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71 UMMA Objects
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At some distance can be seen ships with tall masts and a distant shore.
James Abbott McNeill Whistler (American (North American))
Return to Tilbury, from the 'Jubilee' or the 'Naval Review' series
1887
Museum purchase made possible by the Alfred E. Pernt Memorial Fund in honor of Dr. of Technical Sciences Max H.J. Pernt and his wife Anna Pernt (née Mueller)
1987/1.361
The thriving commercial activity of a metropolitan river is shown as ships and barges of all types maneuver along the river's edge in the foreground. In the middle distance a bridge spans the water and beyond more buildings are loosely sketched in.
James Abbott McNeill Whistler (American (North American))
Old Hungerford Bridge, from the 'Sixteen Etchings,' or the 'Thames Set'
1861
Bequest of Margaret Watson Parker
1955/1.121
A girl with long loose hair stands on a carpet in front of drapery. She is wearing a straw hat and cape over her dress; she is wearing flat shoes with rosettes on the top. She stands facing slightly to the left, although her eyes look at the viewer. Her left hand is not visible and her right hand holds the edge of her cape.
James Abbott McNeill Whistler (American (North American))
Annie Haden
1860
Bequest of Margaret Watson Parker
1954/1.344
A young woman is seen sitting in profile. She faces to the right, her head bent downward, her wavy hair framing her face and falling down her back. Only the face and hair are drawn fully, the rest of the woman's body is quickly rendered in a few lines.
James Abbott McNeill Whistler (American (North American))
Jo's Bent Head
1861
Bequest of Margaret Watson Parker
1954/1.349
An adolescent girl stands facing the viewer; her left leg is behind her and she holds a hoop in her right hand, her right leg steps through the hoop. Her long hair falls to her shoulders and she has bangs. To the right are the words, "I am Flo".
James Abbott McNeill Whistler (American (North American))
Florence Leyland
1868 – 1878
Bequest of Margaret Watson Parker
1954/1.356
A man stands in a full-length portrait, turned slightly to the left, but looking directly at the viewer. He is in historical costume with a short cape, high dark hat with a white feather and fitted vest and pants. The dark background is not described.
James Abbott McNeill Whistler (American (North American))
Irving as Philip of Spain, No. 1
1876 – 1877
Bequest of Margaret Watson Parker
1954/1.368
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
A long street recedes at the center of the image. In the center is a flagpole surmounted by a winged lion (symbol of St. Mark, and therefore of Venice). In the foreground at lower left is a group of women seated working together making lace. Other than a man and boy at the right of the flagpole, the street is largely empty.
James Abbott McNeill Whistler (American (North American))
The Mast, One of the 'Twelve Etchings,' or the 'First Venice Set'
1879 – 1880
Bequest of Margaret Watson Parker
1954/1.383
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
An open public space dominates the foreground of the image. In that space are several groups of children, particularly at the lower left of the image, a rooster at the lower right, and a water pump at the far side of the square just before the fence. Beyond is a street that recedes into the distance; on either side of the street are picturesque older buildings that face onto the square with banks of windows, overhangs, and steeply pitched rooflines.
James Abbott McNeill Whistler (American (North American))
The Cock and the Pump
1887
Bequest of Margaret Watson Parker
1954/1.398
Seen at a distance are several sailing ships at dock along a riverside embankment. Row houses can be seen beyond and in the distance, at the left, is a wooden bridge and and a cluster of trees.
James Abbott McNeill Whistler (American (North American))
Lindsey Houses
1876 – 1877
Bequest of Margaret Watson Parker
1954/1.366
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
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