| e at the Grolier Club, . East
iat Rat me he |
CATALOGUE
OF
~ ETCHINGS AND | DRY-POINTS
BY JAMES McNEILL WHISTLER
Sn a tiie tet ogi nen Lit aS Le ene ee ee ee oe oe ae Sen eee mess
SMITHSONIAN {NSTITUTION
age
Exhibited at the Grolier Club, 29 East Thirty-second Street, from April 15th until May 7th, nineteen hundred and four
CATALOGUE
arg. 8) 3
ETCHINGS AND
DRY-POINTS
BY JAMES McNEILL WHISTLER
Copyright, 1904, by THE GROLIER CLUB OF THE CITY oF NEw YORK
THE DE VINNE PRESS
JAMES McNEILL WHISTLER
AMES McNEILL WHISTLER was born on July 11,1834,and the record of St. Anne’s Church in Lowell, Mass., shows that he was
baptized there on November oth of that year. He died in London on Friday, July 17, 1903, having been in ill health for a considerable pe- riod. He was thus on the verge of rounding out the Psalmist’s threescore years and ten when the end came; his was a long life, and, on the whole, it was a happy one, though he may have sought to give the world the opposite impression. As with Corot, Millet, and many others, imme- diate popularity did not fall to his lot, but even as a young man he had the appreciation of the few,—the appreciation which he always pre- ferred,—and long before his death he had won world-wide repute. Connoisseurs here and in Great Britain bought his works ; artistic organi- zations formally honored him ; among the mem- bers of his profession everywhere he was held in high regard, and to the people at large, his be- came one of the famous names of the time. The French government bought his great portrait
3
INTRODUCTION
of his mother, now in the Luxembourg; the _ Corporation of the City of Glasgow acquired his next most celebrated portrait, that of Car- lyle; and examples of his art hang in the public museums of Boston, Chicago, and Pittsburg. During the past winter a memorial exhibition of productions by him was held by the Royal Scottish Academy in Edinburgh, and a similar enterprise was carried through on a much larger scale by the Copley Society in Boston.
Two informal Whistler exhibitions have been held in the Grolier Club, but the present one has been made as complete as possible, all or nearly all of his etchings and dry-points being shown, as well as many “‘states” not heretofore described or discovered. There are also several subjects which have not been publicly ex- hibited before, so that it may be claimed that no such complete exhibition of this side of his genius has ever been given either in America or abroad.
Whistler began life with dreams of service in the army —his father and grandfather were both military men—dreams which throughout his career he looked back upon with unfading inter- est; but his sojourn at West Point was com- paratively brief. Numerous anecdotes are told of his wit and serene faith in himself in those days ; but to a cadet constituted as was Whistler,
4
INTRODUCTION
the discipline must have been extremely irksome, and at the end of nearly three years he was recommended for discharge, being totally defi- cient in mathematics, though always first in drawing.
It is significant that there should be associated with his (brief) career in the government service at Washington a certain Coast Survey plate on which he etched a number of loosely drawn heads, showing, even at that early age and with all his inherited respect for the traditions of the place, a characteristic disregard of or indifference to offi- cial decorum. In short, the spirit of the etcher had to come out, the happy moment for seizing a congenial subject could not be permitted to pass, no matter what suffered, or, from the official point of view, was disfigured. But when as a young man he definitively embraced the career of an artist and began his studies in the atelier of Gleyre, it was not with the etching needle alone that he proposed to make his way. On the contrary, he seems to have had quite as much enthusiasm for the brush, and, in fact, he remained ever after a practitioner of both arts.
The story of his life in Paris and in London is too long to be recited in this place. It is sufficient to note that as an etcher and as a painter he followed ideals of his own, and that while his prints found a certain acceptance, his IA 5
INTRODUCTION
paintings were slower in obtaining recognition. Still, if he was not to know commercial suc- cess until his later years, his rank as a brilliant artist was freely acclaimed while he was still in his prime; and always, whether praised or con- temned, he pursued his chosen path with ardor, painting figure pieces and nocturnes, making water-colors, pastels, and lithographs, and etching plate after plate. By the time he died he had put a remarkable mass of work to his credit.
Whistler was instinctively an etcher. Like Rembrandt, with whom he is unquestionably to be ranked in this field of art, he handled the needle as though it were a perfectly natural means of expression — as natural as the pen is to the average man. He was in histeens when he adorned with his irrelevant observations of human nature the plate mentioned on page 5. We know that he was in financial straits on his way back to Paris from his trip down the Rhine, remittances having failed him; but under these and other discouraging circumstances he made those wonderful, elaborate plates of eastern France (erroneously called the Brittany set) which delight all lovers of the art of etching. Less than three years before his death he went to Corsica for rest and recuperation, and although strictly enjoined not to work, he made several
6
INTRODUCTION
small etchings and drawings. He was, in fact, an etcher all his life long.
The catalogue which Mr. Frederick Wed- more compiled runs in the second edition (that of 1899) to 268 numbers. A Supplemen- tary Catalogue, by “An Amateur,” published in New York in 1902, swelled the record so as to account for 372 plates. Four hundred etchings by Whistler are now known, most of which are entered in the following pages. It is not the intention of their compiler to frame the complete and final catalogue, as that would involve almost endless research, both here and in Europe. He simply enumer- ates the prints to be exhibited, which unfortu- nately, owing to lack of wall space, must be shown in two, or possibly three sections.
It will be observed that certain of the etch- ings fall naturally into groups. The French set of.the late fifties stands obviously not only for a definite period in Whistler’s life, but for a clearly marked phase of his art, and as much may be said of the Thames set which followed not long after; but it should be pointed out that in the case of a man like Whistler, who was always working, it is injudicious to pigeonhole this or that group of his etchings as though it had an existence by itself, with no relation to anything coming before or after. There are points of
7
INTRODUCTION
contact between the French set and the Thames set, and they lead naturally enough up to the plates of the early seventies, in which Whistler’s style suffered notable modification. The Venice set is not an isolated phenomenon ; it illustrates another stage in his evolution, which should be followed with the same sense of continuity in the study of his French, Belgian, and Dutch plates, and his Naval Jubilee sketches. The steps in his development should also be traced with reference to the different states of individual plates and with some consideration of the quali- ties of different impressions. No one was ever more fastidious than Whistler in seeing a print through the press, and one purpose of this ex- hibition is to show by numerous examples the importance of this aspect of his work. From first to last he was faithful to the great tradition of etching as essentially a linear art, and he re- mains one of its most representative masters,
CATALOGUE
For prints loaned for this exhibition by others than members of the Club, the Committee of Arrangements begs to thank Miss M. Barnes, Mrs. F. A. Bartow, Mrs. F. G. Macomber, Mrs. Bayard Thayer, Mrs. L. M. Touzalin, The New York Public Library, Messrs. W. H. Bustin, Jr., T. J. Coolidge, Jr., J. S. Dutcher, J. P. Elton, Bryan Lathrop, F. G. Lloyd, G. C. Riggs, H. L. Quick, A. W. Scholle, J. Alden Weir, and J. H. Whittemore.
CATALOGUE
“WW.” refers to the numbers in Wedmore's Catalogue, “ Sup.” to the Supplement thereto, and p. to the page.
LH, stands for height.
W. for width.
The sizes given are in inches.
