CONTEMPORARY ART AND OBJECTS thursday 3rd april 2008 at 6.30pm 3 abbey street, newton, auckland

Cover image:

From Left: Garth Chester Curvesse Chair, a feature item in A+O’s May 1st 2008 20th Century Design catalogue

Lot 74: Bill Hammond Bird Grip

Lot 46: Glen Hayward I am Old enough to be my Own father twenty five twelve eight four ART AUCTION HIGHLIGHTSFROM 2007 OBJECT AUCTION HIGHLIGHTSFROM 2007 THE ART AND TEXT AUCTION 20TH CENTURY DESIGNPREVIEW thirty twothirty ninty-four sixty six ninty-six ninty-five fifty six ’S 4X5(ID).ESSAY BYDAMIAN SKINNER THE GORGEOUS ARTIST... BY JACQUELINE FRASER. ESSAY BYROB GARRETT. JACQUELINE BY ARTIST... GORGEOUS THE ARTISTS INDEX ABSENTEE BIDDINGFORM CONDITIONS OFSALE THE OBJECT AUCTION

3 contemporary art elcome to ART+OBJECT’s third contemporary art and object catalogue and the first for 2008. In our launch year A+O held two major auctions ofthese genres and in the process dramatically extended the range of art presented in the auction environment. The art collecting public of and internationally responded with such enthusiasm that A+O is proud to have achieved over twenty artist records at auction for both Australian and New Zealand contemporary artists. Works have been acquired from A+O auctions by collectors not just in New Zealand, but also Australia, The United States, Hong Kong, England and Italy.

In addition to pioneering the presentation of contemporary art, which we define as being art produced after 1990, ART+OBJECT also achieved repeated success offering major artworks at auction. One of many highlights of our 2007 art calendar was achieving the record sale at auction with the sale of Ralph Hotere’s 1982 masterpiece Towards Aramoana which formed the centrepiece of the Bev and Murray Gow Collection in September. We have been favoured with a number of major collections and the mostly contemporary works of the ART & TEXT Group Collection form the core of this catalogue. Turn to page 22 for an illuminating essay on the foundation and direction of this important collective.

One of our proudest achievements has been the establishment of the object category at auction and the overwhelmingly positive response from collectors and artists at the commitment A+O has made to this vital area of creative production. It is a genre which is still in the process of defining itself, hovering between applied arts, smaller sculpture and more traditional carving and ceramics. However, as auctions at A+O have demonstrated, it is a vital category, replete with highly skilled artists, both past and present and a devoted and growing following. We look forward to meeting you at the viewing for the works in this catalogue which opens on March 28th. GIL_4521 240x240 Ad.indd 1 *OTQJSBUJPO JOOPWBUJPOBOEEFEJDBUJPOMFBEUPUIFDSFBUJPOPGUIFXPSME£TNPTUCFBVUJGVMDBST &YQFSJFODFUIFVMUJNBUFFYQSFTTJPOPGGPSNBOEGVODUJPOGPSZPVSTFMGBU(JMUSBQ1SFTUJHF (SFBU/PSUI3E "VDLMBOE1IPOFXXXHJMUSBQDPO[ 4UBUFPGUIFBSU 13/3/08 1:27:12 PM

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Art 10 9 10 3 8 9 1 5 4 2 7 6 * Realised prices exclude buyers premium excludebuyers * Realised prices $17 500 Good ol’Matata Ngati Rangitihion Awa Land Reuben Paterson $15 000 Powder Land2 Tony deLautour $42 000 Rainbow with Waterfall Billy Apple $16 000 Freeman Vincent Peter Stichbury $47 500 Here IGive Thanks (Chakra) Stephen Bambury The SkippingMaids Adele Younghusband $50 000 Study for PosterAuckland City Gallery Art Gordon Walters $4600 $10 500 Teki orGod Henry Wynyard Colonel Robert $14 000 Aura Liz Maw $220 000 Towards Aramoana Ralph Hotere FROM THE 2007 YEAR

20 19 18 17 16 21 15 14 13 12 11 $25 000 (Know Nothing) The Monsters Lionel Bawden $60 000 Boulder Bay4 Bill Hammond $14 000 Untitled (1996) Julian Dashper $30 000 Bather Colin McCahon $32 000 ka efaliu atautolioti Nakai momoheatautolu, $60 000 In Solitary Tony Fomison $30 000 Yellow Model Pat Hanly $115 000 Portrait ofaFlower Michael Illingworth $100 000 Painting III Dark Milan Mrkusich $38 000 Blanket Shark Ricky Swallow $35 000 Tua Iwa fromPatriot: Ten Guitars *

7 contemporary art Photography FROM THE 2007 YEAR

Ann Shelton Theo Schoon No.4 Frederick B. Butler Collection, Puke Ariki Boy with Paddles Type C photographic print, Edition of 3 Gelatin silver print 1365 x 965mm 390 x 270mm realised $4000 realised $2200

Laurence Aberhart Jae Hoon Lee Angel over Whangape Harbour, A New Farm Northland 6 May 1982 Digital print 1/5, 2005 Gelatin silver print 1200 x 900mm 175 x 242mm realised $4500 realised $4400 realised $4500 1200 x900mm 1/5,Digital print 2005 A New Farm Jae HoonLee realised $2200 390 x270mm Gelatin silver print Boy withPaddles Theo Schoon

9 contemporary art Highlights FROM THE 2007 YEAR*

John Reynolds and Peter Collis 0.6 GOD is in the house 5:42 $2000

Frank Carpay for Crown Lynn Ovoid vase with repeat escalloped scale pattern $3200

Len Castle A ceramic dictionary of Theo Schoon’s stamps $6950

John Edgar Code $7000

Ann Robinson Nikau vase $30 000

*prices realised exclude buyer’s premium 11 contemporary art Maven Advertisement

A+O Doodle.indd 1 14/3/08 9:45:34 AM A+O Doodle.indd 1 14/3/08 9:45:34 AM $1000 -$2000 silver gelatinprint, 1982 Warren Allis, ScalderandPlucker, Poultry Abattoir Glen Busch motn wrs y e Zaad n itrainl htgahr icuig Peter Marie Schoon. Busch, including includes Theo and Glenn photographers Armstrong and Hout, Bill Sherman, international April van Cindy Dupain, Ronnie early and Max Friedlander, Parekowhai, in Marti Zealand Michael Shannon, available Aberhart, New be Laurence by Peryer, will works catalogue important auction Photography A+O’s INTERNATIONAL PHOTOGRAPHS IMPORTANT NEWZEALAND & april 17th2008 april THE 21 AUCTION HOUSE t s CENTURY

13 contemporary art

20th century design thursday may 1st

A+O’s third design auction brings together items from three major collections, enabling design enthusiasts to select from deep collections assembled over decades by the most discerning experts. The catalogue will, in addition to our usual strong offering of vintage furniture, also include rare glass, ceramics and sought after designer items from the 1930s to the 1980s.

The Stephen Rainbow Collection

The Sleek New Shape of Excitement was the tongue in cheek title of the exhibition of Stephen Rainbow’s world-class collection of contemporary Poole ceramics held at Objectspace in May of 2006. Lovers of post-war design will revel in the variety of form and line that Stephen assembled in his years of collecting Poole and other select pieces from all over the world.

The Gary Langsford Collection of Italian Glass

Gary Langsford is well known as a leading Auckland based gallerist. Over many years he has assembled a refined collection of international quality Italian glass including pieces by Luciano Vistosi, Alessandro Pianon, Paolo Venini, Lino Tagliapietra and Ettore Sottsass for Memphis.

Pictured left: A fine example of contemporary hand painted Poole from the Stephen Rainbow collection (detail) thursday may 1st thursday 20th century design 4 3 2 1 $9000 -$15000 1962 by Alessandro Pianon Two Vistosi glassbirdsPulcinic. $4000 -$6000 1986 blown andcastglass Clesitera Ettore Sotsassfor Memphis $1800 -$2600 system, c. 1965 Two piecemodularloungeseating Verner Panton $600 -$900 Poulsen PH5Pendant lamp Poul Henningsonfor Louis 1 2 4 3 15 contemporary art vv

The THOMAS & BETTINA BLEY COLLECTION

ART+OBJECT are pleased to announce that the private design collection of Thomas and Bettina Bley will form the foundation of the May 1st Twentieth Century Design sale. As designers and architects of international note, both Thomas and Bettina are passionate about quality design. Together they have been collecting design objects for over 30 years. Thomas started collecting design as a student in Germany and in 2004 he moved to Dunedin to take up the position of Head of Design Department at the University of Otago.

Prior to this Bley was founder of The International Design Network and Institute (IDNI), president of Zebra Design in New York and, perhaps most impressively, was one of the key members of the Memphis Design Group. The original focus of the collection was on objects considered as the ‘Gute Form’ from such companies as Braun and Olivetti. Through his relationship with the Memphis Design Group in Italy Thomas and Bettina later shifted their focus to postmodern design and in particular to the so-called ‘design radicale’ and ‘New World’ design periods.

