Composition

These are drawings for the selection and arrangement of Venice etchings for Mr Whistler's Etchings, Fine Art Society, London, 1880, including The Dyer [192].

According to Thomas Robert Way (1861-1913),

'he had not settled which of the many subjects he had brought back should form the twelve, and ... he drew those he proposed at that moment; and also an alternative, "The Dyer"... they are all drawn the right way round, as he saw them in nature, not as they appear in the prints.' 1

Those shown on the recto are, reading from left to right: top row, The Little Venice [238], The Two Doorways [221], The Little Lagoon [216], The Traghetto, No. 2 [233], The Piazzetta [218], The Venetian Mast [219], and The Palaces [223]; middle row, The Riva [229], The Beggars [190], San Biagio [237], The Doorway [193], and Nocturne [222]; bottom row, Upright Venice [232] and The Bridge, Santa Marta [201]. All of those on the top rows were published in the first Venice set, the 'Twelve Etchings' of Venice. The Bridge, Santa Marta [201] and Upright Venice [232] were included in the second published set. The Little Venice [238] and The Riva [229] were not drawn as in nature and on the plate, but as printed.