Whistler's Mother |  Freer Gallery of Art (1903.252) | |
| Number: | 103 | |
| Date: | 1871 | |
| Medium: | drypoint | |
| Size: | 256 x 156 mm | |
| Signed: | no | |
| Inscribed: | no | |
| Set/Publication: | 'Cancelled Plates', 1879 | |
| No. of States: | 1 | |
| Known impressions: | 20 | |
| Catalogues: | K.97; M.99; W.88 | |
| Impressions taken from this plate (20) | ||
TECHNIQUE
Wedmore described it as 'a slight but exquisite dry-point, full of refined and tender expression.' 6
Sketched with long drypoint lines, the unique impression of the first state shows the figure unfinished, but the shape of the dress and shady background is suggested by an area of roughly wiped ink tone. Mansfield commented 'The slenderness of the figure is obscured by the peculiar inking of the plate, which gives the appearance of a full skirt.' 7
Sketched with long drypoint lines, the unique impression of the first state shows the figure unfinished, but the shape of the dress and shady background is suggested by an area of roughly wiped ink tone. Mansfield commented 'The slenderness of the figure is obscured by the peculiar inking of the plate, which gives the appearance of a full skirt.' 7
6: Wedmore 1886 A (cat. no. 88).
7: Mansfield 1909 (cat. no. 99).
PRINTING
The unique first state was printed in black ink on cream 'modern' (post-1800) laid paper (
). The plate was inked only over the lines of the subject and on the upper half of the plate, which was then selectively wiped, rather cleanly, across the torso, head and top third of the plate. Much heavier ink was left over the skirt area; suggesting the solidity of the dress.
). The plate was inked only over the lines of the subject and on the upper half of the plate, which was then selectively wiped, rather cleanly, across the torso, head and top third of the plate. Much heavier ink was left over the skirt area; suggesting the solidity of the dress.It was published in an album of Cancelled Plates ('Cancelled Set') by The Fine Art Society, London, 1879, probably in an edition of about twenty. The cancelled impressions were printed in black ink, sometimes on cream or ivory 'modern' laid paper, with a 'Van Gelder' watermark (, ) or medium-weight ivory laid paper with Strasbourg Lily and 'VGZ' watermark ().
, ) or medium-weight ivory laid paper with Strasbourg Lily and 'VGZ' watermark ().