Annie, Seated |  British Museum (1872-07-13-402) | |
| Number: | 32 | |
| Date: | 1858/1859 | |
| Medium: | etching and drypoint | |
| Size: | 130 x 97 mm | |
| Signed: | 'Whistler.-' at lower left | |
| Inscribed: | ' "Annie-" ' at lower centre (2-final) | |
| Set/Publication: | no | |
| No. of States: | 3 | |
| Known impressions: | 58 | |
| Catalogues: | K.30; M.29; T.50; W.24 | |
| Impressions taken from this plate (58) | ||
TECHNIQUE
The etched lines were augmented with drypoint shadows in the second and third states; eventually the plate was very pitted.
PRINTING
Over fifty impressions are known in public collections. They are usually printed with a broad margin on laid paper, though some are on Asian paper (
). One impression of the first state is in dark brown ink (), others in black (, ,
).
). One impression of the first state is in dark brown ink (), others in black (, ,
). There are five impressions of the second state, two in black ink, one on grey/blue laid paper () and another on greenish cream paper (), and impressions in both dark brown and black ink on laid paper with a 'FORGE' watermark (,
),
.
) and another on greenish cream paper (), and impressions in both dark brown and black ink on laid paper with a 'FORGE' watermark (,
),
.Most known impressions (over thirty) are in the third state. They vary from early impressions, with burr on the drypoint lines (), to a late impression, much pitted (). Nearly all are in black ink on laid paper, a few in dark brown () and one anomalous one in dark grey ink (). There is considerable variety in paper colour from off-white (), ivory (, ivory with a posthorn watermark, ), cream () and buff ().
), to a late impression, much pitted (). Nearly all are in black ink on laid paper, a few in dark brown () and one anomalous one in dark grey ink (). There is considerable variety in paper colour from off-white (), ivory (, ivory with a posthorn watermark, ), cream () and buff (). Late impressions can be pale () but in some impressions grey laid paper (, ) or pale blue (, ) or green () was used, to add colour to the fading drypoint. Sometimes tone was added to create shadow around the figure ().
) but in some impressions grey laid paper (, ) or pale blue (, ) or green () was used, to add colour to the fading drypoint. Sometimes tone was added to create shadow around the figure ().Some of these impressions of the third state may have been printed in the 1890s, and more after Whistler's death. F. Keppel & Co., owners of the copper plate, had an edition of at least 35 impressions printed. 9
9: Information kindly provided by Robert K. Newman, The Old Print Shop, New York, 2011.