XX. 20th state of 23, 2016 (1st state of fourth rendering of self portrait), SP (Self portrait 2016)
XXII.a. 22nd state of 23, 2016 (3rd state of fourth rendering of self portrait), SP (Self portrait 2016)
XXIII.b. 23rd and final state, 2016 (4th and final state of fourth rendering of self portrait), SP (Self portrait 2016)
Artist’s proof (from edition, 2016; impression of 23rd and final state, i.e. 4th and final state of fourth rendering of self portrait), SP (Self portrait 2016)
E.156SP (Self portrait 2009)2009; reworked 2010, 2011 and 2016
I. 1st state of 23, 2009 (first rendering of self portrait)
Drypoint. A frontal self portrait showing the face and part of the neck, summarily delineated. Amor is bearded and wears spectacles; he stares straight ahead, with an expressionless look. The top of the head is not indicated, and neither are the shoulders.
Impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-1’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’.
II. 2nd state of 23, 2009 (first rendering of self portrait)
More drypoint has been added throughout, with facial details being clarified by means of tonal modelling.
Impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-2’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’.
III. 3rd state of 23, 2009 (first rendering of self portrait)
Horizontal wrinkles have been added to the forehead; the spectacles, and the collar at right, have received added definition.
Impression with plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-3’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’.
IV. 4th state of 23, 2009 (first rendering of self portrait)
The plate has been roughly burnished. A horizontal line, comprising several overlapping lines, has been scored across the bottom of the image, 10 mm from the lower plate mark. Roulette work has been added to the left and right contours of the face, to the right ear and to the eyebrows.
Cleanly wiped impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. The clean wiping of the plate allows the new work to stand out emphatically.
V. 5th state of 23, 2009 (first rendering of self portrait)
Drypoint hatching has been added to the left cheek and to the moustache. Drypoint has also been added to the right eye and ear.
Selectively wiped impression with plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-5’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. The selective wiping focuses the tone principally at the right of the face and neck.
VI. 6th state of 23, 2009 (first rendering of self portrait)
The nostrils have been more clearly defined with drypoint. There are three variant impressions of this state.
Selectively wiped impression with light plate tone and a thin veil of ink on the eyes and nose and on the right half of the face, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-6’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’.
Selectively wiped impression with dark ink tone left on the face and neck, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-7’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. Although inscribed ‘1-7’, this is an impression of the sixth state.
Cleanly wiped impression on wove Hahnemühle paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-8’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. Although inscribed ‘1-8’, this is an impression of the sixth state.
VI.b. 6th state of 23, 2009 (first rendering of self portrait)
The nostrils have been more clearly defined with drypoint. There are three variant impressions of this state.
VII. 7th state of 23, 2009 (final state of first rendering of self portrait)
The left ear has been strengthened with drypoint, both internally and at the outer contour. Short lines of shading have been added along the lower lip.
Dark impression with even film of plate tone, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-9’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. Although inscribed ‘1-9’, this is the seventh state.
Edition, 2009 (first rendering of self portrait)
Edition of ten numbered impressions, on wove BFK Rives paper, printed by Andrew Gunnell at Chrysalis Publishing Studio, East Melbourne. The edition included a bon à tirer impression, two artist’s proofs and two printer’s proofs; the bon à tirer impression and AP I were printed by Rick Amor in his Alphington studio. Each impression is inscribed in pencil, below the plate mark: lower left: ‘[status of impression]’ [or] ‘[1 through 10]/10’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 09’. The impressions are uniformly printed, with a faint veil of plate tone remaining on the face.
The left ear has been strengthened with drypoint, both internally and at the outer contour. Short lines of shading have been added along the lower lip.
SP (Self portrait 2010), 2010 (second rendering of self portrait)
2010 reworking. The copper plate initially used for SP (Self portrait 2009) was reworked in 2010, when it went through seven states (making a total of fourteen states) before being editioned. The plate would be reworked again in 2011 and 2016 (see below).
