¦^i^Mfil

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&ne ^^^^llA,0€€^^c/lecfii€'ni

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This is No.

WHISTLER'S ETCHINGS

A STUDY AND A CATALOGUE

Mr. WEDMORE'S 'MERYON.'

]y[ESSRS. p. & D. COLNAGHI & CO, have a few
copies of the companion volume to the ' Whistler —
' MeRYON, AND MeRYON's PaRIS, WITH A DESCRIPTIVE
Catalogue of the Artist's Work ' : Second Limited
Edition, revised and enlarged, A Guinea each copy.

LONDON
P. & D. COLNAGHI & CO.
13 AND 14 Pall Mall East
1899

WHISTLER'S ETCHINGS
A STUDY AND A CATALOGUE
BY •
FREDERICK WEDMORE

' Sans la libertd de blamer, il n'est pas d'floges flatteurs." Beawnarcltais.

Second Edition
Revised and Enlarged

LONDON
P. & D, COLNAGHI & CO.
13 and 14 Pall Mall East
1899

NOTE TO THIS NEW EDITION.

T N this New Edition, revised at many points, and
¦*¦ enlarged by the now necessary record of more than
fifty prints wrought by Mr. Whistler since the first issue
of the book, I have thought well to leave the Study,
' Whistler's Etchings,' as much as possible as it appeared
a dozen years ago. The interval has but confirmed— it
has not altered — 7ny critical appreciation of work curiously
modern, yet certain to be classic : the most brilliant mani
festation of the art and spirit of a master whom his
paintings, his pastels, his lithographs, and water-colours,
•with all their charm, do but in insufficient measure exhibit
and disclose.
In regard to those prints which are now for the first
time described, it should be mentioned that they are almost
entirely the product of the years that immediately followed the
publication of my book; and, again, that while some of them,
such as the ' Zaandam ' and the ' Dance Housed among the
Dutch subjects, rival in subtlety of charm — and what is
called '¦importance' — the perfected splendour of the best of
the ' Twenty-six Etchings^ a somewhat unusual proportion,
such as the fubilee pieces of 1887, take rank but as the
skilled and dexterous notes of the observant sketcher.
F. W.
London: February, 1899.

cos^rss^Ts.

PAGE

WHISTLER'S ETCHINGS 9
CATALOGUE - - - 19
INDEX 99

WHISTLER'S ETCHINGS.

I BEGAN this Catalogue for my own use, and finished
it for my brother-collectors ; and for Mr. Thibaudeau,
its first publisher, who, when the extent of my labour
became evident, refreshed me with money ; and, a little,
for Mr. Whistler, in case he might be minded to accept
our offering.
The only previously existing Catalogue — that of
Mr. Ralph Thomas — was published in 1874, and,
although useful in its own day, had become of small
service. There are several reasons for that ; but, it will
suffice if I mention one of them. Mr. Thomas
catalogued about eighty etchings, I, working first in
188ft, was able to catalogue two hundred and fourteen.
Resuming toil in 1898, I have brought the number to
two hundred and sixty-eight.
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
collectors, well placed for this purpose, had not helped
me. Mr. Thibaudeau himself — in the old time —
amassed much information and placed it at my service.
Mr. Avery, when Mr. Keppel took me to see him in
East 38th Street, put at my disposal everything he knew ;
and as he has always been a steady believer in
Mr, Whistler's art and an enthusiastic student of it, it
may be imagined that this book profited by his know-

10 WHISTLER'S ETCHINGS.
ledge. More lately I have been helped besides by
Mr. Kennedy and Mr. Mansfield, 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 trouble with
me in the identification of the rare things he possesses ;
my thanks, too, for various services to Sir John Day, the
Rev. Stopford Brooke, Mr. Theobald, Q.C, and Mr.
Edward Barrett. And some of the best-known London
•dealers — Mr. Walter Dowdeswell, Mr. Noseda, Mr. Brown
of the Fine Art Society — gave me valuable and sometimes
laborious help. Then, too, at the British Museum
I studied 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 had access, more than
once, to Mr. Whistler's own collection ; but that was
found, unfortunately, to be very incomplete.
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,
when I was in occasional communication with the artist,
I had invited him to rack his memory as to the circum
stances under which each plate was wrought. But the
dates are given with complete precision in very many cases,
and I hope not much appears out of its proper period.
It is now more than forty years, the student will per
ceive, since Whistler began to etch. But his work in
Etching has never been continuous. Periods there have
been when he has been busy with the needle and the
¦copper — periods, too, during which he has laid them
altogether aside. The first chronicled, the first completed.

WHISTLER 'S ETCHINGS. 1 1
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 unwarrantable
thing had been done. And he perfectly agreed, he told
the high official, that an unwarrantable thing had been
done : it was quite unwarrantable 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
interest of freshness, of vivacity, of a new and beautiful
impression conveyed in individual ways, just as much as
did his early work of forty years ago.

12 WHISTLER'S ETCHINGS.
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 earlier efforts and the later, and that
the vision of pretty and curious detail, and the firmness
and daintiness of hand in recording it, which dis
tinguished confessedly the first etchings, in France and
on the Thames, are missing to the plates etched subse
quently — to the dry-points of what I may call 'the
Leyland period,' and to the more recent Venetian
etchings. Peccavi t I have myself, in my time, thought
that this continuity was wanting — but it was when I had
been looking at somewhat immature examples of the
Fine Art Society's ' Venice.' I have told Mr. Whistler^
with much plainness if levity of speech, that when, in the
Realftis 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.
Certainly it would be a potent introduction. But I
am not sure but that the best of the Venetian prints
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. Again, if in his

WHISTLER'S ETCHINGS. 13
first work he used an accepted convention, in his later
he invented a convention to use.
The Venetian Etchings — the 'Venice' and the
' Twenty-six ' — some people thought 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 him
self with the guide-books or read his Ruskin with
religious attention. Mr. Ruskin, of course, had seen
Venice nobly; Mr. Fergusson and a score of admi
rable 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
impressed men 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 Whistler's principal affair. 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 Tve 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

14 WHISTLER'S ETCHINGS.
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. 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 ofthe
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 Lutma, the
CUment dejonghe, the Mire 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
ingenuous, so uselessly to the incompetent — the problem
of seeing beauty in modern dress or grace in the
modern figure. Mr. Whistler, no more than M. Degas
or Mr. Gregory,— or M. Helleu, shall I say, or Mr. J. J,
Shannon?— 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

WHISTLER'S ETCHINGS. 15.
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 Infirmary in
the Fulham Road, and for whom, under the veil of night
or dusk, the chimney of a Brewery or a Candle Works
would wear an aspect not less beautiful than that of
King's College Chapel ? It has been given to this master
of Etching to see common things with a poetic 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 be truly 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 fourteen 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^

i6 WHISTLER'S ETCHINGS.
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.
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 Mdryon's. It is not easy to get them j
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

WHISTLER'S ETCHINGS. 17
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
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 : 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, generally less dry, but
still not altogether satisfactory, were printed for their issue.
Not many plates of Mr. Whistler's have ever been steeled ;
but these and a few others had been ; and when, in quite
recent years, Mr. Keppel bought the plates of this
' Thames Set ' from the Fine Art Society, the coating was
removed, and Goulding printed a few more impressions
— this time much finer ones.
Of the stray coppers which found separate publication,
I need not here speak, but only of two further sets
B

1 8 WHISTLER'S ETCHINGS.
— 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, bythe Messrs. Dowdes
well in 1886 ; 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 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 — to
wit, the rare and noble London Bridge, and Battersea
Dawn, and Thames towards Erith — it may be said that
the scarcity is most conspicuous in the figure-pieces ; by
which I mean, not pieces in which the figure harppens to
be introduced, but either avowed portraits or studies from
the posed model. And these rare things — whether figure
pieces or visions of the river — are mostly in dry-point,
and the greater number of them belong to the middle
period of Mr, Whistler's work.

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.

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. Averj' had
his impression from M. Burty's Sale, and Whistler
wrote on it, 'Early portrait of Self.' Another im
pression was in the Haden Collection, now in
America. The plate was etched probably in 1857.
H. 4f inches ; w. 3 inches. (Hauteur, ciiS;
Largeur, o'o76.)
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. 4j w, 2|. (H. o'io2 j L, o"o67.)

20 WHISTLER'S ETCHINGS.
3, The Dutchman Holding the Glass. 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. i\; w, 2^, (H. 0-082 ; L. 0-054.)
4. LivERDUN, A farmyard, sketched in the village 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. 4| ; w. 6|. (H o-oi8 ; l. 0-155,)
5, La RfeTAMEUSE, 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 fol-fled. 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, St\; w, 3^. (H, o'loSj l. 0-089.)

