Cattai Ridge, 1976
watercolour on crumpled Japanese paper

"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)

WATERCOLOURS

The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children.  She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits.  The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.

Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene.  In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.

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Cattai Ridge, 1976
watercolour on crumpled Japanese paper

"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)

WATERCOLOURS

The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children.  She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits.  The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.

Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene.  In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.

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181 Works to view Page 1 2
181 Works to view Page 1 2

  • Brooding, 1970 circa
    watercolour
    66 x 50.5 cm
  • She-Oaks by the Upper Colo, 1970
    watercolour
    35 x 48 cm (est)
    Private collection
  • Down and Out in Glebe, 1970
    watercolour
    43 x 32 cm
  • Sunlight on Water / River Island, 1970
    watercolour
    36 x 42 cm
    Private collection, Australia
  • Summer along the Hawkesbury, 1970
    watercolour
    35 x 54 cm
  • Old Rocks, 1969 circa
    watercolour
    35 x 51 cm (est)
    Private collection
  • Moon / Moonlight 2, 1969
    watercolour
    33 cm dia (est)
    Private collection
  • Oberon Landscape, 1969
    watercolour on grey ingres paper
    51 x 61 cm
  • Boys Crabbing in Estuary, Gosford, 1969
    watercolour
    55 x 68 cm
  • Rock Study, 1969
    watercolour
    51 x 77 cm
    Private collection, Australia
  • Sketch: Baby Stephen in Sunlight, 1969
    watercolour
    39 x 30 cm
  • Michaela in Dress I Made, 1968 circa
    watercolour
    55 x 42 cm (var)
  • View of the Lane Cove River, 1967
    watercolour
    50 x 72 cm
    Private collection
  • Pet Dog Binker with collar tag, 1967
    watercolour
    30 x 27.5 cm
  • Twisted Pine Branch, 1967
    watercolour
    28.5 x 38 cm
  • Forked Tree, Ku-ring-gai, 1967
    watercolour
    58 x 79 cm
  • Michaela at the Table, 1967
    watercolour: raw umber
    38 x 28.5 cm
  • Michaela in Orange Frock, 1966
    watercolour
    28.5 x 38 cm
  • One-year-old Paul, Sleeping, 1966
    watercolour
    28.5 x 38.3 cm
  • Michaela Sleeping, foreshortened view, 1965
    watercolour
    28 x 38 cm
  • Andy, 1965
    watercolour
    19 x 28 cm
  • Blue Mountains Rockface / Ridge, 1964
    watercolour
    33 x 58 cm
  • Michaela, few weeks old, 1964
    watercolour: warm and cool black
    22.5 x 29 cm
  • Michaela at 3 weeks, 1964
    watercolour: warm and cool black
    30 x 24 cm
  • Brother Bill (William) at 8, 1962
    watercolour
    29 x 22.5 cm
  • Sleaford Bay Headland, Port Lincoln, South Australia, 1962
    watercolour
    39 x 58 cm
  • Blue Mountains Ridge / Rugged Landscape, 1961
    watercolour
    11 x 39 cm
  • Flowering Saltbush, Euriowie Creek, 1961
    watercolour
    38.5 x 55.5 cm
  • Ships in the Harbour, 1961
    watercolour
    23.5 x 38.5 cm
    Private collection
  • Three Trees, 1961
    crayon and watercolour
    39 x 56 cm
    Private collection
  • Aunty Dot's Pet Hen at Ivymeade, 1961
    watercolour and pen
    57.5 x 39 cm
  • Washing Day, Broken Hill, 1961
    watercolour
    28 x 38 cm
    Private collection
  • Hilltop Houses, Outskirts of Broken Hill, 1961
    watercolour
    39 x 56 cm
  • Sturt Peas (Swainsona formosa), 1961
    watercolour
    23 x 29 cm
  • Purple Outback Pea-flower (Swainsona affinis), 1961
    watercolour
    23 x 29 cm
  • Woolloomooloo from The Domain, 1961
    watercolour
    30 x 40 cm
  • Sleaford Bay, Port Lincoln, South Australia, 1961
    watercolour
    39 x 58 cm
  • Louth Bay, SA, 1960 circa
    watercolour
    56 x 51 cm
    Private collection
  • Uncle Ted in Dressing Gown, 1960
    watercolour, pen and crayon
    53 x 36 cm
  • Boy from Silverton, 1959
    watercolour
    32 x 38 cm
    Private collection
  • Salt Lake (near Port Lincoln), 1959
    watercolour
    52.5 x 36 cm
    Private collection, Australia
  • Daffodils and Sword Fern, 1959
    watercolour
    20 x 25 cm
  • Two Gums, Ivymeade, Burnside, 1959
    watercolour
    26 x 23 cm
  • Two Gums, Frome Road, Adelaide, 1959
    watercolour, pencil and cray-pas
    37 x 26.5 cm
  • Gulls and Workmen, Outer Harbour, Port Adelaide, 1959
    watercolour and pen
    25.5 x 27 cm
  • Outer Harbour, Port Adelaide, 1959
    watercolour and crayon
    46 x 33.5 cm
  • Off-loading, Outer Harbour, Port Adelaide, 1959
    watercolour and pen
    24.5 x 40 cm (var.)
  • Winter Trees, Second Creek, Ivymeade, Burnside, 1959
    watercolour
    54 x 37 cm
  • Boys Cockling, Port Lincoln, 1959
    watercolour
    29 x 52 cm
  • Spring, Adelaide Foothills, 1959
    watercolour
    31 x 43 cm
  • Bill Asleep with Toy Koala, 1958
    watercolour and pen
    37 x 27 cm
  • Aunty Dot's Hens at Grandpa's Workshop, 1958
    watercolour
    27 x 35 cm
  • Red Hibiscus, 1957
    watercolour
    38 x 28 cm
  • Brother Bill, Apprehensive, 1957
    watercolour
    37 x 27 cm
  • Mount Gipps, Broken Hill, 1957
    watercolour
    23 x 36.5 cm
  • Puppy, for Grandpa, 1951 circa
    watercolour
    16 x 12 cm (var.)
    (childhood work)

WATERCOLOURS : 181 Works Page 1 2
WATERCOLOURS : 181 Works Page 1 2


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