THE PRINT-COLLECTOR’S BULLETIN 
 AN ILLUSTRATED CATALOGUE OF 
 PAINTER-ETCHINGS FOR SALE BY 
 FREDERICK KEPPEL & CO. 
 4 EAST 39th STREET, NEW YORK 
 
 JAMES A. McNEILL WHISTLER 
 
THE PRINT-COLLECTOR’S BULLETIN 
 AN ILLUSTRATED CATALOGUE OF 
 PAINTER-ETCHINGS FOR SALE BY 
 FREDERICK KEPPEL & CO. 
 4 EAST 39th STREET, NEW YORK 
 

 
 
 . 
 
JAMES A. McNEILL WHISTLER 
 
Portrait of Whistler 
 From the drawing by Paul Rajon 
 
WHISTLER AS AN ETCHER 
 
 ^HISTLER was the greatest etcher and the most accomplished 
 
 lithographer who ever lived. But to say so — to praise en- 
 thusiastically — is only to decry. To state things truly is only to 
 overstate. For this is not the way of the critic who analyses and 
 dissects, who records and distorts, and who makes a great momen- 
 tary notoriety for himself and has no real effect upon the one criti- 
 cized. It is of him the Master said, “Je n’en vois pas la necessite. ” 
 
 I know it will be objected at once that Whistler did not produce 
 such plates as the Hundred Guilder, the Three Trees, the Descent 
 from the Cross, the Christ before Pilate. He did not, and the rea- 
 son is simple. It is not the fashion nowadays to do so, and more 
 than this, there is no reason why he should. When Rembrandt 
 lived it was the fashion to illustrate biblical subjects, and he did so 
 extraordinarily well. It was also the fashion to evolve classical 
 compositions, and he did this amazingly. I probably should not say 
 the fashion, but the tradition, a more appropriate word that ex- 
 presses much better what I mean. Whistler was the faithful fol- 
 lower of some traditions, but not of others. He saw no necessity 
 for doing large plates for the benefit of the collector, or of putting 
 on his plates, whether large or small, Londoners performing Mira- 
 cle Plays. For him, nature, the nature that was all about him, was 
 beautiful enough, interesting enough, suggestive enough — finer far 
 than any faked-up composition. On the other hand, if some of the 
 scriptural prints are esteemed as Rembrandt’s greatest by col- 
 lectors — they are his most important in size — they appeal less to 
 artists, for they were really pot-boilers, though magnificent. 
 Whether Whistler could have used his etching needle for the same 
 ends I have no means of knowing; I only know that he did not, that 
 he never made a pot-boiler— a composition if you like— and that he 
 protested against the large plate, “the huge plate is an offence.” 
 He may, therefore, be best compared with Rembrandt for his treat- 
 ment of just those subjects which both artists etched because they 
 loved to etch. 
 
 I am not a cataloguer : the clerk who sets down facts and figures 
 wrongly in a book, so that another clerk may come along and make 
 a still larger book by correcting the first clerk’s mistakes and filling 
 up his omissions, just as they do in the City, from which he mostly 
 
 7 
 
escapes; nor do I wish to pose as an historian of art. I do not pre- 
 tend to know the order in which Rembrandt etched his plates, 
 though with half an hour’s cramming — and I have the materials 
 round me — I could get these facts np. It is more interesting to com- 
 pare, when comparison is possible, and to prove, as I stated at the 
 beginning, that Whistler is the greatest etcher who ever lived. I 
 have not compared him with Hollar, with Callot, or with Mery on. 
 for they were not etchers as Rembrandt and Whistler were. But 
 look at Rembrandt’s prints made, T do not know whether with Am- 
 sterdam or Zaandam in the background, and then at Whistler’s of 
 the same subjects. Rembrandt drew and bit and printed these little 
 plates as no one had up to his time. But Whistler is as much in ad- 
 vance of Rembrandt as that great artist was of his predecessors. In 
 these little distant views of absolutely the same subject Whistler has 
 triumphed. It is not necessary to explain how : you have only to see 
 the prints to know it. Or take Rembrandt’s Mill, his studies of old 
 houses, and then turn to Whistler’s Dutch series, or the Thames set. 
 or the Venetian prints, if you can find them— only no museum has a 
 complete collection — it becomes evident at once who was the greater 
 artist. The older master is conservative and mannered ; the mod- 
 ern master, respecting all the great art of the past, is gracious, and 
 sensitive, and perfectly free. Some of Rembrandt’s beggars are 
 marvellous. But what of Whistler’s tramps, the Soupe a Trois 
 Sous, or the Mere Gerard, or fifty others? And when one comes to 
 think of it, there are. as for instance in those dark alleyways of the 
 Venetian set, or the Kitchen of the French series, passages of lum- 
 inous shadow which Rembrandt never approached in the Burgo- 
 master Six or in any similar subject. Compare the construction of 
 the Mill of Rembrandt with the construction of the warehouses in 
 the Black Lion Wharf, or the Unsafe Tenement, and it will soon be 
 seen who was the greater craftsman. And so it goes all the way 
 through. 
 
 And Whistler added a new scientific method to the art of etching, 
 that of painting on the copper plate with the needle. Who before 
 had ever shown the richness which a copper is capable of yielding 
 without mechanical work, without stupid cross-hatching? Nobody. 
 And yet he never transgressed a single one of the laws which the 
 other groat etchers and he himself had laid down. And this is 
 where the marvel of it comes in. The whole of Whistler’s art was a 
 growth and a definite development, but it was. from the first, per- 
 fect in its own way. There are in the French set, prints, like the 
 night scene in the Alsatian village, called Street at Saverne, which 
 are as good as any that ever came after. And if looked at carefully 
 — I confess I never saw this until Whistler showed it to me once, in 
 a rage because I had not seen his intention— the same arrangement 
 of lines, the same seeking for the same effects, will be found there as 
 in the Venetian plates. Later, his work became simpler, and in his 
 yet unpublished Parisian series of little shops, scenes on the Boule- 
 vards and in the Gardens, he carries on the same idea of painting 
 with exquisite line. One of the most interesting. I think, of all his 
 
