Freer Gallery of Art and Arthur M. Sackler Gallery Search

Eagle Wharf (Tyzac Whiteley and Co.)

Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonn&‌eacute;," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G50 state 1 of 1.

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painting

Early Ferns, Chapter 48 of The Tale of Genji

[2] Undated folder sheet note. See Original Kakemono List, pg. 128, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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Early Morning

H x W: 16.5 x 25.9 cm (6 1/2 x 10 3/16 in)

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Early Morning

[1] See Original Whistler List, Lithographs, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Thomas Way Sr. and his son, Thomas Robert Way, were lithographers who worked closely with Whistler on several of his projects. They helped with the printing of his etchings, as well as the printing of Whistler’s promotional materials. Both Thomas Way Sr. and Thomas Robert Way owned many Whistl

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Early Morning

Whistler lithographs are identified by "C." numbers as described in The Lithographs of James McNeill Whistler (Chicago: The Art Institute of Chicago, 1998). This print is C.9, second state, only impression.

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object

Egg-shaped ornament

[1] See Original Pottery List, L. 1871, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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painting

Eggplant

[1] See Original Kakemono and Makimono List, L. 1327, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. This object exhibits seals, colophons, or inscriptions that could provide additional information regarding the object’s history; see Curatorial Remarks in the object record for further details.

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painting

Eggplant

2 pp

[2] According to an Accession List note, Charles Lang Freer purchased F1915.17- F1915.26 from the L.C. Pang Collection of Chekiang, China, through C. T. Loo, while at San Francisco in April 1915. Payment was made through Leyer and Co. of Shanghai, China. See Voucher no. 3, May 1915. According to Curatorial Remark 5 in the object record, this object was exhibited at The Art Institute, Chicago, Illi

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painting

Egret on a Bridge Post

well-known associate, Bunshichi Kobayashi (see correspondence, Hull to Freer, 1898-1900, as well as invoices from E.S. Hull Jr., 1898-1900, Freer Gallery of Art and Arthur M. Sackler Gallery Archives). See also, Ingrid Larsen, "'Don’t Send Ming or Later Pictures': Charles Lang Freer and the First Major Collection of Chinese Painting in an American Museum," Ars Orientalis vol. 40 (2011), pgs. 15 an

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painting

Eight Mynah Birds with Bamboo and Orchids

[1] See Original Kakemono and Makimono List, L. 1304, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

#ld1-1643390182193-1643390191127-1

painting

Eight Steeds and a Groom

5 pp

[1] See Original Kakemono and Makimono List, L. 952, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Abel William Bahr (1877-1959) was a collector and dealer born in Shanghai, China. After he left Shanghai in 1910, he lived, at various points in time, in London, Montreal, and Ridgefield, Connecticut. He established a gallery in New York City in 1920.

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painting

Eight Views of Omi Province

4 pp

The subject of this handscroll is the Eight Views of Omi, the region around Lake Biwa near Kyoto. The landscapes are executed in a soft, evocative style that suggests rather than delineates forms. Above each scene is a Japanese poem, written in elegant cursive Japanese hiragana script following to the left of the title in Chinese characters. Tan'yu's signature at the end of the scroll gives his ti

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