Current Inventory by James Whistler

Nocturne 1879-80

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  James Abbott McNeill Whistler 1834 Lowell, Massachusetts – London 1903 Nocturne 1879–80 etching and drypoint, printed in dark-brown ink on laid paper; 199 x 290 mm (7 13/16 x 11 7/16 inches) signed with the butterfly and inscribed imp in pencil on the tab; signed again on the verso with the butterfly and inscribed selected proof and Ex –; another early pencil annotation verso: Marked by Whistler “selected proof ” and signed by him. His “Ex.” means extra fine. Kennedy 184 fifth (final) state; Glasgow 222 ninth (final) state provenance Frederick Keppel & Co., New York (his code in […]

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J.H. Woods’ Fruit Shop, Chelsea

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  James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4).  Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in dark brown ink on laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published, and Glasgow accounts for only four known impressions.   watermark: partial arms of Amsterdam(cf. […]

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The Embroidered Curtain

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  James Whistler (1834-1903), The Embroidered Curtain 1889, etching and drypoint, printed in brown on laid paper; 240 x 159 mm (9 1/2 x 6 1/4 inches), trimmed on the platemark all round; signed in pencil with the butterfly and inscribed imp on the tab [also signed with the butterfly upper left], Kennedy 410 first state (of seven); Glasgow 451 first state (of ten) watermark: Pro Patria provenance Robert Rice, his mark (not in Lugt) on verso of backing sheet David Tunick, Inc., New York (his code in pencil on verso of backing sheet DT …) Gordon Cooke Ltd., London Samuel Josefowitz, Pully, Switzerland (acquired […]

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Bridge, Amsterdam – Final State

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James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 (the catalogue entry mentions a note on the mat which identifies this […]

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Bridge, Amsterdam – First State

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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, London H. Wunderlich & Co., New York (stock no. a 33940) […]

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The Duet

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    James Whistler (1834-1903), The Duet, lithograph, 1894, signed in pencil with the butterfly lower left margin (also signed in the plate upper left). Reference: Spink 104, Way 64, Levy 95, only state; 39 lifetime impressions printed. In very good condition (slight rippling right), printed on cream laid paper, with full margins, 246 x 165 mm, 9 1/2 x 6 1/2 inches, the sheet 280 x 196 mm, 11 x 7 7/8 inches. Provenance: Rosalind Birnie Philip (her stamp verso, Lugt 406). Birnie Philip, Whistler’s sister-in-law and executrix, used two stamps on the lithographs in her collection. Lugt 406, […]

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The Velvet Dress (Mrs. Leyland)

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James McNeill Whistler (1834-1903), The Velvet Dress (Mrs. Leyland), etching and drypoint, 1873, signed with the butterfly and inscribed “imp” [also with the butterfly in the plate left]. References: Kennedy 105, Glasgow 120; Kennedy’s fourth state (of 5), Glasgow 5-6 state (of 7). In very good condition, with wide margins, 9 1/8 x 6 1/4, the sheet 11 1/2 x 8 inches. Provenance: B. Bernard MacGeorge (with his stamp, Lugt 394) H.H. Benedict (with his stamp, Lugt 1298) C.W. Dowdeswell (with their stamp, Lugt 690) M. Knoedler, New York (with their stock number MK 17115) Kennedy Galleries, New York (with […]

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Fish Shop, Chelsea

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James McNeill Whistler (1834-1903), Fish Shop, Chelsea, etching and drypoint, 1886, signed with the butterfly on the tab and inscribed imp [also signed with the butterfly in the plate upper left]. References: Kennedy 264, Glasgow 267, first state (of 2). In very good condition (slight staining upper right, trimmed by the artist on the plate mark all around except for the tab. Printed on an ivory laid paper with plate tone, 5 3/8 x 8 1/2 inches. A limited edition of 50 impressions of Fish Shop, Chelsea was printed in 1886 for the benefit of the Society of British Artists; these […]

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Gants de Suede

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James McNeill Whistler (1834-1903), Gants de Suede, lithograph, 1890, signed in pencil with the butterfly lower left [also with the artist’s butterfly signature in the plate].  Reference: Spink, Stratis and Tedeschi 35. In good condition, with slight evidence of pale mat staining, pinhole toward bottom edge.   8 1/2 x 4 1/8, the sheet 12 1/2 x 8 3/16 inches. Provenance: Kennedy Galleries, with their stock number (a23958) recto. Estate of Marie D. Powers (acquired from above, 1974) A fine lifetime impression. Printed on a cream laid paper with the watermark IV, Spink et al’s Watermark number 191 (IV countermark to […]

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The Lime-Burner

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James McNeill Whistler (1834-1903), The Lime-Burner, 1859, etching and drypoint, printed in black ink on very thin cream Japan laid tissue with margins, in good condition (remains of prior hinging verso), Kennedy 46, second (final) state; Glasgow 55, second state (of 2), Lochnan 49. With wide margins, 10 x 7, the sheet 14 1/2 x 9 7/8 inches. Provenance: Edward Clark Crossett (stamp lower left recto, not in Lugt); by descent to Carolyn Crossett Rowland Charitable Foundation Trust. A very fine, rich, yet delicately printed impression. The print was exhibited at the Royal Academy in London in 1860 under the […]

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Black Lion Wharf

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James McNeill Whistler (1834-1903), Black Lion Wharf, etching, 1859 [signed and dated in the plate lower right]. Reference: Kennedy 42, second state (of 3), Glasgow 54, second state (of 4).  Published in the fourth state as one of the 16 etchings of the Thames Set. In good condition (printed on an extremely delicate tissue thin hand-made cream laid proofing paper, with losses at the margin edges, and thin areas created in the production of the paper). Printed in black ink, 6 x 9, the sheet approximately 10 1/2 x 15 3/8 inches. Provenance: Alphonse Hirsch (Lugt 133, with his stamp […]

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Becquet – Pre-publication proof

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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. This proof precedes those published in the Thames Set (the first printing […]

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The Traghetto

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  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 […]

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The Garden

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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 […]

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Drury Lane

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  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 […]

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The Storm: 2 impressions

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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), […]

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The “Adam and Eve” Old Chelsea

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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 […]

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Rotherhithe – First State

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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 […]

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Limehouse

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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. […]

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Seymour Standing Under a Tree

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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 […]

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Gants de Suede

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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 […]

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Gabled Roofs

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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 […]

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La Marchande de Moutarde – First State

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  James Whistler (1834-1903), La Marchande de moutarde – The Mustard Merchant 1858,  etching and drypoint on cream laid paper (with a partial script watermark).  Reference: Kennedy 22, first 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) first state (of 5). Lochnan 24. In very good condition, with wide margins: 6 ¼ x 3 1/2; the sheet 9 1/8 x 7 ¼ inches. A very fine impression of the extremely rare first state of five, printing with rich tone; before the […]

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The Bridge, Santa Marta

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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, […]

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Battersea Morn (also Battersea Dawn)

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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) […]

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Vitré: the Canal

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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 […]

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Lagoon: Noon

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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, […]

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The Mill

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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). Glasgow 457, second state (of 6; see discussion below) (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, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x […]

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The Pool

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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 […]

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The Venetian Mast

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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 & […]

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Billingsgate

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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 […]

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The Unsafe Tenement

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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 […]

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