Important Paintings $ Contemporary Art

Welcome to A+O’s final Important Paintings and Contemporary Art catalogue of 2012. This catalogue comes in the aftermath of the most successful art auction in New Zealand history, The Les and Milly Paris Collection offered in September of this year was in effect a half century love affair with contemporary New Zealand art. Whilst the auction results were quite extraordinary and included new records for numerous New Zealand artists, the overriding theme of the collection and the contribution made by Les and Milly Paris to New Zealand’s visual arts discourse revealed the vital role that committed collectors can play within this conversation.

Over the course of the pre-auction exhibitions held by ART+OBJECT in Wellington and Auckland the A+O team met literally thousands of New Zealanders who are passionate about the art of this country. So many visitors recalled their own personal connection to individual works in the Les and Milly Paris Collection, many of which had been exhibited over the years in public galleries – testimony to the generosity of the Paris family in sharing their collection with the nation.

The new owners of works from the Paris Collection now share a direct link to the tradition of contemporary art collecting that in large measure Les and Milly helped to establish in New Zealand.

ART+OBJECT 3 Abbey Street Newton Auckland PO Box 68 345 Newton Auckland 1145 Telephone: +64 9 354 4646 Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 info@artandobject.co.nz www.artandobject.co.nz

Front & back covers:

Tony Fomison From the Theodore A. Xaras Cover of “Time” Magazine, Issue for 18. 1. 71 oil on hessian on wood, 1973 lot ∆52

This catalogue includes numerous significant works that reveal the strength and diversity of the art of Aotearoa. It is our hope that these works may form the beginnings of fascinating collections that will move this conversation forward in new and interesting directions.

The A+O team would like to thank all our clients and friends for their support in 2012 – our most successful year to date. In the introduction section of the catalogue you will see some of the exciting 2013 catalogues we have planned. Over the course of the viewing for this catalogue we hope to see you and perhaps enjoy a glass of Seresin wine to toast the artists and collectors that enrich our lives.

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Phantom Coupé What will your inspiration be?

Inspired by pioneer aviator and co-founder of Rolls-Royce Motor Cars, Charles Stewart Rolls, the Phantom Coupé Aviator Collection uses specially commissioned paintwork, saddle leather footmats and an aviation grade Thommen clock to epitomise the golden age of flight. From the smallest detail to the boldest statement, there really is no limit to what can be achieved with Rolls-Royce Bespoke.

Choose your inspiration. Experience a car with endless possibilities; a car bespoke to you.

Rolls-Royce Motor Cars Auckland, 11-15 Great South Road, PO Box 9718, Newmarket, Auckland Tel: +64 9 969 3350 Fax: +64 9 969 3354 www.rolls-roycemotorcars-auckland.com © Copyright Rolls-Royce Motor Cars Limited 2012. The Rolls-Royce name and logo are registered trademarks.

119% sold by value 91% sold by volume Sale total $4 650 000

THE LES AND MILLY PARIS COLLECTION

Intergenerational art ownership is just one of many challenges you may need to address. Is that something you should plan for now, or later?

Covisory Partners offers independent generational succession advice.

We work closely with you to put the necessary structures in place so you can exit your family business, or hand over your family trust with confidence when the time is right.

CONSULTING + PRIVATE CLIENTĂˆLE Ph

0800 898 181

www.covisory.com

Maori and Oceanic Art, Rare Books and Photographs 6 December 2012

The Maori and Oceanic Art catalogue features a collection of cloaks and kete, fishhooks, toki, Solomon Island pieces, superior folk art and a pair of large and important Tene Waitere carved figural boards formerly from the collection of the Buried Village, Te Wairoa in Rotorua.

The Rare Books catalogue includes a fine selection of early colonial photography including albums of 19th century Whanganui River and Maori scenes, a Burton Bros. album of 19th century Auckland images and a grouping of Clutha River gold dredge photographs by W. Esquilant. Also a first edition of Cook’s Second Voyage and early New Zealand maps inc. a very rare and fine example of the Bayly’s chart dated 1772.

The Balneavis Archive Lieut. Colonel Henry Colin Balneavis (1818 – 1876).

H. C. Balneavis arrived in New Zealand as an officer of the 58th Regiment shortly after the sack of Kororareka in 1845. He was present at the assault on Ruapekapeka in 1846 where he commanded the advance picket. His personal archive and journal includes original artworks by John Gilfillan, Joseph Jenner Merrett and Cuthbert Clarke as well as extremely rare plans of the Ruapekapeka fighting Pa and important documents relating to the Whanganui conflict in 1847.

John Gilfillan War Dance graphite on paper title inscribed, signed and dated 1847 160 x 305mm

New Collectors Art 21 February 2013 Entries invited until January 25th

Contact: Leigh Melville leigh@artandobject.co.nz 09 354 4646 021 406 676

20th Century Design March 2013 Further entries invited Contact:

Paul Kafka (Australia 1907 – 1972)

James Parkinson james@artandobject.co.nz 09 354 4646 021 222 8184

A fi ne mid-century marquetry sideboard in pear wood and fi ddle back maple.

W.2700mm $10 000 – $15 000

Robin White Harbour Cone from Hooper’s Inlet screenprint, 8/75 title inscribed and signed 460 x 460mm Provenance: Private collection, Central Otago. $6000 – $8000

Asian & Decorative Arts March 2013

The sale will be our most important to date and will feature the Solan Chan collection of Chinese ceramics and furniture, a large private collection of Peking glass and the largest collection of Chinese export ware and ceramics to be offered in NZ. The catalogue will also include fine Japanese pieces including the Ann Matheson collection and a superb collection of Japanese boxes from the Rex Jennings collection. Â Further entries invited.

Contact: James Parkinson james@artandobject.co.nz 09 354 4646 021 222 8184 Giulia Rodighiero Asian Art Specialist giulia@artandobject.co.nz 09 354 4646

A famille rose green ground oval shaped tea tray seal mark and period of Jiaqing (1797) Provenance: From the collection of Rex Jennings $4000 – $8000

R58 – Italian for beautiful espresso

find out more

therocket.co.nz

Important Paintings and Contemporary Art

Auction Tuesday 27 November 2012 at 6.30pm ART+OBJECT, 3 Abbey Street, Newton, Auckland

Opening Preview Wednesday 21 November 2012 from 6.00 – 8.00pm

Viewing Thursday 22 November

9.00am – 5.30pm

Friday 23 November

9.00am – 5.30pm

Saturday 24 November

11.00am – 4.00pm

Sunday 25 November

11.00am – 4.00pm

Monday 26 November

9.00am – 5.30pm

Tuesday 27 November

9.00am – 1.00pm

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Bill Hammond Let’s Twist Again like We Did Last Summer mixed media and found objects title inscribed 385 x 120 x 113mm Provenance: Private collection, Australia.

