UNIVERSITY of GLASGOW

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.

There are at least four impressions of the first state (i.e. , ), only one of the second () and far more, over twenty, of the third state (i.e. , ).

Some impressions of the third state are in dark brown ink (, ). Most impressions are in black ink, including first (, ) and third states (, ), the latter including a particularly good clear impression in a warm black ink, with only a light use of tone ().

A few impressions are on wove paper (), and Japanese (, ) but most on laid western paper in colours varying from off-white (, ) to ivory (), cream (, ) and buff (). Several are on watermarked paper, including possibly a posthorn (), Strasbourg Lily (), Strasbourg Lily/GR' () and 'VAN GELDER', ().

It is usually printed with a wide margin, and sometimes with an exceptionally broad margin (i.e. ).

Early impressions of the third state can be fine, with delicate drypoint () or, depending on the inking, very rich, with lovely detail on the dress (). 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 (, ). At times tone was used to enrich the shadows at the top (, ) and greyer paper was also used to reinforce the atmospheric effect ().

The plate was steel-faced, and some impressions may have been printed either in the 1890s or after Whistler's death.