Dieppe, Study No.2; Façade of St Jacques
is a carbon paper tracing with watercolour on wove paper. The paper is machine-made, lightweight and the edges are cut straight. Unlike that used for The Piazzetta and the Old Campanile, Venice
), the paper is of poor quality made with wood-pulp fibres which have weakened and discoloured. The edges of the paper sheet have been protected by a window mat and in these protected areas the initial cream colour of the paper and original tone of the watercolours are preserved.
Sickert used carbon paper to create his image, which consisted of a thin sheet of paper coated on one side with pigment and was designed for duplicating original documents. The duplicate was made by placing the carbon paper ink side down on a blank sheet of paper. The original drawing was placed face-up on the uncoated side of the carbon paper and a duplicate made by tracing through the original. The pressure applied via tracing transferred the image onto the blank sheet of paper. The image was created using two different coloured sheets of carbon paper, black and purple. Along the top edge of the paper there are a number of pinholes and it is possible that Sickert used pins to register the different papers during the process of duplication. Watercolour washes were applied after the drawing and were limited to the sky and to emphasise certain architectural details. Owing to the discoloured appearance of the paper it is difficult to appreciate the aesthetic effect of these coloured washes as they would have originally appeared.
How to cite
Kate Jennings, 'Technique and Condition', June 2005, in Nicola Moorby, ‘Dieppe, Study No.2; Façade of St Jacques c.1899 by Walter Richard Sickert’, catalogue entry, September 2009, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/walter-richard-sickert-dieppe-study-no2-facade-of-st-jacques-r1139030, accessed 21 May 2019.