WHISTLER'S ETCHINGS. 21
6, En Plein Soleil. 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. It is a decayed farm
house, which, with its outbuildings, occupies the
greater part of the picture. In the foreground two
little girls, one just outside, the other just inside, a
door, which hangs loose on its hinges. In right
lower corner 'Whistler,' in left 'Imp. Delitre, 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 fore
ground. Second State. A pitchfork takes the place of
this figure.
H. 6\; w. 8|. (H. 0-159; l, 0-222.)
8, The Dog on the Kennel. 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. 2I; w, 31^, (H, 0-057; L. 0-089,)

22 WHISTLER'S ETCHINGS.
9. La MI;re GfeRARD, A keen old Frenchwoman
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. Al ; w. 3^. (H. 0-098 ; l, 0-089,)
10, La MiRE Gerard, Stooping. 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
possessed by Mr, Avery and by Mr, Macgeorge of
Glasgow. H. 4; w, 2|, (H, 0-I02; L, 0-063.)
11, Street at Saverne. 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, Delttre, Rue
St, Jacques.'
There are two or three trial proofs before the
artist's and the printers names, and with the effect
lighter, the lines in the sky less numerous.
H, 8J; w, 6f, (H, 0-209; l. 0-162.)
12, Gretchen at Heidelberg, A girl sitting,
Mr. Avery believes that his is the only im
pression, H, 8; w. 6. (H. 0-083; l. 0-152.)

WHISTLER'S ETCHINGS. 23
13. Little Arthur, A little child — a boy, bare
headed, 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 2\ 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. 3i; w. 2^. (H. 0-079; L. 0-054.)
14. La Vieille aux Loques. An old Frenchwoman
sitting just inside an open doorway, with power
less 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. Delitre, 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, and
is scarcely less effective in chiaroscuro than the
not quite dissimilar Marchande de Moutarde.
At Sotheby's, in 1892, 5/. 5.?.
H. 8; w, 5f, (H, 0-803; l. 0-149,)

24 WHISTLER'S ETCHINGS.
15. Annie. 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. Delitre, Rue St.
Jacques, 171.' •
I 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. 4i; w. 3A. (H. 0-114; L. 0-079.)
16. La Marchande de Moutarde. Through a door
way, 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. Scarce.
At a Sale at Sotheby's, 4/. los.
Second State. Without the address of the printer,
for in 1886 the Editor of English Etchings bought
the plate, and added an issue of two hundred

WHISTLER'S ETCHINGS. 25
copies to the very small number of fine impressions
originally taken. His two hundred were printed
on old Whatman paper of 1814, and Goulding
printed for him, very carefully, a few impressions
on old Dutch paper of the seventeenth century,
H. 6i; w. T,\. (H. 0-159; L. 0-089.)
17. The Rag -Gatherers'. From an adjoining and
communicating chamber is seen the rag-gatherers'
room, its darkened corner furnished scantily, with
a small table and a bed now unmade. No figures.
On the right 'Whistler.'
The fine impressions ar£ 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 Mdryon.
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. A young woman, facing us, with lively
eyes and thick hair loose to the shoulders, 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. 4f. (H. 0-165; l. o-iii.)
19, The Kitchen. 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

.26 WHISTLER'S ETCHINGS.
shade ofthe kind known as ' Rembrandtish.' But
the kitchen is flooded with sunshine, like a chamber
of De Hooch's.
One or two proofs before the address of Delatre,
First State. With Delitre'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 very limited issue of The Kitchen by
the Fine Art Society in 1885. Though Delitre's
address was not effaced, Mr. Whistler himself
printed these impressions — sold at only 4/. 4.?,
each — and the plate was then destroyed.
H, 8|;w. 6^. (H. 0-225; L. 0-159.)
:20, The Title to the French Set. 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'aprfes Nature, par James Whistler.
Imp. Delitre, 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

WHISTLER'S ETCHINGS. 27
numbers 4, 5, 6, 7, 9, ti, 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. 5f. (H. o-iii; l. 0-146.)
21. Auguste DelAtre, The plate is occupied by the
head and shoulders of the famous printer of etch
ings, then a delicate-looking, youngish man, wearing
a light moustache and slight imperial. In the
comer, ' Homage k Mme, Delitre, J. Whistler.'
H. 3J ; w. 2^. (H. 0-082 ; l. 0-054 )
. 22. A Little Boy, 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 indistinctly.
There are two or three trial proofs, with little of
the shading in the background.
It was done as a portrait of Seymour Haden
the younger,
H. 5f ; w. 3|. (H. 0-136; L. 0-095.)
23. Seymour, The little boy of the 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. 3|. (H. 0-133 ; L. 0-098.)

28 WHISTLER'S ETCHINGS.
24, Annie, Seated, 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 State, 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. 0-137 5 l- o"095-)
25. Reading by Lamp-light. 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, re
ceives some light from the lamp : its upper part
is in fairly luminous shadow. In right lower corner
'J. Whistler.' H. 6i; w. 4|, (H, 0-159; L. 0-117.)
26. The Music-Room, 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 — Sir
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.
— Sir Seymour's wife — bends her head and holds-
her book up near her eyes.
The First State — of which the impressions ought.

WHISTLER'S ETCHINGS. 29
to be rich, and are much the most desirable — has
no indication of the fingers of Sir Seymour's right
hand. "^-^
In the Second State the fingers of this right hand
are drawn, and Lady 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. si ; w. 8J. (H. 0-140 ; l. 0-209.)
27. SouPE A Trois Sous. Five men seated at the
tables of a poor Parisian restaurant. One of 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- sf j w. 8f. (H. 0-149; L. 0-222,)
28, Bibi Valentin. 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/. 1 2^,, 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, 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

30 WHISTLER'S ETCHINGS.
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 is thoroughly retrousse.
This change was made in 1861, its object, as I
suppose, being to destroy a likeness otherwise
apparent. H, 4f ; w. 3^. (H. 0-120: L. 0-079.)
30, Bibi Lalouette, 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, 0-152.)
31, The Wine Glass, A Champagne glass, empty,
stands on a small tray. To the left ' Whistler,'
Two or three proofs before the vertical lines of
cross-shading, which in the rare issued State enrich
the background.
This is the only still-life piece ever wrought by
Mr. Whistler. It gleams like a De Heem or a
Blaise Desjoffe,
On Mr. Avery's impression it is written ' Done
in London.' H. 3^; w. 2\. (H, 0-082; l, 0-057,)

WHISTLER 'S E TCH INGS. 3 1
32. Greenwich Pensioner. 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 hes, his legs are crossed at
the ankles. Signed 'Whistler, Greenwich, 1859.'
H. 3f i w. 5^. (H. 0-095 ; L. 0-133.)
33. Greenwich Park, 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.'
First State. It has no sky. Rare.
Second State. With the sky, and added work
all over the plate.
H, 4|; w. 7f. (H. 0-120 ; l. 0-197.)
34. Nursemaid and Child. They sit on the right, in a
landscape of suburban field, which Whistler told
Mr. Avery was ' near HoUoway.' 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 retroussi — 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, si, (H, 0-102 ; L, 0-133.)
35, Thames Warehouses, from Thames Tunnel Pier.
In front, a boat, low in the water, is laden with

J2 WHISTLER'S ETCHINGS.
goods covered by a tarpaulih. Behind it, several
boats riding together against a row of warehouses,
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 1871
— 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.)
36, Westminster Bridge. In the left foreground, 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.'
The beautiful First State has four tiny horizontal
Unes just above the roof ofthe Houses of Parliament,
to the right of the towers. It is extremely rare.
The Second State has lost all delicacy and
harmony, and is abrupt and dry.
In this Second State the plate appears as one
of the 'Sixteen Etchings.'
H, 2|; w. 7|, (H, 0-073; L. 0-200,)
37, Limehouse. A barge discharging cargo at a ware
house in the right foreground. Behind it water-side
buildings, and a boat with sails ha;lf unfurled. To

WHISTLER'S ETCHINGS. 33
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 ' before
the work on the barges in the distance to the left.'
One of the ' Sixteen Etchings,'
H. 4^; w, 7^, (H, 0-124; L. 0-200,)
38, A Wharf. 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. 8f. (H, 0-152 : L- 0-225,)
39. Tyzac, Whiteley, & Co, 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, iSsp.*
The spot is opposite Rotherhithe.
One of the 'Sixteen Etchings.' It figures in
some lists as ' Eagle Wharf.'
H, 5^; w, 8|. (Hi 0-140; l. 0-216.) c

34 WHISTLER'S ETCHINGS.
40, Black Lion Wharf, 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 picture — 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, and a flat-roof sur
mounted by paUngs. 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 ware
house known as 'Hpare's Wharf,' At bottoni
'AVhistler, 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, Sf, (H, 0-152 ; l, 0-225,)
41, The Pool. 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.

WHISTLER'S ETCHINGS. 35
Further there are some dry docks, with gates closed
on the river; and beyond them 'St. George's
Wharf ' and a hne 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. sf ; w, 8^, (H, 0-136; L. 0-209.)
42. Thames Police, The river side at Wapping : low
water. A crowd of stranded boats hes up against
the houses, of which the one at the extreme right,
with a bow-window in the first and 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. Figures seen in an interior,
keenly lighted. The ottly furniture disdernible is
the mantleshelf ahd the long bare table and
bench in what is apparently a river-side tavern.

