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Featured Original Art
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James McNeill Whistler Prints |
10.51 The Doorway, by J. A. Whistler, Plate #57
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From the 'Venice Set' (K. #188)
a good and dark direct impression [re-strike] from the engraving
plate and first published by the Fine Art Society of London in
1880. The etching (c1924) is in the Sixth State and the proof
plate was from the estate of James Wordie. The image of a women in
the doorway whose reflection and the ornate facade seem to
mesmerize her attention is captured by Whistler's needle. The
print measures approximately (7.2" x 5.4") from the impression
line.
***SOLD*** |
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| 10.52 Old Putney Bridge, J. A. Whistler, Plate #52 Following the 'Thames Set' came the 'Venice
Set' of etchings. In this print you see the use of small lines to bring about
the image of the bridge, i.e. the wooden piers, reflection in the water is very
much in keeping with his Venice etchings. The off-set print (c1924) offered
framed in an ornate gold frame with non-ascitic matte board. The rendering
measures approximately (7.2" x 5.1").
***SOLD***
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10.53 San Biago, by J. A. Whistler,
Plate #62
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A direct impression [re-strike],
c1923 from a proof plate (K. #197) of the 'Twenty-Six Etchings';
originally published by Dowdeswells in 1886. The print measures
approximately (7.2" x 5.2") with the 'butterfly' signature mark of
Whistler in the engraving (left side center).
***SOLD***
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10.55 The Piazzetta, by J. A. Whistler, Plate #58
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Like all sojourners in Venice,
Whistler spent many an afternoon sitting at a little table outside
the Cafe Florian or at cafes in the Piazza di San Marco. In this
direct impression [re-strike] c1923, he captures the days events in
this Third State effort (K. #189). First published by the Fine Art
Society of London in 1880, the etching is from a proof plate at the
time in the possession of the P. and D. Colnaghi & Co. The print
measures from the impression line approximately (7.7" x 4.3"). The
'butterfly' signature element is in the engraving (located at the
base of the foreground monument). ***SOLD***
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10.56 The Bridge, by J.
A. Whistler, Plate #68
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The
'Venice Set' reflects Whistler's command of etching, utilizing
shading in his work. Perhaps the finest plate in its
simplicity and directness is this engraving. The print is
from the 'twenty-six etchings' and was first published by
Dowdeswell in 1886. This re-strike from the printing plate of
the publication The Etchings of James McNeill Whistler
is in the second state and measures approximately (7.2" x
5.1") $350.
($12. shipping
/ handling / ins. - foreign postage addnl.) |
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10.57 The Rialto, by J. A. Whistler, Plate #75
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While in Venice Whistler wrote
'an impossible place to sit down and sketch. There was always
something far better just around the corner'. The Rialto and the
Grand Cancel were not his favorite subjects, however; his ability
at dry point comes through in this detailed direct impression
[re-strike] print from the proof plate. One of the 'Twenty-Six
Etchings', Second State; the print measures from the impression
line approximately (5.0" x 7.2").
***SOLD*** |
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10.60 The Fruit Stall, by James McNeill
Whistler
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This etching is
from the 'Twenty-Six Etchings'. The print is a direct image
taken from the lithographic plate of 1924 and represents the
seventh state. Note Whistler's signature element, the
'butterfly' (left side near the image of a woman and
child). After Whistler's death in 1910 a group of his
friends reproduced his etchings and sold them in order to
reduce the debt of his estate.. This plate, #65 (Kennedy
#200) measures approximately (5.1" x 7.2"). The print is in
very good condition, except for normal age toning.
***SOLD*** |
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| 10.62 The Model Resting, J. A. Whistler, Plate #44 From an original steel engraving proof (fourth state) in the
Kupferstich-Kabinett, Dresden. This etching bares Whistler’s trade-mark, the
butterfly. The first time the butterfly is noted is in the Kennedy Plate #91, Amsterdam;
but it appears here in the fourth state sometime after 1863. The etching is simple but
elegant and has all the trappings you would expect in a Whistler engraving. From the
impression marks (4.50" x 7.34"). ***SOLD***
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10.63 The Fish Shop,
by J. A. Whistler, Plate #79
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Very
detailed strong impression [photogravure re-strike] from the
'Venice Set'; belongs neither to the 'set of twelve' nor the
'set of twenty-six'. It is one of the most highly complete of
the Whistler etchings. Signed with his butterfly signature
within the print (c1923). The print is not identified by
Kennedy in his catalog but mostly
likely was completed in or around 1880, depicting a Venice
slum. The print measures approximately (7.5" x 4.7")
from the impression marks. ***SOLD*** |
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10.68 The
Barrow, J. A. Whistler, Plate #92
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In
the autumn of 1887 Whistler traveled to Belgium with his brother and
sister-in-law, and produced a number of etchings, including this one (Kennedy
Set, Plate# 357). This direct impression [re-strike] bears his mark the
"butterfly" within the etching. Located to the right margin center. A
crucifix is seen above the doorway, an unusual addition for a Whistler etching.
From the impression marks measures approximately (7.0" x 5.25").
***SOLD***
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| 10.70 The Riva, J. A. Whistler, Plate #70 This litho (c.1924) offering is one from the "Twenty-six Etchings"
published by Dowdeswells in 1886. The original is in the British Museum. A wonderful
example of simple detail showing Whistler’s talent for detail in etching and love of
ships and the sea illustrating the shoreline and docks. Offered framed in an ornate gold
wood frame with complementing light gray matte board. (6.75" x 5.0", overall
framed: 10.5" x 12.0"), ***SOLD***
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See our Prints - Books - Photos Section for
publications about Whistler.
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