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Medium: Giclée print
Edition size: 295
Year: 2008
Size: H 69cm x W 56cm
Signed: Yes
Format: Signed Print
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Watch artwork, manage valuations, track your portfolio and return against your collection
Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
November 2024 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
March 2024 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
October 2023 | Duke's Auctioneers | United Kingdom | |||
December 2022 | Whyte's | Ireland |
This portfolio of four signed prints from 2008 presents multiple views of the same railway tracks seemingly in different seasons or times of day in different colourways. Each work in the series captures distinct lighting conditions and colour, though the linework remains the same, demonstrating Dylan's systematic approach to documenting railroad infrastructure. The print was released as an edition of 295.
The portfolio format of Train Tracks allows Dylan to explore the same railway subjects under varied conditions: dawn light, midday sun, storm clouds, and a setting sun. His watercolour technique emphasises the changing relationship between steel tracks and natural environment throughout different times and seasons, giving three-dimensional form to the shapes without making them too defined.
The series demonstrates his interest in how industrial infrastructure fits within natural environments, but also how it can be a thing of beauty in itself, representing both personal relationships with specific locations and broader themes of American progress. Each print maintains focus on the tracks themselves, affording very little detail to the stations and houses, emphasising the permanent pathways that enable movement rather than their surroundings or the temporary vehicles that use them. Painted over a series of weather conditions, the portfolio demonstrates his belief that thorough artistic documentation requires sustained attention over time, revealing aspects of familiar subjects that single works cannot capture. This approach reflects his touring musician's understanding of how the same landscape can appear completely different under changing conditions of light, weather, and season.