 8 
 
coppers is the Adam and Eve Tavern, in which the earlier manner 
 is being broken away from and his final method is taking its place; 
 both the styles harmonizing perfectly. I know little, and can 
 say less, of the states of his plates, — and I believe he himself 
 knew little more about them, — how many were printed, whether 
 they exist or not, or what has become of the coppers. All I do 
 know is that in the case of the Thames set, long after Whistler or 
 Delatre— I am not sure which— had pulled a certain number of 
 proofs, long after the plates had been steeled and regularly pub- 
 lished. about 1871. and later still, after a Rond Street dealer had 
 been selling them in endless numbers to artists for a few shillings 
 each, the idea was suggested to another dealer that he should pur- 
 chase the copper plates, remove the steel facing, and, if they were in 
 condition, print as many as the plates would stand, or if they were 
 not, destroy the plates and sell them, for even Whistler’s destroyed 
 coppers have a value. The experiment was tried, and extraordi- 
 narily fine proofs were obtained. I believe collectors resented this 
 very much, but artists rejoiced, and the world is the richer by a 
 number of splendid examples of the master. 
 
 It is scarcely necessary to refer in detail to the different series, 
 beginning with the French set, then the Thames, the two Venetian ; 
 really the only ones that have been published. Yet there are also 
 the plates done in Holland, which I think have never all been pub- 
 licly seen in England or America. A few were exhibited in the sec- 
 ond International in London, in 1899, where were also shown most 
 of the prints of the Naval Review, 1887. There is also a Belgian 
 set, but I do not think it, either, has been shown often. Then there 
 is the series made in the French provinces, and, finally, a number 
 were done in Paris and the suburbs in 1892 and 1893. But all his 
 life Whistler was working on copper, and no man living, at the 
 present time, has any idea how many etchings he made. All his 
 work is alike perfect.' It has only been produced under different 
 circumstances, and is an attempt to render different effects or situa- 
 tions. Therefore the methods vary, but the results are always the 
 same— great. The greatest, the most perfect, as a whole, that any 
 etcher has ever accomplished. 
 
 Joseph Pennell. 
 
 New York, October, 1904. 
 
 9 
 
NOTE 
 
 ALTHOUGH oil the day of issuing The Print-Collector’s 
 Bulletin we were able to supply each print mentioned at the 
 price quoted, the steady advance in the value of certain rare prints 
 sometimes renders it impossible for us to supply a duplicate im- 
 pression at the original price. 
 
 After the Bulletin has been examined, we should be glad to 
 send a selection of the Etchings themselves, for inspection, by ex- 
 press or mail, to any address. 
 
 We pay all charges of transmission ; and our correspondents need 
 feel under no obligation to purchase, if the Etchings themselves do 
 not satisfy them in every x-espect. 
 
 Correspondents whom we do not already know, and who may 
 desire to have Etchings sent on selection, will recognize the pro- 
 priety of introducing themselves with a proper reference. 
 
 Frederick Keppel & Co. 
 
 May 14, 1908 
 
CATALOGUE 
 
 L1VERDUN (Wedmore No. 4) 
 
 A farm-yard in the Village of Liverdun, near Toul in Lorraine. 
 
 One of the French set. 
 
 Proof on Old Dutch paper $30 
 
 LA RETAMEUSE (Wedmore No. 5) 
 
 One of the French set. 
 
 Proof on India paper $30 
 
 EN PLEIN SOLEIL (Wedmore No. 6) 
 
 One of the French set. 
 
 First edition, on white India paper $36 
 
 THE UNSAFE TENEMENT (Wedmore No. 7) 
 
 One of the French set. 
 
 Proof on Japan paper $30 
 
 LA MERE GERARD (Wedmore No. 9) 
 
 One of the French set. 
 
 Proof on Old Dutch paper $36 
 
 THE SAME 
 
 From the collection of Queen Victoria. It bears the royal stamp at the back. 
 
 Proof on India paper $62 
 
 STREET AT SAVERNE (Wedmore No. 11) 
 
 “There are in the French set prints, like the night scene in the Alsatian vil- 
 lage, called Street at Saverne, which are as good as any that came after. And 
 if looked at carefully . . . the same arrangement of lines, the same seeking 
 for the same effects, will be found there as in the Venetian plates. ’’—From the 
 Introduction by Joseph Pennell. 
 
 One of the French set. 
 
 Proof on India paper $30 
 
 11 
 
LITTLE ARTHUR (Wedmore No. 13) 
 
 One of the French- set. 
 
 Proof on Japan paper $20 
 
 LA VIE1LLE AUX LOQUES (Wedmore No. 14) 
 
 This plate, the Kitchen, La Marchande de Moutarde, the Street at Saverne, and 
 the Rag Gatherers’ are the finest of the very early plates, and, as Mr. Pennell 
 says in speaking of the Street at Saverne, they are “as good as any that came 
 after. ’ ’ 
 
 One of the French set. 
 
 Proof on Old Dutch paper $60 
 
 ANNIE (Wedmore No. 15) 
 
 This little girl was Annie Haden, the daughter of Sir Seymour Haden. She 
 later became the wife of Mr. Charles Thynne. 
 
 One of the French set. 
 
 Proof on India paper $50 
 
 LA MARCHANDE DE MOUTARDE (Wedmore No. 16) 
 
 The second state, with Delatre’s address effaced from the plate. 
 
 “In La Marchande de Moutarde and the Kitchen . . . are very beautiful 
 chiaroscuro effects. ’’—T. R. Way, The Art of J. McNeill Whistler, p. 68. 
 
 One of the French set. 
 
 Proof on Japan paper $24 
 
 (See Illustration) 
 
 THE SAME 
 
 First state before the address of Delatre was effaced. 
 
 Proof on India paper $55 
 
 THE RAG GATHERERS’ (Wedmore No. 17) 
 
 “A fine plate executed during the same period is The Rag Gatherers ’ — a squalid 
 interior with two figures at the back, very suggestive and powerful in effect.” 
 — T. R. Way, The Art of J. McNeill Whistler, p. 68. 
 