Their collection includes furniture, lighting, reference books, homeware, glass and ceramics as well as a selection of Thomas Bley’s own design.

Hans Gugelot and Dieter Rams for Braun The Phonosuper or Snow White’s Coffin (1956) This was the first phono/radio to feature a perspex cover a development which would later become industry standard $1500 - $2500

Verner Panton Panton Chair original fiberglass version, 1960 $800 - $1200

Matteo Thun for Memphis Tuja Vase 1983 $300 - $500 Dunedin PAG Advertisement 17 contemporary art vv

Important paintings and sculpture

thursday may 22 entries invited until april 25

Pat Hanly Lunar Lover oil and enamel on board 607 x 575mm $75 000 - $95 000

vv View View Towards Head North Peter Siddell $9000 -$13000 252 x354mm oncanvas acrylic $85 000-$125 1110 x410mm nails inColonialvillasashwindow frame oil onboard, steelandleadhead burnished Te Ara Ralph Hotere $65 000-$85 height:3500mm Bronze, editionof3 Feather Paul Dibble $2000 -$3000 360 x305mm unique linocut, 1/1 Head ofChrist Philip Clairmont entries invited until mayentries 24 New Collectors tuesday june 24 THE 21 AUCTION HOUSE art t s CENTURY

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Jane Brenkley Sketch Book $1200 - $1800

Royal Doulton Maori Art Plate $500 - $700

Maori folk art figure $600 - $800

The new zealand sale

thursday june 26 entries invited until may 30

A+O is pleased to announce a specialist auction of New Zealand themed collectables, folk art and artefacts. Already consigned is a rare Jane Brenkley sketch book, a carved Maori totem figure by John Bevan Ford, a collection of mottled Kauri furniture, New Zealand studio pottery, Maori folk art figures, and a selection of New Zealand Historical items including a 1951 Waterfront Strike banner. Art&Object ad thoughts.indd4 "-+00'00'''Xe[hlfk\ÊI<=I

13/3/08 2:00:07 PM 21 contemporary art Valuations

In just a year A+O has completed over 150 valuation assignments for major institutional, corporate and private clients. Our valuation service headed by James Parkinson, has valued everything from public museum collections to the archive of a major New Zealand fashion designer.

James Parkinson is New Zealand’s only Property Institute accredited valuer (MPINZ) working in the area of art, antiques and collectables. This means an A+O valuation is accepted by all international insurance companies.

Due to the growth in demand for A+O valuations we are pleased to announce that Georgina Caughey has joined the valuation division as a consultant. Georgina is an experienced valuer having graduated from the Sotheby’s Institute in London and then working in the field Above: Georgina Caughey. of contemporary art with Stephen Friedman Gallery. Georgina then Below: ART+OBJECT directors Ross Millar, Ben Plumbly and furthered her experience with the respected San Francisco based James Parkinson undertaking a recent valuation in the Ethnology antique and art Valuation Company Katherine Hobart associates, gaining archive of a New Zealand museum. accreditation as a decorative and fine arts valuer with the American Society of Appraisers. She has also worked as the manager of a major auction house decorative arts department in New Zealand before beginning a family.

Georgina and James will be working closely on a number of major valuation projects and adding her expertise to the range of advice A+O is able to offer our clients.

Clients for whom A+O has undertaken valuations for in the last twelve months include: Government House (Auckland), The , Diocesan School, St Cuthberts School, The Govett Brewster art gallery, Otago University, City Gallery (Wellington), Te Papa Tongarewa (the Museum of New Zealand), Auckland Museum, Auckland City Art Gallery, Waitakere City Council and the Rotorua Museum of Art and History. A+O has recently been appointed to value the entire collection of the Hawke’s Bay Museum & Art Gallery in Napier.

23 contemporary art The Art & Text Group A BRIEF HISTORY

The completion of a degree in Art History at Auckland University was the cataIyst for the founding of the ten year life of the Art & Text Group recalls founding member Mary Finlay, noting, ‘I realised how much I would miss not being involved in learning about art in a formal way. With another friend, who had also studied Art History, we decided to start an art group. From there at a dinner party we formed a nucleus of four people who got the group going. One of the women had been in a group before and her experience was a great help.‘

Over the next few months in 1997 the group concept and numbers evolved. Leading art expert Warwick Brown advised the fledgling group on governance and possible thematic direction. After considering themes encompassing photography, emerging artists or landscape the group decided on art with text and the name naturally crystallized into the Art & Text Group. A ‘Deed of Association’ was drawn up which all members signed and a sunset clause was set for a period of ten years.

The main objective of the group, was to learn more about contemporary NZ art and in the process acquire works of art that would retain their value

The group commenced with twenty members and a four person buying committee (BC) was formed for a period of one year. Two BC members would stand down every six months. The BC was charged with the task of visiting the dealer galleries regularly to keep abreast of new shows and artists. The group got into a routine of meeting every two months and rotating artworks every four months. Members looked forward to the meetings and selected artists often spoke to the assembled group.

After four years five of the members decided to exit and a process was set up where they could be bought out or choose artworks. Mary mentioned this as a point of advice to other groups to remain flexible, given that over a ten year period a number of individuals’ priorities may change. Indeed at this point a number of potential new members wished to join, but by this stage the wider group had come to the conclusion that twenty was too large a group and for the remaining ten years the group proceeded with fifteen dedicated members.

Mary Finlay acknowledges that the collective learning experience was as important as the works acquired. The group became fast friends and held regular group events, with one highlight being a ‘Last Supper’ themed Christmas Party.

The sale of the Art & Text Group Collection will not be the end of collecting for many members of the group Mary notes, ’We have become a close group of people and I’m sure that after the finish of this group many of us will still meet around the galleries and talk art over coffee, wine or dinner.’ Contemporary rtA +Objects From 8.15pm(approx) From 6.30pm Thursday Wednesday Tuesday Monday Sunday Saturday Friday Opening event 28Marchfrom Friday 31March 30March 29March 28March at 3abbey street, newton auckland 1 April 3 April 2 April thursday 3 april from6.30pm 3april thursday Objects: Art: viewing 9am–1pm 6pm–8 9am–5pm 9am–5pm 9am–5pm 9am–5pm 11 am–4pm 11 am–4pm lots 91–236 lots 1–90 THE 21 AUCTION HOUSE t s CENTURY

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contemporaryart + text art

1 Terry Stringer Life Work Medallion cast bronze, edition 1/20 signed and dated ’98 150 x 142 x 30mm $800 - $1200

2 Paul Dibble Soft Geometric (Small Series 1) cast bronze, 3/10 signed and dated 2005 290 x 200 x 82mm $5000 - $7000

3 Virginia King Dragonfly stainless steel 390 x 600 x 60mm $2500 - $3500 5 4 $2200 -$3000 225 x125125mm signed anddated’98 cast bronze, 10/30 Bernini Angel Terry Stringer $3000 -$5000 335 x8080mm signed anddated’98 cast bronze &Model Artist Terry Stringer 26 27 contemporary art 6 Seraphine Pick Untitled (Woman and Bird) oil on linen signed and dated 2006 500 x 400mm $5000 - $7500