36 WHISTLER'S ETCHINGS.
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. 5^^; w. 8f. (H. 0-149; l. 0-222.)
44. The Lime-Burner. 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, and
of houses on the fiirther 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. 0254; L. 0-178.)
45. Billingsgate. 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 to
gether 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

WHISTLER'S ETCHINGS. 37
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, 8f, (H. 0-152 ; l, 0-222.)
46. The Landscape with the Horse, 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.'
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. aI; w. 7f. (H. 0-124; L. o'i97-)
47, Arthur Seymour. A Uttle 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 2s.
H, 8|; w. 6, (H. 0-225; l. 0-152.)
48, Becquet. A young man in a smoking-cap, and with
dark bushy hair, sits facing us, bending a. little, and

38 WHISTLER'S ETCHINGS.
his instrument, a violoncello faintly indicated, is
placed between his legs.
One of the ' Sixteen Etchings.' It was called
'The Fiddler.'
H. io; w. 7|. (H. 0-254; l, 0-187.)
49, AsTRUC, A Literary Man. 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, pro
bably. To the left 'Whistler, 1859,'
Mr. Heywood got at the Anderson Rose Sale
an early proof with less work on the face.
H. 8| ; w. 5|. (H. 0-225 \ L, 0-149,)
50, Fumette Standing, 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 of the 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, i3f; w, Z\. (H, 0-346; L. 0-216,)
51, Fumette's Bent Head. In the corner ofthe plate
the head and shoulders of a good-humoured young
woman, who is stooping. The light is strong on

WHISTLER'S ETCHINGS. 39
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. 5f. (H. 0-229; L. 0-149.)
52. Whistler. 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. 8f ; w. 5|. (H. 0-222; l. 0-149.)
53, Drouet. A man looking to the right, with folded
arms. At the bottom 'Drouet, sculpteur,' 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- o'i52-)
54, FiNETTE. In the days of gigantic crinoline, a plain
woman, in a black velvet dress, black hat, and with
head on one side, stands by a window ; 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 earUest
proof, with the dress, as he describes it, ' nearly in
outUne,' and ' no table.'

40 WHISTLER'S ETCHINGS.
The First State, which is in effect something
like a mezzotint, has the objects onthe 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,'
Mr, Hutchinson's impression was sold by
Messrs, Sotheby, in 1892, for 15/. 15^.
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.
Finette was a dancer. She was generally
the companion of AUee 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. It; w. 7f. (H. 0-279; L- °'i94-)
55, Paris : The Isle de la Cit£, 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 Citd 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 1 Notre Dame are
discerned faintly. To the left ' Whistler, Dec.

WHISTLER'S ETCHINGS. 41
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 retails to me Mdryon's
work, just in its union of reality with artistry — the
Paris we recognise, yet the Paris an artist has beheld.
Of course, Whistler was blithe ; Mdryon, sombre,
I have said of it, in Fine Prints, that though
with a date as early as 1859, this plate has distinct
and curious manifestations of a style to be more
generally adopted by the artist at a later period.
It is so rare that it has scarcely appeared in
any sale; but twenty guineas were long since
offered for it privately.
H. 7I; w. 11^. (H. 0-197; L. 0-286.)
56, Venus. 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 — an animal, whom sleep
has overcome.
H. 6; w. 9. (H. 0-152; L. 0-229.)
S7. Annie Haden. 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 of the cloak. To the
left 'Whistler, i860.'

42 WHISTLER'S ETCHINGS.
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. i3i; w. 8i. (H, 0-336 ; L, 0-209,)
58, Mr. Mann, 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 back
ground, 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.'
Mr. Hutchinson had a trial proof of this dry-
point, with the face visibly unfinished. 12/. loj..
at his Sale.
H. 8|; w. 5|. (H, 0-225 J l. 0-149.)
59. The Penny Boat, A sketch at Limehouse. The
heads and shoulders — and sometimes something
more — of people standing in a large ferry-boat, or-
little steam packet, that is to cross the River,.
Warehouse roofs seen in the distance.
Scarce. H. 3i ; w. 8 J. (H. 0-083 J L. 0-209.)
60. Rotherhithe. Two men, at the 9pen 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 —
its deck seen from above, A beached boat, witb
mast slanting to the left, is seen next to the three-
posts which rise between the two figures. To the
left ' Whistler, i860.'

WHISTLER'S ETCHINGS. 43
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. loj ; w. 7|. (H. 0-267; L. 0-190.)
61. AxENFELD. 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. 8|; w. 5|. (H. 0-225 ; l. 0-149.)
62. The Engraver. 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/. 45. at the
Anderson Rose Sale is that which is now owned
by Mr. Avery.

.44 WHISTLER'S ETCHINGS.
Second State. With the dry-point work on face
and hair. There is a fine impression in the British
Museum. Rare.
H. 8|; w. 5f. (H, 0-222 ; l. 0-146.)
t63. The Forge. The forge is on the left, and a black
smith in cap and apron, standing with left hand on
hip, with his right hand holds the iron in the fire.
Behind him two assistants, standing at the anvil,
watch the operation, their faces and figures illumi
nated 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 early impressions. They are generally
charged heavily with bur. Mr. Avery has one;
another, which was perhaps not wrongly described
as ' the finest taken,' was bought at Mr. Anderson
Rose's Sale for 1 1/. i is. by Hogarth ; and another
at Sir WilUam Drake's Sale for about 19/. The
later impressions have, I hope, no money value.
Mr. Theobald assures me 'there is a distinct
First State before the heavy cross-Unes in the right-
hand upper corner.'
In the Second State it is one of the 'Sixteen
Etchings.' H. 7|; w. 12^. (H, 0-194; L. 0-31 1.)
¦Si. Joe. The head of a young woman, full face, with
long flowing hair. In the right corner ' AYhistler,
1861.'

WHISTLER'S ETCHINGS. 45,
Very few impressions of what would have been
quite a favourite subject had been taken when the
plate was destroyed.
H. 9 ; w. 6. (H, 0-229; L. 0-152.)
65, The Miser. 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 some
thing 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 xl. \s. 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
Museum has a luminous impression with the signa
ture, H, 4f ; w. 6^. (H, 0-117 ; l, 0-159.)
66. Vauxhall Bridge, Across the whole of the Uttle
plate, but in middle distance, extends the bridge,
seven arches of which are more or less discernible.
In the far distance, the Une of riverside 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, 1861.'
There are one or two trial proofs before the date,
H. 2|; w. a\- (H- 0-067; l, 0-114,)

46 WHISTLER'S ETCHINGS.
•67. Millbank. The river at Millbank, at low tide, A
row of posts following the Une of the water recedes
in the distance In the foreground a barge, the
stern of which bears ' DeUght, 1861,' but the first
letter is not seen. Two youths stand on the shore.
Trial proof before the word ' London,'
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.' Rare,
In the Second State this lettering is removed,
but Mr. Menpes has a jirobably 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, A man in a punt. To the left
'Whistler, 1861.'
PubUshed, Mr. Avery says, in ' Passages from
Modern EngUsh Poets, iUustrated by the Junior
Etching Club.' (Day & Son, 1862,)
H. 4f ; w, 6J. (H, 0-117; L. 0-165.)
69, Sketching. It is a scene on the river. On the
right, an artist sketching, and ' Whistler.'
Like No, 67, it was pubUshed in 'Passages from
Modern English Poets.'
H, 5^ ; L, b\. (H. 0-140 ; L. 0,165.)

WHISTLER'S ETCHINGS. 47
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.)
71. The Little Wapping. A sketch of shipping 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 fuU of sacks or of pigs. In right
corner 'Whistler, 1861.'
Mr, Avery and Mr. Theobald have it.
H. 4I; w, 4. (H. o-i2i; L, 0-102,)

72, The Little Pool, 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, 1861.'
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|, (H, 0-095; L. 0-063.)

48 WHISTLER'S ETCHINGS.
74. Ratcliffe Highway. The heads and shoulders
of many people in a sailors' dancing-house. Two
couples in the foreground. The sailors are pro
bably foreigners ; the women are of Shadwell. The
woman of the right-hand couple has put her arm
on her companion's shoulder.
It is a very rare dry-point, and is at the British
Museum and at Mr, Avery's.
H. 6 -, w. 8f. (H. 0-152 ; l. 0-222.)
75, Encamping, A night effect. There must be moon
Ught 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 rare dry point are to be
found at the British Museum and at Mr. Avery's,
H. iij; w. 6 J, (H. 0-286; L. 0-159.)
76, Ross WiNANS, 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, gf ; w, 7^, (H, 0-248 ; l. 0-200.)
77. The Storm. A man — who is Ridley, the artist —
hurrying along under -a darkened sky. On the
right ' Whistler, 1861.'

