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CONTENTS
click on artist name to jump to that page
1
IAN SCOTT
Lattice No. 190 (2009)
2
PAT HANLY
Bride and Groom Accidents (2014)
3
DICK FRIZZELL
Pascoid Tiki #17 (2013)
4
MICHAEL SHEPHERD
Maungataketake Mountain, Ihumātao (1985)
5
YUKI KIHARA
Bicep with Skinfold Caliper (2015)
6
KARL MAUGHAN
Kauri / Kauri Bay (2019)
7
TERRY STRINGER
Balcony Scene (2020)
8
LISA REIHANA
PELT - Camarillo (2016)
9
RALPH HOTERE
Winter Solstice (1998)
10
JEFFREY HARRIS
Religious and Allegorical Painting (1973)
11
NIGEL BROWN
Concerning Our Earth Nurturing (2017)
12
PAUL DIBBLE
Godwits Do Fly (2019)
13
DICK FRIZZELL
Mt St Bathans from St Bathans Downs Road (2019)
14
ANN ROBINSON
Ice Bowl #89 (Hyacinth Blue) (2010)
15
DARRYN GEORGE
Rata (2010)
16
ROBERT JAHNKE
Navarra Pātiki Mā (2014)
17
LISA REIHANA
Cook’s Folly (36000) (2017)
18
TERRY STRINGER
That Certain Smile (2016)
19
NEIL DAWSON
Atmosphere (2018)
20
YUKI KIHARA
Mass Grave, Vaimoso (2013/14)
21
IAN SCOTT
Lattice No. 138 (1986)
22
CHRIS HEAPHY
Perfect Day (2018)
23
JEFFREY HARRIS
White Painting (1988)
24
MICHAEL HIGHT
Towards Port William (2016)
25
YUKI KIHARA
Maui Descending a Staircase II (After Duchamp) (2015)
26
DICK FRIZZELL
Red Painting (2018)
27
CHRIS CHARTERIS
After the Flood (2020)
28
IAN SCOTT
Lattice No. 144 (1986/87)
29
ROBERT JAHNKE
Common Law Rights (2004)
30
LISA REIHANA
Diva (2007)
31
NEIL DAWSON
Cloud 10 (2013)
32
JOANNA BRAITHWAITE
Grand Times (2013/14)
IAN SCOTT 1
Lattice No. 190 (2009) acrylic on canvas frame: 1047 x 1047 x 55 mm stretcher: 1012 x 1015 mm signed, dated “Nov 2019” and titled verso
“… with Ian Scott: there is more to his Lattices than flat patterns… What is significant is that they present a flat pattern while doing a whole lot of other things. They absorb, resolve and emblematise feelings, ideas and places. They do all this and still come out the other side as unified abstract pictures. Space is as important as what happens on the surface. From the beginning, Scott filled his Lattices with a new sense of space.”
Pricelist
Contents
Edward Hanfling, Ian Scott: Lattices, Ferner Galleries, 2005 p. 11
PAT HANLY 2
Bride and Groom Accidents (2014) stained, painted glass frame: 768 x 1156 x 25 mm glass window: 680 x 1070 mm produced in collaboration with Ben Hanly and Suzanne Johnson
Pricelist
Contents
From 1980 onwards Pat Hanly produced major commissions and important stained glass works in direct collaboration with Ben Hanly and Suzanne Johnson. Adapted from the 1990 Bride and Groom screen print, the accident referred to in the title occurred at the wedding of (close friends) Peter Webb and Annie who tripped on the stairs and her bouquet flew into the air.
DICK FRIZZELL 3
Pascoid Tiki #17 (2013) oil on linen frame: 1120 x 1048 x 66 mm stretcher: 922 x 852 x 40 mm signed, dated “23/3/2013” and titled bottom right
Frizzell’s adaptation of the traditional tiki form, hybridising it with European abstraction and twentieth century modernism, once fuelled intense debate about ‘cultural taboos’ and what an artist “can do and… can’t do – and who can do it.”1 The significant Pascoid Tiki #17, delivered with “the sureness of Frizzell’s hand” where “every touch is decisive”2 adroitly bridges time and place and is noticeably imbued with revelations of character and sensations of being alive.
