Showing posts with label Tim Storrier. Show all posts
Showing posts with label Tim Storrier. Show all posts
Wednesday, February 10, 2010
Friday, January 22, 2010
Gallery 1: Important Australian Art
John CoburnStudy for 'In the Beginning was the Word' c.1991
Mixed media on paper
24 x 32cm
signed lower right: Coburn
inscribed with title lower centre
Provenance: The Artist
no.6797
John CoburnStudy for screenprint 'Dreaming Land' c.1981
Mixed media on paper
20 x 32cm
signed lower right: Coburn
inscribed with title lower centre
Provenance: The Artist
no.6803
cat no.35
John Coburn (1925-2006)Desert Landscape II 1979
Oil on canvas on board
49 x 61cm
no. 3550a
cat no.4
Stan Rapotec (1913-1997)Untitled, 1960
Oil on board
75 x 100cm
no.5876
Garry SheadThe Rocking Horse 1986
Oil on canvas
90 x 120 cm
Provenance: Private collection Sydney
no.11133
Sir Sidney Nolan (1917-1992)Central Australian Landscape c.1981
Ripolin enamel on board
90 x 121 cm
signed lower right: Nolan
no.5552
Sir Sidney Nolan (1917-1992)Flowers 1985
Spray enamel on canvas
177 x 155 cm (sight size)
183 x 160.2 cm (stretcher size)
initialled lower right: N
no.2813
Roger Kemp (1908-1987)Untitled c.1963
Acrylic on masonite
91.5 x 122cm
no.5320
Garry SheadDancer c.1998
Oil on board
59 x 43 cm
no.11134
Donald Friend (1915-1989)At Alawa c.1963
Mixed media on paper
77 x 57cm (sight size)
Provenance: Private Collection Sydney
no.1548a
Tim StorrierThe Night Line / Comet 2009
acrylic on canvas
61.5 x 122.5 cm
no.11150
Ray Crooke (b. 1922)Villagers Relaxing
oil on canvas
75 x 61cm
signed lower left 'R. Crooke'
no.11049
Tuesday, January 19, 2010
GALLERY NEWS 19 JANUARY 2010: Geoffrey Proud, Tim Storrier, Ann Thomson
83 Moncur Street Woollahra NSW 2025tel: 02 9362 0297 fax: 02 9362 0318
email: art@evabreuerartdealer.com.au
website: www.evabreuerartdealer.com.au
Painting of the Week
Geoffrey Proud (b.1946)
Geoffrey Proud (b. 1946)Sunday Morning 2007
Oil on canvas
59.5 x 90cm
no.9715
Visit our web site to view other paintings by Geoffrey Proud
Focus On Tim Storrier
Tim Storrier (b.1949)
Tim Storrier (b. 1949)The Night Line / Comet 2009
Acrylic on canvas
61.5 x 122.5 cm
no.11150
At the age of nineteen in 1968, Tim Storrier was the youngest ever recipient of the Sulman Prize, an award also conferred on him in 1984. He studied graphic design at the National Art School, Sydney, and has travelled extensively to the USA, Europe, China and the Middle East. His study tours to Egypt and Central Australia conveyed to him the vastness of the landscape and remote civilisations. The 'Burning Rope' series began as a site-specific installation in Central Australia and portrays a line of fire invisibly suspended between two points, mirroring the horizon line in the distance. Storrier is interested in the spiritual significance of reduced landscapes, the ephemeral gestures left by human interaction with nature and fire as representation of both devastation and renewal. There is a tension in his work between beauty and decay: his evocative use of texture and colour in the atmospheric effects at daybreak and dusk, are counterbalanced by destructive or gruesome elements like fire, snakes and slabs of meat.
Tim Storrier (b. 1949)The Night Wind 2009
oil on canvas
61.5 x 122.5 cm
no.11149
Visit our website to view other important Australian paintings
Tim Storrier (b. 1949)Desert
Oil on board
104 x 140cm
signed 'Storrier' lower right
no.10151
Oil on board
104 x 140cm
signed 'Storrier' lower right
no.10151
Tim Storrier (b. 1949)Baggage Roll and Iron 1984
Mixed media
82.5 x 133.5cm
no.3524
Mixed media
82.5 x 133.5cm
no.3524
Tim Storrier’s Baggage Roll and Iron 1984 is a mixed media collage produced during his visit to Giza, Egypt. The early 1980s were an important turning point for Storrier as in 1983 he held his first international solo exhibition to critical acclaim at London’s Fischer Fine Art Gallery. In 1984 he travelled to Egypt to develop a series of commissioned works and found a new strengthened focus in the still life, which would form the basis of his art practice during this period.