Bill Hammond Untitled – Rocking Horse wood, two parts 252 x 270 x 62mm Provenance: Private collection, Australia. $1500 – $2500

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Glen Hayward If the world were an orange it would be too small acrylic and pine, 2004 70 x 77 x 77mm Provenance: Purchased by the current owner from COCA, Christchurch in 2004. $1000 – $2000

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et al.

Studies for Apology 1 – 8 ink, acrylic, cellophane and nails on 7 found books title inscribed and variously inscribed 155 x 95 x 22mm: each 155 x 965 x 22mm: installation size variable Provenance: from the estate of Bill Cocker. $5000 – $8000

$2500 – $4000 A+O

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Allen Maddox Lozenge

Peter Madden Dear Rose

Julian Dashper 66/99 A Painting in Three Parts

oil on canvas title inscribed, signed and dated ’96 verso 910 x 910mm

found images and objects, acrylic and wood signed and dated 2005 520 x 400 x 350mm

acrylic on canvas in three found frames signed and dated 1990 and inscribed 66/99 verso 1055 x 2040mm: installation size variable

Provenance: Private collection, Dunedin.

$6000 – $8000

Provenance: Private collection, Wellington.

Purchased from Peter McLeavey Gallery, Wellington.

$13 000 – $18 000

$6500 – $9500

A+O

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Gordon Walters Kapiti screenprint, 48/75 title inscribed, signed and dated ‘84 540 x 406mm Illustrated: William McAloon, Gordon Walters: Prints + Design (Wellington, 2004), p. 34. $6500 – $8500

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Gordon Walters Untitled screenprint, 10/25 signed and dated 18.10.1995 550 x 412mm Provenance: Private collection, Australia.

Illustrated: William McAloon, Gordon Walters: Prints + Design (Wellington, 2004), p. 35. $2500 – $4000

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Pat Hanly Torso G screenprint, 3/20 title inscribed, signed and dated ’85 695 x 592mm $3000 – $5000

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Peter Stichbury Heather Traymont giclee print, edition of 50 signed and dated ’05 578 x 480mm $3500 – $5000

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Barry Lett Dog

Paul Dibble Soft Geometric Study Curled

cast bronze, 1/10 signed and dated ’03 600 x 600 x 185mm

cast bronze, 2/3 signed and dated 2008 480 x 520 x 220mm

$7000 – $10 000

$10 000 – $15 000

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Toss Woollaston Erua

Toss Woollaston Harley Road, Tasman

Bill Hammond Fish Finder I, II, III

ink and wash on paper, circa 1966 signed with artist’s monogram 598 x 773mm

watercolour signed and dated ’75; title inscribed verso 253 x 350mm

set of three lithographs, 14/45 title inscribed, signed and dated 2002 570 x 455mm: each 570 x 1365mm: overall

$4000 – $6000

$10 000 – $15 000

$6000 – $8000

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Emily Siddell Starlight Lei

Guy Ngan No. 113

Guy Ngan Untitled

glass 630 x 450 x 100mm

cast bronze on stone plinth signed and dated 1980 100 x 75 x 75mm

cast bronze on stone plinth signed and dated 1984 200 x 200 x 215mm

$2000 – $4000

$15 000 – $25 000

Provenance: Purchased by the current owner from F. H. E Galleries, Auckland. $3500 – $5000

A+O

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Colin McCahon Rosegarden synthetic polymer paint on card, circa 1974 original signed letter of provenance from the second owner affixed verso 210 x 156mm Reference: Gordon H. Brown, Colin McCahon: Artist (Wellington, 1984), pp. 178 – 181.

Provenance: Gifted by the artist to Rodney Kennedy, Dunedin in late 1974.

Gifted by Rodney Kennedy to the previous owner in June 1985.

Private collection, Dunedin. $20 000 – $30 000

A+O

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Gretchen Albrecht Red Cloud over Land and Sea acrylic on canvas signed and dated ’74; title inscribed, signed and dated verso 1472 x 1170mm Provenance: Private collection, Hawkes Bay. $30 000 – $40 000

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A. Lois White Untitled – The Bathers watercolour certificate of authenticity signed by the artist’s niece, Alison Disbrowe affixed verso 255 x 203mm $8000 – $12 000

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A. Lois White The Pied Piper of Hamlyn varnished watercolour on card accompanied by letter of authenticity from Nicola Green, author of By the Waters of Babylon: The Art of A. Lois White (Auckland Art Gallery, 1993) 520 x 825mm Provenance: Gifted by the artist to the current owner’s grandmother and thence passed by descent to the current owner. $25 000 – $35 000

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Michael Smither French Farm, Banks Peninsula oil on board title inscribed, signed and dated June/July/August 1972 and signed and dated by Peter McLeavey, 19/10/72 verso 542 x 612mm Provenance: Private collection, Wellington. $25 000 – $40 000

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Ann Robinson Puka Vase cast glass signed and dated 1997 and inscribed 1/1 635 x 170 x 170mm $22 000 – $28 000

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Peter Siddell Untitled – Auckland Landscape oil on board signed and dated 1974 1363 x 980mm Provenance: Private collection, Wellington. $65 000 – $85 000

The term realism has always proved to be one of the most elastic in the context of discussing art and in particular the work of Peter Siddell (1935-2011). His highly detailed paintings of the inner suburbanscape of Auckland are most frequently described as realist on account of their highly accurate renderings of the architecture, streetscapes and topography of a place that can be articulated geographically as residing within the suburbs of Mt.Eden, Mt.Albert, One Tree Hill, Ponsonby and environs. Siddell’s depictions of the villas and gardens of these green and pleasant locales are most often described as ‘realist’.

It is a realism dripping, however, with layers of memory and the filters of nostalgia; at best it is a ‘fond’ realism. Siddell’s remembrances of things past evoke the post-colonial, post Edwardian, post-depression era of the artist’s 1940s childhood. As a paperboy tearing about the empty streets of early morning Auckland the young Siddell accumulated literally thousands of visual references that emerged decades later in works such as Untitled – Auckland Landscape.

Siddell’s work at its best reflects the conflation of the past with the present: today is tomorrow’s yesterday and so on. The Auckland of the past in the artist’s hands is as much a land of fantasy as the future; our hopes, dreams and fears have equal licence to be expressed in both realms.

Although almost always emptied of people, human emotions curl about and inform every balcony, cypress and pathway of a Siddell painting: the endless variations on the theme of the suburban villa symbolize our human diversity and the tensions between the individual and community.

