Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 5 teost Frank Wright meie kataloogis
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Kulubumatu Frank Wright teos on The Mill Valley, Karekare Bay (1899); originaal paikneb Auckland Art Gallery Toi o Tāmaki muuseumis, Auckland. The Close of day (1909) ja Morning after rain (1912) on numbrid kaks ja kolm. Sellest Frank Wright kataloogis olevatest 5 teosest on need kuze 5 kõige kuulsamat, järjestatud aasta ja muuseumi järjekorras, et saaksite valida soovitud maali tellimiseks.
Kümne 2 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Frank Wright teosid | Selle nimekirja maalid |
|---|---|---|---|
 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 |
Vali vuosinde, et näha selle top-maalide listi.
The Mill Valley, Karekare Bay (1899), Auckland Art Gallery Toi o Tāmaki, Auckland, on esikkohal, järglennud on The Close of day (1909) ja Morning after rain (1912).
Frank Wright oli 39 aastat vanus: teos The Mill Valley, Karekare Bay on pärinev aastast 1899 ning Frank Wright sündis aastal 1860.
Kataloogis on 5 teost kunstnikult Frank Wright, kuupäevadelt 1899 kuni 1912.
Peamiselt Auckland Art Gallery Toi o Tāmaki (Auckland) ja Te Whare O Rehua Sarjeant Gallery. Täielik nimekiri on esitatud ülalpool olevas muuseumide tabelis.
Ajast 1910s: 2 siin reastatudest 5 maalist pärineb sellest ajast, sealhulgas Morning after rain.
Sellel lehel kõige vanem: The Mill Valley, Karekare Bay (1899). Uusim: Morning after rain (1912).
Auckland Art Gallery Toi o Tāmaki, Auckland säilitab 4 siin loetletud maalistest, sealhul ka The Mill Valley, Karekare Bay, The Close of day ja Morning after rain.
Jah. Kõik sellel lehel olevad maalid on tellitavad nii käsitööna valminud õlimaalide reproduktsioonina kui ka trükkina. Avage maali, valige suurus ja esitage tellimus.
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.
