Elysium Verto Catalog

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Yurramurana 1984, By Brett Bailey, Acrylic on Canvas, 80 1/2 x 67 in

 

 

Blinded by sunshine and rain, I see clearly, 2001,Brett Bailey,artist, acrylic painting, abstract art
Blinded by sunshine and rain, I see clearly, 2001, By Brett Bailey, Acrylic on Canvas, 72 x 48 in

 

 

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Winter Garden II, By Brett Bailey, Acrylic on Canvas, 84 x 26 in

 

 

 

Lilium 2018, By Stephanie Burns
Lilium 2018, By Stephanie Burns, Oil on Canvas, 48 x 48 in

 

 

Sunflower 2018, Stephanie Burns, sunflower, oil painting, sunflower painting, art, artist, post impressionism, impressionist
Sunflower 2018, By Stephanie Burns, Oil on Canvas, 60 x 48 in

 

 

Lilies 2018,Stephanie Burns, oil painting, flower painting, lilies, art, artist
Lilies 2018, By Stephanie Burns, Oil on Canvas, 48 x 48 in

 

 

Orchids 2018, Stephanie Burns, flower painting, oil painting, art, artist
Orchids 2018, By Stephanie Burns, Oil on Canvas, 48 x 48 in

 

 

 

Behind Horizons 2004, By Claudia Chaseling, Egg Tempera and Oil on Canvas, abstract painting, abstract art, expressionist painting
Behind Horizons 2004, By Claudia Chaseling, Egg Tempera and Oil on Canvas, 84 x 66 1/2 in

 

 

Drifting (01) 2003, Claudia Chaseling, painting, abstract art,
Drifting (01) 2003, By Claudia Chaseling, Egg Tempera and Oil on Canvas, 67 x 59 in

 

 

Behind 2004, Claudia Chaseling, abstract painting, art, artist
Behind 2004, By Claudia Chaseling, Egg Tempera and Oil on Canvas, 71 x 48 1/2 in

 

 

 

Study of the human body (from a drawing by Ingres), 1982 Francis Bacon
Study of the human body (from a drawing by Ingres), 1982 Francis Bacon Colour lithograph on arches, A/P aside from the edition of 180, published by Galerie Lelong, Paris, plate size 62 x 46.5 cm, sheet size 104.5 x 74.7 cm

 

 

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Skull 1996, By Stephanie Burns, Bronze Ed 1/6, 7 x 9 1/4 x 6 in

 

 

Bowl of Fruit, stephanie burns, sculpture, women artists, sculptress, art, still life
Bowl of Fruit 1995, By Stephanie Burns, Bronze Ed 4/6, 13 x 8 1/2 x 10 in

 

 

Lemon 1996, by Stephanie Burns, Bronze, sculptress, women artist, artist, sculpture, still life,
Lemon 1996, by Stephanie Burns, Bronze Ed 4/6, 81/2 x 3 1/2 x 4 1/2 in

 

 

Marron 1994, Stephanie Burns, sculptress, women artist, art, sculpture
Marron 1994, By Stephanie Burns, Bronze Unique, 18 x 6 1/2 x 8 in

 

 

Red 2012,Stephanie Burns, artist, acrylic on canvas, abstract, dot painting, red dot painting
Red 2012, By Stephanie Burns, Acrylic on Canvas, 60 x 92 1/2 in

 

 

 

Over The Sea 2017, Stephanie Burns, artist, painting, seascape
Over The Sea 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom left.

 

 

 

Silver Cloud 2017, Stephanie Burns, artist, painting, seascape
Silver Cloud 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom right.

 

 

Pink Horizon, Stephanie Burns, artist, painting, seascape, margaret river
Pink Horizon 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom right.

 

 

The Bay, Stephanie Burns, artist, painting, seascape, margaret river
The Bay 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom right.

 

 

Sunset 2017, Stephanie Burns, artist, painting, sunset, seascape
Sunset 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom right.

 

 

Pink Sand, Stephanie Burns, artist, painting, seascape, narrawallee beach, beach, narrawallee
Pink Sand 2017, By Stephanie Burns, Gouache on paper, 12 x 16 1/2 in, Signed and dated bottom right.