Siddell’s early 1970s works such as Girl at Gate dated 1971 in fact featured emblematic figures in the foreground. He soon however began to remove these figures as he felt they added an implied set of relationships and narratives at odds with his desire to reach his images into a more ambiguous time and space. By clearing the people out of his paintings Siddell lets the viewer into this world. As a city obsessed with real estate Auckland becomes in his hands one great ‘open home’. We can venture unchecked – cross the threshold into the ‘private’ property of our neighbours front lawn and hallway. Our communal experiences of these spaces are understood as a kind of ‘public’ property. It is this essential humanity that sits at the heart of Siddell’s work, articulated via a shared architectural consciousness. The intersection of these private/ public realms evokes the strong sensation of burnished memories at once deeply personal and universal in a world-famous in New Zealand fashion that gives a work such as Untitled – Auckland Landscape a far deeper and long lasting resonance than that afforded by a realist depiction.

Few New Zealand artists have managed to hit this sweetspot. By focussing on where we live and who we are Siddell engages with an artistic whakapapa that includes John Kinder, the Burton Bros, Felix Kelly and Rita Angus. Untitled – Auckland Landscape is an exemplar of Siddell’s rare ability to communicate that the passage of time is perhaps the greatest mystery of all.

Hamish Coney

A+O

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Ralph Hotere The Middle East Connection acrylic on canvas in original frame signed and dated Port Chalmers IX ’90; title inscribed, signed and dated verso 905 x 804mm: including frame 710 x 608mm: excluding frame $45 000 – $65 000

A+O

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The proceeds from the sale of this painting are being donated by the artist to Cure Kids, Child Health Research Foundation (www.curekids.org.nz).

Over the last 30 years Cure Kids has dedicated millions of dollars to funding medical research for children with life-threatening illnesses.

This painting is donated with the support of the Cotton family, Michael Lett and Art+Object.

A+O

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Shane Cotton Land of the Long White Cloud acrylic on canvas title inscribed, signed and dated 2012 1000 x 1500mm $45 000 – $65 000

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Ralph Hotere Painting ’77 – Koputai acrylic and lacquer on board title inscribed, signed and dated Port Chalmers ’77 and inscribed B. L. G Cat No. 14 verso 2400 x 1200mm Provenance: Private collection, Auckland. $130 000 – $180 000

The impact of Ralph Hotere’s move south to live and work in the small settlement of Port Chalmers on the Otago Peninsula was a profound one. Those fortunate enough to be in close contact with the artist’s works after his Frances Hodgkins fellowship in 1969 will know just how many are inscribed, alongside the date, ‘Port Chalmers’, as if the place in which they were created is of equal weight to the time in which they were produced. His small but incredibly sophisticated early 1970s ‘Port Chalmers’ series made the subject of his art of this period even more explicit.

Koputai is the Maori name for Port Chalmers and is stenciled boldly across the bottom left hand side of the exquisitely lacquered and highly-polished surface of this painting. The name is purported to have come from an incident in the area in which the tide rose unduly and beached canoes were set adrift. Conceived in the same year as the Godwit/Kuaka mural, currently on view at Auckland Art Gallery Toi o Tāmaki, Koputai shares many of the same concerns with the major mural. Foremost among these is the lofty attempt to create an experience beyond just the merely optical, to evoke in a painting associations and feelings beyond the aesthetic to include literature, music and dance as well as historical and socio-political concerns, all of which the artist was becoming increasingly more engaged with as a result of his fellowship at the University of Otago and growing familiarity with the local region and its history.

Koputai is the site in which Hotere in subsequent decades from his 1969 shift south consistently rummaged, dredged, mined, refined, extrapolated and brought darkness into light through an extraordinary body of painting. Unlike so much high modernism however, Hotere’s paintings gain their ongoing heft not through being recondite and hermetic, but rather through their generosity. By their very nature, the highly-reflective and alluring surface of Koputai incorporates the viewer into the work, capturing and recording their movements and gaze and thereby making them central to any message, meaning and reading of the painting.

Ben Plumbly

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Michael Parekowhai Portait of Elmer Keith No. 1

Gavin Hipkins The Romance: Totaranui (Boat)

type C print, edition of 10 (2004) original Michael Lett label affixed verso 1250 x 1012mm

type C print, edition of 3 (2006) 1600 x 1000mm

Provenance: Private collection, Dunedin.

Provenance: Purchased by the current owner from Starkwhite, Auckland in 2007.

$12 000 – $18 000

$6000 – $9000

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Laurence Aberhart Aparima Estuary, Riverton, Southland, 25 February 1999. gold and selenium-toned gelatin silver print title inscribed, signed and dated 1999 and inscribed No. 1 210 x 275mm

Laurence Aberhart Taranaki from Oeo Road under Moonlight, 27 – 28 September 1999

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Michael Parekowhai Pat Covert, Elmer Keith, Ed Brown (from the Beverley Hills Gun Club)

Provenance: Private collection, Australia.

gold and selenium-toned gelatin silver print 175 x 245mm

type C prints, triptych (each print 10/10) original Michael Lett labels affixed verso 440 x 540mm: each print 440 x 1620mm: overall

$3500 – $5500

$4500 – $7000

$10 000 – $15 000

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Michael Smither Hapuka Head on Plate oil on board signed with artist’s initials M. D. S and dated ’79; original GovettBrewster Gallery, ‘Michael Smither – The Wonder Years’, Janne Land Gallery, and John Leech Gallery labels all affixed verso

A+O

Provenance: From the collection of Les and Milly Paris.

Exhibited: ‘Michael Smither – An Introduction’, GovettBrewster Gallery, New Plymouth, 1984.

‘Michael Smither – The Wonder Years’, Auckland Art Gallery Toi o Tamaki, 19 February – 6 June 2006. $45 000 – $65 000

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Philip Clairmont Kimono in a Wardrobe oil and collage on hessian on board signed with artist’s initials P. C. T and dated ’76; original Janne Land blindstamp applied verso 1740 x 915mm $28 000 – $37 000

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Pat Hanly Pacific Condition enamel on board title inscribed, signed and dated ’76 445 x 445mm $15 000 – $22 000

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Bill Hammond Untitled ink and wash and bodycolour on paper signed and dated 1990 645 x 500mm $12 000 – $16 000

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Shane Cotton Hopa 1:7 acrylic on canvas title inscribed, signed and dated 1997 380 x 760mm Provenance: Private collection, Wellington. $20 000 – $30 000

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Brett Whiteley (Australia, 1939 – 1992) Drawing a Man Drinking from the Christie Murder series

Jeffrey Harris Inside a Church

mixed media and collage on paper title inscribed and dated 18 June ’65 and inscribed this could be whiter 547 x 438mm

oilpastel, gouache and oil on paper signed and dated 3 – 1 – 70; title inscribed, signed and dated verso 432 x 690mm

Provenance: From the estate of Bill Cocker. Originally gifted by the artist to his mother Beryl Whitley who, in turn, gifted it to Bill Cocker, circa 1980.

