Three grief-striken figures lament over the body of a dead man lying on the ground before them. One of these figures, a robed woman who clasps her hands in agony, leans forward to peer into the face of the dead man, who is rendered with dramatic foreshortening. To the left of this woman sits a long-haired man wiping his eyes while another woman with wild unkempt hair seated next to him raises her arms in abject sorrow. Three nails and a pair of vessels sit in the immediate foreground next to the artist's initials "HGB."
This woodcut print depicts the Virgin Mary, St. John the Evangelist, and Mary Magdalene lamenting over the body of Christ at the foot of the cross. The Virgin, with her cowl drawn over her head, leans over Christ's body, while John and the Magdalene, wild with grief, sit behind her. The posts of the three crosses and a ladder as well as the feet of the two criminals executed with Christ appear behind this dramatic knot of figures. The nails driven through Christ's hands and feet sit prominently alongside two vessels in the foreground.
This print depicts the body of a man being lowered from a cross. Two men lean over the top of the cross to remove the nails from the dead man's hands and pass his body down to two other men standing on ladders. Three women and a man lay on the ground in mourning at the foot of the cross.
This print represents the removal of Jesus' body after his crucifixion. Four men, including Nicodemus and Joseph of Arimathea, work to lower his body from the cross. The group of mourners at the foot of the cross includes the Virgin Mary, who slumps forward in a swoon, and John the Evangelist, who supports her from behind. The balanced composition and the dignified emotional restraint of the figures in the print reveal the influence of Raphael.
Two figures in the foreground stand with their backs to the viewer, looking toward buildings in the middleground. The buildings are built in the pueblo style, with some arched windows and beams jutting out from the roof. A ladder leans against a building in the far left of the composition. The scene is heavily shadowed, by both the buildings and the figures.
Hoerman devoted most of his time to landscapes, particularly focusing on western settings and desert scenes. This print depicts the ancient stone pueblo village of Walpi in northern Arizona.
On the plate, u.r.: Whistler On the plate, l.l.: J. Whistler On the plate, l.r.: Imp. Delatre. Rue St. Jacques. 171. Collection (no mark): This set is from the collection of the late Sir F. Seymour Haden's brother.
A street or courtyard fills the middle distance. A handful of figures stand or sit in front of the buildings on the right; only a single cow at the right occupies the open space in the foreground. The low buildings are, on the left side, brightly lit while the structures on the right are in shadow.
Most of the etchings from the "French Set" are the result of a walking trip that Whistler took with a fellow student artist in 1858. Some of the plates were drawn back in Paris based on drawings and watercolors that Whistler executed in Alsace and eastern France; others were sketched on site as they walked. This plate is probably from the latter group.