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Auction Description for Swann: 19TH & 20TH CENTURY PRINTS & DRAWINGS
Viewing Notes:
Exhibition & Sale Schedule: Sale 2322 - 19th & 20th Century Prints & Drawings - begins at 10:30am in New York on Thurs, Sept 12. All material in Sale 2322 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, Sept 7: Noon to 5pm - Mon, Sept 9: 10am to 6pm - Tues, Sept 10: 10am to 6pm - Wed, Sept 11: 10am to 6pm - No exhibition on day of sale.

19TH & 20TH CENTURY PRINTS & DRAWINGS

(596 Lots)

by Swann Auction Galleries

Platinum House

596 lots with images

September 12, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

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WILLIAM BLAKE And When They Lifted Up Their Eyes Afar Off.

Lot 1: WILLIAM BLAKE And When They Lifted Up Their Eyes Afar Off.

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Description: WILLIAM BLAKE And When They Lifted Up Their Eyes Afar Off. Engraving, 1825. 217x170 mm; 8 5/8x6 3/4 inches, full margins. Edition of 215. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A very good, richly-inked impression with strong contrasts and crisp plate edges. Bindman 112.

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WILLIAM BLAKE I Have Heard Thee with the Hearing of the Ear but Now My Eyes See Thee.

Lot 2: WILLIAM BLAKE I Have Heard Thee with the Hearing of the Ear but Now My Eyes See Thee.

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Description: WILLIAM BLAKE I Have Heard Thee with the Hearing of the Ear but Now My Eyes See Thee. Engraving on Chine collé, 1825. 220x172 mm; 8 5/8x6 3/4 inches, full margins. Edition of 215. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A very good, richly-inked impression with strong contrasts. Bindman 641.

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HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834.

Lot 3: HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834.

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Description: HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834. Lithograph, 1834. 286x445 mm; 11 1/4x17 1/2 inches, small margins. The penultimate state, sur blanc. A superb, dark impression of this very scarce, early lithograph. Daumier (1808-1879) was one of the leading draftsmen of controversial and highly critical political caricatures that cleverly captured the political strife prevalent throughout France in the 19th-century. Born in Marseilles and raised in Paris, Daumier began studying art in 1822 under painter Alexandre Lenior, thereafter he enrolled for a short time in the Académie Suisse, and continued training as an apprentice under master lithographer Zépherin Belliard. By 1830 he was producing caricatures depicting the foibles of the bourgeoisie and the corruption of the government for Charles Philipon's satirical political newspaper Le Caricature. The scathing political caricatures Daumier produced for Le Caricature and Philipon's other publications were often fined and censored by King Louis-Philippe's officials, in fact the cartoons were so offensive that a single caricature depicting Louis-Philippe as Gargantua resulted in Daumier receiving a sentence of 6 months in prison. Rue Transnonain was the final work in a series of five large scale lithographs made by Daumier for L'Association Mensuelle, Philipon's private company that published monthly prints for subscribers to help pay off the significant censorship fines incurred by Philipon's newspapers. The scene is not at all a satire, but is instead intended to be a neutral depiction of a working-class family mercilessly murdered in their own home in the Parisian district of St. Martin during the suppression of a riot on April 15th, 1834. Daumier skillfully utilized chiaroscuro effects to heighten the horror of the scene and to draw the viewer's eye to the violated and helpless bloodied bodies strewn throughout the scene, including that of a small child partially covered by the dead man in the center of the composition. Immediately following the publication of this print, the stone was confiscated by Louis-Philippe's officials and remaining impressions were destroyed. Delteil 135.

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EUGÈNE DELACROIX Faust.

Lot 4: EUGÈNE DELACROIX Faust.

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Description: EUGÈNE DELACROIX Faust. Group of 17 (of 19) lithographs, 1827. 400x270 mm; 15 3/4x10 1/2 inches (sheets), wide margins. Printed and published by Motte, Paris. Delteil 58 ff.

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EUGÈNE DELACROIX Un Forgeron.

Lot 5: EUGÈNE DELACROIX Un Forgeron.

