching and drypoint, 1861. Glasgow 80, Kennedy 81, probably third (cancelled) state (of three). In good condition, on thin bluish gray laid paper, with margins, 6 ¼ x 11 ¼ inches. Two interesting impressions, on the recto an inky black impression with much burr; finer than the cancelled impressions ordinarily encountered; on the verso a dryer impression with little burr. According to Kennedy only 4 impressions are known before cancellation. The plate was cancelled in 1879, bought by the Fine Art Society in an auction at the end of that year (the Whistler bankruptcy auction), [...]

James Whistler (1834-1903), The “Adam and Eve” Old Chelsea, etching and drypoint, 1878 [with the butterfly initial in the plate, in the sky left]. References: Glasgow 182, third state (of 3), Kennedy 175, third state (of 3). In very good condition, printed on a thin laid paper with full margins, 7 x 11 15/16 x 8 3/4 x 13 7/8 inches. A fine impression, with touches of burr from the drypoint work especially on the boats and sails at the left, the crumbling porch of the Adam and Eve, and elsewhere.  Many impressions in the edition were not printed with [...]

James McNeill Whistler (1834-1903), Rotherhithe, etching and drypoint, 1860 [signed and dated in the plate lower left]. Reference: Glasgow 60, first/second state (of 6),  Kennedy 66, first state (of 3). Published, in the last state, as part of the Thames Set. In very good condition, trimmed about 1/8″ outside of the platemark, printed in black on a cream laid paper. 10 3/4 x  7 3/4 inches. Provenance: Unknown collector,  initials in ink verso, not found in Lugt. A fine impression, before the completion of the hull of the boat lower foreground, and before much drypoint work in various places including [...]

James Abbott McNeill Whistler (1834-1903), The Kitchen, etching, 1858, a proof from the Twelve Etchings, signed in pencil by the artist lower right. Reference: Kennedy 24, second state (of 3).  Glasgow 16, second state (of 3). (Glasgow notes that since they have not located any impressions of Kennedy’s described, but not seen, first state, that state might not exist.) From a 1858 printing; there was a later edition of 50 impressions printed in a third state, signed with the butterfly (the pencil butterfly dates from 1879/81). Printed in dark brown ink, chine appliqué on wove.  In generally good condition, with [...]

James Whistler (1834-1903), Nocturne: Palaces, etching and drypoint with plate tone, 1879-80, signed with the butterfly on the tab and inscribed “imp.” Reference: Glasgow 200, Kennedy 202, seventh state (of 9). From the Twenty-Six Etchings or the Second Venice Set. In very good condition, on laid paper (trimmed by the artist to the platemark except for the tab), 11 3/4 x 7 7/8 inches. A very fine atmospheric impression, printed in brown ink, carefully wiped to darken the water in the canal in the foreground and the sky toward the top. In this state a row of  fine lines above [...]

James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky. A very fine impression, in black ink on a thin Japan paper. Provenance:  Dr. [...]

James McNeill Whistler (1834-1903), Becquet, 1859, etching, printed in black on very thin Japan paper (the sheet has various condition problems and is laid down on wove paper). References: Glasgow 62, fourth state (of 6; this impression is pictured in the Glasgow catalogue for the fourth state), Kennedy 52, second state (of four); Lochnan 55, 9 ¾ x 7 ½, the sheet 10 ½ x 8 inches. Provenance Knoedler & Co., New York (their stock no. in pencil on the verso MK31679) An early impression of this print; impressions in the sixth state are common, and are typically printed in [...]

James McNeill Whistler (1834-1903), Seymour Standing Under a Tree, 1859,  etching and drypoint on fine laid paper; inscribed in pencil by Seymour Haden in lower margin “1st pr from plate”. References: Glasgow 30, second state (of three); Kennedy 31, second state (of three); Lochnan 35. On laid paper, watermark: Hunting Horn in Shield, 5 ¼ x 3 7/8, the sheet 7 1/8 x 5 5/8 inches Provenance: Kennedy Galleries, New York (their stock number in pencil on verso a37155) Ethel Gardner; a gift in memory of her husband George Peabody Gardner (nephew and heir of Isabella Stewart Gardner) to Bishop [...]

James McNeill Whistler (1834-1903), Gants de Suede, lithograph, 1890, from the published edition, published by The Studio and with their blindstamp lower left [with the artist's butterfly signature in the plate] Reference: Spink, Stratis and Tedeschi 35. From the edition of about 3000, printed by way and issued by The Studio, London, April 16, 1894. In very good condition with a trace of light staining; with margins, 10 x 6 1/2, the sheet 11 1/4 x 8 1/4 inches, archival window matting. A very good clean impression of this lithograph. Provenance: Kennedy Galleries, with their stock number recto. Gants de [...]

