C. L. Drouet, Sculptor |  Freer Gallery of Art (1889.27) | |
| Number: | 35 | |
| Date: | 1859 | |
| Medium: | etching and drypoint | |
| Size: | 226 x 152 mm | |
| Signed: | 'Whistler' at lower right, 'Whistler Maitre Eaufortier' at upper right | |
| Inscribed: | '1859.' at lower right; 'Drouet. Sculpteur.' at lower centre | |
| Set/Publication: | 'Cancelled Plates', 1879 | |
| No. of States: | 2 | |
| Known impressions: | 73 | |
| Catalogues: | K.55; M.55; T.55; W.53 | |
| Impressions taken from this plate (73) | ||
TECHNIQUE
This is one of a small group of drypoints - Whistler's first drypoints- done in 1859. Most are portraits, namely Whistler with a hat [44], Z. Astruc, Editor of 'L'Artiste' [36], Fumette's Bent Head [58], Finette [61] and Arthur Haden [66]. The portrait of Drouet is particularly striking, drawn with long, edgy lines over the hair and body, tight wavy lines on the beard, and delicate patches of shading and cross-hatching defining the facial planes. Drypoint burr is conspicuous in early impressions (i.e. 
) and accentuated by retroussage and heavy inking in the printing of later impressions.
) and accentuated by retroussage and heavy inking in the printing of later impressions.PRINTING
Over seventy impressions are known but most are from the cancelled plate or from the plate after restoration. The single impression of the first state is in black ink on ivory Japan (). Most early impressions are on Asian paper, including cream Japan laid paper (), ivory Japanese () and off-white thin fibrous Japanese paper().
). Most early impressions are on Asian paper, including cream Japan laid paper (), ivory Japanese () and off-white thin fibrous Japanese paper().Cancelled impressions, as published in 1879 by the Fine Art Society, are usually on ivory or off-white laid paper (, , ), but also on cream 'modern' (post-1800) laid, with a partial horned crown watermark () and cream laid Van Gelder paper (). There was a print-run of about 20 at this time.
, , ), but also on cream 'modern' (post-1800) laid, with a partial horned crown watermark () and cream laid Van Gelder paper (). There was a print-run of about 20 at this time.Impressions from the restored plate are also in black ink and are often of good quality. Papers include Asian laid (), ivory Japan tissue (); cream Japanese paper () and a sheet of ivory Asian laid paper torn from a book (). Western papers include ivory wove (), a very light green laid paper (); greenish off-white 'modern' laid paper with a partial watermark reading 'ROYAL' (); ivory laid paper watermarked with a wreath (); and ivory 'modern' heavy-weight laid paper watermarked 'J Whatman 1801' ().
), ivory Japan tissue (); cream Japanese paper () and a sheet of ivory Asian laid paper torn from a book (). Western papers include ivory wove (), a very light green laid paper (); greenish off-white 'modern' laid paper with a partial watermark reading 'ROYAL' (); ivory laid paper watermarked with a wreath (); and ivory 'modern' heavy-weight laid paper watermarked 'J Whatman 1801' ().