WHISTLER'S ETCHINGS. 49
A scarce dry-point, sold in the Burty Sale for
4/. \2S. H. 6J; w. \\\. (H, 0-159; L.o-286.)
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. A most rare dry-point,
H. 5i; w. 3f. (H, 0-033 ; L. 0-095,)
79. Cadogan Pier. 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
caUed ' Early Morning : Battersea.'
H. 4I; L. 6. (H, O-III ; l. 0-152.)
80. Old Hungerford Bridge, 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 right-hand lower corner ' Whistler.'
It is one of the ' Sixteen Etchings.'
H. 5l ; w. 8J. (H. 0-136 ; L. 0-209.)
81. Chelsea Wharf, In middle distance boats lie
upon the shelving shore of the river. Behind
them, and to the right, two or three houses. On
D

so WHISTLER'S ETCHINGS.
the side of the house to the furthest right — near
a tall sign-post — 'Chelsea Wharf is written.
A cart and horse on the shore. In the background,
to the left, trees and a bridge, faintly drawn.
This exquisitely suggestive and delicate little
print 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. ik; w, 7f (H, 0-089; L. 0-190,)
82, Amsterdam, Etched from the Tolhuis. 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 Une of flat coast under a wildish sky. In
right corner 'Whistler, 1863, k 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, so that it is less wild and full —
but also less dramatic.
H. s^; w. &^. (H, 0-130; L, 0-206,)
83, Weary. A young woman, whose face is seen
almost in profile, with head turned towards her

WHISTLER'S ETCHINGS. 51
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
will be found to have been begun on the plate.
To the left ' Whistler, '63,'
Mr, Avery, who owns a proof of this dry-point,
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,
At the Hutchinson Sale, 12/,
H. 7|; w, sh (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; Vf. 6, (H. 0-229; L. 0-152,)
85. Chelsea Bridge and Church, The church, of
which only the tower is seen — and that in no
detail — is in middle distance on the left. In fore
ground, 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, 6f. (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

52 WHISTLER'S ETCHINGS.
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
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. 0-152,)
87. The Model Resting. A young woman, lightly
draped, and with ribbon bound tightly round her
hair, stands in a position of rest.
An elegant, 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, which is Ukewise beautiful and
rare, has the monogram and slight additional work,
H, 8^; w. si. (H, 0-209; l, 0-133,)
88. Whistler's Mother. An elderly lady stands,
somewhat stooping.
It is a slight but exquisite dry-point, fuU 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,)

WHISTLER'S ETCHINGS. 53
89, ' Swan ' Brewery, One side of a suburban street,
with the daintily-sketched buildings of the ' Swan '
Brewery — as it was then — at Fulham, A horse and
cart before one of the houses. To the right, the
monogram, Mr. Avery has a memorandum that the plate —
not a common one — was done in 1872.
H. 2| ; w. 3|. (H. 0-067 5 l. 0-098.)
90, Fosco, 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. si. (H. 0-206; L. 0-133.)
91. The Velvet Dress. 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
background 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.
F, R, Leyland, Done in 1873,
H, 9|;w, 6^, (H, 0-232; l, 0-155,)

54 WHISTLER'S ETCHINGS.
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. 6J ; w. 4|. (H. 0-165 5 L. 0-114.)
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 was the father
of the three girls whose portraits foUow. In his
town house was ' the peacock-room,' famous for
Whistler's decoration.
H. i2;w, 7. (H. 0-305; l. 0-178.)
94, Fanny Leyland. A slim young girl, with grave
face and fine flowing hair, sits and is seen in pro
file Her hands, just indicated, are placed upon
her lap. She wears a light, long, looseish frock,
with short flounces — a cascade of muslin. And I
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 ini873. It is a rare dry-point. Monsieur

WHISTLER'S ETCHINGS. 55
E. Deprez has a trial proof, before the monogram
at the side.
At the Hutchinson Sale, ;^i5 10^.
H. ll; w. si. (H, 0-197; L. 0-133.)
95. Elinor Leyland. A child, standing with hands
on hips and one leg thrust out in act to walk
jauntily forward. On the right the monogram.
H. 8f ; w. sJ. (H. 0-213; L. 0-140,)
96, Florence Leyland. A tall child, standing grace
fully, with a hoop in her right hand. With the
artist's monogram.
First State, before the words ' I am Flo ' were
traced deUcately at the side of the plate.
The Second State has these words.
This and the two preceding dry-points represent
the daughters of Mr. Leyland in their early girlhood.
H, 8; w, si. (H, 0-203; L. 0-133,)
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. 0-127 ; 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- Si w. 3. (H, 0-127; L, 0-076.)

56 WHISTLER'S ETCHINGS.
99, Maude, A taU 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 Ught instead of dark, and the dress,
though touching the ground, has no long train.
It is rare,
H. 8| ; w. 5|, (H, 0-225 5 l. 0-149.)
100, Maude, Seated, A seated figure, holding a letter,
A curtain is behind her.
Mr, Avery's proof of this dry-point Whistler has
dated ' 1873.'
H. 5^; 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 impressions 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, sUm and stooping; her hands between her
knees. The monogram on the left
This sUght 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 ofthe day.
H. 9; w. 6, (H. 0-228; L, 0-152.)

WHISTLER 'S E TCHINGS 57
103, Seated Girl. A girl, 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. sJ. (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 whicb
Mr, Menpes has a good proof,
H. 8i; w. sJ. (H. 0-209; 1" o'i4o-)
105. Resting. A young girl, leaning, lightly draped.
A slight sketch in dry-point,
H. 4|; w. 2|. (H. 0-124; L- 0-073.)
106. Agnes, Front view of a young woman, sitting, with
her hands upon her lap,
A scarce dry point,
Mr. Hutchinson's trial proof was before some
lines of shading touched the shoulder of ' Agnes,'
H. 8|; w. 6, (H. 0-225 J i" ""^S^-)
107, The Model Lying Down. A slim 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. II. (H. 0-190; L. 0-279.)

S8 WHISTLER'S ETCHINGS.
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 sUght indication of a standing figure,
A dry-point,
H. 7 ; w. si. (H, 0-178 ; 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 Mrst
State before the slight vertical lines which cross
the monogram and other work which enriches
the picture. Mr. Macgeorge has a touched proof,
H. 8f ; w. sf, (H. 0-222; L. 0-146.)

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. 11; w. 7f. (H. 0-279; ^ 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. 6^, (H, 0-228; L, 0-155,)

WHISTLER'S ETCHINGS. S9
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. sf ; w. ^. (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 side 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 perhaps too sUght, yet graceful and rare, dry-
point, Mr. Menpes has two impressions washed
with Indian ink. They needed fortification,
H. sJ; w. 8J. (H. 0-140; L. 0-216.)
114. Steamboats off the Tower. In the front a boat
with two figure, sketched most lightly. In middle
distance two large steamers, lying together. Be
hind them an indication of shipping, and, to the
right, 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/, i8.f,
H, 6; w. 8|. (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

6o WHISTLER'S ETCHINGS.
near the furnace. Light and shadow play among
the blackened rafters of the roof. Through the win
dow, a sUght winter landscape of bare tree-trunks.
One or two trial proofs before the monogram,
and, again, with the monogram only in outUne.
This dry-point — of which Mr. Ernest Brown
possesses the finest impression I know — was done
at Liverpool in 1875,
H, 9f ; 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 smaU boat Ues
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, 8i; w. si, (H, 0-209; L. 0-133.)
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 of the hands
and the extended arms tell the story of the playing.
Mr. Avery's impression of this rare and ex
pressive dry-point is dated 1875. Mr. 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

WHISTLER'S ETCHINGS. 6i
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 ofa 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 scarce
sketch in dry-point,
H. 6; w. 9, (H, 0-152 ; L, 0-228.)
120, The Dam Wood. A study of young slender trees,
with a few leaves left in the late autumn.
Mr. Avery has the first proof of this rare,
slight, and most suggestive dry-point, done in 1875.
The Dam Wood is near Speke Hall
H. 7; w, 4|. (H, 0-178; L. O-III.)
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, 11; w, 6. (H, 0-279; L. 0-152.)
122, The Guitar-Player. He stands, a dark figure,
with the feet not visible, and faces us. The
monogram on the right.
It is a portrait of Ridley, the artist,
H, lof ; w, 7, (H, 0-276; l, 0-178.)

62 WHISTLER'S ETCHINGS.
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 very scarce dry-point.
II. 6^; w. 9|. (H. oiss ; 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— expressed simply and broadly in the rare
early impressions — and, to the right, two arches of
a bridge. In the later impressions of this always desirable
dry-point, the mast and sails of one of the barges
rise much above the line of buildings, and an
illumination more intricate has been bestowed
upon these.
H. sf ; w, 8|, (H, 0-149 ; L, 0-225,)
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

WHISTLER'S ETCHINGS. 63..
Unes 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 poetic dry-point,
H, sf ; 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 plea
sant. 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 Uttle dry-point, of elegant and refined
triviality — if, indeed, it is to be trivial to be entirely
of our day.
H. sf ; w. 3, (H. 0-130 ; L, 0-076.)
127. A Sketch of Ships. One dark, to the extreme left 5
another — a mere outUne — to the extreme right
H, 6; w, 8f. (H. 0-152; l, 0-222.)
128, The White Tower, A riverside sketch, un
finished, with, in the distance — placed beautifully
— the four turrets of the White Tower,
Scarce. H. 3i; w. 7f, (H. 0-082; l, 0-190.)

