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THE COMMITTEE ON PUBLICATIONS CERTIFIES THAT 
 THIS BOOK IS ONE OF AN EDITION OF THREE 
 HUNDRED COPIES ON FRENCH PAPER AND THREE 
 COPIES ON IMPERIAL JAPAN PAPER PRINTED FROM 
 TYPE IN THE YEAR NINETEEN HUNDRED AND NINE 
 
A DESCRIPTIVE CATALOGUE 
 OF THE ETCHINGS 
 AND DRY-POINTS 
 OF 
 
 JAMES ABBOTT McNEILL WHISTLER 
 

 V 
 
 
 
 
 x 
 
 V 
 
 
 
 
 
 

 

 
A DESCRIPTIVE CATALOGUE 
 OF THE ETCHINGS 
 AND DRY-POINTS 
 
 OF 
 
 JAMES ABBOTT McNEILL WHISTLER 
 
 BY 
 
 HOWARD MANSFIELD 
 
 CHICAGO 
 
 THE CAXTON CLUB 
 
 M C M I X 
 
COPYRIGHT, 1909, 
 BY 
 
 THE CAXTON CLUB 
 
 RESEARCH LIBRARY 
 OBTTY RESEA" Ci ' i NSTfTIJTE 
 
IN HONOR 
 O F 
 
 WHISTLER 
 
CONTENTS 
 
 PAGE 
 
 Introduction xiii 
 
 Prefatory Note xv 
 
 Biographical Sketch xvi 
 
 Periods of Etching xlii 
 
 Publication of Etchings xlv 
 
 Collections of Etchings lii 
 
 Exhibitions of Etchings Ivi 
 
 Prior Catalogues lvii 
 
 Present Compilation lix 
 
 References Ixv 
 
 Acknowledgments Ixv 
 
 Catalogue i 
 
 Appendix 243 
 
 Index 249 
 

 
INTRODUCTION 
 

 
INTRODUCTION 
 
 W HEREVER there is notable achievement, there is sure to prefatory 
 be insistent inquiry about the man behind the work; not note 
 from curiosity alone, but because of a belief that apprecia- 
 tion of the work will grow with knowledge of the personality which has 
 produced it. While such a belief may chance to be a mistaken one, and 
 tend to warp the judgment through a confusion of points of view, it is 
 not to be denied a basis of reason. Of much greater moment, however, 
 than the manner of man who has wrought, are the sum and quality of 
 his acnievement. To arrive at knowledge of these we may well ex- 
 plore the whole range of his powers. All that is illuminative of the 
 motives and methods with which these powers have been employed 
 may rightly fall within the scope of reasonable inquiry. Even then, 
 ultimate judgment should rest on impersonal tests and inherent merit 
 should alone be the criterion. Manifest successes should gain through 
 comparison with other successes and not suffer by contrast with com- 
 parative failures. Supreme triumphs should stand alone, their glory 
 unclouded by any comparison whatsoever. 
 
 These considerations, true in a measure of the work of any artist, 
 apply with peculiar force to the varied achievements of Whistler. 
 
 Knowledge of them all is essential to a thorough appreciation of each 
 as well as to a right estimate of Whistler’s true place in the world of 
 art. To a special study of his paintings should be added a compre- 
 hensive acquaintance with his etchings; where his etchings kindle 
 enthusiasm, his lithographs should not the less have scope to exert 
 their charm; the exquisite beauty of his water-colors should com- 
 
 XV 
 
INTRODUCTION 
 
 BIOGRAPHICAL 
 
 SKETCH 
 
 mand admiration equally with the poetic grace of his pastels; nor 
 should his literary gifts be considered apart from the sum of his art. 
 Yet his work in each particular field — and each masterpiece in what- 
 ever field — must finally be judged by itself, and should be judged 
 always as the true achievement of the artist, unaffected by opinions 
 wrongly or rightly formed regarding the man. 
 
 Holding these views, the compiler of the catalogue that follows 
 does not deem it to be within the province of an introductory state- 
 ment to include a biography of Whistler in the ordinary sense; nor 
 is he bold enough to undertake the delicate task of framing a just 
 portrayal of that unique personality. Nevertheless, a brief review 
 of the career of Whistler as an artist may fittingly precede the record 
 of what he accomplished in a branch of art in which he is univer- 
 sally acknowledged to have achieved greatness, and throughout which 
 his individuality conspicuously shines. 
 
 More than one city has been named as Whistler’s birthplace, but 
 the truth is that he was born in Lowell, Massachusetts, and in July, 
 1834; whether on the tenth or the eleventh of the month is not so clear. 
 A reference by his mother, ten years later, to a poem chosen for her 
 by her son on the tenth to celebrate his birthday, has naturally tended 
 to fix that as the date. But the birthday book of Mr. James B. 
 Francis, the friend and associate of Whistler’s father in Lowell at 
 the time, states the date positively as July 11. Whichever be the 
 true date of his birth, the date of Whistler’s baptism is shown by 
 the parish records of St. Anne’s Church, Lowell, to have been No- 
 vember 9, 1834, when he was christened James Abbott. Soon after 
 his admission to West Point, he adopted McNeill, the name of his 
 mother’s family, to the exclusion, as a rule, of the original middle 
 name, although in 1888, on the occasion of his marriage, he signed 
 his name James Abbott McNeill Whistler. The house in which 
 Whistler was born, which is said to have stood in 1834 on the corner 
 of Dutton and Fletcher Streets, is now 243 Worthen Street, and in 
 1908 became the home of the Lowell Art Association. 
 
 XVI 
 
BIOGRAPHICAL SKETCH 
 
 Whistler was a son of Major George Washington Whistler and of 
 Anna Matilda McNeill, his second wife. Major Whistler was a grad- 
 uate of West Point, where, as a cadet, he was noted for his skill in 
 drawing and music, and where he afterward became, for a short time, 
 an instructor. In his subsequent service he distinguished himself in 
 topographical surveys on the northern frontier, and was detailed, 
 while still in the army, to examine the newly-built railways of England 
 and to apply his experience to the problems of railroad construction in 
 the United States. Resigning his commission in 1833, he became, in 
 1834, engineer to the Proprietors of the Locks and Canals on Merri- 
 mack River, at Lowell. Engagements in important railroad con- 
 struction led him to remove, with his family, in 1837 to Stonington, 
 Connecticut, and in 1840 to Springfield, Massachusetts. In 1842 he 
 went to Russia, having been chosen by the Emperor Nicholas to build 
 the railroad from St. Petersburg to Moscow. While in the service thus 
 undertaken, he died at St. Petersburg in 1849. 
 
 In 1843 James, with his older half-sister and two younger brothers, 
 was taken by his mother to St. Petersburg. Within the next six 
 years, portions of which were passed in England, he took lessons in 
 drawing at the Academy of Fine Arts in St. Petersburg, and ac- 
 quired a knowledge of French, which he afterward developed into a 
 remarkable command of that language. 
 
 In 1849 Mrs. Whistler, who had lost by death while abroad not 
 only her husband, but one of her sons born in America and a son born 
 in Russia, returned to America, and soon after placed her two remain- 
 ing sons — James and William — in a school in Pomfret, Connecticut, 
 of which the Rev. Roswell Park, D.D., was the head master. While 
 there Whistler made a number of drawings that have been preserved 
 - — among them a possibly joyful record of one of the school buildings 
 in flames. 
 
 In 1851 Whistler became a cadet at West Point, where he stood 
 at the head of his class in drawing, as his father had done, but stood 
 at the foot of his class in chemistry; yet during one year, at least, 
 ranked in average above eighteen of his comrades in a class of sixty. 
 It was for deficiency in chemistry that he was dismissed, in June, 
 
 xvii 
 
INTRODUCTION 
 
 1854, from an institution which throughout his life he held in the high- 
 est possible esteem. A number of Whistler’s drawings of the cadet 
 period, but not all executed as routine work, are preserved in the 
 library, drawing-academy, and rooms of the army-mess, at the United 
 States Military Academy at West Point. 
 
 In November, 1854, Whistler entered the office of the United 
 States Coast Survey in Washington, then under the charge of his 
 father’s friend. Captain H. W. Benham. Assigned to the engraving 
 division, he continued in this employment about three months. It 
 is known that during this period he was engaged in the etching of 
 at least two plates. One of these, giving a “View of the Eastern 
 Extremity of Anacapa Island — from the Southward’’ — a bluff of 
 bare rocks in Santa Barbara Channel off the coast of California — 
 was published in the Report of the Superintendent of the Coast Sur- 
 vey for 1854. The other — known as the “Coast Survey Plate” — pic- 
 tures rocky bluffs rising from the water’s edge, and is here and there 
 embellished with a number of irrelevant etched heads, which entitle 
 the plate to be described, in an artistic sense, as Whistler’s first etch- 
 ing. The liberty taken with this plate helped, though, to precipitate 
 his withdrawal from the Government’s service, and the end of 1855 
 found him in Paris for the serious study of art, which he afterward 
 declared had all along been his purpose. 
 
 Entering the studio of Gleyre about the beginning of 1856, Whist- 
 ler remained there for a brief time only, evidently finding little to 
 his taste in the work of that painter; yet the method of setting the 
 palette taught by Gleyre was retained by Whistler all his life, and 
 became a special feature of his own teaching, and he appears in large 
 measure to have founded his j^r^ctice in painting, upon a belief in 
 Gleyre’s assertion: “Le noir d’ivoire est la base des fon'si” Copies in 
 oil of certain paintings by Ingres — among them the “Andromeda” — 
 were a part of the student work of this period. 
 
 Within the next two years, Whistler, besides visiting London, where 
 his half-sister, the wife of Francis Seymour Haden (now Sir Seymour 
 Haden), surgeon and etcher, lived, journeyed through Alsace-Lorraine 
 and went to Heidelberg and as far as Cologne. Immediate fruits of 
 
 xviii 
 
BIOGRAPHICAL SKETCH 
 
 these excursions were pencilled portraits of the Haden children and 
 numerous picturesque sketches, some of which, with a few Parisian 
 subjects, were the basis of the etchings that formed the first series of 
 the artist’s published work with the needle, dated November, 1858. 
 
 Sympathy with their views, aided by familiarity with their lan- 
 guage, brought Whistler into early association in Paris with a group 
 of progressive artists and literary men who were to become known to 
 fame. In a painting entitled “Hommage a Delacroix,” exhibited at 
 the Salon in 1864 by Fantin-Latour, who became and remained one 
 of Whistler’s most intimate friends, Whistler appears prominently 
 with Fantin-Latour himself, Manet, Legros, Bracquemond, Baude- 
 laire, Champfleury and some lesser lights. To this list of early asso- 
 ciates may be added the names of Bonvin, Courbet, Degas, Drouet, 
 Du Maurier, Duret, Monet and Poynter. 
 
 In the early days in Paris Whistler had a studio in the Rue Cam- 
 pagne-Premiere, and it was there that he painted his first important 
 pictures, including “La Mere Gerard,” “Tete de Paysanne,” “Head 
 of an Old Man, Smoking,” and the portrait of himself wearing a 
 broad-brimmed hat, which has become well known through the etch- 
 ing by Guerard. 
 
 In 1859 Whistler for the first time sent a painting to the Salon — 
 “At the Piano,” containing the portraits of Mrs. Haden and her 
 daughter Annie. The painting was rejected by the jury, but found 
 hospitality in the studio of Bonvin, and brought admiring recogni- 
 tion to the artist, as a painter, from Courbet and others of the group 
 among whom he had been specially appreciated as an etcher. 
 
 It was in 1859 that Whistler began his etchings of scenes on the 
 Thames, where it flows through London; and from 1859 to 1863 he 
 divided his time between the two capitals. At the Royal Academy 
 two of his earlier French etchings were exhibited in 1859; his paint- 
 ing, “At the Piano,” two dry-point portraits, and three of the Thames 
 etchings in i860; a painting, “La Mere Gerard,” a dry-point portrait 
 and a Thames etching in 1861, and two paintings and one etching of 
 Thames subjects in 1862. One of these paintings, “The Thames in 
 Ice,” bore then the title: “The Twenty-fifth of December, i860,” the 
 
 XIX 
 
INTRODUCTION 
 
 other being entitled “Alone with the Tide.” It appears that the 
 painting, “The White Girl,” later known as “Symphony in White, 
 No. I,” was offered in vain for exhibition at the Academy, but was 
 shown in the summer of 1862 in the Berners Street Gallery in London. 
 
 In the summer of 1861 Whistler visited Brittany, where, at Perros- 
 Guirec, he found the subject of his dry-point of “The Forge,” and 
 where he painted the “Coast of Brittany” — a picture which, in 1878, 
 was included in the first exhibition of the Society of American Artists 
 at the Kurtz Gallery in New York. In 1862 he set out for Madrid, 
 to see the work of Velasquez. Halting at Guethary, between Biar- 
 ritz and Saint-Jean-de-Luz, he never, then or later, reached the Span- 
 ish capital; but “The Blue Wave, Biarritz: Blue and Silver,” painted 
 in that year, remains as a record of this episode. 
 
 In 1863 he went for the first time to Holland, and made the etch- 
 ing of “Amsterdam” from the Tolhuis. About the same time he re- 
 ceived a gold medal for some of his etchings exhibited at The Hague— 
 the first official recognition of his merit in the field of art. 
 
 In the intervals between these journeys Whistler was busily at 
 work in London, painting as well as etching scenes on the Thames, 
 virtually living for months at Wapping. Of the paintings of this 
 period, “Old Westminster Bridge,” dated 1862, was exhibited at the 
 Academy in 1863, as “The Last of Old Westminster,” while “On the 
 Thames,” dated 1863, may be identified with the painting exhibited 
 at the Academy as “Wapping” in 1864. Besides his painting, six 
 of his prints were included in the Academy exhibition of 1863. 
 
 For “Once a Week” Whistler designed, in 1862, four illustrations, 
 which were engraved on wood by Swain, and for “ Good Words,” in 
 the same year, two illustrations, which were similarly engraved by 
 the brothers Dalziel. 
 
 In 1863 Whistler for the second time ventured to send one of his 
 paintings — “The White Girl,” already scorned by the Academy — to 
 the Salon. Again his work was rejected by the jury, but only to gain 
 immediate and lasting renown through exhibition in the “Salon des 
 Refuses” of that year, famous ever after for its list of exhibitors — a 
 list embracing Bracquemond, Cazin, Fantin-Latour, Harpignies, Jong- 
 
 XX 
 
BIOGRAPHICAL SKETCH 
 
 kind, Jean-Paul Laurens, Legros, Manet, Pissarro and Vollon, as well 
 as Whistler. 
 
 In the same year Whistler took up his residence definitely in Lon- 
 don. Having earlier shared a studio with Du Maurier in Newman 
 Street, he settled at No. 7 Lindsey Row, Chelsea, now 10 1 Cheyne 
 Walk, and for the rest of the decade devoted himself to painting, 
 to the almost complete exclusion of etching. A taste for Oriental 
 art, acquired in Paris, was developed during this period. It found 
 vent in the collecting of blue-and-white Chinese porcelains, and ex- 
 pression in highly decorative paintings with Oriental motives. Such 
 were: “Die Lange Leizen — of the Six Marks: Purple and Rose,” ex- 
 hibited at the Royal Academy in 1864; “The Gold Screen: Caprice in 
 Purple and Gold,” painted in 1864 and exhibited at the Academy the 
 next year; “La Princesse du Pays de la Porcelaine: Rose and Silver,” 
 painted also in 1864, and exhibited at the Salon in 1865, and “The 
 Balcony: Variations in Flesh-colour and Green,” exhibited at the Royal 
 Academy in 1870. Within the same period were painted “The Little 
 White Girl” or “Symphony in White, No. II,” which was shown at the 
 Academy in 1865 and prompted a poem from Swinburne, and “Sym- 
 phony in White, No. Ill,” which was similarly exhibited in 1867. 
 Other paintings of this time, which were publicly shown, were “Old 
 Battersea Bridge: Brown and Silver” and “The Scarf,” which ap- 
 peared at the Academy in 1865, and “Battersea” and “Sea and Rain: 
 Variations in Violet and Green,” which appeared there in 1867. To 
 this period may be assigned “The Music Room: Harmony in Green 
 and Rose,” although it may not have been formally exhibited until 
 later. 
 
 The titles descriptive of the color-schemes of these and other early 
 works were not added to the more definite original titles until some 
 time after the pictures were painted. Nor were the precise terms of 
 color-description that were later applied to particular paintings, when 
 first exhibited, always strictly adhered to by the artist, if we may 
 judge from variations in the catalogues of different exhibitions. 
 
 Whistler’s life in London brought him into intimate relations with 
 the Rossettis and Swinburne, Godwin, Albert Moore and Pellegrini, 
 
 XXI 
 
INTRODUCTION 
 
 George Boughton, Charles Keene and Linley Sambourne, George Moore 
 and Oscar Wilde, Labouchere and Edmund Yates, and many another 
 man then eminent in art or in letters. With some of these — Swinburne, 
 George Moore, and Oscar Wilde — there arose controversies from time 
 to time, which ultimately found a permanent record in “The Gentle 
 Art of Making Enemies”; with the others named — with Albert Moore 
 particularly — an unbroken friendship appears to have been maintained. 
 
 In the summers of 1865 and 1866, Whistler was at Trouville with 
 Courbet, and painted long stretches of beach and wide expanses of sea 
 and sky — under Courbet’s influence, Duret says; but Whistler’s ma- 
 rines of this period are, nevertheless, strongly individual, and he was 
 not long in outgrowing any influence that the French artist may have 
 exerted, if, indeed, such was ever really a factor in Whistler’s work. 
 
 In the interval between these same summers, Whistler, with a num- 
 ber of companions, went to Chile, going and returning by the way of 
 the Isthmus of Panama. The precise purpose of this expedition 
 remains obscure, but it resulted in the notable paintings that came 
 to be known as “Harmony in Green and Gold: the Pacific Ocean,” 
 “Crepuscule in Green and Opal: Valparaiso,” and “Nocturne in Blue 
 and Gold: Valparaiso Bay” — perhaps Whistler’s first nocturne. Fol- 
 lowing his return, he removed to No. 2 Lindsey Row, now 96 Cheyne 
 Walk, where his mother lived with him. 
 
 At the Paris Exposition of 1867 four of Whistler’s paintings, in- 
 cluding “The White Girl,” “Wapping,” “Old Battersea Bridge,” and 
 “Twilight on the Ocean” — as “Crepuscule in Green and Opal: Val- 
 paraiso” was then catalogued— were exhibited in the American sec- 
 tion, and received from the French critics exceptional praise. In the 
 Salon of the same year he was represented by the once rejected “At 
 the Piano” and by a painting described as “Winter on the Thames,” 
 really “The Thames in Ice.” 
 
 Afterward, in London, Whistler painted, in remarkably quick suc- 
 cession, a series of portraits quite as wonderful as anything his art 
 has produced. The first of these, “Arrangement in Grey and Black: 
 Portrait of the Artist’s Mother,” was shown in 1872 at the Royal 
 Academy, where it held its place only through the protest of Sir 
 
 xxii 
 
BIOGRAPHICAL SKETCH 
 
 William Boxall. This masterpiece afterward appeared in special ex- 
 hibitions of paintings by Whistler in London in 1874 and 1889, and 
 in a special exhibition of paintings by American artists at the Penn- 
 sylvania Academy of the Fine Arts in Philadelphia in 1881, and in the 
 Exhibition of the Society of American Artists in New York in 1882, 
 and in Paris at the Salon in 1883, receiving, in 1891, through govern- 
 ment purchase, the honor of a place in the Musee Luxembourg, to 
 pass thence ultimately to the Louvre. Next came the “Miss Alex- 
 ander: Arrangement in Grey and Green”; then the “Thomas Carlyle: 
 Arrangement in Grey and Black,” now in the possession of the Cor- 
 poration of Glasgow, and the “Leyland” and “Mrs. Leyland”; all of 
 which were shown publicly for the first time in 1874, in a gallery in 
 Pall Mall, where the earliest exhibition of selected works of the artist 
 including fifty prints, was arranged. 
 
 Previously he had exhibited separate works in the French Gallery 
 in Pall Mall and with the Society of French Artists in New Bond 
 Street, and in 1871 had shown “Variations” and a “Flarmony” at 
 the Dudley Gallery, where, in the following year he exhibited several 
 “Symphonies” and, for the first time, Mrs. Pennell says, “an im- 
 pression of night with the title ‘Nocturne/ ” In the same year he 
 showed, in the International Exhibition at South Kensington, “The 
 White Girl” as “Symphony in White, No. I,” and “La Princesse 
 du Pays de la Porcelaine” as “Variations in Flesh-colour, Blue and 
 Grey,” later changed to “Grey and Rose.” 
 
 Meanwhile, in 1871, the etchings known as the “Thames Set” — 
 sixteen in number, but not all etchings of Thames subjects — were 
 published in London by Messrs. Ellis and Green. 
 
 As early as 1870 Whistler had come into relations with Mr. F. R. 
 Leyland, ship-owner and art-patron, and portraits of Leyland and of 
 various members of his family became the subjects of numerous paint- 
 ings, drawings and dry-points by Whistler within the next five years. 
 It was in Leyland’s mansion at Prince’s Gate, in London, that Whist- 
 ler, in 1876, began the re-decorating of the dining-room, making it 
 famous as “The Peacock Room.” Already, at one end of the room, 
 hung “La Princesse du Pays de la Porcelaine,” with which it was 
 
 xxiii 
 
INTRODUCTION 
 
 sought to bring the room into harmony, while at the other end a va- 
 cant space had been reserved for “The Three Girls,” or “Symphony in 
 White, No. IV,” a decorative piece which Leyland had given him a 
 commission to paint, but which, although carried well toward comple- 
 tion, was never put in place and never passed into Leyland’s possession. 
 In connection with this piece Whistler executed at least six “schemes” 
 — -“The White Symphony: Three Girls,” “Venus,” “Symphony in 
 Green and Violet,” “Symphony in White and Red,” “Variations in 
 Blue and Green,” and “Symphony in Blue and Pink” — all painted 
 with wonderful purity of color and endowed with exquisite charm. 
 
 It was on Leyland’s suggestion — as appears from an undated letter 
 of the artist — that “Nocturne” was adopted as the title for evening 
 views — chiefly of scenes on the Thames — such as Whistler had already 
 begun to paint. Produced in considerable number during this period, 
 the nocturnes gave Whistler a reputation that remains unique up to 
 the present time — that of a triumphant painter of the elusive beauty 
 of the night. 
 
 In 1875 he exhibited at the Dudley Gallery a “Nocturne in Blue 
 and Gold, No. Ill,” and in the same year showed at the exhibition 
 of the Society of French Artists “Chelsea Reach: Harmony in Grey,” 
 besides numerous studies. With the same society, in the following 
 year, he exhibited three nocturnes. 
 
 On the opening of the Grosvenor Gallery, in London, by Sir Coutts 
 Lindsay in 1877, Whistler exhibited his portrait of “Irving as Philip 
 II of Spain,” under the title, “Arrangement in Black, No. Ill,” and 
 “The Fur Jacket” under the title, “Harmony in Amber and Black,” 
 besides the portrait of Carlyle and four nocturnes: “Nocturne in 
 Black and Gold: The Falling Rocket,” “Nocturne in Blue and Silver,” 
 showing the Thames at Battersea, “Nocturne in Blue and Silver,” 
 later, “Nocturne in Blue and Gold: Old Battersea Bridge,” now in 
 the Tate Gallery, London, and “Nocturne in Blue and Gold: West- 
 minster.” 
 
 With regard to the nocturnes thus exhibited, and one of them 
 in particular, “Nocturne in Black and Gold: The Falling Rocket,” Mr. 
 Ruskin took occasion to say, in his sixty-ninth letter to Fors Clav- 
 
 XXIV 
 
BIOGRAPHICAL SKETCH 
 
 igera, of July 2, 1877: “For Mr. Whistler’s own sake, no less than 
 for the protection of the purchaser, Sir Coutts Lindsay ought not to 
 have admitted works into the gallery in which the ill-educated con- 
 ceit of the artist so nearly approaches the aspect of wilful imposture. 
 I have seen, and heard, much of cockney impudence before now; but 
 never expected to hear a coxcomb ask two hundred guineas for fling- 
 ing a pot of paint in the public’s face.” 
 
 For this astounding piece of abuse in the guise of art-criticism, 
 Whistler brought an action for libel against Ruskin, which was tried, 
 on November 25 and 26, 1878, before Baron Huddleston and a jury. 
 The trial resulted in a verdict for the plaintiff — damages one farthing, 
 and each party was adjudged to pay his own costs. A further result 
 of this action was a pamphlet, dated December 24, 1878, written by 
 Whistler and published by Chatto & Windus, entitled “Whistler v. 
 Ruskin — Art and Art Critics.” 
 
 In the meantime Whistler had continued to paint and to exhibit, 
 showing at the Grosvenor Gallery in 1878 seven pictures, including 
 three nocturnes of views on the Thames and two figure pieces, one 
 that of a young woman, “Arrangement in White and Black, No. I,” 
 known later as “The American,” although now said to be the full- 
 length portrait of Miss Maud Franklin, an Englishwoman. In 1879 
 he sent to that gallery five paintings — an “Arrangement in Brown 
 and Black: Portrait of Miss Rosa Corder,” a “Harmony in Yellow 
 and Gold: The Gold Girl, Portrait of Miss Connie Gilchrist,” a “Har- 
 mony in Green and Gold: The Pacific Ocean,” and two nocturnes — 
 besides five studies in chalk and pastel, and six etchings. In 1879 
 he exhibited also, and for the last time, at the Royal Academy, show- 
 ing then his etching of “Old Putney Bridge,” one of the group of 
 noble etchings of Thames subjects done in that year. 
 
 In the International Exposition at Paris in 1878, Whistler, it 
 appears, showed the section of a room decorated by him, his only ex- 
 hibit, the details of which are described in a Paris letter in the “New 
 York Tribune” of July 6, 1878. He also devised the color-schemes 
 for the decoration of the rooms of Mrs. William Whistler, Mrs. D’Oyly 
 Carte, Mrs. Walter Sickert, Mr. William Heineman, Mr. Mortimer 
 
 XXV 
 
INTRODUCTION 
 
 Menpes, and Senor Sarasate, and others, besides his own rooms in 
 Cheyne Walk and in Tite Street. 
 
 Some years before, Whistler had removed his residence to Tite 
 Street, Chelsea, where he was wont to gather about him the brilliant 
 spirits of the time in “The White House,” a home built for him by Mr. 
 E. W. Godwin, the architect, and distinguished within by a marvel of 
 simple and effective decoration of Whistler’s own designing. One 
 feature of the decorative scheme was the arrangement of the artist’s 
 collection of blue-and-white porcelain, and it was doubtless his knowl- 
 edge and appreciation of this form of art which led to his engagement 
 to furnish, as some of the illustrations, a number of drawings, mostly 
 in color, of objects in the collection described in “A Catalogue of Blue- 
 and-White Nankin Porcelain forming the Collection of Sir H. Thomp- 
 son,” compiled by M. Marks and published in London, by Ellis and 
 Elvey, in 1878. 
 
 It was also in 1878 that the methods in use in lithography were 
 fully described to Whistler by Mr. Thomas Way, with the result that 
 Whistler made nine lithographic drawings on stone during that year, 
 two of which, “The Toilet” and “Broad Bridge,” were published 
 in “ Piccadilly,” a short-lived magazine of the time. Some five more 
 lithographs were made in the following year; but it was not until 1887 
 that further publication was attempted. 
 
 It was early within the Leyland period that Whistler began making 
 sketches with charcoal, sometimes elaborated with pastel, on rough 
 wrapping-paper of various tones — portrait-studies, studies of models, 
 sketches of buildings, landscape-notes and suggestions for pictures. 
 Outgrowths of this method of sketching were the pastels, which came 
 to form a fascinating and a notable phase of Whistler’s art. Graphic 
 in outline, charming in composition and in coloring — individual to the 
 last degree — these pastels are works of great distinction. In grace, 
 pose, and flow of drapery, the figure-pieces rival the best figurines of 
 the Greeks, yet are essentially modern. In rapid delineation of canal 
 and courtyard, with glimpses of rare architecture, the Venice pastels 
 almost epitomize, in line and color, the decaying beauty of that won- 
 derful city. Never have the possibilities of pastel been so marvelously 
 
 XXVI 
 
BIOGRAPHICAL SKETCH 
 
 developed. Color has been made to grow out of the natural tones of 
 the background and to blend in harmony with the glowing or melting 
 touches of the crayon. Above all, simplicity has wrought its perfect 
 work. 
 
 The Ruskin episode had affected Whistler’s fortunes unfavorably, 
 not only through the heavy burden of his share of the costs of the 
 libel suit, but through loss of patronage. His consequent pecuniary 
 embarrassment necessitated the sale, in 1879, of “The White House” 
 and its contents, and, in 1880, of the collection of porcelain and of 
 numerous etched plates, studies and sketches, to meet the claims of 
 his creditors; so that, as Duret tersely puts it, “ II ne lui restait comme 
 fortune que son talent.” 
 
 Out of this situation grew the engagement of Whistler by the 
 Fine Art Society, of London, to visit Venice and execute there a 
 series of etchings for publication by the society. Reaching Venice 
 late in September, 1879, he remained until November, 1880, return- 
 ing with some forty etched plates, numerous pastels and at least 
 two nocturnes in oil. From all of these plates the Fine Art Society 
 chooe twelve, impressions from which were exhibited at the society’s 
 gallery in Bond Street in December, 1880, and formed the publica- 
 tion in that year of the first series of Venice etchings. 
 
 Early in 1881 fifty-three pastels of Venetian subjects were exhib- 
 ited in the same gallery, where, in February, 1883, etchings and dry- 
 points, chiefly of similar subjects, were shown, to the number of fifty- 
 one. Selections from these were included in the set of “Twenty-six 
 Etchings,” published by the Messrs. Dowdeswell and Dowdeswells, of 
 London, in 1886. Accompanying this second exhibition of etchings 
 was an extraordinary catalogue — “ Etchings and Dry-points. Venice. 
 Second Series,” with the sub-title, “Mr. Whistler and his critics” — 
 in which Whistler had gathered and arranged, under the various titles, 
 such adverse comments as the critics of the time had chosen to bestow 
 on the Venice etchings when those of the first series met the public gaze 
 — a catalogue of which at least six editions appeared. The publication 
 of this group of “Twenty-six Etchings” was attended by the issue of a 
 series of “Propositions” concerning the art of etching. The fifty-one 
 
 XXVII 
 
INTRODUCTION 
 
 etchings, which had been shown in London early in 1883 with much 
 peculiar circumstance, were exhibited under similar conditions and 
 with a like catalogue, at the gallery of Messrs. H. Wunderlich & Co. 
 in New York, late in the same year, to pass thence into the Havemeyer 
 collection in that city. 
 
 Whistler, after his return from Venice, continued for a time to 
 exhibit at the Grosvenor Gallery, sending there in 1881 the portrait of 
 Miss Alexander, in 1882 seven pictures, including a “Harmony in 
 Flesh-colour and Pink” — a portrait of Lady Meux; a “Scherzo in 
 Blue: The Little Blue Girl”; a “Note in Blue and Opal: Jersey,” and a 
 “Nocturne in Black and Gold: Entrance to Southampton Water”; in 
 1883 two nocturnes, one a “Nocturne in Black and Gold: The Great 
 Fire-wheel,” and in 1884 the portrait of Lady Archibald Campbell, an 
 “Arrangement in Black,” which the next year was exhibited at the 
 Salon. He had painted, in all, three portraits of Lady Meux, the 
 earliest of which, an “Arrangement in White and Black,” was ex- 
 hibited in 1882 at the Salon, where, in 1883, the portrait of Whistler’s 
 mother received the honor of a medal, although only of the third 
 class, and where, in the following year, the portrait of Carlyle was 
 shown. 
 
 It was as early as 1880 that Whistler began to produce water-color 
 drawings in considerable number, varying in subject — figures, street 
 scenes, marines and landscapes. Executed in pure wash, without pre- 
 liminary outlines, these drawings in water-color not only form an ex- 
 quisitely beautiful manifestation of Whistler’s talent and taste, but 
 rank among the finest known works in this delightful medium. 
 
 Within the next few years numerous pictures were completed, small 
 in size but large in art — at Chelsea and at St. Ives, at Dieppe and in 
 Holland — including water-color drawings and pastels, one series of 
 which was shown at the Messrs. Dowdeswells’ gallery in May, 1884, 
 and a second series in 1886. Prefacing the catalogue of the earlier 
 exhibition, entitled: “Notes” — “Harmonies” — “Nocturnes,” there 
 appeared, under the heading “L’Envoi,” a series of affirmations re- 
 garding painting, a complement in a way to the earlier “Proposi- 
 tions” regarding the art of etching. These affirmations were after- 
 
 xxviii 
 
BIOGRAPHICAL SKETCH 
 
 ward reprinted, separately and in “The Gentle Art of Making Enemies," 
 as “Propositions — No. 2.” 
 
 In 1884 Whistler became a member of the Society of British Artists 
 and an exhibitor in its Suffolk Street Gallery, sending there the “Por- 
 trait of Mrs. Louis Huth: Arrangement in Black, No. II,” painted in 
 1877, and “A Little Red Note: Dordrecht.” In the summer of 1885 
 he sent, besides seven water-color drawings, his portrait of Senor Don 
 Pablo de Sarasate, the Spanish violinist, an “Arrangement in Black,” 
 painted the year before, now in the Carnegie Institute at Pittsburg. 
 In the Society’s winter exhibition in 1885 he exhibited, besides two 
 pastels, seven paintings, including an “Arrangement in Grey: Por- 
 trait of Master Stephen Manuel,” a “Note in Flesh-colour and Grey: 
 Portrait of Miss Dorothy Menpes,” and an “Arrangement in Black, 
 No. VIII: Portrait of Mrs. Cassatt.” To the summer exhibition of 
 1886 he sent a “Harmony in Blue and Gold,” and to the winter ex- 
 hibition one pastel and four paintings, including a “Harmony in White 
 and Ivory: Portrait of Lady Colin Campbell”; a “Harmony in Red: 
 Lamplight” — a portrait of Mrs. Godwin, and a “Nocturne in Brown 
 and Gold: St. Mark’s Venice.” In June of the same year Whistler 
 was elected president of the society, for which the designation of 
 “Royal” was obtained. Within its walls he gathered a strong fol- 
 lowing and exercised for a brief period a vitalizing influence. It was 
 for this society that, in the same year, he expressly made the etching 
 of “The Fish-Shop: ‘ Busy Chelsea.’ ” His contributions to the sum- 
 mer exhibition of the society in 1887 were six in number and, besides 
 an undescribed “Note in Black,” were “A Note in Black: Reading,” 
 the “Nocturne in Blue and Gold: Valparaiso Bay,” a “Nocturne in 
 Black and Gold: The Gardens,” a “Harmony in Grey: Chelsea Ice,” 
 and an “Arrangement in Violet and Pink: Portrait of Mrs. Walter 
 Sickert.” To the winter exhibition he sent several water-colors and 
 twelve etchings of the Naval Review of that year, besides four litho- 
 graphs recently published. 
 
 But the innovations of the new regime aroused the antagonism of 
 the older members, with the result that, at the annual election in 
 June, 1888, Mr. Wyke Bayliss was chosen as president in place of 
 
 XXIX 
 
INTRODUCTION 
 
 Whistler, who, with a considerable following, withdrew from the 
 society before the end of the year. 
 
 For some years after his return from Venice, Whistler had his 
 studio at 13 Tite Street, Chelsea, but in 1885 he changed the scene 
 of his labors to a large, rambling building at 454A Fulham Road, 
 Waltham Green. Meanwhile his residence was at “The Vale," in 
 King’s Road, Chelsea. It was in Tite Street, says the Hon. Frederick 
 Lawless, a sculptor, that Whistler often modelled graceful statuettes, 
 a phase of his art almost unknown, and it was there that the notable 
 portraits of the period were begun or finished. Among these, the por- 
 trait of Theodore Duret gains special interest from the account of its 
 incipiency which Duret gives in his “Histoire de J. McN. Whistler 
 et de son CEuvre,” published in Paris in 1904. This portrait was ex- 
 hibited in the Salon in 1885, where the portrait of Sarasate was shown 
 the following year. Belonging to this period also is the “Efifie Deans: 
 Arrangement in Yellow and Grey,” exhibited at the Edinburgh Ex- 
 hibition of 1886, and now in the Rijks Museum at Amsterdam. 
 
 In 1884 Whistler sent twenty-five works to an exhibition of the 
 Dublin Sketching Club, including the portraits of his mother, Carlyle 
 and Lady Meux, besides a number of nocturnes and smaller pieces in 
 oil, water-color and pastel. 
 
 On the opening of the “Salon du XX” at Brussels, in 1884, there 
 were shown the portrait of Miss Alexander, the “Arrangement in Black, 
 No. V,” the “Symphony in White, No. Ill,” and the “Nocturne in 
 Blue and Silver, No. I.” In 1886 there went to the same Salon the por- 
 trait of Sarasate, and in 1888, the “Arrangement in Black, No. Ill,” 
 the “Nocturne in Black and Gold, No. II,” two pastels and a selection 
 of etchings. 
 
 On the evening of February 20, 1885, Whistler delivered, in Prince's 
 Hall, London, his famous lecture on art — the “Ten o’Clock,” so called 
 from the hour at which his hearers were invited to attend. This lec- 
 ture he repeated at the University of Cambridge, March 24, and at 
 the University of Oxford, April 30, and later at the Grosvenor Gallery 
 and before the Chelsea Art Club, and elsewhere. Withheld awhile 
 from publication, for the purpose of prior delivery by the author dur- 
 
 XXX 
 
BIOGRAPHICAL SKETCH 
 
 ing a projected visit to America, it was finally issued in pamphlet 
 form in London, by Chatto and Windus, in 1888. It provoked a 
 strong criticism by Swinburne in the “Fortnightly Review” of June 
 of that year, and the consequent controversy severed the intimate 
 relations between Swinburne and Whistler. The “Ten o’Clock” was 
 later translated into French by Whistler’s friend, M. Stephane Mal- 
 larme. 
 
 Renewed interest in lithography led Whistler to make three litho- 
 graphic drawings in 1887, and to authorize the issue in that year of a 
 set made up of “ Limehouse,” “ Nocturne,” “ Battersea Bridge,” “ Read- 
 ing,” “Gaiety Stage Door” and “Victoria Club,” published in London, 
 under the title of “Notes,” by Messrs. Boussod, Valadon & Co. A 
 succession of lithographs appeared from that time until about the 
 end of 1896. Some of these were published in “The Whirlwind,” 
 “The Albemarle,” “The Studio,” “L’Estampe Originate, ” “The Art 
 Journal,” “The Pageant,” and “L’lmagier, ” periodicals of the time, 
 and one of them, a portrait of Mr. Joseph Pennell, formed the frontis- 
 piece of “Lithography and Lithographers,” written by Joseph and 
 Elizabeth Robins Pennell, published by T. Fisher Unwin, London, 
 1898. From first to last, about one hundred and sixty-five litho- 
 graphs were produced by Whistler, of which one hundred and sixty 
 are described in the second edition of the catalogue compiled by Mr. 
 Thomas R. Way, entitled, “Mr. Whistler’s Lithographs,” published in 
 1905, in London by George Bell & Sons, and in New York by H. Wun- 
 derlich & Co. 
 
 These lithographs comprise a wide range of subjects as well as of 
 localities — portraits, figures, groups, street scenes and river views, pic- 
 turesque houses and churches, and some of the larger aspects of towns 
 and cities. They are wonderfully graphic and expressive; keen in 
 the rendering of personal traits and remarkable in preserving the pe- 
 culiar characteristics of places. They were, for the most part, joyous 
 records, and revealed a phase of the artist’s temperament which had 
 not found equal expression through any other medium. Extending 
 to experiments in colors, they developed, in beautiful results, the 
 rare capabilities of the process. 
 
 XXXI 
 
INTRODUCTION 
 
 As memorials of the Jubilee of Queen Victoria in 1887, Whistler 
 made an etching and a dry-point of Windsor Castle and an etching of 
 Chelsea — “Where She lives and where / live,” he is reported to have 
 said; also an etching of the service in Westminster Abbey, besides 
 a series of twelve etchings, done in a single day, on the occasion of 
 the Naval Review in July of that year. 
 
 In September, 1887, he made a visit to Belgium, and signalized the 
 excursion by etchings made at Ostend, Bruges and Brussels; those 
 that were made at Brussels forming an important series. 
 
 Re-visiting Holland not very long after, he made, principally at 
 Dordrecht, a considerable number of water-colors, some of which 
 formed a part of an important exhibition of paintings, drawings and 
 pastels which, in March, 1889, was opened at the Wunderlich Gallery 
 in New York, with a catalogue similar to that of the London Exhi- 
 bition of 1884, and bearing the same title. Also in the year 1889, at 
 Amsterdam and at Zaandam, he etched a series of memorable plates, 
 impressions from which were issued early in the year 1890. 
 
 To the New English Art Club Whistler sent, in 1888, a “White 
 Note” and a Brussels etching, and in 1889 a pastel, “Rose and Red.” 
 
 In 1888 the portrait of Carlyle was shown in the fine-arts section of 
 a general exhibition at Glasgow, with the ultimate result that the 
 painting was purchased in 1891 by the Corporation of Glasgow. 
 
 In May, 1888, at the Durand-Ruel Gallery in Paris, Whistler ex- 
 hibited a portrait, a few nocturnes, and a selection of etchings of the 
 Naval Review, of shops in London, of children in Gray’s Inn gardens, 
 and of street scenes in Brussels. 
 
 It was also in 1888 that Whistler exhibited the portrait of Lady 
 Archibald Campbell in Munich, where he received only a second-class 
 medal, but was elected an honorary member of the Royal Academy 
 of Bavaria. A year later he received a first-class medal at Munich 
 and a gold medal at Amsterdam. 
 
 Having married, in London, on August 11, 1888, Mrs. Beatrix 
 Godwin, the widow of his friend, the architect of “The White House,” 
 Whistler journeyed that year in Touraine, making many etchings and 
 a few water-colors, and went as far south as Bourges. 
 
 xxxii 
 
BIOGRAPHICAL SKETCH 
 
 In 1889 a small collection of Whistler’s paintings was exhibited 
 in London by Miss Gould, in the rooms of the Working-Woman’s Col- 
 lege, including the portraits of Whistler’s mother, Thomas Carlyle, Miss 
 Alexander, Miss Rosa Corder and Henry Irving. In the same year the 
 portrait of the artist’s mother was exhibited at the Institute of Fine 
 Arts in Glasgow, and a picture by Whistler, entitled “The Grey Lady,” 
 was exhibited at the Art Institute in Chicago. 
 
 At the Paris Exposition of 1889 Whistler, after some controversy 
 with General Rush C. Hawkins, Chief of the United States Depart- 
 ment of Fine Arts, exhibited in the British section several selected 
 etchings, besides the “ Portrait of Lady Archibald Campbell ” and “The 
 Balcony” — paintings which brought the artist the award of a gold 
 medal. 
 
 The election of Whistler to an honorary membership in the Royal 
 Academy of Bavaria in 1888 became the occasion of a complimentary 
 dinner, given to him in London on May 1, 1889, “in recognition of 
 his influence on art at home and abroad,” as well as in congratula- 
 tion upon this special honor. In the same year he was made chev- 
 alier of the Legion of Honor, and in 1891 officer of the same order. 
 He also became a chevalier of the Order of St. Michael. Other dis- 
 tinctions bestowed upon him were elections to honorary membership 
 in the Societe Nationale des Beaux-Arts, in the Royal Academy of 
 St. Luke, Rome, in the Royal Academy of Dresden and in the Royal 
 Scottish Academy. The degree of LL.D. was conferred upon Whistler 
 by Glasgow University in 1903. 
 
 Before 1890 Whistler had decided to publish in one volume all of 
 his writings, including letters printed in various journals, and, for the 
 purpose of bringing these together, had employed Mr. Sheridan Ford, 
 an American journalist. In consequence of some disagreement in the 
 business, Mr. Ford undertook himself to launch the publication. The 
 book, with the title: “The Gentle Art of Making Enemies, Edited by 
 Sheridan Ford,” made its first appearance in 1890, with the imprint 
 of Frederick Stokes and Brother, New York, as publishers — who cabled 
 that their names had been used without their permission. Later in 
 the same year it was issued at Paris with the same title and with the 
 
 xxxiii 
 
INTRODUCTION 
 
 imprint of Delabrosse et Cie, as publishers — described in each case as a 
 first edition. About the same time an attempt was made to put forth 
 an edition in Brussels, described as a second edition — ■“ (Original Au- 
 thorized Edition).” 
 
 After setting in motion vigorous measures to prevent the circu- 
 lation of these editions, with the result that they were virtually sup- 
 pressed everywhere — in Belgium through legal proceedings — Whist- 
 ler himself took the compilation in hand, and in 1890 the volume in 
 authorized form, in large-paper and small-paper copies, and with the 
 same title — “The Gentle Art of Making Enemies” — was published 
 by William Heinemann in London and by John W. Lovell Co. in New 
 York. A second edition, somewhat enlarged, issued by the same 
 publishers, appeared in 1892, and was reissued by G. P. Putnam’s 
 Sons in New York in 1904. 
 
 With the Societe Nationale des Beaux-Arts, which had been formed 
 in 1890, Whistler exhibited, at the Salon of the Champ-de-Mars in 
 Paris in 1891, his portrait of Miss Rosa Corder and the marine, “Val- 
 paraiso,” both of which paintings were shown, later in the same year, 
 at the annual fine-arts exhibition in Munich. 
 
 Returning to London from his journeyings in Lrance, Whistler lived 
 for a time at the Tower House, Chelsea, and then at No. 21 Cheyne 
 Walk. There, in 1891, he took in hand again a number of the first 
 published set of Venice etchings, and these, in the latest states, were 
 separately issued by the Pine Art Society. 
 
 In March, 1892, a loan exhibition was made at the Goupil Gal- 
 lery, London, which comprised forty-four characteristic paintings by 
 Whistler and brought together many of the artist’s finest works. 
 Among the portraits shown were those of Whistler’s mother, Thomas 
 Carlyle, Miss Alexander, Miss Rosa Corder, Lady Archibald Campbell, 
 Lady Meux — the “Harmony in Pink and Grey,” and the “Lady with 
 the Pur Jacket”; among the figure-pieces were “Die Lange Leizen — of 
 the Six Marks,” “The Music Room,” “The Balcony,” “The Gold 
 Screen,” the “Symphony in White, No. 11 ” and the “Symphony in 
 White, No. Ill”; among the earlier works, the “ Blue Wave, Biarritz,” 
 “The Ocean,” and “Crepuscule: Valparaiso,” and among the noc- 
 
 XXXIV 
 
BIOGRAPHICAL SKETCH 
 
 turnes, “Chelsea,” “Chelsea Embankment — Winter,” “Chelsea in 
 Ice,” “Chelsea Snow,” “The Fire Wheel,” “The Falling Rocket,” 
 “Valparaiso,” “Westminster Bridge,” “Battersea Reach,” “Old 
 Battersea Bridge,” “Trafalgar Square — Snow,” “Cremorne Lights,” 
 “Southampton Water,” “Bognor” and “St. Mark’s, Venice.” The 
 catalogue by Whistler of this exhibition, entitled “Nocturnes, Marines 
 & Chevalet Pieces,” contained copious extracts from earlier criticisms 
 of his paintings, as “The Voice of a People.” After the exhibition, 
 photographic reproductions of twenty-four of these paintings were 
 published under the catalogue title. 
 
 In 1892 another of the portraits of Lady Meux — “Harmony in 
 Grey and Rose Colour” — and a number of nocturnes were included in 
 the exhibition of the Salon of the Champ-de-Mars. 
 
 In 1892 Whistler removed to Paris and soon took up his residence 
 at No. 1 10 Rue du Bac, in a house with a walled garden, and secured 
 a commodious studio in the Rue Notre-Dame-des-Champs, in a tall 
 building from the balcony of which there was a broad outlook. It 
 was in this studio that he began or finished a number of portraits — 
 among them the portrait of Mrs. Whistler, the “ Harmony in Red,” the 
 portraits of Mr. George W. Vanderbilt and Mrs. Vanderbilt, the half- 
 length portrait of Whistler, now belonging to Mr. Vanderbilt, the por- 
 trait of Mr. Arthur Jerome Eddy, the portrait of Count Robert de 
 Montesquiou-Fezensac and the portrait of Lady Eden. 
 
 The painting of Lady Eden’s portrait was the occasion of a con- 
 troversy and litigation. The commission was to paint the head only, 
 the price to be from one hundred to one hundred and fifty guineas. 
 Begun early in January, 1894, the picture grew, through the artist’s in- 
 terest in the work, to an importance beyond what he had contemplated, 
 but was nearly finished by the fourteenth of February. On that day 
 Sir William Eden thrust upon the artist, as a “valentine,” an envelope 
 containing a cheque for one hundred guineas ! Resenting the baronet’s 
 attempt thus to fix the price at the minimum, Whistler ironically ac- 
 knowledged the cheque as a “valentine.” The painting, withheld by 
 Whistler, was exhibited at the Salon of the Champ-de-Mars in 1894, 
 under the title, “Brown and Gold: Portrait of Lady E.” When Sir 
 
 XXXV 
 
INTRODUCTION 
 
 William Eden brought suit in a French court to obtain possession of 
 the painting, Whistler tendered back the hundred guineas and painted 
 out Lady Eden’s features. The court of first instance ruled that the 
 artist must refund the money with interest, hand over the picture and 
 pay iooo francs as damages. On Whistler’s appeal, the higher court 
 struck out the direction for the delivery of the picture, sustaining the 
 artist’s view that the agreement was not a contract to sell, but merely 
 an obligation to execute, or, in default of completion, to pay the con- 
 sequent damages. 
 
 The story of the case, told by Whistler in English, with comments, 
 under the title of “Eden versus Whistler — The Baronet & The Butter- 
 fly,” was published in Paris in 1899 by Louis-Henry May, and in the 
 same year in New York by R. H. Russell. 
 
 In 1893 “The Balcony,” which the year before had formed the 
 beginning of the Freer Collection of paintings by Whistler, was shown 
 at an exhibition in New York of the Society of American Artists, of 
 which Whistler had become a member in 1880, and in 1893 the earliest 
 portrait of Lady Meux, the “Arrangement in White and Black,” was 
 exhibited at the Grafton Gallery in London. 
 
 At the World’s Columbian Exposition at Chicago, in 1893, six paint- 
 ings by Whistler were shown — “ La Princesse du Pays de la Porce- 
 laine,” “A Chelsea Girl,” “The Fur Jacket,” the portrait of Lady 
 Archibald Campbell, under the title of “The Lady with the Yellow 
 Buskin,” “Nocturne: Valparaiso,” and “ Harmony in Blue and Silver.” 
 These paintings and a representative group of his etchings brought 
 the artist medals with special comment. All but the last of the six 
 paintings were shown at the annual exhibition of the Pennsylvania 
 Academy of the Fine Arts in the winter of 1893-4. Whistler received 
 the Temple Gold Medal for “The Lady with the Yellow Buskin,” a 
 like honor being awarded at the same time to Mr. John S. Sargent for 
 his “Portrait of Ellen Terry as Lady Macbeth.” Not long after, “The 
 Lady with the Yellow Buskin” passed into the Wilstach Collection in 
 Philadelphia. 
 
 In 1894 there were exhibited at the Salon of the Champ-de-Mars, 
 besides the portrait of Lady Eden, a selection of nocturnes and marines 
 
 XXXVI 
 
BIOGRAPHICAL SKETCH 
 
 and the recently finished portrait of Count Robert de Montesquiou- 
 Fezensac, an “Arrangement in Black and Gold.” 
 
 In 1895 Whistler sent “The Little White Girl " to the International 
 Exhibition in Venice, and his new portrait of Mrs. Walter Sickert to 
 the Institute of Fine Arts in Glasgow, and in that year received the 
 honor of a gold medal at Antwerp. 
 
 While living in Paris between 1892 and 1895, Whistler visited Nor- 
 mandy and Brittany, making lithographs at Rouen, Yitre, Paimpol 
 and Lannion. In the latter year seventy-five of his lithographs were 
 shown in London by the Fine Art Society, which issued a catalogue 
 with a prefatory note by Mr. Joseph Pennell. 
 
 In 1895 Whistler was for a time at Lyme Regis, where he found 
 the subjects for “Little Rose of Lyme Regis” and “The Blacksmith,” 
 both now in the Museum of Fine Arts in Boston., and for a number of 
 lithographs. More lithographs were made in 1896,. in London, where 
 Whistler was then staying on account of the illness of Mrs. Whistler, 
 which ended fatally in that year. 
 
 In September, 1896, some months after Mrs. Whistler's death, 
 Whistler, while on his way to Paris, halted awhile at Calais, where, it 
 appears, he did no painting, but probablv made the etching entitled 
 “The Market.” 
 
 Returning to Paris, Whistler continued there intermittently for 
 the next three years. Within this period he became connected with 
 a school in which painting was taught, opened in the autumn of 1S9S 
 in the Passage Stanislas, oft the Rue Notre-Dame-des -Champs. Erro- 
 neously announced as the "Academie Whistler. " it was afterward 
 called the “Academie Carmen." after Madame Carmen Rossi, under 
 whose financial management it was opened. For a time Mr. Frederick 
 MacMonnies was associated with Whistler in the system of instruction, 
 teaching the sculptor pupils and criticising the drawing, while Whistler 
 taught his own method of painting. Owing in a measure to Whistler's 
 illness and enforced absence, the school, which had been removed to 
 the Boulevard Montparnasse, was discontinued in 1001 : but two of the 
 foremost students were meanwhile formally apprenticed to him for 
 the term of five years “to learn the art and craft of a painter." 
 
 xxxvii 
 
INTRODUCTION 
 
 When the International Society of Sculptors, Painters and Grav- 
 ers, inaugurated in London, late in 1897, as an “Art Congress,” was 
 finally organized, in 1898, Whistler became its president. He con- 
 tinued to hold the office until his death, and he was always a leading 
 spirit in the society. At its “Exhibition of International Art,” at 
 Knightsbridge in 1898, he was well represented by “The Thames in 
 Ice,” “At the Piano,” “Portrait of Rosa Corder,” “La Princesse du 
 Pays de la Porcelaine,” “The Little Blue Bonnet,” “ La Petite Souris,” 
 and “Nocturne: Valparaiso,” besides two small paintings and a litho- 
 graph. In the exhibition of 1899 there appeared: “Violet and Rose: 
 Carmen qui rit,” “Nocturne in Brown and Gold: Chelsea Rags,” 
 “Blue and Silver: Trouville,” “Brown and Gold: Lillie in Our Alley,” 
 “Rose and Brown: La Cigale,” and “Rose and Gold: The Little Lady 
 Sophie of Soho,” besides sixteen etchings and a lithograph. In 1901 
 the president’s contributions were “Gold and Orange: The Neigh- 
 bors,” “Green and Silver: The Great Sea,” “Grey and Silver: Pour- 
 ville,” “Purple and Gold: Phryne the Superb, Builder of Temples,” 
 and “The Golden Lilly,” besides two pastels: “A Violet Note” and 
 “The Captive.” 
 
 In 1897 the “Girl Reading”; in 1898 “Westminster Bridge,” 
 “The Blue Wave, Biarritz,” a “Symphony in Violet and Blue” and 
 “A Note in Carmine,” and in 1899 “The Music Room” — appeared in 
 the exhibitions in New York of the Society of American Artists. In 
 1898 “A Note in Carmine” and “Symphony in Violet and Blue” were 
 included in the annual exhibition of the Pennsylvania Academy of 
 the Fine Arts. In the Academy’s exhibition of 1899 “The Music 
 Room” was shown, and in the exhibition of 1900, the “Nocturne in 
 Black and Gold: The Falling Rocket,” which had been the occasion of 
 the Ruskin controversy. 
 
 In 1898 the “Company of the Butterfly,” originated by Whistler 
 and probably his affair throughout, was launched, in London, as a con- 
 venient agency for the sale of his work without the intervention of the 
 dealers and with relief from the annoyance of negotiation at the studio. 
 Rooms were taken at No. 2 Hinde Street, Manchester Square, and one 
 of these was tastefully decorated and fitted up for exhibition purposes. 
 
 xxxviii 
 
BIOGRAPHICAL SKETCH 
 
 As late as the summer of 1900— when the compiler visited the place — 
 framed etchings and lithographs were on the walls and a few small 
 pictures were displayed. But the venture, it seems, failed to accom- 
 plish its object, and was virtually abandoned some time prior to Whist- 
 ler’s death. 
 
 By the opening of the twentieth century, Whistler had finally 
 removed to London, already having a studio at No. 8 Fitzroy Street, 
 Fitzroy Square, and was busily at work. In the summer of 1900 he 
 made visits to Holland and Ireland, bringing back each time a few 
 small pictures, executed with unimpaired skill and unblemished charm. 
 Lingering at Chester, on his way home from Ireland, he made some 
 exquisite drawings with pen and ink of picturesque old houses charac- 
 teristic of the place. 
 
 At the Paris Exposition of 1900 Whistler exhibited in the United 
 States section, where “The Little White Girl,” “ L’Andalouse” — the 
 title given to a full-length portrait of Mrs. Charles Whibley, and the 
 full-length “Portrait of the Artist”— now destroyed — were shown, 
 besides etchings and lithographs. He was awarded a Grand Prix for 
 painting and another for engraving. 
 
 Relinquishing a renewed plan of going to Madrid to see the pic- 
 tures there, he journeyed by water, in December, 1900, to Gibraltar, 
 on his way to Tangier, where he made a considerable number of 
 sketches, and to Algiers, where his work was hindered by inclement 
 weather. Crossing to Marseilles, he was detained there for a while by 
 illness, and then sailed for Ajaccio, remaining away from London until 
 May, 1901. While in Corsica he sketched a variety of subjects and 
 made drawings on a few plates, one of which was successfully bitten 
 and printed — others becoming damaged beyond remedy. 
 
 In 1901, at the Pan-American Exposition in Buffalo, “The Music 
 Room,” “The Balcony,” “The Blacksmith, Lyme Regis,” “South- 
 ampton,” “ Bognor,” and two small marines were exhibited, besides a 
 selection of the etchings, and Whistler received gold medals for both 
 etchings and paintings. 
 
 In the Glasgow International Exhibition of 1901 Whistler was 
 represented by “The Thames in Ice,” “La Princesse du Pays de la 
 
 XXXIX 
 
INTRODUCTION 
 
 Porcelaine,” “The Fur Jacket,” and a nocturne and two water-colors; 
 all shown among the works of “Living British Artists.” 
 
 In 1901 the “Nocturne: Southampton Water,” belonging to the Art 
 Institute of Chicago, was lent for the annual exhibition of the Penn- 
 sylvania Academy of the Fine Arts. In the Academy’s exhibition of 
 1902 “L’Andalouse” and a group of etchings were shown, and Whist- 
 ler received the Academy Gold Medal of Honor. The same year, in 
 New York “L’Andalouse” and the famous “Nocturne in Black and 
 Gold: The Falling Rocket” were conspicuous features of the exhibi- 
 tion of the Society of American Artists, and the “ Little Cardinal ” was 
 shown at the Salon and in the Portrait Painters’ Exhibition in London. 
 
 In 1902 Whistler took a house, containing a large studio, at No. 
 74 Cheyne Walk, Chelsea, not far from where he had lived in former 
 days. In this studio he continued to work, except during his absence 
 or illness, during the rest of his life. 
 
 Early in July of 1902 he undertook still another journey to Hol- 
 land, where he suffered from a serious illness from which his recovery 
 was slow. It became sufficiently assured, however, to permit of his 
 returning to London before the end of the year and to warrant his 
 proceeding with a number of portraits which were already in progress. 
 
 The taste which Whistler had so early formed for blue-and-white 
 porcelain was supplemented by a special fondness for beautiful old 
 silver, of which he made a choice collection. Many of his finest pieces, 
 shown together and arranged according to his instructions, in a sep- 
 arate case, formed a notable section of a loan exhibition of old silver, 
 late in 1902, in the rooms of the Fine Art Society. 
 
 In the summer of 1903 he was once more taken seriously ill, and 
 he died suddenly at his home, on the seventeenth day of July. His 
 funeral, to which old friends came to do him honor, was held, on July 
 the twenty-second, in Chelsea Old Church, and the same day he was 
 buried by the side of his wife in the churchyard at Chiswick, in which 
 Hogarth also lies buried. 
 
 Whistler’s grave is as yet unmarked by a memorial stone, but a 
 tablet in his memory was unveiled in the library at West Point, Octo- 
 ber 24, 1907 — the gift of The Copley Society of Boston and the work 
 
 xl 
 
BIOGRAPHICAL SKETCH 
 
 of the sculptor Augustus Saint-Gaudens— the last stone, it is said, 
 that his chisel ever touched. The inscription bears the concluding 
 words of the “Ten o’clock,” and reads thus: 
 
 TO 
 
 JAMES McNEILL 
 WHISTLER 
 
 MDCCCXXXIV 
 
 MCMIII 
 
 THE STORY OF THE 
 BEAUTIFUL 
 
 IS ALREADY COMPLETE 
 HEWN ON THE MARBLES 
 OF THE PARTHENON 
 AND BROIDERED WITH 
 THE BIRDS UPON THE 
 FAN OF HOKUSAI 
 
 Admirers of Whistler, principally artists and men of letters, are 
 about to erect in his honor in the Embankment Gardens, Chelsea, 
 near his former home in Cheyne Walk, a memorial in bronze, the 
 creation of the sculptor Auguste Rodin, who succeeded Whistler as 
 President of the International Society of Sculptors, Painters and 
 Gravers. A replica of this work, secured mainly through local sub- 
 scription, is to be erected in Lowell, Whistler’s birthplace, and it is 
 proposed to erect in Paris a second replica, as a gift from American and 
 English art-lovers to France. 
 
 Since Whistler’s death, three significant memorial exhibitions of 
 his works have been held, each representing, with remarkable com- 
 prehensiveness, all the various phases of his art— in Boston by The 
 Copley Society, in February and March, 1904; in London, by the In- 
 ternational Society of Sculptors, Painters and Gravers, in February, 
 March and April, 1905; and in Paris, at the Palais de l’Exole des 
 Beaux-Arts, in May of that year. 
 
 xli 
 
INTRODUCTION 
 
 PERIODS 
 
 ETCHING 
 
 Representative as they were, these exhibitions, nevertheless, taken 
 together, fell materially short of comprising the great sum of Whistler’s 
 work — the extent of which it has been possible to indicate, but not 
 fully to describe, in the foregoing sketch of his career. 
 
 These exhibitions were a clear demonstration of what, to observing 
 eyes and to discerning minds, had long been manifest — that here was a 
 marvellous artist, and one who had explored with signal achievement 
 nearly every realm of art. He now stood revealed to all the world as a 
 painter who compelled technical mastery to serve the supreme purpose 
 of beautiful expression. Thus he had produced portraits which might 
 take their places with the masterpieces of the centuries, delineations 
 of figures that are enchanting through the blended charm of grace 
 and color, nocturnes unsurpassed in their rendering of the tranquil 
 loveliness of the night, marines wonderful in their interpretation of the 
 changeful and entrancing moods of the sea. It was also perceived how 
 wide was the range of the exquisite creations he had wrought through 
 the medium of water-color and pastel. The extent of his work in 
 lithography came as a revelation to the many, while the delightfulness 
 of the lithographs became a joy to all. From a comprehensive view of 
 his etchings it became clear that in keenness of observation and range 
 of appreciation, in faculty of selection and power of concentrative and 
 concise expression, in masterly use of line and effective rendering of 
 contrasts of light and shade, in boldness and strength and in delicacy 
 and refinement as well, Whistler was not only the unsurpassed etcher, 
 but a supreme artist. 
 
 As an artist Whistler was a man of his own time, sincere in his art, 
 individual in its expression — a master whose triumphs rank him with 
 the masters of all time. 
 
 of Whistler was an etcher before his career in art was fairly begun. 
 
 The impulse to express himself through etching came with the op- 
 portunity at Washington which placed the etcher’s tools in his hand. 
 It is unlikely that he would in any case have long continued in routine 
 service there, employing merely the skill that practice so early de- 
 
 xlii 
 
PERIODS OF ETCHING 
 
 veloped; but time might have passed which we now see could scarcely 
 have been otherwise than wasted. We may, therefore, rejoice in the 
 official severity which so soon released from his artisan chrysalis the 
 artist who, in after years, not inaptly took the butterfly as his symbol. 
 Nevertheless, the few small plates etched in Paris within the two 
 years following his definite choice of art as a career, gave little more 
 augury of great achievement than the random sketches on the “Coast 
 Survey Plate.” It was not until after the Alsatian journey that 
 Whistler really found himself as an etcher. With the etchings which 
 are records of that experience his genius burst forth into splendid 
 expression; yet was not then untrammelled, for his finest works in 
 etching were for a while based on preliminary sketches in some other 
 medium. For no long period, however, was this his practice; soon 
 it became his rule to draw the subject with the needle directly upon 
 the plate — a rule almost never departed from during the rest of his 
 career. Days are recalled when, as late as 1892, Whistler was seen 
 strolling about Paris, alert for the picturesque, to make it appear 
 more beautiful on the plates which were carried in his pocket. 
 
 Wnistler’s etchings and dry-points may roughly be grouped in 
 periods, the work within each period being distinguished by a style of 
 its own, yet bearing the unmistakable impress of the artist’s original- 
 ity and genius. The earliest French period lies within the two years 
 1857 an d 1858, when the etchings produced were wrought in a vein 
 never afterward pursued. The next period, which runs from 1858 to 
 1864, is marked by great productiveness, and is noted for the wonderful 
 Thames etchings and a series of splendid portraits in dry-point. Then 
 ensues an interval of almost complete abandonment of etching, last- 
 ing for the rest of the decade. It is followed by what has come to be 
 known as the Leyland period, from 1870 to 1879, chiefly a period of 
 dry-points, and notable for a great renewal of activity and for variety 
 in expression — with figures, interiors, landscapes, and Thames scenes 
 among the subjects portrayed. The year 1879 stands alone, remark- 
 able for a few noble etchings of bridges and shipping on the Thames. 
 From 1879 to 1 88 1 we have the Venice period, with its many and its 
 marvellous etchings and dry-points, all executed in a style unheralded 
 
 xliii 
 
INTRODUCTION 
 
 by previous work. The time from 1 88 1 to the autumn of 1887 may 
 be claimed as distinctively an English period, embracing scenes in 
 London and at Sandwich, and closing with the record of the Jubilee 
 Naval Review. Immediately following, from the autumn of 1887 to 
 1895, is a Continental period, within which the Belgian etchings, the 
 Touraine etchings, the Dutch etchings, and the latest Paris etchings 
 were achieved. Even here, while in manner of treatment the Belgian 
 and French etchings show much in common, the Dutch etchings, done 
 in 1889, fairly form a class and claim a period by themselves. With 
 the latest Paris etchings, which appear to have been made between 
 1891 and 1895, Whistler’s work in etching virtually ceases. Only a 
 few plates, taken up after irregular intervals, were completed in his 
 remaining years. 
 
 The methods of etching employed by Whistler seem to have been 
 very direct and simple, but they were applied with consummate skill. 
 He seems not to have experimented much with mordants, nor to have 
 worked with the needle on plates immersed in the acid bath. Al- 
 though he sometimes allowed his plates to be grounded by others, he 
 always did the biting himself, accomplishing this with an amazing 
 delicacy. In printing it was not so much the press he used as the 
 way in which he used it that produced the admirable results with which 
 we are familiar. The choice of paper for the impressions of his own 
 printing was with Whistler always a matter of serious concern. Then, 
 finishing the inking by deft, rapid rubbing of the plate with his hand, 
 he would force every line to yield proof of its quality, sometimes 
 supplementing the result with surprising effects from the film left 
 upon the surface of the copper. While thus conservative with regard 
 to appliances, he was daring in their use. There is scarcely a phase 
 of the art of etching which he did not illustrate; no technical method 
 of which he was not a master; no skill in manipulation which he 
 failed to employ. 
 
 Some of Whistler’s earliest etchings were merely signed “J. W.”; 
 a few that followed were signed “J. Whistler,” but generally, up to 
 1871, the signature was “Whistler,” with the date; after 1871 the 
 signature was a conventional butterfly. Variations of the butterfly 
 
 xliv 
 
PUBLICATION OF ETCHINGS 
 
 are numerous, but all may be classified as “shaded” and “in out- 
 line,” characteristic examples of each description being as follows: 
 
 Few, comparatively, of the great number of the etchings and dry- 
 points that Whistler produced have passed through the form of dis- 
 tinctive publication. Earliest among these were the etchings of Al- 
 satian and Parisian subjects, with portraits of the two Haden children, 
 which were announced on the title-plate as “Douze Eaux Fortes 
 d'apres Nature, par James Whistler. Imp. Delatre, Rue St. Jacques, 
 1 7 1 . Paris, Nov., 1858” — sometimes known as “The French Set.” 
 Varying announcements of this publication were made in English 
 within the following year. In its final form the list read: 
 
 TWELVE ETCHINGS 
 FROM NATURE, 
 
 BY 
 
 JAMES ABBOTT WHISTLER 
 
 TITLE 
 
 1 LIVERDUN 
 
 2 LA RETAMEUSE 
 
 3 EN PLEIN SOLEIL 
 
 4 THE UNSAFE TENEMENT 
 
 5 LA MERE GERARD 
 
 6 STREET AT SAVERNE 
 
 7 LITTLE ARTHUR 
 
 8 LA VIEILLE AUX LOQUES 
 
 9 ANNIE 
 
 10 LA MARCHANDE DE MOU- 
 
 TARDE 
 
 11 FUMETTE 
 
 12 THE KITCHEN 
 
 artist’s PROOFS ON INDIA, TWO GUINEAS 
 
 LONDON: 
 
 PUBLISHED BY J. A. WHISTLER 
 AT NO. 62, SLOANE STREET 
 PARIS: IMPRIMERIE DELATRE, RUE ST. JACQUES, 1 7 1 
 
 On another list No. 4 was called “The Old Farm.” 
 