Pricelist
Contents
1. Dick Frizzell, The Painter, Godwit, 2009, p.163 2. T J McNamara, NZ Herald, 11 April 2015
MICHAEL SHEPHERD 4
Maungataketake Mountain, Ihumātao (1985) oil on linen frame: 567 x 695 x 58 mm stretcher: 382 x 510 x 28 mm dated top right
Pricelist
Contents
Meticulously observed, with a dense paint surface of sap green and umber, Michael Shepherd’s plein air painting of Maungataketake Mountain, Ihumātao is a work of profound importance. Recording the quarrying process of the mountain’s destruction and delivered with a sense of veracity and naturalism, Shepherd recognises that history is embedded in the ground. He builds a timeless metaphor of New Zealand life: what we should value and what we did not. Ihumātao, the site of the Otuataua stonefields, large pā, wāhi tapu and the oldest Māori settlement in Auckland, was confiscated by the New Zealand Government in 1863 as punishment for support of the Kīngitanga movement. It remains a much contested site as well as one of considerable historic, cultural and anthropological significance.
Exhibited
Michael Shepherd: Reinventing History Painting, Waikato Museum, 2019
YUKI KIHARA 5
Bicep with Skinfold Caliper (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP - panel: 680 x 1000 x 4 mm collector’s edition of 11 + 2 AP - panel: 455 x 670 x 4 mm
“Anthropometry is the study of human diversity that reached its peak in the late nineteenth century… Yuki Kihara’s photographic series references anthropometry’s contemporary functions in professional sport, in which minute functions of the body are studied in order to produce the best possible human sporting machine. Anthropometry produces standards… but most of all it establishes hierarchy. Humans become specimens… more like animals…” “Anthropometry… arose concurrently with significant developments in photography… Two photographers in particular explored the study of human movement … Englishman Eadweard Muybridge… Frenchman Etienne-Jules Marey.” Kihara powerfully reminds us that the objectification, methodologies and ongoing perceptions of racial hierarchy fundamental to “anthropometry persists… via its use in sports science” today.
Contents
All references: Mandy Treagus, “Anthropometry to Maui: A Study of a Samoan Savage (2015)”, Yuki Kihara, A Study of A Samoan Savage, exhibition catalogue, Te Uru Waitakere Contemporary Gallery, 2016, pp. 2-5
Provenance
Pricelist
Auckland Art Gallery Toi o Tamaki. Los Angeles County Museum of Art.
Exhibited
A Study of a Samoan Savage, Te Uru Waitakere Contemporary Gallery, 2016 Middle of Now: Here, Honolulu Biennial, 2017 A Study of a Samoan Savage, Whangarei Art Museum, 2017
KARL MAUGHAN 6
Kauri / Kauri Bay (2019) diptych; oil on linen overall size: 2002 x 4005 x 39 mm stretchers: 2002 x 2002 x 39 mm each each stretcher signed, dated and respectively titled “Kauri” and “Kauri Bay” verso
Perhaps the best known of all New Zealand artists internationally and the subject of a major Auckland University Press book publication just released, Karl Maughan’s invented gardens “exude confidence in the qualities of paint and the artists virtuoso expressive power in handling it.”1 The reality of place is the inspiration, delivered with Maughan’s characteristic rhythmic thick brushstroke, colour contrasts and depths. With Kauri / Kauri Bay, major in scale and achievement, presenting the garden as an architectural arcadia and a destination, conceived as a single work but clearly also two stand-alone panels, Maughan delivers an immersive experience. Up close, we witness the artist’s hand, each gesture and stroke in an abstracted symphony of pure alla prima colour. Conversely, from some distance, Kauri / Kauri Bay are representational idylls: poems of place. Expertly and convincingly, Maughan places the civilised world of the garden at our feet, inviting us to enter…
Pricelist
Contents
1. T J McNamara, Down Vivid Garden Path, NZ Herald, 15 November 2013
TERRY STRINGER 7
The Balcony Scene (2020) cast bronze edition of 2 + 1 AP height: 2300 mm