$3000 – $5000

$8000 – $12 000

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Mervyn Williams Like Fire

Roy Good Octagon – Ring

acrylic on canvas title inscribed, signed and dated ’95 verso 980 x 830mm

acrylic on shaped canvas title inscribed, signed and dated 1972/09 verso 1200 x 1200mm

$8000 – $12 000

$6000 – $8000

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Allen Maddox Self Portrait with Crook oil on canvas title inscribed, signed and dated ’94 verso 1825 x 1218mm Provenance: Private collection, Auckland. $25 000 – $35 000

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Dick Frizzell Pascoid Tiki No. 3 oil on canvas title inscribed, signed and dated 1/9/2000 603 x 603mm Illustrated: Dick Frizzell: The Painter (Random House, 2009), p. 215.

Provenance: Private collection, Australia. $25 000 – $35 000

A+O

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Bill Hammond Modern Day acrylic on canvas title inscribed, signed and dated 1991 700 x 1000mm Provenance: Private collection, Auckland. $45 000 – $65 000

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Gordon Walters Untitled acrylic on canvas signed and dated1991 verso 510 x 407mm Provenance: Private collection, Christchurch. $30 000 – $40 000

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Allen Maddox Untitled oil on unstretched canvas, circa 1976 1000 x 960mm Provenance: From the artist’s estate.

Purchased by the current owner from Gow Langsford Gallery, Auckland. $20 000 – $30 000

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Allen Maddox Untitled – Grid

Allen Maddox Untitled

oil on paper signed with artist’s initials A. M and dated 15. 7. 76 820 x 895mm

oil on cotton laid onto canvas 430 x 430mm $6000 – $9000

$8000 – $12 000

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Peter Stichbury Liberty acrylic on linen title inscribed, signed and dated 2001 and inscribed (The Hip Squad) verso 607 x 506mm Provenance: Private collection, Australia.

Exhibited: ‘The Young Pleasure Seekers’, Anna Bibby Gallery, Auckland, 2001.

‘The Alumni: Peter Stichbury’, Te Tuhi Centre for the Arts, Auckland, 12 July – 21 September, 2008, and Dunedin Public Art Gallery, Dunedin, 29 November – 22 February, 2009.

Illustrated: Emma Bugden and Hilary Stichbury (eds), Peter Stichbury: The Alumni (Auckland, 2010), p. 71.

Art News New Zealand, Spring, 2008, cover.

Art World, October – November 2008, p.55. $35 000 – $50 000

I recall several visits to the Anna Bibby Gallery in 2000 to visit the exhibition from which Liberty was purchased. Peter Stichbury had quickly established himself as an artist to watch and all the works from the exhibition entitled The Hip Squad quickly found themselves new homes. At that time, portraiture seemed a brave and surprising step for the artist to take. New Zealand collectors have not traditionally embraced the portrait as a subject, especially not when the sitter is unknown or in fact, fictional.

Whilst the characters that inhabit Stichbury’s portraits may be fictional, they frequently remind us of someone or something. Liberty brings to mind the quintessential British ‘It Girl’, complete with delicate porcelain skin, fine features and perfectly groomed blonde hair. With a name like that, she will surely be smiling benignly at us from the pages of Bystander in the next issue of Tatler magazine, champagne glass in hand as she scouts the room for a hedge fund trader to call her own.

With all that perfection in front of us, Stichbury seems to encourage the viewer to question what lurks beneath the surface of his exquisitely formed paintings. While some examples exhibit characteristics that are obviously disquieting; a black eye, a facial scratch, ill-fitting glasses or crooked teeth, the glamour portraits leave it to us to question … is beauty really only skin deep and how good will our It girl heroine look tomorrow without all that makeup on?

Perhaps what has captured the attention of collectors are the references to ‘our time’. The portraits are like a snapshot of what is considered beautiful and acceptable by a generation that have embraced perfection like no other. Plastic surgery, personal trainers and cosmetic dentistry are just a few of the myriad of options available to consumers in their quest for acceptance and the mark of success. Stichbury’s glamour portraits reflect how some might like to be seen. For others they may be a reminder of a time that thankfully has passed, when ‘heroine chic’ ruled the catwalks and fashion was only for the under 20’s.

Image aside, the greatest achievement of the artist may be in creating paintings that are beautifully rendered, with a life much longer than the fashionable attitudes they represent.

Leigh Melville

A+O

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Don Binney Under Moehau II acrylic and oil on canvas signed and dated 2002 – 2003 1100 x 1570mm Provenance: Private collection, Auckland.

Exhibited: ‘Don Binney: ’96 – ‘06’, Artis Gallery, Auckland, 7 March – 1 April 2007. $70 000 – $100 000

Looking across the waters of the Hauraki Gulf towards the Coromandel, Moehau stretches across the skyline like a distant mountain range—silver-blue and mysterious, treading water far out beyond the the inner islands, Great and Little Barrier. It invites layers of mythology: Moehau is the sleeping giant Te Moengahau-o-Tamatekapua, or the windy sleeping place of the Te Arawa Canoe helmsman Tamatekapua.

How often have we gazed across an iconic body of New Zealand water towards a thin sliver of landscape on the horizon and felt comfort from the familiarity of that sliver? Moehau stands distant across the Hauraki; so too Rangitoto stands across the Hauraki; Harbour Cone stands across Otago Harbour; Anchor Island graces the entrance to Dusky Sound. On the Hauraki, to stare out into the middle distance is to invite a slow time where past and future interlock in the present moment. This is more than a comfort zone. It is a timelessness that captures us, calling on how History was actioned there. In an instant, land and culture become intertwined in an ongoing understanding of the mythologies of a past Maori life.

Don Binney’s Moehau rises to the music of the snake charmer, shimmering, larger than life, larger than optical perspective should allow—just like Rangitoto or Harbour Cone, it is imprinted on our New Zealand identities. This large oil is tellingly titled Under Moehau II, so that all the territory that lies beneath this shimmering sliver is being referred to: the iconic New Zealandness; the Maori mythology and its direct symbiosis with place; the longing gaze across the water; and the suspension of time in the present moment.

Binney builds his painting on this timelessness. Where the wind is upbeat, the waters of the Hauraki glisten with an oily texture that befalls to calm in the middle distance. He renders passages of high and low texture making the surface of the painting luscious and beguiling.

Always, the water is reflecting a sky full of light where the form of the clouds is elusive, unassuming, yet poised with a beautiful simplicity. This is the heat of his art: he paints the simple lines of understanding of a committed conservationist, of one who cares deeply for the landscape and its creatures. (Don Binney was a patron of Hauturu, the Little Barrier Supporters Trust caring for the island’s endangered species and the sustainability of its natural communities.)

