James Abbott McNeill Whistler. 1834-1903.
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Family and Friends. 1857-1904.
Annie. 1857-58. Etching. Kennedy 10.v; Glasgow 7.vii. 4 5/8 x 3 1/8 (sheet 7 5/8 x 5 3/8). Glasgow records 53 impressions in museums. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on off-white laid paper with full marginsand a partial '6' countermark. Signed 'Whistler' lower left, titled 'Annie', center, and annotated 'Imp. Delâtre Rue St. Jacques. 171' in the plate lower right. $1,750.
Jo's Bent Head. 1861. Drypoint. Kennedy 78.ii; Glasgow 88.ii/iii. 9 x 5 7/8 (sheet 16 x 10). Glasgow records 25 known proofs. A rich impression with subtle tonal wiping, printed on cream laid paper. There was no published edition of this extremely rare etching. Unsigned. Housed in an archival French mat and a 17 1/2 x 14 1/2-inch gold frame. $12,500.
The Little Hat. 1887. Etching with touches of drypoint . Kennedy 335; Glasgow 366. 4 1/8 x 2 5/8. Printed in brownish ink on laid paper. Eight or nine impressions are known. This impression was unknown to Glasgow, and would be a 9th or 10th impression. Aside from this impression, only one might still be in private hands, as all other known impressions are in museum collections. Monogrammed in the plate, center right. Bearing a penciled circle in the margin at the bottom, indicating a selected proof. Housed in a Whistler-style champagne gold frame. Price upon request.
Seymour Haden, Jr, Seated. 1857-58. Etching. Kennedy 29.ii; Glasgow 9.iii. 5 5/16 x 3 3/4 (sheet 11 7/8 x 7 3/8). Glasgow records only 23 known impressions. A rich, tonal impression printed on cream laid paper with wide margins. Arthur Charles Haden, Whistler's nephew, would have been around six years old at the time this portrait was made. Unsigned. $1,500.
Seymour Standing Under a Tree. 1858-59. Etching. Kennedy 31.ii/iii; Glasgow 30.ii/iii. 5 3/16 x 3 3/4 (sheet 11 3/4 x 8). Glasgow records 28 known impressions. A fine impression printed on fine cream laid paper, with wide margins and deckle edges on 3 sides. Signed in the plate. $2,000.
Liverpool London and the Thames. 1859-1879.
J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52.iv; Glasgow 62.vi. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set), plate 8. Illustrated: Salaman, The Great Painter-Etchers from Rembrandt to Whistler, Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler; Guichard, British Etchers, 1850-1940. An extremely rich impression with plate tone, printed on cream laid paper with a fleur-de-lys watermark and a JHamp;Zoon (Chicago 321). Provanance: Howard G. Mansfield (1848-1938) to Harris F. Whittemore (1864-1939)(Lugt 1834a. Unsigned. $3,250.
Chelsea. 1879. Etching and drypoint. Kennedy 182.ii; Glasgow 61.iv/v. 5 1/4 x 8 1/8 (sheet 9 x 12 1/2. Glasgow lists 61 known impressions. A rich proof with plate tone printed on cream laid paper. Signed with the butterfly in the plate. $1,750.
Landscape with Horses. 1859. Etching and drypoint. Kennedy 36.ii; Glasgow 45.ii. 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8). Glasgow records 32 known impressions. A scarce early etching -- there was no published edition. A fine impression with atmospheric tonal wiping printed on AR[CHES] cream laid paper with full margins. A fine impression with atmospheric tonal wiping. Signed in the plate, lower center. $2,750.
Limehouse. 1859. Etching. Kennedy 40.iii; Glasgow 48.iii/vi(before the plate was cancelled). 5 x 7 7/8 (sheet 7 1/4 x 9 3/8. Glasgow records 81 known impressions. Issued as plate 12 in 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set).Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with drypoint burr printed on fine laid paper with a partial countermark and deckle edges on three sides. Signed and dated in the plate. $3,250
Price's Candle Factory. 1876-77. Drypoint. Kennedy 154.i/iv; Glasgow 166.i/xiii. 5 7/8 x 8 7/8 (sheet 7 3/4 x 12 1/4). There was no published edition of this rare image. Glasgow lists 19 other known impressions. Illustrated: Keppel, The Golden Age of Engraving, p.177. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper. Unidentified collector's seal verso. Signed with the butterfly and annotated 'imp' in the margin. An exceptionally rare image. Price upon request.
Rotherhithe (Originally published as Wapping). 1860. Etching and drypoint. Kennedy 66.iii; Glasgow 70.vi. Kennedy's third and Glasgow's sixth (final) state, with the diagonal lines across the arm and shoulder of the man in the center, with margins. 10 3/4 x 7 7/8 (sheet 12 3/4 x 9 1/4). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set) plate 5. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler; Guichard, British Etchers, 1850-1940. A rich impression printed on Japanese Gampi laid paper. Provenance: Francis Bullard (Lugt 982). Signed in pencil with the butterfly and inscribed 'imp" in pencil, lower left. $15,000.