<64 WHISTLER'S ETCHINGS.
129, The Troubled Tijames. 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 Uttle bridge at the extreme right
of the plate.
H, 4|; w. ^. (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. si ; w- ^' (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 deUcate dry-point work beneath it,
H, 6; w, 10. (M, 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. A dry-point done in 18.77, ^^ the possession of
Mr. Avery, Mr. Theobald, and others.
At the Hutchinson Sale, 7/. tos.
H, 8J; w, sJ. (H, 0-216; L, 0-140,)

WHISTLER'S ETCHINGS. 65
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. I; w. s|. (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 eidition of a hundred impressions,
printed by Goulding, Whistler having himself
previously printed two or three impressions,
more delicate and perfect — of which Mr. Avery
has one, and I another.
H. 3I; w. 7f, (H. 0-098; L. 0-187.)
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
E

66 WHISTLER'S ETCHINGS.
across the stream. Rather distant, to the right, under
a threatening sky, a long wooden shed, on piles.
It is a rare dry-point.
H. sf ; w. 8f . (H. 0-146 ; L. 0-222.)
136. Lindsay Houses. A row of old houses at Chelsea,
standing back from the river. A rough indication
of trees in the middle distance, and, beyond these,
the old church tower. Boats near the shore.
This dry-point, of which Mr, Avery and
Mr, Theobald and one or two others have
impressions, was done in 1878. Mr. Whistler
lived in one of these Lindsay Row houses in
his earlier London days — years before he took
up his abode in the White House in Tite Street
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. sl ; w. 8|, (H, 0-149 ; L- 0-225.)
138, Lord Wolseley. A head and shoulders, the face
almost in profile, 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. nf; w. 7, (H. 0-298; l, 0-178.)

WHISTLER'S ETCHINGS. 67
139, Irving as Philip of Spain. To the left of the
plate Sir Henry stands with left hand raised and
legs far apart,
A scarce dry-point, of which Mr, Theobald
possesses two touched proofs. Mr, Whistler told
me the work did not greatly interest him, as he
felt he had already done with the subject in the
painted picture. But it is full of character,
H, 8f ; w, s|, (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 bustUng 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, II ; w, 7. (H. 0-279 y L. 0-178.)
141. Battersea Bridge, A barge, with set sail, makes
towards the wooden pile bridge from behind.
Houses in the left distance, in afternoon light.
The monogram to the right.
One ofthe noblest, most spacious, most refined
of Mr. Whistler's visions of the Thames.
It was issued by the Fine Art Society, at 61. 6s.
H, 7|; w. ii|. (H. 0-200 j 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,)

68 WHISTLER'S ETCHINGS.
143. The Large Pool. In front, nine barges Ue close
together alongside a wooden wharf ; shipping in
mid-stream ; and the two lines of the river-side
houses meet at the horizon. The monogram to
the left
Mr. Theobald and Mr. Menpes have proofs
before the monogram and some additional work
on the shipping. It was done in 1879.
H. 7j; w. II. (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 gabled
'Adam and Eve' being about the nearest of
them. Several barges stranded on the muddy
shore. The tower of old Chelsea Church rises
behind the further houses.
Issued by Hogarth at 61. 6s. But the print
ing was not of Mr. Whistler's kind The impres
sions are often muddy.
H, 7 ; w, nf, (H, 0-178; l, 0298,)
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. I if. (H. o'20o; L, 0-298.)

WHISTLER'S ETCHINGS. 69
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.
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. si; w. 8f. (H. 0-133; L. o-2o6.)
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 Ues 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-

70 WHISTLER'S ETCHINGS.
sellers' Association, Among Whistler's etchings
this is one of the least desirable,
H. sf ; w. 8f, (H. 0-130; L. o-2o6,)

149, The Little Venice, Venice, its houses, domes,
and campaniles, seen across the lagoon. In
middle distance several posts rise out of motion
less water, and two or three gondolas are visible
between these and the Une 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 View of Montrose, by
Sir 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 began to be issued
in 1880, though but few of the finest and raost
finished impressions were printed at that date.
H. 7i; w. lof. (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, 7|-; w. ii|, (H. 0-200; L. 0-295,)

WHISTLER'S ETCHINGS. 71
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. 10^; w. 7|, (H. 0-267 ; 0187,)
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 piazetta. To the right an iron gateway,
vaguely indicated.
In the ' Venice ' Set.
H. 10; w. i4i. (H. 0-254; L. 0-363.)

72 WHISTLER'S ETCHINGS.
154. The D6orway. 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
the arches high on the house front, and with the
whole effect thinner and weaker.
In the ' Venice ' Set.
H. ii| ; w. 8. (H. 0-292; L. 0-203.)
155. The Piazetta. 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. 7f, (H, 0-254; L, o'i8i,)
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 gondoUers at
a table. In the ' Venice ' Set,
H, 9i; w, 12. (H. 0-235; L. 0-305.)

WHISTLER 'S ETCHINGS. 73
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 Ue along the further quay. The monogram
on the left.
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- 7i j w. ii|. (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 doorway, 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. 11^. (H. o'203 ; l. 0-292.)

74 WHISTLER'S ETCHINGS.
159. The Beggars. They stand — an elderly woman
and a bare-footed young girl — against the wall of a
much-shadowed passage-way, which 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
any of these figures, but with an old white-bearded
man where the elderly woman afterwards appears.
In the ' Venice ' Set
H. 12 ; w. 8i. (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. 6f. (H. 0-340 ; L. 0-162.)
161. 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 rare set of
' Twenty-six Etchings,' — only thirty Sets, price fifty
guineas the set — issued in 1886. Twenty-one were

WHISTLER'S ETCHINGS. 75
of Venetian subjects, etched in 1880; the remain
ing five, of English subjects, etched a little later.*
H. 9i; w, 6f. (H. 0-295 \ l. 0-171.)
* Along with this set Mr. Whistler issued the following series of
' Propositions,' at once serious and entertaining : —
' 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.
' III. That in etching, the means used, or the instrument employed,
Tjeing 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 accomplish
ment 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
Tjetween the painting and its gold frame, to delight the purchaser with
the quality of the cloth. '
When I reminded hira that in the matter of margin M^ryon some
times agreed with him — the Rue des Mauvais Garfons being, somehow,
never found with a margin — Mr. -Whistler was not so pleased as I had
hoped he would be. ' Ah ! but M^ryon,' said Mr. Whistler, 'whom you
liave taken out of his comfortable place — he was not a great artist,'

76 WHISTLER'S ETCHINGS.
162, Wheelwright, A wheelwright's shop, with great
beams under the skylight of the slanting roof, 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. 6f. (H. 0-127; L. 0-174,)
163. San Biagio, In front the muddy bank ofa canal,.
and a great wall pierced in the centre by ai
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,'
At the Hutchinson Sale, 7/. \os.
H. 8i; w, 12. (H, 0-209; L. 0-305.)
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 weU in the
squalid courtyard-garden of a poor Venetian house.
In the ' Twenty-six Etchings.'
H. 8i; w. si, (H. 0-209 ; L, 0-133.)

WHISTLER'S ETCHINGS. pj
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 later impressions the shadow of the
awning is less strongly marked against the wall.
In the ' Twenty-six Etchings.'
H. 8J; w. 5|. (H. 0-225; l. 0-149.)
167. San Giorgio, The church, its fagade, dome, and
campanile, are seen to the left at some distance.
Nearer a whole fleet of coasting-boats — the prin
cipal objects in the picture — their masts rising
large and dark against the houses far behind them.
The less finished proofs are before a mono
gram. In the 'Twenty-six Etchings,'
H. 8i; w. \2\. (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
waU to the right. A dark sky, and darkness
under the arch of a low bridge.
The earlier, rougher, less harmonious state of
the plate is without the monogram.
In the ' Twenty-six Etchings.'
H. ii|; 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

78 WHISTLER'S ETCHINGS.
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.
Faint, of considered slightness, without light
and shade, the effect is like that of a silver-point
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
towards the water ; in another a boy Ues, back
upwards. In the ' Twenty-six Etchings.'
H, nf ; w, 7f, (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. o'i78,)

WHISTLER'S ETCHINGS. 79
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. s; w. 6f (H. 0-127; L. 0-174.)
174, Lobster Pots. A sketch of lobster pots on a
beach, with ' Selsea Bill ' written in the comer.
In the 'Twenty-six Etchings.'
H. 4f ; w. 'j\. (H. 0-120; l,o.20o,)
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. 8i; w. 12. (H, 0-209; L. 0-305.)
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. 6|; w. 4. (H. 0162; L. 0-I02.)
177. The Balcony. On the first floor of a house, seen-
from the canal, a long balcony — partly draped^
is in front of a five-arched window. A barca
drawn up at the steps of the doorway, and in it
a man, who makes as if to hand something to a
woman coming out of the house.
The chiaroscuro is as effective, the draughts-

