James McNeill Whistler

Original Etching and Drypoint by the American / British artist, James Abbott McNeill Whistler.

Sketching (Passages from Modern English Poets Illustrated by the Junior Etching Club)

View other works of art by the British / American artist, James McNeill Whistler.

James McNeill Whistler (Lowell, MA, 1834 - London, 1903)
#	Image	Title & Artist	Medium	Date	Notes	-
01-		Billingsgate by James McNeill Whistler	Original Etching	1859	Catalogue #Kennedy 47, Eighth State of Eight as published by Macmillan and Co., London for P. G. Hamerton's set entitled, "Etching and Etchers"	Sold
02.-		Grande Rue, Dieppe & An Interior by James McNeill Whistler	Two Original Lithographs	1891	Catalogue #59, First and only State as published by John Lane, London in "Memories of James McNeill Whistler" & printed by Thomas R. Way.	Sold
03.-		The Doctor Portrait of my Brother by James McNeill Whistler	Original Lithograph	1895	Catalogue #117, First and only State as published by Henry & Co., 93 St. Martin's Lane, London for "The Pageant" and printed by Thomas R. Way.	Sold
04.-		Sketching by James McNeill Whistler	Original Etching	1861-62	Catalogue #83. Fifth State of Six, with 'Pl. 45' engraved in the upper right corner. Published by Day & Son, London for Passages from Modern English Poets Illustrated by the Junior Etching Club
05.-		The Punt by James McNeill Whistler	Original Etching	1861-62	Catalogue #82. Fifth State of Six, with 'Pl. 7' engraved in the upper right corner. Published by Day & Son, London for Passages from Modern English Poets Illustrated by the Junior Etching Club

View Other Original Lithographs by Thomas Robert Way

Thomas Robert Way (London, 1861 - 1913)
#	Image	Title & Artist	Medium	Date	Notes	-
01-		Cremorne Gardens by Thomas Robert Way designed by James McNeill Whistler	Original Lithographs	1912	Printed and created by T. R. Way after a painting by J. A. M. Whistler for Memories of James McNeill Whistler. No further impressions or restrikes were issue.
02-		Sketch of Whistler whilst He was Retouching a Stone by Thomas Robert Way	Original Lithographs	1912	Signed in the stone by Thomas R. Way. Printed and created by T. R. Way for Memories of James McNeill Whistler.	Sold
03.-		The Room in Ayr Street, Whistler at his Printing Press by Thomas Robert Way	Original Lithographs	1912	Printed and created by T. R. Way for Memories of James McNeill Whistler. No further impressions or restrikes were issue.	Sold

View Other Original Etching by the Junior Etching Club Published Day & Son, London for Passages from Modern English Poets.

