Etchings Institutions search term: royal collection
The Smithy |  Art Institute of Chicago (1938.1928) | |
| Number: | 239 | |
| Date: | 1880 | |
| Medium: | etching and drypoint | |
| Size: | 177 x 229 mm | |
| Signed: | butterfly at lower right | |
| Inscribed: | no | |
| Set/Publication: | no | |
| No. of States: | 6 | |
| Known impressions: | 20 | |
| Catalogues: | K.240; M.237; W.197 | |
| Impressions taken from this plate (20) | ||
TECHNIQUE
Whistler took the copper plate for The Smithy through six states but never resolved the right side of the composition. He used etching and then combined it with drypoint to refine and enhance the shading of the ceiling, the objects in the room and the dark shadows. However, the sketchy figure to the left of the anvil in the first state, although later removed, was never replaced, leaving a white unetched area on that part of the image.
The existence of a counterproof (
) reproduced above, pulled from a worn impression of the final state when it was freshly printed, implies that Whistler considered further work on the plate, which never took place. Counterproofs are usually pulled to allow a printmaker to see the lines in the same direction that they are etched or drawn into the plate, making it easier to both visualise and execute changes.
) reproduced above, pulled from a worn impression of the final state when it was freshly printed, implies that Whistler considered further work on the plate, which never took place. Counterproofs are usually pulled to allow a printmaker to see the lines in the same direction that they are etched or drawn into the plate, making it easier to both visualise and execute changes.PRINTING
A very early impression of the first state - signed with a butterfly that can be dated 1880/1881 - was printed in black ink on ivory laid paper (), and another on off-white laid with a pale green tone (). Impressions of the second state are in black ink, one on ivory laid paper () and one signed with a butterfly of ca 1883 (). The subsequent state was printed in brown ink on 'antique' (pre-1800) laid paper () and black ink on ivory laid paper (). Another early impression is in black ink on off-white 'antique' laid paper with a manufacturer's indecipherable blind stamp ().
Some impressions of the fifth state are on off-white paper, watermarked 'S WISE & CO / 1823' with a heart (, ). Other late impressions - of the sixth state, which seems to have been printed and sold between 1886 and 1890 - are on a variety of papers in slightly different inks. These include black ink on cream laid paper () or on ivory laid paper with a Strasbourg Lily watermark (); brown ink on ivory laid paper with a countermark, possibly 'A X A' () and on a buff laid paper (); and dark brown ink on ivory laid paper (), one sheet having a 'W' watermark ().
), and another on off-white laid with a pale green tone (). Impressions of the second state are in black ink, one on ivory laid paper () and one signed with a butterfly of ca 1883 (). The subsequent state was printed in brown ink on 'antique' (pre-1800) laid paper () and black ink on ivory laid paper (). Another early impression is in black ink on off-white 'antique' laid paper with a manufacturer's indecipherable blind stamp (). Some impressions of the fifth state are on off-white paper, watermarked 'S WISE & CO / 1823' with a heart (
, ). Other late impressions - of the sixth state, which seems to have been printed and sold between 1886 and 1890 - are on a variety of papers in slightly different inks. These include black ink on cream laid paper () or on ivory laid paper with a Strasbourg Lily watermark (); brown ink on ivory laid paper with a countermark, possibly 'A X A' () and on a buff laid paper (); and dark brown ink on ivory laid paper (), one sheet having a 'W' watermark (). By far the majority of impressions are trimmed to the platemark and signed on the tab with a butterfly and 'imp.' to show that Whistler printed them.