Want more images or videos?
Request additional images or videos from the seller
1 of 5
James Abbott McNeill Whistler (circle) NOCTURNE: PALACES1879
1879
About the Item
Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with platetone, 1879-80. From the Second Venice Set. Signed on the tab with the butterfly in pencil. Printed in sepia on laid paper with no visible watermark. Trimmed just outside the platemark, leaving the tab. In excellent condition. As with all of the Whistler Nocturnes, each impressions of this print is different, dependng on how Whistler wiped and manipulated the platetone. 11 5/8 x 7 7/8 inches (plate and sheet, plus the tab). Framed to 20 x 16 inches.
Provenance: Collection of Thomas Jefferson Coolidge, Jr. with his collection stamp (Lugt 1429) verso; Kennedy Galleries, with its inventory number a65609 in pencil verso, and with another inscription, "FWCX" in pencil, verso.
Thomas Jefferson Coolidge, 1831-1920, was a great-grandson of Thomas Jefferson, a powerful Boston businessman, and an Ambassador to France.
In 1875 he became the manager of the largest textile mill in America, the Amoskeag Mill in Manchester New Hampshire, and had major financial interests in the textile, banking, railroad, publishing and electrical industries. In 1880 he became the President of the Atchison, Topeka & Santa Fe Railway. He was one of the founders of the United Fruit Company, of which his son was President. He was active in civic and philanthropic affairs, both in Boston and in Manchester-By-The-Sea, which included working with Frederick Law Olmstead on the design of Boston’s Park System, the “Emerald Necklace.” He served as U.S. Ambassador to France in 1892 and 1893.
Here is the description from the Glascow Catalogue Raisonne:
In the foreground is a stretch of water, where two canals meet. From near left, a four-storey palace recedes diagonally towards the right. Balconies on the first- and second-floor windows cast long shadows over an arched doorway opening onto the water. In the distance, at centre, a small bridge crosses the canal, illuminated by a lantern on the tall building to right. Further away, at the left, the corner of another palace appears. A small boat is moored by the wall of the palace at left, in front of the bridge. The building at right, drawn parallel to the edge of the copper plate, has an arched watergate and windows above. The sky is dark and the buildings are reflected in the water.
- Creator:
- Creation Year:1879
- Dimensions:Height: 20 in (50.8 cm)Width: 16 in (40.64 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Portland, ME
- Reference Number:
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1966
1stDibs seller since 2016
301 sales on 1stDibs
Typical response time: 2 hours
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Portland, ME
- Return PolicyA return for this item may be initiated within 10 days of delivery.
More From This SellerView All
- WINDSWEPT TREESBy Chauncey Foster RyderLocated in Portland, MERyder, Chauncey. WINDSWEPT TREES. Etching & Drypoint, c. 1920. Edition size not known. Signed and titled in pencil. 8 7/8 x 11 7/8 inches, 225 x 302 mm. In excellent condition except...Category
1920s Landscape Prints
MaterialsEtching, Drypoint
- LE PONT AU CHANGEBy Charles MeryonLocated in Portland, MEMeryon, Charles. LE PONT AU CHANGE. S.40(v), DW.34. Etching with drypoint, 1854. Fifth State of twelve, with the inscriptions in cursive, "C. Meryon del. sculp. mdcccliiii," lower l...Category
1850s Realist Landscape Prints
MaterialsEtching, Drypoint
- SUGAR MAPLESBy Chauncey Foster RyderLocated in Portland, MERyder, Chauncey. SUGAR MAPLES. Etching & Drypoint, c. 1920. Edition size not known. Signed and titled in pencil. 9 7/8 x 11 3/4 inches, 256 x 300 mm. In excellent condition except fo...Category
1920s Landscape Prints
MaterialsEtching, Drypoint
- UNE JETEE EN ANGLETERREBy Félix Hilaire BuhotLocated in Portland, MEBuhot, Felix (French, 1847-1898). UNE JETEE EN ANGLETERRE. B & G 132, State two of eight. Etching with drypoint, aquatint and roulette, 1879. Signed in pencil, and with the red owl...Category
1870s Landscape Prints
MaterialsEtching, Aquatint, Drypoint
- QUARTER OF NINE - SATURDAY'S CHILDRENBy Martin LewisLocated in Portland, MELewis, Martin (American, born Australia, 1881-1962). QUARTER OF NINE, SATURDAY'S CHILDREN. McCarron 79. Drypoint, 1929. McCarron says the intended edition was 100 , but 107 were prin...Category
1920s Landscape Prints
MaterialsDrypoint
- N.Y. STEEL AND IRON.By William MeyerowitzLocated in Portland, MEMeyerowitz, William. N.Y. STEEL AND IRON. Drypoint, 1928. Edition of 40. Ttiled, numbered "2/40" and signed in pencil. 12 x 9 7/8 inches (plate), 13 1/2 x 11 inches (sheet). Inexcell...Category
1920s Landscape Prints
MaterialsDrypoint
You May Also Like
- Une rue de RouenBy Maxime LalanneLocated in Middletown, NYCopper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...Category
Late 19th Century French School Landscape Prints
MaterialsEtching, Drypoint, Laid Paper
- Demolition No. 1By Armin LandeckLocated in Storrs, CTDemolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression with tonal wiping...Category
1930s American Modern Landscape Prints
MaterialsDrypoint, Etching
- Manhattan NocturneBy Armin LandeckLocated in Storrs, CTManhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenanc...Category
1930s American Modern Landscape Prints
MaterialsDrypoint, Etching
- York Avenue, Sunday Morning.By Armin LandeckLocated in Storrs, CTYork Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. ...Category
1920s American Modern Landscape Prints
MaterialsDrypoint, Etching
- San Marco [Venice].By William Walcot R. E. Hon. R. I. B. A.Located in Storrs, CTWilliam Walcot. R.E., R.I.B.A. San Marco. Etching with drypoint and aquatint. Dickins 66, Harvey-Lee 91. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. Housed in a 16 x 20-inch archival mat. Soon after Walcot's arrival in England, the Fine Art Society sponsored a trip sent to Italy. This scene is one of four small drypoints that resulted from the artist’s stay in Venice. When he was seventeen, he began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...Category
Early 20th Century Modern Landscape Prints
MaterialsDrypoint, Etching, Aquatint
- Chelsea Old Church, LondonBy William Walcot R. E. Hon. R. I. B. A.Located in Storrs, CTChelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...Category
Early 20th Century Modern Landscape Prints
MaterialsDrypoint, Etching, Aquatint