1 39002027839845

There are printed, in all, only One Hundred atid Forty Copies :
the first fourteen are on very large paper.
This is No.  IrO;. ..

WHISTLER'S ETCHINGS

A STUDY AND A CATALOGUE

BY
FREDERICK WEDMORE

' Sans la liberte de blamer, il n'est pas d'eloges flatteurs.' — Beaumarchais.

LONDON
A. W. THIBAUDEAU, 18 GREEN STREET
ST. MARTIN'S PLACE
1886

cozNjrswirs.

PAGE

WHISTLER'S ETCHINGS 7
CATALOGUE 17
INDEX 83

WHISTLER'S ETCHINGS.

I BEGAN this Catalogue for my own use, and finished
it for my brother-collectors ; and for Mr. Thibaudeau,
who, when the extent of my labour became evident, re
freshed me with money ; and, a little, for Mr. Whistler, if
he will accept our offering.
The only hitherto existing Catalogue — that of Mr.
Ralph Thomas — was published twelve years since, and
has meantime become of small service. There are
several reasons for that ; but, to justify my own attempt,
it will suffice if I mention one of them. Mr. Thomas,
working in 1874, catalogued about 80 etchings. I,
working in 1886, have catalogued 214. Ofthe additional
number only a few are prints which had been already
wrought when Mr. Thomas wrote, and which had escaped
his notice. By far the greater portion have been etched
in more recent years. And many of them are unknown
to the amateur even to this day.
Whistler's Etchings are so scattered, and so many of
them are, and must ever be, so very rare, that I could
not have done what I have done if several diligent col
lectors, well placed for this purpose, had not helped me.
Mr. Thibaudeau himself amassed much information and
placed it at my service. Mr. Avery, when Mr. Keppel
took me to see him in East 38th Street, last autumn, put
at my disposal everything he knew; and as he has

8 WHISTLERS ETCHINGS.
been for many years a steady believer in Mr. Whistler's
art and an enthusiastic student of it, it may be imagined
that this book has profited by his knowledge. Then there
are several collectors on this side the Atlantic, whose
collections I have carefully gone over. I must express my
thanks to Mr. Mortimer Menpes, who took much
trouble with me in the identification of the rare things
he possesses ; my thanks, too, to Mr. Stopford Brooke,
Mr. Theobald, and Mr. Barrett of Brighton. And
some of the best-known London dealers — Mr. Walter
Dowdeswell, Mr. Noseda, and Mr. Brown of the Fine
Art Society — gave me valuable and sometimes laborious
help. Then, too, Mr. Fagan, of the British Museum,
kindly guided me through such of Mr. Whistler's works
as are possessed by the Department of Prints and
Drawings. I wish that they were more. Last of all, I
have had access, more than once, to Mr. Whistler's own
collection; but that, unfortunately, is very incomplete.
It consists chiefly of the later etchings.
I have said, at the beginning of the Catalogue proper,
that my arrangement of the prints is, as far as possible,
chronological. It could not have been exactly so, even
if I had invited the artist to rack his memory as to the
circumstances under which he wrought each of the two
hundred and fourteen plates. But the dates are given with
complete precision in very many cases, and I hope no
plate appears out of its proper period — out of the group
of work to which it rightly belongs — which is, after all,
more important than that it should be assigned its exact
day. It is now about thirty years, the student will perceive,
since Whistler began to etch. But his work in Etching has

WHISTLERS ETCHINGS. 9
never been continuous. Periods there have been when
he has been busy with the needle and the plate — periods
too, during which he has laid them altogether aside. The
first chronicled, the first completed plate, was done, it is
believed, in 1857, when he' was a very young man, in Paris.
But he tells me that there exists, somewhere or other in
the too safe keeping of public authorities in America, a
plate on which, before he left the public service of the
States, he neglected fully to engrave that map for the Coast
Survey which the authorities expected of him, and did
not neglect to engrave, in truant mood, certain sketches
for his pleasure on the plate. The plate was confiscated.
Young Mr. Whistler was informed, sternly, that an un
warrantable thing had been done. And he perfectly
agreed, he told the high official, with that observation —
an unwarrantable thing had been done : it was quite un
warrantable to remove a plate from the hands of its
author without sufficient notice : he had been thereby
made unable either to finish his map or to remove those
sketches which were meant only temporarily to enliven
and ornament it.
Thus Mr. Whistler began very early by being in the
right, and in the right he has remained ever since, and
has believed it, in spite of some intelligent and much
unintelligent criticism. He has been a law unto himself
— has worked in his own way, at his own hours, on none
but his own themes — the result of it, I dare to think,
deliberately, the preservation of a freshness which, with
artists less true to their art and to their own inspiration,
is apt to suffer, to fade, to pass away. And with it the
charm passes away. Now Whistler's newest work, his
work of this morning, whatever it may be, possesses the

10 WHISTLERS ETCHINGS.
interest of freshness, of vivacity, of a new and beautiful
impression conveyed in individual ways, just as much as
did his early work of a quarter of a century ago.
When the comparatively few people whose tempera
ments allow them to really understand the delicacy of
Mr. Whistler's methods — the refinement and expressive
ness of his art, whether as colourist or draughtsman —
shall have known his work a little longer, they will not
be found, as some among the not quite unappreciative
are found to-day, protesting that there is a want of con
tinuity between the first efforts and the latest, and that
the vision of pretty and curious detail, and the firmness
and daintiness of hand in recording it, which dis
tinguished confessedly the earlier etchings in France and
of the Thames, are missing to the later plates — to the
dry points of what I may call ' the Leyland period,' and
to the still more recent Venetian etchings. Peccavi t I
have myself, in my time, thought that this continuity was
wanting. I have told Mr. Whistler, with much plainness
if levity of speech, that when, in the Realms of the Blest,
he desired, on meeting Velasquez and Rembrandt, not to
disappoint them, he must be provided with his Thames
Etchings in their finest states. And certainly it would
be a potent introduction. But I am not sure but that the
Venetian portfolios would serve Mr. Whistler in as good
stead. For there is a continuity which the thorough
student of all his work will recognise ; there is often, in
the later things, as in the Doorway and the Garden,
an advance in the impression produced, a greater variety
and flexibility of method, a more delightful and dexterous
effacing of the means used to bring about the effect.
The Venetian Etchings — some of us thought at first

WHISTLERS ETCHINGS. n
they were not satisfactory, because they did not record
that Venice which the cultivated tourist, with his guide
books and his volumes of Ruskin, goes out from London
to see. But I doubt if Mr. Whistler troubled himself
with the guide-books or read his Ruskin with religious
attention. Mr. Ruskin, of course, had seen Venice
nobly ; I dare say Mr. Fergusson and a score of admir
able architects had seen it learnedly ; but Mr. Whistler
would see it for himself : that is to say, he would see in
his own way the Present, and would see it quite as cer
tainly as the Past. The architecture of Venice had im
pressed us, perhaps, so profoundly, that it was not easy
in a moment to realise that here was a great artist whose
work it had not been permitted to dominate. The Past
and its record were not his business in Venice. For him,
the lines of the steamboat, the lines of the fishing-tackle,
the shadow under the squalid archway, the wayward vine
of the garden, had been as fascinating, as engaging.
as worthy of chronicle, as the domes of St. Mark's.
Yet we had not properly understood Mr. Whistler's
work in England if we supposed it could be otherwise.
From associations of Literature and History this artist
from the first had cut himself adrift His subject was
what he saw, or what he decided to see, and not some
thing that he had heard about it He had dispensed
from the beginning with those aids to the provocation of
interest which appeal most strongly to the world — to the
person of sentiment, to the literary lady, to the man in
the street. We were to be interested — if we were in
terested at all — in the happy accidents of line and light
he had perceived, in his dexterous record, in his scientific
adaptation.

12 WHISTLERS ETCHINGS.
But though the value of many of his etchings, as he
might himself tell us, consists in the exquisiteness of
their execution and of their arrangement of line, it would
be unfair not to acknowledge, in addition, that among the
many things it has been given to Whistler to perceive,
it has been given to him to perceive beautiful character
and exquisite line in humanity — that, certainly, just
as much as quaintness and charm in the wharves and
warehouses of the Pool, in the shabby elegance of the
side-canals of Venice, in the • shop-fronts of Chelsea.
The almost unknown etching of his mother, which is
one of the most refined performances of his career,
proves his possession of the quality which permitted
Rembrandt to draw with the reticence of a real pathos
his most impressive portraits of the aged — the Lulma,
the Cl'ement de Jonghe, the Mere de Rembrandt, au
voile noir.
Again, the Fanny Leyland, and the Muff, and the
lady of the Speke Hall, attest Mr. Whistler's solution of
the problem which presents itself so continually to the
ingenious, so uselessly to the incompetent — the problem
of seeing beauty in modern dress and grace in the
modern figure. Mr. Whistler, no more than Monsieur
Degas or Mr. Gregory, sighs for the artificial dignity of
the fashions of other times. He is able to descry a
piquancy in the contemporary hat, and to find a grace in
the flutter of flounce and frill. And what else, after all,
should we expect from an artist a sweep of whose brush
would give distinction to the St. George's Union Infir
mary in the Fulham Road, and for whom, under the veil
of night or dusk, the chimney of the Swan Brewery would
wear an aspect riot less beautiful than that of King's

WHISTLERS ETCHINGS. 13
College Chapel? It has been given to this master of
etching to see common things with a poetical eye.
' Take care of the extremities,' said old Couture to a
painter, who addressed himself to the figure ; ' take care of
the extremities, for all the life is there.' But that is what
Mr. Whistler, it may truly be answered, has often neg
lected to do ; to which it may be rejoined, that where he
has neglected to do it, somehow ' all the life ' has not gone
out of his work. But the hand of the man sitting in the
boat in the etching of Black Lion Wharf, and — to name
a painting of only two years ago — the hands in the
Sarasate, are reminders of how completely it is within
Mr. Whistler's power to indicate the life, the temperament,
by ' the extremities,' when it suits his work that he shall
do so. And the frequent abstention — the avoidance, so
often pointed out and commented upon — of this detail
here, and of that detail there, itself reminds us of some
thing important — nay, perhaps of the central fact which
determines the direction of so much of this great etcher's
labour. It reminds us that, whether Mr. Whistler's work
is record of Nature or not, it has at all costs to be ex
quisite evidence of Art. And for the one as well as for
the other he has had need to know not only what to do
— a difficult thing enough sometimes — but a more
difficult thing yet, what to avoid doing. In other words,
selection plays a great part in his work, and he has occu
pied himself increasingly, and occupied himself with high
triumph, not with how to imitate and how to transcribe,
but with how to imply and suggest. He is the master of
an advanced art, which gives a curious and a various,
and, I find, a continual pleasure.

14 WHISTLERS ETCHINGS.

And now a word or two on matter of business — the
business of the acquisition of Whistler's prints. Unlike
the thousand prints which in these later days of the
' Revival of Etching ' are the inadequate result of the
laborious industry of merely popular people — and which
have served their purpose when they have covered for a
while the wall-paper in all the builders' villas of Bayswater
and Brixton — works of the individuality, the flexibility,
the genius, in fine, of Whistler's appeal to the true
collector. They lie already in the portfolio by the side
of Rembrandt's and Me"ryon's. It is not easy to get them;
or, rather, there are some which it is easy, some which it
is difficult, some which it is impossible to have. Certain
of the coppers are known to have been destroyed ; others,
which one cannot always particularise, are in all pro
bability destroyed, having been subjected to the chances
of many years, and likewise to that severity of judgment
which the artist prides himself on exercising. Then, again,
there are dry points, none of them very robust, some of
them so delicate, so evanescent, that the plate — should
it exist — would prove to be worth nothing. It has yielded
half-a-dozen impressions, and they have gone far towards
exhausting it. A certain number of plates exist, no
doubt, in the late state, or in the undesirable condition,
and some are yet intact, and others, again, like the two
Venetian series — the Venice and the Twenty-Six— wisely
managed from the beginning, have yielded a substantial,
yet never an extensive array of such proofs as satisfy
the educated eye.
Publication — if so it can be called — of Mr. Whistler's

WHISTLERS ETCHINGS. 13
Etchings first began in 1859, when the artist had worked
seriously for only a year or two. Thirteen etchings, duly
noted in the Catalogue, and generally called 'the French
Set,' were then printed by Delatre, in Paris, in most
limited numbers, on the thin Japan or China, or on the'
good old paper which the collector loves. The ' Thames
Set ' — sixteen in number, and being the majority of the
river pieces executed up to that time — were the next to be
offered. But they appeared publicly only in 187 1, when
— as Mr. Ellis is good enough to- tell me — 'Ellis and
Green ' bought the plates, and had a hundred sets printed.
The printing was not successful, so that it is chiefly by
the very rare impressions which Mr. Whistler himself had
printed years before that these plates are to be judged.
Some time afterwards the Fine Art Society bought the
plates of Mr. Ellis, and impressions — in some cases not at
all bad — were printed by Goulding for their issue.
Of the stray coppers which found separate publication
I need not here speak, but only of the two further
sets — the Venice of the Fine Art Society, and the Twenty-
six Etchings of Dowdeswell. Neither has been subjected
to the vicissitudes that attended the earlier plates. The
first, which numbered a dozen, were issued by the Fine
Art Society in 1880; the second, by the Messrs. Dowdes
well in the present year ; and the issue of each — and of the
Messrs. Dowdeswell's especially — has been limited, and
the printing has the advantage of being either Mr.
Whistler's own or under his most careful scrutiny.
Mr. Whistler's printing is, he claims, simple: It renders
the work as it is upon the plate, in all its purity and
delicacy of line. Thus he eschews retroussage — a device
which flatters the novice and offends the master. But

16 WHISTLERS ETCHINGS.
the resources of an artist in printing are, of course, known
to him. In his Nocturnes he paints — so to say — upon
the plate.
The reader of my Catalogue — the student of Whistler's
work — will of course notice for himself that over and
above these issued etchings I have most lately spoken of,
there are very many plates, some of which can only be
acquired with a great deal of difficulty, and some of
which cannot be acquired at all. As a general rule — but
it is a rule to which there are undoubtedly exceptions —
it may be said that the rarity is most conspicuous in the
figure-pieces : by which I mean, not pieces in which the
figure happens to be introduced, but either avowed por
traits or studies from the posed model. And these things
are mostly in dry point, and the greater number of them
belong to the middle period of Mr. Whistler's work.
F. W.
London,
November 1886.

