James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's
James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's
James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's
James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's
James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's
James McNeill Whistler, ‘The 'Adam and Eve', Old Chelsea’, 1878, Christie's

A very good impression of Glasgow's third, final state, published by Hogarth & Son, London, 1879, with wide margins, pale mountstaining, otherwise in very good condition, with five other prints by the artist, generally in good condition, each framed.
Plate 176 x 301 mm., Sheet 242 x 374 mm.
(6)

From the Catalogue:
Including: Billingsgate (G. 51), etching and drypoint, 1859, on thin laid paper, a very good impression of Glasgow's ninth, final state; Little Putney Bridge (G. 186), etching and drypoint, 1879, on thick wove paper, a good impression of Glasgow's fifth, final state; Chelsea (G. 181), etching and drypoint, 1878-79, on laid paper, a good impression of Glasgow's fifth, final state; The Garden (C. 40), lithograph, 1891, on laid paper watermark O.W.P & A.C.L. (C 219), a good impression of the only state; Drury Lane Rags (C. 25), lithograph, 1888, on buff coloured laid paper, a very good impression of the only state.
—Courtesy of Christie's

Etchings: Glasgow 182, 51, 186 & 181; Kennedy 175, 47, 179 & 182
Lithographs: Chicago 40 & 25; Way 38 & 21; Levy 63 & 34

Rosalind Birnie Philip (1873-1958), London (Lugt 406). (C 25)
With Kennedy Galleries, New York, their stocknumber a53694 inscribed in pencil verso. (G 51)

About James McNeill Whistler

James Abbott McNeill Whistler changed the course of art history with his radical techniques and adoption of Asian design principles, which emphasized a two-dimensional flattening of painted forms and their arrangement into abstract patterns. A London-based expatriate, Whistler embraced and promoted the doctrine that art should not serve narrative, but rather project the artist’s subjective feelings through the handling of the medium. His revolutionary methods changed existing approaches to oil paint, pastel, watercolor, etching—even interior design and the decorative arts. The flat, expressive, and radically simplified forms in his Venice pastels, and his use of fluid blue and gray pigments in his abstract nocturnes, altered how his contemporaries like Édouard Manet and Edgar Degas saw and understood art. He scandalously named one of his most famous paintings Arrangement in Grey and Black, No. 1 (1871), suggesting the reduction of a portrait of his mother to an arrangement of formal elements.

American, 1834-1903, Lowell, MA, United States, based in London, United Kingdom

Exhibition Highlights

2015
Waterville,
Whistler and the World: The Lunder Collection of James McNeill Whistler
2014
Washington,
An American in London: Whistler and the Thames