Marine and Coastal Scenes

Depictions of waterways and coastal locales, illustrating boats, shoreline activities, and atmospheric conditions using etching and charcoal techniques.

Black Lion Wharf. James Abbott McNeill Whistler (United States, 1834-1903). 1859. Prints. Etching

Venetian Canal and Boats, No. 8, 1800s. Robert Frederick Blum (American, 1857-1903). Etching;

Drawing, Beach at Low Tide, Cullercoats, England; Winslow Homer (American, 1836-1910); USA; charcoal on paper; Sheet: 19.8 x 27.1 cm (7 13/16 x 10 11/16 in.)

James McNeill Whistler, Savoy Pigeons, 1896 Savoy Pigeons

Opposite the Inn, Purfleet. Dated: in or after 1869. Medium: etching with drypoint (zinc) in brown. Museum: National Gallery of Art, Washington DC. Author: Francis Seymour Haden.

James Moore, 1762-1799, British, Brighton, England, 1793. Graphite on medium, moderately textured, beige, laid paper.

The New Dock at la Rochelle Made 1904 France. Etching on ivory laid paper . Gustave Leheutre

Otto Henry Bacher, A Wet Evening in Venice, c 1880 A Wet Evening in Venice

Black Lion Wharf. James Abbott McNeill Whistler (United States, 1834-1903). 1859. Prints. Etching

John Henry Twachtman, The Harbor, Bridgeport, 1885 1921 The Harbor, Bridgeport

View of the Nieuwezijds Voorburgwal in Amsterdam. Draughtsman: Rembrandt van Rijn. Dating: c. 1647. Place: Amsterdam. Measurements: h 86 mm × w 164 mm (arched top). Museum: Rijksmuseum, Amsterdam.

Thomas Jeavons, ca. 1800-1867, British, Exeter, 1819-1826. Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Limehouse, from the Thames Set (A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects). Artist: James McNeill Whistler, American, 1834-1903

The Inn, Purfleet Made 1864-1874 England. Etching and drypoint on zinc printed on ivory laid paper . Francis Seymour Haden

View of the Schreierstoren from the water of Geldersekade,, View of the Schreierstoren, Amsterdam, print maker: Frans Schikkinger, (mentioned on object), Amsterdam, 1848 - 1902, paper, etching, drypoint, h 155 mm × w 130 mm

Francis Seymour Haden, 1818-1910, British, Egham, 1859. Etching and drypoint on medium, moderately textured, cream laid paper.

Limehouse , Boats, Piers & wharves. James McNeill Whistler (1834-1903). Lithographs

Thames warehouses , Boats, Piers & wharves, Waterfronts, Warehouses. James McNeill Whistler (1834-1903). Lithographs

River bank with ships in Benares, Wijnand Otto Jan Nieuwenkamp, 1914 drawing paper. pencil quay Benares

The Pool 1859 United States. Etching with foul biting in black ink on cream Japanese paper . James McNeill Whistler

Orford, Suffolk, Robert Brandard, 1805-1862, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

Upright Venice 1879-1880 United States. Etching and drypoint with foul biting in dark brown ink on ivory Asian laid paper altered to buff . James McNeill Whistler

The 'Pavillon de Mademoiselle' and Part of the Louvre. Charles Meryon (French, 1821-1868); after Reinier Nooms (Dutch, c. 1623-c. 1668). Date: 1849. Dimensions: 134 × 247 mm (image); 137 × 249 mm (plate); 228 × 401 mm (sheet). Etching, drypoint and roulette on buff laid Japanese paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Face in Venice, Wilhelm Cornelis Bauer, 1872 - 1904 drawing paper. ink pen public road Venice. Italy

Savoy Pigeons, 1896. James McNeill Whistler (American, 1834-1903). Lithograph;

Edinburgh, from Princes Street Garden. Artist: Alfred-Louis Brunet-Debaines (French, Le Havre 1845-1939 Hyères); After William Ewart Lockhart (British, Eaglesfield, Scotland 1846-1900 London). Dimensions: Sheet: 8 1/16 × 11 15/16 in. (20.5 × 30.4 cm)Plate: 6 7/16 × 9 1/8 in. (16.3 × 23.2 cm). Printer: Imprimerie Durand. Date: 1878. Museum: Metropolitan Museum of Art, New York, USA.

Face in Leiderdorp, Jacob Elias La Fargue, 1748 - 1771 drawing paper. deck paint. ink pen / brush prospect of village, silhouette of village Leiddorp

Face on Honfleur from the water, draughtsman: Carel Nicolaas Storm van 's-Gravesande, 1872, paper, h 110 mm × w 163 mm

The Nôtre-Dame Pump 1852 Charles Meryon French. The Nôtre-Dame Pump 371695

Print made by Robert Brandard, 1805-1862, British, The Rhine - Neuwied and Weissenthurm, 1838-1852. Etching and line engraving; first published state on medium, slightly textured, cream wove paper.

