James Abbot Mcneill Whistler

United States (18341903 ) - Prints Wikipedia® - James Abbot Mcneill Whistler
WHISTLER James Abbot McNeill The Winged Hat

Sotheby's /Mar 5, 2014
363.81 - 606.35
834.34

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Variants on Artist's name :

James A. M. Whistler

James Abbott Mc Neill Whistler

James A. M. Whistler

 

Along with James Abbot Mcneill Whistler, our clients also searched for the following authors:
Theo Van Doesburg, Auguste Renoir, Henri De Toulouse-Lautrec, Henri Edmond Cross, Milton Clark Avery, Mary Cassatt, Eugene Louis Gabriel Isabey
Artworks in Arcadja
1832

Some works of James Abbot Mcneill Whistler

Extracted between 1,832 works in the catalog of Arcadja
James Abbot Mcneill Whistler - Nocturne: Palaces

James Abbot Mcneill Whistler - Nocturne: Palaces

Original
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Price:

Lot number: 59
Other WORKS AT AUCTION
Description:
JAMES MCNEILL WHISTLER (1834-1903) Nocturne: Palaces etching and drypoint, 1879-1880, on laid paper, watermark Hunting Horn in Shield, signed with the butterfly on the tab and annotated imp, a fine impression of Glasgow's third state (of twelve), the vertical drypoint lines top and bottom printing with burr, in addition to the 54 impressions in all states recorded so far by the Whistler Etchings Project, trimmed to the plate as published, a few pinpoint foxmarks verso, generally in very good condition Image, Sheet: 11 7/8 x 7 7/8 in. (300 x 201 mm.) Frederick Keppel & Co., N.Y. Mrs John D. Rockefeller Mr and Mrs John D. Rockefeller III Dr and Mrs James W. Nelson Linda Papaharis, New York, December 6, 1988 The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this. This important group of etchings comprises one of the most magnificent plates from the Venice set and the greater part of the Amsterdam series. Taken together they contain all the important elements which exemplify Whistler's idiosyncratic talents as a printmaker. They also reflect the many and diverse lessons learned over thirty years of experimentation, refinement and travel. A seminal moment in Whistler's development as a printmaker occurred in 1857 when he attended a landmark exhibition in Manchester (GET NAME). Here he saw masterpieces of Dutch printmaking by Berchem, Ostade, Waterloo, Dujardin and, above all, Rembrandt. It spawned a lifelong love affair with the Dutch 17th Century tradition and from then on he devoted his time to portraits, landscapes and domestic scenes. Technically, Whistler's most important early lessons in printmaking came at the workshop of Delatre in Paris the following year. It was here that he learned the practice of 'artistic' printing - leaving thin veils of ink selectively on the plate to change the mood of the image. But whilst the technical lessons might have been learned in Paris, the primary artistic model was undoubtedly Rembrandt, of whom Whistler and his brother-in-law Francis Seymour Haden had become devoted acolytes. As inspiration they were able to call on one of the greatest examples of printmaking ever, Haden's rare first state of Rembrandt's The Three Crosses, a masterclass in the potentialities of line and tone. It was in Paris also that Whistler began to pay close attention to paper. The paper most widely available then was bleached white and made from wood-pulp, but Whistler favoured old Dutch papers which could be found with much diligent searching in the fly-leaves of old books. He also valued thin silky Japanese papers which were becoming available as trade with Japan began after their long isolation. An interest in Japan was not confined to paper, however. He was profoundly influenced by ukiyo-e woodcuts and the way in which they flattened the picture space. Towards the end of the 1850s he began to synthesize these ideas with lessons then being learned from photography. The effects of this radical foreshortening were first seen in the Thames etchings of the late 1850s. Kennedy 202; Glasgow 200
James Abbot Mcneill Whistler - Longshoremen

James Abbot Mcneill Whistler - Longshoremen

Original 1859
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Lot number: 229
Other WORKS AT AUCTION
Description:
Description: James A. M. Whistler (American 1834-1903)- ''Longshoremen'' (Kennedy 45)- etching, 1859, a richly printed impression on very thin cream laid paper, there is obvious retroussage on the left, this is an English mate to 'Soupe a Trois Sous' (Kennedy 49). 5 3/4 x 8 3/4'' Provenance: Vixseboxse Art Gallery.
James Abbot Mcneill Whistler - Billingsgate

James Abbot Mcneill Whistler - Billingsgate

Original 1859
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Gross Price
Lot number: 27
Other WORKS AT AUCTION
Description:
JAMES A. M. WHISTLER Two etchings. Billingsgate, printed in dark brownish black, 1859. 152x226 mm; 6x8 7/8 inches, small margins. MacDonald's ninth state (of 9), before cancellation and with a dot in the sky to the right of the clock tower and above the lines indicating clouds * The Rag Gatherers, 1857. 155x90 mm; 6x3 1/2 inches, wide margins. MacDonald's fifth state (of 5). Very good impressions. Kennedy 23 and 47; Glasgow 29 and 51. Estimate $1,500 - 2,500
James Abbot Mcneill Whistler - The Winged Hat

James Abbot Mcneill Whistler - The Winged Hat

Original
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Gross Price
Lot number: 796
Other WORKS AT AUCTION
Description:
796 James McNeill Whistler 1834 - 1903 THE WINGED HAT lithograph on Van Gelder wove paper with a Strasboug Lily watermark (S./S./T. 291) sheet: 34.2 by 23cm., 13 1/2 by 9 1/8 in. Executed in 1904, the present work is a second (final) state from the posthumous edition of 50 (aside from the published edition of 1890). Estimate 300 - 500 GBP Print With wide margins, in good condition apart from uneven paper discolouration and fox marks, framed.
James Abbot Mcneill Whistler - Suede Gloves

James Abbot Mcneill Whistler - Suede Gloves

Original
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Gross Price
Lot number: 2945
Other WORKS AT AUCTION
Description:
James Abbott McNeill Whistler (American, 1834-1903) The Suede Gloves lithograph; The Studio, London, pub. 8 3/4 x 4 inches. Estimate $ 300-500 Ref: Way, 26 In fine condition; three spots of light foxing; with full margins; adhered to mat along upper edge; The Studio London blindstamp in lower left corner. Sheet: 11 x 8 inches.
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