Ostend Horse
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.