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    Description

    James Abbott McNeill Whistler (American, 1834-1903)
    Bridge, Amsterdam, 1889
    Etching
    6-3/8 x 9-3/8 inches (16.3 x 23.8 cm) (sheet)
    Signed with butterfly monogram and inscribed 'imp' in pencil on the tab at lower left
    Signed again with butterfly monogram and annotated 'a33940' in the artist's hand verso
    Printed in dark brown ink on laid paper

    This etching is a proof in the first state (of five). There was no published edition. However, it is considered part of Whistler's clearly defined but unpublished Amsterdam Set.

    PROVENANCE:
    P. and D. Colnaghi and Co., Ltd., London;
    Jeffrey Weiss, Dallas, acquired 1981;
    Heritage Auctions, Dallas, December 7, 2007, lot 23658;
    Acquired by the present owner from the above.

    LITERATURE:
    Kennedy, 409;
    Glasgow, 447.

    This very good impression of one of the most prized etchings from Whistler's Amsterdam set of 1889 is of major historical importance as the very first proof the artist pulled from this plate. In Whistler's hand on the reverse of the sheet is the pencil notation "1st proof pulled" together with his butterfly. Prior to its sale through Heritage in 2007, this proof impression had never been published or recorded.

    This impression is printed without much plate tone, and has less work in the water in the central part of the composition than in the first state described by Kennedy, physical evidence that reinforces the inscription on the reverse. It is thus an undescribed state (or proof) before the first of three. Consistent with the first state are: an incomplete bridge-railing in the center and at the right; scarcely any shading in walls and roofs at the left; the telegraph frame is only faintly indicated; there are very few lines below the reflections of the bridge.

    This is one of twelve etchings Whistler produced during his two-month stay in Holland during the autumn of 1889 with his wife Beatrice. All twelve are drawn from a relatively low vantage point, which suggests they were produced from boats Whistler and his wife had rented as a floating studio. No drawings for any of the twelve etchings survive, and the etchings were executed with the marvelous immediacy of a first impression. Since they show the motifs in reverse, scholars strongly suspect that Whistler drew them alla prima, directly on pre-prepared copper plates.

    Within two weeks of his arrival in Amsterdam, where he and Beatrice lodged at Brack's Doelen Hotel, Whistler had hatched a plan for producing an "Amsterdam set," pitched the idea to the Fine Art Society for publishing the suite of etchings, and set to work. The cityscape Whistler depicted in the present etching has since disappeared. As J. F. Heibroeck and Margaret F. MacDonald have noted (Whistler and Holland, Uitgeverij Waanders, Zwolle and Rijksmuseum Amsterdam, 1997, p. 62): The buildings along the Boltensgrachtje "were demolished around 1930. The canal on which they were situated ran roughly parallel to the tunnel under the IJ [river]."

    A note on the evolution of Whistler's butterfly monogram and his practice of trimming his etchings: While Whistler was in Venice in 1880, his butterfly had metamorphosed into a curving insect with tail and antennae. During his Dutch sojourn in 1889, however, the butterfly lost its veins and became simpler. When printing his Venetian etchings, Whistler began the practice of trimming the paper right to the platemark, leaving only a tiny tab at the bottom where the butterfly and the Latin "imp" [showing he had printed it] were located. By 1889-90, he was leaving only the tiniest of tabs, usually towards the left corner, as seen in the present example.


    More information about James Abbott McNeill Whistler, also known as Whistler, James Abbott McNeill, Whistler, James A. McNeill, Whistler, James Abbott MacNeil.

    Condition Report*: The paper is trimmed with the plate mark still just visible all round, leaving a signature tab; paper is hinged to the mount at the top edge verso; overall slight toning with some scattered spots of light foxing; there appears to be an approx. 3-3/4" printer's crease from the middle center to the bottom of the buildings; framed under glass. Framed Dimensions 14.8 X 17.375 Inches
    *Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.

    Auction Info

    Auction Dates
    November, 2016
    12th Saturday
    Bids + Registered Phone Bidders: 1
    Lot Tracking Activity: N/A
    Page Views: 1,336

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