"My passion for lithography was ignited when I was a student at the South Australian School of Art" ~ Susan Dorothea White
PRINTS
Susan White produces her own prints, by hand, in her studio. A complete list of the artist's editioned prints (about 100) is in The Printworld Directory of Contemporary Prints and Prices (2006).
Since 1980, White's prints have represented Australia in over 50 international biennales and exhibitions in Japan, Korea, UK, USA, The Netherlands, France, Germany, Italy, Yugoslavia, Poland, etc.
The National Gallery of Australia collection has many of the artist's prints, from 1960 onwards. The lithograph Thieves at the Market, produced while a student, dates from this time.
The freedom and versatility of lithography appeals to the artist. In 1975, she began establishing lithographic facilities in her studio, initially producing prints from metal plates passed through a small wooden wringer on a bed of plywood - Pedestrian Crossing (1977) is an example of this grainier technique.
In 1978, she acquired a professional lithographic printing press, and produced lithographs with up to 15 colours, most requiring separate plates. The Front Veranda (1986) is an example. Later, the artist installed a C19 cast-iron press and equipment for stone lithography. White prints woodcuts and blockprints carved from fibreboard. The artist has produced some etchings, the earliest dating from 1960.
"My passion for lithography was ignited when I was a student at the South Australian School of Art" ~ Susan Dorothea White
PRINTS
Susan White produces her own prints, by hand, in her studio. A complete list of the artist's editioned prints (about 100) is in The Printworld Directory of Contemporary Prints and Prices (2006).
Since 1980, White's prints have represented Australia in over 50 international biennales and exhibitions in Japan, Korea, UK, USA, The Netherlands, France, Germany, Italy, Yugoslavia, Poland, etc.
The National Gallery of Australia collection has many of the artist's prints, from 1960 onwards. The lithograph Thieves at the Market, produced while a student, dates from this time.
The freedom and versatility of lithography appeals to the artist. In 1975, she began establishing lithographic facilities in her studio, initially producing prints from metal plates passed through a small wooden wringer on a bed of plywood - Pedestrian Crossing (1977) is an example of this grainier technique.
In 1978, she acquired a professional lithographic printing press, and produced lithographs with up to 15 colours, most requiring separate plates. The Front Veranda (1986) is an example. Later, the artist installed a C19 cast-iron press and equipment for stone lithography. White prints woodcuts and blockprints carved from fibreboard. The artist has produced some etchings, the earliest dating from 1960.
1960–present
-
Marienplatz (Munich), no. 1, 1980
lithograph (7 colours)
38 x 57 cm
-
The Fisherman's Dream, 1980
lithograph (bleed print, 8 colours)
41 x 61 cm
-
The Wishful Fisherman, 1980
lithograph (bleed print, 8 colours)
41 x 61 cm
-
Woman of Bavaria, 1980
lithograph
60 x 80 cm
-
The Gardener's Dream, no. 2, 1980
lithograph (12 colours)
60 x 80 cm
Collection: National Gallery of Australia
-
The Empty Chair, 1980
lithograph (9 colours)
40 x 61 cm
Collection: National Gallery of Australia
-
Two (lithograph, crayon black), 1978
lithograph
80 x 60 cm
Collection: Mornington Peninsula Regional Gallery
-
Two (lithograph, coloured), 1978
lithograph (10 colours)
80 x 55 cm
-
Where Children Play, with Rozelle Bay Gantry and White Bay Power Station (lithograph), 1978
lithograph (bleed print)
75 x 51 cm
-
At Home (etching), 1978
unique etching (1st state)
40 x 48.5 cm
-
Two (etching), 1978
etching
28.5 x 22 cm
-
Two (lithograph, sepia), 1978