VIII. 8th state of 23, 2010 (1st state of second rendering of self portrait), SP (Self portrait 2010)
Drypoint. Much of the work done on the plate in 2009 has been burnished away, although traces of it remain. The shoulders have now been added, and prominent drypoint hatching appears beneath the chin, on the moustache and on the left cheek. The spectacles and eyebrows show emphatic delineation with drypoint.
Impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-1’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
IX. 9th state of 23, 2010 (2nd state of second rendering of self portrait), SP (Self portrait 2010)
Roulette work has been added in a dense band on the left side of the face; the result is that the face is now illuminated from the right (instead of from the left, as in the 2009 rendering of the self portrait). Drypoint hatching has been added to many areas of the face, including the nose, as part of the continuing process of tonal modelling.
Impression on wove BFK Rives paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-2’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
X. 10th state of 23, 2010 (3rd state of second rendering of self portrait), SP (Self portrait 2010)
The left shoulder is now shaded with drypoint cross-hatching, and the left ear has been given a defined contour. The left side of the face has been hatched with additional horizontal and oblique strokes. Drypoint shading has also been added beneath the chin and on the collar at right. The pupil of the right eye has been darkened, so that it is now more pronounced, but the vertical lines on the nose have been burnished, to lessen their prominence. There are two variant impressions of this state.
Impression with light plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-3’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
Impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
X.a. 10th state of 23, 2010 (3rd state of second rendering of self portrait), SP (Self portrait 2010)
The left shoulder is now shaded with drypoint cross-hatching, and the left ear has been given a defined contour. The left side of the face has been hatched with additional horizontal and oblique strokes. Drypoint shading has also been added beneath the chin and on the collar at right. The pupil of the right eye has been darkened, so that it is now more pronounced, but the vertical lines on the nose have been burnished, to lessen their prominence. There are two variant impressions of this state.
XI. 11th state of 23, 2010 (4th state of second rendering of self portrait), SP (Self portrait 2010)
A small area of vertical and oblique parallel hatching has been added at the left of the bridge of the nose. There are two variant impressions of this state.
Cleanly wiped impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
Dark, heavily inked impression with much burr, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-5’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’.
XII. 12th state of 23, 2010 (5th state of second rendering of self portrait), SP (Self portrait 2010)
A shallow arc of horizontal hatching has been added to the left cheek, and hatching has also been added around the inner contour of the left eye. The section of collar at the left has been burnished, and it now better matches that at the right. The chin, the beard at left, and the right nostril have been burnished down.
Impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-6’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’10’.
XIII. 13th state of 23, 2010 (6th state of second rendering of self portrait), SP (Self portrait 2010)
The right eye has been redrawn so that it better matches the left eye.
Strongly inked impression, but with the background wiped clean, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-7’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’10’.
XIV. 14th state of 23, 2010 (7th and final state of second rendering of self portrait), SP (Self portrait 2010)
Drypoint has been added to the eyes, making them appear darker.
Impression on wove Arches paper with watermark, printed by Rosalind Atkins at Around the Bend Press (Murray Walker’s studio), Northcote (Melbourne). Inscribed in pencil, below the plate mark: lower left corner: a tick [indicating agreement that this impression is right for editioning]; lower left: ‘1-8’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’10’.
Edition of ten numbered impressions, on wove Arches paper, printed by Rosalind Atkins at Around the Bend Press (Murray Walker’s studio), Northcote (Melbourne). The edition included an artist’s proof and a printer’s proof. Each impression is inscribed in pencil, below the plate mark: lower left: ‘[status of impression]’ [or] ‘[1 through 10]/10’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 10’. The impressions are uniformly printed with light plate tone. The edition impressions show slight variations, as is to be expected with drypoints.
Drypoint has been added to the eyes, making them appear darker.
SP (Self portrait 2011), 2011 (third rendering of self portrait)
2011 reworking. The copper plate initially used for SP (Self portrait 2009), first reworked in 2010, was reworked again in 2011, when a further five states were added (making a total of nineteen states) before the print was editioned. The plate would be reworked again in 2016 (see below).
