Two horses, seen from behind, stand in front of a shed-like structure. On the threshold and partly shadowed to the left stand two figures, a man in an apron and an youth holding a bucket upside down. On the right, closer to the viewer is a whetstone; on the far left of the composition is a rain barrel.
Whistler executed a number of works at the blacksmith operated by the Govier family in Lime Regis. These are portraits and portrayals of the family at work in the smithy.
Thomas Way printed 3000 impressions of "The Smith's Yard" that were issued in "The Studio" 47, no. 10 (Feb. 15, 1897) and in "The International Studio" 1, no. 1 (March 1897); UMMA's impression has The Studio's blindstamp at the bottom.
A curving country town street lies before the viewer. On either side of the street are row houses and other buildings; along the right side of the composition is a darkened doorway and steps facing the viewer. Along the street are numerous figures strolling. At the bottom of the image at the right is a dog, facing up the street and away from the viewer.
Whistler spent time in Lime Regis during the fall of 1895. This image looks up Broad Street. It was drawn on a transfer paper that was new to Whistler that the Ways had sent him in Lime Regis. He decided he did not much like the effects of this paper.
An older woman is shown seated against an undifferentiated background. She has a dark hat on and is sitting facing towards the right, although her head, tilted on an angle, faces the viewer. Most of the figure is drawn with cursory attention, but the face is very delicately but fully modeled.
The sitter is Whistler half-sister, Deborah Delano Haden, née Whistler, the wife of Whistler's early mentor and later nemesis, Francis Seymour Haden. In the early years of Whistler's association with Haden, Whistler frequently drew the Haden children but after Whistler's rupture with Haden in 1867, Deborah was forbidden to see any of her family, many of whom resided in London. Whistler and his family were forced to resort to subterfuge in order to see Deborah. Haden received a knighthood in 1894; this tender portrait shows Whistler's sister at the age of 70.
Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.