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12 UMMA Objects
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A deep covered passageway dominates the composition. At the near end of the passage, to the right side, stand a woman and young girl, both with heads covered and looking at the viewer. Looking down the passageway, light catches the timbered ceiling and figures can be seen walking at the far end, silhouetted against the bright light in the square or street beyond. A lantern hangs above the entrance at the near end of the passage.
James Abbott McNeill Whistler (American (North American))
The Beggars, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.382
Four girls stand in, adjacent to, or in front of a dark open doorway. The doorway is cropped at the top, focusing on the figures. To the right is the partial view of a window.
James Abbott McNeill Whistler (American (North American))
Cottage Door
1886
Bequest of Margaret Watson Parker
1954/1.395
Seen from the water's edge, a canal in the foreground curves to the right and back into space. In the ditant view, buildings with balconies and chimney pots are visible as well as a bridge that is cropped by the curve of the waterway. In the foreground, across the canal, are several arched entryways. A dark waterdoor is open and shows a man on the steps and two shadowy figures behind him framed in the doorway; a lantern hangs overhead. To the right, another arched doorway with a metal grille above faces the canal, but is closed. A small open window on the seond floor can be seen between the arched doors.
James Abbott McNeill Whistler (American (North American))
Two Doorways, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.381
The work shows a view down a partly drawn street to a building at the end. The ground floor of the building is open to the street, creating a dark space behind the entrance. Figures are arranged down the street and at the threshold of the building at the end of the street.
James Abbott McNeill Whistler (American (North American))
Clothes-Exchange, Houndsditch, No. l
1887
Gift of Mr. Gilbert M. Frimet
1985/2.119
A view of a city along the edge of water sweeps from the foreground towards the right in the distance. Along quays, bridges and promenades can be seen groupoings of people walking and in conversation. Boats populate the water's edge: smaller boats in the foreground, larger multi-masted ships in the distance.
James Abbott McNeill Whistler (American (North American))
The Riva, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1955/1.125
A nighttime view of canals in Venice. Walls of buildings at rough right angles to one another, connected by a footbridge in the distance, are lit to reveal massings of the architecture--balconies, doorways, windows. There are no people apparent; the sky and water are both very dark.
James Abbott McNeill Whistler (American (North American))
Nocturne: Palaces, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.387
A sweeping panorama shows a city and shipping along the water. The left side is more minutely described as large three-story buildings hug the water's edge. Just to the right of center is a large building with several domes. Several small boats and gondolas are visible to the left of center. A cloudy and blustery sky occupies the top of the image.
James Abbott McNeill Whistler (American (North American))
Long Venice, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.391
Seen from the surface of a river, a segment of a wooden bridge carries both carriages and pedestrians across the span. The piers of the bridge are reinforced with horizontal boards to protect against collision. Between the piers the distant shore shows numerous buildings and dry-dock cranes. In the center span, a low boat with a sail is about to pass under the bridge, moving towards the viewer.
James Abbott McNeill Whistler (American (North American))
Old Battersea Bridge
1879
Bequest of Margaret Watson Parker
1954/1.371
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
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
Seen frontally is a building along a canal. In front of the facade is a brick or cobble pavement; steps lead up to a triple doorway entrance while laundry and windows complete the second story. To either side of the central steps are doorways that lead down. In each of the doorways and on the pavement are grouped figures of women and children. The lower portion of the print shows the reflections of the building and figures.
James Abbott McNeill Whistler (American (North American))
Steps, Amsterdam
1889
Bequest of Margaret Watson Parker
1954/1.403

James Abbott McNeill Whistler (American (North American))
The Embroidered Curtain
1889
Bequest of Margaret Watson Parker
1954/1.407
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