James 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 McNeill Whistler was a renowned American artist who made a significant impact on the art world during the late 19th and early 20th centuries. Born in 1834, Whistler's artistic talent became evident at an early age. At just fourteen years old, he already displayed his artistic prowess in a portrait of himself created by an unknown artist. Throughout his career, Whistler produced numerous remarkable works that showcased his versatility and creativity. One such masterpiece is "Symphony in White, No. 1: The White Girl, " painted in 1862. This iconic piece captures the ethereal beauty of a young woman dressed entirely in white. Whistler's ability to capture subtle nuances is also evident in "Arrangement in Grey and Black: Portrait of the Artist's Mother" from 1892. This painting depicts his mother sitting serenely against a muted background, showcasing her grace and dignity. The artist's love for London is apparent through various paintings depicting scenes from different parts of the city. "Early Morning, Battersea (Battersea Dawn) (Cadogan Pier)" portrays the tranquil beauty of dawn along the river Thames while "Little Wapping (The Little Rotherhithe)" showcases Whistler's mastery over capturing atmospheric effects. Whistler was not only known for his paintings but also for his etchings and lithographs. His attention to detail can be seen in pieces like "Whistler with the White Lock, " where every line seems purposefully placed to convey depth and texture. In addition to being an accomplished artist, Whistler had a deep appreciation for music which often influenced his work as seen in "United States Military Academy: Song of the Graduates. " This print highlights both his artistic skill and passion for music. Whistlers' legacy lives on today through these captivating artworks that continue to inspire generations of artists worldwide.