1 Early Portrait of Whistler. W. 1. From the Burty Collection. In Whistler’s writing, “‘ Early portrait of self.”
2 Annie Haden. W. z. In Whistler’s writing: “Very early; most probably unique.”
3 The Dutchman Holding the Glass.
4 Au Sixiéme.
A man at the right, with a pipe in his mouth, is sitting before a picture which rests on an easel. At the left is a stove on which a woman is cooking; on the wall at back are sketches, a palette, a hat, and a shelf with pottery. Below, in right corner, ‘‘ Whistler inv.”
¥Fi..437.3 We 3.
If
ETCHINGS AND DRY-POINTS
5 Liverdun. W. 4. A. Before the names of artist and printer at bottom, Signed on the right, at top. 8B. With the names.
6 La Rétameuse. W. 5. A. Before the name of the artist, and name and address of the printer. B. With the names and address.
7 En plein Soleil. W. 6. A, Before the printer’s name. B. Finished state.
8 The Unsafe Tenement. W. 7. A, With thesky. A woman is sweepinginthe foreground. Before the printer’s name. B. The sky filled with horizontal lines. There is a pitchfork in place of the woman. C. The sky removed.
g The Dog on the Kennel. W. 8.
1o La Mére Gérard. W. 9. A. Without background, shadow or inscrip- tion. B. Finished state.
11 La Mére Gérard, Stooping. W. tro.
12
JAMES MCNEILL WHISTLER
12 Street at Saverne. W. 11.
A. With artist’s name, but before the prin- ter’s. Very open work in sky.
B. Sky and street reworked, and now cov- ered with close line-work. New lines at extreme lower right of plate, and on the gate.
C. Closer work on gate in the distance. Slight shading at the top of the lamp.
13 Gretchen at Heidelberg. W. 12.
14 Little Arthur. W. 13. A. Proof before the printer’s name. B. With full inscription. C. “Whistler” now written near the right arm.
15 La Vieille aux Loques. W. 14. A. Less work on the door-step. Before the name of Delatre. B. With Delatre’s name; added work on the door-step. C. The same, on yellow paper.
16 Annie. W. 15. A. Trial proof, clean-wiped, with legs and feet drawn and shaded. No lettering
13
ETCHINGS AND DRY-POINTS
except “J. W.” The face and arrange- ment of the hair are quite different from the later states.
B. First state.
C. Second state.
17 La Marchande de Moutarde. W. 16.
A. Before Deldtre’s name, and before the close work under the arch of the door- way.
B. With Delatre’s address. The space above the pots, etc., on the top shelf covered with intricate lines.
C. The address removed.
18 The Rag Gatherers. W. 17. A. Early proof, before the pot at lower left corner was shaded. B. Added work all over the plate. C. More intricate work in lower right corner. D, Two figures introduced.
19 Fumette. W. 18. A. Before the shading in the background. B. More work on the dress and hair. Signed, “ Whistler.” C. With the background and Del&tre’s ad- dress.
14
JAMES MCNEILL WHISTLER
20 The Kitchen. W. 1g. A. Before Delatre’s address. B. With Delatre’s address and “ Whistler.” C. The same, in black ink. D. Plate retouched. Wedmore’s second state.
21 The Title to the French Set. W. 20. 22 Auguste Delatre. W. 21.
23 A Little Boy. W. 22. A. Early proof. &. Perpendicular lines added in the back- ground at the left, and horizontal lines at the right.
24 Seymour Standing undera Tree. W. 23. A. Before “Seymour.” ZB, With “Seymour.” C. The legs are together and not apart. Touched with pencil.
25 Seymour, Standing. Sup. 362.
26 Annie, Seated. W. 24. A, First state. B&B. Second state.
t5
ETCHINGS AND DRY-POINTS
27 Reading by Lamplight. W.25; Sup. p. 35. A. First state. B&B. Second state.
28 The Music Room. W. 26. A. First state. B. Second state.
29 Soupe atrois Sous. W. 27. Early proof, before the plate was cleaned.
30 Bibi Valentin. W. 28. A, Before the hand was drawn in. B. Finished state. C. Counterproof.
31 Reading in Bed. W. 29. A. First state. #&. Second state.
32 Bibi Lalouette. W. 30.
A. There is a head at lower left of plate, and one at lower right. There are no horizontal lines at left and right of Bibi.
B. The heads nearly burnished out. Added lines from the cap to the right, also the horizontal lines lacking in A. More work on the head.
16
JAMES MCNEILL WHISTLER
33 The Wine Glass. W. 31. A. First state. B. Second state.
34 Greenwich Pensioner. W. 32.
35 Greenwich Park. W. 33. A. First state. B. Second state.
36 Nursemaid and Child. W. 34. A. First state. B. Second state.
37 Thames Warehouses, from Thames ‘Tunnel Pier. W. 35;
38 Westminster Bridge. W. 36. A, First state. B&B. Second state; with additional lines in sky.
39 Limehouse. W. 37. A. There are few lines in the sky. B. Finished state.
40 A Wharf. W. 38.
41 Tyzac, Whiteley & Co. W. 39.
2 17
ETCHINGS AND DRY-POINTS
42 Black Lion Wharf. W. 40. A. The barge sail on the right, and door- way beyond it, white instead of black. ZB. Finished state.
43 The Pool. W. 41. A. Before the sky. B. With the sky.
44 Thames Police. W. 42.
A. Early proof in brown ink. The cloud does not touch the roofs of the houses near the tall chimney.
B. The cloud touches the roofs.
C. The entire sky is enriched with dry-point work, particularly to the right of the high chimney.
45 "Longshoremen. W. 43.
46 The Lime-Burner. W. 44. A. Impression in brown-black ink. Z. Another impression in black ink.
47 Billingsgate. W. 45. A. Early proof. Few lines in the sky. B. The sky reinforced by clouds. C. Four of the principal figures partly bur- nished out. D. The face of the man on the left is dark. 18
JAMES MCNEILL WHISTLER
48 Landscape with the Horse. W. 46. A. First state. B. Second state.
49 Arthur Seymour. W. 47. A. Trial proof, in outline, before name and date. B. Finished state.
50 Becquet. W. 48.
A. Early state, the shoulders narrow. Impres- sion printed with a frisket at sides and bottom.
B. The shoulders are made larger, and long sweeping dry-point lines, from the shoul- ders to the knees, suggest a cloak or man- tle. The plate uncleaned at the lower edge. Horizontal lines below the shoul- der at the right.
C. Some heavy dry-point lines added. Clean- wiped.
XD. ULater impression; much ink left on the plate.
51 Astruc, a Literary Man. W. 49.
A. First state.
B. Second state. More lines in the back- ground.
52 Fumette, Standing. W. 50. A. Before the signature. &, With the signature, “ Whistler, 1859.”
4
ETCHINGS AND DRY-POINTS
53 Fumette—bent head. W. 51. At the lower right of the plate is a faint sketch of Whistler in a large hat.
54 Portrait of Whistler. W.52; Sup. p. 36. A. First state. B. Second state.
55 Drouet. W. 53. A. First state. B. Second state. Heavy dry-point lines added on right arm.
56 Finette. W. 54.
A. Trial proof. Head only finished.
B. Early proof. Dress outlined, with shadows lightly indicated. Before the table, scrollwork in the window, etc.
C. The plate carried further. The table fan and scrollwork drawn in.
D. The pattern is now in the carpet. More lines under the window at the left.
#, Another impression in black ink. The dress reworked, principally with diagonal lines from left to right.