The 'Junior Etching Club' (1857-1864)
The Junior Etching Club (1857-1864), was an institution that greatly contributed to the revival of Etching in England. Members included such prominent British artists as, Sir John Everett Millais, James McNeill Whistler, Sir Francis Powell, Henry Moore, Sir John Tenniel, Charles Samuel Keene, Joseph Clark, John Wright Oakes, Walter Severn, William Gale, Frederick Smallfield, Henry Clarence Whaite, Matthew James Lawless, Arthur James Lewis, Henry Stacy Marks, Charles Rossiter, Vincent Bury, Lord G. Fitzgerald, J. R. Clayton, John Sleigh, and Lord Gerald Fitzgerald. The Junior Etching Club often published their members’ etchings and all of the above named artists contributed to their portfolio, Passages from Modern English Poets, first published by Day & Son Limited, Lithographers & Publishers, London, 1862. In total, that publication contained forty-seven original etchings. The Junior Club also issued, another important publication in 1858, Passages from the Poems of Thomas Hood published by E. Gambart & Co, London. It was also illustrated by its members and contained thirty-four plates.
#	Artist Last Name	Image	Title & Artist	Artist Info	Medium	Date	Source
01.-	Barwell		Sea Beach - Norfolk Fisherman on the Look Out (The Fisherman) by Frederick Bacon Barwell	Frederick Bacon Barwell (London, c. 1831 - 1922)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
02.-	Clark		Hagar and Ishmael by Joseph Clark	Joseph Clark (Cerne Abbas (Dorset), 1834 - Ramsgate, 1926)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
03.-	Gale		The May Wreath by William Gale	William Gale (London, 1823 - 1909)	Original Etching	1861	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
04.-	Keene		Scene of the Plague in London, 1665 by Charles Samuel Keene	Charles Samuel Keene (Hornsea, 1823 - London, 1891	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
05.-	Lawless		Sisters of Mercy by Matthew James Lawless	Matthew James Lawless (Dublin, 1837 - Bayswater, 1864)	Original Etching	1859	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
06.-	Lawless		The Little Shipwrights by Matthew James Lawless	Matthew James Lawless (Dublin, 1837 - Bayswater, 1864)	Original Etching & Aquatint	1859	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
07.-	Lewis		The Cornfield by Arthur James Lewis	Arthur James Lewis 'Arthur Lewis' (London, 1824 - 1901)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
08.-	Millais		Summer Indolence by John Everett Millais	John Everett Millais (Southampton, 1829 - London, 1896)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
09.-	Moore		Moonlight by Henry Moore	Henry Moore (York, 1831 - Margate, 1895)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
10.-	Oakes		The Last Gleam of Day by John Wright Oakes	John Wright Oakes (Middlewich (Cheshire), 1820 - London, 1887)	Original Drypoint & Etching	1859-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
11.-	Powell		The Rainbow by Sir Francis Powell	Sir Francis Powell (Pendleton, 1833 - Dunoon, Scotland, 1914)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
12.-	Rossiter		St. Valentine's Day by Charles Rossiter	Charles Rossiter (London, 1827 - 1897)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
13.-	Severn		Nearing Home by Walter Severn	Walter Severn (Frascati (near Rome), 1830 - London, 1904)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
14.-	Smallfield		Supping on Horrors by Frederick Smallfield	Frederick Smallfield (London, 1829 - 1915)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
15.-	Smallfield		The Shoe-Black by Frederick Smallfield	Frederick Smallfield (London, 1829 - 1915)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
16.-	Smallfield		Winter Revels by Frederick Smallfield	Frederick Smallfield (London, 1829 - 1915)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
17.-	Tenniel		War and Glory by Sir John Tenniel	Sir John Tenniel (London, 1820 - 1914)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
18.-	Whaite		Study of a Head by Henry Clarence Whaite	Henry Clarence Whaite (Manchester, 1828 - Conwy Valley, Wales, 1912)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
19.-	Whistler		The Punt by James McNeill Whistler	James Abbott McNeill Whistler (Lowell, MA, 1834 - London, 1903)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.
20.-	Whistler		Sketching by James McNeill Whistler	James Abbott McNeill Whistler (Lowell, MA, 1834 - London, 1903)	Original Etching	1861-62	Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.

View other original works of art by Day & Son 'Royal Lithographers the Queen'.

