Rotherhithe (Wapping) - Drypoint Etching

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James Abbott McNeill Whistler
Rotherhithe (Wapping) - Drypoint Etching
1860

Name: Rotherhithe (Wapping) - Drypoint Etching
Brand: James Abbott McNeill Whistler
Rating: 5 (348 reviews)

About the Item

Etching from James A. M. Whistler's Thames Set ("A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects") originally published in 1871. Masterfully executed and highly detailed etching of two workers at a shipyard in Rotherhithe. Signed and dated in plate ("Whistler 1860") Paper size: 14.82"H x 11.19"W (37.6cm x 28.4cm) Plate size: 10.63"H x 7.69"W (27cm x 19.6cm) Presented in a new white mat with new backing. Title Rotherhithe (aka: Wapping) Artist James Abbott McNeill Whistler 1834 - 1903 Year 1860 Technique etching and drypoint Image Size 6 7/8 x 11 7/8" platemark Signature plate signed "Whistler" lower left image Edition Size 118 known impressions (Glasgow) Annotations dated "1860" in lower left Reference G70; Kennedy 66; M. 66; T.41; W.60 Paper antique-white laid, with KF watermark in center State vi/vi Publisher Published in the "Thames Set" in 1871 by Keppel (Published in this state in the 'Thames Set'. Diagonal drypoint lines augment the shading across the chest and pipe of the man on the left.) Born in Lowell, Massachusetts, James Whistler became one of the most influential late 19th-century American painters and etchers, although he lived primarily in England. He worked in a wide variety of styles that included Impressionism, Symbolism, and Art Nouveau. He was especially influential in the Tonalist movement and was a catalyst for those who wanted to break away from prescribed academic methods, credited with being the first American modernist to influence European art. He also created 179 lithographs, having received a commission in 1879, and from that time, he worked in graphics, pastel, and watercolor, and favorite subjects were subtly delineated cityscapes or ships at docks. He was raised both in New England and in Russia where his father, an engineer, was commissioned by the Czar to build the Moscow-St. Petersburg railroad. In 1847, Whistler went to London for his sister's wedding to Seymour Haden, a key figure in 19th century etching, and association with this man stimulated Whistler's interest in that medium. After the father's death in 1849, the family returned to the United States, and he entered the Military Academy at West Point where he did illustrations for student publications and also worked as surveyor and cartographer in U.S. Coastal and Geodetic Surveys. In 1855, determined to have a fine art career, he sailed for Europe and never returned to the United States. He studied in Paris with Charles Gleyre and became a part of avant-garde circles that included Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Gustave Courbet, and Edgar Degas. In 1859, he settled in England but stayed in close touch with his Parisian friends. His style was independent of realism and of those such as John Ruskin who thought art should have a moral purpose. To many his paintings were a mystery because they seemed dreamy, abstract, and somewhat ghost-like. For some of his works, he chose musical titles to remove them from narrative context. Ruskin accused him of doing paintings that were like "flinging a pot of paint in the public's face," and the two faced each other in court when Whistler sued Ruskin for damages. Whistler won the lawsuit but was awarded only one farthing, which left him financially broke and bitter. However, he gained a lot of attention and positive recognition. "The year 1859 saw the commencement of the subjects executed in London, The Thames Set. Then he attained the culminating point, as it were, of his art, by the perfection of the technique, the lightness and elasticity of his line and the vivacity of the whole. He was able to make later, renewing himself, works in a different style, perfect of their kind, but nevertheless not surpassing these productions of his debut. One of his finest Thames etchings, Rotherhithe, in which we see two sailors' heads in the foreground, and beyond, ships' masts and the waters of the river, is so perfect in craftsmanship that it suggests a work produced in calm and contemplation. Quite the contrary, Whistler graved his copper in a kind of warehouse that was being repaired. At one moment a brick falling from above, almost on top of him, caused him to turn abruptly, and the hand that was working, wandering, placed perpendicularly on the middle of the plate a long line visible in the engraving." — Theodore Duret, p. 19. References Duret, Theodore. Whistler. Trans. Frank Rutter. New York: J. B. Lippincott, 1907; London: Grant Richards, 1907. Pennell, Joseph, and F. Courbin. Concerning the Etchings of Mr. Whistler. 7th ed. New York: Frederick Keppel,

Creator:
James Abbott McNeill Whistler (1834-1903, American)
Creation Year:
1860
Dimensions:
Height: 20 in (50.8 cm)Width: 16 in (40.64 cm)Depth: 0.25 in (6.35 mm)
Medium:
Ink,Laid Paper,Drypoint
Movement & Style:
Impressionist
Period:
Late 19th Century
Condition:
Paper has been professionally clean amd PH balanced restored to remove most age discoloration. a few repairs to small tears in margins.
Gallery Location:
Soquel, CA
Reference Number:
Seller: DBH75471stDibs: LU5429554992

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