57 Paris: Isle de la Cité. W. 55. 20
JAMES MCNEILL WHISTLER
58 Annie Haden. W. 57. A. Only the head and upper left background completed. &. Finished state. C. Another impression. XD, Another impression.
59 Mr. Mann. W. 388. A. Impression on Japan paper. B. Plate reworked in the dark part at the left.
60 The Penny Boat. A Sketch at Lime- house. W. 509.
61 Rotherhithe. W. 60. A. The hull of the beached boat is white, but touched up with light-brown wash. #. Another impression. C. The boat is now shaded.
62 Axenfeld. W. 61. A, Unfinished; no hand and no_back- ground. B. More work on the head; background indicated. C. Finished proof.
63 The Engraver. W. 62. A. First state. 2A 21
ETCHINGS AND DRY-POINTS
B. Second state. The upper drawer of the table is now shaded. Heavy shading at the left, under the elbow.
64 The Forge. W. 63. An early impression.
65 Joe. W. 64.
66 Jo—bent head. Sup. 370. A. Impression clean-wiped. B. Another impression richly printed. A few additional lines below.
67 The Miser. W. 65.
A, Early proof, before “ Whistler.”
B. Several short oblique lines have been added to the picture on the wall at the left.
C. New long vertical lines behind the figure - at the right.
D. Cross-hatching on the dark part of the wall behind the back of the figure.
&. Very fine lines added all over the plate. “Whistler” in lower left corner.
68 Vauxhall Bridge. W. 66. A. Before the date, B. With name and date. 22
JAMES MCNEILL WHISTLER
69 Millbank. W. 67. A, With the inscription. £&. The inscription removed.
yo The Punt. W. 68.
A. Early proof, before heavy lines on cross- braces of the punt, etc.
B. Before the address, ‘“‘ London, Published December rst 1861, by Day & Son, Lith. - to the Queen. J. Whistler.”
_C. With the address.
71 Sketching. W. 69. A. Early proof before dry-point work on trees, etc. B. Before the address. (See W. 68.) C. With the address.
ve ties ad No. 2.
In the foreground, on the bank of a river, a young man wearing a cap with a tassel is seated, sketching; four men in two boats are fishing in the middle distance; two other boats are further away, to the left. On the other side of the river are trees, houses, and a village. At the bottom of the plate, to the right, is “‘ Whistler.”’
H, 456; W. 6%.
73 Westminster Bridgein Progress. W. 7o. 23
ETCHINGS AND DRY-POINTS
74 The Little Wapping. W. 71.
f5oLhne Little Pook,” Ww. 72.
A. The subject in outline. Etched on the plate below: ‘The Works of James Whist- ler, Etchings and Dry Points, are on View at E. Thomas’ Publisher. 39 Old Bond Street.”’
ZB. The figures of Whistler and Thomas at the left are partly shaded. Foul biting at the bottom of the plate.
C. More shading on the figures, a barge with sails drawn in at the right. The white house in right distance, shaded with perpendicular lines.
D. A third man introduced at the left. Ad- ditional work in the sky.
&. The third man, the mast, sails and figures on the barge at the right and the pub- lisher’s address have been removed and the plate cleaned.
76 Tiny Pool. W. 73. A, Trial proof. B. Finished state.
77 Ratcliffe Highway. W. 74.
78 Encamping. W. 75. 24
79
85
JAMES MCNEILL WHISTLER
Ross Winans. W. 76. A. Before the cross-lines on the upper part of the right arm and below the right elbow. Two signatures in upper right corner. #&. The upper signature removed. The lines referred to in A, added.
The Storm. “W.-77.
Little Smithfield. W. 78.
Cadogan Pier. W. 79.
Old Hungerford Bridge. W. 8o.
B. The butterfly added at lower right cor-
Chelsea Wharf. W. 81. A. Before the butterfly. ner.
Amsterdam, etched from the Tolhuis.
W. 82. A. First state. B. Second state.
Weary. W. 83.
A. Before the artist’s name. Heavy effect
of bur.
B. With “Whistler ’63” in dry-point.
Heavy bur.
Additional horizontal lines 25
ETCHINGS AND DRY-POINTS
on right, and vertical lines at extreme left.
C. Another impression of same state. Grayer ° effect.
D. The plate retouched.
87 Shipping at Liverpool. W. 84.
88 Chelsea Bridge and Church. W. 85;
Sup. p. 36.
A. Early proof, before the barge with sail at the right.
B. A boat with a sail is now etched in at the right, the sail being nearly white.
C. There is added work, and a flock of birds in the sky.
D. The sail is outlined by heavy dry-point work and the birds are much less distinct.
89 Speke Hall. W. 86.
A. Without the butterfly. A young woman in the foreground is sketched in dry-point, and turned toward the house, which is un- finished at the left.
B. The butterfly on the left. A young woman in profile now replaces the young woman mentioned in 4.
C. The figure of the young woman is re-
moved. 26
JAMES MCNEILL WHISTLER
90 Speke Hall, No. 2. Sup. 269.
A.
Before the figures.
B. With the figures.
gt The Model Resting. W. 87.
A.
Early impression. ‘There are only four distinct horizontal lines of shading in the background to the left of the figure, a little above the hip, and two on the right. Foul biting at the top of the plate.
. The number of horizontal lines are in-
creased by fine dry-point lines close together. There is a heavy black mark on the bridge of the nose, and there are extra perpendicular lines to the right of the head and shoulder, two of which extend to the horizontal lines mentioned.
. Additional vertical lines in the right
background. The butterfly is about half way up the plate, at the left.
At the left there is closer line work, and the hair on that side of the head has been removed. Lines of shading on the face.
92 Whistler's Mother. W. 88.
93 Swan Brewery. W. 89.
94 Fosco. W. go.
27
ETCHINGS AND DRY-POINTS
95 The Velvet Dress. W. g1.
A. First state.
B. Second state.
C. Third state. The platecompletely altered by having been reworked and reinforced by heavy dry-point work. A hat is now on the head.
96 The Little Velvet Dress. W. 92. A. First state. &. Second state. There are additional hor- izontal lines in the left background.
97 F. R. Leyland. W. 93. 98 Fanny Leyland. W. 94.
99 Elinor Leyland. W. 95.
A. Before the butterfly.
&. With the butterfly. Added work.
C. The background at the left strengthened by heavy dry-point lines; the butterfly shaded by delicate upright lines. There are new short horizontal lines from the left forearm to below the butterfly.
D, Diagonal lines run from right elbow around the head to the left shoulder. The face is changed.
28
JAMES MCNEILL WHISTLER
100 Florence Leyland. W. 96; Sup. p. 36. A. First state. B&B. Second state. C. Third state. Plate reworked.
1or F. R. Leyland’s Mother. W. 227. A. First state. &. Second state. There are oblique lines at the left of the head.
102 Young Woman, Standing. Sup. 371. 103 Reading a Book. W. 97. 104 Tatting. W. 08.
105 Maude, Standing. W. 99.
A. Without the fur tippet and before the butterfly.
B. With the tippet and butterfly. The work on the arms and gown reduced, and the skirt lengthened behind. More work in the background.