 PUBLICATION 
 OF ETCHINGS 
 
 xlv 
 
INTRODUCTION 
 
 Next in order of formal publication came what is known as “The 
 Thames Set,” which was published in London in 1871, although made 
 up from plates executed much earlier, and was thus announced: 
 
 sir: having acquired the hitherto unpublished plates of 
 
 MR. JAMES WHISTLER’S ETCHINGS OF SCENES ON THE THAMES, I BEG 
 TO INFORM YOU THAT IT IS INTENDED TO TAKE A LIMITED NUMBER 
 OF IMPRESSIONS (NOT TO EXCEED IOO), FOR SUBSCRIBERS ONLY, AT 
 £\ 2 , I2S. THE SET OF THIRTEEN PLATES. 
 
 MANY COPIES ARE ALREADY SUBSCRIBED. SHOULD YOU WISH 
 ME TO ADD YOUR NAME TO THE SUBSCRIPTION LIST, I SHALL BE OBLIGED 
 BY YOUR FILLING UP THE ACCOMPANYING FORM. 
 
 33 KING STREET, COVENT GARDEN, LONDON. 
 
 I AM, SIR, YOURS RESPECTFULLY 
 
 F. S. ELLIS. 
 
 The set, when issued, bore the following description: 
 
 A SERIES OF 
 SIXTEEN ETCHINGS 
 OF 
 
 SCENES ON THE THAMES 
 AND OTHER SUBJECTS 
 
 BY 
 
 JAMES WHISTLER 
 
 1 BLACK-LION WHARF 
 
 2 WAPPING WHARF 
 
 3 THE FORGE 
 
 4 OLD WESTMINSTER BRIDGE 
 
 5 WAPPING 
 
 6 OLD HUNGERFORD 
 
 7 THE POOL 
 
 8 THE FIDDLER 
 
 9 THE LIME-BURNER 
 IO THE LITTLE POOL 
 I I EAGLE WHARF 
 
 12 LIMEHOUSE 
 
 13 THAMES WAREHOUSES 
 
 14 MILLBANK 
 
 15 EARlY MORNING (BATTERSEA) 
 
 1 6 CHELSEA BRIDGE AND CHURCH 
 
 LONDON: 
 
 ELLIS AND GREEN, 33 KING STREET, COVENT GARDEN 
 MANCHESTER AND LIVERPOOL: THOMAS AGNEW AND SONS 
 
 xlvi 
 
PUBLICATION OF ETCHINGS 
 
 In 1877 “Free-Trade Wharf” was published in London by the 
 Fine Art Society, Limited. 
 
 In 1878 “Billingsgate” appeared in the January number of “The 
 Portfolio,” London: Seeley, Jackson and Halliday, Fleet Street. 
 
 In 1879 “Battersea Bridge” and “Putney Bridge” were published 
 in London, at £6 6s. each, by The Fine Art Society, which in the same 
 year published, at £3 3s., “The Little Putney.” — No. 1, which was re- 
 issued in “Four Masters of Etching” by Frederick Wedmore— pub- 
 lished in 1883 by The Fine Art Society, Limited, 148, New Bond Street, 
 London. 
 
 In 1879 also, “The 'Adam and Eve,’ Old Chelsea,” was published, 
 at £6 6s., by Hogarth and Son, London. 
 
 In the same year “Hurlingham” and “Fulham” were published 
 in London, with the stamp of the Printsellers’ Association. 
 
 About 1879 there were issued, without date, impressions from fifty- 
 seven cancelled plates, bound together, but not described except by 
 the following title, printed on the cover of some of the copies: 
 
 FIFTY-SEVEN 
 
 DEFACED 
 
 ETCHINGS AND DRY-POINTS 
 BY 
 
 J. A. MCNEILL WHISTLER 
 THE FINE ART SOCIETY, LIMITED 
 148 NEW BOND STREET, LONDON 
 
 Of the impressions from these defaced plates, eleven were from 
 plates from which no impressions taken before the plates were can- 
 celled are known to the compiler to exist. These are all specifically 
 noted in the following catalogue. The other impressions comprised 
 many of the important etchings and dry-points done prior to 1879, 
 except those included in “The French Set” and “The Thames Set.” 
 
 In 1880 “Tatting” and “Two Ships” were published in London 
 by Dowdeswell and Dowdeswells, although both plates were of much 
 earlier date. 
 
 xlvii 
 

 INTRODUCTION 
 
 In 1880 what is known as “The First Venice Set” was published 
 in London by The Fine Art Society, under the title: 
 
 VENICE 
 WHISTLER 
 TWELVE ETCHINGS 
 
 THE FINE ART SOCIETY, 148 NEW BOND STREET, LONDON 
 
 Prior to the publication, this printed announcement was made: 
 
 mr. whistler’s 
 
 ETCHINGS OF VENICE 
 
 THE FINE ART SOCIETY 
 
 148 NEW BOND STREET 
 
 LIST OF ETCHINGS 
 
 1 the “Little Venice 
 
 2 THE TWO DOORWAYS 
 
 3 THE BEGGARS 
 
 4 NOCTURNE 
 
 5 THE DOORWAY 
 
 6 THE RIVA 
 
 7 THE BRIDGE 
 
 8 THE LITTLE LAGOON 
 
 9 THE PALACES 
 
 10 THE VENETIAN MAST 
 
 11 THE TRAGHETTO 
 
 12 THE PIAZZETTA 
 
 A LIMITED NUMBER OF IMPRESSIONS OF THESE ETCHINGS WILL 
 BE PRINTED BY MR. WHISTLER 
 THE PRICE MAY BE OBTAINED ON APPLICATION 
 
 xlviii 
 
PUBLICATION OF ETCHINGS 
 
 In actual publication “The Little Mast” was substituted for 
 “ The Bridge.” 
 
 In 1 88 1 “Alderney Street” was published in Paris in the April 
 number of the “Gazette des Beaux-Arts.” 
 
 In 1883 the “Swan and Iris” appeared in “Cecil Lawson, A Me- 
 moir,” by Edmund W. Gosse, published in London by The Fine Art 
 Society. 
 
 In 1886 the plate of “La Marchande de Moutarde,” which had been 
 etched nearly thirty years before, and had been included in the well- 
 known French set, was acquired by the editor of “English Etchings,” 
 an art-magazine published quarterly in London between 1885 and 1889, 
 and, after Delatre’s name and address had been removed, was made to 
 yield some two hundred additional impressions, which were printed by 
 Goulding. These, according to Mr. Wedmore, were printed on old 
 Whatman paper of 1814, a few being printed on old Dutch paper 
 of the seventeenth century. They were issued with the seventh num- 
 ber of the publication. 
 
 In 1886 twenty-one of the Venetian subjects of 1880 and five 
 English subjects, etched a little later, were published in London by 
 Messrs. Dowdeswell and Dowdeswells, under the title of “Twenty-six 
 Etchings.” 
 
 A preliminary announcement was made as follows: 
 
 A SET OF TWENTY-SIX ETCHINGS 
 BY 
 
 JAMES A. MCN. WHISTLER. 
 
 MESSRS. DOWDESWELL HAVE THE HONOUR TO ANNOUNCE THE PUB- 
 LICATION OF A SET OF TWENTY-SIX IMPORTANT ETCH- 
 INGS BY MR. WHISTLER. 
 
 TWENTY-ONE OF THE PLATES WERE ETCHED IN VENICE, THE REMAIN- 
 ING FIVE SUBJECTS BEING ENGLISH. 
 
 THIRTY SETS ONLY WILL BE PRINTED. EVERY IMPRESSION WILL 
 
 xlix 
 
INTRODUCTION 
 
 BEAR MR, WHISTLER’S AUTOGRAPH, AND WILL BE MOUNTED ON BOARD, 
 AND ISSUED IN A PORTFOLIO SPECIALLY DESIGNED BY THE ETCHER, WHO 
 HAS ALSO WRITTEN A SHORT RESUME OF THE PRINCIPLES HELD BY HIM IN 
 THIS MATTER. 
 
 THE PRICE OF THE SET WILL BE FIFTY GUINEAS. 
 
 THE FOLLOWING IS A LIST OF THE SUBJECTS: 
 
 *DOORWAY AND VINE 
 WHEELWRIGHT 
 *SAN BIAGIO 
 *BE AD-STRINGERS 
 TURKEYS 
 FRUIT STALL 
 *SAN GIORGIO 
 ♦NOCTURNE - PALACES 
 LONG LAGOON 
 TEMPLE 
 *THE BRIDGE 
 *UPRIGHT VENICE 
 LITTLE COURT 
 
 LOBSTER POTS 
 *RIVA, NO. 2 
 DRURY LANE 
 *THE BALCONY 
 FISHING BOAT 
 *PONTE PIOVAN 
 
 ♦garden 
 
 *THE RIALTO 
 ♦LONG VENICE 
 ♦FURNACE - NOCTURNE 
 ♦quiet CANAL 
 LA SALUTE - DAWN 
 LAGOON - NOON 
 
 OF THOSE MARKED *, TWELVE EXTRA IMPRESSIONS WILL BE TAKEN 
 AND SOLD SEPARATELY. 
 
 THE PLATES WILL THEN BE DESTROYED, AND IMPRESSIONS TAKEN TO 
 SHOW THEIR CONDITION. 
 
 LONDON! 
 
 DOWDESWELL & DOWDESWELLS, 
 PUBLISHERS, ETC. 
 
 I33, NEW BOND STREET, W. 
 
 1886 
 
 With this set of etchings Mr. Whistler issued in the following form 
 the “resume” mentioned in the announcement: 
 
 1 
 
PUBLICATION OF ETCHINGS 
 
 PROPOSITIONS. 
 
 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 instrument employed, 
 being the finest possible point, the space to be covered should be small 
 in proportion. 
 
 IV. That all attempts to overstep the limits insisted upon by such 
 proportion, are inartistic thoroughly, and tend to reveal the paucity 
 of the means used, instead of concealing the same, as required by Art 
 in its refinement. 
 
 V. That the huge plate, therefore, is an offence — its undertaking an 
 unbecoming display of determination and ignorance — its 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 — tak- 
 ing curious pleasure in the quantity of paper. 
 
 X. That the picture ending where the frame begins, and, in the 
 case of the etching, the white mount, being inevitably, because of its 
 colour, the frame, the picture thus extends itself irrelevantly through 
 the margin to the mount. 
 
 XI. That wit of this kind would leave six inches of raw canvas 
 between the painting and its gold frame, to delight the purchaser with 
 the quality of the cloth. 
 
 In accordance with views thus expressed, Whistler, after the publi- 
 cation of the first Venice series, trimmed close to the plate-mark the 
 
 li 
 
INTRODUCTION 
 
 COLLECTIONS 
 OF ETCHINGS 
 
 proofs of his own printing— which included nearly all impressions of his 
 later etchings — leaving only a small jut at the bottom for the butterfly 
 signature, with the note that the artist was also the printer. 
 
 Always solicitous about a proper setting for his work, Whistler 
 designed for his etchings a special frame, narrow and white, with two 
 grooves tinted brown and running lengthwise, and for his water- 
 colors and pastels wide frames with yellow, green or coppery gilding, 
 besides gold frames in a variety of forms for his paintings — forms which 
 have been extensively adopted by other artists. 
 
 Of the notable private collections of Whistler’s etchings that 
 have been made from time to time, few of an early date remain intact. 
 Those of special importance which have been dispersed seem worthy 
 of note, however, for the sake of the record and because of the interest 
 of the collector in impressions which may be traced to one or more 
 of these collections by the stamp of a former owner. To such will be 
 given priority of notice. 
 
 The collection of M. Philippe Burty, of Paris, was among the first 
 of these. It was probably begun almost at the date of Whistler’s first 
 publication, and contained some of the earliest and rarest of his etch- 
 ings. When sold at auction in London by Sotheby, Wilkinson & Hodge, 
 in April, 1876, it numbered fifty impressions from thirty-nine plates. 
 Impressions from this collection usually bear the monogram “burty” 
 in an oval, stamped in red, although sometimes the mark is merely P B 
 in an oblong. 
 
 The collection of Mr. James Anderson Rose, of London, which was 
 also begun early, consisted of one hundred and forty-five impressions 
 from seventy-nine plates, and was sold at Sotheby’s in June, 1876. At 
 that time Whistler’s etched work comprised about one hundred and 
 twenty-five plates. 
 
 The collection of Mr. Joshua H. Hutchinson, of London, was made 
 with the aid of the artist, and, when sold at Sotheby’s, in March, 1892, 
 after Mr. Hutchinson’s death, numbered two hundred and sixty-five 
 impressions from one hundred and ninety-six plates. Impressions 
 
 lii 
 
COLLECTIONS OF ETCHINGS 
 
 from this collection bear J H H — impressed as a monogram within a 
 small circle. 
 
 The collection of Mr. Bernard Buchanan Macgeorge, of Glasgow, 
 was not begun until 1885, but consisted of two hundred and fifty-one 
 impressions from two hundred and eight plates, when sold at private 
 sale, in 1901, to Messrs. H. Wunderlich & Co., of New York, by whom 
 it was dispersed. Impressions from this collection bear the stamp 
 B. M. within a narrow oblong. 
 
 The collection of Mr. James Cox Cox, of Dundee, begun about 1886, 
 consisted of two hundred and fifty-four impressions from two hundred 
 and twenty-three plates, when sold at private sale, in 1903, after his 
 death, to Messrs. Obach & Co., of London, by whom it was dispersed. 
 
 The collection of Mr. Mortimer Menpes, of London, numbered two 
 hundred and thirty-four impressions from one hundred and seventy- 
 six plates, when sold at private sale, in 1904, to Messrs. Ernest Brown 
 and Phillips, of London, by whom it was dispersed. 
 
 In the representative collection of engravings and etchings formed 
 by Mr. Walter S. Carter, of Brooklyn, New York, which, in 1905, 
 after his death, was sold by the American Art Association, there were 
 sixty-two etchings and dry-points by Whistler. 
 
 The collection of Mr. H. S. Theobald, of London, numbered two 
 hundred and forty-one impressions from one hundred and ninety-nine 
 plates, when it passed at private sale, in 1906, into the possession of 
 Messrs. M. Knoedler & Co., of New York, by whom it was dispersed. 
 Some impressions from this collection bear the mark H S T — impressed 
 as a monogram. 
 
 The collection formed for Queen Victoria by her librarian, Mr. 
 Richard Rivington Holmes, consisted of one hundred and forty-seven 
 impressions from the same number of plates. After passing into the 
 possession of King Edward VII, it was sold at private sale, in 1906, 
 to Messrs. Thomas Agnew & Sons, of London, and was purchased from 
 them in that year by Messrs. H. Wunderlich & Co., of New York, by 
 whom it was dispersed. Impressions from this collection are stamped 
 with an oval enclosing V R and a crown. 
 
 The collection formed by Sir John Charles Day, of London, con- 
 
 liii 
 
INTRODUCTION 
 
 sisted of one hundred and seventy-one impressions from one hundred 
 and fifty-nine plates, when purchased in 1906, from the collector, by 
 Messrs. Obach & Co., by whom it has since been sold. 
 
 There remain to be recorded the existing public and private col- 
 lections of notable importance. 
 
 The collection in the British Museum, although seasonably begun 
 and rich in early impressions and states, has, strangely enough, been 
 carried no further than the second set of Venice etchings. It con- 
 sisted in 1908 of one hundred and twenty-four impressions from one 
 hundred and three plates. 
 
 The collection in the Victoria and Albert Museum at South Ken- 
 sington consisted in 1908 of sixty-one impressions. 
 
 Collections are also to be found in the Bibliotheque Nationale in 
 Paris, and in the museums of Dresden, Venice and Melbourne, and a 
 few examples are in the Boston Museum of Fine Arts and in the Met- 
 ropolitan Museum of New York. 
 
 The collection of Whistler’s etchings and dry-points formed by 
 Mr. Samuel P. Avery, of New York, was, in 1900, a few years be- 
 fore Mr. Avery’s death, included in his gift to the New York Public 
 Library of his collection of about fifteen thousand modern etchings and 
 about twenty-four hundred lithographs, altogether the work of some 
 nine hundred and seventy-eight artists. Mr. Avery had begun to collect 
 Whistler’s etchings about 1867, but unfortunately had added but few 
 examples later than the second Venice set. This collection, like that 
 of the British Museum, abounds in states of the earlier plates. It con- 
 sists of two hundred and twenty-seven impressions from one hundred 
 and eighty-seven plates. 
 
 The collection formed by Mr. Francis Seymour Haden — now Sir 
 Seymour Haden — was begun early in Whistler’s career, perhaps in 
 1858. Like the British Museum Collection and the Avery Collection, 
 it included impressions from numerous states of the earlier plates 
 and went no further than the Venice etchings. It consisted of two 
 hundred and one impressions from one hundred and forty-one plates. 
 The whole collection was sold, in 1889, to Mr. Hermann Wunderlich, 
 of New York, and in 1898, some years after Mr. Wunderlich’s death, 
 
 liv 
 
COLLECTIONS OF ETCHINGS 
 
 was purchased by Mr. Charles L. Freer, of Detroit, and added to the 
 collection which he had begun to form in 1888. 
 
 Through the addition of other collections, as well as separate ac- 
 quisitions, the Freer Collection has been enlarged until it has come 
 to number six hundred and fifteen impressions from three hundred 
 and ninety-five plates. It was included in the gift made by Mr. Freer 
 to the Smithsonian Institution, by deed of May 5, 1906, and supple- 
 mental deed of April 1 1, 1908, comprising his collections of oil paint- 
 ings, water-color drawings, pastels, miscellaneous drawings, sketches, 
 etchings and lithographs by Whistler, as well as the “Peacock Room,” 
 together with paintings by a few other American artists; also Mr. 
 Freer’s collection of Chinese and Japanese paintings and his collection 
 of potteries; all to be eventually housed in a special building to be pro- 
 vided by him in Washington. 
 
 The collection belonging to the compiler of this catalogue was 
 begun in New York in 1876. It has not been formed with the pur- 
 pose of comprising examples of all obtainable states, but such states 
 have been sought as seemed to be of special artistic interest; nor has an 
 attempt been made to add impressions from as many plates as possible, 
 but the constant endeavor has been to secure fine impressions. The 
 collection has grown to consist of four hundred and eleven impressions 
 from three hundred and seventy-one plates, all the prints having been 
 brought together by the purchase of one at a time. 
 
 The collection of Mr. Henry Harper Benedict, of New York, begun 
 in 1888, numbered in 1908 two hundred and thirty-one impressions 
 from one hundred and ninety-three plates. 
 
 The collection formed by Mr. Bryan Lathrop, of Chicago, begun in 
 1892, consisted in 1908 of two hundred and twenty impressions from 
 two hundred and eighteen plates. 
 
 The collection formed by Mr. John Caldwell, of Pittsburg, begun 
 in 1882, contained in 1908 one hundred and sixty-nine impressions 
 from one hundred and sixty-seven plates. 
 
 Other private collections of importance are those of Mr. Frank 
 L. Babbott, of Brooklyn, New York, Mr. Clarence Buckingham, of 
 Chicago, Mr. Francis Bullard, of Boston, Mr. John Templeman Cool- 
 ly 
 
INTRODUCTION 
 
 EXHIBITIONS 
 OF ETCHINGS 
 
 idge, Jr., of Boston, Mr. and Mrs. Atherton Curtis, of Paris, Mr. Theo- 
 dore DeWitt, of New York, Mr. Harris B. Dick, of New York, Mr. Wat- 
 son B. Dickerman, of New York, Mr. Judson S. Dutcher, of Watertown, 
 Connecticut, Mrs. Henry O. Havemeyer, of New York, Mr. Fisher 
 Howe, of Boston, Mr. George Lucas, of Paris, Mrs. Walter Robert 
 Parker, of Detroit, Mr. Arthur Jeffrey Parsons, of Washington, Mr. 
 Henry L. Quick, of Brooklyn, New York, Mr. Albert W. Scholle, of 
 New York, Mr. John W. Simpson, of New York, Mr. George W. 
 Vanderbilt, of Biltmore, and Mr. John H. Wrenn, of Chicago. 
 
 Exhibitions designed to be representative of Whistler’s etched work, 
 which have been held from time to time, seem properly matters for 
 record where they have been accompanied by catalogues which are 
 available for reference. 
 
 The first of such exhibitions regarded as fairly representative was 
 made in the Department of Fine Arts of the World’s Columbian Ex- 
 position in Chicago, in 1893. There were then shown impressions from 
 fifty-nine plates. 
 
 In 1894 there were exhibited at the St. Botclph Club, in Boston, 
 impressions from one hundred and four plates. 
 
 In 1900 there were exhibited by The Caxton Club, in the building 
 of the Art Institute in Chicago, three hundred and seventy-two im- 
 pressions from three hundred and twenty-three plates. 
 
 At the Pan-American Exposition in Buffalo, in 1901, impressions 
 from twenty-two selected plates were shown. 
 
 The seventy-first Annual Exhibition of the Pennsylvania Academy 
 of the Fine Arts, in Philadelphia, in 1902, included a group of im- 
 pressions from sixty-seven plates. 
 
 At the Memorial Exhibition of the Works of Mr. J. McNeill Whist- 
 ler, arranged by The Copley Society in Boston, in 1904, impressions 
 were shown to the number of two hundred and thirty-four from two 
 hundred and four plates. 
 
 There were exhibited at The Grolier Club in New York, in 1904, 
 six hundred and twenty-five impressions from three hundred and 
 
 lvi 
 
PRIOR CATALOGUES 
 
 ninety-six plates, forming by far the most comprehensive and inter- 
 esting exhibition ever made of Whistler’s etched work. 
 
 The Memorial Exhibition of the Works of J. McNeill Whistler, 
 organized by the International Society of Sculptors, Painters, and 
 Gravers and held in the New Gallery, Regent Street, in London, in 
 1905, contained two hundred and eighty-four impressions from the 
 same number of plates. 
 
 In the Exposition des CEuvres de James McNeill Whistler, held 
 in the Palais de l’Ecole des Beaux-Arts, in Paris, in 1905, there were 
 shown one hundred and fifty impressions from the same number of 
 plates. 
 
 The first catalogue of Whistler’s Etchings and Dry-points was prior 
 compiled by Mr. Ralph Thomas, fifty copies of which were printed in catalogues 
 1874, with this title-page: 
 
 A CATALOGUE 
 OF THE 
 
 ETCHINGS AND DRY-POINTS 
 OF 
 
 JAMES ABBOTT MACNEILL WHISTLER. 
 
 LONDON! 
 
 PRIVATELY PRINTED BY 
 JOHN RUSSELL SMITH, 36, SOHO SQUARE. 
 
 NEW YORK: SAMUEL P. AVERY, 88, FIFTH AVENUE. 
 
 1874. 
 
 It was preceded by an etching by Percy Thomas from a portrait 
 of Whistler by himself, and it recorded only eighty-six plates, without 
 detailed descriptions of states. The titles of some of the plates were 
 rather indefinite and the titles of others differed from the titles under 
 which the plates were afterward described. 
 
 lvii 
 
INTRODUCTION 
 
 More than ten years passed before another descriptive catalogue 
 appeared. This was the well-known compilation of Mr. Frederick 
 Wedmore, originally published in an edition of one hundred and forty 
 numbered copies, of which the first fourteen were on very large paper. 
 This edition bears the following title: 
 
 whistler’s etchings 
 
 A STUDY AND A CATALOGUE 
 BY 
 
 FREDERICK WEDMORE 
 
 ‘sans la liberte de blamer, il n’est pas d’e'loges flatteurs.’ 
 
 — BEAUMARCHAIS. 
 
 LONDON 
 
 A. W. THIBAUDEAU, l8 GREEN STREET 
 ST. martin’s PLACE 
 1886 
 
 The industry of Mr. Wedmore brought within this record two 
 hundred and fourteen plates. 
 
 Of this catalogue a “Second Edition, Revised and Enlarged,” of 
 one hundred and thirty-five numbered copies, was published in Lon- 
 don by P. & D. Colnaghi & Co., 13 and 14 Pall Mall East, in 1899. The 
 number of recorded plates rose to two hundred and sixty-eight. 
 
 In each of these editions the record is meagre in specifications of 
 states, and in neither is it exhaustive as regards the number of plates 
 that had been completed, although Whistler had virtually ceased to 
 etch some years before the second edition was issued. Nevertheless, 
 Mr. Wedmore remains entitled to the credit of great zeal and energy 
 in gathering material for his work on both sides of the Atlantic, and 
 his catalogue, with its supplement, has continued to be, in respect to 
 number and classification of plates, the generally accepted authority 
 on Whistler’s etched work. 
 
 lviii 
 
PRESENT COMPILATION 
 
 The supplement referred to was compiled by Mr. Edward G. 
 Kennedy, of New York, and was printed in an edition of one hundred 
 and thirty-five copies, in 1902. It bears the title: 
 
 CATALOGUE 
 
 OF 
 
 ETCHINGS BY J. McN. WHISTLER 
 
 COMPILED BY 
 AN AMATEUR 
 
 SUPPLEMENTARY TO THAT COMPILED BY 
 F. WEDMORE 
 
 NEW YORK 
 
 H. WUNDERLICH & CO. 
 220 FIFTH AVENUE 
 
 1902 
 
 This brought the number of recorded plates up to three hundred 
 and sixty-seven, not counting the five plates which had also been de- 
 scribed by Wedmore, but under different titles. In general form and 
 in scope of description the supplement resembles the catalogue which 
 it carried forward. Neither catalogue attempted to record cancelled 
 plates from which no original impressions are known to exist. But, 
 apart from these, there were, as stated in the prefatory note to the 
 supplement, a number of known plates which remained to be recorded 
 and described. 
 
 The publication by The Caxton Club of a Catalogue of Whistler’s present 
 Etchings and Dry-points was at first proposed in connection with the compilation 
 exhibition arranged by the club in 1900. In deference to Mr. Whist- 
 ler’s wishes, the original plan of illustrating the catalogue by repro- 
 
 lix 
 
INTRODUCTION 
 
 ductions of the prints, in the form of small photogravures of uniform 
 size, was abandoned. The publication of a full descriptive catalogue, 
 however, subsequently received Mr. Whistler’s complete approval. Its 
 preparation by the present compiler was equally approved by Mr. 
 Whistler. The compilation was readily undertaken, at the request 
 of the club, but without an adequate appreciation of the research and 
 labor and time involved in the undertaking. 
 
 The aim has been to include descriptions of all plates known to 
 have been the work of Whistler, and of all ascertainable states of these 
 plates. Accordingly, the cancelled plates are described from which no 
 impressions taken before the plates were cancelled are now thought to 
 exist. These plates form an integral part of the record, quite as prop- 
 erly as plates which were destroyed after only one or two impressions 
 had been taken which survive. It is possible, moreover, that there 
 exist impressions taken from some of these cancelled plates in their 
 original condition. It is known that, with regard to one of such plates, 
 Mr. Whistler, some ten years before his death, supposed this to be the 
 case. 
 
 While it cannot with absolute certainty be said that every etching 
 and dry-point ever made by Whistler is now described, it is believed 
 that this catalogue includes every plate from which impressions were 
 taken in his lifetime. It is too much to expect that undescribed states 
 of some of the plates will not later become known to collectors. It 
 would seem as if the artist made changes in some of the plates after 
 almost every printing, and certain of these changes may have escaped 
 the diligence of the compiler. More than two hundred years after Rem- 
 brandt’s death, undescribed states of his plates are still discovered; 
 yet the identification of states must have been easier in the case of 
 Rembrandt than it is in the case of Whistler. Indeed, had this com- 
 pilation been published before Whistler’s death, it would doubtless 
 have been far less complete. Following his death, the largest and 
 best-known private collections in England have been broken up, and 
 these as well as small collections from every side have, in addition to 
 the two most comprehensive collections known, become available for 
 description. 
 
 lx 
 
PRESENT COMPILATION 
 
 So far as possible from the evidence, the plates have been catalogued 
 in chronological order. Certainty in this regard is in some instances 
 out of the question, and even where periods of production are known, 
 the exact sequence of the plates cannot always be ascertained. The 
 testimony of inscribed dates, which is present upon so many of the 
 earlier plates, shows numerous gaps and after a while fails altogether. 
 Extrinsic facts have, therefore, been diligently sought and the internal 
 evidences carefully studied. 
 
 Only to a limited extent has the arrangement of earlier catalogues 
 been followed. The inclusion of plates not described in those cata- 
 logues has inevitably disarranged the numbering, and the fact that 
 in different parts of those catalogues there are descriptions of plates of 
 avowedly the same period, has relieved the compiler of any necessity 
 of trying to adhere to any earlier order. There will, of course, be 
 some disagreement with the conclusions now reached with regard to 
 chronological sequence; but from facts often clear, sometimes vague 
 and occasionally conflicting, an order has been evolved which is be- 
 lieved to be reasonably correct. 
 
 With respect to both dates and titles, much aid has been derived 
 from Whistler’s own memoranda, especially those upon prints in the 
 Avery Collection — memoranda sought by Mr. Avery with painstaking 
 zeal, but extending, unfortunately, scarcely beyond the first half of 
 Whistler’s etched work. While titles and states are frequently noted 
 by Whistler upon impressions of later undated etchings, the dates of 
 production are almost never supplied by the notes. 
 
 In determining titles, where there is any doubt, the effort has been 
 made to conform to the designations chosen by the artist. His wishes 
 are not always clear in this regard, but it should seem that they ought 
 to be followed whenever they can be definitely ascertained. The adop- 
 tion of this rule involves departures from some of the titles given in 
 prior catalogues. Where it is not apparent why titles known to have 
 been applied by the artist have been changed, it has been thought 
 best to revert to those earlier titles. In some other instances titles 
 have been discarded which, in the light of research, have seemed to be 
 clearly inaccurate. Changes have not been lightly made, for the prob- 
 
 lxi 
 
INTRODUCTION 
 
 able inconvenience resulting from differences in titles has been foreseen. 
 But it is hoped that, by including the numbers attached to the prints 
 in Mr. Wedmore’s catalogue and its supplement, and noting specifi- 
 cally the discarded titles, serious confusion will have been avoided. 
 
 Virtually all the prints catalogued have been remeasured, with re- 
 sulting divergences in many cases from the figures given in the earlier 
 catalogues. In some instances the divergence has been found to be so 
 slight as to be readily accounted for by a possible difference in quality 
 of paper or pressure in printing. In such instances the measurements 
 previously recorded have been retained. It is only where the diver- 
 gence has seemed material that a new measurement has been substitut- 
 ed. And although great care has been taken in making the measure- 
 ments, infallibility with respect to their correctness is not claimed. 
 
 The method of description adopted varies in some particulars from 
 methods which have customarily been employed and, therefore, it 
 should seem, needs to be explained. 
 
 The plates are designated as etchings or dry-points according to 
 the prevailing manner of execution, although there is often much ad- 
 ditional work in dry-point to be found on the plates which are dis- 
 tinguished as etchings. But where the subject is essentially expressed 
 at one stage of the plate through one medium and at a later stage 
 through the other, both designations are applied. 
 
 No distinction is made between what might in some cases be termed 
 “ trial proofs ” and what are commonly referred to as “ states.” 1 1 must 
 be evident that only the etcher himself can certainly establish distinc- 
 tions of this character. Not always by formal publication even is the 
 line of separation surely drawn. When the etcher has died without 
 recording, save in a few instances, what phases of his plates may be 
 regarded as within either category, it should seem that no one has 
 authority to make the classification. While it is true that there are 
 impressions extant, taken from plates by Whistler while the work was 
 evidently in progress, some of which have been designated by him as 
 trial proofs, yet the number of such impressions is so small that it has 
 not been thought advisable to treat them as exceptions in the general 
 plan. For while impressions from a plate at a particular stage may 
 
 lxii 
 
PRESENT COMPILATION 
 
 or may not be trial proofs, it is undeniable that, from the beginning to 
 the end of a plate, every stage which has yielded an impression may 
 properly and technically be defined as a “state.” Moreover, in his 
 later work Whistler never labelled the first impressions as trial proofs, 
 but invariably, when marking distinctions, referred to states and proofs 
 by numbers. 
 
 The endeavor has been made to frame the general description of each 
 etching and dry-point so that it will hold true of every state. An oc- 
 casional result is that the original description is necessarily very brief, 
 the account of the print as commonly known appearing in the later 
 description of a particular state. Where practicable, those features 
 which become the subject of change are embraced within the general 
 description, so that the changes may be noted by brief references to 
 such features. For the main purpose has been — not always success- 
 fully achieved — to describe each state by the distinguishing features 
 which it possesses instead of those which it lacks; to identify it, where 
 changes have been made, by specification of those particular changes 
 rather than by reference — as is often the case in print-catalogues — to 
 changes that will appear in a later state. 
 
 There will not be found throughout the catalogue any attempt at a 
 critical estimate of any print recorded. In this regard Mr. Whistler’s 
 own view, as stated to the compiler: “It is the business of the cata- 
 loguer to describe and not to comment,” has been readily accepted. 
 Indeed, the value of a catalogue should lie in the fullness and accuracy 
 of its facts and not in the personal opinions of the compiler, which, if 
 thought worthy of expression, should be expressed elsewhere, and not 
 forced on print-lovers seeking information, who are apt to have opinions 
 of their own. 
 
 The remark, however, may be made at this point, that the artis- 
 tic value of Whistler’s etchings and dry-points is not to be estimated 
 surely according to priority of states. While it is true with regard to 
 a considerable number of the prints — especially, but not always, dry- 
 points— that impressions of the first state are the finest, it is equally 
 true with regard to as many or more, that later states, sometimes the 
 very latest, show the fullest development of the artist’s purpose. Yet 
 
 lxiii 
 
INTRODUCTION 
 
 it is the development of that purpose, expressed in beautiful impres- 
 sions, which should be sought and prized, both for the joy of the collec- 
 tor and in justice to the etcher. For Whistler was not only a master 
 etcher but a master printer, and, from the beginning of his career to 
 the end, the finest impressions from his plates owed their surpassing 
 charm to his skill at the press. The conclusion must not be reached 
 that impressions of his own printing are the only fine ones, for Delatre, 
 as a printer, was almost a magician, and some notable results have 
 been achieved by Goulding. Unfortunately a number of the plates fell 
 into other hands. 
 
 With quality of the impression, therefore, as the first criterion of a 
 choice, the ultimate test in the selection of true examples of Whistler’s 
 etched work should be artistic merit, without regard to rarity either of 
 state or subject. It is not to be inferred that the rarity of certain 
 of the prints is necessarily owing to an inferiority, for the contrary is 
 too often the case. In truth, there are not very many of Whistler’s 
 etchings that one would willingly fail to acquire. Yet the complete 
 destruction of proofs taken from several plates which appear to have 
 been speedily cancelled, evinces Whistler’s unsparing criticism of his 
 own work, and it may well be that rare surviving impressions from 
 other cancelled plates would also have been condemned, had it been 
 within his power to suppress them. Once, when an impression from a 
 plate “important in size,” and then unknown to the compiler, was dis- 
 covered by him in one of Mr. Whistler’s portfolios in Paris, and laid 
 aside for purchase, it was withdrawn by the artist with the remark: 
 “That one is not altogether to my liking and I don’t think it is good 
 enough for your collection, and I had rather you wouldn’t take it.” 
 Consistently, in a letter, dated August i , 1 89 1 , to the Editor of the “ Pall 
 Mall Gazette” — with reference to a quotation from “L’Envoi,” that 
 “the work of the master reeks not of the sweat of the brow— suggests 
 no effort — and is finished from the beginning” — he had written: “All 
 along I have carefully destroyed plates, tom up proofs and burned 
 canvases, that the truth of the quoted word shall prevail, and that the 
 future collector shall be spared the mortification of cataloguing his pet 
 mistakes.” Such is the consequent rarity of impressions from certain 
 
 lxiv 
 
ACKNOWLEDGMENTS 
 
 plates, that any attempt at a complete collection is foredoomed to 
 failure. No such collection exists, and none can possibly be brought 
 together; therefore one bane of collecting is, in this special field, hap- 
 pily removed. 
 
 The inference should not be drawn from what has hitherto been 
 said, that the etchings and dry-points of Whistler are sought after only 
 by those who are generally classed as print-collectors. The note- 
 worthy fact is that it is rather exceptional for a true art-lover not to 
 have and to cherish some impressions of Whistler’s etched work. 
 There is, therefore, the more cause for regret that so much of that 
 work which is specially fine is now virtually unobtainable. Enough, 
 however, of what is equally admirable is likely to continue to be within 
 reach to make it a reasonable hope of all who really care for such 
 things, to become possessed of characteristic and worthy examples. 
 
 Where an impression of exceptional rarity, whether from a particu- 
 lar plate or of some particular state, is to be found in a well-known col- 
 lection, reference to such fact, if within the knowledge of the compiler, 
 is appended to the description as it appears in the catalogue. 
 
 It does not follow that there are not impressions of the like rarity 
 in collections which are not so well known, and it is quite true that in 
 some comparatively small private collections there are rare impressions 
 from certain plates and of certain states, which are not to be found in 
 the collections named. But, for obvious reasons, it is deemed inad- 
 visable to attempt a record of these impressions. 
 
 While the descriptions of subjects in the following catalogue have, 
 for the most part, and the descriptions of states to a considerable ex- 
 tent, been based upon impressions in the compiler’s collection, further 
 knowledge in large measure of both subjects and states has been de- 
 rived from study of other collections and scrutiny of impressions pass- 
 ing through the hands of dealers, and from other opportunities of com- 
 parison. 
 
 Ixv 
 
 REFERENCES 
 
 ACKNOWLEDG- 
 
 MENTS 
 
INTRODUCTION 
 
 Much, in both respects, has been learned from the prints in the 
 Freer Collection, examined through the permission granted at the out- 
 set to The Caxton Club by Mr. Freer. To the Trustees of the New York 
 Public Library and to Mr. Frank Weitenkampf, Curator of its Print 
 Department, acknowledgment is made for facilities, freely extended, 
 for the examination of the Avery Collection. To The Grolier Club of 
 the City of New York the compiler is indebted for invaluable aid in the 
 classification of states, through access to the photographic reproduc- 
 tions, in full size, of different states of etchings and dry-points by 
 Whistler, prepared for future publication by that club. From Mr. 
 Edward G. Kennedy, of New York, much special information has 
 been received concerning Whistler’s etched work, besides great assist- 
 ance in the identification of states and in the final verifications. From 
 Mr. and Mrs. Joseph Pennell, of London, important facts have been 
 obtained regarding the dates of some of the etchings and certain in- 
 cidents in Whistler’s career, both directly and through their intimate 
 biography of Whistler, recently published. 
 
 The compiler is also under obligation to Mr. Clarence Buckingham, 
 Mr. Bryan Lathrop and Mr. John H. Wrenn, of Chicago; to Mr. Henry 
 Harper Benedict, Mr. Harris B. Dick, Mr. Watson B. Dickerman, 
 Mrs. Henry O. Havemeyer, Mr. Albert W. Scholle and Mr. John W. 
 Simpson, of New York; to Mr. Frank L. Babbott, of Brooklyn; to 
 Mr. Francis Bullard and Mr. Fisher Howe, of Boston; to Mrs. Walter 
 Robert Parker, of Detroit; to Mr. Judson S. Dutcher, of Watertown, 
 Connecticut; to Mr. Arthur Jeffrey Parsons, of Washington; to Mr. 
 John Caldwell, of Pittsburg, and to Mr. George W. Vanderbilt, of Bilt- 
 more, for information regarding prints in their collections, and to Mr. 
 H. S. Theobald, of London, for a complete description of the admirable 
 collection which was once in his possession. Indeed, on the part of 
 collectors generally, all necessary co-operation has been accorded. 
 
 Thanks are extended to Messrs. Frederick Keppel & Company, 
 Messrs. M. Knoedler & Company and Messrs. H. Wunderlich & Com- 
 pany, of New York, Mr. Albert Roullier, of Chicago, and Messrs. Er- 
 nest Brown & Phillips, Messrs. Obach & Company and The Fine Art 
 Society, of London, for useful information, readily given, regarding 
 
 lxvi 
 
acknowledgments 
 
 rare impressions of etchings and dry-points passing through their 
 
 hands. 
 
 Acknowledgment is due to the officials of the United States Coast 
 and Geodetic Survey for their court esy in placing at the disposal of 
 the compiler full particulars regarding the plates etched bv Whistler 
 while in the Government's sendee. 
 
 It is a pleasure to express the compiler's appreciation of the per- 
 mission given by Mrs. Ironside, of New London. Connecticut, to The 
 Caxton Club to reproduce, as a frontispiece to this work, an unpub- 
 lished photograph of Whistler, taken about 1865. 
 
 The compiler is under special obligation, gratefully recorded, to Mr. 
 Frederick W. Gookin, of Chicago, for his constant interest in the work 
 and \\dlling help in reading the proofs, and to Mr. Walter Gilliss. of 
 New York, for his untiring zeal and patience in connection with the 
 printing of this book. 
 
 New York. December. 1908. 
 
 lxvii 
 

 
 
 
 
ABBREVIATIONS 
 
 W. refers to Wedmore’s Catalogue. 
 
 Sup. refers to the Supplement to Wedmore’s Catalogue. 
 
CATALOGUE 
 
 1 SKETCHES ON COAST SURVEY PLATE. In the upper part 
 of the plate, on which are also etchings by Whistler of coast-lines 
 and abrupt rocky shores, are a number of etched sketches: At 
 the right, the head of a man wearing a pointed hood; at the left, 
 the head of a man wearing a soldier’s cap; next, in an oval with 
 a shaded background, an old woman wearing a white cap and 
 facing a child; further at the left, the half-length figure of a man 
 smoking a long pipe, the head of a young man wearing a peaked 
 hat, and a head wearing a hood. The plate is unsigned. 
 Etching. Height of plate, 5% inches; width of plate, io ?4 
 inches. 
 
 Done at Washington, in the Engraving Division of the United 
 States Coast Survey, between November 7, 1854, and February 
 12, 1855. 
 
 Freer and Mansfield Collections. 
 
 2 AU SIX 1 EME. Interior of a studio. In front, with arms bared 
 to the elbow, a young woman stands by a small cylindrical stove 
 on which is a pot, the contents of which she is stirring with her 
 left hand, while in her right hand, slightly raised, she holds a cigar- 
 ette. At the right a man with a pipe in his mouth sits before an 
 easel on which is a picture. On the wall at the back are sketches, 
 a palette, a hat, and a shelf holding numerous articles. In the 
 right lower corner: “Whistler inv”; at the bottom of the plate, 
 in the center: “Au Sixieme.” 
 
 Etching. Height, 4X inches; width, 3 inches. 
 
 Freer Collection. On the impression in this collection Sir Sey- 
 
 3 
 
whistler’s etchings and dry-points 
 
 mour Haden, in whose collection it formerly was, wrote: “Prob- 
 ably the first of Whistler’s etchings.” 
 
 Doubtless done in Paris, and probably as early as 1857. 
 
 3 MAN HOLDING A GLASS. (W. 3.) A man of heavy build 
 sits facing toward the left, with a long pipe in his mouth and hold- 
 ing a tall glass in his uplifted right hand. His left arm hangs 
 by his side, the hand touching a broad-brimmed hat. Behind 
 him, at the right, stands a woman bending forward, facing front 
 and carrying a tray. There is some shading in the background. 
 Near the right lower corner: “ J. W.” 
 
 Etching. Height, 3 X inches; width, 2%, inches. 
 
 First State: The shading in the background at the left is in 
 horizontal lines. 
 
 Mansfield Collection. 
 
 Second State: Vertical lines are added in the shading at the 
 left. 
 
 Avery Collection. 
 
 Catalogued by Wedmore as “The Dutchman Holding the Glass.” 
 
 4 YOUTH WITH GERMAN CAP. A youth wearing a German 
 cap and wooden shoes stands, with face turned away, near the 
 entrance to a building. The light falls upon his left side and 
 left foot. In the left upper corner: “J. W.” 
 
 Etching. Height, 3 yi inches; width, 1^ inches. 
 
 Freer Collection. This impression is perhaps unique. 
 
 5 SEYMOUR, STANDING. (Sup. 362.) A boy with long hair, 
 and wearing a jacket, kilt and plaid stockings, stands facing to 
 the right, his hands in the pockets of his jacket. There is a sug- 
 gestion of a shadow at the left, and there are faint lines elsewhere 
 in the background. Below, at the right of the boy’s left foot: 
 “J. W.” 
 
 4 
 
whistler’s etchings and dry-points 
 
 Etching. Height, 3^ inches; width, 2^ inches. 
 
 Freer Collection. 
 
 A portrait of a son of Francis Seymour Haden. 
 
 6 SEYMOUR, SEATED. (W. 22.) A boy with long hair, and 
 wearing a jacket, kilt and plaid stockings — the subject of the 
 etching last described — sits looking to the left, with feet spread 
 apart and his hands on his knees. There is shading in the back- 
 ground. Near the left edge of the plate, above the boy’s right 
 foot, much obscured: “J. Whistler.” 
 
 Etching. Height, 5 inches; width, 3^ inches. 
 
 First State: The shading is chiefly in curving lines, and is 
 heavier at the left of the figure than at the right, obscuring 
 the signature. 
 
 Avery, Freer, and Mansfield Collections. On the impression in 
 the Avery Collection Whistler wrote: “Seymour Haden, Junr.” 
 
 Second State: Horizontal lines are added in the shading at 
 the right, and a few vertical lines are added at the left. 
 
 Catalogued by Wedmore as “A Little Boy.” 
 
 7 LITTLE ARTHUR. (W. 13.) A young boy with long hair 
 falling about his face, and wearing a short dress and a jacket with 
 a lace collar, sits facing front, his hands in his lap and his knees 
 apart. There is shading in the background. 
 
 Etching. 
 
 A portrait of a son of Francis Seymour Haden. 
 
 First State : The figure is drawn at full length. The feet, wear- 
 ing slippers, are close together on a fur rug. There is a strong 
 shadow in the background at the right. The space between 
 the rug and the bottom of the plate is left blank. On the rug, 
 at the left: “J. W.” 
 
 Height, 3 X inches; width, 2 yi inches. 
 
 Avery Collection. 
 
 5 
 
whistler’s etchings and dry-points 
 
 Second State: Near the right lower corner, in the space pre- 
 viously left blank: “Whistler.” 
 
 British Museum Collection. 
 
 Third State: “Imp. Delatre, Rue St. Jacques, 171,” added 
 at the left, in the space along the bottom of the plate. 
 
 Avery, Freer, and Mansfield Collections. On the impression of 
 this state in the Avery Collection Whistler wrote: “Arthur 
 Haden.” 
 
 Fourth State: The plate has been cut down, below the boy’s 
 knees, and narrowed on each side, and is without inscriptions. 
 Height, 2 %, inches; width, 1 % inches. 
 
 Fifth State: There is more work on the hair, hands and legs. 
 At the left of the boy’s right forearm: “Whistler.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “Little Arthur.” 
 
 8 ANNIE. tW. 15.) A young girl with long flowing hair stands 
 turned toward the left, but facing nearly front, her left arm by her 
 side, the hand holding up the skirt of her short frock. 
 
 Etching. Height, 4 % inches; width, 3^ inches. 
 
 A portrait of the daughter of Francis Seymour Haden. 
 
 First State: The figure is drawn at full length. The face is 
 round and the hair does not cover the ears. There is slight 
 shading at the left, below the skirt. In the upper part of the 
 shading: “J. W.” 
 
 Avery Collection. On the impression of this state in this 
 collection Whistler wrote: “ 1st State.” 
 
 Second State: The face is lengthened and the hair is more 
 abundant and covers the ears. The feet and the legs have been 
 removed, except that the left leg is merely suggested just below 
 the skirt. The shading and “J. W.” have been removed. 
 A few lines appear in the background, at the left of the skirt. 
 Avery Collection. 
 
 6 
 
 1 
 
whistler’s etchings and dry-points 
 
 Third State: Numerous horizontal lines are added at the left 
 of the skirt, and a few lines in the right lower corner. Near 
 the right lower corner: “Whistler.” 
 
 Freer Collection. 
 
 Fourth State: The signature at the right and the lines below 
 the skirt have been removed. Curving lines are added at the 
 left of the skirt. Added below the figure, at the left: “Whist- 
 ler”; at the right: “ Imp. Delatre, Rue St. Jacques, 171.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “Annie.” 
 
 Fifth State: Outlines of the left leg for some distance below 
 the skirt, with a single line to indicate the right leg, are added, 
 but not by Whistler. In the center, near the bottom of the 
 plate: “Annie.” 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “ Legs not by me. The impertinent work of another.” 
 
 9 EARLY PORTRAIT OF WHISTLER. (W. 1.) A quarter- 
 length portrait of the artist as a young man with thick wavy 
 hair, facing front and bending forward, his left arm resting on a 
 table, the hand raised and holding a cigarette. There is shading 
 in the background. At the right, below the left arm: “J. W.” 
 Etching. Height, 4^ inches; width, 3 inches. 
 
 First State: There is open shading in the background. 
 Avery and Freer Collections. On the impression in the Avery 
 Collection Whistler wrote: “Early portrait of Self.” 
 
 Second State: There is closer shading in the background. 
 
 10 ANNIE HADEN WITH BOOKS. (W. 2.) A young girl with 
 round face and long flowing hair looks out over a pile of books 
 on which she leans. Her hands are joined, and rest on the top- 
 most book, which is open. On the backs of the books below are: 
 “Swedenborg,” “Machiavelli,” “Belphegor XII,” “Directorium 
 
 7 
 
whistler’s etchings and dry-points 
 
 Inquisitorium,” “Aoyos.” There is shading in the background. 
 At the right, on the open book: “J. W.” reversed. 
 
 Etching. Height, 4 inches; width, 2$4 inches. 
 
 Avery Collection. On the impression in this collection Whistler 
 wrote: “Annie Haden. Very early. Probably unique.” 
 Catalogued by Wedmore as “Annie Haden.” 
 
 1 1 LA RETAMEUSE. (W. 5.) A half-length portrait of an elderly 
 Frenchwoman wearing a black cap. She sits facing front, her 
 hands folded in her lap, a shuttle thrust in her waistband. Her 
 shadow is strongly indicated in the background at the right, and 
 there is shading in the background at the left. 
 
 Etching. Height, 4^ inches; width, 3 X inches. 
 
 First State: The plate is unsigned and without inscription. 
 Freer Collection. 
 
 Second State: Lines have been added and partly erased on 
 the upper part of the plate, at the left. Near the bottom of the 
 plate, at the right: “Whistler”; along the lower edge of the 
 plate, at the left: “Imp. Delatre, Rue St. Jacques, 171.” 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “La Retameuse.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “La Retameuse.” 
 
 12 EN PLE 1 N SOLEIL. (W. 6.) A lady wearing a shawl with 
 stripes across it is seated in an open field, holding a parasol above 
 her head. Her face, partly in shadow, is turned toward the front. 
 In the grass, at the left, is a round box. Near the bottom of the 
 plate, below the box: “Whistler.” 
 
 Etching. Height, 4 inches; width, 5 inches. 
 
 First State: In the left upper corner: “Whistler,” written 
 upside down and in reverse. 
 
 Avery Collection. 
 
 8 
 
whistler’s etchings and dry-points 
 
 Second State: With the upper signature obscured and “ Imp. 
 Delatre, Rue St. Jacques, 171,” added at the right, along the 
 lower edge of the plate. 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “En plein Soleil.” 
 
 1 3 LA MERE GERARD. (W. 9.) An elderly Frenchwoman wear- 
 ing an apron, a cape, and a pointed hood stands turned somewhat 
 to the right, but looking toward the front. In her left hand she 
 holds a large shawl. At the left, near the bottom of the skirt: 
 “Whistler.” 
 
 Etching. Height, 4^ inches; width, 3X inches. 
 
 An oil portrait of “La Mere Gerard” is said to have been the first 
 original picture painted by Whistler in Paris. 
 
 First State: There is open shading on the cape, dress and 
 shawl. The background is clear, except for some lines toward 
 the bottom of the plate, at the right. 
 
 Avery and Freer Collections. On the impression in the Avery 
 Collection Whistler wrote: “La Mere Gerard” — “First State.” 
 
 Second State: The dress and shawl are darkened and the cape 
 is strongly shaded. There is considerable shading in the back- 
 ground at the right of the figure, and there are a few lines in 
 the background at the left, above the signature. 
 
 British Museum Collection. 
 
 Third State: There is heavy shading, forming a shadow, at the 
 right of the figure, and horizontal lines are added in the back- 
 ground at the left. A few diagonal lines cross the left upper 
 corner. 
 
 Freer Collection. 
 
 Fourth State: With “Imp. Delatre, Rue St. Jacques, 171,” 
 added along the bottom of the plate. 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “La Mere Gerard.” 
 
 9 
 
whistler’s etchings and dry-points 
 
 14 LA MERE GERARD, STOOPING. (W. 10.) A quaint elderly 
 Frenchwoman wearing an apron, a cape, and a pointed hood — 
 the woman pictured in the etching last described — is walking 
 toward the front, slightly stooping and with head bent forward. 
 In her right hand she carries a satchel. Her figure casts a shadow 
 to the left. The plate is unsigned. 
 
 Etching. Height, 4 inches; width, 2>< inches. 
 
 Avery Collection. On the impression, perhaps unique, in this 
 collection Whistler wrote: “La Mere Gerard.” 
 
 15 FUMETTE. (W. 18.) A young woman with flowing hair, and 
 wearing a mantilla with lace collar, sits facing front, bending for- 
 ward, with hands crossed upon her raised knees. 
 
 Etching. Height, inches; width, qjT inches. 
 
 It is said that the model for “ Fumette” was a little milliner of 
 Qthe Latin Quarter, named Eloise. 
 
 First State: There is but little shading on face or dress, and 
 the collar is white. The background is clear, and there is no 
 signature. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Fumette” and “ 1st State.” 
 
 Second State: The hair is somewhat darker. Considerable 
 shading is added on the face and the mantilla, and a pattern is 
 worked on the collar. Below, at the right: “Whistler.” 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Fumette” and “2nd State.” 
 
 Third State: The hair is now much darker. There is some 
 additional shading on the mantilla, and shading is added in the 
 background at the left. 
 
 Fourth State: With “Imp. Delatre, Rue St. Jacques, 171,” 
 added at the left, along the lower edge of the plate. 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “Fumette.” 
 
 10 
 
whistler’s etchings and dry-points 
 
 i 6 LIVERDUN. (W. 4.) A picturesque group of farm-buildings 
 is in strong sunshine at the left, and a long low building, with an 
 arched central entrance, is in shadow at the right. Women are 
 seated in front of the building; a woman stands in the entrance, 
 and another approaches from the background. There is a cow 
 in the foreground at the right. Against a building at the left are 
 detached parts of a hay-rack, and beyond is an empty wagon. 
 Etching. Height, 4X inches; width, 6 inches. 
 
 Liverdun is a town in eastern France, not far from Nancy. It 
 was visited by Whistler on his journey to Alsace-Lorraine in 1858. 
 
 First State: Near the right upper corner: “Whistler.” 
 
 Avery, Freer, and Mansfield Collections. On the impression 
 in the Avery Collection Whistler wrote: “Liverdun.” 
 
 l/ Second State: Added, in the left lower corner: “J. Whistler,” 
 and at the right, near the bottom of the plate: “ Imp. Delatre, 
 Rue St. Jacques, 171.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “Liverdun.” 
 
 17 THE UNSAFE TENEMENT. (W. 7.) A dilapidated farm- 
 house with its outbuildings, all of half-timbered construction. In 
 front a young girl stands outside a door which is partly opened, 
 disclosing the face of another girl. Near a kennel at the left lies 
 a dog. At the right is the gable end of another building, against 
 which hay-racks are placed on which cloths are hung. Near the 
 right lower corner: “Whistler.” 
 
 Etching. Height, 6X inches; width, 8 J/% inches. 
 
 Mr. Wedmore says: “The scene is in Alsace-Lorraine.” 
 
 First State: In front of an abutting shed at the left stands a 
 woman with a broom. There are slight indications of clouds. 
 Avery, Freer, and Mansfield Collections. On the impression 
 in the Avery Collection Whistler wrote: “ L’habitation danger- 
 euse.” 
 
 1 1 
 
whistler’s etchings and dry-points 
 
 Second State: The woman has been removed. Where she 
 stood is an open doorway, near which, placed against the wall, 
 is a pitchfork. Strong horizontal lines are added throughout 
 the sky. “Imp. Delatre, Rue St. Jacques, 171,” added along 
 the lower edge of the plate, at the left. 
 
 Benedict, Freer, and Mansfield Collections. 
 
 Third State: All lines except a few faint scratches have been 
 removed from the sky. 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Entitled in different announcements of publication: “The Old 
 Farm” and “The Unsafe Tenement.” 
 
 Fourth State: The name and address of- the printer have 
 been removed. 
 
 18 THE DOG ON THE KENNEL. (W. 8.) On the top of a rude 
 kennel a dog is lying on his right side, with his legs outstretched 
 toward the front. Near the right upper corner: “Whistler.” 
 Etching. Height, 2^ inches; width, 3% inches. 
 
 An etching of the dog and kennel which appear in “The Unsafe 
 Tenement,” done while that etching was in progress. 
 
 19 STREET AT SAVERNE. (W. 11.) A night scene in a narrow 
 street, which seems to end at a barrier. Along the left side is a 
 row of adjoining irregular buildings in brilliant moonlight crossed 
 by strong shadows. Light radiates from a lantern that projects 
 from the wall of a high building at the right. A single figure 
 stands near a doorway half way down the street. The sky is 
 strongly shaded. Near the bottom, at the left: “Whistler.” 
 Etching. Height, 8)4 inches; width, 6 % inches. 
 
 Saverne is a town in Alsace, now Zabern. 
 
 First State: The sky is shaded for the most part by lines 
 nearly horizontal and about an eighth of an inch apart. 
 
 Freer Collection. 
 
 12 
 
whistler’s etchings and dry-points 
 
 Second State: Numerous diagonal lines are added throughout 
 the sky. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Saverne.” 
 
 Third State: In place of the lines previously in the sky there 
 are now numerous close horizontal lines. The barrier at the 
 end of the street has been partly removed. “Imp. Delatre, 
 Rue St. Jacques,” added at the right, along the lower edge of 
 the plate. 
 
 Buckingham Collection. 
 
 Fourth State: Through additional work in dry-point the bar- 
 rier is strongly defined and the upper part of the lantern is 
 slightly shaded. 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “Street at Saverne.” 
 
 Fifth State: With name and address of the printer removed. 
 
 20 GRETCHEN. (W. 12.) A girl turning toward the right, but 
 facing nearly front, sits by a projecting work-table near a window 
 in which her reflection appears. She wears an apron and a frock 
 with large skirt and with flowing sleeves. Her left foot rests upon 
 a stool; her left hand is raised to her face, the elbow resting on a 
 ledge; in her right hand she holds a frame, apparently of needle- 
 work. On the table are a key and knitting-work with needles 
 and a ball of yarn. In the background is a large jar, and on a 
 ledge at the left are two beer-mugs. There is shading on the win- 
 dow and stronger shading in the lower parts of the background. 
 In the left upper corner: “Whistler.” 
 
 Etching. Height, 8^ inches; width, inches. 
 
 Avery, Freer, and Mansfield Collections. 
 
 Upon the impression in the Avery Collection Whistler wrote: 
 “‘Gretchen,’ Heidelburg.” 
 
 Etched on the journey into Germany in 1858. 
 
 13 
 
whistler’s etchings and dry-points 
 
 21 LA VIEILLE AUX LOQUES. (W. 14.) Within the open door- 
 way of a shop sits an old woman, facing to the right, wearing a 
 dark cape and white cap, her hands on her knees and her head 
 bent forward as in sleep. On the door-sill, by her side, is an empty 
 sack, and within the shop, on a shelf at the left, are a jar, a basin, 
 a bowl, and a coffee-pot. On other shelves are various odds and 
 ends. On the outer wall, at the right, toward the bottom of the 
 plate: “Whistler.” 
 
 Etching. Height, 8 % inches; width, 5^ inches. 
 
 First State: The door-sill is shaded for its whole length by 
 vertical lines, crossed by a few horizontal lines. 
 
 Avery Collection. 
 
 Second State: Horizontal lines are added in the shading of 
 the door-sill. Added at the right, along the lower edge of the 
 plate: “Imp. Delatre, Rue St. Jacques, 171.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “La Vieille aux Loques.” 
 
 Third State: The printer’s name and address are removed. 
 
 \ 22 LA MARCHANDE DE MOUTARDE. (W. 16.) Leaning upon 
 the left door-post of a narrow doorway, above which there is a 
 barred window, stands a young girl. Within the smaller interior 
 an old woman wearing a white cap stands bending over a table 
 on which are a box and jars. Other jars are ranged on a shelf 
 above, supported by a large bracket. On the street-pavement, 
 below the left door-post: “Whistler.” 
 
 Etching. Height, 6 yi inches; width, 3^ inches. 
 
 On a drawing of the subject in the Freer Collection, formerly in 
 the Haden Collection, Whistler wrote: “Marchand de Potions in 
 Cologne.” This drawing was evidently made in the course of 
 the journey of 1858. 
 
 First State: Diagonal lines slightly shade the bracket of the 
 shelf. The shading on the wall above the jars is comparatively 
 
 >4 
 
whistler’s etchings and dry-points 
 
 slight. The top of the table, near the edge, is unshaded for 
 its whole length. 
 
 Mansfield Collection. 
 
 Second State: Vertical lines are added on the bracket of the 
 shelf, and there is much additional shading on the wall above 
 the jars. Two lines are added on the top of the table, near the 
 edge. “Imp. Delatre, Rue St. Jacques, 171,” added at the 
 left, along the lower edge of the plate. 
 
 British Museum Collection. 
 
 Third State: There is much additional shading on the wall 
 above the jars, and throughout the interior. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “La Marchande de Moutarde.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “La Marchande de Moutarde.” 
 
 Fourth State: Two horizontal lines are drawn through the 
 name and address of the printer. 
 
 Fifth State: The printer’s name and address have been re- 
 moved, and in their place is a single horizontal line. 
 
 In this state, published in “English Etchings.” 
 
 23 QUARTIER MOUFFETARD. (W. 17.) In the far corner of a 
 gloomy room, with rough flooring and ceiling of heavy beams — seen 
 through an irregular doorway — are a small table and a bed, above 
 which are a cupboard and shelves. High on a wall at the left of 
 the doorway hang two empty bags. Without, at the left are a pot 
 and a basin, and at the right is a basket, which casts a shadow 
 on the outer wall. On the wall, above the basket: “Whistler.” v ' 
 Etching. Height, 6 inches; width, 3 X inches. 
 
 On impressions of two states in the Avery Collection Whistler 
 wrote: “Quartier Mouf[f]etard.” 
 
 First State: In general effect the walls and ceilings are white. 
 There is only slight shading on the bags, and an irregular space 
 
 15 
 
whistler’s etchings and dry-points 
 
 on the wall at the left of the bags is blank. Except for the 
 shadows cast by the table and the bed, the floor is but slightly 
 shaded. The side of the pot is unshaded. The shadow cast by 
 the basket is indicated by horizontal lines, crossed by diagonal 
 lines running from left to right. 
 
 Freer Collection. 
 
 Second State: There is stronger shading on the interior walls 
 and on the ceiling, bringing the objects in the room into greater 
 relief. 
 
 Benedict Collection. 
 
 Third State: There is shading on the two bags and in the 
 irregular space at the left of the bags, and on the side of the pot. 
 There is additional shading on the walls, ceiling and floor. 
 Avery and Mansfield Collections. 
 
 Fourth State: Vertical lines are added in the shadow cast by 
 the basket, and the shading within the room is deepened. 
 
 Fifth State: Two figures are introduced: one a girl sitting up 
 in the bed; the other a youth wearing a hat and large blouse, 
 and standing by the side of the bed. Near the signature is 
 added in dry-point: “ 1858.” 
 
 Catalogued by Wedmore as “The Rag-Gatherers’.” 
 
 THE KITCHEN. (W. 19.) In a deep embrasure, in the far 
 part of a dark roughly-built kitchen with earthen floor and tim- 
 bered ceiling, stands a woman looking out of a vine-bordered win- 
 dow. At her right is a long staff, placed against the wall. In 
 front, at the right, is a basket near a dresser on which are two 
 deep pans and above which, in racks on the wall, are pans and 
 platters. On the opposite side are two jars on a high shelf, and 
 there are jars in the embrasure beyond. Near the bottom of 
 the plate, at the right: “Whistler.” 
 
 Etching. Height, 8 14 inches; width, 6}4 inches. 
 
 On a pencil-drawing of the subject in the Freer Collection, for- 
 
 16 
 
whistler’s etchings and dry-points 
 
 merly in the Haden Collection, Whistler wrote: “Cuisine a 
 Lutzelbourg.” Lutzelbourg is now Luxembourg. 
 
 First State: With no inscription except the signature of the 
 artist. 
 
 Vanderbilt Collection. 
 
 Second State: With “Imp. Delatre, Rue S. Jacques, 171,” 
 added below “Whistler.” 
 
 In this state, one of the “Twelve Etchings from Nature.” 
 Published as “The Kitchen.” 
 
 Third State: The plate has been extensively reworked in 
 dry-point, especially on the walls and in the foreground. 
 
 The impressions of this state — printed by Whistler, although 
 Delatre’s name and address remain — were published in 1885 by 
 the Fine Art Society of London. 
 
 25 DELANNOY, SKETCHING. (W. 20.) Wearing gaiters and 
 loose trousers and Whistler’s broad-brimmed hat, he sits, mak- 
 ing a sketch, surrounded by groups of peering children. Above, 
 reading from the right: “Douze Eaux Fortes d’apres Nature par 
 James Whistler”; at the left: “Imp. Delatre, Rue St. Jacques, 
 1 71, Paris, Nov. 1858”; near the lower edge of the plate, in the 
 center: “A Mon viel Ami Seymour Haden.” 
 
 Etching. Height, 4 yi inches; width, 5 $4 inches. 
 
 The Title to “Twelve Etchings from Nature,” also known as 
 “The French Set.” 
 
 On a drawing of this subject in the Freer Collection, formerly 
 in the Haden Collection, Whistler wrote: “Succr. d’Ernesti a 
 Cologne.” Ernest Delannoy was Whistler’s companion there. 
 Catalogued by Wedmore as “The Title to the French Set.” 
 
 26 AUGUSTE DELATRE. (W. 21.) A half-length portrait of a 
 man of youthful appearance, with rather long hair, a moustache 
 and an imperial, who is turned toward the left, but is looking to 
 
 17 
 
whistler’s etchings and dry-points 
 
 the front. In the right upper corner: “Homage a Mme. Delatre. 
 J. Whistler.” 
 
 Etching. Height, inches; width, 2 l /& inches. 
 
 Delatre was the famous French printer of etchings, by whom the 
 “Twelve Etchings from Nature,” in their published states, and 
 many others of Whistler’s early etchings, were printed. He was 
 born in 1822, and died in 1907. 
 
 27 THE WINE-GLASS. (W. 31.) A champagne glass which 
 stands on a small tray with scalloped edge. There is shading 
 in the background. Near the left lower corner: “Whistler.” 
 Etching. Height, 3X inches; width, 2yi inches. 
 
 First State: The shading in the background is for the most 
 part made by close horizontal lines. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “London” and “ 1st State.” 
 
 Second State: The background is darkened by extensive 
 cross-hatching. 
 
 28 THE SLIPPER. (W. 29.) A young woman with long flowing 
 hair is lying in a curtained bed, holding close to her face, in her 
 left hand, a large book or magazine with the covers folded back. 
 On the floor, in front of the bed, is a slipper. There is shading in 
 the background. At the right of the slipper: “Whistler.” 
 Etching. Height, 4^ inches; width, 3 ]/% inches. 
 
 First State: The face is lightly shaded and the nose is straight. 
 Avery, Freer, and Mansfield Collections. 
 
 Second State: The face has been redrawn and the nose made 
 retrousse. Lines are added on the hair and background. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “The Slipper.” 
 
 Catalogued by Wedmore as “ Reading in Bed.” 
 
 18 
 
whistler’s etchings and dry-points 
 
 29 ANNIE, SEATED. (W. 24.) A young girl with long hair fall- 
 ing in curls about her face, her hands folded in her lap, is seated, 
 looking down, in a chair through the open framework of which her 
 right elbow is thrust. In the background, at the left are shadows 
 of her head and of the chair, with some shading below, and at the 
 right are a few lines of shading. Near the left lower corner of 
 the plate: “Whistler.” 
 
 Etching. Height, 5 inches; width, 3X inches. 
 
 A portrait of the daughter of Francis Seymour Haden. 
 
 First State: In front, in the space below the skirt, are a few 
 short vertical lines; near them are a few diagonal lines, and at 
 the right there are faint suggestions of a leg. 
 
 Avery, Freer, and Mansfield Collections. On an impression of 
 this state Haden wrote: “Annie Haden, 1859.” 
 
 Second State: Numerous horizontal lines in dry-point extend 
 nearly across the plate, below the skirt. The number of short 
 vertical lines is increased, and vertical lines are added in the 
 shading at the left. In the center, near the bottom of the 
 plate: “Annie.” 
 
 30 READING BY LAMPLIGHT. (W. 25.) Seated at the far 
 side of a table and facing toward the right, a lady is reading from 
 a book that she holds near her eyes and keeps open with her right 
 hand on the leaves. Light is thrown on the book and on the lower 
 part of a shadowy background from a tall reading-lamp, standing 
 on a bowl inverted upon the table, near a cup and saucer. Near 
 the right lower corner: “J. Whistler.” 
 
 Etching and Dry-point. Height, 6X inches; width, 4% inches. 
 
 First State: The face is delicately shaded and the nose is 
 straight. The shadows of the head and book are sharply 
 defined. The cup and saucer are shaded. There is a notice- 
 able pattern on the bowl. 
 
 Avery, Freer, and Mansfield Collections. 
 
 19 
 
whistler’s etchings and dry-points 
 
 Second State: The plate has been extensively reworked in 
 dry-point. The face has been redrawn, its shading lightened 
 and the nose made retrousse. The shadows of the head and 
 book are no longer well defined. The table and the illuminated 
 part of the background have been made lighter, and the shaded 
 part has been made darker. The cup and saucer are now 
 white, and the pattern on the bowl is obscured. 
 