CATALOGUE.

The Arrangement of the Prints is, as far as may be, Chronological.
The Height and Width of each Plate are given first in inches and then
in millimetres. The Plates mentioned by Mr. Thomas bear between
brackets, after the titles, their numbers in his list.

1. Early Portrait of Whistler. A young man,
looking to the front, the left arm bent. He is bare
headed, and is seen not much below the shoulders.
Signed 'J. W.'
From this early portrait it would appear that
Whistler was Whistler's first model. Mr. Avery
had it from M. Burty's Sale, and Whistler wrote
on it, ' Early portrait of Self.' It was etched before
the year 1858; which means, probably, in 1857.
The impression is believed to be unique.
H. 4f inches; w. 3 inches. (Hauteur, o-n8;
Largeur, 0^07 6.)
2. Annie Haden. She is resting her hand upon a
pile of large books — Swedenborg, Belphegor, &c.
Signed ' J. W.'
Etched probably in 1857. On Mr. Avery's,
which is the only impression known, Whistler
wrote, 'Very early: most probably unique.'
H. 4; w. 2%. (H. 0-102; L. 0-067.) B

18 WHISTLERS ETCHINGS.
3. The Dutchman Holding the Glass. (T. 8i.) A
man, with a long pipe in his mouth, holds up a
large glass in his right hand. Signed 'J. W.'
There are but two or three impressions of it,
and it has that tentative air which the artist's
work was almost immediately to lose.
H- 7>\ > w- 2l- (H. o'o82 ; l. 0-054.)
i. Liverdun. (T. 2.) A farmyard, sketched in the vil
lage of Liverdun, near Toul, in Lorraine. It is
surrounded by the buildings of the homestead, of
which those on the left are in bright sunshine,
those on the right in shadow. A cow in the yard,
and ladders and the shafts of a waggon propped
against the wall. It is twice signed; at the top
'Whistler,' and at the bottom 'J. Whistler,' and
'Imp. Delatre, Rue St. Jacques, 171.'
There are one or two trial proofs before the
artist's and the printer's names.
H. 4I ; w. 6$. (H. 0-018 ; l. 0-155.)
5. La Retameuse. (T. 3.) A half-length, almost full-
face study of an elderly Frenchwoman, who wears
a shapeless black cap, like a ' Tam o' Shanter '
narrowed, and bears a spoon poked under her
waistband. Her hands are folded. To right
'Whistler,' and to left 'Imp. Delatre, Rue St.
Jacques, 171.'
There are one or two proofs before the artist's
and printer's names.
H. 4^; w. 31 (H. 0-108; l. 0-089.)

WHISTLERS ETCHINGS. 19
6. En Plein Soleil. (T. 4.) A lady sitting on the
grass, in the full sunshine, from which a parasol
partly shades her face and figure. To the left
'Whistler,' to the right 'Imp. Delatre, Rue St.
Jacques, 171.'
At the British Museum and at Mr. Avery's
there is a proof before the printer's name.
H. 4 ; w. 5§. (H. 0-102; l. 0-136.)
7. The Unsafe Tenement. (T. 5.) It is a decayed
farmhouse, which, with its outbuildings, occupies
the greater part of the picture. In the foreground
two little girls, one just outside, the other just in
side, a door, which hangs loose on its hinges. In
right lower corner ' Whistler,' in left ' Imp. De
latre, Rue St. Jacques, 171.'
The scene is in Alsace Lorraine.
The very rare First State, which Mr. Avery
possesses, has a woman sweeping in the foreground.
Second State. A pitchfork takes the place of this
figure. H. 6\; w. 8f. (H. 0-159; l. 0-222.)
8. The Dog on the Kennel. (T. 20.) A dog lying,
with legs towards the spectator, on the roof of his
roughly made kennel. To the right 'Whistler.'
While Whistler was etching the preceding plate
— The Unsafe Tenement — the dog, says Mr.
Avery, jumped up on to the kennel, and Whistler
stopped his work on the larger plate to make this
one. H. *\; w. 3J. (H. 0-057; l. 0-089.)

20 WHISTLERS ETCHINGS.
9. La Mere Gerard. (T. 6. ) A keen old French
woman, standing, with small light bonnet, and dark
tippet down to the elbows. To the left ' Whistler,'
and at bottom, 'Imp. Delatre, Rue St. Jacques, 171.'
H. 4J; w. 3l (H. 0-098; L. 0-089.)
10.- La Mere Gerard, Stooping. (T. 32.) It is the
same elderly woman as in the plate last described,
but this is smaller and more slightly worked. She is
stooping and coming along with a bag in her hand.
It is almost unknown, but impressions are pos
sessed by Mr. Avery and by Mr. Macgeorge of
Glasgow. H. 4; w. z\. (H. 0-102; L. 0-063.)
11. Street at Saverne. (T. 7.) Looking along the
street of a quaint Alsatian town by moonlight.
There is a lamp on a house wall, seen in profile on
the right, and all the houses to the left are in
violent illumination or deep shadow. Towards
the bottom 'Whistler' and 'Imp. Delatre, Rue
St. Jacques.'
There are two or three trial proofs before the
artist's and the printer's names, and with the effect
lighter, the lines in the sky less numerous.
H. %\; w. 6|. (H. 0-209; L- 0-162.)
12. Gretchen at Heidelberg. (T. 33.) A girl
sitting. Mr. Avery believes that his is the only im
pression. H 8 ; w. 6. (H. 0-803 ; L- °-IS2-)

WHISTLERS ETCHINGS. 21
13. Little. Arthur. (T. 8.) A little child — a boy,
bareheaded, with long hair — sits facing us, with
hands between his knees. The light falls from
the left. At the bottom ' Imp. Delatre, Rue
St. Jacques, 171,' and 'Whistler.'
Dr. Riggall has -a proof of this charming little
portrait before the printer's name.
First State. With the full inscription described.
It is at the British Museum and at Mr. Avery's.
Second State. The plate has been cut; it is
only z\ inches high. The feet are invisible, and
the inscription has disappeared. Very scarce.
Third State. ' Whistler ' now written near the
child's right arm.
H. l\\ w. 2 J. (H. 0-079 J L. 0-054.)

14. La Vieille aux Loques. (T. 9.) An old French
woman sitting just inside an open doorway, with
powerless hands on her lap. She wears a white
cap, her head is bent, and she is probably sleeping.
Around her, on wall and floor, are pots and pans
and disordered linen. To the right 'Whistler,'
and at bottom of the plate ' Imp. Delatre, Rue
St. Jacques, 171.'
Mr. Avery has an impression with less work on
the doorstep and no printer's name.
The plate is a remarkable study of character,
but is much less effective in chiaroscuro than the
not quite dissimilar Marchande de Moutarde
H. 8; w. 5f. (H. 0-803; L. 0.149.)

22 WHISTLERS ETCHINGS.
15. Annie. (T. io.) A little girl with round features
and flowing hair. She stands, and with the only
hand that is visible — her left hand — holds up her
frock. The legs slightly indicated, but not the
feet. On the left 'Whistler,' at the bottom 'Annie,'
thinly scratched, and at the right 'Imp. Delatre,
Rue St. Jacques, 171.'
Mr. Avery has a trial proof — ' got from Drouet
"the sculptor ' — slight, but with the feet drawn. It
has no lettering except ' J. W.'
First State. As described above ; and on Mr
Avery's impression of it Whistler wrote, ' Legs not
mine.' Second State. 'Annie ' erased.
H. 4^; w. 3^. (H. 0-114; l. 0-079.)
16 La Marchande de Moutarde. (T. ii.) Through
a doorway, at the side of which a child is standing,
and above which is a barred window, there is seen
a small interior, with an old woman — the mustard-
seller — busied with her pots. Other jars, black and
grey, are ranged on a shelf above the pot or packet
she is handling, and her large cap stands out white
and clear against the impenetrable shadow of the
background. To the left 'Whistler,' and 'Imp.
Delatre, Rue St. Jacques.'
First State. With Delatre's address.
Second State. Without the address ofthe printer,
for in 1886 the Editor oi English Etchings bought
the plate, and added an issue of two hundred
copies to the very small number of fine impressions
originally taken. His two hundred were printed

WHISTLERS ETCHINGS. 23
on old Whatman paper of 18 14, and Goulding
printed for him, very carefully, a few impressions on
old Dutch paper of the Seventeenth century.
H. 6£; w. 3|. (H. 0-159; L. 0-089.)
17. The Rag -Gatherers'. (T. 31.) From an ad
joining and communicating chamber is seen the
rag - gatherers' room, its darkened corner fur
nished scantily, with a small table and a bed now
unmade. No figures. On the right ' Whistler.'
The fine impressions are in this First State.
It is extremely rare. The scene is then, in its
silence and squalor, almost as suggestive as the
Rue des Mauvais Garfons of Me"ryon.
Second State. Two figures are introduced : one
sitting up in the bed.
The place was in the Quartier Mouffetard.
H. 6\; w. 3|. (H. 0-155; l. 0-093.)
18. Fumette. (T. 12.) A young woman, facing us,
with lively eyes and thick hair loose to the shoul
ders, crouches with head bent forward and knees
upraised. On the right ' Whistler.'
There are a few proofs before the shading in
the background.
H. 6\; w. 4§. (H. 0-165; l. chi.)
19. The Kitchen. (T. 13.) At the back stands an
old woman at the window in the thick wall. Rows
of platters on a dresser to the right. An effect of
light and shade of the kind known as 'Rem-
brandtish.' But the kitchen is flooded with sun
shine, like a chamber of De Hooch's.

24 WHISTLERS ETCHINGS.
One or two proofs before the address of Delatre.
First State. With Delatre's address.
Second State. Abundant and minute dry-point
work added all over the plate, but especially on the
walls that surround the window. By these touches
of exceptional success a plate, always one of the
most beautiful of the series, was made yet richer
and more harmonious — the picture 'brought to
gether,' so to say. Mr. Whistler did this additional
work for the limited issue of The Kitchen by the
Fine Art Society in 1885. Though Delatre's old ad
dress was not effaced, Mr. Whistler himself printed
these impressions, and the plate was then destroyed.
H. 8|; w. 6£. (H. 0-225; l. 0-159.)
20. The Title to -the French Set. (T. i.) The
artist sits, making a drawing, and surrounded by
a group of boys and girls, freely and gracefully
sketched. On the upper part of this plate there is
written, ' Douze eaux-fortes d'apres Nature, par
James Whistler. Imp. Delatre, Rue St. Jacques,
171. Paris, Nov. 1858.' On the lower part of
the plate there is written a dedication, 'A mon
viel Ami, Seymour Haden.'
It is the title-page to what is called the ' French
Set,' which consisted of a dozen of the etchings
already described in this Catalogue : they are
numbers 4, 5, 6, 7, 9, n, 13, 14, 15, 16, 18, and 19.
Not many copies of the Set were printed, and only
the trifling sum of two guineas was asked, in 1858,
for each copy.
H. 4f; w- 5l- (H- o-in ; l. 0-146.)

WHISTLERS ETCHINGS. 25
21. Auguste Delatre. (T. 14.) The plate is occupied
by the head and shoulders of the famous printer of
etchings, then a delicate -looking, youngish man,
wearing a light moustache and slight imperial. In
the corner, ' Homage a Mme. Delatre. J. Whistler.'
H- 3i j w- 2h (H- 0-082; l. 0-054.)
22. A Little Boy. (T. 16.) A boy with thick, longish
hair, and in Scotch dress, with the kilt and plaid
stockings, sits looking to the left, his legs far apart,
and his hands one on each knee. Signed indis
tinctly at the right.
There are two or three trial proofs with little
of the shading in the background.
It is a portrait of Seymour Haden the younger.
H. 5f; w. 3|. (H. 0-136; l. 0-095.)
23. Seymour. (T. 17.) The little boy ofthe preceding
plate, and in the same dress, stands in a bit of
park-like landscape, with his back against the trunk
of a tree and his hands behind him. In front is a
pool with a few reflections. In the left-hand lower
corner the title ' Seymour,' in the right ' Whistler.'
H. 5i; w. 3f (H. 0-133; l. 0-098.)
24. Annie, Seated. (T. 50.) A little girl with hair
falling over her face, and head drooping, sits, almost
sideways, her right elbow thrust under the top of
the chair. To the left ' Whistler.'
First Slate. Without the shading all along the
lower part of the plate under the child's frock.
Second State. With this shading, and below it
the child's name, ' Annie.'
H. 5 ; w. 3f. (H. 0-127 ; l. 0-095.)