“Terry Stringer is a key figure in the history of art in New Zealand.” Using his nowcharacteristic device of vertical divisions, Stringer builds context with fragments, a narrative with body parts which morph seamlessly from one to the other and turn a cylinder shape into a three-sided revelatory form. “Stringer is one of the few New Zealand artists… to have been extensively involved in stage and set design.” Using dramatic foreshortening, transformative puns with shape, allusion and suggestion, scale exaggeration and a tonal treatment of mass, Stringer adds complexity to repose, certainty to classical beauty, and an allegory about helping each other up. 1. Dr Robin Woodward, Terry Stringer, Transfigured Heads, Zealandia Sculpture Garden, 2013, p. 3
Pricelist
Contents
2. Mark Hutchins-Pond, Terry Stringer, Face/Space, Pataka Art Museum, 2013 p. 7
LISA REIHANA 8
PELT - Camarillo (2016) pigment print on paper edition of 10 frame: 1255 x 1255 x 65 mm
“Adorned in cascades of white ostrich plumes,” Reihana builds a secular fiction “imbued with psychological and emotional allusions.” Camarillo deriving its name from “a pure white breed of horse” exists in “an imagined space that is part utopia and part dystopia.” “Scale and assumptions about locale are subverted as the frosted landscape becomes a character in the intrigue. Reihana digitally manipulated the landscape from photographs she took in winter in the Volcanic Plateau, while the ‘tree’… is a delicate fern from the Far North… traditionally associated with tangi… and… remembrance of a lost relative.” Solitary, self-assured, a heroine in “an imaginative conjuring of events” Reihana builds “a fiction that whisks myth…” and a “possible future” powerfully together.
Pricelist
Contents
All references: Rhana Devenport, “Lisa Reihana’s PELT and Other Ustopian Fables”, Contemporary Visual Art + Culture Broadsheet, Vol 41.1, March 2012, p. 55-57
RALPH HOTERE 9
Winter Solstice (1988) stained glass in wooden window frame frame: 1175 x 985 x 42 mm signed and dated bottom left
Like Pat Hanly, Ralph Hotere worked with glass as a key medium right throughout his career. The outstanding, colour-rich Winter Solstice (believed to be the largest of all his stained glass works) originally hung in his Observation Point studio window overlooking Port Chalmers and directly out to Aramoana and Taiaroa Head at the entrance to Otago Harbour.
Pricelist
Contents
Explicitly referencing the sinking of the Rainbow Warrior at Matauri Bay and the crucifixion of Christ, using German float glass for the body which has surface qualities and colour variations like kauri gum, Winter Solstice depicts an abstracted figure with two bleeds falling from where the spear wounds would be. The shape of the body and shoulders collectively form a tau cross furthering the Christian (Catholic) iconography so fundamental to Hotere’s visual language.
JEFFREY HARRIS 10
Religious and Allegorical Painting (1973) oil on board frame: 1255 x 1255 x 54 mm panel: 1220 x 1220 mm signed, dated “August 1973” top right corner signed, dated, titled and inscribed “Wgtn” verso
Psychologically epic, containing a vast cast of characters, signs and symbols, engaged in a ceaseless theatre of love and loss, insistently potent, with a narrative that slips and slides. “Raw and visceral and collage-like – a dreamscape – this is a painting that, despite the gaiety of colour and occasional sardonic detail, is pervaded by melancholy. Each of these figures seems locked inside their own contemplative sadness, even while they act in concert in a theatrical spectacle staged in a back-blocks of lonely hills and tamed farmland. Based on Christian iconography skewed to a New Zealand perspective, and offering multiple sometimes contradictory readings, the painting evokes … the country itself as a fallen arcadia, a Golgotha…”1
Pricelist
Contents
1. David Eggleton, Five Important Paintings, Milford Galleries Dunedin, 2020, p. 4
Exhibited
Stations of the Cross, Govett-Brewster Art Gallery, 1981
NIGEL BROWN 11
Concerning Our Earth Nurturing (2017) acrylic on linen frame: 1654 x 1249 x 60 mm signed and dated lower right
“Brown’s now trademark style showing the archetypical good keen man and his partner deep in wild New Zealand encased within a frame of text… the focus is strongly on nurture… cradling native birds… against a background of their natural habitats: these are not the axe-wielding foresters of old but are bush-knowledgeable environmental warriors.”