Shipbuilder's Yard, Liverpool. 1875. Drypoint. Kennedy 146.iii; Glasgow 142.iv. 8 7/8 x 5 7/8 (sheet 12 1/4 x 7 3/4). There was no published edition of this rare image. Glasgow lists 22 other known impressions. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper countermarked 'PD'. Provenance: Howard Mansfield to Harris Whittemore to a family friend as a wedding gift in 1942. Annotated in an unknown hand '3HM' [Howard Mansfield] lower left margin and '1.(ut 25)'lower right margin and initialed 'OEX' verso. Monogrammed with the butterfly in the plate. Price upon request.
Thames Warehouses (from the Thames Tunnel Pier). 1859. Etching and drypoints. Kennedy 38.ii/ii; Glasgow 46.iv(corroded a)v. 3 x 8 (sheet 4 5/8 x 9 1/8). Issued as plate 1 of 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). Glasgow lists 63 known impressions. A rich impression printed on cream laid paper. Ex collection: Dr. Samuel Henry Nazeby Harrington, 1862-1937, with his seal recto and verso. (Lugt 1347). He was a medical doctor and author of The Engraved Work of Sir Francis Seymour Haden, An Illustrated and Descriptive Catalogue (1910). Signed and dated 'Whistler 1859' in the plate, lower right. $3,250.
The French Set and Paris. 1857-1891.
Bibi Valentin. 1859. Etching and drypoint. Kennedy 50.ii; Glasgow 34.ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. $2,250.
La Vieille aux Loques. (A Woman Sorting Rags). 1858. Etching and drypoint. Kennedy 21.ii; Glasgow 27.iii/iv (before the removal of Delâtre's namd and address). 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Series: "Douze eaux-fortes d'aprèè nature" (Twelve Etchings from Nature), the artist's first published set. Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. $2,250.
The Unsafe Tenement. 1858. Etching. Kennedy 17,iv; Glasgow 18.iv. 6 1/8 x 8 3/4 (sheet 8 1/4 x 10 3/8). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Salaman, The Great Painter Etchers from Rembrandt to Whistler. A very rich impression with plate tone printed in brown/black ink on fine laid paper with full margins. Signed in the plate. $2,250.
Venus. 1859. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. There was no published edition. A very rich impression printed in black ink on fine Japanese mulberry paper. Provenance: estate of Alvin B. Glaser Signed and dated in the plate. Housed in an archival French mat and an 11 1/2 x 14-inch gold leaf frame. $17,500.
Whistler visited London frequently from 1855 to 1858, mainly to see his half-sister Deborah, who had married the artist Francis Seymour Haden (1818-1910), and their family. These visits provided the subjects for more of his etchings from this time and prepared the way for his move to London in 1859.
This still-life study, which stands alone in Whistler's etched oeuvre, was made shortly after his return to London from Paris upon the completion of the French Set or Douze eaux-fortes d'après Nature. Whistler and his brother-in-law worked closely for several months during this time at the latter's house on Sloane Street, London, where Haden had installed his own etching press.
Italy: 1879-1880.
San Giorgio. 1880. Etching and drypoint. Kennedy 195.vi; Glasgow 201.v. State before cancellation. 8 1/8 x 11 7/8. Series: Second Venice Set 1886. Glasgow records 53 impressions. A fine, atmospheric proof late tone, printed in black/brown ink on antique laid paper. Provenance: Robert Light, 1971; R.E. Lewis; Bonhams. Monogrammed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. $15,000.
The Two Doorways. 80. Etching and drypoint. Kennedy 193.iv/v; Glasgow 221.vi/xiii. Plate 8 x 11 1/2 inches; 203 x 292 mm; (Sheet 8 7/8 x 12 1/2 inches; 225 x 318 mm.). From Venice, a Series of Twelve Etchings (First Venice Set) A rich impression with plate tone, printed on Japanese vellum. Provenance: Collection of Martin and Liane Atlas. Signed in the plate with the artist's butterfly signature to the left of the arch of the doorway; monogrammed with the butterfly and inscribed 'imp' in pencil by Whistler. Housed in a 15 1/8 x 18 5/8-inch gold leaf frame. $20,000.
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper with a Strasbourg Lily countermark (Chicago 284 or 285). Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. Housed in a 21 x 13 1/2-inch champagne gold wood frame. $10,000.
Brussels and the Netherlands. 1886-89.
The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in an archival French mat and a gold leaf period carved Celtic design frame. $3,000.