26 WHISTLERS ETCHINGS.
25. Reading by Lamplight. (T. 24.) An effect of
light, from a high reading-lamp, thrown on a lady's
face, her book and her lifted hand, as she sits at
the table. In the foreground, a cup and saucer.
The lower part of the wall, behind the reading lady,
receives some light from the lamp : its upper part
is in fairly luminous shadow. In right lower corner
'J. Whistler.'H. 6£; w. 4|. (H. 0-159; L- °-II7-)
26. The Music-Room. (T. 22.) Three figures — two
men and a woman — who are all reading by the
light of a lamp on a round table. The man in
front — Mr. Seymour Haden — leans his head back
and extends his legs, and holds a newspaper before
him. The man behind, at the table — ' My friend
Freer,' Whistler has written on an impression at
Mr. Avery's — stoops over his book. The lady in
front— Mrs. Seymour Haden— bends her head and
holds her book up near her eyes.
The First State — of which the impressions
ought to be rich, and are much the most desirable
— has no indication of the fingers of Mr. Haden's
right hand.
In the Second State the fingers of this right hand
are drawn, and Mrs. Haden's hands, which were in
outline in the First, have many diagonal lines upon
them. And the work is closer, and perhaps more
or less superfluous, on the wall in the background.
H. 5J; w. 8£. (H. 0-140; l. 0-209.)
27. Soupe a Trois Sous. (T. 25.) Five men seated
at the tables of a poor Parisian restaurant. One of

WHISTLERS ETCHINGS. 27
them— the central figure— is dozing ; the rest seem
to be engaged at leisure with their evening meal.
On the bare wall ' Whistler.'
Mr. Avery has an early proof before the plate
was cleaned.
H. 5|; w. 8f. (H. 0-149; L- 0-222.)
28. Bibi Valentin. (T. 26.) A child in pinafore, with
legs extended, feet placed together, and left hand
emerging from the loosely made frock sleeve, looks
out at the spectator with large dark eyes. In the
left corner 'Whistler, 1859.'
Mr. Heywood bought at Mr. Anderson Rose's
Sale, for 5/. 12*., a very rare trial proof before the
left hand was put in.
H. 6; w. 8|. (H. 0-152; l. 0-225.)
29. Reading in Bed. (T. 29.) The upper end of a
curtained bed, in which a dark-haired woman is
discovered reading. She holds a magazine—or is
it a large flapping edition of some Paul de Kock ?
—in her left hand, near her face. In the front,
not quite under the bed, a slipper. At bottom
'Whistler.' First State. The nose is straight, or slightly
Roman. Rare.
Second State. The nose i*S thoroughly retroussk.
This change was made in 1861, its object, as I
suppose, being to destroy a likeness otherwise
apparent. H. 4|j w. l\- (H- 0-120; l. 0-079.)

28 WHISTLERS ETCHINGS.
30. Bibi Lalouetts. (T. 30.) A little boy seen in
profile, sitting, and dressed in a loose smock or
pinafore. His cap is in the foreground. On the
right 'Whistler, 1859.'
He was the son of Lalouette, who kept a
pension near the Rue Dauphine, at which Whistler,
Legros, Fantin, and others used to take their
meals in those early days.
H. 9; w. 6. (H. 0-229; L- °-I52-)
31. The Wine Glass. (T. 28.) A Champagne glass,
empty, standing on a small tray. To the left
' Whistler.' On Mr. Avery's impression Whistler wrote,
' Done in London.'
First State. Before the vertical lines of cross-
shading in the background. Rare.
Second State. With these lines.
H. 3^; w. 2\. (H. 0-082; l. 0-057.)
32. Greenwich Pensioner. (T. 15.) On a grassy
slope, which is that of Greenwich Park, an elderly
man is resting. He is spare of build, wears a tall
hat, and, as he half sits, half lies, his legs are crossed
at the ankles. Signed ' Whistler, Greenwich, 1859.'
H. 3! J w. 51 (H. 0-095; L- °-i33-)
33. Greenwich Park. (T. 18.) A limited landscape,
with the trunks of two trees large in the foreground,
and other trees and a low house, not very distant,
bounding the scene. Signed ' Whistler.'
It has been wrongly called 'Kensington Gardens.'

WHISTLERS ETCHINGS. 29
First State. It has no sky. Rare.
Second State. With the sky, and added work
all over the plate.
H. 4f- ; w. 7f. (H. 0*120 ; l. 0-197.)
34. Nursemaid and Child. (T. 21.) They sit on the
right, in a landscape of suburban field, which
Whistler told Mr. Avery was ' near Holloway.' It
is not beautiful, and may very well be there. At
the left ' Whistler.'
First State. Before the alterations in the nurse
maid's face. Rare.
Second State. The straight nose of the nurse
maid becomes a nez retrousse — somehow she is a
pleasanter young woman,— the line of the mouth
is less austere, and several strokes from ear to chin
indicate the curves of the cheek.
H. 4; w. 5^. (H. 0-102; l. 0-133.)
35. Thames Warehouses, from Thames Tunnel Pier.
(T. 42.) In front, a boat, low in the water, is laden
with goods covered by a tarpaulin. Behind it,
several boats riding together against a row of ware
houses, on the first of which is inscribed ' Fred
Vink and Co., Rope and Sail Makers,' Larger
craft are in the distance; many masts and the
smoke of steamers rise against a clear and empty
sky. On the right 'Whistler, 1859.'
One of the ' Sixteen Etchings of Scenes on the
Thames, and other subjects,' publicly issued in 187 1
— many years after their execution— by Ellis and
Green, and still later by the Fine Art Society.
H. 3; w. 8. (H. 0-076; L. 0-203.)

30 WHISTLERS ETCHINGS.
36. Westminster Bridge. (T. 36.) In the left fore
ground, horses watering. River-boats behind them,
and to the right, on the full broad stream. In
middle distance the Houses of Parliament and
Westminster Bridge, which stretches to the right, to
the lower roofs of Lambeth. 'Whistler, 1859.'
Mr. Anderson Rose had a trial proof before
four tiny horizontal lines just above the roof of the
Houses of Parliament, to the right ofthe towers.
The First State alone has these lines, and I
know of no fine impression of the plate in any later.
It is very rare.
The Second State has other work, but has lost
delicacy and harmony, and is hard and dry.
In this State it is one of the ' Sixteen Etchings.'
H. 2f ; w. 7f. (H. 0-073; L- 0-200.)
37. Limehouse. (T. 39.) A barge discharging cargo
at a warehouse in the right foreground. Behind
it water-side buildings, and a boat with sails half
unfurled. To the left, a group of mooring-posts.
A distance of river and shipping. Towards the
bottom of the plate 'Whistler, 1859.'
There are trial proofs, with the sky even less
worked upon than in the issued state, the dry-point
lines between the mast that slopes to the left and
that which slopes to the right not being inserted.
Mr. Anderson Rose also had an impression 'be
fore the work on the barges in the distance to
the left.'
One ofthe 'Sixteen Etchings.'
H. 4J ; w. i\. (H. 0-124; L> 0-200.)

WHISTLERS ETCHINGS. 31
38. A Wharf. (T. 83.) An unfinished sketch, with
three men sitting on a barge to the front, and on
the right warehouses with gabled roofs, and a
crane. Above the crane, ' W. Stevens.'
It is scarce.
H. 6; w. 8|. (H. 0*152; l. 0-225.)
39. Tyzac, Whiteley, & Co. (T. 40.) On a barge,
part of which occupies the foreground, a lad sits
facing us, with legs wide apart. Behind him, on
the left of the print, spars and timber lie on
rippling water, and beyond them boats hug the
basement-wall of a row of warehouses, the first
of which bears, in large letters, ' Tyzac, Whiteley,
& Co.,' and another, 'Eagle Wharf.' Signed
'Whistler, 1859.'
The spot is opposite Rotherhithe.
One of the 'Sixteen Etchings.' It figures as
' Eagle Wharf.'
H. 5J; w. %\. (H. 0-140; l. 0-216.)
40. Black Lion Wharf. (T. 35.) In front, a 'long
shore man, in rough jacket, and with cap at the
back of his head, is seen sitting, almost in profile,
in his barge, on the Thames. Behind his head a
landing-stage, connected by a wooden bridge with
the shore. Along the water's edge warehouses
and dwelling-houses — the real interest of the pic
ture — stand closely side by side. A warehouse
to the right, with wooden front, has ' Blac Lion
Wharf upon it. The 'k' is omitted. Next is
a dwelling-house, with broad first-floor window,

31 WHISTLERS ETCHINGS.
and a flat roof surmounted by palings. Next, two
smaller houses-, with a balcony, an outhouse, and
a quaint bow-window. The shore then turns a
little, and the remaining buildings are seen at a
different angle. A tall chimney rises from behind
a high tiled roof; and at the left a clipper lies
alongside of the warehouse known as ' Hoare's .
Wharf.' At bottom, 'Whistler, 1859.'
One or two of the early proofs of this fascinating
plate have the barge sail, to the right, white instead
of black. The proofs immediately following these
are the most desirable.
It is one of the ' Sixteen Etchings.'
H. 6; l. 8£. (H. 0-152; l. 0-225.)
41. The Pool. (T. 47.) A wide reach of the river;
in front, a crowd of barges, and a man in a small
boat. Behind the ' Jane, No. 6,' is another barge,
which has one or two roofed and enclosed rooms
upon it : a girl is standing by one of its windows.
Further there are some dry docks, with gates closed
on the river ; and beyond them ' St. George's
Wharf and a line of many warehouses. A church
tower in the distance to the extreme left. In lower
left-hand corner 'Whistler, 1859.'
It is one of the ' Sixteen Etchings.'
H. 5f-;-w. 8i (H. 0-136 ; l. 0-209.)
42. Thames Police. (T. 43.) The river-side at Wap-
ping : low water. A crowd of stranded boats lies
up against the houses, of which the one at the
extreme right, with a bow-window in the first and

WHISTLERS ETCHINGS. 33
second storey and a flagstaff on the roof, is the
station-house of the Thames Police. Sheds and
shabby dwelling-houses follow the line of the river.
In the distance many masts. At the bottom
'Whistler, 1859.'
Mr. Avery and one or two other collectors
have trial proofs before the dry-point work in the sky.
In 1869 the police-station was rebuilt, but
again with prominent bow-windows, such as these,
from which to survey the river. When I landed
at the steps, one morning in the spring of 1885,
nearly all the older buildings had disappeared.
This is one of the ' Sixteen Etchings.' It was
called 'Wapping Wharf.'
H. 6; w. 8£. (H. 0-152 ; l. 0*225.)
43. 'Long-Shore Men. (T. 45.) Figures seen in an
interior, keenly lighted. The only furniture dis
cernible is the mantleshelf and the long bare table
and bench in what is apparently a river-side tavern.
One man sits in the background by the fire, and
three are larger, in front Most of them are
smoking. A woman and child are indistinctly
seen to the right. To right ' Whistler, 1859.'
H. sf; w. 8|. (H. 0*149; L- 0-222.)
44. The Lime-Burner. (T. 38.) In the middle of
the plate — by ladders, a sieve, and a barrel — a lime-
burner is standing against a white wall. Below the
last of the varied roofs, whose lights and shadows
engage the eye from foreground to middle distance,
a glimpse of the Thames, lying out in the light,
c

34 WHISTLER S ETCHINGS.
and of houses on the further bank. On the left —
very faint in the later impressions — 'Whistler,' in
dry point ; on the right ' Whistler, 1859.'
Mr. Avery has a particularly fine proof, with
Whistler's inscription, ' A mon ami Freer.'
One of the ' Sixteen Etchings.'
H. 10; w. 7. (H. 0*254; l. 0*178.)
45, Billingsgate. (T. 34.) In front, a barge, with
river-side folk; to the left, the houses and clock-
tower of the famous market; London Bridge,
with St Saviour's, Southwark, in the distance ;
and, facing us, a company of fishing-smacks, whose
masts rise together against the sky. At bottom
'Whistler, 1859.'
First State. The left-hand man of the two
who stand opposite to each other in front, shows
his face in clear profile. Rare.
Second State. This man's face is seen only
in lost profile. Without any very obvious or
easily describable alteration in the figure, a
different effect is obtained. This State was pre
pared for the Portfolio, whose proprietors sold
a hundred proofs on Japanese paper before the
large magazine issue.
H. 6 ; w. 8|. (H. 0*152 ; l. 0*222.)
46. The Landscape with the Horse. (T. 23.) A
horse is grazing in a meadow in the middle of the
picture. Two-storeyed cottages, with outhouses,
are in the background. On the left, railings and a
sign-post, by the side of a country road. In left
lower corner 'Whistler, 1859.'

WHISTLERS ETCHINGS. 35
First State. Save for a few tiny scratches, it is
without a sky. It is rare, but is in the British
Museum and two or three other collections.
Second State. A heavyish rolling sky has been
added ; a second horse is now in the meadow, and
much additional work in many parts of the plate
has made the whole effect less luminous.
H. 4f; w. 7f. (H. 0*124; l. 0*197.)
47. Arthur Seymour. (T. 59.) A little boy — Arthur
Seymour Haden — seated in a chair, his hat on the
floor. There are trial proofs of this dry point in dif
ferent stages. The earliest known — before the
signature and date — was bought by Hogarth at the
Burty Sale for 7/. 1 2 s.
H. 8f ; w. 6. (H. 0*225; ** °'i52-)
48. Becquet. (T. 54.) A young man in a smoking-
cap, and with dark bushy hair, sits facing us,
bending a little, and his instrument, a violoncello
faintly indicated, is placed between his legs.
One of the ' Sixteen Etchings.' It was called
'The Fiddler.'
H. 10; w. 7§. (H. 0*254; l. 0*187.)
49. Astruc, a Literary Man. (T. 66.) It is the dry-
point portrait often known as 'Davis.' The head
and shoulders and the right hand of a man
with thick beard and disordered hair. He has an
expression of arrested meditation — waiting for a
thought, probably. To the left 'Whistler, 1859.'

