19th Century American Prints

This is an original etching by American artist James Whistler.  The title is: "La Marchande de Moutarde"  It was part of the series titled: "The French Set", published and printed in 1858.  This etching is signed lower left corner of the image, printed on a thin Japan type laid paper.  According to the Glascow catalog this is state V/V before the plates cancellation.  The image measures 6 1/4X3 1/2 inches.

This is an original etching by American artist Stephen Parrish.  The title is A Gale at Fecamp, it was created and printed in 1886.  The image including the remarques measures 13 3/4X15 3/4 inches.  It is hand signed in pencil and also has the artist's estate stamp in the lower left border.  This is Parrish's only etching with such complete remarques.  Showing the influence of French artist Felix Buhot.  The remarques revel Parrish's lively sense of humor, showing sketches of books with such titles as Philadelphia as a Summer Resort, Etching in Summer and other gems.  This is a very rare etching by Parrish, and is from a trip he took to Fecamp in 1884.

This is a fine original etching  by American artist James Whistler.  The subject is: Steet at Saverne, it was created and printed in 1858.  This etching was part of the French Set, It is signed lower left,"Whistler", and also has the publishers name and address lower right edge of the sheet., "Imp, Delatre, Rue St. Jacques".  This image was created in 4 states, this one is 3/4.  The image measures 8 1/8X6 3/16 inches.  Printed on an antique laid type paper

This is a fine early printing of the well known etching, Bibi Valentin by American artist James M Whistler.  This etching created in 1859  is impression II/II before the plate was damaged.  It came to us with the original Kappel label on the back.  A fine rich impression printed on a thin laid japan type paper.  Signed  and dated within the plate.  Glascow 34.

This is the well known etching taken from the Thames series by American artist James McNeill Whistler.  The title is The Adam and Eve, Old Chelsea, created in  1879.  This impression is the 3rd state of 3 prior to the cancellation of the plate.  The image measures 6 7/8X11 3/4 inches.  Printed on a thin Japan type sheet.  The artists butterfly monogram upper left center.  A rich impression, very light toning to the sheet.  "The 'Adam and Eve' was a public house by the River Thames in Chelsea, London. It was demolished to make way for the Chelsea Embankment. The view is taken from Old Battersea Bridge."  The Kennedy catalog has this as image number 175.

Large edition, august, 1884, 11 1/2x18 1/4, dedicated to Henry Voigt in pencil lower right margin, pencil signed, and framed

This very large hand colored aquatint and engraving after the painting by J.W. Hill is a panoramic view of New York Harbor.  Created and printed in 1855, this image etched  by Charles Mottram measures an image size of 28 3/4X50 1/2 inches.  This is an early period printing, Published by F. and G. W. Smith 59 Beekman St. New York.. And Colnaghi London...  Printed by McQueen in London.  This image is copyrighted and titled lower border and inscribed as "Proof"..  This is an early state before the addition of engraved lines in the sky.  This impression is in incredible condition, rich color no damage to the sheet, no stains, it was framed in Boston by Richard Nichols, 22 Bromfield Street, Boston.  In the early frame which measures 37X58 inches.  This etching is not available for standard shipping because of its size and weight of the glass.

This is a fine impression of the well known Whistler etching, Bibi Lalouette, created in 1859.  Cataloged as Kennedy 51, II/II  .  The image measures 9X6 inches, printed on a thin Japan type sheet,  "This curly-haired little boy sitting on the edge of a bed comes from a series of portraits that Whistler made in 1858-59. Known by the pet name of Bibi, the child was son to J. M. Lalouette who ran a small hotel and restaurant at 5 rue de l'Odéon in Paris. Whistler often ate there and left a large unpaid bill when he moved to London. In August 1860 he sent partial payment, eliciting a relieved response from Monsieur Lalouette that mentions Bibi often talked of the artist, and noting the family's pride in their own impression of the present work". ( The Met)  Signed and dated in the plate on the lower right side.