That Binney segues beauty, mythology, sustainability into a tactile landscape painting is testament to his acute observation of the environment and his unique vision as an artist. Yes, in Under Moehau II, he paints the silver of the distant Timelord’s dream, but the attendant islands are foregrounded in dense scrub rises, and falls of cleared land, glittering and defined in the Hauraki’s light. His eye has tracked this skyline for many decades. He knows these islands. This is the New Zealand that he famously peopled with birds. Moehau is a landscape that will go on, sustained, unbroken, as a living testament to New Zealand identity.

Peter James Smith

A+O

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Michael Parekowhai Seldom is Herd (doe) fibreglass and automotive paint, edition of 4 (2009) 1150 x 1100 x 80mm Exhibited: ‘The Moment of Cubism’, Michael Lett, Auckland, 27 November 2009 – 23 January 2010.

Provenance: Purchased by the current owner from Michael Lett, Auckland in January 2010.

Private collection, South Island. $35 000 – $45 000

One of the distinguishing aspects of Michael Parekowhai’s practice for over twenty years has been the deployment of animals as metaphor. Rabbits, sparrows, seals, elephants, chickens and at this year’s Venice Biennale the vast cast bronze bulls of his work On First Looking into Chapman’s Homer advance a thesis in which the role of human conceptual thinking can be best interpreted by our animal brethren.

Recently Parekowhai was in the news in Australia where his mammoth bronze sculptural installation The World Turns was awarded the Premier of Queensland’s Sculpture Commission to mark the fifth anniversary of the opening of the Gallery of Modern Art in December 2011 and 20 years of the Asia Pacific Triennal of Contemporary Art in 2012.

The World Turns consists of a vast upended elephant terrified by a native Kuril water rat. As trumpets of protest echoed across the Tasman – at the cost of the work and the selection of New Zealand artist as winner of the commission Parekowhai elegantly summed up his reasoning for the work, “The Kuril is the real elephant in the room. It is the Kuril who is the caretaker and who is responsible for upending this elephant with its cultural and intellectual weight.”

The elephant in this case takes the form of an upended bookend albeit at lifesize. Seldom is Herd from 2009 also utilizes the bookend at scale - an elegant milkywhite doe. The reference to quaint ceramic bookends in this work operates on a similar metaphoric plane to its elephantine cousin: the unshackling of acculturated control of knowledge.

In freeing up the bookend from the books and untethering the animal from its domesticated position on the bookshelf or library Parekowhai playfully lets the animals loose to play a more dynamic role and assume their natural scale.

To produce these works Parekowhai enrols a raft of production technologies to reproduce the pristine surfaces and presentation of the original base models. Seldom is Herd has all the silky smoothness

of perfectly glazed decorative porcelain. Such items were popular from the 1920s to the 1950s and are still collectable to this day. At over a metre in height Parekowhai’s gentle doe speaks to ideas explored by a number of contemporary artists, namely the fetish of the consumer object. In this beguiling space Parekowhai shares kinship with high profile artists such as Jeff Koons and his chromed balloon figures and Takashi Murakami’s lifesize toys and figurines.

All these artists present their sculptures as ‘perfect’ doppelgangers of existing forms, mostly from the mayfly lifespan of pop-culture ephemera. Koons helium balloon sculptures and Murakami’s Anime figures seek to memorialize the nano-second lifecycle of trash icons plucked from the obscurity of fast moving consumer culture. Parekowhai finds his forms from middlebrow domestic sculpture such as bookends, kitset models and Mattel-era action figures.

All share the deadpan collegiality of the massproduced and soon to be obsolete. These plastic actors began life to satisfy a price-point and a consumer niche. In the case of Koons and Murakami that niche is pretty banal: toyshop and fairground product. Parekowhai’s ‘found’ objects hail from from an earlier and pre-internet bric-a-brac era and their lost/found in translation transformation brings more to the table than $2 shop tat. Artists such as Koons, Murakami and Damien Hirst create gold-plated or chromed whoppers specifically aimed at a market of hedge-fund warriors, oil sheiks and Russian oligarchs.

Art for football team owners. Not so much a critique of consumerism as an homage.

Where Parekowhai departs company from such drollery is in the conceptual base that underpins works such as Seldom is Herd. His use of animal actors be they in taxidermy or bookend form sits inside a conversation about diversity in the animal kingdom, within which we are but a player. Their use as metaphor facilitates a revitalized and at times puckish dialogue about identity and freedom and asks us to throw off the yokes of cultural, ethnic and economic determinism.

Hamish Coney

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Tony Fomison From the Theodore A. Xaras Cover of “Time” Magazine, Issue for 18. 1. 71 oil on hessian on wood in artist’s original frame title inscribed, signed and dated 4. 2. 73 – 14. 2. 73 and inscribed Second Version; title inscribed, signed and dated verso 377 x 368mm Provenance: Private collection, Auckland.

Reference: Ian Wedde (ed), Fomison: What Shall We Tell Them? (City Gallery, Wellington, 1994), Catalogue No. 140. $55 000 – $75 000

The Time issue for 18 January 1971 featured a grim cover illustration by Philadelphia painter Theodore A. Xaras, commissioned to accompany an article on the U.S. prison system. Xaras’ image, in subdued tones, showed a prisoner’s face with drawn, hauntedlooking features, peering resignedly from behind a grid of flat metal bars, studded with peculiar pyramidal bosses. The fingers of one hand appeared at the bottom right of Xaras’ image, grasping the bars and protruding into the extreme foreground in a profoundly emblematic gesture. Xaras’ treatment was very much in the Caravaggesque vein, and would have appealed greatly to Fomison who was working in very similar territory himself, both stylistically and thematically. Fomison made a series of images relating to imprisonment in the 1970s. He painted Xaras’ Time image at least twice. This, the second version, was exhibited in the quite extraordinary Christchurch Group Show at the Canterbury Society of Arts in 1973, along with a closely related ‘Rueful Prisoner, Second Version’ 1973. In all Fomison contributed nine works to the ’73 Group Show, including a Resurrection after Bellini 1967; a From Fra Angelico, Icon, First Version 1973; and a Second Copy of Messina’s ‘Salvator Mundi’ 1972. These titles and their grouping in the show give a sense of Fomison’s intense engagement with art history at this important point in his development. Especially interesting in these works is the way Fomison edited his sources, with the objective of intensifying an essence or effect that he found particularly compelling in the original. In the case of this study after Xaras, Fomison has quite radically cropped the original image, excising most of the protruding fingers and reducing the prisoner’s face to such an obscured, shadowy presence that almost all that remains is the haunted expression in the eyes. At the same time he has restored Xaras’ Time magazine-sized illustration to a full-scale painting, giving the image back much of what it must have lost in translation from original painting to printed cover. Xaras was relatively fresh out of art school himself when he received the Time commission. He went on to paint an epic series of historical American Railroad images, generally known as ‘The Age of Steam’, which have been reproduced almost ad infinitum in popular prints and collectible ceramic plates. Xaras’ talent for painting the look and feel of metal, and his fairly heavy-handed approach, were qualities that suited him well to painting a prison image.

