Viewing page 134 of 442


Etchings - Continued from page 131:

S. I. 580.         Concerning the Etchings of J. McNeill Whistler. Introduction by Joseph Pennell. Frederick Keppel & Co., New York. 
1 paper-covered copy, illustrated. 

S. I. 611/614.     A Descriptive Catalogue of the Etchings and Dry-points of James Abbott McNeill Whistler. By Howard Mansfield. Published by The Caxton Club, Chicago, 1909 
4 copies, bound in paper and cloth.

S. I. 629.         The Great Painter-Etchers from Rembrandt to Whistler. By Malcolm C. Salaman. Published by "The Studio," Ltd. London - Paris, - New York, 1914. 1 copy bound in paper and cloth, illustrated.

S. I. 630.         The Etched Work of Whistler. Compiled, arranged and described by E. G. Kennedy. Introduction by Royal Cortissoz. Published by Grolier Club, New York, 1910. 
1 copy bound in paper and cloth. 
(3 portfolio of reproductions in Blue Room Vault.)

S. I. 641.         Whistler's Etchings. Impression of 57 plates printed by the Fine Arts Society, Ltd.

S. I. 666          American Etchers. [[underline]]By Frederick Keppel & Co., 1886[[\underline]]
1 paper-covered copy.

S. I. 667.         The Modern Disciples of Rembrandt, and What Etchings Are. [[underline]]By Frederick Keppel[[\underline]] 
1 paper-covered copy.

S. I. 910.         International Society of Sculptures, Painters and Gravers Exhibition 1905. pp. 22, etc. 
1 paper-covered copy.

S. I. 915.         Charles Meryon A Collection of Etchings and Drawings. 
By Edward Duff Balkan.

S. I. 3119.        J. Harson Purdy Print Collection. New York 1917.

S. I. 1036         Etchings of James McNeill Whistler [[underline]]By Campbell Dodgson[[\underline]] Published by The Studio Magazine, London, 1922.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact