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ose Bribiesca Don Ramage A.R.D. Fairburn Juliet Peter Robert Ellis R Good Eileen Mayo John Weeks Don Driver Roy Cowan Garth Cheste Bob Roukema John Crichton Len Castle Modernism in Russell Clar ervyn Williams Colin McCahon Ted Dutch New Zealand Andre Broo rank Hofmann Freda Simmonds Greer Twiss Theo Schoon Ross Ritch Geoffrey Fairburn Frank Carpay Ruth Castle Jova Rancich John Mid dleditch Elizabeth Matheson Mirek Smisek Richard Parker Jeff Schol Anneke Borren Robyn Stewart Peter Stichbury Milan Mrkusich Barr rickell Jean Ngan Vivienne Mountfort Georgia Suiter Theo Jansen vid Trubridge Ces Renwick Edgar Mansfield Peter Sauerbier Steve Ru sey Dorothy Thorpe LeVi Borgstrom Simon Engelhard Tony Fomiso Paul Maseyk Rick Rudd Doreen Blumhardt Art+Object Leo King Patr a Perrin David Brokenshire Manos Nathan 21 MAY 2014 Wi Taepa Mu Moody Warren Tippett Elizabeth Lissaman Buck Nin E.Mervyn Taylo AO722FA Cat78 cover.indd 1

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Modernism in New Zealand

Wednesday, 21 May 2014 6.30pm

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Inside front cover: Frank Hofmann, Composition with Cactus, 1952 (detail), vintage gelatin silver print. Lot 274.

“Strictly speaking New Zealand doesn’t exist yet, though some possible New Zealands glimmer in some poems and in some canvases. It remains to be created – should I say invented – by writers, musicians, artists, architects, publishers.”

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Inside back cover: A.R.D. Fairburn, Study of Maori Rock Drawings (detail), vintage screenprinted fabric mounted to board. Lot 251.

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ALLEN CURNOW FIRST YEARBOOK OF THE ARTS IN NEW ZEALAND, 1945

MODERNISM in New Zealand at the outset was defi ned by confl ict, displacement and quite literally a clash of cultures. World War II was the catalyst for modernist thinking and practice to take root in New Zealand and effect critical change. Swept up by the impending war, fleeing the Nazi jackboot, or a desolated post war Europe, a hardy band of cultured refugees arrived in New Zealand from the late 1930s to the early 1950s – strangers in a strange land – and set about redefi ning the cultural landscape of New Zealand. Educated in Rotterdam, Vienna or Prague, familiar with ideas of the Bauhaus, New Objectivity, Surrealism and the latest thinking in architecture and design, this small group of influential émigré artists bought new ideas to

what was then a cultural backwater of the British Empire. Most importantly, they saw New Zealand with fresh eyes. The influence Frank Carpay (1917–1985), Vlad Cacala (1926– 2007), Frank Hofmann (1916–1989), Ernst Plischke (1903–1922), Theo Schoon (1915–1985), Rudolph Gopas (1913–1983) and many others spans architecture, design, photography, applied arts and art teaching. These emigres were in effect a cultural ginger group… a catalyst for what would become an iconic period of change and self-determination in the visual arts. These artists hit the ground running, engaging with local artists and dazzling them with new concepts and arguments. At a distance of some seventy years the contemporary viewer marvels at how quickly these displaced

but determined individuals resumed their practice and made vital links with New Zealand artists eager to embrace the latest international thinking into their own practice. For every Theo Schoon there was a Gordon Walters: a young, enquiring artist; bursting with and receptive to new directions. This catalogue also celebrates the role of significant others – the collector and the dedicated supporter. Rodney Robertson’s collection of New Zealand modernism is a tribute to the eye of a singular collector. Likewise the Theo Schoon archive assembled, held and protected by William Vance stands as a testimony to those lone individuals who intercede to ensure our cultural heritage is not lost for future generations.

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Catalogue Highlights 3 April 2014

Milan Mrkusich Painting II (Blue) acrylic on canvas, 1972 $125 455 A new record price for the artist’s work at auction.

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Important Paintings and Contemporary Art

Michael Illingworth Fertile Fig and Timepieces oil on canvas, 1967 $137 765

Ralph Hotere Vidyapati’s Song acrylic and dye on unstretched canvas, 1975 $257 950

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A+O’s first major art catalogue of 2014 included the cutting edge collection of the Strip Club 2004 – 2014 and a superb selection of major works by Colin McCahon, one of which Black and White Landscape dating to 1959 could be described as a ‘lost’ work, being unrecorded on the www.mccahon.co.nz database. At auction it was one of six works which sold for in excess of $100 000. The overall sale resulted in one the highest clearance rates in the company’s history and the highest sale total for the 2014 New Zealand autumn auction season.

Colin McCahon Clouds No. 7 synthetic polymer paint on Steinbach, 1975 1095 x 730mm $263 810

Colin McCahon Black White Landscape enamel on hardboard, 1959 675 x 440mm $146 560

Allen Maddox Rhythm Grid oil on canvas, 1976, 1630 x 2345mm $64 485

Prices realised include buyer’s premium.

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After trading fi ne antiques at his Lake Road premises for the past 40 years Donald Melville has decided it is never too late to change. The auction will include numerous pieces of English and European furniture, copper, pewter, ceramics, stoneware and other items. This is the last opportunity to own a piece of this well-known dealer’s inventory.

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Donald Melville Antiques Closing Auction

Saturday 24 May at 2pm Onsite at 360 Lake Road, Takapuna. Auction commences at 2.00pm. Viewing daily from May 20 Catalogue online from May 12

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SHOWROOM 31 Crummer Rd, Ponsonby

31 Crummer Road Ponsonby, Auckland, New Zealand Phone +64 9 360 4290 admin@katalog.co.nz www.katalog.co.nz

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New Collectors Art 25 June 2014 Entries invited until 29 May

A+O’s second New Collectors catalogue of 2014 will feature the collection of former Ikon Gallery Director Don Wood. His collection includes signature prints by Gordon Walters, Pat Hanly, Colin McCahon, Don Binney, Philip Clairmont and many others.

Contact: Leigh Melville Manager, Art Leigh@artandobject.co.nz 09 354 4646 021 406 678 (cell)

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Pat Hanly The Kite screenprint, 4/5 title inscribed, signed and dated ‘71 510 x 520mm $3000 – $5000

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Venue Partner

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Government Partners

Major Partners

Official Hotel Partner

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Chester Nealie Book Fundraising Auction

Ruth Butterworth Collection

24 June 2014

24 June 2014

A+O is pleased to present and host this important New Zealand ceramics event. Funds raised from this auction will go towards supporting the publication of a high quality career monograph celebrating Chester’s 50 year career as a potter. Numerous artists have contributed works including Graham Ambrose, Don Thornley, Bruce Martin, Anneke Borren, Stanley Palmer, Rick Rudd, Kate Newby and Nigel Brown.

Ruth Butterworth is a former Associate Professor of Political Science at the University of Auckland. Her collection, assembled over more than thirty years reads like a survey of New Zealand studio ceramics including fine examples of the work of Len Castle, Warren Tippett, Bronwynne Cornish, Peter Alger and many of the leading practitioners of the period.

Chester Nealie Large Bottle woodfired, salt glazed celadon signed and dated 2010 H.450mm $1500 – $3000

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Complimentary entries are invited until May 29th. Len Castle Blossom vase jun glaze over tenmoku H. 530mm $6000 – $8000

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EX 23 Archive Auction From 1985 to 1997 Wellington based leather goods design label EX 23 supplied NZ and Australian fashion retailers with handmade leather belts and bags that defined street culture on both sides of the Tasman. In June the designer’s final archive offered in as new condition will be available for sale at ART+OBJECT.

Contact: James Parkinson james@artandobject.co.nz 09 354 4646 09 306 6193 (DDI) 021 509 550 (cell)

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architecture to lift the spirit

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Important Paintings and Contemporary Art 7 August 2014 Entries invited until July 11th

Peter Siddell View towards Mt Eden from Vicinity of Belle Vue Rd acrylic on hardboard title inscribed, signed and dated 1978 verso 460 x 905mm $60 000 – $80 000 Provenance: Private collection, Auckland.

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Billy Apple Sold acrylic on canvas signed 2145 x 1525mm $55 000 - $75 000 Provenance: Collection of The Future Group, Auckland. Illustrated: Francis Pound, Forty Modern New Zealand Paintings (Auckland, 1985), pl. 3.

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Contact: Ben Plumbly Director, Art ben@artandobject.co.nz 09 354 4646 021 222 8183 (cell)

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Asian and Decorative Arts including Arts & Crafts Ceramics from an Auckland Collection September 2014 Entries invited

A rare and important Emile Galle Scent bottle with enamel decoration and sterling silver top with early Galle signature $15 000 – $25 000

Contact: James Parkinson Director james@artandobject.co.nz 09 354 4646 09 306 6193 (DDI) 021 509 550 (cell) Giulia Rodighiero Asian Art Specialist Giulia@artandobject.co.nz 09 354 4646

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NZ and International Studio Ceramics September 2014 Entries invited

Lucy Rie coffee set Stone ware with manganese glaze, sgraffito banding to the exterior and white tin gazed interior Circa 1960 impressed LR seal mark $6000 – $8000 Contact: James Parkinson james@artandobject.co.nz 09 354 4646 09 306 6193 (DDI) 021 509 550 (cell)

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Modernism in New Zealand Auction Wednesday 21 May at 6.30pm 3 Abbey Street, Newton, Auckland

Preview Thursday May 15 6.00 – 8.00pm

Viewing Friday 16 May  9.00am – 5.00pm Saturday 17 May  11.00am – 4.00pm Sunday 18 May  11.00am – 4.00pm Monday 19 May  9.00am – 5.00pm Tuesday 20 May  9.00am – 5.00pm Wednesday 21 May  9.00am – 2.00pm

Opposite: Guy Ngan, Blue Formation No 6. Lot 254.

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The Rodney Robertson Collection of New Zealand design, studio ceramics and art Lots 1–131 and 250 –262 RODNEY ROBERTSON is without doubt one of New Zealand’s most well known and regarded collectors. As the co-founder of New Zealand’s decorative arts destination Art and Industry Rodney has serviced a New Zealand and international clientele of aficionados and collectors of the fi nest and rarest 20th century design and rarities. The collection in this catalogue reflects Rodney’s interest in New Zealand, Maori and pan-Pacific modernism and was assembled over twenty five years form sources as varied as auction house catalogues, private collections and spontaneous discoveries. The collection has been housed at his secluded coastal retreat. The 1950s bach itself presented as a veritable museum of New Zealand mid-century design and applied art

Rodney is regarded as an expert in the field and has been invited on numerous occasions to lecture on New Zealand and international design at Universities, Museums and societies across New Zealand and abroad. Rodney’s keen eye and inexhaustible approach to research led to many of the ‘fi nds’ featured in this catalogue – some of which are amongst the rarest and most sought after examples by the leading lights of New Zealand modernist design. Rodney’s collection is a prime example of the crucial role played by collectors in making connections and vital attributions of hitherto unknown or ‘lost’ works and providing guardianship for future generations of new collectors and enthusiasts.

CERAMICS 1. Juliet Peter stoneware rectangular platter decorated with Tiki hand forms. Incised initials and original label to the base. L. 520mm. Provenance: Martin Hill Collection. $300 – $400 2. Juliet Peter Stoneware rectangular platter decorated with three koru forms. Incised initials to the base. L. 510mm $200 – $400

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3. Ted Dutch Small Signaller figure, black stained porcelain with red, yellow and blue enamelled discs, signed. H. 110mm. $400 – $600

4. Ted Dutch Prototype Signaller figure, black and colour markers on cardboard, signed. H. 125mm. This is the fi rst Signaller figure Ted Dutch ever made. $200 – $400 5. Ted Dutch Signaller figure, black stained porcelain with red, blue and yellow highlights (damaged), signed. H. 230mm $400 – $600 6. Ted Dutch Small Signaller figure, black stained porcelain with red, yellow and blue enamelled discs, signed. H. 95mm $300 – $500

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7. Ted Dutch Massive Signaller column, with applied Signaller figures around the central rectangular plinth, with red, yellow and blue enamelled discs and highlights (minor chips). H. 340mm $1000 – $2000

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8. Ted Dutch Black oxide glazed ceramic tile with two applied Signaller figures and red, blue and yellow enamelled highlights, signed. 155 x 155mm $700 – $1000 9. Ted Dutch Red glazed ceramic tile with applied Signaller figure and yellow and blue enamelled highlights, signed. 155 x 155mm $700 – $1000 10. Ted Dutch Ceramic tile with applied Signaller figure and control tower, red, yellow and blue enamelled highlights, signed. 155 x 155mm $600 – $800 11. Ted Dutch Large stoneware monochrome Signaller figure, signed. H. 265mm $800 – $1200 11 5

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12. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200 13. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200 14. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200 15. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200 16. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200 17. New Zealand Railway Crown Lynn tea cup and saucer, both stamped with Crown and N.Z.R. $100 – $200

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18. Rick Rudd Bottle, 1989 Pinched and coiled, raku fired with white crackle glaze to the interior. Exhibited: Rick Rudd True to Form, Sarjeant Gallery, Whanganui, 1996. Illustrated on page 16 of the catalogue. H.357 x 250 x 235mm $1000 – $2000 19. Roy Cowan Large rectangular platter with stylised plant and koru design. Incised initials to the base. W. 440mm $300 – $500

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22. Roy Cowan Large ovoid vase with blue and green salt glaze with incised geometric decoration. Complete with original cork lid. Incised initials to the base. H.380mm $600 – $800

20. Elisabeth Lissaman Small dish with a wax resist leaf design. D.110mm $30 – $50

23. Roy Cowan Large ovoid vase decorated with geometric and sun motifs in blue and brown salt glaze on a pale blue ground. Incised initials. H.350mm $500 – $800

21. Roy Cowan Tall ovoid stoneware vase with blue salt glaze and incised geometric decoration. Incised initials to the base.H.480mm $800 – $1200

24. Juliet Peter Ovoid stoneware vase with blue and green salt glaze, decorated with incised geometric rondel and sun forms in a checker pattern. Incised initials to the base H.300mm Provenance: Martin Hill collection $300 – $500

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29. Wi Taepa An impressive ovoid stoneware vase cut away and reducing to the foot ring. Decorated with a wheku head with protruding tongue in high relief. H.280mm $1000 – $1500 31

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25. Warren Tippet Large and impressive lidded stoneware jug with applied scroll handle, tenmoku over ash glaze with a wax resist stylised leaf design. Impressed potter’s cipher to the base. H.420mm $800 – $1400

30. Wi Taepa Stoneware vase of gourd type from with deeply incised koru and geometric decoration. H.300mm $500 – $1000

26. Muriel Moody Three stoneware salt glazed stylised doves raised on a wooden plinth. 280 x260mm $800 – $1200

31. Manos Nathan Ipu Waiora Vessel in black terra sigillata, hand built carved and burnished earthenware decorated with a manaia head in side profile. L.410mm $1500 – $2500

27. Len Castle Stoneware ovoid vase with ash glaze with pieced stoneware lugs with rope binding. Impressed initials to the base. H.290mm $400 – $800 28. Pat Perrin Stoneware onion pot, with poured glaze to the surface, original cork stopper pierced at the shoulders for suspension and with original rope attached. H.300mm $300 – $500

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32. Anneke Borren and Owen Mapp Lidded stoneware vase, made in the form of a bamboo stalk with three blackened bamboo handles, wax resit geometric decoration in black on a charcoal ground. Original label affixed to the base. H.400mm $400 – 4800 33. Anneke Borren and Owen Mapp Stoneware lidded bowl with wax resist stylised floral decoration on a charcoal ground. The lid with three blackened bamboo handles. H.340mm $400 – $800 34. Anneke Borren and Owen Mapp Stoneware lidded bowl with wax resist geometric decoration in black on a charcoal ground. The turned kauri lid inlaid with a decorative bronze rondel with koru and scroll designs. Original label affixed to the base. H.160mm $350 – $500

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35. Leo King ‘Aura’ spherical slip cast orb with black glaze with a flattened white glazed upper surface decorated with radiating bands. Original Leo King label affixed to the base. D.250mm $400 – $600 36. Leo King ‘Aura’ slip cast flattened spherical bowl with black glazed exterior, the interior with white glaze and decorated with radiating bands. Signed to the base. D.300mm $400 – $600 37. Leo King Spherical slip cast orb with black glazed exterior, the hollowed interior with grey and white glaze. D.230mm $350 – $500 38. Leo King Spherical slip cast orb with black glazed exterior the flattened top section glazed in bands of pale brown and white. D.170mm $300 – $500 39. David Brokenshire Two large ovoid floor vases, each with umber pigmented textured surface pierced with small circular apertures to the upper section. Impressed mark to each $800 – $1200 40. David Brokenshire Stoneware tapering cylindrical vase, textured brown glaze with multiple piercings. Potter’s cypher mark to the base. H.430mm $400 – $600 41. Pat Perrin An impressive floor vase with textured surface, hollowed open aperture to the centre. H.640mm $800 – $1200

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42. Doreen Blumhardt Rare stoneware table with tenmoku glazed top, the umber pigmented base made in the manner of Korean Shilla pottery with multiple piercings. H.400mm x D.340mm Provenance: Doreen Blumhardt Collection. Sold at Dunbar Sloane Wellington, July 2010 $400 – $800

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43. Doreen Blumhardt Rare stoneware table with tenmoku glazed top, the umber pigmented base made in the manner of Korean Shilla pottery with multiple piercings. H.400mm x D.340mm Provenance: Doreen Blumhardt Collection. Sold at Dunbar Sloane Wellington July 2010. $400 – $800

49. Paul Maseyk Lyall Drinkwater, Transgender vase 2 Wood fired terracotta. Title inscribed. H.580mm $500 – $1000 50. Tony Fomison Rare terracotta hanging form made as a stylised wheku head surmounted by a portrait bust. Pierced for suspension. Made at Driving Creek railway, circa 1985. Minor restoration. $1500 – $3000 51. Simon Engelhard Stoneware pedestal bowl decorated with a fish design. Signed with initials to the base. D.200mm $200 – $400

44. Doreen Blumhardt Rare hanging light with conical top numerous hanging discs with inlaid glass glazed turquoise panels. H.700mm Provenance: Doreen Blumhardt Collection. Sold at Dunbar Sloane Wellington July 2010. $500 – $800

52. Simon Engelhard Stoneware dish painted with a stylised tree design, small hairline crack. H.140mm $50 – $100

45. Doreen Blumhardt Pair of rare coral series stoneware outdoor tables Provenance: Doreen Blumhardt Collection. Sold at Dunbar Sloane Wellington 2010. $1000 – $1500

53. Frank Carpay for Crown Lynn Ferris Wheel. Six hand decorated earthenware dishes on wire framework Provenance: Douglas Lloyd Jenkins collection, Art and Object March 2011 Exhibited: Auckland City Art Gallery 1950’s show (1991); Western Lights: Art and design In West Auckland 1945-1980 (1994); Hawkes Bay Museum Frank Carpay Crown Lynn and beyond (2002) $2500 – $5000

46. Rick Rudd Bottle, pinched and coiled clay raku, fired. H.370mm $300 – $500 47. Rick Rudd Pod vase, pinched and coiled clay, raku fired. H.220mm $100 – $200

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54. Crown Lynn Biscuit blank vase of cylindrical form, thrown by Ernest Shufflebotham with painted banded decoration by Royal Oak potteries. Incised number 46. H.180mm $200 – $400

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55. Crown Lynn Biscuit blank vase of cylindrical form, thrown by Ernest Shufflebotham with painted banded decoration by Royal Oak potteries. Incised number 46. H.180mm $200 – $400 56. Crown Lynn Biscuit blank vase of cylindrical form, thrown by Ernest Shufflebotham with painted banded decoration by Royal Oak potteries. Incised number 46. H.180mm $200 – $400 57. Crown Lynn Biscuit blank vase of cylindrical form, thrown by Ernest Shufflebotham with painted banded decoration by Royal Oak potteries. Incised number 46. H.180mm $200 – $400 58. Crown Lynn Biscuit blank vase of cylindrical form, thrown by Ernest Shufflebotham with painted banded decoration by Royal Oak potteries. Incised number 46. H.180mm $200 – $400 59. Dorothy Thorpe Rare collection of twelve wine glasses and four tumblers, hand decorated in sterling silver on crystal $300 – $600 60. Dorothy Thorpe Milk jug and sugar basin on a tray, hand decorated in sterling silver on crystal $100 – $200

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61. Levi Borgstrom Carved wood spoon, original label affixed to the base $200 – $300 62. Richard Cadness Pair of stoneware bottle vases with tenmoku glaze. Impressed initials to the base of each. H.420mm $400 – $600 62A. Richard Cadness Two stone ware bottle vases. Impressed initials to the base of each. H.420mm $400 – $600 63. Elizabeth Fraser Five 1970s turned wood boxes, each with cloisonné enamel top $200 – $400 64. Seventy four volumes of NZ Potter $500 – $1000 65. John Crichton (attributed) Trivet stand of fish form, blackened metal with cane handle $100 – $200 66. Ruth Castle Onion basket, dye and natural cane. H. 450mm $80 – $120 67. New Zealand 1950’s kauri bowl together with a leaf shaped dish. $100 – $200 68. Four Delware and Ceraware copper backed enamel dishes with Maori cave art designs after Theo Schoon $80 – $120 69. Four Ceraware copper backed enamel dishes with Maori cave art designs $80 – $120

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70. Jose Bribiesca Rare Chess Set. 32 pieces in chromed steel with coloured and inset Perspex on glass chessboard. Individual pieces of variable dimensions, height of tallest 73mm; chessboard measures 405 x 405mm $1500 – $2500

72. A composite standing mania figure. H.500mm $200 – $400 73. Peter Sauerbier Aotearoa Bronze Tiki figure, modelled holding standing holding a patu. H.600mm $1000 – $2000

Sculpture

76. Theo Jansen Untitled abstract figural form Nine ceramic tiles mounted on board. 460 x 460mm $500 – $1000

74. Edgar Mansfield Animism Sculpture in bronze issuing from a green marble and ebonised wood base. H.560mm $1000 – $2000

71. John Middleditch (attributed) Carved kauri Maori modernist tekoteko figure raised from a naturalistic base. H. 1700mm For a similar smaller stylised female figure by John Middleditch see Group Architects by Julia Gatley, p.134 $1500 – $3000

75. Edgar Mansfield Animism Sculpture in bronze issuing from a cast composite base H.680mm $800 – $1500

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Furniture and related items 77. A rare New Zealand 1940 Centennial Exhibition oversize coffer. The front carved with the Centennial insignia to the centre and haehae and pataki notching framed by four tiki figures with paua shell eyes, the front carved with a pare form with tiki and manaia, the sides with wheku head handles and further haehae and pataki notching raised on four block legs carved with manaia in low relief. W. 1000mm $1500 – $2500 78. New Zealand 1950’s oak telephone table with slat seat raised on triangulated tapering legs. $200 – $400 79. Bob Roukema for Jon Jansen Wingback lounge chair raised on a four point base with tapering cylindrical legs, and later Sanderson floral upholstery $2500 – $4000 80

80. Bob Roukema for Jon Jansen Wingback lounge chair raised on a four point base with tapering cylindrical legs, and blue velour upholstery $2500 – $4000 81. Garth Chester Curvesse bent plywood chair, rare original prototype model without feet $4000 – $6000 82. 1950’s side table with blue laminate top $100 – $200 83. Ces Renwick for Airest Bahama lounge chair and matching ottoman. Made circa 1955 $1000 – $2000

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84. John Crichton Standard lamp, red painted tubular metal with adjustable shade. H. 1310mm $250 – $500 85. Jon Jansen Rare standard lamp with blackened tubular steel three legged base with wooden ball feet, the original raffia shade supported on a tapering cylindrical wooden support. H. 1640mm $500 – $1000 86. John Crichton Pair of cane Java chairs with blackened tubular steel legs on original nylon glides. D. 630mm $300 – $500 87. Jon Jansen Table lamp with three tubular blackened steel legs with wooden ball feet and original tapa shade raised on a tapering oak support. H. 540mm $400 – $800

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88. John Crichton Side table blackened tubular steel three legged base with a triangulated top with crackle paint finish. $300 – $500 89. John Crichton Side table blackened tubular steel three legged base with a triangulated top with crackle paint finish. $300 – $500 90. John Crichton [attributed] Plant stand, the plaster planter housed in a woven cane surround with blackened wrought iron three legged support. H. 410mm $100 – $200

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91. New Zealand made 1950’s oak sideboard with a single drawer above a cupboard flanked by cupboards with metal rondel handles raised on blackened tubular steel legs. L. 1400mm $600 – $1200 92. David Trubridge Body Raft 1998, steam bent wych elm with pegged joints. This rare variant of the Body Raft is one of only two known examples. 2100 x 780 x 620mm $6000 – $8000 93. John Crichton Turned kauri bowl original label affixed to the base “designed by John Crichton interior designer”. D. 200mm $100 – $200 94. John Crichton Rare turned kauri pestle and mortar original label affixed to the base (repaired). D. 180mm $100 – $200 95. John Crichton Turned teak salad bowl original label affixed to the base. D. 340mm $200 – $400 96. John Crichton Turned kauri salad bowl. D. 390mm $150 – $250 97. John Crichton Turned kauri salad bowl. D. 300mm $100 – $200 98. John Crichton A large and impressive tiled mosaic wall charger in brown, apricot, ecru, aqua, white and blue tiles. D. 560mm $2000 – $4000

99. John Crichton A rare circular side table with mosaic tiled top, raised on a tubular metal support and four splayed legs. D.600mm $2000 – $3000 100. John Crichton Rare counter poised side lamp, anodised aluminium with brass legs and ball feet. This lamp is made in the manner of early 1950s table lamps made by the important Swiss born architect Otto Kolb. $400 – $800 101. John Crichton (attributed) Pair of wall lights in red and blue aluminium with saucer form shades. Made in the manner of wall lights made by the Italian designer Gino Safatti $200 – $400 102. Tattersfield Maori Legend all wool rug decorated with a tukutuku panel design. L.1360mm $300 – $500

98

103. New Zealand 1950’s coffee table of rectangular shape with white tiled mosaic shelf and glass top, raised on four blackened metal legs. L. 1150mm $400 – $800 104. John Crichton Rare 1950s uplighter lamp with spun red anodised aluminium shade held on three aluminium rods Provenance: Previously in the Mike Zero collection. H.1710mm $400 – $800

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105. Rare 1950s uplighter lamp with spun gold anodised aluminium shade held on three aluminium rods Provenance: Previously in the Mike Zero collection. H.1790mm $400 – $800

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123 – 130

115

116. Theo Jansen Bronze horseman sculpture. H.600mm $600 – $1200

106. John Crichton Rare Java couch in woven cane Provenance: Previously in the Mike Zero collection $400 – $800 107. Unusual 1950s glass top table raised on an aluminium bowl form support held on blackened tubular steel legs. Possibly by John Crichton Provenance: Mike Zero collection $150 – $250 108. New Zealand 1950s minimalist design rectangular pine desk raised on bent wrought iron blackened tubular legs together with a matching 1950s side chair. Provenance: Robertson House Glendowie. Group architect design. Illustrated in Home magazine $500 – $1000 109. Bob Roukema for Jon Jansen A rare dining table suite with solid mahogany quatrefoil top raised on splayed tapering cylindrical legs complete with six ergonomically designed chairs, the legs conforming with those of the table. This is the only known surviving example of this style of table and chairs $2500 – $4000

117. Theo Jansen Untitled abstract stone and marble sculpture. Artist label affixed to the base. H.230mm $100 – $200

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110. 1950s standard lamp with tapa shade $100 – $200

Rugs and Textiles

111. 1970s four panel room divider screen $100 – $200

118. Georgia Suiter Sea and Sky 1976 Wall hanging in wool wrapped rods in in blue, green and brown. 1260 x 1330mm. An almost identical example illustrated on the cover of Craft New Zealand. The Art of the Craftsman, Doreen Blumhardt and Brian Brake, 1981 $2000 – $4000

112. John Crichton Turned Kauri salad bowl. D.280mm $100 – $200 113. Ruth Castle Woven bowl, Phoenix palm tendrils and Palembang. D.200mm $150 – $300

119. Georgia Suiter Hand woven floor rug in blue, brown and green wool. Signed on an original label attached to the underside. Provenance: Previously in the collection of the Ministry of Foreign Affairs, Wellington, orginal collection label attached to the underside. 1960 x 1060mm $350 – $600

114. Ruth Castle Hanging basket. H.180mm $50 – $100 115. Theo Jansen Te Wairua Po (The spirit of the night) Carved andesite stone. H.310mm $600 – $800

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120

120. Vivienne Mountfort Tree roots. Wool in various colours woven in relief on a ply disc. D.1200mm $500 – $1000 121. Jean Ngan Flat weave woollen rug No 1. Hand woven in blue and brown wool . Original label attached. 1610 x 910mm $350 – $600 122. Don Ramage Maori cave art design wool rug. Made in 1972 for the NZ wool commission, woven by Feltex carpets. 1740 x 950mm $1000 – $2000 123. Onehunga Mills Te Ariki woollen travel rug with a tukutuku panel design in green brown orange and white. Original Onehunga Woollen Mills label attached. 1680 x 1450mm $300 – $500

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124. Onehunga Mills Te Ariki woollen travel rug with a tukutuku panel design in red black brown and white. Original Onehunga Woollen Mills label attached. 1720 x 1420mm $300 – $500

127. Onehunga Mills Te Ariki woollen travel rug with a tukutuku panel design in black red white orange and yellow. Original Onehunga Woollen Mills label attached. 1600 x 1490mm $300 – $500

125. Roslyn Dunedin Textiles woollen manatunga (Maori for keepsake) woollen travel rug with a tukutuku panel design in red white yellow and black. Original label attached. 1660 x 1480mm $300 – $500

128. Roslyn Dunedin Textiles woollen manatunga (Maori for keepsake) woollen travel rug with a tukutuku panel design in red white brown and black. Original label attached. 1460 x 1560mm $300 – $500

126. Onehunga Mills Te Ariki woollen travel rug with a Poutama (stairway to heaven) tukutuku panel design in green white brown and orange, small tear to fringe. Original Onehunga Woollen Mills label attached. 1500 x 1750mm $200 – $400

129. Onehunga Mills Te Ariki woollen travel rug with a Poutama (stairway to heaven) Tukutuku panel design in green brown orange and white. Original Onehunga Woollen Mills label attached. 1700 x 1480mm $300 – $500

130. Onehunga Mills Te Ariki woollen travel rug with a Tukutuku panel design in red black brown and white. Original Onehunga Woollen Mills label attached 1770 x 1470mm $300 – $500 130A. A pair of Tattersfield Maori Legend all wool rugs decorated with a kowhaiwhai and tukutuku panel pattern in black and salmon. L.1360mm $400 – $800 131. Urshala Fenton Wilkes Woven tukutuku style panel in the Poutama (stairway to Heaven pattern) $150 – $300

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138

137

145

143

142

141

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NZ Pottery from other vendors 132. Juliet Peter Three-piece stoneware teaset, comprising teapot, milk jug and sugar basin.Incised initials and original label to the bases. W. 200mm $150 – $300 133. Roy Cowan Stoneware platter painted with a sea creature, 1960s. Incised initials to the base. L. 450mm $200 – $300 134. Juliet Peter Set of five dishes with leaf design. D. 140mm $50 – $100 135. Paul Fisher Stoneware slab vase with tenmoku glaze, signed. H. 220mm $200 – $300 136. Roy Cowan Blue glazed stoneware dish. D. 220mm $80 – $120 137. Roy Cowan A large stoneware slab form garden pot the body pierced and incised. H. 920 x 620mm Provenance: Lorraine and Patrick Williams collection, Wellington $1500 – $2000 138. Roy Cowan and Juliet Peter A large stoneware floor vase painted in blue and green with abstract gestural decoration. H. 660mm Provenance: Lorraine and Patrick Williams collection, Wellington $500 – $800

