- Catalogue Number
- Title and Date
1999; reworked 2002
- Description of Featured Image
- View of a street with a van and a telegraph pole, and with shops on the right. A dwarf woman carrying a shopping basket walks past a shop in whose window can be glimpsed a seated man in back view. In the left background is a steep treed rise. The branches of a tall cypress cover much of the sky.
- Where Made
- Alphington, Melbourne
- Medium Category and Technique
- Intaglio Print: Etching, burnishing and drypoint on copper
- Wove paper. Identified papers: No papers identified.
Image size: 310 x 230 mm
Matrix size: 310 x 230 mm
- Artist’s Record Number
- RAE.132 (1999)
- Printer(s) and Workshop(s)
- Both impressions printed by Rick Amor in his Alphington studio.
- Summary Edition Information
- Three states. No edition.
- For illustrations of two works related to E.120, see Niagara Galleries, Rick Amor Paintings + Drawings (exh. cat), Niagara Galleries, Richmond, Victoria, 2000, p. 16, cat. no. 11 (Study for ‘Afternoon’, 1999, conté crayon), and p. 17 (Afternoon, 1999, oil on canvas).
- For an illustration of the painting Study for ‘Afternoon’, 1999, see Gavin Fry, Rick Amor, Beagle Press, Roseville, NSW, 2008, p. 115.
- State Library of Victoria, Melbourne: one state impression, numbered 2, dated 1999; one state impression, numbered 1-3, dated 2002.
The subject here is based on a memory from Amor’s early life, when he was living in the seaside suburb of Frankston. Depicted in the etching is a dwarf woman, who lived in the area and was often seen around the shopping district. Amor has recalled that she was part of Melbourne’s bohemian and folk scene in the 1960s.
The subject of E.120 first appeared in Amor’s work in a highly finished conté crayon drawing, Study for oil painting ‘Afternoon’, dated 10 June 1999 (National Gallery of Australia, inv. no. 2000.622) (Niagara Galleries 2000). This drawing was followed by a small oil study (Fry 2008) and a painting (Niagara Galleries 2000).
The inscription on the second state of the etching, together with its level of tonal resolution, indicates that it is likely to have been preceded by an earlier state. Amor has confirmed that this is the case, and that he destroyed the first state. He was dissatisfied in general with this print, because he considered the woman’s positioning to be wrong, and he decided not to edition it. Only two impressions of the work survive.
The artist returned to the subject more than a decade later, in a lithograph printed in 2012.
The verso of the copper plate used for E.120 was later used for the drypoint Standing nude, 2003, reworked 2006 and 2009 (cat. no. E.128).
- Frankston, Streetscape
Record last updated 10/09/2017