36 WHISTLERS ETCHINGS.
Mr. Heywood got at the Anderson Rose Sale
an early proof with less work on the face.
H- Hi w. 5|. (H. 0*225 ; l. 0*149.)
50. Fumette Standing. (T. 61.) A tall young woman,
with large eyes and fully-curved mouth — and whose
long hair, disarranged, falls on her shoulders —
stands looking to the right, with head slightly up
raised. The form ofthe arm turned towards us as
she stands is lost in the looseness of the sleeve,
and there is no indication of either hand. In the
right corner 'Whistler, 1859.'
Mr. Avery has a trial proof of this rare dry
point before the signature. The print is a study
from the model depicted in No. 18.
H. 13I; w. 8^. (H. 0-346; l. 0-216.)
51. Fumette's Bent Head. (T. 70.) In the corner
of the plate the head and shoulders of a good-
humoured young woman, who is stooping. The
light "is strong on the top of her head, and her
loose wavy hair is chiefly in dark shadow.
A scarce dry point, in Mr. Avery's and two or
three other collections.
H. 9; w. 5|. (H. 0*229 ; l. 0*149.)
52. Whistler. (T. 65.) The artist, with ample hair
and a full moustache, faces us, wearing a broad hat
low on his forehead. The position of his hands,
which are but just indicated, seem to show that he
is drawing, and the eyes are in act to look keenly
at the model. To the right 'Whistler, 1859.'
H. 8|; w. sf. (H. 0-222; l. 0*149.)

WHISTLERS ETCHINGS. 37
53. Drouet. (T. 55.) A man looking to the right,
with folded arms. At the bottom ' Drouet, sculp-
teur,' and 'Whistler, 1859.' It is a half-length
portrait, in dry point, of an acquaintance of old
days, still living in Paris.
Mr. Avery has a trial proof. The print is scarce.
H. 9; w. 6. (H. 0*229; l. 0*152.)
54. Finette. (T. 56.) In the days of gigantic crino
line, a plain woman,- in a black velvet dress, black
hat, and with head on one side, stands by a win
dow ; one hand raised to her waist. - In the
furthest distance, through the window, is seen a
glimpse of city landscape with a dome and two
spires : perhaps the Dome of the Invalides and
the spires of Ste. Clotilde. In the right corner
' Whistler, 1859.'
Mr. Avery has what is- probably" the earliest
proof, with the dress, as he describes it, * nearly
in outline,' and *no table.'
The First State, which is in effect something
like a mezzotint, has the objects on the table hardly
at all defined, and is before the scroll-work of the
balcony, seen above the window. Mr. Avery has
this; and on the impression at the British Museum
Whistler has written 'Very rare. W.'
The Second State has the scroll-work added.
The Third State is carried further, but is much
less effective. On the table lie, clearly defined,
a mask, a fan, and an open box. I add, on
Mr. Thibaudeau's authority, that the box contains
billets doux.

38 WHISTLERS ETCHINGS.
Finette was a public dancer. She was gene
rally the companion of Alice la Provengale, or of
Rigolboche, in a famous quadrille then in vogue.
The portrait, with its distant city landscape seen
through the window, may have been taken in her
fifth-floor flat on the Boulevard Montmartre.
H. n ; w. 7f. (H. 0-279; L- o'IQ4-)
55. Paris: The Isle de la Cite. (T. 19.) A view
looking along the Seine ; first where the river is
spanned by a light iron bridge — the Pont des Arts —
then where the Isle de la Cite" divides the water
into two channels, each of which is crossed by
a stone bridge of several arches — the Pont
Neuf. Behind the many houses on the island
— in the middle distance — the towers of Notre
Dame are discerned faintly. To the left ' Whistler,
Dec. 1859,' and 'Paris, de la Galerie d'Ap.' — the
view having been taken from a window of the
Galerie d'Apollon at the Louvre.
This unfinished etching recalls to me Meryon's
work, only in its union of reality with artistry — the
Paris we recognise, yet the Paris an artist has beheld.
Of course, Whistler was blithe ; Me"ryon, sombre.
It is extremely rare. The plate is destroyed.
H. 7f ; w. 11 J. (H. 0*197; l. 0-286.)
56. Venus. (T. 27.) A naked woman lying on her
side, in bed, apparently sleeping, and with bent arm
raised to her breast. To the left ' Whistler, 1859.'
It is the nude seen by Mr. Whistler with rather
common eyes, for once.
H. 6; w. 9. (H. 0*152; l. 0*229.)

WHISTLERS ETCHINGS. 39
57. Annie Haden. (T. 51.) A girl, apparently of
ten years old, in the ugly dress of i860. She is
standing against a curtain. She wears a soup-plate
hat, and her cloak and frock assume the shape of
a pyramid, below the base of which are seen her
slender legs. She wears slight shoes with rosettes.
The slim right hand touches a fold ofthe cloak.
To the left 'Whistler, i860.'
Mr. Avery has a trial proof of this dry point,
with no work on the lower part of the frock, and
with one leg only in outline.
H. 13J ; w. 8£. (H. 0*336 ; L. 0*209.)
58. Mr. Mann. (T. 72.) A middle-aged man, stout
in the face, and with bushy whiskers. He wears a
wide-awake hat and a large loose cloak. Behind
him a background, as of the wooden partitions
that divide one part of an office from another. It
is woodwork panelled, and with a little balustrade.
To the left 'Whistler, i860.'
Dr. Riggall has a trial proof of this dry point,
with the face visibly unfinished.
H. 8|; w. sf. (H. 0*225 J l. 0*149.)
59. A Sketch at Limehouse. An unfinished jotting of
warehouse roofs, and figures in the foreground.
H- 3i 5 w. 8£. (H. 0*083 ; l. 0*209.)
60. Rotherhithe. (T. 41.) Two men, at the open
corner of some wooden structure looking down on
the stream, sit smoking their long clay pipes. To
the left the two masts and the rigging of a vessel —

40 WHISTLERS ETCHINGS.
its deck seen from above. A beached boat, with
mast slanting to the left, is seen next to the three
posts which rise between the two figures. To the
left ' Whistler, i860.'
One or two trial proofs at the British Museum
and at Mr. Stopford Brooke's, with the hull of the
beached boat quite white — in other words, not
indicated. Mr. Anderson Rose had a later trial
proof, with the hull of the boat partly worked.
It is one of the 'Sixteen Etchings,' and was
called ' Wapping.'
H. io£; w. l\. (H. 0267 ; l. 0-190.)
61. Axenfeld. (T. 52.) A dark-eyed, dark-haired
man, with moustache and small imperial, sits
holding a cigarette between the fingers of his
right hand, and turns his head towards the left.
In left lower corner ' Whistler, i860.'
At the British Museum and at Mr. Avery's
there are trial proofs before the face was finished,
and with no background and no hand, and, of
course, before the signature.
H. 8f ; w. sf (H. 0*225 i L- 0*149.)
62. The Engraver. (T. 58.) A partly bald man — it
is M. Riault, a wood-engraver — sits bending over a
table, working upon his wood-block, which is held
firmly in his left hand. To the right ' Whistler,
i860.' The First State is before the dry-point work on
the face and hair, and is of great rarity. The im
pression bought by Palmer for 4/. 4.1-. at the

WHISTLERS ETCHINGS. 41
Anderson Rose Sale is that which is now owned
by Mr. Avery.
Second State. With the dry-point work on face
and hair. There is a fine impression in the British
Museum. Rare.
H. 8|; w. sf. (H. 0*222; l. 0*146.)
63. The Forge. (T. 57.) The forge is on the left, and
a blacksmith in cap and apron, standing with left
hand on hip, with his right hand holds the iron in
the fire. Behind him two assistantSj standing at
the anvil, watch the operation, their faces and
figures illuminated by the flame. There are two or
three people at the back : a child standing, and a
woman seated on a bench. In right corner
'Whistler, 1861.'
It was etched in Brittany. The effect aimed at
in this audacious dry point is attained only in about
half a dozen of the finest impressions before the
publication. They are generally charged heavily
with bur. Mr. Avery has one, and one, which was
perhaps not wrongly described as ' the finest taken,'
was bought at Mr. Anderson Rose's Sale for 1 1/. 1 is.
by Hogarth. The later impressions have, I hope,
no money value.
It is one of the ' Sixteen Etchings.'
H. 7|; w. 1 2 J. (H. 0*194; l. 0*311.)
64. Joe. (T. 60.) The head of a young woman, full
face, with long flowing hair. In the right corner
'Whistler, 1861.'
Very few impressions of what would have been

42 WHISTLERS ETCHINGS.
quite a favourite subject had been taken when the
plate was destroyed.
H. 9; w. 6. (H. 0*229; L* o^S2-)
65. The Miser. (T. 62.) A figure, of which it is difficult
to say whether it is a man in a loose wrap, or a
woman in a heavy gown, sits at the far end of a
barely furnished room, with back to the spectator
and facing the window. The figure bends over
something that is under examination. The left side
of the room is flooded with light. Under the wall
are a long bench and a long table. To the left
'Whistler.' Mr. Heywood bought for \l. is. at the Burty
sale a proof of this rare dry point before the signa
ture and before some work on the left. Mr. Avery
has a proof before the signature. The British Mu
seum has a luminous impression with the signature.
H. 4|; w. 6£. (H. 0*117; L. 0*159.)
66. Vauxhall Bridge. (T. 46.) Across the whole of
the little plate, but in middle distance, extends the
bridge, seven arches of which are more or less dis
cernible. In the far distance, the line of river-side
buildings. The foreground is a spirited confusion
of barge, sails, masts, and cordage; a great rope,
fastened to some timber on the left hand, is strained
across to the lower right corner. To the right
'Whistler, 186 1.'
There are one or two trial prools before the
date. H. 2f ; w. 4%. (H. 0-067; L- 0-114.)

WHISTLERS ETCHINGS. 43
67. Millbank. (T. 44.) The river at Millbank, at low
tide. A row of posts following the line of the water
recedes in the distance. In the foreground a barge,
the stern of which bears 'Delight, 1861,' but the first
letter is not seen. Two youths stand on the shore.
The First State has written in the foreground,
' The Works of James Whistler. Etchings and Dry
Points, are on view at E. Thomas', Publisher, 39
Old Bond Street, London.'
In the Second State this lettering is removed,
but Mr. Menpes has a probably unique impression
before this was done, and with the word 'not'
added after the 'are.'
In the Second State it is one of the ' Sixteen
Etchings.' H. 4 ; w. 4|. (H. 0*102 ; l. 0*124.)
68. The Punt. (T. 85.) A man in a punt. To the
left 'Whistler, 1861.'
Published, Mr. Avery says, in ' Passages from
Modern English Poets, illustrated by the Junior
Etching Club.' (Day & Son, 1862.)
H. 4|; w. 6\. (H. 0*117 ; l. 0*165.)
69. Sketching. (T. 86.) It is a scene on the river.
On the right, an artist sketching, and ' Whistler.'
Like No. 67, it was published in ' Passages from
Modern English Poets.'
H. 5£ ; l. 6|. (H. 0*140 ; l. 0*165.)
70. Westminster Bridge in Progress. An unfinished
etching in Mr. Avery's possession, dated ' 1861.'
H. 6; w. 14. (H. 0*152; l. 0*355.)

44 WHISTLERS ETCHINGS.
71. The Little Wapping. (T. 49.) A sketch of ship
ping below bridge. To the left a small boat with
two men, one of whom is standing. Beyond this,
several vessels. To the right, first a barge with
two men ; then a barge full of sacks or of pigs.
In right corner 'Whistler, 1861.'
Mr. Avery and Mr. Theobald have it. If it is
not very interesting it is at least rare.
H. 4|; w. 4. (H. 0*121 ; l. 0T02.)
72. The Little Pool. (T. 48.) To the left an artist
sketching above the river-side. Many barges
below ; then a clear space of stream ; then a cluster
of ships. To the left ' Whistler, 1 86 1.'
There are trial proofs in various stages — not
easy to describe with certainty — and in its final
condition it is one of the ' Sixteen Etchings.'
H. 4 ; w. 4|. (H. 0-102 ; l. 0-124.)
73. Tiny Pool. Boats and posts in the foreground;
shipping in the distance. The monogram in dry
point to the right.
Mr. Menpes has a trial proof of this slight and
rare etching, before the monogram and other work.
H. 3f; w. 2 J. (H. 0-095 ; L- 0-063.)
74. Ratcliffe Highway. (T. 63.) The heads and
shoulders of many people in a sailors' dancing-
house. Two couples in the foreground. The sailors
are probably foreigners, the women are of Shadwell.
The woman of the right-hand couple has put her
arm on her companion's shoulder.

WHISTLERS ETCHINGS. 45
It is a very rare dry point, and is at the British
Museum and at Mr. Avery's.
H. 6; w. 8J. (H. 0-152 ; L. 0-222.)
75. Encamping. (T. 68.) A night effect. There must
be moonlight as well as a camp fire, for the trees
by the Thames cast deep shadows on the water.
In the front the tent, with the suggestion of a pot
round which the wood-fire curls. To the left two
figures — they are Ridley, the artist, and Freer —
and in the middle distance a boatman standing.
To the left ' Whistler, 1861.'
Impressions of this excessively rare dry point
are to be found at the British Museum and at
Mr. Avery's.
H. n^; w. fr\. (H. 0*286; l. 0*159.)
76. Ross Winans. (T. 67.) Mr. Ross Winans is
playing the accordion. On a table near him a
violin and bow. At the corner ' Whistler,' written
twice. Mr. Avery has a trial proof with the artist's
name written only once.
It is rare.
H. 9I ; w. 7f. (H. 0*248; l. 0*200.)
77. The Storm. (T. 74.) A man— who is Ridley, the
artist — hurrying along under a darkened sky. On
the right ' Whistler, 1861.'
A scarce dry point, sold in the Burty Sale for
4/. I2J-.
H. 6£; w. nj. H. 0-159; L- 0-286.)

