Cover: 31 Bill Hammond Flag Right: Jim Speers Untitled (Contemporary Art, May 28) Left: 23 Paul Dibble Soft Geometric, Series 2, No.1 Above: 8 Dale Frank Abandoned IMPORTANT PAINTINGS AND SCULPTURE

Preview and Creative NZ function for the artists representing New Zealand at the Venice Biennale, 2009: thursday 26th march - 6 - 8pm viewing friday 27th march - thursday 2nd april 2009

Auction thursday 2nd april 2009 at 6.30pm 3 abbey street, newton, auckland

contents

INTRODUCTION AN X-Ray IMAGE OF LIFE 2 34 Fomison’s ‘Detail for Dancing Skeleton’

IMPORTANT PAINTINGS AND SCULPTURE FLAG BY BILL HAMMOND 7 (viewing times) 38

A WATERFALL by COLIN McCAHON “The past is a foreign country: they do things differently there” 19 an essay by Laurence Simmons 41 an essay on Bill Hammond’s FLY

I Had a Mind as Invisible as Light ... BENT, BUCKLED AND BUFFED 23 by 44 an essay on ’s 1984 by DAVID EGGLETON

SIXTY CONDITIONS OF SALE SCULPTURE SIXTY-ONE ABSENTEE BIDDING 26 8 lots of New Zealand sculture SIXTY-TWO CONTACTS SIXTY-THREE SUBSCRIBE SIXTY-FOUR INDEX OF ARTISTS Welcome to ART+OBJECT’s fi rst major catalogue for 2009. Last year’s fi nal art auction saw A+O register our fi rst one million dollar art sale and an indication that the art market at auction continues to be robust in New Zealand.

A+O is proud to be selected to assist in fundraising and raising awareness for New Zealand’s participation at the 53rd Venice Biennale which opens in June.

Artists Judy Millar and Francis Upritchard have been selected to represent New Zealand and plans are well underway for the transport to and installation of artworks in their respective locations. Creative NZ staff and the artists have been meeting art patrons and supporters to outline their exhibitions and plans for this prestigious art event.

Both artists have generously created specifi c works to assist in the raising of funds for the Biennale. These works will be auctioned as lots 1 and 2 in this catalogue and may be seen at ART+OBJECT during the week’s viewing prior to the sale on April 2. These works are offered without the usual buyers’ premium and all funds raised go directly towards the signifi cant costs associated with exhibiting at one of the leading international art events.

This is a rare opportunity to acquire a signifi cant work by these artists and contribute to the profi le of the community in such a direct way. It is our opinion that the future provenance of these works in being associated with New Zealand’s participation at Venice will add signifi cant value, so please bid with confi dence and gusto.

Fondazione Claudio Buziol, the location for Francis Upritchard’s exhibition at the Venice Biennale “The debut 2008 vintage is punchy, with very good intensity of smooth melon/lime flavours fresh and full of youthful impact”

Invivo 2008 Marlborough Sauvignon Blanc 4 stars, 2009 Buyer’s Guide to New Zealand Wine by Michael Cooper

“Classy label, captivating wine”

John Hawkesby, Canvas Magazine

>ck^kdBVgaWdgdj\]HVjk^\cdc7aVcX :mXajh^kZl^cZeVgicZgid6gi DW_ZXi lll#^ck^kdl^cZh#Xdb THE JIM DRUMMOND SALE

THE PERSONAL HISTORY OF A VISIONARY COLLECTOR

TWO DAY AUCTION : SATURDAY MAY 2ND SUNDAY MAY 3RD

Left: Unknown carver Fireplace surround as a pare and whakawae, c.1880. (detail) $15 000 - $25 000 entries invited Peter Robinson I Exist I Am Not Another I Am (detail) lamda print mounted to aluminium, ontemporary 2001, (edition of 5) c 2200 x 1190mm $10 000 - $15 000 art + objects MayMay 28 "35 803-% "6453"-"4*"µ4 #*((&454&--*/( "35."(";*/& 0/4"-&"13*- 5)&,*/(1*/4 "/%3&"4(634,: )"/:"3."/*064 #*--$6-#&35 .$-&"/&%8"3%4 304&."3:-"*/( %"33&/4:-7&45&3 THE 21 CENTURY AUCTION HOUSE

IMPORTANT PAINTINGS AND SCULPTURE

thursday 2 april 6.30pm 3 abbey street, newton auckland

VIEWING thursday 26 march opening preview 6pm – 8pm friday 27 march 9am – 5pm saturday 28 march 11am – 4pm sunday 29 march 11am – 4pm monday 30 march 9am – 5pm tuesday 31 march 9am – 5pm wednesday 1 april 9am – 5pm thursday 2 april 9am – 1pm

1 Francis Upritchard Chinese Ibis and Money Tree modelling material, paint, wood & glass vitrines, 2009 9 x 125 x 66 and 216 x 124 x 103mm Proceeds raised from the auction of this work will go to the artist’s individual project for Venice

THE 21ST CENTURY AUCTION HOUSE

Creative New Zealand and ART+OBJECT are proud to support artists Judy Millar and Francis Upritchard to represent New Zealand at the Venice Biennale 2009.

Proceeds raised from the auction of these works will go to the artists’ individual projects for Venice. 2 Judy Millar Simon-Peter acrylic and oil on canvas, 2009 2000 x 800mm Proceeds raised from the auction of this work will go to the artist’s individual project for Venice 3 Tony Fomison I Was a Teenage Werewolf oil on canvas on board signed and dated 19 – 29. 6. 70 inscribed “I was a teenage werewolf” film 1957 Exhibited : ‘Fomison: What shall we tell them?’, City Gallery, Wellington (touring), 1994 Illustrated: (ed), Fomison: What shall we tell them? (City Gallery, Wellington, 1994), p. 9. Reference : Ian Wedde, ‘Tracing Tony Fomison’, in ibid., p. 9 – 10. : ibid., p. 50. : Denis Gifford, A Pictorial History of Horror Movies (London, 1973), p. 9. Provenance: Purchased by the current owner from CSA Gallery, Christchurch in 1970. : Private collection, Christchurch. 330 x 232mm $18 000 - $28 000 $20 000-$30 Provenance: Privatecollection,Auckland 1216 x650mm:overall 608 x650mm:eachpanel title inscribed,signedanddated2001verso acrylic andresinontwoaluminiumpanels The RhythemofhisTruth Stephen Bambury 4

11 important paintings + sculpture 5 Shane Cotton Journey in Four Parts: One Horsepower acrylic on canvas 700 x 1000mm Exhibited : ‘Shane Cotton: Survey 1993 – 2003’, City Gallery, Wellington 17 July – 19 October 2003 (touring). Illustrated : Lara Strongman (ed), Shane Cotton (Wellington, 2004), p. 85. : Art News New Zealand, Spring 2001, cover. $35 000 - $45 000

