James McNeill Whistler

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

The Punt

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:	The Punt
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, The Punt belongs to this important period. To many contemporary eyes Whistler's etchings, such as The Punt, seemed sketchy 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 form and light and shade.
	On one level, The Punt is a most charming depiction of rural Thames river life by a master artist. Yet on another and much more important level it combines the elements of sky, water and landscape 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, Sketching, 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. This original Whistler etching depicts a river scene with a boatman standing on a punt (a flat bottomed boat with a square bow), propelling it with his long pole. The man is smoking a pipe, wearing loose fitting clothing and a hat.
	The authors of the recent and excellent, online University of Glasgow publication, James McNeill Whistler: The Etchings, a Catalogue Raisonne note that The Punt has very little illustrative relation to its adjoining poem, The Angler's Soliloquy, by J. H. Reynolds. Indeed, at this time, Whistler made an etching entitled, Landscape with Fisherman. He was, however, completely dissatisfied with the work and immediately cancelled the plate with strong diagonal lines. The Punt, therefore was probably utilized by Whistler as the cancelled etching's replacement.
	The above mentioned authors also 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, The Punt, was commissioned for the 1862 publication by the Junior Etching Club which appeared under the title of, Passages from Modern English Poets published by Day & Son in London. It was placed within the text to illustrate a poem by John Hamilton Reynolds entitled, The Angler's Soliloquy. The opening stanzas of the poem are quoted below. "The cold Lea misseth thee -- and seemeth now To flow with memory's wrinkles on its brow; The steep of Tottenham feels thine antique loss, And sadness gloometh upon Waltham's Cross The pike rush boldly by; Thou art not nigh! Large yellow barbel at the bottom lie, And gaze upon the bait without a sigh, The armed perch starts its red fins -- and cares Nought for minnow, or the brandling snares; Sports comes not with the day; Thou art away! And we, poor things, with landing-nets and line, And rod, and bait, -- but prowl, and poke, and pine..." *John Hamilton Reynolds
	John Hamilton Reynolds (Shrewsbury, 1794 - Newport, Isle of Wight, 1852): John Hamilton Reynolds was an English poet and satirical writer. Throughout his literary career, Reynolds had many works published in book form, as well as contributing his oeuvres to a variety of journals, magazines, and periodicals. His first published composition appeared in the Gentleman's Magazine (1812) and continued with the Ladies' Museum, Repository of Literature, Arts and Sciences. As a satirist and critic, Reynolds served as the editor for the Inquirer, published by John Martin, a publication which appears to have folded after three numbers, followed by the "Champion, a weekly edited by John Scott, where Reynolds not only provided literary and theater reviews, but also contributed, his own poems. Later in his career, his works were published in the Yellow Dwarf, London Magazine, Edinburgh Magazine, Bentley's Miscellany, the New Monthly, Hood's Comic Annual, as well as other British periodicals and magazines of the times. Some of his published works include, Ode to Friendship (1812), Safie; An Eastern Tale, and The Eden of Imagination: a poem (1814), The Naiad: A Tale. With Other Poems (1816); Peter Bell (1819) and Fancy (1820) were both satires; The Garden of Florence and Other Poems (1821), and Odes and Addresses to Great People (1825) another highly regarded satire and his last published work in book form. John Hamilton Reynolds, Esq. died at the age of fifty eight on Nov. 15th, 1852 in Newport, Isle of Wight. His obituary appeared in the Gentleman's Magazine, London, John Bowyer Nichols and Sons, Volume XXIXX, pp 100-101, MDCCCLIII (1853), January to June Inclusive. A quote from this source reads; "In every number of the London the traces of his light and pleasant pen were visible; and at every social meeting of the contributors -- Which included Charles Lamb, and Allan Cunningham, and Carey the translator of Dante, and George Darley, and Hazlitt, and Thomas Hood, all gone! -- his familiar voice was heard, followed by a laugh as by an echo." ** A poem by John Hamilton Reynolds was initially listed in the table of contents under that title, The Angler's Soliloquy and then placed within the text to accompany James McNeill Whistler's original etching, "The Punt".
	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, The Punt 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 #82. Fifth State of Six, with 'Pl. 7' 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 #40, reproduced on p. 196.
Size:	4 3/4 X 6 3/8 (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 by Day & Son, London in Passages from Modern English Poets in 1862. Bearing the artist's name, "J. Whistler", as well as 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 "7" to the upper right corner of the margin above the image. Containing two very faint traces of foxing, one in the outer right margin and the other to the center of the boat, else a fine impression and in excellent condition throughout. The Punt represents a prime, original example of the famous etched art of James A. McNeill Whistler.
Subject:	James McNeill Whistler, The Punt, original etching and drypoint, Fantin-Latour, the Junior Etching Club, Passages from Modern English Poets, The Thames Set, American artists, British artists.
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