Provenance

Bernard Buchanan MacGeorge

British, c. 1845 - 1924

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The image shows a detailed urban scene viewed from a slight elevation. In the foreground, small boats are parked along a waterway, with people inside. Beyond that, there is a quay with people engaged in various activities. A stone wall leads up to a roofed structure with small windows adjacent to a large stone building. Further back, there are tall, multi-story buildings with narrow chimneys releasing smoke. The skyline is filled with these buildings, creating a densely built area. The image uses fine lines and cross-hatching for texture, shadow, and depth. It is monochrome, typical of an etching, emphasizing details through contrast.
Charles Meryon, La morgue, Paris (The Mortuary), 1854, etching on laid paper, Rosenwald Collection, 1949.5.76

La morgue, Paris (The Mortuary)

Charles Meryon · 1854 · etching on laid paper ·  Accession ID  1949.5.76

This is a drawing of various objects and scenes along with some text. The central elements of the drawing include a bird standing on a patch of ground and a column of poetry comparing the bird to an influential figure. Below that, several sketched images are arranged in a vertical sequence, including wooden posts, a table set with a cloth bearing the text "RESTAURATEUR EN RENOM DU PALAIS ROYAL," and a star-shaped fort labeled "PAYS DES POULARDS." A barrel with the label "PIÈCE DE SALAISON," a solitary figure next to a tree, and various contraptions also populate the image. The bottom portion of the drawing contains a set of arrangements reminiscent of a telescope or a surveying tool alongside a list mentioning various types of chants, including "CHANTS RUSTIQUES ET MARITIMES" and "MARSEILLAISE." The names "VIRGILE" and "HOMERE" are inscribed.
Charles Meryon, Pierron, French, active 1849-1866, Rébus: "Béranger ne fut véritablement fort, car il n'eut jamais la clef des champs" (Rebus: "Beranger was not really strong, for he never had the key of the fields"), 1863, etching on D&C Blauw paper, Rosenwald Collection, 1943.3.6189

Rébus: "Béranger ne fut véritablement fort, car il n'eut jamais la clef des champs" (Rebus: "Beranger was not really strong, for he never had the key of the fields")

Charles Meryon, Pierron, French, active 1849-1866 · 1863 · etching on D&C Blauw paper ·  Accession ID  1943.3.6189

The image is an etching of a woman seated in profile. She is facing slightly towards the viewer, with her head turned forward. The woman's facial features are delicately etched, showing a serene expression, with long hair flowing down her shoulders. She is draped in a cloak or shawl, with the fabric suggested through a series of fine and bold lines. The background is minimalistic, with some suggestive lines and a small decorative element on the left side resembling a flower or plant.
James McNeill Whistler, The Boy, c. 1873/1875, drypoint on laid paper, Rosenwald Collection, 1943.3.8473

The Boy

James McNeill Whistler · c. 1873/1875 · drypoint on laid paper ·  Accession ID  1943.3.8473

The image depicts an industrial and urban setting along a waterway. Various buildings, chimneys, and a distinctive arching bridge are visible. The sketch features minimal and linear brushstrokes outlining boats and buildings. The color palette is primarily sepia on a light beige surface. Boats with faintly indicated figures are close by, while industrial structures create a skyline in the distance. The background is a simple sky with sparse, sweeping lines to indicate clouds or movement.
James McNeill Whistler, James McNeill Whistler, Price's Candle-Works, c. 1875, drypoint on laid paper, Rosenwald Collection, 1943.3.8488

Price's Candle-Works

James McNeill Whistler, James McNeill Whistler · c. 1875 · drypoint on laid paper ·  Accession ID  1943.3.8488

The image shows two women in a rustic interior or shop. The woman on the left is holding a large round object in both hands, while the woman on the right is leaning forward to receive it. Both women are wearing head coverings and long dresses. The background features shelves with jars and containers. The doorway is framed with textured stone or brickwork.
James McNeill Whistler, La Marchande de Moutarde, 1858, etching in dark brown on laid paper, Rosenwald Collection, 1943.3.8409

