Freer Gallery of Art and Arthur M. Sackler Gallery Search

painting

The Angry Sea

1 pp

The Angry Sea is one of the sparest and most abstract of Whistler's small oils. When Whistler exhibited it at the Dowdeswells' gallery in 1884, unsympathetic reviewers complained that paintings like this were mere daubs, dismissing such efforts as unfinished sketches not fit for public display. The fashion writer for the Court Circular damned The Angry Sea with ironic praise, noting that "this won

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The Balcony

1 pp

Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonne," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G202 state 5 of 19.

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The Balcony

1 pp

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The Balcony

1 pp

[1] See Original Whistler List, Etchings, 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 Whistler

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The Balcony

1 pp

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The Barrow- Quartier des Marolles, Brussels

1 pp

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 G346 state 7 of 8.

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painting

The Bathers

2 pp

[1] See Original Whistler List, Purchases from Thoebald, pg. 8, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. See also, Voucher No. 1, August 1902,

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The Beach, Hastings

1 pp

[1] See List of Whistler Objects transferred to Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. This print is part of a set that was purchased from Knoedler and Co. in March of 1893. The set was kept in the Reserve Section until January of 1921, when it was transferred to the Smithsonian Institution and each print given a registration number for that year (see

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Survos folio core type search

Freer Gallery of Art and Arthur M. Sackler Gallery

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The Barrow- Quartier des Marolles, Brussels

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The Beach, Ostend

The Beggars

The Beggars