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James McNeill Whistler 1834-1903
Black Lion Wharf, 1859signed and dated 1859 in plate; printed in black ink on laid paperetchingan impression in the fourth (final) state6 x 9 inches (15.3 x 22.9 cm)Set on the north bank of the Thames near St Katharine’s Dock, Black Lion Wharf is perhaps Whistler's most famous etching, due in part to its inclusion as a framed...Set on the north bank of the Thames near St Katharine’s Dock, Black Lion Wharf is perhaps Whistler's most famous etching, due in part to its inclusion as a framed work on the wall in his painting Arrangement in Grey and Black: Portrait of the Painter’s Mother. Unlike many of his other Thames subjects, this plate was drawn in reverse so that the resulting print displays the wharves and warehouses in their correct topographical orientation. The composition is anchored by a young, bearded longshoreman in the foreground, whose figure is silhouetted against the unworked, white space of the water. Whistler uses a high horizon line, alternating between areas of intense detail and blank voids to lead the eye through the crowded urban landscape. The neatly lettered signs throughout the image provide structure to the seemingly chaotic riverside environment.Literature
R. Thomas, A Catalogue of the Etchings and Drypoints of James Abbott MacNeil Whistler (London 1874), no. 35;F. Wedmore, Whistler's Etchings: a Study and a Catalogue (London 1886), no. 40;
H. Mansfield, A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler (Chicago 1909), no. 41;
E.G. Kennedy, The Etched Work of Whistler (New York 1910), no. 42;
M.F. MacDonald, G. Petri, M. Hausberg, and J. Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, (Glasgow 2011), on-line website at http://etchings.arts.gla.ac.uk, no. 54
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