139. Roy Cowan A large and impressive stoneware blue salt glazed floor vase incised with concentric bands and interweaving stylised koru forms. H. 820mm This impressive floor vase was held for many years in Roy Cowan and Juliet Peter’s personal collection. It was then passed onto Lorraine and Patrick Williams the proprietors of Williams Gallery in Wellington. Lorraine and Patrick represented Roy and Juliet in Wellington and had a long standing association and friendship with the potters $8000 – $12 000 140. Len Castle Large stoneware bowl with iron glaze over tenmoku. Impressed initials. D. 325mm $450 – $600 141. Len Castle Large rectangular dish with impressed decoration. Iimpressed initials (hairline cracks repaired). D. 410mm $300 – $500 142. Len Castle Branch vase, with jun glaze over tenmoku. Impressed initials to the base. H. 345mm $1500 – $3000 143. Len Castle A large and impressive discoid vase, potter’s initials impressed to the base. D. 540mm $2400 – $3000

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144

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144. Len Castle and Theo Schoon Nineteen high-fired earthenware umber tablets made by Castle, impressed with patterns representing an almost complete dictionary of examples of Schoon’s stamps. The stamps were subsequently deposited at Te Papa, circa 1984. The tablets bear approximately 153 impressions, while 144 stamps appear individual. Various sizes [largest 40 x 110 x 8mm] Provenance: Len Castle collection, sold in the inaugural contemporary Art+Object auction May 3rd 2007 $8000 – $10 000 145. Ruth Castle Rare hanging form, fine rattan core dyed with Condys crystals made using a fish basket technique. H. 450mm. This is one of three unique hanging forms that Ruth Castle made in 1960s. $400 – $800 146. Barry Brickell Stoneware vase with tenmoku glaze, impressed potter’s mark to foot rim. H. 210mm $50– $100 147. Peter Stichbury Stoneware charger (repaired). D. 400mm $30 – $50 148. Mirek Smisek Large stoneware charger with tenmoku glaze and wax resist sunflower decoration, impressed initials to the base. D. 390mm Provenance: Martin Hill Collection auction, lot 138 $250 – $500 149. Mirek Smisek Salt glazed stoneware jug. Potters cypher mark to the base. H.260mm $150 – $250

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150. Potter unknown Stoneware floor vase of organic form with multiple apertures and umber pigmented surface. H. 670mm $100 – $200

157. Richard Parker Cylindrical vase with ovoid vase yellow glazed, potters label affixed to the base. H. 200mm $250 – $350

165. Royal Doulton Maori art side plate, hand painted with a Kowhaiwhai design in red and black on a yellow ground. D.175mm $100 – $200

151. Anneke Borren Earthenware orb form painted with geometric designs, potters cypher mark to base. H. 160mm $300 – $500

158. Richard Parker Cylindrical vase with ovoid vase yellow glazed, potters label affixed to the base. H. 185mm $250 – $350

Early NZ Studio Pottery and Crown Lynn

152. Robyn Stewart Totem form, dung fired burnished and textured surface with incised koru. H. 520mm $500 – $800

159. Richard Parker Winged vase with drizzled yellow and green glaze, potters label affixed to the base. H. 180mm $300 – $500

153. Jeff Scholes Stoneware jug with tenmoku glaze. H. 280mm $300 – $400

160. John Dawson Shino glazed cups and saucers. $100 – $200 161. Duncan Shearer Salt glazed vase. H. 270mm $150 – $250

154. Brian Gartside Large stoneware dish with painted abstract decoration. D. 480mm $300 – $400

162. Duncan Shearer Three salt glazed vases of graduated size $200 – $300

155. Richard Parker Glazed terracotta dish, black and white pod pattern design, potters label affixed to the base. D. 290mm $350 – $500

163. Duncan Shearer Large ovoid floor vase with lug handles. H. 450mm $300 – $400

156. Richard Parker Terracotta pedestal dish with yellow and green glaze $250 – $400

164. Rare Royal Doulton Maori Art oversize cup and saucer, hand painted with a Kowhaiwhai design in red and black on a yellow ground $400 – $600

166. Elisabeth Matheson Paka pottery monochrome blue vase. H.100mm $30 – $50 167. Jova Rancich Small pottery squat vase, with green, blue and red majolica-type glaze. Impressed marks. H. 75mm $100 – $200 168. Jova Rancich Pottery posy vase, with red, green and blue majolica-type glaze. Impressed marks. H. 140mm $350 – $500 169. Jova Rancich Pottery fat body jug with multicoloured majolica-type glaze. Unmarked. H. 130mm $500 – $800 170. Jova Rancich Pottery posy vase, covered in a rich green, blue and brown majolica-type glaze. Impressed marks. H. 200mm $600 – $1000

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171. Jova Rancich Large pottery handled vase, covered with a cream crackled glaze. Unmarked. H. 170mm $300 – $500

Other New Zealand Furniture and related items 181. Bob Roukema for Jon Jansen Rare 1950s armchair raised on tapering legs with original wheat coloured velour upholstery. A similar chair held in the Auckland Museum collection. This style of chair can also be seen in archival photos of the Jon Jansen store as part of the Easter show display $1200 – $1800

172. A rare pair of large Crown Lynn white swans, each with factory painted beaks. Crown mark to the base of each. W.310mm $1200 – $1800 173. A rare small white slip cast Crown Lynn swan with factory painted beak. Tiki mark to the base $350 – $500

182. Set of four New Zealand made 1950s armchairs with red vinyl seats and backs the shaped arms with exposed finger joints. Made for a Group architect designed house in Island Bay View Terrace, Howick $400 – $800

174. A rare pair of large white slip cast Crown Lynn male and female swans. Each with impressed mark 170, the female with crown factory mark and the male with Tiki mark to the base. L.310mm $350 – $500

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183. A set of six 1950’s side chairs blackened tubular metal framing in blue red and white vinyl $300 – $500

175. Three Crown Lynn slip cast shell vases, shape 553, in mint green, white and pale blue $500 – $800

184. A set of four Danske Mobler compass chairs with white vinyl upholstery $500 – $1000

176. Crown Lynn slip cast pearl lustre shell vase, shape 2067 $150 – $250

185. Don Furniture 1960’s teak framed armchair reupholstered with contemporary fabric in an orange abstract design on a pale brown ground. $700 – $900

177. A pair of Crown Lynn mint green slip cast trough vases, shape 510. L.275mm $200 – $300 178. Crown Lynn slip cast pink basket form vase, shape 507. L.310mm $150 – $250

208 169

186. Garth Chester A rare Winter’s salon chair with paddle shaped arms raised on tapering cylindrical legs with brass feet, green leatherette upholstery $1000 – $2000

179. McAlpine yellow glazed fridge jug. H. 225mm $300 – $500

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188. A pair of 1950s lounge chairs with webbed seats and backs in the manner of Jens Risom $350 – $500 189. Garth Chester bent plywood Curvesse chair $4000 – $8000 190. New Zealand made 1950s Hans Wegner style plank chair $500– $100 191. New Zealand made 1950s Hans Wegner style plank chair $500 – $1000 192. Oak 1950s coffee table with glass top raised on tree triangular legs $250 – $500 193. Backhouse day bed with black leatherette upholstery and mahogany frame $1200 – $1800 194. John Middleditch Crucifixion, patinated wrought copper figure suspended on a wooden cross. 720 x 520mm $800 – $1200 195. John Middleditch Totem form, patinated copper. Signed with initials and dated 77. H.490mm $500 – $800 196. John Middleditch Untitled abstract sculpture in copper with variegated surface together with a watercolour depicting a similar form. Signed and dated 1970. Sculpture W.600mm, Watercolour 380 x 570mm $400 – $600

187. Three 1950s armchairs with tubular wrought iron framing with white textured vinyl upholstery $200 – $400

180. Pair of Crown Lynn 1970 stamp design dishes, Tasman Glacier and Maori rock drawing $50 – $80

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197. John Middleditch Abstract copper wall sculpture number 190. 270 x 220mm. Offered together with an archival photograph of the work. $200 – $400 198. Betty Beadle Ten assorted embossed metal discs. Various sizes $100 – $200 199. John Middleditch Indian Mandala Mosaic tiles on board. Title inscribed signed and dated 1982 verso 310 x 310mm $100 – $200 200. John Middleditch Two unfinished watercolour paintings, three sketches and a collection of archival photographs $50 – $100

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201. NZ composite moulded tray decorated with Maori Kowhaiwhai patterns. L.370mm $50 – $100

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202. Set of six NZ glasses decorated with Maori cave art and weaponry $100 – $150 203. NZ folk art fire bellows carved with a tekoteko figure. H.370mm $180 – $250 204. An Italian Delta Indigenous People collection pen ‘Maori’, limited roller ball edition. In as new condition complete with original box. Edition 689/1642 $300 – $400 205. John Crichton Small mosaic tiled saucer. D. 130mm $30 – $50

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206. An unusual New Zealand made arts and crafts style brass and copper jug, the handle decorated with a cut brass outline of New Zealand, the

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210. Cera Ware decorative plaque featuring Cave Art after Theo Schoon – Ahuriri River Figures enamel over copper. 155 x 283mm $300 – $500

212 – 217

212. Cera Ware enamel on copper plaque with a Maori cave art design after Theo Schoon of a figure paddling a raft. 250 x 250mm $100 – $200 213. Five Ceraware dishes and two coasters, decorated in enamel on copper with Maori motifs $100 – $200 194

jug inlaid with a fantail and other New Zealand birds in various shades of Paua shell. H. 250mm $300 – $500 207. Louis Boros Symphony Bay of Islands Opus No 2 wool and cotton tapestry title inscribed and signed on original artist’s label affixed verso 1960 x 1410mm Exhibited: ANZ Art Awards, 1987 $2000 – $4000 208. Louis Boros Nights Lights over Rangi wool and linen tapestry title inscribed, signed and dated 1990 on original artist’s label affixed verso. 1830 x 1410mm $2000 – $4000 Collection of Del Ware and Cera Ware

214. Ten Del Ware enamel and copper dishes decorated in enamel on copper with Maori cave art designs. D.100mm $200 – $300 215. Nine Del Ware dishes of triangulated shape decorated with Maori cave art designs $100 – $200 216. Cera Ware plaque decorated with a Maori cave art design. W.120mm $35 – $50 217. Seven Cera Ware coasters decorated with Maori cave art designs, housed in an original turned wood barrel $100 – $200

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209. Cera Ware decorative plaque featuring Cave Art after Theo Schoon – Opihi River Taniwha Figures, enamel over copper 230 x 155mm $300 – $500

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Theo Schoon and New Zealand Rock Art

Few episodes in New Zealand Art History were as unlikely as the encounter of Theo Schoon with Maori Rock Art in the 1940s, and few as significant. This chance meeting between an itinerant Dutch artist and a sadly neglected cultural heritage of rock drawings led Schoon to an immediate re-evaluation of his own work with ongoing impact on painting, photography and the applied arts. For Schoon and his associates, especially Gordon Walters, there came a radical change of outlook and approach to their creative work. Schoon first saw fragments of rock art in the Otago Museum and copies of some of the drawings in the mid 1940s. With his knowledge of modern European art, of Surrealism and the Bauhaus, he was able to see the seemingly ‘primitive’ images with fresh insight. He knew, for example, of the influence of child art on the Surrealists and the attempts to direct modern art away from traditional approaches towards a more intuitive and individual response. It meant moving from matching to making. The conventions of realist painting, like perspective and modelling could be dispensed with. Instead, as in the rock drawings, the imagery could be drawn or painted in two dimensions on a flat surface with no illusionism or attempt at realism. It would be the birth of New Zealand modernism. Somehow, with no qualifications, Schoon managed to get some funding in 1946 to record the rock art in Canterbury and North Otago for the Canterbury Museum. He reported to Roger Duff, later Director, who viewed the drawings as childish graffiti with no artistic merit. Schoon’s brief was to record the drawings located on limestone bluffs and boulders in areas being farmed for sheep and where the limestone was being quarried for fertilizer by blasting

Lot 263. Theo Schoon, Self-Portrait, circa 1980.

