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Results for credit_line:"Bequest of Margaret Watson Parker"

650 UMMA Objects (page 1/55)
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Seen from an elevated vantage point, a quay in the foreground with boats anchored nearby and figures talking is balanced in the upper part of the image by a view of buildings along the canals, gondolas, shipping and, just left of center, a large domed church.
James Abbott McNeill Whistler (American (North American))
Upright Venice, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.388
A brick and stone bridge crosses a canal at the center of the image. On both sides as well as behind the bridge are tall buildings that surround the bridge, creating shallow space. Several figures stand and sit on the bridge.
James Abbott McNeill Whistler (American (North American))
Ponte del Piovan, One of the "Twenty-six Etchings," or the "Second Venice Set"
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.390
This image shows structures and their reflections in the water, drawn largely through clusters of vertical lines. To the right in the distance are the masts of ships; at the right center is a small boat. More sketchily rendered are buildings or perhaps piers at the left of the image.
James Abbott McNeill Whistler (American (North American))
Nocturne: Salute
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.393
Several figures are seen within an interior; the two principal figures are each bent over their tasks. The man at the bottom of the image holds a hammer in his left hand and is about to strike something held in his right hand that is positioned on an anvil; his figure is leaning forward, in profile, facing to the right. The other figure sits with his back to the viewer, facing to the left and towards a window at the far left. A furnace is visible at the center background, and other figures are lightly drawn in at the far right. Deep shadows and a timber ceiling create a sense of a dark interior and numerous horseshoes are visible on the wall between the furnace and the window.
James Abbott McNeill Whistler (American (North American))
The Little Forge
1875
Bequest of Margaret Watson Parker
1954/1.361
A stretch of water in the foreground and middle ground leads to a horizontal distant shore that is composed of a series of horizontal stepped recessions. The buildings on the far shore appear to be industrial buildings, with many smokestacks. At the bottom of the image are some lightly drawn boats.
James Abbott McNeill Whistler (American (North American))
Battersea Morn
1877
Bequest of Margaret Watson Parker
1954/1.362
The curving bank of a river begins at the lower left of the image and sweeps around towards the left. Hugging the water's edge are many wooden buildings of two to five stories in height. At the far left, in the distance, are numerous two- and three-masted ships at anchor. The water at the lower left is open and quiet; a few small boats can be seen; the sky indicates that it is an overcast day.
James Abbott McNeill Whistler (American (North American))
Free Trade Wharf
1877
Bequest of Margaret Watson Parker
1954/1.364
A dark passageway through a building reveals a distant view of figures on both sides of a canal. In the foreground, the building is sketched in to show a vine growing up and over the passageway at the left, and an arched window at the right side; above the passage on the second floor two figures are seen silhouetted in an open window.
James Abbott McNeill Whistler (American (North American))
Doorway and Vine, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.384
A large, two-story arched passageway leads from the foreground to a distant street. Viewed from the water of the canal that runs across the bottom of the print, the composition concentrates on the dark barrel vault of the passage, the boats that occupy the foreground between the water and the walls of the building, and windows and balconies that animate the wall on either side of the archway.
James Abbott McNeill Whistler (American (North American))
San Biagio, One of the 'Twenty-six Etchings' or the 'Second Venice Set'
1880
Bequest of Margaret Watson Parker
1954/1.385
A woman in a hat and half-length jacket stands in bright sunlight in front of a wall. She stands at a slight angle to the viewer, holding a garment in her left hand and possibly a chain in her right hand; she looks up and to the right of the viewer. A dark shadow cast by her body against the wall partly obscures her left side.
James Abbott McNeill Whistler (American (North American))
La Mère Gérard, one of the "Twelve Etchings from Nature," or the "French Set"
1858
Bequest of Margaret Watson Parker
1954/1.319
A young woman is seated in bright sunlight on a step or stoop, leaning slightly forward. The light source is to the right, causing deep shadows to fall on the right side of her face. Her arms are folded over the dark fabric in her lap and she holds a cigarette in her right hand.
James Abbott McNeill Whistler (American (North American))
Fumette, One of the 'Twelve Etchings from Nature,' or the 'French Set'
1858
Bequest of Margaret Watson Parker
1954/1.320
A woman is seated with her hands in her lap looking directly at the viewer. She wears a pronounced hat on her head with long ribbons that hang to her waist.
James Abbott McNeill Whistler (American (North American))
La Rétameuse, One of the 'Twelve Etchings from Nature,' or the 'French Set'
1858
Bequest of Margaret Watson Parker
1954/1.321
A street or courtyard fills the middle distance. A handful of figures stand or sit in front of the buildings on the right; only a single cow at the right occupies the open space in the foreground. The low buildings are, on the left side, brightly lit while the structures on the right are in shadow.
James Abbott McNeill Whistler (American (North American))
Liverdun, One of the 'Twelve Etchings from Nature,' or the 'French Set'
1858
Bequest of Margaret Watson Parker
1954/1.323
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