^o WHISTLER'S ETCHINGS.
manship as fine, the detail quite as beautiful,
as in Palaces or the Doorway.
One of the ' Twenty-six Etchings,'
H. ii|; w, 7f. (H. 0-297; L. 0-200.)
178. Fishing-Boat, A fishing-boat, with its dark nets
hung up to dry, and a man sitting under its awning.
In the ' Twenty-six Etchings.'
H. 6\; w. 9f. (H, 0-155; 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, we see an enclosed garden, with
slender trees, a tangle of boughs and foliage in
the sunshine. Beyond the garden there is a
balconied house, with arched windows, and, at its
open and shadowed doorway, figures in graceful
action. A trial proof has a figure just in the middle of
the steps — where, in the proper and completed
state, a cat is seen.
One of the ' Twenty-six Etchings,'
H, 12; w. 9|, (H. 0-305 ; L. 0-238,)
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

WHISTLER'S ETCHINGS. 8i
bridge, crowded with figures. Far away, a cam
panile. One of the ' Twenty-six Etchings.'
H. ii|; w. i\. (H. 0-295; L. O-20O,)
182, Long Venice, The Une of Venice, with the Ducal
Palace to the left, crosses the picture, under a
cloudy sky.
In the ' Twenty-six Etchings.'
H, 5; w. \2\. (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 finest impressions of
The Forge and The Little Forge.
In the ' Twenty-six Etchings,'
H. 6f ; w. 9f. (H, 0-168; l, 0-232,)
184. 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 of the Salute, with cam
paniles to right and left ; and at the extreme left,
above some houses, the faintly-seen domes of
F

82 WHISTLER'S ETCHINGS.
St. Mark's. The 'dawn' is indicated only hj
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. s; w. 7|. (H. 0-127 ; 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. 6i; w. 9i. (H. 0-155 5 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 good later impressions.
H. si; w. 8f, (H. 0-130; L. 0-222.)
189, The Dyer. A man at his door on the canal, dip
ping some fabric in the canal water,
H. n|; w. 9J. (H, 0-302 ; L. 0-241.)

WHISTLER'S ETCHINGS. 83
190. Little Salute. The Church of the Salute, seen
across a breadth of water.
It is a somewhat vague and unimportant dry-point.
H. 3i ; w. 8i. (H, 0-082 ; l. 0209,)
191. Wool-Carders, A doorway, with two figures —
those of the wool-carders — seen in an interior,
approached by steps from a canal.
H, ni: w, 9. (H. 0-286; l. 0-228.)
192. Regent's Quadrant, It is a rapid glance at the
Regent's Quadrant, with idlers, wayfarers, and
rushing hansoms, seen from beneath the balus
trade that crosses Air Street.
H. 6f ; w. 4f. (H, 0-162 ; L, 0-120.)
193, Islands. Venetian islands, with their buildings,
rise in the distance over the lagoon,
H. 5 ; w, 7|, (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. s; w. 71^. (H. 0-127; I" 0-200.)
196. Alderney Street. Looking partly along and
across Alderney 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
the Gazette des Beaux-Arts, where — steeled of

84 WHISTLER'S ETCHINGS.
course — it accompanied an interesting, article by
M. Duret, in April 1881.
H. 7 ; w. 4J. (H. 0-178; l. 0-114,)
197. The Smithy. A confused interior, with dark roof
and a skyUght, and, to the left, a small-paned
window, by which a man is busily at work.
Figures at the right, and, in the early and rough
state, 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, 6\; w, 9f. (H. 0-165; l, 0-231.)
199. Nocturne— -Salute. Towards the centre of the
picture the Salute lifts itself between water and
sky. H, 6; w. 8f. (H. 0-152; l. 0225.)
200. Dordrecht. In front, the broad waters, with two
boats, of which the sails show the breeze. In
the distance, further masts, houses, and a dome
The monogram to the left.
Done in 1884,
H. sf ; -w. 8|. (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 Uttle hand-cart.
The monogram to the right.
H. si ; w. 3f . (H. 0-133 : L. 0-095.)

WHISTLER'S ETCHINGS. 85
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. i| ; w. 3i, (H, 0-047 ; L, 0-082,)
203. 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. si; 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, 0-063; L. 0-095,)
205, The Village Sweet-Shop. To the left, in the
doorway several children. To the right, the
window, crowded with jars, and tins, and bottles
of sweets: H. 3i; w, 4f, (H. 0-079; L. 0-120,)
206, The Seamstress. A sketch of two young women,
one of whom sits. The other — probably a ser
vant — stands. Some work between them. The
monogram to the left.
H. 3| ; w, 2\. (H, 0-092 ; l. 0-063.)
207, Sketch in St, James's Park, In middle dis
tance, a tree, and, beyond it, passing carriages,

86 WHISTLER'S ETCHINGS.
horses, and wayfarers, very daintily indicated.
The monogram to the left
This and the three or four preceding and
following plates were etched 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. Fragment of Piccadilly. The upper part of
some house-fronts in Piccadilly, etched high on
the plate.
H. 4I; w, 2f. (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-I02.)
210, Fruit-Shop. The window and door of a fruiterer's
and greengrocer's, at Chelsea, with two women
inside the doorway, and baskets standing on the
pavement, and the many-paned windows stocked
prettily, H. 2f ; 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.)

WHISTLER'S ETCHINGS. 87
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. 2f, w. 4, (H, 0-070; L. 0-102,)
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, A boy
upon the steps, and figures pause or pass upon
the Chelsea pavement.
H. 2 ; w. 3i. (H. 0-051 ; L. 0-082.)
214. The Fish-Shop: 'Busy Chelsea.' About mid
day in summer-time. Humble shops, four in a
row. The third — which fills the centre of the
picture — has a spread awning over its open stall,
in front of which, amongst other figures, a woman
bears a child in her arms, near to two men who
make as if to enter the second shop.
The scene so daintily recorded was in
Milman Row, Done in the summer of 1886,
and issued in limited number, for^ the Royal
Society of British Artists, of which Mr. Whistler
was then President
H. si; w. 8|. (H, 0-140; L. 0-216.)
215. T. A. Nash. An awning, with ' T. A. Nash ' upon
it, across the plate ; below it, children stand on
the pavement, a man stands with his back to a
table, and a woman serves behind the fruit-stall.
H. 6|; w. 4|. (H. 0-173; l. 0-123.)

88 WHISTLER'S ETCHINGS.
216. Furniture Shop. Two open shops, slightly
indicated. Under the stretched awning of the
one to the right is a jumble of second-hand
furniture. I have a very early proof. I hear the plate
has since been worked upon.
H. 3f ; w. 6|. (H. 0-095 5 l. 0-160.)
217. Savoy Scaffolding. Five stages of taU scaffolding
— presumably for the Savoy Hotel — fiU the plate
with their delicate, finely drawn slenderness.
H- 7 ; w. 3i. (H. 0-176 ; l. 0-081.)
218. Railway Arch. A railway-bridge over a darkened
roadway, in front of which is an obelisk lamp
post, with lamp to right and to left.
H. 2|; w, 6f. (H, 0-065 '¦> L. o-i6o.)
219, Rochester Row, A street of shops in Westminster,
turning away to the left. Daily Telegraph on a
house-wall. H. 6; w. 9. (H. 0-150; L. 0-227.)
220, York Street, Westminster. An entrance to a
court, and two shop-windows in York Street.
'G. Fisher.' A post at the court entrance.
H. 5; w. 8|. (H. 0-127 ; L. 0-215.)
221, The Fur Cloak, In this slight unattractive dry-
point, a bareheaded woman stands facing you,
wearing, apparently, a fur cloak,
H, 8| ; w. 5. (H, 0-215 ; L. 0-127.)

WHISTLER'S ETCHINGS. 89
222, Woman Seated. A slight etching of a woman
seated — three-quarters length — dressed for
walking. About the period of ' The Muff,' but
less desirable.
H, 4; w. 2|, (H, o-ioi ; L, 0-066.J
223. Steamboat Fleet. A memorandum in dry-point
of Uttle paddle steamers side by side.
H. sf i w, 8f. (H. 0-134; L. 0-212.)
224, Mother and Child. A girlish figure, lightly
draped, bends down to a child's head.
H- 7 ; w. 5. (H. 0-176; L, 0-127.)
225, Sketch of Battersea Bridge. A jotting of the
old wooden bridge — it might almost be in pro
cess of demolition — high up in the plate.
H. 4|; w. 6|. (H. 0*123; l. 0-173.)
226. Putney : Number Three. A reach of river, with-
dark barge in the centre, and a villa to the right.
Etched for L'Ari, and not to be confused with
Little Putney or the larger Putney Bridge.
H. 4|; w. 7f. (H. 0-123; L. 0-200.)
227. F, R, Leyland's Mother, A full-face portrait of
an elderly lady, seated, wearing a cap, and with a
shawl thrown lightly over her shoulders. Her
hands rest on her lap.
This is a rare dry-point belonging to the
Leyland group, and, like two or three others,
more or less of the same period, now recorded,
it had escaped me in my First Edition.
H. 9; w. 6. (H. 0-227; L. 0-150.)