 Proof on Japan paper $24 
 
 (See Illustration) 
 
 FUMETTE (Wedmore No. 18) 
 
 One of the French set. 
 
 Proof on Japan paper $30 
 
 12 
 
The Kitchen 
 

 , 
 
 
 
 
 
 
 
 
 

 Marchande de Moutarde The Rag Gatherers 
 

 
 
 
 
THE KITCHEN 
 
 (Wedmore No. 19) 
 
 “The kitchen is flooded with sunshine, like a chamber of De Hooch’s.’’— 
 Frederick Wedmore, Whistler’s Etchings, p. 26. 
 
 ‘ ‘ There are, as, for iustance, in those dark alleyways of the Venetian set, or 
 the Kitchen of the French series, passages of luminous shadow which Rem- 
 brandt never approached in the Burgomaster Six, or in any similar subject.’’ — 
 From the Introduction by Joseph Pennell. 
 
 One of the French set. 
 
 Superb impression of the first state, on warm 
 yellow India paper $450 
 
 (See Illustration) 
 
 THE SAME 
 
 Another impression, also in the first state, with less tone on the plate. 
 
 Proof on Old Dutch paper $425 
 
 THE TITLE TO THE FRENCH SET (Wedmore No. 20) 
 
 Superb impression on India paper $20 
 
 THE SAME 
 
 Impression on brown paper, original cover for 
 the French set $20 
 
 A LITTLE BOY (Wedmore No. 22) 
 
 Done as a portrait of Seymour Haden, Junior. 
 
 Proof on Japan paper $36 
 
 THE SAME 
 
 From the collection of Queen Victoria. It bears the royal stamp at the back. 
 Proof on Old Dutch paper $75 
 
 SEYMOUR (Wedmore No. 23) 
 
 A portrait of Seymour Haden, Junior. 
 
 Proof on Japan paper $24 
 
 ANNIE SEATED (Wedmore No. 24) 
 
 1 ‘ One of the most beautiful of the many portraits of Miss Annie Haden. ’ ’ — 
 T. R. Way, The Art of J. McNeill Whistler, p. 68. 
 
 Proof on Japan paper $24 
 
 (See Illustration) 
 
 17 
 
THE MUSIC ROOM 
 
 (Wedmore No. 26) 
 
 The three figures are portraits of Sir Seymour Haden (at the left), Lady 
 Haden, aud Mr. Freer. First state. There is no indication of fingers on Sir 
 Seymour ’s right hand. 
 
 From the collection of Queen Victoria. It bears the royal stamp at the back. 
 Proof on Old Dutch paper $130 
 
 SOUPE A TROIS SOUS (Wedmore No. 27) 
 
 ‘ ‘ Some of Rembrandt ’s beggars are marvellous. But what of Whistler ’s 
 tramps, the Soupe a Trois Sous, or the Mere Gerard, or fifty others?” — From 
 the Introduction by Joseph Pennell. 
 
 Proof on Old Dutch paper $36 
 
 BIBI VALENTIN (Wedmore No. 28) 
 
 Proof on Old Dutch paper $32 
 
 BIBI LALOUETTE (Wedmore No. 30) 
 
 “A charming study of a boy sitting on a sloping bank. T. K. Way, The Art 
 of J. McNeill Whistler, p. 68. 
 
 ‘ ‘ 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. ’’—Frederick Wedmore. Whistler's Etchings, p. 30. 
 
 Proof on Japan paper $34 
 
 (See Illustration) 
 
 THE WINE GLASS (Wedmore No. 31 ) 
 
 ‘‘A marvellous little still-life study, entitled The Wine Glass, also done at this 
 time, may be compared with Rembrandt’s Shell.”— T. R. Way, The Art of J. 
 McNeill Whistler, p. 68. 
 
 ‘‘This is the only still-life piece ever wrought by Mr. Whistler. It gleams 
 like a De Heem or a Blaise Desjoffe. ’’—Frederick Wedmore, Whistler's Etch- 
 ings, p. 30. 
 
 Proof on Japan paper $20 
 
 GREENWICH PENSIONER (Wedmore No. 32) 
 
 Proof on Old Dutch paper $145 
 
 THE SAME 
 
 Proof on Old Dutch paper. From the Mac- 
 George and Theobald Collections. Signed 
 with Mr. Whistler’s ‘‘butterfly” signature. .$165 
 
 GREENWICH PARK (Wedmore No. 33) 
 
 This and the l)am Wood are almost the only landscapes to be found in 
 Whistler’s work. They are interesting as illustrating his earlier and later 
 method of treating a class of subject which was so unusual with him. 
 
 Proof on Old Dutch paper $56 
 
 18 
 

 Annie Seated Bibi Lalouette 
 

 
 
 
 
 
 
 
 
 
 
 
Rothf.rhithe The Limeburner 
 

 
 
 
NURSEMAID AND CHILD 
 
 (Wedmore No. 34) 
 
 The rare first state. The nursemaid has a nez retrousse. It is in this state 
 that Mr. Wedmore says she is somehow “a pleasanter young woman.” The 
 first state of this plate has frequently been described as the second, and vice 
 versa. 
 
 Proof on Old Dutch paper $56 
 
 THE SAME 
 Second state. 
 
 Proof on Japan paper $50 
 
 THAMES WAREHOUSES (Wedmore No. 35) 
 
 One of the Thames set. 
 
 “To that Early Period, to that first time, belonged then these two sets: the 
 second with its infinitely interesting Pool, Thames Police, Thames Warehouses, 
 and Black Lion Wharf.”— Frederick Wedmore. Whistler and Others, p. 22. 
 
 Proof on Old Dutch paper $50 
 
 WESTMINSTER BRIDGE (Wedmore No. 36) 
 
 One of the Thames set. 
 
 Proof on Japan paper $50 
 
 LIMEHOUSE (Wedmore No. 37) 
 
 One of the Thames set. 
 
 Proof on Old Dutch paper $36 
 
 TYZAC, WH1TELEY & CO. (Eagle Wharf) (Wedmore No. 39) 
 
 One of the Thames set. 
 
