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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41. Joseph Pennell (1858-1926) Butcher's Row, Whitechapel |
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(click on image to print)
Butcher's Row, Whitechapel
Etching, 1904, 208 x 262 mm., Wuerth 302 only state, edition 35.
A fine impression in brown ink on old, brown wove paper with margins, signed in pencil; a little dirt and a few knicks at the sheet edges, quite possibly there before printing. The image is a Whistlerian-style panel of store and house facades, with strollers on the sidewalk. Pennell's relations with Whistler were extensive from about 1893, though he had met him briefly much earlier. He idolized him as both man and artist, wrote extensively and ethusiastically about him, helped Whistler to bite his plates and unashamedly aped his style in his own prints. In short, Pennell really wanted to be Whistler - but the position was already taken. Pennell's output was enormous and uneven. Perhaps he was at his best when he either most imitated his idol or momentarily forgot all about him.
