J.H. Woods' Fruit Shop, Chelsea |  Freer Gallery of Art (1888.20) | |
| Number: | 327 | |
| Date: | 1887/1888 | |
| Medium: | etching and drypoint | |
| Size: | 98 x 133 mm | |
| Signed: | no | |
| Inscribed: | no | |
| Set/Publication: | no | |
| No. of States: | 4 | |
| Known impressions: | 4 | |
| Catalogues: | K.265; M.261 | |
| Impressions taken from this plate (4) | ||
TECHNIQUE
In this etching, drypoint was used sparingly in the second state. There was considerable foul biting on the plate, with a scatter of tiny acid droplets creating dense pitting. This, combined with the etched patterns, textures and details of the façade and goods for sale, makes for a highly complex effect.
PRINTING
There was probably a print-run of about ten impressions of J. H. Woods' Fruit Shop, Chelsea, judging by sales records and Whistler's notes of works in stock. On 9 December 1888 a note suggests that he had six impressions of this etching, but by 18 July 1889 he had only one. 10
A variety of inks and papers were used including dark brown ink on ivory laid paper (
), one of these bearing a partial watermark, possibly 'PRO PATRIA' (); black ink on off-white laid paper, again with a partial watermark, which looks like Foolscap (); and brown ink on cream laid (). All are trimmed to the platemark and signed on a tab with the butterfly and 'imp.' to show that Whistler had printed them.
), one of these bearing a partial watermark, possibly 'PRO PATRIA' (); black ink on off-white laid paper, again with a partial watermark, which looks like Foolscap (); and brown ink on cream laid (). All are trimmed to the platemark and signed on a tab with the butterfly and 'imp.' to show that Whistler had printed them.