|Medium:||etching and drypoint|
|Size:||127 x 204 mm|
|Signed:||butterfly at left|
|Set/Publication:||'Second Venice Set', 1886|
|No. of States:||4|
|Catalogues:||K.215; M.212; W.185|
|Impressions taken from this plate (32)|
Possibly 'Venice dawn' (1882, Whistler). 1
'Salute Dawn' (1883, F.A.S.). 2
'Venice Dawn' (1886?, Whistler). 3
'Salute: Dawn' (1886, Frederick Wedmore (1844-1921)). 4
'La Salute Dawn' (1887, Whistler). 5
'La Salute au point du jour. - (Salute. Dawn)' (1905, Paris). 6
'La Salute: Dawn' (1909, Howard Mansfield (1849-1938)). 7
There is a problem with differentiating the several subjects that show Santa Maria della Salute at all times of the day, such as this print, Little Salute 210 and Nocturne: Salute 203. There is also the problem that 'Salute' has a meaning and sounds quite different in English compared to Italian. It is possible that Whistler meant the title to have the double association, and that the etching is a salute to dawn as well as a panorama centering on the distant church. For this reason, the original title, 'Salute Dawn', is preferable.
1: Whistler to T. McLean, 28 August 1882, GUW #13643.
2: London FAS 1883 (cat .no. 49).
3: List of 'Venice 2nd Series', [1877-1903], GUW #13088.
4: Wedmore 1886 A[more] (cat. no. 185).
5: Whistler to W. Dowdeswell, [16 July 1887], GUW #08717.
6: Paris Mem. 1905 (cat. no. 376).
7: Mansfield 1909[more] (cat. no. 212).
Panorama: San Giorgio, Santa Maria della Salute and the Doge's Palace.
Photograph © M.F.MacDonald, Whistler Etchings Project, 2010.
8: Grieve 2000[more], pp.139, 140.