Lot 4

This work is in fair condition with some condition issues to take note of. There is evidence of cockling throughout and the work appears to have been glued down along the edges. There is foxing throughout, particularly around the upper left edge of the work. There is a hairline scratch in the top right hand corner. There are two surface abrasions in the top right. There are some creases and handling marks to the paper, which is evident along the bottom edge of the work. There is a very small loss of pigment in the area of the black boat. The work is framed with some wear. Please note that this work has not been inspected out of the frame.


The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to inspect articles for sale at our pre-sale viewing where Leonard Joel staff are available for advice.
Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

Livingston Print Room, Melbourne (label verso)
Private collection, Melbourne

In 1921 Traill joined the Australian Painter-Etchers' Society and regularly entered her etchings and aquatints in its annual exhibitions. Her preferred subjects-the trees and moods of the landscape-were influenced by Japanese woodcuts and Art Nouveau, and she experimented with unusual decorative formats including the frieze. Using Frank Brangwyn's radical methods, she worked with the largest plates that the press would take and achieved dramatic chiaroscuro. She is now recognized as one of the most influential and original Australian printmakers of the inter-war period.
Mary Alice Lee, 'Traill, Jessie Constance Alicia (1881-1967)', Australian Dictionary of Biography