 Proof on Old Dutch paper $42 
 
 BLACK LION WHARF (Wedmore No. 40) 
 
 “Mr. Whistler’s plate, Black Lion Wharf, or The Black Lion, a reproduction 
 of which is, I believe, to be published in to-day’s Chronicle, is one of the great- 
 est engraved plates that has been produced in modern times. I would even say 
 that it is the greatest etching of modern times were it not for the fact that it 
 is but one of a set known as The Thames Series, etched by the master some 
 thirty-five years ago. ’’—Joseph Pennell, in a letter to the London Daily 
 Chronicle, February 22, 1895. 
 
 One of the Thames set. 
 
 Proof on Old Dutch paper $“0 
 
 THE POOL (Wedmore No. 41) 
 
 One of the Thames set. See note under Thames Warehouses. 
 
 Proof on Japan paper $50 
 
 23 
 
THAMES POLICE (Wedmore No. 42) 
 
 One of the Thames set. See note under Thames Warehouses. 
 
 Proof on Old Dutch paper $36 
 
 ’LONGSHOREMEN (Wedmore No. 43) 
 
 Proof on Japan paper $36 
 
 THE LIMEBURNER (Wedmore No. 44) 
 
 One of the most beautiful of Whistler 's plates, and probably the earliest ex- 
 ample of a system of composition which became very characteristic of him — 
 that of a vista seen through a frame. Later examples of it are: The Traghetto, 
 The Beggars, Doorway and Vine, San Biagio, and perhaps the last and frankest 
 expression of all. The Garden. In these plates the foreground and middle dis- 
 tance are treated as an elaborate frame, for the most part in shadow, through 
 which is seen a small and usually brilliantly lighted distance. 
 
 One of the Thames set. 
 
 Proof on Japan paper $120 
 
 (See Illustration) 
 
 BILLINGSGATE (Wedmore No. 45) 
 
 “The solidity of the buildings introduced into this plate— the clock tower and 
 the houses upon the quay— are a rare achievement in etching. . . . The strength 
 of their realization lends delicacy to the thin-masted fishing boats with their 
 yet thinner lines of cordage, and to the distant bridge and the gray mist of 
 London and to the faint clouds of the sky.” — Frederick Wedmore, Four Mas - 
 ters of Etching, pp. 37-38. 
 
 Proof on Japan paper $24 
 
 (See Illustration) 
 
 LANDSCAPE WITH A HORSE (Wedmore No. 46) 
 
 The very rare first state; before the sky. 
 
 Proof on Old Dutch paper $60 
 
 BECQUET (Wedmore No. 48) 
 
 Sir Seymour Haden, who could certainly be trusted not to overpraise Whist- 
 ler’s work, said of this plate, “Rembrandt never did anything finer.” 
 
 “The figure of the violoncellist is merely indicated with a few swift lines; 
 but the head is fully elaborated with an incomparable minuteness and fineness 
 of touch. The more closely it is examined the more complete and finished it 
 appears and the more beautiful its workmanship. ’’—Mrs. Schuyler Van 
 Rensselaer, Century Magazine, August, 1893. 
 
 One of the Thames set. 
 
 Proof on Japan paper $120 
 
 24 
 
Billingsgate 
 
 Putney Bridge 
 

 ! 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Nocturne 
 
 f ; 
 
 / 
 
 JLv.. 
 
 Cadocan Pier 
 
R0THERH1THE 
 
 (Wedmore No. 60) 
 
 “Every brick in the building on the right is carefully drawn, in order to pro- 
 duce the desired effect of color. This plate is one of the strongest and most 
 vigorous of the series.’’ — T. R. Way, The Art of J. McNeill Whistler, p. 69. 
 One of the Thames set. 
 
 Proof on Old Dutch paper $70 
 
 (See Illustration) 
 
 THE FORGE (Wedmore No. 63) 
 
 “This audacious dry-point. ’ ’—Frederick Wedmore, Whistler’s Etchings, p. 44. 
 One of the Thames set. 
 
 Proof on Old Dutch paper $80 
 
 VAUXHALL BRIDGE (Wedmore No. 66) 
 
 “The foreground is a spirited confusion of barge, sails, masts, and cordage.’’ 
 — Frederick Wedmore, Whistler’s Etchings, p. 45. 
 
 Proof on Old Dutch paper $24 
 
 MILLBANK (Wedmore No. 67) 
 
 One of the Thames set. 
 
 Proof on Japan paper $40 
 
 THE LITTLE POOL (Wedmore No. 72) 
 
 Trial proof with writing at the bottom, but before the sky, and before the 
 shading in the water. 
 
 Proof on Old Dutch paper $55 
 
 THE SAME. 
 
 Published state. The writing is effaced. 
 
 One of the Thames set. 
 
 Proof on Old Dutch paper. $30 
 
 LITTLE SMITHFIELD (Wedmore No. 78) 
 
 “On either side there recede into the distance the quaint timber houses of a 
 narrow London lane, the woodwork wonderfully indicated. A most rare dry- 
 point. ’’—Frederick Wedmore, Whistler’s Etchings, p. 49. 
 
 Proof on Old Dutch paper $160 
 
 CADOGAN PIER (Wedmore No. 79) 
 
 “Cadogan Pier, which may be compared with the lithograph entitled Early 
 Morning, is a poetical etching of the river off Battersea in the morning mist, 
 when ‘a common greyness silvers everything.’ ’’ — T. R. Way, The Art of J. 
 McNeill Whistler, pp. 73, 74. 
 
 One of the Thames set. 
 
 Proof on Old Dutch paper $40 
 
 (See Illustration) 
 
 29 
 
OLD HUNGERFORD BRIDGE 
 
 (Wedmore No. 80) 
 
 ‘ ‘ The reflections in the water are exquisite, and in the far distance the build- 
 ings down the river are indicated with great subtlety of touch. T. R. Way, 
 The Art of J. McNeill Whistler, p. 71. 
 
 One of the Thames set. 
 
