A few examples of appraisal values for
WHISTLER

• JAMES A. MCNEILL WHISTLER, THAMES WAREHOUSESJames
  JAMES A. MCNEILL WHISTLER, THAMES WAREHOUSESJames A. McNeill Whistler(American, 1834-1903)Thames Warehouses and The Pool, 1859 (2)etching with drypoint on japan laid paperlot includes two etchings from the seriesSixteen Etchings of Scenes on th
• JOEL WITKIN, ANNUNCIATION OF WHISTLERS
  JOEL WITKIN, ANNUNCIATION OF WHISTLERS MADAME XJoel Peter Witkin (American, b. 1939)The Annunciation of "Whistler's Madame X", and one other.gelatin silver printlot includes two photographs: 1. titled, dated, and signed The Annunciation
• FOLLOWER OF JAMES ABBOT MCNEILL WHISTLER
  FOLLOWER OF JAMES ABBOT MCNEILL WHISTLER Venetian doorway with bead stringers inscribed (to backing card) watercolour 25 x 21cm (unframed)
• LE SIFFLEUR PATINATED SPELTER OF A YOUNG
  LE SIFFLEUR PATINATED SPELTER OF A YOUNG BOY, 16 1/2"TLe Siffleur (The Whistler) Patinated Spelter of a young boy. Fine condition.
• JAMES MCNEILL WHISTLER, "THAMES WAREHOUSES"
  JAMES MCNEILL WHISTLER, "THAMES WAREHOUSES" ENGRAVINGJames McNeill Whistler, "Thames Warehouses" engraving. Not examined out of frame. Plate size measures appx 3" x 7 7/8", and 11 1/2" x 13 1/4" in frame.
• R.H. RUSSELL, EDEN VERSUS WHISTLER,
  R.H. RUSSELL, EDEN VERSUS WHISTLER, PRINTED 1899 Eden Versus Whistler: The Baronet and the Butterfly by Robert Howard Russell. Published 1899 by the author. Gorgeously bound in red leather with gilt decoration on the front and spine. Gilt titling on the spine as well. This was a limited edition book. 4to. 79pp.
• JAMES A. MCNEILL WHISTLER. THREE LITHOGRAPHS
  JAMES A. MCNEILL WHISTLER. THREE LITHOGRAPHS (American, 1834-1903). 1.) ?Nursemaids: Les Bonnes des Luxembourg,? lithograph, butterfly mark lr, sight size: 9 x 7 in., framed size: 15 1/2 x 12 3/4 in. 2.) ?Gants de Suede,? lithograph, butterfly mark lr, sight size: 10 x 6 in., framed size: 16 1/4 x 11 3/4 x 1/2 in. 3.) ?La Robe Rouge," lithograph, butterfly mark cl, sight size: 9 3/4 x 7 in., framed size: 17 1/4 x 14 inches.
• JAMES ABBOTT MCNEILL WHISTLER (1834-1903):
  JAMES ABBOTT MCNEILL WHISTLER (1834-1903): ANNIE HADEN, SEATEDEtching in black on laid paper, with label from Frederick Keppel & Co., NY. 7 x 5 1/2 in. (sheet), 13 x 11 in. (frame). Condition With full margins. In very good condition. Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• James McNeill Whistler (British, 1834-1903)
  James McNeill Whistler (British, 1834-1903) etching "Hurlingham" etching on paper, unsigned, certificate on back from Associated American Artists, 5-3/8" x 7-3/4" plate, framed 14-3/4" x 18-3/4", very good condition, not inspected out of frame
• James Abbott McNeil Whistler (1834-1903,
  James Abbott McNeil Whistler (1834-1903, MA/UK/FR) framed and matted etching titled "St. James Street, June 1878" with Newman's Gallery, Philadelphia label. 12" x 6.25" ss / 22.5" x 16" oa Condition: Minor foxing, not examined out of frame.