F operating as a symbol with any number of readings. A quick reference to the horse white 21 the of form the in image striking a with us presents 2001 from Horsepower One Parts: 4 in Journey serpent the infinity: of swallowing itsowntailappearsinartformsasdiverseEgyptianhieroglyphsandAnglo-Saxon metalwork.’ symbols visual ancient most world’s the of one but form tribal Ngapuhi a only not are the from essay Cotton’s her Survey in exhibition approach of 2003,’The freeform entwined jazzy, eels, this for example describes which Strongman firstLara appear inCurator hissources. worksand from latetexts 1997, of It cuts both ways Cotton seems to be saying and many of his symbols can be decoded by reference to a multiplicity could beattributedtoindigenousvisualcultures. Headlands debate over just who ‘owns’ indigenous imagery and in particular designs such as moko or koru which the of aftermath the in and pot the stirring was Moko with Grocer Frizzell’s Dick that time same the at was this flummoxed me had Painting Picture 1994’s until surprises. I connected the illuminating cosmic flower of as a full direct quoting from also Gordon Walters’ but Chrysanthemum of 1944. taxing, Remember, be can reading The odd revelationorashehasdescribedit,‘collisionandcollusion’. the story of Aotearoa is a midden in a hands blender: a Cotton’s post-colonial In melange of history. trades Zealand’s and New appropriations but of also stuff the tough the addressing is Cotton because power is knowledge But thing. dangerous a is knowledge little a goes, saying the as but read, be can They works. these with up keep If you haven’t done a bit of homework you can feel a bit of a dunce, but that is the point, you need to work hard to with Cottonthequizmasteraskingquestion,‘canyoucrackthiscode?’ HAMISH CONEY this bathes hopefulness quiet of work: anewdawnbringsfreshpromise. air an and destiny of sense a create to coalesce all title the of journey the and symbol deciphered easily an as horse the of use the in literalism rare The the painting, this of quality cinematic descent. tribal his traces Cotton whence from Ngapuhi, to significance great of figure a Wera, Atua Te or of Christianity, Maori spiritual beliefs and tribal identity that emerged around the Northland Prophet Papahurihia This particular canvas is from the series Blackout Movement of 2001, within which Cotton explored the intermingling but amoresinisteronecouldbethepalehorse,Death’ssteed,fromBookofRevelations. Elam in present day (now there’s a sly reference). A classical reading sees the horse as at a Christ civilizing before influence years thousand three than more symbols of lexicon the entered horse white the that find can symbolic, literal, sly, bewildering or confronting. His finest work presents as a conceptual crossword conceptual a as presents work finest His confronting. or bewildering sly, turns literal, by symbolic, be can clues These clues. and points reference artistic and cosmological, historic, in soaked rom the moment Shane Cotton burst onto the New Zealand art scene in the early 1990s his work has been st century decoder Google and one

13 important paintings + sculpture o local artist has been more aware of, and more preoccupied by the history of colonialism than Ralph Hotere. He is the artist as member of a minority people: the dispossessed, the culturally marginalised Maori. At the same time of course, he is an accomplished modernistN artist, acknowledged internationally as one of New Zealand’s most significant and successful art practitioners. Tracing the fault lines of biculturalism is a task fraught with ironies and complications, but it’s also one which has energised and added an extra dimension to, Hotere’s art-making, as for example in the 1989 clash at Port Chalmers when the artist held out against Port Otago Limited’s various attempts to acquire land on which the artist’s studio was located, as part of logging and container port redevelopment plans.

Hotere stated at the time that he did not so much object to the loss of his studio — though it had an unrivalled view down Otago Harbour to Aramoana — as to the loss of a distinctive landmark, and the removal of formerly tapu land: “I am totally opposed to the landscape being treated in such a callous manner. (The developers) are insensitive. They don’t care about history or sentiment or the land.”

Oputae (1989) is one of a series of works produced in 1989, and the years following, about the loss of the end of the headland, known as Observation Point. Around this time PROP, or the Preservation of Observation Point, became a nationally-known protest movement, at least amongst conservation and artistic circles. Beyond this, Hotere made art intended to memorialise the location and mourn its destruction. (The land was eventually acquired and used for harbour reclamation and wharf expansion.)

One meaning of Oputae is ‘the place of flowers’, and other works in this series are inscribed with the phrase “Oputae — blue gums and daisies falling.” But Observation Point was also known to iwi as Araite Uru Murihiku, that is, it was a pa site and a burial ground.

Oputae is a rectangular work made out of ‘baby iron’ — in other words out of a sheet of stainless steel which has been ‘crimped’ into corrugations — and framed in weathered, recycled timber. The artist has then laid on with a blowtorch, coaxing imagery forth from the metal by skilfully deploying flame in the manner of a paintbrush. Some of this imagery is familiar from Maori religious iconography — the arch of a rainbow, a blobby T-shaped cross, a heart shape surmounted by the Christian cross — while ‘CUT’ and horizontal stripes denote the land marked for bulldozing. Four leadheaded nails, one in each corner, function as exclamation points. And burnishing the corrugated steel with oxy-acetylene-gas-fuelled heat, Hotere makes it sing with colours: yellow, blue, bronze, gold.

Scrupulous as ever, subtracting from the work everything inessential, Hotere makes the dumb metal eloquent: it’s like a gate or part of a wall that failed to hold back a land grab, but which has itself become a precious remnant of the lost cause. 6 Ralph Hotere David Eggleton Oputae blowtorch on corrugated baby iron signed and dated ’89 and inscribed CUT 1989 700 x 640mm Provenance: Private collection, Dunedin $65 000 - $85 000 15 important paintings + sculpture 7 Bill Hammond Head Set I and II acrylic on wallpaper, two panels title inscribed, signed and dated 1989 on each panel 1912 x 1040mm overall Provenance: Private Collection, South Island $38 000 - $50 000 $22 000-$30 1600 x1200mm affixed verso original GowLangsfordGallerylabel signed verso; varnish onlinen Abandoned Dale Frank 8 17 17 importantimportant paintingspaintings ++ sculpturesculpture

