(Australia 02 Oct 1879–29 Jul 1966)
19.4 x 19.9cm blockmark (irreg.); 26.5 x 25.4cm sheet
The bold, simplified lines of this work result from Proctor cutting the block in a direct way that acknowledges the demands of the technique. There is minimal or no shading of the forms, unlike 'The rose' which reflects its origin in a shaded pencil drawing. Encouraged by the example of Margaret Preston (who gave her the wood to work with) Proctor made her first woodcuts in 1925, later stating that they were made mainly for
Helen Campbell (Australia) (Author), Colour, rhythm, design: wood & lino cuts of the 20s & 30s, Sydney, 2010, 5 (colour illus.).
Andrew Sayers (Australia, b.1957) (Author), Sarah Engledow (Australia) (Author), Barry Humphries (Australia, b.1934) (Author), The world of Thea Proctor, Canberra, 2005, 124 (colour illus.). NOTE: this is not the AGNSW impression
Bridget Elliott (Canada, b.1957) (Editor), Janice Helland (Canada) (Editor), Women artists and the decorative arts 1880-1935: the gender of ornament, Aldershot, 2002, 80.
Josef Lebovic (Australia) (Author), Masterpieces of Australian printmaking, Paddington, 1987, 104, 105. NOTE: this is not the AGNSW impression
Janda Gooding (Australia) (Author), Thea Proctor, Perth, 1982, 8. NOTE: this is not the AGNSW impression
Jan Minchin (Author), Roger Butler (Australia, b.1948) (Author), Chris Deutscher (Australia) (Author), The prints: Thea Proctor, Sydney, 1980, 52, 53 (colour illus.). cat.no. 15; dated 1925; NOTE: this is not the AGNSW impression
Australian Collection Focus: Colour, Rhythm, Design - wood & lino cuts of the 20s & 30s, Art Gallery of New South Wales, 12 Mar 2010–11 Jul 2010.