46 WHISTLERS ETCHINGS.
78. Little Smithfield. On either side there recede
into the distance the quaint timber houses of a
narrow London lane : the woodwork wonderfully
indicated. Two figures lightly sketched in the
foreground. It is very rare.
H. 5i; w. 3f. (H. 0-033 ; l. 0-095.)
79. Cadogan Pier. (T. 64.) A morning vision of the
river off Battersea. In the foreground a stranded
boat. Behind it Cadogan Pier, and boats near
the landing-stage. In misty distance Battersea
Bridge under a veiled sky.
It is one of the ' Sixteen Etchings,' and was
called ' Early Morning : Battersea.'
H. 4§ ; l. 6. (H. o-iii ; l. 0-152.)
80. Old Hungerford Bridge. (T. 37.) Looking
down on the Thames, with several barges and river
steamers by Hungerford Pier. In middle distance
the old Suspension Bridge, now removed to Clifton,
and by it the new railway bridge to Charing Cross
Station. The distance is a view of the Borough.
In left-hand lower corner ' Whistler.'
It is one of the ' Sixteen Etchings.'
H. 5§; w. 8J. (H. 0*136; l. 0-209.)
81. Chelsea Wharf. (T. 75.) In middle distance
boats lie upon the shelving shore of the river.
Behind them, and to the right, two or three houses.
On the side of the house to the furthest right —
near a tall sign-post — 'Chelsea Wharf is written.

WHISTLERS ETCHINGS. 4y
A cart and horse^pn the shore. In the background,
to the left, trees and* a bridge, faintly drawn.
This exquisitely suggestive and delicate little
etching was wrought in 1863. There are one or
two impressions before the butterfly monogram.
My impression — on thin Japanese paper — has the
butterfly, and has a similar butterfly drawn in the
margin in pencil, with Whistler's signature and a
date—' '73.'
Very scarce.
H. l\\ w. i\. (H. 0*089; L- 0*190.)
82. Amsterdam, Etched from the Tolhuis. (T. 82.)
In front a space of water with boats, which are the
coasting craft of the Zuyder Zee. To the left, in
the background, the houses and shipping of Am
sterdam, which dwindle away towards the right to
a thin line of flat coast under a wildish sky. In
right corner 'Whistler, 1863, a Amsterdam, Tolhuis.'
The rare First State — which, in the only ex
quisite impressions, is on thin Japan paper — is
without the monogram.
Second State. The monogram added, and the
sky re-worked, ineffectually, so that it is less wild
and full.
H. 5^; w. 8£. (H. 0*130; l. 0*206.)
83. Weary. (T. 71.) A young woman, whose face is
seen almost in profile, with head turned towards
her left shoulder. She lounges — tired — in a large
seat, her flowing hair extended on either side. If
the print is turned upside down another girl's head

48 WHISTLERS ETCHINGS.
will be found to have been begun on the plate.
To the left ' Whistler, '63.'
Mr. Avery, who owns a proof of this dry poinf,
has a note to the effect that it was ' finished ' in
October 1872. He and others have mistaken the
' '63 ' in the signature for '68.
H. 7f i w. 5i- (H. 0*197 ; l. 0*130.)
84. Shipping at Liverpool. Men are unloading cargo
on the deck of a vessel. The masts of other vessels
seen through the rigging. To the right ' Whistler,
1867.' H. 9; w. 6. (H. 0*229; L- °-I52-)
85. Chelsea Bridge and Church. (T. 53.) The
church, of which only the tower is seen — and that
in no detail — is in middle distance on the left
In foreground, two barges and a stranded skiff.
To the right a boat with flapping sail, and, further
back, Chelsea Bridge, faint against a fainter sky.
This not perfectly satisfactory dry point is one
of the ' Sixteen Etchings.'
H. 4; w. 6|. (H. 0*102; l. 0*175.)
86. Speke Hall. A timbered country-house with
slender trees in middle distance. In the fore
ground a slight, tall young woman, who wears a
broad hat and long jacket. In the corner 'Whistler,
1870. Speke Hall.'
Mr. Avery has a trial proof before the mono
gram, and with the figure put in in dry point.
Mr. Menpes has a trial proof with the figure lightly

WHISTLERS ETCHINGS. 4g
etched, and the face, which was turned away, now
seen in profile. It is before the monogram.
First State. With the monogram.
Second State. The figure removed.
The place is in the neighbourhood of Liverpool.
H. 9; w. 6. (H. 0-229; L* °-I52-)
87. The Model Resting. (T. 80.) A young woman,
lightly draped, and with ribbon bound tightly round
her hair, stands in a position of rest.
An elegant and rare dry point.
Mr. Avery's impression of the First State
Whistler has dated '1870.' It is before certain
work in the background.
The Second State has the monogram and the
slight additional work.
H. 81; w. 5£. (H. 0*209; L. 0*133.)
88. Whistler's Mother. An elderly lady stands,
somewhat stooping.
It is a slight but exquisite dry point, full of
refined and tender expression.
Mr. Menpes possesses what I suppose to be
the only impression of this plate.
H. 10; w. 6. (H. 0-254; l. 0-152.)
89. The 'Swan.' One side of a suburban street,
which is in Chelsea. A horse and cart before one
of the houses. To the right the monogram.
Mr. Avery has a memorandum that it was done
in 1872. H. 2| ; w. 3$. (H. 0-067 ; l. 0-098.) D

50 WHISTLERS ETCHINGS.
90. Fosco. (T. 73.) A male academical figure, with a
long pole in his hand.
This dry point was done in 1872, and exhibited
that year at the Gallery, 168 New Bond Street,
under the management of M. Deschamps. It was
called ' An Etching.'
H. 8£; w. 5J. (H. 0*206; l. 0.133.)
91. The Velvet Dress. (T. 76.) A lady, standing
and seen almost in profile, looking to the left. The
heavy folds into which velvet must fall are indicated
by but a very few touches. Round the neck a ruff
is seen, and that and the hair are drawn with
Whistler's peculiar delicacy. To the left the
monogram. First State. There is a blank space in the back
ground above the top of the head.
Second State. The blank space is filled up with
vertical lines, which are now continuous from the
left of the head to the right of it.
This scarce dry point is a portrait of Mrs.
Leyland. Done in 1873.
H. 9|; w.*6|. (H. 0*232; l. 0-155.)
92. The Little Velvet Dress. A lady standing
facing to the right, in a black dress, a ruff round
her neck.
Mr. Avery's proof of this scarce dry point —
which is doubtless a memorandum of Mrs. Leyland
— is dated 1873.
H. 6£; w. 4J. (H. 0*165"; L- 0-114.)

WHISTLERS ETCHINGS. 51
93. F. R. Leyland. A middle-aged man with pointed
beard. He is standing, and in evening dress, but
his arms and legs are but vaguely indicated. The
monogram to the right.
Only a very few copies of this unfinished dry
point have ever been circulated, and the plate is
now destroyed.
The Mr. Leyland here portrayed is the father
of the three girls whose portraits follow. In his
town house is the ' peacock - room,' famous foi
Whistler's decoration.
H. 12; w. 7. (H. 0*305; l. 0.178.)

94. Fanny Leyland. (T. 77.) A slim young girl, with
grave face and fine flowing hair, sits and is seen in
profile. Her hands, just indicated, are placed on
her lap. She wears a light, long, looseish frock,
with short flounces — a cascade of muslin. And 1
never saw before, in engraving, so fortunate a
suggestion of the lights and shadows of wavy
blonde hair. On the left, very faintly, ' Fanny
Leyland.' Etched in 1873. It is a very rare dry point.
Monsieur E. Deprez has a trial proof, before the
monogram at the side.
H. 7f ; w. sh (H. 0*197 ; l. 0-133.)
95. Elinor Leyland. (T. 78.) A tall child, standing
with hands on hips and one leg thrust out in act to
walk jauntily forward. On the right the monogram.
H. 8§;w. 5^ (H. 0*213; l. 0-140.)

52 WHISTLERS ETCHINGS.
96. Florence Leyland. (T. 79.) A tall child, standing,
with a hoop in her right hand. With the artist's
monogram. This and the two preceding dry points represent
the daughters of Mr. Leyland in their early girlhood.
H. 8; w. 51 (H. 0*203; L- o-I33)
97. Reading a Book. A girl sitting, with knees some
what raised. She is reading a book. To the left
the monogram. H. 5 ; w. 3- (H. 0T27; l. 0-076.)
98. Tatting. A girl, in hat and ruff, sits 'tatting' —
her hands but slightly indicated.
This and the preceding plate Mr. Whistler told
me he believed were studies from the Leylands.
They have little value, though Tatting was pub
lished by the Messrs. Dowdeswell, several years
after it was executed — in 1880, indeed.
H. 5; w. 3. (H. 0*127; l. 0076.)
99. Maude. A tall standing figure, in fur tippet, and
with hand on hip. The monogram on the curtain
to the right.
Mr. Menpes has three trial proofs, in the first of
which the tippet is light instead of dark, and the dress,
though touching the ground, has no long train.
It is rare.
H. 8|; w. 5|. (H. 0*225 i **• 0-149.)
100. Maude, Seated. A seated figure, holding a letter.
A curtain is behind her.

WHISTLERS ETCHINGS. 53
Mr. Avery's proof of this dry point Whistler has
dated ' 1873.'
H- Sii w- 4- (H. 0-140; l. 0-102.)
101. The Beach. A view on the beach — said to be
Hastings — with clothes hanging out to dry.
Mr. Avery's impression of this very slight,
little-known, and ineffective dry point, is dated
'1873.' H. 9; w. 6. (H. 0*228; L. 0*152.)
102. Tillie : a Model. A nude figure of a girl stand
ing, slim and stooping ; her hands between her
knees. The monogram on the left.
This slight and rare and very beautiful dry
point was done in 1873, Whistler says, in a note
pencilled on Mr. Avery's impression. Tillie, I may
add, was an approved young model of the day.
H. 9; w. 6. (H. 0*228; l. 0*152.)
103. Seated Girl. A giri, lightly draped, with one
arm holding her chair and the other on her knee.
Monogram to the left
A very rare dry point, of which Mr. Menpes
has a fine impression.
H. 8; w. 5 J. (H. 0-203; L. 0-140.)
104. The Desk. A girl seated, the figure turned to
wards the left of the plate. She is seen full face,
the left arm drooping.
It is a slight unfinished dry point, of which
Mr. Menpes has a good proof.
H. 8J; w. sh- (H- 0209 ; L. 0*140.)

54 ' WHISTLERS ETCHINGS.
105. Resting. A young girl, leaning, lightly draped.
A slight sketch in dry point.
H. 4|; w. i\. (H. 0-124; L- 0-073.)
106. Agnes. Front view of a young woman, sitting, with
her hands on her lap.
A scarce dry point.
H. 8|; w. 6. (H. 0*225 ; l. 0*152.)
107. The ModelLying Down. Aslim girl, lightly draped,
lies on a couch, above which there are Japanese
fans. Her bare right arm is raised to her head.
A most rare dry point, of high elegance.
Mr. Menpes has what may perhaps be the only
impression. H. i\\ w. n. (H. 0*190; l. 0-279.)
108. Two Sketches. In the left upper corner of the
plate the head of a girl leaning against the chair
back. If the print is turned round there will be
seen a slight indication of a standing figure.
A dry point
H. 7; w. sh (H. 0178; l. 0-133.)
109. The Boy. A boy, lightly draped, half seated, and
the figure turned to the right. The face, which is
fully seen, is surrounded by flowing hair. To the
left the monogram.
A rare dry point. Mr. Menpes has a trial proof
before the slight vertical lines which cross the
monogram and other work which enriches the
picture. Mr. Macgeorge has a touched proof.
H. 8|; w. 5|. (H. 0-222 ; L. 0-146.)

WHISTLERS ETCHINGS.

55

110. Swinburne. A full-face view of the head of the
poet, with long hair.
A remarkable dry point, of which Mr. Menpes
has an impression.
H. n ; w. 7§. (H. 0*279; L- 0*187.)
111. A Lady at a Window. She stands with her back
to the window, wears a hat, and is reading a large
paper. A dry point of loose and rapid work. It is
scarce, but of little value.
H. 9; w. t>\. (H. 0*228; l. 0-155.)
112. A Child on a Couch. A girl-child lying asleep,
with left hand towards the floor, touching a dis
carded book. With the monogram.
H. 5f ; w. 81 (H. 0*136; l. 0*216.)
113. Sketch of a Girl, Nude. She is lying on a
couch, the top of which is on the right of the plate.
She is turned partly on her side, her chin sunk in
her chest ; the left arm bent ; the right is stretched
out towards her leg.
A very slight and graceful dry point. Very
rare. Mr. Menpes has two impressions washed
with Indian ink.
H. 5^; w. 8£. (H. 0*140; l. 0-216.)
114. Steamboats off the Tower. In the front a boat
with two figures, sketched most lightly. In middle
distance two large steamers, lying together. Behind
them an indication of shipping, and, to the right,

56 WHISTLERS ETCHINGS.
a castellated building and some sign of trees.
The monogram in the right upper corner.
Mr. Avery has two proofs of this dry point,
dated 1875. One of them may probably be that
impression which in Mr. Anderson Rose's Sale was
described as 'The Thames from the Custom-
House,' and was knocked down to Mr. Thibaudeau
for 3/. 1 8s.
H. 6; w. 8f. (H. 0*152; l. 0*225.)
115. The Little Forge. In front a man stooping over
an anvil. Behind him other figures in graceful
action : one working near the window, one standing
near the furnace. Light and shadow play among
the blackened rafters of the roof. Through the
window a slight winter landscape of bare tree
trunks. This dry point — of which Mr. Ernest Brown
possesses the finest impression I know — was done
at Liverpool in 1875.
H. 9^; w. 7. (H. 0*281 ; l. 0*178.)
116. Two Ships. They are side by side and near us,
and are seen from behind. A small boat lies
alongside the ship to the left.
The scene is St. Katherine's Docks. It was
done in 1875. Like Tatting, it had failed to
please Mr. Whistler in the biting or execution,
and was saved from destruction by others — whose
service to mankind was in this case not consider
able. The Messrs. Dowdeswell issued it in 1880.
H. 8£; w. 5£. (H. 0*209; l. 0*133.)

