James Abbott McNeill Whistler, ‘Becquet’, 1859, Christopher-Clark Fine Art

Original etching and drypoint printed in black ink on laid paper bearing the “L & P” watermark.

A strong, black, richly printed impression of Kennedy’s fourth and final state, Glasgow’s sixth and final state, printed after the small cross-shaped mark was removed from the upper left corner. One of the plates from the album A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, now commonly referred to as “The Thames Set,” printed by Frederick Goulding in the 1870’s.

Catalog: Kennedy 52 iv/iv; Glasgow 62 vi/vi; Mansfield 52; Grolier Club 50; Wedmore 48.

Sheet Size: 14 1/4 x 9 3/16 inches

In excellent condition, printed on a sheet with wide inch margins all around.

About James Abbott McNeill Whistler

James Abbott McNeill Whistler changed the course of art history with his radical techniques and adoption of Asian design principles, which emphasized a two-dimensional flattening of painted forms and their arrangement into abstract patterns. A London-based expatriate, Whistler embraced and promoted the doctrine that art should not serve narrative, but rather project the artist’s subjective feelings through the handling of the medium. His revolutionary methods changed existing approaches to oil paint, pastel, watercolor, etching—even interior design and the decorative arts. The flat, expressive, and radically simplified forms in his Venice pastels, and his use of fluid blue and gray pigments in his abstract nocturnes, altered how his contemporaries like Édouard Manet and Edgar Degas saw and understood art. He scandalously named one of his most famous paintings Arrangement in Grey and Black, No. 1 (1871), suggesting the reduction of a portrait of his mother to an arrangement of formal elements.

American, 1834-1903, Lowell, MA, United States, based in London, United Kingdom