Margaret Preston, aged 19, in 1894.
Source: National Gallery of Australia.
Margaret Preston and Printmaking [1]
A study of Margaret Preston's changing interest in printmaking reflects, to a large extent, the development of this form of art in Australia. Preston was an art student in the 1890s, during the rise of the Painter-Etchers movement in Australia.
Note: The Australian Painter-Etchers' Society was established in 1921 and was first headed by Lionel Lindsay, who became its first president. The movement was inspired by the European "painter-etcher" revival of the 19th century, a trend of artists creating prints as original works of art.
Lionel Lindsay (around 1900s).
In 1923, shortly after her return from Europe, Preston showed woodcuts in her first exhibition devoted to this medium in this country. She was also one of the first Australian artists to exhibit screenprints and to experiment in stencil printing, and was instrumental in fostering a renewed interest in this monotype process.
Margaret Preston, Rocks in Roper River (1953).
Courtesy: National Gallery of Australia, Kamberri/Canberra.
By the 1950s and early 1960s, printmaking was experiencing somewhat of a revival in Australia. In 1963, the year of Preston's death, the first large-scale exhibition of contemporary Australian prints was organized to tour the capital cities. Appropriately, it included one of Margaret Preston's later prints.
Etching [1]
In 1876, one year after Preston's birth, the French immigrant artist EL Montefiore (1820-1894) read a paper on 'Etchings and Etchers' to the Fine Art Section of the Royal Art Society of New South Wales (Australia). He pointed out that rather than producing existing works of art, '...the central idea of etching was the free expression of artistic thought...free and spontaneous.'
French immigrant artist EL Montefiore (1820-1894).
During the next decade, with artists conscious of etching's new potential, many Australian renowned artists experimented with the technique. For example, Tom Roberts (1856-1931), Arthur Streeton (1867-1943) and Julian Ashton (1851-1942) were taught the rudiments of etching in Sydney (Australia) by American-trained artist Livingston Hopkins (1846-1927), while in Melbourne (Australia) John Mather (1853-1940) and Louis Abrahams (1852-1903) were early practitioners of this form of printing.
Portrait of Abrahams by Tom Roberts (1886).
Courtesy of the National Gallery of Australia.
In June 1891, the recently appointed advisor to the National Gallery of Victoria, the painter and printmaker, Professor Hubert Herkomer (1849-1914), requested permission from the Gallery trustees to collect '...a series of masterly etchings...I think it a most beautiful art that should be represented in every gallery.'
Consequently, at the London sale of British artist Seymour Haden's famous collection of old-master prints in June 1891, the gallery purchased prints by Rembrandt (1606-1669), Albrecht Dürer (1471-1528), and Anthony van Dyck (1599-1641). The following year works by contemporary artist Max Klinger (1857-1920), Seymour Haden (1818-1910) and James McNeill Whistler (1834-1903) were added to their collection. These formed the basis of the Gallery's notable print collection. These prints were exhibited prominently at the gallery, when Preston was a student at their associated Art School.
Magaret Preston, Wheelflower, ca. 1929 (detail).
Hand-colored woodblock print.
Courtesy of National Gallery of Australia, Canberra (cat. no. 140).
After seeing this collection, John Shirlow (1869-1936), a fellow student of Preston's in 1893 and 1895, built his own etching press and equipment, and by 1895 was exhibiting his etchings. During the next five years, Ernest Moffitt (1870-1899), Lionel Lindsay (1874-1971) and Victor Cobb (1876-1945) also produced etchings.
In the nineteenth century, there was a greater awareness of printmaking in South Australia than in other Australian states. Adelaide's second mayor, Thomas Wilson, had been a keen collector of prints from England, and in 1857 had lectured on the need for a collection in the young colony. George Reynolds, a council member of the South Australian Society of Arts, frequently exhibited etchings in the Society's shows. Preston would have seen his exhibitions, and probably attended his lecture titled, 'Etching,' which was given to the Society on May 3 1898.
However, Preston apparently did not try her hand at etching in Australia. Like most other Australian artists of her generation, she did not experiment in this process until she lived in Europe where instruction, facilities and materials were more readily available. This was also the experience of fellow students at the National Gallery of Victoria Art School, namely, Portia Geach (1873-1959) and Dora Meeson (1869-1955), and of Eirene Mort (1879-1977), Ethel Carrick (1872-1952) and E Hilde Rix Nicholas (1184-1961) - all of whom learnt the technique in Europe.
Margaret Preston, Bonmahon, Ireland (ca. 1916).
Technique: Drypoint etching.
