Aphorisms. Margaret Preston

      

      PLATE 1

      West Australian Banksia

      LIST of PLATES:

      Special Plate—Original Coloured Woodcut Printed and Coloured by Margaret Preston

      WOODCUTS

      COVER DESIGN

      West Australian Banksia—PLATE 1

      Everlasting Flowers—PLATE 2

      W.A. Native Flowers—PLATE 3

      Flannel Flowers—PLATE 4

      Ti Trees—PLATE 5

      Jug of Flowers—PLATE 6

      The Spit Bridge—PLATE 7

      West Australian Gum Blossom—PLATE 8

      Bowl of Roses—PLATE 9

      The plates for this book were engraved by Messrs. Bacon & Company Ltd., of Crane Place Sydney, and the colour plates were printed by W. T. Baker Sydney, for the publishers: Art in Australia Ltd., 24 Bond St., Sydney, Australia

      FOREWORD

      THIS portfolio of exquisite reproductions may be taken as representing the latest phase in the artistic development of one who must be regarded as the most individualistic explorer in the regions of colour and pattern that Australia has ever produced It is only a few years now since the name of Margaret Preston startlingly revealed itself in the largest of capital letters. The first symptoms of her success were demonstrated by the sudden eagerness with which her fellow craftsmen purchased and treasured her small output. It was as though they had been instantaneously blessed by revelation. Somebody had come among them speaking with a new and broader accent and they were astonished and enchanted by her speech. There is some distance between the appreciation of the artist-connoisseur and that of the average picture collector and the lapse of time between the first discernment of her genius and public applause was only to be expected. The subtleties of her particular idiom already are being vaguely approved by the many while the members of her growing band of ardent admirers, who perceive the finer intricacies of

      [her

      her intention, fight among themselves for the possession of her latest creation. Already her work is causing some stir abroad, a rare occurrence in the history of Australian art and those who have followed closely her development and considered the totality of her achievement at the present time cannot help but foresee that the paintings of Margaret Preston will be as avidly sought in the future as are those of Paul Gauguin in the art market of to-day

      Sydney Ure Smith

      Leon Gellert

      Editors