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Reading by Lamplight

Impression: Freer Gallery of Art
Freer Gallery of Art
(1905.114)
Number: 37
Date: 1859
Medium: etching and drypoint
Size: 161 x 120 mm
Signed: 'J. Whistler' at lower right
Inscribed: no
Set/Publication: no
No. of States: 3
Known impressions: 40
Catalogues: K.32; M.30; T.24; W.25
Impressions taken from this plate  (40)

TECHNIQUE

The original composition was etched, with some details such as the pattern on the bowl in drypoint. In later states there were major alterations and additions in drypoint, as well as some roulette work on the table, the result being softer but slightly uneven shading. Surface tone was used to emphasize the contrasts of light and shade, with the hand and book wiped clean in early impressions. Heavier inking on the shaded areas to some extent compensated for the fading drypoint.

PRINTING

There are at least four impressions of the first state (i.e. Graphic with a link to impression #K0320102, Graphic with a link to impression #K0320103), only one of the second (Graphic with a link to impression #K0320105) and far more, over twenty, of the third state (i.e. Graphic with a link to impression #K0320109, Graphic with a link to impression #K0320202).
Some impressions of the third state are in dark brown ink (Graphic with a link to impression #K0320107, Graphic with a link to impression #K0320205). Most impressions are in black ink, including first (Graphic with a link to impression #K0320102, Graphic with a link to impression #K0320101) and third states (Graphic with a link to impression #K0320202, Graphic with a link to impression #K0320203), the latter including a particularly good clear impression in a warm black ink, with only a light use of tone (Graphic with a link to impression #K0320109).
A few impressions are on wove paper (Graphic with a link to impression #K0320211), and Japanese (Graphic with a link to impression #K0320227, Graphic with a link to impression #K0320222) but most on laid western paper in colours varying from off-white (Graphic with a link to impression #K0320220, Graphic with a link to impression #K0320219) to ivory (Graphic with a link to impression #K0320205), cream (Graphic with a link to impression #K0320211, Graphic with a link to impression #K0320203) and buff (Graphic with a link to impression #K0320202). Several are on watermarked paper, including possibly a posthorn (Graphic with a link to impression #K0320205), Strasbourg Lily (Graphic with a link to impression #K0320217), Strasbourg Lily/GR' (Graphic with a link to impression #K0320219) and 'VAN GELDER', (Graphic with a link to impression #K0320202).
It is usually printed with a wide margin, and sometimes with an exceptionally broad margin (i.e. Graphic with a link to impression #K0320219).
Early impressions of the third state can be fine, with delicate drypoint (Graphic with a link to impression #K0320225) or, depending on the inking, very rich, with lovely detail on the dress (Graphic with a link to impression #K0320222). However, in many impressions the shadows become slightly soft and uneven, and the burr appears irregular, as it wears down, while pitting and foul biting are apparent (Graphic with a link to impression #K0320204, Graphic with a link to impression #K0320205). At times tone was used to enrich the shadows at the top (Graphic with a link to impression #K0320218, Graphic with a link to impression #K0320221) and greyer paper was also used to reinforce the atmospheric effect (Graphic with a link to impression #K0320219).
The plate was steel-faced, and some impressions may have been printed either in the 1890s or after Whistler's death.