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Description: EUGÈNE DELACROIX Un Forgeron. Aquatint on cream laid paper, 1833. 227x160 mm; 9x6 3/8 inches, full margins. Fifth state (of 6). Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes, Paris, with the blind stamp lower center recto. A superb, richly-inked impression. Delteil 19.

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CHARLES MERYON La Pompe Notre-Dame.

Lot 6: CHARLES MERYON La Pompe Notre-Dame.

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Description: CHARLES MERYON La Pompe Notre-Dame. Etching on cream laid paper, 1852. 170x251 mm; 6 3/4x10 inches, wide margins. Sixth state (of 10), before the title lower center. Ex-collection unknown collector, initials FL ink stamp lower right recto (not in Lugt). A very good impression, extremely scarce in this early state. Schneiderman 26.

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CHARLES MERYON La Tour de l'Horloge.

Lot 7: CHARLES MERYON La Tour de l'Horloge.

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Description: CHARLES MERYON La Tour de l'Horloge. Etching and engraving printed in dark brown on cream laid paper, 1852. 261x187 mm; 10 1/4x7 1/4 inches, wide margins. Fifth state (of 10), with the artist's initials upper right but before the completion of the border line. A superb, early impression with all the details distinct and with warm plate tone. Schneiderman 23.

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JEAN-FRANÇOIS MILLET Le Départ pour le Travail.

Lot 8: JEAN-FRANÇOIS MILLET Le Départ pour le Travail.

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Description: JEAN-FRANÇOIS MILLET Le Départ pour le Travail. Etching on thin, cream laid Japan paper, 1863. 385x310 mm; 15 1/4x12 1/4 inches, full margins. Fifth state (of 7), with the three points lower right. A very good, well-inked impression of this large etching, with strong contrasts. Delteil 19; Melot 19.

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JEAN-FRANÇOIS MILLET Les Becheurs.

Lot 9: JEAN-FRANÇOIS MILLET Les Becheurs.

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Description: JEAN-FRANÇOIS MILLET Les Becheurs. Etching on warm, cream laid Japan paper, 1855-56. 237x337 mm; 9 3/8x13 3/8 inches, full margins. Fourth state (of 4), though with part of the printer's address still showing. A superb, richly-inked impression. Delteil 13; Melot 13.

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JEAN-FRANÇOIS MILLET La Cardeuse.

Lot 10: JEAN-FRANÇOIS MILLET La Cardeuse.

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Description: JEAN-FRANÇOIS MILLET La Cardeuse. Etching printed in dark brownish black on antique cream laid paper, 1855-56. 256x177 mm; 10 1/4x7 inches, full margins. A superb impression with warm plate tone. Delteil 15; Melot 15.

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JEAN-FRANÇOIS MILLET La Bouillie.

Lot 11: JEAN-FRANÇOIS MILLET La Bouillie.

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Description: JEAN-FRANÇOIS MILLET La Bouillie. Etching printed in brownish black on light tan Chine collé, 1861. 185x147 mm; 7 1/4x5 3/4 inches. Third state (of 6), with the etched signature and date lower left but before any additional text and before the beveling of the plate. A very good, evenly-printed and early impression with strong contrasts and crisp plate edges. Delteil 17; Melot 17.

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JEAN-FRANÇOIS MILLET Paysanne près d'un petit feu dans les Champs.

Lot 12: JEAN-FRANÇOIS MILLET Paysanne près d'un petit feu dans les Champs.

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Description: JEAN-FRANÇOIS MILLET Paysanne près d'un petit feu dans les Champs. Black chalk with touches of white chalk heighteing on buff wove paper. 380x280 mm; 15x11 inches. Ex-collection Far Gallery, New York, with the label; and private collection, New York.

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JEAN-BAPTISTE-CAMILLE COROT La Petite Soeur.

Lot 13: JEAN-BAPTISTE-CAMILLE COROT La Petite Soeur.

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Description: JEAN-BAPTISTE-CAMILLE COROT La Petite Soeur. Cliché-verre printed in bistre on smooth cream wove paper, 1854. 165x205 mm; 6 1/2x8 1/8 inches, full margins (printed to the sheet edges). A superb, early impression of this scarce print. We have found only 5 other impressions at auction in the past 20 years. Delteil 41; Melot 41.

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CHARLES-FRANÇOIS DAUBIGNY Bouquet d'annes.

