Richmond, Rix Nicholas set out to paint in rural New South Wales, beginning in Delegate, a small town on the border of New South Wales and Victoria. Here she created numerous works, including In Australia, His Land, and The Shearers. Other works from this period include The Three Sisters, Blue Mountains (1921–22), which is in the collection of the National Gallery of Australia. While Australian patriotic imagery and discourse of the period was very male-dominated, Rix Nicholas's portraits were frequently of women, such as in The Monaro Pioneer, The Magpie's Song and Motherhood. Back in Sydney, Rix Nicholas held another solo exhibition in August 1923. Once again it was favourably reviewed, and there was again the description of her work in masculine terms: the reviewer at Sydney's Sunday Times described her as "the most virile, and, in many respects, the strongest woman painter Australia has yet produced". Rix Nicholas disliked being thought of as a "woman" artist, but she took such reviews as complimentary, given how dismissive were critics in general when considering paintings by women. Second trip to Europe, 1924–26 In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition. Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire. The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in