Lithograph [Listed as Woodcut]Signed l.r

Gladys Bilney was a student of the Ballarat Technical Art School.Reproduction of a woodcut depicting a duck.gladys bilney, duck, alumni

Gift of Judith Gardiner, 2017Coloured woodcut print on papergippsland, artwork, permanent collection

Framed woodcut print on paper.bookplates, edwin jewell, keith wingrove memorial trust

Donated by Simon Gregg, 2013Hand-coloured woodcut print on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Woodcut print and watercolour on handmade papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Woodcut print and watercolour on handmade papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Woodcut print and watercolour on handmade papergippsland, artwork, permanent collection

Australia 1913 - 1986Woodcut 3/10 s.100Title, edition, signed and inscribed 'For Bob'

Australia 1913 - 1986Woodcut 1/15 s.116Sogned, edition, dated and medium

1942 - 1943 by Gudrun and Isolde Frank Camp 3 Compound B. Used for a calendar.6 Woodcuts, black and white, on a A3 board. Blockfloten blaser; tanz um den meienbaum; fruhsport; beim kullespiel; verbrennungsofen; sonn wendfeierinternment camp calendars, sketches by internees, woodcuts, gudrun frank, isolde frrank, camp 3

[8] l., 405 p., with woodcuts and illustrations. Vellum covering.non-fictionhuman dissection, early works to 1800

My recent series of woodcuts and lithographs show predominantly interior views with solitary figures depicting fragments of everyday life and domesticity. The prints explore psychological aspects relating to interpersonal relationships; intimacy and detachment; the mundane repetition of daily television gatherings, and subtle gestures which aim to evoke a variety of moods and gestures.Mark KOBAL This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed woodcut of a short haired person looking towards darkness. art, artwork, mark kobal, printmaking, pca print commission 2005, pca, available

Published from an original woodcut, No. 307 in : The Garden of Pleasant Flowers]

Documents. Norman Penrose collection: grey card covered booklet relating to Japanese Colour Woodcuts. First page has some information on the woodcuts. Other pages, some artists and a short description of their art.handcrafts, woodcarving, ornamental, norman penrose collection, japanese colour woodcuts

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Photographed from a book illustrationPhotograph of a woodcut depicting an early camp of fishermen on Lake Victoria, Gippsland Lakes, Victoria.Fishermen's Camp, Lake Victoria, Gipps Landvegetation, camping

Dong Ho is on the Duong River in Bắc Ninh Province, Vietnam. The woodcut painting (Tranh khắc gỗ dân gian Dong Ho is a line of Vietnamese folk painting originating in Dong Ho village. The traditional themes of Dong Ho painting are good luck signs, historical figures, folk allegories, popular stories, and social commentaries. Elements of everyday life are well integrated in Dong Ho paintings to express the thoughts and wishes of people. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Craftsmen in Dong Ho use a special type of paper named giấy điệp. The bark of dó tree, which normally is grown in Tuyên Quang Province, is soaked in water for months, then mixed with powders of seashells (sò điệp), which is the origin of the paper's name, and glutinous rice to make sheets of paper. The s seashell and glutinous rice results in paper with an exotic sparkling hard background which is able to conserve the durability of colours. The colours are refined from natural materials which are easily found in Vietnam. For instance, the red colour is taken from red gravel in Thiên Thai Mountain, while the black comes from charcoal of burned bamboo leaves. The hand carved woodblock is applied with paint and pressed on a sheet of paper like a stamp. The process is repeated with different colours until the craftsman is satisfied with the outcome. One woodcut is for outline and several others are for each colour printed. The finished picture is covered with a layer of rice paste (hồ nếp) to strengthen the durability of its illustration and colours and afterwards dried under the sun. From beginning to end the process takes six to seven months. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) The tradition of Đông Hồ painting dates back to the 11th century during the reign of the Lý Dynasty. Originally, Đông Hồ paintings were made with black-and-white prints of woodcuts, but from the 15th century, different colours were introduced by craftsmen in the village. As a village specialized in making woodcuts and paintings, almost all Đông Hồ villagers were involved in the manufacturing of paintings from carving the woodblocks, producing điệp papers, obtaining natural colours to creating new themes, and printing.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Before 1945 over 150 families in Đông Hồ village were making pictures, but the tradition has rapidly faded. Villagers can no longer make a living based on this production so only a few households in the village still make pictures, while many others have switched to producing joss paper and votive paper object.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.)Asian ArtA framed collection of work by children from Dong Ho Village, Vietnam.dong ho, vietnam, woodcut, printmaking, dong ho art, dong ho painting, dong ho village, vietnam.