 31 THE MUSIC-ROOM. (W. 26.) In a wide room, about a round 
 table on which stands a lighted lamp, three people are seated: 
 At the right, a lady holding a book near her eyes; at the left, a 
 gentleman stretched out in an armchair, with a newspaper in 
 his hands; at the back, a gentleman reading a book which rests 
 on the table. The plate is unsigned. 
 
 Etching. Height, 5% inches; width, 8)4 inches. 
 
 The gentleman in the armchair is Francis Seymour Haden, sur- 
 geon and etcher — now Sir Seymour Haden; the lady is his wife; 
 the gentleman beyond the table is Mr. Traer, Haden’s assistant. 
 
 First State: The lady’s hands are in outline, and the fingers 
 of the right hand of the gentleman in the armchair undefined. 
 Avery, Freer, and Mansfield Collections. 
 
 Second State: The lady’s hands are shaded by diagonal lines, 
 and the fingers of the right hand of the gentleman in the arm- 
 chair are defined. There is much additional shading on the 
 lady’s dress and in the background. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “My friend Traer.” 
 
 32 SEYMOUR. (W. 23.) A boy dressed in Scotch fashion stands, 
 with his hands behind him, by the trunk of a large tree in a park, 
 near a pool in which the boy’s legs and the tree are reflected. In 
 the right lower corner: “Whistler.” 
 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 The boy is Seymour Haden, the younger. 
 
 20 
 
whistler’s etchings and dry-points 
 
 First State: The boy’s left foot is advanced beyond the other. 
 Mansfield Collection. 
 
 Second State: “Seymour” is added at the left, near the bot- 
 tom of the plate. 
 
 Third State: The boy’s legs have been redrawn and brought 
 close together. 
 
 33 GREENWICH PENSIONER. (W. 32.) An elderly man wear- 
 ing a tall hat and holding a cane in his left hand is reclining on a 
 grassy slope of Greenwich Park. Near the right lower corner: 
 “Whistler, Greenwich, 1859.” 
 
 Etching. Height, 3^ inches; width, 5X inches. 
 
 34 GREENWICH PARK. (W. 33.) Prominent near the center 
 of an open space in the Park are the trunks of two large trees, 
 branches from which extend toward the right. Parallel with 
 these at the left, are the trunks of two small trees. In the dis- 
 tance, at the left, a great tree partly conceals a row of buildings; 
 at the right, young trees bound the scene. Seen between the two 
 trees near the center, are a woman and two children, seated 
 upon the grass. At the right a young girl is standing. In the 
 left lower corner: “Whistler.” 
 
 Etching. Height, 4% inches; width, 7^ inches. 
 
 First State: The sky is clear, and the foliage lightly shaded. 
 Avery, Freer, and Mansfield Collections. On the impression 
 of this state in the Avery Collection Whistler wrote: “On the 
 Thames.” 
 
 Second State: There are clouds in the sky. Through exten- 
 sive additional work the foreground and the foliage are heavily 
 shaded. Two thin irrelevant lines cross the plate from left to 
 right. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Greenwich Park.” 
 
 21 
 
whistler’s etchings and dry-points 
 
 35 THE MEADOW. (W. 46.) A stretch of meadow extends to 
 a few low cottages and a large barn, reached by a road along 
 which runs a fence bounding another meadow. At the right is a 
 broad path, at the edge of which, in front, appear the head and 
 shoulders of a boy wearing a Scotch cap. Beyond, two posts 
 support a peculiar frame, astride of which a man is seated, and 
 near which another is standing. In the far distance two men are 
 walking. There are numerous trees in the background. At the 
 left, near the bottom of the plate: “Whistler, 1859.” 
 
 Etching and Dry-point. Height, 4 % inches; width, inches. 
 
 First State: A single horse is grazing in the meadow. There 
 are no clouds in the sky. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “ 1st State.” 
 
 Second State: A horse is added, grazing close by the other. 
 There are heavy rolling clouds. The meadow, buildings and trees 
 have become dark through much additional work in dry-point. 
 
 Catalogued by Wedmore as “The Landscape with the Horse.” 
 
 36 NURSEMAID AND CHILD. (W. 34.) At the right, in an 
 open field, a woman wearing a striped dress and a bonnet with 
 strings is seated near a child wearing a hat and a velvet cape. An 
 open parasol is propped up between them. A paling on an em- 
 bankment across the field extends toward the left, to a corner 
 at which are two large trees. Beyond, a man and a woman are 
 walking. Near the left lower corner: “Whistler.” 
 
 Etching. Height, 3% inches; width, 5% inches. 
 
 First State: The woman has a straight nose and her hair is 
 combed over her ears. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Near Holloway” and “ 1st State.” 
 
 Second State: The woman’s features are entirely changed. 
 Her nose is retrousse and her hair is combed back. 
 
 22 
 
whistler’s etchings and dry-points 
 
 37 THAMES WAREHOUSES. (W. 35.) In the midstream is a 
 large laden barge upon which a man is standing, and beyond it 
 appears the stern of a barge on which are two men. At the left 
 is a long row of warehouses, in front of which are numerous barges 
 and a few larger vessels. In the distance, beyond shipping, there 
 rises a great volume of smoke. On the nearest warehouse: “Fred 
 Vink & Co., Rope & Sail Makers”; on the next: “Smith & Son. 
 Hermitage Coal Wharf”; on a large dark warehouse beyond: 
 “ Hore’s Wharf.” In the right lower corner: “Whistler, 1859.” 
 Etching. Height, 3 inches; width, 8 inches. 
 
 First State: With outlines of a large barge at the right of the 
 second barge, and with long lines behind the distant shipping. 
 
 Second State: The outlines of the barge and the long lines 
 behind the shipping have been removed. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Thames Warehouses.” 
 
 In this state, one of “A Series of Sixteen Etchings of Scenes 
 on The Thames and other Subjects.” 
 
 Published as “Thames Warehouses.” 
 
 38 OLD WESTMINSTER BRIDGE. (W. 36.) In the middle dis- 
 tance, at the right of buildings partly hidden by trees, the Parlia- 
 ment Houses stand out dark against the sky, and old West- 
 minster Bridge stretches across the Thames. On the river bank 
 at the left are stranded barges, and in the river, by the nearest 
 barge, are two men with horses. Out in the stream are two side- 
 wheel steamboats and some barges under sail. On the Lambeth 
 side are buildings and barges, slightly indicated. There are clouds 
 in the sky. In the left lower corner: “Whistler, 1859.” 
 
 Etching. Height, 2% inches; width, j% inches. 
 
 First State: There are two heavy horizontal lines underneath 
 the body of the horse next to the stranded barge. 
 
 Freer Collection. 
 
 23 
 
whistler’s etchings and dry-points 
 
 Second State: Fine horizontal lines are added below the body 
 of the horse. 
 
 Avery, Bullard, and Mansfield Collections. On the impression 
 in the Avery Collection Whistler wrote: “Old Westminster 
 Bridge.” 
 
 Third State: Horizontal and diagonal lines are added in the 
 sky, along the upper edge of the plate, at the left of the Parlia- 
 ment Houses. Oblique lines, meeting at the head of the man 
 on the horse at the right, are added in the water. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Old Westminster Bridge.” 
 
 Exhibited at the Royal Academy in 1863, under the same title. 
 Catalogued by Wedmore as “Westminster Bridge.” 
 
 39 L 1 MEHOUSE. (W. 37.) A large barge, partly decked over, 
 is moored in front of a warehouse at the right, beyond which 
 extends a row of Thames-side buildings. Out in the river are 
 three posts supported by braces, beyond which are numerous 
 boats — one with sail partly unfurled. In the distance are sheds 
 and shipping. A man stands in the doorway of the warehouse; 
 another is at work on the barge; a woman descends steps of a 
 building beyond; three people are seen on the boats. On the 
 barge, at the right: “Whistler, 1859.” 
 
 Etching. Height, 5 inches; width, 7 % inches. 
 
 First State: In pure etching. A row of vertical lines extends 
 below heavy shading under the left half of the deck of the 
 barge. The reflection of the nearest brace is irregular and 
 is expressed by short horizontal lines. 
 
 Mansfield Collection. 
 
 Second State: Horizontal lines in dry-point have taken the 
 place of the heavy shading and the vertical lines below the left 
 half of the deck of the barge. The reflection of the nearest 
 brace is defined by diagonal lines in dry-point, and dry-point 
 
 24 
 
whistler’s etchings and dry-points 
 
 is added on the posts and their reflections. Horizontal lines 
 are added across the distant shipping at the extreme left. 
 Avery and Mansfield Collections. 
 
 Third State : Fine dry-point lines, expressing clouds, are added 
 in the upper part of the sky, and there are more horizontal lines 
 across the distant shipping. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Limehouse.” 
 
 Exhibited at the Royal Academy in 1 86 1 , under the title: “The 
 Thames near Limehouse.” 
 
 / 40 EAGLE WHARF. (W. 39.) On a Thames barge which crosses 
 the bottom of the plate, a boy wearing a cap sits facing front, his 
 hands upon his knees. Beyond, at the left, the embankment is 
 lined with warehouses, in front of which boats and spars rest on 
 the sloping shore of the river. In the middle distance, loaded 
 barges lie alongside a wharf and a large steamship lies out in the 
 stream. In the far distance there are warehouses and shipping. 
 On the nearest warehouse : “ Tyzac, Whiteley & Co.” ; on the next : 
 “W. Brown, Sail Maker, Ship Owner”; on the third: “Eagle 
 Wharf.” On the barge, near the center: “Whistler, 1859.” 
 Etching. Height, 5^8 inches; width, 8y% inches. 
 
 One of the “Sixteen Etchings.” 
 
 Published as “ Eagle Wharf.” 
 
 Catalogued by Wedmore as “Tyzac, Whiteley, & Co.” 
 
 41 BLACK-LION WHARF. (W. 40.) In front, in a barge on the 
 Thames, a man wearing a cap on the back of his head sits facing 
 to the right, resting his left arm on the side of the barge. On the 
 river are two figures in a boat at the right. Near the center, by a 
 landing-stage, is a barge loaded with barrels. Across the stream, 
 barges lie in front of a dilapidated wharf, and a barge with furled 
 sail lies alongside the bow of a large vessel. A rambling ware- 
 house at the right, back of which towers a huge dark building, 
 
 25 
 
WHISTLER S ETCHINGS AND DRY-POINTS 
 
 bears the sign:“Blac Lion Wharf.” Adjoining the warehouse 
 on the left is a narrow dwelling-house, next a broad house with a 
 balcony and with the sign : “ St. Andrews.” Picturesque buildings 
 extend from the broad house to a large warehouse with tiled roof, 
 behind which rises a tall chimney from which smoke issues. On a 
 wharf near the extreme left there is a dark warehouse with many 
 windows, in front of which there lies a vessel listing toward the 
 wharf. Upon the large warehouse are the signs: “Downes” and 
 “Old Shipping Clippers to let Every Day. Glasgow, Inverness, 
 Grangemouth, Peterham”; upon the dark warehouse: “Hore’s 
 Wharf”; also “Hoare’s Wharf.” Near the right lower corner: 
 “Whistler, 1859.” 
 
 Etching. Height, 6 inches; width, 8^6 inches. 
 
 First State: The furled sail of the barge is white. Save a 
 blank space, there is no indication of a doorway in the ware- 
 house at the right. Beyond two barges in front are faint out- 
 lines of a third barge. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “ 1st State.” 
 
 Second State: The sail is black. In the warehouse a large 
 doorway in heavy shadow is well defined. The outlines of the 
 third barge in front have been removed. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “ Black-Lion Wharf.” 
 
 Third State: A triangular blur near the left lower corner of 
 the plate has been removed. 
 
 Exhibited at the Royal Academy in i860, as “ Black Lion Wharf.” 
 
 THE POOL. (W. 41.) In front a man wearing a cap is sit- 
 ting in a rowboat near some Thames barges. At the right, along 
 a broad reach of the river, are numerous warehouses. Near the 
 left lower corner: “Whistler, 1859.” 
 
 Etching. Height, 5^6 inches; width, 8 inches. 
 
 26 
 
whistler’s etchings and dry-points 
 
 First State: At the left of the man in the boat is the outline 
 of the interior of a large barge, and beyond is a vessel with 
 yards. At the right are sketches of tall warehouses and sug- 
 gestions of warehouses beyond. 
 
 Freer Collection. 
 
 Second State: Everything has been removed, except the man 
 and boat and signature, and the composition has been redrawn, 
 a few traces of former work being visible in the sky. Back of 
 the rowboat is a mass of barges, one with the name: “Jane, No. 
 6,” another with a house-cabin, near which a girl is standing. 
 Beyond a tall building bearing the sign : “New Crane to Let,” is 
 a ship in dry dock, near a low building labelled: “St. George’s 
 Wf.” Next is a high structure with the sign: “Cooper.” A 
 row of warehouses stretches thence along the river to a church 
 steeple in the remote distance. Out in the stream are two peo- 
 ple in a rowboat, and across the reach are barges in a line, one 
 of which a man is poling. 
 
 Avery and Benedict Collections. On the impression in the 
 Avery Collection Whistler wrote: “The Pool” and “ ist State.” 
 
 Third State: Traces of the earlier work have almost wholly 
 disappeared from the sky. Numerous fine dry-point lines are 
 added near the left upper corner of the plate, and a few else- 
 where in the sky. 
 
 Mansfield Collection. 
 
 * Fourth State: A few conspicuous lines are added in the sky, 
 near the center of the plate, and numerous fine lines at the left. 
 In this state, one of the “ Sixteen Etchings.” 
 
 Published as “The Pool.” 
 
 Exhibited at the Royal Academy in 1863, under the same title. 
 
 43 WAPPING WHARF. (W. 42.) The riverside at Wapping at 
 low tide, under a clouded sky. On the beach are rowboats and 
 barges, about which men are at work. Back of these extends a 
 
 27 
 
whistler’s etchings and dry-points 
 
 row of picturesque buildings, some with high chimneys. The 
 nearest, a tall building with two bay windows, one above the 
 other, bears, near the top, the sign : “Thames Police.” The next 
 building bears the sign: “Wapping Wharf,” and what appears to 
 be a sign of the “Yorkshire Cattle Company.” In the distance, 
 at the left, are a full-rigged ship and other shipping. Near the 
 right lower corner: “Whistler, 1859.” 
 
 Etching. Height, 6 inches; width, inches. 
 
 First State: At the right of a dark slender chimney in the 
 center there is a clear space between the roofs and the lines 
 representing clouds. There is also considerable clear space 
 behind the shipping. 
 
 Avery Collection. 
 
 Second State: Numerous curved lines fill the space just above 
 the roofs, and a few horizontal lines are added behind the dis- 
 tant shipping. 
 
 Howe and Mansfield Collections. 
 
 Third State: Strong curved lines in dry-point, nearly parallel, 
 are added above a roof with dormer-windows, and many dry- 
 point lines are added throughout the sky. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Wapping Wharf.” 
 
 Fourth State: The strong curved lines in dry-point above 
 the roof with dormer-windows have disappeared. Numerous 
 horizontal lines are added in the sky, above the shipping. 
 
 Catalogued by Wedmore as “Thames Police.” 
 
 LONGSHOREMEN. (W. 43.) Four men and a woman and a 
 child are seated about a table within what appears to be a room 
 in a cheap tavern. All of the men are wearing caps and three of 
 them are smoking pipes. The nearest is sitting in a chair in the 
 foreground at the left. Another, seated on a bench in front of 
 the table, leans forward, his right hand raised toward his face, 
 
 28 
 
whistler’s etchings and dry-points 
 
 his left arm resting on the table, near a beer-mug. A third is 
 seated at the left end of the table, near a fireplace. The fourth 
 sits behind the table. The woman and child are sitting together 
 at the right. Near the right lower corner: “Whistler, 1859.” 
 Etching. Height, 5^ inches; width, inches. 
 
 On the impression in the Avery Collection Whistler wrote: “ Long- 
 shore men.” 
 
 45 THE LIME-BURNER. (W. 44.) Seen through a heavily tim- 
 bered square archway, a lime-burner stands leaning on a barrel, 
 in front of ladders placed against a white wall. At the right are 
 other ladders, more barrels and a large sieve. A passageway, 
 near the far end of which a man is seated, leads under varied roofs 
 to an opening on the Thames. Beyond is a glimpse of the broad 
 river, with shipping and warehouses in the distance. Near the 
 right lower corner: “Whistler, 1859”; in the left lower corner, 
 faintly written: “Whistler.” 
 
 Etching. Height, inches; width, 7 inches. 
 
 First State: There are only horizontal lines on the wall at the 
 right, between the lime-burner and the longer ladders. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “The Lime-Burner ” and “A mon ami Traer de Whistler.” 
 
 Second State: Fine vertical lines are added on the wall at the 
 right of the lime-burner. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “The Lime-Burner.” 
 
 An impression was exhibited at the Royal Academy in i860, 
 under the title: “W. Jones, Lime-Burner, Thames Street.” 
 
 46 BILLINGSGATE. (W. 45.) On a barge in front, at the left, 
 two men are standing and three are seated. Beyond, fishing- 
 smacks with swaying masts, some with sails partly raised, are 
 lying side by side, moored to a great post out in the Thames. On 
 
 29 
 
whistler’s etchings and dry-points 
 
 the stone embankment at the left, reached by a landing-bridge 
 protected by tall guard-piles, rise the clock-tower and adjoining 
 buildings of Billingsgate Market. Farther away is London Bridge, 
 and above buildings at the right is a square church tower. People 
 crowd the boats, pass up and down the landing-bridge, at the foot 
 of which stands a tall slender man, and throng the embankment. 
 Near the bottom of the plate, at the right: “ Whistler, 1859.” 
 Etching. Height, 6 inches; width, 8^6 inches. 
 
 First State: The faces of the men standing on the barge are 
 in clear profile. Their arms are not defined. The figure of the 
 tall slender man is nearly white. The partly-raised sails are 
 shaded by close parallel lines. The hoops on the two masts 
 behind the barge are distinctly drawn. Clouds are expressed 
 by thin firm lines. 
 
 Babbott Collection. 
 
 Second State : The figure of the tall slender man is now shaded. 
 There is much additional shading on the hulls of the boats and 
 on their sails, and on the guard-piles and the mooring-post. 
 The bridge and the buildings at the right are somewhat fainter. 
 Lines are added in the sky, including a heavy line at the left. 
 Mansfield Collection. 
 
 Third State: The heavy line in the sky at the left is softened. 
 Numerous fine lines are added in the sky and on the bridge, 
 and on the buildings at the right. 
 
 Avery and Benedict Collections. 
 
 Fourth State: The figure of the tall man on the landing-stage 
 has been redrawn, and is again nearly white. The features and 
 figures of all but one of the men on the barge have been partly 
 burnished out and to some extent redrawn, but are indistinct. 
 There is additional shading on the sails and on the masts, ob- 
 scuring the hoops. A part of the tallest topmast at the left 
 and some of its rigging have been removed. Many lines are 
 added in the sky. 
 
 3 ° 
 
whistler’s etchings and dry-points 
 
 Mansfield Collection. On the impression of this state in this 
 collection Whistler wrote: “Billingsgate.” 
 
 Fifth State: The face and figure of the man standing at the 
 right, and the faces of two of the seated men, are more defined. 
 The tall topmast at the left and its rigging have been redrawn, 
 and two lines, instead of a single line, now extend from the 
 peak to the end of each yard. The next topmast at the right 
 has been lengthened. Fine diagonal lines are added in the 
 sky, between the masts. 
 
 Avery Collection. 
 
 Sixth State: Shading is added on the tall slender man and 
 on the coat of the man seated at the right on the barge. 
 
 Seventh State: The fine diagonal lines in the sky have for the 
 most part disappeared. 
 
 This etching, in the latest state, was published in “The Port- 
 folio” — a London art-magazine — in January, 1878, after about 
 a hundred impressions had been taken on Japanese paper. 
 
 47 A THAMES SKETCH. (W. 38.) In front are two men and a 
 boy, all wearing caps. At the right is a large barge; beyond are 
 rowboats and other barges and several figures. On the bank at 
 the right are a few picturesque buildings incompletely drawn, one 
 bearing the sign of “W. Stevens. Boat & Barge Buil[der].” 
 Farther away are outline suggestions of more buildings. Out in 
 the stream is a loaded boat which a man is rowing and in which 
 another figure is seated. In the distance are indications of ship- 
 ping. There are many lines in the sky. The plate is unsigned. 
 Etching. Height, 6 inches; width, 8>6 inches. 
 
 Catalogued by Wedmore as “A Wharf.” 
 
 48 SKETCH OF SHIPPING. (W. 127.) At the left is a ship with 
 long dark hull and very tall masts, beyond which the masts of 
 other vessels appear. Astern of the ship, partly hidden, is a small 
 
 3 ' 
 
whistler’s etchings and dry-points 
 
 vessel in outline. Alongside the ship is a cluster of barges, and 
 in front there are the outlines of a large barge. At the extreme 
 right is a large vessel, faintly indicated. The plate is unsigned. 
 Etching. Height, 6 inches; width, 8 y A inches. 
 
 Catalogued by Wedmore as “A Sketch of Ships.” 
 
 49 SOUPE A TROIS SOUS. (W. 27.) A room of a cheap Parisian 
 restaurant, in which five men are seated, apparently late at night. 
 Behind a table at the left, on which are a glass and fork and tray 
 with plates, sits a man with bushy hair, moustache and imperial. 
 Beyond, a man wearing a cap and heavy cape bends over a table 
 on which are a bottle and carafe. In the center lounges a man 
 with hat drawn over his eyes and head bent forward as if in sleep. 
 At the right a dark man wearing a hat is apparently taking a meal 
 at a table across which sits a man resting his head on his hands. 
 Gas is burning from a fixture in the ceiling. High on the wall, 
 at the right: “Whistler.” 
 
 Etching. Height, 6 inches; width, 8 % inches. 
 
 50 B 1 BI VALENTIN. (W. 28.) A child wearing a long loose 
 garment and gaiters sits facing front, leaning upon the left arm, 
 with feet extended toward the left. Near the left lower corner: 
 “Whistler, 1859.” 
 
 Etching. Height, 6 inches; width, 8j4 inches. 
 
 On the mount of an impression in the Freer Collection, formerly in 
 the Haden Collection, Haden wrote: “Valentin pere is an engraver 
 in whose house Whistler did his first etching.” 
 
 First State : The left hand remains unfinished. There are large 
 white spaces on the child’s dress. A thin line crosses the plate in 
 the background and there are short horizontal lines at the left. 
 Mansfield Collection. In this collection is also a counter-proof 
 of this state, retouched with pencil — the only counter-proof of a 
 Whistler etching known to the compiler. 
 
 32 
 
whistler’s etchings and dry-points 
 
 Second State: The hand is finished in dry-point, and numer- 
 ous dry-point lines are added on the child’s dress. Lines are 
 added below the long thin line in the background. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Bibi Valentin.” 
 
 51 B 1 B 1 LALOUETTE. (W. 30.) A curly-headed boy wearing 
 a blouse, and facing to the left, sits on a slope upon which lies a 
 military cap. Toward the right lower corner: “Whistler, 1859.” 
 Etching. Height, 9 inches; width, 6 inches. 
 
 Mr. Wedmore says: “He was the son of Lalouette, who kept a 
 pension near the Rue Dauphine, at which Whistler, Legros, Fan- 
 tin and others used to take their meals in those early days.” 
 
 First State: In reverse, at the left, near the bottom of the 
 plate, is the front face of the same boy, well defined, and at the 
 right, below the signature and date, a woman’s face is faintly 
 indicated. 
 
 Freer Collection. 
 
 Second State: The two heads on the lower part of the plate v 
 have been removed, faint traces remaining. Horizontal lines 
 are added at the left and right of the figure. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Bibi Lalouette — Paris.” 
 
 52 BECQUET. (W. 48.) A young man with bushy hair, mous- 
 tache and imperial, and wearing a smoking cap, sits facing front, 
 bending forward, holding between his legs a violoncello slightly 
 indicated. At the bottom of the plate and near the top are mus- 
 kets and other traces of an earlier etching. There is shading in 
 the background. The plate is unsigned. 
 
 Etching and Dry-point. Height, 9% inches; width, 7% inches. 
 Becquet was a sculptor, in Paris, of musical tastes and accomplish- 
 ments. He was born in 1829 and died in 1907. 
 
 33 
 
WHISTLER S ETCHINGS AND DRY-POINTS 
 
 First State: The head and figure are in etching. The shoul- 
 ders are narrow. There are numerous diagonal lines each side 
 of the figure. 
 
 Avery, Freer, and Scholle Collections. 
 
 The impressions of this state have been printed with a frisket 
 and show little more than a half-length figure. 
 
 Second State: The shoulders are broadened by fine dry-point 
 lines. Vertical lines are added each side of the figure, and hori- 
 zontal lines are added at the right. There is cross-hatching 
 toward the bottom of the plate. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “The Fiddler.” 
 
 Third State: Heavy vertical lines in dry-point are added in 
 the background, each side of the figure, and short diagonal lines 
 are added below the right arm. 
 
 53 ASTRUC. (W. 49.) A quarter-length portrait of a man with 
 shaggy hair and full beard, facing nearly front, but slightly to the 
 right, his right hand raised toward his face. There is shading in 
 the background. Toward the left lower corner: “Whistler, 1859.” 
 Dry-point. Height, 8^ inches; width, 6 inches. 
 
 First State: At the right, near the bottom of the plate, are a 
 few small figures in outline; at the left: “Lamont” and “Lam- 
 mont,” also “Lamont” in reverse. There are numerous lines 
 in the background at the right, and a few at the left. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Astruc, Litterateur” and “Figures not mine.” 
 
 Second State: Numerous lines are added in the background 
 at the left, and a few in the background at the right. 
 
 Mansfield Collection. 
 
 Third State : There is somewhat more work on the face. Two 
 strong vertical lines are added at the right of the hand. Hori- 
 zontal lines are added at the left, above the signature. The 
 
 34 
 
whistler’s etchings and dry-points 
 
 small figures and the three irrelevant words have been removed. 
 Freer Collection. 
 
 Exhibited at the Royal Academy in i860, under the title: “Mon- 
 sieur Astruc, Redacteur du Journal L’Artiste.” 
 
 54 WHISTLER. (W. 52.) A half-length portrait of the artist, 
 with thick curly hair and full moustache, and wearing a low- 
 crowned hat with broad brim. He is bending forward, facing 
 front and looking out at the object which he is sketching. There 
 is shading in the background. At the right, below the left arm: 
 “Whistler, 1859.” 
 
 Dry-point. Height, 9 inches; width, 5 % inches. 
 
 First State: The crown and brim of the hat are for the most 
 part slightly shaded. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Paris — Whistler by himself” and “Ipse.” 
 
 Second State: The crown and brim of the hat are heavily 
 shaded by horizontal lines. 
 
 55 DROUET. (W. 53.) A three-quarter length portrait of a. man 
 with strong features, piercing eyes, full beard and dishevelled 
 hair, standing with arms folded, facing toward the right. There 
 is shading in the background. Below, near the center: “Drouet, 
 Sculpteur,” and higher up, at the right: “Whistler, 1859,” and 
 in the right upper corner: “Whistler, Maitre Eauforte.” 
 Dry-point. Height, 8 31 $ inches; width, 6 inches. 
 
 Charles Drouet was a sculptor in Paris, and a collector of works 
 of art. He was born in 1836 and died in 1908. By specific be- 
 quests his collections were distributed among various museums 
 in the French capital, the Louvre becoming the recipient of a 
 number of paintings, the Luxembourg receiving a painting by 
 Whistler, and the Print Department of the Bibliotheque Nationale 
 receiving Drouet’s impression of the portrait just described. 
 
 35 
 
whistler’s etchings and dry-points 
 
 First State: There is much shading on the forehead and face, 
 but very little on the figure. The form of the body below the 
 arm is scarcely indicated. Horizontal lines express the shad- 
 ing in the background. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Drouet,” and Drouet wrote: “Ch. Drouet, 3 juillet 
 1873,” to which is appended the memorandum by Mr. Avery: 
 “ Signed for S. P. A.” 
 
 Second State: Many lines have been removed from the fore- 
 head and face. The shape of the right arm is emphasized by 
 numerous heavy strokes. The form of the body below the 
 arm is indicated by vertical lines. In the background at the 
 left vertical lines are added. 
 
 FUMETTE, STANDING. (W. 50.) A tall young woman with 
 her hair falling loosely upon her shoulders stands turning to the 
 right, but looking toward the front. Her right arm, in a puffed 
 sleeve, is by her side, the hand unseen, as if in a pocket. 
 Dry-point. Height, 13T6 inches; width, 8$4 inches. 
 
 F:;oT State: The plate is unsigned. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Fumette.” 
 
 Second State: Near the right lower corner: “Whistler, 1859.” 
 Benedict and Freer Collections. 
 
 FUMETTE’S BENT HEAD. (W. 51.) On the upper part of 
 the plate appear the head and shoulders of a young woman with 
 long flowing hair, bending forward and facing nearly front, her 
 right hand raised toward her face. In the lower part of the 
 plate, at the right, are traces of a portrait of Whistler wearing a 
 broad-brimmed hat. In the left upper corner are traces of other 
 work. There are horizontal lines in the background at the right. 
 Dry-point. Height, 8 J/& inches; width, 5% inches. 
 
 3 6 
 
whistler’s etchings and dry-points 
 First State: The plate is unsigned. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Fumette.” 
 
 Second State: Near the left lower corner: “Whistler, 1859.” 
 
 58 F 1 NETTE. (W. 54.) A tall woman wearing a low round hat 
 and velvet dress with flowing sleeves stands, with head turned 
 slightly to the right, by an open window through which a glimpse 
 is had of Paris roofs, a dome and two spires. 
 
 Dry-point. Height, inches; width, 7^ inches. 
 
 Mr. Wedmore says: “Finette was a dancer. She was generally 
 the companion of Alice la Provenqale, or of Rigolboche, in a 
 famous quadrille then in vogue.” 
 
 First State: Only the head and the hat are well defined. The 
 figure is suggested by a very few lines. Except the near roofs, 
 what is seen of Paris is expressed in the most delicate outline. 
 There are a few faint lines in the sky. 
 
 Freer Collection. 
 
 Second State: The dress is indicated by strong lines expres- 
 sive of folds. In the background, which is shaded by a few 
 vertical lines, there is a frame on the wall, and a desk is sug- 
 gested at the right. The space is blank between the nearest 
 roofs and the window-sill, below which vertical lines appear. 
 Near the right lower corner, an inch and a quarter from the 
 bottom of the plate: “Whistler, 1859.” 
 
 Avery Collection. On the impression of this state in this col- 
 lection Whistler wrote: “Finette” and “ 1st State.” 
 
 Third State: The dress is quite fully expressed in rich dry- 
 point. Numerous vertical lines are added in the background, 
 and within the frame on the wall, and across the lower border 
 of the frame. Below the window-sill vertical and horizontal 
 lines are added, indicating panelling. 
 
 Parker and Vanderbilt Collections. 
 
 37 
 
whistler’s etchings and dry-points 
 
 Fourth State: The dress is further elaborated. In place of the 
 desk is a table, on which are an open box, a black domino and 
 scattered papers. Lines are added in the background and with- 
 in the frame. A window-guard with open scrollwork fills the 
 space next above the window-sill. There are suggestions of a 
 pattern on the carpet. The distant buildings seen through the 
 window are now shaded and there are clouds in the sky. The 
 earlier signature has become obscured, and nearer the right 
 lower corner is added: “Whistler, 1859.” 
 
 Avery Collection. 
 
 Fifth State: The pattern on the carpet is more fully expressed. 
 Numerous short lines are added within the picture-frame, and 
 numerous long vertical lines are added in the panelling below 
 the window-sill. 
 
 Buckingham Collection. 
 
 Sixth State: There is more modeling of the face, and the dress 
 is more heavily black throughout. Fine vertical and diagonal 
 lines are added within the picture-frame. In the background 
 numerous vertical lines are added at the right of the figure, and 
 horizontal and diagonal lines below the table. 
 
 Freer, Lathrop, and Mansfield Collections. 
 
 Seventh State: Horizontal lines are added on the window-sill, 
 where it borders the panelling, and on the upper panel. Diagonal 
 lines are added in the background below the frame, and fine 
 vertical lines elsewhere in the background and within the frame. 
 
 Eighth State: Fine vertical and diagonal lines are added more 
 extensively within the frame and upon the table and open box, 
 and throughout the background, and fine horizontal lines are 
 added on the panelling. 
 
 Avery Collection. 
 
 Ninth State: Many short diagonal lines, running from left to 
 right, are added on the front of the skirt, and numerous long 
 horizontal lines are added across the carpet. 
 
 38 
 
whistler’s etchings and dry-points 
 
 59 A VENUS. (W. 56) A nude woman is lying on her right side 
 in bed, apparently asleep, her left arm bent across her body and 
 her limbs partly concealed by the bedclothes. There are traces 
 of another figure, in reverse, in the lower part of the plate, at the 
 right. Near the left lower corner: “Whistler, 1859.” 
 
 Etching. Height, 6 inches; width, 9 inches. 
 
 First State: Near the right upper corner are horizontal lines 
 in dry-point and horizontal lines made by the roulette. 
 
 Second State: Vertical and diagonal lines are added over the 
 earlier work near the right upper corner. 
 
 60 ISLE DE LA CITE, PARIS. (W. 55.) A light iron foot-bridge 
 — the Pont des Arts— two arches of which, resting on stone piers, 
 are elaborately pictured, crosses the Seine from a quay in the fore- 
 ground at the right. In the distance the arches of a stone bridge — 
 the Pont Neuf — connect each side of the river with the Island, 
 the lower level of which extends like a prow into the middle of the 
 stream. Beyond, partly screened by a few trees scarcely more 
 than suggested, rise the tall buildings of the Island, crowned by 
 the remote towers and the spire of Notre Dame. Along the left 
 bank of the river are buildings slightly indicated. Many people 
 are on the iron bridge, and people and vehicles are passing on 
 the quay and across the Pont Neuf. Near the left lower corner: 
 “Whistler, Dec. 1859” and “Paris de la Galerie d’Ap.” 
 
 Etching. Height, 7% inches; width, 11 yi inches. 
 
 On the impression in the Mansfield Collection Whistler wrote: 
 “ From a window in Louvre.” 
 
 61 ARTHUR HADEN. (W. 47.) A young boy is seated in a chair 
 before a curtain. His body is turned to the right and his face 
 toward the front; his left hand is grasping the frame of the chair, 
 and his right hand is holding his left foot, which is crossed upon 
 his right knee. 
 
 39 
 
whistler’s etchings and dry-points 
 
 Dry-point. Height, 8 7 /& inches; width, 6 inches. 
 
 A portrait of a son of Francis Seymour Haden. 
 
 First State: Only the head, the right hand, upper part of the 
 boy’s body and upper part of the chair are finished. The lower 
 parts are suggested by a few outlines. A few vertical lines 
 indicate the curtain in the background. Near the bottom of 
 the plate are slight indications of a head in reverse. 
 
 Benedict and Freer Collections. 
 
 Second State: The figure and chair are completed and the 
 curtain is fully expressed. The boy’s jacket is of rich velvet, 
 his trousers are striped, he has silk stockings and wears pumps. 
 A round hat lies on the floor, at the right. Below the chair, at 
 the left: “Whistler, i860.” 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Arthur Haden.” 
 
 Catalogued by Wedmore as “Arthur Seymour.” 
 
 62 ANNIE HADEN. (W. 57.) A young girl with long hair falling 
 about her shoulders, and wearing a round hat, a long cape, and a 
 short and full skirt, stands in front of a curtain, turning slightly 
 to the right, but looking toward the front. Near the left lower cor- 
 ner: “Whistler, i860,” with the “ 6 ” in reverse. 
 
 Dry-point. Height, 13H inches; width, 8 yi inches. 
 
 First State: Only the head and hat are fully expressed. The 
 cape and the skirt are merely indicated. The upper part of the 
 curtain is elaborated at the left of the girl’s figure. A few lines 
 suggest the continuation of the work. Toward the bottom of 
 the plate, faintly expressed, is a girl’s head in reverse. 
 
 Freer Collection. 
 
 Second State: There is additional work on the figure. The 
 right leg is slightly indicated. The curtain is expressed each 
 side of the figure. 
 
 Avery Collection. On the impression in this collection Whist- 
 
 40 
 
whistler’s etchings and dry-points 
 
 ler wrote, within the plate-mark: “One of my very best” and, 
 below the plate-mark: “Early State.” 
 
 Third State: The curtain and the figure of the girl are com- 
 pleted. The girl wears slippers with rosettes and stands on a 
 carpet which shows a large pattern. Nearly all traces of the 
 head in reverse have vanished. 
 
 Mansfield and Wrenn Collections. 
 
 6 3 MR. MANN. (W. 58.) A half-length portrait of a man of mid- 
 dle age, with round face and side whiskers. He wears a wide-awake 
 hat and a large cape. He is seated in a chair, merely suggested, in 
 front of a low-panelled partition ornamented with a small balus- 
 trade. He faces slightly to the right, while looking toward the 
 front. In the left lower corner: “Whistler, i860.” 
 
 Dry-point. Height, 8% inches; width, 5% inches. 
 
 First State: The forehead and face are shaded by numerous 
 strong lines. There is a clear angular space, at the left of the 
 chair-frame, below the roll of the cape over the right wrist. 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Mr. Mann.” 
 
 Second State: The strong lines have been for the most part 
 removed from the forehead and face, and the features in large 
 measure redrawn. The angular space is filled with cross-hatch- 
 ing. Numerous fine vertical lines are added at the right, on the 
 panelling above the balustrade, and a few vertical lines at the 
 right of the partition. 
 
 Freer Collection. 
 
 64 AXENFELD. (W. 61.) A half-length portrait of a man with 
 moustache and imperial and with long hair brushed back from 
 his forehead. He sits facing slightly to the left, but is looking out 
 toward the front. 
 
 Dry-point. Height, 8 % inches; width, 5% inches. 
 
 41 
 
whistler’s etchings and dry-points 
 
 First State: The face and the figure are delicately expressed. 
 There is no sign of a hand, no shading in the background and 
 no signature. 
 
 Avery and Freer Collections. On the impression of this state 
 in the Avery Collection Whistler wrote: “Axenfeld” and “ist 
 State.” 
 
 Second State: The face is well defined and there is shading 
 in the background, each side of the head. Near the left lower 
 corner: “Whistler, i860,” with the “6” in reverse. 
 
 Avery and Freer Collections. 
 
 Third State: The head and figure are completed. The right 
 hand is added, holding a cigarette from which smoke is curling. 
 The background, each side of the head and shoulders, is strongly 
 shaded. 
 
 Avery, Freer, and Mansfield Collections. 
 
 Exhibited at the Royal Academy in 1861, under the title: “Mons. 
 Oxenfeld, Litterateur, Paris.” 
 
 65 R 1 AULT. (W. 62.) A three-quarter length portrait of an el- 
 derly man, bearded and somewhat bald. He sits at the left of a 
 workman’s table, upon which, on a pad, rests a wood block which 
 he holds in place with his left hand while he engraves upon it 
 with his right. Upon the table are four burins. In the back- 
 ground at the right is a framed picture. There is shading at the 
 left of the engraver’s right shoulder and between his figure and 
 the table. Near the right lower corner: “Whistler, i860.” 
 Dry-point. Height, 8 J4 inches; width, 5^ inches. 
 
 Riault was a wood-engraver in Paris. 
 
 First State: The coat, below the right arm, has the appearance 
 of being rolled back. The upper drawer of the table is almost 
 free from lines and there are only horizontal lines on the mold- 
 ing under the top of the table. There are only vertical lines 
 in the background at the left. 
 
 42 
 
whistler’s etchings and dry-points 
 
 Freer and Mansfield Collections. 
 
 On the impression in the Mansfield Collection someone has 
 written: “Carpentier dit Riault.” 
 
 Second State: There is much additional shading below the 
 right arm, obscuring the roll of the coat, and additional shading 
 on the coat and between the figure and the table. Vertical 
 lines are added on the molding of the table, and vertical and 
 horizontal lines on the upper drawer. 
 
 Avery and British Museum Collections. On the impression in 
 the Avery Collection Whistler wrote: “Riault.” 
 
 Third State: There is still more shading on the coat and be- 
 tween the figure and the table, and more cross-hatching on 
 the side of the table, and more work in the background at the 
 left of the right shoulder. A few open horizontal lines are 
 added above the close earlier lines at the right. 
 
 Catalogued by Wedmore as “The Engraver.” 
 
 66 ROTHERHITHE. (W. 60.) Two men of middle age, wearing 
 caps and smoking long pipes, are seated in the corner of a balcony 
 overlooking the Thames. Two boats with single masts, one with 
 furled sail and the other with sail partly furled, are beached on the 
 near shore, in front of large warehouses. Along the river stretches 
 a row of warehouses, beyond which is seen the dome of St. Paul’s. 
 On the river, at the left is a large brig and in the distance is other 
 shipping. On the balcony-railing, at the left: “Whistler, i860.” 
 Etching. Height, 10% inches; width, 7% inches. 
 
 Mr. Pennell says that it is the balcony of The Angel, an inn still 
 in Cherry Gardens, Rotherhithe, and that from the same balcony 
 Whistler painted “Wapping” and “The Thames in Ice.” 
 
 First State: The hull of the boat with partly-furled sail is 
 not expressed. The coat of the man at the right is indicated 
 by very few lines and his hand is only slightly defined. 
 Benedict, Bullard, and Scholle Collections. 
 
 43 
 
whistler’s etchings and dry-points 
 
 Second State: The bow and bowsprit of the boat with partly- 
 furled sail are expressed in dry-point. The deck is left nearly 
 white. The hand of the man at the right is more defined and 
 there is more work on the coats of both men. Numerous short 
 dry-point lines are added in the sky. 
 
 Avery Collection. 
 
 Third State: Lines are added in dry-point on the deck of the 
 boat, and strong diagonal lines, running from right to left, are 
 added in the sky. The shading throughout the plate is now 
 materially strengthened. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Wapping.” 
 
 Exhibited at the Royal Academy in 1862, as “ Rotherhithe.” 
 Wapping is on the left bank of the Thames, opposite Rotherhithe. 
 
 67 THE PENNY BOAT. (W. 59.) A sketch at Limehouse on the 
 Thames. In the foreground appear the heads and shoulders of 
 people supposed to be standing on a river steamboat. Out in the 
 stream are barges and a side-wheel steamboat, and beyond there 
 is shipping. On the opposite bank is a row of buildings, a few 
 at the left well defined, the rest in outline. The plate is unsigned. 
 Etching. Height, 3% inches; width, 8 yi inches. 
 
 First State: There are no lines behind the shipping at the right. 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Thames — Limehouse.” 
 
 Second State: Dry-point lines are added in the sky, behind the 
 shipping at the right and above some of the buildings. 
 
 Mansfield Collection. 
 
 68 THE FORGE. (W. 63.) At the left, before the forge, stands a 
 blacksmith wearing cap and apron, his left hand on his hip, his 
 right hand thrust forward holding with tongs an iron in the fire. 
 
 44 
 
whistler’s etchings and dry-points 
 
 Back of him stand two youthful helpers wearing hats, one leaning 
 upon a hammer which rests on an anvil. In the background at 
 the left appears the face of a woman; at the right, near a bench, 
 are a man, woman and child. The walls and the timbered ceil- 
 ing are expressed by elaborate shading. In the right lower corner: 
 “Whistler, 1861 .” 
 
 Dry-point. Height, 7 inches; width, 12-Mi inches. 
 
 Done at Perros-Guirec in Brittany. 
 
 First State: In front of the smith’s face is a space nearly 
 blank and at the right of his head is a smaller blank space. 
 There are broad white spaces in the background in the right half 
 of the plate, near the center and at the extreme right. There 
 are but few lines near the bottom of the plate, at the left. Five 
 horizontal lines cross the anvil. 
 
 Mansfield Collection. The impression in this collection is per- 
 haps unique. 
 
 Second State: The space in front of the smith’s face is filled 
 with horizontal lines, and lines are added extensively in the 
 broad spaces previously left blank in the background. Strong 
 diagonal lines cross the right upper corner of the plate. Nu- 
 merous lines are added near the bottom of the plate, at the left. 
 There is additional work on the figures of the helpers. 
 Buckingham Collection. 
 
 Third State: Vertical lines are added at the left, on the flue 
 of the forge. Fine vertical lines are added on the anvil, and 
 strong diagonal lines below the anvil. A cluster of short diag- 
 onal lines hides the right foot of the nearest helper. Fine lines 
 are added throughout the background. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “The Forge.” 
 
 Fourth State: The small space that was left blank at the right 
 of the smith’s head is filled in with fine lines. 
 
 Exhibited at the Royal Academy in 1863, as “The Forge.” 
 
 45 
 
whistler’s etchings and dry-points 
 
 69 THE MISER. (W. 65.) In a wretched room with broad beams 
 in the ceiling and wide boards on the floor, a man is seated on a 
 chair by a window. He bends forward toward the window and 
 casts a shadow upon the floor. At the left side of the room, back 
 of a long bench, is a rude table on which stands a pitcher. A gar- 
 ment hangs above the figure, at the right of the window embra- 
 sure, and high on the left wall hang an unframed picture and a hat. 
 Dry-point. Height, 4 $4 inches; width, 6 X inches. 
 
 On a drawing in the Freer Collection, formerly in the Haden Col- 
 lection, Whistler wrote: “Chambre a la ferme de Maladrie.” 
 
 First State: The space between the figure and the heavily 
 shaded part of the wall at the right is almost clear. There are 
 no lines on the wall near the picture. There is no signature. 
 Freer Collection. 
 
 Second State: Two short oblique lines are added on the pic- 
 ture, two on the wall just below the picture, and two at the right. 
 There is no signature. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “The Miser.” 
 
 Third State: Long vertical lines are added in the space at the 
 right of the figure. There is no signature. 
 
 Fourth State: Short diagonal lines are added across the ver- 
 tical lines at the right of the figure. The shadow of the figure 
 has been made densely black. There is no signature. 
 
 Mansfield Collection. 
 
 Fifth State: Heavy lines are added on the wall at the right, 
 and numerous fine lines on the ceiling and floor, and on the wall 
 at the left. In the left lower corner: “Whistler.” 
 
 70 VAUXHALL BRIDGE. (W. 66.) In front are three Thames 
 barges, one with sails furled. On the nearest barge a man is 
 standing, braced against a framework of timber to which a rope 
 drawn taut from an outer barge is fastened. Beyond, under a 
 
 46 
 
whistler’s etchings and dry-points 
 
 cloudy sky, is Vauxhall Bridge, over which vehicles are passing, 
 and through the nearest arches of which buildings across the river 
 are visible. Near the right lower corner: “Whistler.” 
 
 Etching. Height, 2 % inches; width, 4 % inches. 
 
 First State: The signature is without date. 
 
 Freer and Mansfield Collections. 
 
 Second State: With “1861” added below and at the left of 
 the signature. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Vauxhall Bridge.” 
 
 71 M 1 LLBANK. (W. 67.) The Thames at Millbank at low tide. 
 On the exposed shore at the right, in front of a timbered embank- 
 ment, is a long row of guard-piles, and near the water’s edge lies 
 an unwieldy barge with “ [D]elight 1861 ” on the stern. Thereisa 
 man on the barge, near which two youths are standing on the 
 shore. Across the river are seen the towers of Lambeth Palace 
 and a row of warehouses. Out in the stream is a small steamboat, 
 and farther away is a barge under sail. 
 
 Etching. Height, 4 inches; width, 4M inches. 
 
 First State: Etched in the foreground: “The Works of James 
 Whistler, Etchings and Dry-points, are on view at E. Thomas’, 
 Publisher, 39, Old Bond Street.” 
 
 Avery and Mansfield Collections. On the impression of this 
 state in the Avery Collection Whistler wrote: “A mon ami 
 Ernest Delannoy, Whistler, 1861.” 
 
 Delannoy was an artist with whom Whistler made his journey in 
 Alsace-Lorraine and into Germany in 1858. 
 
 Second State: A few horizontal lines in dry-point are added 
 in the shadow of the youth at the right. “Not” has been in- 
 serted after “are.” 
 
 Third State: “Not” has been removed, and “London” is now 
 added at the end of the inscription. 
 
 47 
 
whistler’s etchings and dry-points 
 
 Fourth State: The inscription has been wholly removed. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Millbank.” 
 
 72 LITTLE WAPP 1 NG. (W. 71.) At the right, near a wharf on 
 the Thames, are a number of barges; out in the stream are two 
 rowboats and a small barge; beyond there is a cluster of vessels; 
 in the distance is a line of warehouses, under a cloudy sky. There 
 are men in the rowboats and two men on the nearest barge, and 
 there is a man on the small barge. At the right of the nearest 
 barge: “Whistler, 1861.” 
 
 Etching. Height, 4^ inches; width, 4 inches. 
 
 First State: The bow of the third barge is only slightly indi- 
 cated. There are no reflections of this barge or of the rowboat 
 near it. 
 
 British Museum Collection. 
 
 Second State: The bow of the third barge is fully defined and 
 rigging is added on its masts. Reflections of the second and 
 third barges and of the rowboats are expressed, and there are 
 additional lines in the sky — all in dry-point. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Little Wapping.” 
 
 73 THE LITTLE POOL. (W. 72.) A scene on the Thames below 
 London Bridge. Many barges lie along the river bank, in front of 
 a bulkhead at the left, on which are two men, one standing, the 
 other seated and sketching. Beyond stretches a long row of build- 
 ings. Out in the stream ships are clustered. On the bulkhead: 
 “Whistler, 1861.” 
 
 Etching. Height, 4 inches; width, 4 inches. 
 
 First State: In pure etching. In the stream there are two 
 rowboats with rowers. The sky is clear. Below the bulkhead 
 and barges: “The Works of James Whistler: Etchings and Dry 
 
 48 
 
whistler’s etchings and dry-points 
 
 Points, are on view at E. Thomas’ Publisher. 39, Old Bond 
 Street.” 
 
 Mansfield Collection. 
 
 Second State: There is an appearance of aquatint upon the 
 second barge, upon the bulkhead, upon the figures and about the 
 inscription. 
 
 Mansfield Collection. 
 
 Third State: Beyond the second barge is added a barge with 
 raised sail, and on which are several people. Near the clustered 
 ships is another rowboat. There is more shading on the barges 
 and warehouses and on the ships, the reflections of which are 
 extended, and there are lines in the sky. 
 
 Mansfield Collection. 
 
 Fourth State: Shading is added on the skirt of the coat of the 
 man standing. There are outlines of a boy seated on the bulk- 
 head and facing to the left. Another rowboat is added between 
 the barges and ships. 
 
 British Museum Collection. 
 
 Fifth State: The boy is now distinctly expressed, sitting with 
 his legs hanging over the bulkhead. The faces of the two men 
 on the bulkhead are more defined, and there is additional work 
 on their hats and coats. The ships and warehouses are dark- 
 ened, and many lines are added in the sky. 
 
 Mansfield Collection. 
 
 Sixth State: The boy has been removed from the bulkhead, 
 and the sail and figures have been removed from the added 
 barge. Work in dry-point is added on the figures of the men 
 on the bulkhead, and the man sketching now holds a large draw- 
 ing-pad or sketchbook. Spiles are added in dry-point at the end 
 of the bulkhead. 
 
 British Museum Collection. 
 
 Seventh State: All of the lettering except the signature and 
 the date has been removed. 
 
 49 
 
whistler’s etchings and dry-points 
 
 In this state, one of the “Sixteen Etchings.’’ 
 
 Published as “The Little Pool.” 
 
 The man standing was Serjeant Thomas; the man sketching, 
 Percy Thomas, and the boy, Ralph Thomas. 
 
 74 WESTMINSTER BRIDGE IN PROGRESS. (W. 70.) A long 
 wooden bridge, supported on piles, extends across the Thames 
 from near a landing-stage at the extreme left. Through the near- 
 est openings a glimpse is had of two spans of a bridge with iron 
 framework. Across the river are a few buildings, delicately drawn. 
 On the landing-stage stands a man with a tall hat, leaning against 
 the landing-bridge. Near the lower edge of the plate, at the right 
 of the center, appear the head and shoulders of a man wearing a 
 low-crowned hat. In the right lower corner: “Whistler, 1861.” 
 Dry-point. Height, 6 inches; width, 14 inches. 
 
 Avery and Howe Collections. 
 
 75 EARLY MORNING, BATTERSEA. (W. 79.) At the left, 
 in the foreground, a rowboat lies on the shore of the Thames, at 
 ebb-tide. Beyond is Cadogan Pier with its barge-like landing- 
 stage, which a steamboat is leaving. Out in the stream there are 
 several barges, one of them with hoisted sail. Across the river 
 high buildings and tall chimneys appear, under a cloudy sky; in the 
 distance is Battersea Bridge. In the left lower corner: “Whistler.” 
 Dry-point. Height, 4^4 inches; width- 5% inches. 
 
 On the impression in the Avery Collection Whistler wrote: “ Bat- 
 tersea, dawn.” 
 
 One of the “Sixteen Etchings.” 
 
 Published as “Early Morning (Battersea).” 
 
 Catalogued by Wedmore as “Cadogan Pier.” 
 
 76 OLD HUNGERFORD BRIDGE. (W. 80.) In the middle dis- 
 tance a suspension-bridge, upheld by towers resting on massive 
 
 50 
 
whistler’s etchings and dry-points 
 
 piers, spans the Thames from a high trestle at the left. Beneath 
 the bridge are seen the iron columns supporting the Charing Cross 
 railway-bridge. Along the trestle runs a passageway to the land- 
 ing-float at Hungerford Pier, about which river steamboats are 
 clustered. Nearer are a steamboat, barges and rowboats. By a 
 post in the right lower corner: “Whistler.” 
 
 Etching. Height, 5^ inches; width, 8 inches. 
 
 This bridge was removed and now crosses the Severn at Clifton, 
 near Bristol. 
 
 First State: There are comparatively few lines in the sky, and 
 there is no smoke just above the nearer awning on the float. 
 There are a number of blotches on the plate, near the left upper 
 corner. 
 
 Scholle Collection. 
 
 Second State: The blotches have been removed and the spaces 
 where they were are filled with short dry-point lines, and a few 
 lines are added elsewhere in the sky. 
 
 Avery and Mansfield Collections. Upon the impression in the 
 Avery Collection Whistler wrote: “Old Hungerford.” 
 
 Third State: Fine dry-point lines are added throughout the 
 sky. A large volume of smoke rises above the nearer awning 
 on the float. 
 
 In this state, one of the “Sixteen Etchings.” 
 
 Published as “Old Hungerford.” 
 
 An impression was exhibited at the Royal Academy in 1863, 
 under the title: “Hungerford Bridge.” 
 
 77 JO. (W. 64.) A half-length portrait of a young woman with 
 large features and with flowing hair. Turning slightly to the left, 
 she faces to the front. The background above her head is heavily 
 shaded. In the right lower corner: “Whistler, 1861.” 
 
 Dry-point. Height, 8 % inches; width, 5^ inches. 
 
 Avery, Freer, Howe, and Mansfield Collections. 
 
 51 
 
whistler’s etchings and dry-points 
 
 A portrait of Joanna Heffernan, the model for “The White Girl ” 
 and “The Little White Girl.” 
 
 78 JO’S BENT HEAD. (Sup. 370.) Near the top of the plate is 
 the head of a young woman with flowing hair, who is bending for- 
 ward and facing to the right. A few lines below suggest her fig- 
 ure and the lower edge of her dress. In the background, above 
 the head and in front of the face, there is strong shading. 
 Dry-point. Height, 8 % inches; width, 5 inches. 
 
 First State: The lower edge of the dress is indicated at the 
 right by three firm lines, and at the left by one strong line and 
 two fine lines. 
 
 Benedict Collection. On the impression in this collection is 
 written: “Jo.” 
 
 Second State: One of the three lines indicating the lower edge 
 of the dress is lengthened, and four short lines are added near 
 them, and at the left a short line is added. 
 
 Freer, Mansfield, and Parker Collections. 
 
 79 THE OPEN BOOK. A young woman with flowing hair, and 
 wearing a dress with close-fitting waist, puffed sleeves and a full 
 skirt, is seated in a large armchair. She faces to the right, her 
 right hand rests on her lap, and a book lies open on her knees. In 
 the right lower corner: “Whistler, 1861.” 
 
 Dry-point. Height, 5 y% inches; width, 4^ inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 80 LADY IN AN ARMCHAIR. A portrait of an elderly lady wear- 
 ing a cap, who is seated in an armchair and is facing to the right, 
 her right hand resting upon her lap. In the right lower corner: 
 “Whistler, 1861,” with the “6” reversed. 
 
 Dry-point. Height, 8 J 4 inches; width, 5% inches. 
 
 52 
 
whistler’s etchings and dry-points 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 81 RATCLIFFE FlIGHWAY. (W. 74.) Sketches of people in a sail- 
 ors’ dance house: In front, at the left, a woman without head-cov- 
 
 ering, and a man wearing a broad-brimmed hat and smoking a long 
 pipe; behind them, a man wearing a wide-awake; near the center, 
 a man wearing a cap and smoking a short pipe, and a woman with 
 uncovered head; farther away, other couples, and in the back- 
 ground, musicians. The plate is unsigned. 
 
 Dry-point. Height, 5% inches; width, inches. 
 
 / 82 THE ENCAMPMENT. (W. 75.) At the left, sheltered by the 
 flap of a tent near a camp-fire in the foreground, two men are 
 seated, one smoking a pipe. At the right, outside the tent, by a 
 wide water in which trees are reflected, stands another man, also 
 smoking. Below the two men: “Whistler, 1861.” 
 
 Dry-point. Height, \ \% inches; width, 6% inches. 
 
 British Museum Collection. The impression in this collection is 
 perhaps the only impression from the uncancelled plate. 
 
 On an impression in the Avery Collection from the cancelled plate 
 Whistler wrote: “The Encampment — Ridley, Edwards, Boatman.” 
 W. M. Ridley and Edwin Edwards were artists. An etching made 
 by Edwards, in 1861, of Whistler sketching at Moulsey, on the 
 Thames, near Hampton Court, is in the Mansfield Collection. 
 
 83 THE STORM. (W. 77.) In a broad landscape, under a heavily 
 clouded sky, a man in the foreground is hurrying to the right, 
 holding his hat in place with his left hand. In the right lower 
 corner: “Whistler, 1861.” 
 
 Dry-point. Height, 6 yi inches; width, 11% inches. 
 
 Buckingham, Freer, and Mansfield Collections. 
 
 On an impression in the Avery Collection from the cancelled plate 
 Whistler wrote: “The Storm (Ridley).” 
 
 53 
 
whistler’s etchings and dry-points 
 
 'I 84 FISHING. In the foreground at the right, near a large tree on 
 the border of a river, a man stands with fishing-rod in hand, about 
 to cast. In the stream, in front is a large stake and near the far- 
 ther bank is a boat with a single mast. In the distance is a row of 
 trees, beyond a level meadow, and at the extreme left men and a 
 horse are towing a boat. There are clouds in the sky. In the 
 right lower corner: “Whistler, 1861.” 
 
 Etching. Height, 6 inches; width, 8 Y% inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 'I 85 A RIVER SKETCH. On the bank at the left a man wearing a 
 cap sits sketching. In roughish water, flowing from a weir, is a 
 punt in which are two men, one standing and holding a fishing- 
 rod. Further out is a rowboat in which are also two men. In 
 smoother water at the left are two small rowboats, in each of 
 which a man is standing. Beyond, near the center, is a boat in 
 which are two people. The distant banks are lined with trees and 
 buildings. At the extreme right is a building with a belfry. 
 The sky is cloudy. Near the bottom of the plate, at the right: 
 “Whistler.” 
 
 Etching. Height, 4^8 inches; width, 6 yi inches. 
 
 Mansfield Collection. The impression in this collection is the only 
 one known to the compiler. 
 
 86 THE PUNT. (W. 68.) A scene on the upper Thames. At the 
 right a man with a pipe in his mouth, and wearing a low-crowned 
 soft hat and loose coat, is poling a punt. From the wooded bank 
 across the river a rolling country stretches away, under a cloudy 
 sky. In the left lower corner: “Whistler.” 
 
 Etching. Height, 4^ inches; width, inches. 
 
 First State: In pure etching. 
 
 Benedict and Vanderbilt Collections. 
 
 54 
 
whistler’s etchings and dry-points 
 
 Second State: With dry-point work on the man’s hat and coat, 
 on the braces of the boat, and on the trees and in the sky. 
 Avery and Mansfield Collections. 
 
 Third State: With “London, Published December ist, 1 86 1 , 
 by Day & Son, Lith. to the Queen,” engraved near the center, 
 along the bottom of the plate, and “J. Whistler” engraved at 
 the right. 
 
 Fourth State: With the signature removed and with “PI. 7” 
 engraved in the right upper corner. 
 
 Published in 1862 in “Passages from Modern English Poets, 
 illustrated by the Junior Etching Club” (London: Day & Son). 
 Published under the title: “The Angler.” 
 
 1 87 THE THAMES. (W. 69.) A scene on the upper Thames. On 
 the bank at the right a man wearing a low-crowned soft hat and 
 a loose coat is seated on a camp-stool, sketching. On the river are 
 a man and a woman in a rowboat. On the other bank is a boat- 
 house near large trees, beyond which there is high ground. There 
 are clouds in the sky. Near the right lower corner: “Whistler.” 
 Etching. Height, 43^ inches; width, 6 l /Z inches. 
 
 First State: In pure etching. 
 
 Benedict Collection. 
 
 Second State: With dry-point work on the man’s coat-collar 
 and on the plants in the foreground and on the trees. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “The Thames.” 
 
 Third State: With “London, Published December ist, 1861, 
 by Day & Son, Lith. to the Queen,” engraved along the bottom 
 of the plate, and “J. Whistler” engraved at the right of the 
 signature. 
 
 Fourth State: With “PI. 45” engraved in the right upper 
 corner. 
 
 55 
 
 1 
 
whistler’s etchings and dry-points 
 
 Published in 1862 in “Passages from Modern English Poets, 
 illustrated by the Junior Etching Club” (London: Day & Son). 
 Published under the title: “A River Scene.” 
 
 Catalogued by Wedmore as “Sketching.” 
 
 88 ROSS WINANS. (W. 76.) A three-quarter length portrait of 
 a young man with short curly hair and with a moustache, who 
 sits facing toward the right, playing an accordion. On a table 
 at the right are a violin and bow. There is considerable shading 
 on the plate. 
 
 Etching. Height, 9^ inches; width, 7^ inches. 
 
 First State: Toward the right upper corner: “Whistler,” firmly 
 written; nearer the corner: “Whistler,” faintly written. 
 Mansfield Collection. 
 
 Second State: The faintly-written signature has been removed. 
 Horizontal lines are added in dry-point on the upper part of the 
 sleeve of the right arm and along the lower edge of the sleeve, 
 and below the elbow. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Ross Winans” and “London.” 
 
 89 CHELSEA WHARF. (W. 81.) A number of Thames barges, 
 some with furled sails and one with a jigger, lie beached near a 
 group of warehouses. On the nearer buildings there are the signs : 
 “Chelsea Wharf,” “Thomas Weeks, Chelsea Wharf, Roman Ce- 
 ment and Lime” and “Chelsea Wharf, Clover, Hay and Straw.” 
 Men are unloading the barges with the aid of carts and horses. 
 In the right lower corner: “Whistler, 1863.” 
 
 Etching. Height, 3% inches; width, 7^ inches. 
 
 First State: With comparatively slight shading on the sails 
 and on the sides of the boat, and with only the signature and 
 date in the right lower corner. 
 
 Freer Collection. 
 
 56 
 
whistler’s etchings and dry-points 
 
 Second State: With additional work on the sails and sides of 
 the boats and with a conventional butterfly, in outline, added 
 in dry-point above the signature and date. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Chelsea Wharf ” and “ 1873 ” — the date, apparently, 
 when the changes were made and the butterfly was added. 
 
 90 BATTERSEA REACH. In front, on the flat shore of the Thames, 
 are a number of small figures, and near a float are men about to go 
 out in a rowboat. Beyond there are other rowboats, and out in 
 the stream there are barges under sail. On the opposite bank, 
 under a cloudy sky, are a church and a row of buildings, some with 
 tall chimneys. In the distance, at the left, an iron bridge spans 
 the stream. In the right lower corner: “Whistler, 1863.” 
 
 Etching. Height, 5 inches; width, 8 y& inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 91 AMSTERDAM. (W. 82.) Across a wide expanse of water, on 
 which are a number of Dutch sailing-boats, two with sails partly 
 raised, appear the buildings and shipping of Amsterdam, under 
 a cloudy sky. In the right lower corner: “Whistler, 1863, a Am- 
 sterdam — Tolhuis.” 
 
 Etching. Height, 5% inches; width, 8% inches. 
 
 First State: The clouds, strongly etched, fill the sky. 
 
 Avery, Freer, Mansfield, and Scholle Collections. On the im- 
 pression of this state in the Avery Collection Mr. Avery wrote: 
 “With Haden.” 
 
 Second State: The upper parts of the taller masts and nearly 
 all of the lines in the sky have been removed. 
 
 Third State: The upper parts of the taller masts have been 
 redrawn, and the clouds are now expressed by fewer lines, in 
 dry-point. 
 
 57 
 
whistler’s etchings and dry-points 
 
 Fourth State: Four strong lines and several fine lines are 
 added in dry-point near the left upper corner. The butterfly, 
 shaded, is added in dry-point at the left of the signature. 
 
 The addition of the butterfly indicates that probably the changes 
 in the last three states were made as late as 1873. 
 
 92 WEARY. (W. 83.) A young woman with long flowing hair sits 
 facing to the right, her head resting against the back of a large 
 easy-chair. Near the bottom of the plate appears the head of a 
 girl, in reverse. There is shading in the background. 
 
 Dry-point. Height, 7^ inches; width, 5 yi inches. 
 
 Another portrait of the model for “ The White Girl.” 
 
 First State: There is no signature. There is a clear space, 
 about a quarter of an inch wide, along the left edge of the lower 
 half of the plate. 
 
 Avery and Freer Collections. 
 
 Second State: With “Whistler, 63” added in the left lower 
 corner and vertical lines added at the left of the figure, along 
 the edge of the plate. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Weary.” 
 
 Third State: There is additional work on the hair. The out- 
 lines of the face are heavier and its expression is changed. 
 Work is added on the back of the chair, further defining its 
 shape, and in the background at the right, deepening its effect. 
 
 Exhibited at the Royal Academy in 1863, as “Weary.” 
 
 93 THE TOILET. In the right upper corner of the plate are the 
 head and shoulders of a woman facing to the left, arranging the 
 long flowing hair of a woman, also turned toward the left, whose 
 features are not expressed. There is shading in the background. 
 Near the right lower corner: “Whistler, 1863.” 
 
 Dry-point. Height, &/& inches; width, 6 inches. 
 
 58 
 
whistler’s etchings and dry-points 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 94 SHIPPING AT LIVERPOOL. (W. 84.) Upon the deck of a 
 vessel in front four men are handling large sacks and a fifth man is 
 on his knees, apparently calking seams. Stays from the bulwarks 
 reach the mast just above the only yard visible. In the distance 
 there is a line of shipping at the right and a row of sheds at the 
 left. In the sky, below the yard, are slight indications of clouds. 
 On the bulwark, near the right edge of the plate: “ Whistler, 1867.” 
 Etching. Height, 9 inches; width, 6 inches. 
 
 First State: The space of sky seen between the mast and the 
 stays on the right is clear. 
 
 Mansfield Collection. 
 
 Second State: Numerous diagonal lines and a few horizontal 
 lines, all in dry-point, are added in the sky, between the mast 
 and the stays on the right. Horizontal lines also cross the ship- 
 ping in the background. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Liverpool.” 
 
 95 SPEKE HALL No. 1. (W. 86.) A broad avenue leads to a 
 
 long half-timbered house with five front gables, seen beyond tall 
 leafless trees. 
 
 Etching and Dry-point. Height, 8 inches; width, 5 inches. 
 Speke Hall is a famous old house on Speke Manor near Liverpool. 
 During the time Whistler was in relations with F. R. Leyland it 
 belonged to a ward of Leyland. 
 
 First State: The house-front below the two gables at the left 
 is blank, except for slight indications of a doorway. In the 
 foreground at the left stands the figure, in dry-point, of a woman 
 wearing a hat with wide brim and high crown. She holds up 
 her skirt with her left hand and her head is turned away. There 
 
 59 
 
whistler’s etchings and dry-points 
 
 are clouds in the sky. Near the right lower corner: “Whistler, 
 1870, Speke Hall.” 
 
 Avery, Benedict, and Mansfield Collections. 
 
 Second State: Short diagonal lines are added on the woman’s 
 figure, which has become generally indistinct. 
 
 Third State: The figure has been removed, and the space 
 where it stood is blank, except for faint traces of previous work. 
 
 Fourth State: In place of the earlier figure is the smaller 
 figure, also in dry-point, of another woman, seen in profile, 
 wearing a hat, facing to the left and looking down, her left arm 
 by her side. 
 
 Fifth State: The house-front, except between two trees at 
 the extreme left, is virtually finished, showing a large archway 
 where the doorway was indicated. Where the earlier figures 
 were, stands the figure, in dry-point, of a young woman, seen 
 in profile, wearing a jacket and a hat with a feather. She 
 faces to the left and is looking down, and with her left hand 
 holds up her skirt. 
 
 Sixth State: There are indications of timber- work in the gable 
 between the two trees at the extreme left. The crown of the 
 young woman’s hat has been rounded and the feather removed. 
 Dick Collection. 
 
 Seventh State: There is added work on the building, trees and 
 figure. The butterfly, shaded, is at the left of the figure. 
 
 On the impression of this state in the Avery Collection Whistler 
 wrote: “Speke Hall.” 
 
 Eighth State: The outline of the young woman’s back is 
 changed by a convex line. There is additional work on the hat 
 and the jacket. The drapery of the skirt is made lighter. 
 Mansfield Collection. 
 
 Ninth State: The figure and the butterfly have been removed, 
 and all traces of the clouds have disappeared. 
 
 60 
 
whistler’s etchings and dry-points 
 
 96 CHELSEA BRIDGE AND CHURCH. (W. 85.) At the left, 
 on the beach of the Thames, a rowboat and two barges lie near a 
 tall post. Conspicuous above buildings beyond is a church tower 
 surmounted by a flagpole. In the distance a bridge crosses the 
 river, under a cloudy sky. The plate is unsigned. 
 
 Dry-point. Height, 4 inches; width, inches. 
 
 First State: The river is clear of craft, except a sailboat near 
 the bridge. There is a blank space above the barge at the ex- 
 treme left. The building at the right of the tall post is slightly 
 shaded. 
 
 Avery and Mansfield Collections. Under the impression of this 
 state in the Mansfield Collection is written: “This was the first 
 proof taken from this plate and was printed by the artist him- 
 self May 6, 1871. F. S. E.” Presumably written by Mr. F. S. 
 Ellis, of Ellis & Green, the publishers of the “Sixteen Etchings.” 
 
 Second State: The suggestion of a roof appears across the 
 space just above the barge at the left, and shading is added 
 on the building at the right of the tall post. 
 
 Avery Collection. On the impression in this collection a tree 
 is drawn in charcoal in the right lower corner, and the impres- 
 sion is otherwise drawn upon. 
 
 Third State: On the river, at the right, is a barge with flap- 
 ping white sail, slightly reflected. Vertical lines are added in 
 the shading of the barges on the shore. The space above the 
 barge at the left is filled in, and there is additional shading on 
 the buildings. 
 
 Avery Collection. On the impression of this state in this col- 
 lection Whistler wrote: “Chelsea Church.” 
 
 Fourth State: Lines are added on the sail of the barge, and 
 its reflection is lengthened. Fine lines change the aspect of the 
 clouds at the right, and a flock of birds appears above the build- 
 ings near the center. 
 
 Mansfield Collection. 
 
 61 
 
whistler’s etchings and dry-points 
 
 Fifth State: Diagonal lines are added on the sail of the barge, 
 and strong vertical lines in its reflection. Strong horizontal 
 lines are added in the sky, at the right of the church tower and 
 above the bridge. 
 
 In this state (in some of the sets), one of the “Sixteen Etchings.” 
 
 Sixth State: The sail of the barge is enlarged and strongly 
 outlined. Lines are added in the sky and in the shading of the 
 boats on the shore. 
 
 In this state (in some of the sets), one of the “Sixteen Etchings.” 
 Published as “Chelsea Bridge and Church.” 
 
 97 “THE SWAN,” CHELSEA. (W. 89.) A row of irregular build- 
 ings, seen across a street in which are three men and a horse and 
 cart. The butterfly, in outline, is on a wall at the extreme right. 
 Etching. Height, 2 y% inches; width, y/& inches. 
 
 On the impression in the Avery Collection Whistler wrote: “72” 
 and “The Swan — Chelsea.” 
 
 Mr. Wedmore says that “The Swan” was a brewery. 
 
 98 FOSCO. (W. 90.) A nude male model with wavy hair stands 
 looking toward the front, his body turned to the left, his right 
 foot advanced, and his left hand holding a long staff. There is 
 shading in the background, chiefly at the left of the figure. The 
 plate is unsigned. 
 
 Dry-point. Height, 8^8 inches; width, 5X inches. 
 
 On the impression in the Avery Collection Whistler wrote: “Dry- 
 point — 72” and “Fosco.” 
 
 Exhibited in 1872, under the title of “An Etching,” at the Fifth 
 Exhibition of the Society of French Artists, then under the man- 
 agement of M. Dechamps, at No. 168 New Bond Street, London. 
 
 99 WHISTLER’S MOTHER. (W. 88.) An elderly lady wearing 
 a cap stands turning to the right, but looking toward the front, 
 her right arm by her side, her left hand extended as if resting on 
 
 62 
 
whistler’s etchings and dry-points 
 
 a railing. The slender figure is expressed by a few simple lines. 
 The plate is unsigned. 
 
 Dry-point. Height, 9^ inches; width, 6 inches. 
 
 Freer Collection. The impression in this collection, formerly in 
 the Menpes Collection, is perhaps unique. The slenderness of 
 the figure is obscured by the peculiar inking of the plate, which 
 gives the appearance of a full skirt. 
 
 Mrs. Whistler died at Hastings in 1881. 
 
 100 THE BEACH. (W. 101.) In the foreground are two towels 
 spread upon the beach; others are drying in the breeze, on lines 
 held up by poles. Beyond, at the right, are low buildings, near 
 which are a man and a horse. A roughish sea stretches to the 
 horizon, under a clouded sky. The plate is unsigned. 
 
 Dry-point. Height, 6 l /& inches; width, 9 inches. 
 
 First State: The more conspicuous buildings and the towels 
 on the lines are indicated mainly in outline. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Hastings” and “ 1873.” Mr. 
 Avery added: “His mother there at the time.” 
 
 Second State: The buildings, the towels on the lines, and the 
 man and horse are strongly shaded. 
 
 101 SKETCHES OF HEADS. (Sup. 366.) Scattered over the plate 
 are sketches of five heads of women, one of them well defined, 
 a sketch of the head of a boy, well defined, and slight suggestions 
 of five other heads, besides the sketch of a woman seated. 
 Dry-point. Height, 6 inches; width, 8 % inches. 
 
 Freer Collection. 
 
 102 PORTRAIT SKETCHES. At the right is the nearly full-length 
 portrait of a man with moustache and full beard, standing with 
 his left hand thrust in a pocket of his coat. At the left, near the 
 
 63 
 
whistler’s etchings and dry-points 
 
 top of the plate, is the head of a man with moustache and pointed 
 beard. Near the bottom of the plate is the head of Whistler, in 
 reverse. Between these is a slight suggestion of the head of a 
 man, in reverse. The plate is unsigned. 
 
 Dry-point. Height, \i% inches; width, 6 J 4 inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 103 F. R. LEYLAND. (W. 93.) A full-length portrait of a man 
 with moustache and pointed beard, and wearing evening dress, 
 who stands facing front, with his left hand upon his hip and what 
 may be an outer coat hanging from his right shoulder. There is 
 shading in the background. The butterfly, in outline, is in the 
 shading at the right of the figure. 
 
 Etching. Height, inches; width, 6^ inches. 
 
 F. R. Leyland was a wealthy steamship-owner, in whose house 
 in London was the famous “ Peacock Room,” decorated by Whist- 
 ler, now included in the Freer gift to the Smithsonian Institution. 
 
 First State: The shading in the background is largely in short 
 vertical lines, supplemented by numerous diagonal lines about 
 the head and shoulders and at the left of the figure. 
 
 Mansfield and Vanderbilt Collections. 
 
 Second State: Numerous strong lines in dry-point are added 
 in the background, about the head and the upper part of the 
 figure. 
 
 Freer Collection. 
 
 104 MADAME LEYLAND. (W. 227.) The portrait of an elderly 
 lady, seated in a large armchair and facing front. A light shawl 
 is thrown over her shoulders and she wears a lace cap. Her left 
 arm rests upon the arm of the chair, and her right hand is placed 
 lightly on the other. There is shading in the background. The 
 butterfly, in outline, is below the arm of the chair, at the right. 
 
 64 
 
whistler’s etchings and dry-points 
 
 Dry-point. Height, 8 inches; width, 5 yi inches. 
 
 Madame Leyland was the mother of F. R. Leyland. 
 
 First State: The shading above the head and at the left of the 
 head and figure is in vertical lines. 
 
 Freer Collection. 
 
 Second State: Diagonal lines, running from left to right, are 
 added in the shading at the left of the head. 
 
 Mansfield Collection. 
 
 Third State: The face has been virtually redrawn, and with 
 material change in the expression. Many vertical lines are added 
 in the background, at the upper edge of the plate. Six short 
 diagonal lines are added in the shading at the right, and nu- 
 merous diagonal lines in the shading at the left. 
 
 Catalogued by Wedmore as “ F. R. Leyland’s Mother.” 
 
 THE VELVET DRESS. (W. 91.) A lady stands looking to 
 the left, her left arm by her side. She wears a ruff, and her skirt 
 falls in heavy folds, indicated by various strong lines. There is 
 shading in the background. The butterfly, in outline, is at the 
 left, below the middle of the plate. 
 
 Dry-point. Height, 9 yi inches; width, 6 yi inches. 
 
 First State: The shading in the background is expressed by 
 vertical and diagonal lines about the head, and vertical lines in 
 the upper half of the plate, each side of the figure. 
 
 Mansfield and Vanderbilt Collections. 
 
 Second State: The face has been redrawn, with change of ex- 
 pression. Strong vertical lines are added in the background, 
 each side of the figure, those at the left extending below the 
 butterfly. 
 
 Third State: Through additional work, the expression of the 
 face is further changed. Long vertical lines are added in the 
 background, each side of the figure. 
 
 65 
 
whistler’s etchings and dry-points 
 
 Fourth State: Vertical lines deepen the shading in the back- 
 ground. Short horizontal lines, added below the butterfly, give 
 the shading the appearance of a curtain. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “The Velvet Dress’’ and “73.” 
 
 Fifth State: The face and the figure have been almost com- 
 pletely redrawn. The expression of the face has been entirely 
 changed. The lady now wears a small hat and a heavy skirt, 
 trailing slightly. She still stands looking to the left, her left 
 arm by her side. There is heavy shading in the background. 
 There is no longer the appearance of a curtain. 
 
 Freer and Mansfield Collections. On the impression in the 
 Freer Collection Whistler wrote: “Mrs. Leyland.” 
 
 106 THE LITTLE VELVET DRESS. (W. 92.) A lady wearing 
 a dark heavy dress, with a ruffle about the neck and down the 
 front of the waist, stands facing to the right, her right hand held 
 well in front of her. There is shading in the background. The 
 butterfly, in outline, is at the right, above the middle of the plate. 
 Dry-point. Height, inches; width, 4%" inches. 
 
 First State: In the background at the right there is a clear 
 space next the lady’s waist. 
 
 Mansfield Collection. 
 
 Second State: Short vertical lines are added in the space in 
 front of the lady’s waist, and numerous fine lines in the back- 
 ground at the left. 
 
 Avery, Freer, and Vanderbilt Collections. On the impression 
 in the Avery Collection Whistler wrote: “The Little Velvet 
 Dress” and “73.” 
 
 107 FANNY LEYLAND. (W. 94.) A young girl with long wavy 
 hair, bound back, sits facing to the left in a chair of slender frame- 
 work, her hands resting in her lap. There is shading in the back- 
 
 66 
 
whistler’s etchings and dry-points 
 
 ground. Toward the left upper corner: “Fanny Leyland.” 
 Dry-point. Height, 7^ inches; width, 5X inches. 
 
 Fanny Leyland was a daughter of F. R. Leyland. 
 
 First State: One foot, wearing a slipper, appears just be- 
 neath the skirt. There are also faint outlines of that foot 
 differently drawn, besides slight indications of the other foot. 
 There is no butterfly. 
 
 Second State: Traces of one of the feet originally drawn have 
 been removed. The indications of a foot below the slipper re- 
 main. The butterfly, in outline, is above the middle of the 
 plate, near the left edge. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “73.” 
 
 Third State: The skirt is lengthened in front by two strong 
 lines drawn at an angle. Short horizontal lines are added be- 
 low the skirt. Vertical lines are added below the chair-seat. 
 
 Fourth State: The foot just beneath the skirt has been erased 
 and there are diagonal lines in its place. Additional work ap- 
 pears on the lower part of the skirt. There are more vertical 
 lines below the chair-seat, and vertical lines are added at the 
 right, parallel with the back of the chair. 
 
 Fifth State: Short diagonal lines, running from right to left, 
 are added on the skirt, at the right of the bend of the knee, and 
 earlier lines on the dress are strengthened. 
 
 Sixth State: There is more work upon the hair. Short diag- 
 onal lines are added on the upper part of the figure, and strong 
 lines on the lower part of the skirt. Diagonal lines are added 
 along the chair-seat. 
 
 08 ELINOR LEYLAND. (W. 95.) A young girl wearing a short 
 frock with flounces stands facing front, with her arms akimbo. 
 There is much shading in the background. 
 
 67 
 
WHISTLER S ETCHINGS AND DRY-POINTS 
 
 Dry-point. Height, 8 yi inches; width, 5 % inches. 
 
 Elinor Leyland was a younger daughter of F. R. Leyland. 
 
 First State: The legs are not fully drawn. The shading in 
 the background is chiefly at the left of the figure. There is no 
 butterfly. 
 
 Mansfield Collection. 
 
 Second State: Many vertical lines are added in the back- 
 ground, conspicuously in the upper part, at the right. The 
 butterfly, in outline, is about the middle of the plate, near 
 the right edge. 
 
 Benedict Collection. 
 
 Third State: Longer vertical lines are added in the back- 
 ground, at the left, especially near the edge of the plate. 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Elinor Leyland” and “1873.” 
 
 Fourth State: The legs have lost all semblance of form. 
 Heavy vertical lines are added at the left of the figure, and 
 heavy diagonal lines below the skirt. Short horizontal lines 
 are added in the background at the right, below the elbow. The 
 butterfly is partly shaded. 
 
 Fifth State: The legs have been redrawn. Numerous diag- 
 onal lines are added in the background, each side of the head 
 and along the right arm. 
 
 Sixth State: Six short horizontal lines are added in the back- 
 ground, at the right of the lower part of the skirt, and numer- 
 ous short lines are added along the lower edge of the skirt. 
 
 Seventh State: The head has been redrawn. Numerous diag- 
 onal lines are added in the background, each side of the head 
 and along the right shoulder and arm. 
 
 FLORENCE LEYLAND. (W. 96.) A young girl with flow- 
 ing hair, cut short across her forehead, stands facing front, with 
 
 68 
 
whistler’s etchings and dry-points 
 
 her right foot advanced, and holding a hoop with her right hand. 
 There is shading in the background. The butterfly is toward 
 the bottom of the plate, near the right edge. 
 
 Dry-point. Height, 8 yi inches; width, 5 inches. 
 
 Florence Leyland was the youngest daughter of F. R. Leyland. 
 
 First State: The left eye is not fully defined. The shading 
 in the background is chiefly at the left of the figure and in ver- 
 tical lines, which are crossed, below the middle of the plate, by 
 numerous diagonal lines. Between the shading and the right 
 ankle is a clear space. The butterfly is in outline. 
 Buckingham Collection. 
 
 Second State: The left eye is now more fully defined and the 
 expression of the face is somewhat changed. The space at the 
 left of the right ankle is filled with fine lines. Many vertical 
 lines are added in the background at the left. The butterfly 
 remains in outline. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Florence Leyland” and 
 “ 73 ” 
 
 Third State: Vertical lines are added in the background, 
 conspicuously along the upper edge of the plate. The words 
 “I am Flo” are added at the right, in the upper half of the 
 plate. The butterfly remains in outline. 
 
 Fourth State: The legs have been almost wholly burnished 
 out. Diagonal lines are added in the background, about the 
 head. The butterfly is shaded. 
 
 Fifth State: The legs have been redrawn and are well de- 
 fined. Numerous diagonal lines are added in the background, 
 at the left of the figure. At the right numerous vertical lines 
 are added, suggesting a curtain. 
 
 Sixth State: There is additional work on the legs and feet. 
 Lines are added extensively throughout the background. 
 
 69 
 
whistler’s etchings and dry-points 
 
 Seventh State: Short heavy lines are added in the back- 
 ground at the left, more noticeably above the hoop. 
 
 Eighth State: Heavy broken outlines express the shape of 
 the right leg and foot. Many fine diagonal lines are added 
 in the background at the left. 
 
 i io READING A BOOK. (W. 97.) A young woman seated in a 
 chair, with her right leg crossed over her left knee, faces to the left 
 and holds a book in her left hand. There is shading in the back- 
 ground. The butterfly, in outline, is above the middle of the 
 plate, near the left edge. 
 
 Dry-point. Height, 4% inches; width, 3 inches. 
 
 Done about 1873. 
 
 First State: The features are indistinct and the nose is re- 
 trousse. 
 
 Second State: The features have been redrawn and made 
 smaller and more distinct, and the nose is now straight. A 
 number of vertical lines and two horizontal lines are added 
 in the background, below the butterfly. 
 
 in TATTING. (W. 98.) A young woman wearing a round hat sits 
 turned to the right, but looking toward the front, near a small 
 table, her hands raised and holding her work. The plate is un- 
 signed. 
 
 Dry-point. Height, 5 inches; width, 2% inches. 
 
 Done about 1873. Published in 1880, by the Messrs. Dowdes- 
 well & Dowdeswells, London. 
 
 1 12 THE MUFF. (W. 126.) A lady seated facing to the right, 
 wearing a hat trimmed with feathers and a jacket edged with 
 fur, holds in her lap a muff upon which rests her right hand. 
 There is shading in the background. 
 
 Dry-point. Height, 4% inches; width, 2% inches. 
 
 70 
 
whistler’s etchings and dry-points 
 
 First State: Short horizontal lines at the left extend along 
 the contour of the lady’s figure. There is no butterfly. 
 Benedict Collection. 
 
 Second State: Horizontal lines at the left now extend to the 
 edge of the plate. Numerous fine diagonal lines are added in 
 the shading at the right. The butterfly, shaded and obscured, 
 is below the middle of the plate, at the right edge. 
 
 Benedict and Freer Collections. 
 
 Third State: The lines of shading in the upper part of the 
 plate at the left are connected and strengthened and increased 
 in number. Numerous short diagonal lines are added in the 
 shading, each side of the figure. 
 
 MAUDE, STANDING. (W. 99.) A tall slender young woman 
 wearing a hat with feathers stands facing to the left, but turn- 
 ing away. 
 
 Dry-point and Etching. Height, 8 % inches; width, 5% inches. 
 
 First State: She wears a light tippet. Her left hand seems 
 to be holding up her skirt, which scarcely trails. There are a 
 few slight lines in the background. There is no butterfly. 
 Scholle Collection. 
 
 Second State: The tippet has been removed and the lines in 
 the background have almost wholly disappeared. Lines are 
 added on the face and figure. There is no butterfly. 
 
 Benedict Collection. 
 
 Third State: In place of the tippet is a small close-fitting 
 cape. The face has been redrawn. The right arm is very con- 
 fusedly expressed. The skirt is shortened. A few verticallines 
 and some short horizontal lines are added in the background. 
 There is no butterfly. 
 
 Fourth State: The cape has been removed. The skirt has 
 been redrawn throughout and lengthened. Lines are added 
 
whistler’s etchings and dry-points 
 
 on the face. The right arm is bent at a sharp angle and is 
 well defined. Numerous lines indicate a curtain in the back- 
 ground. There is no butterfly. 
 
 Benedict Collection. 
 
 Fifth State: The lines on the face have been removed, and 
 its expression is changed. A puff is added on the right sleeve, 
 at the shoulder. Strong dry-point lines are added at the bot- 
 tom of the train. There is no butterfly. 
 
 Sixth State: The figure has been burnished out and redrawn. 
 The arms are but slightly indicated. A short fur tippet cov- 
 ers the shoulders. The train of the skirt extends nearly to 
 the bottom of the plate. Some vertical lines and numerous 
 fine diagonal lines are added in the background, each side of 
 the figure. A space about an inch broad is left nearly blank 
 along the left edge of the plate. The butterfly, shaded, is 
 at the right of the figure, below the middle of the plate. 
 Coolidge Collection. 
 
 Seventh State: The right arm has been vaguely redrawn, 
 traces of the arm as previously drawn remaining. The form 
 of the left arm is changed. The right outline of the figure is 
 strongly marked. A few vertical lines are added in the space 
 along the left edge of the plate. 
 
 Mansfield Collection. 
 
 Eighth State: The right arm has been again changed and is 
 indistinct. Numerous short diagonal lines, running parallel 
 from left to right, are added in the background at the left of 
 the figure. Numerous vertical lines are added in the back- 
 ground at the right. 
 
 Ninth State: The arms have been redrawn. There is much 
 additional work on the dress. Many lines, including the short 
 parallel diagonal lines, have been removed. In their place is 
 new work in the background, the shading of which is still com- 
 paratively slight. 
 
 72 
 
whistler’s etchings and dry-points 
 
 Tenth State: There is much additional work on the skirt. 
 Strong vertical lines are added in the background at the left, 
 along the skirt, above the knee. Vertical lines are added also 
 at the right, between the skirt and the butterfly and near the 
 bottom of the skirt. 
 
 Eleventh State: The face and figure have been redrawn, and 
 the plate has been reworked throughout in etching. The lines 
 of the next preceding state, on the skirt and in the background, 
 have been generally followed. The toe of the projecting foot 
 is indistinct. 
 
 Twelfth State: The face has been redrawn and its expres- 
 sion is changed. Both arms and many of the lines on the skirt 
 have been again burnished out. The left arm has been re- 
 drawn, with the hand extended to the back of the skirt. The 
 right arm is merely indicated. The toe of the projecting foot 
 has been redrawn in dry-point. A few vertical lines and num- 
 berless fine diagonal lines, running from left to right, are added 
 here and there in the background. 
 
 1 14 MAUDE, SEATED. (W. 100.) A young woman sits looking 
 toward the front, but turned toward the left, her hands in her 
 lap. There is shading in the background. The butterfly, in 
 outline, is above the middle of the plate, near the left edge. 
 Dry-point. Height, 5 % inches; width, 4X inches. 
 
 First State: The face is turned well toward the front. The 
 shading in the background nearest the hands is now mainly in 
 vertical lines. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Maude” and “73.” 
 
 Second State: Horizontal lines are added in the background, 
 across the vertical lines near the hands, and vertical lines are 
 added at the right of the figure. 
 
 Vanderbilt Collection. 
 
 73 
 
whistler’s etchings and dry-points 
 
 Third State: The head has been redrawn and made smaller. 
 The face is still turned to the front, but its expression is changed. 
 Freer Collection. 
 
 Fourth State: The head has been again redrawn, and with 
 further change of expression. The face is turned slightly to 
 the left, but is looking toward the front. Vertical lines are 
 added in the background, above the head and at the right of the 
 head and shoulders. Short horizontal and diagonal lines are 
 added in the background at the left. 
 
 Mansfield Collection. 
 
 115 THE SILK DRESS. A tall young woman wearing a small 
 round hat and a dress with a train stands turning to the left, 
 but looking toward the front, her left arm by her side. The 
 plate is unsigned. 
 
 Dry-point. Height, 8 y& inches; width, 5% inches. 
 
 First State: There are no lines in the background. 
 
 Freer Collection. 
 
 Second State: There are now a few vertical lines in the back- 
 ground, each side of the figure, and there is additional work on 
 the dress. 
 
 Benedict Collection. 
 
 1 16 T 1 LL 1 E. (W. 102.) The nude figure of a young girl, stooping 
 toward the left, her right hand resting on her leg, above the knee, 
 near the left hand, which is concealed. There is shading in the 
 background. The butterfly is below the middle of the plate, 
 at the left. 
 
 Dry-point. Height, 9 inches; width, 6% inches. 
 
 First State: The figure is delicately drawn. The shading 
 in the background is in vertical lines, each side of the figure. 
 The butterfly is in outline. 
 
 Avery Collection. On the impression in this collection Whist- 
 
 74 
 
whistler’s etchings and dry-points 
 
 ler wrote: “Tillie Gilchrist” and “1873.” She was a popular 
 model at the time. 
 
 Second State: The face and hair are changed, and there is 
 more work on the figure. A few vertical lines are added in the 
 background above the figure, and six short diagonal lines at 
 the right. The butterfly is shaded. 
 
 Mansfield Collection. 
 
 Third State: The outlines of the figure are strengthened, 
 and numerous short strokes are added on the body and arms. 
 Vertical lines are added about the head, and a series of short 
 diagonal lines in front of the figure. 
 
 Fourth State: The features are now more defined. Strong 
 vertical lines are added above the figure, at the right. 
 
 1 17 SEATED GIRL. (W. 103.) A girl thinly draped, seated on a 
 low chair, is facing to the left and leaning forward. Her right 
 hand rests upon the knee of her left leg, which is crossed over the 
 rignt, and her left hand rests upon the frame of the chair. There 
 is shading in the background. The butterfly, in outline, is above 
 the middle of the plate, at the left edge. 
 
 Dry-point. Height, 8 inches; width, 5^ inches. 
 
 First State: There are two series of fine horizontal lines in 
 the background above the left arm. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Seated Girl” and “73.” 
 
 Second State: Strong vertical lines are added in the back- 
 ground above the left arm, obscuring the fine horizontal lines. 
 Mansfield Collection. 
 
 1 1 8 GIRL RESTING. (W. 87.) A girl stands facing front, bend- 
 ing slightly to the left, wrapped in thin drapery, a fillet binding 
 her hair. There is shading in the background. 
 
 Dry-point. Height, 8% inches; width, 5% inches. 
 
 75 
 
whistler’s etchings and dry-points 
 
 First State: There is shading about the head and there are 
 four horizontal lines at the left of the figure, and two at the 
 right, opposite the waist. There is no butterfly. 
 
 Avery Collection. On the impression of this state in this col- 
 lection Whistler wrote: “1873,” “ Dry Point” and “ 1st State.” 
 
 Second State: Horizontal lines are added above the earlier 
 lines, each side of the figure, and vertical lines are added at the 
 right of the left shoulder. There is no butterfly. 
 
 Avery and Benedict Collections. On the impression of this 
 state in the Avery Collection Whistler wrote: “Girl Resting.” 
 
 Third State: Vertical lines are added in the background, 
 above the horizontal lines at the right, and the butterfly, in 
 outline, is added near the middle of the plate, at the left. 
 Mansfield Collection. 
 
 Fourth State: In the background at the left a few horizontal 
 lines are added above the main horizontal lines, and numerous 
 vertical lines above and below those lines. Vertical lines are 
 added at the right of the head. 
 
 Fifth State: Several short horizontal lines are added in the 
 background, each side of the figure. Some of the lines in the 
 drapery are strengthened. 
 
 Sixth State: Numerous strong horizontal lines are added in 
 the background, each side of the figure. 
 
 Catalogued by Wedmore as “The Model Resting.” 
 
 GIRL LEANING. (W. 105.) A young girl in slight draperies 
 stands leaning back toward the right, but facing to the left. There 
 are strong diagonal lines in the background, at the right of the 
 figure. The plate is unsigned. 
 
 Dry-point. Height, 4 yi inches; width, iy% inches. 
 
 Freer Collection. 
 
 Catalogued by Wedmore as “Resting.” 
 
 76 
 
whistler’s etchings and dry-points 
 
 120 DRAPED GIRL RECLINING. (W. 107.) A girl very slightly 
 draped and wearing a kerchief about her head is lying on a 
 divan, her head and shoulders resting on pillows. She faces to 
 the right, her right hand raised to her face and her left hand rest- 
 ing on her hip. In the background there are Japanese fans, and 
 at the right is a curtain. The plate is unsigned. 
 
 Dry-point. Height, 7 X inches; width, 11 inches. 
 
 There is perhaps only one impression. 
 
 Catalogued by Wedmore as “The Model Lying Down.” 
 
 12 1 GIRL LYING DOWN. An incomplete sketch of a girl wear- 
 ing a long dress, slightly indicated, who lies on a divan with her 
 figure extended to the right, her right arm hanging by the side of 
 the divan. There is a large disk in the background, toward the 
 left. Near the right edge of the plate are sketches of two heads, 
 one that of a girl wearing a round hat. The plate is unsigned. 
 Dry-point. Height, 5^ inches; width, 8 yi inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 122 GIRL SLEEPING. (W. 112.) A young girl wearing a short 
 dress lies asleep on a low divan, her figure extended to the left, 
 her left hand resting on a book upon the floor. 
 
 Dry-point. Height, 5^ inches; width, 8 % inches. 
 
 First State: There is no butterfly. 
 
 Mansfield Collection. 
 
 Second State: The butterfly, in outline, is in the upper half 
 of the plate, an inch from the left edge. 
 
 Avery and Freer Collections. 
 
 Catalogued by Wedmore as “A Child on a Couch.” 
 
 123 NUDE GIRL RECLINING. (W. 113.) A nude girl is lying on 
 a couch, her figure extended to the left. Her left hand is raised 
 
 77 
 
whistler’s etchings and dry-points 
 
 First State: The space above the head is clear. There is no 
 butterfly. 
 
 Freer Collection. 
 
 Second State: Short vertical lines are added in the back- 
 ground immediately above the head, and numerous diagonal 
 lines at the right of the figure. The butterfly, shaded, is above 
 the middle of the plate, near the left edge. 
 
 Third State: Diagonal lines are added upon the right knee. 
 Numerous vertical lines are added along the upper edge of the 
 plate, and diagonal lines are added at the right of the head. 
 Mansfield Collection. 
 
 Fourth State: There is additional shading on the boy’s left 
 shoulder. Four short diagonal lines are added between verti- 
 cal and diagonal lines near the edge of the shading at the right 
 of the head, and a few lines are added nearer the head. 
 
 Fifth State: Strong diagonal lines are added in the back- 
 ground at the right, along the contour of the head and figure 
 and in the lower shadow. 
 
 Mansfield collection. 
 
 Sixth State: There is more work on the hair. A few verti- 
 cal lines are added at the right of the head, and diagonal lines 
 are added in the lower shadow and between the legs. 
 
 Seventh State: Lines are added extensively over the figure. 
 Stronger diagonal lines are added in the background at the 
 right and in the lower shadow. Short horizontal lines are 
 added at the left of the head and shoulders, and a few vertical 
 lines are added below the right knee. 
 
 SWINBURNE. (W. i io.) Sketched high on the plate is a full- 
 face portrait of the poet, with lofty forehead, thin hair, a mous- 
 tache and scanty beard, the shoulders being merely indicated. 
 There is strong shading in the background, about the head and 
 
 82 
 
whistler’s etchings and dry-points 
 
 shoulders. The lower half of the plate is left entirely blank. 
 The plate is unsigned. 
 
 Dry-point. Height, io^i inches; width, 7^ inches. 
 
 Freer Collection. On the impression in this collection Whistler 
 wrote: “Swinburne.” 
 
 135 LADY AT A WINDOW. (W. in.) A lady wearing a hat 
 stands facing to the right, leaning against a cabinet by a window 
 and reading a paper. 
 
 Dry-point. Height, 9 y& inches; width, 6 %, inches. 
 
 First State: The figure is slightly sketched and the features 
 are undefined. There is a suggestion of a curtain in the back- 
 ground. The cabinet is scarcely more than indicated. There 
 is no butterfly. 
 
 Freer Collection. 
 
 Second State: The figure is fully indicated and the features 
 are defined. Strong diagonal lines are added on the dress. 
 The curtain is distinctly expressed and vertical lines are added 
 below it. The cabinet is now more clearly indicated. A small 
 table is added at the right. There is no butterfly. 
 
 Mansfield Collection. 
 
 Third State: There is additional work on the dress and cur- 
 tain. The window-frame is more defined. Vertical lines are 
 added in the background and upon the side of the cabinet. 
 Curved lines are added above the table, giving it the appear- 
 ance of a desk. The butterfly, in outline, is above the desk. 
 
 Fourth State: Numerous fine lines are added on the body and 
 right arm and hat, and a few on the skirt. Vertical and hori- 
 zontal lines are added in the background, at the left of the skirt. 
 
 136 GENTLEMAN READING. A nearly half-length portrait of a 
 gentleman with long silky hair and full beard, sitting in an arm- 
 
 83 
 
whistler’s etchings and dry-points 
 
 lower part of her skirt is only slightly indicated. The space 
 about her head is strongly shaded. The plate is unsigned. 
 Dry-point. Height, 10% inches; width, 5^ inches. 
 
 Freer Collection. The impression in this collection, formerly in 
 the Haden Collection, is perhaps unique. 
 
 13 1 THE DESK. (W. 104.) A young woman, turned somewhat 
 to the left, sits facing front, her left arm hanging by her side, 
 her right arm, so far as indicated, resting apparently upon a desk. 
 There is shading in the background. The plate is unsigned. 
 Dry-point. Height, 8 y% inches; width, 53 45 inches. 
 
 First State: The right arm is scarcely indicated. The bend 
 of the right knee is now expressed by a few slight lines. The 
 desk is merely suggested. In the background there are a few 
 lines at the left of the head, many vertical lines at the right of 
 the head, and diagonal lines at the right of the figure. 
 Mansfield Collection. 
 
 Second State: The expression of the face is slightly changed. 
 A few short diagonal lines are added above similar lines at the 
 left of the head. Short diagonal lines are added below the right 
 arm, and longer diagonal lines below the elbow of the left arm. 
 
 Third State: The expression of the face is again changed. 
 Both arms are more distinctly outlined, and the figure is more 
 defined by shading. The desk is more clearly indicated, and 
 horizontal lines are added in the background above the desk. 
 The shading at the right of the head has been changed and 
 surrounds two small blank spaces. 
 
 Freer Collection. 
 
 Fourth State: Additional work on the face gives a new ex- 
 pression to the eyes and mouth. Four short vertical lines are 
 added above the earlier shading at the right of the head, and 
 the small space nearer the head is now filled with short verti- 
 cal lines. 
 
 80 
 
whistler’s etchings and dry-points 
 
 Fifth State: The face has been redrawn and shortened, and 
 the hair made to fall thickly on the forehead. The bend of the 
 right knee is expressed by heavy lines. Strong diagonal lines 
 are added upon the skirt of the dress. The desk is further 
 defined. 
 
 132 AGNES. (W. 106.) A woman with a fringe of hair across her 
 forehead sits facing front, apparently tightening strings around 
 the mouth of a bag which she holds in both hands. There is 
 shading in the background, about the head. The plate is un- 
 signed. 
 
 Dry-point. Height, 8 J 4 , inches, width, 5^ inches. 
 
 First State: The shading is in close vertical lines above the 
 head and at the right of the head, and in open vertical lines, 
 crossed by horizontal and diagonal lines, at the left of the head 
 and neck. 
 
 Mansfield Collection. 
 
 Second State: Vertical lines are added above the head and 
 above the earlier lines at the right, and short diagonal lines are 
 added above the left shoulder. 
 
 Freer Collection. 
 
 Third State: Vertical lines, which extend to the top of the 
 plate, are added above the head. A few thick short lines are 
 added along the left side of the bag. 
 
 133 THE BOY. (W. 109.) A boy with long hair falling upon his 
 shoulders sits sidewise, facing front, on a ledge or a high bench. 
 His right foot, merely indicated, is raised from the floor, on which 
 his left foot, also merely indicated, rests. His left hand lies 
 over his right knee. There are traces of a head in reverse near 
 the bottom of the plate, at the center. There is shading in the 
 background. 
 
 Dry-point. Height, 8 % inches; width, 5% inches. 
 
 81 
 
whistler’s etchings and dry-points 
 
 to her face, and her right hand is lifted behind her. The plate is 
 unsigned. 
 
 Dry-point. Height, 5 X inches; width, 8 y inches. 
 
 First State: The face and figure are but slightly indicated. 
 Freer Collection. 
 
 Second State: The legs and left arm are more defined, and a 
 few lines are added here and there. 
 
 Freer Collection. 
 
 Catalogued by Wedmore as “Sketch of a Girl, Nude.” 
 
 124 NUDE GIRL POSING. The nearly full-length figure of a nude 
 girl, who stands facing front, but with the body turned toward 
 the right, her right hand resting upon her hip. There is some 
 shading in the background. The plate is unsigned. 
 
 Dry-point. Height, ii|T inches; width, 6 j 4 inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 125 NUDE GIRL STANDING. The full-length figure of a nude 
 girl, who stands facing front, her left leg crossed in front of the 
 right, her left arm resting on a ledge. The plate is unsigned. 
 Dry-point. Height, 8 % inches; width, 6 inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 126 NUDE GIRL WITH ARMS RAISED. The full-length figure of 
 a nude girl, who stands turned and facing toward the right. Her 
 left leg is crossed in front of the right, and her arms, incompletely 
 drawn, are raised above her head, as if holding draper)' which is 
 suggested as falling behind the figure. The plate is unsigned. 
 Dry-point. Height, 7X inches; width, 3% inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 78 
 
whistler's etchings and dry-points 
 
 127 SKETCHES OF TWO HEADS. Near the top of the plate is a 
 slight sketch of the head of a young woman facing front. The 
 head is surrounded by shading. Near the bottom of the plate, 
 slightly suggested, is the back of a head, in reverse. The plate 
 is unsigned. 
 
 Dry-point. Height, 5 y% inches; width, 3 yi inches. 
 
 Freer Collection. 
 
 128 SKETCHES OF GIRL AND WOMAN. (W. 108.) Near the 
 left upper corner of the plate is a sketch of a girl, facing to the 
 right, seated apparently on a divan and leaning against a cush- 
 ion which projects above her head. In the lower part of the 
 plate is a slight half-length sketch of a woman, seen in reverse. 
 Between the two figures are a number of irrelevant lines. The 
 plate is unsigned. 
 
 Dry-point. Height, 7 inches; width, 5X inches. 
 
 Freer Collection. 
 
 Catalogued by Wedmore as “Two Sketches.” 
 
 129 LADY STANDING. (Sup. 364.) A young lady wearing an 
 over-skirt looped up at the back and a hat with a feather stands 
 facing outward to the right, her right arm hanging by her side, 
 her left arm, so far as indicated, seeming to rest upon a desk. 
 Vertical lines strongly shade the background at the left of the 
 figure and at the right of the head. The plate is unsigned. 
 Dry-point. Height, 8 inches; width, 6 inches. 
 
 Freer Collection. The impression in this collection, formerly in 
 the Haden Collection, is perhaps unique. It is retouched in 
 black crayon. The butterfly, in outline, is added in crayon at 
 the right, within the plate-mark. 
 
 130 GIRL STANDING. (Sup. 365.) A young girl with large eyes 
 and with hair falling over her forehead stands turning toward 
 the left, but facing front, her left arm hanging by her side. The 
 
 79 
 
whistler’s etchings and dry-points 
 
 chair, facing to the right and holding a book. There is shading 
 in the background. The plate is unsigned. 
 
 Dry-point. Height, io>^ inches; width, 7 inches. 
 
 Known to the compiler only through impressions from the can- 
 celled plate. 
 
 137 MISS ALEXANDER. A young girl with hair fringed across her 
 forehead and falling upon her shoulders sits facing toward the 
 right, in a large armchair. There are horizontal and diagonal 
 lines in the background at the left of the figure, and horizontal 
 lines underneath the chair. The plate is unsigned. 
 
 Dry-point. Height, inches; width, 5^ inches. 
 
 Freer Collection. The impression in this collection is touched 
 with India ink, and the butterfly is added in India ink. 
 
 138 THE GUITAR-PLAYER. (W. 122.) A nearly full-length 
 portrait of a man with full beard, who wears a short coat and 
 stands facing nearly front, but somewhat to the left, holding a 
 guitar which he is playing. There is shading in the background. 
 The butterfly, in outline, is below the middle of the plate, near 
 the right edge. 
 
 Dry-point. Height, 10 J/& inches; width, 6 % inches. 
 
 First State: The shading in the background consists of only 
 horizontal lines above the left shoulder and of horizontal and 
 a few other lines above the right shoulder, and a few horizontal 
 and vertical lines below the right arm. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “The Guitar-Player (Ridley)” and “75.” 
 
 Second State: Vertical lines are added in the background, 
 at the right of the head, and horizontal and vertical lines along 
 the right side of the figure. 
 
 Third State: There is additional work on the figure. In the 
 background at the right, vertical lines are added above the 
 
 84 
 
whistler’s etchings and dry-points 
 
 head, and horizontal and vertical lines along the length of the 
 ■ figure. A series of short diagonal lines extends from the left 
 shoulder. Horizontal and diagonal lines are added above the 
 right shoulder, and numerous horizontal lines below the right 
 arm. 
 
 Freer and Lathrop Collections. 
 
 Fourth State: Short vertical lines are added above the head, 
 at the left, and heavy diagonal lines on the guitar, below the 
 hand. 
 
 Benedict Collection. 
 
 Fifth State: Short horizontal lines and a few vertical lines 
 are added at the right of the head, and numerous horizontal 
 lines and some vertical lines are added above the head and at 
 the left. 
 
 Mansfield Collection. 
 
 THE PIANO. (W. 1 17.) A young woman sits facing to the 
 left, playing a piano, the form of which is merely suggested. 
 Dry-point. Height, 9^ inches; width, inches. 
 
 First State: There is no shading in the background except 
 short lines about the head and at the right of the figure, and a 
 few vertical lines below the extended arms. There is no but- 
 terfly. 
 
 Buckingham Collection. 
 
 Second State: Vertical lines are added in the background, 
 extensively above the figure, also at the left. Two series of 
 diagonal lines are added at the right of the figure, and a number 
 of vertical lines below the piano. There is no butterfly. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “The Piano” and “75.” 
 
 Third State: In the background numerous vertical lines are 
 added across the upper part of the plate, and horizontal and 
 diagonal lines near each side of the head. Vertical lines are 
 
 85 
 
whistler’s etchings and dry-points 
 
 the seated figure at the right. The roof-beams are more dis- 
 tinct. There is no butterfly. 
 
 Fifth State: There is more work on the standing figures. 
 Vertical lines are added in the space above the cross-piece, and 
 seven short vertical lines in the space below the window-sill. 
 Lines are added below the left arm and hammer of the man 
 bending over the anvil. The trees at the left are defined as 
 two tall trees. The butterfly, shaded, is near the left lower 
 corner of the plate. 
 
 Avery Collection. 
 
 Sixth State: The suggestions of trees at the right of the 
 two tall trees are given the form of a single rounded tree. 
 Mansfield Collection. 
 
 Seventh State: Numerous lines are added on the back of 
 the man standing next the furnace, and the left leg of the man 
 standing by him is more defined. Short vertical lines are add- 
 ed above the head of the seated figure at the right; four di- 
 agonal lines are added at the right of the man seated at the 
 window; several diagonal lines are added on the lower part of 
 the anvil. The cross-piece is now heavily shaded; the shad- 
 ing in the mouth of the furnace is deepened, and the shadows 
 generally are strengthened. 
 
 Freer Collection. 
 
 Eighth State: Short horizontal lines are added on the wall at 
 the right of the window. Strong vertical lines are added below 
 the arm and hammer of the man bending over the anvil. There 
 is some additional work here and there throughout the plate. 
 
 146 THE TWO SHIPS. (W. 116.) Two ships lie side by side, near 
 a wharf at the right, a small boat lying alongside the outer ship. 
 Beyond is a barge under sail, and in the distance are warehouses 
 and shipping. The butterfly, shaded, is near the left lower 
 corner of the plate. 
 
 90 
 
whistler’s etchings and dry-points 
 
 Etching. Height, 8% inches; width, 5 X inches. 
 
 Mr.Wedmore says: “The scene is St. Katherine’s Docks, London.” 
 The plate was done in 1875. It was published in 1880 by Messrs. 
 Dowdeswell and Dowdeswells. 
 
 First State: The modeling of the stern of the ship next the 
 wharf is indicated by a few etched lines. The stern of the 
 outer ship and the form of the boat alongside are mainly ex- 
 pressed by outlines. The barge and the distant shipping are 
 faintly indicated. 
 
 Benedict Collection. 
 
 Second State: The modeling of the lower part of each stern 
 is indicated by strong curved lines in dry-point, the upper part 
 being still expressed by outlines. The reflections of the ships 
 are strengthened. The stern and side of the boat alongside 
 the outer ship are slightly shaded. There is additional work 
 on the rigging of the ships and on the warehouses, barge and 
 distant shipping. 
 
 Avery and Parker Collections. 
 
 Third State: Vertical lines are added on the upper part of 
 each stern, and diagonal lines on the lower part, and the reflec- 
 tions of the ships are changed. The stern and side of the boat 
 alongside the outer ship are strongly shaded. 
 
 147 STEAMSHIPS OFF THE TOWER. (W. 114.) Lying to- 
 gether, well out in the Thames, are two large steamships. At the 
 right there are a number of ships and at the left there are three 
 barges with furled sails. Beyond a wharf at the right are the 
 Tower and other buildings. On the river, in front and at the 
 right, there are rowboats with men in them. The butterfly, in 
 outline, is in the sky, near the right upper corner of the plate. 
 Dry-point. Height, 6 % inches; width, 8% inches. 
 
 First State: The whole composition is but slightly sketched. 
 There is one long boat in front. 
 
 9 ‘ 
 
whistler’s etchings and dry-points 
 
 143 THE DAM WOOD. (W. 120.) In the foreground is a group of 
 young slender trees. There are suggestions of a grassy meadow 
 beyond and of a wood in the distance, under a cloudy sky. 
 Dry-point. Height, 6 % inches; width, 4 yi inches. 
 
 First State: The lines in the distance are indefinite. There 
 is no butterfly. 
 
 Avery, Benedict, Buckingham, and Vanderbilt Collections. 
 On the impression in the Avery Collection Whistler wrote: 
 “ Near Speke.” 
 
 Second State: The grass and the distant wood are now well 
 defined. The butterfly, shaded, is on the lower part of the 
 wood, at the right. 
 
 Freer Collection. 
 
 Third State: Strong diagonal lines, running from left to right, 
 cross the right half of the plate, above the butterfly. Diagonal 
 lines are added in the lower part of the sky, at the left. 
 Fathrop and Mansfield Collections. 
 
 144 SHIP-BUIFDER’S YARD. (W. 121.) In the foreground, near 
 a high scaffolding at the extreme right, there is a tall pole, at 
 the foot of which a man is standing. Across a wide reach of 
 water are numerous vessels at anchor and lines of distant ship- 
 ping. There are a few clouds in the sky. The butterfly, in 
 outline, is half way up the plate, near the left edge. 
 
 Dry-point. Height, \o% inches; width, 5^ inches. 
 
 First State: The man wears a long coat and round-topped hat. 
 Avery and Freer Collections. On the impression in the Avery 
 Collection Whistler wrote: “Ship Builder’s Yard,” “Fiver- 
 pool” and “75.” 
 
 Second State: In place of the man first drawn is a man differ- 
 ently clad and indistinctly indicated. There are additional 
 lines in the sky, a little above the shipping. 
 
 Mansfield Collection. 
 
 88 
 
whistler’s etchings and dry-points 
 
 Third State: The second man has been almost wholly re- 
 moved. Short vertical lines are added below the line of the 
 bulkhead near which he stood. Shading is added upon the 
 scaffolding and shipping. 
 
 Buckingham Collection. 
 
 THE LITTLE FORGE. (W. 115.) The interior of a forge in 
 which men are at work. One, in front, bends over an anvil; 
 two stand near a furnace in the background; a fourth is seated 
 at a bench at the left, near an open window through which there 
 is a glimpse of a landscape with trees. Slightly indicated in the 
 background at the extreme right, is a seated figure. Beams at 
 right angles to a long cross-piece support the roof. 
 
 Dry-point. Height, 8^8 inches; width, 5^3 inches. 
 
 First State: The men standing by the furnace are merely in- 
 dicated. There is a clear space above the cross-piece, at the ex- 
 treme left, and another above the head of the man standing in 
 the background at the right. There are two crossed lines on the 
 back of the man seated at the window. The trees seen through 
 the window are merely suggested. There is no butterfly. 
 Avery, Freer, and Benedict Collections. On the impression 
 of this state in the Avery Collection Whistler wrote: “The 
 Little Forge,” “Liverpool,” “1st proof” and “75.” 
 
 Second State: Short vertical and diagonal lines are added in 
 the space half an inch above the man standing in the back- 
 ground at the right. There is no butterfly. 
 
 Third State: Crossed lines are added on the back of the man 
 seated at the window, and short lines are added on the upper 
 part of his arm. Short irregular lines are added on the window- 
 sill. There is no butterfly. 
 
 Benedict Collection. 
 
 Fourth State: The two men by the furnace are fairly well 
 defined. Vertical lines are added in the background just above 
 
 89 
 
whistler’s etchings and dry-points 
 
 added below the extended arms, at the left of the earlier lines. 
 The butterfly, slightly shaded, is at the left, two-thirds of the 
 way up the plate. 
 
 Benedict Collection. On the impression of this state in this 
 collection Whistler wrote: “Miss Tinnie Greaves.” 
 
 Fourth State: The piano is somewhat more defined and six 
 short vertical lines are added below the piano, at the left of the 
 earlier lines. 
 
 Mansfield Collection. 
 
 Fifth State: A row of short vertical lines is added in the back- 
 ground, above the butterfly; numerous vertical lines are add- 
 ed each side of the figure, and there are additional lines on the 
 dress. 
 
 Benedict Collection. 
 
 Sixth State: Vertical lines are added in the background at 
 the left, and numerous short diagonal lines above the head and 
 at the right of the figure. 
 
 140 THE SCOTCH WIDOW. (W. 118.) A young woman with a 
 scarf over her head, and wearing a plaid shawl and long skirt, sits 
 facing front and bending slightly forward. There are a few ver- 
 tical lines in the background, besides strong shading at the left 
 of the skirt. The butterfly, shaded, is below the middle of the 
 plate, near the right edge. 
 
 Dry-point. Height, y% inches; width, 4 inches. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “The Scotch Widow” and 
 
 141 SPEKE HALL. No. 2. (Sup. 269.) Beyond a broad open 
 space stands a long half-timbered house with four gables in front 
 and a gable and two chimneys at the left end. There is a sug- 
 gestion of shrubbery at the left and of trees at the right. Near 
 
 86 
 
whistler’s etchings and dry-points 
 
 the foreground, at the extreme right, is a tree-stem with two 
 long projecting branches. The plate is unsigned. 
 
 Dry-point. Height, 6 % inches; width, 12 inches. 
 
 First State: The open space is clear. 
 
 Avery and Mansfield Collections. The impression in the Avery 
 Collection bears the memoranda: “Speke Hall” — “1875” 
 and “ 1 st proof,” with the artist’s signature. 
 
 Second State: In the open space, near the center there is the 
 figure of a man walking; at the left are the figures of two 
 women and the figure of another man; at the right are two 
 other figures — all slightly indicated. 
 
 Freer Collection. 
 
 142 SPEKE SHORE. (W. 119.) Beyond a stretch of beach, on 
 which a patch of grass is growing, rises a high bushy bank, on 
 which, at the left, are a few trees, one of them bearing a sign- 
 board. At the right is roughish water under a lowering sky. In 
 the foreground, at the right, a woman wearing a trailing skirt 
 and a jacket, and a hat covered by a veil, is walking toward the 
 bank. The plate is unsigned. 
 
 Dry-point. Height, 6 inches; width, 9 inches. 
 
 First State: The stem of the tree bearing the sign-board is 
 expressed by parallel lines with some slight shading. There 
 is almost no shading on the stems of the other trees. The 
 woman’s jacket is shaded by fine parallel lines. 
 
 Mansfield Collection, On the impression in this collection 
 Whistler wrote: “1st State” and “1st proof.” 
 
 Second State: There is more shading on the tree-stems and on 
 the woman’s jacket, and numerous lines are added on the bushes. 
 
 Third State: The tree-stems are strongly shaded. There is 
 more work on the grass, and short diagonal lines are added 
 here and there below the waving outlines of the bushes along 
 the ridge of the bank. 
 
 87 
 
whistler’s etchings and dry-points 
 
 Avery Collection. On the impression of this state in this col- 
 lection Whistler wrote: “Custom House Wharf.” 
 
 Second State: The long boat is divided into two boats. The 
 new moon appears at the right, above the distant buildings. 
 Benedict and Freer Collections. 
 
 Third State: There is much additional work on the buildings 
 and on the vessels and their reflections. 
 
 Avery and Mansfield Collections. On the impression of this 
 state in the Avery Collection Whistler wrote: “From the Cus- 
 tom House, Thames” and “75.” 
 
 148 CUSTOM-HOUSE. (W. 128, Sup. 300.) The London Custom- 
 House, a long building with columns, appears across the Thames, 
 at the left of a church tower and a large warehouse. Farther 
 to the left, above a row of buildings merely outlined, the four 
 turrets of the White Tower are seen. On the river are barges 
 and a few vessels, slightly sketched. The plate is unsigned. 
 Etching. Height, 3X inches; width, 7T6 inches. 
 
 Catalogued by Wedmore as “The White Tower.” 
 
 149 THE TROUBLED THAMES. (W. 129.) Across a stretch of 
 roughish water appears a row of Thames warehouses, in front of 
 which are river steamboats. Out in the stream are barges and 
 a steamboat, slightly indicated. The plate is unsigned. 
 
 Etching. Height, 4 X inches; width, 8 % inches. 
 
 First State: The disturbance of the water is suggested by 
 numerous slightly etched lines. 
 
 Freer Collection. 
 
 Second State: Dry-point lines are added here and there in 
 the water, and shading is added on the warehouses. A wharf 
 with a paling behind it is added at the extreme right. Two 
 furled sails cross the left upper corner. 
 
 Benedict Collection. 
 
 92 
 
whistler’s etchings and dry-points 
 
 150 LONDON BRIDGE. (W. 123.) An arch of London Bridge, 
 through which are seen, at the right, a steamship with barges 
 clustered about it, and at the left, across the river, vessels and 
 warehouses. In front are two men in a rowboat, one standing, 
 and at the right are a rowboat and barges. A vehicle loaded 
 with sacks, on which the driver is seated, is crossing the bridge. 
 Dry-point. Height, 6 }i inches; width, inches. 
 
 First State: The arch is shaded by short parallel lines. The 
 figures in the rowboat in front are in outline. The side of this 
 boat and the sides of the rowboat and adjacent barge at the 
 right are slightly shaded by short horizontal lines. The dis- 
 tant warehouses are merely suggested. There is no butterfly. 
 Mansfield Collection. 
 
 Second State: Strong parallel lines, running lengthwise, are 
 added underneath the arch. There is shading on the figures 
 in the boat in front. Short diagonal lines shade the side of 
 this boat for two-thirds of its length. Similar lines slightly 
 shade the sides of the boat and barge at the right. There is 
 much additional work on the steamship and on the barges 
 clustered about it. The distant warehouses are defined and 
 shaded. There is no butterfly. 
 
 Benedict Collection. 
 
 Third State: The lines running lengthwise underneath the 
 arch are no longer conspicuous, and numerous lines crossing 
 them are added. The butterfly, shaded, is toward the right 
 lower corner of the plate. 
 
 Mansfield Collection. 
 
 Fourth State: Shading on the side of the rowboat in front 
 extends its whole length. There is additional work under- 
 neath the arch and here and there throughout the plate. 
 
 Fifth State: The lines of shading on the rowboat in front are 
 closer and are uniformly extended to the gunwale. 
 
 Avery Collection. 
 
 93 
 
whistler’s etchings and dry-points 
 
 i 51 PRICE’S CANDLE-FACTORY. (W. 124.) An assemblage of 
 low sheds with rounded roofs and tall chimneys, seen across the 
 Thames from Chelsea. At the right there are two arches of a 
 bridge spanning the river, and beyond is a church spire. On the 
 river are two barges, the farther one under sail. 
 
 Dry-point. Height, 5L6 inches; width, 8J4 inches. 
 
 First State: The farther barge has a short mast and one sail. 
 In front of the barges there are outlines of a long rowboat and 
 four occupants. There are two irregular dotted lines, below 
 horizontal lines, in the sky. There is no butterfly. 
 
 Benedict, Freer, Lathrop, and Mansfield Collections. 
 
 On an impression of this state Whistler wrote: “ Price’s Candle- 
 Factory.” 
 
 Second State: The farther barge has a tall mast with a top- 
 sail and with a short pennant flying to the left. There is addi- 
 tional shading on the mainsail and on the sides of both barges. 
 There is a man on the stern of the nearer barge. A firm line is 
 added along the upper dotted line. There is no butterfly. 
 
 Freer and Mansfield Collections. 
 
 Third State: The mast of the farther barge is lengthened and 
 has a long pennant flying to the right. Both sails are changed 
 in shape and enlarged. The form of the nearer barge is changed 
 and its side is shaded by vertical lines. Parts of the build- 
 ings have been burnished out. The barges, sails and buildings 
 cast strong reflections. Traces of the rowboat in front have 
 been removed. The forms of the clouds are changed, and 
 numerous short lines are added in the sky, above the bridge. 
 Thebutterfly, shaded, is near the bottom of the plate, at the right. 
 
 Fourth State: The mainsail of the farther barge is heavily 
 shaded. Diagonal lines are added on the side of the nearer 
 barge. Some of the buildings have been redrawn. There is 
 additional work underneath the bridge. 
 
 Catalogued by Wedmore as “Price’s Candle-Works.” 
 
 94 
 
whistler’s etchings and dry-points 
 
 152 BATTERSEA: DAWN. (W. 125.) River steamboats lie clus- 
 tered on the Thames, near the farther shore, on which are long 
 sheds, high buildings, and numerous tall chimneys. In front, 
 at the right, there are several rowboats, and at the left is a group 
 of rowboats, one with a small flag at the stern. The butterfly 
 is in the sky, at the right. 
 
 Dry-point. Height, 5% inches; width, 8 inches. 
 
 First State: The row of buildings at the left does not reach 
 the edge of the plate. There is a mere outline of roofs at the 
 extreme right. The sides of all the steamboats and rowboats 
 are shaded by horizontal lines. The butterfly is faintly shaded. 
 Benedict, Buckingham, and Mansfield Collections. 
 
 Second State: The row of buildings at the left is extended 
 virtually to the edge of the plate. Roofs at the extreme right 
 are expressed by shading. Short vertical lines are added on 
 the side of the nearest steamboat and on the sides of the far- 
 thest steamboats at the left, and short diagonal lines on the 
 right half of the nearest of a group of three rowboats. There is 
 more shading on the butterfly. 
 
 Freer Collection. 
 
 Third State: Short diagonal lines are added on the left half 
 of the nearest of the three rowboats. 
 
 Fourth State: Numerous vertical lines are added below the 
 shaded roofs at the extreme right. 
 
 Fifth State: Short diagonal lines are added on the side of the 
 nearest steamboat, aft of the paddle-box, and on the sides of 
 steamboats lying beyond. Numerous fine diagonal lines are 
 added on the buildings and in the sky at the right. The small 
 stern-flag is lengthened. There are a few additional reflections 
 of smoke-stacks and chimneys. 
 
 153 STEAMBOAT-FLEET. (W. 223, Sup. 363.) A cluster of 
 Thames steamboats is seen across the river, in which they are 
 
 95 
 
whistler’s etchings and dry-points 
 
 strongly reflected. At the right is a landing-stage reached by a 
 curved bridge. Long horizontal lines indicate a lowering sky. 
 The plate is unsigned. 
 
 Dry-point. Height, 5 yi inches; width, 8 yi inches. 
 
 First State: Between the landing-stage and the nearest boat 
 are firm parallel lines, and above the boat are three series of 
 short vertical lines. 
 
 Mansfield Collection. 
 
 Second State: The horizontal lines between the landing-stage 
 and nearest boat are softened, and the three series of vertical 
 lines are given the appearance of tall chimneys above distant 
 buildings. 
 
 Catalogued in the Supplement as “Opposite Lindsay Row.” 
 
 154 THE SAIL. Near the center of the plate is a topmast with a 
 furled sail and some rigging. Below is a suggestion of a square 
 sail set. The plate is unsigned. 
 
 Dry-point. Height, 8 % inches; width, 5 X inches. 
 
 Freer Collection. 
 
 155 FISHING-BOATS, HASTINGS. (W. 131.) Stranded upon a 
 beach are fishing-boats, behind which stretches a row of shanties 
 at the foot of a hill. In the foreground, at the right, nets are 
 hung up to dry. Near the right lower corner: “ Hastings.” The 
 butterfly is half way up the plate, near the left edge. 
 
 Etching. Height, 5% inches; width, 0,% inches. 
 
 First State: Lines in the sky at the left extend partly across 
 the hill. The butterfly is slightly shaded, and is a quarter of 
 an inch wide. 
 
 Mansfield Collection. 
 
 Second State: Dry-point lines are added in the sky and on 
 the sides of the nearer boats. A new butterfly, shaded, of the 
 width of half an inch, replaces the first butterfly. 
 
 96 
 
whistler’s etchings and dry-points 
 
 Avery and Benedict Collections. On the impression in the 
 Avery Collection Whistler wrote: “1877” and “Hastings.” 
 
 Third State: The lines in the sky have nearly disappeared. 
 In place of the earlier butterflies is a butterfly in outline. 
 
 156 WYCH STREET. (W. 132.) High on the plate, at the left, are 
 the upper stories of old timbered houses, above which a church 
 tower is seen. At the right, slightly indicated, is the upper part 
 of a tall building. In the distance there are slight suggestions of 
 buildings along a street in which appears the top of a lamp-post. 
 The plate is unsigned. 
 
 Etching. Height, 8% inches; width, 5% inches. 
 
 On the impression in the Avery Collection Whistler wrote: 
 “1877” and “Wych Street, London.” 
 
 157 LITTLE SMITHFIELD. (W. 78.) On either side of a narrow 
 space are tall irregular wooden buildings. In front, at the right, 
 there are two figures, facing each other. The plate is unsigned. 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 On the impression in the Avery Collection Whistler wrote: 
 “Little Smithfield.” 
 
 158 SKETCH OF HOUSES. At the right is a row of houses with 
 gable ends to a street, across which is a single house — all slightly 
 indicated, except a house showing an oriel window and an elabo- 
 rately etched roof with dormer-windows. A balcony with arches 
 projects beneath the eaves of the nearest house. 
 
 Etching. Height, 6 inches; width, inches. 
 
 Freer Collection. 
 
 159 TEMPLE BAR. (W. 133.) A sketch of the old Temple Bar 
 in the Strand, London, with suggestions of buildings on either 
 side. The plate is unsigned. 
 
 Dry-point and Etching. Height, 8^8 inches; width, 5^ inches. 
 
 97 
 
whistler’s etchings and dry-points 
 
 First State: The Bar and the buildings on either side are 
 merely indicated by dry-point outlines. 
 
 Freer Collection. 
 
 Second State: The upper part of the Bar is more defined, 
 with indications of figures in niches, and the arch below is 
 more clearly expressed — all in dry-point. 
 
 Freer Collection. 
 
 Third State: The upper part of the Bar is elaborated, with 
 central window and with figures in the niches. The arches 
 over the footways and the arch for vehicles, at the right of 
 which is a lamp-post, are well defined. Roofs of buildings at 
 the left and a church tower in the distance at the right are 
 added. In front, at the right are the head of a horse and slight 
 indications of figures, and at the left are a horse and a cart. 
 Seen through the central arch are another horse and a vehicle 
 and people on the tops of busses — nearly all in etching. 
 Dutcher, Freer, and Mansfield Collections. 
 
 60 FREE-TRADE WHARF. (W. 134.) A view on the Thames, 
 taken from Limehouse. On a timbered wharf at the right stands 
 a large warehouse, the top loft of which is open on the river side 
 and at the far end. Beyond narrow buildings another large ware- 
 house, with many windows, is built along a basin from which 
 projects the bow of a ship. From a square warehouse across 
 the basin stretches a row of irregular buildings, in front of which 
 lie numerous sailing-vessels and small boats. Out in the river, 
 at the left, is a cluster of ships. Near the timbered wharf are 
 two rowboats with a man in each. 
 
 Etching. Height, 3^ inches; width, 7X inches. 
 
 First State: The buildings are slightly shaded by vertical 
 lines. Near the center are a barge and two small rowboats. 
 Clouds are indicated by a few irregular lines toward the top of 
 the plate. There is no butterfly. 
 
 98 
 
whistler’s etchings and dry-points 
 
 Second State: Numerous horizontal lines are added in the 
 sky, above the shipping and lower buildings. There is no but- 
 terfly. 
 
 Avery Collection. 
 
 Third State: The larger buildings are heavily shaded, the 
 square warehouse being very dark. The barge and the small 
 boats near it have been removed. Numerous horizontal lines 
 in dry-point are added in the sky, above the earlier horizontal 
 lines, and short dry-point lines are added in the upper part of 
 the sky, at the left. The butterfly, shaded, is near the left 
 lower corner. 
 
 Avery and Benedict Collections. On the impression of this 
 state in the Avery Collection Whistler wrote: “1877” and 
 “From Limehouse.” 
 
 Fourth State: The lines added in the upper part of the sky 
 have been removed, and two series of short diagonal lines are 
 added above the large warehouse with windows. 
 
 Fifth State: The later horizontal lines and the later diagonal 
 lines in the sky have been removed. 
 
 In this state, published in 1879, as “Free-Trade Wharf,” by 
 the Fine Art Society, London. 
 
 161 GREENHITHE. (W. 135.) In front, at the left, on a broad 
 reach of the Thames, are two rowboats. In the nearest are four 
 men, one of whom is standing; in the boat next beyond are three 
 men. At the center is a man rowing a boat, near which is a sloop 
 with furled sail; at the left, farther away, are other rowboats and 
 boats under sail. At the right is a long shed on a timbered wharf. 
 In the distance there is shipping, between low shores, under a 
 cloudy sky. The butterfly, shaded, is near the right lower corner. 
 Dry-point. Height, 5% inches; width, 8 % inches. 
 
 First State: The sides of the rowboats are expressed by 
 lines running lengthwise. The man standing in the nearest 
 
 99 
 
whistler’s etchings and dry-points 
 
 boat is imperfectly defined. The clouds are mainly indicated 
 by diagonal lines, well above the horizon. The shading of the 
 shed and wharf has a grayish effect. 
 
 Mansfield Collection. 
 
 Second State: The sides of the two rowboats at the left 
 are shaded by short diagonal lines. The man standing in the 
 nearest boat is defined by additional shading. The form of the 
 sail of the most conspicuous sailboat at the left is changed, 
 and a smaller sailboat has been removed from in front of this 
 boat. The shed and wharf are now strongly shaded. Diagonal 
 lines bring the heavier clouds nearly to the horizon. 
 Buckingham Collection. 
 
 Third State: Diagonal lines are added along the side of the 
 nearest rowboat and on the side and stern of the rowboat next 
 beyond, and what seemed a raised oar in that boat now has the 
 appearance of a mast. The sail of the conspicuous sailboat is 
 more strongly shaded. There are additional lines in the sky. 
 On the impression of this state in the Mansfield Collection 
 Whistler wrote: “Greenhithe.” 
 
 Catalogued by Wedmore as “The Thames towards Erith.” 
 Greenhithe is on the Thames, about five miles below Erith. 
 
 162 LINDSEY HOUSES. (W. 136.) At the right several barges, 
 two with furled sails, lie alongside the Chelsea embankment, back 
 from which stands a row of picturesque old houses. Toward the 
 left, near the river edge, is a clump of trees; farther away is a 
 bridge, and beyond that, a church tower surmounted by a flag- 
 pole. The butterfly, shaded, is above the middle of the plate, 
 near the left edge. 
 
 Dry-point. Height, 5% inches; width, 8 % inches. 
 
 Lindsey House, Chelsea, built about 1764, was long ago divided 
 into separate houses, which, with additions, became Lindsey Row. 
 Mr. Wedmore gives the date of this print as 1878. 
 
 100 
 
whistler’s etchings and dry-points 
 
 First State: The shading on the furled sails and on the boats 
 and trees is comparatively slight. 
 
 Freer Collection. On this impression Whistler wrote: “ist 
 State; only proof.” 
 
 Second State: The furled sails are shaded by short diagonal 
 lines. Parts of the trees are now emphasized by heavy strokes. 
 Benedict Collection. 
 
 Third State: There is additional shading on the roofs of the 
 houses and on the hulls of the boats, and the trees are quite 
 uniformly shaded by fairly long diagonal lines. 
 
 Avery and Mansfield Collections. On the impression in the 
 Avery Collection Whistler wrote: “Lindsay Houses.” 
 
 Fourth State: The topmast of the barge at the extreme 
 right has been redrawn, and its halyards are extended in two 
 lines nearly to the crosstree. Numerous fine lines are added 
 throughout the furled sails of the two barges. The reflections 
 of the barges are strengthened. 
 
 Catalogued by Wedmore as “Lindsay Houses.” 
 
 163 FROM PICKLE-HERRING STAIRS. (W. 137.) Seen at the 
 right, on a broad reach of the Thames, there is a group of fishing- 
 smacks with furled sails, lying near a long low warehouse. At 
 the left, in front are two rowboats; beyond are two barges, and 
 near the second barge is a rowboat in which are two men. Far- 
 ther away a steamer is moored at a quay upon which stands a 
 row of high buildings. In the distance is a confusion of shipping, 
 under a clouded sky. The butterfly, shaded, is near the right 
 lower corner. 
 
 Etching. Height, 5% inches; width, 8% inches. 
 
 First State: The clouds are lightly sketched, and behind the 
 fishing-smacks the clouds are scarcely seen. The warehouse is 
 white. The side of the barge next the rowboat with the two 
 men is unshaded, and the two boats in front are in outline. 
 
 101 
 
whistler’s etchings and dry-points 
 
 Avery, Benedict, and Buckingham Collections. On the im- 
 pression in the Avery Collection Whistler wrote: “Pickle- 
 
 Herring Stairs” and “Touched proof.” 
 
 Second State: A few slight suggestions of clouds are added in 
 dry-point behind the fishing-smacks. The side of the nearest 
 rowboat is shaded for half its length. 
 
 Third State: A few diagonal lines are added in dry-point be- 
 hind the fishing-smacks. Both rowboats in front are shaded 
 for their whole length. 
 
 Lathrop Collection. 
 
 Fourth State: Numerous diagonal lines are added in dry- 
 point behind the fishing-smacks. The side of the barge next 
 the rowboat with the two men is shaded. 
 
 Mansfield Collection. 
 
 Fifth State: One side of the warehouse is shaded by two 
 rows of vertical lines. There are additional lines in the sky, 
 which is heavier throughout. The sides of the boats in front 
 are more strongly shaded, and there is more work on the ship- 
 ping in the distance. 
 
 164 A VIEW FROM BILLINGSGATE. (W. 130.) At the right 
 are three large barges near a timbered wharf, beyond which a 
 number of vessels are lying. At the left is the projecting bow of 
 a large ship, about which numerous barges and other boats are 
 grouped. Beyond a clear space of water is a row of warehouses, 
 in front of which is more shipping. 
 
 Dry-point. Height, 5^ inches; width, 8 }i inches. 
 
 First State: The three barges at the right are in outline. 
 There is a slight suggestion of a figure on the nearest barge. 
 The stern of a barge without a mast appears at the end of the 
 wharf. The warehouses are all merely outlined. There are 
 traces of an earlier drawing of a ship at the left. There is no 
 butterfly. 
 
 102 
 
whistler’s etchings and dry-points 
 
 Second State: There are three figures on the wharf and three, 
 slightly indicated, on the second barge at the right. A mast, 
 rigged and flying a long pennant, is added to the barge at the 
 end of the wharf. There is more work upon the large ship, on 
 which figures appear. The warehouses are more defined and 
 there is another vessel in front of them. There is no butterfly. 
 Freer and Benedict Collections. 
 
 Third State: Traces of the earlier drawing of a ship have been 
 wholly removed. Shading is added on the warehouses and on 
 the ship, and on all of the boats and barges, except the barge 
 next the wharf. 
 
 Fourth State: The figure on the nearest of the three barges 
 is more defined. Shading is added on the wharf, on the barge 
 next the wharf and on the warehouses. Reflections of the 
 ship and nearest barge are extended. The butterfly, shaded, 
 is at the lower edge of the plate, near the right corner. 
 Mansfield Collection. 
 
 Fifth State: The figure on the nearest barge is changed and 
 made taller. The wharf is heavily shaded, and there is ad- 
 ditional work throughout the plate. The foreskysail-stay of 
 the large ship has been partly removed. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “From Billingsgate” and “78.” 
 
 Sixth State: The foreskysail-stay has been redrawn, and ad- 
 ditional lines appear here and there throughout the plate. 
 
 165 ST. JAMES’S STREET. (W. 140.) A view down St. James’s 
 Street, London, with St. James’s Palace at the lower end. The 
 buildings on the right are seen higher and nearer than those on 
 the left. In the street are numerous vehicles and pedestrians, 
 and in the foreground at the left is a policeman. 
 
 Etching. 
 
 The buildings are shown in the reverse of their actual location. 
 
 03 
 
whistler’s etchings and dry-points 
 
 First State: There is a blank space, nearly an inch in width, 
 along the right edge of the plate. There is no butterfly. 
 Benedict, Buckingham, Freer, and Scholle Collections. 
 Height, io^$ inches; width, inches. 
 
 Second State: Clouds are added near the left upper corner. 
 Freer Collection. 
 
 Third State: The butterfly, shaded, is near the left lower 
 corner. 
 
 Lathrop Collection. 
 
 Fourth State: The clouds in the left upper corner have dis- 
 appeared. The plate has been cut down at the right. 
 Height, io^-g inches; width, 6 inches. 
 
 A reproduction of the last state of this etching, in reverse, ap- 
 peared in “Vanity Fair,” London, July 2, 1878, entitled “St. 
 James’s Street — June, 1878,” with “J. A. McNeill Whistler” 
 lithographed in script below the print, at the left. 
 
 166 LORD WOLSELEY. (W. 138.) A quarter-length portrait of 
 the soldier in civilian’s dress. The face, with moustache and 
 imperial, is seen in profile, looking to the left. There is shading 
 in the background. 
 
 Dry-point. Height, ii^ inches; width, 6 inches. 
 
 First State: There are slight vertical lines above the fore- 
 head and strong vertical lines above the head, at the right, and 
 many strong diagonal lines each side of the head. There is 
 no butterfly. 
 
 Freer Collection. 
 
 Second State: Vertical lines are added above the forehead, 
 and numerous strong diagonal lines at the left of the body. 
 There is no butterfly. 
 
 Third State: A number of curving lines are added above 
 the forehead, and a few long vertical lines near the left edge of 
 
 104 
 
whistler’s etchings and dry-points 
 
 the plate. The butterfly, in outline, is above the middle of the 
 plate, near the left edge. 
 
 Wrenn Collection. 
 
 Fourth State: The line of the left arm is extended below 
 the elbow, and numerous vertical lines are added near the top of 
 the plate, and diagonal lines each side of the head and shoulders. 
 Mansfield and Vanderbilt Collections. 
 
 Fifth State: Numerous curving lines are added each side of 
 the head, and several vertical lines are added at the left. 
 
 Freer Collection. 
 
 167 IRVING AS PHILIP OF SPAIN. No. 1. (W. 139.) The 
 
 actor is standing at the left, facing nearly front, with body turned 
 slightly to the left and legs wide apart, his left hand raised to his 
 breast and his right arm hanging by his side. He wears a hat 
 with high peak and white plume, and a short cloak falls from his 
 shoulders. In the background is shading that stops an inch and 
 a half from the right edge of the plate. The plate is unsigned. 
 Dry-point. Height, 8^5 inches; width, 6 inches. 
 
 Whistler had painted an oil portrait of Sir Henry Irving as Philip 
 of Spain, which was exhibited in London, at the Grosvenor 
 Gallery, in 1877. 
 
 First State: The shading in the background at the left of the 
 figure is for the most part in parallel diagonal lines and in the 
 upper part of the plate. A space in the left upper corner is 
 free from lines. The shading at the right is in vertical lines. 
 Freer Collection. 
 
 Second State: Diagonal lines are added in the shading at the 
 left, crossing the earlier lines. Vertical lines are added in the 
 space in the left upper corner. 
 
 Third State: Diagonal lines are added in the lower part of 
 the plate, at the left of the figure. 
 
 Benedict Collection. 
 
 105 
 
whistler’s etchings and dry-points 
 
 Fourth State: Diagonal lines are added throughout the 
 shading in the background at the left, and the lines at the 
 right, below the cloak, are extended. There is further work 
 on the figure. 
 
 Freer Collection. 
 
 Fifth State: There is still more work on the figure. Numer- 
 ous fine diagonal lines are added in the background at the left, 
 and fine horizontal lines in the background at the right. 
 
 1 68 IRVING AS PHILIP OF SPAIN. No. 2. He is standing near 
 the center, facing front, with his left hand raised to his breast, his 
 right arm extended somewhat from his side. He wears a hat 
 with a white plume, and a short cloak falls from his shoulders. 
 In the background there is shading which stops an inch and an 
 eighth from the right edge of the plate. The plate is unsigned. 
 Dry-point. Height, 8 y inches; width, y / 2 inches. 
 
 First State: In the background there are short diagonal 
 lines above the right shoulder, and short vertical lines around 
 the head, and long vertical lines at the right of the figure. 
 
 Second State: Strong diagonal lines are added in the back- 
 ground, above the head and each side of the head and shoulders, 
 and a few short lines are added on the body, above and below 
 the left arm. Indications of the right arm have for the most 
 part disappeared. 
 
 Parker Collection. 
 
 Third State: Vertical and diagonal lines are added in the 
 background at the left. 
 
 169 WHISTLER WITH THE WHITE LOCK. (W. 142.) Near 
 the top of the plate the head and shoulders of the artist are 
 slightly sketched, brought into relief by shading in the back- 
 ground. The head is turned somewhat to the left, but the eyes 
 
 106 
 
whistler’s etchings and dry-points 
 
 look to the front, and the white lock is conspicuous. The plate 
 is unsigned. 
 
 Dry-point. Height, 4^4 inches; width, 3 ]4 inches. 
 
 170 THE TINY POOL. (W. 73.) Grouped about two mooring-posts 
 near a wharf at the right, are a number of Thames barges, on 
 one of which, two men are standing. Across a space of open 
 water are steamboats and other vessels, beyond which is a row 
 of buildings. 
 
 Etching. Height, ^J 4 inches; width, 2 $4 inches. 
 
 First State: The posts and barges in front have little shading. 
 The side of the nearest vessel across the water is expressed by 
 horizontal lines. The buildings are slightly shaded by vertical 
 lines. There are a few lines in the sky. There is no butterfly. 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “The Pool, No. 3.” 
 
 Second State: Lines are added on the posts, and there is 
 strong shading on the side and stern of the barge just beyond 
 the posts. There is no butterfly. 
 
 Mansfield Collection. 
 
 Third State: A few short vertical lines are added on the two 
 barges in front and on the farthest barge of the group. Short 
 horizontal lines indicate reflections of the barge between the 
 posts and of the next barge beyond. The butterfly, shaded, is 
 at the edge of the plate, near the right lower corner. 
 
 Benedict Collection. 
 
 Fourth State: Rows of short lines are added on all the barges 
 in front of the posts, and the stern and covering of the barge 
 between th^posts are heavily shaded. The reflections of the 
 barges are strengthened. Short diagonal lines shade the side 
 of the nearest vessel across the water. Short horizontal lines 
 are added on the post at the left and on the wharf-post, and 
 there is cross-hatching on the buildings. Vessels are added 
 
 107 
 
whistler’s etchings and dry-points 
 
 in the distance at the right, and there is additional work on the 
 other vessels. The lines in the sky have vanished. 
 
 THE LARGE POOL. (W. 143.) A scene on the Thames below 
 London Bridge. In front, near a wharf at the left, there are eight 
 barges, in one of which is a group of seated figures. Out on the 
 wide water clustered vessels lie at anchor. At the left of these 
 is a man in a rowboat. At the right is a boat under sail, beyond 
 which are other boats. On each side of the river is a row of 
 warehouses. There is shipping in front of the warehouses at 
 the left, and in the distance. 
 
 Etching. Height, 7345 inches; Width, 10^8 inches. 
 
 Lirst State: The side of the barge next beyond that in which 
 there are figures is slightly shaded by parallel lines. The sail 
 of the boat at the right is only partly shaded. The wall of a 
 building with four square windows on the right bank is en- 
 tirely white. The buildings at the left are slightly indicated 
 and lack shading. There is no butterfly. 
 
 Benedict and Lathrop Collections. 
 
 Second State: The side of the barge next that in which there 
 are figures is heavily shaded, and the buildings at the left are 
 slightly shaded. There is no butterfly. 
 
 Dickerman Collection. 
 
 Third State: A roof is added on the nearest building at the 
 left, and the shading on the building is changed. The build- 
 ings beyond are more defined. Strong diagonal lines, drawn 
 from right to left, are added on the side of the barge next that 
 in which there are figures, and on the stern of the barge farthest 
 out. The butterfly, shaded, is on the wharf at the left. 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “Wapping — the Pool.” 
 
 Lourth State: Shading is added on the sides of the two outer 
 barges and on the side and deck-load of the boat under sail. 
 
 108 
 
whistler’s etchings and dry-points 
 
 The sails of the boat are now shaded throughout, and the mast 
 is lengthened and flies a long pennant. The buildings at the 
 left are more defined. One half of the wall of the building with 
 square windows at the right is shaded. Short dry-point lines 
 are added in the sky, including seven short horizontal lines 
 toward the left upper corner. 
 
 Freer and Mansfield Collections. 
 
 Fifth State: There are now thirteen short horizontal lines, 
 instead of seven, in the sky at the left. 
 
 172 THE “ADAM AND EVE,” OLD CHELSEA. (W. 144.) At 
 the right, bordering the beach of the Thames at old Chelsea, is a 
 row of picturesque buildings, beyond which rises the dark tower 
 of a church, surmounted by a flagpole. On the beach a rowboat 
 and a number of barges, some with furled sails, lie stranded, and 
 in front a man is standing. Foliage bounds the distance at the 
 left. The third building away, in which are three large square 
 windows, bears the sign: “The Adam and Eve. Wine and 
 Spirit Estab.” Upon a square building beyond appear: “Old 
 Ferry Wharf. J. Johnson, Coal Merchant.” 
 
 Etching. Height, 6 yi inches; width, 1 ij 4 inches. 
 
 First State: There is no shading on the bow of the second 
 barge of the group with sails, and only slight shading on the 
 farthest barges and on the foliage. There is no butterfly. 
 Freer Collection. 
 
 Second State: The bow of the barge in the group with sails 
 is shaded with dry-point lines, and strong shading is added on 
 the distant barges and foliage. The butterfly, shaded, is in 
 the sky, abova*the church tower. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “The 'Adam and Eve’ — Old Chelsea.” 
 
 In this state, published in London, in 1879, by Messrs. Hogarth 
 and Son. 
 
 109 
 
whistler’s etchings and dry-points 
 
 173 UNDER OLD BATTERSEA BRIDGE. (W. 225, Sup. 280.) 
 Wooden piers and a suggestion of flooring form one arch of the 
 bridge, under which are seen boats and a suspension-bridge and, 
 at the right, houses and a church tower. The plate is unsigned. 
 Etching. Height, 8y& inches; width, 5 inches. 
 
 First State: The flooring is suggested by an outline with four 
 horizontal strokes above. The suspension-bridge is in outline, 
 and the boats, houses and church tower are slightly indicated. 
 The sky is free from clouds. 
 
 Avery, Freer, and Mansfield Collections. On the impression in 
 the Avery Collection Whistler wrote: “Under Old Battersea 
 Bridge” and “ 1879.” 
 
 Second State : The flooring is indicated by numerous lines, and 
 there is much additional work on the piers. The suspension- 
 bridge is fully defined. Strong dry-point shading is added on 
 the boats, houses and church tower. Three layers of light 
 clouds are indicated. 
 
 Third State: A few dry-point lines are added in the sky, 
 above earlier etched lines, just below the arch of the bridge. 
 
 Fourth State: Diagonal lines in dry-point are added in the 
 sky, above the suspension-bridge. 
 
 Catalogued by Wedmore as “Sketch of Battersea Bridge.” 
 
 174 OLD BATTERSEA BRIDGE. (W. 141.) In the middle dis- 
 tance, and extending across the scene, is the great wooden bridge 
 which, until 1880, spanned the Thames at Battersea. Through 
 the broad central span appears a barge under sail. Beyond, the 
 river bank, lined with buildings and trees, stretches to the re- 
 mote distance. People and vehicles are crossing the bridge. 
 Etching. Height, 7 inches; width, 1 1 $4 inches. 
 
 First State: A blank space extends across the lowest stories 
 of the buildings seen immediately at the left of the sail, and 
 
 I 10 
 
whistler’s etchings and dry-points 
 
 outlines of buildings appear within the borders of the sail. The 
 sky is free from clouds. There is no butterfly. 
 
 v Second State: A large butterfly, shaded, is below the span at 
 the right, an inch and three-quarters from the bottom of the 
 plate. 
 
 Buckingham Collection. On the impression in this collection 
 Whistler wrote: “2nd State, Only proof.” 
 
 Third State: Traces of buildings have been almost wholly 
 removed from the space within the borders of the sail. The 
 large butterfly has been removed, and a small butterfly, shaded, 
 is placed below the second pier from the right, an inch and an 
 eighth from the bottom of the plate. 
 
 Dick, Freer, and Lathrop Collections. 
 
 Fourth State: The space across the lowest stories of the 
 buildings at the left of the sail has been filled in, and there is 
 additional shading on all the buildings. There are slight clouds 
 in the sky. The small butterfly has been removed, and a 
 large butterfly, shaded, differing but slightly from the first, is 
 where that was, below the span at the right. 
 
 Benedict and Mansfield Collections. 
 
 Fifth State: Clouds are added below the arches of the bridge, 
 those seen through the span at the right forming two layers. 
 In this state, published in London, in 1879, by the Fine Art 
 Society. 
 
 75 OLD PUTNEY BRIDGE. (W. 145.) In the middle distance, ex- 
 tending across the scene, is the bridge which, until 1880, spanned 
 the Thames at Pitney. Supporting it are two iron columns at 
 the right, and a slight wooden pier at the left, and three central 
 wooden piers of intricate construction. On the bridge there are 
 people and vehicles. In front, at the left, there are two row- 
 boats, in one of which a man and a woman are seated. At the 
 right a barge with steering-sail set is passing under an arch of 
 
whistler’s etchings and dry-points 
 
 the bridge, through which there appears a boat with a sail, white 
 against a wooded bank. Trees and a house are seen on the low 
 bank at the left. The butterfly is near the lower edge of the 
 plate, at the right of the center. 
 
 Etching. Height, 7 yi inches; width, \\% inches. 
 
 First State: The foliage at the left is slightly indicated. The 
 butterfly is in outline. 
 
 Freer Collection. 
 
 Second State: The foliage at the left is more fully expressed. 
 Horizontal lines are added in the reflections of the bridge, and 
 vertical lines in the reflections along the river banks. The 
 etching is strengthened throughout. 
 
 Freer Collection. On the impression now in this collection, for- 
 merly in the Haden Collection, Haden wrote: “Early proof 
 of finished plate with open monogram — one of first so printed 
 by artist.” 
 
 Third State: The reflections of the foliage are redrawn. The 
 butterfly is shaded. 
 
 On the impression of this state in the Avery Collection Whist- 
 ler wrote: “Old Putney Bridge.” 
 
 In this state, published in London, in 1879, by the Fine Art 
 Society. 
 
 Fourth State: Numerous short lines are added in the water 
 at the right, below the bridge. 
 
 Exhibited at the Royal Academy in 1879, as “Old Putney Bridge.” 
 
 76 THE LITTLE PUTNEY. No. 1. (W. 146.) On a bank of the 
 
 Thames at the right, houses arc grouped near a church tower 
 which rises behind a clump of trees. A bridge with wooden piers, 
 except where the broad central arch is upheld by iron columns, 
 crosses the river, in which the bridge is reflected. A wooded 
 shore is seen through the arches. 
 
 Etching. Height, 5^ inches; width, 8% inches. 
 
whistler’s etchings and dry-points 
 
 First State: Seen through the arch at the extreme left, there 
 is merely a suggestion of foliage. There is no butterfly. 
 Mansfield Collection. 
 
 Second State: A barge under sail is added beyond the arch 
 at the left, and the foliage seen through the arch is strongly 
 expressed. The butterfly, shaded, is on the lower part of the 
 plate, at the right. 
 
 In this state, published in London, in 1879, by The Fine Art 
 Society, with the stamp of the Printsellers’ Association. 
 
 It was re-issued in “Four Masters of Etching,” by Frederick 
 Wedmore, published by the Fine Art Society, London, 1883. 
 
 177 THE LITTLE PUTNEY. No. 2. (W. 226, Sup. 278.) From 
 
 a large house on the Thames-side at the right, an iron pier, under 
 which lies a barge, projects into the river. The bank beyond is 
 wooded. In the stream are three barges, one with furled sails. 
 Etching. Height, 4H inches; width, 7^ inches. 
 
 First State: There is no butterfly. 
 
 Avery Collection. On the impression in this collection Whist- 
 ler wrote: “The Little Putney.” 
 
 Second State: The butterfly, shaded, is near the bottom of 
 the plate, at the right. 
 
 Mansfield Collection. 
 
 Third State: In the left lower corner: “The Little Putney,” 
 apparently added by another hand than Whistler’s. 
 
 Mr. Wedmore says that the plate was etched for the French 
 publication “L’Art”; but it was not published in “L’Art.” 
 Catalogued by Wedmore as “ Putney: Number Three.” 
 
 178 HURLINGHAM. (W. 147.) A scene on the Thames, above 
 London. In the middle distance a long line of boats, two with 
 large sails and one with a small sail, extends across the scene. 
 
 1 13 
 
whistler's etchings and dry-points 
 
 The boats and sails are strongly reflected in the stream. On the 
 river bank at the left are two tall adjoining houses, a three-story 
 house with many windows and, among trees which extend along 
 the bank, two other buildings. The butterfly, shaded, is near 
 the left lower corner of the plate. 
 
 Etching. Height, 5 inches; width, 7 inches. 
 
 First State: The three-storied house is white. There is a 
 strong irregular line in the sky at the left. 
 
 Second State: The three-storied house is shaded throughout, 
 and there is additional work on the boats and trees. The irreg- 
 ular line in the sky is broken and suggests a flight of birds. 
 
 In this state, published in London in 1879, bearing the stamp 
 of the Printsellers’ Association. 
 
 179 FULHAM. (W. 148.) From an embankment of the Thames 
 at the right, on which stands a large house between two trees, 
 a bridge with wooden piers and wide central span extends com- 
 pletely across the scene. A long barge lies out in the stream at 
 the left; two barges are near the bridge, and barges lie stranded on 
 the sloping shore. Beyond, at the right, there rises a dark church 
 tower. Seen through the arches are a steamboat landing-stage, 
 houses on an embankment, and a suspension-bridge. The butter- 
 fly, shaded, is near the bottom of the plate, at the right. 
 
 Etching. Height, 5% inches; width, 8 inches. 
 
 First State: The foliage of the two trees is meagre. The re- 
 flections of the church tower and bridge-piers are very slight. 
 The sides of the barges in the stream are chiefly expressed by 
 horizontal lines. There is no shading on the distant objects. 
 Freer and Mansfield Collections. On the impression in the 
 Freer Collection, formerly in the Haden Collection, Haden 
 wrote: “1st State — only two taken.” 
 
 Second State: The tree at the left of the house is enlarged. 
 The reflections are strengthened by numerous horizontal lines. 
 
 114 
 
whistler’s etchings and dry-points 
 
 Vertical lines are added on the sides of the barges and on the 
 distant embankment. 
 
 Freer Collection. On the impression in this collection, for- 
 merly in the Haden Collection, Haden wrote: “Second trial 
 from the plate.” 
 
 Third State: Strong horizontal lines are added in the water, 
 above the butterfly. 
 
 Freer Collection. On the impression in this collection, for- 
 merly in the Haden Collection, Haden wrote: “Third trial 
 printed by artist and impression set off,” and “3d state, set off 
 while wet.” 
 
 Fourth State: There is additional work on the foliage of the 
 tree at the left, and on the embankment and distant houses. 
 
 In this state, published in London in 1879, bearing the stamp 
 of the Printsellers’ Association. 
 
 V/180 THE LITTLE VENICE. (W. 149.) In the distance, beyond 
 a broad lagoon, Venice with its domes and campaniles lies out- 
 stretched under a slightly clouded sky. A large ship lies close 
 to the city, and gondolas pass here and there upon the lagoon. 
 Several posts rise out of the water, in which buildings, boats, 
 and posts are reflected. The butterfly, shaded, is on the water, 
 toward the left lower corner of the plate. 
 
 Etching. Height, 7X inches; width, 10^ inches. 
 
 One of “Twelve Etchings” entitled “Venice,” published in 1880 
 by The Fine Art Society, London. 
 
 J 
 
 j y 181 NOCTURNE. (W. 150.) At the right, seen across the Bay of 
 Venice, is the isYand of San Giorgio, above which rise the dome 
 and the campanile of the church. At the left a large vessel with 
 three masts lies at anchor. At the extreme left rises the dome 
 of another church. In the distance is a line of shipping. The 
 plate is unsigned. 
 
 i*5 
 
whistler’s etchings and dry-points 
 
 Etching. Height, 7J/& inches; width, 11 inches. 
 
 The church at the left is doubtless the Redentore, since, as a rule 
 at least, the Venice etchings were etched without attempt to 
 reverse objects on the plate; consequently the prints do not show 
 buildings in their true location. 
 
 First State: The reflections of the buildings are indicated 
 chiefly by vertical lines, and of the ship by vertical lines and 
 short horizontal lines. There are long horizontal lines in the 
 water, below the reflections of the ship. The sky is clear. 
 There are no gondolas. 
 
 Freer Collection. 
 
 Second State: Strong diagonal lines are added in the sky, 
 near the right upper corner of the plate, and numerous fine 
 horizontal lines above buildings on each side of the campanile. 
 Vertical lines are added in the water, at the right. Two large 
 gondolas are added in front of the ship, and four small gondolas 
 beyond the middle distance. There is additional work on the 
 hull of the ship. 
 
 Freer Collection. 
 
 Third State: The two large gondolas have been removed and 
 the lines in the sky reduced. Numerous horizontal lines are 
 added in the water, below the earlier horizontal lines. Fine 
 dry-point lines are added about the ship and above the build- 
 ings on either side, 
 
 Avery and Freer Collections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Fourth State: The lines in the sky and the horizontal lines 
 near the bottom of the plate have been almost wholly removed. 
 The full effect of a nocturne appears in impressions of the 
 third and fourth states. 
 
 82 THE LITTLE MAST. (W. 151.) At the farther end of a broad 
 piazza, opening past a building on the right, stands a tall Vene- 
 
 1 16 
 
whistler’s etchings and dry-points 
 
 tian mast with halyards looped to the roof of one of a row of 
 buildings at the left. Back of the mast a balustrade bordering 
 a canal leads to a bridge, beyond which the masts of a ship are 
 seen. On the canal is a boat under sail, and on the farther bank 
 of the canal are buildings. In the foreground is a group of chil- 
 dren. Two figures are seated by the wall of the building at the 
 right. In front of the farthest building at the left is a group 
 seated at a table, and there are other people about the piazza. 
 There are light clouds in the sky. The butterfly, shaded, is on 
 the upper part of the plate, near the right edge. 
 
 Etching. Height, ioy^ inches; width, 7 y A inches. 
 
 Mr. Pennell says: “ Via Garibaldi — near the Public Garden.” 
 
 First State: The features of the children in the foreground 
 are undefined. A woman stands behind the seated group. 
 On the sail there is shading at the peak and shading below, 
 crossing the sail, and shading near the bottom. There are no 
 reflections in the canal. 
 
 Dick, Freer, and Vanderbilt Collections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Second State: The woman behind the seated group has been 
 removed. The shading on the peak of the sail has been taken 
 out. Shading is added across the sail, below the earlier shading. 
 
 Third State: Shading is added on the peak of the sail, and 
 reflections appear in the canal. Work is added on the rigging 
 of the ship. The features of the children are expressed. 
 
 83 THE LITTLE LAGOON. (W. 152.) In front, at the left, are 
 two posts set in the lagoon. Farther away, at the right, a boat- 
 man is rowing kis gondola. Beyond, in the center, lies a boat 
 with two masts, near which a number of gondolas are in motion. 
 In the distance, at the left, are buildings on a beach, in front 
 of which lie a ship and a second boat with two masts. Faintly 
 outlined on the horizon are suggestions of Venice, under a cloudy 
 
whistler’s etchings and dry-points 
 
 sky. The butterfly, shaded, is near the right lower corner of 
 the plate. 
 
 Etching. Height, 8% inches; width, 6 inches. 
 
 First State: The canopy and prow of the nearest gondola, 
 and the reflections they cast, are but slightly indicated. 
 
 Second State: The canopy and prow of the nearest gondola 
 are well defined and cast strong reflections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 84 THE PALACES. (W. 153.) In the center, seen across a wide 
 canal, is a large palace of Venetian Gothic with two doorways. 
 Above the larger doorway is a row of round-arched windows, 
 below a balcony of elaborate design. Adjoining at the right is 
 a smaller palace, similar in style, with a single doorway, above 
 which are two balconies. At the extreme right is an iron gate- 
 way, beyond which are tall buildings. At the left is a traghet- 
 to, in front of a piazza bordered with buildings. About the 
 traghetto and in front of both palaces are numerous gondolas. 
 Etching. Height, 10 inches; width, 14X inches. 
 
 First State: The central doorway is barely indicated and the 
 other doorways are incompletely defined. The reflections in 
 the canal are slight. There is no butterfly. 
 
 Freer Collection. 
 
 Second State: The doorways are well defined and strongly 
 shaded. There are no figures in the central doorway. There 
 are traces of two figures in a boat below the gondolas at the 
 extreme right. There are now strong reflections in the canal. 
 There is no butterfly. 
 
 Third State: Two figures are added in the central doorway, 
 and the figure of a man with a broad-brimmed hat is added in 
 front of the large palace, near the left corner. There is addi- 
 tional shading in the doorways and on the gondolas in front of 
 the large palace, and on their reflections. Instead of the traces 
 
 1 18 
 
whistler’s etchings and dry-points 
 
 of the boat at the right are short lines indicating ripples. The 
 butterfly, shaded, is in the sky, near the left edge of the plate. 
 Lathrop Collection. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Fourth State: The butterfly has been removed. 
 
 85 THE DOORWAY. (W. 154.) Upon the border of a canal, a 
 great doorway, set within a round arch and open below a grille 
 of iron framework wrought in squares, is flanked by round- 
 arched windows barred with iron grilles of diamond pattern; 
 the whole encased by moldings of elaborate stone carving. 
 Beyond heavy doors, swung back over a broad stone platform, 
 a dark passageway, from the ceiling of which chairs are hung, 
 leads by irregular steps to a court, lighted by barred windows, 
 where people are at work. At the right side of the doorway, 
 a girl stands on the second step leading from the canal, and 
 back of her, in the shadow, stands a woman. The butterfly, 
 shaded, appears above the arch of the window at the left. 
 Etching. Height, 11X inches; width, 7% inches. 
 
 First State: The girl bends over, dipping a cloth in the canal. 
 On the landing is a basket. The interior beyond is vaguely 
 expressed. The chairs are indistinct. Many of the squares 
 above the entrance have only slight shading. 
 
 Freer Collection. 
 
 Second State: The faces of the girl and woman are more 
 defined and the interior is more clearly expressed. Vertical lines 
 are added on the upper steps, and numerous horizontal lines 
 in the canal, below the doorway. There is more shading in 
 the passageway and on the squares above the entrance. 
 
 Third State: The girl is redrawn. She now faces more to 
 the front, bends forward but slightly, and seems to press back 
 .her dress. Only her left foot is seen. In place of the woman 
 first drawn is an older woman with her hand to her face. The 
 
whistler’s etchings and dry-points 
 
 passageway is now dark, and nearly all the squares above the 
 entrance are shaded. Reflections in the canal are changed, 
 and there is a clear space below the doorway. 
 
 Avery Collection. 
 
 Fourth State: Short diagonal lines in dry-point are now added 
 below the edge of the girl’s skirt. There is additional work on 
 the interior, and work with the roulette in the reflections. 
 
 In this state, one of the “Twelve Etchings.’’ 
 
 Fifth State: There is additional work in fine dry-point upon 
 the figure of the girl, and her right foot is now expressed. 
 Short vertical lines are added on the step on which she stands 
 and on the step above. The shading of the passageway has been 
 reworked throughout. The roulette work has been removed. 
 Lathrop and Mansfield Collections. 
 
 Sixth State: In place of the girl as redrawn, a girl with short 
 skirt and bare arms stands bending over and dipping a cloth 
 in the canal. The basket has been removed. The chairs are 
 more distinct. Reflections are expressed by numerous verti- 
 cal lines and, below the doorway, by elaborate cross-hatching. 
 Mansfield and Vanderbilt Collections. 
 
 The plate in the latest state was reworked in 1891. 
 
 186 THE PIAZZETTA. (W. 155.) The lower part of the column of 
 San Marco, rising from steps on which people are seated, appears 
 in the foreground at the left, obstructing the view of the cathe- 
 dral, of which glimpses are given. The clock-tower, amid sur- 
 rounding buildings, is seen beyond an open broad space in which 
 are many people, some walking, some seated at tables, and some 
 feeding doves. Other doves are in flight. There are clouds in 
 the sky. The butterfly, shaded, is on the column, near the base. 
 Etching. Height, 9 % inches; width, 7 inches. 
 
 First State: The man seated on the steps wears a hat with 
 a broad brim and a peaked crown. His features are scarcely 
 
 120 
 
whistler’s etchings and dry-points 
 
 expressed. There are three curved lines just at the left of the 
 head of the boy seated on the lowest step. The open spaces 
 at the right of the steps and beyond the column are left blank. 
 Benedict and Havemeyer Collections. 
 
 Second State: Numerous short lines are added in the open 
 spaces, to indicate the pavement; also short horizontal dry- 
 point lines on the column, above the butterfly. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Third State: The shading on the dial of the clock-tower is 
 deepened by strong vertical lines, and there is additional shad- 
 ing in the doorway below. Lines are added on the pavement 
 at the right. 
 
 Fourth State: The hat of the man seated on the steps is 
 smaller and has a round crown. The man’s features have 
 been redrawn and are well defined. The curved lines near the 
 head of the seated boy have now disappeared. More short de- 
 tached lines are added on the column, above the butterfly. 
 
 187 THE TRAGHETTO. No. 1. (Sup. 368.) Underneath a broad 
 round arch, a dark passageway, roofed with beams and in which 
 there hangs a lantern, leads through a building, in front of which 
 three slender trees are growing, to an opening on a sunny canal. 
 Near the opening a man is seated at the left, and on the pave- 
 ment at the right is the canopy of a gondola. In the wall in 
 front, at the left of the arch, is a window with lozenged panes, 
 and at the right are two windows. There are figures of men in 
 front, at the right. The butterfly is on the wall at the left. 
 Dry-point. Height, 93^ inches; width, 113^ inches. 
 
 First State: The window at the left is complete. The figures 
 at the right are two men, slightly indicated, standing near the 
 entrance to the passageway. There are no gondolas on the 
 canal. The butterfly, shaded, is three-eighths of an inch from 
 the arch. 
 
 121 
 
whistler’s etchings and dry-points 
 
 Mansfield Collection. On the impression in this collection 
 Whistler wrote: “First proof.” 
 
 Second State: The window at the left has been almost wholly 
 burnished out. The first butterfly has been burnished out and 
 another butterfly, shaded, is added below and half an inch to 
 the left. 
 
 Third State: The window at the left has been sketchily re- 
 drawn. The figures of the men have been removed. Where 
 they stood is a man seated on a chair with his face turned 
 away and his arms resting on the backs of two other chairs. 
 Near by are two men, slightly indicated, and at the left of the 
 group is an empty chair. Two passing gondolas are seen on 
 the canal. The butterfly is now faintly expressed. 
 
 Freer Collection. 
 
 1 88 THE TRAGHETTO. No 2. (W. 156.) Under a broad round 
 
 arch, a dark passageway, paved with large stones and roofed 
 with heavy beams, leads through a building to an opening, under 
 a flat arch, on a canal. In front of the building are three slen- 
 der trees with spreading foliage, and at the right four men are 
 seated about a table. Through the archway gondolas are seen, 
 on one of which a man is seated. The removed canopy of a 
 gondola rests upon the pavement at the right, near the opening 
 on the canal. In the outer wall there are two windows at the 
 right of the arch and there is one window at the left. 
 
 Etching. Height, 9^ inches; width, 12 inches. 
 
 First State : The man at the left end of the table wears a rath- 
 er small nondescript hat. A jug and a glass on the table are 
 slightly indicated. Three gondolas with their rowers are seen 
 through the archway. The roof-beams are expressed chiefly by 
 short vertical lines. The lantern is quite indistinct. The lower 
 part of the window at the left is well defined. The butterfly, 
 shaded, is at the foot of the outer wall, at the left of the arch. 
 
 122 
 
whistler’s etchings and dry-points 
 
 Second State: The man at the left end of the table wears a 
 hat with peaked crown and broad brim. Shading is added in 
 the archway, defining the foliage more clearly. The shape of 
 the lantern is indicated. The lowest lozenged panes of the 
 window at the left have become less distinct. 
 
 Third State: There is much additional work on the passage- 
 way. The lantern is fully defined and partly shaded. Fall- 
 ing leaves are expressed. The butterfly has been removed, and 
 where it was stands a girl holding in her arms a child whose 
 features are not defined. Another butterfly, shaded, is on the 
 outer wall, below the window at the left. 
 
 Dick and Lathrop Collections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Fourth State: Through further work the passageway is now 
 darkened and the foliage is brought into stronger relief. The 
 lantern is changed in form and made larger. 
 
 Fifth State: Still more work within the passageway gives it 
 greater depth and a more definite form, and brings out more 
 distinctly the falling leaves. The lantern is again changed in 
 form and has curved sides, and is wholly shaded. There is 
 additional work on the hats of the men about the table. The 
 jug and glass have been removed from the table. The rower 
 of the farthest gondola has also been removed. 
 
 Sixth State: The walls of the passageway are still further 
 darkened. There is some additional work on the figures about 
 the table, and a jug is added near the place where the other 
 one stood. Eyes are added to the features of the child in the 
 girl’s arms. 
 
 Mansfield Collection. 
 
 Seventh State: Four strong lines are added along the back 
 of the man at the left of the table. The jug is given strong 
 outlines, and here and there lines defining the group about the 
 table are reinforced. 
 
 123 
 
whistler’s etchings and dry-points 
 
 The plate in the sixth and seventh states was reworked in 
 1891. 
 
 189 THE RIVA. No. 1. (W. 157.) The broad pavement of the 
 
 Riva degli Schiavoni, seen in front, curves along the water’s edge 
 to a bridge with high round arch, spanning a narrow canal. On 
 the far side of the bridge is a large two-story building, and be- 
 yond is a line of high buildings, following the windings of the em- 
 bankment and ending where the Campanile and the domes of 
 San Marco appear, at the extreme right. Boats are moored and 
 some nets are hung up to dry alongside the Riva, near the fore- 
 ground. Out in the bay are gondolas, and in the distance are 
 a number of vessels, some with sails partly furled. Here and 
 there, on the pavement and on bridges and in boats, are many 
 people. The butterfly, shaded, is at the left edge of the plate, on 
 the wall of the nearest building. 
 
 Etching. Height, 7 yi inches; width, 11 $4 inches. 
 
 First State: In the foreground, near the center, there are two 
 women. The nearest of the gondolas in motion is slightly ex- 
 pressed. The space around the two windows near the left 
 edge of the plate is blank. The plate is only slightly shaded. 
 Freer Collection. 
 
 Second State: The figures of the two women have been re- 
 moved. There is more work on the nearest gondola and gondo- 
 lier and on their reflections. The wall about the windows at 
 the left is shaded by short vertical strokes. Shading is added 
 throughout the plate. 
 
 Havemeyer Collection. 
 
 Third State: Much shading is added on the wall at the left. 
 Through additional work in dry-point the hanging nets are 
 uniformly dark, and there is slight additional work in dry- 
 point elsewhere on the plate. 
 
 In this state, one of the “Twelve Etchings.” 
 
 124 
 
whistler’s etchings and dry-points 
 
 190 THE TWO DOORWAYS. (W. 158.) At the left, following the 
 bend of a canal, is a massive building with two large doorways. 
 Within the nearer doorway, which has a pointed arch and stands 
 open, hangs a lantern. The farther doorway, with round arch 
 enclosing an iron grille at the top, is boarded up and protected 
 by an iron railing. At the right, across the canal, a row of tall 
 buildings extends beyond a bridge with elliptic arch and iron 
 railing, near which are three gondolas. There are figures in the 
 open doorway. 
 
 Etching. Height, 7^8 inches; width, \ \% inches. 
 
 First State: The buildings and doorways are but slightly ex- 
 pressed. Except for a few lines suggesting reflections from the 
 doorway at the left, the space below all the buildings is clear. 
 There is no butterfly. 
 
 Freer Collection. On the impression in this collection Whistler 
 wrote: “1st state. 1st impression. Printed in Venice.” 
 Some proofs of the Venice etchings were printed on an old press 
 found there; others on the portable press of Mr. Otto H. Bacher. 
 
 Second State: The buildings and doorways are well defined 
 and show reflections in the canal. In front of the doorway at 
 the left is a long boat, in which stands a man holding out a 
 piece of cloth. A man with arms akimbo stands in the door- 
 way, at the edge of the steps. Within, at the head of the steps, 
 are two women. There is no butterfly. 
 
 Freer Collection. 
 
 Third State: The boat has been removed. In place of the 
 figures first described, are a man standing on the lower steps 
 of the doorway, bending over a large dish at his left, a woman 
 standing within the doorway, near the center, and a man 
 seated at the right. The lantern is small and nearly white. 
 The butterfly, shaded, is on the wall between the doorway at 
 the left and the window at the edge of the plate. 
 
 Avery, Freer, and Mansfield Collections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 125 
 
whistler’s etchings and dry-points 
 
 Fourth State : The interior of the doorway at the left has now 
 been extensively reworked in dry-point, and there is close dry- 
 point shading on the upper part of the lantern. 
 
 Fifth State: The stooping figure on the steps has the aspect 
 of an old man. The form of the seated figure is changed and 
 made lighter. The standing figure is obscured. The lantern 
 is larger and changed in form. 
 
 Sixth State: The figure of the old man is more defined. In 
 place of the seated figure is a woman, standing. The figure of 
 a man standing, wearing a hat, appears in place of the figure 
 that was obscured. The lantern is enlarged, but is blurred. 
 The reflection of the doorway is deepened through extensive 
 cross-hatching in dry-point, and fine dry-point lines extend the 
 reflections of the adjacent walls. 
 
 Seventh State: There is additional work in dry-point on the 
 figures in the doorway at the left and on the lantern. Fine 
 vertical dry-point lines are added on the reflections of the 
 doorway and window of the building at the extreme right. 
 
 The plate in the sixth and seventh states was reworked in 1891. 
 
 THE BEGGARS. (W. 159.) A dark passageway, roofed with 
 beams, leads to a sunlit street, across which a house shows a door- 
 way and two windows and a balcony. Above the opening in 
 front there hangs a large lantern. Within the passageway, at 
 the right two figures are standing by the wall, and farther along 
 a man is walking away; on the left, at the street-opening, are two 
 women carrying baskets suspended from poles balanced on their 
 shoulders. Across the street a man is walking toward the left. 
 Etching. Height, 12 inches; width, 8]4 inches. 
 
 First State: The lantern hangs from a bracket projecting 
 from the wall at the left. The two figures at the right are a 
 bearded man and a young person who is slightly indicated. 
 The man beyond is mainly suggested by a blank space. The 
 
 126 
 
whistler’s etchings and dry-points 
 
 butterfly, shaded, is high on the front wall, near the left cor- 
 ner of the arch. 
 
 Freer Collection. 
 
 Second State: The two figures first described have been re- 
 moved. In place of the bearded man a girl is standing, at 
 whose side stands a younger girl with her hand to her face. 
 The man beyond is now expressed. He wears a hat with round 
 crown and broad flat brim. Through much additional work 
 the walls and pavement of the passageway are thrown into 
 deep shadow. Changes have been made in the windows across 
 the street. 
 
 Freer Collection. 
 
 Third State: The bracket has been removed and the lantern 
 made smaller and placed near the center, and slightly shaded. 
 Changes have been made in all the figures. In place of the 
 older girl is an old woman with hands crossed, and in place of 
 the younger girl is a girl with her hand by her side. The man 
 beyond wears a hat with a peaked crown and a curved brim. 
 The nearer of the two women at the street-opening wears a long 
 skirt; the other holds her raised skirt in her right hand. The 
 man across the street has been redrawn. The beams are less 
 conspicuous and the side walls are more harmonious. Within 
 the passageway is an effect of strongly reflected light. 
 
 Avery, Benedict, and Dick Collections. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Fourth State: Short vertical lines of shading are added on 
 the wall beyond the man at the right. The butterfly has been 
 redrawn in outline. 
 
 Lathrop Collection. 
 
 Fifth State: The figure of the man by the wall has been re- 
 drawn with short strokes in dry-point and made slighter, but 
 is left in jagged outline; and his hat has been made smaller. 
 There is now a clear space on the wall, around the man. 
 
 127 
 
whistler’s etchings and dry-points 
 
 Sixth State: The features of the woman and girl are more 
 defined. The outlines of the figure of the man by the wall are 
 softened. The skirt of the nearer of the two women is shortened 
 and her legs are blurred. The butterfly has been erased. 
 Scholle Collection. 
 
 Seventh State: Numerous fine dry-point lines are added on 
 the wall, in the space about the man, and there is more shading 
 on his figure. 
 
 Havemeyer Collection. 
 
 Eighth State: The features of the woman and the girl are 
 still more distinct. The legs of the nearer of the two women 
 have been redrawn. Fine dry-point work is added extensively 
 on the wall at the right and above the opening on the street. 
 
 Ninth State: The faces of the woman and girl are materially 
 changed and the woman’s left hand has been almost wholly 
 burnished out. The man beyond has been redrawn and now 
 wears a short cloak and a hat with peaked crown and small 
 brim. The nearer of the two women and the man across the 
 street have been redrawn. There is again a clear space about 
 the man by the wall; otherwise the passageway is in deep 
 shadow. The lantern is strongly shaded. Conspicuous are 
 short horizontal lines on the wall at the left and short vertical 
 lines in the pavement, at the right. 
 
 Mansfield Collection. 
 
 This last state was the result of reworking in 1891. 
 
 THE VENETIAN MAST. (W. 160.) Erected in a wide street, 
 with high buildings on either side, is a tall mast with halyards 
 looped to a building at the left. In the foreground women and 
 girls are seated in a group, sev/ing. A boy stands near them. 
 At the right a man is walking away, and a boy stands at the foot 
 of the mast. There are numerous figures in the distance. 
 Etching. Height, 13X inches; width, 6)4 inches. 
 
 128 
 
whistler’s etchings and dry-points 
 
 First State: The man at the right is lightly etched and wears 
 a short coat. The right arm of the boy standing at the left is 
 merely suggested. The left arm of the woman seated at the 
 right is unshaded. There is no butterfly. 
 
 Freer Collection. 
 
 Second State: The right arm of the boy standing at the left 
 is defined. There is no butterfly. 
 
 Third State: Short vertical lines in dry-point are added un- 
 derneath the seat of the chair of the girl in front. There is no 
 butterfly. 
 
 Fourth State: The man has been redrawn. He wears a long 
 blouse and holds a basket against his side with his left arm. 
 Short diagonal lines in dry-point are added on the left arm 
 of the woman seated at the right. Short dry-point lines are 
 added in the sky. There is no butterfly. 
 
 Fifth State: The butterfly, shaded, is on a wall at the left. 
 
 In this state, one of the “Twelve Etchings.” 
 
 Sixth State: Lines are added on the peak of the boy’s cap. 
 A knot is added on the kerchief on the head of the girl seated 
 in front of the woman at the right. The lines in the sky have 
 been almost wholly removed. 
 
 Catalogued by Wedmore as “The Mast.” 
 
 193 DOORWAY AND VINE. (W. 161.) A wide archway in deep 
 shadow leads through a building from a courtyard to an opening 
 on a canal, where, at the right, a man is standing. Above this 
 opening is a window of ten panes. In the outer wall, above the 
 entrance to the archway is a window in which are two figures, and 
 at the right is a window partly seen. A vine, growing up at the 
 left of the entrance, extends over much of the building. The 
 butterfly, shaded, is on the outer wall, at the right of the archway. 
 Etching. Height, inches; width, 6^4 inches. 
 
 129 
 
whistler’s etchings and dry-points 
 
 First State: The shading of the archway is expressed by 
 short vigorous lines. The canal is vaguely suggested. The 
 man appears to stand with crossed legs. The figures in the 
 window are indistinct and are mainly defined by shading. In 
 front, at the left of the archway there are outlines of a tall man 
 and outlines of the upper part of another figure. 
 
 Second State: Rows of short dry-point lines appear on the 
 wall at the left and in spaces between the etched lines on the 
 upper part of the archway. Across the canal two figures are 
 slightly suggested. 
 
 Benedict Collection. 
 
 Third State: The figures in outline at the left have been 
 removed. There is additional shading about the figures in the 
 window. The figures across the canal are more distinct. Some 
 of the lines on the wall across the canal have been removed. 
 
 Fourth State: Through much added work in dry-point there 
 is deeper shading in the window in front, and on the walls of 
 the archway. The figures across the canal have been almost 
 wholly removed. 
 
 Fifth State: The man is stooping. Across the canal, two 
 slender figures, walking below a window, are now suggested. 
 The panes in the window over the opening on the canal are 
 enlarged. There is additional work on the walls and roof of 
 the archway. 
 
 Sixth State: Work is added on the figures across the canal. 
 The figure at the right in the window in front is obscured; the 
 face of the other figure is changed to that of a young girl. 
 
 Seventh State: The man stands erect on both legs, with one 
 arm extended to the right. The window above the opening 
 on the canal has been redrawn and the size of the panes re- 
 duced. The figures in the window in front have been almost 
 wholly removed. 
 
 Freer Collection. 
 
 130 
 
whistler’s etchings and dry-points 
 
 Eighth State: The window and figures across the canal are 
 more distinct. The figures in the window in front have been 
 almost wholly burnished out. 
 
 Ninth State: The figures in the window in front have been 
 redrawn and are well defined as a woman and a girl, and there 
 is strong shading about them. The pavement has been exten- 
 sively reworked. 
 
 Mansfield Collection. 
 
 In this state, one of the set of “Twenty-six Etchings” issued 
 in 1886, at fifty guineas for a set, by Messrs. Dowdeswell and 
 Dowdeswells, London. 
 
 In the case of any one of the Venetian prints included in the 
 “ Twenty-six Etchings,” an impression of another state than 
 that specially indicated may have been issued in some of the 
 published sets. 
 
 SAN BIAGIO. (W. 163.) On a low bank sloping to the water’s 
 edge stands a massive building, through which a high rounded 
 archway leads to a street lined with large houses. In the outer 
 wall are windows on either side of the archway, three with opened 
 shutters, and at the right is a doorway opening on a balcony. 
 A long boat lies in the water, and stranded near the archway is 
 a large loaded boat. About the boat is a group of boys. There 
 is a woman in the balcony, and a man is standing by a windlass 
 at the left of the archway; there are two people on the bank at the 
 right, and groups of people in front of the houses. Garments are 
 hung from various parts of the building and cloths are spread on 
 the bank. The butterfly, shaded, is half way up the plate, at the 
 left edge. 
 
 Etching. Height, 8 inches; width, 11 % inches. 
 
 First State: The archway is roofed with well defined beams. 
 High in the right wall of the archway is a narrow window. 
 Below, at the right are a doorway and another window, and at 
 the left is an open white shutter. There is a large blank space 
 
whistler’s etchings and dry-points 
 
 on the lowest part of the wall. Back of two boys on the loaded 
 boat is a boy wearing a hat. 
 
 Second State: The beams are less prominent and the wall of 
 the archway is darkened. Beyond the loaded boat stands a 
 woman, drawn in outline. A figure, slightly suggested, stands 
 near the water, at the left. 
 
 Benedict Collection. 
 
 Third State: Shading is added on the beams and wall. The 
 shapes of the garments overhanging the archway are changed 
 and more defined. 
 
 Fourth State: There is more shading on the wall, obscuring 
 the narrow upper window. The figure of the woman in out- 
 line is changed. She stands with right hand on her hip and 
 left hand raised. 
 
 Havemeyer Collection. 
 
 Fifth State: The beams are obscured by deep shading, and 
 the wall is darkened. Shading is added on the boys by the 
 boat and on the load in the boat. The figure on the beach is 
 more defined. 
 
 Sixth State: The woman in outline has almost entirely dis- 
 appeared. The wall where she stood is covered with fine dry- 
 point lines. The boy with the hat has been removed. 
 
 Dick Collection. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Seventh State: Further work in dry-point has obscured the 
 beams and rounded the roof of the archway, and shaded the 
 wall throughout. Horizontal lines shade the open shutter. 
 
 Eighth State: Through minute work in dry-point the roof and 
 upper part of the wall of the archway are now uniformly dark. 
 
 195 BEAD-STRINGERS. (W. 164.) At the right, in a broad open 
 doorway, above which is a row of window-panes, a young woman 
 
 132 
 
whistler’s etchings and dry-points 
 
 is seated with a baby on her lap. Within, under a large square 
 window, an elderly woman is seated, holding a tray on her knees 
 and lifting a string in her right hand. There is shading around 
 the window. Above the doorway is the number “37.” 
 
 Etching. Height, 9 inches; width, 6 inches. 
 
 First State: The young woman has a full round face and is 
 looking forward toward the left. Opposite her are confused 
 suggestions of a seated figure. There is but slight shading on 
 the figure of the elderly woman. The shading within the door- 
 case, above the windows, is slight, and is chiefly in short ver- 
 tical lines. There is no butterfly. 
 
 Second State: Long vertical lines and short diagonal lines 
 are added in dry-point in the shading within the door-case, 
 above the windows, and vertical lines are added in the shading 
 of some of the window-panes. A few strong diagonal lines are 
 added at the left of the knee of the elderly woman. 
 
 Third State: The head of the young woman has been re- 
 drawn, and she now looks down. Opposite her sits a young girl, 
 wearing a handkerchief on her head and holding a tray. Her 
 left hand is raised above the right. Her right foot is advanced 
 and her left foot is not indicated. The shading within the 
 door-case, above the windows and upon the window-panes, is 
 more harmonious, and is chiefly in short vertical and diagonal 
 lines. There is no butterfly. 
 
 Benedict and Mansfield Collections. 
 
 Fourth State: The face of the young woman has been re- 
 drawn in profile, looking toward the left. The skirt and right 
 foot of the girl have been redrawn, and her left foot is slightly 
 indicated. There is additional shading around the window 
 and at the left of the elderly woman. The butterfly, partly 
 shaded, is on the wall, at the left edge of the doorway, a little 
 above the girl’s head. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 V 
 
 * 
 
 133 
 
whistler’s etchings and dry-points 
 
 Fifth State: Close shading in dry-point is added upon the 
 elderly woman’s figure, chiefly above her waist. Diagonal lines, 
 running from left to right, are added in the central window- 
 pane. 
 
 196 TURKEYS. (W. 165.) A Venetian courtyard, on the farther 
 side of which is a dwelling approached by stone steps protected 
 by a railing. In the courtyard at the right is a large stone well- 
 curb, near which stands a young woman. Farther away a boy 
 is leaving the courtyard. Upon the landing at the head of the 
 steps an elderly woman is seated and a woman is standing, hold- 
 ing a child in her arms. Two children are descending the steps 
 together. About the courtyard are numerous turkeys, one of 
 them on the well-curb. 
 
 Etching. Height, 8 yi inches; width, 5 y& inches. 
 
 F'irst State: Numerous scratches on the plate appear in im- 
 pressions of this state. There is no butterfly. 
 
 Benedict, Havemeyer, and Scholle Collections. 
 
 Second State: The scratches have been for the most part 
 removed. The butterfly, shaded, is near the left lower corner. 
 In this state, one of the “Twenty-six Etchings.” 
 
 197 FRUIT-STALL. (W. 166.) In front of a house with an open 
 doorway at the right, an awning is spread above a pavement 
 bordering on a canal. At each side of the doorway is a basket 
 heaped with fruit. Within the doorway a man and woman are 
 standing. Under the awning a young girl is seated at the right, 
 and facing her is seated a woman over whose knees a child is 
 leaning. A woman holding an infant in her arms stands in front 
 of the awning, at the left. The stern of one boat and the prow of 
 another appear in the canal. The butterfly, shaded, is half way 
 up the plate, near the left edge. 
 
 Etching. Height, 8% inches; width, 5 % inches. 
 
 i34 
 
whistler’s etchings and dry-points 
 
 First State: The woman within the doorway stands facing 
 to the right, slightly stooping, and the man stands beyond her. 
 Both figures are slightly shaded. Between the figures seated 
 under the awning is a young girl, facing front. The shadow 
 cast by the awning is expressed by several rows of short verti- 
 cal lines. Numerous fine vertical lines cover the plate. 
 
 Second State: The woman in the doorway stands erect; the 
 man stands beyond her with arms akimbo. The shadow cast 
 by the awning is expressed by three rows of short vertical lines. 
 Benedict Collection. 
 
 Third State: All the figures, except the woman and her in- 
 fant, have been burnished out. 
 
 Fourth State: All the figures, except the woman and her 
 infant, have been redrawn. The woman in the doorway is 
 bending forward, and the man within is standing at the left, 
 both figures being indistinct. The head of the woman seated 
 at the right and the head of the child leaning over the knees of 
 the woman facing her have been made smaller. The shadow 
 of the awning is expressed by a single row of short diagonal 
 lines. 
 
 Fifth State: There is strong shading about the figures in the 
 doorway, and the figure of the man is shaded. The shadow of 
 the awning is expressed by diagonal lines, partly in a double 
 row. 
 
 Dick and Havemeyer Collections. 
 
 Sixth State: The man’s figure is made white and indistinct. 
 There is additional shading within the doorway. 
 
 Seventh State: The man’s figure is obscured by fine dry- 
 point lines, and the doorway is uniformly shaded. 
 
 In this state, one of the “Twenty-six Etchings.’’ 
 
 Eighth State: The figures in the doorway have been re- 
 drawn and made distinct. The interior is darkened by addi- 
 
 i35 
 
WHISTLERS ETCHINGS AND DRY-POINTS 
 
 tional work. The shadow of the awning is expressed by deli- 
 cate lines in dry-point. 
 
 198 SAN GIORGIO. (W. 167.) Moored to a cluster of posts near a 
 quay at the right are two large boats, alongside of which is a 
 man in a small boat. Astern there is also a man in a boat, and 
 an empty boat lies alongside the quay in front. In the wide 
 water beyond are numerous boats, each with two slender masts. 
 In the distance is a long row of buildings, stretching from right 
 to left. Behind a long white steamer rise the facade, dome and 
 campanile of the church of San Giorgio. 
 
 Etching. Height, 8 yi inches; width, 12 inches. 
 
 First State: The base of the dome of the church is fully 
 expressed, and the boats suspended above the deck of the 
 steamer are well defined. There is no butterfly. 
 
 Benedict Collection. 
 
 Second State: The base of the dome is indistinct, and some of 
 the boats above the deck of the steamer are vaguely expressed. 
 There is no butterfly. 
 
 Third State: A few delicate horizontal lines are added in the 
 sky. There is no butterfly. 
 
 Havemeyer and Mansfield Collections. 
 
 Fourth State: The lines in the sky have been removed. 
 The butterfly, in outline, is near the lower edge of the plate, 
 toward the left. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 199 NOCTURNE: PALACES. (W. 168.) At the left, where two 
 canals meet, a large palace in strong light rises from the water’s 
 edge. A balcony and the projecting guards of the upper win- 
 dows cast long shadows on the wall below, in which is a round- 
 arched narrow doorway. On the corner at the right is a tall 
 building, with door and windows slightly indicated. Beyond 
 
 136 
 
whistler’s etchings and dry-points 
 
 is a bridge, above which a lantern throws diverging rays. Fur- 
 ther away, at the left, the corner of another palace appears. A 
 solitary boat lies by the wall of the nearest palace. The sky is 
 dark and there are deep shadows in the canals. 
 
 Etching and Dry-point. Height, 1 1 inches; width, 7% inches. 
 
 First State: There are strong lines in the sky. At the right 
 there is an irrelevant drawing of a long shutter and there are 
 curved lines suggesting a broad arch as part of an abandoned 
 oblong sketch. There is no butterfly. 
 
 Freer Collection. 
 
 Second State: The arch and the shutter have been for the 
 most part removed, traces of each remaining. Short dry- 
 point lines are added under the eaves of the large palace at the 
 left, and on the wall of the smaller palace and in the sky. Fine 
 diagonal lines are added under the arch of the bridge. There 
 is no butterfly. 
 
 Benedict Collection. 
 
 Third State: Short horizontal lines are added along the left 
 edge of the palace at the right. There is no butterfly. 
 
 Fourth State: A series of short lines is added above the roof 
 of the large palace at the left, and fine diagonal lines, running 
 from left to right, are added in the sky at the right of the roof. 
 Strong diagonal lines, running from left to right, are added 
 below the arch of the bridge, and fine diagonal lines, running 
 from right to left, are added below the pier. There is no 
 butterfly. 
 
 Avery and Mansfield Collections. 
 
 Fifth State: Diagonal lines, running from right to left, are 
 added in the sky, between the buildings, and numerous vertical 
 lines are added in the reflections of the pier of the bridge and 
 of the roof of the large palace at the left. The shadow under 
 the bridge is softened and made uniform. The rays of the 
 lantern are more defined. There is no butterfly. 
 
 >37 
 
whistler’s etchings and dry-points 
 
 Sixth State: The sky, between the palaces, is softened and 
 made uniform through the addition of numberless fine lines. 
 All traces of the shutter at the right have disappeared. 
 Havemeyer Collection. 
 
 Seventh State: Two series of strong diagonal lines are added 
 above the roof of the palace at the left, and horizontal lines are 
 added at the right of the roof, much of the earlier work in the 
 sky having been removed. Fine diagonal lines are added in 
 the water, under the bridge and at the right of the gondola. 
 There is additional work on the shadow of the balcony. There 
 is no butterfly. 
 
 Eighth State: The strong diagonal lines above the roof at 
 the left have been almost entirely removed, and the general 
 effect of the sky is much softened. There is no butterfly. 
 
 Ninth State: The upper part of the sky has been reworked, 
 fine diagonal lines replacing the stronger long lines. Traces of 
 the upper curved line at the right have now almost wholly dis- 
 appeared. Numerous fine diagonal lines are added along the 
 bottom of the wall at the left and in the canal below. Hori- 
 zontal lines are added across the balcony and across the farther 
 palace, and in the reflections. There is no butterfly. 
 
 Benedict, Dick, and Lathrop Collections. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Tenth State: There is additional shading on the wall of the 
 distant palace and much cross-hatching in the sky. The rays 
 of the lantern are strongly emphasized. Numerous diagonal 
 lines are added below the arch of the bridge and below the pier. 
 The butterfly, shaded, is at the left of the doorway of the 
 nearest palace. 
 
 Babbott Collection. 
 
 200 LONG LAGOON. (W. 169.) In the middle distance are two 
 posts close together, rising out of the lagoon, in which they are 
 
 .38 
 
whistler’s etchings and dry-points 
 
 reflected. Beyond are two similar posts and three gondolas. In 
 the distance, at the right are two ships and at the left is a boat 
 with a sail, in front of a large church with a dome. Far away 
 stretches a line of delicately suggested buildings, under strata of 
 low-lying clouds. 
 
 Etching. Height, 6 inches; width, 8 % inches. 
 
 First State: There is no butterfly. 
 
 Benedict, Buckingham, Bullard, and Mansfield Collections. 
 
 Second State: The butterfly, shaded, is at the left, near the 
 bottom of the plate. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 201 THE BRIDGE. (W. 171.) A scene in the Ghetto, where a 
 wide canal, spanned by a light iron bridge, is flanked beyond at the 
 right by tall warehouses on a wharf, and at the left by picturesque 
 buildings on a bank which slopes to the water’s edge. On an 
 embankment in front a girl stands by a boat in which children 
 are playing. Out in the canal a man stands on the stern of a boat, 
 rowing, while a boy lies sprawling on the bow. Another boat with 
 a rower has just passed under the bridge. A large empty boat 
 lies alongside an embankment at the left, and there are several 
 empty boats in the distance, each side of the canal. People are 
 crossing the bridge, over the railings of which long cloths are 
 hung, and there are many people in front of the buildings. 
 Etching. Height, 1 1 % inches; width, y% inches. 
 
 First State: The space immediately below the arch of the 
 bridge is almost free from lines, and only a few vertical lines 
 appear among the reflections in the canal. The butterfly, in 
 outline, is near the right lower corner. 
 
 Second State: A series of short dry-point lines is added upon 
 the embankment, above the large empty boat. The butterfly 
 remains in outline. 
 
 Avery Collection. 
 
 >39 
 
whistler’s etchings and dry-points 
 
 Third State: Strong vertical lines in dry-point are added on 
 the side of the large empty boat, and in the water at the right 
 of the boat; also fine diagonal lines in the sky, above the roofs 
 of the distant houses. 
 
 Fourth State: Short diagonal lines are added in the sky, 
 near the center. A number of short horizontal lines are added 
 near the bottom of the plate, at the right. The butterfly has * 
 been removed, slight traces remaining. 
 
 Benedict Collection. 
 
 Fifth State: Vertical lines in dry-point are added in the 
 canal, above the outer edge of the nearest boat and near the 
 right lower corner of the plate, and strong dry-point lines are 
 added upon the embankment, at the left of the empty boat. 
 The butterfly reappears, shaded, near the right lower corner. 
 Mansfield Collection. 
 
 Sixth State: Short vertical lines in dry-point are added im- 
 mediately underneath the arch of the bridge and above the 
 floor of the bridge. Dry-point lines are added at the right 
 of the boat on which are the man and boy, and here and there 
 in other parts of the canal. Short dry-point lines are added 
 in the sky, above buildings at the left. 
 
 Buckingham Collection. 
 
 Seventh State: The lines in the sky and the short dry-point 
 lines under the bridge and in the canal have almost wholly 
 vanished. A few diagonal dry-point lines are added near the 
 stern of the boat on which are the man and boy. The butter- 
 fly has become indistinct. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 202 UPRIGHT VENICE. (W. 172.) Upon the upper part of the 
 plate Venice is pictured under a cloudy sky, the domes of the 
 Church of Santa Maria della Salute, on the Grand Canal, being 
 conspicuous above the city. On the wide water of the bay are 
 
 140 
 
whistler’s etchings and dry-points 
 
 numerous gondolas in motion; a few boats are under sail at the 
 right, and a steamship lies at anchor at the left. 
 
 Etching. Height, io inches; width, 6 >8 inches. 
 
 First State: The lower part of the plate is clear. There are 
 four gondolas in motion and three boats under sail. There is 
 no butterfly. 
 
 Freer Collection. 
 
 Second State: At the bottom of the plate is a quay, upon 
 which groups of men are standing. Alongside the quay is a 
 large boat with a tall bare mast, and further away is a small 
 boat in which a man is bending over. Beyond a cluster of 
 posts are two large boats, each with a tall mast. There is a 
 group of figures in the nearest boat and a single figure in the 
 outer boat. Not far out there is an empty gondola. In the 
 upper part of the plate there are ten gondolas and four sail- 
 boats. The butterfly, shaded, is on the quay, at the left. 
 Benedict, Mansfield, and Vanderbilt Collections. 
 
 Third State: Shading is added on the back of the man at the 
 right in the nearest group. Fengthened lines indicate reflec- 
 tions of the canopy of the empty gondola. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Fourth State: The reflection of the canopy of the empty 
 gondola is deepened and extended by additional work in dry- 
 point. 
 
 203 THE RIVA. No. 2. (W. 175.) From a boat-landing at the 
 
 right the Riva curves to a bridge spanning a canal, on the other 
 side of which is a large two-story building. Beyond is a suc- 
 cession of tall buildings, following the embankment as it winds 
 and ending where the domes of San Marco appear, at the extreme 
 right. There are a number of boats at the landing, gondolas in 
 the open water beyond, and ships alongside the distant quays. 
 In the foreground at the right is a group of men, two of them 
 
 141 
 
whistler’s etchings and dry-points 
 
 seated. Other groups stand in the shade of an awning near the 
 bridge, and there are many people elsewhere on the Riva and on 
 its bridges. The butterfly, shaded, is on the lower story of the 
 nearest building. 
 
 Etching. Height, 8 % inches; width, 12 inches. 
 
 One of the “Twenty-six Etchings.” 
 
 204 THE BALCONY. (W. 177.) Steps lead to an open doorway, 
 below an iron grille in a round arch and between round-arched 
 windows, in a palace on a canal. Above is a balcony in front of 
 five tall windows with round arches supported by conspicuous 
 columns, and open below. High in the wall three small windows, 
 one with opened shutters, partly appear. A figure stands at 
 the left of the doorway, in a long boat within the line of two 
 posts in the canal, and a woman stands in the doorway. On 
 the balcony, back of a railing over which drapery is hung, are 
 two or three seated figures. At the right of the palace is a low 
 building with projecting upper story, in which is a window with 
 opened shutters. In front of the building are two women and 
 a child, slightly indicated. The butterfly, shaded, is on the wall 
 at the left of the tall windows. 
 
 Etching. Height, 11 $4 inches; width, 7 ]4 inches. 
 
 First State: The figure standing in the boat is undefined. 
 The woman stands in the left half of the doorway and is in- 
 distinctly expressed. There are two figures on the balcony, 
 seated in front of the window at the extreme right. There is 
 only slight shading in the open spaces of the balcony-windows. 
 Reflections of the doorway are indicated chiefly by vertical 
 lines. 
 
 Second State: In place of the figure originally in the boat 
 there is a figure also standing, slightly indicated, and in place of 
 the woman originally in the doorway is a woman merely sug- 
 gested. A figure indistinctly drawn is on the balcony, in front 
 of the second window from the right. 
 
 142 
 
whistler’s etchings and dry-points 
 
 Third State: The figure in the boat is defined as a large man. 
 The woman in the doorway is more distinctly expressed. She 
 stands with her left hand on her hip. The two figures on the 
 balcony are defined as women. The figure near them has been 
 changed, but is still indistinct. Strong shading is added in the 
 open spaces of three of the windows. 
 
 Benedict Collection. 
 
 Fourth State: In place of the man in the boat there is a boy, 
 vaguely drawn, about whom is a space left blank. In place of 
 the woman at first in the doorway there is a smaller woman, 
 also vaguely drawn, standing in the right half of the doorway. 
 
 Fifth State: The boy in the boat has been redrawn. The 
 woman previously in the doorway is obscured by fine dry-point 
 lines. There is now a woman standing in the left half of the 
 doorway. The third figure on the balcony is defined as a man 
 wearing a hat with a round crown and a broad brim. The 
 two other figures on the balcony have been slightly changed, 
 and are now indistinct. 
 
 Havemeyer Collection. 
 
 Sixth State: Additional shading in the doorway more com- 
 pletely effaces the woman at the right and more clearly de- 
 fines the woman at the left, who now stands with her left arm 
 hanging by her side. Steps are faintly suggested in the space 
 about the boy. There is only slight shading on the sides of 
 the boat. 
 
 Seventh State: The woman in the doorway has been to some 
 extent redrawn, and her left arm is slightly bent. There is 
 additional shading in the doorway and in the upper parts of 
 the open spaces of the windows. 
 
 Eighth State: The woman in the doorway has been redrawn. 
 She now holds in her left hand a jar indistinctly shown. Indi- 
 cations of wall and steps are added in the space about the boy. 
 The sides of the boat are uniformly shaded. There is con- 
 
 143 
 
whistler’s etchings and dry-points 
 
 siderable shading in the open spaces of all the balcony-windows. 
 Short diagonal lines change the reflections of the doorway. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Ninth State: In place of the woman previously in the door- 
 way is a taller woman standing nearer the center. Her right 
 arm is extended and in her left hand she holds a large jar, in- 
 distinctly drawn. Above the waist her figure is well shaded. 
 There is dense shading in the doorway. Fine dry-point lines 
 are added in the open spaces of the windows. The figures on 
 the balcony have been redrawn in dry-point, and are indistinct. 
 
 Tenth State: The woman in the doorway has been redrawn. 
 Her figure is only slightly shaded. Her right arm hangs by 
 her side, and with her left hand she holds a large jar distinctly 
 expressed. Two of the figures in the balcony are defined as a 
 woman and child. There is additional shading in the open 
 spaces of all the windows. The reflections of the doorway are 
 less pronounced. 
 
 205 FISHING-BOAT. (W. 178.) In the center, moored to one of 
 a cluster of posts, lies a fishing-boat. A man is seated in the 
 boat, under an awning spread below nets hung on a pole upheld 
 by two masts. In the distance, at the right, appear the Dogana 
 and the dome of the Salute, and indications of several boats. 
 Etching. Height, 6 y& inches; width, 9 J 4 inches. 
 
 First State: The face of the man is white and his figure is 
 but slightly indicated. The butterfly, shaded, is below the 
 middle of the plate, near the right edge. 
 
