"Boy, 1988 Intimate Moment (Double-Sided) 1988 43x35" by Donald Stuart Leslie Friend - 🔥1988 Double Sided - Huge Framed Mixed Media on Paper - Inquire - SUPER Steal
Boy, 1988 Intimate Moment  (Double-Sided) 1988 43x35 Works on Paper (not prints) by Donald Stuart Leslie Friend
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Boy, 1988 Intimate Moment  (Double-Sided) 1988 43x35 Works on Paper (not prints) by Donald Stuart Leslie Friend - 0
Boy, 1988 Intimate Moment  (Double-Sided) 1988 43x35 Works on Paper (not prints) by Donald Stuart Leslie Friend - 1
Boy, 1988 Intimate Moment  (Double-Sided) 1988 43x35 Works on Paper (not prints) by Donald Stuart Leslie Friend - 2

Boy, 1988 Intimate Moment (Double-Sided) 1988 43x35

Donald Stuart Leslie Friend

Works on Paper (not prints) : Ink, Wash and Gouache on Paper
Size : 29.92x21.65 in  |  76x55 cm
Framed : 42.91x34.74 in  |  109x88 cm

Motivated Seller Reduced
Listing Info
Artist Bio

Year1988

Hand SignedLower Left 

Condition Excellent 

Framed with PlexiglassMetal Frame w/ White Mat 

Purchased fromPrivate Collector 2020 

Story / Additional InfoOne of the last artworks Donald Friend created before he died. 

Certificate of AuthenticityArt Brokerage 

LID157067

Donald Stuart Leslie Friend - Australia

Art Brokerage: Douglas Stuart Leslie Friend Australian Artist: b. 1915-1989. Donald Stuart Leslie Friend was an Australian artist and diarist. Born in Sydney, Friend grew up in the artistic circle of his bohemian mother and showed early talent both as an artist and a writer. He studied with Sydney Long (1931) and Dattilo Rubbo (1934–1935), and later in London (1936–1937) at the Westminster School of Art with Mark Gertler and Bernard Meninsky. Much of Friend's life and career was spent outside Australia, in places as diverse as Nigeria (late 1930s, where he served as financial advisor to the Ogoga of Ikerre), Italy (several visits in the 1950s), Ceylon (now Sri Lanka; late 1950s – early 1960s), and Bali from 1968 until his final return to Sydney in 1980. Despite winning the Blake Prize for Religious Art in 1955, Friend made "no attempt to disguise the homoeroticism which underlay much of his work". He was well known for studies of the young male nude, as well as his wit. His facility as a draughtsman may have contributed to the undervaluing of his work, which art scholar Lou Klepac said "always looked too easy – decorative, flowing and natural" In the mid-1960s, Robert Hughes described him as "one of the two finest draughtsmen of the nude in Australia," and noted his humanism and lack of sentimentality, while still maintaining that he was not a major artist. Barry Pearce, however, writing in the study which accompanied Friend's posthumous retrospective at the Art Gallery of New South Wales in 1990, said that Hughes' judgement seemed harsh and called for a re-evaluation of Friend as an artist whose "contribution to the richness of Australian art is due for much greater recognition". Listings wanted,

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