lithograph
80 x 60 cm
-
The Retired Mechanic (lithograph), 1978
lithograph (2 colours)
59 x 80 cm
Collection: National Gallery of Australia
-
The Magic Pudding (lithograph), 1978
lithograph (9 colours)
80 x 60 cm
Collections: Bruce Hall, Australian National University, Canberra; Westmead Hospital, Sydney
-
Noah's Rocket (lithograph), 1978
lithograph (5 colours)
79 x 57 cm
Collection: National Gallery of Australia
-
At Home (lithograph) / No. 278, 1978
lithograph (6 colours)
40 x 58 cm
Collections: National Gallery of Australia; Westmead Hospital, Sydney; Private collections
-
Evening Factory Valley, no. 2 (lithograph), 1978
lithograph
60 x 80 cm
Collections: National Gallery of Australia; Westmead Hospital, Sydney
-
Flooded Mongarlowe River: Downstream, 1978
lithograph (dyptych, 8 colours)
55 x 80 cm
AMP Society Collection
-
Flooded Mongarlowe River: Upstream, 1978
lithograph (dyptych, 8 colours)
55 x 80 cm
AMP Society Collection
-
Children Playing in Carpark, 1978
dry point etching (zinc)
22 x 25.5 cm
-
Stephen and Tigger (etching), 1978
soft ground etching
40 x 59.5 cm
-
Stonefish, 1978
soft ground etching
29.5 x 22 cm
-
Casualty: Children's Hospital, 3 am (lithograph) / Outpatients, Children's Hospital, 1978
lithograph (6 colours)
61 x 80 cm
Collection: National Gallery of Australia
-
The 470 at 6pm (Sydney Bus), 1978
lithograph (6 colours)
56 x 40 cm
Collection: Westmead Hospital, Sydney
-
Early Morning, 1977
unique lithograph (9 colours) and collage
55.5 x 70 cm
-
Colo Plateau, no. 2, 1977
lithograph (2 colours)
40 x 100 cm
-
Old Banksias after Bushfire, 1977
lithograph (5 colours)
53 x 76.5 cm
AMP Society Collection
-
Pedestrian Crossing, no. 2, 1977
lithograph (5 colours)
53 x 80 cm
Collection: National Gallery of Australia
-
The Gardener's Dream, no. 1, 1976
lithograph (10 colours)
52.5 x 76 cm
Private collections, Australia
-
Coast Banksias / Bunga Banksias, 1976
lithograph
56 x 76 cm
-
Ghost Gums at Maitland / Ghost Gums, 1975
woodcut
76 x 56 cm
-
Banksias after Bushfire, 1975
lithograph (6 colours)
56 x 76 cm
-
Byzantine Birthday, 1975
lithograph (3 colours)
38 x 53 cm (var.)
-
Cattai / Cattai Ridge, 1975
lithograph (3 colours, 3rd state)
56 x 76 cm
-
Glowing Rock, 1975
lithograph (3 colours)
76 x 56 cm
-
Haze, 1975
lithograph
55 x 79 cm (var.)
-
Silent River, 1975
stone lithograph
38 x 56 cm
-
Sunlit Gully, 1975
lithograph
56 x 76 cm
-
Slingshot, 1975
woodcut
63 x 47 cm
-
Tea Tree and Gum / Easter Landscape, 1975
lithograph (3 colours)
52.5 x 72 cm
-
Tired Travellers, 1972
stone lithograph
38 x 56 cm
-
The Birthday Hat, 1972
unique lithograph (3 colours)
56 x 68 cm
Collection: National Gallery of Australia
-
Sister and Brother, Bleak Glebe, 1972
stone lithograph
56 x 38 cm
-
Sydney: Construction City (final state), 1972
unique linocut (2 colours, 2nd state)
38 x 38 cm
-
Sydney Smog (final state), 1972
unique stone lithograph (4 colours, 3rd state)
29 x 50 cm
-
Three-quarter Birthday / The Birthday Card, 1972
lithograph (6 colours)
56 x 76 cm
-
Ochre Glade / Golden Valley / Autumn Hollow, 1972
stone lithograph (5 colours)
38 x 53 cm
-
Emu, 1960
dry point etching (aluminium)
22 x 17 cm
-
The Drummer, 1960
dry point etching (aluminium)
36 x 24 cm
-
Baboon / A Monkey, 1960
dry point etching (aluminium)
25 x 18 cm
-
Thieves at the Market, 1960
unique stone lithograph
31 x 51 cm
Collection: National Gallery of Australia
-
The Tibetan / Old Tibetan, 1960
dry point etching (aluminium)
39 x 29 cm
-
The Worker / Working Man, 1960
stone lithograph
51 x 39 cm
-
Ivymeade Stable Ruins, 1960
unique stone lithograph
30 x 40 cm
-
Desert Bush / One Bush, 1960
dry point etching (aluminium)
15 x 22 cm
Collection: Broken Hill Technical College
-
Emu Chicks, 1960
dry point etching (aluminium)
25 x 17 cm