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90 Shortly after the publication of the first volume of Blast in the summer of 1914, Wadsworth and his wife visited several ports in the Netherlands. It seems likely that it was during this trip that they visited Vlissingen (known as Flushing) on the Dutch bank at Westerschelde, the channel that connects Antwerp to the North Sea. Harbour of Flushing shows confidence and an ability to tackle organisational complexity. We are never sure, looking at this compressed image, where the harbour ends and the weapon-sharp forms of the ships begin. Ezra Pound, who gave Vorticism its name and quickly established himself as its main critical champion, equated Harbour of Flushing's 'very fine organisation of form' with music: 'There is a definite, one might say a musical or a music-like pleasure for the eye in noting the arrangement of the very acute triangles combined "like notes in a fugue." But there is no doubt at all about Wadsworth's insistence on absolute, clean-cut finality. He maintained that the woodcut 'appeals to me more than any of the other similar medium (etchings, lithographs, mezzotints etc.) precisely because 'it leaves nothing at all to accident.' Extract taken from Richard Cork's introduction in 'The Graphic Work of Edward Wadsworth' compiled by Jeremy Greenwood, published by Wood Lea Press, 2002, p.9 Harbour of Flushing, 1914 Woodcut Signed and dated '1914' in pencil 26 x 21.6 cm (10 1 / 8 x 8 ½ in) Colnaghi & Greenwood do not record any signed impressions of this rare woodcut. Provenance Private Collection, UK Literature J. Greenwood, The Graphic work of Edward Wad- sworth, published by Wood Lea Press, 2002, p.19, no.W/D 2 E D W A R D W A D S W O R T H ( 1 8 8 9 - 1 9 4 9 )