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– processes that destroyed the drawings. He was to make painted copies of the rock art for the museum and also take photographs. The enormity of the task, involving climbing over considerable areas of barely accessible cliffs and fording fast flowing rivers, like the Opihi and Waitaki, while carrying boards for his paintings and camera equipment – plus provisions for overnight stays in the rock shelters – cannot be exaggerated. But Schoon was up for it. He was an experienced professional photographer and also a gifted and trained painter with incredible technical skill. Plus he was young, in his early thirties, very strong and totally fanatical in his enthusiasm for the task. With no car, little money, few possessions and the rural postal service as his means of communication with Roger Duff in Christchurch, he was truly a man alone. What he achieved, though controversial, was astonishing in both quantity and quality. By his letters written on location, by his articles for the media and his promotion of his discoveries to colleagues like Gordon Walters, Dennis Knight Turner and Rex Fairburn he brought the main rock art images, such as the Taniwha Freize at Gould’s Farm, from obscurity to mainstream public attention. Thanks to Fairburn and others using the rock art imagery supplied to them by Schoon for commercial purposes such as wall hangings, coasters and tea towels it became debased maybe but suddenly known and admired. On location there were numerous difficulties to be overcome. His photographs were hampered by poor and uneven light in the shelters where the rock art was drawn on both walls and ceilings continuously. Also, the limestone surfaces were often granulated and flaking making the

drawings irregular, incomplete and fragmented. Schoon’s pragmatic and egotistical solution was to ‘retouch’ them to make the drawings more legible and easier to photograph. In doing so, he had to interpret what was there and in many cases select what made sense to his idea of the work. His photographs are therefore manipulated and have a heightened artistic dimension at the expense of archeological fidelity. Schoon was no archeologist. His ‘copies’ of the rock art are best seen as free interpretations which he has transformed into modernist paintings. Initially with a ‘copy’ of moa drawings at Craigmore Schoon tried to simulate the colour and texture of the originals. Quickly he abandoned that approach in favour of a reductive mono-tonal imagery rendered in flat, hard-edged forms on a smooth grey ground. This procedure gives the imagery the scale and format of modernist European paintings. A reference to Paul Klee in the title of one of his photographs confirms his knowledge of this context. One feels that he has composed and positioned his rock art motifs against the ground with an awareness of relational composition and of figure ground interaction. By eliminating conventional spatial and naturalistic concerns, Schoon frees his forms to interact across the surface. It is a dramatic advance that lays the groundwork for his own and Gordon Walters’ abstract paintings that follow. Until now it has only been possible to see his rock art paintings in a museum context. It is time to see them as they really are – creative art works. Michael Dunn

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William Vance Collection of Theo Schoon Cave Art from the period 1946-49

218. Theo Schoon R.Gould Opihi, copy by Theo Schoon, 1946 oil on card title inscribed, signed and dated verso, also inscribed scale 1:4 indecipherable 600 x 760mm $2000 – $4000

219. Theo Schoon Tongawai Gorge. Albury Park Station Part 1. oil on card title inscribed on verso, also inscribed drawings on single rock in artist’s hand 520 x 650mm $2000 – $4000

220. Theo Schoon Waitohi Composition. Part 2. oil on card title inscribed verso $2000 – $4000

221. Theo Schoon Craigmore, Pareora Parts one & two oil on card title inscribed verso 520 x 1300mm, diptych $5000 – $7000

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222. Theo Schoon Giant Dog Shelter – Rockwood oil on card title inscribed verso 525 x 645mm $2500 – $4500

223. Theo Schoon Limestone Valley Road, Tycho oil on card title inscribed verso 520 x 650mm $2500 – $4500

224. Theo Schoon Opihi River II oil on card title inscribed verso 504 x 643mm $2000 – $4000

225. Theo Schoon Carter’s Rockpool. Opihi Riverbed. Actual size oil on card title inscribed verso 520 x 652mm $3000 – $5000

226. Theo Schoon Ford’s Hanging Rock part 3 oil on card title inscribed verso 523 x 650mm $2500 – $4500

Catalogue note: In the catalogue for the 1985 exhibition at the Robert McDougall Art Gallery, Christichurch a variant of this work is entitled Colonial Church, Raincliff

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227. Theo Schoon Ford’s Hanging Rock part 4 oil on card title inscribed verso 523 x 647mm $4000 – $6000

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228. Theo Schoon Ford’s Hanging Rock part 5 oil on card title inscribed verso 522 x 650mm $2500 – $4500

230. Theo Schoon Ahuriri River Waitaki part 2. oil on card title inscribed verso 520 x 650mm $2000 – $4000

231. Theo Schoon Ahuriri River part 2, copy by Theo Schoon February 1949 oil on card title inscribed, signed and dated verso 518 x 647mm $2000 – $4000 Catalogue note: This image is a reverse image of the previous lot and is dated after Schoon’s period in the field. By early 1949 Schoon had relocated to Auckland, possibly staying with A.R.D. Fairburn. It is probable that this image was painted using a photographic reference which resulted in the image becoming ‘flipped’.

229. Theo Schoon Upper Totara Valley part 1, reduced 1/6th (canoe prow) oil on card title inscribed verso 520 x 650mm $2500 – $4500

“Mr. Theo Schoon … has spent about three years recording these drawings … In the course of his travels he has discovered about three times as many as were previously known. I prophesy that in times to come his name will be remembered with gratitude by generations that have come to appreciate the full value of these primitive works of art.” A.R.D. Fairburn, 1949

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232. Theo Schoon Ahuriri River. Part 1 oil on card title inscribed verso 520 x 650mm $4000 – $6000

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233. Theo Schoon Earthquakes Duntroon oil on card title inscribed verso 525 x 645mm $4000 – $6000

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234. Theo Schoon Earthquakes Mauruawhenua, Part of Eagle Composition, Actual Size oil on card title inscribed verso 520 x 652mm $2000 – $4000

235. Theo Schoon Monkey Face Shelter No 1 part 6, Kaikoura oil on card title inscribed verso 508 x 633mm $2500 – $4500

236. Theo Schoon Kaikoura Monkey Face Reserve part 2. oil on card title inscribed verso 520 x 648mm $2000 – $4000

237. Theo Schoon Kaikoura, Monkey Face Reserve part 1 oil on card title inscribed verso 525 x 650mm $2000 – $4000

238. Theo Schoon Monkey Face Shelter No 1 Kaikoura oil on board title inscribed verso 650 x 522mm $2500 – $4500

239. Theo Schoon Scargill – Waihari district nearly actual size oil on card title inscribed verso 650 x 522mm $2500 – $4500

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240. Theo Schoon Large Mythic Monster Taniwha, a human figure, and some typical maori designs oil on card title inscribed on signed accompanying photograph by Theo Schoon 510 x 635mm $3000 – $5000

241. Theo Schoon Untitled – Cave Drawing Figures oil on card 510 x 633mm $2000 – $4000

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Cave Art Photography by Theo Schoon

243. Theo Schoon Opihi River Taniwha 14 medium format (203 x 253mm) together with 6 small format (164 x 215mm) vintage silver gelatin prints of taniwha figures and numerous details. All photographs annotated by Theo Schoon verso, many dated 1948 $500 – $1000

242. Theo Schoon Cave Art Sites and Environs 8 large format (250 x 305mm) vintage gelatin silver prints of cave art sites, environs and limestone formations, 2 with annotations by Theo Schoon verso, for example image illustrated above left is inscribed Rocks on South bank of Opihi River, The large Shelter with drawings in the background, photo T. Schoon $500 – $1000

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244. Theo Schoon Monkey Face, Kaikoura 5 medium format (203 x 253mm) vintage silver gelatin prints of cave art and environs. All photographs annotated by Theo Schoon verso, for example the image illustrated is inscribed Monkey Face Cave No.1 (centre foreground) Monkey Face Reserve, Kaikoura $200 – $400

245. Theo Schoon Waitaki River 6 medium format (203 x 253mm) vintage silver gelatin prints of Waitaki and Ahuriri River environs. 3 photographs annotated by Theo Schoon verso, for example the image illustrated is inscribed Black Jack Point on the Waitaki River – photographed in 1947 by Theo Schoon $200 – $400

246. Theo Schoon Pareora, Raincliff, Weka Pass and Upper Totara Valley 10 medium format (203 x 253mm) vintage silver gelatin prints of various cave art environs and limestone bluffs. 6 photographs annotated by Theo Schoon verso, for example the image illustrated is inscribed Upper Totara Valley Showing various shelters $300 – $600

247. Theo Schoon Cave Art Figures 20 medium format (203 x 253mm) vintage silver gelatin prints of various cave art figures and details from Weka Pass, Waitohi, Hazelburn High Shelter, Craigmore Valley, Duntroon and Totara Valley. 19 photographs annotated by Theo Schoon, for example the image illustrated is inscribed Weka Pass Main Shelter detail study $400 – $800

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248. Theo Schoon Pareora River Bird Men and other Cave Art Figures four small format (164 x 215mm)vintage gelatin prints. All annotated verso by Theo Schoon illustrated clockwise from top left Pareora River Birds, Bird Men and fish; Theo Schoon ‘46 a recent discovery of incised figure resembling Maori Tatoo in Duntroon (catalogue note: this figure is extensively outlined in white ink by the artist); Large human figure “Earthquakes” Duntroon. One of the most fantastic places Theo Schoon ‘47; Glennis, Hazelburn, detail study $800 – $1500

