Moonrise at Shearer’s Quarters
Measures 72 x 53cm.
Printed on a premium heavy 250gsm satin artboard and offfset printed for high colour accuracy.
Proofed and hand-signed in pencil by Grahame.
Purchase through the team at Fishmob. $99.00 including postage (NZ).
‘Moonrise at Shearer’s Quarters’. Oil on Linen. 840 x 1215mm. 2014. Private Collection. “Used only once each year for the shearing gang, and home to a vast coal range (no power there). The setting sun behind me reflects on the window panes as the Hawkduns are slowly swallowed by shadow.” GCS
You may also like
-
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.
‘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
-
Auripo Road
From the ‘Classic Series’. Measures 72 x 45cm.
Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offfset printed for high colour accuracy.
‘Auripo Road’. Egg Tempera. 420 x 748mm. 1979. Private Collection. “This painting came about as a direct result of my car breaking down and me finding myself alone at the roadside, waiting for a passing vehicle to give me a hand. Nearby was a gravel intersection with an assembly of rural mail boxes for the properties down Auripo Road; each with its own private story and character, all hoping – as I was – for some life and relief from the silence and the boredom. As I waited I began to realise there was a subject for me.” GCS
-
Crossroads
Measures 89 x 60cm.
Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offset printed for high colour accuracy.
‘Crossroads’. Oil on Linen. 760 x 1220mm. 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.” GCS