PDF catalogue

Cover:
31
Bill Hammond Flag
Right:
Jim Speers
Untitled (Contemporary Art, May 28)
Left:
23
Paul Dibble Soft Geometric, Series 2, No.1
Above:
8
Dale Frank
Abandoned
IMPORTANT PAINTINGS AND SCULPTURE
Prev i ew and Cre ative NZ fun c tion for the a r tis ts r e pr e s e n tin g
New Z ea l and at the Ve nice B ie n n a l e , 2 0 0 9 : t hu r s d a y 26t h m a rc h - 6 - 8 pm
vi ewi n g f ri da y 27th ma rch - t hu r sd a y 2n d a p r il 2009
A u ct i o n th u rsday 2n d apri l 2009 a t 6. 30p m
3 ab bey s tre et, n ewton, a u ck l a n d
contents
2
INTRODUCTION
34
AN X-Ray IMAGE OF LIFE
Fomison’s ‘Detail for Dancing Skeleton’
7
IMPORTANT PAINTINGS AND SCULPTURE
(viewing times)
38
FLAG BY BILL HAMMOND
19
A WATERFALL by COLIN McCAHON
an essay by Laurence Simmons
41
“The past is a foreign country: they do things differently there”
an essay on Bill Hammond’s FLY
23
I Had a Mind as Invisible as Light ...
by JOHN PULE
44
BENT, BUCKLED AND BUFFED
an essay on Ralph Hotere’s 1984 by DAVID EGGLETON
26
SCULPTURE
8 lots of New Zealand sculture
CONDITIONS OF SALE
ABSENTEE BIDDING
SIXTY-TWO
CONTACTS
SIXTY-THREE SUBSCRIBE
SIXTY-FOUR INDEX OF ARTISTS
SIXTY
SIXTY-ONE
Welcome to ART+OBJECT’s first
major catalogue for 2009. Last
year’s final art auction saw A+O
register our first one million
dollar art sale and an indication
that the art market at auction
continues to be robust in New
Zealand.
A+O is proud to be selected to
assist in fundraising and raising
awareness for New Zealand’s
participation at the 53rd Venice
Biennale which opens in June.
Artists Judy Millar and Francis
Upritchard have been selected
to represent New Zealand and
plans are well underway for the
transport to and installation
of artworks in their respective
locations. Creative NZ staff and
the artists have been meeting art
patrons and supporters to outline
their exhibitions and plans for
this prestigious art event.
Both artists have generously
created specific works to assist
in the raising of funds for the
Biennale. These works will be
auctioned as lots 1 and 2 in this
catalogue and may be seen at
ART+OBJECT during the week’s
viewing prior to the sale on
April 2. These works are offered
without the usual buyers’ premium
and all funds raised go directly
towards the significant costs
associated with exhibiting at one
of the leading international art
events.
This is a rare opportunity to
acquire a significant work by
these artists and contribute to
the profile of the New Zealand
art community in such a direct
way. It is our opinion that the
future provenance of these works
in being associated with New
Zealand’s participation at Venice
will add significant value, so
please bid with confidence and
gusto.
Fondazione Claudio Buziol,
the location for Francis Upritchard’s exhibition at the Venice Biennale
“The debut 2008 vintage is punchy, with very
good intensity of smooth melon/lime flavours
fresh and full of youthful impact”
Invivo 2008 Marlborough Sauvignon Blanc 4 stars,
2009 Buyer’s Guide to New Zealand Wine by Michael Cooper
“Classy label, captivating wine”
John Hawkesby, Canvas Magazine
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THE
JIM DRUMMOND
SALE
THE PERSONAL HISTORY OF
A VISIONARY COLLECTOR
TWO DAY AUCTION :
SATURDAY MAY 2ND
SUNDAY MAY 3RD
Left:
Unknown carver
Fireplace surround as a pare and whakawae,
c.1880. (detail) $15 000 - $25 000
Peter Robinson
I Exist I Am Not Another I Am (detail)
lamda print mounted to aluminium,
2001, (edition of 5)
2200 x 1190mm
$10 000 - $15 000
entries invited
contemporary
art +
objects
May 28
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THE 21 CENTURY
AU C T I O N H O U S E
IMPORTANT PAINTINGS
AND SCULPTURE
th ur sd a y 2 a pr i l 6. 30pm
3 abbey s t r e e t , n e wt on a uc k l a n d
VIEWING
thursday
friday
saturday
sunday
monday
tuesday
wednesday
thursday
26
27
28
29
30
31
1
2
march
march
march
march
march
march
april
april
opening preview
6pm
9am
11am
11am
9am
9am
9am
9am
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8pm
5pm
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1
Francis Upritchard
Chinese Ibis and Money Tree
modelling material, paint, wood & glass vitrines, 2009
9 x 125 x 66 and 216 x 124 x 103mm
Proceeds raised from the auction of this work will
go to the artist’s individual project for Venice
THE 21ST CENTURY AUCTION HOUSE
Creative
New
Zealand
and
ART+OBJECT are proud to support
artists Judy Millar and Francis
Upritchard to represent New
Zealand at the Venice Biennale
2009.
Proceeds raised from the auction
of these works will go to the
artists’ individual projects for
Venice.
2
Judy Millar
Simon-Peter
acrylic and oil on canvas, 2009
2000 x 800mm
Proceeds raised from the auction of this work will go to
the artist’s individual project for Venice
3
Tony Fomison
I Was a Teenage Werewolf
oil on canvas on board
signed and dated 19 – 29. 6. 70
inscribed “I was a teenage werewolf” film 1957
Exhibited :‘Fomison: What shall we tell them?’, City Gallery, Wellington (touring), 1994
Illustrated: Ian Wedde (ed), Fomison: What shall we tell them? (City Gallery, Wellington, 1994), p. 9.
Reference : Ian Wedde, ‘Tracing Tony Fomison’, in ibid., p. 9 – 10.
:ibid., p. 50.
:Denis Gifford, A Pictorial History of Horror Movies (London, 1973), p. 9.
Provenance: Purchased by the current owner from CSA Gallery, Christchurch in 1970.
:Private collection, Christchurch.
330 x 232mm
$18 000 - $28 000
4
Stephen Bambury
The Rhythem of his Truth
acrylic and resin on two aluminium panels
title inscribed, signed and dated 2001 verso
608 x 650mm: each panel
1216 x 650mm: overall
Provenance: Private collection, Auckland
important paintings
+ sculpture
$20 000 - $30 000
11
5
Shane Cotton
Journey in Four Parts: One Horsepower
acrylic on canvas
700 x 1000mm
Exhibited
: ‘Shane Cotton: Survey 1993 – 2003’, City Gallery, Wellington 17 July – 19 October 2003 (touring).
Illustrated
: Lara Strongman (ed), Shane Cotton (Wellington, 2004), p. 85.
: Art News New Zealand, Spring 2001, cover.
$35 000 - $45 000
F
rom the moment Shane Cotton burst onto the New Zealand art scene in the early 1990s his work has been
soaked in historic, cosmological, and artistic reference points and clues. These clues can be by turns
symbolic, literal, sly, bewildering or confronting. His finest work presents as a conceptual crossword
with Cotton the quizmaster asking the question, ‘can you crack this code?’
If you haven’t done a bit of homework you can feel a bit of a dunce, but that is the point, you need to work hard to
keep up with these works. They can be read, but as the saying goes, a little knowledge is a dangerous thing. But
knowledge is power because Cotton is addressing the tough stuff of New Zealand’s history. In Cotton’s hands
the story of Aotearoa is a midden in a blender: a post-colonial melange of trades and appropriations but also the
odd revelation or as he has described it, ‘collision and collusion’.
The reading can be taxing, but also full of illuminating surprises. 1994’s Picture Painting had me flummoxed
until I connected the cosmic flower as a direct quoting from Gordon Walters’ Chrysanthemum of 1944. Remember,
this was at the same time that Dick Frizzell’s Grocer with Moko was stirring the pot and in the aftermath of the
Headlands debate over just who ‘owns’ indigenous imagery and in particular designs such as moko or koru which
could be attributed to indigenous visual cultures.
It cuts both ways Cotton seems to be saying and many of his symbols can be decoded by reference to a multiplicity
of texts and sources. Curator Lara Strongman describes this jazzy, freeform approach in her essay from the
Cotton’s Survey exhibition of 2003,’The entwined eels, for example which first appear in his works from late 1997,
are not only a Ngapuhi tribal form but one of the world’s most ancient visual symbols of infinity: the serpent
swallowing its own tail appears in artforms as diverse as Egyptian hieroglyphs and Anglo-Saxon metalwork.’
Journey in 4 Parts: One Horsepower from 2001 presents us with a striking image in the form of the white horse
operating as a symbol with any number of readings. A quick reference to the 21st century decoder Google and one
can find that the white horse entered the lexicon of symbols more than three thousand years before Christ at
Elam in present day Iraq (now there’s a sly reference). A classical reading sees the horse as a civilizing influence
but a more sinister one could be the pale horse, Death’s steed, from the Book of Revelations.
This particular canvas is from the series Blackout Movement of 2001, within which Cotton explored the intermingling
of Christianity, Maori spiritual beliefs and tribal identity that emerged around the Northland Prophet Papahurihia
or Te Atua Wera, a figure of great significance to Ngapuhi, from whence Cotton traces his tribal descent. The
cinematic quality of this painting, the rare literalism in the use of the horse as an easily deciphered symbol and
the journey of the title all coalesce to create a sense of destiny and an air of quiet hopefulness bathes this
work: a new dawn brings fresh promise.
important paintings
+ sculpture
HAMISH CONEY
13
N
o local artist has been more aware of, and more preoccupied by the history of colonialism
than Ralph Hotere. He is the artist as member of a minority people: the dispossessed,
the culturally marginalised Maori. At the same time of course, he is an accomplished
modernist artist, acknowledged internationally as one of New Zealand’s most significant and
successful art practitioners. Tracing the fault lines of biculturalism is a task fraught with ironies
and complications, but it’s also one which has energised and added an extra dimension to, Hotere’s
art-making, as for example in the 1989 clash at Port Chalmers when the artist held out against
Port Otago Limited’s various attempts to acquire land on which the artist’s studio was located, as
part of logging and container port redevelopment plans.
Hotere stated at the time that he did not so much object to the loss of his studio — though it had
an unrivalled view down Otago Harbour to Aramoana — as to the loss of a distinctive landmark,
and the removal of formerly tapu land: “I am totally opposed to the landscape being treated in
such a callous manner. (The developers) are insensitive. They don’t care about history or sentiment
or the land.”
Oputae (1989) is one of a series of works produced in 1989, and the years following, about
the loss of the end of the headland, known as Observation Point. Around this time PROP, or
the Preservation of Observation Point, became a nationally-known protest movement, at least
amongst conservation and artistic circles. Beyond this, Hotere made art intended to memorialise
the location and mourn its destruction. (The land was eventually acquired and used for harbour
reclamation and wharf expansion.)
One meaning of Oputae is ‘the place of flowers’, and other works in this series are inscribed with
the phrase “Oputae — blue gums and daisies falling.” But Observation Point was also known to iwi
as Araite Uru Murihiku, that is, it was a pa site and a burial ground.
Oputae is a rectangular work made out of ‘baby iron’ — in other words out of a sheet of stainless
steel which has been ‘crimped’ into corrugations — and framed in weathered, recycled timber.
The artist has then laid on with a blowtorch, coaxing imagery forth from the metal by skilfully
deploying flame in the manner of a paintbrush. Some of this imagery is familiar from Maori religious
iconography — the arch of a rainbow, a blobby T-shaped cross, a heart shape surmounted by the
Christian cross — while ‘CUT’ and horizontal stripes denote the land marked for bulldozing.
Four leadheaded nails, one in each corner, function as exclamation points. And burnishing the
corrugated steel with oxy-acetylene-gas-fuelled heat, Hotere makes it sing with colours: yellow,
blue, bronze, gold.
Scrupulous as ever, subtracting from the work everything inessential, Hotere makes the dumb
metal eloquent: it’s like a gate or part of a wall that failed to hold back a land grab, but which
has itself become a precious remnant of the lost cause.
6
David Eggleton
Ralph Hotere
Oputae
blowtorch on corrugated baby iron
signed and dated ’89 and inscribed CUT 1989
700 x 640mm
Provenance: Private collection, Dunedin
$65 000 - $85 000
15
important paintings
+ sculpture
7
Bill Hammond
Head Set I and II
acrylic on wallpaper, two panels
title inscribed, signed and dated 1989 on each panel
1912 x 1040mm overall
Provenance: Private Collection, South Island
$38 000 - $50 000
8
Dale Frank
Abandoned
varnish on linen
signed verso;
original Gow Langsford Gallery label
affixed verso
1600 x 1200mm
important paintings
paintings
important
+ sculpture
sculpture
+
$22 000 - $30 000
17
17
9
I
n 1964, inspired by a contemporary exhibition of the work of William
Hodges, the painter who accompanied Cook on his second voyage to
Waterfall
the South Pacific, Colin McCahon began a series of Waterfall paintings
enamel on plywood panel
that
when finished he declared numbered in the hundreds. (However,
signed and dated Aug – Sept. ’64
according to the McCahon Database and Image Library far fewer than a
Exhibited
:‘Small Landscapes and Waterfalls’ Ikon Gallery, Auckland, 1964
hundred remain today). A McCahon ‘waterfall’ typically was an elemental
Provenance :Private collection, Auckland
white column of falling water, often viewed from an angle so it appeared to
Reference :Colin McCahon database silently curve its way through the darkness sometimes to end in a stylized
(www.mccahon.co.nz) CM001396
1365 x 915mm
body of water at its base. For the most part, these paintings were small
$250 000 - $350 000
compositions on hardboard, approximately thirty centimetres square, and
they were also based in part, as McCahon was to acknowledge to several of
their purchasers, on specific waterfalls in the Waitakere regional park such
as the Fairy Falls, Kitekite Falls, Karekare Falls, and Waitakere Falls.
Waterfall (1964) is very spare and dark and has a rudimentary duality. It
is also an important companion of the large waterfall painting now found
in the Auckland Art Gallery Toi o Tamaki and the almost identical sized
Waterfall with Overhanging Red Rock of the Waikato Museum of Art and
History Te Whare Taonga o Waikato. The white of the stylized arc of falling
water that curves away from a hidden source both divides and articulates a
void. At the very top three dark and ochre segments suggest a geometry of
geology. Lower on the right a brown rounded square of flat-textured paint
intimates a cliffside. The background of the west coast landscape of dense
forest and rock is now reduced to a primeval blackness, none of its details
may be properly discerned and there is no geographical marker of a horizon
line. Indeed, the shapes of the downward coursing water and the ochre
buttress rock face are reduced to still, silent abstract forms. Missing,
too, is the pool into which the waterfall pours. A thick white line, overpainted in brown, extends down into the composition from the lower right as
if it were touched (by the artist’s brush, or hand of God?) from the outside.
Countless visible black brushstrokes and puddling of paint over the right
and left hand surfaces exist incidentally, not standing for anything other
than contingent sensation, and they are seemingly superfluous to the image’s
stark symbolic content. The central waterfall feature of the composition
looks like some giant upturned woodworker’s tool. This ‘figure’ may also
be contracted to a symbolic form for it also reminds us of an inverse tau
cross. Gordon Brown referred to the Waterfalls as “symbolic shorthand”
and perhaps there is also something of the edge of an enormously large
painted letter in the ‘grapheme’ of the water’s white cascade.
McCahon wrote that “Waterfalls fell and raged and became as still silent
falls of light for a long time. I look back with joy on taking a brush
of white paint and curving through the darkness with a line of white.”
This painting is a magnificent example of his passion for the New Zealand
landscape and his delight in the craft and history of painting.
LAURENCE SIMMONS
important paintings
paintings
important
+ sculpture
sculpture
+
Colin McCahon
19
10
Max Gimblett
Mirror - The Active Door
mixed media on canvas
title inscribed, signed and dated 1983/89 verso
305 x 505 x 65mm
$7000 - $9000
11
Dick Frizzell
Troika
oil on canvas
title inscribed, signed and dated 9/5/95
500 x 500mm
$8000 - $12 000
12
Don Driver
Technic
mixed media
title inscribed, signed and dated 1982
1690 x 1200mm
Provenance: purchased by the current owner from the artist’s studio
$14 000 - $18 000
13
Ted (Edward) Bullmore
Plan 1
mixed media
title inscribed and signed verso
700 x 470 x 95mm
Provenance: Private collection, Wellington
important paintings
+ sculpture
$8000 - $12 000
21
14
John Pule
I Had a Mind as Invisible as Light,
My Hands Spent One Day as an Angel and for Thirty Five Years I Had Hair as Wonderful as the Sun
oil and ink on canvas
title inscribed, signed and dated 2001 and variously inscribed
2000 x 1800mm
Provenance: Private collection, Auckland
$45 000 - $65 000
L
ike minds adrift in an ocean of consciousness, John Pule’s islandscapes are linked by tenuous
filaments of interconnected human endeavour. With a hand as light as vision itself, delicate
as a flying fish wing, sure as a frigate bird in flight, Pule conjures an entire world from the
vastness of the Pacific Ocean. Emblems, stamps, insignia of cultures and creeds, appear and disappear,
only to emerge again in new locations and alternative guises. Lines are cast between landfalls,
portage of human activity, formal and domestic, is conducted across perilous tightropes, up and down
ladders of chance and fate, the precious baggage of colonization dearly tendered by a multitude of
tiny hands.
This work is among the most fully resolved and satisfying of a series of large, square-format
canvases Pule created between 2000 and 2003. Here the more concentrated figurative explorations
of his prolific line drawing and printmaking are placed literally within the broader canvas of his
encompassing world view.
Pule is master of an enormous floating vocabulary of images that metamorphose, as quickly as we try
to pin them down to their cultures of origin, into other figures of differing cultural accent. Thus
a Deposition of Christ, as perfectly articulated as a renaissance engraving, reappears in altered
form as the ceremonial laying out of a new hiapo or Nuiean tapa cloth. Pule is rarely content to stay
within the precise confines of one language or visual tradition, preferring instead to play among the
interstices of cultures, to use similarities to show regional differences, all with a deftness of touch
that honours the sunlit promise of this magnificent work’s boldly autobiographical title.
Oliver Stead
important
important paintings
paintings
+
+ sculpture
sculpture
The self-reference of the title and other inscriptions anchor these floating images in reality. While
suffused with nostalgia which is both personal (recalling the artist’s emigration from Niue to New
Zealand in early childhood), and literary (in the depth of historical allusion among the interconnected
figures), this Pacific vision is by no means entirely comfortable. The cloud islands, so reminiscent of
the puffy clouds of the Pacific trade winds, are tinted red, not blue and white, and suggest blood
sacrifice, perhaps even nuclear tests. Their trailing vines suggest both the genetic bloodlines of the
peoples that have traversed from island to island, and the stinging tentacles of the Portuguese mano’war jellyfish, that ubiquitous emblem of oceanic travel and its many perils.
23
23
15
Bill Hammond
Mountaineering Home Sick Blues
acrylic and enamel on canvas
title inscribed, signed and dated 1985
500 x 805mm
Provenance: Private collection, lower North Island
$25 000 - $35 000
H
ammond’s paintings of the mid 1980s remind me of a busker doing it tough. Aucklanders
may remember the Singing Cowboy who plied his trade on Queen Street in the mid 1980s.
He could be found furiously strumming the open strings of a battered guitar and
mangling the words to whatever song lyric, radio jingle, sea shanty or misquoted snatch of
doggerel he managed to summon up from the depths of his semi-consciousness.
Mountaineering Homesick Blues would have been right up his apples and pears. In Hammond’s
hands this misquoting of the Bob Dylan classic is depicted as a bewildering collision of visual and
psychic symbolism. The pop culture palette of bubblegum pink, custard yellow and cheap silver
becomes a metaphor for amped up unease and as unique a visual signifier of Hammond’s worldview
as the never-ending greens of his later Auckland Island related paintings from the mid 1990s.
In the mid 1980s what Hammond concocted was the idea of painting as the soundtrack for the not
so brave new world of free-market economics, consumer culture and body angst that defined the
‘greed is good’ decade.
In this work our homesick bluesman is laid out on a dining table and menaced by advancing minibars, his only route of escape cut off by an oil torrent containing a quizzical selection of Cluedo
style symbols: an umbrella, a tap, a cocktail glass and a lonesome shoe. In the background a
volcano looks set to blow.
It presents as a Dante-esque vision of contemporary angst, but Hammond inverts this reading into
a pantomime scene through the merging of interior and exterior spaces, cracked perspective and
the maladroit placement of objects from his own clip-art library: the concrete lattice work, bad
haircut and cheesy details that decorate the living rooms of Hammondsville circa 1985.
In terms of picture design Hammond at this time quotes directly from the then new media forms of
the rock video and the video game and in this he is presaging both the virtual worlds and hammy
set ups and that abound today in reality TV. Just out of shot the artist sits as a deranged
director creating ever nuttier b-movie scenarios into which he hurls the hapless ‘contestants’.
How they (we) survive, thrive or nosedive is what makes these hard rockin’ paintings so
compelling.
important paintings
+ sculpture
hamish coney
25
17
Paul Dibble
David
cast bronze, edition of 5
signed and dated 1999
553 x 205 x 165mm
$9000 - $13 000
18
Guy Ngan
Habitation
cast bronze and wood
impressed signature
400 x 183 x 122mm
$5000 - $7000
16
Terry Stringer
Untitled - Female Study
cast bronze, 2/3
signed and dated ’99
400 x 80 x 80mm
$4500 - $6500
19
Terry Stringer
Bronze II - Wall Series
oil on bronze and aluminium
signed and dated ’87
1090 x 1200 x 130mm
$16 000 - $24 000
20
Paul Dibble
Provisions for a Long Journey
$19 000 - $26 000
important
important paintings
paintings
+
+ sculpture
sculpture
cast bronze, edition of 4
signed and dated 2002
635 x 535 x 140mm
Exhibited: ‘Norsewear Art Awards’, Hastings,
2002 (guest artist)
Provenance: Private Collection, South Island
27
27
21
Paul Dibble
The Fall
cast bronze, 1/3
title inscribed, signed and dated ’94
1700 x 970 x 275mm
Reference: Jeanette Cook (ed), Paul Dibble (Auckland, 2001), p.120.
$27 000 - $35 000
22
Ann Robinson
cast glass
signed and dated 2002 and inscribed No. 18
547 x 547 x 200mm
$40 000 - $50 000
important
important paintings
paintings
+
+ sculpture
sculpture
Wide Bowl
29
29
T
he dawn of the new millennium heralded a new-found freedom for
sculptor Paul Dibble. With a foundry and studio in Palmerston
North, a team of highly-trained assistants in place and a more
regular income from an increasingly appreciate audience, the artist
set about further investigating the limits of his age-old medium of
choice, bronze. Conceived in the previous year to the artist’s Hyde
Park Memorial (2005) commission in London, the Soft Geometric series
presented audiences with a shift towards a simpler, cleaner and more
homogenous formal template.
The dramatic formal shift did not represent a clean break however.
Numerous narrative strains have remained a constant throughout the
artist’s impressive oeuvre and the cool, restrained formal elegance of
the Soft Geometric works recalled the elongated limbs and torsos of
his Long Horizon works as well as the recurring Nautilus Shell, not to
mention further reflecting Dibble’s obvious lifelong engagement with
New Zealand and Polynesian history.
Soft Geometric Medium Series 2, No.1 references both Maori and
European history, providing a touchstone to the International Modernist
sculpture of Arp, Brancusi and Moore whilst closer to home recalling
the bi-cultural vernacular of Theo Schoon and, more especially, Gordon
Walters. Like Walters’ Koru paintings, negative space is as integral to
the composition and the experience of viewing the work as positive form.
From some angles the work appears solid and dense, from others the
sharply outlined shapes serve to lighten the sculpture teasing the
eye from the three dimensional corporeal mass to make it appear as a
silhouette. To sculpt in bronze, an inflexible and anachronistic medium
burdened with history, is a generous and brave act in the face of an
increasingly relentless and temporal society, fixated on the here and
now. That Dibble’s cast bronze sculptures give us cause to pause and
reflect in these busy times is something for which we should all be
grateful.
BEN PLUMBLY
23
Paul Dibble
cast bronze, edition of 2
signed and dated 2004
2000 x 1000 x 465mm
Illustrated : Jeanette Cook (ed), Paul Dibble (Auckland, 2001), p. 199.
Exhibited
: ‘Sculpture on the Shore’, Auckland, 2004
$65 000 - $85 000
important
important paintings
paintings
+
+ sculpture
sculpture
Soft Geometric Medium Series 2, No.1
31
31
24
Colin McCahon
Bather No. 3
pen and ink on paper
signed and dated ’43; title inscribed,
signed and inscribed 8 Espin Cres, Karori, Wellington verso
132 x 110mm
Provenance : private collection, Auckland
Reference : Colin McCahon database
(www.mccahon.co.nz) CM001614
$10 000 - $15 000
25
Colin McCahon
Bathers No. 4
pen and ink on paper
signed and dated ’43; title inscribed,
signed and inscribed 8 Espin Cres, Karori, Wellington verso
110 x 122mm
Exhibited
:‘The Group Exhibition’, Ballantynes Store, Christchurch, 1943
Provenance : private collection, Auckland
Reference : Colin McCahon database
(www.mccahon.co.nz) CM001311
$10 000 - $15 000
26
Richard Killeen
Welcome to the South Seas
acrylic on paper
title inscribed, signed and dated 22/10/79
570 x 375mm
$4000 - $6000
27
Philip Clairmont
Portait of Tony Fomison
ink and watercolour on paper
signed with artist’s initials C. T and dated ’69 and inscribed Tony F.
Exhibited
:‘Fomison: What shall we tell them?’,
City Gallery, Wellington, 1994
Provenance : Private collection, Christchurch
420 x 460mm
$4500 - $6500
28
Colin McCahon
North from Mt. Atkinson
$6000 - $8000
important paintings
+ sculpture
ink on paper
signed and dated ’57
208 x 275mm
Provenance : Private collection, Auckland
33
H
ardly anything expresses the depth and diversity of the human species more than our faces do; every face
is unique and each is a testament to the life of an individual. Yet the skull, the canvas on which these
stories are laid, is the face’s very antithesis. Its uniform hollows and cavities gawp not at meaning, but
at nothingness. In his Detail for a Dancing Skeleton Tony Fomison presents an x-ray image of life, reminding us
of what lies beneath its painted surface.
The skull is a universal symbol almost as old as humankind, a cipher for mortality which may be colourfully
celebrated as it is in the Day of the Dead festivals in Latin America, or mourned as reminder of time’s relentless
march. Anyone even vaguely familiar with western art history might see in this work a nod to those haunted
Northern European paintings in which skulls are memento mori, either clutched in the arms of saints or given more
sober consideration in still-life vanitas studies. Yet the dancing skeleton which Fomison commits to canvas has
rather more theatrical origins in the spectacular passion plays found throughout Europe from the time of the
Black Plague. Here death played the role of God’s messenger, summoning the folk to a life eternal but at the
same time warning them they would have to meet their maker.
In the same way that passion plays sought to address the audience of their day, Fomison’s dancing skeleton
is sourced from popular culture - a simple fact recorded in the artist’s spidery-hand in the top right-hand
corner of the work. In actual fact this eerie cranium is the product of an advertisement for ‘the world famous
Magnajector’, a magic lantern projector featured in the cult American film magazine Famous Monsters of Filmland.
The Magnajector promises to ‘throw huge images on the wall’ demonstrating the effect with the photographic
forerunner of Fomison’s painting.
The choreutoscope, a type of magic lantern slide invented in 1866, is sometimes considered the first modern
animation device. Using a shutter mechanism, it was able to produce the impression of movement from a sequence
of engravings, the most popular of which was a skeleton who performed a Dance Macabre as the slides were
cranked through the shutter. In the trajectory of performative storytelling from theatre to film, the skeleton,
that spectre of death, has always both horrified and thrilled audiences with its tragicomic form. In his Detail
for a Dancing Skeleton Fomison arrests the spectre and considers it anew, showing us that visual symbols like
the skull have the power to speak to us about hidden truths, whether or not we choose to look beneath their
surface for further meaning.
PENNIE HUNT
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Tony Fomison
Detail for a Dancing Skeleton
oil on hessian in artist’s original frame
title inscribed, signed and dated 19 – 23. 9. 70, 20 – 26. 10. 70,
2 – 4. 11. 70, 15.12. 70
and inscribed from Magic Lantern advert for Famous Monsters of Filmland Comic;
original Fomison catalogue exhibition label affixed verso
Provenance : Purchased by the current owner from Elva Bett Gallery,
Wellington in 1973.
: Private collection, Christchurch
Illustrated : Ian Wedde (ed), Fomison: What shall we tell them?
(City Gallery, Wellington, 1994), p. 113.
Exhibited
: ‘Fomison: What shall we tell them?’,
City Gallery, Wellington (touring), 1994
: ‘Coming Home in the Dark’, October 15 2004 – March 27 2005, Christchurch Art Gallery Te Puna O Waiwhetu.
620 x 887mm
$90 000 - $130 000
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sculpture
Louise Henderson
The Three Bathers
oil and pastel on canvas
signed and dated 1974;
signed and dated verso
Provenance: Private collection,
Auckland
1660 x 1200mm
$50 000 - $70 000
M
oving to Auckland in 1950 after studying at Victoria University College and
having her first solo exhibition at Wellington Public Library, Louise Henderson
(nee Sauze) began to paint full time. It was around this time, influenced by
John Weeks, that she moved away from the regionalist concerns she had previously
explored in Christchurch and took an interest in cubism. Henderson was daughter
to the secretary for French sculptor August Rodin and in 1952 she returned to her
home town of Paris to study cubism first-hand under Jean Metzinger where, thirty
years earlier, she had studied embroidery design. She became an important force in
furthering the cubist style in New Zealand and what appeared to local eyes as a
radical Modernist approach was a feature of exhibitions at the Auckland City Art
Gallery in 1953 and 1954.
First arriving in New Zealand in 1925 to marry teacher Hubert Henderson, she took a
part-time position teaching embroidery and design at Canterbury College School of Fine
Arts. As Vivien Caughley notes in the latest Art New Zealand (#130), Henderson wrote
books and established curriculums for embroidery and design that have left a lasting
legacy in the field of arts education. While in Christchurch, she took up painting, going
on sketching trips to places like Cass with Rita Angus in the late 1930s.
Biographer Elizabeth Grierson notes a cultured upbringing (her maternal grandfather
had been a painter and under-secretary to the Minister for culture) but that her
parents had discouraged her from becoming an artist. Moving to New Zealand provided
a liberating lifestyle, although her family also emigrated in the 1930s, creating
commitments that saw reduced her output in the 1940s. After relocating to Auckland
via Wellington, she continued to travel widely, spending the late 1950s in the Middle
East while her husband worked with UNESCO, teaching in Sydney in 1961 and travelling
to Europe with an exhibition of her work, resulting in a rich set of international
influences and a strong sense of her New Zealand context, evident in such works as
her Jerusalem series and her Polynesian portraits.
Hubert died in 1963 and a devastated Henderson threatened to sell-up and quit painting
but Auckland City Art Gallery director Peter Tomory persuaded her to continue,
resulting in a lyrical outpouring of improvised works. In the 1970s, her attention
turned to the distinct light and damp foliage of the Pacific, producing paintings of the
New Zealand bush and Polynesian scenes from Rarotonga.
Also producing tapestries, mosaics and commissions for stained glass windows,
Henderson’s interdisciplinary interests and ability to shift between media made her
an ideal candidate to exhibit at the New Vision Gallery, where founders Kees and Tine
Hos made a point of combining painting, ceramics and printmaking and endeavoured to
educate the public on abstraction, presenting important shows for the likes of Theo
Schoon and Gordon Walters.
This range of influences is evident in The Three Bathers, painted in the year she was
awarded a Queen Elizabeth II Arts Council of New Zealand fellowship. A sense of her
European roots can be detected in a composition that recalls the exoticism of Picasso
or Gaugin, but as a seasoned and sensitive observer of cultures with a life spent in the
Southern Hemisphere, it is a Pacific eye that bears witness. The soft layering of light
over her arrangement of gently faceted planes betray her design sensibilities while the
kaleidoscopic interplay of remains constant and confident, whether working in pure
abstraction or in more figurative settings such as this.
Andrew Clifford
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Bill Hammond
Flag
acrylic on unstretched canvas
title inscribed, signed and dated 1997
1410 x 2130mm
Provenance: Private collection, Auckland. Purchased by the current owner from Peter McLeavey Gallery, Wellington in 1997.
$240 000 - $320 000
T
he story of Bill Hammond’s inspirational trip to the Auckland Islands in
1991 is well known. How the islands showed him “a New Zealand before there
were men, women, dogs and possums.” How the 19th century ornithological
book ‘Buller’s Birds’ – which is populated with illustrations of many bird species
that have not survived to the present – provided part of his visual vocabulary.
And since then, how Hammond has imagined himself in that New Zealand, before
people arrived, through the surreal paintings he developed of birds-becomingpeople. His dystopian birds have watched over forests and coastlines; waited for
Buller’s return; witnessed the exfoliation of trees and the extinction of species;
and communed among themselves. So, seeing flags – so festive! – fluttering against
the sticky green of Hammond’s 1997 painting just confuses me.
I don’t know what these theatrically animated flag waving birds mean. I can’t explain
them. All I can do is copy the semaphore gestures, which seem to spell ‘despair.’
Plant a flag: claim a territory. Hoist a flag: celebrate a victory, announce a party.
Flutter a pennant: declare your Mana, hurl a challenge. But raise a red flag?
Warn of danger? Where: all around us? In the middle of the painting there is a
green and black brocade-skinned bird holding aloft a shield with a bleeding heart;
and below this, a winged messenger. What portent are they flagging? Are they
flagging something, or simply flagging? What is it to flag? To flag hoists all sorts
of down-beats into the swampy air: to give away; to give up; to tire; to give in. And
there, in the upper right quadrant of the painting, next to the bleeding heart, is
a large pale grey, striding bird-becoming-man, doing what? Is he throwing in the
towel? Has it all become too much to bear anymore? I don’t know. This not knowing
is the point I think.
Flag is a painting to drown in. Its power lies beneath its glossy surface of festive
fluttering, suffocating sap-like green and ornate gold, rich red wounds and trees
disported like wrought-iron Chinese filigree barring a window. Its power lies in the
mysterious fact that this suppurating world looks so frightening – unavoidable
and unknowable – and beautiful at the same time.
Rob Garrett
important paintings
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In our land with so many flightless native birds, the picture of earth-bound birds
with human bodies seems as ordinary and everyday as it is fantastical. I can
imagine not being startled or surprised, if – when walking through the dripping,
dark green wet bush of Fiordland – I found myself walking stride for stride next
to one of Hammond’s birds. But if I did find myself walking next to one of these
birds I might fear for my life, at least for my sanity. It would feel as if I had
slipped through a slime hole – worm hole is wrong, being too extraterrestrial,
whereas Hammond’s birds inhabit a swamp-world before memory. His bird demigods
and their glossy dribbling green world want to suck us back beneath the presentday and into the primordial – water-logged earth, oozing tree sap and rank birds’
gullets – and prevent us taking flight. I would feel as if I had slipped into the realm
of torment and dark mutilation conjured so well by Hammond’s contemporary – in
this moment when time and space slip-slide with each other – Hieronymus Bosch.
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Bill Hammond
Fly
acrylic on canvas
title inscribed, signed and dated 1999
542 x 405mm
Provenance: Private Collection, South Island
$50 000 - $70 000
“The past is a foreign country: they do things differently there”
J
L.J.P Hartley
ust when did New Zealand’s artists decide to turn their gaze on the past?
Perhaps when they realised we had one. Much of New Zealand’s modern art
history could be articulated as a headlong rush into the future. If the 19th
Century was all about the NOW as fresh of the boat artists recalibrated their anglicized
specs to a more rugged and tumescent reality, then the story of the 20th Century was
all about the new, the moderne. Our artists struggled to keep up with the breakneck
developments of post impressionism regionalism, modernism and the urgent need to find
a distinct national voice.
By the time the 1980s hove into view we’d had two hundred years of attempting to
locate the brave new dawn and then along came Bill Hammond.
‘Last, loneliest and loveliest. Exquisite, apart…’, was how Rudyard Kipling described
New Zealand in 1890s and this tone of mournful grandeur informed by isolation is an
apt text to carry with us as we approach a painting such as Fly from 1999.
From the early 1990s Hammond has focused his acute powers of observation on New
Zealand’s history and like the great Colombian novelist Gabriel Garcia Marquez his
chosen style can be described as Magic Realism. After an eon of solitude in the
foreign country that is Godzone’s past a hybridization of the species has taken place.
Curator Ron Brownson describes this process in his catalogue essay for the 2007
retrospective exhibition Jingle Jangle Morning, ‘…Hammond’s paintings have imagined
New Zealand’s history as a fabled zone populated with spectacular creatures. These
mythic beings may once have been humans, or extinct birds, or horses, but their origins
have been reworked and they have morphed into crossbreeds.’
Brownson describes these figures as humaniforms and as we see in Fly they are curious
creatures indeed. Their genus extends deep into past mythologies and the times of
Icarus, gryphons and unicorns. This is a time when life on earth was seen as miraculous,
extraordinary and scarcely within the ambit of language to describe.
That Hammond proposes such incredulities for a New Zealand history is tinged with
sadness. Those days of fertile abundance and plenty are long past. Since mankind
first touched our shores such diversity has increasingly gone the way of the moa, the
huia and Sceloglaux albifacies the Laughing Owl.
In the half light of Fly Hammond has conjured a long-lost moment where a man-bird
might tutor a bird-man in art of flight. Could Kipling or even Garcia Marquez have
imagined a scene of such tender beauty?
important paintings
paintings
important
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sculpture
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HAMISH CONEY
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Gordon Walters
Study for Rewa
ink on paper
title inscribed, signed and dated ’81 and inscribed 10 – 04 – 81
760 x 570mm
Provenance: Private collection, lower North Island
$60 000 - $80 000
G
ordon Walters’ Study for Rewa (1981) is one of the
artist’s most restrained, and yet effective, designs from
his celebrated Koru series. First exhibited in 1966,
some fifteen years previous, the artist was by the early 1980s
moving towards a greater clarity and sense of formal order in
his compositions. Walters remarked of his practice: “My work
is an investigation of positive/negative relationships within a
deliberately limited range of forms… I believe that dynamic
relations are most clearly expressed by the repetition of a few
simple elements”. The recurring ‘elements’ in the Koru series were
as little as a line, often terminating in a bulb, and a circle.
Study for Rewa features two terminating Koru bulbs meeting in the
top left corner and in the bottom right corner a single black bulb
abruptly meets a circle. In between, alternate bands of black
and white spread horizontally across the page. Such a blandly
descriptive account of the work – what theorists might refer to as
ekphrasis, the process of transferring literally what the eye sees
or reads into words – does little to convey the complexity of any
real engagement with this work, the rich cultural and aesthetic
associations with traditional Maori art and Oceanic aesthetics,
and the intricate, refined precision of the artist’s working method.
Walter’s works on paper were central to his practice and working
method. Moreoften than not the artist would begin a design with
a prepatory papier collé before producing a work on paper and
then lastly a fully-realized painting on canvas or board. Both
the papier collé’s and the works on paper serve to lay bare the
artist’s fastidious technique in a wonderfully illuminating manner
which his paintings conceal. The artist abandoned free-hand
painting in his Koru works as early as 1961 and the drawn pencil
lines and barely-visible pricks of the compass, which only reveal
themselves upon close inspection, serve as wonderful testimonies
to Walters’ unwavering exactitude as well as crucial reminders
that the artist’s earliest training was in the realm of commercial
art rather than fine art.
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BEN PLUMBLY
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R
alph Hotere is no remote, impersonal object-maker. He’s a sleeves-rolled-up artisan, a romantic in the
full-blooded sense of the word, committed to an old-fashioned idealism or humanism. His paintings and
sculptures display a confident mastery of industrial materials, and prove him a magician of metaphor.
Hotere began using brand-new stainless steel sheets in the early 1980s, and he established his ability to
make this material resonant and evocative with the Baby Iron series in 1983. Early in 1984, he exhibited a
closely-related series of works entitled 1984, at the Robert McDougall Gallery in Christchurch as part of
a Christchurch Festival group show called Paperchase: Exhibition of Works on Paper. 1984 consisted of 12
panels — essentially wall-hung assemblages — incorporating large sheets of high-grade paper stuck onto a
stainless steel surface. The work inscribed (in orange paint) with the phrase ‘Nineteen eighty four’, as well as
the artist’s signature the words “Port Chalmers” and the date “83 - 84”, is from this 1984 series.
Boxed in by its emphatic wooden frame (constructed by Hotere’s co-worker Roger Hicken from salvaged
and weathered farm timber) the work can be seen as a minimalist geometric form: a square subdivided into a
patterning of rectangles and oblongs, and dominated by a T-shaped cross motif. But if the work is formally
reductive in the classic Hotere manner, it is also characteristically rich in allusiveness, fulfilling the
artist’s aims made in one of his few public statements about what his art is seeking to do, namely: “to provide
for the spectator a starting point which, when contemplated, may become a nucleus revealing scores of new
possibilities.”
Hotere’s carefully measured treatment unveils beauty in the greyish surface of stainless steel, giving it a
silky, silvery sheen. Bent, buckled and buffed, steel’s reflective properties are channelled and managed by
the opaque paper embossments, and by a swirl of burr-marks made with the sanding disc of an angle-grinder. So
while on one level it is an exercise in formal resolution, on another, shape-shifting light — dancing ambiguously
across the surface — is intended to make you wary of the work’s focal depths: this is art about power —
political as well as aesthetic.
The date ‘1984’ pays homage to George Orwell’s famous eponymous novel (written in 1948) about the dangers
of totalitarianism, but it also marks the anti-nuclear protests of 1984 — both against US nuclear-powered
warships cruising Pacific waters and French nuclear testing near Tahiti. Look again at the central column of
the T-shape and you begin to see how this might symbolise the ocean: a fast-moving squall or water-spout out
at sea, or even some undersea force pushing upwards — a submarine-launched nuclear missile. The agitated
middle section — composed of scribbled metal, ripped paper and flurried paintwork (the colours of fire, oil, and
turbulent seawater) establish why those polished reflections to each side are so unstable. This is an anxious
time, ruled by uncertainty, and that smudged black bar at the top of the column — a line on the horizon — might
be New Zealand as a vulnerable waka.
David Eggleton
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Ralph Hotere
Nineteen Eighty Four
acrylic and paper on burnished steel in original Roger Hickin frame
title inscribed, signed and dated ’83 – ’84
770 x 770mm
Exhibited
:‘Paperchase’, Robert McDougall Art Gallery, Christchurch, 1984
Provenance : Private collection, Auckland
$80 000 - $120 000
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T
he South Canterbury plains, formed from moraine gravels deposited during
glacial periods, merge with the plains of North Otago just beyond the Waitaki
River. This is an area of moderately intensive livestock grazing but also
one prone to droughts. The prevailing foehn wind from the northwest, a weather
phenomenon referred to as the Nor’west arch, regularly dries out the surface of
the land and raises temperatures to over thirty degrees. “The plains are nameless …
By the pine windbreak where the hot wind bleeds,” McCahon’s friend Charles Brasch
wrote in his poem ‘The Silent Land’. The stubborn, almost singular, experience of living
on a flat plain without points of reference heightens the experience of disruption
between the sky and the landforms and produces disorientation. McCahon spent
much of his early life cycling through this landscape in search of seasonal work.
The concept of landscape that dominates Western art history is one irresolutely
focused on pictorial representation; the landscape is something to be seen at a
distance, framed often by a set of conventions, but not to be touched or felt.
However, in South Canterbury (1968) McCahon presents us, I would argue, with a
different experience and affect — an animated image. In his brilliant yellow expanse
of sky we feel, almost palpably, the heat of the Canterbury nor’wester. In the bright
vibrant green of the vegetation, with its hint of the characteristic patchwork grid
of farm paddocks edged by windbreak trees, we rejoice in the working over of the
fertility of local soils. All of which goes to prove a landscape is also what cultural
historian Michel de Certeau called a ‘practiced place’, a site activated by movements,
narratives, actions, labour and signs.
LAURENCE SIMMONS
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Colin McCahon
polyvinyl acetate and sand on board
signed and dated July ’68;
title inscribed, signed and dated verso
Provenance : gifted by the artist to the current owner’s parents in 1969.
: private collection, Christchurch.
Reference : Colin McCahon database
(www.mccahon.co.nz) CM001125
600 x 600mm
$85 000 - $125 000
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importantpaintings
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sculpture
South Canterbury
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Allen Maddox
Untitled
oil on canvas
title printed on original Gow Langsford Gallery label affixed verso
1200 x 1200mm
Provenance: from the artist’s estate
:
private collection,
Auckland
$20 000 - $30 000
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Allen Maddox
(section of a critical essay written by the artist on Coleridge’s Kubla Khan)
oil on cotton
title inscribed
1050 x 1780mm
Provenance : From the collection of film-writer, director and author Peter Wells
who purchased the work in the early 1980s from Denis Cohn Gallery whilst working as Denis’ assistant.
$15 000 - $22 000
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We Climbed off the 9 – 42 from Porirua. I Thought I looked a Typical Commuter but… He Recognised Me!
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Shane Cotton
TAI AAI
oil on canvas
title inscribed, signed and dated
1997
500 x 610mm
Provenance: Private collection,
Auckland.
$25 000 - $35 000
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Shane Cotton
Point
oil, encaustic and collage on plywood, diptych
signed and dated 1992 on each panel verso
1205 x 290mm each panel
2410 x 290mm overall
Provenance: Private Collection,
South Island
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$20 000 - $30 000
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John Pule
Taulani
oil on unstretched canvas
title inscribed, signed and dated 2003
2020 x 1815mm
Provenance: Private Collection,
Auckland
$25 000 - $35 000
R
eading between the lines; John Pule’s Taulani. As well as being a visual artist Pule is also the author of the novel titled
Burn my Head in Heaven. The conflicts and joys of navigating multiple belief systems; religious, cultural and personal, is at the
heart of Pule’s multi-disciplined practice.
Given his proficiency in a number of genres it is instructive to enter
this canvas via an inscription to be found in the minutiae of the banded
colour and pictograms that animate the painting’s surface.
As a viewer it may not be one’s instinctive reaction to move closer, indeed the scale of the work demands a distant view to comprehend its
grand design.
But there amongst the black and blood red striations that set the
tone for the work is a tender tableau that suggests a possible reading for this work. Two lovers converse in lyric tongue, ‘It’s nights like
this when I can watch you sleep – my eyes are two wings in the belly of
a butterfly – only because I know where your tears go at dawn.’ The
other figure offering a flower responds, ‘ Your face contains matters
of pure aesthetics.’
These secret whisperings and other symbols and statements are hidden between the lines of the work. Peer ever more closely and you
will see a church with steeples, a dolphin-like sea creature, even a
St. John’s ambulance. Depicted at least four times and on various
scales is a classic Pule motif, clouds and islands linked by ladders
and stairs. On the cloud side is a welcoming or beckoning figure. It
is a simple device to reveal Pule’s connection between the landbased
temporal existence of the human world and the heavenly or spiritual
realm.
The mingling of these vignettes of lovers and spiritual migration within
Pule’s overall formal schema is derived from the design traditions of
Nuiean hiapo or tapa than creates a universe of symbols and non linear narratives.
Pule has created a distinct library of imagery that personalizes his
Polynesian and New Zealand experience. The weaving of personal, cultural symbolism and language enables his work to be readily understood or read on a number of levels. For example the vines of the ti
mata alea (cordyline tree) that trail beneath the cloud forms are a
direct reference to the Niuean belief that all life is originated from
this tree.
Here they may be read as a metaphor for the immigrant growing in a
new land, yet retaining key cultural DNA from his homeland.
HAMISH CONEY
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Michael Smither
Still Life with Yellow Teapot
oil on board
signed with artist’s initials M. D. S and dated ’94
480 x 730mm
Provenance: Private collection, Auckland
$25 000 - $35 000
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Tony Fomison
Jester to the Current Court of France
oil on hessian on particle board
title inscribed, signed and dated 1981
and inscribed Underpainting, early May, Mars yellow 18.6.81, Blue 25.6.81 verso;
Janne Land Gallery blind stamp applied verso
270 x 395mm
Provenance: Private collection, Wellington
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importantpaintings
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$24 000 - $32 000
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Jude Rae
Still Life 20
oil on linen
title inscribed, signed and dated ’98 verso
500 x 610mm
$10 000 - $15 000
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Tony de Lautour
X
acrylic on canvas
signed and dated 2003
910 x 910mm
$12 000 - $16 000
Stanley Palmer
Motu Maraenui
oil on linen
signed and dated ’99
1110 x 1360mm
$17 000 - $26 000
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Dick Frizzell
Stumps in a River
oil on board
title inscribed, signed and dated 28 – 7 – 87
615 x 2420mm
$20 000 - $30 000
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Max Gimblett
For Sengai
acrylic on handmade pulp paper
title inscribed, signed and dated ’85
1215 x 905mm
$5000 - $8000
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Nigel Brown
A Man Amongst Yer
oil on canvas, triptych
signed and dated ’95; title inscribed, signed and dated verso
1360 x 2070mm
Provenance: Private collection, North Shore, Auckland.
$18 000 - $28 000
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paintings
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c o nd i t i o ns
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highest bid is below the vendor’s reserve this work may be announced by
the auctioneer as sold ‘ subject to vendor’s authority’ or some similar
phrase. The effect of this announcement is to signify that the highest bidder
will be the purchaser at the bid price if the vendor accepts this price. If
this highest bid is accepted then the purchaser has entered a contract to
purchase the item at the bid price plus any relevant buyers premium.
Important advice for buyers
The following information does not form part
of the conditions of sale, however buyers,
particularly first time bidders are recommended to read these notes.
(A)
Bidding at auction: Please ensure your instructions to the
auctioneer are clear and easily understood. It is well to understand that
during a busy sale with multiple bidders the auctioneer may not be able
to see all bids at all times. It is recommended that you raise your bidding
number clearly and without hesitation. If your bid is made in error or
you have misunderstood the bidding level please advise the auctioneer
immediately of your error – prior to the hammer falling. Please note that
if you have made a bid and the hammer has fallen and you are the highest
bidder you have entered a binding contract to purchase an item at the bid
price. New bidders in particular are advised to make themselves known
to the sale auctioneer who will assist you with any questions about the
conduct of the auction.
(B) Absentee bidding: ART+OBJECT welcomes absentee bids once the
necessary authority has been completed and lodged with ART+OBJECT.
A+O will do all it can to ensure bids are lodged on your behalf but
accepts no liability for failure to carry out these bids. See the Absentee
bidding form in this catalogue for information on lodging absentee
bids. These are accepted up to 2 hours prior to the published auction
commencement.
(C)
Telephone bids: The same conditions apply to telephone bids. It
is highly preferable to bid over a landline as the vagaries of cellphone
connections may result in disappointment. You will be telephoned prior
to your indicated lot arising in the catalogue order. If the phone is
engaged or connection impossible the sale will proceed without your
bidding. At times during an auction the bidding can be frenetic so you need
to be sure you give clear instructions to the person executing your bids.
The auctioneer will endeavour to cater to the requirements of phone
bidders but cannot wait for a phone bid so your prompt participation is
requested.
absentee b i d
Auction No 28
2nd April 2009
IMPORTANT PAINTINGS + SCULPTURE
This completed and signed form authorizes ART+OBJECT to bid on my behalf at the above mentioned
auction for the following lots up to prices indicated below. These bids are to be executed at the
lowest price levels possible.
I understand that if successful I will purchase the lot or lots at or below the prices listed on this
form and the listed buyers premium for this sale (12.5%) and GST on the buyers premium. I warrant
also that I have read and understood and agree to comply with the conditions of sale as printed in the
catalogue.
Lot no.
Bid max
Description
Payment and Delivery ART+OBJECT will advise me as soon as is practical that I am the successful bidder
of the lot or lots described above. I agree to pay immediately on receipt of this advice. Payment will be by cash,
cheque or bank transfer. I understand that cheques will need to be cleared before goods can be uplifted or
dispatched. I will arrange for collection or dispatch of my purchases. If ART+OBJECT is instructed by me to
arrange for packing and dispatch of goods I agree to pay any costs incurred by ART+OBJECT. Note: ART+OBJECT
requests that these arrangements are made prior to the auction date to ensure prompt delivery processing.
Please indicate as appropriate by ticking the box:
MR/MRS/MS:
PHONE BID
ABSENTEE BID
SURNAME:
POSTAL ADDRESS:
STREET ADDRESS:
BUSINESS PHONE:
FAX:
MOBILE:
EMAIL:
To register for Absentee bidding this form must be lodged with ART+OBJECT prior to the published sale time in one
of three ways:
1. Fax this completed form to ART+OBJECT +64 9 354 4645
2. Email a printed, signed and scanned form to: [email protected]
3. Post to ART+OBJECT, PO Box 68345 Newton, Auckland 1145, New Zealand
ART+OBJECT 3 Abbey Street, Newton, Auckland, New Zealand.
Telephone +64 9 354 4646, Freephone 0800 80 60 01
important
paintings
info
+ sculpture
Signed as agreed:
61
s
the 21st century auction house
PONSONBY RD
HAMISH CONEY
Managing Director
[email protected]
021 509 550
BEN PLUMBLY
Director Art
[email protected]
021 222 8183
ROSS MILLAR
Director Objects
[email protected]
021 222 8185
K’ ROAD
ABBEY
GUNDRY
GREAT NORTH RD
NEWTON RD
JAMES PARKINSON
Director Valuations
[email protected]
021 222 8184
A+O
LEIGH MELVILLE
Front of House Manager
[email protected]
09 354 4646
GEORGIE CAUGHEY
Valuation Consultant
09 354 4646
3 Abbey Street,
Newton
PO Box 68 345,
Newton
Auckland 1145,
New Zealand
Telephone +64 9 354 4646
Freephone 0800 80 60 01
Facsimile +64 9 354 4645
[email protected]
www.artandobject.co.nz
E
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Important Modern
+Contemporary
Photographs
Auction Thursday 19 July 2007
C E NTU RY
TH E 21s t
HOUSE
AU C T I O N
20th Century Design
Auction Saturday 28 July 2007
CENTURY
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THE 21
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ART+OBJECT 3 Abbey Street, Newton, Auckland, New Zealand. Telephone +64 9 354 4646, Freephone
0800 80 60 01
info
important paintings
+ sculpture
Please find my CHEQUE enclosed
63
important
i ndex
Bambury, Stephen
Brown, Nigel
Bullmore, Ted 4
47
13
Clairmont, Philip
Cotton, Shane
27
5, 38, 39
de Lautour, Tony
44
Dibble, Paul
17, 20, 21, 23
Driver, Don
12
Fomison, Tony
Frank, Dale
Frizzell, Dick
3, 29, 42
8
11, 46
Gimblett, Max
10
photographs
June 2009
entries invited
Hammond, Bill
7, 15, 31, 32
Henderson, Louise
30
Hotere, Ralph
6, 34
Killeen, Rick
26
Maddox, Allen
36, 37
McCahon, Colin
9, 24, 25, 28, 35
Millar, Judy
2
Ngan, Guy
18
Palmer, Stanley
Pule, John 45
14, 40
Rae, Jude
Robinson, Ann
43
22
Smither, Michael
Stringer, Terry
41
16, 19
Upritchard, Francis
1
Walters, Gordon
33
Peter Peryer
Trout
vintage gelatin silver print, 1987
$9000 - $14 000
decorative arts
+ items of New Zealand
interest May 14
Rick Lewis
Anton Seuffert
Kangeroo
Inlaid table top
$1000 - $2000
$18 000 - $24 000
bronze
native NZ timbers
important paintings
+ sculpture
entries invited
65