$250 000-$350 1365 x915mm Reference Provenance Exhibited signed anddatedAug–Sept.’64 enamel onplywoodpanel Waterfall Colin McCahon 9 (www.mccahon.co.nz)CM001396 :Colin McCahondatabase :Private collection,Auckland IkonGallery,Auckland,1964 :‘Small LandscapesandWaterfalls’ LAURENCE SIMMONS landscape and hisdelightinthecraft andhistoryofpainting. white.” Zealand of New the for line passion his of a example brush magnificent a with is a painting This darkness taking the on through joy curving with and back paint look white I of time. long a for light of falls McCahon wrote that “Waterfalls fell and raged and became as still silent painted letterinthe‘grapheme’ofwater’s whitecascade. largeenormously an of edge the ofsomething also is thereperhaps and shorthand” “symbolic as Waterfalls the to referred Brown Gordon cross. inversetau an of remindsusalso it symbolic forform contracteda be to also may ‘figure’ This tool. woodworker’s upturned giant some like looks composition the of feature waterfall central The content. symbolic stark than contingent sensation, and they are seemingly superfluous to other anything thefor standing not incidentally, exist surfaces hand left and image’s right the over paint of puddling and brushstrokes black visible Countless if it were touched (by the artist’s brush, or hand of God?) from the outside. over- line, white thick painted A in brown, pours. extends down into waterfall the composition from the the lower right which as into pool Missing, the forms. is abstract too, silent still, to reduced are face rock buttress ochre the and water coursing downward the of shapes the Indeed, line. may be properly discerned and there is no geographical marker of a horizon forest and rock is now reduced to a primeval blackness, none of its details intimates a cliffside. The background of the west coast landscape of dense geology. Lower on the right a brown rounded square of flat-textured paint void. At the very top three dark and ochre segments suggest a geometry of water that curves away from a hidden source both divides and articulates a and Art History of Te Whare Museum Taonga o Waikato. Waikato The white the of the stylized sized of arc of falling identical Rock Red almost Overhanging the with and Waterfall Tamaki o Toi Gallery Art Auckland the in found now painting waterfall large the of companion important an also is It duality. rudimentary a has and dark and spare very is (1964) Waterfall as theFairyFalls,KitekiteKarekareandWaitakereFalls. their purchasers, on specific waterfalls in the Waitakere regional park such they were also based in part, as McCahon was to acknowledge and to several of square, centimetres thirty small approximately were hardboard, paintings on these compositions part, most the For base. its at water of body stylized a in end to sometimes darkness the through way its curve silently white column of falling water, often viewed from an angle so it appeared to elemental an was (However, a typically ‘waterfall’ than McCahon thehundreds. A fewer today). far remain hundred in Library Image and Database McCahon numbered the to declared according he finished when that I Hodges, the painter who accompanied Cook on his second voyage to to voyage second the his South Pacific, Colin McCahon began a series of Waterfall paintings on Cook accompanied who painter the William of Hodges, work the of exhibition contemporary a by inspired 1964, n 19 19 important paintings + sculpture 10 Max Gimblett Mirror - The Active Door mixed media on canvas title inscribed, signed and dated 1983/89 verso 305 x 505 x 65mm $7000 - $9000

11 Dick Frizzell Troika oil on canvas title inscribed, signed and dated 9/5/95 500 x 500mm $8000 - $12 000 $8000 -$12000 Provenance: Privatecollection,Wellington 700 x47095mm title inscribedandsignedverso mixed media Plan 1 Ted (Edward)Bullmore 13 $14 000-$18 Provenance: purchasedbythecurrentownerfromartist’sstudio 1690 x1200mm title inscribed,signedanddated1982 mixed media Technic Don Driver 12

21 important paintings + sculpture

L $45 000-$65 Provenance: Privatecollection,Auckland 2000 x1800mm title inscribed,signedanddated2001variouslyinscribed oil andinkoncanvas My HandsSpentOneDayasanAngelandforThirtyFiveYearsIHadHairWonderfultheSun I HadaMindasInvisibleLight, John Pule 14 Oliver Stead o’war jellyfish,thatubiquitousemblemofoceanic travelanditsmanyperils. peoples that have traversed from island to island, and the stinging tentacles of the Portuguese man- blood sacrifice, perhaps even nuclear tests. Their trailing vines suggest suggest both the genetic bloodlines of the and white, and blue not red, tinted are winds, trade Pacific the of clouds puffy the of reminiscent so islands, cloud The comfortable. entirely means no by is vision Pacific this figures), New to Niue Zealand from in emigration early artist’s childhood), the and (recalling literary personal (in both the is depth which of nostalgia historical with allusion suffused among the interconnected While reality. in images floating these anchor inscriptions other and title the of self-reference The that honoursthesunlitpromiseofthismagnificent work’sboldlyautobiographicaltitle. interstices of cultures, to use similarities to show regional differences, all with a deftness of touch the among play to instead preferring tradition, visual or language one of confines precise the within altered in reappears engraving, renaissance a form as the ceremonial as laying out of a new hiapo or Nuiean tapa cloth. Pule is rarely content to articulated stay perfectly as Christ, Thus of accent. cultural Deposition differing of a figures other into origin, of cultures their to down them pin to Pule is master of an enormous floating vocabulary of images that metamorphose, as quickly as we try canvasofhis broader the within square-format placed literally large, are encompassing worldview. of and printmaking series drawing a line prolific of his satisfying of and resolved fully explorations figurative concentrated more most the Here 2003. and 2000 between created Pule canvases the among is work This tiny hands. landfalls, between of cast multitude a by tendered dearly colonization of baggage precious the fate, and chance of are ladders Lines guises. alternative and locations portage of new human activity, formal in and domestic, is conducted again across perilous tightropes, emerge up and down to only vastness of the Pacific Ocean. Emblems, stamps, insignia of cultures and creeds, appear and disappear, as a flying fish wing, sure as a frigate bird in flight, Pule conjures an entire world from the from world an entire conjures Pule flight, in bird a frigate as sure wing, fish flying a delicate as itself, vision as light as hand a With endeavour. human interconnected of filaments ike minds adrift in an ocean of consciousness, John Pule’s islandscapes are linked by tenuous 23 23 importantimportant paintingspaintings ++ sculpturesculpture 15 Bill Hammond Mountaineering Home Sick Blues acrylic and enamel on canvas title inscribed, signed and dated 1985 500 x 805mm Provenance: Private collection, lower North Island $25 000 - $35 000 H o te (e srie trv o nsdv i wa mks hs hr rci’ anig so paintings hamish coney rockin’ hard these makes what is nosedive or thrive compelling. survive, (we) they How deranged a as sits artist the shot of director creatingevernuttierb-moviescenarios intowhichhehurlsthehapless‘contestants’. out Just TV. reality in today abound that and ups set hammy and worlds virtual the both presaging is he this in and game video the and video rock the In terms of picture design Hammond at this time quotes directly from the then new media forms of haircut andcheesydetailsthatdecoratethelivingroomsofHammondsvillecirca1985. bad work, lattice concrete the library: clip-art own his from objects of placement maladroit the and perspective cracked spaces, exterior and interior of merging the through scene pantomime a It presents as a Dante-esque vision of contemporary angst, but Hammond inverts this reading into a background the volcano lookssettoblow. In shoe. lonesome a and glass cocktail a tap, a umbrella, an symbols: style bars, his only route of escape cut off by an oil mini- torrent advancing containing by a menaced quizzical and selection table of dining Cluedo a on out laid is bluesman homesick our work this In ‘greed isgood’decade. so brave new world of free-market economics, consumer culture and body angst that defined the In the mid 1980s what Hammond concocted was the idea of painting as the soundtrack for the not as thenever-endinggreensofhislaterAucklandIslandrelatedpaintingsfrommid1990s. becomes a metaphor for amped up unease and as unique a visual signifier ofsilver Hammond’s worldview cheap and yellow custard pink, bubblegum of palette culture pop The symbolism. psychic Hammond’s In pears. and hands apples this misquoting his of the up Bob Dylan classic right is depicted been as a have bewildering collision would of visual Blues and Homesick Mountaineering of snatch misquoted or shanty sea doggerel hemanagedtosummonupfromthedepthsofhissemi-consciousness. jingle, radio lyric, song whatever to words the mangling e ol b fud uiul srmig h oe srns f btee gia and guitar battered a of strings open the strumming furiously found be could He may remember the Singing Cowboy who plied his trade on Queen Street in the mid 1980s. ammond’s paintings of the mid 1980s remind me of a busker doing it tough. Aucklanders