Lot 14: CHARLES-FRANÇOIS DAUBIGNY Bouquet d'annes.

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Description: CHARLES-FRANÇOIS DAUBIGNY Bouquet d'annes. Cliché-verre, 1862. 178x216 mm; 7x8 1/2 inches, with margins. Printed in reverse. A good, early impression. Delteil 145. With--JEAN-BAPTISTE-CAMILLE COROT. Le Songeur, cliché-verre printed in black, 1854. 150x200 mm; 6x8 inches, wide margins. A very good impression. Delteil 43; Melot 43.

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JAMES A. M. WHISTLER Street at Saverne.

Lot 15: JAMES A. M. WHISTLER Street at Saverne.

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Description: JAMES A. M. WHISTLER Street at Saverne. Etching printed in black on tissue-thin Japan paper, 1858. 208x158 mm; 8 1/8x6 1/4 inches, full margins. MacDonald's fourth state (of 4). From Twelve Etchings from Nature. A very good impression with all the fine details distinct. Kennedy 19; Glasgow 14.

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JAMES A. M. WHISTLER Rag Pickers, Quartier Mouffetard, Paris.

Lot 16: JAMES A. M. WHISTLER Rag Pickers, Quartier Mouffetard, Paris.

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Description: JAMES A. M. WHISTLER Rag Pickers, Quartier Mouffetard, Paris. Etching on cream laid paper, 1858. 155x90 mm; 6x3 1/2 inches, wide margins. MacDonald's fifth state (of 5). A very good impression. Kennedy 23; Glasgow 29.

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JAMES A. M. WHISTLER La Vieille aux Loques.

Lot 17: JAMES A. M. WHISTLER La Vieille aux Loques.

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Description: JAMES A. M. WHISTLER La Vieille aux Loques. Etching and drypoint on warm, cream Japan paper, 1858. 208x147 mm; 8 1/8x5 7/8 inches, full margins. MacDonald's second state (of 4), before the printer's address lower right. From Twelve Etchings from Nature. A superb, richly-inked impression with crisp plate edges. Kennedy 21; Glasgow 41.

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JAMES A. M. WHISTLER La Mère Gérard.

Lot 18: JAMES A. M. WHISTLER La Mère Gérard.

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Description: JAMES A. M. WHISTLER La Mère Gérard. Etching on thin laid paper, 1858. 127x90 mm; 5x3 1/2 inches, full margins. MacDonald's fourth state (of 4). From Twelve Etchings from Nature. A very good, well-inked impression. Kennedy 11; Glasgow 24.

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JAMES A. M. WHISTLER Annie.

Lot 19: JAMES A. M. WHISTLER Annie.

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Description: JAMES A. M. WHISTLER Annie. Etching printed in black on thin cream laid paper, 1858. 115x78 mm; 4 1/2x3 inches, wide margins. MacDonald's seventh state (of 7). From Twelve Etchings from Nature. A very good, dark impression with warm plate tone. One of three etched portraits that Whister made of his niece Annie Harriet Haden, during the late 1850s (see also the following lot). Kennedy 10; Glasgow 7.

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JAMES A. M. WHSITLER Annie, Seated.

Lot 20: JAMES A. M. WHSITLER Annie, Seated.

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Description: JAMES A. M. WHSITLER Annie, Seated. Etching printed in black on cream laid paper, 1858-59. 129x96 mm; 5 1/8x3 3/4 inches, full margins. MacDonald's third state (of 3), an early impression in this state with the delicate drypoint lines distinct and before the multitude of corrosion dots that fill the plate in later impressions. Kennedy 30; Glasgow 32.

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JAMES A. M. WHISTLER The Music Room.

Lot 21: JAMES A. M. WHISTLER The Music Room.

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Description: JAMES A. M. WHISTLER The Music Room. Etching and drypoint on cream laid paper, 1859. 145x215 mm; 5 3/4x8 1/2 inches, wide margins. MacDonald's fourth state (of 4). A brilliant, richly-inked impression. Kennedy 33; Glasgow 39.

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JAMES A. M. WHISTLER En Plein Soleil.

Lot 22: JAMES A. M. WHISTLER En Plein Soleil.