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The William Vance Archive of Correspondence, Publications, Articles and Photographs relating to the Theo Schoon Cave Art Project 249. William Vance was born in Lyttelton in 1900 and during his secondary school years began collecting New Zealand books and artefacts. His enthusiasm for this nation’s story led to his graduation from Canterbury College (now university) with a degree in history, and, after a decade as a journalist, to his appointment in the mid 1940s as historical research officer with the Department of Internal Affairs. Vance’s allotted territory, South Canterbury, was appropriate as he had spent his holidays at Pleasant Point on his uncle’s farm in the limestone country that contains one of the main concentrations of Maori rock art. The nearby Mackenzie Country was a focus of Vance’s interests as a mountaineer and collector of the pioneers’ stories. Once employed by the department, Vance was able to implement his boyhood dream of protecting the rock drawings. The arrival of Theo Schoon with the same vision, began that fraught but ultimately successful process. Correspondence The William Vance archive documents the management of the Cave Art project and dates from the early 1940s to the early 1950s. The archive includes correspondence between William Vance, Theo Schoon, Roger Duff (director of the Canterbury Museum), A.R.D. Fairburn, A.G. Harper (Under-Secretary of the Department of Internal Affairs), Twentieth Century Fox Film Corporation (NZ) relating to filming and screening of newsreel footage of Theo and the caves, D.C. Kidd M.P., H. D. Skinner (Director of the Otago Museum) and various local landowners. Of particular note is a letter dated October 1st, 1946 from Vance to Schoon in which the former relates his meeting with the artist Gordon Walters and Roger Duff and their impressions of the cave paintings. Paragraph 3 of the letter reads…’Roger was delighted with the result of your paintings of the

Much of the detail of the project – one of the most extraordinary in the narrative of New Zealand art and ethnology – has not been made public and is recorded in great detail with assiduous documentation of original material in the Vance archive. It records not just the administrative problems that arose between the free-wheeling Dutch artist and the pernickety New Zealand bureaucracy but also the friendship that arose between Schoon and Vance. The latter enjoyed dealing with difficult people and the former needed a buffer between his visionary drive and a slow moving officialdom. Vance and Schoon complemented each other perfectly. Schoon went on to diverse artistic pursuits but never lost his grounding in Maori culture. Vance went on to write the standard history of the Mackenzie, dozens of articles and half a dozen books on Canterbury.

rock-drawings of Blackler’s high shelter, and in my report to the Department of Internal Affairs he asked me to say: “I can add from personal experience that the number and variety and placing of the figures make it a most difficult job to copy them and they have been copied with incomparable skill”. Surely there can be no better tribute than that to your work’ The archive also includes 85 pages of Theo Schoon’s field notes commencing August 1946 with numerous maps, annotations and illustrations. The correspondence between the various parties covers a wide range of topics including: selection and payment for cave paintings by various public museums, the creation of sets of boards for different museums necessitating duplicates, Schoon’s discovery of different types of pigment application as well as incised figures, and perhaps most importantly Schoon’s interpretation of the creation and meaning of the cave art. The archive also contains an inventory of receipts for batches of cave paintings and photo-

graphs as furnished by the Department of Internal Affairs. Of particular note is extensive correspondence between Schoon, Vance, Roger Duff and A.G. Harper, Assistant Under-Secretary of the Department of Internal Affairs and others on the question of retouching the images within the shelters, a practice which had gone on for many years prior to Schoon’s arrival. The arguments for and against the practice and the difficulty in managing Schoon in the field make for illuminating reading. Of particular note on this topic is a letter dated 12th March, 1946 from H.D. Skinner, Director of the Otago Museum who recounts at least two previous attempts at retouching by his father W.H. Skinner then Commissioner for Crown Lands in Canterbury and Dr. W.B. Oliver. One important handwritten note by Cliff Brunsden, a Timaru artist and later the founding director of the Aigantighe Gallery details (most probably under instruction by Theo Schoon) the formula for the grey ground of the boards em-

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for Schoon to earn some revenue from the sale of photographs after the original sets of paintings had been sold. Amongst literally dozens of handwritten letters from Schoon to Vance one is worth quoting. It is undated, but based on the chronology of correspondence was most probably written in January 1947. An excerpt reads: “ I have submitted a short article and some photographs to the NZ. Listener, in which I aimed at introducing this work as a legacy of religious art, backed by an analysis which is getting down to Tin Tacks, rather than the vague and unbased opinions, which Roger (Duff ) has aired so persistently over such a long period.” Publications G.B. Stevenson, Journal of the Polynesian Society ( JPS), extract Vol.52, No.4, December, 1943, Waitaki Maori Paintings G.B. Stevenson, JPS Vol. 55, No.3, Sept, 1946, Rock Paintings at Kokoamo, North Otago Catalogue of Exhibition of Australian Aboriginal Cave Paintings, London, 1947 W.A. Taylor, Pictographs and Moa Hunters, 1949 Exhibition of Schoon paintings by South Canterbury Historical Society, circa 1948.

Neil Roberts curator, Maori Rock Drawings, The Theo Schoon Interpretations, Robert McDougall Art Gallery, Christchurch, 1985 Articles

ployed by Schoon: Oil Ground, Ordinary white lead, add 50% China Clay, add turpentine and Raw Linseed oil to the …… Add powder colour mixed with turps as desired The close nature of the relationship between William Vance and Schoon is revealed across countless letters and an extensive file detailing advances and loans from Vance to Schoon, no doubt to tide the artist over between payments from the Department of Internal Affairs. Vance, as can be deduced from the exchange of letters balanced the demands of an artist in the field with the at times parsimonious attitude of the Govt. Department which refused Schoon’s requests for assistance with transport and even denied the artist a field tent! All the while it is clear that Vance was in no doubt as to the importance of Schoon’s project and the

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privations the artist had to endure which ranged from poor weather, difficult conditions, limestone blasting within metres of important cave art sites. Looming in the background is time pressure as a consequence of impending flooding of the Waitaki river as part of the hydro schemes of the late 1940s. The archive also includes fascinating correspondence between Vance, Schoon, the Department of Internal Affairs and other govt bodies such as Canterbury Museum and the Adult Education Department of the Canterbury University College on the subject of acquiring suites of photographic prints. It is clear Schoon was adamant in owning and not releasing negatives or selling a duplicate set. There was, however clear demand from numerous institutions for suites of photographs. Retaining control of the negatives was an avenue

The archive contains an extensive collection of published articles and complete typewritten copies of important documents. Maori Rock Paintings, Memorandum dated 18th November 1929. Prepared by the Dominion Museum, Wellington for the The Under – Secretary, Internal Affairs Department. (typewritten copy) Also another signed W.B. Oliver and dated 28th May, 1929 which includes a typewritten copy of a letter by J.L. Elmore dated 24th September 1916 addressed to Dr Thomson on the subject of tracing and physically removing cave paintings from various sites listed.

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Dr. J.D. Elmore, Prehistoric Art, Timaru Herald, October 1916. (typewritten copy)

H.E. Wedde, Ancient Rock Paintings – Discoveries in North Otago, Otago Daily Times, 2.7.46

J.R. Irvine, New Zealand’s Early Artists – Drawings Near Albury, Timaru Herald, December 22, 1936

Maori Rock Drawings – Art of “Doodling?”, Christchurch Press, 10.7.1947

J.T. Salmon, Report on trip to South Island, 25th to 31st march, 1939, to Photograph Maori Rock Paintings. (typewritten copy)

Visit by Dutch Artist –Study of Ancient Art Relics, Southland Times, December 20, 1947

G.B. Stevenson, Maori Paintings Near Duntroon, the Oamaru Mail, July 20, 1939. A fascinating article which contains the prescient comment, ‘Above a floor of clean dry, light grey sand, some ancient artist, using a mixture of red pigment, probably hematite, and fish or bird oil, had painted a number of crude figures, which, like some of our ultra modern art require a good deal of interpretation, and which have little, if any, resemblance to Maori Art, as we know it in weaving or carving.’ G.B Stevenson was the author of the Journal of the Polynesian Society ( JPS), extract Vol.52, No.4, December, 1943 (see above) which is credited with sparking Schoon’s interest in recording the cave art. Memorandum for the Under-Secretary (Department of Internal Affairs) General File re Maori Rock Paintings, prepared by J.D .Pascoe, 4th March, 1941, (typewritten copy). An important document which compiles all known interaction with the various cave art sites from 1916 until the date of the document, their level of documentation and state of repair. Roger Duff, Ethnologist, Canterbury Museum, Report On Native Rock Drawings of South Canterbury: Presented to the South Canterbury Historical Society, February 15, 1946. (typewritten copy) It was this report which combined with the lobbying of the South Canterbury Historical Society of which William Vance was an active member that led directly to the employment of Theo Schoon later in 1946 to record the cave drawings.

Theo Schoon, Dominion’s Oldest Art Gallery – Pictures in Limestone Caves, The Weekly News, January 7, 1948. Article illustrated with Taniwha image – see lot 240 Ancient Rock Drawings Found in Southland, Southland Times, January 10, 1948 Timaru Herald, various cuttings dating from 1943 to 1951 on the subject of the Cave drawings, their recording and preservation including the announcement on February 12, 1949 of an exhibition at the Canterbury Museum of the Schoon Cave drawings and an address by the artist. A.R.D. Fairburn, Polynesian Cave Drawings published in Home & Building, June-July 1949. The article includes a telling quote,“Mr. Theo Schoon (who is a very fine painter in his own right) has spent about three years recording these drawings … In the course of his travels he has discovered about three times as many as were previously known. I prophesy that in times to come his name will be remembered with gratitude by generations that have come to appreciate the full value of these primitive works of art.” W.A. Taylor, Rock Paintings of Canterbury, The Plainsman, January 1, 1950 New Zealand Cave Drawings in Danger, N.Z. Listener, April 13 1951

William Vance (far right) leads an expedition into cave art territory in his trusty Buick, late 1940s. Photographs Approximately 20 small vintage gelatin silver prints of 65 x 110mm dms depicting various cave art sites including Hart’s farm Waitohi, Hazelburn Blackler and Doghead Rock Cave. An annotation reads Photographs taken in 1918 by Mrs Carlow of rock drawings in Mr Hart’s farm. This date is supported by a letter dated March 13, 1946 by G.H. Carlow addressed to William Vance which notes that the photographs were taken in 1917 or 1918. A suite of approximately 22 small (dimensions variable) vintage gelatin silver prints depicting cave art field trips including William Vance in the period 1948 – 50 to locations such as Ahuriri River, Earthquakes, Pareora and Gould’s Shelter. Also a vintage gelatin silver print (165 x 215mm) depicting an exhibition of Schoon cave art paintings by the South Canterbury Historical Society, circa 1948. $1500 – $2500

David Grace, Mystery of Cave Murals – Art of the Maori, The Weekly News, October 6, 1952 Gerard O’Regan, The shifting place of Ngai Tahu rock art, Ngai Tahu Maori Rock Art Trust, circa 2009

Rock Drawings Re-Assessed, Christchurch Press, 10.5. 1947

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Rodney Robertson Art collection

250. Theo Schoon Untitled – Maori Cave Art Figures relief print on butchers paper 285 x 385mm $1000 – $1500 251. A.R.D. Fairburn Study of Maori Rock Drawings vintage screenprinted fabric mounted to board 640 x 800mm $3500 – $5000

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252. Dennis Knight-Turner Painting No. 6 oil on board title inscribed, signed and dated 1952 355 x 340mm $5000 – $7000

