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Picton Waterfront
Watercolour
27 x 40 cm
Signed -
Pohutukawas, Coromandel
Watercolour
21 x 42 cm
Signed lower left
Illustrated: Paul Hanrahan - New Zealand People & Places p.90 -
Trinity Church, Worcester & Manchester Streets
Watercolour
33 x 27 cm
Signed
Framed -
Prizes For All Sizes: Fairley A&P Show
Watercolour
35 x 53 cm
Signed
Framed -
Padding Up
Watercolour
28 x 39 cm
Signed
Framed -
Houseboats on the Thames, Near Oxford
Watercolour
27 x 37 cm
Signed
Framed -
Cathedral Gate, Canterbury, Kent
Watercolour
30 x 40 cm
Signed
Framed -
Radcliffe Square, Oxford
Watercolour
30 x 40 cm
Signed
Framed -
Trio at Bath Abbey
Watercolour
41 x 51 cm
Signed
Framed -
Covent Garden Market
Watercolour
26 x 37 cm
Signed
Framed -
Morning at Tower Bridge
Watercolour
30 x 40 cm
Signed -
Towards Canterbury Cathedral, Kent
Watercolour
30 x 40 cm
Signed
Framed -
The Red Scarf, Parnell Village
Watercolour
43 x 52 cm
Signed -
Arcadia and Ferry Building
Watercolour
37 x 55 cm
Signed -
The White Dress
Watercolour
34.5 x 29 cm
Signed
Framed -
Woodpecker Hill, Parnell
Watercolour
29.5 x 41 cm
Signed
Framed -
Cornerstone, Marlborough
Watercolour
28 x 41 cm
Signed
Paul Hanrahan
Paul Hanrahan
Paul Hanrahan
New Zealand (b. 1936)
Paul Hanrahan’s keen observation of everyday life allows him to paint his animated subjects with confident impressionistic brushstrokes, full of flair.
Born in Christchurch, Hanrahan began his career as an advertising art director in Melbourne. Upon returning to Wellington in 1960, a brief but encouraging foray into watercolour painting resulted in three consecutive National Bank Awards.
For two decades his demanding career put his painting ambitions on the backburner. His first solo exhibition in 1983 and his invited participation at the International Watercolor Biennale in Mexico in 1996 sparked a keen following, but it was not until 1998 that Hanrahan emerged as a full-time professional artist, cementing his place in the world of watercolour both here and overseas.
It is rare to find a work by Hanrahan that does not involve people in some way, whether they are dining in a street café or watching from the sidelines of a sports match. With a quick and skilled brush he executes paintings that are energetic and modern.
It is fair to say that in Hanrahan’s work, importance lies in what is left out of the image as well as what is put in. Unlike oil painting the white of the ground is used to accentuate highlights and reflections in a scene.
Hanrahan states:
“The whiteness of paper is important and I try and use only one wash where possible … this gives the work a luminosity.’