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Description: JAMES A. M. WHISTLER En Plein Soleil. Etching on smooth, cream wove paper, 1859. 100x135 mm; 4x5 3/8 inches, full margins. MacDonald's third state (of 3), with the address of Delâtre; an early impression in this state with the plate corners still sharp (according to MacDonald, they were clipped off before the printing of the later impressions and those plate corners are blunt diagonals). Ex-collection Henry Studdy Theobald (Lugt 1376, lower left recto; according to Lugt, Theobald's renowned collection of Whistler etchings was sold through P. & D. Colnaghi & Co., Lodnon, and Knoedler & Co., New York, in 1907). From Twelve Etchings from Nature. A superb, early impression with warm plate tone and crisp, partially inky plate edges. Kennedy 15; Glasgow 11.

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JAMES A. M. WHISTLER The Wine Glass.

Lot 23: JAMES A. M. WHISTLER The Wine Glass.

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Description: JAMES A. M. WHISTLER The Wine Glass. Etching on cream laid paper, 1859. 83x55 mm; 3 1/4x2 1/8 inches, full margins. MacDonald's second state (of 2). A superb, evenly-printed impression of this very scarce, early etching with all the fine lines distinct. This still-life study, an anamoly in Whistler's etched oeuvre, was made shortly after his return to London from Paris after the completion of the "French Set" (see lots 15, 17, 18, 22 and 26). Whistler and his brother-in-law, Francis Seymour Haden, worked closely for several months during this time at the latter's house on Sloane Street, where Haden had installed his own etching press. At this time, both artist's etched intimate, interior scenes depicting members of their family, such as The Music Room which also dates from 1859 (see lot 21). Kennedy 27; Glasgow 38.

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JAMES A. M. WHISTLER Drouet.

Lot 24: JAMES A. M. WHISTLER Drouet.

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Description: JAMES A. M. WHISTLER Drouet. Etching and drypoint printed in black on antique cream laid paper, 1859. 227x153 mm; 8 7/8x6 inches, wide margins. MacDonald's second state (of 2). A richly-inked impression with warm plate tone and all the delicate details distinct. Kennedy 55; Glasglow 35.

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JAMES A. M. WHISTLER Becquet.

Lot 25: JAMES A. M. WHISTLER Becquet.

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Description: JAMES A. M. WHISTLER Becquet. Etching and drypoint on cream laid paper, 1859. 256x190 mm; 10 1/8x7 1/2 inches, wide margins. MacDonald's fifth state (of 6). A very good impression. Exhibited at a show of etchings and drypoints from the Royal Collection at Windsor and the collection of J. H. Hutchinson, H. Wunderlich & Co., New York, with the original label. Kennedy 52; Glasgow 62.

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JAMES A. M. WHISTLER Title Page for 'Douze Eaux Fortes d'après Nature' (Whistler Sketching).

Lot 26: JAMES A. M. WHISTLER Title Page for 'Douze Eaux Fortes d'après Nature' (Whistler Sketching).

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Description: JAMES A. M. WHISTLER Title Page for 'Douze Eaux Fortes d'après Nature' (Whistler Sketching). Etching and drypoint on cream wove paper, 1858. 113x147 mm; 4 1/2x5 3/4 inches, wide margins. Printed by Delâtre, Paris. A very good impression of this scarce, early etching, with warm plate tone. There are only approximately 50 or 56 impressions known according to Kennedy and MacDonald respectively. Kennedy 25; Glasgow 22.

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JAMES A. M. WHISTLER Billingsgate.

Lot 27: JAMES A. M. WHISTLER Billingsgate.

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Description: JAMES A. M. WHISTLER Billingsgate. Etching printed in dark, brownish black on cream laid paper, 1859. 152x226 mm; 6x8 7/8 inches, full margins. MacDonald's ninth state (of 9), before cancellation. A superb, well-inked impression with all the fine lines distinct and with crisp plate edges. Kennedy 47; Glasgow 51.

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JAMES A. M. WHISTLER Becquet.

Lot 28: JAMES A. M. WHISTLER Becquet.