Courtesy of Art Gallery of NSW, Sydney (cat. no. 1).
Preston was taught etching in England. So popular was the process that almost all of the major art schools included the subject in their curriculum, and moreover, many artists gave private tuition lessons on this technique. Preston may have been taught the technique at the Camberwell School of Arts and Crafts (London), where she learnt pottery in 1916.
Only five of Preston's etchings are recorded. One dated 1916, is of an indeterminate landscape; another is of the village of Bonmahon in Ireland; three represent the picturesque hamlet of Bibury in southern Gloucestershire.
The old mill, Bibury Court Farm, Bibury (circa 1916).
These prints appear to have been worked up from sketches, and were probably all produced at an art school, when the artist was learning the process; this is suggested by the fact that most of the prints are inscribed with a description of their technique, rather than with a title. Two of the works are drypoint etchings; two are soft-ground etchings; and one is a hard-ground etching, known in two impressions and printed with differing degrees of plate tone.
A clue to contemporary influences on Preston's etchings (and on that of English artists in general) may be found in the advice she gave her student Edith Collier (1885-1964) in 1918: "...Look at the Rembrandt etchings at the Library or Museum; for Whistler, I think South Kensington might have some; but I think all originals are at the Museum and Tate. Also Goya's -"
None of Preston's etchings are particularly distinguished; all have an "olde world" look. Romantic old stone and thatch buildings, set in rural landscapes, appear unchanged by the industrial revolution or the trappings of the twentieth century. These were popular commericial subjects of a type of etching that proliferated in England until the 1930s. In Australia, a similar style of etching evolved, featuring selected subjects like gum trees and colonial buildings.
On her return to Australia, Preston showed her etchings at an exhibition in Adelaide in 1919, and then Sydney in 1920 and 1921. Unfortunately, they elicited no critical response.
Had Preston wished to continue working with this technique, facilities and teachers were readily available in Sydney (Australia) by 1920. The "Women Painters' School of Fine and Applied Art" taught etching under their principle Eirene Mort, as did Alfred Coffey (1869-1950) in his studio.
By 1920 Preston's friends, Sydney residents, Ure Smith (1887-1949) and Lionel Lindsay (1874 – 1961), had established themselves as fine practitioners in this field, and in 1920 were instrumental in establishing the Australian Painter-Etchers' Society. The society ran its own school in Sydney in the late 1920s. Preston's lack of interest in developing etching as an option for artistic expression was based on a practical observation, namely that it entailed too much equipment, and so it was not a - 'friendly little craft.'
Reference:
[1] R. Butler, The Prints of Margaret Preston, A Catalogue Raisonné, National Gallery of Australia (2005).
Preamble
For your convenience I have listed below all of the Guest Artists/Editors posts on this blogspot:
My Voice using Disperse Dyes on Cloth (Jennifer Libby Fay)
An Artistic Dialogue With My Immediate Environment (Lesley Turner)
The Art of Fascinators (Flora Fascinata)
Reality, Influence and Invention (Shirley McKernan)
The Mythical Beasts (Eric and Robyn Werkhoven)
Studio La Primitive Fashion Fantastic (Eric and Robyn Werkhoven)
The Art of Mary Edna Fraser: Poetic Landscapes
The Journey of Studio La Primitive Arts Zine
Introduction
In 2013, artists, Robyn and Eric Werkhoven, established the successful Arts and Literary online magazine – Studio La Primitive Arts Zine - a free, independent, advertising-free digital publication.
The Arts Zine focussed on contemporary art, featured artist interviews, studio visits, exhibition reviews, poetry, essays, and art news. The Zine gave a comprehensive, curated glimpse into the creative concepts and methodologies of established and emerging Australian and international artists. I was honoured to have been a contributor to the Zine from May 2018, Issue 25, through to July 2025, Issue 62.
After 12 years of commitment and hard work, the last issue of the Zine was published in November 2025, Issue 64, to glean more time for their own art practice. A true pioneer and inspirational force of nature, Robyn’s editorial vision, generosity and contribution to the arts will leave a lasting legacy. Thank you to you both!
All issues of the Studio La Primitive Arts Zine are available at the State Library of New South Wales as digital publications, see website link - https://www.sl.nsw.gov.au. The journals will also be available in pdf format at the Studio La Primitive website sometime in the future, check the following website link for updates - https://www.studiolaprimitive.net
Below is an article that traces the evolution of the Studio La Primitive Arts Zine by Editor Robyn Werkhoven. Hope you enjoy their journey as much as I do.
Marie-Therese.
PS: Please note Robyn and Eric’s exciting upcoming film, and exhibition news, which follows the article.