XV. 15th state of 23, 2011 (1st state of third rendering of self portrait), SP (Self portrait 2011)
Drypoint. Much of the previous drypoint has been burnished down, leaving a mesh of light grey tone, over which the drypoint hatching of the new self portrait stands proud. A contour delineating the top of the head has been added and the entire head is now complete.
Impression with rich burr, on cream wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-1’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
XVI. 16th state of 23, 2011 (2nd state of third rendering of self portrait), SP (Self portrait 2011)
The contours of both eyelids have been strengthened. A small curve now marks the lower reflection of the spectacles beneath the left eye.
Cleanly wiped impression on cream wove paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-2’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor 11’.
XVII. 17th state of 23, 2011 (3rd state of third rendering of self portrait), SP (Self portrait 2011)
The lower contour of the left lens of the spectacles has been filled in, and the contour of the left lower eyelid has been strengthened. Oblique hatching has been added around the left eye and on the left cheek, emphasizing the shadow on the left side of the face. Some hatched modelling has also been added to the right eyelid and to the right cheek.
Selectively wiped impression on cream wove paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-3’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
XVIII. 18th state of 23, 2011 (4th state of third rendering of self portrait), SP (Self portrait 2011)
The lower contours of both eyelids have been burnished back. There are two variant impressions of this state.
Strongly inked impression on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
More cleanly wiped impression on wove BFK Rives paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-5’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
XIX. 19th state of 23, 2011 (5th and final state of third rendering of self portrait), SP (Self portrait 2011)
The lower contours of both eyelids have been strengthened again, with curved lines. There are four variant impressions of this state.
Dark impression with plate tone, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-6’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
Cleanly wiped impression with strong burr, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘2-6’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
Light impression with plate tone, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-7’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
Dark impression with plate tone, on wove Hahnemühle paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘2-7’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’.
XIX.b. 19th state of 23, 2011 (5th and final state of third rendering of self portrait), SP (Self portrait 2011)
The lower contours of both eyelids have been strengthened again, with curved lines. There are four variant impressions of this state.
XIX.d. 19th state of 23, 2011, with plate tone (5th and final state of third rendering of self portrait), SP (Self portrait 2011)
Edition of ten numbered impressions, on wove Arches paper, printed by Rosalind Atkins at Kate Herd’s studio, Alphington. The edition included a bon à tirer impression, an artist’s proof and a printer’s proof. Each impression is inscribed in pencil, below the plate mark: lower left: ‘[status of impression]’ [or] ‘[1 through 10]/10’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’11’. The impressions are uniformly printed with a light film of plate tone.
SP (Self portrait 2016), 2016 (fourth rendering of self portrait)
2016 reworking. The copper plate initially used for SP (Self portrait 2009), reworked in 2010 and 2011, was reworked again in 2016, when a further four states were added (making a total of twenty-three states) before the print was editioned. This self portrait represents the final reworking of the plate.
XX. 20th state of 23, 2016 (1st state of fourth rendering of self portrait), SP (Self portrait 2016)
Etching. Here the artist depicts himself wearing his new black-rimmed spectacles. The top of the head is delineated only summarily. The plate is now pitted, and otherwise marked, with foul biting.
Impression with plate tone, on wove BFK Rives paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-1’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor 16’.
XXI. 21st state of 23, 2016 (2nd state of fourth rendering of self portrait), SP (Self portrait 2016)
Light burnishing has been applied in several areas: in a band around the beard, on parts of the face, and beside the ear at right.
Impression with plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-2’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
XXII. 22nd state of 23, 2016 (3rd state of fourth rendering of self portrait), SP (Self portrait 2016)
Drypoint has been added to the spectacle frames, to make them appear more prominent, and has also been added to the eyebrows and the ears. There are two variant impressions of this state.
Impression with plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-3’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
Dark, unevenly wiped impression, with the eye at left obscured with ink, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
XXII.a. 22nd state of 23, 2016 (3rd state of fourth rendering of self portrait), SP (Self portrait 2016)
Drypoint has been added to the spectacle frames, to make them appear more prominent, and has also been added to the eyebrows and the ears. There are two variant impressions of this state.
