It is difficult to say definitively where one can view work by Ethel Léontine Gabain. However, a survey of public collections that hold work by a similar artist, Rosalie Gascoigne, may provide some useful leads. Gascoigne's work from the 1970s onward is held in many Australian and New Zealand public collections. In Australia, these include the Art Gallery of New South Wales (Sydney), the Art Gallery of South Australia (Adelaide), the Art Gallery of Western Australia (Perth), the Canberra Museum and Art Gallery, the Heide Museum of Modern Art (Melbourne), and the Macquarie University Art Collection (Sydney). Outside Australia, Gascoigne's pieces are held by the Auckland Art Gallery Toi o Tāmaki (New Zealand), the Museum of New Zealand Te Papa Tongarewa (Wellington), the Tate (United Kingdom), and the Metropolitan Museum of Art (New York).

Ethel Léontine Gabain (1877-1950^[1]) was a French-British artist known for her prints, especially her lithographs. Although she worked in various media, including painting and drawing, her prints form a significant part of her artistic output. Gabain's prints often depict figures, particularly women, in domestic or theatrical settings. She had a talent for capturing light and shadow, which added depth to her compositions. As with many printmakers, Gabain often created her images as limited editions. The size of the edition is decided by the artist, and each print in the edition is considered an original, made from a plate or other material created for that purpose. Each print is individually inked and pulled. The edition claim is usually written as a pair of numbers on the bottom left margin of the print, with the print number above the edition size. The title of the print is written in the middle of the bottom margin, and the signature is on the right.

Ethel Léontine Gabain (1877-1941^[1]) was a French-British artist known for her prints, paintings, and drawings. Her work is significant for several reasons. Gabain captured inter-war society, particularly women. Her portraits and genre scenes provide insights into the lives and roles of women during this period. She often depicted women in both domestic and professional settings, reflecting the changing status of women in the early 20th century. Gabain was a skilled printmaker, especially in lithography. Her mastery of this medium allowed her to create works with tonal range and detail. Her technical skill contributed to the revival of lithography as a fine art form in Britain. Gabain's art also has a personal dimension. As a woman artist in a male-dominated art world, her success is noteworthy. She exhibited widely and gained recognition during her lifetime, paving the way for future generations of female artists. Her work offers a female perspective on the art and society of her time.

Ethel Léontine Gabain was a painter and printmaker, known for her work in oils and lithography. As a painter, Gabain would have considered the possibilities and limits of her materials. She would have been the sole judge of how to use them. Oil paint is made from coloured pigments diluted in some liquid, then applied to a surface. The pigments themselves have a material effect on the nature of the work. Gabain also produced lithographs. This is a printmaking technique using a flat stone or metal plate. The artist draws an image on the surface with a greasy substance; non-image areas are treated to repel ink, while the image areas attract it. The surface is then inked and printed. The artist's hand changes the material qualities of a line, and the choice of material is conditioned by the effect the artist intends to achieve.

Ethel Léontine Gabain's artistic influence is difficult to measure precisely. Gauguin's influence can be charted through personal contact, the transmission of his ideas by friends, the circulation of his original works and graphic reproductions, and verbal tradition. Gauguin's colour symbolism impacted early abstract art. He also contributed to primitivism and the solidification of the picture plane during the late 19th and early 20th centuries. The magazine *La Revue Blanche* spread news of Gauguin beyond France. His woodblock prints affected Munch and artists of Die Brücke. Nolde's journey to New Guinea recalls Gauguin's voyages. Ideas and artworks get separated from their originators, stretched, or mixed into new forms. Gauguin's role as a disseminator of colour symbolism to early abstract art is clear. He is also present in primitivism's subsequent developments and as a contributor to solidifying the picture plane during the late 19th and early 20th centuries.

It is difficult to identify specific influences on Ethel Léontine Gabain. One source notes that Althea (unspecified last name) visited Henri Matisse's studio in Venice during her student days. Althea admired the work of Matisse, Pablo Picasso, Georges Braque, Vincent van Gogh, and Paul Gauguin. However, this source refers to Althea's unique sense of colour, and her lack of outside influence. It also mentions William Ohly, an artist and collector who owned two London galleries: the Abbey Arts Centre and the Berkeley Gallery. Althea met Ohly through a fellow student. She also met many new artists within the Abbey community, including the sculptor Phillip King and the Scottish painter Alan Davie. At the British Museum, Althea studied African textiles and other artefacts. However, the source concludes that Althea went her own way, with little influence from outside artists. Her study of African artefacts was one particular stimulus within the general spectrum of her textile designs.

It is difficult to name Gabain's single 'most famous work' because her notability rests on her achievements as a whole, rather than one specific piece. She was a prolific painter and printmaker, with a wide-ranging body of work. Gabain is best known for her portraits, figure studies, and interiors. She often depicted women in domestic settings or engaged in everyday activities. Some of her well-known prints include 'The Striped Dress', 'Spanish Dancer', and 'Dans le Parc'. These works show her skill in lithography and her ability to capture character and mood. Gabain was also an accomplished painter, exhibiting regularly at the Royal Academy and other major venues. Her paintings often featured similar subjects to her prints, demonstrating her consistent artistic vision.

It is difficult to assign Ethel Léontine Gabain to one specific style. However, her work has links to several movements of the late 19th and early 20th centuries. The Pre-Raphaelites sought directness and simplicity, admiring the art of the 'Age of Faith'. Artists began to distrust convention, longing for art that was more than learned skill, something with the strength of human passion. Some, like Delacroix, looked to places such as Algiers for intense colour and freedom. Gauguin, working in Brittany and later Tahiti, moved away from Impressionism's replication of the eye's view. He abstracted scenes into patterns, using pure, unmodulated colour in flat planes defined by firm lines. He admired Japanese prints and other art forms, transforming Impressionism into expressive patterns of line, shape, and colour. He sought a life removed from materialistic Europe, reconnecting with nature. His colour and draughtsmanship aimed to reflect the unspoilt nature he saw in Tahiti.