1851. Tinted lithograph, monogrammed in image lower left, annotated “View from Darling Point Road” in an unknown hand in pencil in lower margin, 14 x 23cm. Foxing, handling crinkles, missing portions and stains to margins. From the series Sketches in the environs of Sydney… Ref: Ellis, Conrad Martens: life and..... More

1851. Lithograph, titled in pencil in lower margin, 13.2 x 23.8cm. Foxing, stains, handling creases, missing upper left corner and portions of lower margin. More

1853-1854. Punch’s Pocket Book was a “travel-sized” annual publication based on the British satirical magazine Punch. It included an almanac, cash account log, a daily diary, business information, short stories, poetry, and cartoons. The Pocket Book was illustrated by prominent illustrators, including John Leech. Ref: Bandeis Uni., USA. (1) [Punch’s..... More

1854-1855. Etching, initialled in plate upper centre, 14.5 x 26cm. Minor foxing overall, slight tears, perforations and stains to margins, old mount burn. Held in The Met, NY, with the comment “Whistler made his first etching while employed as a draftsman at the U.S. Coast and Geodetic Survey in Washington..... More

1855. Sheet music, engraved cover, facsimile signature of composer and singer Henry Russell in image lower left, 34 x 24.1cm (paper). Old paper tape and tears to edges, minor foxing to image, front sheet loose. Text reads “Musical Bouquet. Written and sung by Harry Lee Carter, in his entertainment of... More

1856. Hand-coloured lithograph, initials “S.T.G.”, title and text below image, 10.3 x 17cm. Repaired minor tears and creases to corners, slight foxing and paper remnants to image upper centre, trimmed margins. Laid down on acid-free paper. Text continues “Allan & Wigley. Lith., Syd.” Held in NLA. “The Sydney Mechanics’ School..... More

1857/later printing. Cliché-verre, dated and signed in image lower left and lower right, 17.1 x 22.1cm (paper). Minor chips to corners, uneven margins. Ref: Melot #C65. Corot and other artists of the Barbizon school were the first, and most prolific, experimenters with cliché-verre, a technique that combines aspects of printmaking..... More

1859. Etching and drypoint, signed and titled in plate in lower portion, collector’s stamp “Max Blach, Wien” verso, 11.3 x 28cm. Tears and missing portions to edges of margins, old mount burn. Ref: Schneiderman #22, state vii/xii. Held in Art Gallery of NSW. More

c1860s. Tinted lithograph, signed and titled in image lower left to right, 11.7 x 21.4cm. Slight creases to upper portion, stain to lower left corner. Framed. Held in National Library of Australia, listed with J. Degotardi & Co. as lithographer (John Degotardi (Aust., 1823-1882) was an important photographer and lithographer... More

1861. Etching and drypoint, signed and dated in plate centre left, 10.2 x 12.6cm. State viii/viii. From the series Sixteen Etchings of Scenes on the Thames (Thames Set) , 1861. Ref: Kennedy #74. Held in the National Gallery of Australia collection. Whistler was inspired to create the Thames Set after... More

1862/later printing. Cliché-verre, signed in image lower left, 21.6 x 19.2cm (paper). Minor discolouration and foxing to upper and lower edges of image, slight rubbing, tears and paper loss to corners of border. Ref: Melot #D137. Daubigny, Corot and other artists of the Barbizon school were the first to experiment..... More

1865/later printing. Etching, signed lower right and artist’s name and text in plate below image, 9.3 x 8.1cm. Old mount burn. Text reads “Peint et grave [painted and engraved] par Manet, 1862. Imp. A[lfred] Salmon.” 4th state. Ref: Harris #61. This portrait is based on a photograph taken in 1862..... More

c1865. Hand-coloured lithograph, text including title below image, 23.6 x 28.3cm. Cropped top margin. Framed. Text includes “Distance lends enchantment to the view is exquisitely verified in the opinion a new arrival, or in Colonial parlance, a New Chum…a young gentleman remarks in a colonial song: ‘I’ve got to work..... More