 Proof on Japan paper $50 
 
 AMSTERDAM, ETCHED FROM THE TOLHU1S (Wedmore No. 82) 
 
 State intermediate between the first and second. Undescribed by Wedmore. 
 The skv has been changed from the first state, but the monogram has not yet 
 been introduced. 
 
 Proof on Old Dutch paper $285 
 
 (See Illustration) 
 
 CHELSEA BRIDGE AND CHURCH (Wedmore No. 85) 
 
 One of the Thames set. 
 
 Proof on Japan paper $30 
 
 THE MODEL RESTING (Wedmore No. 87) 
 
 Trial proof, undescribed by Wedmore, with the monogram, but before the hori- 
 zontal lines in the background, near the left shoulder of the figure. 
 
 “An elegant and rare dry-point. ’’—Frederick Wedmore, Whistler’s Etch- 
 ings, p. 49. 
 
 From the Menpes collection. 
 
 Proof on Old Dutch paper $385 
 
 (See Illustration) 
 
 THE VELVET DRESS (Wedmore No. 91) 
 
 “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. . . . This scarce dry-point is a portrait of Mrs. 
 F. R. Leyland. ’ ’—Frederick Wedmore, Whistler's Etchings, p. 53. 
 
 From the Menpes collection. 
 
 Proof on Japan paper $490 
 
 (See Illustration) 
 
 FLORENCE LEYLAND (Wedmore No. 96) 
 
 Superb early impression, before the vertical shading on the butterfly. It is 
 from the collection of Queen Victoria and bears the royal stamp at the back. 
 
 “Of all the portraits, however, that entitled Weary, a beautiful study of a 
 girl lying back in a chair, every line expressing fatigue, and the portrait of 
 Florence Leyland with its perfect grace of line and pose, are perhaps the most 
 completely satisfying.’’ — T. R. Way, The Art of J. McNeill 11 histler, p. 72. 
 
 Proof on Old Dutch paper $600 
 
 (See Illustration) 
 
 30 
 
The Velvet Dress 
 
- 
 
 
 
Florence Leyland The Model Resting 
 
TATTING 
 
 (Wedmore No. 98) 
 
 This is also a study of'oue of the Leylands. 
 
 Proof on Japan paper $32 
 
 THE BOY (Wedmore No. 109) 
 
 One of the rarest pieces of the “middle period.” Trial proof before the arms 
 were shaded. 
 
 Proof on Old Dutch paper $265 
 
 THE LITTLE FORGE (W'edmore No. 115) 
 
 The very rare early state. Before the trees (seen through the window) were 
 finished, and before the additional shading under the window and on the raft- 
 ers. This impression is enriched by additional wash-drawing by Whistler. It 
 is from the collection of Queen Victoria and bears the royal stamp at the back. 
 
 Proof on Old Dutch paper $450 
 
 TWO SHIPS (Wedmore No. 116) 
 
 Proof on Old Dutch paper $185 
 
 PRICE'S CANDLE-WORKS (Wedmore No. 124) 
 
 Superb impression, in the first state, of ‘ ‘ this always desirable dry-point. ’ ’ 
 “They are at Battersea, and are seen from across the water. One or two 
 barges in the middle distance. Behind these, the low-arched sheds and chimneys 
 of the Candle-works— expressed simply and broadly in the rare early impres- 
 sions. ’’—Frederick Wedmore, Whistler’s Etchings, p. 62. 
 
 Proof on Old Dutch paper $285 
 
 (See Illustration) 
 
 FREE-TRADE WHARF (Wedmore No. 134) 
 
 Proof on Old Dutch paper $18 
 
 THE THAMES TOWARDS ER1TH (Wedmore No. 135) 
 
 “It is a rare dry-point. ’’—F rederick Wedmore, Whistler’s Etchings, p. 66. 
 
 Proof on Old Dutch paper $365 
 
 (See Illustration) 
 
 THE ‘ADAM AND EVE’ TAVERN, OLD CHELSEA (W'edmore No. 144) 
 
 “One of the most interesting, I think, of all his coppers is the Adam and Eve 
 Tavern, in which the earlier manner is being broken away from and his final 
 method is taking its place, both the styles harmonizing perfectly. ’’—From the 
 Introduction by Joseph Pennell. 
 
 Proof on Japan paper $34 
 
 (See Illustration) 
 
 35 
 
PUTNEY BRIDGE 
 
 (Wedmore No. 145) 
 
 Superb impression, printed by Mr. Whistler and signed with his “butterfly” 
 signature. 
 
 Proof on Old Dutch paper $430 
 
 (See Illustration) 
 
 FULHAM (Wedmore No. 148) 
 
 First Edition. 
 
 Proof on Old Dutch paper $42 
 
 THE SAME 
 Second Edition. 
 
 Proof on Japan paper $24 
 
 NOCTURNE (Wedmore No. 150) 
 
 Very rare. Trial proof, undescribed by Wedmore. 
 
 One of the Venice set. 
 
 Proof on Old Dutch paper $765 
 
 (See Illustration) 
 
 THE LITTLE MAST (Wedmore No. 151) 
 
 “Take such etchings as the Little Mast, the Fiazetta, the Eiva, San Giorgio. 
 the Balcony, etc. In each the strokes are almost to be counted, yet how ihey 
 assist the eye to complete the picture for itself ! ”— Hans Wolfgang Singft:, 
 James McNeill Whistler, p. 48. 
 
 Early proof before additional shading on the sail. 
 
 One of the Venice set. 
 
 Printed by Whistler and signed with his “but- 
 terfly ’ ’ signature $350 
 
 (See Illustration) 
 
 THE SAME 
 
 Extremely fine impression with the additional shading on the sail. 
 
 Printed by Whistler and signed with his “but- 
 terfly” signature $350 
 
 THE P1AZETTA (Wedmore No. 155) 
 
 Early proof, before the man ’s hat was changed. Extremely fine proof. 
 
 From the Ellingwood collection. 
 