• JAMES MCNEILL WHISTLER, "HURLINGHAM,"
  JAMES MCNEILL WHISTLER, "HURLINGHAM," 1879, ETCHING AND DRYPOINT IN BLACK INK ON IVORY LAID PAPER, PLATE: 5.375" H X 7.875" W; SIGHT: 6.5" H X 8.5" WJames McNeill Whistler, (1834-1903) "Hurlingham," 1879, Etching and drypoint in black ink on ivory laid paper, watermark 1814 Edition: Glasgow lists a total of 49 known impressions in all states Fourth (final) state, with the horizontal drypoint lines added to the building second from the left Signed with the printed butterfly in the plate at lower left Etching and drypoint in black ink on ivory laid paper, watermark 1814 Dimensions: Plate: 5.375" H x 7.875" W; Sheet: 8.5" H x 10.75" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above
• JAMES MCNEILL WHISTLER (1834-1903),
  JAMES MCNEILL WHISTLER (1834-1903), "SOUPE A TROIS SOUS," 1859, ETCHING IN BLACK INK ON IVORY PAPER, PLATE/SIGHT: 5.625" H X 8.875" WJames McNeill Whistler, (1834-1903) "Soupe a trois sous," 1859, Etching in black ink laid Japan paper Edition: Only state; Glasgow lists a total of 56 known impressions With the printed signature in the plate at upper center: Whistler Etching in black ink laid Japan paper Dimensions: Plate: 5.625" H x 8.875" W; Sheet: 7.75" H x 10.5" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above
• CADWALLADER LINCOLN WASHBURN (1866-1965),
  CADWALLADER LINCOLN WASHBURN (1866-1965), FRED DAVIS'S GARDEN IN CUERNAVACA, OIL ON CANVAS, 25.5" H X 26" WCadwallader Lincoln Washburn, (1866-1965) Fred Davis's garden in Cuernavaca, Oil on canvas Signed lower right: Cadwallader Lincoln Washburn Oil on canvas Dimensions: 25.5" H x 26" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Other notes: Cadwallader Lincoln Washburn was known as "the silent artist" and was quoted as saying "deafness may sometimes be an inconvenience but never a handicap". Primarily known for his mastery of "capturing the spirit of the subject" in his more than 900 drypoint etchings and numerous paintings, he had an incredibly varied life and career as not only an artist but a journalist and enthusiastic naturalist. Washburn lost his hearing at age five and attended Gallaudet College in Washington, DC, an institution for the hearing impaired, where he earned a Bachelor of Arts degree in 1890. While he originally planned to study natural science and entomology, enlivening his essays with illustrations of spiders, bees, and caterpillars, he discovered a love for drawing at Gallaudet. He went on to study architecture at MIT, and even though he considered this choice a compromise, he won a First Award in Design. Still favoring a more artistic path, Washburn later studied art with William Merritt Chase in New York and traveled to Europe along with Chase and other students, studying with Albert Besnard in Paris and with Joaquín Sorolla in Madrid. During this trip, Washburn became interested in etchings, likely inspired by some of Whistler's etchings seen in Venice, and through trial and error, taught himself and created his first drypoint etching in Paris in 1903. He exhibited regularly at the start of the twentieth century in both Europe and the USA. As he mastered the art of etching, he also became a war correspondent, along with his brother, for the "Chicago Daily News," covering the Russian Japanese War of 1904-05. Washburn later traveled to Mexico in 1910 to study architecture and Mexican culture, and while there, covered the Madera Revolution in Mexico from 1910-12. After spending his winters in Mexico, Washburn moved to California, where he exhibited 50 prints at the Panama Pacific International Exposition in San Francisco in 1915, and won a gold medal. By 1937, failing eyesight forced Washburn to give up etching. Undaunted, he returned to oils and produced some beautiful paintings, marked by a fluid, brushy technique and with an emphasis on light and atmosphere. Washburn married in 1943 and settled in Maine. He returned to studying insects, arguing for the intelligence and communication skills of spiders, bees, and caterpillars. His essay entitled "The Mind of a Spider" became required reading in the 1940s in the Washington D.C. public schools! The last part of his life was spent in Maine, where he died on December 21, 1965 at age 99. "His incredibly varied experiences gave his work an authenticity and universality seldom matched by any modern artist. However great he was as an artist, and he was truly great, he remains most fascinating as a man." References: The Annex Galleries, Santa Rosa, CA Frank G Bowe, Jr. "The Incredible Story of Cadwallader Washburn," "The Deaf American," 23, no. 3 (1970): 3-5.