7 Judy Miller Untitled oil and acrylic on aluminium signed and dated 2004 verso 1000 x 800mm $6000 - $9000

8 Nike Savvas Breakfast in Vegas acrylic on canvas 350 x 350mm $1200 - $2000 10 9 $5000 -$7000 340 x170mmoverall title inscribed, signedanddated1998verso onaluminium,acrylic diptych gold,23 carat sclagmetaland Siena XVIII Stephen Bambury $800 -$1200 350 x500mm onlinen,acrylic diptych Blue Dress: Flowers Susan Schreiber 27 29 contemporary art 11 Richard Killeen 12 Neil Driver 13 George Baloghy Left Right Fish Cob and Plaster Saturday Morning Cricket before One Tree Hill acrylic on powdercoated aluminium, acrylic on board oil on linen four pieces titled inscribed, signed and dated signed; title inscribed, signed and dated 2000 2001; artist’s original label affixed verso signed and dated 2004 verso 400 x 1010mm 590 x 195mm overall (variable) 600 x 1200mm $5000 - $7000 $5000 - $7000 $4000 - $6000 15 16 14 $12 000-$16 990 x775mm Michael Lettlabelaffixed verso titled inscribed, signedanddated2002; original andoilstickonpaper acrylic Big Al Kaida Peter Robinson $6000 -$8000 555 x760mm signed anddated2000 oil onlinen Three Perspectives Elizabeth Rees $4500 -$6500 300 x300mm titled inscribed, signedand dated1998verso oncanvas acrylic Study for Welt Peter Stitchbury 30 31 contemporary art 17 Shane Cotton 4 x 5 (ID) acrylic on canvas title inscribed, signed and dated 2001; signed and dated verso 700 x 1000mm EXHIBITED: Shane Cotton: Survey 1993 – 2003, City Gallery, Wellington, July – October, 2003 (touring) ILLUSTRATED: Lara Strongman (ed), Shane Cotton (Wellington, 2004), p. 85. $40 000 - $60 000 resonance for both Mäori and Päkehä Päkehä and with Mäori both religious cosmologies. possibility for ything ever Te resonance spiritual which a follows from that emerges, void, kness the dar Kore, the Po, Te is It S DAMIAN SKINNER e a smtig o el s ht etit hs isptd n h ik bakes f x (ID). 5 x 4 of clashes, blackness representational inky the and in compositions dissipated has his appropriation, certainty of That us. cultural tell openness to and the something relationships had within he that, cultural clear of was notions it our but with earlier Cotton’s havoc history. of played understanding which settled paintings never reverberations and creating confused other, a each of off investigation playing his assist two a the by interpretation, matched of is work anxiety his of in stages kind and negotiates Cotton that anxiety cultural the sense, this In scanning across the ready-made of the grid and refusing to privilege any particular order logic – that or of the archive or network. 4 x 5 (ID) weightsinterpretation. each of its elements equally, the viewer’s eye different a to according organised is that space a into paintings 1990s his of landscapes grounded yet cosmologies. And the blackness is religious Päkehä also and a Mäori conceptual both for possibility,resonance with possibility spiritual a a emerges,shift everything in which Cotton’s work from the fantastical is painting.It this in Tefollowsroles twothat Po,plays Blackness Tedarkness the void,Kore, the from successfully. so in traffics work Cotton’s that imagery and history rich the of focus the appearance, an makes landscape the Even years. subsequent in important more become would that camouflage coloured brightly ovals, the the of does some as fill traditions prophetic Puhi Ngä investigationof the reference to the Blackout Movement paintings of the late 1990s. Black and white figures that belong to images important of the early and mid 1990s, while gothic lettering and tangled serpentine manaia make series of motifs that revisit his painterly history. Fragments of kowhaiwhai and figurative painting. motifs evoke his this of There working is an aspect the of the to retrospective or survey central about 4 x is 5 (ID), which as though archiving, Cotton is and providing us with cataloguing a of it notion Usefully name. the (descriptive) real raises its receive to going tag is give painting written the doesn’t a when dimensions, moment itself painting’s the the awaiting title of The description surface? catalogue hang painting’s bland fragments a the visual half like of strange away, reading are much these blackness which consuming that in (ID), the ways. signs 5 in powerful x of embryos 4 in like like set painting memory a and a of uncanny, make history we cultural about do What speak the which of and recognised, art half an remembered, developed has Cotton Shane 32 33 contemporary art 18 et al. 19 Ralph Hotere 20 Gail Haffern 21 Nigel Brown Thought #7999 Round Midnight: September Organic Machine Scott Collapsing digital print on paper, masking tape, lithograph, 18/24 mixed media on canvas acrylic on canvas acrylic and oil stick titled inscribed signed and dated 2000 370 x 745mm titled inscribed, signed and dated 1998; title inscribed, signed and dated 11-06-06 565 x 755mm title inscribed, signed and dated verso $1200 - $2000 850 x 1075mm 600 x 490mm $6500 - $8500 $4500 - $6500 $5500 - $7500 24 23 22 $2000 -$3000 355 x710mmoverall signed anddated2000verso mixed media, diptych Untitled Susan Jowsey $6000 -$9000 1070 x503mm signed anddated1998 onboard acrylic K’ RoadCartoon Jacqueline Fahey $3000 -$5000 1365 x910mm Tairoa Headverso signed anddatedinscribed signed anddated2005; titleinscribed, oncanvas acrylic Coming Home Philip Maxwell 34 35 contemporary art 25 Billy Apple Working Drawing for From the Art and Text Collection ink on paper, diptych title inscribed 292 x 205mm 292 x 410mm overall $1500 - $3000

26 Garry Currin Ghost Ship acrylic on board signed and dated ’99; signed and dated verso 293 x 405mm $800 - $1200

27 Richard Lewer The Confession acrylic on sandpaper mounted to Perspex signed 1000 x 1000mm $5000 - $8000 30 29 31 28 $1000 -$1500 200 x167mm affixed verso signed anddated1986; label JohnLeechGallery onpaper graphite Father & Son Garth Tapper $1000 -$2000 Shades ofRedandGree Ball Barry 1050 x825mm onlabelaffixed titled inscribed verso oncanvas acrylic $400 -$800 330 x335mm signed; and signedverso titledinscribed bronze, andearthenware terracotta Heading South John Papas $4500 -$6500 800 x655mm title inscribed, signedanddated’98verso oncanvas acrylic Intermittent Mervyn Williams n 36 37 contemporary art 32 John Reynolds Shock and Awe oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 500 x 400mm Provenance: Private collection, Christchurch $4000 - $6000

33 John Reynolds Blue on Blue oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 500 x 400mm PROVENANCE: Private collection, Christchurch $4000 - $6000

34 John Reynolds Soft Target oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 500 x 400mm PROVENANCE: Private collection, Christchurch $4000 - $6000

35 John Reynolds Study for Desert Road oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 500 x 400mm PROVENANCE: Private collection, Christchurch $4000 - $6000 38 39 37 36 $600 -$800 315mm diameter wool onsteelring Untitled Ani O’Neill $600 -$800 290mm diameter wool onsteelring Untitled Ani O’Neill $5000 -$8000 1300 x22080mm fluorescent lighthousing vinyl on screenprinted The Bosomof Abraham Michael Parekowhai $5000 -$8000 1300 x22080mm fluorescent lighthousing vinyl on screenprinted The Bosomof Abraham Michael Parekowhai 39 contemporary art 40 John Pule Red Cloud title inscribed, signed and dated 2003 acrylic and ink on canvas 1000 x 1000mm $15 000 - $20 000 41 42 $7000 -$9000 760 x760mm title inscribed, signedanddatedverso andglitterdustoncanvas acrylic Crack Reuben Paterson $5000 -$8000 1150 x1280mm make thisexit somewhere inthe West thatyou you shoulddothislogicallyitispreferred dow oftimesomemaywishto follow us– - win abrief During andinscribed title inscribed found blind oilstick,acrylic, gaffer tapeandleadnailson Notes 25–6 el al. if 40 41 contemporary art 43 Shane Cotton 44 Shane Cotton 45 Mary Louise-Browne Kenesis: Kotahi Ki Kotahi The Head That Shines Down Lust Loss Lose Love Live Hive Have Hate oil on canvas oil on canvas acrylic and graphite on paper title inscribed, signed with artist’s title inscribed, signed with artist’s title inscribed initials S. W. C and dated 1999 initials S. W. C and dated 1999 535 x 1600mm 200 x 200mm 200 x 200mm $1500 - $2500 PROVENANCE: Private collection, PROVENANCE: Private collection, Melbourne, Australia Melbourne, Australia $6000 - $8000 $6000 - $8000 46 $4000 -$6000 2700 x1200600mm plywood (1998) I amOldEnoughtobemyOwnFather Glen Hayward 47 $5000 -$8000 PROVENANCE: installation size: 275x1125mm and powder (1995) ethylene vinyl acetate, tint, dye Striae Denise Kum Private collection,Private Wellington 48 $2500 -$4000 335 x485mm title inscribed, signedanddated2000verso print,digital photographic 15/25 Figure Study 42 43 contemporary art 49 Sara Hughes 50 Michael Hight Crash 6 Wainui acrylic on linen oil on canvas title inscribed, signed and dated verso title inscribed; title inscribed, 910 x 1850mm signed and dated 2003 verso PROVENANCE: Private collection, Auckland 660 x 1825mm $8000 - $14 000 $20 000 - $30 000 51 $20 000-$30 installation size: 1200x1900mmapprox each panel: 1200x100mm on eachpanelverso title inscribed, signedand dated1992 oil andencausticon12plywood panels Gather Shane Cotton 44 45 contemporary art n Forever is too big an idea for one word.

Optimism, a plea, true love, desperation..? Forever is too big an idea for one word. Nolan’s banner which cascades down the wall and across the floor turns the unfathomable idea into a veritable waterfall: never-ending, relentless and beautifully overwhelming.

In another version of the work ‘forever’ paraded monumentally along two gallery walls in floor-to- ceiling sized block letters. It has also appeared minutely, quietly: painted onto small Hessian pennants in the phrase ‘forever, a really long time, until I die.’ While the former scale suggests Nolan’s infatuation with the utopian rhetoric of revolutionary proclamations, the latter whisper comes from a more personal place: the artist’s private thoughts, doubts and hopes. I think the artist deliberately invites us to stand on this border between public and private, and to wonder, remember, and perhaps to hope.

Melbourne-based artist Nolan created Forever during her residency at Elam School of Fine Art in 2002 and it was first exhibited at the Gus Fisher Gallery the same year. Though Nolan’s practice spans more than 20 years, her career has recently been on a new rise, with invitations to exhibit in the Biennale of Sydney and the Adelaide Biennial of Australian Art in 2006.