These qualities have been carefully absorbed and amplified to a remarkable pitch of brooding intensity in Fomison’s version. Fomison has used a very heavy grade of hessian for the support, on which the thickly applied oil paint has congealed like ordure or blood.

Yet the surface is beautifully sealed, giving a sense of hermetic isolation to the image fixed in the sticky pigment. The finishing touch is the marvelous demolition timber frame, with corners abutted rather than mitred, made by Fomison himself.

Oliver Stead

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Michael Smither Harry and Sarah at Breakfast with Jam Pot oil on board signed and inscribed reworked from 1965 version – signed M. D Smither ’65 under M. D Smither ’74 in case of confusion verso; title printed on artist’s original catalogue label affixed verso 911 x 660mm Provenance: Private collection, Auckland. $100 000 – $150 000

This is a painting of light as much as it is a painting of a mother and child. In a beautiful synthesis of execution and content Smither creates a very classical image in which references and allusions to the highest achievements of European painting abound. Yet the really magical aspect of the work is the almost forensic realisation of the brilliant sunlight, entering through the unseen kitchen window, as it picks out the details of this amusing domestic scene. The light has a definite presence and personality of its own in the image, because its behaviour and character have been so carefully documented by the artist. We can observe this loving attention in so many little details – for example the slight reflections of the bowls on the bench behind the figures, the translucency of the large empty bottle which finds its subtle rhyme in the mother’s translucent chemise revealing the suggestion of perfect breasts; the way the shadows cast by the kitchen things soften the further away they are from the light source - from the hard lines thrown across the tablecloth by the jam jar to the more smudgy shadows cast by the plate and open book. The effect of this strong natural light is to both reveal and simplify forms, removing some details and revealing others, enabling the artist to concentrate attention on the essential geometry of the objects in a charming combination of still life and portraiture. Ironically, despite the wealth of intensely naturalistic observations contained in the work, there are also several pronounced anti-naturalistic features, for example the exaggeration of curves and angles in the mother’s arms and hands, suggesting the multiple movements required to complete the simple breakfast routine. Highlighted in this way the busy attitude of her arms, and the long extension of her thumb over the piece of toast, are at odds with the rather blankly disengaged, far-away look in her eyes, suggestive of tiredness or ennui. In turn, the mother’s glazed expression is contrasted with the look of ruthlessly focused intent on the face of the child as it fixes its gaze on the expected food, its little hands, claw-like, digging with impatient, sharply outlined fingers into the white table cloth, making creases which reveal the soft texture of the material.

Here we can see the forensic nature of Smither’s vision at work, exploring and precisely calculating the reflective qualities of a variety of materials and surfaces. Another example of this ‘science’ is the amazing rendering of the mother’s hair, right down to individual strands. A further twist of irony is concealed in the work’s title: ‘Harry’ is in fact the painter’s wife, poet Elizabeth Smither, née Harrington; Sarah is their daughter.

Smither’s domestic paintings of the 1960s established him as a master of figurative painting, a virtuoso both fluent and inventive. In bringing an acute awareness of the classical tradition to very mundane and highly localized depictions of New Zealand family life he was far ahead of most of his contemporaries who embraced the need for a localized imagery but lacked his knowledge, comprehension, and fluency in practice. The fact that he returned to rework this image in 1974, nearly a decade after its initial painting, tells us it was of special importance to him.

Oliver Stead

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Bill Hammond The Strength to Carry On acrylic on linen canvas title inscribed, signed and dated 1985 1925 x 1827mm Provenance: Private collection, Canterbury. $80 000 – $120 000

The to-ings and fro-ings of the Protestant Reformation and Catholic counter-reformation in the 16th century are the stuff of both legend and history, but the tensions inherent in the two sides of the same coin argument that consumed our Christian forefathers are the yin and yang of Bill Hammond’s Strength to Carry On from 1985.

Much of the most potent Reformation inspired art depicts the flesh tested and the torment that inevitably awaits the errant sinner. Artists such as Matthias Grunewald, Hieronymus Bosch and Pieter Breughel created vast canvases on the theme of temptation and the damnations due to those whose transgressions warranted a fiery end.

No scene on the subject from this period is complete without armies of vile anthropomorphic bandits hybrids of man and animal - who in their diabolic fury seek drag the poor unfortunates into limbo and beyond. The point of these works is instructional – huge altarpieces designed to whip the cowering masses into God-fearing obedience.

Bill Hammond’s paintings of the 1980s plug into this same sense of the maelstrom that can afflict the unwary. The context is not of course the faith based battle for the hearts and minds that raged across 16th century Europe, but the Godless era of the Yuppie – the Wall Street ‘Greed is Good’ eighties that can be regarded as a counter reformation of sorts. It should be remembered that Hammond, born in 1947, grew to maturity in the late sixties and early seventies. This Woodstock, Nambassa, Sweetwaters hippy era of communal experimentation was dropkicked into touch in no uncertain terms by the rise of the Me generation, Thatcherism - and in New Zealand the rise of neoliberal ‘Rogernomics’ ushered in by of all people the Labour party.

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Furthermore the sense of the world going to hell in a handcart began with the flour bombing of Eden Park in 1981. The ill- fated Springbok rugby tour quite literally rent the country asunder.

The contemporary music scene at this time, a source of so much inspiration for Hammond’s works of the 80s, was also in high ferment with punk, disco, new wave, rockabilly and those arch-yuppie New Romantics all fighting it out in the charts and on the streets with skinheads, boot boys and proto Rastas. Hammond’s great 1986 acrylic on board The Look of Love plus the Sound of Music uses the ‘music wars’ of this period to illustrate the anxieties and the ‘humours’ (in a Chaucerian sense) of these conflicts as the old order gave way to a new, thrustingly ambitious reality.

The Strength to Carry On is a classic work from this time. Hammond’s transmogrified band of pogo-ing revellers is assaulted from all sides by ‘Scary Monsters’.

With bad shirts, bad hair (check out that strange bone-carrying dude with the Hitler comb over) and bad attitude, Hammond’s Krazy Krew gain their strength from their desire to rock out in the darkness – dancing till they drop.

