HARRIS SCHRANK FINE PRINTS

James McNeill Whistler (1834-1903), The Bead-Stringers, etching, 1879-80, signed on the tab with the butterfly and inscribed “imp”. Reference: Kennedy 198, eighth state (of 8). In excellent condition, trimmed on the platemark by the artist all around except for the tab, printed on laid paper. From the “Set of Twenty-Six Etchings”, the Second Venice Set. From the edition of 30 (an additional 12 were planned for certain titles including The Bead-Stringers. 9 x 6 inches.
A very fine impression, with a subtle plate tone overall, selectively wiped so that the bottom of the plate is slightly darker.
The Bead-Stringers is one of [...]

James McNeill Whistler (1834-1903), The Velvet Dress, drypoint, 1873, printed in black ink on japan paper, signed with the butterfly on the tab [also signed with the butterfly in the plate].  Kennedy 105, fourth state (of 5). Trimmed on the plate mark by the artist, 9 1/8 x 6 1/8 inches.
A fine delicately printed impression of this rare print, known in only about two dozen impressions, only two of which are signed in pencil.This is one of the first prints in which Whistler used the butterfly monogram.
Whistler made three drypoints of Mrs. Francis Leyland; The Velvet Dress is the most [...]

James McNeill Whistler (1834-1903), The Lime-Burner, 1859, etching and drypoint, printed in black ink on very thin Japan paper with margins
Kennedy 46, second (final) state; Lochnan 49.
A very fine, cleanly wiped but rich impression.
The print was exhibited at the Royal Academy in London in 1860 under the title W. Jones, lime-burner, Thames Street. Forming the visual center of an early example of Whistler’s frame-within-a-frame compositions, the figure of Mr. Jones, although small, is nevertheless treated very much like a portrait and the name explicitly given by Whistler in the title for the Royal Academy would confirm this. The lime-burner looks [...]

James McNeill Whistler (1834-1903), The Lime-Burner, 1859, etching and dryoint, printed in brown on laid paper, with wide margins
Kennedy 46, first state (of two); Lochnan 49. Watermark: Hudelist
provenance
Edgar Degas, Paris (Lugt 657)
P. & D. Colnaghi & Co., London (their stock no. in pencil in lower margin C.13502)
A fine impression of the rare first state.  This impresssion was exhibited widely in the traveling exhibit of etchings and other works from the Degas collection.
The print was exhibited at the Royal Academy in London in 1860 under the title W. Jones, lime-burner, Thames Street. Forming the visual center of an early example of [...]

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: Kennedy 52, second state (of four); Lochnan 55
Provenance
Knoedler & Co., New York (their stock no. in pencil on the verso MK31679)
An impression of the very rare second state.
Whistler titled the plate The Fiddler when he published it as part of the Thames Set in 1871. It is one of the two non-Thames
subjects included in the set (the other is The Forge, Kennedy 68). The print shows the French sculptor and musician [...]

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:  Kennedy 31, second state (of three); Lochnan 35. On laid paper, watermark:
Hunting Horn in Shield
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 Laurence of the Archdiocese of Boston
George S. van Houten, Waalre, Netherlands

The young boy leaning against a tree, possibly in Greenwich Park near London, with [...]

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 [...]

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 as characteristic [...]

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); Lochnan 24
Provenance
Kennedy Galleries, New York (twice; their stock nos. in pencil on verso a37139 and a61426)
A very fine impression of the extremely rare second state of five, printing with rich tone; before the intricate lines above the pots
on the shelf and the vertical lines on the beam just below the arch.
The composition is based on a pencil drawing Whistler made [...]

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. Reference: 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, Kennedy Galleries (with their stock number a33940 verso)
A fine atmospheric impression of this exceedingly rare work, [...]

James Whistler (1834-1903), The Bridge, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab.  Kennedy 204, eighth (final) state; 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, printed with subtle tone.
The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a [...]

James Whistler (1834-1903), Price’s Candle Works, drypoint on laid Japan paper, circa 1875. Trimmed on the platemark by the artist.  With an early butterfly signature and inscribed imp in pencil on the tab. Kennedy 154, an intermediate state between states III and IIIa, before drypoint addition to the topsail but with additions to main sail; Lochnan 155. h: 8.9 x w: 8.9 in / h: 22.6 x w: 22.6 cm
Provenance:
Kennedy Galleries, New York (their stock no. in pencil on verso a65820)
Tracy Dows, New York (Lugt 2427)
Charles C. Cunningham, Jr., Boston (not in Lugt)
The Fine Art [...]

