Dimensions: image: 173 x 273 mm
Copyright: © Peter Doig | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Peter Doig's "Rosedale House," an undated etching held in the Tate collection. The scene is quite stark, almost desolate. What do you see in the arrangement of forms and textures within this print? Curator: The composition is structured around a strong vertical axis formed by the imposing tree trunk. Notice how the artist employs contrasting textures: the rough, dense marks of the tree and stone wall against the finer, more delicate lines depicting branches and foliage. Editor: Yes, the textures really give it depth! How does this contrast contribute to the overall reading of the piece? Curator: The contrasts establish a visual rhythm, guiding the eye across the image. The formal elements work together to create a sense of enclosure and perhaps even a subtle tension between the natural and the man-made. Editor: That makes sense. I hadn't considered the tension. Thank you! Curator: My pleasure. It is always rewarding to consider the pure visual language of a piece.
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Ten Etchings is Doig’s first print portfolio. As the title indicates, it is a suite of ten etchings. The portfolio was produced in an edition of thirty-five. Tate’s copy is one of six additional proof sets. Each print is individually signed and numbered ‘TC’ (Tate copy) by the artist. The portfolio is presented in a red artist’s solander box with title and colophon pages designed by Peter B. Willberg. It was printed at Hope Sufferance Press, London on 350gsm Zerkall paper and published by Charles Booth-Clibborn under his imprint, The Paragon Press.
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