Charles Meryon, L'Arche du Pont Notre Dame, 1853, etching on paper.

Salt Shanties. Dated: 1880. Dimensions: plate: 6.99 × 11.43 cm (2 3/4 × 4 1/2 in.) sheet: 23.5 × 31.12 cm (9 1/4 × 12 1/4 in.). Medium: etching in black on laid paper. Museum: National Gallery of Art, Washington DC. Author: Charles A. Platt.

River view with a steamboat, Joseph Hartogensis, 1854 print The Hague paper. etching steamship, motorship. river (+ landscape with figures, staffage) Zaltbommel

The Thames , Rivers, Boats. James McNeill Whistler (1834-1903). Lithographs

Houses on the water. Draughtsman: George Hendrik Breitner. Dating: 1867 - 1923. Measurements: h 125 mm × w 221 mm. Museum: Rijksmuseum, Amsterdam.

Charles Meryon (French, 1821 - 1868). Bain-froid Chevier, 1864. Etching. Sixth state.

Sailing ships for anchor at a bank, 1797 - 1838 Page 12 Recto from a sketchbook with 65 sheets. paper. pencil. watercolor (paint) brush Page 12 Recto from a sketchbook with 65 sheets. paper. pencil. watercolor (paint) brush

Rivier de Brenta en de Bruga Van Zuecca, Giovanni Francesco Costa, c. 1750 - c. 1760 print View of the River Brenta and the bridge of Van Zuecca. Various gondolas sail on the water. People and an ox walk over the bridge. Numbered in the middle: XIV and bottom right: Tom: II. This print is part of an album. print maker: ItalyVenice paper etching river. bridge. gondola Brenta

Koster, Cornelis, Amsterdam, Springer, Flooded landscape between Oss and Lith, verso - stamped, The road between Oss and Lith in a flooded landscape during the flood in March 1855., print, prints, height 125 mm, width 215 mm, Dutch, 1817-05-25 - 1891-02-20, print maker, printmaker, 1855 - 1855, paper, papier, etching, etchings, intermediary draughtsman

The Goldweighers Field; 1651; Etching; drypoint Rembrandt Harmensz van Rijn; Dutch; 1606-69

William Radclyffe, 1780-1855, British, Eaton College, Berkshire, 1827-1838. Open etching.

River face with a sailing ship, Gijsbertus Johannes Verspuy, 1833 - 1862 print A sailing ship on a river with a village on the right bank. A mill in the distance. Netherlands paper etching sailing-ship, sailing-boat. river. windmill in landscape

Gaeta 19th century Anonymous, French, 19th century French. Gaeta 362180

The 'Pavillon de Mademoiselle' and Part of the Louvre 1849 France. Etching, drypoint and roulette on buff laid Japanese paper . Charles Meryon

Chelsea Bridge and Church. James McNeill Whistler; American, 1834-1903. Date: 1871. Dimensions: 101 x 167 mm (plate); 171 x 239 mm (sheet). Etching and drypoint with foul biting in black ink on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

The pool , Boats, Piers & wharves. James McNeill Whistler (1834-1903). Lithographs

Two Badende Women, Justin Gabriel, 1909 print paper drypoint taking a bath - AA - in the open air

The Riva, No. 1 (The Riva). Artist: James McNeill Whistler (American, Lowell, Massachusetts 1834-1903 London). Dimensions: Plate: 7 15/16 × 11 5/8 in. (20.1 × 29.6 cm)Sheet: 8 3/8 × 11 3/4 in. (21.2 × 29.9 cm). Series/Portfolio: First Venice Set ("Venice: Twelve Etchings," 1880). Date: 1879-80.The artist etched the Riva degli Schiavone from his room in the Casa Jankowitz in Venice. Traditional visual hierarchy is overturned and the foreground filled with a triangular expanse of open plaza. Paving stones are suggested with a few etched lines and the edges enlivened with pedestrians, moored boats, and gondolas. An arched bridge leads across a canal toward a curved bank lined with buildings, concluding in the tiny exclamation point of the Campanile. Whistler arrived in Venice in September 1879, commissioned by the Fine Art Society to prepare twelve etchings in three months, but returned to London in November 1880 with many more plates. This print was published in Venice, a Series of Twelv

Mill on the water, Joseph Hartogensis, c. 1837 - 1865 print Three figures in a boat on the water near a mill. unknown paper etching windmill in landscape. water course (+ landscape with figures, staffage)