Baggage Roll and Iron builds upon the appearance and conceptional notions present in his early 1980s ‘Surveyor’ series as the familiar combination of constructed and found objects are painstakingly arranged on the paper. In Baggage Roll and Iron Storrier continues his interest in the tension between the Australian masculine of mythology and the ‘feminine’ craftsmanship of the ‘made weathered’ objects as well as the dichotomy between the landscape as untamed ground and Australia as mapped and colonised. Baggage Roll and Iron is an important moment in Storrier’s career and was uniquely produced in Giza.
Tim Storrier (b. 1949)Mandalay
Collagraph 1/70
58.5 x 112.5cm (image)
70 x 120.5cm (paper)
no.11142
Tim Storrier (b. 1949)Night Run 2007
Collagraph 51/70
57 x 112.5cm
Signed 'Storrier' LR, titled, date
no.9411
This collagraph is made by building up multiple colour layers in the print, using several wooden plates. Next the ink is applied to the plate using a series of hard or soft rollers, for various effects, in a process called relief printing, where the design is raised up on the surface of the block. The ink plate and paper are then rolled through the press. A variable is adjusting the amount of pressure in the press to get different effects. During the printing process, if the image requires it, some areas are wiped back to provide a soft edge or tonal variation. There can be as many as eighty colours and up to eight plates for each edition. There are generally three stages of printing, working from the lightest colours to the darkest. At each stage the areas inked up on each plate are carved away, this is referred to as reduction printing.
Tim Storrier (b. 1949)Towards an Innuendo of Impermanence 1981
Photograph
59.5 x 50cm
no.9779
Tim Storrier (b. 1949)Still Life 1987
Lithograph 93/100
56.5 x 76cm (paper size)
dated, titled & signed 'Still Life Storrier 1987' lower right
edition number lower left
Commissioned by the New South Wales Cancer Council for its
Bicentennial Collection: A Portfolio of Australian artists
no.7718
Important Australian Abstract Paintings
Ann Thomson (b.1933)
Ann Thomson (b.1933)
Ann Thomson (b.1933)Transmition
Oil on linen
122 x 153cm
no.10705
Dick Watkins (b.1937)
Dick Watkins (b.1937)Ulysses 1989
Oil on canvas
167 x 244 cm
no.9733
A pioneer of Australian abstract painting, Dick Watkins is represented in many Australian public collections, such as the National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Art Gallery of Western Australia, Queensland Art Gallery, as well as in many regional, private and corporate art collections.
Dick Watkins was at the forefront of artists exhibiting and promoting abstraction at Sydney’s Central Street Gallery from 1966-69. At this time, many of Australia’s expatriate artists living and working in London returned to Sydney and the creation of Central Street Gallery aimed to show Australia the exciting range of new artistic styles including Pop, Colour-field, Hard-edge, Minimalism and Conceptual art that were happening internationally. Watkins has been included in important group exhibitions, such as in 1968, The Field, held at the National Gallery of Victoria. A retrospective exhibition of Watkin’s work was held in 1989 at the Wagga Wagga Regional Art Gallery and in 1993 the National Gallery of Australia held the exhibition Dick Watkins in context: an Exhibition from the collection of the National Gallery.
Dick Watkins lives and works in Sydney, Australia. Influences from cubism, pop art, Picasso and the American abstract expressionists, particularly Jackson Pollock, Robert Motherwell and Willem De Kooning, can be seen in the above work.
Stan Rapotec (1913-1997)
Stan Rapotec (1913-1997)Untitled 1960
Oil on board
75 x 100 cm
Illustrated: Bojic, Z., Stanislav Rapotec, a Barbarogenius in Australian art,
Andrejevic Endowment 2007, picture b/w 1, page 142.
no. 5876
Stanislaus Rapotec was one of the leading exponents of Abstract Expressionism in Australia. He is represented in the Australian National Gallery, all state galleries, many regional galleries as well as many other important public collections both in Australia and overseas including the Australian Embassy, Paris, Vatican Gallery of Modern Religious Art, Musée d'Art Moderne, Paris. Rapotec has been the recipient of many awards including the 1961 Blake Prize.
In Untitled 1960 the bold and energetic brushstrokes swirl and explode across the board, masterfully capturing the artists physical and emotional gestures.
Alun Leach-Jones (b.1937)
Alun Leach-Jones (b.1937)Instrument for a Solitary Navigator No. 11 1994
Synthetic polymer paint on canvas
137 x 117 cm
no. 9740
Born in the UK in 1937, Leach-Jones works can be found in many international and national public collections such as the Solomon R. Guggenheim Museum, New York; National Gallery of Australia, Canberra; Museum of Modern Art, New York; The British Museum, London; The Victoria and Albert Museum, London; Parliament House Collection, Canberra; and Art Bank, Sydney. As well as many regional art Galleries, university collections and Private collections throughout Australia, U.S.A., U.K., Switzerland, Wales and New Zealand. Leach-Jones moved to Sydney in 1960 where he now resides and works.
Leach-Jones has had over seventy solo exhibitions and was elected an Honorary Life Fellow of the Royal Society of Painter-Printmakers, London.
Carl Plate (1909 - 1997)
Carl Plate (1909 - 1977)Third Edge 1961
Oil on board
181 x 121 cm
Signed 'Carl Plate '61' lower left
Signed and inscribed with title, verso:
'EDGE/CARL PLATE'
Exhibited: Sydney, Royal Agricultural Show
no. 8138
Plate’s Third Edge 1961 is a monumental painting which exemplifies the immediacy found in the very best paintings of this period.
Carl Plate was born in Perth and studied at the National Art School in Sydney. He then travelled and studied abroad before returning to Sydney in 1940, where he had a remarkable influence on local artists through the establishment of his famous Notanda Gallery in Rowe Street, Sydney. He was a highly gifted painter who moved from figurative abstraction in the 50’s to pure abstraction during the 1960s and 70s.
Plate has won prizes such as the McCaughey Prize in 1968 and the Aubusson Tapestry Prize in 1967. Plate is represented in the National Gallery of Australia, all state galleries, regional galleries in NSW as well as institutions in London, New York, Paris and important corporate and private collections in Australia.
Sale Section
Garry Shead (b.1942)
Garry Shead (b.1942)
Garry Shead (b.1942)
Untitled 3 / VII 1976Ink and watercolour on paper
36 x 26cm
no.6293
Untitled 3 / VII 1976 is a wonderful example of Shead’s skill with watercolour. The repeated curve within the vertical composition and the delicate, translucent tones give the subject a sense of weightlessness. This painting is influenced by Picasso’s Vollard Suite.
Jean Sutherland (1902-1978)
Jean Sutherland (1902-1978)Asters in a White Vase c.1927
Oil on canvas
56 x 41cm
no.3146
Jean Sutherland is represented in the National Gallery of Victoria as well as many important collections throughout Australia. Sutherland was the recipient of many awards including the 1923 National Gallery of Victoria Travelling Art Scholarship.
Sali Herman (1898-1993)
Sali Herman (1898-1993)English Wedding 1953-58
Oil on canvas
46 x 61cm
Signed 'S Herman 53/58' lower right
Provenance: Queensland Art Gallery
no.7179
Sali Herman is recognised as one of Australia's most important painters. His work is held in all Australian State galleries, the National Gallery of Australia, and many regional galleries and other public collections. A major retrospective of his work toured Australia in 1981. Sali Herman has been the recipient of many coveted awards including the Wynne prize in 1944, 1962 and 1965, and the Sulman prize in 1946 and 1948.
English Wedding 1953-58 exemplifies the strength and individuality for which Sali Herman is celebrated. There is a modelled texture to the surface of the painting. Layers of colour have been worked over each other in order to create a sense of energy and depth.
Featured Graphic
John Olsen (b.1928)
John Olsen (b.1928)Lily Pond
Etching 29/30
17 x 15cm (plate size)
38 x 29cm (sheet size)
no.11034
Current Exhibition
January
Gallery 1 & 2: Summer Exhibition
Upcoming Exhibitions
February
Gallery 1 & 2: Summer Exhibition
March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager
April
Gallery 1: Autumn Exhibition
Gallery 2: Pam Sackville
Please send us an email if you wish to be added to the weekly newsletter list.
January
Gallery 1 & 2: Summer Exhibition
Upcoming Exhibitions
February
Gallery 1 & 2: Summer Exhibition
March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager
April
Gallery 1: Autumn Exhibition
Gallery 2: Pam Sackville
Please send us an email if you wish to be added to the weekly newsletter list.
Wednesday, January 13, 2010
GALLERY NEWS 12 JANUARY 2010: John Coburn, Tim Storrier, Elisabeth Kruger
83 Moncur Street Woollahra NSW 2025tel: 02 9362 0297 fax: 02 9362 0318
email: art@evabreuerartdealer.com.au
website: www.evabreuerartdealer.com.au
Important Australian Paintings
John Coburn (1925-2006)
John Coburn (1925-2006)
John Coburn (1925-2006)Ah What is a Man (That you should be so mindful of him?) 1987
Oil on canvas
122 x 90cm
inscribed verso: John Coburn / Ah, What is Man
(That you Should be Mindful of Him?) / (oil) 1987
Provenance: The Artist
no.4961
cat no.8
Exhibited:
Mandorla Art Prize, October 1987
Macquarie Galleries, Sydney 8-26 November 1988, cat.no.8 (label affixed verso)
Oil on canvas
122 x 90cm
inscribed verso: John Coburn / Ah, What is Man
(That you Should be Mindful of Him?) / (oil) 1987
Provenance: The Artist
no.4961
cat no.8
Exhibited:
Mandorla Art Prize, October 1987
Macquarie Galleries, Sydney 8-26 November 1988, cat.no.8 (label affixed verso)
Coburn was always interested in religious subjects and painted the spiritual in many forms throughout his career. He entered numerous awards for religious art and was the recipient of numerous coveted awards including the 1960 and 1977 Blake Prize, the 1963 Mirabooka Prize and the 1996 Mandorla Prize. The Mandorla Prize was established in Western Australia in 1985 with the annual theme set around biblical texts. In 1987 the theme was “The Glory of God and Dignity of Man” from Psalm 8 verses 3-4. The present painting entered that year Ah What is a Man (That you should be mindful of him?) 1987 addresses that question to God from insignificant Man.
As Nadine Amadio writes, Ah, What is Man, “is like a radiant stained glass window drenched in vibrant colour. The dynamic figure of Mankind is still, however, very much a symbol surrounded by symbolic shapes. The colour brings it into that mythical realm evoked by the great stained glass windows both ancient and modern. It is a world where static figures are given life and passion by the streams of light passing through them, as if through a transformer.”1
Undoubtedly his first figurative painting in over thirty years, Coburn submitted this work to the Mandorla Art Prize in October 1987. It inspired a series of drawings and paintings on the subject that would return him briefly to figuration for the next two years.
As Nadine Amadio writes, Ah, What is Man, “is like a radiant stained glass window drenched in vibrant colour. The dynamic figure of Mankind is still, however, very much a symbol surrounded by symbolic shapes. The colour brings it into that mythical realm evoked by the great stained glass windows both ancient and modern. It is a world where static figures are given life and passion by the streams of light passing through them, as if through a transformer.”1
Undoubtedly his first figurative painting in over thirty years, Coburn submitted this work to the Mandorla Art Prize in October 1987. It inspired a series of drawings and paintings on the subject that would return him briefly to figuration for the next two years.
1Amadio, N., John Coburn: Painitngs, Craftsman House, Roseville, 1988, p.186.
Tim Storrier (b.1949)
Tim Storrier (b. 1949)The Night Line / Comet 2009
Acrylic on canvas
61.5 x 122.5 cm
no.11150
At the age of nineteen in 1968, Tim Storrier was the youngest ever recipient of the Sulman Prize, an award also conferred on him in 1984. He studied graphic design at the National Art School, Sydney, and has travelled extensively to the USA, Europe, China and the Middle East. His study tours to Egypt and Central Australia conveyed to him the vastness of the landscape and remote civilisations. The 'Burning Rope' series began as a site-specific installation in Central Australia and portrays a line of fire invisibly suspended between two points, mirroring the horizon line in the distance. Storrier is interested in the spiritual significance of reduced landscapes, the ephemeral gestures left by human interaction with nature and fire as representation of both devastation and renewal. There is a tension in his work between beauty and decay: his evocative use of texture and colour in the atmospheric effects at daybreak and dusk, are counterbalanced by destructive or gruesome elements like fire, snakes and slabs of meat.
Elisabeth Kruger (b.1955)
Elisabeth Kruger (b.1955)Spill 2007
Oil on linen
122 x 122cm
no.10885
Awarded the prestigious Moet & Chandon Art Fellowship (1989) and an overseas studio residency with the Visual Arts Board of the Australia Council (1990), Elisabeth Kruger is recognised as one of Australia's leading contemporary artists. In her newest series of paintings, Kruger explores the luscious beauty of flowers, painting in a unique and encompassing macro perspective. These are stunning floral masterpieces with a contemporary edge. Her work is represented in the Australian National Gallery, The National Gallery of Victoria, the Parliament House Collection, Macquarie University and major private collections.
Arthur Boyd (1920-1999)
Arthur Boyd (1920-1999)Portrait of Alannah Coleman I c.1971
Oil on canvas
76 x 63 cm
no.3160
Arthur Boyd’s paintings of art world personalities such as this portrait of the art dealer Alannah Coleman, a figure celebrated for her undying commitment to promoting the careers of Australian artists at home and abroad in the 50's and 60's, are masterfully executed expressions of the sitter. Boyd translates the nuances of his subject in vigorous strokes of yellow, blue and red, which animate the painterly surface. The subject eventually relocated to London in 1950 were she continued to expose British audiences and collectors to works by Australian artists.
Eubena Nampitjin (b.c1921)
Eubena Nampitjin (born c.1921)Kunawarritjic
Acrylic on linen
100 x 100cm
Warlayirti Artists # 860/04
verso: Warlayirti Artists 1000 x 1000
Eubena Nampitjin 860/04
no. 8597a
Eubena Nampitjin is represented in all state galleries including the National Gallery of Australia, many regional galleries as well as many other public collections throughout Australia.
Eubena has painted some of her country south west of Balgo, along the Canning Stock Route. The circle to the right of the painting represents Kunawarritji (Well 33) and is the place where Eubena would often hunt. The circle to left is a small tjurrnu and a place where women dance. The strong lines in the painting depict the tali (sandhills) that dominate this country.
Eubena has painted some of her country south west of Balgo, along the Canning Stock Route. The circle to the right of the painting represents Kunawarritji (Well 33) and is the place where Eubena would often hunt. The circle to left is a small tjurrnu and a place where women dance. The strong lines in the painting depict the tali (sandhills) that dominate this country.
New in the Gallery
Matthew Perceval (b.1945)
Matthew Perceval (b.1945)Yankannina Kimberley 1996
Oil on Board
91 x 61cm
no.11187
Matthew Perceval's landscapes are filled with light and fresh energy due to his dynamic brushstrokes. Matthew, the son of John Perceval and Mary Boyd, was born in Australia but spent the majority of his early formative years in London before moving to the south of France. The vivid colours of the Mediterranean had a positive influence on his work and during his time in France he began exhibiting all over Europe and had his first one man show in London in 1967 (with Arthur Boyd making the first purchase from the exhibition)1. The tone and mood of the paintings are set via the colour scheme ranging from pure brilliant tones to soft palettes of blues and creams. His paintings can be found in numerous public and private collections in Australia and abroad. The National Portrait Gallery held the first solo exhibition of Perceval's portraits in late 2007 - early 2008.
1 Sayers, A., 'Painters' Paradise', Portrait Magazine, Summer 2007-2008, p.12
Matthew Perceval (b.1945)Wallum Bush 1989
Oil on Board
46 x 36cm
no.11188
Tessa Perceval (b.1947)
Tessa Perceval (b.1947)Bush Creek Waterfall, South Wales
Oil on linen
76 x 91cm
no.9877
Tessa Perceval was born in Melbourne in 1947, the eldest daughter of John Perceval and Mary Boyd. She is primarily a self taught painter, although she studied art for a short time in London in the 1960's and in Florence in 1971. She held her first solo exhibition in London in 1971 and since then has exhibited widely in Australia and the U.K.
Throughout her career as a landscape painter she has travelled extensively, painting on location in many parts of Europe, the UK, Ireland and Australia. Based in London for most of her adult life, she now lives with her family in Herefordshire near the south Wales border, returning to Australia periodically. Her work is in public collections in Australia and in private collections internationally.
Throughout her career as a landscape painter she has travelled extensively, painting on location in many parts of Europe, the UK, Ireland and Australia. Based in London for most of her adult life, she now lives with her family in Herefordshire near the south Wales border, returning to Australia periodically. Her work is in public collections in Australia and in private collections internationally.
Sale
Harold Abbott (1906-1986)
Harold Abbott (1906-1986)Mantle Shelf
Oil on canvas
44 x 46.5cm
no.3551
Beginning his art studies under the tutelage of Julian Ashton at the Sydney Art School in 1923, Harold Abbott's career as a painter and art teacher spanned several decades. He was awarded the NSW Society of Artists Travelling Art Scholarship in 1931 and later went on to win the Sulman Prize and to serve as the official war artist for Australia in 1943 during World War II. Abbott always possessed an appreciation for still life and genre painting, an interest that enabled him to effectively apply a narrative element to his war scenes as well as subtly infuse everyday objects with a stoic sense of beauty and purpose. Abott's works are included in national collections ranging from the National Gallery of Australia to the Australian War Memorial.
Mike Parr (b.1945)
Mike Parr (b.1945)Zastruga Self Portrait 1986
Oil crayon & charcoal on paper
69.5 x 100 cm
Provenance: Charles Nodrum Gallery
no.2772
Contemporary Paintings
Stephen Nothling (b.1962)
Stephen Nothling (b.1962)A Rough Guide to all the Wrens 2007
Oil on canvas
100 x 150cm
no.9237
Having won a handful of prestigious art awards as well as having been a finalist for the Dobell Drawing and Archibald Prizes, Stephen Nothling has remained an Australian art world favourite. The internationally exhibited artist is perhaps best known for his sensitive yet bold representation of roses in various stages of bloom, a cycle he likens to the arch of his own human potential. Much of his work incorporates elements and objects from nature, juxtaposed with surreal backgrounds or rendered in a mildly stylised and graphic treatment.
Wayne Eager (b.1957)
Wayne Eager (b.1957) Backyard View 2008
acrylic on linen
122 x 137cm
no.10784
Beginning his art career as a founding member of the Melbourne-based art collective Roar Studios in the 1980's, Wayne Eager has continued to involve himself with the support of grassroots Australian art communities. In the early 1990's he relocated with his wife, Marina, to Haasts Bluff, NT where he became involved with the establishment of the Ikuntji Women's Centre and later became Field Officer for the Papunya Tula Artists. He has always maintained a solitary approach to painting his surrounds of the desert bush yet continues to be inspired by the work of neighbouring indigenous art communities. His paintings are a careful consideration of the constantly changing desert landscape with a nod to Western art movements, namely Abstract Expressionism.
Pam Sackville (b.1944)
Pam Sackville (b.1944)Poppies III 2008
Watercolour on arches paper
105 x 75cm
no.10134
Pam Sackville has been painting with watercolour for over 20 years – her dedication to the medium won over by the translucency and vibrancy of watercolour and by the way the colours run and blend together to create their own hues. Sackville frequently paints flowers, as she is intrigued by their softness, delicacy and fragility. Over her many years of painting flowers she has developed a great passion for them and through her work explores different ways to express their vibrant beauty. Sackville will be exhibiting at Eva Breuer Art Dealer in April.
Christopher Beaumont (b.1961)
Christopher Beaumont (b.1961)Still life with Blossom 2009
Oil on fine linen
25 x 30 cm
no. 10472
With a strong background in maths and sciences and an eye for intriguing composition and design, Christopher Beaumont fuses these proclivities into a unique aesthetic that gives his paintings a delicate and crisp precision. In his final year of art school, Beaumont became fascinated by seventeenth century Spanish life paintings, particularly the stark, geometric compositions of fruit and vegetables. Utilising digital design software, Beaumont compiles digital photographs to create a composition that is then transferred to canvas by use of a grid. His exacting and methodical approach gives the objects a sharp and luminous three-dimensional quality with a sophisticated sense of style.
Featured Graphic
Anne Smith
Anne Smith Odalisque I
Etching 14/50
19.5 x 24cm (image)
38 x 57cm (paper)
no.10865
U.K. born and having resided in Australia since 1971, Anne Smith has been in collaboration with artists such as Garry Shead, Wendy Sharpe, Bernard Ollis and Alan Peascod on their series of etchings. After establishing an etching studio in Sydney, Smith moved her studio to the Blue Mountains and opened the Falls Gallery in 1989. She has exhibited locally and internationally with shows in Bulgaria and Japan. She was a finalist for the 8th World mini Print Exhibition and the National Print Awards.
Current Exhibition
January
Gallery 1 & 2: Summer Exhibition
Upcoming Exhibitions
February
Gallery 1 & 2: Summer Exhibition
March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager
April
Gallery 1: Autumn Exhibition
Gallery 2: Pam Sackville
Please send us an email if you wish to be added to the weekly newsletter list.
January
Gallery 1 & 2: Summer Exhibition
Upcoming Exhibitions
February
Gallery 1 & 2: Summer Exhibition
March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager
April
Gallery 1: Autumn Exhibition
Gallery 2: Pam Sackville
Please send us an email if you wish to be added to the weekly newsletter list.
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