Pricelist
Contents
James Dignan, “Concerning Nurture,” Otago Daily Times, 19 July 2018
PAUL DIBBLE 12
Godwits Do Fly (2019) cast bronze, 24 karat gold gilding edition of 2 + 1 AP size: 2000 x 1040 x 600 mm
“Birds have long been a part of Paul’s work… The marvel of the flight of the godwits, such ordinary looking birds, was witnessed by Paul as a child. The enormous moving colonies at Miranda on the Firth of Thames, near the area where he grew up, inspired him. He paid tribute to the birds and their 12,000-kilometre flights over oceans, with the sculpture Godwits do Fly 2019 (a reference to both the title of the Robin Hyde novel The Godwits Fly and Janet Frame’s Owls do Cry…) Here the ocean is represented as a textured bronze horizon.”
Pricelist
Contents
Fran Dibble, Paul Dibble, A Decade of Sculpture 2010-20, David Bateman Ltd, 2020, p. 94-95
DICK FRIZZELL 13
Mt St Bathans from St Bathans Downs Road (2019) oil on linen stretcher: 1251 x 3003 x 34 mm signed, dated “27/7/19” and titled bottom right
Pricelist
Contents
Delivered with a wide-angled sensation of looking down and across then up and into deepening expanse, further enlivened by additional feelings of going somewhere yet already being there, Frizzell’s important, accurate and immersive work of Central Otago slowly reveals the presence of man: the fenced sightlines, the twisting disappearing road, a wilding tree, an irrigated paddock surrounded by golden tussock, ringed by mountains.
ANN ROBINSON 14
Ice Bowl #89 (Hyacinth Blue) (2010) cast glass size: 211 x 375 x 375 mm signed, dated, numbered “#89” and inscribed “NZ” verso
Undoubtedly one of New Zealand’s finest artists in any medium Ann Robinson is acknowledged as one of the great glass artists of the world. Ice Bowl # 89 (Hyacinth Blue) possesses a serene grace and unique formal beauty.
Pricelist
Contents
Comprised of dichroic glass (which completely changes colour under fluorescent light from a regal purple to blue), the varying facets and thicknesses of the shifting ice platelets which rhythmically encircle the bowl deliver a nebulous quality, while the work quietly - constantly - mutates: as light catches the surfaces and edges, inside and out, new shades and tones emerge with the ever-shifting hues. This is a sculpted work of considerable gravity and presence.
DARRYN GEORGE 15
Rata (2010) oil on canvas stretcher: 760 x 1012 x 35 mm signed, dated and titled verso
Utilising the “geometric parquetry of line and colour… a formal patterning of… red, black and white”,1 Darryn George repeats the word Rata and the architecture built “becomes an abstracted motif, a series of vertical and horizontal scaffolds suggesting the structure, colours and patterns of rafters, poles and kowhaiwhai”2 of the wharenui.