Black Lion Wharf, from A Series of Sixteen Etchings of Scenes on the Thames (the Thames Set ) 1859 United States. This etching is the framed print seen on the back wall of Arrangement in Grey and Black No. 1, though its identification would only have been possible for those intimately familiar with Whistlerís printed oeuvre. It is believed that Whistler did indeed have a framed impression of this work installed in his house in London on Lindsey Row, where his mother sat for him. It therefore serves as a reference to the space itself, the artistís studio, as well as his early acclaim in the field of printmaking.. Etching with foul biting in black on off-white laid paper . James McNeill Whistler

View of the Nieuwezijds Voorburgwal, in Amsterdam, Jan Hillebrand Wijsmuller, 1865 - 1925 print paper. etching / drypoint canals, waters (in city) Nieuwezijds Voorburgwal

Rowing boat for anchor on the quay of the Port of Messina; Faces of the port of Messina. View of a quay from the port of Messina. In the foreground is a rowing boat for anchor. On the quay some walkers and sjouwers. Print from series of thirteen prints with faces of the port of Messina

Venice, 1880. Otto H. Bacher (American, 1856-1909). Etching;

James McNeill Whistler (American, 1834-1903), Billingsgate, 1859, etching

Chelsea., 1879, United Kingdom, by James Whistler. Gift of Sir John Ilott, 1952.

Niagara Rainbows. Dated: 1910. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Joseph Pennell.

Billingsgate. James Abbott McNeill Whistler (United States, 1834-1903). United States, 1859. Prints; etchings. Etching and drypoint

Upright Venice. Whistler, James McNeill (1834-1903). Avery, Samuel Putnam, 1822-1904. Prints. 1879 - 1880. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Print, Le Pont-au-Change (The Exchange Bridge); Print Maker: Charles Meryon (French, 1821-1868); France; etching in black ink on white paper; Plate: 15.4 × 33.3 cm (6 1/16 × 13 1/8 in.) Paper: 16.9 × 35.3 cm (6 5/8 × 13 7/8 in.); Bequest of George Campbell Cooper; 1896-3-412

Black Lion Wharf, from the Thames Set (A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects). Artist: James McNeill Whistler, American, 1834-1903

Thomas Girtin, 1775-1802, British, A View of Pont Neuf, the Mint, &c, 1802. Soft ground etched outline on moderately thick, slightly textured, cream wove paper.

After the west of the sake; Stankiewicz, Zofia (1862-1955); around 1930 (1925-00-00-1953-00-00);Iwanowska, Janina (Fl. 1958), Iwanowska, Janina (Fl. 1958) - collection, huts (archite.), Clouds (meteorol. sun, purchase (provenance), boats, sailboats

Antique ruins at a river, Anonymous, After Esaias van de Velde, 1610 - 1617 print Haarlem paper etching landscape with ruins

View of the Canal Grande in Venice, Carel Nicolaas Storm van 's -Gravesande, 1851 - 1902 print In the background, gondolas sail over the canal. paper drypoint canals, waters (in city). gondola Large channel

The "Adam and Ev"', Old Chelsea. James Abbott McNeill Whistler (United States, 1834-1903). United States, 1878. Prints; etchings. Etching and drypoint

Little Calais Pier. Dated: 1865. Dimensions: plate: 7.5 x 15.5 cm (2 15/16 x 6 1/8 in.) sheet: 11.9 x 19.8 cm (4 11/16 x 7 13/16 in.). Medium: etching and drypoint in black on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francis Seymour Haden.

Brit of the Brenta River near Miran, Giovanni Francesco Costa, c. 1750 - c. 1760 print View of the branch of the River Brenta near Miran. Numbered in the middle: l and bottom right: Tom: I. This print is part of an album. print maker: ItalyVenice paper etching river Brenta

Totnes, on the Dart, Print made by Charles Turner, 1774-1857, British, after Joseph Mallord William Turner, 1775-1851, British, 1823 to 1827, Mezzotint

Theme from the port on the Motława River, the right shore. Pruszyński, Aureliusz (Kraków ; zakład artystyczny ; 1873-post 1930), printing house, Wyczółkowski, Leon (1852-1936), graphic artist

Edmond Gosselin (French, 19th century) after Charles Meryon (French, 1821 - 1868). La Morgue, 1881. From Eaux-Fortes sur Paris d'après C. Meryon. Etching.

The Kraansluis in Amsterdam. Draughtsman: Willem Witsen. Dating: 1870 - 1923. Measurements: h 347 mm × w 467 mm. Museum: Rijksmuseum, Amsterdam.

River face in a city at night, Egide François Leemans, 1849 - 1883 print paper etching night. moonlight. bridge in city across river, canal, etc.

The punt , Piers & wharves, Boats. James McNeill Whistler (1834-1903). Lithographs

Sourabaya, A. de Nelly (possibly), 1750 - 1800 drawing View of Surabaya. In the foreground road along a river with a bridge over the side water. Bottom left two trees and figure with umbrella. On the river some boats and on the other side houses and trees. In the air inscription in Banderol. Surabaya paper. ink pen / brush landscapes in tropical and sub-tropical regions. river (+ landscape with figures, staffage) Java. Surabaya

Print made by Charles Turner, 1774-1857, British, Totnes, on the Dart, 1823 to 1827. Mezzotint.

