- Catalogue Number
- Title and Date
- River with an old boat hull 1991
- Description of Featured Image
- River landscape with a curved shoreline at left, ending in a rocky promontory. In the foreground, protruding from the shallow waters, are the remains of the hull of a wooden boat, and, in the middle distance, industrial cranes and crooked telegraph poles. In the far left distance is a hill, and to its right are factory buildings. The sky is covered with sketchily drawn clouds.
- Where Made
- Dunmoochin, Cottles Bridge
- Medium Category and Technique
- Intaglio Print: Drypoint on copper
Image size: 285 x 412 mm
Matrix size: 285 x 412 mm
- Artist’s Record Number
- Printer(s) and Workshop(s)
- All impressions printed by Rick Amor in his Dunmoochin studio, Cottles Bridge.
- Summary Edition Information
- Two states. Edition of ten numbered impressions, 1991.
- For the painting Boat hull in the river, 1995, see State Library of Victoria, http://handle.slv.vic.gov.au/10381/55781, H2009.82/6.
- State Library of Victoria, Melbourne: one state impression, numbered 1; AP II; ed. 7/10.
- National Gallery of Australia, Canberra: ed. 1/10, on grey paper, with plate tone (2007.668)
The view depicted in E.043 is the confluence of the Yarra and Maribyrnong rivers, seen from the Port Melbourne side, opposite Yarraville. Originally marshlands, this area succumbed in the early twentieth century to industrialization, the remnants of which may be seen in this drypoint. The work is based on a drawing in conté crayon, done on the spot and dated 6 February 1991. Amor returned to the site in 1995, when he produced an oil from a slightly more distant viewpoint (State Library of Victoria, Melbourne). The scene as presented in drawing, print and painting no longer exists, as the site is now a marina.
The basic outlines of the subject of E.043 were completed in the first state but the image lacked tonal inflection. The addition of more drypoint in the second state provided this, while also echoing the intense blacks of the conté crayon drawing. Amor printed a full edition of ten impressions of this work, but in doing so he used papers of different colours and experimented with wiping the plate, so that no two impressions are alike.
Record last updated 02/08/2017