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253. Don Driver Two Part Relief mixed media title inscribed, signed and dated 1974 verso 560 x 1130mm $3000 – $6000 255. Robert Ellis To the City Centre oil on canvas title inscribed, signed and dated 1966 EX10 No 16 verso 915 x 610mm $4000 – $7000

254. Guy Ngan Blue Formation No 6 oil on board signed and dated ’75, title inscribed on original artist’s label affixed verso 600 x 600mm $3500 – $6000

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256. John Weeks Still Life with Jug, Vase and Plate collage 290 x 350mm $2000 – $4000

257. Greer Twiss Long Shadow cast bronze with applied cellulose lacquer pigment title inscribed, signed and dated 1970 to the underside 570 x 210 x 250mm $2500 – $4000

259. Eileen Mayo The Tree screenprint, artist’s proof VIII title inscribed and signed 480 x 300mm $800 – $1500

260. Eileen Mayo Moths on the Window screenprint 10/35 Title inscribed and signed 560 x 340mm $800 – $1500

261. Don Ramage Abstract Composition screenprint 515 x 860mm $200 – $400

258. Edgar Mansfield The Rime of the Ancient Mariner screenprint 6/25 signed, title inscribed on original John Leech Gallery label affixed verso 290 x 210mm $400 – $700

262. The Original 4 Square Man commercial art sign (section) oil on board 420 x 330mm $300 – $500

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Photography 263. Theo Schoon Self-Portrait, circa 1980 C-type print 305 x 210mm $1000 – $2000 Illustrated: Michael Dunn, The Art of Theo Schoon, Art New Zealand No. 25, 1982, p.22 also this catalogue, p.44 265. Theo Schoon Opihi River View – Looking North vintage gelatin silver print, circa 1947 title inscribed and signed photo T.Schoon verso 235 x 285mm $1500 – $2500

264. Michael Dunn Theo Schoon on Location at Waiotapu, 1965 gelatin silver print 305 x 305mm $750 – $1250

266. Theo Schoon Untitled – Waiotapu Mudpool Composition with Fern C-type print from original medium format Kodak Ektachrome colour transparency, image circa 1966 312 x 312mm $2000 – $4000

267. Theo Schoon Untitled – Waiotapu Mudpool Study gelatin silver print 275 x 275mm $2000 – $4000

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269. Theo Schoon Untitled – Reflection, Refraction & Abstraction gelatin silver print 305 x 305mm $1500 – $2500 268. Theo Schoon Untitled – Large Waiotapu Mudpool Study C-type print, image circa 1966 300 x 600mm $2000 – $4000

270. Steven Rumsey Barry Woods at Retouching Desk (1953) gelatin silver print 280 x 375mm $200 – $400 Illustrated: Gordon H Brown, The Elusive Modernist Steve Rumsey’s Camera Club Photographs 1948 – 1964, Art New Zealand 108

271. Barry Woods The very thought of an anniversary gives me a headache gelatin silver print (1960) title inscribed verso with Barry Woods, Palmerston North stamp applied 390 x 320mm $200 – $400

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Photographs from the Estate of Frank Hofmann

272. Frank Hofmann Hofmann House, 75 Bell Road, Remuera (designed by Vernon Brown), Auckland, 1948 vintage gelatin silver print 225 x 290mm $2000 – $3000 Exhibited: From Prague to Auckland The Photographs of Frank Hofmann (1916-89), curated by Leonard Bell at the Gus Fisher Gallery, The University of Auckland, 26 August – 29 October 2011.

273. Frank Hofmann Waikato Heads vintage gelatin silver print title inscribed, signed and dated 1965 verso; original Auckland Photographic Society Merit award dated 8/4/65 affixed verso 300 x 370mm $3000 – $5000

Illustrated: Leonard Bell From Prague to Auckland The Photographs of Frank Hofmann (1916-89) Auckland University Press, 2011, p.37 Literature: Leonard Bell, ibid, pp. 35-38.

274. Frank Hofmann Composition with Cactus, 1952 vintage gelatin silver print title inscribed and signed verso, original Photographic Society of New Zealand, 4th National Salon, Auckland, 1955 affixed verso, annotated as Champion Print 355 x 285mm $4000 – $6000 Exhibited: From Prague to Auckland The Photographs of Frank Hofmann (1916-89), curated by Leonard Bell at the Gus Fisher Gallery, The University of Auckland, 26 August – 29 October 2011. Illustrated: Leonard Bell From Prague to Auckland The Photographs of Frank Hofmann (1916-89) Auckland University Press, 2011, p.10, entitled Reversal Design Literature: Leonard Bell, ibid., p.11

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275. Frank Hofmann Hella Hoffmann at Treaty House Waitangi, Summer 1966/67 C-type print on Ilford Cibachrome paper title inscribed verso 385 x 385mm $3500 – $5500 276. Frank Hofmann Kiri te Kanawa vintage gelatin silver print on Kodak Royal paper title inscribed, signed and dated 1965 verso 370 x 300mm $4000 – $6000

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Further Art

278. A.R.D. Fairburn Study of Maori Rock Drawings vintage screenprinted fabric mounted to board 650 x 614mm $800 – $1500

279. Geoffrey Fairburn Untitled – Rhythmic Figures watercolour and mixed media on paper signed G.E. Fairburn 360 x 405mm $500 – $800 Provenance: previously in the collection of the artist’s estate

277. Theo Schoon Untitled – Maori Thigh Tattoo Design screenprint, circa 1971 260 x 185mm $500 – $800

280. Geoffrey Fairburn Decorative Gourd in the manner of Theo Schoon incised and stained with a rhythmic motif to the neck and anthropomorphic figures to the body h. 450mm $300 – $500

281. John Middleditch Painted construction acrylic on board with wrought copper inset title inscribed, signed and dated 1983 verso 600 x 600mm $350 – $700

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282. Russell Clark Tainui graphite on paper title inscribed 315 x 510mm $2000 – $4000 283. Russell Clark Wellington Harbour watercolour, circa 1938 – 40 signed $6000 – $9000 Illustrated: Michael Dunn, Russell Clark, 1905 – 1966 A Retrospective Exhibition, (Robert McDougall Art Gallery, 1975), p.33 Catalogue note: When exhibited in the 1975 retrospective exhibition the work was dated 1938. Subsequent research suggests the ship depicted is the light cruiser HMNZS Achilles. The New Zealand National Collection of War Art includes a gouache of, as it was then, HMS Achilles, by the artist Frank Norton. The passage below is quoted from Te Ara – the Encyclopedia of New Zealand New Zealand’s first significant military action in the war was

when HMS Achilles, one of New Zealand’s two light cruisers, became involved in the hunt for the German warship Admiral Graf Spee which had sunk nine British merchant ships. Eventually, with two other cruisers, the Achilles intercepted the German warship and attacked it on 13 December 1939. The Admiral Graf Spee fled into the neutral port of Montevideo, Uruguay, but eventually the commander took it out of the harbour and scuttled it. Four men had been killed on the Achilles. When the ship returned to New Zealand in early 1940 there was a huge welcome. The National Library of New Zealand Te Puna Matauranga o Aotearoa also houses a photograph by Sydney Charles Smith entitled HMS Achilles at Aotea Quay, Wellington with the date given as the late 1930s.

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284. Mervyn Williams Artifice gouache on paper signed and dated ’59, title inscribed verso 490 x 610mm $2000 – $4000

285. Mervyn Williams Maxim acrylic on linen on board title inscribed, initialled and dated ’71 verso 685 x 770mm $5000 – $8000

Mervyn Williams began his career as he intended to continue, setting his sights on the standards established by the international modernist movement. In the midlate 1950s, remarkably while still a teenager, he was painting highly sophisticated abstract pictures that recall mid-twentieth century European abstractionists such as Vieira de Silva, Georges Matthieu and Victor Pasmore. In these early gouaches, Williams was exploring purely painterly matters, totally at odds with the emphasis on landscape and the local found in the work of his contemporaries. (Remember that abstract art was not a common sight in New Zealand at the time, and most of the artists who turned to abstraction did so only after working through representational or semi-abstract styles.) The accumulation of loose patches of colour and confident linear marks generates a complex, ambiguous, ‘floating’ sense of space – a pictorial world that is primarily optical in the sense that it draws the eye of the viewer in and around and about, without representing an actual or physical space. The idea of testing and manipulating the eye of the viewer is central to the style known as Op Art, to which Williams turned in the 1960s, conjuring forth, out of flat painted forms, an impression of threedimensionality and a wealth of dazzling optical effects. Williams has said that

‘there is something about Optic art that appeals to a more innocent side of ourselves’,1 and this is supported by the fact that, in contrast to the hostility that greeted most twentieth century avantgarde movements, the compositions of Bridget Riley, Victor Vasarely, Richard Anuszkiewicz and others, quickly sparked a fashion that spread beyond the cloistered world of ‘high art’. Op Art gave modernist abstraction a new twist, jazzed it up and converted its aspirations into something less esoteric and metaphysical – something more easily appreciated and in line with the new mood of the 1960s, the rise of popular culture and progressive social movements. For Williams, it represented the perfect mix of rigorous abstraction and egalitarian appeal. In 1960-70s New Zealand, however, the reception for Op Art was muted to say the least. Williams’ desire to make crisp, pristine, vibrant images that were about the act of perception itself, was shared by only a few others, notably Ray Thorburn and Gordon Walters (and it is significant that Walters invited Williams to exhibit with him in a two-person show in Christchurch in 1984). Yet the results can now be appreciated as some of the most radical and resplendent New Zealand paintings of the period. Ed Hanfling 1 Mervyn Williams, conversation with the author, 30 April 2012.