25 important paintings + sculpture 17 Paul Dibble David cast bronze, edition of 5 signed and dated 1999 553 x 205 x 165mm $9000 - $13 000

18 Guy Ngan Habitation cast bronze and wood impressed signature 400 x 183 x 122mm $5000 - $7000

16 Terry Stringer Untitled - Female Study cast bronze, 2/3 signed and dated ’99 400 x 80 x 80mm $4500 - $6500 $19 000-$26 Provenance: PrivateCollection, SouthIsland 2002 (guestartist) Exhibited: ‘NorsewearArtAwards’,Hastings, 635 x535140mm signed anddated2002 cast bronze,editionof4 Provisions foraLongJourney Paul Dibble 20 $16 000-$24 1090 x1200130mm signed anddated’87 oil onbronzeandaluminium Bronze II-WallSeries Terry Stringer 19 27 27 importantimportant paintingspaintings ++ sculpturesculpture 21 Paul Dibble The Fall cast bronze, 1/3 title inscribed, signed and dated ’94 1700 x 970 x 275mm Reference: Jeanette Cook (ed), Paul Dibble (Auckland, 2001), p.120. $27 000 - $35 000 $40 000-$50 547 x200mm signed anddated2002 inscribed No.18 cast glass Wide Bowl Ann Robinson 22 29 29 importantimportant paintingspaintings ++ sculpturesculpture

$65 000-$85 Exhibited Illustrated 2000 x1000465mm signed anddated2004 cast bronze,editionof2 Soft GeometricMediumSeries 2,No.1 Paul Dibble 23 BEN PLUMBLY should allbe we which for grateful. is something times busy these in reflect and pause to cause us give sculptures bronze cast Dibble’s That now. and here the on fixated society, an temporal and of relentless increasingly face the in act brave and generous a is history, with burdened silhouette. To sculpt in bronze, an inflexiblea andas anachronistic the medium appear it make teasing to mass corporeal sculpture dimensional three the the from eye lighten to serve shapes outlined sharply the others from dense, and solid appears work the angles some From the composition and the experience of viewing the work as positive form. Walters. Like Walters’ Koru paintings, negative space is as integral to the bi-cultural vernacular of Theo and Schoon and, Maori more especially, sculpture of Arp, Brancusi and Moore whilst closer to home recalling Gordon both references No.1 2, European history, Series providing Medium a touchstone Geometric to the Soft International Modernist New ZealandandPolynesianhistory. with engagement lifelong obvious Dibble’s reflecting further mention his Long Horizon works as well as the recurring Nautilus Shell, not to of torsos and limbs elongated the recalled works Geometric Soft the artist’s impressive oeuvre and the cool, restrained formal elegance of however. the throughout break constant a remained clean have strains a narrative Numerous represent not did shift formal dramatic The homogenous formaltemplate. more and cleaner simpler, a towards shift a with audiences presented Hyde artist’s the of to series Geometric Soft the London, in commission (2005) Memorial Park year medium previous age-old the in his Conceived of bronze. limits choice, the investigating artist further the about audience, set appreciate increasingly an from income regular T ot, ta o hgl-rie assat i pae n a more a and place in assistants highly-trained of team a North, Palmerston in studio and foundry a With Dibble. Paul sculptor he dawn of the new millennium heralded a new-found freedom for : ‘SculptureontheShore’, Auckland, 2004 : JeanetteCook(ed),PaulDibble (Auckland,2001),p.199. 31 31 importantimportant paintingspaintings ++ sculpturesculpture 24 Colin McCahon Bather No. 3 pen and ink on paper signed and dated ’43; title inscribed, signed and inscribed 8 Espin Cres, Karori, Wellington verso 132 x 110mm Provenance : private collection, Auckland Reference : Colin McCahon database (www.mccahon.co.nz) CM001614 $10 000 - $15 000

25 Colin McCahon Bathers No. 4 pen and ink on paper signed and dated ’43; title inscribed, signed and inscribed 8 Espin Cres, Karori, Wellington verso 110 x 122mm Exhibited :‘The Group Exhibition’, Ballantynes Store, Christchurch, 1943 Provenance : private collection, Auckland Reference : Colin McCahon database (www.mccahon.co.nz) CM001311 $10 000 - $15 000 $6000 -$8000 Provenance 208 x275mm signed anddated’57 ink onpaper North fromMt.Atkinson Colin McCahon 28 $4500 -$6500 420 x460mm Provenance Exhibited signed withartist’sinitialsC.Tanddated’69inscribedTonyF. ink andwatercolouronpaper Portait ofTonyFomison Philip Clairmont 27 $4000 -$6000 570 x375mm title inscribed,signedanddated22/10/79 acrylic onpaper Welcome totheSouthSeas Richard Killeen 26 : Privatecollection,Auckland : Privatecollection,Christchurch CityGallery,Wellington,1994 :‘Fomison: Whatshallwetellthem?’,

33 important paintings + sculpture ardly anything expresses the depth and diversity of the human species more than our faces do; every face is unique and each is a testament to the life of an individual. Yet the skull, the canvas on which these stories are laid, is the face’s very antithesis. Its uniform hollows and cavities gawp not at meaning, but Hat nothingness. In his Detail for a Dancing Skeleton Tony Fomison presents an x-ray image of life, reminding us of what lies beneath its painted surface.