La Marchande de Moutarde

James McNeill Whistler · 1858 · etching in dark brown on laid paper ·  Accession ID  1943.3.8409

The image displays a river scene with bridges connecting opposite sides. Figures and carriages are seen on the bridges and riverside path. Buildings and tall structures are visible across the water, with a light sky above. The illustration style features detailed lines and textures with a monochromatic color scheme dominated by sepia and muted browns.
James McNeill Whistler, Isle de la Cité, Paris, 1859, etching and drypoint on laid paper, Gift of John Nichols Estabrook and Dorothy Coogan Estabrook, 1987.41.66

Isle de la Cité, Paris

James McNeill Whistler · 1859 · etching and drypoint on laid paper ·  Accession ID  1987.41.66

The image shows two women in an arched doorway. The woman on the left is angled towards the other. She has her hair in a bun and is wearing a patterned dress. The woman on the right is facing the left. She is wearing a gown and a bonnet. The interior has shelves and containers. The exterior has rustic brickwork.
James McNeill Whistler, La Marchande de Moutarde, 1858, etching in black grey greenish fleck wove paper, Rosenwald Collection, 1943.3.8412

La Marchande de Moutarde

James McNeill Whistler · 1858 · etching in black grey greenish fleck wove paper ·  Accession ID  1943.3.8412

This etching depicts Notre-Dame Cathedral in the distance, featuring its recognizable twin towers and flying buttresses. The horizon line is low, emphasizing the cathedral's height. A bridge connects the cathedral to the land in the foreground. The scene is detailed with fine lines, showing the architectural elements and riverbank activities. The color palette is monochromatic, typical of etchings. Boats and figures, including a horse-drawn cart, are seen near the riverbank.
Charles Meryon, L'abside de Notre-Dame de Paris (The Apse ofthe Cathedral of Notre-Dame, Paris), 1854, etching on laid paper, Rosenwald Collection, 1958.8.110

L'abside de Notre-Dame de Paris (The Apse ofthe Cathedral of Notre-Dame, Paris)

Charles Meryon · 1854 · etching on laid paper ·  Accession ID  1958.8.110

The image depicts a street scene with an old building featuring a steep, thatched roof running diagonally across. The horizon is not visible, but chimneys and rooftops provide upward movement. The style uses fine, precise lines typical of etching capturing architectural details and textures. The color palette is sepia tones. Barrels and goods are displayed in the foreground with a seated shopkeeper. Figures are engaged in conversation further down the street, leading the eye toward rooftops and smoke rising from a chimney under a sky with dispersed cloud patterns.
Charles Meryon, Ancienne habitation à Bourges, dite "La Maison du Musicien" (An Old House at Bourges, Sometimes Called the "Musician's House"), 1860, etching with graphite additions on wove Japanese paper, Rosenwald Collection, 1943.3.6212

Ancienne habitation à Bourges, dite "La Maison du Musicien" (An Old House at Bourges, Sometimes Called the "Musician's House")

Charles Meryon · 1860 · etching with graphite additions on wove Japanese paper ·  Accession ID  1943.3.6212

The image shows the upper body of a seated person in a relaxed pose. Their facial features are softly sketched, with eyes closed or looking downward. The person's hair is medium-length and their hands are possibly resting in their lap. They are wearing dark outerwear over a lighter inner garment, with no visible jewelry. The background consists of dense, dark, crosshatched lines.
James McNeill Whistler, Sleeping Woman, c. 1863, chalk and charcoal on cream wove paper mounted on paperboard, Rosenwald Collection, 1948.11.306

Sleeping Woman

James McNeill Whistler · c. 1863 · chalk and charcoal on cream wove paper mounted on paperboard ·  Accession ID  1948.11.306