Day & Son 'Royal Lithographers to Queen Victoria'
#	Image	Title & Artist	Artist Info	Medium	Date	Source	-
Ackermann, London
01.-		Moon Rise in The Valley of Cairn Gorm by Michel Bouquet	Michel Bouquet (Lorient, 1807 - Paris, 1890)	Original Lithograph	1849	Ackermann, London	Sold
Art Treasures of the United Kingdom
01.-		A Limoges Enamel Plaque, Early Sixteenth Century by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1858	Art Treasures of the United Kingdom
02.-		Early Limoges Enamel, 12th or 13th Century by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1858	Art Treasures of the United Kingdom
03.-		Faenza Ware Plate by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1858	Art Treasures of the United Kingdom
04.-		Flemish Ewer, Jug and Stoneware, 16th Century by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1858	Art Treasures of the United Kingdom	Sold
05.-		Portrait of Princess Elizabeth, in Enamel by Limousin by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1858	Art Treasures of the United Kingdom	Sold
Industrial Arts of the Nineteenth Century at the Great Exhibition
01.-		Altar and Reredos Designed By The Late A. W. Pugin, Carved In Stone By Myers Of London, And Fitted-Up By Hardman Of Birmingham lithography by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1853	Industrial Arts of the Nineteenth Century at the Great Exhibition	Sold
02.-		Fountain in Iron, Andre of Paris by Francis Bedford	Francis Bedford (London, 1816 - 1894)	Original Lithograph	1852	Industrial Arts of the Nineteenth Century at the Great Exhibition
03.-		Ornamental Cover of a Colour Box designed by Sliegh for Ackermann & Company	J. Sliegh, (British, active, 19th century)	Original Lithograph	1852	Industrial Arts of the Nineteenth Century at the Great Exhibition
04.-		Portion of a Shield in Silver by Vechte, for Hunt and Roskell of London by John Alfred Vinter	Vinter, John Alfred (London, 1828 - 1905)	Original Lithograph	1852	Industrial Arts of the Nineteenth Century at the Great Exhibition
Vanity Fair
01.-		Vice - Admiral Caillard by Jean Baptiste Guth	Jean Baptiste Guth (Bayonne, London, died, 1921)	Original Lithograph	1905	Vanity Fair
02.-		Various Vanity Fair Prints (Collection of 40 Original Lithographs)	Miscellaneous Vanity Fair Portraits (Collection of Forty)	Original Lithographs	1875 to 1903	Vanity Fair
03.-		Madam Sarah Bernhardt by a Vanity Fair artist, Monogramme: 'K'	Monogramme: 'K'	Original Lithograph	1912	Vanity Fair	Sold
04.-		The Lord Chief Justice of England (Lord Alverstone) by a Vanity Fair artist, Monogramme: 'W. H.'	Monogramme: 'W. H.'	Original Lithograph	1913	Vanity Fair
05.-		Albert Seymour by Carlo Pellegrini Known as 'Ape'	Carlo Pellegrini 'Ape' (Capua, Italy, 1839 - London, 1889)	Original Lithograph	1877	Vanity Fair
06.-		The Lord Chief Baron (The Right Honourable Sir Fitz Roy Edward Kelly) by a Vanity Fair artist	Vanity Fair artist	Original Lithograph	1871	Vanity Fair
07.-		A Professor (Mr. James Edwin Thorold Rogers) by Sir Leslie Ward 'Spy'	Sir Leslie Ward, 'Spy' (London, 1851 - 1922)	Original Lithograph	1884	Vanity Fair	Sold
08.-		H. A. C. (The Earl of Denbigh) by Sir Leslie Ward 'Spy'	Sir Leslie Ward, 'Spy' (London, 1851 - 1922)	Original Lithograph	1894	Vanity Fair
09.-		The Admiral (Sir James Dairymple Horn Elphinstone, M. P.) by Sir Leslie Ward 'Spy'	Sir Leslie Ward, 'Spy' (London, 1851 - 1922)	Original Lithograph	1878	Vanity Fair
10.-		Turf Devotee - The Right Honourable Lord Hothfield by Sir Leslie Ward 'Spy'	Sir Leslie Ward, 'Spy' (London, 1851 - 1922)	Original Lithograph	1889	Vanity Fair