The skull is a universal symbol almost as old as humankind, a cipher for mortality which may be colourfully celebrated as it is in the Day of the Dead festivals in Latin America, or mourned as reminder of time’s relentless march. Anyone even vaguely familiar with western art history might see in this work a nod to those haunted Northern European paintings in which skulls are memento mori, either clutched in the arms of saints or given more sober consideration in still-life vanitas studies. Yet the dancing skeleton which Fomison commits to canvas has rather more theatrical origins in the spectacular passion plays found throughout Europe from the time of the Black Plague. Here death played the role of God’s messenger, summoning the folk to a life eternal but at the same time warning them they would have to meet their maker.

In the same way that passion plays sought to address the audience of their day, Fomison’s dancing skeleton is sourced from popular culture - a simple fact recorded in the artist’s spidery-hand in the top right-hand corner of the work. In actual fact this eerie cranium is the product of an advertisement for ‘the world famous Magnajector’, a magic lantern projector featured in the cult American film magazine Famous Monsters of Filmland. The Magnajector promises to ‘throw huge images on the wall’ demonstrating the effect with the photographic forerunner of Fomison’s painting.

The choreutoscope, a type of magic lantern slide invented in 1866, is sometimes considered the first modern animation device. Using a shutter mechanism, it was able to produce the impression of movement from a sequence of engravings, the most popular of which was a skeleton who performed a Dance Macabre as the slides were cranked through the shutter. In the trajectory of performative storytelling from theatre to film, the skeleton, that spectre of death, has always both horrified and thrilled audiences with its tragicomic form. In his Detail for a Dancing Skeleton Fomison arrests the spectre and considers it anew, showing us that visual symbols like the skull have the power to speak to us about hidden truths, whether or not we choose to look beneath their surface for further meaning.

PENNIE HUNT

29 Tony Fomison Detail for a Dancing Skeleton oil on hessian in artist’s original frame title inscribed, signed and dated 19 – 23. 9. 70, 20 – 26. 10. 70, 2 – 4. 11. 70, 15.12. 70 and inscribed from Magic Lantern advert for Famous Monsters of Filmland Comic; original Fomison catalogue exhibition label affixed verso Provenance : Purchased by the current owner from Elva Bett Gallery, Wellington in 1973. : Private collection, Christchurch Illustrated : Ian Wedde (ed), Fomison: What shall we tell them? (City Gallery, Wellington, 1994), p. 113. Exhibited : ‘Fomison: What shall we tell them?’, City Gallery, Wellington (touring), 1994 : ‘Coming Home in the Dark’, October 15 2004 – March 27 2005, Christchurch Art Gallery Te Puna O Waiwhetu. 620 x 887mm $90 000 - $130 000 35 35 importantimportant paintingspaintings ++ sculpturesculpture