 

 

The Song Of Ophelia (Act 4, Scene 5) 1834, Ferdinand Victor Eugène Delacroix, lithograph, 1824, stamps
The Song Of Ophelia (Act 4, Scene 5) 1834, Ferdinand Victor Eugène Delacroix, Lithograph, on mounted China paper, Image Size 10.2 x 8.2 in, Frame Size 26.5 x 22.5 in, With rare collectors stamps as proof of provenance in the bottom left corner.

In 1834 Delacroix began a series of lithographs devoted to Hamlet, creating moody images that mirror the troubled psyche of the prince. Choosing key scenes and poetic passages, the artist’s highly personal and dramatic images were unusual in France, where interest in Shakespeare developed only in the nineteenth century. Here, Ophelia, whose mind has become unhinged by the murder of her father Polonius, and rejection by Hamlet.

Gihaut frères published the artist’s thirteen-print set in 1843, with a second expanded edition of sixteen issued by Bertauts in 1864. Cooly received at first, the prints eventually were recognized as one of the artist’s most significant achievements.

 

Plate 46. from Los Caprichos, Francisco José de Goya y Lucientes, Los Caprichos, "Correccion" Original Etching, Second Edition
Plate 46. from Los Caprichos 1799, Francisco José de Goya y Lucientes, Los Caprichos, “Correccion” Original Etching, Second Edition, Plate – H 8.5in x W 6in, Image – H 7.5in x W 5in, Frame – H 23.5in x W 22.2in

 

Los caprichos are a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya’s condemnation of the universal follies and foolishness in the Spanish society in which he lived. The criticisms are far-ranging and acidic; he speaks against the predominance of superstition, the ignorance and inabilities of the various members of the ruling class, pedagogical short-comings, marital mistakes and the decline of rationality. Some of the prints have anticlerical themes. Goya described the series as depicting “the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual”.

The work was an enlightened, tour-de-force critique of 18th-century Spain, and humanity in general. The informal style, as well as the depiction of contemporary society found in Caprichos, makes them (and Goya himself) a precursor to the modernist movement almost a century later. The Sleep of Reason Produces Monsters in particular has attained an iconic status.

Goya added brief explanations of each image to a manuscript, now in the Museo del Prado; these help greatly to explain his often cryptic intentions, as do the titles printed below each image.

 

Disasters Of War, Muertos Recogidos, 3rd Edition, Goya (Francisco de Goya y Lucientes), etching, aquatint, elysium verto
Disasters Of War, Muertos Recogidos, 1811-12, 3rd Edition, Goya (Francisco de Goya y Lucientes), Etching and burnished aquatint, Platemark 6 1/8 x 8 3/16 in

 

The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon’s French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set.

 

Mornington Crescent 1998, Peter Howson, Edition of 25,
Mornington Crescent 1998, Peter Howson, Etching, Edition 11/25, 19 ¾ x 17 ¾ in

 

 

Dollis Hill 1998, Peter Howson, etching
Dollis Hill 1998, Peter Howson, Etching, Edition 11/25, 19 3/4 x 17 3/4 in

 

 

 

Alec 1988, Peter Howson, Etching, Edition of 30, 22 ¼ x 15 in, elysium verto
Alec 1988, Peter Howson, Etching, Edition 12/30, 22 ¼ x 15 in

 

 

The Questioning 1978/9, By Sir Sidney Nolan
The Questioning 1978/9, By Sir Sidney Nolan, PART OF Ned Kelly II, Screenprint on paper, Edition 67/75 Plate 19 x 25 in, Sheet 23 x 29 in, Signed bottom right.

 

 

Floral Composition 1972, By Sir Sidney Nolan
Floral Composition 1972, By Sir Sidney Nolan, Screenprint, Edition 15/70 Plate 20 1/2 x 18 in Sheet 26 x 20 in, Signed bottom right.

 

 

Pallas Athena - From Die Odysse 2,  By Oskar Kokoscha, lithograph
Pallas Athena – From Die Odysse 2, By Oskar Kokoscha, Lithograph, signed edition of 50, P., S.57.5 x 40 cm

 

 

Saul and David 1969, Oscar Kokoshka, lithograph, elysium verto
Saul and David, 1969 Kokoshka, Oscar, Lithograph on handmade paper, edition c (proof for the artist), 42.5 x 32.5 cm, signed lower right

CONTACT

Laurence Fuller

lrfuller@laurencefuller.com

310-963-7895

 

Stephanie Burns

info@stephanieburns.com.au

770-548-2406