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
Castello Quarter, Riva
Etching and drypoint, ca. 1881, 219 x 344 mm., Andrew, Venetian Series 12.
Fine impression on india-appliqué with large margins, signed in pencil. Probably no one was closer to Whistler in Venice than the Cleveland-born Otto Bacher, who went to Venice as one of "Duveneck's boys," but memorialized his experience in a book titled With Whistler in Venice. Not only did Whistler take an interest in the younger man's work, and at least occasionally refer to him as his student, but he used Bacher's press to proof his own Venetian plates. Bacher himself was adulatory, and reviews of the time, in praising Bacher's etchings, likened them to Whistler's. One wonders what they used for eyes. Bacher's images are very like Duveneck's (which were also sometimes confused with Whistler's) and certainly one thing neither of them ever learned was Whistler's knowledge of how and what to leave out. Castello is one of the largest and best of Bacher's Venetian set; pencil signed impressions are not often seen on the market.