Artist's title and inscription: Yü-shan ch'iu sê. Keng-yen san-jen Wang Hui painted (this) at the Hsi-shuang ko. Artist's seals: Wang Hui chih yin; Shih-ku; Collector's seals: Ts'ai Ch'i (ca.1662-ca. 1722), Weng T'ung-ho (1830-1904) and several unidentified collectors. (8 seals at beginning)
5 physical tears on left edge, indicating the original book bindings.
TOP IMAGE. A river appears in lower right corner, traveling from "front" to "back" of image. Along its banks two distant windmills occur, indicating Holland as the location. A distant boat with sails, and a closer group of three row boats on river. The closer group has thee figures bent over their work, which looks like hauling nets. In the center is a nearly barren twisted tree, at whose base is a rough hut of blanks and branches. A path from the bottom right bends up and around the hut and tree, on which a small group of three are poised (two sitting figures appear to listen to a standing third) and a single man travels further into the distance. Houses with thatched roofs, some patched with boards, appear on the right of the image, along the riverbanks into the distance.
BOTTOM IMAGE. A river curves gently back from the bottom right. Boulders surround the bank on the left half of the image, with scraggly trees and vegetation. Several boulders stretch out into the water, and on one of these, on the bottom right, is a group of perhaps three viewers. Two are seated, and appear to be listening to a third, who is standing and pointing to the right. Hills can be seen in the bottom right corner, stretching into the distance along the river.
TOP IMAGE. Fishermen haul nets in boats on left, while other figures appear along a path on right. Huts and thatched houses are visible to the right and along the riverbank into the foreground. Several windmills are also visible in the background.
BOTTOM IMAGE. A riverscape with boulders and trees. A small group of figures sit or stand on boulders, with tallest figure pointing to the right. Hills are visible in the distance.
signed, dated, stamped and numbered out of 10 on mount verso
71.12 cm x 71.12 cm (28 in. x 28 in.)
A large ship sail against a cloud-filled sky in Kenya. The angle from which the photograph was taken creates a triangular shape to the sail. From the top corner to the left edge of the photo is a rope, and on the right side of the sail is a small black figure protruding from behind the cloth, possibly the top of the mast to which the sail is connected.
Horizontal landscape of a misty harbor view with several small boats in distance near center
Quickly executed oil sketch depicting Jamaica Bay, a shallow inlet of the Atlantic on the southwestern shore of Long Island between the New York City boroughs of Brooklyn and Queens.
While the simplicity of the composition may arise from the informal nature of the sketch itself, it also reflects the shift in taste at that time away from the elaborate, minutely detailed, and geographically specific landscapes for which Church is best known.
A river stretches before the viewer. In the foreground are a several rows of flat, mast-less boats tied to the quay. A group of ships with sails furled are at anchor in the middle of the river. On either side and extending into the distance can be seen buildings that hug either bank of the river.
Although he had begun to work in lithography by this time, Whistler reprised a number of views of the docks and commercial buildings that had won him such acclaim when the Thames Set was published in 1871. Recalling the teaming wharves of "Eagle Wharf" and "Rotherthite", Whistler may have hoped that these new plates showing the Pool of London would help alleviate his financial distress.