Etchings Institutions search term: hughes kimber
The Music Room |  Hunterian Art Gallery (46721) | |
| Number: | 39 | |
| Date: | 1859 | |
| Medium: | etching and drypoint | |
| Size: | 147 x 217 mm | |
| Signed: | no | |
| Inscribed: | no | |
| Set/Publication: | no | |
| No. of States: | 4 | |
| Known impressions: | 54 | |
| Catalogues: | K.33; M.31; T.22; W.26 | |
| Impressions taken from this plate (54) | ||
TECHNIQUE
This is a complex work in both etching and drypoint, with additional textural effects. A conspicuous area of foul biting extends right round the edge of the plate, particularly at right, and contrasts with the fine lines of shading around the fireplace. The early impressions are all augmented by a variety of tonal effects, with surface ink being left in the surroundings but wiped off the light, the table, and the faces and hands of the seated figures.
PRINTING
A dozen impressions of the first state and over thirty of the later states have been located. One of the earliest proofs, a bold impression in dark brown ink on cream laid paper, was inscribed by Francis Seymour Haden, Sr (1818-1910),'This is the first rude impression pulled from the plate, from which, as will be seen, the ink is scarcely wiped / SH' (
). However, it was wiped almost bare of ink in the central area, with ink tone left around the edge to enhance the shadows. It is one of several similar proofs. (, , ). Other impressions were printed with a lot of plate tone, but still usually wiped bare over the table and the light, both in the first (i.e. , ) and second state (i.e. ).
). However, it was wiped almost bare of ink in the central area, with ink tone left around the edge to enhance the shadows. It is one of several similar proofs. (, , ). Other impressions were printed with a lot of plate tone, but still usually wiped bare over the table and the light, both in the first (i.e. , ) and second state (i.e. ).Early impressions were mostly printed in black ink, on ivory (, ), off-white (, , ) or cream (, ) wove paper. Several are on an oatmeal-effect grey- and brown-flecked wove paper (, , , ). A few are in dark brown ink on various papers: 'antique' (pre-1800) laid (); off-white laid with a Britannia watermark (), and cream fibrous laid (). Some of these were very heavily inked, with only the lamp-lit area in the centre wiped clean (i.e.).
, ), off-white (, , ) or cream (, ) wove paper. Several are on an oatmeal-effect grey- and brown-flecked wove paper (, , , ). A few are in dark brown ink on various papers: 'antique' (pre-1800) laid (); off-white laid with a Britannia watermark (), and cream fibrous laid (). Some of these were very heavily inked, with only the lamp-lit area in the centre wiped clean (i.e.).Impressions of the second state are in black ink on a wide variety of papers including a thick, stiff, light grey wove paper (); light grey laid, again with a Britannia watermark (); off-white 'antique' laid (); grey-green 'oatmeal' wove (); cream or ivory Japan (, ) and a cream glossy paper, possibly imitation Japan ().
); light grey laid, again with a Britannia watermark (); off-white 'antique' laid (); grey-green 'oatmeal' wove (); cream or ivory Japan (, ) and a cream glossy paper, possibly imitation Japan ().A number - including some late impressions - are also in dark brown ink on a remarkable variety of papers including: ivory laid 'antique' paper (); light-weight cream 'antique' paper from a book (); grey with 'J.F.' watermark (); grey laid (); cream 'modern' laid paper with a shield watermark (); a greenish pale grey flecked laid paper (, ); and buff () or dark ivory wove card ().
); light-weight cream 'antique' paper from a book (); grey with 'J.F.' watermark (); grey laid (); cream 'modern' laid paper with a shield watermark (); a greenish pale grey flecked laid paper (, ); and buff () or dark ivory wove card (). Later impressions in black ink were printed on, for example, cream wove paper removed from a book with blue-dyed edges () and one on ivory paper, possibly wove ()
) and one on ivory paper, possibly wove ()