 Printed by Whistler and signed with his “but- 
 terfly” signature $320 
 
 (See Illustration) 
 
 36 
 
Price’s Candle-works 
 
 The Thames toward Erith 
 

 
 
 
 
 
 
 
 
 
 
 
Dordrecht 
 
 
 Amsterdam, Etched from the Tolhi is 
 

 
 
 
 
 
 
THE RIVA— NUMBER ONE (Wedmore No. 157) 
 
 Early proof from the Menpes and Ellingwood collections, of a light golden 
 
 tone. 
 
 One of the Venice set. 
 
 Proof on Old Dutch paper $425 
 
 (See Illustration) 
 
 THE MAST (Wedmore No. 160) 
 
 One of the Venice set. 
 
 Fine impression from the Ellingwood collection. 
 
 Printed by Whistler and signed with his ‘ ‘ but- 
 terfly” signature $200 
 
 DOORWAY AND VINE (Wedmore No. 161) 
 
 Early trial proof, “a I’eau forte pure.” That is to say, the plate at this stage 
 contains practically no dry-point work. 
 
 From the Menpes collection. 
 
 One of Messrs. Dowdeswell’s rare set of ‘ ‘ Twenty-six Etchings.” Thirty sets 
 only, issued in 1886. 
 
 Proof on Old Dutch paper $235 
 
 THE SAME 
 
 Extremely fine impression from the Ellingwood collection. 
 
 Proof printed by Whistler and signed with his 
 “butterfly” signature $225 
 
 THE WHEELWRIGHT (Wedmore No. 162) 
 
 One of the “Twenty-six Etchings.” 
 
 Proof printed by Whistler and signed with his 
 “butterfly” signature $90 
 
 SAN BIAGIO (Wedmore No. 163) 
 
 Early trial proof from the Menpes collection, before the additional shading at 
 the left and before the shadow under the archway was reworked. 
 
 One of the ‘ ‘ Twenty-six Etchings. ’ ’ 
 
 Proof on Old Dutch paper $320 
 
 TURKEYS (Wedmore No. 165) 
 
 One of the ‘ ‘ Twenty-six Etchings. ’ ’ 
 
 Very fine and early proof, printed by Whistler 
 and signed with his “butterfly” signature. .$285 
 
 SAN GIORGIO (Wedmore No. 167) 
 
 Trial proof before the monogram. From the Otto Bac-her collection. 
 
 One of the “Twenty-six Etchings.” 
 
 Proof on Old Dutch paper $360 
 
 41 
 
SAN GIORGIO (I'ndesmbed by Wedmore) 
 
 The upright plate, trial proof believe. 1 to be unique. From the Otto Baeher 
 
 collection. 
 
 Proof on Japan paper $340 
 
 UPRIGHT VENICE (Wedmore No. 172) 
 
 Early trial pr >f before the foreground. From the Otto Baeher eolleetion. 
 
 One of the ‘ * Twenty-six Etchings. 
 
 "The same amazing effeet of distance" (already noticed in the Little 
 Ft i "is produced in many others of the Venire etchings. su«-h as the I.ittle 
 Lagoon. San Giorgio, the Upright Venice and the Long Venice ." — T. R. Way. 
 Thr Art of J. ilcXeill Whistler. p. 73. 
 
 Proof on Old Dutch paj>er $3^7 
 
 THE BALCONY (Wedmore No. 177) 
 
 Trial proof before the shading back of the seated figure in the balcony. From 
 the Menjies collection. 
 
 "The chiaroscuro is as effective, the draughtsmanship as fine, the detail 
 quite as beautiful as the Palaces or the Doortray. — Frederick Wedmore. 
 Whistler's Etchings, p. so. 
 
 "In this b^et the entrancing freedom and inexhaustible suggestiveness of the 
 Balcony and the Garden demand note. Frederick Wedmore. Etching in 
 England, p. 3s. 
 
 Proof on Old Dutch paper $420 
 
 THE SAME 
 
 Another impression in the same trial state as the preceding. 
 
 One of the "Twenty-six Etchings." 
 
 Proof on Old Dutch }>aper $3>o 
 
 THE GARDEN (Wedmore No. ISO) 
 
 Early trial proof, of a very beautiful golden tone, before the additional shad- 
 ing on the lintel of the door. 
 
 One of the ‘‘Twenty-six Etchings." 
 
 Proof on Old Dutch paper $400 
 
 LONG VENICE (Wedmore No. 182) 
 
 Fine early impression. 
 
 One of the "Twenty-six Etchings." 
 
 Proof printed by Whistler and signed with his 
 ‘ ‘ butterfly * ’ signature $35< 1 
 
 4 . 
 

 
 
 
 The Little Mast The Piazetta 
 

 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
The Riva — Number One 
 
 
 W ? .7 
 

 
 
 
 
A QUIET CANAl. 
 
 (Wedmore No. 184) 
 
 Extremely line and early impression. 
 
 “The (Juiet Cana I, a beautiful view of a canal curving between two rows of 
 buildings, with very delicate reflections in the water.” — T. K. Way, The Art of 
 J. McNeill Whistler, p. 74. 
 
 Proof printed by Whistler and signed with his 
 “butterfly” signature $350 
 
 SALUTE: DAWN (Wedmore No. 185) 
 
 Very delicate early impression from the Lawrence W. Hodgson collection. 
 
 One of the “Twenty-six Etchings.” 
 
 “Salute: Dawn, a marvelous dry-point, which shows the sun rising over a 
 group of buildings and domes, across a wide expanse of water. The qualities 
 of this plate, which has but the slightest dry-point skeleton, depend upon the 
 most wonderful printing, each impression being really a painting by Mr. Whist- 
 ler on the copper.” — T. R. Way, The Art of ,/. McNeill Whistler, p. 75. 
 
 Proof printed by Whistler and signed with his 
 ‘ ‘ butterfly ’ ’ signature $290 
 
 THE SMITHY (Wedmore No. 197) 
 
 From the collection of Queen Victoria. It bears the royal stamp at the back. 
 
 Proof printed by Whistler and signed with his 
 * ‘ butterfly ’ ’ signature $185 
 
 DORDRECHT (Wedmore No. 200) 
 
 From the Menpes collection. 
 
