JEFFREY SMART

The Oil Drums 1992

Paper size 47.5x72.5 cm [BACK TO PREVIOUS PAGE]

This is a image of the original oil painting by Jeffrey Smart titled The Oil Drums 1992, it is a Hi End Quality Australian Fine art limited edition reproduction image made digitaly on Arches paper, the work is digitally signed and titled Jeffrey Smart and carries his Seal of copyright, it comes complete with certificate of authenticity upon request, Etching House Lay Buy is welcome.

Image size 47.5×72.5 cm, or 68.7×106.5, or 84.8×132.1 cm  

Etching House delivers Jeffrey Smart – The Oil Drums 1992 unframed for Free in Australia –

 

Etching House specialise in fine art limited edition digital (Giclee) reproduction prints by Jeffrey Smart, some print titles available in the market place are –

Jeffrey Smart fine art limited edition prints –

Logo on Framed Container train fine art print   Framed Container train with Jeffrey Smart Logo

Approach to EUR, 1970   70.0 x 102.9cm $890

At the Window Fattoria 1979   60.3×58.5cm

Autobahn in the Black Forest II   Original Painting 1979- 1980 $1020,000 Auction

Autobahn in the Black Forrest 11   74.2×50.7cm

Ballgame, Athens 1981   58.2×58.2cm

Ballgame, Athens, 1981   89.8 x 89.8 cm $890

Bondi Penthouse   88×77.3cm SOLD

Bus Terminus, 1973   89.5 x 73.3 cm $890

Cahill Expressway   52.5cm x68.5cm

Cape Dombey 1947   55.2x65cm

Central Station 11, 1974-1975   55×62.4cm

Container Train Framed   Container Train Framed example with copyright digital signature

Container Train in the Landscape 1983-84   Paper – sheet size 28.2×184.6cm

Control Tower 1969   65x53cm

Coogee baths winter 1961   $890 fine art limited edition

Corrugated Gioconda 1978   50×68.2cm 3 in stock

Dampier 111 1967   Size To be confirmed, SOLD

Diversion for Siena 2002-2003   52x68cm

End of the Autostrada, 1968-69   $890 72.8 x 89.3cm

Factory and Staff Erehwyna 1972   55.7x104cm SOLD

Four Closed Shops 1982   43x79cm

Framed Art Collection   Framed Etchings, Prints

Guiding Spheres 11 (Homage to Cezanne) 1979   55.4 x 64.7

Holiday 1970   65x54cm

Housing Project No. 84   74.2×89.4cm SOLD

Jacob Descending 1979   73.5×46.5cm

Keswick Siding 1945   56×63.8cm

Level Crossing 1997   54×66.5cm

Margaret Olley in the Louvre Museum 1994-1995   45×71.4cm

Monument and Car Park   59.2x59cm

Morning practice, Baia, 1969   70.2 x 97.0cm sheet size $890

Morning, Yarragon Siding   Paper size 51.8×66.5

Motel Swimming Pool 1970   89.4x71cm

Motor dump Pisa 11, 1971   90.3 x 89.0 cm $890

Motor dump Pisa I, 1971   70.6 x 96.4cm

Near Ponticino, 1978   96.5 x 72.0 cm $890

On the roof, Taylor Square, 1961-62   $890 89.2×74.4cm limited edition

Playground Mondragone   Sheet size, small 50×68.5 cm, large, extra large

Portrait of Clive James 1992   57.2×62.3cm

Portrait of David Malouf 1980   59x58cm SOLD

Portrait of Germain Greer 1984   53×64.1cm

Quinces by the Sea   t size 50×72 cm SOLD

Reflected Arrows 1974   54.7 x 63.0 cm

Self Portrait 1993   55.7×52.4cm

Service station Calabria, 1977   74.5 x 103.0 cm $890

Spring Landscape 1970   Size To be confirmed

Steps Palma, 1965   $890 71.3x93cm

Study, The Supermarket Car Park 11, 2004   52.5x66cm

Surfer’s Bondi 1963   Paper 63.9x52cm

T.S. Eugenides, Piraeus 1978   65.3×52.5cm

The Argument, Naples 1950   52.1×66.1cm

The Ascent   56.6 x 62.0

The Cleaners 2004   50.7×70.1cm

The Conversation, Lunotevere Flaminia 1984   78.5x43cm SOLD

The Directors, 1977   44.2 x 179.6 cm

The Dome 1977   58.0 x 58.5 SOLD

The Listeners 1965   65.9×52.1cm SOLD

The Mail Exchange, Rushcutters Bay 1989-1992   44.8×78.5cm

The Melbourne Gate   Paper 52x70cm

The Observer 11 1983-1984   53×72.3cm SOLD

The Oil Drums 1992   Paper size 47.5×72.5 cm

The Painted Factory, Tuscany 1972   59x59cm

The Picnic 111, 1983   72.5×50.6cm

The President Factory 2003   Size To be confirmed

The Red Arrow 11, 1973   59.3x59cm

The Red Arrow I, 1972   73.7 x 89.0 cm $890

The Santiago Flight 11, 2003   Size to be confirmed

The Stilt Race 1960   46.7×71.5cm

The Traveller 1973   55.2×62.8cm SOLD

The Tuscan farmhouse, 1980   69.0 x 107.3cm $890

The Underpass 1986 – 1987   73.6×48.7cm

The Water Tower, 1968   $890 73.5 x 89.0cm

Truck and Trailer Approaching a City 1973   44.8×78.5cm

Trumper Park 1961   44.2x75cm

Turn Off to Dandenong   Paper size 56.2×66.1cm SOLD

Wallaroo 1951   48x71cm

 

Jeffrey Smart, born in Adelaide in 1921, is the modern Australian painter whose paintings look least Australian. Since his second trip abroad after World War II became a permanent stay, he has been painting that strange yet immediately recognizable area of the planet that his admirers call the Smart Country, a stretch of territory so completely international that one of its characteristic locations is an airport. We might not know where the airport is, but we recognize the lights and signs and colours: it’s a visual language at least as precise as any verbal one. Stamping their geometry on his landscapes, Smart’s buildings are part of the same language. Like all the unsentimental lovers of modern material forms from his teacher Léger through to the American hyperrealists and beyond, he was able to see the purity in shaped metal and concrete. If there is an endemic Australian quality, it might be in the confidence with which he not only combines the functional exuberance of modern industrial life with the iconography of the past, but equalises and balances those two things, so that a Matisse poster in the context of an Australian suburb becomes more lyrical than ever.

Acerbically precise in their strict outlines and flat planes of colour, his most romantically adventurous flights are made always within the framework of an unsleeping sense of form, out of a duty to what he sees. “The world,” he once said, “has never been more beautiful.” If that’s true, it’s partly because the world, over the last half century or so, has come to number Smart’s rigorously disciplined yet lavishly resonant paintings among its inventory of beautiful things. At the same time, he has been among the foremost of those Australians who have taken their country out into the world. One of the nerve centres of Australia’s steadily burgeoning creativity over recent decades has been the Posticcia Nuova, his farm house near Arezzo, which is itself a masterpiece, continually created and cared for by its padrone and his gifted companion Ermes de Zan. The very name of the house asserts the continuity of Smart’s homeland and the old world: New Place was the name of Shakespeare’s house after he became successful, and in New South Wales, when I was a boy, New Place was always the name of the new house when the family of homesteaders outgrew the one they began with, but were adamant that they would never forget it. Barry Pearce (Sydney: The Beagle Press, 2005)

 

Call Rolf on 0413 007 054 or click here to email rolf@etchinghouse.com.au about this work

Copyright © Jeffrey Smart