James Abbott McNeill WhistlerLagoon: Noon1879-80
1879-80
About the Item
- Creator:James Abbott McNeill Whistler (1834-1903, American)
- Creation Year:1879-80
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531472653
James Abbott McNeill Whistler
James Abbott McNeill Whistler was an American artist active during the American Gilded Age and based primarily in the United Kingdom. Whistler was born on July 11, 1834, in Lowell. During his formative years in Paris in the 1850s, Whistler was influenced by the injunctions of the poet and theorist Charles Baudelaire that artists should take subjects from modern life and seek a new beauty in the teeming cities. Whistler's first major suite of prints, his French Set brought critical acclaim but disappointing sales. Seeking more generous patrons, he moved to London in 1859. Initially, under the influence of his brother-in-law Francis Seymour Haden, a pioneer of the etching revival, he began a series of superbly observed and finely detailed views of the River Thames with its shipping, thriving wharves and picturesque characters. In his Thames Set etchings, Whistler often introduced the figures of workmen, boatmen or loungers in the foregrounds. Whistler died on July 17, 1903, in London.
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- A Street in Ventnor, Isle of WightBy Theodore Casimir RousselLocated in New York, NYTheodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed...Category
1910s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- The Bridge, Santa MariaBy James Abbott McNeill WhistlerLocated in New York, NYJames Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...Category
1870s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- The Gate, ChelseaBy Theodore Casimir RousselLocated in New York, NYTheodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...Category
1880s Impressionist Landscape Prints
MaterialsDrypoint, Etching
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1880s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Shere Mill Pond II (Large Plate)By Seymour HadenLocated in New York, NYSeymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...Category
1860s Impressionist Landscape Prints
MaterialsDrypoint, Etching
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1880s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Crab Boats, Southampton Water /// Impressionist British Seascape Ship MaritimeBy Aileen Mary ElliotLocated in Saint Augustine, FLArtist: Aileen Mary Elliot (English, 1896-1966) Title: "Crab Boats, Southampton Water" *Signed by Elliot in pencil lower right Circa: 1925 Medium: Original Drypoint Etching on laid p...Category
1920s Impressionist Landscape Prints
MaterialsDrypoint, Etching, Laid Paper, Intaglio
- Landscape with Horses.By James Abbott McNeill WhistlerLocated in Storrs, CTKennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...Category
Mid-19th Century American Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Barcarolle.By James McBeyLocated in Storrs, CTBarcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...Category
1920s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Vachère au Bord de l'EauBy Camille PissarroLocated in Santa Monica, CACAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...Category
1890s Impressionist Figurative Prints
MaterialsEtching, Drypoint
- Laburnums and Battersea.By Theodore Casimir RousselLocated in Storrs, CTLaburnums and Battersea. 1889-90. Etching and drypoint. Hausberg 34.iii/v. 13 1/2 x 8 5/8 (image and sheet). Only one other known impression in this state (total of about 62 known im...Category
19th Century Impressionist Landscape Prints
MaterialsDrypoint, Etching
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Mid-19th Century Impressionist Landscape Prints
MaterialsDrypoint, Laid Paper, Etching