The Church - Brussels (Adoration) |  Hunterian Art Gallery (46633) | |
| Number: | 340 | |
| Date: | 1887 | |
| Medium: | etching and drypoint | |
| Size: | 213 x 124 mm | |
| Signed: | butterfly at upper left | |
| Inscribed: | no | |
| Set/Publication: | no | |
| No. of States: | 4 | |
| Known impressions: | 9 | |
| Catalogues: | K.356; M.352; W.249 | |
| Impressions taken from this plate (9) | ||
TECHNIQUE
The etched outlines were elaborated with both etched and drypoint shading through all four states. The details of chairs and figures and architecture were gradually subordinated to the rich, soft, shadows of the chapels under the balcony. Foul biting also blurred the figures and contributed to the soft, hazy atmosphere of the interior.
PRINTING
The first state of The Church – Brussels (Adoration) was printed in dark brown ink on ivory laid paper (
). Most impressions are of the second state, printed in black ink on cream laid paper (), and several on laid paper with watermarks including the Strasbourg Lily over 'WR' () and Pro Patria (); with others in dark brown ink on paper with the watermark of a Hunting Horn in a shield (, ). A proof of the third state was printed in black ink on cream Japanese paper ().
). Most impressions are of the second state, printed in black ink on cream laid paper (), and several on laid paper with watermarks including the Strasbourg Lily over 'WR' () and Pro Patria (); with others in dark brown ink on paper with the watermark of a Hunting Horn in a shield (, ). A proof of the third state was printed in black ink on cream Japanese paper ().One, an impression of the final state, reproduced below, is in black ink on Asian laid paper, has additional work in pen and ink, indicating additions that were never made to the plate ().
).
All are trimmed to the platemark and signed on the tab with a butterfly and 'imp.' to show that Whistler printed them.