C. The right arm almost burnished out pre- paratory to altering the line of the waist.
D. Added dry-point work all over the plate. The hand now shows, and the tippet is more complete.
“9
ETCHINGS AND DRY-POINTS
106 Maude, Seated. W. 1oo.
A. First state.
B. Second state. Added horizontal lines run from left edge of the plate to the hand.
C. The face is entirely redrawn, and the background is carried around to the left of it.
107 The Beach. W. trot.
108 Tillie: a Model. W. 102.
“Tillie Gilchrist” in pencil.
A, The butterfly is not shaded.
B. The butterfly is shaded by delicate up- right dry-point lines. There are a few more lines in the background, and the hair is differently arranged.
109 Nude Figure, Standing. Sup. 372.
110 Seated Girl. W. 103.
A, First state, on Japan paper.
B. Second state. The plate reinforced with heavy dry-point lines. Below the elbow there are twelve dry-point lines instead of six.
111 The Desk. W. 104. 30
JAMES MCNEILL WHISTLER
112 Agnes. W. 106.
113 The Boy. W. 1og.
a
B.
Before the butterfly. Before any lines over the head, etc.
The legs and arms have little shading. Perpendicular lines over the head. The butterfly is at the left.
. Additional work on the left leg, between
the legs and in the background below at the right.
. The legs and arms are covered with lines.
New work in the background.
114 A Child on a Couch. W. 112.
A. Bi
Before the butterfly. With the butterfly.
115 Steamboats off the Tower. W. 114.
A,
Before the division of the long boat in the foreground into two boats. There is no moon. “Custom House Wharf,” in pencil, by Whistler.
. The boat in the foreground is now di-
vided into two boats by a single stroke. There are two additional curved lines over the bow of the foremost boat, and the moon appears at the right.
31
ETCHINGS AND DRY-POINTS
C. Added work all over the plate, producing a darker effect. There are five slightly oblique lines added to the left of the bow of the boat in the centre of the fore- ground. The shadows of the shipping are extended, particularly those in the centre.
116 The Little Forge. W. 115. A. Before the butterfly. B. The same. Drawn upon with charcoal. C. The plate enriched with more work. The centre tree seen through the window is now indicated by two lines forming an irregular \/.
117 Two Ships. W. 116.
A. The two ships are not shaded on the decks. The small boat has only four lines to indicate seats.
B. Added work all over the plate. The decks and small boat now shaded.
118 The Piano. W. 117. A. Before the butterfly. B. With the butterfly. Additional lines in the background.
119 The Scotch Widow. W. 118. =a
JAMES MCNEILL WHISTLER
120 A Lady Wearing a Hat with a Feather. Sup. 364.
121 A Girl with Large Eyes. Sup. 365.
122 Sketch of Heads. Sup. 366. Twelve different heads in varied positions, more or less finished.
123 Speke Shore. W. 119. A, First state. B. Second state. New work all over the plate.
124 The Dam Wood. W. 120. A. Before the butterfly. | B. With the butterfly. Young trees deli- cately indicated in the background at the right.
125 Shipbuilders’ Yard. W. 121.
A. First state.
B. Second state. The figure in the centre has been removed, and another, deli- cately expressed, substituted. New lines in the sky immediately above the ship-
ping.
126 The Guitar Player. W. 122. A. First state.
3 33
ETCHINGS AND DRY-POINTS
B. Second state, richly printed. The back- ground at the right now covered with lines.
C. Another impression.
127 London Bridge. W. 123.
A. Before the butterfly. There is no cross- hatching under the bridge; no shading on the boat nor on the men in it.
B. The shape of the market van on the bridge has been slightly altered. There are a number of very short lines over the centre of the arch, some upright and some oblique, and the work mentioned as lacking in the first state has been added.
C. The bow of the small boat at the right is shaded with vertical lines. The shading under the bridge is closer.
128 Price’s Candle Works. W. 124.
A. First state.
B. Second state.
C. Third state. The boat with three men in it in the foreground is removed. The mast and sail of the barge are larger, and the butterfly is added at lower right of plate.
34
JAMES MCNEILL WHISTLER
129 Battersea: Dawn. W. 125. A. First state. B. Second state.
130 The Muff. W. 126. 131 Sketch of Ships. W. 127. 132 The White Tower. W. 128.
133 A Sketch from Billingsgate. W. 130.
A. There is no butterfly, and there are no shadows in the water.
B. The boats at the right are shaded with short diagonal lines; shading in the water; the butterfly at lower right edge of the plate.
C. Additional work all over the plate; a different figure in the bow of the barge; the dock at the right is heavily shaded.
134 Fishing Boats— Hastings. W. 131.
A. Early proof, with a small, faint butterfly, and before the delicate horizontal lines beneath it.
B. A broad butterfly has replaced the small one, and there is delicate dry-point work in the distance underneath it.
35
ETCHINGS AND DRY-POINTS
C. A smaller butterfly in outline is now etched over the larger one, which can barely be seen underneath. The dry- point work and nearly all the lines in the sky have disappeared.
135 Wych Street. W. 132.
136 Free-Trade Wharf. W. 134.
A. The plate incomplete. To the left of the man in the wherry there is a group of boats indistinctly drawn. No butterfly.
£. The plate finished. The butterfly is at the lower left.
C. A series of horizontal dry-point lines are introduced in the sky, including a num- ber of very short ones near the upper left corner.
D. The short lines and the sky behind the shipping are removed.
137 The Thames towards Erith. W. 135. A. First state. B. Second state. The rowboats are now shaded by vertical lines. There is a heavier sky introduced.
138 Lindsay Houses. W. 136. In the foreground water, across which are seen, from right to centre, two sloops and several barges; behind them a row of old- 36
JAMES MCNEILL WHISTLER
fashioned houses; to the left of these a clump of high bushes, tower, flagstaff and drawbridge. The butterfly is half- way up the plate, an inch from the left.
139 From Pickled Herring Stairs. W. 137.
A. Before any shading on the boats in the foreground.
B. Dry-point work added all over the plate. The boats in the foreground are shaded by short oblique lines running from right to left.
C. The side of the boat at the left of the two men in the rowboat is now shaded.
D. More work in the sky. The large build- ing at the extreme right is shaded by delicate, vertical dry-point lines.
140 Lord Wolseley. W. 138. A. Impression in brown ink. &. Impression in black ink. There are ad- ditional vertical lines in the upper left background.
141 St. James’s Street. W. 140.
142 Battersea Bridge. W. 141.
A. The three houses to the left of the sail- boat are unfinished ; the centre of the sail is not cleaned.
B. The plate completed.
34 37
ETCHINGS AND DRY-POINTS
143 Whistler, with the White Lock. W. 142.
144 The Large Pool. W. 143.
A, Early proof before the butterfly. Little shading on the boats or shipping. The house on the extreme left is not ex- pressed.
B. The plate practically finished by addi- tional work all over it. The butterfly, heavily shaded, is at the bottom of the plate, an inch and a quarter from the left.
C. Slight changes in the sky. Fifteen short horizontal lines are now to the right of the post at the left, +4 of an inch from the top. The sail of the boat at the extreme right is completely shaded ; the mast is length- ened and hasa pennant. The side of the house at the right of that with the pointed front is shaded by slightly oblique lines running from left to right, as is the house to the left of it. The near side of the outside boat, on the extreme right, is shaded with oblique lines. There are other minor changes.