90 WHISTLER'S ETCHINGS.
.228, Wild West. A sketch of curving sheds devoted
to the spectators of the ' Wild West ' Show ;
horses in the arena, and an ' orator ' aloft.
H- 3^-) w. 7i. (H. o-o8o; l. 0-182.)
:229. The Barber's. Three shop fronts, with a lamp
post before the second, and the shadowed
entrance to a court dividing the second from the
third shop. A barber's pole above the first, and
' Hair Cutting and Shaving ' on the window-panes,
H. 6\ ; w. 9|. (H. 0-163 i l. 0-240.)
-.230. Petticoat Lane. A woman and two children in
front of a squalid doorway and a small-paned
window. All slightly indicated.
H. 3l; w. si. (H. 0-091 ; L, 0-133.)
:231. Old Clothes Exchange. A wide court-yard, or
street-end, in Houndsditch, of which the back
ground is apparently the warehouse of 'Philp
& Co., Packers.'
H. 6i; w. 9J. (H. 0-158; L. 0-240.)
:232, St. James's Place, Houndsditch. A sketch of
squaUd shops, one of which, at the street corner,
has a trough in front of it. A half-dressed man,
with legs parted, stands looking deliberately at
M. & E, Levy's, next door,
H. ll; w, 7, (H, 0-80; L, 0-177,)
^33, Fleur de Lys Passage. A ramshackle passage
way, with notice facing us — 'Entrance to the
Exhibition, Clothes Exchange,'
H. 7^; w. 3^. (H. 0-180; l, 0-080,)

WHISTLER'S ETCHINGS. gr
234, Cutler's Street. A study in Houndsditch, with
' B, Abrahams ' on a board below which old
clothes are hanging.
H, 7;w. 5, (H. 0-177; L, 0-127,)
235. The Cock and the Pump, A cock in the right
foreground, and a pump and water-trough by
railings in the middle distance. Beyond them,
old-fashioned houses. It is the market-place.
Sandwich. H. 6|; w. 5|. (H, 0-166 ; l, 0-140.)
336. Sandwich : Salvation Army. Quaint, deep-
roofed, gabled houses of a Kentish country town.
In front of them a group of people — the Salva
tion Army, it seems.
H. 3i; w. 6f. (H, 0*080; l. 0-173,)
237, Visitors' Boat. A group of persons seen on the
Visitors' Boat, In the distance, various battle
craft This and the following eight or nine clever but
very slight plates, which have probably been little
circulated, and which lend themselves to only
the briefest mention, constitute Mr. Whistler's
summary record of naval proceedings at the first
Jubilee, 1887,
H. si; w, 8f, (H, 0-140; L, 0*217.)
238. Troop Ships. A stretch of water, and, in the
distance, vessels in line.
H, 5 ; w, 6|. (H. 0-127 J l, 0,173,)

92 WHISTLER'S ETCHINGS.
239. Monitors. H. s\-, w. 8|. (H. 0-140; L. 0-217,)
240, Southampton Docks.
H. 2|; w. 7. (H. 0-067; L. 0-177.)
241. Bunting. Flying flags ; and figures apparently om
the deck of a ship.
H. 6\; w. 4f, (H. 0.173 J L. 0-123.)
242. Dipping the Flag. The dipped flag large in the
foreground. In the distance, many ships.
H- 38 ; w- H- (H. 0-080; L. 0-173.)
243, The Fleet — Evening. A sloop lowering sail ; and
ships in the distance, -
H, s|; w, 8f, (H, 0-142; L. 0*220.)
244. Return to Tilbury.
H. si; w. 3f. (H, 0-132 ; L, 0093,)
245, Ryde Pier. A group of ladies, under an awning,.
watch the ships in the distance.
H. si; w. 4|. (H. 0-132; L. o'lij:)
246. Chelsea (Memorial). A jotting of the river-front
of Chelsea, with the old Church, seen from across
the River.
H. 2 ; w. 3i. (H. 0-030 ; L. 0-082.)
247. Windsor (Memorial). A jotting of Windsor Castle
and the slopes, seen from across the water. This
and a previous little plate were done by the thera
President of the Society of British Artists in con-

WHISTLER'S ETCHINGS. 93
nexion with a Memorial to H. M. the Queen.
'Where she lives, and where I live,' is reported
to have been Mr. Whistler's observation,
H, si; w* Sl- (H. 0-130; L, 0-093,)
248. The Canal, Ostend. The .slightest indication of
a wide flat landscape, with low houses scattered
along the sky Une,
H, 2|; w. 7. (H. 0-063; L. 0-177,)
249. The Church, Brussels, A bit of church
interior, with two pillars ; worshipping figures ;
and, in the foreground, empty chairs.
H. s; w. 7. (H, 0-127; L. 0-177.)
'250. Court-Yard, Brussels. A court-yard in a
working quarter of Brussels. A lamp-post in
the centre.
H. 8|; w. 5. (H. 0-215; l, 0-127.)
•251. Grande Place, Brussels. The city palace with
its pilasters, balconies, pediment, balustrade,
seen from across the Square,
H, 8|; w, s|. (H, 0-217 ; L, 0-140,)
252. Palace, Brussels, The fagades of three narrow
palaces; the one to the right with carved
figures on the principal story. In the fore
ground, all that is left of the day's flower
market, which is held in the square,
H, 8|; w, s|, (H, 0-215 ; L, 0-138,)

94- WHISTLER'S ETCHINGS.
253. The Barrow, Brussels. In front a barrow;
children behind it; and beyon'd them the
recesses of a dark poor shop or dwelUng,
H, 5 ; w. 6f. (H, 0-127; l. 0-170.)
254. The High Street, Brussels. A crowd of people
outside a square-windowed shop, and, on each
side, two dark and squalid doorways.
H. 5 ; w. 6f. (H, 0-127 ; l, 0-173.)
255, Market Place, Bruges. The Town Hall, witb
its belfry. A spire to the left
H. 3f;w. 5^. (H. 0-093; L. 0-130.)
256, Passages de l'Op^ra, Kiosques to right and
left, and, in the centre, the entrance to the
' Passages de I'Opdra,' with above it the arched
window of an entresol, and above that a balcony.
H. 5; w. 8|. (H. 0-127; l, 0-215,)
257. Carpet-Menders. Three women working within
the doorway of a Paris shop.
H. 7f ; w. 9f . (H. 0-197 ; L. 0-247.)
258. Sunflowers, Rue des Beaux-Arts. Two door
ways of a Paris greengrocer's shop, under two
large arches, and vegetables piled against the
middle pillar.
H. 8f ; w, II, (H. 0-219; L. 0-278.)
259. Mairie, Loches. A French Renaissance house,
with its simple ground floor and ornamented upper
stories, seen at the end of a narrow street
H. 8|; w, 5, (H, 0-216; L, 0-127,)

WHISTLER'S ETCHINGS. 95
260, Steps, Amsterdam. House-fronts in Amsterdam.
The doors of two or three approached by a few
steps common to all. A woman and children on
the narrow pavement, on the near side of which
the houses are reflected in the canal waters.
H, 9i; w. 6^. (H. 0-234; L, 0-165.)
261. Square House. A detailed study of Amsterdam
houses, fronting you, on the edge of a canal.
The ground floor being open shops or work
rooms reflected more or less in the water. The
house to the right is lighter than the rest, and is
chiefly of wood, or at least has a planked out
building above the shop.
H. 9; w. 6|. (H. 0-228 ; L, 0-173,)
262, Balcony, Amsterdam. It is the balcony of a
house on a canal; or rather, the house-front
from basement to first floor; the balcony being
partly draped, and clothes hanging to dry on a
clothes line above its tall windows. A night
effect very rich in Ught and shade.
H io|; w. 6f, (H, 0-266; L, 0-169.)
263, Little Drawbridge, A narrow drawbridge, the
approach to which from the right is supported
by piles, A Dutch church steeple rises behind
the bridge, and the more distant part of the
canal is edged by trees,
H, 7;w. 5, (H, 0-177; L, 0-127.)

g6 WHISTLER'S ETCHINGS.
264. Pierrot. Chiefly the basement floor of a house
on a Dutch canal. A bucket swings to the
left in the canal water, and a lad stands at the
open doorway with one hand on a beam and
the other on a post that helps to support the
next story.
H. 9; w. 6f. (H. 0-228; L. 0-161.)
-265. Nocturne: Dance House. Gleaming Ughts in
many windows, and the shadows of figures,
and without, on the close canal, the darkness
of night. H. lof ; w. 6\. (H. 0-273; L. 0-164.)
266. Long House — Dyer's — Amsterdam. The scene,
just over the canal; a wooden outbuilding in the
centre of the picture, and to right and to left of
it little back yards, so to say, with palings and
seyeral figures.
H. 6|; w. lof, (H, 0-164; L. 0-270,)
-267. Bridge, Amsterdam. A bridge, in three sections,
spans a wide water. House roofs seen to the
lefl:, and the view beyond the bridge, in the
centre, bounded by many houses.
H. 6\; w. 9|. (H, 0-273; i» 0-241,)
268, Zaandam, In front, a canal with flat-bottomed
boats, sketched Ughtly, Beyond is a great plain,
and a world of windmills against a lowering sky,
H, si; w, 8|, (H, 0-130; L, 0-220,)

Postscript. — Just as the First Edition of this book was going to
press, there arrived from New York — sent thence to London by the
courtesy of Mr. Kennedy — an impression from a copper spoken of in
my introductory Study (page ii). It is much what I there said it was
— a curiosity and not a work of art. It is a geographer's view of the
coast — three inches high and ten wide.
I take this opportunity of adding that there are a few plates —
executed in more recent years — which I have purposely not de
scribed. Some, having been set aside by Mr. Whistler as not satisfac
tory, were actually destroyed before more than one or two impressions
had been taken, F. W.