Nolan is known for her text banners, pennants and wall paintings, made with their agit-prop modesty (from everyday materials: paint and cardboard or Hessian). They communicate in simple and evocative phrases and hark back to utopian hopes for a revolutionary new order. Like Soviet agit-prop (a contraction of ‘agitatsiia’ and ‘propaganda’) Nolan’s banner seems to cajole and persuade. However, though she quotes the styles and manners of the Russian Constructivists and Futurists of the early Twentieth Century, the message seems to be more poignant than when art was harnessed to transform the masses.

Does a utopian hope rise or fall on the letters she has stacked into the Forever Banner? I only know what to think if I ask how I love you: ‘truly, madly, deeply?’ If I love you like this and say so, I may be taken as a fool – naïve and ignorant that I am simply re-using romance novelist Barbara Cartland’s famous phrase. Or worse, I may be taken as miserly, as knowingly shipping my feelings in used crates. If I say I love you truly, madly, deeply, I must whisper these words with such tenderness – with such unselfconscious spontaneity – that their pre-worn attributes don’t clang around the room and drown me out. Nolan’s banner whispers too, so as not to appear forever foolish or artless.

ROB GARRETT 52 Magazine, Issue70, October2002 Reference: SueCrammer, ‘Rose Nolan’, Frieze 10 000x1305mm ILLUSTRATED: Little to Say, 2002 Melbourne, Reference: Nelson,Robert Art, ‘Big of Bright Letters with Museum Potter Ian Exhibited: RoseNolan: Work inProgress#3, title inscribed onhessian acrylic Forever Rose Nolan $15 000-$25 ILLUSTRATED: The Melbourne,Age, March 16 2002 ibid. ibid. 47 contemporary art 53 et al. ibid. public projects screenprint on vinyl 837 x 1195mm $3000 - $4000

54 et al. ibid. public projects screenprint on vinyl 837 x 1195mm $3000 - $4000

55 Jeena Shin Untitled acrylic on canvas 760 x 760mm $1500 - $2000

56 Sara Hughes Love Me Tender 4 acrylic on aluminium, 4 pieces title inscribed, signed and dated 2004 on artist’s original label affixed verso installation size: 1100 x 1900mm variable $4000 - $6000 57 59 58 60 $500 -$900 617 x685mm title inscribed board oil onparticle I Don’t Want Your MoneyI Want Your Love Richard Lewer $1700 -$2500 EXHIBITED: 240 x325mm title inscribed, signedanddated2002verso oil onboard A Songfor You Saskia Leek (22nd October–16thNovember 2002) KnightGallery,Darren Sydney $1200 -$1800 225 x316mm signed anddated’03 oil onpaper Untitled (Anawhata) Antonio Murado $1000 -$1600 310 x22058mm 1of3multiples inscribed title inscribed, and signedand dated1994verso mountedtoboard,found JackDanielsteeshirt 2/3, Untitled, No. 7 Michael Stevenson ‘Saskia Leek–BeMy World’, 48 49 contemporary art 61 Peter Robinson Huh acrylic and oilstick on paper title inscribed 1040 x 735mm PROVENANCE: Private collection, Auckland $12 000 - $18 000 62 $20 000-$30 380 x1042mm title inscribed, signedand dated1995 oil onboard Lunch Time inmyHeart Bill Hammond 50 51 contemporary art 63 Shane Cotton Make – Over pigmented oil on canvas title inscribed, signed and dated 2002; signed and dated 22 Nov 2002 verso 600 x 600mm $7000 - $10 000

64 Pete Wheeler Vitamin P oil and charcoal on paper mounted on canvas title inscribed, signed Citizen Painter and dated 2005; signed and dated verso 850 x 850mm EXHIBITED: ‘Vitamin P’, Whitespace, 30th July – 18th August 2005 $3500 - $5000

65 Tony de Lautour Badlands 1 silkscreen and acrylic on canvas title inscribed, signed and dated 2001 1005 x 1005mm $7000 - $9000 66 $2500 -$3500 450 x310mm ist’s blind stampappliedverso original title inscribed,- signedanddated1993verso; art cottononduck embroidery inBlackand Conversation White Ronnie vanHout 67 $2500 -$3500 500 x350mm ist’s blind stampappliedverso original title inscribed,- signedanddated1993verso; art cottononduck embroidery Thinking aboutSmoke Ronnie vanHout 68 $4000 -$6000 910 x405mm title inscribed cottononduck embroidery UhhUhhhhhhhhh Ronnie vanHout 52 53 contemporary art 69 Kathy Temin Landscape Trees synthetic fur, synthetic filling, cotton thread, wood and steel 540 x 200 x 150mm PROVENANCE: Private collection, North Island $6500 - $8500

70 Noel Ivanoff Picture Plane – Grapefruit Peel 1 acrylic on glass and panel, diptych, title inscribed, signed and dated 2003 verso 900 x 1300mm each 900 x 2600mm overall $8000 - $12 000 72 71 $10 000-$15 985 x1180mm MichaelLettlabel affixed original verso Type CPrint, editionof10 Elmer Keith Michael Parekowhai $10 000-$15 1500 x1200mm Type Cprint, editionof8, 2001 (Piko neitematenga) Messines from The ConsolationofPhilosophy: Michael Parekowhai 54 55 contemporary art

73 Biennale, 2001 Venice Appollonia, Sant’ of Cloister The polar disorder »’, New bi- Zealand Pavillion,of details 11 with « searched strip Roslyn Oxley9, Sydney, 2003 April scrutiny)’, close (under » disorder bi- polar of details 11 with « searched strip $50 000-$70 PROVENANCE: EXHIBITED: EXHIBITED: 2200 x1800mm sequin organza, and editionof2 lace couture black brocade, French paper,ribbon,black tracing laminated wire, (under closescrutiny) SEARCHED disorder>> polar bi of details 11 <

J ‘A demure portrait of the artist artist the of portrait demure ‘A ‘A demure portrait of the artist Private collection, Wellington collection, Private What is the antidote? Good manners, refined taste, cultured thinking and a demure privacy. demure a and thinking cultured taste, refined manners, Good antidote? the obvious.is painfully What most been has internationalism which nationalist in with arena struggle the schizophrenic as our Venice diagnoses Fraser Portrait, Demure the In ignorance. cultural and ambition, political bias of quagmire a into dragged being and role ‘representative’ a with anykind. Fraser,For other with as over-burdenedbeing Venicein resulted selected being artists, wings, seem to be about to take flight, or fright, from something, perhaps it of is from artlessness honour.the of Fraser’sIf demure figures, like behind spread beak-like hands their and with faces for consequence selected Venice,a as artists our by faced scrutiny public impolite the at hints it thirdly many;and too for indignity gruelling a was days 9/11 post in USA the entering that Bride The reminder (remember black a Glass),1915-23);secondly Duchamp Large (The Marcel Even Bachelors, her of by Bare Stripped direction the in nod a searched’? is should stripped ‘strip being why Firstly, she And are ribbon? that creeps’ black artist and ‘vile organza the demure sequin who this her wonder with strip-searched so to has them have ‘mediocrity’lambaste I of work order beautiful what this and of title the Reading for the inaugural and prestigious biennial Mundi Artes Prize and for the Walters Prize in Auckland. was featured at the the artist Museo de Bogota,Arte, Columbia. In 2004 was Fraser short-listed New Zealand and reconfigured for an exhibition at City Gallery, Wellington; and in the same year New to in back York. the brought saw Art installation Venice2003 Biennale Contemporary of was selected for the Yokohama Triennial in Japan and for a major installation at the New Museum to present exhibitions at the Venice Biennale within a New Zealand pavilion. Also in 2001, Fraser this key work was made and exhibited. In 2001, Fraser and Peter Robinson became the first artists shun the local limelight, it is reprising the worth distinctions that came her way during the period to prefers audiences,Zealand New to introduction artist no the needs as but Fraser Jacqueline and narrowthinking. taste poor bad manners, at aswipe French to take layered posture lusciously fine heels, and kitten brocade ‘demure coiffure, her sculptured in a artist’ of ‘gorgeous this power them the Like deploys witty!? portrait’ as twice and hell as smart life, than the as deployed larger chic are dames butthe all chic,where movies 1940s of those Remember voice. critical critique and questioning a Not critique. chic call has would Fraser I Jacqueline what out! Watch perfected lace! couture black that beneath tongue sharp a is There ROB GARRETT 56 57 contemporary art d

These humaniforms function as allegorical symbols, examining themes of ownership, postcolonialism and conservation.

Bill Hammond’s 1989 expedition to the sub-Antarctic Auckland Islands was cathartic. Hammond was struck by the isolation and harsh environment of ‘Birdland;’ ‘You feel like a time-traveller, as if you have just stumbled upon it – primeval forests, ratas like Walt Disney would make. It’s a beautiful place, but it’s also full of ghosts, shipwrecks and death.’ The artist’s subsequent Buller series, begun in 1993, conveys primordial history paintings unique to New Zealand and marks Hammond’s rise to prominence in the world.