145 The “Adam and Eve,” Old Chelsea. W. 144. Impression printed by Whistler, before the 38
JAMES MCNEILL WHISTLER
issue by Hogarth. Butterfly in the sky, almost directly over the tower of the church.
146 Putney Bridge. W. 145. 147 The Little Putney. W. 146.
148 Hurlingham. W. 147.
149 Fulham. W. 148. A, Trial proof. B. Finished plate.
150 Little Venice. W. 149.
151 Nocturne. W. rs0.
A. Light effect, the plate nearly clean- wiped. An impression, darker, in brown ink. Another impression. . Another impression more richly printed. . A dark, even impression, in black-brown
ink.
Boas
152 The Little Mast. W. 151. 153 The Little Lagoon. W. 152.
154 The Palaces. Ww. 153. A, With the butterfly. BL. The butterfly removed.
39
ETCHINGS AND DRY-POINTS
155 The Doorway. W. 154.
A, Trial proof. The girl holds a piece of
drapery, the end of which is in the water.
B. More work all over the plate; the figures
in the distance and the chairs more developed. More shading in the water, partly expressed by vertical lines under the doorway.
C. Finished plate. The drapery has been removed, and the attitudes and features of the two figures in the doorway changed.
. Rich effect of printing in black ink.
. On Japan paper. The water shaded by dry-point lines running in every direc- tion. The girl again holds a long piece of drapery, part of which is in the water.
&&
156 The Piazzetta. W. rcs.
157 The Traghetto. Impression from the first plate never com- pleted. There are no figures at the left.
158 The Traghetto. W. 156. A. Early proof; before dry-point work in the arch; before the plate was cleaned. ZB. Finished state.
159 The Riva. W. 157. 40
JAMES MCNEILL WHISTLER
160 Two Doorways. W. 158.
“43 B;
CG,
sD:
Trial proof, with gondola.
Trial proof, with different figures. Before the varied lines in the water below the doorway.
With the lines. The figures in the door- way are altered and more distinct.
161 The Beggars. W. 159.
A,
Early proof. The taller of the two beg- gars isa young woman. The man in the distance has his face averted and _ his cloak wrapped closely around him.
. Early proof with bracket and large
lantern. The butterfly is in the upper left corner.
C. Bracket removed. The lantern is smaller. D.
The plate isreworked and the butterfly removed.
162 The Mast. W. 160.
A.
D.
Early proof. The man at the right has a short blouse. The figure of the man is redrawn, and has a
. long blouse. There are cross-lines on the
left arm of the woman sewing at the right.
163 Doorway and Vine. W. 161.
A.
The man in the doorway has only one arm and one leg. The figures and win- dow across the canal are not drawn in.
41
Ds
ETCHINGS AND DRY-POINTS
The man has two legs, the figures and window are now drawn in, the interior of the doorway has been made darker, and the figures in the window at top are partly erased.
C. The interior of the doorway made less
dark. The ten panes of the window are now larger. The shadow of the figures across the canal is accented strongly on the wall. The left figure in the window at top is more distinct.
. The shadow of the figures is now faint,
the two figures in the window at top are clearly expressed, and there is more work in the interior of the doorway at top.
164 Wheelwright. W. 162.
165 San Biagio. W. 163.
A.
B;
C.
Slight indication of a woman in the arch at the right.
Cross-hatching now in place of the wo- man, who has been burnished out.
Fine lines now cover the lower part of the wall of the arch at the right.
166 Bead-Stringers. W. 164.
167 Turkeys. W. 165.
42
JAMES MCNEILL WHISTLER
168 Fruit-Stall. W. 166.
A. A series of vertical lines expresses the shadow of the awning. The girl is standing straight in the doorway.
B. The plate is cleaned. The heavy lines under the awning have been removed and delicate fine lines substituted. The girl is now inclining forward and holding up her dress.
169 San Giorgio. W. 167. A. Before the butterfly. &. With the butterfly.
170 Nocturne Palaces. W. 168. A. In black ink. Before the butterfly. B. The same, in brown ink. C. Cross-hatching on the wall, just over the water at the left. PD. Another impression. &. With the butterfly.
171 Long Lagoon. W. 169. A. Before the butterfly. &. With the butterfly.
172 Temple. W. 170.
173 The Bridge. W. 171. A. Before the plate was cleaned ; the butter- fly at lower right corner.
43
ETCHINGS AND DRY-POINTS
B. The sky almost without lines. The but- terfly burnished out.
174 Upright Venice. W. 172. A. Unfinished proof, before the quay, boats, etc., in the foreground. B. Finished state.
175 Little Court. W. 173. 176 Lobster Pots. W. 174. 177 ‘Lhe Riva, No, 2... W.175. 178 Drury Lane. W. 176.
179 The Balcony. W. 177.
A. The figure in the boat is in shadowy out- line; the woman in the doorway is at the right.
B. The two figures on the extreme right of the balcony are unfinished, and the woman in the doorway is at, and facing to, the left. ‘The man in the boat is redrawn.
C. The figures on the balcony are finished, also the man in the boat and the woman in the doorway. Diagonal cross-lines accent the shadow of the doorway in the water.
44
JAMES MCNEILL WHISTLER
180 Fishing-Boat. W. 178. A, Firststate. The faceof the man is white;
less work on the net. B. Second state. The face and chest of the manare covered with fine lines. The lines on the awning over his head are blurred.
181 Ponte Piovan. W. 179. A. Impression richly printed. B. New lines at lower right corner, and on the wall at the left, just above the bridge.
182 The Garden. W. 180.
A, Early proof, lightly printed. Two boys are on the steps, and the woman at the right in the further doorway is not clearly expressed.
B. There is a white space instead of the boy at the right, who has been removed. The bushes at the right, in the garden, are altered, also the figures in the door- way.
C. There is added work all over the plate. A cat is in the place of the boy on the steps, at the right.
183 The Rialto. W. 181. A. The plate uncleaned. Numerous shad- owy figures in the foreground. &. The plate cleaned.
45
ETCHINGS AND DRY-POINTS
184 Long Venice. W. 182.
185 Furnace Nocturne. W. 183.
A,
Early impression, before cross-hatching on each side of the doorway or below it. The man at the furnace is tall and has no covering on his head. The window back of him is strongly expressed.
. A short man with a cap has taken the
place of the tall one; the window behind him is much less positive, and the work is closer all over the plate. Cross-hatching at the top, around the outside window, etc.
. Closer work and cross-hatching all over
the plate, particularly in the water below the corners of the doorway.
. New lines at lower right, in the water
and just above it.
£. Diagonal lines running from left to right
are added to the shadow in the water below the centre of the doorway; also, an inch to the left of the doorway, ten short diagonal lines cross the base of the wall to the water. There is more work around the head in the window, giving it greater prominence.
186 Quiet Canal. W. 184.
46
JAMES MCNEILL WHISTLER
187 Salute: Dawn. W. 185. 188 Lagoon: Noon. W. 186. 189 Murano—Glass Furnace. W. 187.
190 Fish-Shop, Venice. W. 188.
A. The fish-shop at the right and the figures in it are not expressed. There is no cross-hatching above the shop.
B. The shop and the three figures in it are now drawn in. Intricate cross-hatching above it, oblique lines in the archway.
