- Catalogue Number
- Title and Date
- Gardens 1988
- Description of Featured Image
- A night-time view across public gardens, with a starry sky. The gardens are dominated at left by a large bare tree leaning leftward; along the right edge is a Victorian mansion with a portico, and in the lower right corner is an architectural scroll. At the lower left is the figure of a man, who is seen walking into the distance.
- Where Made
- Phillip Institute of Technology, Bundoora, Melbourne
- Medium Category and Technique
- Intaglio Print: Etching and aquatint on copper
- Wove paper. Identified papers: BFK Rives paper with watermark: ‘BFK RIVES / FRANCE’ with infinity symbol. Other papers mentioned in notes on this work in Amor’s intaglio record books: Fabriano and Stonehenge papers.
Image size: 97 x 150 mm
Matrix size: 98 x 152 mm
- Artist’s Record Number
- RAE.2 (as 1989)
- Printer(s) and Workshop(s)
- State I printed by Rick Amor at Phillip Institute of Technology, Bundoora (Melbourne) (PIT). State II printed by Amor (II.a and II.e) and by Daniel Moynihan (II.b, II.c and II.d) at PIT. Edition printed by Amor at PIT.
- Summary Edition Information
- Two states. Nominal edition of ten, but only six impressions printed and numbered, 1990.
- Niagara Galleries & NETS Victoria 1993–94: Niagara Galleries & NETS Victoria, Melbourne, Rick Amor & the Graphic Arts, Victorian and Tasmanian tour, 1993–94, no. 16.
- Gary Catalano, Rick Amor & the Graphic Arts (exh. cat.), Niagara Galleries & NETS Victoria, Melbourne, 1993, cat. no. 16 (1988), p. 8 (where it is incorrectly stated that sandpaper tone has been used).
- State Library of Victoria, Melbourne: four APs, all dated 1988.
- Art Gallery of South Australia, Adelaide: ed. 3/10, dated 1990 (20155G138).
- National Gallery of Australia, Canberra: ed. 4/10, dated 1990 (2007.630).
- National Gallery of Victoria, Melbourne: AP, dated 1989 (2012.400).
This etching is based on an oil painting in the collection of Mary Lou Jelbart, Melbourne. The painting has never been exhibited and was bought at first sight in 1988 from Niagara Galleries, Amor’s Melbourne dealer. It depicts a lyrical, Samuel Palmer-esque night-time scene with wheeling stars, a glowing horizon, and a centrally placed street lamp, and the composition is in reverse direction to that of the print. Apart from this, and the omission of the street lamp, the etching closely follows the composition and the nocturnal atmosphere of the painting, condensing its pulsating mood into jewel-like intensity.
There are several variant impressions of the final state of E.005. These show Amor attempting, through the application of ink tone on the plate, to come as close as possible to the nocturnal appearance of the painting. The three proofs printed with dark plate tone, at Amor’s request, by Daniel Moynihan, exemplify this experimentation. However, these impressions came off the press looking murky and tonally undifferentiated, and a cleaner wiping of the plate was decided on.
An intended edition of ten was never completed: Amor printed only the first six impressions. The practice of printing part of an edition in this way was not an uncommon one for young artists at the time E.005 was produced, and arose from economic realities. Fine, pure-rag papers were costly, and artists making prints were reluctant to waste expensive sheets of paper on an edition if there were a risk that it might not recoup the costs involved in printing it.
Record last updated 07/08/2017