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28. Letter II, 104: So that the moment a touch is monotonous, it must also be false""
Stephen Farthing
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11. Letter I, Exercise VI, continued: You cannot do too many of these""
Stephen Farthing
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Within a Rachel Whiteread installation
Graham Percy
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14. Letter I, Exercise VIII: Spots that follow the folds of printed stuff""
Stephen Farthing
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Return to the Land - two kiwis, two huts and two silos
Graham Percy
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30. Letter III, 193: The law of principality""
Stephen Farthing
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Hobson Street
James Boswell
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Black double ended series 280/35
John Lethbridge
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06. Letter I, Exercise III: When your eye gets keen and true - you will see gradation in everything in nature""
Stephen Farthing
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Rift Structure
Nancy de Freitas
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12. Letter I, Exercise VII: When you have done one square proceed to do another""
Stephen Farthing
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Dream Construction
Philippa Blair
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22. Letter II, 104: Foliage for two reasons... always accesible... leading or governing lines""
Stephen Farthing
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Untitled collage
Greer Twiss
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Taurus
Philippa Blair
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Baillif III
Douglas Macdiarmid
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And this also is the Point of Saying Goodbye
Gregory O'brien
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20. Letter I, Exercise X, continued: The perfect way of drawing is with shade and without line""
Stephen Farthing
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The Lion and the Mouse
Graham Percy
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Untitled
Michael Dell
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Light Angel
Philippa Blair
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Creatures in Space XIII
Douglas Macdiarmid
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26. Letter II, 122: Avoid studies where one thing seen is through another""
Stephen Farthing
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The Titirangi House from the Garden
Colin Mccahon
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Girl with String
Mark Cross
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15. Letter I, Exercise VIII: Following the spots which fall into the folds of the skin""
Stephen Farthing
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31. Letter III, 210: Rembrandt's elephant""
Stephen Farthing
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Portrait A.G.Davis
Paul Beadle
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21. Letter I, Exercise X, continued: A perfect artist habitually sees masses not edges""
Stephen Farthing
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The Politics of Geometry
Richard Killeen
-
02. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""
Stephen Farthing
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25. Letter II, 112: Copying photographs and unpacking nudes""
Stephen Farthing
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03. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""
Stephen Farthing
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The Clock Tower Building, Auckland University
Frederick Ellis
-
05. Letter I, Exercise II: The pen should, as it were, walk slowly over the ground""
Stephen Farthing
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07. Letter I, Exercise IV: You cannot get the same dark power with pencil as with ink""
Stephen Farthing
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Two Yellow Lines
Greer Twiss
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Marine artist - Alfred Wallis + sample wave. St. Ives 1965
Gavin Chilcott
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Toka Toka from Te Maire
Don Binney
-
08. Letter I, Exercise V: To be able to draw any form at once""
Stephen Farthing
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29. Letter II, 142: Ripple from a wild ducks breast""
Stephen Farthing
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Study for Sculpture
Jim Allen
-
The Hostage Unity Theatre
Raymond Boyce
-
13. Letter I, Exercise VIII: If you can draw a stone, you can draw anything""
Stephen Farthing
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Blue Paper - Panel 2
Glenys Brookbanks
Artist
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FARTHING, Stephen 31
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PERCY, Graham 6
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MACDIARMID, Douglas 5
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BEADLE, Paul 3
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BLAIR, Philippa 3
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BOSWELL, James 3
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DADSON, Phil 3
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APPLE, Billy 2
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BINNEY, Don 2
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BROWN, David 2