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James Abbott McNeill WhistlerThe Little Putney1879
1879
About the Item
James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 124 x 201 mm. In very good condition, with wide margins (a tiny rust spot right margin), printed in brownish/black ink on laid paper.
Provenance: S.H. Nazeby Harrington (lugt 1349), with his stamp lower left recto. Harrington was an art critic, author of the catalogue raisonne for Seymour Haden (Whistler’s brother-in-law) prints.
A very fine impression, with substantial plate tone. MacDonald (Glasgow) notes that relatively few impressions of the third state were printed, and that the final state is sometimes “richly printed”, as exemplified in this impression.
This relatively rare print should not be confused with the more common prints Little Putney Bridge (Glasgow 186) or the Old Putney Bridge (Glasgow 185).
- Creator:James Abbott McNeill Whistler (1834-1903, American)
- Creation Year:1879
- Dimensions:Height: 48.82 in (124 cm)Width: 79.14 in (201 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51539407842
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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This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate.
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