Whistler's Little Venice

Whistler's deceptively-simple etching Little Venice has remarkable depth. Whispy clouds play over the busy horizon line on which the city of Venice floats. Below this dense horizon, gondolas go about their business and poles stand in the shimmering water conveying a rudimentary perspective. The extreme foreground is not empty but reveals warm inky plate tone wtih stunning effect. This little masterwork was sold at Swann Galleries on September 20 for $9,000.

 

Sale 2286 Lot 53
JAMES A. M. WHISTLER
Little Venice.

Etching and drypoint printed in dark brownish black on cream laid paper, 1880. 184x264 mm; 7 1/4x10 3/8 inches. MacDonald's second state (of 2), with the scraper marks at the corners removed. Edition of approximately 70, of which approximately 25 were printed during the mid-1880s, such as the current impression, and trimmed to the plate mark with the signature tab. Signed with the butterfly and inscribed "imp" in pencil on the tab, lower left. From Twelve Etchings. A superb impression with selective wiping and with all the fine lines printing clearly.

According to MacDonald, impressions from the later, mid-1880s printings "were printed with a light, carefully wiped surface tone of ink, to augment the color and atmospheric effect of oily stillness of the lagoon." Kennedy 183; MacDonald 238.
Estimate $15,000-20,000

Sold for $9,000

http://catalogue.swanngalleries.com/asp/fullcatalogue.asp?salelot=2286++++++53+&refno=++666449

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Whistler in Venice

Whistler's Venetian etchings remain a high-water mark, if you will, in the history of printmaking. Here his Two Doorways, with a strikingly robust sale estimate, failed to find a buyer last month at Swann Galleries in New York. This is a sumptuous exploration of surfaces and depth.

Sale 2286 Lot 54 - Sept. 20, 2012, 10:30 

JAMES A. M. WHISTLER

Two Doorways

Etching and drypoint on antique cream laid paper, 1879-80. 202x292 mm; 8x11 5/8 inches. MacDonald's thirteenth state (of 13). A "selected proof" with Whistler's 3 dots and indiscernable initials in pencil, verso. Pro Patria watermark. Ex-collection Morris Schapiro (Lugt supplement 1918 bis, verso); and Kennedy Galleries, New York, with their stock numbers in pencil, verso. A brilliant impression with all the delicate lines printing clearly. Kennedy 193; MacDonald 221.
Estimate $30,000-50,000

Unsold

http://catalogue.swanngalleries.com/asp/fullCatalogue.asp?salelot=2286++++++54+&refno=++667109&saletype=

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Another Look at "Upright Venice" by Whistler

In my June 29 post, I discussed a Bonhams sale of James Abbott McNeill Whistler's superb etching "Upright Venice."  It sold for £9,000, significantly above the high end of its estimate of £3,000 to 5,000.  So far, so good.

Now Swann Galleries is offering the etching in what they identify as the fourth state of four. Different states of an etching are the result of interval changes made to the plate by the artist during the process of printing. No mention was made of any particular state in the July Bonhams sale. Swann gives the edition size as approximately 30, presumably referring only to this fourth state. The published estimate is $30,000 to $50,000, somehow placing the low estimate at approximately twice the strong British sale price achieved in July. 

Is this fourth state really worth so much more? It doesn't appear all that different to me. We'll find out on September 22.

Sale 2254 Lot 134

JAMES A. M. WHISTLER 

Upright Venice.

Etching printed in dark brownish black on cream laid paper, circa 1879-80. 256x179 mm; 10 1/8x7 inches. Fourth state (of 4). Edition of approximately 30. Signed with the butterfly and inscribed "imp." in pencil on the tab, lower left. From Twenty-Six Etchings. A superb, early impression, with selective wiping and warm plate tone. Kennedy 205.

Estimate $30,000-50,000

September 24, 2011:  Sold for $75,000

  

The sale of September 22 at Swann:  http://catalogue.swanngalleries.com/asp/fullCatalogue.asp?salelot=2254+++++134+&refno=++651348&saletype=

My earlier post on the July sale of this fine etching is here. 

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