WHISTLERS ETCHINGS. 57
117. The Piano. A young woman, in a dark and tightish
dress, is seen in profile, facing to the left. The
piano is not visible, but the action ofthe hands and
the extended arms tell the story of the playing.
Mr. Avery's impression of this rare and expres
sive dry point is dated 1875. M*. Menpes has an
impression before the monogram.
H. 9; w. 6. (H. 0*228; l. 0*152.)
118. The Scotch Widow. A young woman seated,
bending gracefully to the right of the plate : the full
face visible : a plaid on her shoulders. On the
right the monogram.
A dry point, done in 1875.
H. 8; w. 4. (H. 0*203; l. 0*102.)
119. Speke Shore. The edge of a coppice, and roughish
land, beyond which there is probably some broad
water. In the foreground a lady, in a hat with
flowing veil, makes . her way towards the coppice.
There is a suggestion of a low and rainy sky.
Mr. Theobald has an impression of this rare
sketch in dry point.
H. 6; w. 9. (H. 0*152; l. 0*228.)
120. The Dam Wood. A study of slender trees, with a
few leaves left in the late autumn.
Mr. Avery has the first proof of this slight, sug
gestive dry point, done in 1875.
The Dam Wood is near Speke Hall.
H. 7; w. 4§. (H. 0-178; l. o-ui.)

58 WHISTLERS ETCHINGS.
121. Shipbuilder's Yard. A man in the foreground,
near some high scaffolding. Vessels and houses
seen across the river. With the artist's monogram.
An impression of this dry point, done in 1875,
was in Mr. Anderson Rose's collection.
H. n; w. 6. (H. 0-279; L- o-I52-)
122. The Guitar-Player. He stands, a dark figure,
with the feet not visible, and faces us. The mono
gram on the right.
It is a portrait of Ridley, the artist.
H. io|; w. 7. (H. 0-276; l. 0-178.)
123. London Bridge. A single arch of the massive
bridge, seen from below. A waggon crossing, with
sacks and a man upon them, visible above the
parapet. Through the arch is seen various ship
ping, and, quite to the front, a rowing-boat with two
figures, lightly sketched.
It is a scarce dry point.
H. 6£; w. 9£. (H. 0-155 ; L. 0-232.)
124. Price's Candle- Works. They are at Battersea,
and are seen from across the water. One or two
barges in middle distance. Behind these, the low-
arched sheds and chimneys of the candle-works,
and, to the right, two arches of a bridge.
In the Second State of this dry point the mast
and sails of one of the barges rise much above the
line of buildings.
H. 5|; w. 8|. (H. 0-149; *-. 0-225.)

WHISTLERS ETCHINGS.

59

125. Battersea : Dawn. In the centre of the picture, in
the mist of dawn, Battersea lies over the Thames :
a vague mass of roof and chimney rising behind a
cluster of river steamers. Some wherries in the
front. In the sky the monogram.
The First State — of which Mr. Macgeorge
and I possess impressions — is before any vertical
lines on the bow of the steamer under the tallest
factory chimney to the left of the plate, and before
a steamer's side to the right of the plate is shaded
in similar manner.
Second State. With the added work just
described. An extremely rare and very poetical dry point.
H- Sf j w- 8f. (H. 0-146; l. 0-222.)
126. The Muff. A young woman seated, having come
to pay a morning call, and meaning to be very
pleasant. She is seen almost in profile, and looking
towards the right. She wears a highish hat, trimmed
with feathers. Her jacket is edged with fur, and
one of her hands rests upon, while the other rests
within, her muff. She bends forward a little. To
the right the monogram.
A scarce little dry point, of elegant and refined
triviality — if, indeed, it is to be trivial to be entirely
of our day.
H. si; w. 3. (H. 0*130; l. 0*076.)
127. A Sketch of Ships. One dark to the extreme left ;
another — a mere outline — to the extreme right.
H. 6 ; w. 8f. (H. 0-152; l. 0-222.)

60 WHISTLERS ETCHINGS.
128. A Riverside Sketch. Unfinished; with, in the
distance, the four turrets of the White Tower.
H- 3i ; w- 7§- (H. 0*082 ; l. 0*190.)
129. The Troubled Thames. A vague line of ware
houses in shadow, seen across full and disturbed
waters. Mr. Menpes has a trial proof before the faint
indication of the little bridge at the extreme right
of the plate.
H. 4|; w. 8|. (H. 114*30; l. 0*225.)
130. A Sketch from Billingsgate. A sketch of
crowded shipping, with figures in the right-hand
lower corner. The monogram to the right.
The First State of this slight dry point is
without the monogram and the figures.
H. 5|;w. 8|. (H. 0*149; l. 0-225.)
131. Fishing-Boats — Hastings. Fishing-boats on the
shore, and nets in the foreground hanging out to
dry. Behind the line of boats, shanties and a hill
side. The monogram to the left, and to the right
' Hastings.' It was done in 1877.
Mr. Menpes has a trial proof before the mono
gram and the delicate dry-point work beneath it.
H. 6; w. 10. (H. 0*152; L. 0*254.)
132. Wych Street. The upper part of some old
timbered houses. Above the house-roofs, and to
the left, is seen the top of the tower of St. Clement
Danes.

WHISTLERS ETCHINGS. 61
A dry point done in 1877, in the possession of
Mr. Avery and of Mr. Theobald.
H. 8£; w. 5^. (H. 0*216; l. 0*140.)

133. Temple Bar. Temple Bar, seen from the Strand,
occupies the centre of the plate. Behind it, faintly
seen, the tower of St. Dunstan's.
Mr. Menpes has a proof taken at almost the
beginning of the work. It is the mere outline in
pure dry point, after which the plate was etched —
an order of proceeding rarely adopted.
H. 8f ; w. 5§ . (H. 0*213 ; L. 0*136.)
134. Free-Trade Wharf. Looking along the river
from Limehouse. (It is sometimes called 'The
Little Limehouse.') To the right a timber ware
house, supported on piles, and with open front, is
seen in strong light and shadow. Behind it other
-warehouses follow towards an indistinct distance,
the line of them broken here by a gigantic crane, and
there by the bow and bowsprit of a ship protruding
from some side-dock. To the left a cluster of
vessels. A man in a wherry, in front of the ware
houses, rapidly makes as if to cross the stream.
The monogram on the water.
Etched in 1877, and issued by the Fine Art
Society in an edition limited to a hundred impres
sions, printed by Goulding, Whistler having himself
printed two or three impressions previously, of
which Mr. Avery has one and I another.
H. 3fjw. 7f. (H. 0*098; L. 0187.)

62 WHISTLERS ETCHINGS.
135. The Thames towards Erith. A broad river with
many small craft on disturbed water. In front, to
the left, a rowing-boat with several figures pulling
across the stream. Rather distant, to the right,
under a threatening sky, a long wooden shed, on
piles. H. 5f; w. 8f. (H. 0-146; L. o'222.)
136. Lindsay Houses. With the monogram in the sky.
I know only of Mr. Avery's impression of this
dry point — done in 1878, he says — and I cannot
remember it distinctly. Mr. Whistler does not
recollect it, but he says it must represent the old
houses— Lindsay Row, Chelsea — in one of which
he lived before he went to the White House.
H. 6; w. 9. (H. 0-152; l. 0-228.)
137. From Pickled-Herring Stairs. A view on the
river. In middle distance, to the left, a row of
houses, and a steamer moored against a quay.
Beyond these a crowd of steamers. Nearer us, to
the right, several fishing-boats lie together. The
monogram in the right lower corner.
Mr. Menpes has a trial proof without any dry
point. H. 5f ; w. 8£. (H. 0*149; l. 0-225.)
138. Lord Wolseley. A head and shoulders, looking
to the right.
Mr. Menpes has an impression of this rare and
vigorous sketch in dry point, touched by Whistler
in water colour.
H. 1 if; w. 7. (H. 0-298; l. 0-178.)

WHISTLERS ETCHINGS. 63
139. Irving as Charles the First. To the left of
the plate Mr. Irving stands with left hand raised
and legs far apart.
A scarce dry point, two proofs of which are in
the possession of Mr. Menpes. Mr. Whistler tells
me it did not greatly interest him, as he had already
done with the subject in the painted picture. But
it is full of character.
H. 8f ; w. 5|. (H. 0*222; l. 0*149.)
140. St. James's Street. Looking down St. James's
Street, from a housetop in Piccadilly. The street
is full of bustling folk and passing carriages. The
Palace seen at the bottom.
A lithograph from this plate appeared in Vanity
Fair in 1878. I think, indeed, the etching was
made for that purpose.
H. n; w. 7. (H. 0*279; L- o-I78.)
141. Battersea Bridge. A barge, with set sail, makes
towards the bridge from behind. Houses in the
left distance. The monogram to the right.
Issued by the Fine Art Society at 61. 6s.
H. 7^; w. 1 if. (H. 0-200; l. 0-298.)
142. Whistler, with the White Lock. Only the
head finished, and showing the famous white lock.
A dry point done in 1879.
H. 3; w. 4\. (H. 0-076; l. 0*114.)
143. The Large Pool. In front nine barges lie close
together alongside a wooden wharf; shipping in
mid-stream; and the two lines of the river-side

64 WHISTLERS ETCHINGS.
houses meet at the horizon. The monogram to
the left.
Mr. Theobald and Mr. Menpes have the First
State, before the monogram and some additional
work on the shipping. It was done in 1879.
H. l\; w. 11. (H. 0-190; L. 0*279.)
144. The 'Adam and Eve,' Old Chelsea. A row of
river-side houses, elaborately drawn : one or two
of a dignified and leisurely sort, the old gabled
' Adam and Eve ' being about the nearest of them.
Several barges stranded on the muddy shore. The
tower of Chelsea Church rises behind the further
houses. H. 7; w. nf. (H. 0*178; l. 0-298.)
145. Putney Bridge. A man and a woman, lightly
sketched, in a boat, of which only a part is seen,
low, at the left hand. Beyond them, the quaint
wooden bridge crosses the entire picture. Pas
sengers driving and walking along it. A boat
glides between two of its buttresses, and, beyond
the boat, there is a wood on the bank of the river.
, The monogram in front.
Issued by the Fine Art Society at 61. 6s.
H. 7|; w. 1 if. (H. o*2co; l. 0-298.)
146. The Little Putney. Between an empty sky and
a wide-flowing river, with no boats, there extends,
in middle distance, the varied line of Putney
. Bridge, with the church to the right rising from
amongst trees. The timber-work of the bridge
reflected delicately in the stream. The monogram
towards the right.

WHISTLERS ETCHINGS. 65
Done in 1879. Early impressions issued by
the Fine Art Society at 3/. 3.?. I then obtained
the plate for the limited edition of my Four Masters
of Etching, because I thought it gave extra
ordinarily, in its considered slightness, the sense of
spaciousness and sunshine.
H. 5ii w- H (H- °-I33; L* 0*206.)
147. Hurlingham. The Thames side, with houses and
trees. In front several boats lying together : two
or three to the left have spread sails, dark, and
throwing their shadows on the water. The mono
gram low towards the left lower corner.
A published plate, with the stamp of the
Printsellers' Association.
H. 5f; w. 7|. (H. 0*136 ; l. 0*200.)
148. Fulham. The bridge in middle distance. Two
barges in front of it to the left. At the end of the
bridge, to the right, a boat lies stranded, and
beyond it is the church tower, with a tall tree to
the right. The monogram low in the plate, to
wards the right.
A published plate, with the stamp of the Print-
sellers' Association. Among Whistler's etchings
this is one of the least desirable.
H. 5& ; w. 8£. (H. 0*130 ; l. 0*206.)
149. The Little Venice. Venice, its houses, domes,
and campaniles, seen across the lagoon. In
middle distance several posts rise out of motion-
E

66 WHISTLERS ETCHINGS.
less water, and two or three gondolas are visible
between these and the line of the city. The
monogram to the left.
I recollect two other prints in which the
artistic motive is much the same as in the
present one : they are the really exquisite View
of Montrose, by Mr. George Reid, in the ' Life
of Paul Chalmers,' and the View of Amsterdam,
by Rembrandt, — and Little Venice is the finest of
the three.
This is one of the Fine Art Society's ' Venice :
a Series of Twelve Etchings. A hundred sets;
fifty guineas the set.' They were issued in 1880.
H. 7^; w. iof. (H. 0*184; L- 0*263.)
150. Nocturne. A night effect on the wide waters.
Towards the still luminous horizon, a three-masted
ship, and the line of Venice seen vaguely, darkish
against the sky.
One of the ' Venice ' Set mentioned above.
H. l\; w. 1 if. (H. 0*200 ; l. 0*295.)
151. The Little Mast. A Venetian mast — with two
ropes from the top of it crossing to a house roof —
rises at the far end of a piazza against a balustrade
which follows the line of a canal. Many figures,
slightly drawn, in the piazza, and a flight of steps
beyond the furthest house to the left. The mono
gram on the right.
One of the ' Venice ' Set
H. 10J; w. 7§. (H. 0*267; l. 0*187.)

