Etchings Institutions search term: grolier club
Rue de la Rochefoucault |  Hunterian Art Gallery (46645) | |
| Number: | 434 | |
| Date: | 1888 | |
| Medium: | etching and drypoint | |
| Size: | 132 x 221 mm | |
| Signed: | butterfly at upper left of centre | |
| Inscribed: | no | |
| Set/Publication: | no | |
| No. of States: | 4 | |
| Known impressions: | 8 | |
| Catalogues: | K.419; M.365 | |
| Impressions taken from this plate (8) | ||
TECHNIQUE
The main composition was etched, with shading and cross-hatching added in both etching and drypoint, extending the shadows within the shops and reflections in the windows, and also softening the figure of the bending woman in one shop and blurring the seated women in the oyster shop so that they blend into the background.
PRINTING
According to Howard Mansfield (1849-1938), 'On the impression in the Benedict Collection Whistler wrote: "Rue de la Rochefoucault" and "1st proof." On the impression in the Mansfield Collection Whistler wrote: "1st state, 2nd proof."' The latter has been located and indeed reads '1st State / 2nd Proof -' (
). 12 On 11 December 1888 Whistler wrote to Walter Dowdeswell (1858-1929):
). 12 On 11 December 1888 Whistler wrote to Walter Dowdeswell (1858-1929):12: Mansfield 1909 (cat. no. 365).
'I find that the two proofs I sent of you of the Rochefoucault are the only ones I had taken of the first state of that plate. Therefore kindly send them to me back as they will be very valuable to me by & bye. If you are anxious however to keep one as a first state ... In a day or two I can let you have others ...
' 13
In 1889 he noted that he had five proofs of 'Rochefoucault' left. 14
The first state was printed in black ink on ivory 'antique' (pre-1800) laid paper (); the second state in black ink on 'modern' laid paper (); the third both in dark brown () and in black ink () on ivory laid paper, the latter a sheet taken from a ledger with old ink inscriptions. The final state was printed in dark brown ink on ivory laid paper (), one sheet being flecked with brown fibres ().
The first state was printed in black ink on ivory 'antique' (pre-1800) laid paper (
); the second state in black ink on 'modern' laid paper (); the third both in dark brown () and in black ink () on ivory laid paper, the latter a sheet taken from a ledger with old ink inscriptions. The final state was printed in dark brown ink on ivory laid paper (), one sheet being flecked with brown fibres (). 14: 18 July 1889, GUW #13235.
Most of these were trimmed to the platemark and signed on a tab with Whistler's butterfly and 'imp.' to show that he printed them. One, however, is neither trimmed nor signed (). It has been suggested that this may have been printed by or with the assistance of Francis Short (1857-1945). 15 It is true that Short remembered printing 'the last Paris plates' around 1900, although none are documented as having been printed by Short. However, Short told the Pennells:
). It has been suggested that this may have been printed by or with the assistance of Francis Short (1857-1945). 15 It is true that Short remembered printing 'the last Paris plates' around 1900, although none are documented as having been printed by Short. However, Short told the Pennells:15: Lochnan 1984 , p. 284.
'The last time [Whistler] printed with me was in July 1900, when he came down here [Brook Green] with nine or ten plates, and we printed a few proofs of each. Some of these plates were slight, but several carried a good way. He, as usual, worked a little in dry-point between each proof. I think he intended coming to print, &c, a good deal at this time, but I think he got ill. I remember he said the 'etching fit' was on him again. I think he liked some one to print with him - some one that he could leave the ink and the press to, and be only concerned himself with the wiping. I was always a little surprised that he left the ink mixing to me - 'Make it your own way,' he would say, 'a dark nutty brown.' He said he had come to the conclusion that too brown (or too light) an ink was an affectation.' 16