The Lime-Burner

WAG 1782


'The Lime-Burner' was published in 1871 by Messrs Ellis and Green as part of 'Sixteen Etchings of Scenes on the Thames and Other Subjects', known more widely as the 'Thames Set'. One of Whistler’s most celebrated prints, The Lime-Burner was described by the art critic F G Stephens as “thoroughly Rembrandtish” (1871). The lime-burner William Jones, featured in the print, had premises on Wapping High Street. Limestone was burned in kilns to produce lime for conditioning soil and for quicklime used in mortar and plaster. Like the etching process, lime-burning came with the risk of poisoning and burns. Whistler has flattened areas of the composition and organised them in a series of ‘frames’ to emphasise depth and perspective. These frames are defined by dark over-worked areas being placed beside light areas that are left virtually untouched. New conservation work has enabled us to identify the paper Whistler used for these prints. Whistler was very selective about paper. This wasnt unusual. The Etching Revival had instigated a new interest in the aesthetic tone and structure of paper. Following Rembrandts example most etchers preferred Old Dutch paper or silky Japanese paper. Whistler searched stationers and old book shops in London, Paris and Amsterdam looking for these papers. Old Dutch paper was made from boiled and beaten rags drained on wire moulds. It was high quality with a ribbed texture and creamy in colour. Japanese paper was made from the bark of a mulberry tree. It varied in thickness and its tone could vary from pale cream to a pronounced yellow. The paper used for these prints can be identified by its beehive watermark. A watermark is an imprinted design which can be used to identify the papermaker. The beehive watermark is shown here in transmitted light (lit from beneath the paper). The beehive is associated with the Honig (honey) family of Dutch papermakers who owned mills in Zaandijk, North Holland. The coat of arms on this watermark was widely copied throughout the Netherlands and came to represent Dutch papermaking more generally. Initialled DEDB (beneath the beehive) this variation belonged to the Dutch papermakers De Erven de Blauw from about 1822. The design shows a central beehive motif surrounded by ornate scrollwork of leaves and flowers crowned with a fruit tree.