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James McNeill Whistler 1834-1903
Limehouse, 1859signed and dated 1859 in plate; printed in black ink on thin Japan paperetching and drypointan impression in the third (final) state5 x 8 inches (12.8 x 20.4 cm)Set at the entrance to the West India Docks, Limehouse represents the most easterly location of Whistler's London subjects. In 1859, this was a notoriously squalid and dangerous area; the...Set at the entrance to the West India Docks, Limehouse represents the most easterly location of Whistler's London subjects. In 1859, this was a notoriously squalid and dangerous area; the water was so contaminated that lime was regularly dumped into the Thames to suppress the stench of waste. Despite these conditions, Whistler spent two months living in Wapping to capture the working-class maritime community. The etching focuses on a tangle of mooring posts, boats, and gangplanks, and the bow-fronted Harbour Master's house. By cropping the foreground barge and the tops of the buildings, Whistler brings the viewer into immediate contact with the busy, cluttered life of the river.Provenance
The Fine Art Society, London, 2007; private collection, EnglandExhibitions
The Fine Art Society, James McNeill Whistler: The Embroidered Curtain, London, 2007, no. 8
Literature
R. Thomas, A Catalogue of the Etchings and Drypoints of James Abbott MacNeil Whistler (London 1874), no. 39;F. Wedmore, Whistler's Etchings: a Study and a Catalogue (London 1886), no. 37;
H. Mansfield, A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler (Chicago 1909), no. 39;
E.G. Kennedy, The Etched Work of Whistler (New York 1910), no. 40;
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. 48
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