$50 000-$70 1660 x1200mm Provenance: Privatecollection, signed anddatedverso signed anddated1974; oil andpasteloncanvas The ThreeBathers Louise Henderson 30 Auckland M Andrew Clifford pure abstraction orinmorefigurative settingssuchasthis. in working whether confident, and constant remains of interplay kaleidoscopic over her arrangement of gently faceted planes betray her design sensibilities while light of the layering soft The witness. bears that eye Pacific a is it Hemisphere, Southern or Gaugin, but as a seasoned and sensitive observer of cultures with a life spent in the European roots can be detected in a composition that recalls the exoticism of Picasso her of sense A fellowship. Zealand New of Council Arts II Elizabeth Queen a awarded was she year the in painted Bathers, Three The in evident is influences of range This Schoon andGordonWalters. Theo of likes the for shows important presenting abstraction, on public the educate to endeavoured and printmaking and ceramics painting, combining of point a made Hos lo rdcn tpsre, oac ad omsin fr tie gas windows, glass her stained made New the at exhibit media to candidate ideal an for between shift to commissions ability and and interests interdisciplinary Henderson’s mosaics tapestries, producing Also New ZealandbushandPolynesianscenesfrom Rarotonga. attention her 1970s, the continue, In to works. turned to the her improvised distinct light and damp foliage of of persuaded the Pacific, producing outpouring paintings of the Tomory lyrical a Peter in director resulting Gallery Art City Auckland but Hubert died in 1963 and a devastated Henderson threatened to sell-up international and quit of painting set rich her JerusalemseriesandPolynesianportraits. a in as resulting works such in evident context, work, Zealand New her of her sense strong a and influences of exhibition an with Europe to East while her husband worked with creating UNESCO, teaching 1930s, in Sydney in Middle the in 1950s the late the spending widely, travel to continued she Wellington, via 1961 and in travelling emigrated also family Auckland to relocating After 1940s. the in output her reduced saw that commitments her although lifestyle, her liberating that a but culture) for Minister the to parents had discouraged under-secretary her from becoming an artist. and Moving to New Zealand painter provided a been had Biographer Elizabeth Grierson notes a cultured upbringing (her maternal grandfather on sketchingtripstoplaceslikeCasswithRitaAngusinthelate1930s. legacy in the field of arts education. While in Christchurch, she took up painting, going books and established curriculums for embroidery and design that have left a lasting Arts. As part-time position teaching embroidery and design at Canterbury College School of Fine a took she Henderson, Hubert teacher marry to 1925 in Zealand New in arriving First Art City Auckland the a at as exhibitions eyes of Gallery in1953and1954. local feature to a appeared was what approach and Modernist Zealand radical New in style cubist in the force important furthering an became thirty She where, design. embroidery Metzinger studied Jean had she under earlier, first-hand years study to of town home daughter was her to returned Henderson she 1952 in and Rodin cubism. August sculptor French for in secretary the to interest an took and Christchurch previously in had explored she concerns regionalist the from away moved she that Weeks, John Vivien Caughley notes in the latest Art New Zealand (#130), Henderson wrote (nee Sauze) began to paint full time. It was around this time, influenced by influenced time, this around was It time. full paint to began Sauze) (nee having her first solo exhibition at Wellingtonand College University PublicVictoria at studying after 1950 in Library,Auckland to oving Louise Henderson ision Gallery, where founders Kees and Tine and Kees founders where Gallery, Vision 37 37 importantimportant paintingspaintings ++ sculpturesculpture 31 Bill Hammond Flag acrylic on unstretched canvas title inscribed, signed and dated 1997 1410 x 2130mm Provenance: Private collection, Auckland. Purchased by the current owner from Peter McLeavey Gallery, Wellington in 1997. $240 000 - $320 000 $240 000-$320 000 Provenance: Private collection,Auckland. Purchasedbythecurrent owner fromPeterMcLeavey Gallery, Wellingtonin1997. 1410 x2130mm title inscribed, signedanddated1997 acrylic onunstretchedcanvas Flag Bill Hammond 31 Rob Garrett and unknowable –andbeautifulat thesametime. unavoidable – frightening so looks world suppurating this that fact mysterious disported like wrought-iron Chinese filigree barring a window. Its power lies in the fluttering, suffocating sap-like green and ornate gold, rich red wounds and trees Flag is a painting to drown in. Its power lies beneath its glossy surface of festive this momentwhentimeandspaceslip-slidewith eachother–HieronymusBosch. of torment and dark mutilation conjured so well by Hammond’s contemporary – in gullets – and prevent us taking flight. I would feel as ifday and into the Iprimordial – water-logged earth, hadoozing tree sap slippedand rank birds’ into the realm and their glossy dribbling green world want to suck us back beneath the present- whereas extraterrestrial, Hammond’s birds too inhabit a being swamp-world wrong, before had memory. is His I bird hole demigods if worm as – hole feel slime would a It through sanity. slipped my for least at life, my for fear might I birds these of one to next walking myself find did I if But birds. Hammond’s of one to can dark green wet bush of Fiordland – I found myself walking I stride for stride next fantastical. is dripping, the it through walking when – as if surprised, or startled everyday being not imagine and ordinary as seems bodies human with In our land with so many flightless native birds, the picture of earth-bound birds is thepointIthink. towel? the Has in it allthrowing become he too Is much to what? bear doing anymore? bird-becoming-man, I don’t striding know. grey, This not pale knowing large a is heart, bleeding the to next painting, the of quadrant right upper the in there, And in. give to tire; to up; give to away; give to air: swampy the into down-beats of they Are flagging? they are flagging something, or portent simply flagging? What What is it to messenger. flag? To flag winged hoists all sorts a this, below and a is green there and black painting brocade-skinned bird the holding of aloft a middle shield with the a bleeding In heart; us? around all flag? Where: red danger? of a Warn raise But challenge. a hurl Mana, your declare pennant: a Flutter Plant a flag: claim a territory. Hoist a flag: celebrate a victory, announce ‘despair.’ spell a party. to seem which gestures, semaphore the copy is do can I All them. I don’t know what these theatrically animated flag waving birds mean. I can’t explain the stickygreenofHammond’s1997paintingjustconfusesme. and communed among themselves. So, seeing flags – so festive! – fluttering against Buller’s return; witnessed the exfoliation of trees and the extinction of species; people. birds-becoming- His dystopian birds of have watched over forests developed and coastlines; waited for he paintings surreal the through arrived, people before Zealand, New that in himself imagined has Hammond how then, since And vocabulary. visual his of part provided – present the to survived not have that book ‘Buller’s Birds’ – which is populated with illustrations of many bird species T were men, women, dogs and possums.” How the 19 1991 is well in known. Islands Auckland How the to the trip inspirational islands Hammond’s Bill showed of story him he “a New Zealand before there th century ornithological 39 39 importantimportant paintingspaintings ++ sculpturesculpture 32 Bill Hammond Fly acrylic on canvas title inscribed, signed and dated 1999 542 x 405mm Provenance: Private Collection, South Island $50 000 - $70 000 specs to a more rugged and tumescent reality, then the story of the 20 the of story the then reality, tumescent and rugged more a to specs Century was all about the NOW as fresh of the boat artists recalibrated their anglicized J “The pastisaforeigncountry:theydothingsdifferentlythere” HAMISH CONEY might tutor a bird-man in art of flight. Could Kipling or even Garcia Marquez have Marquez Garcia or even Kipling imagined asceneofsuchtenderbeauty? Could flight. of art in bird-man a tutor man-bird might a where moment long-lost a conjured has Hammond Fly of light half the In huia andSceloglauxalbifaciestheLaughing Owl. mankind Since past. long are first touched our shores such diversity has increasingly gone the way of the moa, the plenty and abundance fertile of days with tinged Those is sadness. history Zealand New a for incredulities such proposes Hammond That extraordinary andscarcelywithintheambitoflanguagetodescribe. of times the and mythologies past Icarus, gryphons into and unicorns. deep This is a extends time when genus life on Their earth was seen indeed. as miraculous, creatures Brownson describes these figures as humaniforms and as we see in Fly they are curious have beenreworkedandtheymorphedintocrossbreeds.’ mythic beings may once have been humans, or extinct birds, or horses, but their origins These creatures. spectacular with populated zone fabled a as history Zealand’s New imagined have paintings 2007 ‘…Hammond’s Morning, the Jangle for Jingle exhibition essay retrospective catalogue his in the process in this describes solitude Brownson of Ron Curator eon an After Realism. Magic foreign country that is Godzone’s past a hybridization of the species has taken place. as described be can style his Marquez chosen Garcia Gabriel novelist Colombian great the like and history Zealand’s New on observation of powers acute his focused has Hammond 1990s early the From apt texttocarrywithusasweapproachapaintingsuchFlyfrom1999. New Zealand in 1890s and this tone of mournful grandeur informed by isolation is an ‘Last, loneliest and loveliest. Exquisite, apart…’, Exquisite, loveliest. and loneliest ‘Last, to attempting of years hundred two had we’d locate thebravenewdawnandthenalongcameBillHammond. view into hove 1980s the time the By a distinctnationalvoice. developments of post impressionism regionalism, breakneck and the the with urgent up keep need to to struggled find artists Our moderne. the new, the about all itr cud e riuae a a edog uh no h ftr. f h 19 the If future. the into rush art headlong modern a Zealand’s as articulated past? New be of the could Much history on one. gaze had their we realised turn they to when decide Perhaps artists Zealand’s New did when ust L.J.PHartley

was how Rudyard Kipling described Kipling Rudyard how was th Century was Century th

