Freer Gallery of Art and Arthur M. Sackler Gallery Search

The Riva

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 G229 state 1 of 4.

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The Riva

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object

The Riva, No. 1

Whistler's contract with the Fine Art Society required him to produce one hundred impressions of each of twelve prints. He did not make all twelve hundred impressions at once, but printed them in batches as they sold. Since the society sold the prints separately as well as in sets, Whistler completed printing the more popular images first. When he finished printing an image, Whistler "canceled" th

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The Riva, No. 2

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The Riva, No. 2

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The Riva, No. 2

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painting

The Rock Bridge at Mount Tiantai 天台石橋圖

3 pp

[1] According to Curatorial Remark 8, citing Thomas Lawton, catalogue entry 19 of "Chinese Figure Painting," 1973: "At the end of the nineteenth century, the Daitokuji was in need of funds for repairs, and the paintings were used as a collateral for a loan. In 1894 Ernest Fenollosa arranged a special exhibition in which 44 of the paintings were shown at the Museum of Fine Arts, Boston. Ten of thos

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The Scotch Widow

[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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painting

The Sea and Sand

The Sea and Sand is one of the simplest and most abstract of the St. Ives paintings. Whistler began by covering his panel with an unusual dark blue ground. Probably working from the top of the panel down, he used broad horizontal strokes of gray to establish the sky. In the foreground, broader horizontal bands of a browner pigment establish the beach. A few narrow strokes of a slightly bluish whit

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painting

The Shanglin Park: Imperial Hunt

[1] See Original Kakemono and Makimono List, L. 1140, 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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