XXIII. 23rd and final state, 2016 (4th and final state of fourth rendering of self portrait), SP (Self portrait 2016)
More burnishing has been applied to the right contour of the face, and to the ear and cheek at right. There are two variant impressions of this state.
Impression with plate tone, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-5’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
Impression with plate tone, but more cleanly wiped than XXIII.a, on wove BFK Rives paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘2-5’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
XXIII.b. 23rd and final state, 2016 (4th and final state of fourth rendering of self portrait), SP (Self portrait 2016)
More burnishing has been applied to the right contour of the face, and to the ear and cheek at right. There are two variant impressions of this state.
Edition of ten numbered impressions, on wove Somerset paper, printed by Rosalind Atkins at Kate Herd’s studio, Alphington. The edition included a bon à tirer impression, two artist’s proofs (AP 1/2 and AP 2/2) and a printer’s proof. Each impression is inscribed in pencil, below the plate mark: lower left: ‘[status of impression]’ [or] ‘[1 through 10]/10’; lower centre: ‘SP’; lower right: signed and dated ‘Rick Amor ’16’.
Edition sheet size: 376 x 190 mm
Artist’s proof (from edition, 2016; impression of 23rd and final state, i.e. 4th and final state of fourth rendering of self portrait), SP (Self portrait 2016)
A unique impression made by printing SP (Self portrait 2016) over an impression of SP (Self portrait 2010).
Unique impression printed from two runs through the press, on wove paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1/1’; lower centre: ‘SP’; lower right: signed and dated ‘R Amor ’10–’16’.
Comment
Amor’s sequence of four independent yet linked self portraits, each made on the same copper plate, in four reworkings over four years, was a disciplined experiment in capturing the passage of time and its relationship to the process of ageing. In undertaking this project, Amor was inspired initially by an etched self portrait of a bald Jim Dine that he had seen in an exhibition catalogue.
After making the first self portrait in his planned sequence, in 2009, Amor hoped that he would be able to superimpose his 2010 self image over it, and then his 2011 self portrait over the 2010 rendering. However, this plan did not proceed in the way he expected, because at each stage the existing image on the copper plate had to be substantially burnished away before work on a new self portrait could begin. Despite this, the plate always retained traces of earlier work, and so each new image incorporated something essential of what had gone before.
There were no preparatory drawings made for the four self portraits, and with each one the artist worked the plate directly in front of a mirror. The 2009 image was drawn with his old drypoint needle, which had a metal point, and the two subsequent images were made with a new, sharper diamond-point needle, which cut through the copper more easily. This might explain, in part, the shift from the subtle tonality of the earliest of the portraits to the expressive linearity of the 2011 work.
Once this third self portrait was completed, Amor decided to stop working the copper plate because, as he said, he did not wish to be tied down to it and because he wanted to ‘move on’.
However, five years later, in 2016, two events caused him to change his mind and to return to the plate for a fourth time: his purchase of a new pair of black-rimmed spectacles, and his visits to the exhibition Degas: A New Vision at the National Gallery of Victoria (24 June – 18 September 2016). Seeing the etchings in this exhibition, Amor was struck by Degas’ bold incorporation of foul biting, and other accidental effects, into his prints. He therefore retrieved the copper plate used for the self portrait project – which was now scuffed and pitted – and proceeded to work on it again, this time using an etching needle rather than a drypoint needle.
In a final experiment, also of 2016, Amor printed his most recent self portrait over a proof impression of his 2010 self portrait. The resulting unique impression is a final comment on the unifying conceptual and physical threads that underlie this sequence of prints.
Drypoint. A frontal self portrait showing the face and part of the neck, summarily delineated. Amor is bearded and wears spectacles; he stares straight ahead, with an expressionless look. The top of the head is not indicated, and neither are the shoulders.
More drypoint has been added throughout, with facial details being clarified by means of tonal modelling.
Horizontal wrinkles have been added to the forehead; the spectacles, and the collar at right, have received added definition.
