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The last quarter of the nineteenth century witnessed a surge of interest in prints among Parisian art enthusiasts. The taste and the knowledge of the distinct stages of each print’s evolution, known as states, were developed. One aspect of this creative process was of particular interest to collectors: the parts of the print left blank in the process of its creation. Some printmakers were particularly admired and their work prized for those states in which the emerging composition was broken up by the white of the paper. This was especially the case with Claude-Ferdinand Gaillard (1834–1887). His work and its reception by collectors are central to this article.

Blanks in the Figure: A Fin-de-Siècle Enthusiasm in France