The Journey of Studio La Primitive Arts Zine
Guest Editor, Robyn Werkhoven
January 2026
The Arts Zine was conceived one early morning in 2013, when I was lying in bed reading a book about one of my most favourite artists, namely, Francis Bacon's, 'Anatomy of An Enigma by Michael Peppiatt.'
Just a few lines from the book sparked me off: Paris in the 1920s – “Montparnasse acted like a magnet on artists and writers throughout the world.” The legendary Surrealist writer, Andre Breton, lived there in 1921 with several major publications to his credit, including the Surrealist Manifesto. Many of the magazines featured art exhibitions, reviews, essays and poetry. Hence, I decided I would work on producing and publishing an art and literature online magazine, now made possible with modern technology and the availability of the internet.
Since a young age, I have always enjoyed looking, reading and collecting art and fashion magazines. At seventeen I attended art school, followed by Graphic Design course in Sydney. Design and creative layout of articles I have always immensely enjoyed working on.
Eric and Robyn Werkhoven.
In the 1980’s I created “Studio La Primitive” with my husband, artist Eric Werkhoven, together we exhibit under this title. We have been involved professionally in the visual arts for many years – including performance/event art, painting, sculpture, printmaking, jewellery design, exhibition curation, management of galleries, and in recent times I had been interviewing Hunter Valley artists and publishing the articles in the Hunter Professional Arts magazine.
Front cover of the 1st issue of Studio La Primitive Arts Zine, October 2013.
Eric and I decided to title our magazine 'Studio La Primitive Arts Zine' and would feature artists’ interviews - a glimpse into the artists’ world, to gain an insight into how their creative concepts evolve. Incorporate exhibitions, art related articles, essays, poetry and art news. The magazine would also feature emerging and professional artists and writers. We would include all genres of the Arts for public interest and diversity. The one thing we did not want our zine to become was another overly academic art magazine.
We compiled an interview sheet of interesting questions to send to artists. We set no limit on contributor’s subject content. Invitations for an article/interview were emailed out, but as our reputation grew, many artists and writers were now submitting their work to us for publication.
What began with a timid 50 pages grew to over 200 pages and reached 64 issues over the twelve years, as more artists and readers became aware of our uniique online magazine. Our mailing list became huge with galleries, art collectors and art lovers subscribing for the bi-monthly issue.
The Zine was free, with no advertising from sponsors. It was not about making big money - just something we wanted to do for the Arts, which has been our lifelong passion since we believe art and culture are extremely important for a healthy society.
Early in 2014 I had an accident resulting in a stay in hospital for seven months, six of which I was confined to a bed. However, thanks to my sister, arriving in the hospital with a laptop computer, her words were - "You should keep producing your Arts Zine!" Furthermore, I had wonderful support from the art community, sending me interviews and articles. Three 2014 issues – March, May and July were published from my hospital bed.
Front cover of the 5th issue of Studio La Primitive Arts Zine, May 2014.
Arts Zine has been a voice for the artists and writers - not only from the Hunter Region, NSW - but nationally and internationally. Moreover, in 2017 Arts Zine was selected by the NSW State Library to be preserved as a digital publication of lasting cultural value for long-term access by the Australian community.
The magazine has featured 400 artists and writers including many emerging and high profile Australian & international artists – Del Kathryn Barton, Blak Douglas, Wendy Sharpe, Kathrin Longhurst, Nigel Milsom, Loribelle Spirovski, Kim Leutwyle, Matthew Quick, Braddon Snape, and many more. Renowned artists and award-winning film makers, George Gittoes and Hellen Rose, have been wonderful supporters and contributors to the magazine. We have had fabulous resident contributors such as Lorraine Fildes, travel writer and art photographer, poet and artist Maggie Hall, artist and writer Bernadette Meyers, and international, award-winning Spanish artist and photographer Jose Luis Seijas Garcia- SEIGAR. Resident poets such as Reese North, Brad Evans, Peter J Brown, Bea Jones and Eric Werkhoven.
Featured artist Del Kathryn Barton, 2008 and 2013 Archibald Prize winner.
Featured artist Blak Douglas, 2022 Archibald Prize winner.
Featured artist Kathrin Longhurst, 2021 Archibald, Packing Room Prize winner.
Featured artist Loribelle Spirovski, 2025 Archibald, ANZ People’s Choice Award winner.
Featured artist Braddon Snape, 2022 Lake Art Prize winner.
Featured renowned artist and filmmaker George Gittoes, 2025 Lifetime Achievement Award by the Sydney Underground Film Festival, Awarded the 2015 Sydney Peace Prize.