The artist’s Buller canvases are peopled by ‘humaniforms;’ extinct birds and crossbreeds amalgamated with human figures. These humaniforms function as allegorical symbols, examining themes of ownership, postcolonialism and conservation. The elongated sentinels of Birdgrip 2004 wait silently, perhaps in anticipation of Sir Walter Lawry Buller, the Victorian ornithologist and the series’ namesake, single-handedly responsible for the extinction of several New Zealand bird species. Hammond, appalled by Buller’s Darwinist approach to ‘conservation,’ imbues his figures with a languid melancholy that speaks of paradise lost.

Rendered in oil and acrylic, Hammond sets his scene on luminous brocade. Utilising wallpaper, vinyl and fabric as canvases since the early 1990s, the materials’ decorative associations may nod to Hammond’s father’s occupation as painter and decorator. The material also links the artist’s Buller series with earlier paintings concerned with claustrophobic domestic environments. Curator observed that Hammond’s choice of materials ‘…unsettles the border between our world and the world of painting [as if] the very skin of the room has come alive with wayward scenes.’ Similarly, the solemn humaniforms that adorn these surfaces occupy a mutable space that encompasses past, present and future.

SERENA BENTLEY 74 $75 000-$95 1200 x1310mm title inscribed, signedand dated1994 andoilonbrocade fabric acrylic Bird Grip Bill Hammond 58 59 contemporary art n ... the most controversial and argued- about New Zealand art work of the late twentieth century, attracting media coverage and dividing public and art critics alike.

Peter Robinson made his reputation as the ‘bad boy’ of contemporary New Zealand art in the 1990s. Pakeha have rights too!, with its in-yer-face title and the small white swastika, placed at a jaunty angle, high and central on a matt black background, exemplifies his work from this period. Striking a double- edged blow, Pakeha have rights too! was the most controversial and argued-about New Zealand art work of the late twentieth century, attracting media coverage and dividing public and art critics alike.

This painting is one of a series of works first produced in 1996 at the tail end of Robinson’s critical engagement with identity politics, particularly his own status as a ‘Maori artist’. In response to his own meteoric rise to fame as a member of the ‘Young Guns’, Robinson famously advertised the thinness of Maori blood running in his veins – coming in at just 3.125%. Race is also the focus of Pakeha have rights too! demonstrating an almost knee- jerk reaction to the exclusionary politics of Winston Peters. Robinson has reduced his palette to pitch-black and stark-white, binary opposites, mimicking the rapidly executed sloganeering poster or billboard. By doing so, he critiqued the shallowness of both political campaigning and of public debate on social and cultural issues.

The use of text combined with a potent symbol links this work to that of Barbara Kruger, who similarly juxtaposed word and image, to call into question received wisdoms and disrupt the viewer’s expectations. With its pared-back form, Pakeha have rights too! also begins Robinson’s journey into the void, the realm of nothingness, of binary code and metaphysical musings. Through this, Robinson moved beyond the local and placed himself in an art-historical lineage that could be traced to the likes of the suprematist, Kazimir Malevich, who sought to represent the infinite, and beyond.

Jenny Harper concluded that Pakeha have rights too! ‘raised questions about how, as a community with all its differences, we understand and debate artistic freedom and cultural rights – and how judgements associated with such values can serve to circumscribe notions of individual freedom’.* This, the ability to stimulate and provoke discussion across artistic and political boundaries is the power of Pakeha have rights too!, and ensures that it continues to serve as a compelling reminder of the necessary role played in society by the artist as agent-provocateur.

REBECCA RICE

*Jenny Harper, ‘Peter Robinson, Pakeha have rights too’, in Three Colours: Gordon Bennett and Peter Robinson, Melbourne: Heide Museum of Art, 2004, p.40. 75 2000 x1800mm et al., Pakeha Now! (Nelson, 2007), p. 26. $30 000-$40 ILLUSTRATED: EXHIBITED: title inscribed, signedand dated 1997 oil onlinen Pakeha HaveRights Too! Peter Robinson o Whakatu, 22June–29July 2007. Pakeha Now!, The Suter Te Aratoi JulieCatchpole, DamianSkinner 60 61 contemporary art 76 John Reynolds 77 Susan Norrie 78 Richard Thompson Maxim The Musicians Untitled (Red Falls) oil and oilstick on canvas and found screenprint, gouache painted steel diptych, inscribed It says nothing against the title inscribed, signed and dated 2004 verso 440 x 440 x 230mm ripeness of the spirit that it has a few worms 155 x 174mm $2000 - $3000 355 x 560mm overall $2500 - $3500 $2500 - $3500 79 80 $4500 -$6500 320 x950mmoverall onboard, acrylic 2002(triptych) Winter Saskia Leek $7000 -$10000 830 x600mm dated 2004verso canvas, titleinscribed, signedand on andacrylic oil paintmarker II) Something (Mark John Reynolds

81 $14 000-$18 1015 x1215mm signed anddated2001 oil oncanvas No Generation withoutCorruption Pick Seraphine 62 63 contemporary art 82 Gavin Hurley Offspring acrylic on canvas title inscribed, signed with artist’s initials G.J.H dated 2005 455 x 355mm $3000 - $5000

83 Judy Millar Untitled acrylic on aluminium signed and dated 2002 verso 900 x 805mm $5500 - $7500

84 Seraphine Pick Untitled – Fragmentary Figure Study oil on canvas signed and dated 1990 1065 x 760mm $7000 - $10 000 88 85 $800 -$1200 PROVENANCE: 600 x415mm soil andwateronpaper Untitled fromMyEmpireofDirt Richard Orjis $600 -$900 206 x295mm andsigned verso title inscribed ink andpastelonpaper Halleys Cometover Allen inNapier Julian Dashper Private collection,Private Auckland

89 86 owner from in2002 Anna Bibby Gallery $700 -$900 106 x207mm title inscribed, signedand dated 2000verso oil onboard Von Trap Matt Couper $1000 -$1500 PROVENANCE: 185 x140mm title inscribed, signedanddated1999verso oil onboard Untitled Heather Straka Purchased by the current Purchased by thecurrent 87 90 135 x200mm of JimFraser $400 -$600 PROVENANCE: title inscribed, signedanddated2005verso ink andwash Prince Sam Mitchell $300 -$600 315 x315mmeach from 13throughto16 set offour 12” records, eacheditioned 0_Synathesia Marco Fusinato Previously inthecollection 64 65 contemporary art

O 65 objects 91 Martin Poppelwell Tree Trunk shards 33 painted, glazed terra cotta shards and cut out letters $800 - $1200

92 Martin Poppelwell Untitled Tiles (I, II, III) Painted, glazed terra cotta Largest 130 x 160mm $300 - $500

93 Martin Popplewell Exploits of the Ante-Christ Series Bowl Glazed hand painted terracotta Printed artist’s cipher D.270mm. $200 - $300 96 95 94 lection lection lection $500 -$800 PROVENANCE: W.600mm, H.340mm Biscuit porcelain Stemmed Pacific Vessel –Blue Peter Collis $500 -$800 PROVENANCE: W.730mm Biscuit porcelain Pacific Vessel – Yellow Peter Collis $1500 -$2000 PROVENANCE: H.760mm Incised signatureanddated1991 cotta Fired terra Whakapakoko IVNgaKaitiaki, 3 Series Manos Nathan Pricewaterhouse Coopers Col- Coopers Pricewaterhouse Pricewaterhouse Coopers Col- Coopers Pricewaterhouse Col- Coopers Pricewaterhouse 66 67 objects 97 Elizabeth McClure Small glass vessel #6 Wheel cut chevroned walls and matt mouth Signed,entitled, dated 7.99 H.75mm $850 - $1200

98 Elizabeth McClure Small glass vessel #77 ‘Resolve’ Riven walls and polished mouth Signed,entitled, dated 02/10/01 H.70mm $750 - $900

99 Ann Robinson Blown black glass bowl Engraved signature, Sunbeam Glass, NZ. D.230mm $2000 - $3000

100 Elizabeth McClure Tall glass vessel Battuto (XL) Sandblasted, engraved and carved black overlaying green Signed and dated 11/97 $2500 - $3500 102 101 $3500 -$5000 L.560mm, H.215mm Engraved signature, NZ, anddated ‘02 Cast andpolishedglass Hunter David Murray $12 000-$15 H.425mm 1/1 Signed anddated’95inscribed Unique, castglass Thick walled spiral glassvase Ann Robinson 68 69 objects 103 Gary Nash Landscape State Series Purple-black glass with sgrafitto overlaid white panel Signed and dated 1998 H.500mm PROVENANCE: Pricewaterhouse Coopers Collection $1200 - $1800

104 Gary Nash Ovoid vase Hand blown blue glass with silver lustre mouth Engraved signature and dated 1994 H.370mm PROVENANCE: Pricewaterhouse Coopers Collection $1000 - $1500

