Jeffrey Smart "The Oil Drums 1992" from Etching House

Email or Ph: 0413 007 054 about "The Oil Drums 1992" by JEFFREY SMART

This Jeffrey Smart Oil Drums print is of the original oil painting by Jeffrey Smart titled The Oil Drums 1992.

A Hi End Quality Australian Fine art limited edition reproduction print made digitally on Arches archival paper using pigment ink.

Oil Drums print is digitally signed Jeffrey Smart and carries his copyright Seal.

Etching House Lay Buy is welcome on all Jeffrey Smart prints including Oil Drums.

Sheet 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 Framed or Unframed.

Etching House specialize in Jeffrey Smart fine art limited edition Lithograph prints, etching prints, digital (Giclee) reproduction prints.

Print titles available in the market place are,

Jeffrey Smart Logo on Framed Container train fine art print,

Framed Container train with Jeffrey Smart Logo,

Approach to EUR, 1970, 70.0 x 102.9cm,

At the Window Fattoria 1979 60.3×58.5cm,

Autobahn in the Black Forest II print based on the Jeffrey Smart Original Painting 1979- 1980 sold at auction $1,020,000,

Autobahn in the Black Forrest 11 74.2×50.7cm, Giclee print,

Ballgame, Athens 1981 58.2×58.2cm,

Ballgame, Athens, 1981 89.8 x 89.8 cm,

Bondi Penthouse 88×77.3cm,

Bus Terminus, 1973 89.5 x 73.3 cm,

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 display only,

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

Control Tower 1969 65x53cm,

Coogee baths winter 1961 fine art limited edition,

Corrugated Gioconda 1978 50×68.2cm,

Dampier 111 1967 Size To be confirmed,

Diversion for Siena 2002-2003 52x68cm,

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

Factory and Staff Erehwyna 1972 55.7x104cm,

Four Closed Shops 1982 43x79cm,

Jeffrey Smart 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,

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,

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,

Motor dump Pisa I, 1971 70.6 x 96.4cm,

Near Ponticino, 1978 96.5 x 72.0 cm,

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

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

Portrait of Clive James 1992 57.2×62.3cm,

Portrait of David Malouf 1980 59x58cm,

Portrait of Germain Greer 1984 53×64.1cm,

Quinces by the Sea t size 50×72 cm,

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,

Spring Landscape 1970 Size To be confirmed,

Steps Palma 1965 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,

The Directors, 1977 44.2 x 179.6 cm,

The Dome 1977 58.0 x 58.5,

The Listeners 1965 65.9×52.1cm,

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

The Melbourne Gate Paper 52x70cm,

The Observer 11 1983-1984 53×72.3cm,

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,

The Red Arrow 11, 1973 59.3x59cm,

The Red Arrow I, 1972 73.7 x 89.0 cm,

The Santiago Flight 11, 2003,

The Stilt Race 1960 46.7×71.5cm,

The Traveller 1973 55.2×62.8cm,

The Tuscan farmhouse, 1980 69.0 x 107.3cm,

The Underpass 1986 – 1987 73.6×48.7cm,

The Water Tower, 1968 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

Wallaroo 1951 48x71cm.

Jeffrey Smart print sizes for small, large and extra large editions,

Guiding > Spheres11 1979 (Homage to Cezanne) by Jeffrey Smart is a Limited edition fine art work print digitally signed lower right and comes complete with certificate of authenticity, image sizes available are –

Small 55.4 x 64.7 cm

Large 75.9 x 89.6 cm

X Large 104.0 x 123.0 cm

Etching House has available a 12 month lay buy plan with no fees.