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumous edition of 53 printed by Goulding in 1904). In very good condition, with margins, 7 3/4 x 6 1/4, the sheet 12 1/4 x 7 3/4 inches. Provenance: Childs Gallery, Boston, with their stamp verso, and on their mat (with their catalogue notations). A fine impression of this rare lithograph, printed on a cream laid paper with the watermark ProPatriaB (this is Spink watermark 251, one of the watermarks specified in Spink [...]

James Whistler (1834-1903), La Marchande de moutarde – The Mustard Merchant 1858,  etching and drypoint on very thin Japan paper; with small margins; signed in pencil with the butterfly in the lower margin. Reference: Kennedy 22, second state (of five); Glasgow 20 (Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) , second state (of 5). Lochnan 24, 6 ¼ x 3 ½, the sheet 6 ¾ x 3 7/8 inches Provenance Kennedy Galleries, New York (twice; their stock nos. in pencil on verso a37139 and a61426) [...]

James McNeill Whistler (1834-1903), The Bridge, Amsterdam, etching, 1889. Signed on the tab with the butterfly and inscribed “imp”, also inscribed on the verso in the artist’s hand “first proof pulled” together with the butterfly monogram. In good condition, printer’s crease bottom center. References: Glasgow 447, first state (of five), Kennedy 409, first state of three. Trimmed on or outside of the plate mark by the artist, with the tab remaining, h: 6.5 x w: 9.5 in / h: 16.5 x w: 24.1 cm Provenance: P. and D. Colnaghi, H. Wunderlich & Co., New York (stock no. a 33940) A [...]

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate).  Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, [...]

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn),  drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of 4), Glasgow 174, first state (of 5). On laid paper with a Coat of Arms watermark, also signed in the plate with a faint butterfly upper right, with full margins, in good condition apart from a few slight fox marks and light soiling in the margins, a tiny printer’s crease in the right edge, hinge stains and small related creases in the upper corners verso, 5 3/4 x 8 7/8 (sheet 8 x 13) [...]

James Abbott McNeill Whistler (1834-1903),  Vitré: the Canal, lithograph, 1893. Reference: Chicago (Spink et al) 63, only state. In very good condition, the full sheet, 9 1/4 x 5 1/4, the sheet 14 x 8 1/4 inches. Provenance: Childs Gallery, Boston, still in their mat, with their stamp both verso, and on their mat (with their catalogue notations). A very fine impression. Printed on a cream laid paper, presumably from the posthumous printing by Frederick Goulding in 1904. With the watermark D & C Blauw, Spink watermark 55.  This is not one of the watermarks specified by Spink for either [...]

    James McNeill Whistler (1834-1903), Little Lagoon, etching, 1879-80, signed in pencil with the butterfly on the tab and annotated “imp”. Reference: Kennedy 186, second state (of 2), Glasgow 216, state 3 (of 4) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), published in Venice, a Series of Twelve Etchings (also known as The First Venice Set). In excellent good condition, trimmed by the artist on the plate mark except for the tab, 8 13/16 x 6, archival mounting. Provenance: ex Collection Gilbert A. and Anne [...]

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below).  Kennedy mades special note that an impression like this, with the clearly visible butterfly, [...]

James McNeill Whistler (1834-1903), Bibi Lalouette, 1859, drypoint and etching, printed in dark brown ink on old laid paper with a Bouchet watermark. [Signed and dated in the plate; at this stage Whistler was not signing prints in pencil] References: Glasgow 33, second state (of 2; see discussion below), Kennedy 51, second state (of 2). In very good condition, with small margins, 8 7/8 x 6, the sheet 9 1/4 x 6 1/4 inches. A fine early impression, with burr from the drypoint work quite visible especially in the boy’s hair (only visible in the early impressions).  In the early impressions of this [...]

James Abbott McNeill Whistler (1834-1903), Father and Son, 1895, lithograph, signed with the butterfly in pencil [also signed with the butterfly in the stone upper left]. Reference: Spink 123, Way 87. In good condition, with margins (slight browning at edges, cataloguer’s notations at margin edges), 9 1/2 x 7 inches, the sheet 12 1/2 x 8 inches. Archival matting. A fine carefully printed lifetime impression of this very rare print. This is the only impression we know of to appear on the market in recent history. Thomas Way, who printed Whistler’s lithographs, noted that he printed 15 impressions; we are able to account [...]