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Description: JAMES A. M. WHISTLER Becquet. Etching and drypoint on antique cream laid paper, 1859. 256x190 mm; 10 1/8x7 1/2 inches, full margins. MacDonald's fifth state (of 6), with the foul-biting from the lower edge of the plate removed but still with the cross mark in the upper left and with all the drypoint distinct, not over-inked as in many later impressions. Signed with the butterfly and inscribed "imp" in pencil, lower left (the fifth state impression at the Art Institute of Chicago is similarly signed with the butterfly in pencil, accession number 1795). A brilliant, richly-inked and early impression wiyh abundant, velvety burr. Kennedy 52; Glasgow 62.

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JAMES A. M. WHISTLER The Pool.

Lot 29: JAMES A. M. WHISTLER The Pool.

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Description: JAMES A. M. WHISTLER The Pool. Etching and drypoint on cream laid paper, 1859. 138x212 mm; 5 1/2x8 3/8 inches, wide margins. MacDonald's sixth state (of 6). A very good, richly-inked impression with strong contrasts. Kennedy 43; Glasgow 49.

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JAMES A. M. WHISTLER Eagle Wharf.

Lot 30: JAMES A. M. WHISTLER Eagle Wharf.

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Description: JAMES A. M. WHISTLER Eagle Wharf. Etching on cream laid paper, 1859. 138x213 mm; 5 1/2x8 3/8 inches, full margins. MacDonald's first state (of 2), before cancellation. A richly-inked impression. Kennedy 41; Glasgow 50.

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JAMES A. M. WHISTLER Thames Police.

Lot 31: JAMES A. M. WHISTLER Thames Police.

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Description: JAMES A. M. WHISTLER Thames Police. Etching and drypoint on thin cream laid Japan paper, 1859. 151x221 mm; 5 7/8x8 7/8 inches, full margins. MacDonald's fifth state (of 5). A brilliant, richly-inked impression with all the fine lines distinct. The Marine Police, established in 1798, became the Thames Division of the Metropolitan Police in 1839. In this view, Whistler represented their brick and bay-windowed structure on the banks of the Thames at Wapping Wharf, with their skiffs and marine patrol boats pulled up on the river bank. Kennedy 44; Glasgow 53.

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JAMES A. M. WHISTLER Rotherhithe.

Lot 32: JAMES A. M. WHISTLER Rotherhithe.

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Description: JAMES A. M. WHISTLER Rotherhithe. Etching and drypoint on warm, cream laid Japan paper, 1860. 275x195 mm; 10 7/8x7 3/4 inches, 1/2-inch (full ?) margins. MacDonald's sixth state (of 6), with the drypoint lines across the chest and pipe of the man smoking at left. A brilliant, richly-inked impression of this important etching, with abundant velvety burr, the multitude of delicate lines in the sky distinct and with strong contrasts. Kennedy 66; Glasgow 70.

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JAMES A. M. WHISTLER Thames Warehouses.

Lot 33: JAMES A. M. WHISTLER Thames Warehouses.

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Description: JAMES A. M. WHISTLER Thames Warehouses. Etching and drypoint on cream laid paper, 1859. 75x205 mm; 3x8 1/8 inches, 1/2-inch (full ?) margins. MacDonald's fourth state (of 5), with the spot of corrosion at the top of the plate, right of center. A very good impression. Kennedy 38; Glasgow 46.

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JAMES A. M. WHISTLER The

Lot 34: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea.

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Description: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea. Etching and drypoint on antique, cream laid paper, 1878. 176x303 mm; 7x12 inches, full margins. MacDonald's third state (of 3), with the artist's butterfly signature in the sky above the tower and with the drypoint shading on the hull of the second boat in from the left. A superb, well-inked impression with strong contrasts and crisp, partially inky plate edges. Kennedy 175; Glasgow 182.

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JAMES A. M. WHISTLER Vauxhall Bridge.

Lot 35: JAMES A. M. WHISTLER Vauxhall Bridge.

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Description: JAMES A. M. WHISTLER Vauxhall Bridge. Etching on antique cream laid paper, 1861. 70x116 mm; 2 1/2x4 5/8 inches, wide margins. MacDonald's second state (of 2). A very good, richly-inked impression with crisp, inky plate edges. Kennedy 70; Glasgow 75.

