Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 5 værker af Frank Wright i vores katalog
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Det mest berømte maleri af Frank Wright er The Mill Valley, Karekare Bay (1899); originalen findes på Auckland Art Gallery Toi o Tāmaki, Auckland. The Close of day (1909) og Morning after rain (1912) er tallene to og tre. Ud af de 5 værker af Frank Wright i vores katalog er dette de 5 mest berømte, rangeret med årstal og museum, så du kan vælge det maleri, du ønsker at bestille.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Frank Wright | Malerier fra denne liste |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 4 | The Mill Valley, Karekare Bay, The Close of day, Morning after rain |
 Te Whare O Rehua Sarjeant Gallery |
1 | Waitakeres |
Vælg et årti for at se dets mest populære maleri.
The Mill Valley, Karekare Bay (1899), Auckland Art Gallery Toi o Tāmaki, Auckland, rangerer som nummer ét, efterfulgt af The Close of day (1909) og Morning after rain (1912).
Frank Wright var 39 år gammel: The Mill Valley, Karekare Bay er dateret 1899, og Frank Wright blev født i 1860.
5 værker af Frank Wright er i vores katalog, dateret fra 1899 til 1912.
Primært i Auckland Art Gallery Toi o Tāmaki (Auckland) og Te Whare O Rehua Sarjeant Gallery. Se museomtabelen ovenfor for den fulde liste.
I 1910s: 2 af de 5 malerier, der er rangeret her, stammer fra den tid, herunder Morning after rain.
Ældste på denne side: The Mill Valley, Karekare Bay (1899). Nyeste: Morning after rain (1912).
Auckland Art Gallery Toi o Tāmaki, Auckland har 4 af de malerier, der er rangeret her, herunder The Mill Valley, Karekare Bay, The Close of day og Morning after rain.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
Frank Wright remains a figure of significant interest for collectors tracking the turn-of-the-century landscape of New Zealand. While his reputation was long confined to the Auckland region, his technical proficiency distinguishes him from his contemporaries. He was a professional painter who operated with a level of discipline that set him apart from more popular, less structured artists of his era. His work provides a direct visual record of the New Zealand landscape and its inhabitants during a transformative period.
The market has recently begun to recognize the true value of his output. For years, his works lagged behind others in price, but recent auction results have corrected this oversight. His ability to capture specific locales, from the waters of Whangarei Harbour to the estuaries of Tamaki, demonstrates a focused commitment to the geography of his surroundings.
Wright’s practice was defined by a clear, observational approach to his subjects. He worked across various media, showing a particular aptitude for both oil on canvas and watercolour. His compositions often centered on the intersection of land and water, capturing the specific light and atmosphere of the New Zealand coast.
His repertoire includes several notable subjects and formats:
The significance of Wright’s work is cemented by his inclusion in major regional exhibitions. A joint exhibition arranged by the Auckland City Art Gallery in 1953 confirmed his place in the local canon. He was part of a final generation of painters who defined the aesthetic of the turn of the century in New Zealand. His paintings are no longer merely regional curiosities; they are essential components for understanding the development of New Zealand's early art market.
