S U M M E R C ATA LO G U E 8 December 2010 - 19 February 2011
WARWICK HENDERSON GALLERY 32 Bath St, Parnell, Ak | W. www.warwickhenderson.co.nz T/F. +64 9 309 7513 | E. email@example.com DON BINNEY, Sunday, City Domain (Detail), Oil on hardboard, 1969, 132 x 61cm
SU M M ER CATALO G UE 8 December 2010 - 19 February 2011 Preview: Tuesday 7th December 5.30 - 7.30pm influenced and many were well trained by overseas immigrant artists or teachers. Maud Sherwood is one of New Zealand’s most outstanding watercolourists from this period and studied under one of New Zealand’s foremost immigrant impressionist painters of the time James Nairn. Sherwood moved to Sydney in 1933, becoming one of the leading watercolourists there and is represented in most Australian public art Galleries. Sherwood specialised in Flower Studies although her output was certainly not limited to this subject. Two fine still life works ("Red Hibiscus" and "Blue and White Irises") are included in this catalogue, which display Sherwood’s elegant and confident ability with the watercolour medium.
DON BINNEY, Sunday, City Domain,Oil on hardboard, 1969, 132 x 61cm
In the 1950s two of the leading painters who emerged from the Kelliher landscape movement were Austen Deans and Douglas Badcock. Along with Peter McIntyre these artists stood out and probably fulfilled Sir Henry Kelliher's aspiration for art to more truly represent and celebrate the beauty of New Zealand's landscape – perhaps in the manner of Australia’s early landscape artists such as Tom Roberts, Ernest Streeton, Ernest Buckmaster, Sir William Dargie and their followers. Both these New Zealand artists were in fact prize winners of the Kelliher art awards during the 1950s and 60s and two fine examples of their works are included in this catalogue Broadleaves, Peel Forest by Deans and Towards Lewis Pass by Badcock.
FATU FEU'U, Laepa (Detail), Acrylic on canvas, 2010, 81 x 178cm
Almost anathema to this genre of art, the 1960s saw the real arrival of contemporary and pop art in New Zealand and included in this movement were artists such as Don Binney, Patrick Hanly, Michael Illingworth, Michael Smither, Ian Scott and Richard Killeen.
Welcome to our Summer Catalogue for 2010-2011. Once again we present a superb range of fine art from 3 centuries of New Zealand Art. An exquisite early oil by E. A. Aldis depicting Shelly Beach in Auckland features from the 19th century period. This artist, one of New Zealand’s most underrated from this period, painted many early beach scenes around the Auckland region before motorways, motor vehicles and development changed the landscape forever. Many of these early scenes are now unrecognisable and they provide a fascinating flash back to a time when New Zealand remained a remote colony, largely undeveloped and sparsely populated. This painting depicts Auckland as a busy colonial port with ships spars in abundance at the Aucklands wharves as seen from Shelly Beach. By the 1920s and 30s New Zealand had become a well established colony (New Zealand became a selfgoverning Dominion in 1907) and artists based here were
PHILIPPA BLAIR, Go Parrot Go, Oil on canvas, 2009, 122 x 122cm
NIGEL BROWN, Family Table, Oil on board, 1975, 58 x 34cm
MARK WOOLLER, Parnell Rise, 19 Lots, Oil on canvas, 2010, 102 x 77cm
Don Binney's art was an inspired response to the environment and an acknowledgement of New Zealand’s precious native birdlife and their surroundings. In a 1968 review Gordon Brown stated, "His work has a compelling quality which makes it memorable… Don Binney is in the truest sense an image maker with the capacity to instil into his images the potentials of a symbol… native birds... which have an important place in his pictorial language…’1 The painting "Sunday, City Domain" dated 1969, is a major work from this seminal series of paintings. The Tui is one of New Zealand’s most recognisable and favourite native birds and we see the bird depicted here in an almost stylised form, or as Gordon Brown so aptly stated, perhaps as ‘a symbol’. Another artist from this period was Trevor Moffitt, (1936 - 2006) but his art was more concerned with the Human Condition and the figure. At School in Japan is part of an extensive series of over 100 paintings which graphically displayed the fall from grace of a young girl following a visit to Japan as an exchange student. Trevor Moffitt’s art is unique and his depiction of New Zealand folklore, his father’s life and the Human Condition form not only an important part of New Zealand’s art but an enduring record of New Zealand’s culture and history.
BARRY LETT, Bronze Dog, Bronze 10/10, 60cm high
ALEXANDER BARTLEET, Crop, Acrylic and mixed media on canvas, 2010, 60 x 50cm
An artist who studied in Christchurch at the same time was Philippa Blair who was a formative part of a group of abstract and expressionist artists nurtured by Rudi Gopas. While continuing in the same style Blair’s work has endured, becoming more confident, sophisticated and resolved. Go Parrot Go, a recent work is a triumph of this abstract style, bold primary colours woven and layered on to the canvas suggestive of the shimmering jewel like colours of the bird’s feathers. Major South Pacific artist Fatu Feu’u has included a typical work which features the South Pacific symbols and the painterly qualities on which this artist has built a formidable reputation. A fine early example of Nigel Brown’s genre works Family Table is also included in the catalogue, in addition to a "Pacifica" series work entitled Tivaevae Dog. A delightful painting from Viky Garden entitled Billie, the "character" cat is also a feature of the Summer Catalogue. Three artists who have risen to prominence recently are also featured in the catalogue; Mazda Art Award Winner Alex Bartleet has included Crop, Nick Wall includes East East West and Mark Wooller has submitted Parnell Rise. These three artists have solo shows scheduled for 2011 and these paintings are a taste of what to look forward to next year. Separate catalogues will be produced for each artist at show time which will provide details of these talented artists work.
VIKY GARDEN, Billie, Oil and Acrylic on Hessian, 2010, 90.5 x 110cm
We remind you all paintings are available for immediate sale and trust you will enjoy this quality display of New Zealand art from over three centuries of New Zealand Art. Text by Warwick Henderson Gallery November 2010. 1. Brown, Gordon. Ascent. The Auckland Scene – Reviews. No.64, Vol #2, July, 1968
ROZI DEMANT, Black Swan, Acrylic on board, 2010, 90 x 30cm
AUSTEN DEANS, Broadleaves, Peel Forest, Oil on board, 1968, 20.5 x 41cm
ILLUSTRATED ABOVE ALBERT EDWARD ALDIS, Shelly Beach, Auckland, Oil on board,1890,19 x 29.5cm
ILLUSTRATED LOWER LEFT ROZI DEMANT, Swans, Acrylic on board, 2010, 90 x 30cm ILLUSTRATED LOWER CENTRE MAUD WINIFRED SHERWOOD, Blue And White Irises, Watercolour on paper, c. 1930s, 55 x 44.5cm ILLUSTRATED UPPER RIGHT NIGEL BROWN, Tivaevae Dog, Still, Oil on canvas,1995, 91 x 60cm ILLUSTRATED LOWER RIGHT JUSTIN SUMMERTON, Oasis Towers, Multi Level Garden, Oil on Canvas, 2010, 153 x 121.5cm
DOUGLAS BADCOCK, Towards Lewis Pass, Oil on board, Nov, 1958, 46 x 70cm
WARWICK HENDERSON GALLERY 32 Bath St, Parnell, Ak | W. www.warwickhenderson.co.nz T/F. +64 9 309 7513 | E. firstname.lastname@example.org MAUD WINIFRD SHERWOOD, Red Hibiscus, Watercolour on paper, c. 1930s, 44 x 34.5cm