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Title:	Sketching
Artist:	Whistler, James Abbott McNeill (Lowell, MA, 1834 - London, 1903)
Date:	1861
Publisher:	Day & Son, London
Medium:	Original Etching and Drypoint
Edition:	Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862
Note:	James McNeill Whistler 'James Abbott McNeill Whistler': Whistler is one of the truly great painters of the nineteenth century. Yet it is in his oeuvre of original etchings and lithographs that his true genius becomes most apparent and his influence upon the development of twentieth century art is at its most far reaching. Whistler turned first to etching and his initial great works in this medium date from the mid 1850’s when he lived in Paris and met such artists as Degas, Legros, Fantin-Latour and Courbet. The finest of these early etchings, now known as The French Set, show the work of an artist as worthy in his architectural views as Meryon and as perceptive in his figure studies and portraits as Rembrandt. His greatest work, however, still lay ahead.
	Whistler made London his permanent home in 1858. It was here -- despite the personal battles he fought, such as his lengthy feud with his artist brother-in-law, Seymour Haden, and his notorious legal war with John Ruskin -- that his truly revolutionary art emerges. This begins in 1859 with Whistler’s etchings of London and its dockyards (later called The Thames Set) where a much more free and sympathetic line is developed.
	Created in 1861 and published the following year, Sketching belongs to this crucial period. To many contemporary eyes Whistler's etchings, such as Sketching, seemed incomplete and without true focus. Yet this was precisely the point: Whistler was the first artist to recognize that the eye cannot focus upon near and distant objects at the same time. In his etched art, this realization led to a complete re-examination of the relationships between light and shade and line and form. His line suggests rather than defines.
	On one level, Sketching is a delightful depiction of a summer day on the Upper Thames by a master etcher. Yet on another and much more important level it combines the elements of the river and its banks to create a new vocabulary of spatial elements. No wonder one historian writes, "Whistler's importance to the history of etching is still not fully appreciated, … yet it is he who brought British art into the twentieth century almost single handed." *
	This Whistler etching, along with another fine work entitled, The Punt, was commissioned for a 1862 publication by the Junior Etching Club which appeared under the title of, Passages from Modern English Poets. The Junior Etching Club (1857 - 1864) seems to have been an extension of The Etching Club (1838 - 1885). The two associations were in no manner rivals, as some members contributed etchings to the projects of both clubs. Whistler was elected to the Junior Etching Club in 1859. Other members of note included Sir John Everett Millais, Henry Moore, Charles Keene, Henry Clarence Whaite, Sir Francis Powell, M. J. Lawless and John Tenniel. The two original Whistler etchings were printed with forty-five other etchings by other members along with the accompanying, illustrative poetry by the London publishers, Day and Son.
	The authors of the recent and excellent, online University of Glasgow publication, James McNeill Whistler: The Etchings, a Catalogue Raisonne suggest that both The Punt and Sketching may owe their genesis to an August, 1861 visit Whistler made to Sunbury, the Upper Thames home of his friend and fellow artist, Edwin Edwards (1823-1879). Fantin-Latour (1836-1904) was also a guest there during this month. To be sure, both etchings brilliantly convey the light and warmth of a late summer's day.
	The above speculation is all but confirmed by visiting the Whistler collection of prints at the Fitzwilliam Museum, Cambridge. The Museum includes both The Punt and Sketching in its collection, which can be viewed online at this page: http://www.fitzmuseum.cam.ac.uk/gallery/whistler/london.html. Beside the illustration for Sketching the following passage is supplied; "In the summer of 1861 Whistler made several etchings and drypoints on trips along the Thames, during visits to the home of Edwin Edwards and his wife Ruth at Sunbury near Hampton Court. This print was made in August 1861 when Edwards, Whistler, Fantin-Latour and (Seymour) Haden made an etching trip along the Thames. Edwards etched Holesey Lock (Whistler on the Gate) on the same occasion, using the same sized plate." The museum's inventory numbers for The Punt and Sketching are p. 1502-1991 and p. 1501-1991.
