James Abbott McNeill Whistler, ‘The Doorway.’, 1880, The Old Print Shop, Inc.

"Signed with butterfly on tab. State 20 of 20.

From the first Venice set of twelve etchings from nature. Commissioned by the Fine Art Society, London, 1879 and exhibited in 1880.

""The Doorway"" was likely drawn in the spring or early summer of 1880, when Whistler explored the area around San Marco.

The image is derived from ""Palazzo Gussoni"" which is south of the Ponte San Antonio on the Rio de la Fava.

The plate was bequeathed to Rosalind Birnie Philip who arranged for Frederick Goulding to finish the edition for the Fine Arts Society, these impressions are signed F. Goulding, printer.

After the Gouilding printing the plate was cancelled and given to the University of Glasgow."

Signature: A brilliant, delicate wiped impression of this important etching.

Glasgow #193. Kennedy #188. Mansfield #185.

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, Massachusetts