C. Cross-hatching in the archway at the extreme right.
D. Upright lines are added in the water on each side of the passageway in the centre, some of them reaching almost to the edge of the plate.
191 The Dyer. W. 18o. A, Early impression in reddish-brown ink. 4, Later impression in brown-black ink.
192 Little Salute. W. 190. A. Before the butterfly, and before the plate was Cleaned. B. The butterfly is below, in the water, at the right.
193 Wool Carders. W. 1o1. 47
ETCHINGS AND DRY-POINTS
194 Regent’s Quadrant. W. 192.
195 Islands. W. 193. | A. The gondola is distinct. B. Additional lines in the water at the left.
196 Nocturne Shipping. W. 194. A. Early impression, clean-wiped. B. Later impression. Cross-hatching on the hull of the large vessel at the right. Noc- turne effect.
197 Old Women. W. 195. _ 198 Alderney Street. W. 196. 199 The Smithy. W. 197.
200 Stables. W. 198. A. Before cross-hatching in the archway. Clean-wiped. B. With the cross-hatching. Rich effect of printing.
201 Nocturne—Salute. W. 199.
A, Early impression, clean-wiped. The shadow of the Salute is longer than in the later impressions.
B. Another impression, light effect.
C. Another impression, nocturne effect.
D. Another impression, similar effect. Cross- lines on the Salute.
48
JAMES MCNEILL WHISTLER
202 Venice. Sup. 361.
203 Court Yard, Venice. A passageway, with a column on each side, leads into a courtyard; at the further end, a girl in a doorway flooded by bright sun- light. No butterfly. H. 114%; W. 7%.
204 Gondola under a Bridge. An empty gondola lies under a bridge which crosses a canal. On each side of the canal are lofty houses. No butterfly. A 12563) W.7 8;
205 The Steamboat, Venice. A composition similar to Upright Venice (W. 172). A reach of water; in the distance Venice. A paddle steamboat at the left, near which are two sloops. Sailing-vessels in the dis- tance at the right. H. 10%; W. 7%.
206 Venetian Water Carrier. A sketch of a girl carrying pails of water. HS Wc.
207 Shipping —Venice. A reach of water; Venice and shipping in the distance. Unfinished. H. 117%; W. 8%.
4 49
ETCHINGS AND DRY-POINTS
208 Dordrecht. W. 200.
209 A Corner of the Palais Royal. W. 2or. 210 A Sketch at Dieppe. W. 202.
211 A Booth ata Fair. W. 203.
212 Cottage Door. W. 204.
213 The Village Sweet Shop. W. 205.
214 The Seamstress. W. 206. 215 Sketch in St. James’s Park. W. 207. 216 A Fragment of Piccadilly. W. 208.
217 The Towing Path. In the foreground a river; beyond, in the distance from left to right, a man, a clump of trees, three horses, three figures, and the suggestion of a handrail approach toa bridge. The butterfly is below, at the left. H. 1%; W. 3%.
218 Old Clothes Shop. W. 209. 219 Fruit Shop. W. 210. 220 A Sketch on the Embankment. W. 211.
221 The Menpes Children. W. 212. 50
JAMES MCNEILL WHISTLER 222 The Steps. W. 213. 223 The Fish Shop—Busy Chelsea. W. 214. 224 T. A. Nash. W. 215. 225 Furniture Shop. W. 216. 226 Savoy Scaffolding. W. 217.
227 Railway Arch. W. 218. A. First state, with less work under the arch. ZL. Second staté.
228 Rochester Row. W. 219. 229 York Street, Westminster. W. 220.
230 The Fur Cloak. W. 221. A. First state. &, Second state.
23 Nora Quinn. Sup. 367. 232 Woman Seated. W. 222.
233 Mother and Child, or Cameo No.1. W. 224.
234 Cameo No. 2. Sup. 311.
235 Nude Figure Reclining. Sup. 304. a
ETCHINGS AND DRY-POINTS
236 Opposite Lindsay Row, or Steamboat Fleet. W..223; Sup. 363,
237 Sketch of Battersea Bridge. W. 225.
238 Putney, No.3. W. 226; A. Before the butterfly. B. With the butterfly.
239 Wild West. W. 228.
240 The Bucking Horse. Sup. 290.
241 The Wild West — Buffalo Bill.
In the arena of the Wild West Show, a horse and two rough-riders stand in front of the orator’s platform; in the background are several mounted horsemen. ‘The audience, in a covered stand, is at the left, and in the immediate foreground, a lady and little girl. The butterfly is toward the right, one > inch from the bottom of the plate.
fs De a a
242 The Barbers. W. 220. 243 Petticoat Lane. W. 230.
244 Old Clothes Exchange. W. 231. A. First state. B, Additional lines above the sign and over the shed at the right.
52
245 246 247
248
249 250 a3 252 253 Ao 255 256 #57 258 259
260
JAMES MCNEILL WHISTLER St. James’s Place, Houndsditch. W. 232. Fleur de Lys Passage. W. 233. Cutler’s Street, Houndsditch, W. 234.
The Cock and the Pump, Sandwich. W. 235.
Salvation Army, Sandwich. W. 236. Visitors Boat. W. 237.
Troop Ships. W. 238.
Monitors. W. 2309.
Dry Dock, Southampton. W. 240. Bunting, W. 241.
Dipping the Flag. W. 242.
The Fleet, Evening. W. 243. Return to Tilbury. W. 244.
Ryde Pier. W. 245.
Portsmouth Children. Sup. 275.
Tilbury. Sup. 276. 53
ETCHINGS AND DRY-POINTS
261 The Turret Ship. Inthe middle distance, at the left, is a turret ship dressed with bunting; craft of all sorts in the distance. Below, at the right, is the butterfly, one and five-eighth inches from the bottom. H.63 WwW -O+s.
262 Abbey Jubilee. Sup. 288.
263 Windsor (Memorial). W. 247. 264 Windsor. Sup. 277.
265 Chelsea (Memorial). W. 246. 266 Canal—Ostend. W. 248.
267 Quai Ostend. Sup. 318.
268 The Beach, Ostend. A number of ladies and children on the beach looking out to sea. A post at the left with a globe on top, underneath which is the butterfly.
H. 34%; W. 7%. 269 Church, Brussels. W. 249.
270 Courtyard, Brussels. W. 250. 54
=
ath 272 213 274 275 276 277
278
279
280
281
JAMES MCNEILL WHISTLER
Grande Place, Brussels. W. 251. Palace, Brussels. W. 252.
The Barrow, Brussels. W. 253. High Street, Brussels. W. 254. Market Place, Bruges. W. 255. Passages de Opéra. W. 2:6. Carpet-Menders. W. 257.
Sunflowers, Rue des Beaux-Arts. W. 258.
Mairie, Loches. W. 259.
A. Before the heavy lines of cross-hatching in the doorway and in the open window above it.
£. With the cross-hatching.
Steps, Amsterdam. W. 260.
Square House. W. 261. A. Early state. B, Added diagonal lines in lower left corner, also over the head of the woman in the balcony at the right.
55
ETCHINGS AND DRY-POINTS
282 Balcony, Amsterdam. W. 262.
A.