	James McNeill Whistler's original etching, Sketching, was first published in a Junior Etching Club portfolio entitled, Passages from Modern English Poets in 1862 by Day & Son in London. It was placed within the text to illustrate Charles MacKay's poem, A River Scene, and was initially listed in the table of contents under that title. The opening stanzas of the poem are quoted below. "Up from the shore of the placid lake Wherein thou tumblest, murmuring low Over the meadow and through the brake, And over the moor where the rushes grow, I've seen thy life in all its moods In the shady, fragrant pine-tree woods; I've seen thee starting and leaping down The smooth high rocks, and boulders brown; I've tracked thee upwards and upwards still From the spot where the lonely birch-tree stands, Low adown amid shingles and sands, Over the brow of the ferny hill, Over the moorland purple-died, Over the rifts of granite grey, Up to thy source on the mountain side Far away, -- Oh, far away..." *Charles Mackay
	Charles MacKay (Perth, Scotland, 1814 - London, 1889): Charles Mackay was a well regarded Scottish novelist, and poet, as well as a fine lyricist and journalist. Starting around 1834, Mackay worked as a journalist in London contributing to various journals, The Sun, The Morning Chronicle, and becoming the editor of both the Illustrated London News, and the Glasgow Argus. During the American Civil War, MacKay worked as a correspondent for The Times. In 1846, Mackay obtained his LL.D. degree from the University of Glasgow. He was the author of such fine works as, Extraordinary Popular Delusions, And the Madness of Crowds (1841), The Salamandrine; or, Love and Immortality (1842), Legends of the Isles (1845), Poems (1848), Egeria, Or the Spirit of Nature; and Other Poems, (1850), The Lump of Gold, and Other Poems (1856), Life and Liberty in America: or, Sketches of a tour in the United States and Canada, in 1857/8 (1859), and many other fine works. The volume entitled, Selected Poems and Songs of Charles Mackay published London: Whittaker and Co., White hart street, Paternoster Square, E. C., 1888 contains a selection of the poems and songs by Charles Mackay published between the years 1840 to 1882. Charles MacKay's poem, A River Scene was placed within the text to accompany James McNeill Whistler's original etching.
	Day & Son, London: Some of the most ambitious and accomplished printmaking projects of the Victorian era were launched by the publishers, Day & Son. The firm began in the mid 1820's under the title of 'Day & Hague' and assumed its more familiar name 'Day & Son, London' in 1845. James McNeill Whistler's original etching, Sketching was published by 'Day & Son, London' between 1861-62. Throughout their early years they printed and published works of art dealing with a wide range of subjects, such as, hunting scenes, genre depictions, landscape scenes and topographical views.
Raisonne:	Margaret F. Macdonald, Grischka Petri, Meg Hausberg and Joanna Meacock, James McNeill Whistler: The Etchings, A Catalogue Raisonne, University of Glasgow, 2012, http://etchings.arts.gla.ac.uk. Catalogue #83. Fifth State of Six, with 'Pl. 45' engraved in the upper right corner. The authors note that for the sixth and final state the publisher's address along the lower margin was erased.
Reference:	* Kenneth M. Guichard, British Etchers: 1850 - 1940, London, Robin Garton, 1981, pp. 66 - 68. Quotation on p. 67.
	C. McNamara and J. Siewert, Whistler: Prosaic Views, Poetic Vision, Thames and Hudson, The University of Michigan Museum of Art, Ann Arbor, Michigan, 1994, Catalogue #41, reproduced on p. 196, under the title of Sketching No. 1.
Size:	4 3/4 X 6 1/2 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Matted with 100% Archival Materials
Buy Now	Price: $1,200.00 US
Condition:	Printed upon wove paper and with full margins as published in Passages from Modern English Poets in 1862. Bearing the artis's name, "Whistler" and the publisher's name and date, "London, Published December 1st, 1861 by Day & Sons, Lith. to the Queen" along the lower margin of the plate. It also bears the plate's number "45" to the upper right corner of the margin above the image. Containing noticeable foxing on the verso and faint foxing on the recto, both within the image and the margins, else a fine impression and in good condition throughout. Sketching represents a prime, original example of the famous etched art of James A. McNeill Whistler.
Subject:	James McNeill Whistler, James Abbott McNeill Whistler Sketching, original etching and drypoint, Sir John Everett Millais, Henry Moore, Charles Keene, the Junior Etching Club, Passages from Modern English Poets, Edwin Edwards (1823-1879) Upper Thames River. Whistler Collection, Fitzwilliam Museum, American artists, British artists.
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