 Proof on Old Dutch paper $225 
 
 (See Illustration) 
 
 FRUIT-SHOP (Wedmore No. 210) 
 
 Early trial proof. 
 
 Proof on Old Dutch paper $56 
 
 A SKETCH ON THE EMBANKMENT (Wedmore No. 211) 
 
 From the Menpes collection. 
 
 Proof on Old Dutch paper $55 
 
 LITHOGRAPHS 
 
 CHELSEA RAGS (Way 22) 
 
 Proof on Old Dutch paper $45 
 
 GABLED ROOFS (Way 41) 
 
 Proof on Old Dutch paper $52 
 
 NUDE MODEL RECLINING (Way 47) 
 
 Proof on Old Dutch paper $50 
 
 47 
 
THE TERRACE, LUXEMBOURG (Way 55) 
 
 Proof on Old Dutch paper $55 
 
 LATE PICQUET (Way 57) 
 
 Proof on Old Dutch paper $45 
 
 LA ROBE ROUGE (Way 68) 
 
 Proof on Old Dutch paper $50 
 
 FIRELIGHT, JOSEPH PENNELL (Way 104) 
 
 Proof on Old Dutch paper $30 
 
 NEEDLEWORK (W'ay 113) 
 
 Proof on Old Dutch paper $50 
 
 THE MANAGER’S WINDOW (Way 114) 
 
 Proof on Old Dutch paper $42 
 
 ST. ANNE’S, SOHO (Way 126) 
 
 Proof on Old Dutch paper $55 
 
 THE SHOEMAKER (Way 151) 
 
 Proof on Old Dutch paper $45 
 
 DRAWINGS 
 
 STUDY OF A LADY’S HEAD 
 
 Crayon drawing, with touches of white. On 
 brown paper $145 
 
 Height 10, width 7 
 
 PORTRAIT OF A BOY SEATED 
 
 Crayon drawing, with touches of white. On 
 brown paper $200 
 
 Height 9%, width 714 
 
 43 
 
BOOKS ON 
 
 ETCHINGS AND ENGRAVINGS 
 
 N. B.— Any of these books will be sent, postpaid, on receipt of price. 
 
 ILLUSTRATED CATALOGUE OF ETCHINGS AND ENGRAVINGS 
 PUBLISHED BY FREDERICK KEPPEL & CO. 
 
 ‘ ‘ Frederick Keppel & Co. publish a valuable and instructive Catalogue of 
 their prints. The book is profusely illustrated, with really capital pictures, 
 and will be most valuable for reference. ’ ’—Arthur Hoebek, The Globe and 
 Commercial Advertiser, March 29, 1908. 
 
 New edition. Printed at the De Vinne Press. 
 
 165 pages, 9^4 x 6J4, 84 illustrations, flexible covers, 10 cents 
 
 THE KEPPEL BOOKLETS 
 
 The First and Second Series of The Keppel Booklets are now ready. Each 
 series consists of five Booklets, described below, inclosed in a special slide case, 
 and will be sent, postpaid, to any address, on receipt of twenty-five cents in 
 stamps. 
 
 These Booklets measure 5% x3V^ inches. They are printed by the De Vinne 
 Press, New York. Separate Booklets can be had at 5 cents each, postpaid. 
 
 FIRST SERIES 
 
 CONCERNING THE ETCHINGS 
 OF MR. WHISTLER 
 
 CONTENTS 
 
 Propositions by Mr. Whistler. Re- 
 printed from his book, “The Gentle 
 Art of Making Enemies. ’ ’ 
 
 Mr. Whistler’s Etchings. Reprinted 
 from The Daily Chronicle (Lon- 
 don), February 22, 1895. By Joseph 
 Pennell. 
 
 Whistler ’s Thames Etchings. Re- 
 printed from the Bulletin de l’ Art 
 Ancien et Moderne, Paris, Decem- 
 ber, 1903. By Monsieur F. Cour- 
 boin. 
 
 Sixth edition, 69 pages, 26 illustrations 
 
 SIR SEYMOUR HADEN, 
 Painter-Etcher 
 
 By Frederick Keppel 
 
 Being a condensation of the lecture 
 prepared for and delivered before the 
 Grolier Club, and afterward repeated 
 at the Metropolitan Museum of Art, 
 Yale University, etc. 
 
 Fourth edition, 40 pages, 13 illustrations 
 
 JEAN- FRANCOIS MILLET, 
 Painter-Etcher 
 
 By Mrs. Schuyler van Rensselaer 
 
 Reprinted, by permission, from The 
 Independent. To which is appended a 
 sketch of the “Life of Millet” by 
 Frederick Keppel. 
 
 Third edition, 43 pages, 11 illustrations 
 
 JOSEPH PENNELL, 
 
 Etcher, Illustrator, Author 
 
 By Frederick Keppel 
 Reprinted, by permission, from The 
 Outlook of September 23, 1905. 
 
 First edition, 64 pages, 16 illustrations 
 
 DRY-POINTS BY PAUL HELLEU 
 
 By Frederick Wedmore 
 
 Reprinted from Etching in England, 
 London, 1895. Introduction by the 
 late Edmond de Goncourt. 
 
 Sixth edition, 17 pages, 4 illustrations 
 (1 in colors) 
 
 49 
 
SECOND SERIES 
 
 AUGUSTE RAFFET 
 
 By Atherton Curtis 
 
 This review of Raffet ’s works has 
 been revised and abridged by the au- 
 thor from his chapter on Raffet in 
 ‘ ‘ Some Masters of Lithography. ’ ’ 
 First edition, 40 pages, 14 illustrations 
 
 THE LATE FELIX BUHOT 
 Painter-Etcher 
 
 By M. L£once BAi£dite, 
 Curator of the 
 Luxembourg Gallery, Paris 
 
 Reprinted, by permission, from La 
 Revue de l’ Art Ancien et Moderne, 
 Paris. 
 
 Written on the occasion of the pub- 
 lic exhibition of Felix Buhot ’s works 
 at the National Museum of the Lux- 
 embourg, and translated from the 
 French by Madame Felix Buhot. 
 
