UNIVERSITY of GLASGOW

Chambre à la ferme de Maladrie [m0229], 1858, pencil.
Freer Gallery of Art, Washington DC.

The composition was based on a drawing made on the Rhineland trip of 1858; it is not exact in all details, but may well have been traced or copied for the initial draft of the drypoint. For instance the perspective, which is exagerated, is derived from the drawing, but in the drawing there are more objects on the table near the man.

There are numerous states of the drypoint, in which Whistler at first developed the dramatic line and lighting, and then modified the room, adding textures and softening the effect. Many impressions are printed with deep ink tone.

This may have beenthe earliest of Whistler's drypoints. Other drypoints dating from 1859 are all portraits, namely Z. Astruc, Editor of 'L'Artiste' [36], Whistler with a hat [44], Fumette, Standing [59], Fumette's Bent Head [58] and Arthur Haden [66].

Early proofs of The Miser appear to be in a very dark brown or warm black ink (, ) but the majority are in black ink on Japanese paper of various shades of ivory, cream, and tan. An impression of the fourth state on laid paper is exceptional ().

In early proofs the effect of the drypoint burr makes this composition particularly dramatic (, ) and in later impressions retroussage was used to maintain this effect ( , ). The final state is unusual, with soft textures produced by light, close shading combined with wear, producing almost the appearance of soft ground etching (, ).