• AFTER JAMES ABBOTT MCNEILL WHISTLERAfter
  AFTER JAMES ABBOTT MCNEILL WHISTLERAfter James Abbott McNeill Whistler, Annie Seated etching, 5 1/2" x 4 1/4", frame - 20 1/4" x 13 1/4". Provenance: Estate of Edwin C. Bramble. Competitive in-house shipping is available for this lot. Condition: Not examined out of frame.
• JAMES ABBOTT MCNEILL WHISTLER(Massachusetts/England,
  JAMES ABBOTT MCNEILL WHISTLER(Massachusetts/England, 1834-1903) The Adam and Eve, Old Chelsea, 1879, state II/II, signed in plate in sky at left over tower faintly with butterfly cypher, inscribed verso in ink "154", etching, Chine colle on laid paper, plate 6-7/8 x 11-7/8 in., sheet 11-3/8 x 17-1/8 in.; gilt frame, 14 x 18-3/4 x 5/8 in. Provenance: Evelyn Elizabeth Radeker; by descent in family Literature: Kennedy, Edward G., The Etched Work of Whistler . San Francisco: Alan Wolfsy, 1978, no. 175, ill. Condition: full margins, hinged in, 5/8 in. tear in right margin, some foxing and toning, stain upper right, ink and pencil inscriptions verso; frame with abrasions
• WHISTLER "WAPPING (THE TINY POOL)" ETCHING
  WHISTLER "WAPPING (THE TINY POOL)" ETCHING James A. McNeill Whistler (American, 1835 - 1903), "Wapping (The Tiny Pool)," etching, signed in plate, posthumous impression from the Keppel Estate, certificate of authenticity from Art Dealers Association of America affixed to frame reverse. Image: 4.75" H x 3.5" W; frame: 15.5" H x 13.5" W.
• WHISTLER "OLD HUNGERFORD BRIDGE" ETCHING
  WHISTLER "OLD HUNGERFORD BRIDGE" ETCHING ON PAPER James Abbott McNeill Whistler (American, 1834-1903), etching and drypoint, circa 1871, "Old Hungerford Bridge" (Kennedy 76), the sixth of sixteen etchings from the "Thames Set," signed in plate lower right, bearing Arthur H. Harlow & Co. (New York City) label on reverse. Image: 6" H x 9.25" W; frame: 12" H x 15" W.
• J.M. WHISTLER, COLOR LITHOGRAPH, C.
  J.M. WHISTLER, COLOR LITHOGRAPH, C. 1910 James McNeill Whistler (American/British, 1834-1903), "Nocturne in Blue and Gold: Old Battersea Bridge", Franz Hanfstaengl blindstamp and copyright mark, matted and framed without glass, 14.75"h x 11.25"w (image), 22"h x 18"w (frame)
• JAMES A.M. WHISTLER, THAMES SET ETCHING
  JAMES A.M. WHISTLER, THAMES SET ETCHING #13, 1859 James Abbott McNeill Whistler (American, 1834-1903), "Thames Warehouse" (Kennedy 38), thirteenth of sixteen etchings from the Thames Set, on cream laid paper, signed and dated lower right, likely second state of two, De Erven D. Blauw (DEDB) watermark, published by Ellis and Green, London, 1871, matted and unframed, 3"h x 8"w (plate), 4"h x 9"w (sheet)
• JAMES MCNEILL WHISTLER ETCHING, 'BILLINGSGATE'Framed
  JAMES MCNEILL WHISTLER ETCHING, 'BILLINGSGATE'Framed drypoint etching on paper, "Billingsgate," signed in plate Whistler (James Abbott McNeill Whistler, United States, 1834-1903), dated in plate 1859, from the Vincent Price collection for Sears Roebuck, sight: approx 6 3/8"h, 9 1/8"w, overall: approx 15"h, 20"w, 3.25lbs
• JAMES ABBOTT MCNEILL WHISTLER (AMERICAN,
  JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834 -1903). Lithotint. "Nocturne: The River at Battersea". 1887. Signed with butterfly lower center. From the edition of 100. Pace Prints label affixed verso. Way 5; Levy 10. From an Upper East Side, NYC collection. Dimensions: Sight: 8" high x 11.5" wide Condition: Good. Framed behind glass, not examined out of frame.