Some of the featured artists who appeared in Issue 34, November 2019.
Some of the featured artists who appeared in Issue 39, November 2020.
Some of the featured artists who appeared in Issue 63, September 2025.
We wish to sincerely thank all the artists and writers for their wonderful contributions of interviews and articles over the years. It has been a privilege to work with all of them.
Sadly, the November issue in 2025 was our last magazine, since we needed more time to concentrate on our own art practice. Nevertheless, we do have other art projects in the pipeline!
Front cover of the 64th and final issue of Studio La Primitive Arts Zine, November 2025.
Exciting News
Firstly, a film about Eric and Robyn’s art practice and life will be released this year, 2026, by Australian filmmaking duo, Nicky Eliott and Peter Delahunty titled, ‘Eric & Robyn and the Mythical Beasts’. Click on the following link to the trailer of the film - Film Trailor - and hit on the link to the film's Facebook page, namely, - Banksia Brights - where the launch date will be announced.
Secondly, their art exhibition, STUDIO LA PRIMITIVE-ANTICS, will be held at the Cstudios Art Gallery, Newcastle, along with the book launch of their art from 7 November 2026.
Preamble
This is the fifty-third post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
Yellow Pigments - Part II
Brown and Violet Pigments
Black Pigments
White Pigments - Part I
White Pigments - Part II
White Pigments - Part III
Inert Pigments
Permanence of Pigments: New Pigments - Part I
Permanence of Pigments: New Pigments - Part II
Permanence of Pigments: New Pigments - Part II [1]
Many printing inks and industrial paint pigments have the word "permanent" included in their names, and they are permanent in so far as their uses are concerned. A brilliant yellow, which will maintain its general hue on a shop sign under severe outdoor conditions, as long as the paint film will last (i.e., three or four years) that has a right to be called permanent for this use.
A badly weathered shop sign.
However, the same pigment used as an artists' paint may fade, at least enough to destroy pictorial or decorative effects, after five or six years in daylight - even in diffused, indoor daylight.
Signs of a worn out yellow oil paint on a canvas painting.
The fading of a pigment or dye on exposure to daylight is not an evanescence, or the disappearance of the substance itself into thin air, but is actually the result of a chemical change, the ultraviolet wavelengths in the light reacting with the substance or triggering a reaction, sometimes with the combination of air and moisture, the pigment changing over to a colorless or less highly colored compound. Color stability is therefore linked with chemical stability.
Factors that can impact on color stability.
Not only as regards to pigments, but also in connection with paints and varnishes, the artist should remember that his/her requirements are different from those of the industrial consumer, and that products which are in all sincerity labeled permanent are not always permanent for her/his purposes. No one expects the paints which are used in ordinary wall decoration to last fifteen years, still less, paints which have to withstand more severe conditions, such as those used in houses, store signs, and boats; yet a material which displayed defects in a work of art after twenty-five or fifty years would certainly be considered a failure by artists.
The painting above was repaired even though it was structurally sound, with no tears or holes. It was suffering from flaking paint and in some areas, paint loss, which was most urgently addressed and so it was perfectly restored.
Bleeding. An obstacle in the way of the adoption of organic colors of really superior permanence to light, is that many of them have the property of bleeding or striking through, when used with oil or oily mediums. If a coat of white paint is applied over a coat of red which has this property of bleeding, even if the red is first thoroughly dry and hard, the color will eventually be observed coming through the white - apparently dissolving into the film of white paint, running through it in a streaky and spotty manner, or occasionally imparting a uniform pink tint to it. Some so-called non-bleeding colors are really semi-bleeding, the defect manifesting itself only after a period of years. Bleeding will never occur when insoluable inorganic colors are used and the undercoat is perfectly dry, no matter how finely the pigment has been ground. Any light-proof pigment, regardless of its bleeding or other faults when mixed with oil, may be used in pastel, where such defects are of no significance.
A bleed in watercolor is when your paintbrush touches an area that is still wet on your painting, and the color from your brush bleeds into the wet area. Many artists use this effect for their own particular artistic purpose.
Many thoroughly permanent inorganic colors, which have been known for years, have never gone beyond the laboratory stage because of economic reasons. With the development of new industrial processes, such as the coloring of lacquers and plastics, mass production of some of these becomes feasible, and occasionally a pigment of known reliability is thus made available to artists for the first time. An example of this sort is manganese blue, which was barely noted at first and some ten yearts later came into wide, general use. Many past examples of the lag between discovery and development of a pigment and its introduction to artists will be found in the general pigment list.
Manganese Blue.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