Palaces, Brussels. 1887. Etching and drypoint. Kennedy 361.i/ii; Glasgow 338.i/ii. Kennedy's and Glasgow's first state (of 2), before the additional work under the balcony at left. 8 7/8 x 5 7/8 (image and sheet). Brussels Set, #7. There was no published edition of this rare image. Glasgow lists 16 known impressions, 15 of which are in museums. An extremely rich impression with drypoint burr printed by Whistler on Pro Patria laid paper. Provenance: R.E. Lewis, Inc., Bonhams. Monogrammed with the butterfly in the plate, upper left; signed with the butterfly in pencil on the tab. Housed in an elaborate antique gold frame. Price upon application.
Lithographs
Family and Friends
The Doctor. 1895. Lithograph. Way 78; Levy 117; Tedeschi, Stratis and Spink 110. 8 1/2 x 6 (sheet 10 x 7 3/8). Edition of about 3,000 published in The Pageant, November, 1896. A fine impression printed on off-white glossy wove paper. Unsigned. $600.
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25 lifetime impressions plus a few proofs recorded by Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). A foxing spot, otherwise excellent condition.Printed on ivory laid paper from an antique volume, numbered 178 recto and 177 verso, lower right. A well-inked lifetime impression of this scarce print. Signed with the butterfly in the stone. Housed in an archival French mat and a dramatic 18 1/2 x 16 1/4-inch gold and black frame with a subtle gray lip. $6,500.
Unfinished Sketch of Lady Haden. 1895. Lithograph with scraping. Way 143; Levy 139; Tedeschi, Stratis and Spink 116.ii/iii. 11 13/16 x 7 7/8 (sheet 13 5/16 x 9 3/8). No published edition; Way listed 8 impressions. The stone was erased by 1905. An impression with strong contrasts printed on fine laid paper. Monogrammed with the butterfly in the stone. $3,500.
England
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 14 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. $6,500.
Chelsea Shops. 1888. Lithograph. Way 20, Levy 33, Tedeschi, Stratis and Spink 24.ii. 7 3/8 x 5 3/8 (sheet 10 x 7 7/8). Way lists 17 lifetime impression (Goulding printed 30 posthumous impressions 1904, after which the stone was erased). Printed on cream laid paper. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 406. Signed with the butterfly in the stone and in pencil. A fine impression of this very rare image. $7,500.
The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135.ii. 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream laid paper. Way lists 15 lifetime impressions (Goulding printed 30 proofs on April 11, 1904). Collector's seal verso: LDB (not in Lugt). Presumably one of the 15 lifetime impressions. Monogrammed with the butterfly above the awning in the stone. A good impression of this scarce image. $2,800.
Gaiety Stage Door. 1879 and 1887. Lithograph. Way 10, Levy 21, Tedeschi, Stratis and Spink 14.ii. 4 7/8 x 7 5/8 (13 1/16 x x 14 3/4). A fine impression on cream Japanese paper (large set), mounted onto white plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone and in pencil. $4,500. Another proof, monogrammed in the stone, $2,500.
Lindsey Row, Chelsea. 1888. Lithograph. Way 20; Levy 33; Tedeschi, Stratis and Spink 23. 5 x 8. Edition of 56 posthumous impressions printed by Goulding, in addition to the 14 lifetime impressions printed by Way. A fine impression printed on countermarked 'A.W.P.& A.O.L.' cream laid paper with full margins. Monogrammed with the butterfly, center right. Housed in a 14 x 17 1/2-inch period gold leaf frame. $3,250.
Little Doorway, Lyme Regis. 1895. Lithograph. Way 83, Levy 122, Tedeschi, Stratis and Spink 119. 9 x 6 (13 1/2 x 9 3/4). Edition of 15 lifetime impressions listed by Way Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). Printed on cream laid paper with a Strasbourg Lily/LVG with a IV countermark (Chicago 289), indicating a posthumous impression. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $3,750.
The Master Smith. 1895. Lithograph. Way 84; Levy 123; Tedeschi, Stratis and Spink 120.i/ii. 4 1/2 x 5 1/2 (sheet 76 x 5 3/8). Only 15 lifetime impressions (in 2 states) listed by Way; Goulding printed 38 impressions on 14 December, 1903. The stone was erased in 1903. Printed on cream wove proofing paper. Monogrammed with the butterfly in the stone. A fine impression of this rare lithograph. $5,000.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 11 1/4 x 8 3/4). Printed on smooth ivory wove paper. As published in the December 27, 1890 edition of The Whirlwind. The printed text has been trimmed off, and pencil annotations in the margin added by another hand. Monogrammed with the butterfly in the stone, just above the sign saying 'Maunder'. $2,500.