WHISTLERS ETCHINGS. 67
152. The Little Lagoon. Two posts rise above the
water in front to the left. Further there are
several gondolas and one or two coasting-boats,
spreading no sail. In the distance certain build
ings, and a broken coast-line, as of islands or
the Lido, are outstretched under an ample and
perhaps breezy sky. The monogram on the
right. One of the ' Venice ' Set.
H. 9; w. 6. (H. 0-228; l. 0-152.)
153. The Palaces. They face us, with their windows
and balconies of Venetian Gothic, seen across the
breadth of quiet water. Two or three gondolas
are in waiting near their doorways. To the left
other gondolas crowded at the steps which lead
to a piazzetta. To the right an iron gateway,
vaguely indicated.
In the ' Venice ' Set.
H. 10; w. 144. (H. 0-254; l. 0-363.)
154. The Doorway. The water in the foreground laps
the steps of the doorway, and, standing on the
lowest step, a girl bends forward. Through the
door is seen apparently a workshop, lighted partly
from a long low window at the back. The place
has once been an important palace, for the door
way is splendidly enriched with pilasters, arches,
and good metal work, close about it.
There are one or two undesirable trial proofs,
with much less work in the small spaces between

68 WHISTLERS ETCHINGS.
the arches high on the house front, and with the
whole effect thinner and weaker.
In the ' Venice ' Set
H. n^; w. 8. (H. 0*292; l. 0*203.)
155. The Piazzetta. To the left the steps round the
base of St. Mark's Column, and the lower part of
the column itself in part obstructing the view of
the church. " In middle distance a group of chairs
partly occupied, and behind them the buildings of
the Place.
In the ' Venice ' Set.
H. 10; w. 7^. (H. 0*254; l. 0*181.)
156. The Traghetto. The ferry is seen only at the
end of a dark arched passage, in front of which
is wayward leafage of an untended tree, showing
white against the dark of the shadowed archway.
In the foreground, to the right, four gondoliers at
a table. In the ' Venice ' Set.
H. 9i; w. 12. (H. 0-235 ; l. 0-305.)
157. The Riva. Looking along the Riva dei Schiavoni
and the Grand Canal. Many figures in the fore
ground and on a steep bridge which crosses a side-
canal. Beyond the bridge the buildings stretch
away, their fronts curving to the right, where they
are partly lost in the sails and rigging of the ships
that lie along the further quay. The monogram
on the left.

WHISTLERS ETCHINGS. 69
There is a trial proof, which has two figures
in the very middle of the foreground, — those of
two women who stand quite close together.
These were removed for the issued state, when
the artist covered the hanging fishing-nets with
fresh work, making them almost uniform in tone
by filling in spaces hitherto empty.
The trial proof is also without any work in the
top left-hand corner.
In the ' Venice ' Set
H. 7f; w. 1 1 \. (H. 0*200; l. 0*292.)
158. Two Doorways. Two doorways seen at the
sudden bend of a canal. The first of them is
more properly an open arched entrance to a
darkened and winding staircase, from the roof
of which a lamp is hanging. The second is an
arched door way, with closed door, and an
ornament of hammered ironwork above it, filling
the arch. The monogram on the wall to the left.
In the ' Venice ' Set.
H. 8; w. n|. (H. 0*203; L- 0*292.)
159. The Beggars. They stand — an elderly woman
and a bare-footed young girl — against the wall of a
much-shadowed passage-way, wliich is roofed with
dilapidated plaster and rotting timber. Beyond
them a man in a dark cloak. The figures of two
girls, water-carriers, are faintly seen at the end of
the passage against the light of the open street
Mr. Whistler has an early trial proof without

70 WHISTLERS ETCHINGS.
any of these figures, but with an old white-bearded
man where the elderly woman afterwards appears.
In the ' Venice. ' Set.
H. 12; w. 8£. (H. 0*305 ; l. 0-209.)
160. The Mast. In the foreground a group of people,
all but one seated; one or two of them dress
making out of doors. A man with a long cloak,
and carrying a basket, saunters along on the right.
In middle distance rises a Venetian mast, backed
by the shabby houses of a third-rate quarter.
In the ' Venice ' Set.
H. 13! ; w. 6|. (H. 0*340; l. 0*162.)
16I. Doorway and Vine. A dark passage-way under
the first floor of a house. A figure waiting at the
end of the passage. A vine grows at the left in
front, its branches and leaves following the wall
towards the right.
This is one of Messrs. Dowdeswell's set of
'Twenty-six Etchings,' — thirty Sets, price fifty
guineas the Set — issued in 1886. Twenty-one
were of Venetian subjects, etched in 1880; the
remaining five, of English subjects, etched a little
later.* H. g{; w. 6f. (H. 0*295 i L- o-I7i0
* Along with this set Mr. Whistler issued a series of ' Propositions,"
at once serious and entertaining. It will be well to reprint them here.
They are as follows :—
' I. That in Art it is criminal to go beyond the means used in its
exercise. ' II. That the space to be covered should always be in proper rela
tion to the means used for covering it

WHISTLERS ETCHINGS. 71
162. Wheelwright. A wheelwright's shop : a man
working at a wheel in the foreground, and several
men behind him.
This is one of the ' Twenty-six Etchings '
mentioned above.
H. 5 ; w. 6|. (H. 0*127 ; L. 0*174.)

"III. That in etching, the means used, or instrument employed,
being the finest possible point, the space to be covered should be small
in proportion. ' IV. That all attempts to overstep the limits insisted upon by such
proportion are inartistic thoroughly, and tend to reveal the paucity of
the means used, instead of concealing the same, as required by Art in
its refinement. ' V. That the huge plate, therefore, is an offence — its undertaking
an unbecoming display of determination and ignorance — its accom
plishment a triumph of unthinking earnestness and uncontrolled energy
—endowments of the " duffer."
' VI. That the custom of " Remarque " emanates from the amateur,
and reflects his foolish facility beyond the border of his picture, thus
testifying to his unscientific sense of its dignity.
' VII. That it is odious.
' VIII. That, indeed, there should be no margin on the proof to
receive such " Remarque."
' IX. That the habit of margin, again, dates from the outsider, and
continues with the collector in his unreasoning connoisseurship — taking
curious pleasure in the quantity of paper.
' X. That the picture ending where the frame begins, and, in the
case of the etching, the white mount, being inevitably, because of its
colour, the frame, the picture thus extends itself irrelevantly through
the margin to the mount.
* XI. That wit of this kind would leave six inches of raw canvas
between the painting and its gold frame, to delight the purchaser with
the quality of the cloth.'
When I reminded him that in the matter of margin Meryon some
times agreed with him — the Rue des Mauvais Garcons being, somehow,
never found with a margin — Mr. Whistler was not so pleased as I
had hoped he would be. 'Ah! but MtSryon,' said Mr. Whistler,
'whom you have taken out of his comfortable place — he was not a
great artist'

72 WHISTLERS ETCHINGS.
163. San Biagio. In front the muddy bank of a canal
and a great wall pierced in the centre by a
passage-way. Clothes hang to dry over the arch
of the passage-way, and through it is seen the
perspective of the distant street.
One of the ' Twenty-six Etchings.'
H. 8£ ; w. 12. (H. 0*209 i L- o'3°S*)
164. Bead-Stringers. Bead-stringers sit at a doorway,
behind which is the gloom of a room.
There are one or two trial proofs with the
woman's head to the right of the picture of a
totally different type — a true Venetian.
In the ' Twenty-six Etchings.'
H. 9; w. 6. (H. 0-228; l. 0-152.)
165. Turkeys. Turkeys and a girl near the well in the
squalid courtyard-garden of a poor Venetian house.
In the 'Twenty-six Etchings.'
H. 81; w. 5^. (H. 0-209; i~ 0*133.)
166. Fruit-Stall. A fruit-stall under an awning on a
bit of pavement between the house and the canal.
A door dark at the side of it. A girl with arm
raised sits under the middle of the awning.
There is a trial proof before any of the figures
actually under the awning or in the doorway.
In the ' Twenty-six Etchings.'
H. 8| ; w. sf . (H. 0-225 ; l. 0-149.)
167. San Giorgio. The church, its facade, dome, and
campanile, are seen to the left at some distance.
Nearer, a whole fleet of coasting -boats — the prin-

WHISTLERS ETCHINGS. 73
cipal objects in the picture — their masts rising
large and dark against the houses far behind them.
In the ' Twenty-six Etchings.'
H. 8J; w. 121. (H. 0*209; L- 0-308.)
168. Nocturne Palaces. A house, with its balcony
throwing a deep shadow, stands on the left, where
one canal meets another. An almost blank wall
to the right. A dark sky, and darkness under the
arch of a low bridge.
In the ' Twenty-six Etchings.'
H. nf ; w. 7|. (H. 0*295; l. 0*200.)
169. Long Lagoon. In middle distance, two posts
close together in the centre of the picture.
Behind them two other posts, and in the
distance a thin line of coast, with a dome to
the left of it and ships to the right.
It is one of the ' Twenty-six Etchings.'
H. 6 ; w. 9. (H. 0*152 ; l. 0*228.)
170. Temple. The corner house of a lane in the
Temple, seen in middle distance. In front of
it a lamp-post and a' waggon and horses. To
the right, in front of a shed and of another
house, there rises a bare and sickly London tree.
One of the ' Twenty-six Etchings.'
H. 4; w. 6. (H. 0*102; l. 0*152.)
171. The Bridge. A light bridge occupies the middle
of the plate, in middle distance. Several boats in
front of it. From one of them a boy leans out

74 WHISTLERS ETCHINGS.
towards the water : in another a boy lies back
upwards. In the ' Twenty-six Etchings.'
H. i if ; w. 7§. (H. 0*298; L. 0-200.)
172. Upright Venice. Towards the bottom of the
plate many figures on a quay. Then, after a clear
space of water with no craft, many gondolas, and
Venice under a cloudy sky.
There is a trial proof without anything in the
foreground — neither quay nor figures.
One of the ' Twenty-six Etchings.'
H. 10; w. 7. (H. 0*254; l. 0*178.)
173. Little Court. The further side of a little court,
with figures light against the darkness of a door
way, and to' the right a costermonger's cart.
Buckets hanging at a shop window to the left.
The court is somewhere out of Drury Lane.
This is one of the ' Twenty-six Etchings.'
H. 5 ; w. 6|. (H. 0*127 ; L- 0*174-)
174. Lobster Pots. A sketch of lobster pots on a
beach, with ' Selsea Bill ' written in the corner.
In the ' Twenty-six Etchings.'
H. 4f ; w. 7|. (H. 0*120; l. 0*200.)
175. The Riva, Number Two. A quay in the fore
ground, with boats, and sacks in them; a bridge
with an awning near it; and then the line of
houses stretching away to the right of the plate.
In the ' Twenty-six Etchings.'
H. Z\; w. 12. (H. 0*209; L- 0,3°S-)

WHISTLERS ETCHINGS. 75
176. Drury Lane. Looking through the entrance to a
courtyard out into the street. Children sketched
in the foreground.
One of the ' Twenty-six Etchings.'
H. 6f ; w. 4. (H. 0-162; l. 0-102.)
177. The Balcony. On the first floor of a house seen
from the canal a long balcony is in front of a five-
arched window. A barca drawn up at the steps ofthe
doorway, and in it a man, who makes as if to hand
something to a woman coming out of the house.
Though the chiaroscuro may perhaps be a little
less effective, the draughtsmanship is as fine, the
detail as beautiful, as in Palaces or the Doorway.
One of the ' Twenty-six Etchings'.'
H. 1 if; w. 7^. (H. 0*297 ; L. 0*200.)
178. Fishing-Boat. A fishing-boat, with nets hung up
to dry, and a man sitting under its awning.
In the ' Twenty-six Etchings.'
H. 6£; w. 9&. (H. 0-155 i L- 0-230.)
179. Ponte Piovan. A brick or stone bridge — the
Ponte del Piovan — spans a canal; its arch sup
ported partly by piles. Two figures wait on the
top of the bridge.
In the ' Twenty-six Etchings.'
H. 9; w. 6. (H. 228; l. 0*152.)
180. Garden. Through the door in a high wall, at the
canal-side, a bit of garden, with slender trees, is
seen, and a balconied house beyond it.

76 WHISTLERS ETCHINGS.
There is a trial proof with a figure just in the
middle of the steps, where the cat is seen in the
published state.
One of the ' Twenty-six Etchings.'
H. 12; w. 9§. (H. 0*305 ; l. 0238.)
181. The Rialto. In the foreground the approach
to the Rialto, in blazing sun, with awnings over
the pathway. In middle distance the steps of
the bridge, crowded with figures. Far away a
campanile. One of the ' Twenty-six Etchings.'
H. 1 if ; w. 7f. (H. 0*295; L* 0*200.)
182. Long Venice. The line of Venice, with the Ducal
Palace to the left, crosses the picture, under a
cloudy sky.
In the ' Twenty-six Etchings.'
H. 5 ; w. 12^. (H. 0*127 ; l. 0*308.)
183. Furnace Nocturne. The square door of a
building with a furnace — the interior of the
place brilliantly illuminated — and seen from a
sombre canal.
This is a marvellous piece of chiaroscuro,
very dependent on Mr. Whistler's printing,
and to be compared only with the very finest
impressions of The Forge and of The Little
Forge. In the ' Twenty-six Etchings.'
H. 6f; w. 9^. (H. 0168; l. 0*232.)