Pricelist
Contents
1. Sally Blundell, “Pulse,” NZ Listener, August, 2008 2. Ibid
ROBERT JAHNKE 16
Navarra Pātiki Mā (2014) wood, paint, neon, one way glass, mirror, electricity size on wall: 1463 x 1465 x 137 mm titled verso
Contents
Jahnke builds vast illusionary depths using chromatic symbolism with the visual field receding infinitely into darkness. ‘X’ is a plural symbol: it denotes the spot or negates a statement. It is the number 10 in the Roman numeric system, in algebra the unknown, in arithmetic the multiplier. More significantly, in New Zealand it has a very particular cultural language: the cross form is the basic stitch in tukutuku weaving, the building block for patterns such as kaokao or pātiki (the flounder), each performing its own particular metaphorical role in Te Ao Māori.
Pricelist
Exhibited
Bob Jahnke & Friends, TSB Arena Maori Market, 2014 Tuku Iho: To Bequeath, Bath Street Gallery, 2015 ATA: A Third Reflection, toured to Pataka Art + Museum, Porirua; Whangarei Art Museum; Waikato Museum; Tauranga Art Gallery; TSB Wallace Arts Centre, Auckland, 2016-18 Sydney Contemporary Carriageworks, 2018
LISA REIHANA 17
Cook’s Folly (36000) (2017) pigment print on paper, mounted on aluminium dibond behind acrylic glass edition of 9 + 2 AP panel: 761 x 2005 x 6 mm
Undoubtedly the star attraction of the Venice Biennale 2017 with her seminal work In Pursuit of Venus [infected], Lisa Reihana in recent times has been identified – (by Michael Brand, Director, Art Gallery of NSW) – as “one of the most influential artists of the decade.”1 Extrapolated from the video, set in the imagined Pacific of the neo-classical wallpaper Cook’s Folly reprises the narratives of his three voyages. Reihana revealing Cook to be culturally flawed and thereby ultimately the architect of his own death.
Pricelist
Contents
1. Artnet News, December 23, 2019
TERRY STRINGER 18
That Certain Smile (2016) cast bronze edition of 2 + 1 AP size: 2535 x 650 x 600 mm signed, dated and numbered above base
Using his trademark “optical sleight of hand” Terry Stringer “quite literally sculpts his narratives round the three-dimensional form.” Using portions to suggest the whole, “physical depth is compacted, perspective exaggerated and motifs are… contorted.”1 Utilising quite distinct viewing positions and figurative elements as symbolic devices, in the enigmatic and unforgettable That Certain Smile Stringer introduces notions of time, dream and wistfulness: ironically in that process turning the viewer into the gazed upon and questioned.
Pricelist
Contents
1. Mark Hutchins-Pond, Terry Stringer, Face/Space, Pataka Art Museum, 2013 pp. 6-8
NEIL DAWSON 19
Atmosphere (2018) stainless steel, paint size: 710 x 710 x 710 mm
Regarded as one of New Zealand’s most significant artists and sculptors, Dawson’s spherical forms sit at the pinnacle of his considerable achievements nationally and internationally.
Pricelist
Contents
Radiating silver ferns protectively rise up and fall, separated by Dawson’s equally iconic cloud forms circling the equator. Lit by natural and/or artificial light an array of changing shadows appear.
YUKI KIHARA 20
Mass Grave, Vaimoso (2013/14) pigment print on paper edition of 2 + 1 AP - frame: 1438 x 1929 x 60 mm, printed image: 1188 x 1680 mm edition of 5 + 2 AP - sheet: 795 x 1040 mm, printed image: 595 x 840 mm
In the guise of her celebrated time-travelling character Salome, Yuki Kihara visits the overgrown site of the mass grave at Vaimoso, Samoa.
Pricelist
Contents
On 4 November 1918 the island trader The Talune, sailing directly from Auckland, berthed at Apia, Western Samoa, then fully controlled and occupied by New Zealand forces after being seized from Germany at the beginning of WW1. The New Zealand authorities there failed to apply any quarantine restrictions, allowing passengers including six already seriously ill to disembark. Within a week the influenza epidemic already sweeping New Zealand was in that manner introduced, resulting in the deaths of over 8,500 Samoans, comprising 1/5th of the entire population.