The Russian Schube. 1896. Lithograph. Way 112, Levy 160, Chicago 142.ii. 1896. Lithograph on laid paper. 7 x 5 1/2 (sheet 11 11/16) x 8). Way lists 15 impressions in 2 states. Provenance: the collector's seal of Otto Gerstenberg (Lugt 2785). Monogrammed in the stone, center right; signed in pencil with the butterfly in the lower margin. The stone was erased November 4, 1903. Housed in a spectacular 18 x 15 1/2 gold leaf frame. A fine impression of this extremely scarce image. $7,500.
The Sunny Smithy. 1895. Lithograph. Way 85; Levy 130; Tedeschi, Stratis and Spink 121. 5 1/2 x 8 (sheet 9 1/16 x 12 5/16). Only 4 impressions listed by Way. Printed on Japanese vellum. Monogrammed with the butterfly in the stone in the center of the anvil. A fine impression of this extremely rare lithograph. $7,500.
The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is frequent. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. According to Way, 'it is doubtful if half a dozen copies exist beyond the twelve proofs on mounted Japanese paper. A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Illustrated: Print Collector's Quarterly 3(1913: 279. Signed with the butterfly in the stone. $10,000.
Victoria Club. 1879 and 1887. Lithograph. Way 11.ii; Levy 22; Tedeschi, Stratis and Spink 15.ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A rich impression printed on greyish ivory proofing paper mounted on ivory plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone. Housed in an elegant 20 x 17-inch beaded silver frame. $2,750.
France
La Fruitière de la Rue de Grenelle (The Fruitseller in Grenelle Street). 1894. Lithograph. Way 56, Levy 87, Stratis, Spink and Tedeschi 106. 9 x 6 (sheet 11 1/4 x 8 3/4). Way lists 33 impressions; Goulding printed 31 posthumousimpressions on October 15, 1903. A good impression printed in black ink on white machinemade wove paper. Fair condition -- horizontal center fold, a small 1/4-inch stain in the lower right, outside the image. Monogrammed with the butterfly on the awning. Housed in a 21 3/4 x 19 3/4-inch gold Whistler-style frame. A charming presentation of this scarce Whistler lithograph. $2,000.
Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). Illustrated: Print Collector's Quarterly 3(1913: 298. A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame. $5,000.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.iii/iii. 11 7/8 x 7 1/2 (sheet 14 1/4 x 9 3/4). Edition 34 in three states (additionally, Goulding printed 45 posthumous impressions in 1904. A fine lifetime impression printed on off-white laid paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. $3,000.
The Whitesmiths, Impasse des Carmélites. 1894. Transfer lithograph with stumping. Way 53, Levy 84, Tedeschi, Stratis and Spink 92. iii. 8 5/8 x 6 3/8 (sheet 11 x 7 7/8). Way listed 28 lifetime proofs (Goulding printed 40 posthumous impressions on December 11, 1903). Printed on fine ivory laid paper. Signed with the butterfly in the stone and in pencil. $6,500.
Whistleriana.
Henri Guérard. 1846-1897
( after James Abbott McNeill Whistler 1834- 1903).
Le Comte Robert de Montesquiou-Fezensac. c. 1894. Etching with drypoint and roulette. 9 1/8 x 4 1/4 (10 1/2 x 7 1/8). As published in the Gazette des Beaux-Arts in 1903. A fine impression printed by Porcabeuf on cream laid paper. Signed in the plate. $175.
Paul César Helleu. 1859-1927.
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were only 28 impressions before the plate was cancelled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $2,500.
William Brassey Hole, R.S.A., R.S.W., R.E. 1846-1917.
(after James Abbott McNeill Whistler. 1834-1903)
Whistler in Painting Jacket. (after the painting by Whistler. Gallatin 4). 1897. Photogravure. Gallatin 137. 9 7/8 x 7 1/4 (sheet 12 1/4 x 8 15/16). Published by Virtue & Co. Ltd (publishers of The Art Journal). Titled in the plate, below the image. $190.
Thomas Robert Way. 1861-1913.
J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $2,500
Please click on the link to the Glasgow online catalogue raisonné James McNeill Whistler: The Etchings A Catalogue Raisonné.
One of the most significant figures in American art and a forerunner of the Post-Impressionist movement, James Whistler is celebrated for his innovative painting style and eccentric personality. He was bold and self-assured, and quickly developed a reputation for his verbal and legal retaliations against art critics, dealers, and artists who insulted his work. His paintings, etchings, lithographs and pastels epitomize the modern penchant for creating "art for art's sake," an axiom celebrated by Whistler and others in the Aesthetic movement. They also represent one of the earliest shifts from traditional representational art to abstraction that is at the heart of much of modern art. Whistler was a serious and innovative printmaker, producing some 450 etchings and about 180 lithographs. His imagery and the technical means that he developed for etching and for printing plates influenced not only his fellow printmakers in Europe and America but also many others who followed.
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