Edmund Blampied (1886-1966), A Jersey Vraic Cart. 1939, etching,  signed in ink lower margin [also signed and dated in the plate]. Reference:  Appleby 183, the full sheet, on a J. Whatman cream laid paper, with the watermark, in excellent condition,  8 9/16 x 11 1/16 (sheet 11 7/16 x 15 5/16). From the edition of 250 for the Print Club of Cleveland.

Provenance: Gift of the Print Club of Cleveland to the San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA.

A fine fresh impression, still in its original Cleveland mat. Printed with selective use of plate tone, with a light veil of tone left on the plate toward the bottom, the plate wiped cleaner and thus whiter in the area of the figures.

Vraic is the Norman name used in the Channel Islands for the seaweed traditionally used as fertilizer.

Detail

]]> http://harrisschrank.com/a-jersey-vraic-cart.htm/feed 0 http://harrisschrank.com/loading-vraic-st-malo.htm http://harrisschrank.com/loading-vraic-st-malo.htm#comments Fri, 26 Jun 2009 14:36:09 +0000 Harris Schrank http://harrisschrank.com/?p=1135 Edmund Blampied (1886-1966), Loading Vraic St. Malo, drypoint, c. 1926, signed in pencil lower right margin and numbered 50/100 lower left. Reference: Appleby 122. In very good condition, with margins, on an ivory laid paper; 6 7/8 x 10, the sheet 10 x 15 1/2 inches, archival mounting. A fine impression, with substantial burr from the drypoint work. Provenance: Collection: Albert M. Bender; San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA. The medieval city of St. Malo is a ferry’s trip from Jersey, and we can see the walled city with the spire [...]]]>

Edmund Blampied (1886-1966), Loading Vraic St. Malo, drypoint, c. 1926, signed in pencil lower right margin and numbered 50/100 lower left. Reference: Appleby 122. In very good condition, with margins, on an ivory laid paper; 6 7/8 x 10, the sheet 10 x 15 1/2 inches, archival mounting.

A fine impression, with substantial burr from the drypoint work.

Provenance: Collection: Albert M. Bender; San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA.

The medieval city of St. Malo is a ferry’s trip from Jersey, and we can see the walled city with the spire of the church in the finely detailed background in Blampied’s etching. Of course the featured activity is loading vraic, the Norman name used in the Channel Islands for the seaweed traditionally used as fertilizer.

Edmund Blampied (1886-1966), Ostend Horse, drypoint, 1926, signed in pencil lower margin [also signed and dated in the plate lower left], from the edition of 100, printed on ivory laid paper with full margins with deckle edges, 7 x 9, the sheet 9 1/4 x 12 1/2 inches, still in the original SFA Museum mat with extensive annotations.

Provenance: Kennedy Galleries (with their stock number A49359)

Ex Collection: Albert M. Bender

Ex Collection: San Francisco Museum of Art

Christie’s New York

A fine fresh impression, with rich burr from the drypoint work and a subtle layering of plate tone.

One reason for Blampied’s continuing eminence as a printmaker is his ability to draw fresh imagery upon the copper plate using the drypoint needle.  Describing his technique he noted: “In very few cases do I touch a plate after the first proof, so the majority have but one state. If I am dissatisfied with either the composition or details, I prefer to start afresh upon another plate rather than make radical alterations.” Ostend Horse exemplifies the best of Blampied’s prints – the composition works, the drawing is vivid and alive, and the printmaking technique is superb.