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JAMES A. M. WHISTLER Hurlingham.

Lot 36: JAMES A. M. WHISTLER Hurlingham.

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Description: JAMES A. M. WHISTLER Hurlingham. Etching and drypoint on cream laid paper, 1879. 135x199 mm; 5 1/4x7 7/8 inches, full margins. MacDonald's fourth state (of 4). A superb, dark impression, with strong contrasts and crisp plate edges. Kennedy 181; Glasgow 184.

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JAMES A. M. WHISTLER Fulham.

Lot 37: JAMES A. M. WHISTLER Fulham.

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Description: JAMES A. M. WHISTLER Fulham. Etching on imitation Japan paper, 1879. 135x205 mm; 5 1/4x8 inches, full margins. MacDonald's fifth state (of 5), with the drypoint lines in the trees at right still distinct. A very good, dark impression with crisp plate edges; scarce in this quality. Kennedy 182; Glasgow 181.

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JAMES A. M. WHISTLER Little Putney Bridge.

Lot 38: JAMES A. M. WHISTLER Little Putney Bridge.

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Description: JAMES A. M. WHISTLER Little Putney Bridge. Etching printed in black on creram laid paper, 1879. 131x205 mm; 5 1/8x8 inches, full margins. MacDonald's fourth state (of 5), with the shaded butterfly lower right and with the delicate lines in the water and some indication of the clouds above the bridge. A very good, richly-inked impression. Kennedy 179; Glasgow 186.

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JAMES A. M. WHISTLER Soupe à Trois Sous.

Lot 39: JAMES A. M. WHISTLER Soupe à Trois Sous.

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Description: JAMES A. M. WHISTLER Soupe à Trois Sous. Etching and drypoint on cream laid Japan paper, 1859. 154x230 mm; 6 1/8x9 1/8 inches, full margins. A superb, richly-inked impression with crisp, inky plate edges. Kennedy 49.

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JAMES A. M. WHISTLER The Forge.

Lot 40: JAMES A. M. WHISTLER The Forge.

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Description: JAMES A. M. WHISTLER The Forge. Drypoint on tissue-thin, cream laid Japan paper, 1861. 185x315 mm; 7 3/8x12 3/8 inches, full margins. MacDonald's sixth state (of 6). A superb impression with richly-inked burr. Kennedy 68; Glasgow 86.

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JAMES A. M. WHISTLER Landscape with Horses.

Lot 41: JAMES A. M. WHISTLER Landscape with Horses.

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Description: JAMES A. M. WHISTLER Landscape with Horses. Etching and drypoint on cream laid paper, 1859. 126x196 mm; 5x7 3/4 inches, full margins. MacDonald's second state (of 2), with the addition of the second horse. A very good impression of this extremely scarce etching. Kennedy 36; Glasgow 45.

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JAMES A. M. WHISTLER Alderney Street.

Lot 42: JAMES A. M. WHISTLER Alderney Street.

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Description: JAMES A. M. WHISTLER Alderney Street. Etching on cream laid paper, 1881. 178x113 mm; 7x4 1/2 inches, wide margins. MacDonald's second state (of 3). Published by the Gazette des Beaux-Arts, Paris. A very good impression. Kennedy 238; Glasgow 246.

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JAMES A. M. WHISTLER Old Putney Bridge.

Lot 43: JAMES A. M. WHISTLER Old Putney Bridge.

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Description: JAMES A. M. WHISTLER Old Putney Bridge. Etching and drypoint printed in brownish black on antique, thin cream laid paper, 1879. 201x300 mm; 8x11 7/8 inches. MacDonald's seventh state (of 7). Signed with the butterfly and inscribed "imp" in pencil, on the tab lower left. A very good, richly-inked impression with warm plate tone. During his lifetime, Whistler (1834-1903) was highly praised for his etchings and was considered to rival Rembrandt van Rijn in the mastery of the medium. His technique was meticulous and deliberate; he would diligently rework plates until he was completely satisfied with an impression. When printing he took great care in applying ink to the plate and carefully selected various papers for the quality in which they held the ink. Of the 490 etchings Whistler produced in his career, Old Putney Bridge represents one of his longest-running endeavors, with some 7 states spanning nearly a decade of work (1879-1889). Kennedy 178; Glasgow 185.

