Freer Gallery of Art and Arthur M. Sackler Gallery Search

The Beggars

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 G190 state 1 of 17.

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painting

The Bija A, representing Vairocana (Dainichi)

2 pp

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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drawing

The Blue Dress

2 pp

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

The Blue Girl

2 pp

[1] See Original Whistler List, Paintings, pg. 30, 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

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painting

The Blue Girl (fragment): Purple and Blue

5 pp

[2] See note 1. According to Curatorial Remark 3, G.D. Guest, 1927, the registration number for this object was changed to correspond with the year of purchase.

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painting

The Blue Girl (fragment): Yellow and Blue

5 pp

[2] See note 1. According to Curatorial Remark 3, G.D. Guest, 1927, the registration number for this object was changed to correspond with the year of purchase.

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sculpture

The Bodhisattva Mile (Sanskrit Maitreya), seated in "Pensive Pose"

4 pp

[1] See Original Miscellaneous List, S.I. 308, pg. 76, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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painting

The Bodhisattva Monju

[1] Undated folder sheet note. Also see Original Kakemono List, pg. 143, 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 comp

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painting

The Bosatsu Jizo and Ten Kings of Hell

[1] Undated folder sheet note. Also see Original Kakemono List, pg. 88, 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 compa

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The Bridge, Santa Marta

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The Bridge, Santa Marta

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The Broad Bridge

Unlike Whistler's early lithotints that were drawn directly on the printing stone, The Broad Bridge was based on a preliminary charcoal drawing. Whistler traced the drawing onto a stone, going over the resulting outline with a crayon and adding washes. He finished the design by scraping away some of the tone to lighten the sky beneath the left span. The resulting image is in reverse, but the view

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