|Medium:||etching and drypoint|
|Size:||227 x 151 mm|
|Signed:||butterfly at left|
|Set/Publication:||'Second Venice Set', 1886|
|No. of States:||21|
|Catalogues:||K.200; M.197; W.166|
|Impressions taken from this plate (47)|
Twenty-one states are known before cancellation, which occurred in two stages.
Signed with a butterfly at centre left, near the left edge.
There are many vertical scratches as well as other imperfections, including two oval spots of foul biting near the centre of the right edge of the image.
The figures standing within the doorway and seated under the awning are altered; the shadow on the wall beneath the awning is reduced in strength; a series of vertical lines is added at lower right, along the hull of the boat; some vertical scratches and the oval spots of foul biting are removed.
The figures, except for the standing woman and child at left, and the shadow on the wall, are removed.
The figures standing within the doorway and seated under the awning are redrawn, the woman in the doorway is bending to the right, the man to her left wears a hat with a tall crown, and the seated women are smaller in scale than previously drawn; the shadow on the wall beneath the awning is now a curving band of diagonal lines; a number of vertical lines along the hull of the boat at lower right have been strengthened, and they are crossed by fine horizontals; a triangular tool mark appears near the lower edge of the image, at the centre.
Shading on the man standing within the doorway is reduced; the shadows within the doorway are darkened, and there is a dark patch of shading between the waist of the standing man and the back of the bending woman; the curving band of diagonal lines indicating the shadow on the wall is extended further to the left with faint diagonal lines; diagonal shading is added below the chair seat of the woman sitting at left and behind the lower back of the woman seated at right.
The man standing in the doorway is altered: the crown of his hat is taller, his figure is lightly shaded, and there is new dark shading on the side of his torso near the door frame; a patch of dark shading is added below the chin of the bending woman.
The man standing in the doorway is changed again: the crown of his hat is shorter, the sides of the hat brim are curved, and the shape of his head is more defined, with a pointed chin.
The man standing in the doorway is now thinner, his head is less distinct, and he appears to wear a pointed cap.
The shape of the head of the man standing in the doorway is redefined; the shadows within the doorway, to right of the figures, are evenly shaded with diagonal crosshatching.
Published in this and later states by Messrs Dowdeswell and Thibaudeau with the Twenty-six Etchings (the 'Second Venice Set') in 1886.
Heavier right to left (///) diagonal lines are added to the left side of the shadow on the wall below the awning; more shading is added below the chair seat of the woman sitting at left and new shading is added behind the right chair leg; darker shading is added along the back of the skirt of the woman sitting at left and between the skirt and the box or stand behind her; the head and torso of the man standing in the doorway are changed - he now faces toward the right and wears a hat with an upturned brim; heavy shading is added behind the head of the bending woman, reducing its size, as well as in front of her, from her shin to her knees; there is a small dark patch behind her legs.
Left to right diagonal lines (\\\) are added to the left side of the shadow on the wall below the awning as well as to the space between the arc of the shadow and the head of the seated woman at left; the right side of the shadow is extended at the bottom with heavy crossed diagonal lines; the face and hair of the seated woman at right are further defined, and there is a new patch of shading on her skirt, below her hip; the torso and hips of the man standing within the doorway are shaded with diagonal lines; the man's hat is no longer visible, and his face appears to be in profile, looking downward; heavier shading is extended in front of the bending woman, from her knees to her feet; there is heavier shading between her legs, and the dark patch of shading behind her legs now extends further left, to the wall.
The head of the man standing in the doorway is changed: rudimentary facial features are added, and he now appears to face forward; the top of the bending woman's head is altered, and her hair is darker.
Shading on the upper right of the shadow on the wall under the awning is somewhat reduced, but considerable shading is added to the lower right and left edges of the shadow, making its bottom edge appear almost horizontal; the man standing within the doorway now has curly hair and more developed facial features; shadows within the doorway are darkened, particularly around and over the man's head and torso.
Fine shading further enlarges the shadow on the wall under the awning, most notably along the top edge and at the lower left and lower centre.
Most of the shadow on the wall under the awning is removed; the back of the head of the bending woman in the doorway is changed, giving the appearance of a chignon or bun at the top.
The facial features and shading on the upper torso of the man in the doorway are partly removed.
Very fine vertical and diagonal shading create a new softer shadow on the wall under the awning; the head, torso and arms of the man standing within the doorway are redrawn; there is new shading on the hair of the bending woman.
The head, torso and shoulders of the man standing in the doorway are more clearly defined, and his hair is shorter and darker.
Shading along the upper left arm of the man standing in the doorway is reduced, making that upper arm wider.
The impression illustrated has a small patch of red ink at the lower right corner as well as a number of paper creases on the lower part of the print.
The man standing in the doorway is changed again: his hair is shorter, he has a dark goatee, he wears a distinct white collar and there is darker shading on his clothing; a band of dark shading runs along the bending woman's back.
New work redefines the set of the shoulders and arms of the man standing in the doorway, and his left shoulder and elbow appear to recede; the man's facial features are more distinct and now include a moustache.