41 41 importantimportant paintingspaintings ++ sculpturesculpture 33 Gordon Walters Study for Rewa ink on paper title inscribed, signed and dated ’81 and inscribed 10 – 04 – 81 760 x 570mm Provenance: Private collection, lower North Island $60 000 - $80 000 BEN PLUMBLY art ratherthanfineart. that theartist’searliesttrainingwasin realmofcommercial to Walters’unwaveringexactitudeaswell crucialreminders themselves uponcloseinspection,serveaswonderful testimonies lines andbarely-visiblepricksofthecompass, whichonlyreveal painting inhisKoruworksasearly1961 and thedrawnpencil which hispaintingsconceal.Theartistabandonedfree-hand artist’s fastidioustechniqueinawonderfullyilluminatingmanner the papiercollé’sandworksonpaperservetolaybare then lastlyafully-realizedpaintingoncanvasorboard.Both a prepatorypapiercollébeforeproducingworkonpaperand method. Moreoftenthannottheartistwouldbeginadesignwith Walter’s worksonpaperwerecentraltohispracticeandworking and the intricate, refined precision of the artist’s working method. associations withtraditionalMaoriartandOceanicaesthetics, real engagementwiththiswork,therichculturalandaesthetic or readsintowords–doeslittletoconveythecomplexityofany ekphrasis, theprocessoftransferringliterallywhateyesees descriptive accountofthework–whattheoristsmightrefertoas and whitespreadhorizontallyacrossthepage.Suchablandly abruptly meetsacircle.Inbetween,alternatebandsofblack top leftcornerandinthebottomrightasingleblackbulb Study forRewafeaturestwoterminatingKorubulbsmeetinginthe as littlealine,oftenterminatinginbulb,andcircle. simple elements”.Therecurring‘elements’intheKoruserieswere relations aremostclearlyexpressedbytherepetitionofafew deliberately limitedrangeofforms…Ibelievethatdynamic is aninvestigationofpositive/negativerelationshipswithina his compositions.Waltersremarkedofpractice:“Mywork moving towardsagreaterclarityandsenseofformalorderin some fifteenyearsprevious,theartistwasbyearly1980s G his celebratedKoruseries.Firstexhibitedin1966, artist’s mostrestrained,andyeteffective,designsfrom ordon Walters’StudyforRewa(1981)isoneofthe

43 important paintings + sculpture alph Hotere is no remote, impersonal object-maker. He’s a sleeves-rolled-up artisan, a romantic in the full-blooded sense of the word, committed to an old-fashioned idealism or humanism. His paintings and Rsculptures display a confident mastery of industrial materials, and prove him a magician of metaphor. Hotere began using brand-new stainless steel sheets in the early 1980s, and he established his ability to make this material resonant and evocative with the Baby Iron series in 1983. Early in 1984, he exhibited a closely-related series of works entitled 1984, at the Robert McDougall Gallery in Christchurch as part of a Christchurch Festival group show called Paperchase: Exhibition of Works on Paper. 1984 consisted of 12 panels — essentially wall-hung assemblages — incorporating large sheets of high-grade paper stuck onto a stainless steel surface. The work inscribed (in orange paint) with the phrase ‘Nineteen eighty four’, as well as the artist’s signature the words “Port Chalmers” and the date “83 - 84”, is from this 1984 series.

Boxed in by its emphatic wooden frame (constructed by Hotere’s co-worker Roger Hicken from salvaged and weathered farm timber) the work can be seen as a minimalist geometric form: a square subdivided into a patterning of rectangles and oblongs, and dominated by a T-shaped cross motif. But if the work is formally reductive in the classic Hotere manner, it is also characteristically rich in allusiveness, fulfilling the artist’s aims made in one of his few public statements about what his art is seeking to do, namely: “to provide for the spectator a starting point which, when contemplated, may become a nucleus revealing scores of new possibilities.”

Hotere’s carefully measured treatment unveils beauty in the greyish surface of stainless steel, giving it a silky, silvery sheen. Bent, buckled and buffed, steel’s reflective properties are channelled and managed by the opaque paper embossments, and by a swirl of burr-marks made with the sanding disc of an angle-grinder. So while on one level it is an exercise in formal resolution, on another, shape-shifting light — dancing ambiguously across the surface — is intended to make you wary of the work’s focal depths: this is art about power — political as well as aesthetic.

The date ‘1984’ pays homage to George Orwell’s famous eponymous novel (written in 1948) about the dangers of totalitarianism, but it also marks the anti-nuclear protests of 1984 — both against US nuclear-powered warships cruising Pacific waters and French nuclear testing near Tahiti. Look again at the central column of the T-shape and you begin to see how this might symbolise the ocean: a fast-moving squall or water-spout out at sea, or even some undersea force pushing upwards — a submarine-launched nuclear missile. The agitated middle section — composed of scribbled metal, ripped paper and flurried paintwork (the colours of fire, oil, and turbulent seawater) establish why those polished reflections to each side are so unstable. This is an anxious time, ruled by uncertainty, and that smudged black bar at the top of the column — a line on the horizon — might be New Zealand as a vulnerable waka.

David Eggleton

34 Ralph Hotere Nineteen Eighty Four acrylic and paper on burnished steel in original Roger Hickin frame title inscribed, signed and dated ’83 – ’84 770 x 770mm Exhibited :‘Paperchase’, Robert McDougall Art Gallery, Christchurch, 1984 Provenance : Private collection, Auckland $80 000 - $120 000 45 important paintings + sculpture

T LAURENCE SIMMONS narratives, actions,labourandsigns. historian Michel de Certeau called a ‘practiced place’, a site activated by movements, fertility of local soils. the All of of which goes over to working prove a the landscape is in also rejoice what cultural we trees, windbreak by edged paddocks farm of grid patchwork characteristic the of hint its with vegetation, the of green vibrant of sky we feel, almost palpably, the heat of the Canterbury nor’wester. In the bright expanse yellow brilliant his In image. animated felt. an — affect and experience different or a touched with argue, be would I to us, presents McCahon not (1968) Canterbury but South in conventions, However, of set a a by at seen often be framed to distance, something is landscape the representation; pictorial on irresolutely focused one is history art Western dominates that landscape of concept The spent McCahon disorientation. much ofhisearlylifecyclingthroughthislandscapeinsearchseasonalwork. produces and landforms the and sky the between disruption of experience the heightens reference of points without plain flat a on wrote in his poem ‘The Silent Land’. The stubborn, almost singular, By experience the pine windbreak of where the hot wind living bleeds,” McCahon’s friend the land and raises temperatures to over thirty degrees. “The plains are of nameless surface … the out dries regularly arch, Nor’west the weather as to a referred phenomenon northwest, the from wind foehn prevailing The droughts. to prone one $85 000-$125 000 600 x600mm Reference Provenance title inscribed,signedanddated verso signed anddatedJuly’68; polyvinyl acetateandsandonboard South Canterbury Colin McCahon 35 ie. hs s n ra f oeaey nesv lvsok rzn bt also but grazing livestock intensive moderately of area an is This River. glacial periods, merge with the plains of North Otago just beyond the Waitaki during deposited gravels moraine from formed plains, Canterbury South he (www.mccahon.co.nz)CM001125 : ColinMcCahondatabase : privatecollection,Christchurch. : giftedbytheartistto current owner’sparentsin1969. 47 47 importantimportant paintingspaintings ++ sculpturesculpture 36 Allen Maddox Untitled oil on canvas title printed on original Gow Langsford Gallery label affixed verso 1200 x 1200mm Provenance: from the artist’s estate : private collection, Auckland $20 000 - $30 000 Provenance 1050 x1780mm title inscribed oil oncotton (section ofacriticalessay writtenbytheartistonColeridge’sKublaKhan) We Climbedoffthe9–42 fromPorirua.IThoughtlookedaTypicalCommuterbut…He RecognisedMe! Allen Maddox 37 $15 000 -$22000 whopurchased theworkinearly 1980sfromDenisCohnGallery whilstworkingasDenis’ assistant. : Fromthecollection offilm-writer,director andauthorPeterWells

