Image of Gallery in South Kensington
On display at V&A South Kensington
Request to view at the Prints & Drawings Study Room, level C

The Riva (No.1)

Print
1880 (published)
Artist/Maker
Place Of Origin

In 1879 Whistler was commissioned by the Fine Art Society to make a set of etchings of Venice. This is a printmaking technique in which acid is used to bite lines in a metal plate. These lines are next filled with ink, which is then printed on to paper.

Whistler was one of the first artists to put his pencilled signature to a print. This practice grew up during the second half of the 19th century in order to identify works printed from surfaces made by the artist him- or herself, as opposed to reproductions of works originally created in other media.


object details
Category
Object Type
Additional TitleVenice, a Series of Twelve Etchings (series title)
Materials and Techniques
Etching and drypoint
Brief Description
Etching and drypoint by James McNeill Whistler, 'The Riva (No.1)', 1880. From 'Venice, a Series of Twelve Etchings', published by the Fine Art Society, London, 1880. Signed.
Physical Description
Etching and drypoint by James McNeill Whistler, 'The Riva (No.1)', 1880. From 'Venice, a Series of Twelve Etchings', published by the Fine Art Society, London, 1880. Also known as 'The First Venice Set'. Signed in pencil.
Dimensions
  • Height: 200mm
  • Width: 296mm
Marks and Inscriptions
(Signed in pencil)
Credit line
Acquired from The University of Glasgow Art Collections, The Hunterian Museum, University of Glasgow in 1968
Object history
From Venice, a Series of Twelve Etchings, published by the Fine Art Society, London, 1880. Also known as 'The First Venice Set'. W.157; K.192, 3rd state.
Place Depicted
Summary
In 1879 Whistler was commissioned by the Fine Art Society to make a set of etchings of Venice. This is a printmaking technique in which acid is used to bite lines in a metal plate. These lines are next filled with ink, which is then printed on to paper.



Whistler was one of the first artists to put his pencilled signature to a print. This practice grew up during the second half of the 19th century in order to identify works printed from surfaces made by the artist him- or herself, as opposed to reproductions of works originally created in other media.
Associated Objects
Bibliographic References
  • Wedmore, Frederick. Whistler's Etchings, A Study and a Catalogue. London: Colnaghi & Co, 1899. No.157.
  • Kennedy, Edward G. The Etched Work of Whistler. San Francisco: Alan Wofsy Fine Arts, 1978. No.192, 3rd state.
  • Taken from Departmental Circulation Register 1968
Collection
Accession Number
CIRC.640-1968

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest Feedback

record createdJune 30, 2009
Record URL