Baltimore Museum of Art,
The Whistler Etchings Project ("WEP")
This project was initially the result of collaboration between the School of Culture and Creative Arts and the Hunterian, University of Glasgow; the Freer Gallery of Art, Smithsonian Institution, Washington DC; and the Art Institute of Chicago. Our heart-felt thanks to the curators, scholars and colleagues at these institutions, who provided images and facilities and outstanding support.
We are very grateful to the Arts and Humanities Research Council for a major Research Grant, and to the Lunder Foundation for their generous support over the past six years. We also thank the Chancellor's Fund of the University of Glasgow; the Paul Mellon Foundation for Studies in British Art; the International Fine Print Dealer's Association, and private donors and foundations, for their support.
The project has been embraced by institutions who generously shared their expertise and research facilities, and who provided a complete set of images of their extensive collections: Baltimore Museum of Art; the British Museum; Colby College Art Gallery, Maine; the National Gallery of Art, Washington DC. Other generous providers of research facilities and illustrations of their collections include the Academy of Fine Arts, Vienna; Bibliothèque nationale de France; The Frick Collection; Glasgow University Library, Department of Special Collections; Herbert F. Johnson Museum of Art, Cornell University; Honolulu Academy of Arts; Library of Congress, Washington DC; Los Angeles County Museum of Art; McManus Art Gallery and Museum, Dundee; Metropolitan Museum of Art, New York; Sterling and Francine Clark Art Institute, Williamstown, MA; Tel Aviv Museum of Art; Terra Museum of American Art; University of Michigan Museum of Art, Ann Arbor.
Many other institutions have helped with research and the digital reproduction of etchings, including Allen Memorial Art Museum, Oberlin College; Fitzwilliam Museum, Cambridge; Kupferstichkabinett Berlin; Minneapolis Institute of Arts; the New York Public Library; Rijksmuseum, Amsterdam; Saint Louis Art Museum; Syracuse University Art Gallery; Tel Aviv Museum of Art; Virginia Museum of Fine Arts, and Davison Art Gallery, Wesleyan University; Yale Centre for British Art and Yale University Art Gallery.
We enjoyed the hospitality at a great number of print rooms and collections over the years, measuring and comparing Whistler's etchings. In addition to those institutions already mentioned, our thanks go to the curators, and the staff of the print rooms and photography departments, and conservators, for their support, hospitality and generous help: Ackland Art Museum; Addison Gallery of American Art; the Albertina, Vienna; Art Gallery of Ontario, Toronto; Ashmolean Museum, Oxford; Bibliothèque de l'INHA, collection Jacques Doucet; Birmingham Museum and Art Gallery; Boston Museum of Fine Arts; Boston Public Library; Bowdoin College Museum of Art; Brooklyn Museum; the Burrell Collection, Glasgow; Cincinnati Art Museum; Fogg Art Museum, Harvard University, Cambridge, Mass.; Hamburger Kunsthalle; Hillstead Museum; Isabella Stewart Gardner Museum, Boston; Kelvingrove Art Gallery and Museum, Glasgow; Kupferstich-Kabinett der Staatlichen Kunstsammlungen Dresden; Machida City Museum ; Metropolitan Museum of Art, New York; Montgomery Museem of Fine Arts, Museum Boijmans van Beuningen, Rotterdam; Museum of London; National Gallery of Canada; National Gallery of Scotland, Edinburgh; National Maritime Museum, London; Philadelphia Museum of Art; Pushkin State Museum of the Fine Arts, Moscow; the Royal Library of Belgium, Brussels; Staatliche Graphische Sammlung, Munich; the State Hermitage Museum, St. Petersburg; Stanford University Museum of Art; the Trout Museum; the Victoria & Albert Museum; Walker Art Gallery, Liverpool; Whitworth Art Gallery, Manchester; Williams College Museum of Art.
Libraries and Archives
We are grateful to all the advice and assistance from the staff of libraries and archives particularly in Special Collections, Glasgow University Library; the Freer Gallery Library and Archives; the Library of Congress; National Art Library (V&A); Witt Library (Courtauld Institute); Frick Art Reference Library; Hamilton Museums; Mitchell Library, Glasgow; National Portrait Gallery, New York Public Library; Tate Gallery Archives.
Our grateful thanks to art and print dealers who helped with research and provided images, including T. Agnew & Sons; Jane Allinson; Catherine Burns; William P. Carl; Child's Gallery; John Cira; Colnaghi & Co.; Thomas Colville; Gordon Cooke and the Fine Art Society; Elizabeth Harvey-Lee; Kennedy Galleries (Wunderlich & Co.), Knoedler & Co.; Frederick Mulder; Ewan & Carol Mundy; Robert Newman and the Old Print Shop; Sunne Savage; Harris Schrank; Susan Schulman; Anne Spink; David Tunick; and Christie's, Doyle's, Sotheby's, Bonham's, Phillip's and Swann's Auction Galleries.
First, thanks from the Project Director to her wonderful family, whose support and active research on all sorts of matters important and obscure, plus regular meals, ensured the completion of this project; and to the Whistler Etchings team: Graeme Cannon, Meg Hausberg, Sue Macallan, Joanna Meacock, and Grischka Petri and their families for their invaluable support and friendship; and to the many interns and assistants, for their enthusiastic teamwork. Thanks also to the Editorial Board for their active help and advice, and to History of Art colleagues in the University of Glasgow, for their collegiality, support and coffee. Martin Hopkinson in particular has provided an immense amount of important material.
The Whistler Etchings Project would like to thank the many individuals who have helped us at home and abroad. These include many private collectors who have kindly given us access to their fine collections, and who wish to remain anonymous. Others whose assistance is greatly appreciated include Brian Allen; Galina B. Andreeva, Marty Amt, Toby Barclay, Emma Chambers, Eric Denker, Richard Dorment, David Elliot, Robin Garton, Robert Getscher, Mary-Anne Goley, Alastair Grieve, Friek Heijbroek, Susan Hobbs, John House, David Kiehl, Mr & Mrs Klein, John & Colles Larkin, Iain MacInnes, Paul & Elaine Marks, Kenneth McConkey, Linda Merrill, Michael Moss, Ken Myers, Ayako Ono, Elizabeth Prettejohn, Aileen Ribeiro, Marc Simpson, Martha Smith, Anne and Nesta Spink, Joyce Stoner, Ralfe Whistler, Julius & Anita Zelman, and many other friends and colleagues. We thank Glasgow Print Studio for teaching the team methods of print-making. Finally we remember the late David Becker, curator and scholar, who gave us welcome assistance for several years.