|Medium:||etching and drypoint|
|Size:||155 x 230 mm|
|Signed:||butterfly at lower left (3-final)|
|No. of States:||10|
|Catalogues:||K.226; M.223; W.199|
|Impressions taken from this plate (14)|
9: London FAS 1883 (cat. no. 43).
"There are many things in a painter's art which even a photographer cannot understand." Laudatory notice in Provincial Press.'
10: London FAS 1883 (cat. no. 43).
Nocturne: Salute was rather neglected by critics in 1883. The critic of the Daily News thought it 'Among etchings that will be, or should be, admired' and called it 'beautiful' but the Bazaar dismissed it, saying that the 'nocturnes of Shipping, Dawn, Furnace, or Salute, are something more than disappointing.' 11 However, John Forbes-Robertson, in a thorough and insightful review of the show, commented on the technique: 'The liquid quality ... which Mr. Whistler gives to water, as in "Nocturne Salute", is produced, we believe, by pressing the fleshy part of the palm deftly over the surface of the plate. There are many mysteries connected with the printing which Mr. Whistler holds in his keeping, and brings successfully into play as occasion requires.' 12
11: Anon., 'Fine Art', Mr Whistler's Exhibition', Bazaar, 28 February 1883 (GUL PC6/43).; Anon., 'Mr. Whistler's Etchings', Daily News, 20 February 1883 (GUL PC25/20).
12: 'Mr. Whistler, His Arrangement in White and Yellow, His Etchings and His Catalogue', Pictorial World, 31 March 1883 (GUL PC 8/8).
After the artist's death impressions were shown in several of the Whistler Memorial Exhibitions. A grand total of four impressions of different states was exhibited at the Grolier Club in New York in 1904, and two were also shown in Boston in the same year, lent by Francis Bullard (1862-1913) and Frank Gair Macomber (1849-1941) (), as well as one in London, lent by King Edward VII, in 1905 (). 15
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