105 Galia Amsel Untitled glass sculpture Frosted clear and opaque white glass H.700mm, W.160mm $3000 - $4000 106 $600 -$800 H.150mm designs floral withbrushwork Earthenware Slab sidedbottlevase withsquaremouth Kanjiro Kawai 107 $1400 -$1800 D.135mm H.90mm witholive glaze Earthenware Thrown teabowl Shoji Hamada 108 $3000 -$4000 H.150mm motifs withbranch glaze decorated withpouredtenmokuandash Earthenware Ovoid vase withlughandles Shoji Hamada 109 $1200 -$1600 H.95mm and impressedchevronpattern witholive glaze Earthenware Tea Pot Shoji Hamada 70 71 objects 110 111 Lucie Rie 112 Lucie Rie 113 Lucie Rie 114 Lucie Rie and Hans Coper Pair of cylindrical beakers Porcelain coffee pot Porcelain pouring vessel Thrown bowl with distorted wall Thrown bowl with distorted walls Porcelain with manganese exterior Baluster shape with pulled handle Baluster shape with pulled handle Porcelain with mushroom exterior Porcelain with dark brown interior and mushroom glazed interior Impressed with artist’s cipher Impressed with artist’s cipher and manganese interior glaze and exterior glazes Marked with intaglio seal H.200mm H.155mm Impressed seal mark, c.1967 Impressed with seal marks H.115mm $2000 - $3000 $1000 - $1250 D.150mm Restored $900 - $1200 $2700 - $3200 D.145mm $800 - $1200 $800 -$1200 D.145mm Restored Impressed withsealmarks glazes and exterior Porcelain brown interior withdark wallsThrown bowl withdistorted Lucie RieandHansCoper 115 Collection $300 –$400 PROVENANCE: Rim chip porcelain Lava glazed shallow bowl Pricewaterhouse Coopers Coopers Pricewaterhouse 116 $350 -$500 D.230mm bronze glazeBurnished bowl onsmallfoot Hemispherical John Parker 117 $400 -$450 H.167mm initials Impressed withartist’s bronze glazeBurnished Scalloped walled beaker vase John Parker 118 Three porcelainbeaker vessels Emily Siddell $400 -$600 punctured Variously glazed, piercedand 72 73 objects 119 David E Thomas Waiata Kete, 2005 16mm archival New Zealand film, gel, artbox 450 x 320 x 120mm(kete) $2000 - $3000

121 Big Silver Necklace, 1982 Fine silver, plaited horsehair Marked with jeweller’s initials on toggle W.230mm $2500 - $3500

Big Silver Necklace by Warwick Freeman is part of a series called Big Silver, which was exhibited in Phy- sique at Fingers jewellery gallery and the Dowse Art 120 Chris Charteris Museum in 1982. While less well known than the Paua Chevron pendent Dreams and Bone exhibitions (both 1981), Physique Whalebone and woven muka cord, is an important show, a marker of the sophisticated presentation cased adornment that contemporary jewellers like Freeman H.150mm, W.110mm (and other members of the Fingers co-operative) $2500 - $3500 were making in the early 1980s.

Physique did not achieve the same profile as these other exhibitions because it was not materially specif- ic. As Freeman’s necklace demonstrates in the choice of silver and horse hair, this show was not full of päua or bone, natural materials that would become impor- tant signifiers of place and identity in the trinity of ma- terials celebrated by the Bone Stone Shell exhibition of 1988. In Big Silver Necklace Freeman is working with silver, that most traditional jewellery material, and his references are eclectic – pre-Columbian metalwork rubs shoulders with Pacific adornment and a kind of theatrical sense of jewellery as costume and display which owed a great deal to international develop- ments in contemporary jewellery practice. D the decade. of rest the for work his power would that concerns of range a investigating maker a jewellery,by contemporary encountering are they that doubt no in left is viewer that, whatever of adornment, references forms are made to historical the wearer and holes which decorate the flat expanse of silver. This visualof and conceptualnetwork carerhythmic ensures the breastplate,or the of edge outer irregular the and rim per up- curved the between power),relationship animal the and to vigor of associations its with hair silver, of shine horse (the privilege,evocationsand and wealth of marker subtlety and attention to detail. This is a considered piece, from the materials and their Yet for all its boldness, such as thenextfew years. Alan Prestonduring thatmakers occupy and would Freeman the plate, adornment of Pacific prefiguring a decade. same the during workplace the in women’sdefine roles would that powersuits and pads shoulder the to equivalent 1980s early toggle,an a is and caps silver with fastened is which horsehair plaited on with power adornment and ambition.but rather The wedge of reflective silver,jewellery,polite strung it.not is wears This who person the of body the on stamp its puts identity.or rank assigning in role major a played jewellery where the than other West,cultures from adornment cultures of practices to connecting in ‘a primitive iconic statement’, as Hemmings Rosemary put it in 1982, the same interest in shell. experiments with his contemporary as There is the same interest in jewellery In hindsight it is obvious how much Freeman’s such as work amian Skinner Big Silver Necklace is a good example of Freeman’s characteristic is really a kind of breast- of kind a really is Necklace Silver Big Big Silver Necklace shares Big Silver Necklace Silver Big decade for therestof thatwould power hiswork of concerns jewellery,contemporary by amaker investigating arange and viewer isleftinnodoubt thattheyareencountering This visualandconceptualcareensuresthatthe wearer 75 objects 122 Christina Hurihia Wirihana Untitled Woven muka wall hanging 1600 x 500mm $800 - $1200

123 Richard Killeen Fish and Sticks, 1978 Porcelain platter (Temuka Potteries) 420 x 290mm $300 - $400 124 Collection $2500 -$3500 PROVENANCE: H.120mm Incised signature, NZ, marked anddated1940 pale greenglaze motifsand withincisedkoru Pottery figural vase supports withMaori Cylindrical Olive Jones Gary Langsford NZ Pottery Langsford NZPottery Gary

O James P New Zealandmotifs. identity in the of early part her career. It is a successful amalgam of modernist form with distinctly It would seem that this vase is representative of Olive Jone’s exploration of personal and national therefore may work history.reflect theheightenedsenseofnationalidentityprevalentattime. This Zealand New in event important this studio to a response as date potters this carry that pieces unique other and vase this produced Jones Olive that event.possible is historic It this commemorate to pieces porcelain and pottery produced mass Zealand New the of year the 1940, Centennial in Exhibition.made was vase This exhibition this attracted some that 2.6 million note visitors and to a numberinterest of of factories also is It inNewZealand. industry as theysoughttoestablish aviable studiopottery the base. inthe1930’s working and1940’s topotters wasofincreasingimportance This market marking distinct ‘NZ’the by evidenced market,is to as tourist the for Jones by made was piece wouldtype likelythis is of it pieces Although have this that market local the to interest of been motifs.use ofMaori bold the and form modernist both combines that work Jones of example early an is it that is more restrained way and on more typical forms. a in What is applied so interesting motifs about this these piece see however usually we period Gardener.this Briar In of work the in seen be also can it as Jones Olive to unique not was pottery studio to applied motifs Maori of use The of placethatthispiececonveys. Additionally, spirals. the use of a pale koru green glaze, incised the colour of pounamu, bold adds to the overall statement of band a frame boards.figures amo The Maori carved referencing relief in moulded supports figural of addition the with it transformed and form vase cylindrical This vase however is an altogether more adventurous and unusual piece. She has taken a typical anddecoration. forms by conservative at thetime, tendedtobecharacterised herwork potter after studying abroad in England. Like other New being Zealand produced studio pottery pioneering studio potters. Jones returned to New Zealand in 1934 to Zealand’s establish New of a one career was Gardener,as Jones Briar Olivea and studio Lissaman TogetherElizabeth with arkinson 76 77 objects 125 Olive Jones 126 Olive Jones 127 Olive Jones Bullet shaped vase on four feet Ovoid vase with flaring mouth Spherical vase Pottery with incised koru design Pottery with experimental red-green glazes Pottery with copper lustre glaze Signed Signed, dated ‘47 Signed H.110mm H.150mm H.110mm PROVENANCE: Gary Langsford NZ Pottery PROVENANCE: Gary Langsford NZ Pottery PROVENANCE: Gary Langsford NZ Pottery Collection Collection Collection $1500 - $1800 $400 - $600 $300 - $500

128 Olive Jones 129 Olive Jones 130 Briar Gardiner Small Koruru mask dish Small twin fish dish Spill vase Pottery with pale green glaze Moulded pottery with clear overglaze Pottery, mottled green glaze, incised koru motif Incised signature, marked NZ and dated 1940 Incised signature H.125 D.90 D.100mm $200 - $300 PROVENANCE: Gary Langsford NZ Pottery PROVENANCE: Gary Langsford NZ Pottery Collection Collection $600 - $800 $400 - $600 131 132 $2500 -$3500 H.140mm Numbered 1019 Pair ofbookends modelledasmokomokai Crown Lynn Wharetana Ware $3000 -$4000 H.140mm restoration Small rim Conical vase onthreemaskfeet Crown Lynn Wharetana Ware