These works have all the energy, humour and pathos of an air-guitar championship to Iggy Pop’s anthem for the ages, ‘New Values’, … “I’m looking for one new value, but nothing comes my way” Hamish Coney

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John Pule High School Thought acrylic and ink on canvas title inscribed, signed and dated 2002 2000 x 1800mm $35 000 – $50 000

The Polynesian concept of the Pacific Ocean as a continuous world of interconnections maintained over great distances is wonderfully evoked in John Pule’s large canvases. Pule was born in Niue and was brought to New Zealand as an infant; nevertheless his ties with Niue remain firm and this provides the essential allegory which his works are built on and around. We can see the idea of ties clearly illustrated in the long cords that link each ‘island’ of images, connecting episodes of both pre-Christian and post-Christian narrative themes. The cords themselves are characteristically maritime: they look indelibly like things of the ocean, simultaneously resembling sailing ropes or sheets for rigging oceangoing vessels, the trailing tentacles of jellyfish or the Portuguese man-o-war, or strands of seaweed. While the resemblance to these things is exaggerated

by Pule to suggest the wider frame of reference, their precise allusion is to the dangling flower stems of the Pacific cordyline, ti-mata-alea, a relative of the New Zealand cabbage tree which grows throughout the Pacific, and is an important food and symbol of cultural identity. In Niue the flowering stems are linked with genealogy through a tradition that human life sprang from the tree, and through the visual analogy of a chain of generations neatly provided by the chains of flowers suspended on the trailing stems.

Many of Pule’s images involve rights of passage encountered in both Niue and New Zealand cultural settings, and the title High School Thought suggests that this work deals with Pule’s experiences as a Niue youth growing up in Auckland at a time when migration from the islands was actively resented by many New Zealanders. The titles to songs by Jimi Hendrix are particularly resonant in this work. Born in 1962, Pule would have been only seven years old when Hendrix died, but as he is the youngest of 17 children it’s easy to imagine that he would have been saturated with Hendrix’s music and lyrics from birth, and that his interest in Hendrix would have lasted through his high school years and beyond. There is no doubt that Hendrix is especially beloved in New Zealand, not only because his mixed African American and Native American genetic heritage lent him a remarkable resemblance to Pasifica peoples, but also because, as a native of Seattle, he too was from the Pacific – the sea is an important emblem in Hendrix’s work. As a prolific and highly accomplished writer we can also assume that Pule would have been sensitive to the remarkable poetry of Hendrix’s lyrics from an early age. Painted in 2002, when Pule was in his 40th year, it is fascinating to see in this work the artist revisiting the imaginative world of his youth.

Oliver Stead

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Milan Mrkusich Painting IV Purple acrylic-vinyl on canvas title inscribed, signed and dated 2000 verso 1220 x 915mm Provenance: Private collection, Auckland.

Exhibited: ‘Milan Mrkusich, New Paintings: Six Works 2000/01’, Sue Crockford Gallery, Auckland, 27 May – 21 June, 2004.

Illustrated: Alan Wright and Edward Hanfling, Mrkusich: The Art of Transformation (Auckland University Press, 2009), pl. 89. $55 000 – $75 000

There’s a small installation shot of the Sue Crockford Gallery featuring Milan Mrkusich’s Painting IV Purple in the long-overdue and essential recent monograph on the artist by Alan Wright and Ed Hanfling. There is nothing extraordinary about this small and dark exhibition image. Rather, it appears almost funereal in manner with Painting IV Purple standing alongside its kin completely mute, the works appearing like beacons to the artist’s unwavering commitment to the recondite language of advanced abstraction. These are definitely paintings designed to be seen and not heard.

Painted in 2000, Painting IV Purple is indicative of Mrkusich’s late career turn towards an increasingly refined and sustained study of colour and form. Well into his seventies by this stage, the artist’s works appear increasingly refined, offering viewers little in the way of ‘content’ or a message. Long vanished are the arcs, corners, circles and symbols, replaced by an unrelenting symmetry and stability provided through the four sided rectangle and square. These increasingly concentrated studies of colour and form provide viewers with little easy point of entry and there is little to distract from the artist’s on-going investigation into colour as pure sensation. Also gone is the impressive scale of previous works replaced instead by a modesty of scale and means, bought on perhaps, as much as anything by the realities of advancing years.

Featuring the artist’s trademark delicately feathered brushwork, Mrkusich, unusually in this country at least, has never been an abstract painter overly focussed on surface or surface effects. Rather, he consistently investigates and extrapolates aesthetic sensation out of colour effects, attending to the manner in which colours recede, chime, intensify, vibrate, contrast and correspond when they appearing in varying painterly relationships.

As Hanfling and Wright mention in their book, it is “difficult to think of a NZ painter who has shown less interest in his surroundings, his immediate society, culture or environment” than Milan Mrkusich. Painting IV Purple typifies the challenge that the artist has continued to set for himself and for his audience; namely, a near lifelong investigation into the possibilities and limits of colour and colour relations.

Ben Plumbly

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Tony Fomison No. 186 oil on canvas mounted to wood title inscribed; title inscribed and inscribed No. 38 on original Dowse Art Gallery, ‘Fomison: a survey exhibition’ label affixed verso 463 x 416mm Provenance: Collection of Jeffrey Harris, Melbourne.

Private collection, Otago.

Reference: Ian Wedde (ed), Fomison: What Shall We Tell Them?

(City Gallery, Wellington, 1994), Catalogue No. 543. $42 000 – $55 000

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Tony Fomison Hine te Uira, Kupe’s daughter who discovered greenstone in the South Island oil on canvasboard title inscribed, signed and dated 10 – 15. 9. 93 and inscribed Upolu, Western Samoa, Not for Sale verso 305 x 228mm

Shane Cotton Whakakitenga III oil on canvas signed with artist’s initials S. W. C and dated 1998 505 x 605mm $10 000 – $15 000

Provenance: Private collection, Auckland. $16 000 – $24 000

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Colin McCahon Northland ink and wash on paper signed with artist’s initials C McC and dated 1960 550 x 445mm Provenance: Collection of Rodney Kennedy, Dunedin.

Private collection, Dunedin $30 000 – $40 000

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Milan Mrkusich Painting No. II

Ralph Hotere Drawing for Ian Wedde’s Pathway to the Sea

oil on canvas title inscribed, signed and dated ’69 – ’70 verso 915 x 710mm

watercolour and acrylic on paper title inscribed, signed and dated ’75 557 x 755mm

Provenance: Private collection, Waikato.

Provenance: Private collection, Otago.