Painted Factory, Tuscany 1972

Jeffrey Smart

Small 59.0 x 59.0 cm

Large 89.0 x 89.0 cm

X Large 104.0 x 104.0 cm

The Underpass 1986-87

Jeffrey Smart

Small 73.6 x 48.7 cm

Large 105.0 x 68.2 cm

X Large 123.5 x 80.0 cm

Jacob Descending 1979

Jeffrey Smart

Small 73.5 x 46.5 cm

Large 105.0 x 66.2 cm

X Large 141.7 x 89.0 cm

Holiday 1970

Jeffrey Smart

Small 65.0 x 54.0 cm

Large 89.0 x 73.3 cm

X Large 108.5 x 89.0 cm

Control Tower 1969

Jeffrey Smart

Small 65.0 x 53.0 cm

Large 89.1 x 72.0 cm

X Large 110.8 x 89.3 cm

Cape Dombey 1947

Jeffrey Smart

Small 55.2 x 65.0 cm

Large 75.0 x 88.9 cm

X Large 104.0 x 123.7 cm

At the Window Fattoria 1979

Jeffrey Smart

Small 60.3 x 58.5 cm

Large 89.0 x 80.2 cm

X Large109.0 x 105.5 cm

Portrait of Germain Greer 1984

Jeffrey Smart

Small 53.0 x 64.1 cm

Large 73.0 x 89.0 cm

X Large 89.0 x 108.7 cm

Factory and staff Erehwyna 1972

Jeffrey Smart

Small 42.6 x 77.6 cm

Large 55.7 x 104.0 cm

X Large 74.7 x 141.2 cm

Portrait of David Malouf 1980

Jeffrey Smart

Small 59.0 x 58.0 cm

Large 89.0 x 87.4 cm

X Large 110.0 x 108.0 cm

The Conversation, Lunotevere Flaminia 1984

Jeffrey Smart

Small 78.5 x 43.0 cm

Large 104.0 x 55.6 cm

X Large 75.0 x 142.1 cm

Autobahn in the Black Forest II 1980

Jeffrey Smart

Small 74.2 x 50.7 cm

Large 104.4 x 70.0 cm

X Large 86.0 x 128.7 cm

The Oil Drums 1992

Jeffrey Smart

Small 47.9 x 72.5 cm

Large 68.7 x 106.5 cm

X Large 84.8 x 132.1 cm

The Guiding Spheres II (Homage to Cezanne) 1979

Jeffrey Smart

Small 55.4 x 64.7 cm

Large 75.9 x 89.6 cm

X Large 104.0 x 123.0 cm

Portrait of Clive James 1992

Jeffrey Smart

Small 57.2 x 62.3 cm

Large 80.0 x 87.3 cm

X Large 106.5 x 116.4 cm

Morning, Yarragon siding 1984

Jeffrey Smart

Small 51.8 x 66.5 cm

Large 71.0 x 92.3 cm

X Large 89.6 x 116.9 cm

Playground Mondragone 1997

Jeffrey Smart

Art Gallery of NSW Collection

Small 50.0 x 68.5 cm

Large 70.0 x 97.3 cm

X Large 87.0 x 120.9 cm

Reflected Arrows 1974

Jeffrey Smart

Small 54.7 x 63.0 cm

Large 75.0 x 87.1 cm

X Large 100.5 x 117.3 cm

Ballgame, Athens 1981

Jeffrey Smart

Small 58.2 x 58.2 cm

Large 89.8 x 89.8 cm

X Large 104.8 x 104.8 cm

Cahill Expressway 1962

Jeffrey Smart

National Gallery of Victoria Collection

Small 52.5 x 68.5 cm

Large 70.0 x 92.3 cm

X Large 88.5 x 117.1 cm

Corrugated Gioconda 1976

Jeffrey Smart

National Gallery of Australia Collection

National Gallery of Australia, Canberra Collection

Small 50.0 x 68.2 cm

Large 70.5 x 97.6 cm

X Large 87.5 x 121.5 cm

Four Closed Shops 1982

Jeffrey Smart

Small 43.0 x 79.0 cm

Large 58.5 x 111.1 cm

X Large 73.8 x 141.3 cm

Margaret Olley in the Louvre Museum 1994-95

Jeffrey Smart

Small 45.0 x 71.4 cm

Large 65.0 x 103.1 cm

X Large 81.0 x 129.1 cm

The Listeners 1965

Jeffrey Smart

Small 65.9 x 52.1 cm

Large 89.5 x 70.1 cm

X Large 89.0 x 114.0 cm

Wallaroo 1951

Jeffrey Smart

National Gallery of Australia Collection

Small 48.0 x 71.0 cm

Large 67.5 x 101.7 cm

X Large 82.7 x 125.0 cm

The Stilt Race 1960

Jeffrey Smart

Small 46.7 x 71.5 cm

Large 66.4 x 104.0 cm

X Large 83.0 x 130.6 cm

The Mail Exchange, Rushcutters’s Bay 1989-1992

Jeffrey Smart

Small 44.8 x 78.5 cm

Large 58.9 x 105.5 cm

X Large 77.0 x 139.3 cm

Truck & Trailer Approaching a City 1973

Jeffrey Smart

Art Gallery of NSW Collection

Art Gallery of New South Wales Collection

Small 44.8 x 78.5 cm

Large 56.5 x 104.1 cm

X Large 76.0 x 141.7 cm

Central Station II 1974-1975

Jeffrey Smart

Small 55.0 x 62.4 cm

Large 76.5 x 87.0 cm

X Large 101.5 x 115.6

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)

Email or Ph: 0413 007 054 about "The Oil Drums 1992" by JEFFREY SMART