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286. Roy Good Untitled – Painting No.9 PVA and varnish on canvas signed and dated R.G. ‘69 915 x 765mm $4000 – $7000 Exhibited: Roy Good, Barry Lett Galleries, Auckland, 1970

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287. Milan Mrkusich Monochrome Green acrylic on board, 13 sections title inscribed, signed and dated ‘77 verso 712 x 405mm $8000 – $12 000 Provenance: Private collection, Auckland

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288. Colin McCahon Dark Landscape synthetic polymer paint and sawdust on board, circa 1965 original Peter Webb Gallery label affixed verso 300 x 300mm $20 000 – $25 000 Provenance: from the collection of Bob Harvey

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289. Colin McCahon’s Letterbox From the artist’s residence at 10 Partridge Street, Grey Lynn, Auckland 545 x 180 x 380mm pigment over tin letterbox $12 000 – $18 000 Provenance: from the collection of the artist Paul Hartigan, acquired by him in 1989

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Colin McCahon’s letterbox sits at the crossroads of a modernist Duchampian readymade, collector fetishism, artist homage and the iconization of McCahon as New Zealand’s greatest 20th century artist – a position which renders his signature an emblematic brand in its own right – a Pacific Picasso. Like the French master whose signature has moved from the canvas to the Citroen car, McCahon’s distinctive use of type has entered the realm of the commercial signifier in the form of a dedicated typescript created by designer Luke Wood in 2003. The McCahon font has subsequently been used for exhibition design and even a fruit juice label. The font designer has stated that the move from the canvas into ad land was a nervous one for him, but he noted that McCahon is on record as citing rural roadside fruitstand signs as being examples of the New Zealand vernacular that can be read into his work. Paul Hartigan is another artist who has mined this territory: the intersection of conceptual art thinking with the quotidian signs of the street. Hartigan is perhaps most well known for utilising that most high profile of all signage materials: neon. As an artist Hartigan has located his practice within a diverse range of ‘non art’ materials with neon being just one that sits outside the descriptor, oil on canvas. If any artist can be said to

be alert to the power of the sign it is Hartigan. Works such as Pathfinder which adorns the exterior of the Govett Brewster, Whipping the Wind, Wellington and of course the ebulliant Colony located at the University of Auckland School of Architecture have themselves become visual reference points both on our streets and in our public galleries. It is in this context that the artist freely admits having coveted this humble letterbox since first seeing it in the collection of an art world colleague in the 1970s, “the first time I saw this I thought it was a complete knock out. I begged the owner at the time to give me first right of refusal if he ever thought of selling of it. More than a decade later I got the phone call. I became so obsessed with this ‘McCahon’ that I had to create the work Temple in 2006. It shows the letterbox as it has sat in my studio for over 20 years.” The studio is of course the world famous in Auckland, Snake Studios where Hartigan works surrounded with vintage neon, artwork, artist trades with colleagues and a fantabulous collection of kiwiana, Fun Ho!, Crown Lynn and the plain interesting. Hartigan is an artist whose work is informed by a collector’s sensibility. He is well known to the staff of auction houses and is regarded as an authority on many key areas of New Zealand cultural production.

Paul Hartigan, TEMPLE 2006, pigment print, edition of 50.

In most cases he is years ahead of the collecting curve. Today the artist is selling this piece to assist in funding a future project, currently under wraps. He is more than philosophical about the parting, “selling something like this treasure creates a range of emotions, but I am excited about a new collector experiencing such a unique piece that somehow to me sums up the New Zealand experience. I hope that it gets them thinking and gives them the pleasure it has given me for the last twenty five years.” Hamish Coney Quotes from a conversation between Paul Hartigan and Hamish Coney, May 2014

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290. Guy Ngan Habitation #237 cast bronze on marble base signed and dated 1999 with artist’s impressed mark 180 x 180 x 150mm $8000 – $12 000

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291. Guy Ngan Animated Colours screenprint 3/50 title inscribed, signed and dated 1973 (2009) 990 x 690mm $1600 – $2500

292. Don McAra Untitled – Abstract Tower Forms oil on canvas mounted on board signed and dated ‘65 1230 x 1550mm $2000 – $4000

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293. Freda Simmonds Red Cliffs, Kerr Point oil on board signed and dated ’66, title inscribed verso 440 x 745mm $1500 – $2500

294. A.M. Stevens Painting “R” oil on canvas mounted on board title inscribed, signed and dated 1973 verso 555 x 655mm $500 – $1000 295. Andre Brooke Composition No.1 oil on board 830 x 1000mm $1000 – $1500

296. Andre Brooke Still Life No. 4 oil on board title inscribed and signed verso 900 x 590mm $1500 – $2500

297. Roderick David Finlayson Untitled – Kumara Harvest at Pukehina watercolour and graphite on paper initialled RDF and dated 1930 400 x 250mm $500 – $800

298. Patrick Mace Hutchison Untitled – Symbolic Composition watercolour signed P.M. Hutchison 390 x 580mm $500 – $800

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299. John Crichton On the Beach watercolour signed and dated 1954, title inscribed verso 540 x 405mm $1000 – $2000

300. Violet Jolly Little Miss Muffet watercolour, circa 1950s signed 515 x 590mm $400 – $600

301. E. Mervyn Taylor Profile woodblock print and linocut, edition of 40 title inscribed and signed, original Hutt Art Society Collection label verso 320 x 220mm $1000 – $1500

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303. Geoffrey Fairburn Flag Day II watercolour and gouache on paper signed G.E. Fairburn, title inscribed, signed and dated 1985 verso 198 x 285mm $500 – $800 Provenance: previously in the collection of the artist’s estate 305. Geoffrey Fairburn Untitled – Abstract Composition watercolour signed and dated 1990 verso 395 x 290mm $600 – $1000

302. Geoffrey Fairburn Early Morning watercolour signed G.E. Fairburn, title inscribed, signed and dated 1960 verso 350 x 240mm $500 – $800

Provenance: previously in the collection of the artist’s estate

Provenance: previously in the collection of the artist’s estate

304. Geoffrey Fairburn Tropical Landscape watercolour title inscribed, signed G.E. Fairburn and dated 1960 verso 390 x 285mm $600 – $1000 Provenance: previously in the collection of the artist’s estate

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306. Buck Nin Untitled – Still Life etching signed and dated ‘62 310 x 205mm $200 – $400

307. Ross Ritchie Christ oil on board signed and dated ‘63 610 x 580mm $500 – $800

308. Sam Cairncross Clouds Over Ruapehu oil on board 500 x 570mm $500 – $1000

309. Ted Dutch Two Figures lithograph, 12/25 title inscribed, signed and dated ‘70 500 x 655mm $400 – $600

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Conditions of sale Please note: it is assumed that all bidders at auction have read and agreed to the conditions described on this page. ART+OBJECT directors are available during the auction viewing to clarify any questions you may have.

1. Registration: Only registered bidders may bid at auction. You are required to complete a bidding card or absentee bidding form prior to the auction giving your correct name, address and telephone contact + supplementary information such as email addresses that you may wish to supply to ART+OBJECT 2. Bidding: The highest bidder will be the purchaser subject to the auctioneer accepting the winning bid and any vendor’s reserve having been reached. The auctioneer has the right to refuse any bid. If this takes place or in the event of a dispute the auctioneer may call for bids at the previous lowest bid and proceed from this point. Bids advance at sums decreed by the auctioneer unless signaled otherwise by the auctioneer. No bids may be retracted. The auctioneer retains the right to bid on behalf of the vendor up to the reserve figure. 3. Reserve: Lots are offered and sold subject to the vendor’s reserve price being met. 4. Lots offered and sold as described and viewed: ART+OBJECT makes all attempts to accurately describe and catalogue lots offered for sale. Notwithstanding this neither the vendor nor ART+OBJECT accepts any liability for errors of description or faults and imperfections whether described in writing or verbally. This applies to questions of authenticity and quality of the item. Buyers are deemed to have inspected the item thoroughly and proceed on their own judgment. The act of bidding is agreed by the buyer to be an indication that they are satisfied on all counts regarding condition and authenticity.

5. Buyers premium: The purchaser by bidding acknowledges their acceptance of a buyers premium of 15% + GST on the premium to be added to the hammer price in the event of a successful sale at auction.

10. Bidders obligations: The act of bidding means all bidders acknowledge that they are personally responsible for payment if they are the successful bidder. This includes all registered absentee or telephone bidders. Bidders acting as an agent for a third party must obtain written authority from ART+OBJECT and provide written instructions from any represented party and their express commitment to pay all funds relating to a successful bid by their nominated agent.

6. ART+OBJECT is an agent for a vendor: A+O has the right to conduct the sale of an item on behalf of a vendor. This may include withdrawing an item from sale for any reason. 7. Payment: Successful bidders are required to make full payment immediately post sale – being either the day of the sale or the following day. If for any reason payment is delayed then a 20% deposit is required immediately and the balance to 100% required within 3 working days of the sale date. Payment can be made by Eftpos, bank cheque or cash. Cheques must be cleared before items are available for collection. Credit cards are not accepted.

11. Bids under reserve & highest subject bids: When the 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.

8. Failure to make payment: If a purchaser fails to make payment as outlined in point 7 above ART+OBJECT may without any advice to the purchaser exercise its right to: a) rescind or stop the sale, b) re offer the lot for sale to an underbidder or at auction. ART+OBJECT reserves the right to pursue the purchaser for any difference in sale proceeds if this course of action is chosen, c) to pursue legal remedy for breach of contract.

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

9. Collection of goods: Purchased items are to be removed from ART+OBJECT premises immediately after payment or clearance of cheques. Absentee bidders must make provision for the uplifting of purchased items (see instructions on the facing page)

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. D. New Zealand dollars: All estimates in this catalogue are in New Zealand dollars. The amount to be paid by successful bidders on the payment date is the New Zealand dollar amount stated on the purchaser invoice. Exchange rate variations are at the risk of the purchaser.

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Absentee bid form

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.

Auction No. 78

Lot no.

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 (15%) 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.

Description

Bid maximum (New Zealand dollars)

Modernism in New Zealand 21 May 2014 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

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

SuRNA ME:

POSTAL ADDRESS: STREET ADDRESS: BuSINESS PHONE:

MOBILE:

FAx:

EMAIL:

Signed as agreed:

To register for Absentee bidding this form must be lodged with ART+OBJECT by 2pm on the day of 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: info@artandobject.co.nz 3. Post to ART+OBJECT, PO Box 68 345 Newton, Auckland 1145, New Zealand

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265. Theo Schoon Opihi River View – Looking North vintage gelatin silver print, circa 1947

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ose Bribiesca Don Ramage A.R.D. Fairburn Juliet Peter Robert Ellis R Good Eileen Mayo John Weeks Don Driver Roy Cowan Garth Cheste Bob Roukema John Crichton Len Castle Modernism in Russell Clar ervyn Williams Colin McCahon Ted Dutch New Zealand Andre Broo rank Hofmann Freda Simmonds Greer Twiss Theo Schoon Ross Ritch Geoffrey Fairburn Frank Carpay Ruth Castle Jova Rancich John Mid dleditch Elizabeth Matheson Mirek Smisek Richard Parker Jeff Schol Anneke Borren Robyn Stewart Peter Stichbury Milan Mrkusich Barr rickell Jean Ngan Vivienne Mountfort Georgia Suiter Theo Jansen vid Trubridge Ces Renwick Edgar Mansfield Peter Sauerbier Steve Ru sey Dorothy Thorpe LeVi Borgstrom Simon Engelhard Tony Fomiso Paul Maseyk Rick Rudd Doreen Blumhardt Art+Object Leo King Patr a Perrin David Brokenshire Manos Nathan 21 MAY 2014 Wi Taepa Mu Moody Warren Tippett Elizabeth Lissaman Buck Nin E.Mervyn Taylo AO722FA Cat78 cover.indd 1

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Profile for ART+OBJECT

Modernism in New Zealand  

A+O is pleased to announce a catalogue which examines a key period in the development of New Zealand visual & applied arts and design cultur...

Modernism in New Zealand  

A+O is pleased to announce a catalogue which examines a key period in the development of New Zealand visual & applied arts and design cultur...

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