The Mill Valley, Karekare Bay (1899) är det målning som Frank Wright är mest känd för; den finns i Auckland Art Gallery Toi o Tāmaki, Auckland. The Close of day (1909) och Morning after rain (1912) fullbordar trion av de mest älskade målningarna. Vår katalog innehåller 5 verk av Frank Wright. Här är de 5 mest kända, med årtal, museum och historien bakom varje duk.
Rankade efter vår popularitetspoäng, som kombinerar sökningar, besök och beställningar för varje verk. Uppdaterad november 2026. Varje målning på denna sida kan beställas som en handmålad oljereproduktion på linnecanvas, eller som ett konsttryck i den storlek du väljer.
De 2 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Frank Wright | Målningar från denna lista |
|---|---|---|---|
| Auckland | 4 | The Mill Valley, Karekare Bay, The Close of day, Morning after rain | |
| 1 | Waitakeres |
The Mill Valley, Karekare Bay (1899), Auckland Art Gallery Toi o Tāmaki, Auckland. The Close of day (1909) och Morning after rain (1912) följer.
Frank Wright, född 1860, var 39 år gammal: The Mill Valley, Karekare Bay är från 1899.
5 verk av Frank Wright finns i vår katalog, daterade 1899 till 1912.
Främst i Auckland Art Gallery Toi o Tāmaki (Auckland) och Te Whare O Rehua Sarjeant Gallery; listan ovan listar varje museum och dess målningar.
Under 1910s, som utgör 2 av de 5 verk som finns på denna sida, varav Morning after rain av dem.
Den tidigaste duken här är The Mill Valley, Karekare Bay (1899); den senaste är Morning after rain (1912).
Auckland Art Gallery Toi o Tāmaki, Auckland har 4 av verken på denna sida, bland annat The Mill Valley, Karekare Bay, The Close of day och Morning after rain.
Ja. Varje målning på denna sida kan beställas från sin egen sida som en handmålad oljereproduktion, eller som ett konsttryck i den storlek du väljer.
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.