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James Abbott McNeill WhistlerLagoon: Noon1879-80
1879-80
$14,000
£10,414.86
€12,210.61
CA$19,580.78
A$21,862.51
CHF 11,471.02
MX$269,822.03
NOK 144,192.27
SEK 134,917.44
DKK 91,093.25
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About the Item
James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches.
A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, was in the collection of John H. Wrenn.
On a commission from the Fine Arts Society, Whistler created the plates of his Venice series, including Lagoon: Noon during the fall and winter of 1879-1880. He published them in two groups, first with the Fine Arts Society, and then, after much disputation with the Society, a second group with the firm of Dowdeswell and Dowdeswell (called the “Second Venice Set”). Lagoon: Noon was published in the latter set. Whistler insisted on printing these proofs himself, and of course had extremely high standards, so he got behind in printing these impressions (and he had not yet finished the impressions from the First Set) – but of course the care he took in printing these proofs make them highly sought after today.
- 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 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.
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