 Second State: The man’s figure is defined and his face is 
 shaded, and there is additional work in dry-point on his figure 
 and on the awning. 
 
 Third State: There is further shading on the man’s face and 
 figure, and on the awning. The butterfly has been removed. 
 In this state, one of the “Twenty-six Etchings.” 
 
 144 
 
whistler’s etchings and dry-points 
 
 Fourth State: The man’s face is very dark, and the awning 
 is heavily shaded. 
 
 206 PONTE DEL PIOVAN. (W. 179.) Spanning a narrow canal 
 is a bridge of masonry supported by timber-work, beyond which, 
 on either side, rise tall buildings. In the background is a large 
 house with a balcony projecting above a low roof. Through 
 the arch of the bridge is seen an arcade opening on the canal. 
 On the wall of a low building at the right is the sign: “Ponte 
 del Piovan detto del Volto.” Figures appear on the bridge and 
 behind a parapet on the canal, near the entrance to the arcade. 
 There are reflections in the canal. The butterfly, shaded, is on 
 the bridge-masonry, at the right. 
 
 Etching. Height, 8?4 inches; width, 6 inches. 
 
 First State: The sky is clear. The roof below the balcony 
 is untiled and is incomplete at the left. On the high wall above 
 the low roof at the right there are scarcely any lines. The 
 arcade and the parapet on the canal are unshaded. There is 
 a single figure behind the parapet, and there are three figures 
 on the bridge, two near the center and one at the right. 
 
 Second State: There are clouds in the sky. The roof below 
 the balcony is completed and tiled. Numerous lines are added 
 on the wall above the low roof at the right. There is additional 
 work on the wooden supports of the bridge. The arcade and 
 parapet are shaded. There are now three figures behind the 
 parapet. 
 
 Third State: The reflection of the bridge is emphasized by 
 many vertical lines. A figure is added on the bridge, near the 
 center. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Fourth State: Short vertical lines in dry-point are added 
 on the bridge-masonry, near the right abutment, and on the 
 supporting timbers next the masonry. Short diagonal lines 
 
 •45 
 
whistler’s etchings and dry-points 
 
 are added along the top of a window-frame in the wall at the 
 left, just above the bridge. 
 
 Fifth State: One of the three figures on the bridge, near the 
 center, has been removed. 
 
 Sixth State: Longer diagonal lines are added along the top 
 of the window-frame in the wall at the left, just above the 
 bridge, and fine vertical and diagonal lines in the reflections, 
 near the bottom of the plate. 
 
 GARDEN. (W. 180.) Through a high broad archway with a 
 flat top, steps lead from a canal to a pavement, beyond which is 
 a house-wall with open doorway and three round-arched windows, 
 irregularly placed. Within the enclosure slender trees are grow- 
 ing. A vine, starting at the right, crosses above the doorway, and 
 on either side there is a mass of foliage. On the lowest step of 
 the archway a boy is seated, and there are figures in the doorway. 
 The butterfly, shaded, is on the lower part of the outer wall, at 
 the left. 
 
 Etching. Height, 12 inches; width, 9^5 inches. 
 
 First State: On the third step a second boy is seated. The 
 figures in the doorway are a woman at the right, and a woman 
 with an infant in her arms, and a child standing by her side. 
 Benedict Collection. 
 
 Second State: The boy on the third step has been removed, 
 and where he was seated is a large blank space. The figures in 
 the doorway have become indistinct. Much of the foliage of 
 the plants has been removed. 
 
 Third State: The figures in the doorway have been redrawn, 
 and in place of the woman at the right is a girl, standing. The 
 foliage on either side has been extensively redrawn. 
 
 Fourth State: The blank space has been filled in with indi- 
 cations of steps, and on one of the steps there is a cat. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 146 
 
whistler’s etchings and dry-points 
 
 Fifth State: Short vertical lines and some diagonal lines are 
 added on the steps, at the right. Fine lines are added in the 
 lowest part of the foliage at the right. 
 
 Sixth State: Short diagonal lines are added on the foliage at 
 the right, and a series of fine diagonal lines, running from left 
 to right, is added on the house-wall, at the right of the larger 
 tree. 
 
 Seventh State: Numerous fine vertical and horizontal lines 
 are added on the house-wall at the right, and there is additional 
 work on all the foliage. 
 
 208 THE RIALTO. (W. 181.) Between high buildings with many 
 awnings, a broad street leads up to the Rialto bridge. Beyond 
 rises the ancient tower of San Giovanni Elemosinario. Above 
 the awning on the corner building at the right is the sign: “Ven- 
 dita Carname.” In the street and on the bridge there are many 
 people. There is no butterfly. 
 
 Etching. Height, 1 1 % inches; width, 7 % inches. 
 
 First State: In the foreground are a number of small figures, 
 faintly indicated. 
 
 Dick, Havemeyer, and Mansfield Collections. 
 
 Second State: The small figures have been removed. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 209 LONG VENICE. (W. 182.) Under a very cloudy sky, Venice 
 extends along the curving bay, from the Doge’s Palace, at the 
 left, to far beyond the Salute. There are vessels here and there 
 near the quays, and there are gondolas in the open water. The 
 butterfly, shaded, is near the left lower corner of the plate. 
 Etching. Height, 5 inches; width, \ 2 l / & inches. 
 
 First State : In pure etching, including the large domes of the 
 Salute. 
 
 i47 
 
whistler’s etchings and dry-points 
 
 Second State: The domes of the Salute have been redrawn 
 in dry-point, and made smaller. 
 
 In this state, one of the "Twenty-six Etchings.” 
 
 Third State: The domes of the Salute have been redrawn 
 again in dry-point and are somewhat more defined. Fine dry- 
 point lines are added in the sky, at the right of the domes. 
 
 Fourth State: Numerous short diagonal lines in dry-point 
 are added above the buildings at the right of the Salute, and 
 short horizontal lines are added here and there in the sky. 
 
 210 NOCTURNE: FURNACE. (W. 183.) Seen through a large 
 square doorway in a dark wall on a canal, is a brightly lighted in- 
 terior, roofed with beams, where a man stands at a forge. In the 
 outer wall, at the left of the doorway, is an open window in which 
 the head and shoulders of a man appear. Projecting below is 
 the prow of a gondola. There are strong reflections in the canal. 
 The butterfly, shaded, is on the wall, half way up the plate, near 
 the left edge. 
 
 Etching. Height, 6^ inches; width, 9 inches. 
 
 First State: The man at the forge is tall and his head is un- 
 covered. Beyond him is a large well-defined window. The 
 reflections below the doorway are expressed by vertical lines. 
 Vanderbilt Collection. 
 
 Second State: The tall man is replaced by a short man wear- 
 ing a cap and an apron, who is holding a bar with each hand. 
 The window beyond is now merely indicated. The interior is 
 flooded with light. There is additional work on the outer wall. 
 Diagonal lines, running from right to left, are added across the 
 reflections below the left half of the doorway and below the 
 adjacent wall at the left. 
 
 Havemeyer and Mansfield Collections. 
 
 Third State: Strong diagonal lines, running from left to right, 
 are added in the reflections below the wall at the right. 
 
 148 
 
whistler’s etchings and dry-points 
 
 Fourth State: Fine diagonal lines are added upon the wall, 
 conspicuously below the butterfly and extensively elsewhere. 
 Numerous horizontal lines are added in the reflections below 
 the left half of the doorway. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 Fifth State: Vertical lines, crossed by horizontal lines, are 
 added on the wall at the right, and extended into the canal, 
 where numerous horizontal lines are also added. Numerous 
 diagonal lines, running from left to right, are added in the 
 reflections below each side of the doorway. 
 
 Sixth State: Diagonal lines, running from left to right, are 
 added across the reflections below the center of the doorway. 
 There is more work on the wall. 
 
 Seventh State : Diagonal lines are added on the wall, near the 
 right upper corner, and on the lower part of the wall, at the left 
 of the doorway. There is more work on the frame of the 
 outer window and around the figure in the window. 
 
 21 1 QUIET CANAL. (W. 184.) A narrow canal, passing an open 
 landing-place at the right, above which a tree spreads its branches, 
 winds to the left, between high buildings. Beyond a prow, 
 slightly indicated, two boats, in one of which a man is seated, 
 lie close to the landing-place. An empty boat lies by the wall 
 of the nearest house at the right, and another alongside three 
 posts on the opposite side of the canal. On the landing-place 
 a woman bends over the scarcely indicated parapet, and a man 
 stands beyond her. There is no butterfly. 
 
 Etching. Height, 9 inches; width, 6 inches. 
 
 First State: There is a confusion of lines about the prow of 
 the boat in which the man is seated. 
 
 Lathrop and Vanderbilt Collections. 
 
 Second State: The prow of the boat in which the man is 
 seated is more clearly defined. 
 
 149 
 
whistler’s etchings and dry-points 
 
 Third State: Fine lines in dry-point are added on the wall 
 of the house at the right, below the foliage, and on the reflec- 
 tions of the garden and in the canal. 
 
 Fourth State: Fine lines in dry-point are added amid the 
 foliage, and strong dry-point lines on the prow of the boat in 
 which the man is seated, and near the foot of the wall of the 
 house beyond the garden. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 212 LA SALUTE: DAWN. (W. 185.) In the distance, seen across 
 a broad expanse of water, are the domes of the Salute, at the 
 right of the Dogana. Somewhat to the right a large campanile 
 dominates a group of buildings, in front of which a small tower 
 rises from the water. At the extreme right two domes appear. 
 At the left is a long line of buildings, including the Doge’s Palace, 
 near which lies a steamship. Beyond the buildings two small 
 campaniles and the great campanile are seen, and the domes of 
 San Marco. The butterfly, shaded, is near the left edge, in the 
 lower half of the plate. 
 
 Etching. Height, 5 inches; width, 7^ inches. 
 
 First State: There is a gondola in the open water at the left, 
 and there are horizontal lines in front. The sky is now entirely 
 clear. 
 
 Second State: The gondola has been removed. Numerous 
 horizontal lines are added in the water, between the lines in 
 front and the buildings. There are a few slight horizontal 
 lines in the sky, suggestive of clouds. 
 
 Third State: A number of short diagonal lines are added in 
 the sky, above the small tower at the right. 
 
 Fourth State: The lines in the sky and the horizontal lines 
 in the water, between the lines in front and the buildings, have 
 been almost entirely removed. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 15° 
 
whistler’s etchings and dry-points 
 
 213 LAGOON: NOON. (W. 186.) In front, at the right, there is a 
 bridge on which some people are passing, others lingering. Out 
 in the lagoon, beyond a gondola in motion, lies a brig with three 
 sails spread. Farther away are numerous smaller craft, some 
 under sail. Clouds hang low over the horizon. There are sug- 
 gestions of foliage in the distance, at the right. 
 
 Etching. Height, 5 inches; width, 8 inches. 
 
 First State: The foliage is suggested chiefly by short curved 
 lines. There is no butterfly. 
 
 Second State: The foliage is further suggested by numerous 
 short vertical and diagonal lines. There is additional work on 
 boats at the extreme left. There is no butterfly. 
 
 Mansfield Collection. 
 
 Third State: The butterfly, in outline, is near the bottom of 
 the plate, below the bow of the brig. 
 
 In this state, one of the “Twenty-six Etchings.” 
 
 214 GLASS-FURNACE, MURANO. (W. 187.) In the center of a 
 roomy interior is a large furnace, near which a man is standing, 
 and in front of which a man is seated. At the left is a group in 
 which stands a man wearing a wide-brimmed hat, and at the 
 right are other groups. In the wall on the far side, above a 
 double doorway, is a large window, and at the right are two 
 large windows. There is no butterfly. 
 
 Dry-point. Height, 6 % inches; width, 9X inches. 
 
 First State: The walls are slightly shaded by comparatively 
 short vertical and diagonal lines. The head of the man stand- 
 ing near the furnace is not defined and his figure is merely sug- 
 gested. 
 
 Dick, Havemeyer, and Mansfield Collections. 
 
 Second State: The head and arms of the man standing near 
 the furnace are defined. Short diagonal lines are added at the 
 left of his head and above the head of the man with the wide- 
 
 •5i 
 
whistler’s etchings and dry-points 
 
 brimmed hat. Longer diagonal lines are added in the shading 
 above the double door. 
 
 Avery and Lathrop Collections. 
 
 Third State: Numerous short diagonal lines are added on 
 the wall, crossing here and there the earlier lines. Fine hori- 
 zontal lines are added at the left of the man near the furnace. 
 
 Fourth State: Numerous long diagonal lines are added on 
 the walls at the right. 
 
 FISH-SHOP, VENICE. (W. 188.) Under an arch with a flat 
 roof of beams, from which hangs a lantern, steps lead through a 
 building from a canal to a court bordered with tall houses. At 
 the right is a shop with a large open window. High in the outer 
 wall at the left is a small square window in which two heads ap- 
 pear. A boy is standing on the steps, and there are groups of 
 figures in front of the houses which line the right side of the 
 court. The arch of a bridge crossing the canal springs from the 
 building, at the extreme right. A butterfly, in outline, is on the 
 opened shutter of the small window, and a butterfly, shaded, 
 is on the wall below. 
 
 Etching. Height, 5^ inches; width, 8^ inches. 
 
 First State: Cross-beams appear distinctly in the ceiling of 
 the shop. Within the shop there are platters in racks and 
 there is a cup on a shelf. The arch of the bridge is indicated 
 by a few short parallel lines. There is a series of short vertical 
 lines along the top of the plate, above the archway. 
 
 Vanderbilt Collection. 
 
 Second State: Within the shop, a man with a full beard, and 
 wearing a hat with high crown and broad brim, is seated at the 
 right, behind a railing, with his hands on his knees; at the left 
 a boy, slightly indicated, is walking away. Additional shad- 
 ing in the window at the left more clearly defines the two faces. 
 Short vertical lines are added along the upper edge of the plate. 
 
whistler’s etchings and dry-points 
 
 Third State: The earlier work within the fish-shop, below the 
 upper rack, has been burnished out. Long lines, nearly ver- 
 tical, are added within the arch of the bridge. 
 
 Fourth State: Within the shop, a youth, indicated in dry- 
 point, wearing a large hat, is seated at the right, resting his 
 left arm upon the railing, which has been redrawn and made 
 smaller. Farther within, a boy, merely in outline, stands in 
 front of a counter, behind which, faintly drawn, is the stand- 
 ing figure of a woman. Added lines obscure the beams of the 
 shop and darken the roof and walls of the archway. 
 
 Fifth State: The youth and boy have been redrawn in etch- 
 ing. The boy has the appearance of carrying a child on his 
 back. There is additional shading in the window, and diag- 
 onal lines are added under the arch of the bridge. 
 
 Mansfield Collection. 
 
 Sixth State: There is additional work on the beams of the 
 shop and archway, and the lantern is more clearly defined. 
 Strong diagonal lines are added in the arch of the bridge. 
 Avery Collection. 
 
 Seventh State: Fine diagonal lines, which run from left to 
 right, are added in the shading of the arch of the bridge. Ver- 
 tical dry-point lines, indicating reflections, are added here and 
 there in the canal. 
 
 216 THE DYER. (W. 189.) At the right, on the lowest step of a 
 great doorway, enclosing a fan-shaped grille within a round arch 
 and opening on a canal, a dyer stands bending forward and dip- 
 ping in the water a fabric held with both hands. A dark passage- 
 way, in which is a single window, leads to a well-lighted court. 
 High on the outer wall, at the right of the doorway, is a barred 
 window. The butterfly, shaded, is on the lower part of the outer 
 wall, at the left. 
 
 Etching. Height, 12 inches; width, 9 V% inches. 
 
 1 53 
 
whistler’s etchings and dry-points 
 
 First State: The shading of the walls of the passageway is 
 largely in short vertical lines. There are spaces at the right, 
 within the shading, which are nearly white. 
 
 Mansfield Collection. 
 
 Second State: Numerous diagonal lines, running from left to 
 right, cross the earlier lines of the shading, deepening it through- 
 out. Short dry-point lines are added in the spaces that were 
 nearly white, and in the reflections of the figure and the fabric. 
 Havemeyer Collection. 
 
 Third State: The man’s left leg is now more precisely drawn. 
 Strong diagonal lines in dry-point, running from left to right, 
 are added below his figure, and short horizontal lines in its 
 reflection. Vertical lines have been removed from the reflec- 
 tion of the fabric. 
 
 Scholle Collection. 
 
 Fourth State: The man’s left leg has been erased and partly 
 redrawn, but is not fully expressed. Short vertical lines are 
 added above the lowest step, at the left of the fabric. 
 
 Benedict and Dick Collections. 
 
 217 LITTLE SALUTE. (W. 190.) Beyond wide water rises the 
 Salute, with adjacent buildings at the right and with shipping in 
 front. Across the canal at the left are buildings slightly indica- 
 ted, and far at the right is a church with a dome. On the water, 
 at the right, are two gondolas and a boat under sail. 
 
 Dry-point. Height, 3X inches; width, 8 X inches. 
 
 First State: The shipping in front of the Salute is slightly 
 indicated. The domes of the church and the hulls and sails of 
 the boats are dark with burr. There are no reflections of the 
 nearer gondola. There is no butterfly. 
 
 Avery Collection. 
 
 Second State: The shipping is well defined. Short horizontal 
 lines indicate the reflections of the nearer gondola. The but- 
 
 154 
 
whistler’s etchings and dry-points 
 
 terfly, shaded, is toward the bottom of the plate, below the 
 nearer gondola. 
 
 218 WOOL-CARDERS. (W. 191.) Through a large doorway, under 
 a round arch framing an iron grille fashioned in squares, stone 
 steps lead from a canal to an interior where two men appear, one 
 standing at the right, the other seated at the left. There is no 
 butterfly. 
 
 Dry-point. Height, 1 \yi inches; width, 9 inches. 
 
 First State: Both figures are fairly defined and the shading 
 about them is strong and harmonious. A white post appears 
 beyond the seated man. There are strong reflections below 
 the doorway. 
 
 Mansfield Collection. 
 
 Second State: The figures in the doorway have been redrawn, 
 but are vaguely indicated. Numerous fine lines express the 
 shading about them and obscure the white post. 
 
 Havemeyer Collection. 
 
 Third State: A series of diagonal lines, running from left to 
 right, is added in the upper part of the shading at the left, and 
 additional lines obliterate the post. 
 
 Lathrop Collection. 
 
 219 ISLANDS. (W. 193.) A rapid sketch of domes, campaniles, 
 and sails, and their reflections, seen across a lagoon, in which, at 
 the right, close together, are two posts. There is no butterfly. 
 Dry-point. Height, 5 inches; width, 8 inches. 
 
 First State: The outlines of a large gondola are conspicuous 
 in the lower part of the plate. In this state there are many 
 spots in the copper. 
 
 Avery Collection. 
 
 Second State: The outlines of the gondola have been for the 
 most part removed. Numerous slight lines are added in the 
 
 i55 
 
 S 
 
whistler’s etchings and dry-points 
 
 water, at the left. Nearly all of the spots in the copper have 
 been taken out. 
 
 Havemeyer and Mansfield Collections. 
 
 220 NOCTURNE: SHIPPING. (W. 194.) Across a wide stretch of 
 open water, two ships lie close together, at the right. Near the 
 center are more ships, and at the left are smaller vessels with 
 bare masts. There is no butterfly. 
 
 Dry-point. Height, 6x& inches; width, 8^4 inches. 
 
 First State: The masts of the smaller vessels stand out in 
 relief against the sky. The upper yards of the ships are not ex- 
 pressed. Buildings are suggested at the extreme right. Several 
 reflections and a few horizontal lines appear in the water. 
 There are evidences of roughness in some portions of the plate. 
 Benedict Collection. Upon the impression in this collection 
 Whistler wrote: “ 1st proof.” 
 
 Second State: Short vertical lines, between the earlier lines, 
 suggest a row of buildings behind the masts of clustered vessels 
 at the left. A cloud above the shipping near the center is 
 expressed by a series of short parallel lines. Long horizontal 
 lines are added in the water, near the bottom of the plate. 
 Nearly all traces of the roughness have been removed from 
 the plate. 
 
 Havemeyer and Mansfield Collections. 
 
 Third State: The short parallel lines in the sky have been 
 removed. 
 
 Fourth State: Vertical lines, indicating reflections, are added 
 below the buildings at the extreme left. 
 
 Fifth State: The buildings at the right and the horizontal 
 lines in the sky and water have been removed. Fine diagonal 
 lines are added on the hulls of the ships, and the upper yards 
 of the ships are expressed. 
 
 Mansfield Collection. 
 
 > 5 6 
 
whistler’s etchings and dry-points 
 
 Sixth State: There is additional work on the shipping and 
 reflections. 
 
 In impressions of the later states a night effect is given by 
 extensive inking of the plate. 
 
 221 OLD WOMEN. (W. 195.) At the right, on the pavement in 
 front of two adjoining open doorways, two women are standing 
 and four women are seated. On the pavement at the left, near 
 an open window in which are two flower-pots, a woman stands 
 with arms akimbo. A child is seated against the house-wall, 
 below the window, and a boy wearing a hat stands by the wall, 
 at the left of the woman. On the pavement, near the woman, 
 is an empty chair. The butterfly, shaded, is near the top of the 
 piate, at the left. 
 
 Dry-point. Height, 4^8 inches; width, 7% inches. 
 
 222 STABLES. (W. 198.) In the farther of two adjoining build- 
 ings at the corner of a canal, seen beyond an arch, slightly indi- 
 cated, is a dark passageway which a boat is entering, on the 
 stern of which stands a man. In the wall at the left is a round- 
 arched window with closed shutters. In the building at the 
 right is a round-arched doorway with steps above the level of 
 the water. At the left are suggestions of two figures. There is 
 no butterfly. 
 
 Dry-point. Height, inches; width, 9 inches. 
 
 First State: In the lower part of the passageway there is 
 stronger shading than in the upper part. The man standing 
 on the boat is somewhat vaguely indicated. 
 
 Mansfield Collection. On the impression in this collection 
 Whistler wrote: “1st proof.” 
 
 Second State: The shading of the passageway is made uni- 
 form through much additional work. Strong lines are added 
 on the stern of the boat. The man’s figure is more defined. 
 Coolidge Collection. 
 
 i57 
 
whistler’s etchings and dry-points 
 
 223 NOCTURNE: SALUTE. (W. 199.) Across an expanse of the 
 Bay of Venice rise the domes of the Salute, appearing at the left 
 of the Dogana. At the right, in the distance there is shipping and 
 below is a solitary gondola. At the left, slightly indicated, are 
 buildings and their reflections. The butterfly, shaded, is below 
 the middle of the plate, near the left edge. 
 
 Etching. Height, 5% inches; width, 8% inches. 
 
 First State: Vertical lines, vigorously drawn, shade the cen- 
 tral group of buildings and carry the reflections of the Salute 
 almost to a point. 
 
 Mansfield Collection. On the impression of this state in this 
 collection Whistler wrote: “ 1st State, 1st Proof.” 
 
 Second State: The reflections of the Salute are shortened. 
 Havemeyer Collection. 
 
 Third State: Short dry-point lines are added on the domes 
 and walls of the Salute. 
 
 Mansfield and Vanderbilt Collections. 
 
 Fourth State: Numerous fine diagonal lines in dry-point are 
 added on the Salute, and short horizontal lines in dry-point 
 are added in the reflections at the left. 
 
 Benedict and Caldwell Collections. 
 
 224 THE GONDOLA UNDER THE BRIDGE. An empty gondola 
 lies partly under a bridge with a high parapet, which spans a nar- 
 row canal between tall buildings. Flush with the outer walls of 
 the buildings at the left, columns support open arches, through 
 one of which steps lead from the canal. There is no butterfly. 
 Etching. Height, 11 $4 inches; width, inches. 
 
 Shown in Mr. Bacher’s book, ‘ With Whistler in Venice,” as “A 
 Quiet Canal.” 
 
 First State: In pure etching. There is a clear space above 
 vertical lines which indicate the reflection of the gondola. 
 Mansfield Collection. 
 
 158 
 
whistler’s etchings and dry-points 
 
 Second State: A part of the gondola has been erased, and 
 dry-point lines are added in what was a clear space above the 
 reflection of the gondola. 
 
 225 THE STEAMBOAT, VENICE. Beyond a quay, slightly indi- 
 cated, alongside of which is a man in a gondola, a side-wheel 
 steamboat lies out in the bay, near a two-masted fishing-boat. 
 Farther away, at the right, are boats under sail and a boat with 
 two bare masts, and here and there are numerous gondolas in 
 motion. In the distance are lines of buildings, above which 
 rise the domes of the Salute, under a heavily clouded sky. There 
 is no butterfly. 
 
 Etching. Height, iofT inches; width, 7 X inches. 
 
 Shown in Mr. Bacher’s book as “The Little Salute.” 
 
 First State: There are no lines in the water near the quay, 
 at the left of the man in the gondola. 
 
 Mansfield Collection. 
 
 Second State: A line extends from the gondola in front of 
 the quay to the center of the plate, where there are indica- 
 tions of figures. There are suggestions of two heads at the 
 left of the quay. 
 
 226 SHIPPING, VENICE. At the right, barges and fishing-boats 
 lie along a quay on which three men are standing. Near the 
 center, across a reach of water, is a ship under sail, at the right of 
 which are two vessels with sails spread, and at the left, boats with 
 bare masts. Farther at the left are more boats, some of them 
 faintly indicated. In the distance, on either side, is a row of 
 buildings, and at the extreme left rises the church of San Gior- 
 gio. There is no butterfly. 
 
 Etching. Height, n^s inches; width, 8y£ inches. 
 
 First State: About the center of the plate, some slight work 
 appears near the quay. 
 
 i59 
 
whistler’s etchings and dry-points 
 
 Second State: Additional work near the quay, about the cen- 
 ter of the plate, suggests the posts and railing of a bridge. 
 Freer Collection. 
 
 227 VENETIAN COURT. A lofty passageway, roofed with heavy 
 beams strongly defined, and supported in front by two columns 
 slightly indicated, leads to a small court with high buildings on 
 either side. Beyond stands a house with an open doorway at the 
 left and with four windows above. The two lower windows have 
 square panes; a shutter swings back from one of the upper win- 
 dows, and the shutter of the other is closed. High in an outer 
 wall at the right is a narrow flat window with square panes. A 
 bracket, supporting a lantern, projects from the right upper cor- 
 ner of the wall, at the entrance to the passageway. A woman, 
 vaguely indicated, is seated within the doorway. A suggestion 
 of the butterfly, in outline, appears half way up the plate, near the 
 column at the left. 
 
 Dry-point. Height, 1 1% inches; width, 7% inches. 
 
 First State: The shading of the beams is in vertical lines. 
 Mansfield Collection. Upon the impression in this collection 
 Whistler wrote: “ 1st State — Venice 1879.” 
 
 Second State: Horizontal and a few diagonal lines are added 
 on the shading of the beams, and a few lines are added else- 
 where. 
 
 Freer Collection. 
 
 228 VENICE. (Sup. 361.) Across a broad expanse of water, in 
 which numerous posts are set, the Salute rises loftily, near the 
 center, with the Dogana and a long line of shipping at the right. 
 A long row of buildings at the left ends with palaces, in front 
 of which lie a number of boats with sails partly raised. Out in 
 the bay, near the center is a boat with two bare masts; at the 
 right is a boat under sail; between them are two gondolas in 
 
 160 
 
whistler’s etchings and dry-points 
 
 motion, and at the left is a third gondola. There is no butterfly. 
 Dry-point. Height, 7% inches; width, 11% inches. 
 
 Avery, Freer, and Parsons Collections. 
 
 229 VENETIAN WATER-CARRIER. A young girl walking for- 
 ward, looking down, carries a pail, slightly indicated, in either 
 hand. She wears a kerchief about her shoulders and a scarf over 
 her head. There is no butterfly. 
 
 Dry-point. Height, 7 % inches; width, 5 inches. 
 
 Freer and Mansfield Collections. 
 
 230 WHEELWRIGHT. (W. 162.) The interior of a wheelwright’s 
 shop, with peaked roof, in which are skylights, and with cross- 
 beams, on which material is stored. In the foreground at the 
 right, near an anvil, a man is bending over a wheel. Beyond him 
 a man stands holding a wheel upright. At the extreme right 
 two men are at work by a forge, beyond which material is ranged. 
 In the distance, two men are bending forward in front of a large 
 wheel at the right, and a man stands in front of a bench at the 
 left. At the far end is a large covered vehicle. The butterfly, 
 shaded, is near the bottom of the plate, at the left. 
 
 Etching. Height, 5 inches; width, 6 7 A inches. 
 
 First State: In pure etching. The upright piece, seen above 
 the head of the man standing by a wheel at the right, is with- 
 out shading. There is a second butterfly, shaded, on the left 
 end of the nearest cross-beam. 
 
 Second State: Strong shading is added in dry-point in the 
 roof and background and on the vehicle. 
 
 Third State: Fine lines are added in the shading of the roof, 
 and the shading in the background and on the vehicle is deep- 
 ened. The upright piece above the head of the man standing 
 by a wheel at the right is shaded near the top by long dry-point 
 lines. 
 
 161 
 
whistler’s etchings and dry-points 
 
 Fourth State: The lines on the upper part of the upright piece 
 have been removed. Strong dry-point lines are added in the 
 roof, and fine dry-point lines shade various objects at the right. 
 The butterfly has been removed from the end of the cross-beam. 
 In this state, one of the “Twenty-six Etchings.” 
 
 231 TEMPLE. (W. 170.) On a street-corner stands a large house, 
 at the side of which, by a lamp-post, is a wagon to which are at- 
 tached two horses, baiting. From a shed at the right, by the side 
 of another house, appear two horses, also baiting. At the side of 
 the shed is a leafless tree. A row of houses extends along the 
 street beyond. The butterfly, shaded, is toward the left lower 
 corner of the plate. 
 
 Etching. Height, 4 inches; width, 6 inches. 
 
 One of the “Twenty-six Etchings.” 
 
 232 LITTLE COURT. (W. 173.) At the farther side of a court- 
 yard is a large building with a broad doorway near the center, 
 and two small adjoining open doorways at the left, and a row of 
 tall windows above. At the right of the broad doorway is a cart. 
 On the rounded front of a shop at the left buckets and brushes are 
 hung. There are people in the doorways, some standing and 
 others seated, and there are men and children in the courtyard. 
 The butterfly, shaded, is on the wall, between windows at the right. 
 Etching. Height, 4J4 inches; width, 6 J 4 inches. 
 
 One of the “Twenty-six Etchings.” 
 
 233 LOBSTER-POTS. (W. 174.) In front, and in the distance at 
 the right, are a number of lobster-pots on a curving beach. At 
 the left, merely suggested, is a boat. Near the right lower cor- 
 ner: “Selsea Bill.” The butterfly, shaded, is at the right edge 
 of the plate, near the bottom. 
 
 Etching. Height, 4 yi inches; width, '-]]/% inches. 
 
 One of the “Twenty-six Etchings.” 
 
 162 
 
whistler’s etchings and dry-points 
 
 234 DRURY LANE. (W. 176.) Seen beyond a wide passageway 
 through a building, there is a shop near a lamp-post at the bend 
 of a street, and across the street are two shops. In the foreground 
 are five children, slightly indicated, and there are figures on 
 the pavements beyond. The butterfly, shaded, is on the wall of 
 the building, near the right upper corner. 
 
 Etching. Height, 6 y% inches; width, 4 inches. 
 
 One of the “Twenty-six Etchings.” 
 
 235 REGENT’S QUADRANT. (W. 192.) A London street, seen 
 from under an arcade that has a supporting column at the left. 
 
 In the street are five hansoms, a four-wheeler, a carriage and 
 many people. Across the street there are shops. The butterfly, 
 shaded, is on the beam of the arcade, at the right. 
 
 Etching. Height, inches; width, yy inches. 
 
 First State: In front are two women walking to the right, 
 and at the left of the column a woman is hurrying to the left. 
 
 Beyond are suggestions of other figures. There is only slight 
 shading on the beam of the arcade. 
 
 Second State: There is strong shading on the beam of the 
 arcade. 
 
 Avery Collection. 
 
 Third State: Both of the women in front and the woman at 
 the left, and the suggestions of other figures beyond, have now 
 been removed. The figure of a small girl is added, between a 
 lady and a boy running, near the center. 
 
 Mansfield Collection. 
 
 Fourth State: Work in dry-point is added on the figure of 
 the small girl. 
 
 236 ALDERNEY STREET. (W. 196.) A large house with a por- 
 tico stands behind an iron railing on a street-corner at the right. y 
 On the opposite side of the street are two large houses with por- 
 
 163 
 
whistler’s etchings and dry-points 
 
 J 
 
 ticos, and on the far corner of a cross-street is another large house. 
 A horse attached to a covered vehicle stands in the foreground 
 at the right, and down the street two hansoms are seen, and a 
 number of people walking. The butterfly, shaded, is high on 
 the wall of the house at the right. 
 
 Etching. Height, 7 inches; width, 4^ inches. 
 
 Whistler lodged for a while in Alderney Street after returning 
 from Venice. 
 
 First State: The plate is without lettering. 
 
 Havemeyer and Mansfield Collections. 
 
 Second State: Engraved along the lower edge of the plate, 
 at the left: “Gazette des Beaux-Arts”; at the right: “Imp. 
 Cadart.” 
 
 In this state, published in the “Gazette des Beaux-Arts” for 
 April, 1881, with an article on “James Whistler ” by Theodore 
 Duret, reprinted in 1885 in “Critique d’Avant Garde.” 
 
 THE SMITHY. (W. 197.) The interior of a blacksmith’s shop, 
 with a large window at the left, near which a man stands bending 
 over a work-bench. Farther at the left is a small window, show- 
 ing four panes, and in the high-peaked roof are two skylights, 
 the upper one partly seen. At the right two men are bending 
 over an anvil, and beyond is a man standing near a forge. In the 
 foreground are two blacksmith's hammers; in the background, 
 near a tall cupboard, is a confusion of tools and other objects. 
 A beam extends diagonally from the peak of the roof, in the back- 
 ground. The butterfly, shaded, is at the foot of the anvil. 
 Etching. Height, 6>s inches; width, 9 inches. 
 
 First State: The lower skylight is irregular in form. Short 
 diagonal lines slightly shade the beam. The rafters above the 
 large window are distinct and nearly white, and there is an 
 irregular white space in the background, behind the cupboard. 
 The front of the forge-flue, for some distance below and above 
 the bellows-bar, is unshaded, and a considerable space in the 
 
 164 
 
whistler’s etchings and dry-points 
 
 right upper corner of the plate is left blank. The man stand- 
 ing at the left of the anvil is only slightly indicated. 
 
 Benedict Collection. 
 
 Second State: Diagonal lines, running from left to right, are 
 added along the top of the plate, near the center, and there is 
 additional work in the background, above the beam. 
 
 Avery and Mansfield Collections. 
 
 Third State: Through much additional work in dry-point the 
 beam is uniformly shaded, the rafters are made less conspicuous 
 and the background generally is harmonized. Diagonal dry- 
 point lines are added along the hip of the man bending over the 
 anvil. 
 
 Buckingham Collection. 
 
 Fourth State: There is further work upon the background. 
 The lower skylight is given a more regular form. Short dry- 
 point lines are added on the front of the forge-flue, below and 
 above the bellows-bar. Nearly all traces of the figure at the 
 left of the anvil have been removed. 
 
 Lathrop Collection. 
 
 Fifth State: Much strong shading is added on the forge-flue, 
 and the rafters are further obscured. The irregular space back 
 of the cupboard is filled with fine dry-point lines. 
 
 Benedict Collection. 
 
 Sixth State: The lower skylight is now shaded throughout. 
 There is still more work in the background, and the right upper 
 corner of the plate is shaded. 
 
 Dickerman and Wrenn Collections. 
 
 38 SWAN AND IRIS. (Sup. 310.) In front is a large iris; at the 
 left a swan is fluttering in a stream which flows under the arch of 
 a bridge. Beyond the bridge are barges under sail, and on the 
 river bank, at the left, are four tall trees and a low shed, and 
 two high chimneys. 
 
 165 
 
whistler’s etchings and dry-points 
 
 Etching. Height, 5X inches; width, 3X inches. 
 
 Etched from a sketch in oils by Cecil Lawson. 
 
 First State: The sails of the barges are slightly shaded. 
 
 Second State: The sails are heavily shaded. Fine diagonal 
 lines are added in the reflections of the river bank. 
 
 In this state, published as an illustration in “Cecil Lawson, a 
 Memoir by Edmund W. Gosse”; London, The Fine Art So- 
 ciety, Limited, 1883. 
 
 239 DORDRECHT. (W. 200.) At the right, in a broad expanse 
 of water, a boat with a jib and a mainsail nearly set partly hides 
 another boat with the mainsail raised. At the left are two boats 
 with sails lowered. In the distance a building with a dome rises 
 near a clump of trees, and at the right and left are sketchy indi- 
 cations of shipping and the town. The butterfly, in outline, is in 
 the lower part of the plate, at the left. 
 
 Etching. Height, 6 inches; width, 9 inches. 
 
 Mr. Wedmore states that this etching was done in 1884. 
 
 First State: The jib of the nearer boat with raised sail is un- 
 shaded, and the mainsail is in pure etching. 
 
 Mansfield Collection. 
 
 Second State: The jib of the nearer boat with raised sail is 
 slightly shaded by a series of short dry-point lines, and dry- 
 point lines are added on the mainsail. 
 
 240 LITTLE DORDRECHT. In the foreground a bridge, which 
 three men are crossing, leads to a wharf on which are several 
 figures and a horse and a cart. Out in the river is a cluster of 
 boats with masts, on some of which sails are partly raised. The 
 farther bank is lined with trees slightly indicated. The butter- 
 fly, shaded, is near the lower edge of the plate, at the right. 
 Etching. Height, 3^ inches; width, 5% inches. 
 
 Freer and Mansfield Collections. 
 
 166 
 
whistler’s etchings and dry-points 
 
 241 BOATS ON THE MAAS. On the broad river are several boats 
 with sails spread or partly furled. At the right is a dome, and in 
 the distance are two windmills and a line of trees. The butter- 
 fly, in outline, is near the lower edge of the plate, at the right. 
 Etching. Height, 2^8 inches; width, 3 inches. 
 
 Freer and Mansfield Collections. 
 
 242 LITTLE WHEELWRIGHT. Fronting on a canal are two ad- 
 joining buildings with gable ends, each with a door and side win- 
 dow and a window above, differently placed. Abutting on the 
 building at the left are two low sheds, next a garden behind pal- 
 ings. In front of the buildings are several tires, a large wheel 
 and a grindstone. The butterfly, in outline, is in the sky, above 
 the garden. 
 
 , Etching. Height, 2^8 inches; width, 3 inches. 
 
 Freer and Mansfield Collections. 
 
 243 A CORNER OF THE PALAIS ROYAL. (W. 201.) Through 
 a building forming a corner with another at the left, a passage 
 leads under an arch, between columns of an arcade, from an open 
 space in front to a court beyond. Above the passage a long win- 
 dow is expressed, on each side of which the lower part of a win- 
 dow is indicated. A lantern hangs in the arcade, at the left. In 
 the open space two women and a girl are standing together at the 
 left, and farther away two women, one merely indicated, are 
 standing near a woman bending over a hand-cart. At the right 
 stands an open carriage, and a carriage is coming through the 
 passage. The butterfly, in outline, is toward the bottom of the 
 plate, near the right edge. 
 
 Etching. Height, 5% inches; width, y / 2 inches. 
 
 First State: The lower panes of the long window are almost 
 unshaded, and the shading in the passage and arcade is com- 
 paratively slight. 
 
 Avery Collection. 
 
 167 
 
whistler’s etchings and dry-points 
 
 Second State: There is strong shading on the lower panes of 
 the long window and in the passage and arcade. 
 
 244 A SKETCH AT DIEPPE. (W. 202.) On a beach in the fore- 
 ground a woman is walking, with parasol raised, and children 
 are at play. Beyond are barriers, behind which are a number 
 of people. In the distance is a fortification, with a lighthouse at 
 the right and with a flagpole at the left. Two vessels are lying 
 in front of the fortification. The butterfly is below the middle 
 of the plate, near the left edge. 
 
 Etching. Height, 2 inches; width, 3X inches. 
 
 First State: The flagpole is faintly indicated. The butterfly 
 is in outline. 
 
 Mansfield Collection. 
 
 Second State: The flagpole is distinctly expressed. There is 
 slight additional work on the figures. The butterfly is shaded. 
 
 245 BOOTH AT A FAIR. (W. 203.) Sketched on the upper part 
 of the plate, is a booth of canvas stretched over poles. The 
 interior of the booth, within which two people are seated, is 
 strongly shaded. Without, at the left a woman is bending over 
 a table, and at the right there are two women, slightly indicated. 
 Below, at the right, stands a child. The butterfly, in outline, is 
 above the middle of the plate, near the right edge. 
 
 Etching. Height, 5T6 inches; width, 3^ inches. 
 
 Mr. Wedmore says that it is a booth at a French country fair. 
 
 246 COTTAGE DOOR. (W. 204.) A tall slender girl wearing a sun- 
 bonnet stands, with feet crossed, in front of a cottage-wall, be- 
 tween a window at the right and an open doorway at the left. 
 Braced against the opposite side of the doorway stands another 
 tall girl wearing a hat. A smaller girl, wearing a similar hat, is 
 standing within the doorway, and a child is stooping on the pave- 
 
 168 
 
whistler’s etchings and dry-points 
 
 ment outside. The butterfly, in outline, is on the wall, near the 
 left edge of the plate. 
 
 Etching. Height, 2 y% inches; width, 3 inches. 
 
 Mr. Wedmore says that this was sketched in Cumberland. 
 
 247 THE VILLAGE SWEET-SHOP. (W. 205.) In front of an 
 open doorway at the left two children are seated, and in the door- 
 way a girl and a child are standing. Within, dimly seen, is an- 
 other figure. At the right is a shop-window filled with boxes 
 and jars. Propped against the wall, between the doorway and ^ 
 the window, is a large shutter. The butterfly, shaded, is on the 
 wall, half way up the plate, near the right edge. 
 
 Etching. Height, 3X inches; width, 4J4 inches. 
 
 248 THE SEAMSTRESS. (W. 206.) A woman seated at the right 
 is examining some work held by a woman who stands facing her. 
 Conspicuous on a shelf in the background are two vases. The 
 butterfly, in outline, is above the middle of the plate, at the left. 
 Etching. Height, 3 inches; width, 2^8 inches. 
 
 249 THE BONNET-SHOP. Within the narrow doorway of a shop 
 reached by steps, a woman wearing a hat stands facing to the 
 right. Bonnets and ribbons are seen in the windows on either 
 side, and at the top of the window at the left is the sign: “Cheap 
 Boots.” Two children on the pavement are looking into the 
 other window. The butterfly, in outline, is below the window at 
 the left. 
 
 Etching. Height, 3 inches; width, 2^ inches. 
 
 Freer Collection. 
 
 250 THE TOWING-PATH. On the farther bank of a stream is a 
 clump of trees, near which are three horses. At the left a man 
 is walking forward, and at the right are three figures behind a 
 
 169 
 
whistler’s etchings and dry-points 
 
 railing. The butterfly, in outline, is near the bottom of the 
 plate, at the left. 
 
 Etching. Height, 2 inches; width, 3X inches. 
 
 Freer and Mansfield Collections. 
 
 251 ST. JAMES’S PARK. (W. 207.) Near a tree with wide-spread- 
 ing branches is an open carriage, with two men on the box. 
 Other carriages are seen in the distance, and at the right are a 
 few people on foot. The butterfly, shaded, is below the middle of 
 the plate, near the left edge. 
 
 Etching. Height, 2 $4 inches; width, 3 inches. 
 
 252 A FRAGMENT OF PICCADILLY. (W. 208.) At the right, 
 sketched high on the plate, are the upper stories of a row of 
 buildings. Below there are groups of figures. Conspicuous among 
 the nearest figures is a man with a tall hat and dark coat. The 
 butterfly, in outline, is above the middle of the plate, near the 
 right edge. 
 
 Etching. Height, 4 yi inches; width, 2^ inches. 
 
 253 OLD-CLOTHES SHOP. No. 1. (W. 209.) At the left of an 
 
 open doorway, before which a woman is seated, is a shop-window, 
 in front of which many garments are hanging and below which 
 are wares upon a bench, by which a boy is standing. Adjoining 
 the open doorway is a closed doorway. At the right there are 
 bird-cages on a shelf, and an assortment of articles is displayed 
 below the shelf. The butterfly, shaded, is on the upper frame of 
 the window. 
 
 Etching. Height, 2% inches; width, 4 inches. 
 
 First State: There is comparatively open shading in the door- 
 way at the left. 
 
 Mansfield Collection. 
 
 Second State: There is close shading in the doorway, with 
 dense shadow in the upper part. 
 
whistler’s etchings and dry-points 
 
 254 OLD-CLOTHES SHOP. No. 2. (Sup. 302.) At the left are 
 two adjoining doorways, one wide open, approached by the same 
 steps, down the middle of which extends a slight hand-rail. In 
 the open doorway, through which a woman is seen, a man is 
 seated, talking with a woman standing in front of the other door- 
 way. Against the shop-window at the left, in front of which gar- 
 ments are hanging, is propped a pair of crutches. At the right is 
 a large window above a long shelf, on which is a pot of flowers 
 and underneath which, about a dark passageway, pictures and 
 frames and garments are hung. On the pavement below are 
 a chair and other articles. There are children on the pavement, 
 at the extreme left. The butterfly, shaded, is over the shelf, 
 between the window and the pot of flowers. 
 
 Etching. Height, 3 y A inches; width, 6 y& inches. 
 
 First State: The shading underneath the shelf is compara- 
 tively slight. 
 
 Mansfield Collection. 
 
 Second State: Numerous lines are added in the shading 
 underneath the shelf, and there is additional shading in the 
 passageway. 
 
 255 GREENGROCER’S SHOP. (W. 210.) At the right of a small 
 open doorway, in which two women are standing, is a large shop- 
 window of many panes, well stocked, in front of which, on the 
 pavement, are baskets filled with greengrocer’s wares. The but- 
 terfly, shaded, is above the middle of the plate, at the right. 
 Etching. Height, 2^ inches; width, 4 inches. 
 
 First State: In pure etching. There is a blank space about 
 the head of the woman standing at the right. 
 
 Mansfield Collection. 
 
 Second State: Dry-point lines fill the space about the head 
 of the woman standing at the right. 
 
 Catalogued by Wedmore as “Fruit-Shop.” 
 
 171 
 
whistler’s etchings and dry-points 
 
 256 ON THE EMBANKMENT. (W. 21 1.) In the foreground, 
 at the extreme right, near a railing on the Thames embankment 
 at Chelsea, a man is standing, and very near him, at the left, a 
 woman and two girls stand grouped together. Farther at the left, 
 a girl carrying a child in her arms is standing near a dog, and 
 still farther away there are two figures, slightly indicated. Along 
 the opposite bank of the river are a number of steamboats, and 
 back from the shore are sheds with tall chimneys, a church with 
 a tower, and a church with a spire — all delicately etched. The 
 butterfly, in outline, is between the group and the girl. 
 
 Etching. Height, \% inches; width, 534 inches. 
 
 257 THE MENPES CHILDREN. (W. 212.) A young girl wear- 
 ing a small round cap is seated on a chair, and beyond her stands 
 a girl wearing a sunbonnet. At the right stands a child wearing 
 a hat, near whom a baby is seated on the ground. The butter- 
 fly, in outline, is at the left of the chair. 
 
 Etching. Height, 23,4 inches; width, 4 inches. 
 
 Mr. Wedmore says that the girl standing beyond the chair is not 
 one of the Menpes family. 
 
 This etching was published, after Mr. Whistler’s death, as a fron- 
 tispiece to the “ Edition de Luxe” of ‘‘Whistler as I Knew Him,” 
 by Mortimer Menpes (London, Adam and Charles Black, 1904). 
 One of the two proofs printed in the artist’s lifetime is in the 
 Mansfield Collection. 
 
 258 THE STEPS, CHELSEA. (W. 213.) Steps between iron rail- 
 ings lead to an open doorway, with panelling on either side, at 
 the left of a large shop-window. A boy is standing on the steps, 
 and at the foot of the steps a man and a woman are lingering. 
 On the pavement a man and a woman are at the left, and a wom- 
 an carrying a child in her arms is at the right. The butterfly 
 is half way up the plate, at the extreme right. 
 
 Etching. Height, 2 inches; width, inches. 
 
 172 
 
whistler’s etchings and dry-points 
 
 First State: The shading above the window consists of a 
 single horizontal line crossed by short parallel diagonal lines. 
 The butterfly is in outline. 
 
 Second State: A few short diagonal lines and many short 
 vertical lines are added in the shading above the window. The 
 butterfly is shaded. 
 
 259 THE FISH-SHOP: BUSY CHELSEA. (W. 214.) The fish- 
 shop, near the center, is the largest of a row of shops, seen across 
 a street. The shop-front and a doorway are open under an awn- 
 ing. An adjoining doorway evidently leads to the story above, 
 in which are two windows. In the second story of the shop at the 
 right is a large window, below which an awning overhangs a shop- 
 window next to a closed door. Above a shop-window and open 
 doorway at the left of the fish-shop, are two open windows with 
 growing plants. Part of a shop-window, below an open window 
 slightly indicated, is seen at the extreme left. There are men, 
 women and children in the central shop and in open doorways, 
 and on the pavement. The butterfly, shaded, is on the wall, be- 
 tween the windows farthest at the left. 
 
 Etching. Height, 5X inches; width, 8 X inches. 
 
 This etching was made in 1886 for the Royal Society of British 
 Artists, of which Mr. Whistler was then the President. 
 
 First State: There is no shading upon the figure of the man 
 standing within the central shop. 
 
 Mansfield Collection. 
 
 Second State: Fine diagonal lines are added on the figure of 
 the man standing within the central shop. 
 
 260 NASH’S FRUIT-SHOP. (W. 215.) Under an awning which 
 stretches across the open front of a shop, wares are displayed on a 
 counter at the right, in front of which stands a group of children. 
 Beyond the counter is a woman, looking out, and by a similar 
 
 '73 
 
whistler’s etchings and dry-points 
 
 counter at the left two children are standing, one of whom wears 
 a hat. Between the counters is a space nearly blank. On the 
 awning: “T. A. Nash.” The butterfly, shaded, is on the awning, 
 near the right lower corner. 
 
 Etching. Height, 6 J/& inches; width, 4 % inches. 
 
 First State: The shading at the right, immediately below 
 the awning, is chiefly in parallel vertical lines. The woman’s 
 features are indistinct. There are suggestions of work in the 
 open space. 
 
 Second State: Diagonal lines, running from right to left, are 
 added across the earlier lines in the shading at the right, im- 
 mediately below the awning, and diagonal lines are added else- 
 where in the shading. Traces of work in the open space have 
 become faint. 
 
 Freer Collection. 
 
 Third State: Numerous short diagonal lines, all running from 
 left to right, are now added in the shading at the left, above the 
 head of the child wearing the hat, and a few longer diagonal lines, 
 running from left to right, are added at the left of the woman’s 
 head. 
 
 Mansfield Collection. 
 
 Fourth State: Fine dry-point lines are added throughout 
 the shading. The woman’s features are well defined. Traces 
 of the work in the open space have been almost completely 
 burnished out. 
 
 Catalogued by Wedmore as “T. A. Nash.” 
 
 261 WOODS’S FRUIT-SHOP. Warns are displayed on a draped 
 counter in front of a large window at the left, under a striped 
 awning which extends across the shop-front. Above is a sign 
 reading: “Fruit & Potato — J. H. Woods — Salesman.” A wo- 
 man stands at the right of the counter, and in the background 
 are two other figures, slightly indicated. On the pavement at 
 
 >74 
 
whistler's etchings and dry-points 
 
 the right are two children. The butterfly, in outline, is sug- 
 gested in the central lower pane of the window. 
 
 Etching. Height. 3 -U inches; width. = : _ inches. 
 
 First State: There is comparatively slight shading in the 
 background beyond where the woman is standing. 
 
 Second State: Numerous tine dry-point lines are added in the 
 background beyond the woman. 
 
 Mansfield Collection. 
 
 262 FURNITURE -SHOP. W. 216. On the pavement, under an 
 
 awning at the right, are a bureau, table and chair, with other 
 furniture, and hung below an awning at the left are numerous 
 articles. The butterfly, shaded, is in the space between the 
 
 two awnings. 
 
 Etching. Height, 3-O inches : width, o- ; s inches. 
 
 263 SAVOY SCAFFOFDING. (W. 21 - . A sketch of scaffolding 
 used in the erection of the Savoy Theatre. London. Near a loaded 
 wheelbarrow in the foreground are upright-pieces and cross-notes 
 bound together, in front of a high barrier, above which rise three 
 stages of scaffolding. Two pulleys are attached to the top stage 
 which is reached by a long ladder. On a stage even, with the top 
 of the barrier, three figures are standing and a fourth figure :s 
 seated. The butterfly, in outline, is on the barrier, near the 
 left edge of the plate. 
 
 Etching. Height, 7 inches: width. 3N inches. 
 
 264 THE RAILWAY-ARCH. (W. 21S. Beyond an open space, 
 in which stands an obelisk supporting two lanterns, is a broad 
 dark archway with flat top. entering a long low building. Pro- 
 jecting from the building, at the left, is a large crane. There 
 are people in the archway and in the open space. The butterfly 
 in outline, is below the middle of the plate, near the left edge. 
 Etching. Height, 2-0 inches: width. 6 ; s inches. 
 
 i75 
 
whistler’s etchings and dry-points 
 
 First State: A lantern within the archway is merely sug- 
 gested. On the cornice above the archway is a round orna- 
 ment in a clear space. 
 
 Freer and Mansfield Collections. 
 
 Second State: Additional work in the archway throws the 
 interior into deeper shadow and makes the people and the lan- 
 tern more distinct. Lines are added on the cornice and fill 
 the space around the ornament. 
 
 Freer and Lathrop Collections. On the impression in the 
 Lathrop Collection Whistler wrote: “The Railway Arch.” 
 
 265 ROCHESTER ROW. (W. 219.) On the bend of a street is a 
 row of buildings with three shop-fronts, the two at the left hav- 
 ing awnings. On the wall above: “Daily Telegraph,” at the left 
 of a long window. Over the shop at the right is a similar win- 
 dow. In the street are two market-carts, and beyond them are 
 two lamp-posts. In the distance appears the top of a church 
 tower surmounted by a flagpole. There are people in the door- 
 ways of the shops, and on the pavement at the right are two 
 children. The butterfly is below the church tower. 
 
 Etching. Height, 5!% inches; width, 8?4 inches. 
 
 First State: The two lower panes of the window above the 
 central shop, and all the panes of the window above the shop 
 at the right, are unshaded. The butterfly is in outline. 
 Mansfield Collection. 
 
 Second State: Diagonal lines in dry-point are added in a 
 series extending from a child who stands near the market- 
 carts to a railing at the right. A few similar lines are added 
 above the child’s head. The butterfly remains in outline. 
 
 Third State: The lower panes of the long windows above 
 the central shop and the shop at the right are shaded, and there 
 is additional shading in the doorway of the central shop. The 
 butterfly is shaded. 
 
 176 
 
whistler’s etchings and dry-points 
 
 266 YORK STREET, WESTMINSTER. (W. 220.) A passageway 
 guarded by a post leads through a building, and between two 
 shops, from a street to a court. The shop at the left has a large 
 show-window, next an open doorway adjoining a closed door. 
 The other shop has a window with large panes, at the left of 
 doors slightly indicated. Upon the shop at the left is the sign: 
 “G. Fisher. Fancy. 73,” and upon the shop at the right is “74.” 
 A woman is within the open doorway of the shop at the left, 
 and another is leaning out of a window above the passageway. 
 A woman and child are looking into the shop-window at the right; 
 a woman is standing before the other window, and a boy and 
 small child are on the pavement in front. The butterfly, in out- 
 line, is near the top of the plate, above the sign. 
 
 Etching. Height, 5 inches; width, 8X inches. 
 
 267 RAG-SHOP, MILMAN’S ROW. (Sup. 291.) Steps at the cen- 
 ter lead to two adjoining doorways, the one at the right closed 
 and the other open. At the left is a large shop-window, in front 
 of which drapery and garments are hung; garments are also hung 
 between the doorways. Above a bureau in the open doorway 
 a face peers out at three children seated on the steps. At the 
 right, a window is indicated above a shelf, below which, near a 
 closed doorway, is a round table with top upturned. Farther 
 at the right a child is standing on the pavement. The butter- 
 fly, in outline, is above the shelf, between the doorway and the 
 window. 
 
 Etching. Height, 5^ inches; width, 8 inches. 
 
 268 THE BARBER’S SHOP. (W. 229.) On each side of a dark 
 passageway is a shop-front with a show-window and an open door; 
 at the extreme left is a third shop-front, with a show-window and 
 a closed door. At the edge of the pavement there is a lamp-post. 
 A man stands in the doorway of the shop at the right; there is a 
 group of people in the passageway, and two children are standing 
 
 •77 
 
whistler’s etchings and dry-points 
 
 on the pavement, at the extreme left. On the window-panes of 
 the far shop at the left : “ Hair Cutting and Shaving,” and below: 
 ‘‘Fred Carles,” and on the shop-door: ‘‘Cut 3 ” and “ HairCut 2.” 
 The butterfly, shaded, is above the middle of the plate, near 
 the right edge. 
 
 Etching. Height, 6 y 2 inches; width, 9 inches. 
 
 269 THE SHAVING-AND-SHAMPOOING SHOP. (Sup. 294.) At 
 the left of a narrow passageway is a shop with a show-window 
 and an open door, over which hang two bird-cages. Above is 
 the sign: “Shaving and Shampooing.” A woman is standing 
 within the doorway; three young women are leaning against the 
 shop-window, and a boy is standing upon the pavement. The 
 butterfly, in outline, is above the middle of the plate, near the 
 left edge. 
 
 Etching. Height, 6^6 inches; width, 5 inches. 
 
 270 JUSTICE WALK, CHELSEA. (Sup. 296.) Behind iron rail- 
 ings are two houses with adjoining open doorways, between two 
 windows on either side. At the right is a third open doorway. 
 In one of the central doorways a woman stands with her left hand 
 on the railing and her right hand on the door-jamb. In front 
 of her are three children. In the doorway at the right two women 
 are standing. On the pavement at the left is a group of four 
 children, and at the right two children are walking away. Near 
 the railing at the extreme left are slight indications of two figures. 
 Between the two windows at the left is the sign: “C. W. Brett, 
 Gardiner.” The butterfly, shaded, is near the top of the plate, 
 above the last window at the left. 
 
 Etching. Height, inches; width, 9^ inches. 
 
 First State: The skirt of the woman in the central doorway 
 is without shading, and there are only short parallel etched 
 lines in the background below her right arm. 
 
 Benedict and Freer Collections. 
 
 .78 
 
whistler’s etchings and dry-points 
 
 Second State: Short diagonal dry-point lines are added on 
 the skirt of the woman in the central doorway, and in the 
 background, below her right arm. 
 
 Mansfield Collection. 
 
 271 BIRD-CAGES, CHELSEA. (Sup. 297.) Numerous bird-cages 
 are hung on the front of a shop with an open doorway. At the 
 right is a smaller shop with an open doorway and with a show- 
 window, above which is the sign: “W. Jones.” Below is the 
 word “Amber.” Three women stand about the doorway of the 
 shop at the right, and two children near the shop-window. On 
 the pavement, at the right a woman is trundling a cart in which 
 there is a baby, and at the left a man stands with his face turned 
 away. The butterfly, in outline, is near the top of the plate, at 
 the left. 
 
 Etching. Height, 6 inches; width, 9 inches. 
 
 272 KING’S ROAD, CHELSEA. In front a girl is wheeling a child 
 in a baby-carriage on a pavement that is bordered, at the left, by 
 a wall on which wares are displayed. Beyond is a corner-shop 
 from which two lanterns project. Over the open door of the 
 shop is a sign with the lettering: “ Roebu[ck].” A few people are 
 standing near the door of the shop. The butterfly, in outline, 
 is near the right edge, three-quarters of an inch from the top. 
 Etching. Height, 4X inches; width, iy 2 inches. 
 
 Freer and Mansfield Collections. 
 
 273 MERTON VILLA, CHELSEA. (Sup. 298.) The front of a 
 long low house is partly seen beyond some tall slender trees and 
 clumps of shrubbery. A woman, bending forward slightly, stands 
 near the shrubbery at the right. Near the left lower corner: 
 “Merton Villa, Chelsea” and “to Trix.” The butterfly, in out- 
 line, is above the middle of the plate, near the left edge. 
 
 Etching. Height, inches; width, 8^ inches. 
 
 * 79 
 
whistler’s etchings and dry-points 
 
 274 LITTLE MAUNDER’S. (Sup. 299.) The gabled front of a 
 house with an attic window, two windows in the story below, and, 
 under an awning, a shop-window and a door opening upon the 
 pavement. Down a side street at the right i$ a. lamp-post. On 
 the pavement are a woman and a child. The butterfly, in out- 
 line, is below the middle of the plate, near the left edge. 
 
 Etching. Height, 3 X inches; width, 2 inches. 
 
 View of a house at Chelsea in which was Maunder’s fish-shop, 
 the central shop in the etching entitled “The Fish-Shop: Busy 
 Chelsea” (249); also the subject of a lithograph by Whistler. 
 Freer and Mansfield Collections. 
 
 275 EXETER STREET. (Sup. 287.) At the right of a shop with 
 a bay window and narrow doorway, is a large shop with open 
 front, before which are fruit-stands under an awning. On the 
 pavement are two girls and near them is a child, and there is a 
 child, slightly indicated, at the extreme right. The butterfly, 
 in outline, is on the lowest central pane of the bay window. 
 Etching. Height, 5 inches; width, 6 }i inches. 
 
 276 BIRD-CAGES, DRURY LANE. (Sup. 289.) A woman with 
 a child in her arms is standing in front of a passageway that 
 leads through a building on which bird-cages are hung. The 
 butterfly, in outline, is on the wall at the left of the passageway. 
 Etching. Height, y/ A inches; width, 3% inches. 
 
 277 RAG-SHOP, ST. MARTIN’S LANE. Two shops with show- 
 windows are sketchily indicated. The word “Rag” is on a 
 central pane of the window at the right. Two women are stand- 
 ing on the pavement at the left, and at the right are a woman 
 and five children. The butterfly, partly shaded, is at the left. 
 Etching. Height, y/l inches; width, 73^ inches. 
 
 Mansfield Collection. 
 
 180 
 
whistler’s etchings and dry-points 
 
 278 WIMPOLE STREET. In front of a building entered through 
 a passageway supported by columns, stands a hansom cab, near 
 which a woman, holding up an open umbrella, is walking. The 
 butterfly, in outline, is above the middle of the plate, near the 
 left edge. 
 
 Etching. Height, 3 J/& inches; width, 2^ inches. 
 
 Mansfield Collection. 
 
 279 GATES, CITY, LONDON. Between massive gate-posts there 
 are closed gates of ornamental ironwork, for roadway and foot- 
 ways. An equestrian figure is on the post at the left. In front, 
 at the right, a boy is approaching the gates, and near the center 
 is a child wearing a large sunbonnet. The butterfly, in outline, 
 is below the middle of the plate, near the left edge. 
 
 Etching. Height, 5% inches; width, 3% inches. 
 
 Caldwell Collection. 
 
 280 MARBLES. (Sup. 312.) Three boys, two of them kneeling 
 and one standing between the two, are playing marbles on the 
 roadway in front of a small shop. A boy is seated on the step 
 of the open door of the shop, and a man is partly visible within. 
 A child is standing in front of the shop-window, and a woman 
 stands at the extreme right. The letters “ Batey ” appear on the 
 wall, at the left. The butterfly is on the wall, at the right of the 
 window. 
 
 Etching. Height, 5 inches; width, 3^ inches. 
 
 First State: The features of the boy kneeling at the right 
 are not expressed. There is a clear space at the right of the 
 woman, and no shading about the seated boy. The butterfly 
 is in outline. 
 
 Mansfield Collection. On the impression in this collection 
 Whistler wrote: “ 1st proof” 
 
 Second State: The butterfly is shaded. 
 
 181 
 
whistler’s etchings and dry-points 
 
 Third State: The features of the boy kneeling at the right 
 are expressed. There is strong shading at the right of the 
 woman and about the seated boy, and additional shading on 
 the wall and in the upper part of the doorway. 
 
 281 PETTICOAT LANE. (W. 230.) On the pavement, in front 
 of a window at the left of an open doorway, a woman is standing 
 with her face turned to the right. Nearer the window stands a 
 young boy, and nearer the edge of the pavement a small girl is 
 seated. The butterfly, in outline, is above the middle of the 
 plate, at the left of the woman. 
 
 Etching. Height, 3^ inches; width, 5^ inches. 
 
 First State: The shading in the lower part of the doorway is 
 chiefly in parallel vertical lines. 
 
 Benedict and Lathrop Collections. 
 
 Second State: Diagonal lines are added extensively through- 
 out the shading of the doorway. 
 
 282 CLOTHES-EXCHANC.E, HOUNDSDITCH. No. 1. (W.231.) 
 A large warehouse, the lower part of which is open, stands at the 
 end of a broad street lined by tall buildings. The warehouse has 
 a low roof with skylights at the right, and a high wall with a large 
 window, partly boarded up, at the left. Upon the boarding there 
 is the sign: “Philip & Co., Packers.” On the pavement at the 
 right is a woman with a broom, and on the pavement at the left 
 two women are carrying children. Beyond are numerous figures. 
 In the roadway, near the front, are some dogs, slightly indicated. 
 The butterfly, in outline, is at the left, below the middle of the 
 plate. 
 
 Etching. Height, 6 % inches; width, 9X inches. 
 
 First State: The open space is in luminous shadow, and the 
 figures within it are only slightly expressed. 
 
 Mansfield Collection. On the impression in this collection 
 
 182 
 
whistler’s etchings and dry-points 
 
 Whistler wrote: “Clothes Exchange, Houndsditch. No. i. 
 ist State.” 
 
 Second State: The figures within the open space are now 
 well defined against a background of deep shadow. Lines are 
 added on the large window and on the wall above the low roof. 
 
 Catalogued by Wedmore as “ Old Clothes Exchange.” 
 
 283 CLOTHES-EXCHANGE, HOUNDSDITCH. No. 2. (Sup. 292.) 
 In a spacious interior with panelling at the end, apparently of 
 glass, are two slender columns, with three round arches, sup- 
 porting horizontal framework. On every side garments are dis- 
 played which many people are inspecting. At the center, near 
 the front, a boy stands with his left hand in his pocket, and at the 
 right three women are seated and a young woman is standing. 
 The butterfly, in outline, is below the middle of the plate, near 
 the left edge. 
 
 Etching. Height, 8 % inches; width, 5^8 inches. 
 
 First State: The panels immediately below the horizontal 
 framework are unshaded. The features of the boy in front 
 are scarcely expressed. 
 
 Freer and Wrenn Collections. On the impression in the Freer 
 Collection Whistler wrote: “ ist State. Only two proofs,” and 
 on the impression in the Wrenn Collection Whistler wrote: 
 “ ist proof.” 
 
 Second State: The boy’s features are somewhat defined, but 
 there is almost no difference between this state and the first. 
 Mansfield Collection. 
 
 Third State: Fine vertical lines are added along the upper 
 row of panels, immediately below the horizontal framework, 
 and vertical and diagonal lines are added on the framework. 
 Lathrop Collection. 
 
 Catalogued in the Supplement as “Clothes Exchange No. 1.” 
 
 .83 
 
whistler’s etchings and dry-points 
 
 284 ST. JAMES’S PLACE, HOUNDSDITCH. (W. 232.) At the 
 right is the open front of a shop with the sign : “ M. and E. Levy.” 
 Adjoining is a corner-shop with open front, under an awning. 
 Across the street are shops slightly indicated. Many people, 
 rapidly sketched, are in the shops and on the pavements, and in 
 the roadway is a girl carrying a child. The butterfly, in outline, 
 is near the top of the plate, above the awning. 
 
 Etching. Height, y/% inches; width, 6 % inches. 
 
 285 NUT-SHOP, ST. JAMES’S PLACE. (Sup. 301.) At the right 
 is a shop with open front, before which wares are displayed under 
 an awning. Adjoining is a shop with open doorway and open 
 front, before which, on boards laid on two sets of trestles, are 
 baskets, above which the faces of three children appear. On the 
 pavement in front of the shop at the right, a man is standing, 
 near whom, slightly indicated, are a man and a woman. At the 
 left are three children. Near them is a cat and in the roadway 
 is another cat. The butterfly, in outline, is below the middle of 
 the plate, near the left edge. 
 
 Etching. Height, 5 inches; width, inches. 
 
 First State: There are some white spaces in the shading of 
 the middle opening in the shop-front at the right. 
 
 Mansfield Collection. 
 
 Second State: The middle opening in the shop-front at the 
 right is closely shaded, and there is additional shading in the 
 interiors of both shops. 
 
 Lathrop Collection. 
 
 286 FLEUR DE LYS PASSAGE. (W. 233.) An alley, bounded by 
 buildings on which garments are hung, leads through a shadowy 
 passage to a court, across which, in a round arch, is a large win- 
 dow, back of an iron railing. A lantern projects at the left 
 of the entrance to the passage, above which is the sign: “En- 
 trance to the Exhibition. Clothes Exchange.” In front there are 
 
 184 
 
whistler’s etchings and dry-points 
 
 two women, one of them carrying a child, and near them is a 
 dog. Beyond, along both sides of the alley and about the en- 
 trance to the passage, are numerous figures. The butterfly, in 
 outline, is at the left of the passage. 
 
 Etching. Height, 7 inches; width, 3X inches. 
 
 First State: The space enclosed by the round arch is un- 
 shaded. 
 
 Buckingham and Mansfield Collections. 
 
 Second State: There are patches of strong shading above the 
 round arch and within the passage. 
 
 Third State: There is shading on the lower part of the space 
 enclosed by the iron railing, and there is additional shading 
 above the round arch and within the passage. 
 
