Owned by the Leviny family. Collected by Kate Leviny. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.This original print by Australian woman artist, Mildred Lovett, is from a period in Australia's history when women artists and printmakers were gaining recognition for their work that had been a previously been an area dominated by male artists.Hand coloured linocut of a jug full of assorted berries, mounted in a frame. By Tasmanian artist, Mildred Lovett. Paper, ink, paint.Lower left corner 'Tasmanian berries'. Lower centre 'coloured linocut'. Lower right 'M. Lovett'. Verso '44' encircledmildred lovett, tasmania, linocut print, tasmanian berries, australian women printmakers, leviny collection, buda, castlemaine

Acquired by Kate Leviny. The Leviny daughters were friends with Ursula Ridley Walker. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.Ursula Ridley Walker is a little know Australian woman artist who was working in many artistic fields during the first part of the twentieth century. Buda holds the largest public collection of Walker's work in Australia.Print by Tasmanian woman artist, Ursula Ridley Walker, depicting blue hydrangeas in a dark blue jug with a green octagonal plate in the background. Mounted and framedLower left: 'Hydrangeas' Lower centre: '- Coloured Lino Cut -'. Lower right: 'Ridley Walker 5/50'.ridley walker, linocut print, australian women printmakers, hydrangeas, leviny collection, buda, castlemaine, 1925, ursula ridley walker, tasmanian artist

G.W. Bot is a contemporary Australian printmaker, sculptor, painter and graphic artist who creates her own signs and glyphs to capture close, personal relationship with the Australian landscape. Her artist’s name derives from ‘le grand Wam Bot’ after the early French explorers term for the wombat which she has adopted as her totemic animal. Bot first met George Baldessin at an art show in 1978 when she was an emerging artist and young mum of two small children in Canberra. He encouraged her to 'just do it' and create her own and distinctive language that is universally accessible, but remains true of it's time and space. 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. The bluestone studio was hand built by George, 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.'Baldessin's Glyphs' 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 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. 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. G.W. Bot has been an ardent supporter of the Baldessin Press & Studio, running linocut workshops over the years for enthusiastic printmakers. 'Baldessin's Glyphs' speaks in metaphor engaging a refined, symbolic language of glyphs that she has developed over many decade working as an artist in the Australian landscape. The print celebrates the triumph of life over the forces of darkness. Each glyph are a type of alphabet or system of marks, derived from hundreds of sketches taken from nature. The elements have been assembled into a narrative, from the land itself. These symbols tell her journey to understand and record a personal and uniquely Australian visual representation of nature, human experience and the interrelationship between the two. The landscape here is an internal one reflecting her memory of George Baldessin (red sun). The paper is a celestial pale blue cradling a conversation between one reality on earth and another in the sky. Ed.14/25bot, linocut, print, baldessin, glyphs, symbols, ekphrasis2018

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed monoprintart, artwork, jo-anne pelchen, monoprint, printmaking, horsham campus, wimmera campus, available horsham

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

Rona GREEN (1972- ) Born Australia 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.Linocut featuring three faces, one on a horse. 'Non Compos Mentis' is a musing on humankinds inability to fathom what is out there. It was produced for the Print Council of Australia. signed edition 16/40art, artwork, rona green, printmaking, linocut, print council of australia, edition, limited edition

Linocut print-

Linocut printSigned and dated 'Stewart MacFarlane 1985' in bottom right beneath image. Titled 'Love Come Down' bottom centre under image. Edition 1/10, lower left corner under printed image.

Linocut printSigned and dated 'T de Kessler 1959' lower left corner under printed image.

Linocut printSigned and dated 'Narelle Oliver '99' in lower right under printed image. Edition A/P, lower left under printed image. 'from 'Sand Swimmers" - written lower right corner of page.

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection

Purchased, 2018Linocut print on papergippsland, artwork, permanent collection

Donated by the Latrobe Regional Art Board, 1996Linocut print on papergippsland, artwork, permanent collection

Donated by the Latrobe Regional Art Board, 1996Linocut print on papergippsland, artwork, permanent collection

Purchased, 2018Linocut print on papergippsland, artwork, permanent collection

Purchased, 2017Linocut print on papergippsland, artwork, permanent collection

Donated by Freestone Press, 2016Linocut print on papergippsland, artwork, permanent collection

Donated by the Australian Print Workshop, 1996Linocut print on papergippsland, artwork, permanent collection

Donated by Freestone Press, 2016Linocut print on papergippsland, artwork, permanent collection

Purchased, 1997Linocut print on papergippsland, artwork, permanent collection

Purchased, 2016Linocut print on papergippsland, artwork, permanent collection

Purchased, 1996Linocut print on papergippsland, artwork, permanent collection

Purchased with the assistance of the Gippsland Art Gallery Society, 2015Linocut print on papergippsland, artwork, permanent collection

Purchased, 2018Linocut print on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection