Interior with Wardrobe Mirror, 1955

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This limited-edition giclée print is part of a collection of 20 works that have been produced to celebrate O’Keeffe, Preston, Cossington Smith: Making Modernism, showing at the Art Gallery of NSW until 2 October 2017.

Each work is printed using the highest quality inks on archival-quality paper, allowing for a life of more than 100 years if cared for properly. It is accompanied by a certificate signed by the Editors of The Sydney Morning Herald, The Age, and The Canberra Times.

Original Artwork; oil on canvas on paperboard, 91.4 x 73.7 cm. Art Gallery of New South Wales. Purchased 1967. © Estate of Grace Cossington Smith. Photo: Jenni Carter, AGNSW.

Paper size

  • Small: 24cm x 29cm

  • Medium: 35cm x 42cm

  • Large: 48cm x 58cm

Frames - Crafted by Amarisco Picture Framing, Sydney. Ph 02 9439 3133,

  • Box frames are sourced from sustainable plantation timber

  • Frame dimensions are 20mm face and 37mm depth

  • Available in Classic White, Matte Black, Tasmanian Oak and Dark Timber

  • 2mm clear acrylic with 80% UV protection rating

  • Artworks are mounted to acid-free foam core

  • Artworks are set to the rear of the frame with a 20mm space to the acrylic.

Paper quality

  • The high quality of the paper and inks should ensure a life of more than 100 years if cared for properly.

  • A museum-quality, smooth cotton high white is used. It is 315 gsm with 100% cotton linters and a silky smooth matte surface.

  • It is acid and lignin free with an excellent colour gamut.

  • The surface has a special matte coating, designed for high-quality fine art and photographic reproduction.

  • Images are printed with archival quality Ultrachrome pigment-based K3 inks onto smooth fine art paper.

  • The term 'giclée print' (pronounced zhee-clay) refers to an elevation in printmaking technology.

Our printing partner

Vision Image Lab, our professional printing partner, also arranges framing and delivery. You can contact them directly regarding any delivery enquiries regarding this print.


Contact: (02) 9319 3300

Grace Cossington Smith (1892–1984)

Grace Cossington Smith was one of the most inventive colour painters to emerge from Australia’s first wave of modernism in the early decades of the twentieth century.

After growing up in Sydney’s northern suburbs, in 1914 Cossington Smith moved with her family to the Turramurra residence that would become her lifelong home and the centre of her creative production. She had already begun studying with the painter Antonio Dattilo-Rubbo, whose central Sydney studio became the site of much artistic experimentation during the interwar period. Though she travelled in Europe from 1912 to 1914, Cossington Smith claimed to have learnt the methods of Van Gogh, Cézanne, Gauguin and Seurat under Dattilo-Rubbo rather than overseas.

Cossington Smith left Dattilo-Rubbo’s studio in 1926, after which Sydney’s light-filled harbour and the leafy terrains around Turramurra formed the main subjects of her art. Around this time, the book The New Science of Colour (1915) by American writer Beatrice Irwin fuelled Cossington Smith’s interest in colour as a force capable of invoking the energetic undercurrents of her subjects. This is exemplified by her paintings of the construction of Sydney Harbour Bridge in the late 1920s, which form some of the most compelling examples of early Australian modernism.

Expected delivery within five weeks

Paper size

  • Small: 24cm x 29cm

  • Medium: 35cm x 42cm

  • Large: 48cm x 58cm

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