 287 CUTLER STREET, HOUNDSDITCH. (W. 234.) On a street- 
 corner at the left is a shop with open doorway, about which gar- 
 ments are hung and over which is the sign: “B. Abrahams.” 
 From the corner of the shop a large lantern projects over the 
 street. Across the street is a row of buildings, with garments 
 hung before some of them. Within the doorway of the shop a 
 woman is seated, and a woman and a man carrying a child are 
 standing near the doorway. A young girl stands in the fore- 
 ground at the right, and other figures are seen in the street be- 
 yond. The butterfly, in outline, is below the middle of the 
 plate, near the right edge. 
 
 Etching. Height, 6 % inches; width, 4 inches. 
 
 First State: There is comparatively open shading in the 
 doorway. 
 
 Freer and Parker Collections. On the impression in the Freer 
 collection Whistler wrote: “Cutler Street, Houndsditch, 1st 
 State.” 
 
 Second State: The doorway is heavily shaded. 
 
 Mansfield Collection. 
 
 185 
 
whistler’s etchings and dry-points 
 
 288 MELON-SHOP, HOUNDSDITCH. (Sup. 281.) A woman of 
 middle age and a young woman are seated at the left, in front 
 of a shop with two large open windows, at the right of which is 
 a narrow open doorway. Within the shop two young women 
 are seated at the right of an elderly man, looking out. Farther 
 within the shop are melons and boxes, and within the doorway is 
 an open ice-box. The butterfly is above the middle of the plate, 
 at the left of the windows. 
 
 Etching. Height, 5 inches; width, 7 inches. 
 
 First State: The interior of the shop and the interior of the 
 doorway are in transparent shadow, and the boxes are almost 
 without shading. The butterfly is in outline. 
 
 Mansfield Collection. 
 
 Second State: The features of the woman at the right, within 
 the shop, have been erased. The features of the three other 
 women have been entirely changed, and their figures have been 
 partly redrawn. Through extensive work in dry-point the 
 interior of the shop and the interior of the doorway are in deep 
 shadow, and the boxes are shaded. The butterfly is shaded. 
 
 289 AFTER THE SALE, HOUNDSDITCH. (Sup. 282.) Seen 
 through a large open doorway, disclosing an empty stall, is a 
 woman standing with arms akimbo, and a woman seated, with a 
 boy by her side. Outside, at the right, is another woman, resting. 
 The butterfly, in outline, is above the middle of the plate, near 
 the left edge. 
 
 Etching. Height, 4T6 inches; width, 6 ]/% inches. 
 
 290 STEPS, GRAY’S INN. (Sup. 283.) A flight of steps at the left 
 leads to a terrace, along the top of which plants are growing. At 
 the foot of the steps is a slender tree and near the extreme right 
 is a similar tree. Women and children, in a group, are seated on 
 the ground in front. Two boys are playing ball beyond them, 
 
 186 
 
whistler’s etchings and dry-points 
 
 and there are children on the steps. The butterfly, in outline, is 
 on the terrace, at the right of the steps. 
 
 Etching. Height, 2 inches; width, 6 % inches. 
 
 291 THE YOUNG TREE, GRAY’S INN. (Sup. 284.) At the 
 right, in an open space bounded by iron palings, is a slender tree 
 supported by a stake, near which two children are seated on the 
 ground. Beyond, two house-fronts are seen. The butterfly, in 
 outline, is below the middle of the plate, at the right of the tree. 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 Catalogued in the Supplement as “Gray’s Inn Babies.” 
 
 292 GRAY’S INN PLACE. (Sup. 285.) Behind palings, at the 
 end of an enclosed court, stands a house showing four windows 
 at the left and one window at the right, below which the sign: 
 “Gray’s Inn Place” appears above a wide passageway. Through 
 the passageway a building is seen on the far corner of a square. 
 Standing in front, at the right, are a boy and a girl with a child in 
 her arms. Two figures are seen across the square. The butterfly, 
 in outline, is above the middle of the plate, near the left edge. 
 Etching. Height, 5 inches; width, 7 inches. 
 
 First State: There is a white triangular space in the pave- 
 ment of the passageway. 
 
 Mansfield Collection. 
 
 Second State: The triangular space in the pavement of the 
 passageway is filled with dry-point lines. 
 
 293 SEATS, GRAY’S INN. (Sup. 286.) In front, at the right, a girl 
 is seated on a large garden-seat. Near her stands a girl holding 
 a child. On a similar seat, farther off at the left, other figures 
 are seated. Four windows are slightly indicated in the distance. 
 The butterfly, in outline, is near the right edge of the plate. 
 Etching. Height, y/% inches; width, 7 inches. 
 
 187 
 
whistler’s etchings and dry-points 
 
 294 DOORWAY, GRAY’S INN. In a large building with numer- 
 ous windows, seen across a lawn, is an ornamented doorway, 
 through which steps lead to a door with a fanlight above. At 
 the left of the doorway the stem of a slender tree is seen, and at 
 the right, near a path in front of the lawn, the stem of a large tree. 
 Two women are seated on a bench at the left, and a small girl, 
 with her back turned, is standing near them on the path. Two 
 children are seated on the lawn, upon which there is a large round 
 ball. The butterfly, in outline, is above the middle of the plate, 
 near the left edge. 
 
 Etching. Height, 3%” inches; width, 5% inches. 
 
 Caldwell, Freer, and Mansfield Collections. 
 
 295 BABIES, GRAY’S INN. Standing in front is a small girl, and 
 seated on the ground at the left are three small girls, all wearing 
 sunbonnets. Across an open space there is the stem of a tree, 
 and in the background is a building showing four long windows. 
 The butterfly, in outline, is below the middle of the plate, near 
 the right edge. 
 
 Etching. Height, 3^ inches; width, 2 %, inches. 
 
 Freer and Mansfield Collections. 
 
 296 CHILDREN, GRAY’S INN. In front, on the grass of a small 
 park, there are ten children. Five are standing; three of these 
 are girls, and two are boys, one with his left hand in his pocket 
 and one with a hoop. A boy and a girl and three small children 
 are seated. On a bench by a tree near a path beyond, a woman 
 and two children are seated. Across the path, where there are 
 numerous trees and the park extends to a large building with 
 windows, two small children are seen. The butterfly, in outline, 
 is at the right, toward the bottom of the plate. 
 
 Etching. Height, 6% inches; width, 5 inches. 
 
 Mansfield Collection. 
 
 The Gray’s Inn etchings appear to have been done in 1887. 
 
 188 
 
whistler’s etchings and dry-points 
 
 297 THE LITTLE NURSEMAID. (Sup. 307.) A tall slender young 
 girl wearing a broad-brimmed hat stands at the left of two chil- 
 dren, one facing front, the other turning away. The butterfly, 
 in outline, is below the middle of the plate, near the left edge. 
 Etching. Height, inches; width, 3V* inches. 
 
 298 CHURCH DOORWAY, EDGEMERE. (Sup. 270.) Below a 
 window with many panes is an arched doorway with closed fold- 
 ing doors. Upon the door at the right notices are posted. The 
 butterfly, in outline, is above the middle of the plate, near the left 
 edge. 
 
 Etching. Height, 3 ]/% inches; width, 2 inches. 
 
 299 THE COCK AND THE PUMP. (W. 235.) Within a large 
 square bounded by an iron railing four girls are standing in a 
 group, at the left of a strutting cock. Outside the square, in a 
 village street, is a tall pump with a projecting handle, near a 
 trough about which are a number of children. Across the street, 
 on a corner at the right, is a house with a steep roof and over- 
 hanging second story. In a similar building on the corner at the 
 left is a shop. Buildings extend along a side street which van- 
 ishes in the distance. The butterfly, in outline, is above the 
 tail of the cock. 
 
 Etching. Height, 8*4 inches; width, 5 % inches. 
 
 Mr. Wedmore says that the square is the Market-place, Sandwich. 
 
 300 SALVATION ARMY, SANDWICH. (W. 236.) Seen across a 
 square, is a row of five houses, the three at the right showing 
 gable ends. In front of these, people are gathered where a flag 
 is displayed. The butterfly, in outline, is near the bottom of 
 the plate, at the right. 
 
 Etching. Height, 3H5 inches; width, 6 % inches. 
 
 On the impression in the Mansfield collection Whistler wrote: 
 “Salvation Army, Sandwich.” 
 
 189 
 
whistler’s etchings and dry-points 
 
 301 DOUBLE DOORWAY, SANDWICH. (Sup. 271.) Under a 
 pediment are two adjoining doors. The one at the left is closed; 
 the other is open, disclosing a passageway, at the farther end of 
 which is a window with four panes. At the right is a shop with 
 narrow open doorway and large show-window. In front of the 
 shop-window there is a group of three children. The butterfly, in 
 outline, is below the middle of the plate, near the left edge. 
 Etching. Height, 2^ inches; width, 4X inches. 
 
 First State: The shading in the open doorways is slight, and 
 the closed door is nearly a blank space. 
 
 Freer and Lathrop Collections. 
 
 Second State: The open doorways are heavily shaded, and a 
 barrel is defined within the doorway of the shop. Panels of 
 the closed door are indicated, and there is additional shading on 
 some of the panes of the shop-window. 
 
 302 DOORWAY, SANDWICH. (Sup. 272.) Near the center is a 
 doorway with pillars and a pediment. At the right is a large 
 bow window. At the left is a large window with curved arch. 
 A girl with a child in her arms is standing in front of this win- 
 dow. The butterfly is on the window at the right, near the edge 
 of the plate. 
 
 Etching. Height, 3%" inches; width, 5 X inches. 
 
 First State: The upper panel of the door is slightly shaded, 
 and the central cross-piece has no shading. The butterfly is 
 in outline. 
 
 Freer, Lathrop, and Mansfield Collections. 
 
 Second State: The upper panel is covered with lines, and 
 diagonal lines shade the cross-piece. The butterfly is shaded. 
 
 303 BUTCHER’S SHOP, SANDWICH. (Sup. 273.) In a shop on 
 a corner, at the left of a doorway, is a wide window. Within 
 
 190 
 
whistler’s etchings and dry-points 
 
 are seen a man seated and a woman bending over. Outside, 
 between the window and doorway, stands a woman with a child 
 in her arms, and down the street, at the right, a girl and child 
 are walking away. The butterfly, shaded, is on the wall between 
 the wide window and the doorway. 
 
 Etching. Height, 2^i inches; width, 3 >6 inches. 
 
 304 RAMPARTS, SANDWICH. (Sup. 274.) On the slope of an 
 embankment, below a bushy tree with full foliage, four children 
 are seated at the left and a woman and child at the right. Walk- 
 ing on the top of the embankment are two women, one under a 
 parasol, the other leading a child. At the extreme right there is a 
 windmill. There are two low trees near the windmill, and there is 
 a small tree at the extreme left. The butterfly, in outline, is near 
 the right lower corner. 
 
 Etching. Height, 4% inches; width, inches. 
 
 305 BATTERSEA BRIDGE. No. 3. (Sup. 279.) Stretching across 
 the Thames, under a cloudy sky, is a timbered bridge, above 
 which are derricks and in front of which is a river steamboat. 
 In the remote distance there are slight indications of buildings. 
 Stranded near the left lower corner is a rowboat, about which 
 several figures are standing. The butterfly, in outline, is below 
 the middle of the plate, near the right edge. 
 
 Etching. Height, 5 inches; width, inches. 
 
 306 CHARING CROSS RAILWAY-BRIDGE. (Sup. 293.) A slight 
 sketch of the Charing Cross railway-bridge, taken from a terrace 
 overlooking the Thames Embankment. On the river bank, at the 
 right, is a steamboat-landing. On the embankment, at the left, 
 is a slender tree, near a statue. The butterfly, in outline, is 
 below the middle of the plate, at the left of the tree. 
 
 Etching. Height, 5 y& inches; width, 3 % inches. 
 
 191 
 
whistler’s etchings and dry-points 
 
 307 AN EAGLE. (Sup. 369.) An eagle, looking to the right, is 
 perched on the limb of a tree. The butterfly, in outline, is half 
 way up the plate, at the left edge. 
 
 Etching. Height, 2X inches; width, if£ inches. 
 
 Freer and Mansfield Collections. 
 
 308 WILD WEST. (W. 228.) A sketch of the ‘Wild West’ arena 
 in London. In a curved open space, a man is standing on a 
 platform at the left and a man is standing by a barrier at the 
 right, and near the center are men and horses. Beyond is a 
 shed, in which there are many people, slightly indicated. The 
 butterfly, in outline, is below the platform. 
 
 Etching. Height, 3% inches; width, 7X inches. 
 
 This etching and the two etchings next described were made in 
 1887, in London, at exhibitions of the American ‘Wild West’ Show. 
 
 309 THE BUCKING HORSE. (Sup. 290.) At the left, in the 
 ‘Wild West’ arena, is a bucking horse with its rider. Standing 
 near them is a group of figures, and there are scattered figures 
 standing in other parts of the arena. In the background are a 
 number of horses. Two spectators are seated by a railing at the 
 right, and across the arena, at the left, is the grand stand. The 
 butterfly, in outline, is below the bucking horse. 
 
 Etching. Height, 3% inches; width, 7X inches. 
 
 310 THE ORATOR. At the right, in the ‘Wild West’ arena, is the 
 orator, aloft on his platform; at the left are two rough-riders, 
 standing near a horse, and in the background are several mounted 
 horsemen. In front, at the left, a woman and a young girl are 
 looking on. Bordering the arena, at the left, is the grand stand, 
 beyond which rises a tall ladder. The butterfly, in outline, is at 
 the right, an inch and a quarter from the bottom of the plate. 
 Etching. Height, 4% inches; width, 7 inches. 
 
 Mansfield Collection. 
 
 192 
 
whistler’s etchings and dry-points 
 
 31 i PORTSMOUTH CHILDREN. (Sup. 275.) In the foreground 
 and at the right, children are playing on a beach, upon which 
 boats with raised sails lie stranded. In the distance, across a 
 sheet of water, are numerous boats under sail. The butterfly, 
 in outline, is in the right lower corner. 
 
 Etching. Height, 2^4 inches; width, 374 inches. 
 
 This etching and the eleven etchings next catalogued were done 
 July 27, 1887, on the occasion of the Naval Review in honor of 
 Queen Victoria’s Jubilee. 
 
 312 TILBURY. (Sup. 276.) In front, on a broad reach of the 
 Thames, there are people in two rowboats; beyond, near the cen- 
 ter, are a brigand a sailboat; at the right are three steamboats, 
 near a large white steamer. Farther away there is a sloop under 
 sail, and in the distance there is a confusion of shipping, under 
 a cloudy sky. On the river bank, at the left, there stands a mas- 
 sive building. The butterfly, shaded, is below the middle of the 
 plate, near the left edge. 
 
 Etching. Height, 3% inches; width, 6 % inches. 
 
 One of the “Naval Review Series.” 
 
 313 VISITORS’ BOAT. (W. 237.) At the right, across a broad 
 expanse of water, lies a side-wheel steamboat, crowded with peo- 
 ple, near a sloop with bare mast. Beyond, in the center, is a 
 sloop under sail. Farther away, at the left, is a large war-ship. 
 In the distance is a long line of vessels dressed with bunting. 
 Below the middle of the plate, in the center, are three stooping 
 figures. The butterfly, in outline, is near the left lower corner. 
 Etching. Height, 6 jA inches; width, 5 inches. 
 
 One of the “Naval Review Series.” 
 
 Wedmore’s brief description belongs to “Monitors.” 
 
 314 TROOP-SHIPS. (W. 238.) Across a wide water is a double 
 line of ships dressed with bunting. In front of the central ship 
 
 193 
 
whistler’s etchings and dry-points 
 
 there is a sloop under sail. At the right are a launch and a 
 steamboat, and beyond them are small boats under sail. The 
 butterfly, in outline, is at the right, near the bottom of the plate. 
 Etching. Height, 4% inches; width, 6 J 4 inches. 
 
 One of the “Naval Review Series.” 
 
 315 MONITORS. (W. 239.) In front, at the left — apparently on 
 an excursion-boat — three people are seated, one of them reading 
 from a book, and beyond them a girl and a man are standing. 
 Across the water, at the right, are two large monitors. In the 
 distance are other war-vessels and a few small boats under sail. 
 The butterfly, in outline, is below the group on the boat. 
 
 Etching. Height, 5 % inches; width, 8*4 inches. 
 
 One of the “Naval Review Series.” 
 
 316 THE TURRET-SHIP. Near the center, across wide water, is 
 a ship with dark hull. At the left is a white boat dressed with 
 bunting. In the distance there are numerous vessels. The but- 
 terfly, in outline, is below the middle of the plate, at the right. 
 Etching. Height, 4 % inches; width, 6 pi inches. 
 
 Freer and Mansfield Collections. 
 
 One of the “Naval Review Series.” 
 
 317 SOUTHAMPTON DOCKS. (W. 240.) Across the water are 
 large sheds, behind a fence of open palings, and at the right is a 
 timber-yard, near which two steamships are lying, side by side. 
 The butterfly, in outline, is near the bottom of the plate, at the 
 left. 
 
 Etching. Height, 2% inches; width, 6p& inches. 
 
 One of the “Naval Review Series.” 
 
 318 BUNTING. (W. 241.) Extending to the top of the plate is a 
 line of flying signals, seen from the deck of the ship to which 
 they belong. On the deck are five figures, three in the dress of 
 
 194 
 
whistler’s etchings and dry-points 
 
 sailors. Beyond, at the right, there are vessels also dressed with 
 bunting. The butterfly, in outline, is toward the left, below the 
 figures. 
 
 Etching. Height, 6 % inches; width, 4K inches. 
 
 One of the “Naval Review Series.” 
 
 319 DIPPING THE FLAG. (W. 242.) In front, at the left, there is 
 a flagpole with a swirling flag. Over the water, at the right, is 
 a large war-ship, near much smaller ships. In the distance a line 
 of vessels stretches across the scene. The butterfly, in outline, 
 is at the left of the flagpole. 
 
 Etching. Height, 3 l A inches; width, 6 % inches. 
 
 One of the “Naval Review Series.” 
 
 320 THE FLEET, EVENING. (W. 243.) Near the center lies a 
 sloop with jib down and sail partly lowered. On either side is a 
 boat under sail. In the distance are lines of war-ships dressed 
 with bunting. The butterfly, in outline, is at the right, near the 
 bottom of the plate. 
 
 Etching. Height, 5X inches; width, 8 % inches. 
 
 One of the “Naval Review Series.” 
 
 First State: There are patches free from lines on the upper 
 part of the partly-lowered sail. 
 
 Second State: Strong etched lines are added on the sail, where 
 the patches were. 
 
 321 RETURN TO TILBURY. (W. 244.) A number of ships are 
 sailing away in the distance. There are some slight indications 
 of clouds above them, and suggestions of land at the left. The 
 butterfly, in outline, is below the middle of the plate, near the 
 left edge. 
 
 Etching. Height, 5^3 inches; width, 3%' inches. 
 
 One of the “Naval Review Series.” 
 
 195 
 
whistler’s etchings and dry-points 
 
 322 LANDING-STAGE, COWES. (W. 245.) Near the center are 
 four ladies, under an awning, watching vessels in the distance. 
 At the right a man is seated, holding a newspaper or program. 
 The butterfly, in outline, is below the middle of the plate, near 
 the left edge. 
 
 Etching. Height, 5% inches; width, 3^ inches. 
 
 One of the “Naval Review Series.” 
 
 Catalogued by Wedmore as “Ryde Pier.” 
 
 323 LITTLE CHELSEA. (W. 246.) Across the Thames, on the 
 embankment, are houses in line with a church tower surmounted 
 by a flagpole. Out in the river, at the left, is a long barge with 
 a seated figure at the tiller. There are suggestions of a boat- 
 landing, with three clusters of spiles in front, at the right. The 
 butterfly, shaded, is below the barge. 
 
 Etching. Height, 2 inches; width, 3X inches. 
 
 An impression in the Freer Collection, formerly in the Hutchin- 
 son Collection, is labelled: “Little Chelsea.” 
 
 Mr. Wedmore says that this and the dry-point of Windsor were 
 done in connection with a memorial to Queen Victoria, when 
 Mr. Whistler was President of the Society of British Artists. 
 Catalogued by Wedmore as “Chelsea (Memorial).” 
 
 324 WINDSOR. No. 1. (W.247.) Windsor Castle, seen across the 
 
 Thames. The buildings are shown in reverse; St. George’s Chapel 
 and the Belfry Tower, below which is a boat house, appearing 
 at the left of the Round Tower. The butterfly, in outline, is 
 in the lower part of the plate, at the left. 
 
 Dry-point. Height, 5% inches; width, 3^ inches. 
 
 First State: The buildings and their reflections are slightly 
 indicated. The flag on the Round Tower is unshaded. 
 
 Second State: The flag is slightly shaded, and vertical lines 
 are added in the reflections at the left. 
 
 Mansfield Collection. 
 
 196 
 
whistler’s etchings and dry-points 
 
 Third State: Shading is added under the parapet of the Round 
 Tower and on the lower buildings at the right. Numerous 
 fine vertical lines are added in the reflection of the Round 
 Tower, immediately under the bank, and a few vertical lines 
 are added in the reflections immediately below the boat house. 
 Benedict and Vanderbilt Collections. 
 
 Fourth State: Vertical lines are added in the reflections at 
 the right, and the work elsewhere is strengthened. 
 
 Freer Collection. 
 
 325 WINDSOR. No. 2. (Sup. 277.) Another view of Windsor 
 Castle, seen across the Thames; the buildings also shown in re- 
 verse. The Round Tower, with flag flying, appears at the right, 
 and St. George’s Chapel and the Belfry Tower appear at the left. 
 There are light clouds in the sky and extensive reflections in the 
 river. The butterfly, in outline, is near the left lower corner, 
 below a projecting bush. 
 
 Etching. Height, 5^ inches; width, 3^ inches. 
 
 Freer and Mansfield Collections. 
 
 326 ABBEY JUBILEE. (Sup. 288.) A sketch of temporary gal- 
 leries, ranged at the right and crowded with people, within West- 
 minster Abbey. The butterfly, in outline, is below the middle 
 of the plate, at the right edge. 
 
 Etching. Height, 3^ inches; width, 2 pi inches. 
 
 Etched in 1887, during the service in commemoration of Queen 
 Victoria’s Jubilee. 
 
 First State: In pure etching. 
 
 Mansfield Collection. 
 
 Second State: Fine lines in dry-point are added within the 
 curve of the arch at the right and below the arch, and else- 
 where in the shading. 
 
 Freer Collection. 
 
 197 
 
 / 
 
whistler’s etchings and dry-points 
 
 327 JUBILEE PLACE, CHELSEA. (Sup. 295.) Across an open 
 space is a row of two-story houses, with shops in their lower 
 stories. On the street-corner, at the left, a lamp-post stands in 
 front of a large building with a narrow doorway. Women and 
 children are on the pavement in front of the shops. The but- 
 terfly, in outline, is on the corner building, toward the top of 
 the plate. 
 
 Etching. Height, 5 X inches; width, 8 y% inches. 
 
 328 THE FUR CLOAK. (W. 221.) A woman stands facing front, 
 but looking slightly to the right, enveloped in a cloak which 
 reaches to her feet. There is shading in the background. The 
 plate is unsigned. 
 
 Dry-point. Height, 8 l / 2 inches; width, 4^ inches. 
 
 First State: The face is narrow, and the shading in the back- 
 ground is expressed for the most part in fine lines. 
 
 Mansfield Collection. On the impression in this collection 
 Whistler wrote: “Fur Cloak, 1st State.” 
 
 Second State: The face is broadened, and a number of strong 
 diagonal lines are added in the background, at the right of the 
 figure and near the top of the plate. 
 
 329 NORA QUINN. (W. 367.) A full-length sketch of a young 
 woman wearing a hat, who sits turned well to the left, but look- 
 ing toward the front, her folded hands resting upon her lap. 
 There is slight shading in the background. The butterfly, in 
 outline, is at the left, in the upper half of the plate. 
 
 Dry-point. Height, 8 % inches; width, 4 % inches. 
 
 Caldwell and Mansfield Collections. 
 
 330 MISS LENOIR. (W. 222. Sup. 309.) A three-quarter length 
 sketch of a young woman wearing a fur-trimmed coat and a hat 
 with tilted brim, who sits turned slightly to the left, but looking 
 
 198 
 
whistler’s etchings and dry-points 
 
 toward the right. The butterfly, in outline, is above the middle 
 of the plate, near the left edge. 
 
 Etching. Height, 3^ inches; width, 2^i inches. 
 
 Catalogued by Wedmore as “Woman Seated.” 
 
 331 THE LITTLE HAT. (Sup. 306.) A half-length portrait of a 
 young woman wearing a close-fitting jacket and a peaked hat 
 with feathers, who sits turned to the right, but looking toward 
 the front. There is shading in the background. The butterfly, 
 in outline, is above the middle of the plate, near the right edge. 
 Etching. Height, 3 inches; width, 2 ]/ 2 inches. 
 
 332 THE MANTLE. A young woman wearing a mantle and a 
 broad-brimmed hat with peaked crown stands turned toward the 
 left, but looking to the front. The skirt of her dress reaches only 
 to her ankles. The plate is unsigned. 
 
 Etching. Height, 3 X inches; width, 2 inches. 
 
 Freer and Mansfield Collections. 
 
 333 CAMEO, No. 1. (W. 224.) A young woman seated, with a 
 
 knotted kerchief on her head, and wearing thin drapery, bends 
 forward to the right, gazing into the face of a reclining child. The 
 butterfly, in outline, is below the middle of the plate, at the right. 
 Etching. Height, 6 J 4 inches; width, 5 inches. 
 
 Catalogued by Wedmore as “Mother and Child.” 
 
 334 CAMEO, No. 2. (Sup. 3 1 1.) A lightly draped young woman 
 wearing a kerchief bound about her head is seated on a divan, 
 bending forward to the right, over a child apparently asleep. The 
 butterfly, in outline, is toward the top of the plate, at the left. 
 Etching. Height, 6 J 4 inches; width, 5 inches. 
 
 335 THE JAPANESE DRESS. A young woman with a kerchief 
 about her head, and wearing a dress of a Japanese pattern, is 
 
 1 99 
 
whistler’s etchings and dry-points 
 
 seated in a chair. She faces to the right and is reading a news- 
 paper. The butterfly, in outline, is above the middle of the 
 plate, near the right edge. 
 
 Etching. Height, 3 inches; width, 2 -Hs inches. 
 
 Caldwell Collection. 
 
 336 BABY PETTIGREW. (Sup. 308.) A sketch, upon the upper 
 part of the plate, of a lightly clad child with flowing hair, who 
 sits looking toward the right, her legs turned to the left. The 
 feet and arms are incomplete. There is shading in the back- 
 ground, especially about the head and shoulders. The butterfly, 
 in outline, is at the left of the child. 
 
 Etching. Height, 5 X inches; width, 3A6 inches. 
 
 337 GIPSY BABY. A little girl, turned slightly to the right, but 
 looking toward the front, is seated on the knee of an older girl 
 wearing a hat, who sits turned toward the left. The butterfly, 
 in outline, is below the middle of the plate, near the right edge. 
 Etching. Height, y/s, inches; width, 2 inches. 
 
 Freer and Mansfield Collections. On the impression in the Freer 
 Collection Whistler wrote: “Gipsy Baby.” 
 
 Also known as “The Greedy Baby.” 
 
 338 RESTING BY THE STOVE. A sketch of two nude women 
 wearing kerchiefs on their heads, the one at the left standing, 
 the other seated on a box, reading. A stove-pipe is indicated in 
 the background. The butterfly, in outline, is below the middle 
 of the plate, near the left edge. 
 
 Etching. Height, 43^ inches; width, 3 inches. 
 
 First State: In pure etching. 
 
 Second State: Diagonal lines in dry-point are added along the 
 contour of the left leg of the seated woman, and across her leg. 
 Freer Collection. 
 
 200 
 
whistler’s etchings and dry-points 
 
 339 LITTLE NUDE FIGURE. The nude figure of a young woman, 
 who stands turned to the right and looking down, her right arm 
 hanging by her side and her left arm, which lacks the hand, some- 
 what extended. There is firm shading in the background. The 
 butterfly, in outline, is at the left edge of the plate, toward the 
 bottom. 
 
 Etching. Height, 3X inches; width, 2 inches. 
 
 Freer Collection. 
 
 340 MODEL STOOPING. (Sup. 303.) The nude figure of a young 
 girl, turning to the left and stooping low, as if picking up some- 
 thing with both hands. There is shading in the background. 
 The butterfly, shaded, is below the middle of the plate, near 
 the left edge. 
 
 Etching. Height, 5 X inches; width, 3^ inches. 
 
 First State: The space immediately above the girl’s back 
 is free from lines. 
 
 Caldwell Collection. 
 
 Second State: Short vertical lines in dry-point are added 
 above the girl’s head and back. 
 
 Lathrop Collection. 
 
 341 NUDE FIGURE RECLINING. (Sup. 304.) The nude fig- 
 ure of a woman wearing a turban, who reclines at full length on a 
 couch, her head resting on a pillow at the right, her right hand 
 raised to her breast, her left arm resting on the couch. A sug- 
 gestion of the butterfly, shaded, is on the pillow. 
 
 Etching. Height, 7^ inches; width, 10X inches. 
 
 342 BINDING THE HAIR. (Sup. 305.) A nude woman stands 
 facing toward the right, her hands upraised, arranging her hair. 
 There is some shading in the background. The butterfly, in out- 
 line, is below the middle of the plate, near the left edge. 
 
 201 
 
whistler’s etchings and dry-points 
 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 On the impression marked “ 1st proof” Whistler wrote: “ Bind- 
 ing the Hair.” 
 
 343 MODEL WITH FAN. A sketch of a young woman wearing 
 slippers and with drapery falling behind from her shoulders, 
 but otherwise nude, who stands with right foot advanced and 
 head turned to the right. She looks toward the front, waving 
 a fan in her right hand. The butterfly, in outline, is half way 
 up the plate, at the left of the figure. 
 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 Freer Collection. 
 
 344 LITTLE MODEL SEATED. The nude figure of a girl seated, 
 facing to the right, her right arm thrust backward, as if support- 
 ing her body — all in deep shadow. The plate is unsigned. 
 Dry-point and Aquatint. Height, 10 inches; width, 7 inches. 
 Freer Collection. The impression in this collection is thought 
 to be the only one taken from the plate. 
 
 345 YOUNG WOMAN STANDING. (Sup. 371.) The figure of a 
 tall young woman wearing a dress with flounces, who stands 
 turning toward the right, with arms akimbo. The face is only 
 slightly indicated. The plate is unsigned. 
 
 Etching. Height, inches; width, 4% inches. 
 
 Mansfield Collection. On the back of this impression Whistler 
 wrote: “Only proof.” 
 
 346 NUDE WOMAN STANDING. (Sup. 372.) The figure, slightly 
 indicated, of a nude woman, who stands with her head turned 
 toward the left, her arms hanging by her side. Below the knees 
 the legs are merely suggested. The plate is unsigned. 
 
 Etching. Height, 8 J{ 6 inches; width, 4 V& inches. 
 
 Freer and Mansfield Collections. 
 
 202 
 
whistler’s etchings and dry-points 
 
 347 THE BEACH, OSTEND. At the left, two women are seated 
 on a bench near the water’s edge, one protected by an umbrella. 
 Near them stands a woman looking out to sea. At the extreme 
 left is a group of women and children, standing back from a 
 spindle topped with a globe. At the right, in the foreground a 
 child is standing and a child is seated, and near the water two chil- 
 dren are bending over. In the distance are two boats under sail. 
 The butterfly, in outline, is on the beach, at the left. 
 
 Etching. Height, 3% inches; width, 7 yi inches. 
 
 Freer and Mansfield Collections. 
 
 348 FISHING-QUAY, OSTEND. (Sup. 318.) Across a broad open 
 space, masts are seen above the edge of the quay. A high build- 
 ing, slightly indicated, is at the right, and a low building, more 
 fully expressed, is at the left. Two women are standing in the 
 foreground at the right, and there are other figures on different 
 parts of the quay. The butterfly, in outline, is below the middle 
 of the plate, at the left. 
 
 Etching. Height, 5 inches; width, 7 inches. 
 
 349 FISH-MARKET, OSTEND. In an open space, with buildings in 
 the background, groups of women and children are standing about 
 a large market-stand. In front there is a woman; at the right 
 are two women and two children; at the left are three children. 
 Nearer the buildings there are numerous figures. The butterfly, 
 in outline, is above the middle of the plate, near the left edge. 
 Etching. Height, 3% inches; width, 5^ inches. 
 
 Freer and Mansfield Collections. 
 
 350 CANAL, OSTEND. (W. 248.) Across a canal is a flat land- 
 scape, with scattered houses in the distance, under a cloudy sky. 
 There are slight indications of a few figures here and there. The 
 butterfly, in outline, is at the left, in the lower part of the plate. 
 Etching. Height, 2% inches; width, 6 % inches. 
 
 203 
 
whistler’s etchings and dry-points 
 
 351 MARKET-PLACE, BRUGES. (W. 255.) Beyond the market- 
 place rises the Hotel de Ville, with its belfry and round-arched 
 entrance and many pointed windows. On a side street at the 
 left are two houses, beyond which appears the spire of a church. 
 In the open space at the right are four women, and at the left 
 are numerous figures. The butterfly, in outline, is half way up 
 the plate, near the right edge. 
 
 Etching. Height, 3 % inches; width, 5 inches. 
 
 352 CHURCH, BRUSSELS. (W. 249.) Opening out of a church 
 interior, in which are numerous vacant kneeling-chairs, are two 
 chapels, partly in shadow, each with a supporting column. On a 
 wall at the right there is a large disc, and in the church, at the left, 
 hangs a chandelier. A woman is kneeling in the church; a man 
 is standing in the chapel at the right, and in the other chapel a 
 number of people are kneeling. The butterfly, in outline, with 
 radiations, is above the middle of the plate, near the left edge. 
 Etching. Height, 4 % inches; width, 6 % inches. 
 
 First State: The shadows within the chapels are expressed 
 by short diagonal and vertical lines. The figure of the woman 
 kneeling is in outline. 
 
 Benedict Collection. 
 
 Second State: Longer diagonal lines, that run from left to 
 right, cross the earlier shading within the chapel at the left. 
 Freer and Mansfield Collections. 
 
 Third State: Through elaboration with dry-point each chapel 
 is now in deep shadow. The cape of the woman kneeling is 
 shaded by fine dry-point lines. 
 
 Lathrop Collection. 
 
 Fourth State: Numerous diagonal lines are added upon the 
 wall at the left of the large disc, and within the interior of each 
 chapel. 
 
 Mansfield Collection. 
 
 204 
 
whistler’s etchings and dry-points 
 
 353 A COURTYARD, BRUSSELS. (W. 250.) The courtyard, in the 
 center of which stands a tall lamp-post, is surrounded on three 
 sides by high buildings. The building at the far end has many 
 windows and has a central gable surmounted by an architectural 
 ornament. About the courtyard there are numerous figures. The 
 butterfly, shaded, is above the middle of the plate, at the right. 
 Etching. Height, 8% inches; width, 4% inches. 
 
 On the impression in the Benedict Collection Whistler wrote: 
 “A Courtyard, Brussels.” 
 
 354 GRAND’ PLACE, BRUSSELS. (W. 251.) Beyond the market 
 place rises the broad fafade of a palace with rows of windows 
 between tall columns. The central columns support a pediment 
 filled with sculptured figures, above which runs a balustrade 
 surmounted by four great urns. In the open space are numer- 
 ous figures. The butterfly, in outline, is above the middle of 
 the plate, near the right edge. 
 
 Etching. Height, 8% inches; width, 5% inches. 
 
 355 PALACES, BRUSSELS. (W. 252.) Beyond an open space, 
 the elaborately decorated fafade of a narrow palace, with long 
 windows closely placed, appears between two palaces, less fully 
 indicated, on each of which are sculptured figures. A carriage 
 waits in front of the palace at the left. In the open space are a 
 number of people, some standing and some seated, and there are 
 flower-pots and trestles and other signs of a flower-market. The 
 butterfly, in outline, is above the middle of the plate, at the left. 
 Etching. Height, 8% inches; width, 5 y 2 inches. 
 
 356 THE BARROW, BRUSSELS. (W. 253.) A market-barrow 
 stands in the street, before a wide and high open doorway. At 
 the right there is a smaller open doorway, above which, on the 
 outer wall, is a cross. Beyond the barrow two girls are seated. 
 In the doorway at the right two women are standing, and at the 
 
 205 
 
whistler’s etchings and dry-points 
 
 right, in the street, a tall girl is standing near a child slightly 
 indicated. The butterfly, in outline, is half way up the plate, 
 near the right edge. 
 
 Etching. Height, 4 % inches; width, 6y& inches. 
 
 First State: The interior seen through each of the doorways is 
 slightly shaded. 
 
 Benedict and Mansfield Collections. On the impressions in 
 both collections Whistler wrote: “The Barrow — Quartier des 
 Marolles, Brussels,” and “ 1st State.” 
 
 Second State: Shading is added within both doorways, but 
 there is still a large space only slightly shaded within the main 
 doorway. 
 
 Lathrop Collection. 
 
 Third State: The shading is heavy and nearly uniform with- 
 in each doorway. 
 
 357 HIGH STREET, BRUSSELS. (W. 254.) On the street, be- 
 fore a building with a large shop-window in the center and two 
 doorways on either side, many people are gathered. Standing at 
 the left is a man with a market-barrow. From two of three win- 
 dows above, people are looking out. The butterfly, in outline, 
 is at the left of the central upper window. 
 
 Etching. Height, 4% inches; width, 6 7 A inches. 
 
 First State: In the open doorway at the extreme right, which 
 has very little shading, appears a second butterfly, in outline. 
 The shading in the other doorways is comparatively slight. 
 Through the second doorway from the right a well-defined 
 window is seen. 
 
 Wrenn Collection. On the back of the impression in this col- 
 lection Whistler wrote: “La Rue Haute, Brussels, 1st State.” 
 
 Second State: There is close shading in all the doorways. 
 The butterfly in the doorway at the extreme right is obscured, 
 and the window which was seen through the next doorway 
 
 206 
 
whistler’s etchings and dry-points 
 
 has been obliterated. There is additional shading on some of 
 the panes of the large windows. 
 
 The Rue Haute, or Hoogstraat, is in the Quartier des Marolles. 
 
 358 FLOWER-MARKET, BRUSSELS. (Sup. 346.) Beyond an 
 open space rise the facades of three tall buildings, of four stories 
 each. The second story of the central building has a stone bal- 
 cony. People are passing on the pavement, and in front are a 
 trestle, umbrella and other signs of a flower-market. The butter- 
 fly, in outline, is below the middle of the plate, at the right edge. 
 Etching. Height, 6 % inches; width, 2% inches. 
 
 Catalogued in the Supplement as “A Guild House, Brussels.” 
 
 359 GOLD-HOUSE, BRUSSELS. (Sup. 347.) Steps between iron 
 railings lead to a doorway flanked by narrow windows, above 
 which are broad windows between tall columns supporting a 
 pediment surmounted by an equestrian statue. In the street are 
 a few figures, sketchily indicated. The butterfly, in outline, is 
 above the middle of the plate, near the right edge. 
 
 Etching. Height, 6 J 4 inches; width, 2%, inches. 
 
 360 HOUSE OF THE SWAN, BRUSSELS. (Sup. 349.) Curved 
 steps, guarded on the right by an iron railing, lead to the open 
 doorway of a tall narrow house with three stories. An elabo- 
 rate ornamentation over the doorway suggests the sign of “The 
 Swan.” Above is a window of four panes, below a long central 
 window opening on a massive balcony. In each story there are 
 windows on either side. Figures are seen within the doorway, 
 on the steps and on the pavement. The butterfly, in outline, is 
 at the right of the railing. 
 
 Etching. Height, 7 inches; width, 2% inches. 
 
 361 ARCHWAY, BRUSSELS. (Sup. 350.) At the left of an arch- 
 way is a shop with two show-windows, next a narrow open door- 
 
 207 
 
whistler’s etchings and dry-points 
 
 way reached by steps. At the right is a house which shows two 
 long windows in front. Seen through the archway, is a street 
 lined on the right with houses. Over the shop is a sign reading: 
 " Vandembroeck — Gebecker — Boulanger. 337.” There is a 
 woman seated on the steps, with a child in front of her, and three 
 men and a child are standing near them. A man is seated near 
 two women standing by the wall of the house at the right. There 
 are women and children here and there in the street in front, 
 and in the distant street. The butterfly, in outline, is above the 
 middle of the plate, near the left edge. 
 
 Etching. Height, 4 % inches; width, 8X inches. 
 
 362 BRUSSELS CHILDREN. (Sup. 352.) A child is seated in a 
 chair at the right of a hand-barrow filled with baskets of fruit, 
 and two children are seated back of her. Behind the barrow 
 a girl is standing by an open doorway from which a girl is looking 
 out. A woman is standing in the background at the right. The 
 butterfly, in outline, is above the middle of the plate, near the 
 left edge. 
 
 Etching. Height, 2^4 inches; width, 3 34 s inches. 
 
 363 BUTTER STREET, BRUSSELS. (Sup. 348.) At the right 
 is a house with a large shop-window, next a closed door, a second 
 story with three narrow windows, and a sloping roof with two 
 dormer-windows. Adjoining at the left is a three-storied house 
 with a high doorway and numerous windows, and a flat roof. 
 A woman is standing in front of the doorway at the left; other 
 figures, slightly indicated, are on the pavement, and two children 
 are hurrying through the street. The butterfly, in outline, is 
 below the middle of the plate, near the right edge. 
 
 Etching. Height, 5X inches; width, 3% inches. 
 
 The Rue du Beurre runs from the Grand’ Place to the Bourse. 
 Catalogued in the Supplement, through printer’s error, as “ Butler 
 Street.” 
 
 208 
 
whistler’s etchings and dry-points 
 
 364 LITTLE BUTTER STREET, BRUSSELS. (Sup. 353.) At 
 the far end of a narrow street, lined with high walls, is a four- 
 storied building with notched gable, at the right of which an 
 archway leads through another gabled building. A lantern pro- 
 jects from a wall on the left, and a frame for telegraph wires is 
 visible on the roof of a tall building in the distance. In the street 
 are many people. The butterfly, in outline, is below the middle 
 of the plate, near the right edge. 
 
 Etching. Height, 7% inches; width, 3X inches. 
 
 Freer and Mansfield Collections. On the impression in the Mans- 
 field Collection Whistler wrote: “Little Butter Street, Brussels.” 
 Catalogued in the Supplement as “Street, Brussels.” 
 
 365 RUE DE LA ROCHEFOUCAULT. (Sup. 316.) Five shops 
 fill the front of a building upon which, at the right, is the sign: 
 “Rue de [l]a Rochefoucault.” In front of the shop nearest the 
 extreme left, is a fruit-stand, before which a woman and a child 
 are lingering. In front of the second shop stands a woman who 
 is conversing with a man seated within. Standing within the 
 third shop is a woman bending over a counter. In the adjoin- 
 ing shop, which displays two announcements of “Huitres du 
 Jour,” a woman is seated. Within the shop near the extreme 
 right are two women, both with their backs turned. The butter- 
 fly, shaded, is between the second and third shop-windows. 
 Etching. Height, 5 yi inches; width, inches. 
 
 Benedict and Mansfield Collections. On the impression in the 
 Benedict Collection Whistler wrote: “Rue de la Rochefoucault” 
 and “1st proof.” On the impression in the Mansfield Collec- 
 tion Whistler wrote: “1st state, 2nd proof.” 
 
 366 QUA 1 DE MONTEBELLO. (Sup. 317.) Wares are displayed 
 under awnings in front of a large building showing two rows of 
 upper windows. Over one of these awnings is a sign reading, 
 rather indistinctly: “Fq ue de Compass.” In front of the door- 
 
 209 
 
whistler’s etchings and dry-points 
 
 way under this awning a man is standing. Under the awning 
 at the right two women and a man are inspecting the wares. 
 Under the awning at the extreme left two women are seated, 
 with a dog at their feet. The butterfly, in outline, is above the 
 awning under which the women are seated. 
 
 Etching. Height, 5% inches; width, &/% inches. 
 
 367 PASSAGES DE L’OPERA. (W. 256.) Across a pavement 
 on which are trees and kiosques, a passageway between shops 
 with awnings opens below the round arch of an entresol, above 
 which is a long balcony with an iron railing. A sign over the 
 passageway reads: “Passages de l’Oper[a],” with the indistinct 
 name of a cafe below. A sign over the awning at the right reads: 
 “[V]ins & Liqueurs.” There are people on the pavement and in 
 the passageway. The butterfly, in outline, is half way up the 
 plate, near the right edge. 
 
 Etching. Height, 5 inches; width, 8X inches. 
 
 368 PLACE DAUMONT. (Sup. 326.) On the right side of a street 
 curving to the left is a row of picturesque houses, and on the 
 corner at the left is a house with an awning. The word “ Vieux” 
 is seen on the projecting side of the third house at the right. At 
 the opening of the street is a covered vehicle, and a market- 
 booth stands in an open space in front. Two girls are standing 
 in the open space, and there are people in the street. In the 
 left lower corner of the plate, indicated faintly: “Place Dau- 
 mont.” The butterfly, shaded, is on the roof of the nearest 
 house at the right. 
 
 Etching. Height, 5% inches; width, 3 ]/% inches. 
 
 369 COURTYARD, RUE P. L. COURIER. (Sup. 351.) At the 
 far side of a courtyard, two buildings form an angle. In the 
 building at the left is a closed door, near a large window in front 
 of which a woman is standing. Above are two windows, one of 
 
 21c 
 
whistler’s etchings and dry-points 
 
 them at the angle, back of a curved balcony supported by an 
 elliptical arch. Clothing is hung on a line stretched from the 
 wall at the right to the upper window at the left. The butterfly, 
 shaded, is above the door. 
 
 Etching. Height, 5 % inches; width, 3^ inches. 
 
 Described also (Sup. 333) as “Windows opposite Hotel, Bourges.” 
 
 370 THE WINE-SHOP. Below two windows, between which a 
 shrub is growing, is a shop-front with the sign: “Fils Couvreur.” 
 At the right, a passageway bearing the number “45” leads to a 
 court, at the far end of which, near a large window, is an open 
 doorway in which a woman is standing. In front of the shop a 
 woman stands with a child in her arms. At her left is a child 
 wearing a sunbonnet, and at her right are faint indications of 
 three children. The butterfly, shaded, is half way up the plate, 
 at the right edge. 
 
 Etching. Height, 6 % inches; width, 4% inches. 
 
 Mansfield Collection. This impression is perhaps unique. 
 
 371 RAILWAY-STATION, VOVES. (Sup. 319.) At the left of a 
 railway-track stands a horse with a cart in which there are two 
 people. Close by stands a woman with a wheelbarrow. Across 
 the track is a post with signal set. In the distance is a windmill, 
 at the left of a long line of trees, with buildings here and there, 
 extending far to the right. 
 
 Etching. Height, 5^ inches; width, 8^4 inches. 
 
 First State: There is no butterfly. 
 
 Freer and Mansfield Collections. On the impression in the 
 Mansfield Collection Whistler wrote: “ 1st proof, 1st State.” 
 
 Second State: The butterfly, in outline, is an inch from the 
 bottom of the plate, and two and five-eighths inches from the 
 right edge. 
 
 Wrenn Collection. 
 
 21 1 
 
whistler’s etchings and dry-points 
 
 372 RUE DES BONS ENFANTS, TOURS. (Sup. 320.) At the 
 angle of a street turning to the right is a four-storied house, 
 through which runs a passageway, at the left of a closed doorway. 
 Over the passageway are ventilating shutters and number “22.” 
 In the second story is a long window, with shutters partly open, 
 behind a balcony with iron railing. In the third story is a similar 
 window, open behind a similar balcony, and in the fourth story 
 is a smaller window. There are people in the passageway, and 
 two figures in the open window. The butterfly, shaded, is above 
 the middle of the plate, near the left edge. 
 
 Etching. Height, 5% inches; width, 3^ inches. 
 
 First State: There is comparatively slight shading within the 
 passageway, and a space is left blank between the shutters of 
 the second-story window. 
 
 Wrenn Collection. 
 
 Second State: Fine diagonal lines in dry-point, running from 
 left to right, are added in the upper part of the shading within 
 the third-story window, and fine dry-point lines are added in 
 the shading of the passageway. 
 
 Mansfield Collection. 
 
 Third State: There is heavy shading within the passageway, 
 bringing the figures into stronger relief. The space between 
 the shutters of the second-story window is shaded throughout, 
 and there is additional work in dry-point in the open window. 
 Lathrop Collection. 
 
 373 HOTEL CROIX BLANCHE, TOURS. (Sup. 321.) Standing 
 well out in a court is a tower with a large open doorway, above 
 which are two narrow windows, one high above the other. Pro- 
 jecting in front is a lantern. On each side is a building showing 
 an open doorway and windows. Foliage extends to the tower 
 from the left. In the court at the right there is a man carrying 
 a bucket, and about the court are numerous fowls. The butter- 
 
 212 
 
whistler’s etchings and dry-points 
 
 fly, shaded, is above the middle of the plate, at the right of the 
 tower. 
 
 Etching. Height, 6 % inches; width, 4^8 inches. 
 
 First State: There is comparatively open shading, in parallel 
 lines, in the center of the doorway of the tower. 
 
 Lathrop Collection. 
 
 Second State: The doorway of the tower is closely shaded 
 throughout, and there is additional shading in the doorway at 
 the right. 
 
 374 MARKET-PLACE, TOURS. (Sup. 322.) In an ample open 
 space there are groups of market-women, standing in front of 
 booths at the left and gathered near a cart at the right. Beyond 
 the booths rises a tall gabled house with open window in the 
 second story. Back of the cart is a building from which a lan- 
 tern projects and on the door of which are indistinct signs. On 
 a cross-street beyond is a house showing two chimneys. The 
 butterfly, shaded, is on the first story of the gabled house. 
 Etching. Height, 10% inches; width, 5% inches. 
 
 375 LITTLE MARKET-PLACE, TOURS. (Sup. 324.) A market- 
 place, with booths on either side and tall houses at the left. At 
 the far end a passageway extends through a square tower-like 
 structure, set between two buildings. Above the passageway is 
 the sign: “Hotel — Halles Centrales — Raymond Fils,” and upon 
 the building at the left is the sign: “Hotel.” There are people 
 about the booths and near the passageway, and there is a dog in 
 the foreground, at the left. The butterfly, shaded, is below the 
 middle of the plate, at the right edge. 
 
 Etching. Height, 5 inches; width, 6 % inches. 
 
 376 HANGMAN’S HOUSE, TOURS. (Sup. 323.) Under a deco- 
 rated canopy is a doorway with raised sill and round arch, in 
 
 213 
 
whistler’s etchings and dry-points 
 
 which are closed doors separated by a carved stile, below a lu- 
 nette filled with intricate ironwork. A boy and a girl are seated 
 at the left, upon the door-sill. The butterfly, shaded, is on the 
 outer wall, at the left of the children. 
 
 Etching. Height, 5X inches; width, 3^8 inches. 
 
 This is the doorway of the house of Tristan 1’Ermite, the infamous 
 provost of Louis XL 
 
 First State: The children’s figures are without shading. 
 Freer and Mansfield Collections. 
 
 Second State: There is shading on the figures, and there is 
 additional work upon the arch of the canopy, and elsewhere 
 throughout the plate. 
 
 377 CELLAR-DOOR, TOURS. (Sup. 325.) Within an open door- 
 way at the right, a woman is ascending a staircase. Above a 
 recess in the wall at the left is a balcony on which a woman is 
 standing, in front of a narrow opened window. The butterfly, 
 shaded, is on the wall, above the doorway. 
 
 Etching. Height, 5 ^ inches; width, 3 }/i inches. 
 
 First State: There is only slight shading within the doorway 
 at the right and within the open window. 
 
 Caldwell Collection. 
 
 Second State: There is strong shading within the doorway 
 and within the open window, bringing both of the figures into 
 greater relief. 
 
 378 CHATEAU BRIDOREZ,TOURAINE. (Sup. 327.) A woman 
 with a child in her arms is standing under a tree at the left, in 
 the garden of a chateau, the steep roof and the turrets of which 
 appear in the background. The butterfly, shaded, is at the right, 
 on the wall of the chateau. 
 
 Etching. Height, 5X inches; width, 3% inches. 
 
 Catalogued in the Supplement as “Chateau.” 
 
 214 
 
whistler’s etchings and dry-points 
 
 379 CHATEAU, TOURAINE. (Sup. 328.) A long flight of steps, 
 at the right of a low, thatched structure, leads up to a chateau, 
 slightly sketched, in the background. Below the steps stands a 
 woman wearing a hat. The butterfly, shaded, is near the bottom 
 of the plate, at the left of the woman. 
 
 Etching. Height, 5X inches; width, 3>i inches. 
 
 Lathrop Collection. It is thought that there are not more than 
 two impressions from this plate. 
 
 380 DOORWAY, TOURAINE. (Sup. 329.) There are two chil- 
 dren seated on the pavement in front of an open doorway, at 
 the left of which is a double window, the right half of which is 
 open. The butterfly, shaded, is near the top of the plate, 
 almost in the center. 
 
 Etching. Height, 3T6 inches; width, 5^ inches. 
 
 381 CHATEAU VERNEUIL, TOURAINE. (Sup. 354.) Back of 
 a paling which borders water in which strong reflections are cast, 
 is a mass of trees, above which rise the roofs and chimneys of a 
 chateau. The butterfly, shaded, is near the left edge of the plate 
 toward the top. 
 
 Etching. Height, 6 % inches; width, 4 % inches. 
 
 382 MAIRIE, LOCHES. (W. 259.) Seen across a narrow street, 
 at its turn by a high building on the right, is the facade of a 
 renaissance house. A small rounded doorway opens upon the 
 pavement; in the second story is a window with partly opened 
 shutters below and closed sashes above; in the third story is a 
 closed window, behind a stone balcony; in the steep roof is a 
 dormer-window, set in carved stone and boarded up. A lantern 
 projects from a building at the left, approached by steps. In 
 the foreground a woman is walking forward at the right, fol- 
 lowed by a woman leading a child. Three women are standing 
 in front of the doorway, and a figure is standing on the steps. 
 
 215 
 
whistler’s etchings and dry-points 
 
 The butterfly, shaded, is above the middle of the plate, on the 
 building at the right. 
 
 Etching. Height, 8 y% inches; width, 5^ inches. 
 
 First State: There is slight shading in the doorway and in 
 the lower part of the second-story window, the panes in the 
 upper part being scarcely indicated. Only a few panes in the 
 third-story window are shaded. The stonework of the bal- 
 cony is merely suggested. 
 
 Dickerman Collection. 
 
 Second State: The doorway is strongly shaded, and there is 
 also deep shading in the open part of the second-story window, 
 disclosing fully a figure and a lamp within. The space in the 
 upper part of the window is now equally divided and is filled 
 with shaded panes. The greater number of panes in the third- 
 story window are shaded. The stonework of the balcony is 
 well defined, and there is additional work on the cornice and 
 on other parts of the building. 
 
 383 CHANCELLERIE, LOCHES. (Sup. 334.) Beyond two mas- 
 sive buildings which stand back from a pavement at the left, 
 a richly ornamented renaissance house with steep roof and tall 
 chimneys projects to the border of the street. Above a large 
 window, below which the letters “rements” are seen, are two 
 windows with balconies, and above these are two ornate arches, 
 below a small projecting window surmounted by a single figure. 
 Adjoining is a house with an iron balcony over its doorway and a 
 dormer-window in its steep roof. At the right there is a tall 
 building, slightly indicated. Two women are standing on the 
 pavement; a woman with a child in her arms and a child by her 
 side is standing in the street, near two barrels; a girl is standing in 
 the street in front, and two women are seen in the distance. In 
 the foreground, at the left, is a dog. The butterfly, shaded, is 
 below the middle of the plate, near the right edge. 
 
 Etching. Height, io $4 inches; width, 6 l / 2 inches. 
 
 210 
 
whistler’s etchings and dry-points 
 
 First State: The panes of the large window are shaded by 
 short etched lines. The eaves at the jutting corner of the far- 
 thest house are scarcely shaded, and the steep roof above is 
 shaded only along the edge. The wall of the house is blank. 
 Babbott and Freer Collections. 
 
 Second State: There is additional shading in dry-point on all 
 of the window-panes. 
 
 Benedict Collection. 
 
 Third State: There is further shading upon all of the window- 
 panes, and work is added upon the cornice of the renaissance 
 house. Shading is added below the eaves of the jutting corner 
 of the farthest house, and upon its wall, near the balcony, and 
 the end of its steep roof is fully shaded. 
 
 Mansfield Collection. 
 
 Fourth State: There is still more shading on all the window- 
 panes, the upper six panes of the lowest window being uni- 
 formly dark. 
 
 Wrenn Collection. 
 
 384 HOTEL DE VILLE, LOCHES. At the far end of a street lined 
 with houses and filled with people, are two lofty adjoining build- 
 ings — the one at the left, massive and castellated, with few win- 
 dows, steep roof, a clock in a dormer-window, and a belfry; the 
 other, narrower, with open doorway approached by steps, broad 
 windows in four stories, and pointed roof surmounted by an ar- 
 chitectural ornament. Through the larger building there is a 
 broad passageway, near which projects a lantern. The butter- 
 fly, shaded, is above the middle of the plate, at the right. 
 Etching. Height, 10% inches; width, 6 % inches. 
 
 Freer and Mansfield Collections. 
 
 385 FROM AGNES SOREL’S WALK. In the foreground, viewed 
 from above, is a cluster of steep-roofed houses, surrounding a 
 
 217 
 
whistler’s etchings and dry-points 
 
 wide garden. Beyond rows of slender trees, there flows a river. 
 Farther away the country, first flat, then undulating, stretches 
 into the remote distance, under a cloudy sky. Upon the rising 
 ground seen at the right a church spire appears. The butterfly, 
 shaded, is on the roof of a house at the right. 
 
 Etching. Height, 5 X inches; width, 10% inches. 
 
 Freer and Mansfield Collections. 
 
 MARKET-WOMEN, LOCHES. (Sup. 335.) In an open space, 
 in front of a building slightly indicated, there is a group of five 
 women. Three are standing, one near the center, and two are 
 seated in chairs. In the background, at the right are three more 
 women, slightly indicated, and at the left is a woman standing in 
 front of a doorway within which another woman appears. In the 
 foreground there are two turkeys. The butterfly, shaded, is near 
 the top of the plate, above a window. 
 
 Etching. Height, 3% inches; width, 2 y% inches. 
 
 HOTEL PROMENADE, LOCHES. (Sup. 336.) A long two- 
 story building, through which runs a broad passageway, fills the 
 far side of a courtyard bounded on either hand by dissimilar 
 low buildings. Three women are standing in the courtyard at 
 the right, and the figures of a woman and a man are slightly 
 indicated at the left. The butterfly, shaded, is on the roof of the 
 principal building, below a central chimney. 
 
 Etching. Height, 2 inches; width, 3% inches. 
 
 THEATRE, LOCHES. (Sup. 337.) A small interior, in which 
 appear the heads and the shoulders of several people, seated and 
 facing to the right, and a few figures standing in the background. 
 Two branches of a panelled balcony meet at a pillar ornamented 
 with a medallion. The butterfly, shaded, is on a panel of the 
 balcony, at the right of the pillar. 
 
 Etching. Height, 4 inches; width, 2 $4 inches. 
 
 218 
 
whistler’s etchings and dry-points 
 
 389 TOUR ST. ANTOINE, LOCHES. (Sup. 338.) Beyond a row 
 of houses bordering a street which bends to the left, rises a clock- 
 tower surrounded by some scaffolding and surmounted by a flag. 
 Houses on the opposite side of the street are slightly indicated. 
 In the street are several people, a chaise, horse and cart, and a 
 hand-barrow. The butterfly, shaded, is below the middle of 
 the plate, near the right edge. 
 
 Etching. Height, 5^ inches; width, 3% inches. 
 
 390 MARKET-PLACE, LOCHES. (Sup. 339.) Along the front of 
 a building seen across an open space, there is an awning stretched 
 over a market-cart. About the cart five women and a child are 
 standing; a woman is seated back of a market-basket at the left, 
 and there is a woman standing near a market-stall at the right, 
 behind which a woman is seated. Above the awning is an indis- 
 tinct sign. The butterfly, shaded, is at the left, on the awning. 
 Etching. Height, 3^ inches; width, 5 X inches. 
 
 391 RENAISSANCE WINDOW, LOCHES. (Sup. 340.) Above a 
 broad gateway with round arch and massive wooden doors, 
 a richly carved stone setting encases a window with two small 
 closed sashes above two long sashes, one of which is open. On 
 the window-sill is a row of flower-pots. At the right there is a 
 smaller window, the lower part of which is open. Below, at the 
 right, a lady is seated, holding above her head an open umbrella, 
 and in front a woman is standing and another is seated. The 
 butterfly, shaded, is slightly indicated near the edge of the plate, 
 at the left of the larger window. 
 
 Etching. Height, 6 % inches; width, 4 % inches. 
 
 First State: The shading on the umbrella is comparatively 
 slight, and the features of the lady are fairly distinct. The 
 features of the woman standing in front are undefined. 
 Mansfield Collection. The impression in this collection was 
 said by Mr. Whistler to be the only one of this state. 
 
 219 
 
whistler’s etchings and dry-points 
 
 Second State: Through over-biting the shading on the um- 
 brella is very dark, obscuring the features of the lady holding 
 the umbrella. The features of the woman standing in front 
 are now defined. There is stronger shading in the open parts 
 of both windows. Short diagonal lines are added on the arch 
 of the doorway and on the wall above. 
 
 Freer and Lathrop Collections. 
 
 392 CHAPEL DOORWAY, MONTRESOR. (Sup. 341.) Within a 
 richly set doorway, reached by two broad steps and three narrow 
 ones, and over which are a large carved shell and small sculptured 
 figures, is a closed door bearing an official announcement headed : 
 “Ministere de la Guerre.” At the left of the doorway is a small 
 barred window. Below, in the angle of the chapel wall, stands a 
 small girl wearing a sunbonnet. The butterfly, shaded, is on the 
 wall, at the left of the doorway. 
 
 Etching. Height, 6 % inches; width, 4 % inches. 
 
 393 CHATEAU AM BOISE. (Sup. 342.) At the end of a broad 
 terrace stands the chateau; its round tower projecting at the 
 left, and the main building, with its corner turrets and steep 
 roof, extending to the right. Beyond, at the left, is a glimpse 
 of landscape. The butterfly, shaded, is below the middle of the 
 plate, near the right edge. 
 
 Etching. Height, 3% inches; width, 2 % inches. 
 
 394 CLOCK-TOWER, AMBOISE. (Sup. 343.) A street that turns 
 sharply by a massive building on fhe right, and is lined by houses 
 on the left, passes through an archway in a lofty square tower, 
 in which a clock is set below a dormer-window in a steep roof 
 surmounted by a belfry. In front of the building at the right, a 
 woman is standing with a child in her arms and a child by her 
 side, near whom a young girl is standing, and there are figures in 
 
 220 
 
whistler’s etchings and dry-points 
 
 the street beyond. The butterfly, in outline, is half way up the 
 plate, near the left edge. 
 
 Etching. Height, 6 % inches; width, 4 % inches. 
 
 395 GATEWAY, CHARTREUX. (Sup. 344.) A broad driveway 
 leads to an open gateway of massive masonry, with a round 
 arch and with posts surmounted by urns, at the right of a lodge. 
 Through the entrance a horse and carriage and a woman’s figure 
 are seen. In the foreground are two peacocks. The butterfly, 
 in outline, is on the driveway, near the bottom of the plate. 
 Etching. Height, inches; width, 3% inches. 
 
 Freer and Mansfield Collections. On the impression in each of 
 these collections Whistler wrote: “Gateway, Chartreux.” 
 Catalogued in the Supplement as “Gateway, Chartreuse.” 
 
 396 UNDER THE CATHEDRAL, BLOIS. (Sup. 345.) At the 
 left, on the corner of a narrow street, stands a building of heavy 
 masonry, showing in front a doorway reached by steps, a large 
 open window in the second story, and a small window above. 
 At the end of the street is a house of four stories that has a 
 dormer-window in its pointed roof. At the right of this house 
 rises a flight of steps. Beyond towers the cathedral. There are 
 figures about the distant steps, and there is a figure in the 
 window in front. The butterfly, shaded, is below the middle of 
 the plate, near the right edge. 
 
 Etching. Height, inches; width, 5^ inches. 
 
 397 COURT OF MONASTERY OF ST. AUGUSTINE, BOURGES. 
 (Sup. 330.) On the far side of a court is a massive building of 
 two stories, with round arches below and long windows above. 
 Under one arch is a passage, and through another arch a staircase 
 is seen. A different type of building bounds the court on the left. 
 Clothes are hung on a line stretched across the court. Women 
 and children are about the court; others look out of the open 
 
 221 
 
whistler’s etchings and dry-points 
 
 windows. The butterfly, shaded, is on the wall at the left of the 
 passage. 
 
 Etching. Height, 5 l /i inches; width, 8 -ys inches. 
 
 398 HOTEL LALLEMENT, BOURGES. (Sup. 331.) The corner 
 of a paved courtyard, from which, at the right, steps lead to a 
 renaissance doorway, below a richly encased double window. 
 Over the doorway is a portrait-medallion, and on the wall at the 
 left are three larger portrait-medallions and traces of a doorway 
 which has been filled in. High in the angle of the walls appears 
 the ornamented base of an oriel window. Out in the courtyard, 
 near the center, stands a young woman with a child in her arms, 
 and back of her, at the left, a child is standing near a long bench. 
 At the right are four fowls. The butterfly, shaded, is on the wall 
 at the left. 
 
 Etching. Height, 6 yi inches; width, 10X inches. 
 
 First State: In pure etching. There is a clear space between 
 the woman’s feet. 
 
 Buckingham and Freer Collections. 
 
 Second State: The woman’s feet have been partly erased. 
 Short dry-point lines are added below the etched lines shading 
 the upper panel of the door. 
 
 Lathrop Collection. 
 
 Third State: The woman’s feet have been redrawn and the 
 space between them is filled with lines. Short dry-point lines 
 are added below etched lines on the left wall, at the corner. 
 Mansfield Collection. 
 
 Catalogued in the Supplement as “Hotel Allement.” 
 
 399 WINDOWS, BOURGES. (Sup. 332.) In a wall ornamented 
 with wooden framework, three windows appear: In the mid- 
 dle story, a long window with sashes opening inward; above, a 
 window with flower-pots on the sill; below, at the left, a small 
 
 222 
 
whistler’s etchings and dry-points 
 
 window, slightly indicated. The butterfly, shaded, is on the wall, 
 at the left of the highest window. 
 
 Etching. Height, 5 % inches; width, 3 yi inches. 
 
 First State: There are two lines of shading in the right half 
 of the topmost window, and there is but slight shading be- 
 tween the partly-opened sashes of the long window. 
 
 Second State: There is strong shading throughout the right 
 half of the topmost window and between the partly-opened 
 sashes of the long window. 
 
 400 WINDOWS OPPOSITE HOTEL, BOURGES. At the left are 
 two windows, one above the other; at the right, in a roof with 
 steep slope, is a dormer-window, below which two windows are 
 slightly indicated. The butterfly, in outline, is near the right 
 edge of the plate, toward the bottom. 
 
 Etching. Height, 3 Y*. inches; width, 2^ inches. 
 
 Freer and Mansfield Collections. 
 
 Catalogued in the Supplement (Sup. 333) under an erroneous 
 description. 
 
 401 NOTRE DAME, BOURGES. At the left, on an uneven, wind- 
 ing street, appears part of a church, showing a large gothic portal 
 with stained glass in the upper part and a small open doorway 
 below; the whole crowned by a renaissance structure with sup- 
 porting columns, built out from the steep roof. At the left of 
 the portal is a pointed window filled with stained glass. Rising 
 from the roof at the right is a small spire. Several people are in 
 the street. The butterfly, shaded, is on the roof, at the left. 
 Etching. Height, 8$4 inches; width, 5^ inches. 
 
 Freer and Mansfield Collections. 
 
 402 STEPS, AMSTERDAM. (W. 260.) Across a pavement sup- 
 ported by a bulkhead bordering a canal, a broad flight of steps 
 
 223 
 
whistler’s etchings and dry-points 
 
 leads to three adjoining doorways, between large square windows, 
 in a wide house. In the story above, two smaller square windows 
 flank a narrow window of four panes. On each side of the steps 
 is a doorway opening upon the pavement. Clothes are hung in 
 front of the lower window at the left and the upper window at the 
 right. A girl with her back turned is standing in front of the 
 steps, and a woman with a child in her arms at the foot of the 
 steps, and there are people in all but one of the doorways. There 
 are extensive reflections in the canal. The butterfly, shaded, is 
 between the narrow window and the upper window at the left. 
 Etching. Height, 9X inches; width, 6 l A inches. 
 
 First State: The shading in the doorways is comparatively 
 open, and the reflections are slight and indefinite. 
 
 Vanderbilt and Wrenn Collections. 
 
 Second State: There is additional shading in the doorways, 
 and the reflections are elaborated, defining the bulkhead, door- 
 ways, windows and figures. 
 
 Benedict and Freer Collections. 
 
 Third State: The shading in all the doorways is uniformly 
 dark. Diagonal lines are added along the lower edge of the 
 plate, at the right, and the reflections are further elaborated. 
 Freer, Fathrop, and Mansfield Collections. 
 
 403 SQUARE HOUSE, AMSTERDAM. (W. 261.) The middle 
 one of three adjoining houses, all flush with a bulkhead bordering 
 a canal, shows a recess and doorway behind palings in the lowest 
 story, two rows of small adjacent windows in the brick wall above, 
 and two large windows in a third story. The house at the right 
 has a similar recess, below upright planking, in which is a small 
 open window, under a closed window of four panes, above which, 
 in the center, are two adjacent windows. A smaller house at the 
 left shows a door open on the canal, and two square windows in 
 the second story, one of them open, and two long windows in the 
 
whistler’s etchings and dry-points 
 
 third story, behind a balcony. Figures are seen in the recesses 
 and open windows. There are extensive reflections in the canal. 
 The butterfly, shaded, is on the building at the right, near the 
 upper small window. 
 