 First edition, 37 pages, 11 illustrations 
 
 ONE DAY WITH WHISTLER 
 
 By Frederick Keppel 
 Reprinted, by permission, from The 
 Reader of January, 1904. 
 
 Second edition, 23 pages, with a por- 
 trait of the artist, from the drawing 
 by Paul Rajon, and a facsimile 
 (in reduced size) of an autograph 
 letter from Whistler to Mr. Keppel 
 
 MR. PENNELL’S ETCHINGS OF 
 NEW YORK “SKY SCRAPERS” 
 
 By Frederick Keppel 
 
 Second edition, 24 pages, 9 illustrations 
 
 CHARLES MERYON, 
 
 A Biographical Sketch 
 
 By Frederick Keppel 
 
 Second edition, 37 pages, 13 illustrations 
 
 THIRD SERIES 
 
 Of the Third Series there have been issued 
 
 THE ETCHINGS OF PIRANESI 
 
 By Russell Sturgis 
 Third edition, 54 pages, 19 illustrations 
 
 MR. PENNELL’S 
 ETCHINGS OF LONDON 
 
 By Walter Conrad Arensberg 
 
 Reprinted, by permission, from The 
 Evening Post of March 1, 1906, to 
 which is added MR. PENNELL AS A 
 PRINTER, by Frederick Keppel, writ- 
 ten on the occasion of an exhibition of 
 Mr. Pennell ’s etchings of London. 
 First edition, 43 pages, 14 illustrations 
 
 HOW PRINTS ARE MADE 
 
 By Atherton Curtis 
 
 A description of the various pro- 
 cesses employed in the making of 
 
 Prints— Engraving, Etching, Aqua- 
 tint, Dry-point, Mezzotint— together 
 with Notes on Printing, and a chapter 
 on Technical Terms. 
 
 Second edition, 28 pages 
 
 Note. This Booklet, being of un- 
 usual interest and importance to Col- 
 lectors and to all lovers of fine prints, 
 is also issued as a separate Pamphlet : 
 size 7(4x5 inches, 22 pages — price 
 10 cents. 
 
 DAUBIGNY 
 
 By Robert J. Wickenden 
 Written on the occasion of an exhibi- 
 tion of Etchings and Drawings by 
 Daubigny. (April-May, 1907.) 
 
 First edition, 44 pages, 15 illustrations 
 
 AMERICAN ETCHERS 
 
 By Mrs. Schuyler van Rensselaer 
 
 Reprinted, by permission, from The Century Magazine, with the 16 original 
 illustrations. 
 
 To this is added Frederick Keppel ’s article on the life and etched work of 
 Charles Meryon. 
 
 Mrs. van Rensselaer’s pamphlet is specially recommended as giving a clear 
 and concise view of the art of etching. 
 
 31 pages, 11% x 7%, 16 illustrations, 20 cents 
 
 50 
 
THE BEST PORTRAITS IN ENGRAVING 
 
 By the Hon. Charles Sumner 
 
 The greater part of this article appeared in a New York magazine in January, 
 
 1872. 
 
 The completion, as now issued, was given to the publisher, in manuscript, by 
 Mr. Sumner shortly before his death. 
 
 He gave his hearty approval to its publication in complete form, and ex- 
 pressed the hope that it would call the attention of many persons of artistic 
 taste to the study of those early masterpieces of the engraver’s art, the collec- 
 tion and possession of which afforded himself so much pleasure and instruction. 
 
 Fifth edition, 31 pages, 11% x 8, 13 illustrations, 25 cents 
 
 THE GOLDEN AGE OF ENGRAVING 
 
 By Frederick Keppel 
 
 Reprinted, by permission, from Harper’s Magazine. 
 
 “To those who wish to gather, in a few minutes’ reading, a fair, clear, and 
 not inadequate conception of the Art of Engraving and its Great Masters, the 
 perusal of Mr. Frederick Keppel ’s article on the subject will prove very 
 satisfactory. Although the spirit of condensation rules in every line, it is 
 surprising how little of the pith and essence of the theme are omitted. The 
 paper is remarkably clear and compendious, and is admirably written.” — 
 Stephen English. 
 
 ‘ ‘ Combines rare artistic excellence with a high degree of literary merit. ’ ’ — 
 New York Tribune. 
 
 Fourth edition, 16 pages, 11x8, 13 illustrations, 15 cents 
 
 LITHOGRAPHY 
 
 By Atherton Curtis 
 
 Reprinted, by permission, from “Some Masters of Lithography.” 
 Second edition, 12 pages, 6 x 4% 
 
 This Pamphlet will be mailed, free, on application to the publishers. 
 
 HOW PRINTS ARE MADE 
 
 By Atherton Curtis 
 
 A description of the various processes employed in the making of Prints— En- 
 graving, Etching, Aquatint, Dry-point, Mezzotint— together with Notes on 
 Printing, and a chapter on Technical Terms. 
 
 Second edition, 19 pages, 7% x 4%, 10 cents 
 
 Note. This Pamphlet can also be had as Number Three of The Third Series 
 of The Keppel Booklets. 
 
 CATALOGUE OF THE ETCHED WORK OF EVERT VAN MUYDEN 
 
 By Atherton Curtis 
 
 With a portrait of the artist and ten head pieces etched expressly for the cata- 
 logue and one unpublished plate ( Lion and Lioness). The edition is limited to 
 230 numbered copies and is printed by the De Vinne Press. 
 
 Size 10x7 inches, 158 pages, cloth, paper label, $10 
 
 51 
 
rtf 
 
 
 
 
 
 
 4; 
 
 * 
 
 if' 
 
 A 
 
 
 
 
 
 
 - *■ 
 
 
 
 * 
 
 
 i 
 
 
 
 
 **• 
 
 * 
 
 
 
 
 
 
 
 * * 
 
 
 -• 
 
 A 
 
 At 
 
 *** 
 
 51 
 
 
 # ♦» 
 
 
 
 At 
 
 

 
 f '/ 
 
 &