After briefly attending art school in Paris, Ethel Spowers undertook the full course in drawing and painting at the National Gallery of Victoria Art School from 1911 to 1917. In 1921 she returned to Europe, and studied at the Regent Street
Polytechnic, London and the Académie Ranson, Paris. Her work changed considerably from 1929, when she briefly studied linocut printmaking with Claude Flight at the Grosvenor School of Modern Art, London. The linocuts she made under Flight’s tutelage show a modernist movement and rhythm.
This print was exhibited in London in 1930, when impressions were acquired by the British Museum and the Victoria and Albert Museum.
linocut, printed from four blocks on thin ivory laid tissue
23.9 x 20.2 cm image (irreg.); 31.1 x 23.1 cm sheet
Signature & date
Signed and dated l.r., pencil "E.L. Spowers. 1930.".
Not on display
Shown in 7 exhibitions
Project 39 - Women's Imprint (1982), Art Gallery of New South Wales, Sydney, 01 Oct 1982–31 Oct 1982
Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 08 Mar 1995–04 Jun 1995
Australian prints from the Gallery's collection (1998-1999), Art Gallery of New South Wales, Sydney, 06 Nov 1998–07 Feb 1999
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
Professor Sadler, Japan and Australian modernism, University Art Gallery, University of Sydney, Sydney, 03 Apr 2011–24 Jul 2011
Sydney Moderns, Art Gallery of New South Wales, Sydney, 06 Jul 2013–07 Oct 2013
Modern impressions; Australian prints from the collection, Art Gallery of New South Wales, Sydney, 02 Sep 2016–Jan 2017
Referenced in 14 publications
Michaela Boland, The Australian, 'Suddenly, the world wants Spowers', n.pag., Canberra, 19 Dec 2011, n.pag.. NOTE: this is not the AGNSW impression.
Helen Campbell, Colour, rhythm, design: wood & lino cuts of the 20s & 30s, 'Introduction', pg. 2, Sydney, 2010, 14 (colour illus.).
Review: works by women from the permanent collection of the Art Gallery of New South Wales, Sydney, 1995. no catalogue numbers; not paginated
Steven Miller, Sydney moderns: art for a new world, 'Sex, drugs and modern art: the Sydney galleries', pg. 174-183, Sydney, 2013, 177 (colour illus.), 316, 324.
Maria (Connie) Tornatore-Loong, Japan in Sydney: Professor Sadler & modernism, 1920-30s, 'The remarkable Professor Sadler: Japan, Sydney and Australian modernism', pg. 7-49, Sydney, 2011, 6 (colour illus.), 28, 137. cat.no. 39
Accessories and adornment, South Yarra, 2000, 18 (colour illus.). children's activity book
Australian prints from the Gallery's collection, Sydney, 1998, 64 (colour illus.), 65. cat.no. 53
Stephen Coppel, Linocuts of the machine age: Claude Flight and the Grosvenor school, 'The Australians: Dorrit Black, Ethel Spowers and Eveline Syme', pg. 65-68, England, 1995, (colour illus.), 66, 67, 170 (illus.), 171. plate 30; cat.no. 14; NOTE: this is not the AGNSW impression.
Project 39 - Women's Imprint, Sydney, 1982, (illus.). no catalogue numbers; not paginated
Australian women artists 1840-1940, Collingwood, 1980, 148 (illus.), 180. plate no. 75; Collection of National Gallery of Victoria
Australian woodcuts and linocuts of the 1920s and 1930s, South Melbourne, 1976, 14, 44 (colour illus.).
Art in Australia [series 3, no. 77], Sydney, Nov 1939, 65 (illus.).
Look, 'What's on elsewhere', pg. 44, Sydney, Sep 2012, 44 (colour illus.).
The new McCulloch's encyclopedia of Australian art, Carlton, 2006, 903 (colour illus.). NOTE: this is not the AGNSW impression.