Harry Zelinski

Lever Gallery Print

Professionally high-resolution scanned, individually colour adjusted to closely represent original artwork. Giclée printed onto 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size: 42 cm X 29.7 cm  

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1960s, gouache and acrylic wash on board

For the cover illustration of this novel by William Blankenship, Zelinski's depicts a dramatic night scene where almost nothing is black. Lit by the moon and reflecting the moonlight off snow to uplight the figures and a car, almost all the shadows have detail. The cold light makes the shirt-sleeved and sleeveless couple seem vulnerable.

The original painting art board is approximately 31 cm wide x 52 cm tall. 

c.1960s, gouache and acrylic wash on board

For the cover illustration of this novel by William Blankenship, Zelinski's depicts a dramatic night scene where almost nothing is black. Lit by the moon and reflecting the moonlight off snow to uplight the figures and a car, almost all the shadows have detail. The cold light makes the shirt-sleeved and sleeveless couple seem vulnerable.

The original painting art board is approximately 31 cm wide x 52 cm tall. The artwork is float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.

Lever Gallery Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 59.5 cm X 42 cm

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1960s, gouache and acrylic wash on board

Zelinski's preference for gouache and acrylic wash allowed him to create softer images, and the illusion of subtle, ambient lighting.  By contrast to his contemporaries, these materials meant he could create his signature lustrous, muted tones.  The English actress Jacqueline Bisset is the model for the woman in this image.  In the mid-Sixties Bisset was often used as a reference model by both Zelinski and Michael Johnson. The actress made her official film debut at the age of 22 in Roman Polanski's 1967 film Cul-de-Sac.

c.1960 gouache and acrylic wash on board

In this piece, painted for a serialized story in a magazine, Zelinski’s unique technique allows his lighting to be subtle, as if in a half light.  He creates an intimate scene, with the couple wrapped in light as they are in their embrace.

The original painting art board is approximately 39 cm wide x 55 cm tall. The artwork is float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.

Lever Gallery Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 59.5 cm X 42 cm  

If you have any questions regarding this edition please email info@levergallery.com 

Original artwork; c.1960 gouache and acrylic wash on board

In this piece, painted for a serialised story in a magazine, Zelinski’s unique technique allows his lighting to be subtle, as if in a half light.  He creates an intimate scene, with the couple wrapped in light as they are in their embrace.

Lever Gallery Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 59.5 cm X 42 cm

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1969, gouache and acrylic wash on board

Zelinski created this for a magazine serialization of Kelly Roos’ suspense novel What did Hattie See?  He worked in gouache, washing it in acrylic varnish so it was no longer matt. The advantage of gouache was its flexibility, in that it could be re-wet and re-worked, meaning Zelinski could take his time over the details of an illustration.

The original painting art board is approximately 40 cm wide x 50 cm tall. 

c.1969, gouache and acrylic wash on board

Zelinski created this for a magazine serialization of Kelly Roos’ suspense novel What did Hattie See?  He worked in gouache, washing it in acrylic varnish so it was no longer matt. The advantage of gouache was its flexibility, in that it could be re-wet and re-worked, meaning Zelinski could take his time over the details of an illustration.

The original painting art board is approximately 40 cm wide x 50 cm tall. The artwork is float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.