Proctor's strong emphasis on design through simplified forms and bright, flat colour is modern; but the bonnets, parasol and costumes of 'La poupée' (The doll) reveal her nostalgia for fashions of the Victorian era.
woodcut, printed in black ink, hand-coloured on thin cream laid paper
17.8 x 11.3 cm blockmark; 22.7 x 15.4 cm sheet (irreg.)
Signature & date
Signed l.r. beneath image, pencil "Thea Proctor". Signed within block to print l.r., incised "TP".
Not on display
Shown in 1 exhibition
Australian Collection Focus: Colour, Rhythm, Design - wood & lino cuts of the 20s & 30s, Art Gallery of New South Wales, Sydney, 12 Mar 2010–11 Jul 2010
Referenced in 7 publications
Roger Arthur Butler, Printed images by Australian artists 1885-1955, Canberra, 2007, 169.
Helen Campbell, Colour, rhythm, design: wood & lino cuts of the 20s & 30s, 'Introduction', pg. 2, Sydney, 2010, 5 (colour illus.).
Sarah Engledow', The world of Thea Proctor, 'The world of Thea Proctor', pg. 16-84, Canberra, 2005, 76.
Janda Gooding, Thea Proctor, 'Introduction', pg. 2-6, Perth, 1982, 7 (colour illus.). cat.no.1; NOTE: this is not the AGNSW impression.
Josef Lebovic, Masterpieces of Australian printmaking, Sydney, 1987, 104, 105 (colour illus.). cat.no. 143; NOTE: this is not the AGNSW impression.
Jan Minchin, The prints: Thea Proctor, 'Thea Proctor: a biography', pg. 6-13, Sydney, 1980, 48, 49 (colour illus.). cat.no. 13; NOTE: this is not the AGNSW impression
Pamela Gerrish Nunn, Women artists and the decorative arts 1880-1935: the gender of ornament, 'Owning femininity: Thea Proctor and the Australian Avant-garde', pg. 73-95, Aldershot, 2002, 82.