Bs:
C.
Early impression. Very light shadow in the doorway, etc. Suggestion of the butterfly on wall at right.
The shadows in the water, doorway and windows are darkened. The butterfly is in outline.
Further shading on the building; the butterfly now shaded.
283 Little Drawbridge. W. 263.
284 Pierrot. W. 264.
Za
B.
Early proof, before the butterfly, the darkening of the doorway, and the in- tricate cross-lines on the canal.
In the reflection immediately under the doorway there are about ten vertical lines.
. Additional work all over the plate, in-
cluding darkening of the doorway, etc.
. By the addition of strong lines, the shad-
ows in the two spaces between the posts at the right are nearly black.
285 Nocturne: Dance House. W. 26s.
286 Long House—Dyer’s—Amsterdam. W
A.
266. First state. 56
JAMES MCNEILL WHISTLER
B. Second state. Added work all over the plate, particularly in the reflections.
28, Bridge, Amsterdam. W. 267. 288 Church, Amsterdam. Sup. 355.
289 The Embroidered Curtain. Sup. 356.
A. Early proof.
B. Added work, particularly in the reflec- tions in the water.
C. Further variations in the shadows below the street.
D. The work in the water burnished out and new reflections of a different form in- troduced. The wall at the right com- pleted.
&. Cross-hatching again in the water.
290 Jews’ Quarters, Amsterdam. Sup. 357. 291 Little Nocturne, Amsterdam. Sup. 359.
292 The Mill. Sup. 358.
A. No shading on the windmills. But few lines on the left wall.
B. Added work all over the plate. Slightly oblique lines now shade the left wall.
C. Windmills now shaded. A shower in the distance. Cross-lines on the floor in lower right corner.
5 57
ETCHINGS AND DRY-POINTS
293 Zaandam. W. 268. A. First state. B. Second state. Delicate oblique lines in the sky, producing a softer cloud effect.
294 The Little Wheelwright’s.
In the centre, two cottages with pointed roofs front on a canal which occupies the whole of the foreground; a cart-wheel and some tires rest against one of the cottages, and a grindstone stands in front of the other ; at the extreme right a figure is stooping; on the left another cottage with palings is sug- gested. The butterfly is above a window at the left of the plate.
H. 254; W. 3%.
295 Little Dordrecht.
Three figures are on a bridge leading to a wharf onwhich are a horse and cart and several figures. The ends of bracing stan- chions and posts stand above the edge of the wharf. In the middle distance, in the river, are several vessels. The butterfly is at the extreme right of the plate, near the bottom. :
H. 334; W. 5%.
296 Boats, Dordrecht. A number of sail-boats are scattered over a 58
JAMES MCNEILL WHISTLER
sheet of water. At the right is adome, and further off in the distance windmills. The butterfly is at the bottom, one inch from the right of the plate. Hy 2565 W. 3%.
297 Church Doorway, Edgemere. Sup. 270. 298 Double Doorway, Sandwich. Sup. 271. A. First state. B. Second state. 299 Doorway, Sandwich. Sup. 272. A. First state. B. Second state. 300 Butcher’s Shop, Sandwich. Sup. 273. 301 Ramparts, Sandwich. Sup. 274. 302 Melon Shop, Houndsditch. Sup. 281. A. First state. B. Second state. 303 After the Sale, Houndsditch. Sup. 282. 304 Steps, Gray’s Inn. Sup. 283.
305 The Young Tree. Sup. 284. 59
ETCHINGS AND DRY-POINTS
306 The Greedy Baby. A little girl seated on the knee of an elder one. The butterfly is at the right, an inch and a quarter from the bottom. ET, 3K; W. 25%.
307 Gray’s Inn Place. Sup. 285. 308 Seats, Gray’s Inn. Sup. 286. 309 The Little Nurse. Sup. 307.
310 Babies, Gray’s Inn. A child with a doll, standing, facing to the right. Behind her are two children seated and a third faintly etched. Four windows at the top of the plate and a tree in front of them. ‘The butterfly at the right, one third up the plate.
F396 5 We 25%,
311 Children, Gray’s Inn. A number of children (ten) in the fore- ground. Two children and a woman seated on a bench behind a tree. Trees and a sug- gestion of houses in the distance. The but- terfly at the right, one and three-eighth inches from the bottom and side, i a tae a
60
Bia
313
314
315
JAMES MCNEILL WHISTLER Exeter Street. Sup. 287. Bird Cages, Drury Lane. Sup. 289. Rag Shop — Milman’s Row. Sup. 291.
St. Martin’s Lane — Rag Shop. A slight sketch of shop windows, in front of which are two women and several children. The butterfly is on the left.
H. 34; W. 7%.
316 Clothes Exchange No, 2. Sup. 292.
317
318
Charing Cross Railway Bridge. Sup. 293.
Shaving and Shampooing. Sup. 294.
319 Jubilee Place, Chelsea. Sup. 295.
320 Justice Walk, Chelsea. Sup. 296.
321
322
323
Bird Cages, Chelsea. Sup. 297. Merton Villa, Chelsea: Sup. 298.
King’s Road, Chelsea. In the foreground, a child in a perambulator, with a girl pushing it. In the background, a large shop with two lamps projects into the roadway. A number of figures stand 5A 61
ETCHINGS AND DRY-POINTS
near the door of the shop. The butterfly is in the sky, to the right.
H. 44%; W. 2%.
324 The Hansom Cab, or Wimpole Street. A sketch of a horse and cab at the right, a woman with a parasol walking at the left, houses in the background. ‘The butterfly at the extreme left, more than half-way up the plate.
H. 3 ; W. 23%.
325 Little Maunders. Sup. 299.
326 Woods’s Fruit Shop.
A shop front over which is an awning. Baskets of fruit, etc., are displayed on a counter; other baskets stand in the door- way. ‘Two children are on the pavement toward the right. A lady stands in the door- way, and two figures are inside the shop. On the sign over the door, ‘J. H. Woods, Fruit and Potato Salesman.” No butterfly.
H. 334; W. 54. 327 Nut Shop, St. James’s Place. Sup. 301. 328 Old Clothes Shop, No. 3. Sup. 302.
329 Model, Stooping. Sup. 303. 62>
JAMES MCNEILL WHISTLER 330 Nude Figure, Reclining. Sup. 304. 331 Binding the Hair. Sup. 305. 332 The Little Hat. Sup. 306. 333 Baby Pettigrew. Sup. 308. 334 Miss Lenoir. Sup. 309. 335 Swan and Iris. Sup. 310.
336 Resting by the Stove.
A sketch of two nude women, one standing, and the other seated on a box and reading a letter or a book. A stovepipe runs to the top of the plate. The butterfly is at the left,
almost half-way up the plate.
H. gt W.a ee ss
337 Little Nude Figure.
A nude woman standing, the left foot forward of the right. She is facing partly to right, with head averted, the right arm by her side, and the left, on which the hand is not indi- cated, slightly extended. The butterfly is at the left, three quarters of an inch from the
bottom.
H. 3%; W. 1%. 63
ETCHINGS AND DRY-POINTS
338 Model No. 3. Sketch of a woman standing, facing to front, her head inclined to right, and waving a fan in her right hand. A long mantle falls from her shoulders behind. The butterfly is at the ‘left, half-way up the plate.