 Etching. Height, 9 inches; width, 6^4 inches. 
 
 First State: There is only slight shading back of the palings 
 of the house at the right, and in the open windows of the second 
 story. 
 
 Freer and Mansfield Collections. 
 
 Second State: Diagonal lines, running from left to right, are 
 added within the recess behind the palings of the house at the 
 right, and in the window of the second story. The shading of 
 the open window and the doorway of the house at the extreme 
 left is deepened. There are lines added here and there in the 
 reflections, especially below the wall at the left. 
 
 Lathrop Collection. 
 
 404 THE BALCONY, AMSTERDAM. (W. 262.) Above the broad 
 doorway of a narrow central house on a canal, a balcony with 
 iron framework projects in front of a narrow open doorway and a 
 curtained window. At the left is a large window, above a closed 
 doorway, and at the right there are three windows. Clothes are 
 hung on the balcony-railing and on a pole suspended above the 
 door and window. In the lower doorway a man is standing at 
 the right, his face seen above a bar crossing the doorway, and a 
 woman is on her knees at the left. In the balcony a woman is 
 leaning upon the railing, and a woman with a child in her arms 
 is standing in front of the narrow doorway. There are extensive 
 reflections in the canal, defining somewhat the figures in the lower 
 doorway. The butterfly is on the lowest window at the right. 
 Etching. Height, 10 $4 inches; width, 6% inches. 
 
 First State: The walls of the house are in full light, and there 
 is only slight shading on the figures in the lower doorway and 
 
 225 
 
whistler’s etchings and dry-points 
 
 on the bar across it. The lower panes of the window behind 
 the balcony are nearly blank. The reflections are indicated 
 by comparatively few lines. The butterfly is in outline. 
 Lathrop and Wrenn Collections. 
 
 Second State: The figure of the man in the lower doorway is 
 considerably shaded and the bar is now heavily shaded. Ad- 
 ditional shading of the interior brings both figures into strong 
 relief. There is heavy shading on the lower right-hand pane of 
 the balcony window. Dry-point lines are added here and there 
 on the walls, and the reflections are elaborated. The butterfly 
 remains in outline. 
 
 Dickerman Collection. 
 
 Third State: There is much additional shading on the walls, 
 especially above the balcony and each side of the lower door- 
 way. The butterfly is shaded. 
 
 Freer and Mansfield Collections. 
 
 405 LITTLE DRAWBRIDGE, AMSTERDAM. (W. 263.) Span- 
 ning a canal is a small lifting-drawbridge supported upon piles, 
 beyond which are trees at the right, and buildings seen below 
 projecting branches at the left. In the center, above the bridge, 
 rises a church steeple. Underneath the bridge, boats are seen 
 on the canal and trees on its banks. There are three men, a 
 woman and a girl on the bridge, a woman in the street at the 
 left, and two men on one of the boats. There are reflections in 
 the canal and clouds in the sky. There is no butterfly. 
 
 Etching. Height, 6%, inches; width, 5% inches. 
 
 406 PIERROT. (W. 264.) In the queer dilapidated basement of a 
 building on a canal there is a large open doorway near the center. 
 Three posts on either side support the projecting wall of the story 
 above. Back of the posts at the left is a broad window, and in 
 the story above is a row of adjoining windows. In the doorway, 
 
 226 
 
whistler’s etchings and dry-points 
 
 a boy wearing a long apron is standing at the right, with one 
 hand raised to a beam above his head, and on the opposite side a 
 woman is bending over the water. The basement and figures are 
 reflected in the canal. 
 
 Etching. Height, gXe inches; width, 6 % inches. 
 
 First State: The woman’s figure is faintly indicated. The 
 interior of the doorway is but slightly shaded. The reflections 
 in the canal are few, and below the doorway they are ex- 
 pressed by fine horizontal lines and by three curving rows of 
 short diagonal lines. There is no butterfly. 
 
 Vanderbilt Collection. 
 
 Second State: The horizontal lines in the canal below the 
 doorway are crossed by a number of vertical lines. There is 
 no butterfly. 
 
 Lathrop Collection. 
 
 Third State: The interior of the doorway is darkened, and 
 there is additional work throughout. The butterfly, shaded, 
 is on the lower part of the projecting story, at the left. 
 Benedict Collection. 
 
 Fourth State: The woman’s figure is strongly drawn, and 
 there is additional work upon the figure of the boy. The in- 
 terior of the doorway and the wall space behind the posts at 
 the right are very dark. Horizontal lines are added on the 
 beam immediately above the doorway. The reflections are 
 much elaborated. 
 
 Freer and Mansfield Collections. 
 
 Fifth State: The shading within the doorway is further 
 deepened, and there is additional work on the wall-space be- 
 hind the supports at the right of the doorway, obscuring patches 
 which before were slightly shaded. 
 
 407 NOCTURNE: DANCE HOUSE, AMSTERDAM. (W. 265.) 
 The rays of a lantern at the center and lights from many windows 
 
 227 
 
whistler’s etchings and dry-points 
 
 above are reflected in the dark waters of a canal. There is no 
 butterfly. 
 
 Etching. Height, 10% inches; width, 6$4 inches. 
 
 First State: Figures are seen through the lowest window 
 at the left. The rays from the lantern are sharply defined. 
 Two figures vaguely appear outside the house, at the left. 
 Fathrop, Mansfield, and Scholle Collections. 
 
 Second State: The figures in the window have been almost 
 wholly burnished out, and the figures outside have become 
 obliterated. The rays from the lantern are enlarged and less 
 sharply defined. 
 
 Freer and Parsons Collections. 
 
 408 FONG HOUSE, AMSTERDAM. (W. 266.) On a dilapidated 
 bulkhead, the border of a canal, is a long brick building, with 
 irregular windows above, and a row of doorways and adjacent 
 windows below. Near the center, a shed with a single window 
 is built to the edge of the bulkhead, to which, on either hand, 
 rude palings are fastened. A woman is standing in the door- 
 way at the left, in front of which a woman is bending over, 
 cleaning a basin. A child is leaning over palings at the right. 
 There are extensive reflections in the canal. The butterfly, 
 shaded, is on the lower part of the shed. 
 
 Etching. Height, inches; width, 10*4 inches. 
 
 First State: At the left of the child leaning over the palings 
 a blank space is noticeable. The reflections are only slightly 
 indicated. 
 
 Freer and Vanderbilt Collections. 
 
 Second State: In the space which was blank stands a woman 
 with a child in her arms. The figure of the woman within the 
 doorway at the left is more defined. There is additional work 
 on the long building, and the reflections are minutely expressed. 
 Benedict, Freer, and Mansfield Collections. 
 
whistler’s etchings and dry-points 
 
 409 BRIDGE, AMSTERDAM. (W. 267.) A bridge with an iron 
 railing spans a wide canal in which are two supporting piers. 
 Beyond, at the left is a row of houses with sloping roofs, and at 
 the right is a large warehouse. In the distance, gabled houses 
 and a tall frame for telegraph wires are seen. Several people are 
 on the bridge. There are extensive reflections in the canal. 
 There is no butterfly. 
 
 Etching. Height, 6 % inches; width, 9 J { 6 inches. 
 
 First State: The bridge-railing is incomplete in the center 
 and at the right. The walls and roofs of the houses at the 
 left have scarcely any shading. The telegraph-frame is faintly 
 indicated. There are very few lines below the reflections of 
 the bridge. 
 
 Freer, Vanderbilt, and Wrenn Collections. 
 
 Second State: The bridge-railing is complete at the center 
 and for some distance on either side. The telegraph-frame is 
 well defined. Diagonal dry-point lines are added in the sky, 
 and extensively, in cross-hatching, below the reflections of the 
 bridge, and the reflections generally are strengthened. 
 
 Lathrop Collection. 
 
 Third State: The roofs and the upper part of the walls of the 
 houses at the left are strongly shaded. 
 
 Mansfield Collection. 
 
 410 THE CHURCH, AMSTERDAM. (Sup. 355.) At the left of 
 a bridge spanning a narrow canal where it joins broad water in 
 front, is a row of picturesque buildings, above which rises an 
 ornamented church steeple, surmounted by a cock. Upon the 
 bridge and in front of the nearest building are several figures. 
 The church and bridge are reflected in the broad water. The 
 butterfly, in outline, is in the sky, at the right of the steeple, and 
 is reversed in the water, at the right of the reflection of the steeple. 
 Etching. Height, 8$4 inches; width, 53^ inches. 
 
 229 
 
whistler’s etchings and dry-points 
 
 41 i THE LACE CURTAIN. (Sup. 356.) Across a cobblestone 
 pavement bordering on a canal and faced by a wooden bulkhead, 
 there are two adjoining house-fronts of similar construction. 
 Each shows two doorways, adjacent to a large window above 
 windows about a doorway opening upon the pavement, and in 
 each second story is a square window flanked by two narrow 
 windows. Below each central window is a square placque, and 
 on the wall at the left is a round placque. In the large window 
 at the right and in the window over the adjacent doorway is a 
 curtain with a pattern. In the upper part of the doorway open- 
 ing on the pavement at the left is the sign: “Water te vuur.” 
 There are children on the pavement, and people in all the door- 
 ways, except the doorway at the extreme right, which is closed. 
 Two figures appear in an open window at the right. There are 
 extensive reflections in the canal. The butterfly, shaded, is on 
 the round placque. 
 
 Etching. Height, 9 inches; width, 6 % inches. 
 
 First State: The shading in the open doorway at the right is 
 comparatively slight. There are a few short oblique lines be- 
 tween the legs of the man standing within the doorway. The 
 features of the girl standing near the steps below are vaguely 
 indicated, and her frock is unshaded. The reflections are well 
 defined, although slightly expressed. The etching in the up- 
 per half of the plate does not fully extend to the right edge. 
 Lathrop and Simpson Collections. On the impression in the 
 Simpson Collection Whistler wrote: “1st proof pulled,’’ and 
 on the impression in the Lathrop Collection: “2nd proof 
 pulled.” 
 
 Second State: There is additional shading in each doorway. 
 Short diagonal lines between the legs of the man standing in 
 the doorway at the right are extended to his feet. The features 
 of the girl standing by the steps below are more defined, and 
 there are a few lines of shading on her frock. The bulkhead 
 and the reflections have been redrawn, but are indistinct. 
 
 230 
 
whistler’s etchings and dry-points 
 
 Third State: Shading is added within the doorways and on 
 the bulkhead, and here and there, in patches, in the reflec- 
 tions. 
 
 Wrenn Collection. 
 
 Fourth State: Fine diagonal lines, running from right to left, 
 are added between the legs of the man who is standing in the 
 doorway at the right. The features of the girl at the extreme 
 right have been redrawn. Through additional work, the reflec- 
 tions define the figure of the girl at the right and the figure 
 of the girl with a child in her arms. 
 
 Scholle Collection. 
 
 Fifth State: The etching in the upper half of the plate is 
 extended to the right edge. The reflections have been re- 
 drawn, but are confused. 
 
 Sixth State: Long vertical lines are added between the legs 
 of the man who stands in the doorway at the right. Short 
 diagonal lines cross earlier short lines at the left of the child, 
 faintly indicated, on the steps below the doorway at the ex- 
 treme right. The bulkhead has been redrawn and shows 
 clear spaces between the supporting timbers. The reflec- 
 tions have been redrawn throughout, and are fairly distinct. 
 Mansfield Collection. 
 
 Seventh State: Spaces in the reflections, especially at the left, 
 have been to a considerable extent burnished out. Through 
 additional work in dry-point the reflections of the lower door- 
 ways and of the figures of the two girls are more defined. 
 Benedict Collection. 
 
 Catalogued in the Supplement as “The Embroidered Curtain.” 
 
 412 JEWS’ QUARTER, AMSTERDAM. (Sup. 357.) At the left, 
 in a canal, a long boat is moored to a wooden bulkhead abutting 
 on a pavement across which are seen the lower stories of a row 
 of houses. Each house has two adjoining doorways approached 
 
 231 
 
whistler’s etchings and dry-points 
 
 by steps, with a small window above each door and a large win- 
 dow at the side, below which are windows about a doorway open- 
 ing on the pavement. In the doorways and about the pavement 
 are numerous figures, some merely suggested in spaces left almost 
 blank. There is no butterfly. 
 
 Etching. Height, 5 y% inches; width, 8 $4 inches. 
 
 Caldwell and Lathrop Collections. 
 
 413 LITTLE NOCTURNE, AMSTERDAM. (Sup. 359.) Three 
 women, two men and a child are standing on a narrow bridge 
 leading from a small house at the right over a stretch of water, 
 in which the house, bridge and figures are reflected. Number- 
 less fine lines produce an evening effect. There is no butterfly. 
 Dry-point. Height, 5X inches; width, 3% inches. 
 
 Freer and Mansfield Collections. The impressions in these col- 
 lections are thought to be the only impressions from the plate. 
 
 414 ZAANDAM. (W. 268.) In front is a canal, at the border of 
 which two flat-bottomed boats are moored. Beyond is a wide 
 stretch of meadows. In the distance is a long line of windmills, 
 under a cloudy sky. The butterfly, in outline, is at the left, 
 near the top of the plate. 
 
 Etching. Height, 5 yi inches; width, 8^i inches. 
 
 First State: In pure etching throughout. 
 
 Mansfield Collection. On the impression in this collection 
 Whistler wrote: “ 1st proof pulled.” 
 
 Second State: The clouds are extended and softened by 
 extensive use of the dry-point. 
 
 415 THE MILL. (Sup. 358.) The interior of a flour-mill, with tim- 
 bered supports, well braced, upholding the beams of the ceiling. 
 At the right, near a window, beyond sacks piled up, two men are 
 seated. Through a large doorway at the left, opening upon a 
 
 232 
 
whistler’s etchings and dry-points 
 
 wide expanse of meadows, three windmills are seen. The butter- 
 fly, shaded, is below the middle of the plate, on a wall at the left. 
 Etching. Height, 6 X inches; width, 9^ inches. 
 
 First State: There is almost no shading on the floor. There 
 are but few lines on the wall and supports at the left. The 
 windmills are nearly white, and clouds are suggested by out- 
 lines and very slight shading. 
 
 Freer Collection. 
 
 Second State: Fine dry-point lines are added on the upper 
 part of the post at the right, and on the wall and supports at 
 the left. The aspect of the more prominent figure is changed. 
 The shading of the clouds has been removed. 
 
 Dickerman Collection. 
 
 Third State: The windmills are shaded. Light clouds are 
 indicated by fine diagonal lines in dry-point, running from 
 right to left. 
 
 Avery Collection. 
 
 Fourth State: The floor is shaded at the right with numer- 
 ous lines, and there is much additional work throughout the 
 shading of the interior. The sky is heavily clouded. 
 
 Lathrop and Mansfield Collections. 
 
 416 CARPET-MENDERS. (W.257.) Within a high open doorway, 
 between long windows of unequal width, three women are seated, 
 mending a carpet. Through the window-panes at the left a 
 woman is seen, apparently sewing. The window at the right is 
 curtained. The butterfly, shaded, is on the wall at the extreme 
 left, below the middle of the plate. 
 
 Etching. Height, 7 inches; width, 9^ inches. 
 
 Mansfield Collection. 
 
 This etching and nearly all of the etchings further catalogued 
 were done in Paris. Some of these Paris etchings were begun 
 in 1892, and all were probably finished by 1895. 
 
 233 
 
whistler’s etchings and dry-points 
 
 417 SUNFLOWERS, RUE DES BEAUX-ARTS. (W. 258.) 
 
 Under two large round arches are doorways of unequal dimen- 
 sions, opening into shops. In the upper part of each arch are 
 sunflowers, planted in boxes. Upon the sidewalk, between the 
 doorways, are tiers of baskets apparently filled with vegetables. 
 Within the shop at the left two men are standing, and in front, 
 near a group of children, a woman stands with her back turned 
 and lifting a shawl about her shoulders. Within the doorway 
 at the right a lamp-shade is visible. A woman is seen with- 
 in an adjoining window, in front of which stands a girl with 
 her back turned. Near her stands a girl, faintly outlined. On 
 a sign above there appears the number “ 1801.” The butterfly, 
 shaded, is on the wall, between the arches. 
 
 Etching. Height, 8 % inches; width, 1 1% inches. 
 
 First State: One of the men within the shop at the left is ' 
 scarcely indicated. The space below the lamp-shade in the 
 doorway at the right is nearly all blank. The form of the 
 butterfly suggests a face. 
 
 Lathrop Collection. 
 
 Second State: The face and the figure of the second man 
 within the shop at the left are defined, and there is additional 
 work on all the figures about the doorway. The interior is al- 
 most uniformly shaded. Shading by both vertical and diagonal 
 lines is added within the other shop, below the lamp-shade. 
 Horizontal lines are added on the middle and left pilasters and 
 on the signs. Shading is added on both the arches. Shading 
 between the arches obscures the butterfly, the form of which 
 is changed. Work is added here and there throughout the 
 plate. 
 
 Mansfield Collection. 
 
 418 BOULEVARD POISSONNIERE. (Sup. 315.) In front, at the 
 right, five men are seated on a double bench in a boulevard lined 
 with trees. Across the boulevard, at the right is a row of shops 
 
 234 
 
whistler’s etchings and dry-points 
 
 under a long balcony, and at the left is a large building with 
 round-arched windows and an awning. Some people are seated 
 on a bench under the farther trees, and others are standing on the 
 pavement in the background. There is no butterfly. 
 
 Etching. Height, 6% inches; width, gy 6 inches. 
 
 Freer and Mansfield Collections. 
 
 419 LUXEMBOURG GARDENS. There are plants in the fore- 
 ground, and shrubs and trees beyond. In the distance, near 
 the center, rises the dome of the Pantheon, and at the left are 
 other buildings, seen above tree-tops. A dark figure is standing 
 near the center, and there are figures beyond, on either side. 
 A butterfly, heavily shaded, is at the left, near the bottom of the 
 plate, and a butterfly, lightly shaded, is above the middle of the 
 plate, near the right edge. 
 
 Etching. Height, 3X inches; width, inches. 
 
 Freer Collection. 
 
 420 BEBES, LUXEMBOURG GARDENS. (Sup. 313.) Seated 
 on a bench in the foreground are two women, in front of whom a 
 child is seated on a chair. At a little distance a woman is stand- 
 ing, and beyond her is a woman bending over. At the right, 
 two women, with a child in front of them, are seated near a box 
 in which a tree is growing. Farther away are other women and 
 children and numerous boxes with trees, and in the background 
 is a mass of foliage behind a balustrade. The butterfly, partly 
 shaded, is on the tree-box at the right. 
 
 Etching. Height, 6y& inches; width, 4% inches. 
 
 Mansfield and Wrenn Collections. On the impression in the 
 Mansfield Collection Whistler wrote: “ Bebes, Luxembourg.” 
 Catalogued in the Supplement as “ Jardins de Luxembourg.” 
 
 421 TERRACE, LUXEMBOURG GARDENS. No. 1. (Sup. 314.) 
 Here and there, on a terrace bounded by a balustrade, women and 
 
 237 
 
whistler’s etchings and dry-points 
 
 children are seated in chairs, and at the right a woman is stand- 
 ing, leaning over the balustrade. In a box on the terrace is a 
 growing palm and on the balustrade are large urns. Beyond 
 are trees, above which, in the distance, rises the dome of the 
 Pantheon. The butterfly, shaded, is toward the right lower corner. 
 Etching. Height, 4 % inches; width, 6J4 inches. 
 
 TERRACE, LUXEMBOURG GARDENS. No. 2. On a ter- 
 race bounded by a balustrade, a lady wearing a hat sits facing to 
 the left, near a woman, also seated, wearing a cap and facing front. 
 Near them stands a child wearing a broad-brimmed hat. Farther 
 at the left two women are seated by the balustrade. On the balus- 
 trade are two large vases with growing plants, and at the end 
 there is a pedestal on which stand sculptured figures upholding 
 a jardiniere. Beyond the balustrade are three trees; at the right 
 is a statue with uplifted hand, and at the extreme left is a statue. 
 There is no butterfly. 
 
 Etching. Height, 4T6 inches; width, 8^4 inches. 
 
 Freer and Parsons Collections. 
 
 TERRACE, LUXEMBOURG GARDENS. No. 3. On a ter- 
 race bounded by a balustrade, four women are seated in a group 
 near the center, and at the left two women, opposite each other. 
 The balustrade ends at the right with a pedestal on which stand 
 two sculptured figures upholding a huge bowl containing plants. 
 On the balustrade, near the center, there is a garden-vase. Be- 
 yond are trees. The butterfly, shaded, is above the balustrade, 
 near the left edge of the plate. 
 
 Etching. Height, 5 inches; width, 7 inches. 
 
 Freer Collection. 
 
 POLICH1NELLE, LUXEMBOURG GARDENS. In the mid- 
 dle distance, toward the right, two women are seated near the 
 base of a statue, and farther to the right two others, with their 
 
 236 
 
whistler’s etchings and dry-points 
 
 faces turned away, are seated on a park-bench. Toward the left 
 is a woman with a baby, and farther to the left are two women, 
 one of whom is seated. In the distance are trees, among which, 
 at the left, a large group of people is gathered in front of a Punch- 
 and-Judy show. There is no butterfly. 
 
 Etching. Height, inches; width, 6 X inches. 
 
 Freer Collection. 
 
 425 CAFE FUXEMBOURG. Under a long awning, there are chairs 
 and tables on the pavement in front of a cafe. Crossing the street 
 are four saddled horses, and a man leading one of them. On the 
 awning is a sign which shows: “ Billiards” and “Cafe,” besides 
 other lettering obscured. Above the awning is a row of windows 
 behind iron railings. At the left is a broad archway. People 
 are seated at the tables and near the archway. On the pavement, 
 at the right is a dog, and farther away, at the very edge, a 
 woman is standing with a child in her arms. The butterfly, 
 shaded, is on the wall, above the left end of the awning. 
 Etching. Height, 3 $4 inches; width, 5 X inches. 
 
 Freer Collection. 
 
 426 NEWSPAPER-STALL, RUE DE SEINE. Of two contigu- 
 ous shops the one at the right is a newspaper-stall. In its open 
 doorway two women are standing, with a dog seated at their 
 feet. Within the shop a woman is seated at the open window, 
 in front of which stands a man apparently making a purchase. 
 On the outer wall are copies of several journals, including “Gil 
 Bias.” In front of the doorway of the second shop two women 
 are standing, one with a basket on her arm, and near them is a 
 large dog. At the extreme right is a third open doorway. The 
 butterfly, shaded, is on the opened door of the newspaper-stall. 
 Etching. Height, 3 % inches; width, 7^ inches. 
 
 First State: Two boys and a woman with a child by her side 
 
 are looking at the journals on the wall. Within the doorway 
 
whistler’s etchings and dry-points 
 
 of the shop at the left a woman is standing with arms akimbo. 
 At the left of this doorway there is heavy shading. 
 
 Freer and Mansfield Collections. 
 
 Second State : The shading at the left, the figure of the woman 
 in the adjacent doorway, and the group looking at the journals 
 on the wall have been burnished out. 
 
 427 FRUIT-SHOP, RUE DE SEINE. There are fruits displayed in 
 front of a wall, on two projecting shelves at the left of an open 
 doorway and on a single shelf at the right. In front of the door- 
 way stands a woman facing to the left, holding a satchel in her 
 left hand, and in front of the shelf at the right stands a woman 
 with her back turned. Within the doorway are seen the head 
 of a woman who is seated and the head of a man who is stand- 
 ing. On the wall, at the left, is a placard with the name: “J. J. 
 Greuze.” The butterfly, shaded, is on the wall, at the right. 
 Etching. Height, 4 % inches; width, 8K inches. 
 
 Freer and Mansfield Collections. 
 
 428 PICTURE-SHOP, RUE DE SEINE. At the left of a wide 
 passageway is a shop with open doorway between large show- 
 windows. In the window at the right, and on the wall, pictures 
 are displayed. The lower portions of the doorway and show- 
 windows are not expressed in detail. Over the shop is the sign: 
 “Antony,” below two large windows, both with opened shutters. 
 A woman is standing in the passageway, and a woman with 
 back turned and arms akimbo stands looking at the pictures. 
 A dog is near the doorway. There is no butterfly. 
 
 Etching. Height, 5 % inches; width, 7^ inches. 
 
 Freer and Mansfield Collections. 
 
 429 MARCHAND DE VIN. A shop-front with continuous windows 
 on each side of an open doorway extends from a street-corner 
 
 238 
 
whistler’s etchings and dry-points 
 
 at the left to a closed doorway at the right. Over the shop are 
 indistinct signs, and in one of the windows at the left “Cidre” is 
 advertised. Beyond a lamp-post on the corner there appears the 
 sign : “ Rue Mazarine.” Two figures, standing below a lamp, are 
 seen within the central doorway. A large dog is lying on the pave- 
 ment in front of the windows at the right, and a small dog sits 
 in front of the central doorway. The butterfly, in outline, is at 
 the left of the closed doorway. 
 
 Etching. Height, 3% inches; width, -jli inches. 
 
 Freer and Mansfield Collections. 
 
 430 ATELIER DE BIJOUTERIE. In the center, below a huge 
 sign bearing indistinct lettering, there is a broad opening with a 
 round arch, in a massive stone building. Within the arch is seen 
 the lower part of an open mezzanine-window with a balcony. 
 Above a heavily barred window is a sign reading: “Atelier de 
 Bijouterie.” Below there is a small barred window, opening 
 on a level with the pavement. At the right are two adjoining 
 doorways, one of them open, above which is a sign with “Saget” 
 and other lettering. At the left is a flower-stand, with tubs on 
 the pavement. A boy stands at the right of the large barred 
 window; there are people about the open doorway and the flower- 
 stand, and a woman and child are in the open window. There is 
 no butterfly. 
 
 Etching. Height, 5 inches; width, 8 % inches. 
 
 Freer and Mansfield Collections. 
 
 431 MARCHAND DE MEUBLES, RUE DU FOUR. The front of 
 a furniture shop, at the corner of a street. In the center there is a 
 doorway, with a window on either side, below awnings above 
 which there are two large windows. Upon the sidewalk various 
 articles of furniture are heaped; between the windows above the 
 awnings pictures and mirrors are hung; in the lower window at 
 the left are numerous jars. Above the lower window at the right, 
 
 239 
 
WHISTLERS ETCHINGS AND DRY-POINTS 
 
 on a sign hanging obliquely, appear, besides indistinct lettering, 
 the words: “Achats de Meubles — Achats d’Agencement Prive.” 
 At the extreme right, figures of a man and a woman are slightly 
 indicated. There is no butterfly. 
 
 Etching. Height, 8 inches; width, 1 1 inches. 
 
 Exhibited in the Exposition des CEuvres de James McNeill Whist- 
 ler, at the Palais de l’Ecole des Beaux-Arts, Paris, in 1905. 
 
 432 CAFE CORAZZA, PALAIS ROYAL. Near the center is a large 
 doorway between windows. In each of the windows, near the 
 top, appears a part of the sign: “Corazza.” In front, on each side 
 of the doorway, is a slender tree. The plate has no butterfly. 
 Etching. Height, 8^8 inches; width, 5 yi inches. 
 
 Freer Collection. On the impression in this collection the but- 
 terfly, in pencil, is within the plate-mark, at the right. 
 
 433 BLANCH ISSERIE. Within the open doorway of the laundry 
 are three women and a child, standing about a table. Above 
 them there hangs a large bird-cage. Beyond them appears a 
 lamp. Over the doorway there is the sign : “Mme. Pelletier,” and 
 above that, the sign: “ Blanchisserie.” The butterfly, shaded, 
 is near the right edge of the plate. 
 
 Etching. Height, 7 inches; width, 6 inches. 
 
 Freer Collection. 
 
 434 RUE VAUVILLIERS Behind a tall iron railing is a house- 
 front, with a small window on either side of the doorway and 
 two large windows in each of three stories above. Both of the 
 second-story windows are partly open, and one of the third- 
 story windows is wide open, and there are flowers in boxes in 
 front of the windows of the fourth story. There are faint sug- 
 gestions of a woman standing in front of the window at the left 
 of the doorway, and of a woman seated at the open window. 
 
 2 40 
 
whistler’s etchings and dry-points 
 
 In the street, a dog at the right and two dogs at the left are 
 slightly indicated. The butterfly, shaded, is at the left of the 
 second-story windows, three-quarters of an inch from the edge 
 of the plate. 
 
 Etching. Height, 8 ^ inches; width, 5 yi inches. 
 
 Freer Collection. 
 
 435 STREET SCENE. A view of a street with a large three-storied 
 house at the right. 
 
 Etching. Height, 5 inches; width, 3K inches. 
 
 Freer Collection. 
 
 436 THE DRAY-HORSE. A horse and dray stand in front of a 
 corner house, three stories of which are seen. Two women are 
 standing at the right, near the dray. The butterfly, in outline, 
 is half way up the plate, near the right edge. 
 
 Etching. Height, 3X inches; width, 2 inches. 
 
 Caldwell and Freer Collections. 
 
 Mr. Pennell says that this was etched at St. Germain, in 1893. 
 
 437 THE BEARSKIN. A young woman wearing a high hat, re- 
 sembling a “Bearskin,” sits turned toward the right, but facing 
 almost front. The butterfly, in outline, is half way up the plate, 
 at the right. 
 
 Etching. Height, inches; width, 5 inches. 
 
 Exhibited at the Palais de l’Ecole des Beaux-Arts, Paris, in 1905, 
 under the title: “Le Bonnet a Poil.” 
 
 438 MRS. WH 1 BLEY. A delicately sketched portrait of Mrs. 
 Charles Whibley, a sister of Mrs. Whistler. 
 
 Etching. Height, 3 inches; width, 2 l /% inches. 
 
 Freer Collection. 
 
 241 
 
 4 
 
whistler’s etchings and dry-points 
 
 439 THE MARKET, CAEAIS. Wares are displayed on boards 
 placed upon trestles at two stalls in a market-place. In front of 
 the stall at the right, a boy and girl are standing near a woman 
 with a basket on her arm, all three with backs turned. Facing 
 them is a woman standing with arms akimbo, and at her right 
 appears the head of a boy. At the extreme right a girl is slightly 
 indicated. Near the other stall a woman stands with her back 
 turned, and at the extreme left a woman is faintly outlined. In 
 the background a woman is standing and three or four people 
 are seated. The butterfly, in outline, is at the left, near the 
 bottom of the plate. 
 
 Etching. Height, 3% inches; width, 5X inches. 
 
 Mansfield Collection. 
 
 Mrs. Pennell thinks that this etching was done in September, 1 896. 
 
 440 BOHEMIANS, CORSICA. (Sup. 360.) Within an open door- 
 way, an old woman is standing at the left and a young girl at the 
 right. The butterfly, shaded, is near the right edge of the plate, 
 above the girl’s head. 
 
 Etching. Height, 3% inches; width, 2X0 inches. 
 
 Caldwell, Freer, and Lathrop Collections. On the impression in 
 the Lathrop Collection Whistler wrote: “Bohemians.” 
 
 Also known as “Hole in the Wall, Ajaccio.” 
 
 This etching was done in Corsica in the winter of 1900-1. 
 
 242 
 

 
 
 
 
 
 
APPENDIX 
 
 The prints described in this appendix have been purposely omit- 
 ted from the foregoing catalogue. The first does not properly fall with- 
 in the category of etchings, although probably Whistler’s first essay at 
 etching, and is from a plate upon which the work of other engravers 
 appears. The second, although attributed to Whistler, is regarded 
 by the compiler as a print of doubtful authenticity. The third, be- 
 sides bearing the name of Haden as well as that of Whistler — -both 
 names having apparently been placed on the plate by Haden — seems 
 to be almost totally lacking in work characteristic of Whistler. While 
 the composition of the others is by Whistler, the plates were bitten by 
 different etchers, and no impression was taken from them in Whistler’s 
 lifetime. 
 
 I ANACAPA ISLAND. Enclosed within engraved lines, above 
 which appears “No. 414,” are a map of “Anacapa Island,’’ 
 showing a rocky surface, and an etched “View of the Eastern 
 Extremity of Anacapa Island — from the Southward,” show- 
 ing high bluffs rising from the sea and, at the right, three de- 
 tached rocks, through the larger of which is a wide opening. 
 Numerous birds appear in flight above the bluffs and out at 
 sea. Within the enclosing lines are these inscriptions: “U. S. 
 Coast Survey. A. D. Bache, Supdt., Sketch of Anacapa Is- 
 land in Santa Barbara Channel. By Lieut. T. H. Stevens, 
 U. S. N. Assist. U. S. C. S. 1854,” and “Note. Anacapa Is- 
 land is due East of Santa Cruz Island in (approx.) Lat. 34 0 00' and 
 Long. 1 1 9 0 23' W. from Greenwich Observatory. Variation 
 of the Magnetic Needle, 13 0 21' E.” An arrow indicates “Mag- 
 
 245 
 
APPENDIX 
 
 netic Meridian.” Below the border, at the left: “Dr“g by W. 
 B. McMurtie”; at the right: “Eng 8 by J. A. Whistler, J. Young 
 & C. A. Knight.” 
 
 Height of plate, io i/i inches; width, i inches. 
 
 Height of outer enclosing lines, 5% inches; width, 9% inches. 
 Height of inner enclosing lines, 5% inches; width, 9% inches. 
 Mansfield Collection. 
 
 The “View of the Eastern Extremity of Anacapa Island — 
 from the Southward” was etched by Whistler. 
 
 The plate, which has never been electrotyped, is in the pos- 
 session of the United States Coast and Geodetic Survey at Wash- 
 ington. 
 
 A lithographic copy from this plate, taken through the use 
 of transfer paper, was published on the same sheet with a map 
 of a “Reconnaissance of Smith’s or Blunt’s Island, Washing- 
 ton,” bearing, at the right, above the border enclosing both 
 maps: “Lith. Bien & Sterner, N. Y.,” in the “Report of the 
 Superintendent of the Coast Survey, showing the Progress of 
 the Survey during the year 1854,” issued as a “Senate Docu- 
 ment” — Washington: Beverley Tucker, Public Printer, 1855. 
 The “View of the Eastern Extremity of Anacapa Island — from 
 the Southward” was copied, with variations of line and ad- 
 ditions of clouds in the sky and shadows in the water, but with 
 the same title, on a government chart of “Anacapa Island and 
 East End of Santa Cruz Island, California,” published in 1857, 
 and republished, on the same sheet with other charts, in 1896. 
 
 11 PORTRAIT OF A LADY. The head and shoulders of a lady 
 facing to the right, with head slightly bowed. Her hair, brushed 
 back flat above her ears, is gathered in a knot behind. There 
 is no signature. 
 
 Etching. Height, 5X inches; width, 3^ inches. 
 
 If done by Whistler, a very early etching; possibly a portrait of 
 Mrs. Francis Seymour Haden. 
 
 246 
 
APPENDIX 
 
 III THE WOOD. Opening from the right into a wood cleared of 
 undergrowth, is a broad path in which stands a girl facing front, 
 wearing a hat and long cloak and full skirt. In the foreground 
 at the left, the trunks of two tall trees, the limbs of which bear 
 scanty foliage, cross each other. At the right and in the dis- 
 tance appear the trunks of numerous trees with limbs and foliage 
 only slightly indicated. The girl’s figure shows signs of having 
 been redrawn. Near the bottom of the plate, at the right, in 
 reverse: “J. A. Whistler and F. S. Haden.” 
 
 Etching. Height, 7^8 inches; width, 4^ inches. 
 
 Benedict Collection. 
 
 Probably done in Greenwich Park at the same time as Whistler’s 
 “Greenwich Park” and “Greenwich Pensioner” and Haden’s 
 “Sub-Tegmine.” 
 
 IV FITZROY SQUARE. At the right, across a broad open space 
 and within a curving enclosure of iron palings, are two tall leaf- 
 less trees. Beyond is a large mansion behind iron palings, on 
 the corner of a street. On the opposite side of the street are 
 houses slightly indicated. There are suggestions of two figures 
 in the open space in front, and of other figures beyond, and of a 
 covered vehicle and of a hand-cart near the houses on the left. 
 The butterfly, shaded, is near the left edge of the plate, an inch 
 from the bottom. 
 
 Etching. Height, 5 inches; width, 3 inches. 
 
 Mansfield Collection. 
 
 The drawing on the plate was done by Whistler, possibly as early 
 as 1886, but the biting was done, after Whistler’s death, by Mr. 
 Frank Short, by whom the impression in the Mansfield Collection 
 was printed. 
 
 V ROBERT BARR. A portrait showing the head and shoulders 
 of a man of middle age, with a drooping moustache and a full 
 beard and wearing a large soft hat. The head is turned slightly 
 
 247 
 
APPENDIX 
 
 to the right and the shoulders are merely indicated. The 
 plate is unsigned. 
 
 Etching. Height, 4^ inches; width, 3X inches. 
 
 The drawing on this plate is said to have been done by Whistler 
 at 13 Robert Street, Cumberland Market, London, in 1894. 
 The plate then passed into the possession of Mr. Walter Sickert, 
 and was bitten by him after Whistler’s death. The plate was 
 destroyed after an edition, limited to forty-five impressions, 
 printed by Brooker and certified by Mr. Sickert, had been pub- 
 lished in London, in 1908, by Messrs. John Baillie and W. D. 
 Gardiner. 
 
 248 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Abbey Jubilee - -- -- 326 197 
 
 “Adam and Eve,” The, Old Chelsea ------ 172 109 
 
 After the Sale, Houndsditch - - - 289 186 
 
 Agnes - -- -- -- -- -- -- -- -- 132 81 
 
 Agnes Sorel’s Walk, From 385 217 
 
 Alderney Street - -- -- -- -- -- -- 236 163 
 
 Alexander, Miss ------- 137 84 
 
 Amsterdam - - - - 91 57 
 
 Anacapa Island, - -- -- -- -- -- -- Ap. I 245 
 
 Annie - - - - - 8 6 
 
 Annie Haden (Annie with Books) - -- -- -- 10 7 
 
 Annie Haden - -- -- -- -- -- -- - 62 40 
 
 Annie, Seated - -- -- -- - - 29 19 
 
 Annie with Books 10 7 
 
 Archway, Brussels ------ - 36! 207 
 
 Arthur Haden - -- -- -- -- -- -- - 61 39 
 
 Arthur Seymour (Arthur Haden) - 61 39 
 
 Astruc- - -- -- -- -- -- -- -- - 53 34 
 
 Atelier de Bijouterie - -- 430 239 
 
 Auguste Delatre - -- -- -- -- -- -- 26 17 
 
 Au Sixieme - -- - _____ 2 3 
 
 Axenfeld- - -- 64 41 
 
 Babies, Gray’s Inn - - - - - 295 188 
 
 Baby Pettigrew - -- -- -- -- -- -- 336 200 
 
 Balcony, Amsterdam - - - - 404 225 
 
 Balcony, The - -- 204 142 
 
 251 
 
INDEX 
 
 TITLE NUMBER. PAGE 
 
 Barber’s Shop, The - ------ 2 68 177 
 
 Barr, Robert - -- -- - Ap.V 247 
 
 Barrow, The, Brussels - - - - 356 205 
 
 Battersea Bridge (Old Battersea Bridge) - - - - 174 no 
 
 Battersea Bridge, Sketch of (Under Old) - - - - 173 no 
 
 Battersea Bridge, Under Old - -- -- -- - 173 no 
 
 Battersea Bridge, No. 3 - -- -- -- -- - 305 191 
 
 Battersea: Dawn - -- -- -- - 132 95 
 
 Battersea Reach - -- -- -- -- -- -- 90 57 
 
 Beach, The - -- -- -- -- -- -- -- 100 63 
 
 Beach, The, Ostend - - - - 347 203 
 
 Bead-Stringers - -- -- - 193 132 
 
 Bearskin, The - -- -- -- -- -- -- - 437 241 
 
 Bebes, Luxembourg Gardens 420 235 
 
 Becquet - -- -- -- - - 52 33 
 
 Beggars, The - -- -- -- -- -- -- - 1 9 1 126 
 
 Bibi Lalouette - 5 1 33 
 
 Bibi Valentin - -- -- -- -- 50 32 
 
 Billingsgate - -- -- -- -- -- -- - 46 29 
 
 Billingsgate, View from, A - -- -- -- -- 164 102 
 
 Binding the Hair - -- -- - 342 201 
 
 Bird-Cages, Chelsea 271 179 
 
 Bird-Cages, Drury Lane 276 180 
 
 Black-Lion Wharf - -- -- -- -- -- - 41 25 
 
 Blanchisserie - -- -- -- 433 240 
 
 Boats on the Maas - -- -- -- -- -- - 241 167 
 
 Bohemians, Corsica ------ 440 242 
 
 Bonnet-Shop, The - - -- -- -- -- -- - 249 169 
 
 Booth at a Fair - -- -- - 245 168 
 
 Boulevard Poissonniere - -- 418 234 
 
 Boy, The - - - - - - - - - 133 81 
 
 Bridge, Amsterdam - -- -- -- -- -- - 409 229 
 
 Bridge, The ---------- 201 139 
 
 Brussels Children ------- - - _ 362 208 
 
 Bucking Horse, The ----- - 309 192 
 
 252 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Bunting - - - - 318 194 
 
 Butcher’s Shop, Sandwich --------- - 303 190 
 
 Butler Street (Butter Street) - -- -- -- - 363 208 
 
 Butter Street, Brussels - -- -- -- -- - 363 208 
 
 Cafe Corazza, Palais Royal - -- -- -- -- 432 240 
 
 Cafe Luxembourg ------------ - 425 237 
 
 Cadogan Pier (Early Morning, Battersea) - - - - 75 50 
 
 Cameo, No. i -------- 333 199 
 
 Cameo, No. 2- --------- 334 199 
 
 Canal, Ostend - -- -- -- -- -- -- - 350 203 
 
 Carpet-Menders - -- -- -- -- -- -- 416 233 
 
 Cellar-Door, Tours - -- -- -- -- -- - 377 214 
 
 CHANCELLERIE, LOCHES - -- -- -- -- -- 383 216 
 
 Chapel Doorway, Montresor -------- - 392 220 
 
 Charing Cross Railway-Bridge -------- 306 191 
 
 Chateau (Chateau Bridorez, Touraine) ----- 378 214 
 
 Chateau Amboise - -- -- -- -- -- -- 393 220 
 
 Chateau Bridorez, Touraine - -- -- -- -- 378 214 
 
 Chateau, Touraine - -- -- -- -- -- - 379 215 
 
 Chateau Verneuil - -- -- -- -- -- - 381 215 
 
 Chelsea Bridge and Church - -- -- -- -- 96 61 
 
 Chelsea — Memorial (Little Chelsea) ------ 323 196 
 
 Chelsea Wharf - - -- -- -- -- -- -- 89 56 
 
 Child on a Couch, A (Girl Sleeping) ------ 122 77 
 
 Children, Gray’s Inn - -- -- -- -- -- 296 188 
 
 Church, The, Amsterdam - -- -- -- -- - 410 229 
 
 Church, Brussels ------------ - 332 204 
 
 Church Doorway, Edgemere - -- -- -- -- 298 189 
 
 Clock-Tower, Amboise - - - - 394 220 
 
 Clothes-Exchange, Houndsditch, No. i ----- 282 182 
 
 Clothes-Exchange, Houndsditch, No. 2 - - - - - 283 183 
 
 Coast Survey Plate, Sketches on------- i 3 
 
 Cock and the Pump, The - -- -- -- -- - 299 189 
 
 Corner of the Palais Royal, A------- - 243 167 
 
 253 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Cottage Door 246 168 
 
 Court of Monastery of St. Augustine, Bourges - - 397 221 
 
 Courtyard, A, Brussels - -- -- 353 205 
 
 Courtyard, Rue P. L. Courier 369 210 
 
 Custom-House - - - - 148 92 
 
 Cutler Street, Houndsditch 287 185 
 
 Dam Wood, The 143 88 
 
 Delatre, Auguste 26 17 
 
 Delannoy, Sketching 25 17 
 
 Desk, The - - - 131 80 
 
 Dieppe, Sketch at, A 244 168 
 
 Dipping the Flag - -- - 319 195 
 
 Dog on the Kennel, The 18 12 
 
 Doorway and Vine 193 129 
 
 Doorway, Gray’s Inn 294 188 
 
 Doorway, Sandwich - - - 302 190 
 
 Doorway, The - 185 1 19 
 
 Doorway, Touraine - -- 380 215 
 
 Dordrecht - - 239 1 66 
 
 Double Doorway, Sandwich 301 190 
 
 Draped Girl Reclining 120 77 
 
 Dray-Horse, The 436 241 
 
 Drouet 55 35 
 
 Drury Lane ----- 234 163 
 
 Dutchman Holding the Glass (Man Holding a Glass) 3 4 
 
 Dyer, The - - - - 216 153 
 
 Eagle, An 307 192 
 
 Eagle Wharf - 40 25 
 
 Early Morning, Battersea 75 50 
 
 Early Portrait of Whistler 9 7 
 
 Elinor Leyland - 108 67 
 
 Embroidered Curtain, The (The Lace Curtain) - - - 411 230 
 
 Encamping (The Encampment) 82 53 
 
 254 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Encampment, The 82 53 
 
 Engraver, The (Riault) 65 43 
 
 En Plein Soleil ____ 12 8 
 
 Exeter Street ------ 275 180 
 
 Fanny Leyland - -- -- -- -- -- -- 107 66 
 
 F. R. Leyi.and - - - - - 103 64 
 
 F. R. Leyland’s Mother (Madame Leyland) - - - - 104 64 
 
 Finette - -- -- -- - 58 37 
 
 Fishing - -- -- -- -- -- -- -- - 84 54 
 
 Fishing-Boat -------- - 205 144 
 
 Fishing-Boats, Hastings - -- -- -- -- - 135 96 
 
 Fishing-Quay, Ostend - -- -- -- -- -- 348 203 
 
 Fish-Market, Ostend - -- -- -- -- -- 349 203 
 
 Fish-Shop: Busy Chelsea - -- -- 259 173 
 
 Fish-Shop, Venice - - - - - - 215 152 
 
 Fitzroy Square -Ap.IV 247 
 
 Fleet, The, Evening - -- -- -- -- -- 320 195 
 
 Fleur-de-Lys Passage - -- -- -- -- -- 286 184 
 
 Florence Leyland - -- -- -- -- -- - 109 68 
 
 Flower-Market, Brussels - - - - 358 207 
 
 Forge, The - -- - 68 44 
 
 Fosco - -- -- -- -- -- -- -- -- 98 62 
 
 Fragment of Piccadilly, A - -- -- -- -- 252 170 
 
 Free-Trade Wharf - - - - 160 98 
 
 From Agnes Sorel’s Walk - -- -- -- -- 385 217 
 
 From Pickle-Herring Stairs -------- 163 101 
 
 Fruit-Shop (Greengrocer’s Shop) ------- 255 171 
 
 Fruit-Shop, Rue de Seine - -- -- -- -- - 427 238 
 
 Fruit-Stall - -- -- -- -- 197 134 
 
 Fulham - -- -- -- - 179 1 14 
 
 Fumette 13 IO 
 
 Fumette’s Bent Head - -- -- -- -- -- 37 36 
 
 Fumette, Standing - -- -- -- -- -- - 36 36 
 
 Fur Cloak, The - 328 198 
 
 255 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Furnace Nocturne (Nocturne: Furnace) - - - - 210 148 
 
 Furniture-Shop - - - 262 175 
 
 Garden - -- -- -- -- -- -- -- - 207 146 
 
 Gates, City, London - -- -- -- -- -- - 279 181 
 
 Gateway, Chartreuse (Gateway, Chartreux) - - - 395 221 
 
 Gateway, Chartreux - - - - 395 221 
 
 Gentleman Reading - -- -- -- -- -- - 136 83 
 
 Gipsy Baby - -- -- -- -- -- -- -- 337 200 
 
 Girl Leaning - -- -- -- -- -- -- - 1 19 76 
 
 Girl Lying Down 121 77 
 
 Girl Resting - 118 75 
 
 Girl Sleeping - -- -- -- - 122 77 
 
 Girl Standing - 130 79 
 
 Girl with Short Hair (Girl Standing) ----- 130 79 
 
 Glass-Furnace, Murano - - - 214 151 
 
 Gold-House, Brussels ___ 359 207 
 
 Gondola Under the Bridge, The ------- 224 158 
 
 Grand’ Place, Brussels ______ 354 205 
 
 Gray’s Inn Babies (The Young Tree, Gray’s Inn) - - 291 187 
 
 Gray’s Inn Place - 292 187 
 
 Greedy Baby, The (Gipsy Baby) - -- -- -- - 337 200 
 
 Greengrocer’s Shop - -- -- -- -- -- - 255 171 
 
 Greenhithe - -- -- -- - 161 99 
 
 Greenwich Park - -- -- -- -- -- -- 34 ^21 
 
 Greenwich Pensioner - -- -- -- -- -- 33 21 
 
 Gretchen - -- -- -- -- -- -- -- 20 13 
 
 Gretchen at Heidelberg (Gretchen) 20 13 
 
 Guild-House, A, Brussels (Flower-Market, Brussels) 358 207 
 Guitar-Player, The - -- -- -- -- -- - 138 84 
 
 Hangman’s House, Tours - - - 376 213 
 
 High Street, Brussels - - - - 357 206 
 
 Hole in the Wall, Ajaccio - -- -- -- -- 440 242 
 
 Hotel Allement (Hotel Lallement, Bourges) - - 398 222 
 
 Hotel Croix Blanche, Tours - 373 212 
 
 256 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Hotel Lallement, Bourges - - - - 398 222 
 
 Hotel Promenade, Loches - - -- -- -- -- 387 218 
 
 Hotel de Ville, Loches - -- -- -- -- - 384 217 
 
 House of the Swan, Brussels - -- -- -- - 360 207 
 
 Hurlingham - - -- -- -- -- -- -- - 178 1 13 
 
 Irving as Philip of Spain, No. 1 ------- 167 105 
 
 Irving as Philip of Spain, No. 2 ------- 168 106 
 
 Islands - - - - - 219 155 
 
 Isle de la Cite, Paris - -- -- -- -- -- 60 39 
 
 Japanese Dress, The ----- 335 199 
 
 Jardins de Luxembourg (Bebes, LuxembourgGardens) 420 435 
 
 Jews Quarter, Amsterdam - - -- -- -- -- 412 231 
 
 Jo ----------------- - 77 51 
 
 Joe (Jo) ---------------- 77 51 
 
 Jo’s Bent Head - -- -- -- - 78 52 
 
 Jubilee Place, Chelsea - - -- -- -- -- - 327 198 
 
 Justice Walk, Chelsea - 270 178 
 
 King’s Road, Chelsea ----------- 272 179 
 
 Kitchen, The -------- - 24 16 
 
 Lace Curtain, The - -- -- -- -- -- - 4 1 1 230 
 
 Lady at a Window - -- -- -- -- -- - 135 83 
 
 Lady in an Armchair- - -- - - - 80 52 
 
 Lady in Hat with Feather (Lady Standing) - - - 129 79 
 
 Lady Standing ----- - 129 79 
 
 Lagoon: Noon - -- ------ 213 151 
 
 Landing-Stage, Cowes - -- -- -- -- -- 322 196 
 
 Landscape with the Horse (The Meadow) - - - - 33 22 
 
 Large Pool, The - -- -- -- -- -- -- 171 108 
 
 Lenoir, Miss- - -- -- -- -- -- -- - 330 198 
 
 Leyland, F. R. - -- -- -- -- -- -- - 103 64 
 
 Leyland, Madame ------------- 104 64 
 
 Lime-Burner, The - -- -- - 43 29 
 
 257 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Limehouse - -- -- -- -- - 39 24 
 
 Lindsay Houses (Lindsey Houses) 162 100 
 
 Lindsey Houses - -- -- -- -- -- -- 162 100 
 
 Little Arthur - -- -- -- -- -- -- - 7 5 
 
 Little Boy, A (Seymour, Seated) 6 5 
 
 Little Butter Street, Brussels 364 209 
 
 Little Chelsea - -- -- - 323 196 
 
 Little Court - -- -- -- -- -- -- - 232 162 
 
 Little Dordrecht - - -- 240 166 
 
 Little Drawbridge, Amsterdam ------- 405 226 
 
 Little Forge, The - -- -- -- 145 89 
 
 Little Hat, The - -- -- -- -- -- -- 331 199 
 
 Little Lagoon, The - -- -- -- -- -- - 183 1 17 
 
 Little Market-Place, Tours - -- -- -- -- 375 213 
 
 Little Mast, The - -- -- -- - 182 1 16 
 
 Little Maunder’s ---- - 274 180 
 
 Little Model, Seated ---- - 344 202 
 
 Little Nocturne, Amsterdam 413 232 
 
 Little Nude Figure - 339 201 
 
 Little Nursemaid, The - -- 297 189 
 
 Little Pool, The---- 73 48 
 
 Little Putney, The, No. 1--------- - 176 1 12 
 
 Little Putney, The, No. 2 - - -- -- -- -- 177 1 1 3 
 
 Little Salute - -- -- -- -- -- -- - 217 154 
 
 Little Smithfield - - -- -- -- -- -- - 157 97 
 
 Little Velvet Dress, The 106 66 
 
 Little Venice, The - -- -- -- -- -- - 180 1 1 5 
 
 Little Wapping - -- -- -- 72 48 
 
 Little Wheelwright- - -- -- -- -- -- 242 167 
 
 Liverdun ----------- 16 11 
 
 Lobster-Pots - - - - 233 162 
 
 London Bridge- - -- -- - 150 93 
 
 Long House, Amsterdam - - - - 408 228 
 
 Long Lagoon - -- -- -- -- -- -- - 200 138 
 
 Longshoremen - -- -- -- 44 28 
 
 258 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Long Venice - -- -- - 209 147 
 
 Lord Wolseley - - - - - 166 104 
 
 Luxembourg Gardens - -- -- -- -- -- 419 235 
 
 Madame Leyland - - - - 104 64 
 
 Mairie, Loches - -- -- -- -- -- -- 382 215 
 
 Man Holding a Glass - - - 3 4 
 
 Mann, Mr. 63 41 
 
 Mantle, The - 332 199 
 
 Marbles 280 1 8 1 
 
 Marchand de Meubles, Rue du Four 431 239 
 
 Marchand de Vin 429 238 
 
 Marchande de Moutarde, La 22 14 
 
 Market-Place, Bruges 351 204 
 
 Market-Place, Loches - - - 390 219 
 
 Market-Place, Tours 374 213 
 
 Market, The, Calais - 439 242 
 
 Market-Women, Loches - - - - - 386 218 
 
 Mast, The (The Venetian Mast) ------- - 192 128 
 
 Mast, Venetian, The ----- - 192 128 
 
 Maude, Seated - -- 1 1 4 73 
 
 Maude, Standing - 113 71 
 
 Meadow, The - 35 22 
 
 Melon-Shop, Houndsditch 288 186 
 
 Menpes Children, The 257 172 
 
 Mere Gerard, La - - - - - 13 9 
 
 Mere Gerard, Stooping, La 14 10 
 
 Merton Villa, Chelsea ------ 273 179 
 
 Mill, The - - 415 232 
 
 Millbank --------- 71 47 
 
 Miser, The 69 46 
 
 Miss Alexander - 137 84 
 
 Miss Lenoir - - - - - - - ------- 330 198 
 
 Model Lying Down, The (Draped Girl Reclining) - 120 77 
 
 Model Resting (Girl Resting) ------- n8 76 
 
 259 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Model Stooping - - - _____ 340 201 
 
 Model with Fan ------------- 343 202 
 
 Monitors --------------- - 313 194 
 
 Mother and Child (Cameo, No. i) ------- 333 199 
 
 Mr. Mann- - -- -- 63 4, 
 
 Mrs. Whibley - -- ___ 438 241 
 
 Muff, The - - - - - - - - 112 70 
 
 Murano, Glass-Furnace (Glass-Furnace, Murano) - 214 151 
 
 Music-Room, The - -- - ___ 3 1 20 
 
 Nash’s Fruit-Shop - -- -- -- -- -- - 2 6o 173 
 
 Newspaper-Stall, Rue de Seine ------- 426 237 
 
 Nocturne - -- -- -- -- -- -- -- 1 8 1 115 
 
 Nocturne: Dance-FIouse, Amsterdam ------ 407 227 
 
 Nocturne: Furnace - -- -- -- -- -- - 210 148 
 
 Nocturne: Palaces ------ - 199 136 
 
 Nocturne: Salute - -- -- -- -- -- - 223 158 
 
 Nocturne: Shipping - -- -- -- -- -- - 220 156 
 
 Nora Quinn - -- -- -- -- -- -- -- 329 198 
 
 Notre Dame, Bourges - -- -- -- -- -- 401 223 
 
 Nude Figure Reclining - -- -- -- -- - 341 201 
 
 Nude Girl Posing - -- -- - 124 78 
 
 Nude Girl Reclining - -- -- -- -- -- 123 77 
 
 Nude Girl Standing 123 78 
 
 Nude Girl with Arms Raised -------- - 126 78 
 
 Nude Woman Standing - -- 346 202 
 
 Nursemaid and Child - -- -- -- -- -- 36 22 
 
 Nut-Shop, St. James’s Place - -- -- -- -- 285 184 
 
 Old Battersea Bridge 174 1 10 
 
 Old-Clothes Exchange (Clothes-Exchange, No. i) - 282 182 
 
 Old-Clothes Shop, No. 1 - -- -- -- -- - 253 170 
 
 Old-Clothes Shop, No. 2 - - - 254 17 1 
 
 Old Hungerford Bridge - -- -- -- -- - 76 50 
 
 Old Putney Bridge - -- - 175 11 1 
 
 260 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Old Westminster Bridge - -- -- -- -- - 38 23 
 
 Old Women - -- -- -- -- -- -- -- 221 157 
 
 On the Beach, Ostend - -- -- -- -- -- 347 203 
 
 On the Embankment ------- 256 172 
 
 Open Book, The - -- -- -- -- -- -- 79 52 
 
 Opposite Lindsay Row (Steamboat-Fleet) 153 96 
 
 Orator, The --------- - 3 10 192 
 
 Palaces, Brussels - -- -- -- -- -- - 333 205 
 
 Palaces, The - -- -- 184 1 1 8 
 
 Paris: The Isle de la Cite (Isle de la Cite, Paris) - 60 39 
 
 Passages de l’ Opera - -- -- -- -- -- 367 210 
 
 Penny Boat, The - -- -- -- -- -- -- 67 44 
 
 Petticoat Lane - -- -- -- -- -- -- 281 182 
 
 Piano, The - -- -- -- -- -- -- -- 139 85 
 
 PlAZZETTA, THE - -- -- -- -- -- -- 186 120 
 
 Piccadilly, Fragment of, A - -- -- -- -- 252 170 
 
 Pickle-Herring Stairs, From - -- -- -- - 163 101 
 
 Picture-Shop, Rue de Seine 428 238 
 
 Pierrot - -- -- -- -- -- -- -- - 406 226 
 
 Place Daumont - -- -- -- - 368 210 
 
 PoLICHINELLE, LUXEMBOURG GARDENS ------ 424 236 
 
 Ponte del Piovan ------------ - 206 145 
 
 Pool, The - -- -- -- -- -- -- -- 42 26 
 
 Portrait of a Lady - -- -- -- -- -- - Ap. II 246 
 
 Portrait Sketches - -- -- -- -- -- - 102 63 
 
 Portsmouth Children - -- -- -- -- -- 311 193 
 
 Price’s Candle-Factory - -- -- -- -- - 1 5 1 94 
 
 Price’s Candle-Works (Price’s Candle-Factory) - 151 94 
 
 Punt, The ---------- 86 54 
 
 Putney, Bridge (Old Putney Bridge) ------ 175 111 
 
 Putney, No. 3 (Little Putney, No. 2) ------ 177 1 1 3 
 
 Quai de Montebello ------ 366 209 
 
 Quartier Mouffetard ---- - 23 15 
 
 261 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Quay, Ostend (Fishing-Quay, Ostend) ------ 348 203 
 
 Quiet Canal - - -- -- -- -- -- -- - 21 1 149 
 
 Rag-Gatherers’, The (Quartier Mouffetard) - - - 23 15 
 
 Rag-Shop, Milman’s Row - -- -- 267 177 
 
 Rag-Shop, St. Martin’s Lane 277 180 
 
 Railway-Arch, The - -- 264 175 
 
 Railway-Station, Voves 371 21 1 
 
 Ramparts, Sandwich _______ 304 191 
 
 Ratcliffe Highway 81 53 
 
 Reading a Book - -- ____ 1IO 70 
 
 Reading by Lamplight - -- -- -- -- -- 30 19 
 
 Reading in Bed (The Slipper) 28 18 
 
 Regent’s Quadrant _____ 235 163 
 
 Renaissance Window, Loches - - - 391 219 
 
 Resting (Girl Leaning) 119 76 
 
 Resting by the Stove _____ 338 200 
 
 Retameuse, La----- 11 8 
 
 Return to Tilbury 321 195 
 
 Rialto, The 208 147 
 
 Riault 65 42 
 
 Riva, The, No. i - 189 124 
 
 Riva, The, No. 2 203 141 
 
 River Sketch, A - 85 54 
 
 Robert Barr Ap. V 247 
 
 Rochester Row - -- -- -- 265 176 
 
 Ross WlNANS -____ - 88 56 
 
 Rotherhithe 66 43 
 
 Rue des Bons Enfants, Tours 372 212 
 
 Rue de la Rochefoucault - - - - - 365 209 
 
 Rue Vauvilliers -------- 434 240 
 
 Ryde Pier (Landing-Stage, Cowes) ------- 322 196 
 
 Sail, The - - -- - 154 96 
 
 Salute, La, Dawn ----- - 212 150 
 
 262 
 
INDEX 
 
 TITLE NUMBER I’ AGE 
 
 Salvation Army, Sandwich - 300 189 
 
 Sandwich: Salvation Army ___ 300 189 
 
 San Biagio ---------- 194 1 3 1 
 
 San Giorgio - -- -- -- -- -- -- -- 198 136 
 
 Savoy Scaffolding ------ - 263 175 
 
 Scotch Widow, The - -- -- -- -- -- - 140 86 
 
 Seamstress, The 248 169 
 
 Seated Girl - - - - - - 117 75 
 
 Seats, Gray’s Inn - -- 293 187 
 
 Seymour ---------------- 32 20 
 
 Seymour, Seated - -- -- -- -- -- -- 6 5 
 
 Seymour, Standing - -- -- -- -- -- - 3 4 
 
 Shaving-and-Shampooing Shop, The - ------ 269 178 
 
 Ship-Builder’s Yard 144 88 
 
 Shipping at Liverpool - -- -- -- -- -- 94 39 
 
 Shipping, Venice - -- -- -- 2 26 159 
 
 Silk Dress, The - -- -- 1 1 5 74 
 
 Sketch at Dieppe, A------ - 244 168 
 
 Sketch from Billingsgate (A View from) - - - - 164 102 
 
 Sketch in St. James’s Park (St. James’s Park) - - - 251 170 
 
 Sketch of a Girl, Nude (Nude Girl Reclining) - - 123 77 
 
 Sketch of Battersea Bridge -------- 173 no 
 
 Sketch of Houses - - -- -- 138 97 
 
 Sketch of Shipping - -- -- -- -- -- - 48 31 
 
 Sketch of Ships (Sketch of Shipping) - -- -- - 48 31 
 
 Sketch on the Embankment (On the Embankment) - 256 172 
 
 Sketches of Girl and Woman - 128 79 
 
 Sketches of Heads - -- -- -- -- -- - 1 o 1 63 
 
 Sketches of Twelve Heads (Sketches of Heads) - - 101 63 
 
 Sketches of Two Heads - 127 79 
 
 Sketches on Coast Survey Plate 1 3 
 
 Sketching (The Thames) - -- -- -- -- - 87 56 
 
 Slipper, The __________ 28 18 
 
 Smithy, The - -- -- -- -- -- -- -- 237 164 
 
 Soupe a Trois Sous 49 32 
 
 263 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 Southampton Docks 317 194 
 
 Speke Hall, No. i- 95 59 
 
 Speke Hall, No. 2 - - 141 86 
 
 Speke Shore ---------- 142 87 
 
 Square House, Amsterdam - 403 224 
 
 St. James’s Park ________ 251 170 
 
 St. James’s Place, Houndsditch 284 184 
 
 St. James’s Street 165 103 
 
 Stables ___ 222 157 
 
 Steamboat-Fleet - -- -- - 133 93 
 
 Steamboat, The, Venice - -- -- -- -- - 225 159 
 
 Steamships off the Tower --------- - 147 91 
 
 Steps, Amsterdam - - - 402 223 
 
 Steps, Gray’s Inn _______ 290 186 
 
 Steps, The, Chelsea - -- -- -- -- -- - 258 172 
 
 Storm, The - -- -- -- - 83 53 
 
 Street at Saverne - -- -- -- -- -- - 19 12 
 
 Street, Brussels (Little Butter Street, Brussels) - 364 209 
 
 Street Scene - -- -- -- -- -- -- - 435 241 
 
 Sunflowers, Rue des Beaux-Arts ------- 417 234 
 
 Swan and Iris 238 165 
 
 Swan Brewery (“The Swan,’’ Chelsea) ----- 97 62 
 
 “Swan, The,” Chelsea 97 62 
 
 Swinburne --------- 134 82 
 
 “T. A. Nash” (Nash’s Fruit-Shop) ------- 260 173 
 
 Tatting in 70 
 
 Temple - - 231 162 
 
 Temple Bar - - - - 159 97 
 
 Terrace, Luxembourg Cardens, No. i ----- - 421 235 
 
 Terrace, Luxembourg Gardens, No. 2 - ----- 422 236 
 
 Terrace, Luxembourg Gardens, No. 3 - ----- 423 236 
 
 Thames Police (Wapping Wharf) 43 27 
 
 Thames Sketch, A - - 47 31 
 
 Thames, The 87 55 
 
 264 
 
INDEX 
 
 TITLE NUMBER PACE 
 
 Thames Towards Erith (Greenhithe) 1 6 1 ioo 
 
 Thames Warehouses - - - 37 23 
 
 Theatre, Loches - - - 388 218 
 
 Tilbury - -- -- -- ____ 312 193 
 
 Tillie - -- -- -- -- -- -- -- - 1 16 74 
 
 Tiny Pool, The - -- -- -- -- -- -- 170 107 
 
 Title to the French Set (Delannoy, Sketching) - - 25 17 
 
 Toilet, The - -- -- -- - - 93 58 
 
 Tour St. Antoine, Loches - -- -- -- -- - 389 219 
 
 Towing-Path, The - - -- -- -- -- -- - 250 169 
 
 Traghetto, The, No. i---------- - 187 121 
 
 Traghetto, The, No. 2---------- - 188 122 
 
 Troop-Ships - -- ____ 314 193 
 
 Troubled Thames, The - - - - 149 92 
 
 Two Doorways, The - - - - - 190 125 
 
 Two Heads, Sketches of-------- - - 127 79 
 
 Two Ships, The - - - - - 146 90 
 
 Two Sketches (Sketches of Girl and Woman) - - - 128 79 
 
 Turkeys 196 134 
 
 Turrett-Ship, The 316 194 
 
 Tyzac, Whiteley & Co. (Eagle Wharf) ----- 40 25 
 
 Under the Cathedral, Blois 396 221 
 
 Under Old Battersea Bridge -------- 173 1 10 
 
 Unsafe Tenement, The - - -- -- -- -- - 17 n 
 
 Upright Venice - - 202 140 
 
 Vauxhall Bridge - - - - - - - - 70 46 
 
 Velvet Dress, The - - - - 105 65 
 
 Velvet Dress, The Little - -- -- -- -- 106 66 
 
 Venetian Court - -- -- -- -- -- -- 227 160 
 
 Venetian Mast, The ------- 192 128 
 
 Venetian Water-Carrier - -- -- -- -- - 229 161 
 
 Venice- 228 160 
 
 Venus, A ------ 59 39 
 
 265 
 
INDEX 
 
 TITLE NUMBER PAGE 
 
 VlEILLE AUX LOQUES, La 21 14 
 
 View from Billingsgate, A - -- -- -- -- 164 102 
 
 Village Sweet-Shop, The - -- -- -- -- - 247 169 
 
 Visitors’ Boat - - 313 193 
 
 Wapping Wharf - -- -- - - 43 27 
 
 Weary -------- 92 58 
 
 Westminster Bridge (Old Westminster Bridge) - - 38 23 
 
 Westminster Bridge in Progress - -- -- -- 74 50 
 
 Wharf, A (A Thames Sketch) - - -- -- -- - 47 31 
 
 Wheelwright - -- -- -- -- 230 161 
 
 Whibley, Mrs. 438 241 
 
 Whistler - 54 35 
 
 Whistler, Early Portrait of - - -- -- -- - 9 7 
 
 Whistler with the White Lock 169 106 
 
 Whistler’s Mother ---- - 99 62 
 
 White Tower, The (Custom-House) ------ 148 92 
 
 Wild West - -- - 308 192 
 
 Wimpole Street - -- 278 181 
 
 Windows, Bourges 399 222 
 
 Windows Opposite Hotel, Bourges 400 223 
 
 Windsor — Memorial (Windsor, No. i) 324 196 
 
 Windsor, No. 1 - - - 324 196 
 
 Windsor, No. 2------------- - 325 197 
 
 Wine-Glass, The 27 18 
 
 Wine-Shop, The - -- -- -- -- -- -- 370 21 1 
 
 Wolseley, Lord - -- 166 104 
 
 Woman Seated (Miss Lenoir) 330 198 
 
 Woman with Flowing Hair (Jo’s Bent Head) - - 78 52 
 
 Wood, The - -- -- -- -- -- -- -- Ap. Ill 247 
 
 Woods’s Fruit-Shop - ------ 261 174 
 
 Wool-Carders - -- - 218 155 
 
 Wych Street ---- - 136 97 
 
 York Street, Westminster 266 177 
 
 266 
 
INDEX 
 
 TITLE number page 
 
 Young Tree, The, Gray’s Inn - 291 187 
 
 Young Woman Standing - - - 345 202 
 
 Youth with German Cap - -- -- -- -- - 4 4 
 
 Zaandam - - - - 4 ! 4 2 3 2 
 
 267 
 

 
 
 
 
 
 
 
 
 
 

 
 

 
 
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