• JAMES ABBOTT MCNEILL WHISTLER (AMERICAN,
  JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834 -1903). Etching and drypoint on laid paper. "Bead-Stringers". 1879-1880. Signed in pencil with butterfly on tab. Charles Dowdeswell collector's monogram verso. Pace Prints label affixed to verso of frame. From an Upper East Side, NYC collection. Dimensions: 9" high x 6" wide Condition: Framed behind glass, not examined out of frame. Toning concordant with age.
• JAMES ABBOTT MCNEILL WHISTLER (1834-1903):
  JAMES ABBOTT MCNEILL WHISTLER (1834-1903): WHISTLER WITH THE WHITE LOCKEtching in black on laid paper, 1876-79. 8 1/4 x 5 in. (sheet), 11 1/2 x 9 1/2 in. (frame). Literature: Kennedy 172. Property from the Estate of Ernest Kafka Condition With wide margins. Pale staining. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
• JAMES ABBOTT MCNEILL WHISTLER (1834-1903):
  JAMES ABBOTT MCNEILL WHISTLER (1834-1903): THE SHOEMAKERLithograph in black on laid paper, 1896, only state, indistinctly inscribed at bottom. 8 1/8 x 14 in. (sheet), 18 1/2 x 19 1/4 in. (frame). Literature: Wey 151; Levy 129. Property from the Estate of Ernest Kafka Condition With margins. Sheet taped to the overmat with white tape at places on the reverse. A few tiny losses along the left sheet edge. Staining on the reverse.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
• JAMES ABBOTT MCNEILL WHISTLER (1834-1903):
  JAMES ABBOTT MCNEILL WHISTLER (1834-1903): DROUET SCULPTEURDrypoint in black on tisse thin paper, 1859. 11 x 8 in. (sheet), 21 x 17 in. (frame). Property from the Estate of Ernest Kafka Condition With margins. Pale staining. Creases at the sheet corners.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
• JAMES ABBOTT MCNEILL WHISTLER (1834-1903):
  JAMES ABBOTT MCNEILL WHISTLER (1834-1903): FIRELIGHT; GANTS DE SUEDE; AND LA MERE MALADEThree lithographs in black on laid, wove and Chine paper respectively, 1896, 1980 and 1897Â . 14 x 9 1/2 in. (sheet), 15 x 12 1/4 in. (frame), 11 x 7 1/2 in. (sheet), 19 1/2 x 15 in. (frame), 14 x 9 1/2 in. (sheet), 16 3/4 x 11 1/2 in. (frame). Property from the Estate of Ernest Kafka Condition All with margins and staining. Firelight with a tera at the right sheet edge. Gants de Suede with a small loss lower right sheet corner. La mere malade with a pressure dent at bottom.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
• JAMES ABBOTT MCNEIL WHISTLER (AMERICAN,
  JAMES ABBOTT MCNEIL WHISTLER (AMERICAN, 1834-1903) . Etching. "Annie". Vincent Price Collection label affixed verso. From a Queens, NY collection. Dimensions: 5.5" high x 4.5" wide Condition: Framed behind glass, not examined out of frame. Spotting. Buckling. Staining.
• VINTAGE GERMAN CARVED AND PAINTED FIGURAL
  VINTAGE GERMAN CARVED AND PAINTED FIGURAL WHISTLER MUSIC BOX Mid 20th century, carved and painted wood, when operating the head turns, the lamp turns on and he whistles a tune, marked on the back and signed Ken D., with key.
• TWO FRAMED WHISTLER LITHOGRAPHS James
  TWO FRAMED WHISTLER LITHOGRAPHS James Abbott McNeill Whistler (English / American, 1834-1903), two lithographs comprising 'The Smith's Yard', lithograph, depicting horses and two figures, having a publisher's embossed mark to lower right, apparently unsigned, framed and 'The Long Gallery at the Louvre', lithograph, depicting an interior scene of several visitors to the long gallery at the Louvre, apparently unsigned, stamped lower right in plate, framed. Approximate dimensions: Long Gallery: sight h. 8.375", w. 6.125"; frame h. 13.875", w. 11.625", d. 1.125" (to hardware). Yard: sight h. 10", w. 7"; frame h. 15.75", w. 12.75", d. 0.685"
• ATTRIBUTED TO RALPH ALBERT BLAKELOCK
  ATTRIBUTED TO RALPH ALBERT BLAKELOCK (NEW YORK/CALIFORNIA, 1847-1919), EVENING LANDSCAPE STUDY., OIL ON CANVAS LAID DOWN ON PANEL, 4" X 5". FRAMED 8.5" X 9.5".ATTRIBUTED TO RALPH ALBERT BLAKELOCK, New York/California, 1847-1919, Evening landscape study. Unsigned. Label verso for Clarke's Art Rooms, New York. Housed in a Whistler-style frame. Dimensions: Oil on canvas laid down on panel, 4" x 5". Framed 8.5" x 9.5".