James McNeill Whistler (1834-1903), The Palaces, 1879-80, etching on laid paper; trimmed on the platemark by the artist, signed with the butterfly and inscribed imp on the tab. Reference:  Kennedy 187, third (final) state; Lochnan 184.
Provenance: P. & D. Colnaghi & Co., London (their stock no. in pencil verso C.13455)
Kennedy Galleries, New York (their stock no., partially erased, in pencil verso a 66798)
Thérèse Lowndes Noble, New York (Lugt 1953 but not stamped; according to a note on the mat of the previous owner)
private collection, USA (acquired 1979–80)
A fine impression.
The print shows on the verso three tiny [...]

James Whistler (1830-1903), Battersea Dawn,  drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”, first state of four, 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) inches, archival mounting.
Provenance: Ex coll. [...]

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 the lifetime or [...]

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), published in Venice, a Series of Twelve Etchings (also known as The First Venice Set). In very 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 Blair Harrison
A fine delicately balanced impression, with a subtle plate tone, wiped carefully to accentuate the water toward the bottom foreground of the plate. Printed on a [...]

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab. Reference: Kennedy 216, third state (of 3); Lochnan 231.
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, was in the collection of John H. Wrenn.
On a commission from the Fine Arts Society, Whistler created the plates of his Venice [...]

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso.  Reference: Kennedy 413, first state (of 5). On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches.
A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone.
Provenance:  Louis B. Dailey Collection;  Howard Mansfield [...]

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] Reference: 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).
On the verso in graphite the following words are written: London Office [...]

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 [...]

James McNeill Whistler (1834-1903), The Large Pool, etching, 1879, signed in pencil lower margin with the butterfly, dated and annotated “imp”, also titled and dedicated to James Waddell. Reference: Kennedy 174, fifth state (of 7). 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: Kennedy Gallery (with their stock number a25414 verso)
Unidentified collector with initials LM, stamp verso (not found in Lugt)
A fine impression of this extremely [...]

James McNeill Whistler (1834-1903), The Pool, etching, 1859, printed in black on laid paper; with wide margins. Reference:  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 the port below London Bridge where ocean-going vessels docked and [...]

James Whistler (1834-1903), The 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; 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.
Provenance P. & D. Colnaghi & Co., London (their stock no. in pencil verso C.28658)
A fine impression, printed with subtle plate tone; with two tiny circles in pencil on the verso.
The tiny circles in pencil verso [...]

James Whistler (1834-1903), Billingsgate. Kennedy 47. Signed on the tab with Whistler’s butterfly. Seventh state of eight. 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 by Whistler. Sheet 6 x 9 inches (152 x 229 mm).
An extraordinarily fine impression of this unusual state, before the diagonal lines [...]

James Whistler (1834-1903), Little Arthur, etching, 1857-8, 2 impressions. Reference: Kennedy 9, 3rd state and 5th state (of 5). 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 over MSX).
State 5: with stock numbers [...]

James Abbot McNeill Whistler (1834-1903), The Unsafe Tenement, etching, 1858. [signed in the plate lower right]. Reference: Kennedy 17. 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 [...]

James Abbott McNeill Whistler (1834-1903), Alderney Street, etching, c. 1880-1, signed in pencil with the butterfly on the tab and inscribed “imp” [also with the butterfly in the plate], Kennedy 238, first state (of 2), on laid paper, in very good condition, trimmed on the plate mark by the artist except for the tab, 7 x 4 1/4 inches.
Provenance: P & D Colnaghi, with their stock number verso (C5462). We believe this is the impression sold in the Colnaghi Whistler sale (at 14, Old Bond Street, London) November-December, 1971.
Also with the initials AR verso [...]

James McNeill Whistler (1834-1903), Little Doorway, Lyme Regis; lithograph, 1895. Reference: Spink, Stratis and Tedeschi 119, only state, in good condition with margins (expert japan backing at thin spots verso corners), on a smooth cream wove proofing paper, image 11 x 7 1/4, the sheet 12 5/8 x 10 inches, archival matting.
Provenance: ex Collection Louis B. Dailey, with his stamp verso and also on the mat; and Kennedy Galleries, with a copy of their address and label attached to the mat (with their early address, 693 5th Avenue, New York). The Kennedy label notes: [...]

Pierrot,  1889, etching, printed in brown on fine laid paper; trimmed to the platemark by the artist, signed with the butterfly and inscribed
imp on the tab; Kennedy 407, fourth state (of five); Lochnan 408, 9 x 6 1/4 inches.
Provenance:
Royal Library, Windsor Castle
P. & D. Colnaghi & Co., London (their stock no. verso C.21356)
A very fine, evenly balanced impression, printing with subtle plate tone.
The Colnaghi label on the back of the old mat is annotated in pen and ink as follows: “From the Royal Library, Windsor Castle. Proof given by the artist to Queen Victoria + specially marked on the back [...]

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: Frederick Goulding [...]