The plate has been roughly burnished. A horizontal line, comprising several overlapping lines, has been scored across the bottom of the image, 10 mm from the lower plate mark. Roulette work has been added to the left and right contours of the face, to the right ear and to the eyebrows.
The nostrils have been more clearly defined with drypoint. There are three variant impressions of this state.
The left ear has been strengthened with drypoint, both internally and at the outer contour. Short lines of shading have been added along the lower lip.
Roulette work has been added in a dense band on the left side of the face; the result is that the face is now illuminated from the right (instead of from the left, as in the 2009 rendering of the self portrait). Drypoint hatching has been added to many areas of the face, including the nose, as part of the continuing process of tonal modelling.
The left shoulder is now shaded with drypoint cross-hatching, and the left ear has been given a defined contour. The left side of the face has been hatched with additional horizontal and oblique strokes. Drypoint shading has also been added beneath the chin and on the collar at right. The pupil of the right eye has been darkened, so that it is now more pronounced, but the vertical lines on the nose have been burnished, to lessen their prominence. There are two variant impressions of this state.
The right eye has been redrawn so that it better matches the left eye.
Drypoint has been added to the eyes, making them appear darker.
Drypoint. Much of the previous drypoint has been burnished down, leaving a mesh of light grey tone, over which the drypoint hatching of the new self portrait stands proud. A contour delineating the top of the head has been added and the entire head is now complete.
The lower contour of the left lens of the spectacles has been filled in, and the contour of the left lower eyelid has been strengthened. Oblique hatching has been added around the left eye and on the left cheek, emphasizing the shadow on the left side of the face. Some hatched modelling has also been added to the right eyelid and to the right cheek.
The lower contours of both eyelids have been strengthened again, with curved lines. There are four variant impressions of this state.
Etching. Here the artist depicts himself wearing his new black-rimmed spectacles. The top of the head is delineated only summarily. The plate is now pitted, and otherwise marked, with foul biting.
Drypoint has been added to the spectacle frames, to make them appear more prominent, and has also been added to the eyebrows and the ears. There are two variant impressions of this state.
More burnishing has been applied to the right contour of the face, and to the ear and cheek at right. There are two variant impressions of this state.
A unique impression made by printing SP (Self portrait 2016) over an impression of SP (Self portrait 2010).
A frontal self portrait showing the face and part of the neck. Amor is bearded and wears spectacles; he looks straight ahead. The top of the head is not indicated, and neither are the shoulders. A horizontal line, comprising several overlapping lines, is scored across the bottom of the image, 10 mm from the lower plate mark. This is an impression from the edition printed following the working of the seventh state, and thus represents the final state of the first of four self portraits rendered on the same copper plate. In 2010, the plate was taken through seven more states (cat. no. E.156.1); in 2011, five more states (E.156.2); and, in 2016, a further four states (E.156.3).
Intaglio Print: Drypoint, burnishing, roulette, etching and foul biting on copper
Support
Wove paper. Identified papers: White BFK Rives paper with watermark: ‘BFK Rives / FRANCE’ with infinity symbol; cream BFK Rives paper; white Hahnemühle paper with watermark: cockerel within a circle; white Arches paper; cream Somerset paper with watermark: ‘somerset / ENGLAND’.
Dimensions
Image size: 221 x 188 mm Matrix size: 221 x 190 mm
States I through VII printed by Rick Amor in his Alphington studio. Edition, 2009, printed by Andrew Gunnell at Chrysalis Publishing Studio, East Melbourne; bon à tirer impression and one artist’s proof (AP I) printed by Amor in the Alphington studio. States VIII through XIII printed by Amor in the Alphington studio. State XIV and edition, 2010, printed by Rosalind Atkins at Around the Bend Press (Murray Walker’s studio), Northcote (Melbourne). States XIV through XIX printed by Amor in the Alphington studio. Edition, 2011, printed by Rosalind Atkins at Kate Herd’s studio, Alphington. States XX through XXIII printed by Amor in the Alphington studio. Edition, 2016, printed by Rosalind Atkins at Kate Herd’s studio. Unique impression (SP (Self portrait 2016) printed over SP (Self portrait 2010), 2016) printed by Amor in the Alphington studio.