78 79 objects 133 Frank Carpay for Crown Lynn 134 Frank Carpay for Crown Lynn 135 Daniel Steenstra for Crown Lynn Bottle shaped vase with black panels Ovoid vase Hand crafted shoulder vase Tiki backstamp, handwork cipher, numbered Festoon and starburst pattern Pin stripe banded with inky blue daubed H.18-4 Factory backstamp, painted Handwerk scattered circles Small hairline inside rim and numbered H.6-5 Printed factory marks H.250mm H.230mm H.247mm PROVENANCE: Gary Langsford NZ Pottery $3500 - $4000 $1000 - $1500 Collection $1500 - $2000 136 $500 -$800 H.165mm marks factory Printed scattered circles bandedwith shadow reserved Pin stripe Hand crafted shouldervase for CrownDaniel Steenstra Lynn 137 $700 -$1000 H.220mm backstamp Factory ground withscattered tabsonbanded Decorated Hand crafted shouldervase for CrownDaniel Steenstra Lynn 138 Collection $800 -$1100 PROVENANCE: H.235mm backstamp Factory patchwork blown withstraw modernist Decorated Hand crafted ovoid vase for CrownDaniel Steenstra Lynn Gary Langsford NZ Pottery Langsford NZPottery Gary 139 $500 -$800 H.160mm marks factory Printed and strings banding Coffee andblack vertical Hand crafted malletshapedvase for CrownDaniel Steenstra Lynn 80 81 objects Crown Lynn 141 Crown Lynn 142 Ernest Shufflebottom for Crown Lynn 143 Tim Currey 140 Hand thrown and decorated vase Hand crafted squat baluster vase Hand potted squat spherical vase, ‘Monolithic’ vase Swollen cylindrical with modernist veined Sea green glaze, raised slip dot patterned shape 9 Terracotta with overglaze enamels leaf pattern Printed factory marks Factory backstamp Impressed with artist’s cipher Painted factory mark H.145mm H.180mm H.420mm H.240mm PROVENANCE: Pricewaterhouse $300 - $400 $350 - $500 $2000 - $2500 Coopers Collection $500 - $800 144 Coopers Collection Coopers $400 -$500 PROVENANCE: H.750mm Repaired Glazed terracotta Nikau II Heart Raewyn Atkinson Pricewaterhouse Pricewaterhouse 145 Coopers Collection Coopers $1200 -$1600 PROVENANCE: H.1740mm One repaired, notillustrated Glazed terracotta Two Nikau tallHeart Totems Raewyn Atkinson Pricewaterhouse Pricewaterhouse 146 Coopers Collection Coopers $400 -$600 PROVENANCE: H.580mm Signed Biscuit porcelain Angular Form Paul Laird Pricewaterhouse Pricewaterhouse 147 Coopers Collection Coopers $100 -$200 PROVENANCE: H.320mm Initialled anddated1999oninsetlead tablet Repaired Untitled Porcelain Vessel (MH1) Boswijk Christine Pricewaterhouse Pricewaterhouse 82 83 objects 148 Len Castle 149 Len Castle 150 Graeme Storm Branch pot Avian bowl Bellarmine with mask and three rondels Earthenware with talc and tenmoku glazes Earthenware with umber pigment, ash glazed Salt glazed stoneware, fired at Crum brickworks Impressed with artist’s seal, circa 1970s well kiln, c.1962 H.340mm Impressed artist’s cipher Marked with artist’s cipher $2500 - $3500 D.370mm H.310mm $1600 - $2000 $750 - $1000 151 Coopers Collection Coopers $400 -$600 PROVENANCE: H.440mm Hand paintedpottery Totem Anneke Borren Pricewaterhouse Pricewaterhouse 152 Coopers Collection Coopers $500 -750 PROVENANCE: D.360mm cipher withartist’s Marked Glazed handpaintedporcelain Plate Anneke Borren Pricewaterhouse Pricewaterhouse 153 $500- $800 D.360mm Signed andentitled Terracotta plate, handpaintedandglazed Head With Two Faces Grimsdale Murray 154 Coopers Collection Coopers $650 -$950 PROVENANCE: W.360mm well surface andhemispherical Sliced sphereswith ‘oversized’ glazed crackle Bowl No1 Rick Rudd Pricewaterhouse Pricewaterhouse 84 85 objects 155 Roy Cowan 156 Roy Cowan 157 Paul Laird 158 Royce McGlashen 159 Gaylene Morley Wellington Suburbs Large ovoid floor vase Blue Horse Stiletto Lagoon Series bowl form Stoneware platter High fired thrown and built Biscuit porcelain Painted porcelain tea pot Glazed porcelain Incised artist’s initials and paper label H.770mm Impressed artist’s cipher Signed Impressed artist’s cipher D.500mm not illustrated H.440mm H.270mm D.550mm PROVENANCE: Pricewaterhouse $1900 - $2200 PROVENANCE: Pricewaterhouse $200 -$300 $200 - $400 Coopers Collection Coopers Collection $900 - $1200 $400 - $600 $200 -$400 D.550mm cipher Impressed artist’s Glazed porcelain bowl form Lagoon Series Gaylene Morley 160 lection Pacific Blue Gartside Brian $400 -$600 PROVENANCE: D.330mm Porcelain orbwithoverglaze colours Pricewaterhouse Coopers Col- Coopers Pricewaterhouse 161 lection $500 –800 PROVENANCE: D.430mm Terracotta withoverglaze enamels floorpot Large Steve Fullmer Pricewaterhouse Coopers Col- Coopers Pricewaterhouse 162 $800 -$1200 H.250mm cipher Impressed artist’s Stoneware vase Squat spherical Doreen Blumhardt 86 87 objects 163 Terry Stringer 164 Paul Mason Egyptian Souvenir Patinated bronze crucible Bronze, oil and marble with lamp fitting Signed with initial and dated ‘97 Signed and dated ‘81 D.310mm 230 x 220 x 200mm $3000 - 3500 $4000 - $6000 165 $1800 -$2200 D.500mm vase Raku firedspherical Fungoid form Ray Rodgers 166 $150 -$250 H.120mm Incised signature Raku firedpottery Fungoid form Ray Rogers 88 89 objects 167 Geoff Fairburn 170 Richard Parker Painted and carved gourd Hand built baluster vase PROVENANCE: Howard Williams Collection Terracotta with red and green splashed glaze Traded with the artist, c. 1973 H.340mm $400 - 500 PROVENANCE: Pricewaterhouse Coopers Collection $600 - $900

168 Geoff Fairburn 171 Richard Parker Painted and carved hanging gourd Exhibited New Vision Gallery, c.1970 Hand built baluster vase Terracotta with red and green splashed glaze PROVENANCE: Howard Williams Collection PROVENANCE: Ex Warren Tippet Collection $400 - 500 H.430mm $1500 - $2000

