Crossroads
Measures 89 x 60cm.
Proofed and hand-signed in pencil by Grahame.
Printed on a premium heavy 250gsm satin artboard and offfset printed for high colour accuracy.
Purchase through the team at Fishmob. $99.00 including postage (NZ).
‘Crossroads’. Oil on Linen. 760 x 1220mm. 2000. 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.” GCS
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Last Man Standing
Measures 89 x 61cm.
Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offset printed for high colour accuracy.
Purchase through Fishmob: $99.00 including postage (NZ).
‘Last Man Standing’. Oil on Linen. 760 x 1220mm. 2019. Private Collection. “So often my decision to use something in a painting rings a death knell. In this case the tree, on a plateau between Becks and Lauder, was felled by the farmer soon after I drew it.” GCS
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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.
Purchase through Fishmob: $99.00 including postage (NZ).
‘Silent Spring, Falls Dam’. Oil on Linen. 710 x 1010 mm. 2019. Private Collection, Asia. “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”. GCS
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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.
Purchase through Fishmob: $99.00 including postage (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.” GCS