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JAMES A. M. WHISTLER The Muff.

Lot 44: JAMES A. M. WHISTLER The Muff.

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Description: JAMES A. M. WHISTLER The Muff. Etching and drypoint on cream laid paper, 1874. 125x75 mm; 5x3 inches, wide margins. MacDonald's fourth state (of 4), with the artist's butterfly signature lower right and with short diagnol shading added to both sides of the figure. A brilliant impression of this extremely scarce etching. According to MacDonald, there are approximately only 11 recorded impressions of this subject. We have found only 1 other impression at auction in the past 25 years. Kennedy 113; Glasgow 131.

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JAMES A. M. WHISTLER Jo's Bent Head.

Lot 45: JAMES A. M. WHISTLER Jo's Bent Head.

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Description: JAMES A. M. WHISTLER Jo's Bent Head. Drypoint on cream laid paper, 1861. 226x152 mm; 8 7/8x6 inches, small margins. MacDonald's third state (of 3). A very good impression of this scarce, early print. According to MacDonald, there are approximately 30 recorded impressions of this subject. The model is Joanna Hiffernan, Whistler's red-headed Irish mistress; she was also the sitter for Whistler's famous painting, Symphony in White, No. 1: The White Girl, 1861, now in the National Gallery of Art, Washington, DC. Kennedy 78; Glasgow 88.

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JAMES A. M. WHISTLER The Piazzetta.

Lot 46: JAMES A. M. WHISTLER The Piazzetta.

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Description: JAMES A. M. WHISTLER The Piazzetta. Etching printed in black on Japan paper, 1880. 250x180 mm; 9 7/8x7 1/8 inches. MacDonald's fourth state (of 9), with the new shading at the left side of the column above the butterfly and before the third small, dark patch of foul biting appears at the center of the column. Indistinctly and very lightly signed with the butterfly in pencil, lower left. From Twelve Etchings. A very good impression of this scarce etching. Kennedy 189; Glasgow 218.

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JAMES A. M. WHISTLER Doorway and Vine.

Lot 47: JAMES A. M. WHISTLER Doorway and Vine.

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Description: JAMES A. M. WHISTLER Doorway and Vine. Etching on cream laid paper, 1879-80. 233x170 mm; 9 1/4x6 3/4 inches. MacDonald's eleventh state (of 18). Edition of approximately only 30. Signed with the butterfly and inscribed "imp" in pencil on the tab, lower left. From Twenty-six Etchings. A very good impression of this scarce etching. Kennedy 196; Glasgow 191.

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JAMES A. M. WHISTLER Lagoon: Noon.

Lot 48: JAMES A. M. WHISTLER Lagoon: Noon.

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Description: JAMES A. M. WHISTLER Lagoon: Noon. Etching printed in dark brownish black on cream laid paper, 1879-80. 125x200 mm; 5x7 7/8 inches. MacDonald's third state (of 3), with the faint butterfly signature in the plate lower left. Edition of approximately only 30. Signed with the butterfly and inscribed "imp" in pencil on the tab, lower left. From Twenty-Six Etchings. A good impression of this scarce etching. Kennedy 216: Glasgow 209.

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JAMES A. M. WHISTLER Early Morning.

Lot 49: JAMES A. M. WHISTLER Early Morning.

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Description: JAMES A. M. WHISTLER Early Morning. Lithotint on cream wove paper, 1878. 165x259 mm; 6 1/2x10 1/4 inches, wide margins. Fourth state (of 4), with the lightening of "the overall tonality of the image," according to Spink. A very good impression. Way 7; Levy 17; Spink 9.

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JAMES A. M. WHISTLER Rue Furstenburg.

Lot 50: JAMES A. M. WHISTLER Rue Furstenburg.

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Description: JAMES A. M. WHISTLER Rue Furstenburg. Lithograph on cream laid paper, 1894. 225x155 mm; 9x6 1/4 inches, full margins. Edition of 37. The letters OWP & AOL watermark (Spink 219). Ex-collection Rosalind Birnie Philip, the artist's sister-in-law (Lugt 405, verso). A very good impression. Way 59; Levy 90; Spink 97.

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