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James Abbott McNeill WhistlerLimehouse1859
1859
$12,500
£9,543.41
€10,930.55
CA$17,512.44
A$19,581.05
CHF 10,271.08
MX$237,173.59
NOK 129,652.20
SEK 122,490
DKK 81,585.72
About the Item
James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky.
A very fine impression, in black ink on a thin Japan paper.
Provenance: Dr. John W. Randall (cf. Lugt 2130), without his mark, annotated on the mat.
Limehouse, the entrance to the West Indies Docks, lies opposite the Surrey Commercial Docks in Rotherhithe, along the lower Thames.
It’s unusual to find the signed butterfly (or any pencil signature) on the early London etchings, but it is known that Whistler signed a few some years after they were done, after the time he started using the butterfly signature. This butterfly dates from 1889-90 (cf. description of this impression, Glasgow catalogue).
- Creator:James Abbott McNeill Whistler (1834-1903, American)
- Creation Year:1859
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531464993
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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By James Abbott McNeill Whistler
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Battersea Morn (also Battersea Dawn)
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James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...
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By James Abbott McNeill Whistler
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James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011)
On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches.
A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone.
provenance:
H. Wunderlich & Co., New York
Louis B. Dailey, New York (Lugt 4500)
sale, Sotheby’s, New York, October 31, 2003, lot 69
literature;
Neue Lagerliste 122: James McNeill Whistler – Etchings...
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James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upp...
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By James Abbott McNeill Whistler
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James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185.
Provenance: Kraushaar Gallery, New York
A fine impression, with wide margins.
The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery. The plate is on a large scale and shows the change in the artists approach to the Thames since the etchings he had made in Wapping and the docks in the summer of 1859. The central motif is the old bridge, by this stage somewhat dilapidated. It was shortly to be demolished and replaced by the new bridge of Cornish granite...
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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...
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