169 Geoff Fairburn 172 Richard Parker Painted and carved gourd with stand Shallow bowl PROVENANCE: Howard Williams Collection With slip trailed cruciform pattern $400 - 500 D.270mm $250 - $350 175 174 173 $100 -$150 D.170mm Blue glazed porcelainplate Len Castle $350 -$500 H.610mm cipher withartist’s Marked Stoneware Tall vase Storm Graeme $1500 -$2000 H.420mm earthenware Moulded andhandformed, umberpigmented discoidvaseLarge Len Castle 178 177 176 $150 -$250 D.160mm cipher Impressed artist’s Salt glazed stoneware stemmed vessel Short Smisek Mirik $600 -$800 H.340mm, notillustrated Signed, dated1998 red enamel Porcelain, godand black groundwithgestural Two vases spherical Peter Collis $400 -$600 H.350mm Signed Turquoise orbvase Peter Collis 90 91 objects 179 Mirek Smisek 188 John Parker 197 Len Castle Stoneware chess set with board Lathe turned bottle vase Stoneware water jug. $600 - $800 Glazed porcelain Impressed artist’s cipher H.280mm H.230mm 180 Chester Nealie $250 - $400 $50 – 100 Poison bottle 189 John Parker 198 Byron Temple Anagama fired pottery, with cork stopper Porcelain cup and saucer H.130mm Totem $60 - $100 $150 - $250 agate ware porcelain sphere raised on falaring cylindrical column 181 Len Castle H.230mm 199 Ola and Marie Hoglund Three hand blown vases $550 - $650 Two small crater bowls Orange glass with scattered murrines Impressed artist’s cipher $400 - $500 Largest D.150mm 190 Margaret Milne $300 - $400 Wheel thrown bowl with agate inlay 200 Greg Hall D.150mm 182 Len Castle Black Waka $240 - $300 Tea Pot Cast, frosted and polished glass Stone ware with combed decoration W.720mm 191 Margaret Milne Impressed artist’s cipher PROVENANCE: Pricewaterhouse Coopers H.140mm Porcelain agate ware spherical vase Collection ILLUSTRATED: 24 Potters $500 -$600 $400 - $450 Brushpoint artist’s mark D.120mm 201 John Croucher 183 Len Castle $200 - $300 Thick walled glass vase Small bowl with birds 192 Paul Hartigan H.160mm Earthenware with slip trailed decoration Temuka Railways Cup with Hartigan Tattoo $180 -240 D.100mm decals $100 - $200 $80 - $120 202 Barry Brickell Tenmoku glazed cylindrical crock 193 Paul Hartigan 184 Patricia Perrin H.230mm Tattoo Series bowl, cup and saucer Small bowl $200 -$300 Along with small Olive Jones dish $80 - $120 $40 -$80 194 Paul Hartigan 203 Barry Brickel 185 Len Castle Four Erotica Series cups and saucers Oval stoneware dish L.200mm Small chino glazed footed bowl $200 - $300 Impressed artist’s cipher $250 - $350 D.130mm 195 Jim Greig Warren Tippett $100 - $200 204 Bird shaped pouring vessel Tenmoku and jun glazed oval platter 186 Len Castle Earthenware, random combed surface with talc Fired at Yvonne Rust’s kiln glaze Small ishihaze chino glazed bowl L.200mm Incised artist’s initials Impressed artist’s cipher $250 - $350 W.230mm D.160mm Along with an Jim Greig style vase $200 - $300 205 Steven Scholfield $550 - $650 Rocket Pottery stoneware dish 187 John Parker Impressed with Theo Schoon stamped pattern 196 Mirek Smisek D.330mm Lathe turned bottle vase Ovoid vase $250 -$350 Matt porcelain Earthenware with floral rondels to the walls H.220mm $100 -$200 $200 - $300 206 Merrilyn Wiseman Large porcelain platter L.500mm $350 - $500 210 215 209 207 208 213 214 212 211 $100 -$200 W.310mm crack Firing Alkaline blue glazed well. Sea Secrets Len Castle $150 -$200 L.270mm initials Signed withartist’s Stoneware Oblong dishpaintedwithacockerel Juliet Peter $100 -$200 H.360mm stoneware walled vase thrown andturned Large Ian Smaill $200 -$300 L.480mm celadon glazed porcelainplatter Large Merrilyn Wiseman $200 -$400 H.580mm Restored cipher withartist’s Marked stonewareLarge floor vase Greg Barron $150 -$250 D.280mm initials Signed withartist’s Sgraffito ceramic wall clock Howard Williams $100 -$200 H.210mm Incised cipheranddate ‘86 Kamaka Potteries, anagamafiredbottle vase Estelle Martin Slab builtstoneware vase Potter Unknown $300 -$400 D.400mm stonewareLarge platter Gartside Brian $150 -$200 H.300mm 218 216 220 224 217 223 221 226 222 219 225 D.120mm Porcelain, enamels Blackgroundandbright Small bowl Peter Lange $200 -$300 D.250mm Signed anddated ‘84 Shallow stoneware bowl Warren Tippett $40 -$80 $400 -$500 Etched signature Salt glazed porcelain Three gumbootforms Peter Lange $80 –$120 Set ofsixstoneware spicejars Len Castle $200 -$300 D.200mm Signed withinitialsanddated ‘82 Porcelain bowl Warren Tippett $100 -$200 Stoneware Set ofseven spicejars Len Castle $200 -$300 Each withpot, jugandsugarbowl and Coffee service Tea service Mirek Smisek $100 -$200 vase pottery Together withLeoKingpotandanother combedwalled vase Pottery Janet Wright $100 -$200 Together withasaltpig Stoneware water jug Mirek Smisek $200 -$300 Porcelain ’Auckland’ bowl andjug Peter Lange $100 -$200 Along withtwo bowls Three stoneware mugs Perrin Patricia 228 229 227 235 233 232 234 236 230 231 $80 -$120 Together vases withtwo otherpottery Hanmer Pottery Vase $200 -300 D.375mm Salt glazed stoneware Lidded crock Coromandel Potter Unknown $80 -$120 vessel pouring Two vases anda pottery Temuka pottery Potter Unknown $150 -$250 H.500mm Purchased Nelson1981 Salt glazed bottlevase Potter Unknown $40 -$80 trowel scupture Together with Temuka jug, porcelainvaseand Porcelain Pouring Vessel $50 -$80 Two porcelainyellow glazed vessels Ross Mitchell-Anyon $100 -$200 D.130mm cipher Impressed artist’s Porcelain flowerhead bowl David Brokenshire $150 -$250 Tallest 140mm cotta,Glazed terra withleapingfish decorated Pair ofovoid vases Warren Tippett $100 -$200 H.360mm Salt glazed floor vase Potter Unknown $100 -$150 H.130mm mark Impressed monogram Tapering porcelainjug Ross Mitchell-Anyon

92 93 objects ART+OBJECT Conditions of Sale 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 9 cOLLection of goods: Purchased items are to be removed from to complete a bidding card or absentee bidding form prior to the auction giving your ART+OBJECT premises immediately after payment or clearance of cheques. Absentee correct name, address and telephone contact + supplementary information such as email bidders must make provision for the uplifting of purchased items (see instructions on the addresses that you may wish to supply to ART+OBJECT facing page)

2 Bidding: The highest bidder will be the purchaser subject to the auctioneer 10 Bidders obligations: The act of bidding means all bidders acknowledge accepting the winning bid and any vendor’s reserve having been reached. The auctioneer that they are personally responsible for payment if they are the successful bidder. This has the right to refuse any bid. If this takes place or in the event of a dispute the auctioneer includes all registered absentee or telephone bidders. Bidders acting as an agent for may call for bids at the previous lowest bid and proceed from this point. Bids advance a third party must obtain written authority from ART+OBJECT and provide written at sums decreed by the auctioneer unless signaled otherwise by the auctioneer. No bids instructions from any represented party and their express commitment to pay all funds may be retracted. The auctioneer retains the right to bid on behalf of the vendor up to the relating to a successful bid by their nominated agent. reserve figure. 11 Bids under reserve & highest subject bids: When the highest bid 3 Reserve: Lots are offered and sold subject to the vendor’s reserve price being is below the vendor’s reserve this work may be announced by the auctioneer as sold ‘ met. 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 4 Lots offered and sold as described and viewed: ART+OBJECT accepts this price. If this highest bid is accepted then the purchaser has entered a contract makes all attempts to accurately describe and catalogue lots offered for sale. to purchase the item at the bid price plus any relevant buyers premium. 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 important advice for buyers inspected the item thoroughly and proceed on their own judgment. The act of bidding Th e f o l l o w i n g i n f o r m a t i o n d o e s n o t f o r m p a r t o f t h e c o n d i t i o n s o f s a l e , h o w e v e r b u y e r s , is agreed by the buyer to be an indication that they are satisfied on all counts regarding p a r t i c u l a r l y f i r s t t i m e b i d d e r s a r e recommended t o r e a d t h e s e n o t e s . condition and authenticity. (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 5 Buyers premium: The purchaser by bidding acknowledges their acceptance of bidders the auctioneer may not be able to see all bids at all times. It is recommended that a buyers premium of 12.5% + Gst on the premium to be added to the hammer price in you raise your bidding number clearly and without hesitation. If your bid is made in error the event of a successful sale at auction. 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 and the 6 aRT+OBJECT is an agent for a vendor: A+O has the right to conduct hammer has fallen and you are the highest bidder you have entered a binding contract the sale of an item on behalf of a vendor. This may include withdrawing an item from sale to purchase an item at the bid price. New bidders in particular are advised to make for any reason. themselves known to the sale auctioneer who will assist you with any questions about the conduct of the auction. 7 Payment: Successful bidders are required to make full payment immediately (B) aBsentee bidding: ART+OBJECT welcomes absentee bids once the post sale – being either the day of the sale or the following day. If for any reason payment necessary authority has been completed and lodged with ART+OBJECT. A+O will do is delayed then a 20% deposit is required immediately and the balance to 100% required all it can to ensure bids are lodged on your behalf but accepts no liability for failure to within 3 working days of the sale date. Payment can be made by Eftpos, bank cheque or carry out these bids. See the Absentee bidding form in this catalogue for information on cash. Cheques must be cleared before items are available for collection. Credit cards are lodging absentee bids. These are accepted up to 2 hours prior to the published auction not accepted. commencement. (C) Telephone bids: The same conditions apply to telephone bids. It is highly 8 failure to make payment: If a purchaser fails to make payment as outlined preferable to bid over a landline as the vagaries of cellphone connections may result in in point 7 above ART+OBJECT may without any advice to the purchaser exercise its disappointment. You will be telephoned prior to your indicated lot arising in the catalogue right to: a) rescind or stop the sale, b) re offer the lot for sale to an underbidder or at order. If the phone is engaged or connection impossible the sale will proceed without auction. ART+OBJECT reserves the right to pursue the purchaser for any difference in your bidding. At times during an auction the bidding can be frenetic so you need to be sale proceeds if this course of action is chosen, c) to pursue legal remedy for breach of sure you give clear instructions to the person executing your bids. The auctioneer will contract. endeavour to cater to the requirements of phone bidders but cannot wait for a phone bid so your prompt participation is requested. Please indicate as appropriate by tickingthebox:Please indicateasappropriate PHONEBID processing. auction datetoensurepromptdelivery and dispatch of goods I agree to pay byany costs incurred ART+OBJECT. