- Catalogue Number
- Title and Date
2008; reworked 2009 and 2011
- Description of Featured Image
- A female life model viewed from the rear, her head in left profile and her hair in a bun. She stands with the left leg slightly bent at the knee, her left arm stretched out at shoulder height (and cut off at the elbow), and her right arm hanging down loosely. This impression, from the third edition of the print, is of the image after the plate had been cut down.
- Where Made
- Alphington, Melbourne
- Medium Category and Technique
- Intaglio Print: Etching, burnishing and drypoint on copper
- Wove paper. Identified papers: Fabriano paper with watermark: Romanesque ‘M’ with cross above; Somerset paper with watermark: ‘somerset / ENGLAND’; Hahnemühle paper with watermark: cockerel within a circle; BFK Rives paper with watermark: ‘BFK RIVES / FRANCE’ with infinity symbol; Arches paper with watermark: ‘ARCHES / FRANCE’ with infinity symbol.
Image size: 255 x 188 mm
Matrix size: 253 x 129 mm
- Artist’s Record Number
- RAE.181 (2008), RAE.184 (2009), RAE.200 (2011)
- Printer(s) and Workshop(s)
- All state impressions printed by Rick Amor in his Alphington studio. First edition printed by Rosalind Atkins at the Australian Print Workshop, Fitzroy (Melbourne). Second edition printed by Andrew Gunnell at Chrysalis Publishing Studio, East Melbourne. Third edition printed by Rosalind Atkins at Around the Bend Press (Murray Walker’s studio), Northcote (Melbourne).
- Summary Edition Information
- Eight states. Three editions. First edition: edition of ten numbered impressions, 2008. Second edition (printed after plate cut down): edition of ten numbered impressions, 2009. Third edition: edition of ten numbered impressions, 2011.
- For an illustration of the charcoal drawing Chelsea, 2005, see Liverpool Street Gallery, Rick Amor Sculpture & Drawings (exh. cat.), Liverpool Street Gallery, East Sydney, 2007, n.p., cat. no. 7.
- State Library of Victoria, Melbourne: five state impressions, numbered 1-1 through 1-4, 2-4, all dated 2008; unique impression, dated 2008, sheet trimmed to 189 x 135 mm; bon à tirer impression, dated 2008; ed. 1/10, dated 2008; one state impression, numbered 1-1, dated 2009; ed. 6/10, dated 2009; three state impressions, numbered 1-1 through 1-3, all dated 2011; bon à tirer impression, dated 2011; ed. 2/10, dated 2011.
This etching is based on a drawing from life of a model called Chelsea, whom Amor drew, in his Alphington studio, on 10 May 2005 (Liverpool Street Gallery 2007). Another drawing followed, and this second work was reduced, by squaring, for transfer to the copper plate. Amor also painted an oil based on the life drawing.
In addition to working directly for Amor, Chelsea worked as a life model at Montsalvat, an artists’ colony in the outer Melbourne suburb of Eltham, where Amor also drew and painted her. Chelsea’s solid and feminine build gave her a strong presence as a subject, and Amor thought highly of her for her understanding of what was required of an artist’s model.
Amor’s initial concern as he worked through the first four states of E.154, in 2008, was to focus on the details of the face and body and to model the flesh using a burnishing tool. In order to obtain the desired measure of sensuality, he also experimented with different papers and with plate tone, printing many variant proofs. Finally, just before the first edition was printed, he tried changing the figure’s relationship to the pictorial space, doing this by cutting an impression around its side and bottom edges.
In 2009 he cut down the plate itself, though not as radically as suggested by the trimmed sheet from 2008 (and without trimming the image). In 2011 he returned to the plate for a third time, to attend to the modelling of the body.
- Female nude
Record last updated 01/10/2017