circa 1965
Oil on black velvet
20 × 16 inches
Original hand-crafted Frame by the artist

In Wonder Woman (my name, not his), Tyree presents a powerful bust-length portrait that emphasizes presence, resolve, and quiet authority. The wahine is set against a dark, atmospheric ground, her form emerging gradually through Tyree’s controlled use of warm highlights and softened transitions—an effect made especially resonant by the absorptive qualities of black velvet. Signed in the lower left corner, but not on the support board

The wahine’s head is turned slightly to the side, her gaze directed beyond the picture plane, suggesting introspection and self-possession rather than direct engagement with the viewer. Tyree models the face and shoulders with restrained brushwork, allowing subtle shifts in tone to define structure without sharp contour. The result is a sculptural sense of form tempered by an overall softness, characteristic of his mature approach to portraiture.

Rather than idealizing the figure, Tyree conveys strength through composure. The subdued palette and enveloping darkness focus attention on expression and bearing, reinforcing the portrait’s psychological depth. As with many of Tyree’s finest works on velvet, the painting balances sensuality with dignity, presenting the subject as an individual of inner resolve rather than a decorative type.

This work stands as a compelling example of Tyree’s ability to use the velvet medium not for theatrical effects, but to evoke mood, character, and quiet intensity.