Whistler, His Followers and His Brother-In-Law
The Artistic Circle and the Artists Influenced by Him
The Artistic Circle and the Artists Influenced by Him
- Whistler, La Vieille aux Loques
- Whistler, The Rag Gatherers
- Whistler, The Music Room
- Whistler, Drouet
- Whistler, Old Hungerford Bridge
- Whistler, Tatting
- Whistler, Old Putney Bridge
- Whistler, San Giorgio
- Whistler, The Bridge, Venice
- Whistler, Alderney Street
- Whistler, Regent's Quadrant
- Whistler, The Tyresmith
- Whistler, Grand Rue, Dieppe
- Whistler, Clockmaker's House
- Whistler, The Smith
- Whistler, Back of the Gaiety
- Haden, Mytton Hall
- Haden, A Water Meadow
- Haden, Shere Mill Pond
- Haden, Sunset in Ireland
- Haden, The Breaking Up of the Agamemnon
- Keene, Portrait Mrs. Heseltine
- Greaves, Portrait of a Woman
- Roussel, Chelsea Palaces
- Roussel, Chelsea Children
- Roussel, Portrait Miss Austin
- Roussel, A Study by Lamplight
- Roussel, House in Green Park
- Way, Sailing Ship
- Sickert, Mother and Daughter
- Sickert, Mon Bon Dodo
- Winslow, Boat-Building Yards
- Addams, Little Market Place
- Anderson, Market Passage
- Bacher, Castello Quarter, Riva
- Menpes, Little Bridge, Amsterdam
- Menpes, Old Wooden House
- Short, George's Dock
- Weir, Coon Alley
- Hassam, The Little Church
- Pennell, Butcher's Row
- Pennell, St. Paul's
- Pennell, London Bridge
- Pennell, Tyburn
- Marin, Meaux Cathedral
- Marin, Market Place
- McBey, Antwerp
- McBey, The Silk Dress
- Leheutre, La Rochelle
- Leheutre, La Passerelle
- Jones, Workshop
- Winkler, Clay Street Hill
- Winkler, Low Tide
- Winkler, La Marchande Endormie
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12. James Abbott McNeill Whistler (1834-1903) The Tyresmith |
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(click on image to print)
The Tyresmith
Lithograph, 1890, 170 x 180 mm., Way 27; Levy 41; Spink/Chicago Art Institute 36.
Fine impression on smooth wove paper with full margins and the legend at the top of the sheet, as published in The Whirlwind 2, No. 20, November 15, 1890 in an edition of 500 to 1000. There were only 8 impressions printed by Way prior to the published edition. Goulding printed a posthumous edition of 51 in 1904. Artists generally do not own lithographic presses and their original lithographs are printed by printing houses that do, so some of the distinctions between artist-printed and commercially-printed impressions, so important with etchings, disappear with lithographs. Most of Whistler's lithographs were printed by Thomas Way, who was exceedingly sensitive to Whistler's needs and innovations. That said, the edition here was prepared by Way (from a second stone) and printed by machine rather than by hand, and the differences between hand printing and machine printing are small but apparent.