IAN SCOTT 21
Lattice No. 138 (1986) acrylic on canvas stretcher: 1780 x 1780 x 32 mm signed, dated and titled verso
“… a Lattice painting is never simply an enactment or depiction of lattice-work. The bands never literally pass over and under each other. This takes the form of pictorial illusion… The colours of the Lattices themselves generate a sense of pictorial illusion – a dazzling ‘in and out’ spatial interplay which animates the surface… This is not figurative or perspectival illusion, but an ‘optical space’ produced by combination and juxtaposition of colour… The ambivalence (of space and surface) and the optical splitting of colour and shape (or colour and composition) marks a point of difference between the Lattices and grid-based abstraction … In the Lattices, the lines of the lattice pattern are in tension with the bending and warping of the bands, not to mention the stoppings and startings of colours across the surface.”
Pricelist
Contents
Edward Hanfling, Ian Scott: Lattices, Ferner Galleries, 2005, p. 34
CHRIS HEAPHY 22
Perfect Day (2018) acrylic on Belgian linen stretcher: 1305 x 1000 x 38 mm signed, dated and titled verso
Pricelist
Contents
Using subtle shifts in depth and space, the optics of advancing and receding colours, a Japanese aesthetic and the organic shapes of lines, Heaphy builds a strikingly plural work that floats and hovers. The silhouette of a heron looking out and geometric shapes including explicit references to Gordon Walters work add suggestive layers of visual complexity into the meditative context.
JEFFREY HARRIS 23
White Painting (1988) oil on canvas stretcher: 2130 x 1524 x 37 mm signed, dated and titled verso
White Painting references a number of central subjects that Harris has continued to explore throughout his practice: the family unit, social relationships, and emotional turmoil. The figures appear dislocated and isolated despite proximity to one another while the painting thrums with a palpable tension.
Pricelist
Contents
Disembodied tethered heads float across the canvas like balloons, images of hands and so on act as allegorical signposts. The flattened perspective and bold brushwork accentuate and suggest undercurrents of fraught, intense relationships.
MICHAEL HIGHT 24
Towards Port William (2016) oil on linen stretcher: 1110 x 1980 x 35 mm titled bottom left, signed and dated bottom right signed, dated and titled verso
Pricelist
Contents
Port William – at the south eastern end of Rakiura (Stewart Island) – widely used by whalers and sealers (1790-1815) for shelter, wood and water supplies on route south was also one of the first sites examined for planned colonial settlement in New Zealand. In this beguiling work, Hight uses objects as symbolic devices in a poetic narrative about the passage of time and changing values. He plays with scale by placing a wooded island landscape into a ring of tin – a subtle reference to the tin rush at Port William and a metaphoric image of sanctuary. Elements of dream emerge: an empty music stand, an abandoned accordion sits atop a coal range where shafts of light reveal a stand of wind-shaped manuka trees.
YUKI KIHARA 25
Maui Descending a Staircase II (After Duchamp) (2015) single channel digital video edition of 9 + 2 AP silent, 6 min 9 sec
Explicitly acknowledging Duchamp’s A Nude Descending a Staircase, No. 2 (1912) and reprising Muybridge’s use of sequential motion, Kihara draws upon the 19th century Samoan colonial experience of the human zoo, a form of exotic entertainment and theatre then popular in Europe where Samoan men’s athleticism was celebrated as if in their natural state. The video is at once breath-taking and captivating. Revealing multiple layers of content, and numerous art, political and social dialogues, delivered with Kihara’s signature stylistic techniques of repetitive fragmentation, outline and overlay, there is also a directness of gaze introduced that elicits then seduces the viewer’s participation.