James McNeill Whistler (1834-1903), Wapping – The Pool (or, The Large Pool), etching, 1878-9, signed in pencil lower margin with the butterfly, dated 1879 and annotated “imp”, also titled and dedicated to James Waddell. References: Kennedy 174, fifth state (of 7), Glasgow 180, seventh state (of 8). On laid paper with a Strasbourg Lily and initials WR watermark. In good condition (tiny fox mark at lower center), with wide margins. 7 3/8 x 10 7/8 inches, the sheet 9 3/4 x 13 3/4 inches, archival mounting. Provenance: H. Wunderlich and Co., New York (with their stock number a25414 verso) A. LE MASSON [...]

James McNeill Whistler (1834-1903), The Pool, etching, 1859, printed in black on laid paper; with wide margins. References:  Glasgow 49, sixth state (of 6, but before the extensive wear to the drypoint), Kennedy 43, third state (of four); Lochnan 46; watermark: crowned initials in circle. In very good condition, 5 3/8 x 8 3/8, the sheet 7 15/16 x 12 1/2 inches, archival mounting. Provenance Samuel Henry Nazeby Harrington, Birkenhead, England (Lugt 1347 verso and 1349 recto in lower left corner) The Pool was published as part of the Thames Set in 1871. It depicts the pool at Wapping, part of [...]

James Whistler (1834-1903), The Venetian Mast, etching, 1879–80,  printed in black on laid paper; trimmed to the platemark by the artist, signed with the butterfly and inscribed imp on the tab. Reference:  Kennedy 195, sixth (final) state, Glasgow’s (Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) 11th state (of 12); Lochnan 185. On laid paper; watermark: Fellows 1804 (Stratis 119). Published as part of the First Venice Set in 1881. In very good condition, archival matting.  13 3/8 x 6 3/8 inches. Provenance P. & D. Colnaghi & [...]

James Whistler (1834-1903), Billingsgate. Kennedy 47. Signed on the tab with Whistler’s butterfly. Seventh state of eight, Glasgow 51, seventh state (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011). On laid paper, printed in a dark brown ink, in very good condition, archival mounting. Ex. coll S.H. Nazeby Harrington (and with his stamp bottom left recto, also with the stamp verso, Lugt 1347, 1348, 1349). Dated July 2, 1886 by Harrington on the verso (this was the date the print was given to him [...]

James Whistler (1834-1903), Little Arthur, etching, 1857-8, 2 impressions. Reference: Kennedy 9, 3rd state and 5th state (of 5), Glasgow 8, third state, and fourth (of 4). Both impressions in very good condition, with margins. State 3: 3 1/4 x 2 13/16, the sheet 8 1/4 x 6 5/8; State 5: 2 1/4 x 2, the sheet 4 1/2 x 4 1/4 inches. Both on laid paper. Provenance: ex Collection Melvin Zapata State 3: Marcel Louis Guerin (with his stamp lower left recto, Lugt 1872b) P and D Colnaghi and Company, London (with their stock number in pencil verso c22731 [...]

James Abbot McNeill Whistler (1834-1903), The Unsafe Tenement, etching, 1858. [signed in the plate lower right]. References: Kennedy 17. Glasgow 18, fourth state (of four). In very good condition, printed on a very thin (two ply?) Japan paper, with margins, 6 1/8 x 8 3/4, the sheet 8 1/4 x 11, archival mounting. A brilliant, black impression printed with astonishing clarity and exquisite detailing, on an ivory Japan paper. Presumably this is a proof impression before the relatively large edition published in this state (the edition was not on this paper). Provenance: Inscribed “To Otto J. Schneider from his friend Frederick [...]

James Abbott McNeill Whistler (1834-1903), St. Anne’s, Soho, lithograph, 1896, [signed with the butterfly in the plate],  Reference: Chicago (Spink et al) 162. Inscribed in pencil recto: F Goulding from R. Birnie Philip. In very good condition, the full sheet, 5 1/8 x 7 1/2, the sheet 14 3/4 x 10 inches. A fine impression, printed on a cream laid paper with the watermark OWP & AOL, Fink watermark 219, listed as characteristic of the posthumous edition printed by Goulding in 1904 (edition of 48; lifetime edition of 23). The inscription F. Goulding from R. Birnie Philip is somewhat curious: [...]