WHISTLERS ETCHINGS. 77
ii. Quiet Canal. Four gondolas — three of which are
empty — at the bend of a quiet canal.
In the ' Twenty-six Etchings.'
H. 9 ; w. 6. (H. 0-228; l. 0-152.)
185. Salute : Dawn. In front, an expanse of water,
without craft. In the distance, in the middle of
the picture, the dome ofthe Salute, with campaniles
to right and left; and at the extreme left, above some
houses, the faintly-seen domes of St. Mark's. The
' dawn ' is indicated only by the skilful printing.
There is a trial proof, with a gondola in the
front. The gondola was seen to interfere with
the quietude, and was removed.
In the ' Twenty-six Etchings.'
H- 5 ; w. 7 J. (H. 0-127 i l- 0*200.)
186. Lagoon : Noon. In the front a step-bridge, faintly
indicated. The sails of a two-masted ship, in
middle distance, and of other boats beyond it,
droop in the absence of breeze. Light clouds
on the horizon.
In the ' Twenty-six Etchings.'
H. 5 ; w. 8. (H. 0*127 ; L. 0*203.)
187. Murano — Glass Furnace. The glass furnace with
several figures, some at work and some looking on.
H. 6\ ; w. 9£. (H. 0-155 i L- 0*232.)
188. Fish-Shop, Venice. Figures at a fish-shop, ap
proached by steps in the centre of the picture.
, Mr. Whistler has added further bitten work in
some impressions lately taken.
H. 5^; w. 8f. (H. 0*130; l. 0*222.)

78 WHISTLERS ETCHINGS.
189. The Dyer. A man at his door on the canal, dip
ping some fabric in the canal water.
H. n|; w. 9|. (H. 0*302; L. 0*241.)
190. Little Salute. The Salute seen across a breadth
of water. It is a dry point.
H. 3^; w. 8£. (H. 0*082; l. 0-209)
191. Wool-Carders. A doorway, with two figures —
those of the wool-carders — seen in an interior
approached by steps from a canal.
H. ir£; w. 9. (H. 0-286; L. 0-228.)
192. Regent's Quadrant. It is a rapid glance at a
West -end street, with idlers, wayfarers, and
rushing hansoms.
H. 6f ; w. 4§. (H. 0-162 ; L. 0-120.)
193. Islands. Venetian islands, with their buildings,
rise in the distance over the lagoon.
H- 5> w- li- (H- 0*127; L- 0*200.)
194. Nocturne — Shipping. Several ships in middle
distance and towards the horizon.
H. 6; w. 8J. (H. 0-152; l. 0-216.)
195. Old Women. Gossips before their doors in Venice.
H- 5 > w- li- (H- 0*127; L- 0*200.)
196. Alderney Street. Looking partly up and partly
along a side-street in Pimlico.
' That's a pretty one,' said Mr. Whistler to me
— remembering it distinctly, but not being able to
put his hand upon it He had lent the plate to

WHISTLERS ETCHINGS. 79
the Gazette des Beaux-Arts, where it accompanied
an interesting article by M. Duret, in April 1881.
H. 7; w. 4\. (H. 0*178 ; l. 0*114.)
197. The Smithy. A confused interior, with dark roof
and a skylight, and, to the left, a small-paned
window, by which a man is busily at work.
Figures at the right, and a blank space to be
presently filled.
H. 7 ; w. 9. (H. 0*178 ; l. 0-228.)
198. Stables. A dark arched shelter for gondolas, in
Venice. It is a dry point.
H. 61; w. 9|, (H. 0*165 i L- 0-231.
199. Nocturne — Salute. Towards the centre of the
picture the Salute lifts itself between water and
sky. H. 6 ; w. 2>\. (H. 0*152; l. 0*225.)
200. Dordrecht. In front, the broad waters, with two
boajs, of which the sails show the breeze. In the
distance, further masts, houses, and a dome.
The monogram to the left.
H- Sf ; w- H- (H* 0-146; l. 0-225.)
201. A Corner of the Palais Royal. In front of a
gate of the Palais Royal, which is flanked by
double columns, an open carriage stands waiting,
and a woman bends over her little hand-cart
The monogram to the right.
H. 5i; w. 3f. (H. 0-133; l. 0*095.)

8o WHISTLERS ETCHINGS.
202. A Sketch at Dieppe. Figures in the foreground ;
in the distance, at the entrance to the harbour,
the lighthouse tower. The monogram to the
right. H. if; w. sh (H. 0*047; l. 0-082.)
203. A Booth at a Fair. In the upper part of the
plate is seen a canvas-covered booth, at a French
country fair. To the right, the monogram.
H. sii w. 3f. (H. 0-130; l. 0-095.)
204. Cottage Door. A group of children — one of
them, of particular grace, standing slim, with
crossed feet — are at the open door of a cottage.
The monogram to the left.
Sketched in Cumberland.
H* 2¥ ; w- 3f • (H- o'o63 i L* o-°95-)
205. The Village Sweet-Shop. To the left, in the
doorway, several children. To the right, the
window, with its tins, and jars, and bottles of
lollipops. H. 3£; w. 4f. (H. 0*079; L* 0*120.)
206. The Seamstress. A sketch of two young women,
or.e of whom sits. The other — presumably a
servant — stands. Some work between them. The
monogram to the left.
h. 3I ; w* 2i* (H- °'°92 ; L- 0*063,)
J07. A Sketch in St. James's Park. In middle dis
tance a tree, and beyond it passing carriages,

WHISTLERS ETCHINGS. 81
horses, and wayfarers, daintily indicated. The
monogram to the left.
This and the three or four preceding and
following plates were etched only in 1885. Their
extreme delicacy must forbid their yielding more
than a few impressions.
H. 2f ; w. 4. (H. 0*070; L. 0*102.)
208. A Fragment of Piccadilly. The upper part of
some house-fronts in Piccadilly, etched high on
the plate.
H. 4^; w. 2§. (H. 0*114; L- 0*070.)
209. Old Clothes Shop. The window and door of an
old clothes shop in Chelsea, seen from across the
narrow road.
H. 2f ; w. 4. (H. 0*070 ; l. 0*102.)
210. Fruit-Shop. The window and door of a green
grocer's at Chelsea, with two women inside the
doorway, and baskets standing on the pavement.
H. 2|; w. 4. (H. 0-070; l. 0-102.)
211. A Sketch on the Embankment. At different
points along a low wall, parallel with the river,
passers-by halt, and stand singly or in groups.
H. if; w. sf. (H. 0*044; l. 0*136.)
212. The Menpes Children. A vivacious sketch of
children on a lawn. The monogram to the left.
The little girl behind the child in the chair is
not one of the Menpes family.
H. 2| ; w. 4. (H. 0*070 ; l. 0-102.) F

82 WHISTLERS ETCHINGS.
213. The Steps. There are steps leading to an open
house door, with railings on either side, and to
the right, the window of a shop.
H. 2 ; w. 3 h (H. 0-051; l. 0-082.)
214. The Fish-Shop, Chelsea. Part of a row of rather
decayed houses, seen from across the street. One
of them has its shop-front unglazed, and the re
cesses of the shop seen in gloom far behind the
awning which projects over stall and pavement.
Done in the summer of 1886, for the Society
of British Artists.
H. 5^; w. 8£. H. 0*140; l. 0*216.

Postscript.— Just as the Catalogue is going to press, there arrives
from New York — sent thence to London by the courtesy of Mr. Kennedy,
its owner — an impression from the copper spoken of in the Preface
(page 9). It is much what I there said it was — a curiosity and not a work
of art. Tt is a geographer's view of the coast — three inches high and
ten wide.
I take this opportunity of adding that there are one or two plates —
executed in much more recent years — which I have purposely not
described. Having been set aside by Mr. Whistler as not satisfactory
they were actually destroyed before more than one or two impressions
had been taken. F. W.

INDEX.

NO.

NO.

'Adam and Eve,'

Old Chelsea 144

Chelsea Wharf .

8l

Agnes .

. 106

Child on a Couch, A .

112

Alderney Street

. 196

Corner of the Palais Royal, A

201

Amsterdam .

. 82

Cottage Door

204

Annie .

• is

Annie Haden
2
Dam Wood, The
120
Annie Haden
• S7
Desk, The ,
104
Annie, Seated
, 24
Dog on the Kennel, The .
8
Arthur Seymour
• 47
Doorway, The .
154
Astruc, a Literary
Man . 49
Doorway and Vine
161
Auguste Delatre
21
Dordrecht ....
200
Axenfeld
. 61
Drouet ....
S3
Drury Lane
176
Balcony, The
• 177
Dutchman holding the Glass
3
Battersea Bridge
. 141
Dyer, The ....
189
Battersea : Dawn
. I2S
Beach, The .
. IOI
Elinor Leyland .
9S
Bead Stringers .
i . 164
En Plein Soleil .
6
Becquet
. . 48
Encamping ....
7S
Beggars, The
• 159
Engraver, The .
62
Bibi Lalouette
. 30
Bibi Valentin
. 28
F. R. Leyland .
93
Billingsgate
45
Fanny Leyland .
94
Black Lion Whari
. 40
Finette ....
S4
Booth at a Fair .
• 203
Fish-Shop, Chelsea
214
Boy, The .
. 109
Fish-Shop, Venice
188
Bridge, The
. 171
Fishing-Boat
178
Fishing-Boats — Hastings .
131
Cadogan Pier
¦ 79
Florence Leyland
96
Chelsea Bridge anc
1 Church . 85 |
Forge, The
63
84

INDEX.

Fosco . . . .

NO.
. 90

Little Salute

Fragment of Piccadilly

. 208

Little Smithfield .

Free-Trade Wharf

• 134

Little Velvet Dress

Fruit-Shop .

. 210

Little Venice, The

Fruit-Stall .

. 166

Little Wapping, The

Fulham
. 148
Liverdun
Fumette
. 18
Lobster Pots
Fumette's Bent Head .
• Si
London Bridge .
Fumette Standing
• So
Long Lagoon
Furnace Nocturne
. 183
'Long-Shore Men
Long Venice
Garden
. 180
Lord Wolseley .
Greenwich Park .
¦ 33
Greenwich Pensioner
Gretchen at Heidelberg
• 32
• I2
Marchande de Moutarde, La
Mast, The . . . .
Guitar Player, The
. 122
Maude . . . .
Hurlingham
• 147
Maude, Seated .
Menpes Children
Mere Gerard, La
IslandsIrving as Charles the I
• 193
'irst . 139
Mere Gerard, Stooping
Millbank . . . .
. 64
Miser, The .
Joe
Model Lying Down, The .
Kitchen, The
• 19
Model Resting, The .
Mr. Mann . . . .
Lady at a Window, A
. m
Muff, The . . . .
Murano — Glass Furnace
Lagoon : Noon .
. 186
Music Room, The
Landscape with the Hoi
se.The 46
Large Pool, The .
• 143
Lime-Burner, The
44
Nocturne . . . .
Limehouse .
37
Nocturne Palaces
Lindsay Houses .
• *36
Nocturne — Salute
Little Arthur
*3
Nocturne — Shipping .
Little Boy, A
22
Nursemaid and Child .
Little Court
¦ 173
Little Forge, The
• "S
Old Clothes Shop
Little Lagoon
. 152
Old Hungerford Bridge
Little Mast .
• iSi
Old Women
Little Pool, The .
¦ 72
Little Putney
. 146
Palaces, The
iS3
INDEX.

85

NO,

NO.

Paris : the Isle de la Cite . v SS

Sketch on the Embankment

211

Pickled-Herring Stairs, From 137

Sketch in St. James's Park .

207

Piano, The .

. 117

Sketching ....

69

Piazzetta, The

• hi

Smithy, The

197

Ponte Piovan

• 179

Soupe a Trois Sous

27

Pool, The .

. 41

Speke Hall ....

86

Price's Candle- Works

. 124

Speke Shore

119

Punt, The .

. 68

St. James's Street

140

Putney Bridge

• I4S

Stables ....

198

Steamboats off the Tower .
114
Quiet Canal
. 184
Steps, The ....
213
Storm, The ....
77
Rag Gatherers, The
• 17
Street at Saverne .
11
Ratcliffe Highway
• 74
' Swan,' The
89
Reading a Book .
¦ 97
Swinburne ....
no
Reading in Bed .
29
Reading by Lamplight
¦ 3S
Tatting
98
Regent's Quadrant
. 192
Temple ....
170
RestingRetameuse, La .
. ios S
. 181
Temple Bar
Thames Police
133 42
Rialto, The
Thames towards Erith
135
Riva, The .
• IS7
• I7S
. 128
Thames Warehouses .
35
Riva, The ; No. Two
Tillie : a Model .
102
Riverside Sketch
Tiny Pool ....
73
Ross Winans
• 76
60
Title to the French Set, The
20
Rotherhithe
Traghetto, The .
156
Troubled Thames, The
129
Salute : Dawn .
• 185
Two Doorways .
Two Ships . . . .
158116
San Biagio .
• 163
Two Sketches
108
San Giorgio
. 167
Turkeys 7
165
Scotch Widow, The .
. 118
Tyzac, Whiteley, & Co.
39
Seamstress, The .
. 206
Seated Girl .
. 103
Unsafe Tenement, The
7
Seymour
• 23
Upright Venice .
172
Shipping at Liverpool .
. 84
Vauxhall Bridge .
Velvet Dress, The
Venus ....
66
Shipbuilders' Yard
Sketch at Limehouse, I
. 121
i • S9
91
56
Sketch of a Girl, Nude
• H3
. 127
e . 130
Sketch of Ships .
Sketch from Billingsgat
Vieille aux Loques, La
Village Sweet-shop, The
14
205
Sketch at Dieppe
. 202
Weary ....
83
86

INDEX.

Westminster Bridge .
Westminster Bridge in Pro
gress ....
Wharf, A . . . .38
WheelwrightWhistler, Early Portrait of .

NO. 36

Whistler, with the White Lock

NO.
142

Whistler ....

S3

70

Whistler's Mother

88

38

Wine Glass, The

31

162

Wool-Carders

191

1

Wyqji Street

132

London : Printed by Strangeways & Sons, Tower Street, Upper St, Martin's Lane.

WORKS BY MR. WE DMO RE.

STUDIES IN ENGLISH ART. Second Edition.
THE MASTERS OF GENRE PAINTING.
PASTORALS OF FRANCE. Second Edition.
MERYON. (Limited Edition for Collectors.)-