Contents
CLICK HERE TO VIEW THE VIDEO ON VIMEO
Pricelist
Exhibited
A Study of a Samoan Savage, Te Uru Waitakere Contemporary Gallery, 2016 Pacific Project, Orange County Museum of Art, California, 2016 A Study of a Samoan Savage, Whangarei Art Museum, 2017 Middle of Now: Here, Honolulu Biennial, 2017 In Context - The Past Was Waiting for Me, Goodman Gallery, Cape Town, 2018
DICK FRIZZELL 26
Red Painting (2018) oil on canvas stretcher: 2208 x 1800 x 33 mm signed, dated “8/1/2018” and titled bottom right
Widely acknowledged to possess a rare stylistic dexterity, Frizzell sees ‘art’ in the mundane, the ordinary and what we take for granted. The vernacular of the sign - “as much an object in the landscape as a tree”1 - becoming one of the core subjects in his distinctive oeuvre. The abstracted, segmented, abrupt contrasts of Red Painting collectively become a visual diary of rural life revealing its commerce, culture and social fabric.
Pricelist
Contents
1. Dick Frizzell, The Painter, Godwit, 2009 p. 243
Exhibited
Bark, Central Stories Museum and Art Gallery, Alexandra, 2018
CHRIS CHARTERIS 27
After the Flood (2020) assorted native timber from the Coromandel size on wall: 2400 x 2150 x 360 mm
Pricelist
Contents
Presented as a necklace or lei, comprised of wooden sticks deposited upon Coromandel beaches following the increasingly prevalent torrential summer floods, this emotive and symbolic work is a lament about our lax environmental stewardship and the realities of global warming.
IAN SCOTT 28
Lattice No. 144 (1986/87) acrylic on canvas frame: 1176 x 1176 x 55 mm stretcher: 1143 x 1143 mm signed and titled verso
“The Lattices stand as a major contribution to the field of geometric abstraction. They are flat paintings, with uniform colour densities and no visible brushmarks. Only straight lines are used. The whole canvas is filled without any sense of the painting being confined within it; on the contrary, the paintings energise the space around them. Every element in the painting has its place as part of the whole – there are no isolated areas which can be read as objects – yet each is discrete. Elements are placed for logical reasons, rather than compositionally. There is a strong sensation of depth and overlapping, yet no element is painted over or obscured by another. There is a strong sense of design, yet the design is so much a part of the overall concept that it does not look contrived … There is a strong sense of bright colour, but by limiting his range of colours Scott generates consistency…”
Pricelist
Contents
Warwick Brown, Ian Scott, Marsden Press, 1997, p. 23-24
ROBERT JAHNKE 29
Common Law Rights (2004) polished stainless steel, kauri size: 955 x 300 x 60 mm
Directly related to his Ta Te Whenua (1995) work in the Auckland Art Gallery collection about the 1995 “fiscal envelope established by the Crown relative to the outstanding Treaty Claims,” when the New Zealand government “offered a ‘full and final’ cash settlement for land losses, to a maximum of one billion dollars,” Common Law Rights uses a “half relief stamp form [which] is reflected on the stainless steel base to create an illusion of a three dimensional stamp while the inverted text on the stamp head reveals a reflected message relating to Māori issues requiring redress by the Crown.”1 The alienation of Māori from ancestral land occurred in post-colonial New Zealand in a variety of ways, as variously as complete confiscation and claiming purchase from an individual: both circumstances followed by the surveyors measuring pegs. Using the symbol of an oversized slanted kauri peg, Jahnke holds a mirror up to that circumstance and those long-standing grievances.
Pricelist
Contents
1. Robert Jahnke in email correspondence with Stephen Higginson, 8 December 2020
LISA REIHANA 30
Diva (2007) crystal flex on aluminium edition of 5 + 1 AP panel: 2000 x 1250 x 28 mm
“Lisa Reihana has always aspired to create a wharenui – a carved meeting house – all the elements of a Marae… her own version of a gathering place… Conceived as Tūpuna (ancestral figures) and poupou (the carved figures that line the walls of a meeting house)… referenced male atua (deities) drawn from Māori creation stories and whakapapa (genealogy) as well as takatāpui or cross-gendered figures. Diva… is a lyrical… image… the second takatapui portrait.”1 In Diva we see a Māori Madonna reaching for the Holy Spirit which is revealed to be a fluttering tui.