INDEX.

' Adam and Eve," Old Chelsea 144

Agnes Alderney Street
Amsterdam .
Annie .
Annie Haden
Annie Haden
Annie, Seated
Arthur Seymour
Astrac, a Literary Man
Auguste Delatre ,
Axenfdd Balcony, The
Balcony, Amsterdam
Barbers, The
Barrow, Brussels .
Battersea Bridge
Battersea : Dawn
Beach, The .
Bead Stringers
Becquet Beggars, The
Bibi Lalouette
Bibi Valentin
BillingsgateBlack Lion Wharf
Booth at a Fair .
Boy, The .
Bridge, Amsterdam
Bridge, The
Bunting

106
196 82IS 2
5724
4749 2161

177
262 2292S3 141I2S
lOI164 48
IS9 3028 4S40
203 109
267 171
241

Cadogan Pier

NO. 79

Canal, Ostend .

• ,248

Carpet Menders .

257

Chelsea Bridge and Church

85

Chelsea — Memorial

246

Chelsea Wharf .

81

Child on a Couch, A .

112

Church, Brussels .

• 249

Cock and the Pump, The

23s

Comer of the Palais Royal,

A 201

Cottage Door

204

Courtyard, Brussels ,

250

CuUer's Street ,

234

Dam Wood, The

120

Desk, The ,

104

Dipping the Flag

242

Dog on the Kennel, The

8

Doorway, The ,

154

Doorway and Vine

161

Dordrecht .

200

Drouet

S3

Drury Lane

176

Dutchman holding the Glas.

5 3

Dyer, The .

, 189

Elinor Leyland ,

95

En Plein Soleil .

6

Encamping .

75

Engraver, The ,

62

IOO

INDEX.

Fanny Leyland .

NO. 94

Lady at a Window, A

NO.
Ill

F. R. Leyland .

93

Lagoon : Noon .

186

F. R. Leyland's Mother

227

Landscape with the Horse, T

he 46

Finette . . . .

54

Large Pool, The.

143

Fish-Shop : ' Busy Chelsea ' .

214

Lime-Burner, The

44

Fish-Shop, Venice

18S

Limehouse .

37

Fishing-Boat

178

Lindsay Houses .

136

Fishing-Boats — Hastings .

131

Little Arthur

13

Fleet, Evening .

243

Little Boy, A

22

Fleur-de-Lys Passage .

233

Little Court

173

Florence Leyland

96

Little Drawbridge

263

Forge, The

63

Little Forge, The

"S

Fosco ....

90

Little Lagoon

152

Fragment of Piccadilly

208

Little Mast .

151

Free-Trade Wharf

134

Little Pool, The .

72

Fruit-Shop : Chelsea .

210

Little Putney

146

Fruit-Stall : Venice

. 166

Little Salute

190

Fulham

. 148

Little Smithfield .

78

Fumette

. 18

Little Velvet Dress

92

Fumette's Bent Head .

¦ 51

Little Venice, The

149

Fumette Standing

• SO

Little Wapping, The .

71

Fur Cloak, The ,

. 221

Liverdun

4

Furnace Nocturne

. 183

Lobster Pots

174

Furniture Shop .

. 216

London Bridge .
Long House — Dyer's—

123

Garden

. 180

Amsterdam

266

Grande Place, Brussels

¦ 251

Long Lagoon

169

Greenwich Park .

33

'Long-shore Men

43

Greenvrich Pensioner .

32

Long Venice

182

Gretchen at Heidelberg

12

Lord Wolseley .

138

Guitar Player, The

, 122

Mairie, Loches .
259
High Street, Brussels .
• 254
Marchande de Moutarde, L
a. 16
Hurlingham
• 147
Market Place, Bruges .
Mast, The ,
255
, 160
Irving as Philip of Spain
• 139
MaudeMaude, Seated .
• 99
, IOO
Islands
• 193
Menpes Children
. 212
M4re Gerard, La
9
Joe ... .
. 64
M4re Gerard, Stooping
10
Millbank .
, 67
Kitchen, The
, 19
Miser, The .
• 65
INDEX.

NO.
Model Lying Down, The . 107
Model Resting, The . . 87
Monitors . . . 239
Mother and Child . . 224
Mr. Mann . . . -58
Muff, The . . . . 126
Muiano — Glass Furnace . 187
Music Room, The . . 26
Nocturne .... 150
Nocturne — Dance House . 265
Nocturne— Palaces . . 168
Nocturne— Salute . . 199
Nocturne— Shipping . . 194
Nursemaid and Child . . 34
Old Clothes Exchange. . 231
Old Clothes Shop . . 209
Old Hungerford Bridge . 80
Old Women . . . 195
Palace, Brussels . . . 252
Palaces, The . . .153
Paris : the Isle de la Cit^ . sS
Passages de rOpeia . . 256
Penny Boat, The . . S9
Petticoat Lane . . . 230
Pickled-Herring Stairs, From 137
Piano, The . . . .117
Piazzetta, The . . , 155
Pierrot . . , . 264
Ponte Piovan . . . 179
Pool, The .... 41
Price's Candle- Works . . 124
Punt, The , ... 68
Putney Bridge . , .145
Putney: No. Three . . 226
Quiet Canal . , .184
Rag Gatherers, The . . 17

NO.
Railway Arch . . . 218
Ratcliffe Highway . . 74
Reading a Book ... 97
Reading by Lamplight . 25
Reading in Bed ... 29
Regent's Quadrant . . 192
Resting .... 105
Retameuse, La . . c
Return to Tilbury . . 244
Rialto, The . . .181
Riva, The .... 157
Riva, The : No. Two . . 175
Rochester Row . , . . 219
Ross Winans ... 76
Rotherhithe ... 60
Ryde Pier , , . . 245
Salute : Dawn . . . 185
San Biagio .... 163
Sandwich : Salvation Army. 236
San Giorgio . . . 167
Savoy Scaffolding , , 217
Scotch Widow, The . .118
Seamstress, The . , . 206
Seaited Girl , . . .103
Seymotu- . . ' . .23
Shipbuilders' Yard . . 121
Shipping at Liverpool . , 84
Sketch at Dieppe . , 202
Sketch from Billingsgate . 130
Sketch in St. James's Park , 207
Sketch of a Girl, Nude . 113
Sketch of Battersea Bridge . 225
Sketch of Ships . . . 127
Sketch on the Embankment 21 1
Sketching .... 69
Smithy, The , . . 197
Soupe ^ Trois Sous . . 27
Speke HaU .... 86
Speke Shore . . , 119
St, jMnes's Place, Hounds
ditch , . , , 232

102

INDEX.

HO.
Southampton Docks . . 240
Square House . . . 261
St. James's Street , . 140
Stables . . . .198
Steamboat Fleet . . . 223
Steamboats off the Tower . 114
Steps, Amsterdam . . 260
Steps, The . . , ,213
Storm, The . . . . 77
Street at Saverne . . .11
Sunflowers, Rue des Beaux-
Arts  258
' Swan ' Brewery ... 89
Swinburne . . . .no
'T. A. Nash" . . .215
Tatting . , , . 98
Temple . . , . 170
Temple Bar . , . 133
Thames Police ... 42
Thames towards Erith . 135
Thames Warehouses , . 35
Tillie : a Model . . . 102
Tiny Pool .... 73
Title to the French Set, The 20
Traghetto, The . . .156
Troop Ships . . . 238
Troubled Thames, The . 129
Two Doorways . . . 158
Two Ships , . . . ri6
Two Sketches . . . 108
Turkeys . . . .165
' Tyzac, Whiteley, & Co.' . 39

Unsafe Tenement, The
Upright Venice .
Vauxhall Bridge .
Velvet Dress, The
Venus Vieille aux Loques, La
Village Sweet-shop, The
Visitors' Boat

Weary Westminster Bridge
Westminster Bridge in Pro
gress ...
Wharf, A ,
Wheelwright
Whistler, Early Portrait of
Whistler, with the White Lock
Whistler Whistler's Mother
White Tower, The
Wild West .
Wine Glass, The
Woman Seated .
Windsor — Memorial
Wool-Carders Wych Street
York Street, Westminster .
Zaandam ....

London i Stkangewavs, Printers.

Works by mr. wedmor^.

MERYON {Limited Edition for Collectors).
ETCHING IN ENGLAND.
FINE PRINTS.
STUDIES IN ENGLISH ART. Second Edition.
THE MASTERS OF GENRE PAINTING.
BALZAC. PASTORALS OF FRANCE. Fourth Edition.
RENUNCIATIONS. Third Edition. With Portraits by
J. J. Shannon, A.R.A.
ENGLISH EPISODES. Second Edition.
ORGEAS AND MIRADOU, WITH OTHER PIECES.

^S86 e8Z.20

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