Not on display

The Traghetto

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
Titles
  • The Traghetto (assigned by artist)
  • Venice, a Series of Twelve Etchings (series title)
Materials and techniques
Etching and drypoint on paper
Brief description
'The Traghetto (No.2)', etching and drypoint by James McNeill Whistler, 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 Traghetto (No.2)', 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: 23.7cm
  • Width: 30.2cm
Cut
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'. This is an impression from the cancelled plate. W.156; K.191, 6th 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.156.
  • Kennedy, Edward G. The Etched Work of Whistler. San Francisco: Alan Wofsy Fine Arts, 1978. No.191, 6th state.
  • Taken from Departmental Circulation Register 1968
Collection
Accession number
CIRC.639-1968

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Record createdJune 30, 2009
Record URL
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