Summary Edition Information
Twenty-three states. Four editions, and one unique impression. Edition of ten numbered impressions, 2009 (SP (Self portrait 2009)). Edition of ten numbered impressions, 2010 (SP (Self portrait 2010)). Edition of ten numbered impressions, 2011 (SP (Self portrait 2011)). Edition of ten numbered impressions, 2016 (SP (Self portrait 2016)). Unique impression, 2016 (SP (Self portrait 2016) printed over SP (Self portrait 2010)).
Exhibitions
Newcastle City Art Gallery 2010: Newcastle City Art Gallery, Newcastle, NSW, Times like These: The Self Portraits of Rick Amor, 27 February – 2 May 2010, no. 3 (SP (Self portrait 2009)).
Niagara Galleries 2010: Niagara Galleries, Richmond (Melbourne), Rick Amor: Watercolours, Prints, Drawings, Sculptures & Paintings, 31 August – 25 September 2010, no. 11 (SP (Self portrait 2010)).
Collections
State Library of Victoria, Melbourne: nine state impressions, numbered 1-1 through 1-9, all dated 2009 (SP (Self portrait 2009)); ed. 9/10, dated 2009 (SP (Self portrait 2009)); nine state impressions, numbered 1-1 through 1-8 (including two impressions numbered 1-4), all dated 2010 (SP (Self portrait 2010)); ed. 6/10, dated 2010 (SP (Self portrait 2010)); nine state impressions, numbered 1-1 through 1-6, 1-7, 2-7, all dated 2011 (SP (Self portrait 2011)); bon à tirer impression, dated 2011 (SP (Self portrait 2011)); ed. 2/10, dated 2011 (SP (Self portrait 2011)).
Art Gallery of South Australia, Adelaide: AP, dated 2010 (SP (Self portrait 2010)) (promised gift); ed. 7/10, dated 2011 (SP (Self portrait 2011)) (promised gift).
Amor’s sequence of four independent yet linked self portraits, each made on the same copper plate, in four reworkings over four years, was a disciplined experiment in capturing the passage of time and its relationship to the process of ageing. In undertaking this project, Amor was inspired initially by an etched self portrait of a bald Jim Dine that he had seen in an exhibition catalogue.
After making the first self portrait in his planned sequence, in 2009, Amor hoped that he would be able to superimpose his 2010 self image over it, and then his 2011 self portrait over the 2010 rendering. However, this plan did not proceed in the way he expected, because at each stage the existing image on the copper plate had to be substantially burnished away before work on a new self portrait could begin. Despite this, the plate always retained traces of earlier work, and so each new image incorporated something essential of what had gone before.
There were no preparatory drawings made for the four self portraits, and with each one the artist worked the plate directly in front of a mirror. The 2009 image was drawn with his old drypoint needle, which had a metal point, and the two subsequent images were made with a new, sharper diamond-point needle, which cut through the copper more easily. This might explain, in part, the shift from the subtle tonality of the earliest of the portraits to the expressive linearity of the 2011 work.
Once this third self portrait was completed, Amor decided to stop working the copper plate because, as he said, he did not wish to be tied down to it and because he wanted to ‘move on’.
However, five years later, in 2016, two events caused him to change his mind and to return to the plate for a fourth time: his purchase of a new pair of black-rimmed spectacles, and his visits to the exhibition Degas: A New Vision at the National Gallery of Victoria (24 June – 18 September 2016). Seeing the etchings in this exhibition, Amor was struck by Degas’ bold incorporation of foul biting, and other accidental effects, into his prints. He therefore retrieved the copper plate used for the self portrait project – which was now scuffed and pitted – and proceeded to work on it again, this time using an etching needle rather than a drypoint needle.
In a final experiment, also of 2016, Amor printed his most recent self portrait over a proof impression of his 2010 self portrait. The resulting unique impression is a final comment on the unifying conceptual and physical threads that underlie this sequence of prints.