Hcg tes Wo's:
339 The Bonnet Shop. On each side of an open doorway, in which a woman stands, are windows containing hats, bonnets, etc. Above the window, at the left, is ‘CHEAP BOOTS.” Twochildren stand on the sidewalk at the right. The butterfly is at the left, below the window.
H. 3%; W. 25%.
340 The Mantle.
A young woman wearing a mantle and a broad-brimmed hat with high crown stands in an easy attitude facing toward the left and looking to front; her feet show beneath her dress, which reaches to her ankles. The butterfly, in pencil, is at the extreme right, toward the bottom.
3 Wig.
341 Marbles. Sup. 312. A. First state. Butterfly in outline.
64
JAMES MCNEILL WHISTLER
B. Second state. The butterfly shaded. C. Cross-hatching at the right, near the top and in the doorway.
342 Bébés, Luxembourg. Sup. 313.
343 Terrace, Luxembourg Gardens. Sup. ara. 344 Boulevard Poissonniére. Sup. 315.
345 Rue Rochefoucault. Sup. 316. 346 Quai de Montebello. Sup. 317.
347 Dray Horse, Paris. A horse and dray stand in front of a corner house of which three stories are seen. Two women stand talking at the right of the dray. The butterfly is at the right, half-way up the plate. Hess WAS.
348 Marchand de Vin, Paris.
A corner shop, the front of which occupies almost the width of the plate. On one of the windows, “ Cidre.” Through a double door in the centre many people are seen within. At the right, a large dog is lying on the side- walk ; above him the butterfly; a lamp on the corner of the street at the left.
H. 3%; W. 72.
65
ETCHINGS AND DRY-POINTS
349 Rue de Seine. Two women and a dog are in the doorway of ashop; a group of people and a large dog are on the sidewalk at the left. The butterfly is on a blank space on the wall at the right.
H. 345 W. 4X.
350 Atelier,Bijouterie. A large shop window with the sign “ Atelier a. Bijouterie”; above it, an arched window, over which is a large sign with indistinct let- tering. Four women in a doorway at the right. H.5; W. 8%.
351 Café Luxembourg. A café. Chairs and tables on the sidewalk under an awning on which is “ Billiards, Café Rue, etc.”” Three saddled horses on the street. A rail is in front of the windows on the second story. The butterfly is at the top, an inch and a quarter from the left.
H. 354; W. 5%.
352 The Terrace, Luxembourg Gardens. A balustrade, in front of which are seated six women, in pairs. At the right a pedes- tal, on which is a group of statues support- ing plants in a large, shallow vase; to the left of it a tree, an urn, a suggestion of 66
JAMES MCNEILL WHISTLER
foliage, and at the extreme left, the butterfly, just above the balustrade. Foul biting all over the plate. H.5; W. 6%.
353 Fruit Shop, Paris. In the centre a doorway, in which are three figures. Fruit or vegetables on two shelves at the left, and one at the right, before which a woman is standing. The butterfly at the right, an inch from the side and top. H.5; W. 8%.
354 The Wine Shop.
Part of a shop front, over which the end of the sign “FILS COUVREUR™” shows. To the right a passage, through which is seen a figure in a doorway in the distance. Two windows and a shrub between them at the top of the plate. A group of a woman with a child in her arms, a child at the left of her, and two children, partly effaced, at the right. Over the passageway, “145.” The butterfly at the right, half-way up the plate.
H. 67%; W. 5.
355 The Picture Shop. A shop front, with pictures in the window. Over the door is an ornamental transom, 67
ETCHINGS AND DRY-POINTS
and a sign with “ ANTONY” on it, above which are two windows with Venetian shut- ters thrown back. A woman with arms akimbo is looking at the pictures, a dog is in the doorway, and a woman with right hand under her apron is coming out of a covered passageway leading from a court at the right. There is no butterfly.
H. 5%; W. 73. 356 Railway Station, Vovés. Sup. 319. 357 Rue des Bons Enfants, Tours. Sup. 320. 358 Hétel Croix Blanche, Tours. Sup. 321. 359 Market-Place, Tours. Sup. 322.
360 Hangman’s House, Tours. Sup. 323. A. Early state. B. The figures more modeled. Fourteen vertical lines are at the upper left corner. Additional work over the door.
361 Little Market-Place, Tours. Sup. 324. 362 Cellar Door, Tours. Sup. 325. 363 Place Daumont. Sup. 326.
364 Chateau. Sup. 327. 68
JAMES MCNEILL WHISTLER 365 Chateau, Touraine. Sup. 328. 366 Doorway, Touraine. Sup. 329.
367 Court of the Monastery of St. Augustine at Bourges. Sup. 330.
368 Hétel Lallement, Bourges. Sup. 331. 369 Windows, Bourges. Sup. 332.
370 Hotel Windows, Bourges. Two windows, one above the other, are on the left, and on the sloping roof of the house to the right is a dormer-window and parts of two other windows, and the butterfly. Ft. 3B; W. 25 QB.
371 Notre Dame, Bourges.
A part of the cathedral, seen obliquely across an uneven, winding street, shows a Gothic doorway surmounted bya Renaissance crown or top, which springs from the roof; to the right is a small spire. A large decorated Gothic window is at the extreme left. A number of figures are in the street, which ends at two houses in the right distance. The butterfly is on the roof, above the Gothic window.
H. 834; W. 5.
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ETCHINGS AND DRY-POINTS
372 Chancellerie, Loches. Sup. 334.
A. Before the work indicated in 2.
B. The angle of the roof of the house to the right of that which has the sign marked “REMENTS” is now shaded with lines, as is the cornice below.
373 Market Women, Loches. Sup. 335. 374 Hétel Promenade, Loches. ae 336. - 375 Théatre, Loches. Sup. Soe
376 Tour St. Antoine, Loches. Sup. 338. 377 Market-Place, Loches. Sup. 339.
378 Renaissance Window, Loches. Sup. 340. A. First state. B. Second state. The umbrella is now black.
379 Hotel de Ville, Loches. A street with houses on each side, filled with people, leads to the lofty castellated Hotel de Ville. The butterfly is more than half-way up the plate at the right. H. 1054; W. 6%. 70
JAMES MCNEILL WHISTLER
80 From Agnes Sorel’s Walk.
A view of the country from the elevation of the “walk.” Houses and young trees in the foreground. The butterfly on the roof of the house in the foreground at the right.
H. 53%; W. 10%.
8:1 Chapel Doorway, Montresor. Sup. 341.
82 Chateau, Amboise. Sup. 342.
83 Clock Tower, Amboise. Sup. 343.
84 Gateway, Chartreux. Sup. 344.
Bs Under the Cathedral, Blois. Sup. 345. 86 Flower Market, Brussels. Sup. 346.
87 Gold House, Brussels. Sup. 347.
38 Butter Street, Brussels. Sup. 348.
39 House of the Swan, Brussels. Sup. 349. o Archway, Brussels. Sup. 350.
1 Courtyard, Rue P. L. Courier. Sup. 351.
j2 Brussels Children. Sup. 352. 71
ETCHINGS AND DRY-POINTS
393 Little Butter Street, Brussels. Sup. 353. 394 Chateau Verneuil. Sup. 354. 395 An Eagle. Sup. 369.
396 Bohemians, Corsica. Sup. 360.
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