$20 000 – $30 000

$20 000 – $30 000

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Ralph Hotere Test Piece: Nau Mai enamel on board inscribed Nau Mai; title inscribed, signed and dated Port Chalmers ’77 and inscribed BLG Cat No. 1 verso 530 x 400mm: excluding frame 780 x 578mm: including frame $35 000 – $50 000

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Richard Killeen Peoples Medal dulon acrylic lacquer on aluminium title inscribed, signed and dated March 1978 verso 900 x 900mm Provenance: Private collection, Australia. $15 000 – $20 000

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Colin McCahon Van Gogh Poems by John Caselberg set of four lithographs together with original cover sheet title inscribed, signed and dated September 1957 on the plate 332 x 240mm: each 1000 x 525mm: overall $13 000 – $20 000

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Richard Killeen Joaquin’s fish acrylic and collage on canvas, 5 panels title inscribed, signed and dated Aug 1 1989; artist’s original catalogue label affixed each panel verso 390 x 580mm: each panel 390 x 2900: overall $14 000 – $20 000

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Neil Dawson Escape II stainless steel, custom wood, fibreglass mesh and acrylic, 4/5 title inscribed, signed and dated 1981 on original accompanying box 340 x 340 x 95mm Provenance: Private collection, Wellington. $8000 – $12 000

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Neil Dawson Norwest Arch painted steel and metal mesh title inscribed, signed and dated 1996 on artist’s original accompanying crate 910 x 1220mm Provenance: Private collection, Wellington. $6000 – $8000

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Dick Frizzell Big Guy enamel on board title inscribed, signed and dated 14/2/82 1003 x 1003mm $25 000 – $35 000

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Max Gimblett 2 Stroke Bowl – For Vietnam black bole clay, moon gold, polyurethane and acrylic on board title inscribed, signed and dated 2000 verso; original Gow Langsford Gallery, Sydney label affixed verso 762 x 1524mm $30 000 – $40 000

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Terry Stringer Living Memory

Terry Stringer Still Life with Fern

oil on aluminium and bronze signed and dated ’88 1360 x 1160 x 230mm

oil on tin signed and dated ’87 340 x 515 x 300mm

Provenance: Private collection, Wellington.

Private collection, Auckland.

Provenance: Private collection, Australia. $4000 – $6000

$20 000 – $30 000

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Don Binney Swoop of the Kotare, Waimanu

Michael Harrison Inner Light

screenprint, 53/175 title inscribed, signed and dated 1980 660 x 480mm

acrylic and pencil on paper title inscribed and signed 1994 verso; original Vavasour Godkin label affixed verso; original Artspace label affixed verso 200 x 145mm

$3000 – $5000

Exhibited: ‘On Reason and Emotion’, The 14th Biennale of Sydney, 4 June – 15 August, 2004.

Illustrated: Nicole Bearman (ed), On Reason and Emotion: Biennale of Sydney, 2004 (Perth, Australia, 2004), p. 107. $3000 – $4000

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Dick Frizzell Still Life with Felix the Cat Cut Out and Statuette

Seraphine Pick Looking Like Someone Nos. 2, 4, 15, 22, 23, 36

enamel on board title inscribed, signed and dated ’82 600 x 538mm

oil on canvas, six panels title inscribed, signed and dated 1997 each panel verso 2000 x 1800mm

$14 000 – $18 000

$12 000 – $18 000

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Artist’s note:

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Martin Popplewell Craptown Salon Style oil on linen title inscribed, signed and dated 2008; title inscribed, signed and dated verso 1370 x 1680mm Exhibited: ‘craptownsalonstyle’ Black Barn Gallery, Hawkes Bay, 2008. $12 000 – $16 000

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I think that the exhibition opened on around the 9/10 September and on the opening night the art dealer had managed to sell all the paintings. However the following day it was dawning that a financial collapse had ensued in america and the previous evening’s sales evaporated. This particular work was one of the last ‘frankenstein patchwork’ studies that is made to feel as if it is falling to pieces as it is being constructed. It is directly concerned with an aesthetic state of entropy, and takes a multiple view as in simultaneous plan and elevation. The language knits its way across the surfaces using notes taken from personal plumbing details and among other things a black man seeking work in a white house. Not much has changed.

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Richard Killeen ‘Full entry into society is marked by access to language’. watercolour on rag paper signed and dated 5. 5. 84 and inscribed Old Mistresses.

758 x 585mm $3500 – $5000 80

Peter Stichbury Untitled graphite on paper signed and dated ’03 558 x 410mm Provenance: Private collection, Auckland. $4000 – $6000

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Gordon Walters Untitled acrylic on paper signed and dated 11 – 2 –90 296 x 240mm Provenance: Private collection, Auckland. $7000 – $10 000 82

Darryn George Arawhata No. 4 oil on canvas title inscribed, signed and dated 2007 verso 710 x 505mm $2500 – $3500

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Tony Lane A Single Tear oil and gold leaf on gesso panel title inscribed, signed and dated 1999 verso 948 x 948mm

Peter McIntyre Looking toward Clyde with the Old Man Range from above Alexandra.

Provenance: Private collection, Auckland.

oil on board signed; original John Leech Gallery label affixed verso; title inscribed and inscribed Alexandra Railway Station is on left verso 695 x 897mm

$6000 – $9000

Provenance: Private collection, Auckland. $15 000 – $25 000

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Auction No. 61

Lot no.

Description

Bid maximum (New Zealand dollars)

Important Paintings and Contemporary Art 27 November, 2012 at 6.30pm

ART+OBJECT 3 Abbey Street Newton Auckland PO Box 68 345 Newton Auckland 1145 Telephone: +64 9 354 4646 Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 info@artandobject.co.nz www.artandobject.co.nz

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ABSENTEE BID

Artist’s Index

Aberhart, Laurence 31, 32

Lett, Barry 11

Albrecht, Gretchen 20

Madden, Peter 5

Binney, Don 51, 74

Maddox, Allen 4, 43, 47, 48, 49

Clairmont, Philip 35

McCahon, Colin 19, 61, 66

Cotton, Shane 27, 38, 60

McIntyre, Peter 84

Dashper, Julian 6

Mrkusich, Milan 57, 62

Dawson, Neil 68, 69

Ngan, Guy 17, 18

Dibble, Paul 12

Parekowhai, Michael 29, 33, 52

Fomison, Tony 53, 58, 59

Pick, Seraphine 77

Frizzell, Dick 44, 70, 76

Popplewell, Martin 78

George, Darren 82

Pule, John 56

Gimblett, Max 71

Robinson, Ann 24

Good, Roy 42

Siddell, Emily 16

Hammond, Bill 1,2, 15, 37, 45, 55

Siddell, Peter 25

Hanly, Pat 9, 36

Smither, Michael 23, 34, 54

Harris, Jeffrey 40

Stichbury, Peter 10, 50, 80

Harrison, Michael 75

Stringer, Terry 72, 73

Hayward, Glen 3

Walters, Gordon 7, 8, 46, 81

Hipkins, Gavin 30

White, A. Lois 21, 22

Hotere, Ralph 26, 28, 33, 63, 64

Whitley, Brett 39

Killeen, Richard 65, 67, 79

Williams, Mervyn 41

Lane, Tony 83

Woollaston, Toss 13, 14