"There is also the business of squeegeeing across the image, sometimes with a very thin glaze to cap or eat into the previous colour, because screenprinting colour can be re-activated with turps and with pressure from the squeegee. They were experimental things. Nothing to do with printmaking as such, but trying things out, seeing what worked and what didn't … When I did a run or an edition, some were left as they were printed. Three or four I'd start messing around with, trying to change them around …I wasn't aware of good quality paper really. I didn't bother too much about it because, unlike a line etching with a lot of white paper behind it, I was covering the whole sheet. I could have been working on a piece of wood, it wouldn’t have mattered. I was covering everything. Sometimes I'd print on a piece of cardboard even. Every area was covered. It was the nature of screenprinting."
[Hendrik Kolenberg, Jan Senbergs complete screenprints 1960-88, pg 19]
colour screenprint on offset lithographic paper
unnumbered from edition of 20
39.2 x 56.6 cm image and sheet
Signature & date
Signed and dated l.r. in image, pencil "... J. Senbergs '63".
Gift of the artist 2008
Not on display
© Jan Senbergs
Shown in 1 exhibition
Jan Senbergs: from screenprints to painting, Art Gallery of New South Wales, Sydney, 27 Apr 2008–25 May 2008
Referenced in 4 publications
Hendrik Kolenberg, Jan Senbergs: Complete screenprints 1960-88, Sydney, 2008, 19 (colour illus.). cat.no. 3
Museum of Modern Art, Ljubljana [Slovenia], VIth International exhibition of graphic art, 1965, (illus.). cat.no. 25; NOTE: Impression unknown.
Prints 63, Victoria, 1963. cat.no. 37; NOTE: Impression unknown.
Author Unknown, Christmas Exhibition (1963), Melbourne, 1963. cat.no. 50; NOTE: Impression unknown.