"Boy with Ferns 42x33 - Huge" by Donald Stuart Leslie Friend - 🔥Huge Gold Framed Mixed Media - Inquire - SUPER Steal
Boy with Ferns 42x33 - Huge Works on Paper (not prints) by Donald Stuart Leslie Friend
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Boy with Ferns 42x33 - Huge Works on Paper (not prints) by Donald Stuart Leslie Friend - 0
Boy with Ferns 42x33 - Huge Works on Paper (not prints) by Donald Stuart Leslie Friend - 1

Boy with Ferns 42x33 - Huge

Donald Stuart Leslie Friend

Works on Paper (not prints) : Ink, Watercolour, and Gouache
Size : 29.72x20.96 in  |  75x53 cm
Framed : 42.22x33.07 in  |  107x84 cm

Motivated Seller Reduced
Listing Info
Artist Bio

Hand SignedUpper Right 

Condition Excellent 

Framed with PlexiglassGold Wood Frame w/ White Mat 

Purchased fromPrivate Collector 2020 

Certificate of AuthenticityArt Brokerage 

LID157066

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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