The Riva, Venice. No 2. by James Mc Neill Whistler, 1834-1903

James Mc Neill Whistler, 1834-1903
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The Riva, Venice. No 2.

Original etching in warm brown-sepia ink. 1880. Signed in pencil with the 'butterfly' monogram, and inscribed 'imp' (printed by Whistler). From the edition of 42 impressions
issued for the 'Second Venice Set - Twenty Six Etchings'. Published by Dowdswells,
London 1886.
Ref: Kennedy - Whistler The Etched Work no 206, first state.

Beautiful warm printed impression with a gently-wiped surface ink tone. On antique pale cream laid paper. Excellent original unrestored condition; one tiny fleck in the paper just to the right of the canopy. Trimmed by Whistler to the platemark, and with the signature 'on a
tab', as issued. Sheet (excluding tab): 8 1/8 x 12ins. (207 x 306mm).

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?The Riva? is one of the famous subjects from Whistler?s first series of etchings. The view is on the Riva del Schiavoni, just along from St Mark?s. This is a beautiful impression in a soft hand-wiped warm tone of brownish ink printed by Whistler working with Goulding on the press in his house sometime just after 1880.

At the end of the 1870?s Whistler?s finances were at disastrously low ebb, and he spent much of his time trying to escape his creditors who were camped on his doorstep. When the Fine Art Society, impressed by the success of his London etchings, offered him a commission to go to Venice and make a series of etchings it seemed to solution to all his problems and he accepted with alacrity. Not only would be escape from financial pursuit but also he was sure it would provide the new inspiration that he so badly needed. The light and buildings of Venice had had a profound influence on many artists Whistler admired, and when he arrived on the Grand Canal in 1879 it more than fulfilled his hopes.

Whistler took rooms with Maud in a small pensione on the Grand Canal, and he was immediately captivated by the unique atmosphere of the city. Its combination of light sparkling on the canals, rich textures on the elaborate buildings, and bustling people led Whistler to a climax of inspiration. Flickering patterns of form, half described shapes, light which is captured with touches of line and shading and the most subtle of ink tones in the wiping of the impressions make the etchings of Venice amongst the great masterpieces in the whole history of etching in the last two centuries.

Whistler was asked for 12 etchings. He drew some 50. 12 were selected for the First Venice Set, including The Riva, above. Intended for an edition of 100, each to be printed by Whistler himself many less were in fact pulled and Whistler had not fulfilled the editions over a decade later.