Pricelist
Contents
1. Megan Tamati-Quennell, “Extending the Whanau: Lisa Reihana’s Digital Marae,” Art NZ, Issue 123, Autumn, 2008 p. 54-55
NEIL DAWSON 31
Cloud 10 (2013) painted steel size on wall: 655 x 1370 x 190 mm
Pricelist
Contents
Comprised of swirling I beams – a dominant motif in Dawson’s visual language and his on-going conversation about architecture – Cloud 10 has at its centre a halo. Red to the front, yellow behind, a glow materialises in the ever-present shadows. A dialogue about mankind’s physical and spiritual presence emerges.
JOANNA BRAITHWAITE 32
Grand Times (2013/14) oil on canvas stretcher: 1984 x 1679 x 22 mm signed, dated and titled verso
Pricelist
Contents
Braithwaite’s distinctive anthropomorphism delivers a circular narrative featuring the endangered Otago skink. Depicted clutching nuggets of gold like swaddled babies, staring out with the supremacy of Victorian insouciance, Braithwaite examines the Victorian portraiture tradition amidst symbols of time passing, time ticking‌
PRICELIST
click on artist name to jump to that page
1
IAN SCOTT
Lattice No. 190 (2009)
19,000
2
PAT HANLY
Bride and Groom Accidents (2014)
65,000
3
DICK FRIZZELL
Pascoid Tiki #17 (2013)
49,000
4
MICHAEL SHEPHERD
Maungataketake Mountain, Ihumātao (1985)
19,000
5
YUKI KIHARA
Bicep with Skinfold Caliper (2015)
6
KARL MAUGHAN
Kauri / Kauri Bay (2019)
90,000
7
TERRY STRINGER
The Balcony Scene (2020)
63,000
8
LISA REIHANA
PELT - Camarillo (2016)
15,500
9
RALPH HOTERE
Winter Solstice (1998)
POA
10
JEFFREY HARRIS
Religious and Allegorical Painting (1973)
POA
11
NIGEL BROWN
Concerning Our Earth Nurturing (2017)
30,000
12
PAUL DIBBLE
Godwits Do Fly (2019)
95,000
13
DICK FRIZZELL
Mt St Bathans from St Bathans Downs Road (2019)
14
ANN ROBINSON
Ice Bowl #89 (Hyacinth Blue) (2010)
15
DARRYN GEORGE
Rata (2010)
16
ROBERT JAHNKE
Navarra Pātiki Mā (2014)
8,250 / 3,750
All prices are NZD and include GST; Prices are current at the time of the exhibition
110,000 40,000 9,500 37,500
17
LISA REIHANA
Cook’s Folly (36000) (2017)
22,500
18
TERRY STRINGER
That Certain Smile (2016)
63,000
19
NEIL DAWSON
Atmosphere (2018)
30,000
20
YUKI KIHARA
Mass Grave, Vaimoso (2013/14)
21
IAN SCOTT
Lattice No. 138 (1986)
37,500
22
CHRIS HEAPHY
Perfect Day (2018)
16,500
23
JEFFREY HARRIS
White Painting (1988)
85,000
24
MICHAEL HIGHT
Towards Port William (2016)
30,000
25
YUKI KIHARA
Maui Descending a Staircase II (After Duchamp) (2015)
15,750
26
DICK FRIZZELL
Red Painting (2018)
48,000
27
CHRIS CHARTERIS
After the Flood (2020)
22,000
28
IAN SCOTT
Lattice No. 144 (1986/87)
22,000
29
ROBERT JAHNKE
Common Law Rights (2004)
10,000
30
LISA REIHANA
Diva (2007)
15,000
31
NEIL DAWSON
Cloud 10 (2013)
22,500
32
JOANNA BRAITHWAITE
Grand Times (2013/14)
27,500
15,750 / 5,000
All prices are NZD and include GST; Prices are current at the time of the exhibition