Freer Gallery of Art and Arthur M. Sackler Gallery Search

The Piazzetta

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 G218 state 5 of 9.

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The Piazzetta

[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 Piazzetta

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painting

The Pilgrimage of Sudhana

57 pp

C. K. Wong (C.L. Freer source)

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painting

The Poet Kakinomoto no Hitomaro

[1] Undated folder sheet note. See Original Kakemono List, pg. 135, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. The majority of Charles Lang Freer’s purchases from Yamanaka & Company were made at its New York branch. Yamanaka & Company maintained branch offices, at various times, in Boston, Chicago, London, Peking, Shanghai, Osaka, Nara, and Kyoto. During the summer, the company a

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The Pool

Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonné," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G49 state 4 of 6.

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The Pool

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The Pool

Whistler etchings are identified by "G" numbers as assigned in James McNeill Whistler: The Etchings, a catalogue raisonné by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G49 state 4 of 6.

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The Pool

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The Pool

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painting

The Princess from the Land of Porcelain (<em>La Princesse du pays de la porcelaine</em>)

Several years before the Peacock Room was ever conceived, Frederick Leyland bought this painting from Whistler. After purchasing a new house in 1875, Leyland hung it over the mantelpiece in the dining room. He intended to transform the space into a porcelainzimmer, an opulent room lined with shelves to hold prized pieces from his extensive collection of Chinese blue-and-white porcelain. Whistler s

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The Punt

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