Nighthouse II
$65.00
Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
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Silent Spring, Falls Dam
Measures 82 x 61cm. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offfset printed for high colour accuracy. Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
‘Silent Spring, Falls Dam’. Oil on Linen. 710 x 1010 mm. 2019. Private Collection. “Falls Dam village is a collection of fishermen’s squatter huts at the foot of the Hawkdun Range. No electricity, no water supply – its simple, primitive living. The dam was a 1930’s make-work irrigation scheme project to keep Depression-era men employed”. Grahame Sydney
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July on the Maniototo
From the ‘Classic Series’. Measures 66 x 46cm. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offset printed for high colour accuracy. Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
‘July on the Maniototo’. Egg Tempera. 585 x 750mm. 1975. Private Collection. “In the initial drawings, the railway goods shed was sheltering a wagon covered in an orange tarpaulin, and I painted it that way; but after some unsettled weeks wondering why it didn’t seem to work, I took it out. Instantly the feel changed from one of ‘shelter from the storm’ to a far more bleak and lonely notion, and much the better for it. A perfect example of trusting painterly instinct over truth and reality. My paintings are so often exercises in dishonesty.” Grahame Sydney
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Crossroads
Image measures 89cm W x 60cm H. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offfset printed for high colour accuracy. Price includes postage within New Zealand. Please email for international rates: grahame@grahamesydney.co.nz
‘Crossroads’. Oil on Linen. 760 x 1020 mm. 2020. Private Collection. “Out on Barney’s Lane West, on the Maniototo, with a few of my usual rearrangements and omissions, trying to get to the heart of it. The painting has demands all its own, so removed from the truth.” Grahame Sydney