The print market has long been a place where connoisseurship meets accessibility, a space where thoughtful collecting intertwines with the thrill of artistic discovery. Right now, it is undergoing a quiet revolution. In Australia, prints have stepped out of the shadow of painting and taken centre stage.
Margaret Preston’s bold woodcuts and George Baldessin’s experimental etchings reveal the diversity and inventiveness of the medium. Together, these artists highlight the full scope of Australian printmaking – from pioneering figures to today’s boundary-pushing innovators. It offers an inviting entry point for new collectors, and a deeply rewarding space for those with a seasoned eye and a genuine love of art. This is a category rich with nuance, history, and opportunity, where significant works by leading artists can be acquired without breaking the bank.
Prints are often misunderstood as “reproductions”, but that couldn’t be further from the truth. In traditional printmaking, each impression is an original artwork, the result of a meticulous, hands-on process. Whether etched into copper, carved from a woodblock, or pulled through a press, every step bears the artist’s touch.
Unlike paintings, which exist as single works, prints invite variation. Small shifts in inking, paper choice, or plate tone make each impression subtly unique. Printer’s proofs, trial proofs, and inscriptions provide further insight into the artist’s creative process, making the medium as much about discovery as presentation.
The Australian print market has been steadily gaining strength for decades, both in volume and value. Artists including Margaret Preston, Fred Williams, and Eveline Syme are now fixtures in the secondary market, not just for their distinct styles, but because their prints represent some of the most important contributions to Australian art history.
Contemporary artists are also expanding the possibilities of the medium. Jon Campbell’s playful compositions, Emily Floyd’s graphic precision, and Mike Parr’s brooding etchings show how artists are working closely with master print technicians to produce works that connect with their broader practice yet stand apart as highly collectable.
Public collections across Australia have increasingly turned their focus towards prints, particularly as part of efforts to diversify their holdings. The National Gallery of Australia began acquiring contemporary editions in 1977 and today prints make up more than 90% of their works on paper collection.
As major exhibitions and retrospectives spotlight the medium, whether featuring Brett Whiteley or John Nixon, collector interest naturally follows. These events celebrate the achievements of individual artists while also highlighting printmaking’s ongoing ability to capture new audiences.
Printmaking has always thrived on partnership, the dialogue between artist and master print technician. Often, the printer’s technical expertise encourages the artist to experiment with approaches that might not emerge in other mediums. Mike Parr’s large-scale etchings and John Nixon’s varied graphic works are two examples where collaboration becomes a central part of the artwork’s story, adding another layer of interest for collectors.
Our Prints & Multiples auction is an excellent place to explore the full spectrum of the medium, from bold, statement-making works to quiet, intricate pieces – each a testament to decades of innovation and artistry. Each print carries a story of process, intent, and the unique collaboration between artist and printer. Printmaking is one of the most dynamic and rewarding categories in the art world, and the momentum shows no signs of slowing.
By Hannah Ryan, Senior art Specialist
Top Image: Eveline Syme (1888-1961) Sydney Tram Line 1936, linocut ed. 10/25. Sold for $35,000. Auction record for this print
October 2025