Freer Gallery of Art and Arthur M. Sackler Gallery Search

The Visitors' Boat

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 G303 state 1 of 1.

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painting

The Wang River estate

24 pp

[1] See Original Kakemono and Makimono List, L. 666, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. See also, Accession List, Collections Management office. 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

The Wangchuan Villa

8 pp

[1] See Original Kakemono and Makimono List, L. 747, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Note that the Accession List, Collections Management office, records the dealer’s name as Wen Yat-sai, rather than Yen Wat-sai. This object exhibits seals, colophons, or inscriptions that could provide additional information regarding the object’s history; see Curatorial Remarks in the

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painting

The Wangchuan Villa

14 pp

[1] See Original Kakemono and Makimono List, L. 738, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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The Wine Glass

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The Wine Glass

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 works. Thomas Way Sr. acquired several of these works at the time of Whistler’s bankruptcy, and he pass

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The Wine Glass

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The Wine Glass

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The Wine-Glass

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painting

The World of Devas

[2] Undated folder sheet note. See Original Kakemono List, L. 492, pg. 137, 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 c

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painting

The World of Men and Animals

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painting

The armor-pulling scene from a Soga play

[1] See Original Panel List, L. 19, pg. 5, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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