Venetian Bridge 1884 United States. Etching on cream laid paper . Frank Duveneck

LÎle Lacroix, à Rouen. Artist: Camille Pissarro, French, 1830-1903

Building Destroyers. Dated: 1917. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Joseph Pennell.

Chevrier's Cold Bath Establishment, Paris, 1864. Charles Meryon (French, 1821-1868). Etching;

Old Putney Bridge. James Abbott McNeill Whistler (United States, 1834-1903). United States, 1879. Prints; etchings. Etching and drypoint

Isle de la Cité, Paris 1859 United States. Etching and drypoint in black ink on ivory wove paper . James McNeill Whistler

Joseph Pennell, Chelsea, NoII, 1886 Chelsea, No.II

Edmond Morin (1824-1882). "Pirogues on the Thames. The river jockeys". Bois, 1857. Museum of Fine Arts of the city of Paris, Petit Palais. Athlete, race, Thames river, pirogue, rowing, sportsman, engraving

Vitré: The Canal. James McNeill Whistler; American, 1834-1903. Date: 1893. Dimensions: 236 x 153 mm (image); 331 x 210 mm (sheet). Transfer lithograph in black with stumping, on cream laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Little London Made 1896 United States. Transfer lithograph in black with stumping, on ivory laid paper . James McNeill Whistler

Volendam, Willem Adrianus Grondhout, 1888 - 1931 print A moored botter in the port of Volendam. paper etching harbour Volendam

Shipbuilder's yard. Whistler, James McNeill (1834-1903). 1875. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Pool 1859 United States. Etching and drypoint with foul biting in black ink on ivory laid paper . James McNeill Whistler

Marblehead. Dated: 1881. Dimensions: image: 20.5 × 36.7 cm (8 1/16 × 14 7/16 in.) sheet: 26.9 × 48.1 cm (10 9/16 × 18 15/16 in.). Medium: etching in black. Museum: National Gallery of Art, Washington DC. Author: Stephen Parrish.

Print made by Edward Goodall, 1795-1870, British, Cologne, 1824. Etching and line engraving with graphite; early engraver's proof, touched on medium, slightly textured, cream laid paper.

LePont-Neuf. Artist: Charles Meryon, French, 1821-1868

Emilio Sánchez Perrier (Drafstman) / 'Heading of a letter: a Street in Venice and View of the Surroundings of the Lagoon'. 1885. Wash, Grey ink on laid paper. Museum: Museo del Prado, Madrid, España.

Les Arcades, Dieppe. Stanley Anderson; English, 1884-1966. Date: 1928. Dimensions: 210 × 316 mm (image/plate); 297 × 415 mm (sheet). Drypoint in black on ivory wove paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Sailing ship on a river, 1834 - 1906 Page 13 Recto from a sketchbook with 39 sheets. paper. pencil river. sailing-ship, sailing-boat

Breton Market Town, Plestin. Théophile-Alexandre Steinlen; French, born Switzerland, 1859-1923. Date: 1902. Dimensions: 117 × 174 mm (image/plate); 221 × 306 mm (sheet). Soft ground etching and drypoint from two plates printed in 4 colors (dark green, brown, pink and bright green) on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

The Billboards, New York, 1896. Childe Hassam (American, 1859-1935). Etching and drypoint;

View of Heidelberg. Artist: Jan Brueghel the Elder (Netherlandish, Brussels 1568-1625 Antwerp). Dimensions: 7 7/8 x 12 in. (20.0 x 30.5 cm). Date: ca. 1588-89.This drawing, the earliest known by Jan Brueghel the Elder, records the city of Heidelberg seen from the west across the Neckar River. The castle appears as it did before additions were made between 1590 and 1592. Brueghel's sketch dates from about 1588-89, when the artist traveled from Antwerp to Italy, arrriving in Naples in 1590. The definition of forms with a combination of short, vertical lines in fine pen, which in places are blurred, and the broadly applied translucent washes are characteristic, as is the composition. Brueghel made several drawings of Heidelberg and used motifs from these travel sketches in paintings such as the Allegory of Spring of 1611 (private collection, Scotland), which shows Heidelberg castle as it appears in a copy after a drawing by Brueghel in the Kurpfalzisches sketchbook (Staatsgalerie, Stuttg

Notre-Dame district, King Dagobert Tour Demolia in 1908.

A 1925 etching by Eugène Béjot depicting the Commerce Basin, showing architectural details, water, and landscape elements.

Hafen. Tüpke-Grande, Helene (1871-1946), graphic artist

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