49 important paintings + sculpture 38 Shane Cotton TAI AAI oil on canvas title inscribed, signed and dated 1997 500 x 610mm Provenance: Private collection, Auckland. $25 000 - $35 000 $20 000-$30 Provenance: PrivateCollection, 2410 x290mmoverall 1205 x290mmeachpanel signed anddated1992oneachpanelverso oil, encausticandcollageonplywood,diptych Point Shane Cotton 39 SouthIsland

51 important paintings + sculpture

$25 000-$35 Provenance: PrivateCollection, 2020 x1815mm title inscribed,signedanddated2003 oil onunstretchedcanvas Taulani John Pule 40 Auckland HAMISH CONEY new land,yetretaining keyculturalDNAfromhishomeland. Here theymayberead as ametaphorfortheimmigrantgrowingin this tree. direct referencetotheNiueanbeliefthatall lifeisoriginatedfrom mata alea(cordylinetree)thattrailbeneath thecloudformsarea stood orreadonanumberoflevels.Forexample thevinesofti tural symbolismandlanguageenableshiswork tobereadilyunder- Polynesian andNewZealandexperience.The weavingofpersonal,cul- Pule hascreatedadistinctlibraryofimagery thatpersonalizeshis ear narratives. Nuiean hiapoortapathancreatesauniverse ofsymbolsandnonlin- Pule’s overallformalschemaisderivedfrom thedesigntraditionsof The mingling of these vignettes of lovers and spiritual migration within realm. temporal existenceofthehumanworldandheavenlyorspiritual is asimpledevicetorevealPule’sconnectionbetweenthelandbased and stairs.Onthecloudsideisawelcomingorbeckoningfigure.It scales isaclassicPulemotif,cloudsandislandslinkedbyladders St. John’sambulance.Depictedatleastfourtimesandonvarious will seeachurchwithsteeples,dolphin-likeseacreature,even den betweenthelinesofwork.Peerevermorecloselyandyou These secretwhisperingsandothersymbolsstatementsarehid- of pureaesthetics.’ other figureofferingaflowerresponds,‘Yourfacecontainsmatters a butterfly–onlybecauseIknowwhereyourtearsgoatdawn.’The this whenIcanwatchyousleep–myeyesaretwowingsinthebellyof ing forthiswork.Twoloversconverseinlyrictongue,‘It’snightslike tone fortheworkisatendertableauthatsuggestspossibleread- But thereamongsttheblackandbloodredstriationsthatset grand design. deed thescaleofworkdemandsadistantviewtocomprehendits As avieweritmaynotbeone’sinstinctivereactiontomovecloser,in- colour andpictogramsthatanimatethepainting’ssurface. this canvasviaaninscriptiontobefoundintheminutiaeofbanded Given hisproficiencyinanumberofgenresitisinstructivetoenter heart ofPule’smulti-disciplinedpractice. ing multiplebeliefsystems;religious,culturalandpersonal,isatthe R Burn myHeadinHeaven.Theconflictsandjoysofnavigat- ing avisualartistPuleisalsotheauthorofnoveltitled eading betweenthelines;JohnPule’sTaulani.Aswellasbe-

53 important paintings + sculpture 41 Still Life with Yellow Teapot oil on board signed with artist’s initials M. D. S and dated ’94 480 x 730mm Provenance: Private collection, Auckland $25 000 - $35 000 $24 000-$32 Provenance: Privatecollection,Wellington 270 x395mm Janne LandGalleryblindstampappliedverso and inscribedUnderpainting,earlyMay,Marsyellow18.6.81, Blue25.6.81verso; title inscribed,signedanddated1981 oil onhessianparticleboard Jester totheCurrentCourtofFrance Tony Fomison 42 55 55 importantimportant paintingspaintings ++ sculpturesculpture 43 Jude Rae Still Life 20 oil on linen title inscribed, signed and dated ’98 verso 500 x 610mm $10 000 - $15 000

44 Tony de Lautour X acrylic on canvas signed and dated 2003 910 x 910mm $12 000 - $16 000 1110 x1360mm signed anddated’99 oil onlinen Motu Maraenui Stanley Palmer 45 $17 000-$26 000

57 important paintings + sculpture 46 Dick Frizzell Stumps in a River oil on board title inscribed, signed and dated 28 – 7 – 87 615 x 2420mm $20 000 - $30 000

47 Max Gimblett For Sengai acrylic on handmade pulp paper title inscribed, signed and dated ’85 1215 x 905mm $5000 - $8000

48 Nigel Brown A Man Amongst Yer oil on canvas, triptych signed and dated ’95; title inscribed, signed and dated verso 1360 x 2070mm Provenance: Private collection, North Shore, Auckland. $18 000 - $28 000 59 59 importantimportant paintingspaintings ++ sculpturesculpture conditions 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.

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A U C T I O N H O U S E O S B I LE: U RNAME:

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Important Modern Important +Contemporary Photographs

Auction Thursday 19 July 2007

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Auction Saturday 28 July 2007

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MASTERCARD THE 21 CEN TURY -

63 infoimportant paintings + sculpture index important Bambury, Stephen 4 Brown, Nigel 47 photographs Bullmore, Ted 13 Clairmont, Philip 27 June 2009 Cotton, Shane 5, 38, 39 de Lautour, Tony 44 Dibble, Paul 17, 20, 21, 23 Driver, Don 12 entries invited Fomison, Tony 3, 29, 42 Frank, Dale 8 Frizzell, Dick 11, 46

Gimblett, Max 10

Hammond, Bill 7, 15, 31, 32 Henderson, Louise 30 Hotere, Ralph 6, 34

Killeen, Rick 26

Maddox, Allen 36, 37 McCahon, Colin 9, 24, 25, 28, 35 Millar, Judy 2

Ngan, Guy 18

Palmer, Stanley 45 Pule, John 14, 40

Rae, Jude 43 Robinson, Ann 22

Smither, Michael 41 Stringer, Terry 16, 19 Trout Upritchard, Francis 1 vintage gelatin silver print, 1987 $9000 - $14 000 Walters, Gordon 33 entries invited + d

ecorative arts entries invited interest items ofNewZealand $1000 -$2000 bronze Kangeroo Rick Lewis

May 14

$18 000-$24 000 native NZtimbers Inlaid tabletop Anton Seuffert

65 important paintings + sculpture