James Abbott Mcneill Collection (#5)

The Model, Lying Down, c1864 (1904). Artist: James Abbott McNeill Whistler
The Model, Lying Down, c1864 (1904). Etching. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Tillie, a Model, 1873 (1904). Artist: James Abbott McNeill Whistler
Tillie, a Model, 1873 (1904). Etching. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Moreby Hall, c1883 (1904). Artist: James Abbott McNeill Whistler
Moreby Hall, c1883 (1904). Watercolour. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Maude, Seated, 19th century (1904). Artist: James Abbott McNeill Whistler
Maude, Seated, 19th century (1904). First state etching with full face. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Maude, Standing, 1873 (1904). Artist: James Abbott McNeill Whistler
Maude, Standing, 1873 (1904). Trial proof with light tippet. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Velvet Dress, 1873 (1904). Artist: James Abbott McNeill Whistler
The Velvet Dress, 1873 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Whistlers Mother, 19th century (1904). Artist: James Abbott McNeill Whistler
Whistlers Mother, 19th century (1904). Etching. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Model Resting, 19th century (1904). Artist: James Abbott McNeill Whistler
The Model Resting, 19th century (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Weary, 1863 (1904). Artist: James Abbott McNeill Whistler
Weary, 1863 (1904). Etching. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Amsterdam, 19th century (1904). Artist: James Abbott McNeill Whistler
Amsterdam, 19th century (1904). Early state etching, drawn from the Tolhuis restaurant. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Little Forge, c1860 (1904). Artist: James Abbott McNeill Whistler
The Little Forge, c1860 (1904). Etching. An early proof before a monogram. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Millbank, c1860 (1904). Artist: James Abbott McNeill Whistler
Millbank, c1860 (1904). Etching. A unique impression with the word not added. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Forge, c1860 (1904). Artist: James Abbott McNeill Whistler
The Forge, c1860 (1904). Etching Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Axenfeld, 1860 (1904). Artist: James Abbott McNeill Whistler
Axenfeld, 1860 (1904). Etching Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Rotherhithe, 1860 (1904). Artist: James Abbott McNeill Whistler
Rotherhithe, 1860 (1904). Etching. Rotherhithe was drarn from the balcony of the Angel Inn at Rotherhithe, looking northwest toward the City

Mr Mann, 1860 (1904). Artist: James Abbott McNeill Whistler
Mr Mann, 1860 (1904). Etching. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Under Old Battersea Bridge, 1879 (1904). Artist: James Abbott McNeill Whistler
Under Old Battersea Bridge, 1879 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Fumettes Bent Head, c1859 (1904). Artist: James Abbott McNeill Whistler
Fumettes Bent Head, c1859 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Miser, c1851 (1904). Artist: James Abbott McNeill Whistler
The Miser, c1851 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Fumette, Standing 1859 (1904). Artist: James Abbott McNeill Whistler
Fumette, Standing 1859 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Tyzac Whiteley and Co, 1859 (1904). Artist: James Abbott McNeill Whistler
Tyzac Whiteley and Co, 1859 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Whistler, 1859 (1904). Artist: James Abbott McNeill Whistler
Whistler, 1859 (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Limehouse, 19th century (1904). Artist: James Abbott McNeill Whistler
Limehouse, 19th century (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Thames Warehouse, 19th century (1904). Artist: James Abbott McNeill Whistler
Thames Warehouse, 19th century (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

A Bye Canal, Venice, 19th century, (1904). Artist: James Abbott McNeill Whistler
A Bye Canal, Venice, 19th century, (1904). From a pastel. Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

Street at Saverne, 19th century (1904). Artist: James Abbott McNeill Whistler
Street at Saverne, 19th century (1904). Plate taken from Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black (London, 1904)

The Wood, 19th century (1904). Artist: James Abbott McNeill Whistler
The Wood, 19th century (1904). Signed by J M Whistler and Seymour Haden and done in collaboration. Plate taken from Whistler As I Knew Him, by Mortimer Menpes

The Convalescent, 19th century, (1933). Artist: James Abbott McNeill Whistler
The Convalescent, 19th century, (1933). Illustration from the Apollo Volume XVIII, no 106, (October 1933)

Thomas Carlyle, (1923). Artist: Medici Society Ltd
Thomas Carlyle, (1923). Published in The Outline of Literature, by John Drinkwater, London, 1923

Savoy Pigeons, 1896, (1898). Artist: James Abbott McNeill Whistler
Savoy Pigeons, 1896. After a lithograph by James Abbott McNeill Whistler (1834-1903). From The Studio, Volume Eight [London Offices of the Studio V, London, 1898]

Homes of famous painters, London, 1926-1927. Artist: Whiffin
Homes of famous painters, London, 1926-1927. Houses inhabited by Whistler (top left), and Turner (top right), in Cheyne Walk

Thomas Carlyle, Scottish essayist, satirist, and historian, c1873. Artist: James Abbott McNeill Whistler
Thomas Carlyle, Scottish essayist, satirist, and historian, c1873. Portrait of Carlyle (1795-1881)

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James Abbott McNeill Whistler, a renowned American artist, left an indelible mark on the art world with his unique style and innovative approach. Born in 1834, Whistler's artistic journey took him from the bustling streets of London to the serene landscapes of America. Whistler's residence at 96 Cheyne Walk in Chelsea, London became a hub for creativity and inspiration. It was here that he created some of his most iconic works, including "Symphony in White, No. 1: The White Girl" in 1862. This masterpiece showcases Whistler's ability to capture ethereal beauty through delicate brushstrokes. Another notable artwork by Whistler is "Arrangement in Grey and Black: Portrait of the Artist's Mother, " painted in 1892. This portrait immortalizes his mother as she sits gracefully against a neutral background, emphasizing her dignified presence. Whistler's talent extended beyond traditional paintings; he also excelled at etchings and lithographs. One such example is "Whistler with the White Lock, " a captivating image captured by Thomas Robert Way that portrays Whistler himself with his signature white lock of hair. Throughout his career, Whistler explored various themes and subjects. From capturing everyday scenes like "The Fish Shop" depicting busy Chelsea life to more atmospheric pieces like "The Storm, " where nature takes center stage. Not limited to London alone, Whistler ventured into other areas such as Fulham (Chelsea), where he found inspiration for yet another remarkable piece titled simply "Fulham. " His ability to infuse ordinary scenes with depth and emotion made him stand out among his contemporaries. In addition to landscapes and cityscapes, portraiture played a significant role in Whistlers' repertoire. A prime example is the enigmatic painting titled "James McNeill Whistler Age 14.