• DEWITT WHISTLER JAYNE PASTEL ON PAPERDEWITT
  DEWITT WHISTLER JAYNE PASTEL ON PAPERDEWITT WHISTLER JAYNE (USA, b.1911) pastel on paper, tall ship in moonlight with palm trees. Signed lower right, 16.5" x 22.5" (image), 26" x 31" (frame).
• JAMES ABBOTT MCNEILL WHISTLER, (AMERICAN,
  JAMES ABBOTT MCNEILL WHISTLER, (AMERICAN, 1834-1903), THE ADAM AND EVE, OLD CHELSEA, 1878, ETCHING AND DRYPOINT, SHEET: 9 X 15 IN., FRAME: 14 1/2 X 19 1/4 IN.JAMES ABBOTT MCNEILL WHISTLER, (American, 1834-1903) The Adam and Eve, Old Chelsea, 1878, etching and drypoint 1878, etching and drypoint Dimensions: sheet: 9 x 15 in., frame: 14 1/2 x 19 1/4 in. Provenance: The Collection of a Massachusetts Lady. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• JAMES ABBOTT MCNEILL WHISTLER, (AMERICAN,
  JAMES ABBOTT MCNEILL WHISTLER, (AMERICAN, 1834-1903), RUE FURSTENBURG, 1894, LITHOGRAPH ON WOVE PAPER, SHEET: 11 1/4 X 8 3/4 IN., FRAME: 18 1/2 X 15 1/2 IN.JAMES ABBOTT MCNEILL WHISTLER, (American, 1834-1903) Rue Furstenburg, 1894, lithograph on wove paper signed in pencil with butterfly monogram, lower left 1894, lithograph on wove paper Dimensions: sheet: 11 1/4 x 8 3/4 in., frame: 18 1/2 x 15 1/2 in. Provenance: Sotheby's New York, November 13, 1980, Lot 795A; The Collection of a Massachusetts Lady. Condition: Some discoloration from old tape at left edges, faint toning Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• JAMES ABBOTT MCNEILL WHISTLER (MASSACHUSETTS/ENGLAND/FRANCE,
  JAMES ABBOTT MCNEILL WHISTLER (MASSACHUSETTS/ENGLAND/FRANCE, 1834-1903), "ST. JAMES STREET", 1878., LITHOGRAPHIC TRANSFER IN SEPIA INK PRINTED ON LAID PAPER, SHEET 12" X 7.5". FRAMED 17.25" X 11.75".JAMES ABBOTT MCNEILL WHISTLER, Massachusetts/England/France, 1834-1903, "St. James Street", 1878. Published by Vanity Fair, London. Dimensions: Lithographic transfer in sepia ink printed on laid paper, sheet 12" x 7.5". Framed 17.25" x 11.75". Provenance: William Weston Gallery Ltd., with a copy of the original 1976 sales invoice.
• GOLDENEYE HENEvans Duck Decoy Co. (1921-1932) Ladysmith,
  GOLDENEYE HENEvans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1925 15 in. long The Evans book goes in depth on the mysteries of what is called a goldeneye hen. Indeed, there are no known Evans drake whistlers. This decoy bears a bolt as a weight on the underside. Original paint with heavy gunning wear and a re-glued neck. Provenance: Terry Smart Collection Literature: Exhibited: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, "Evans Duck Decoy Factory: Collection of Terry Smart," 2021-2023.
• An unsigned early 20th C. oil on canvas,
  An unsigned early 20th C. oil on canvas, misty cityscape (likely New York), under glass in a Whistler style frame. Image 16" x 12" Frame 24" x 20" Condition: craquelure throughout, focused in sky area CT Transfer Fee $20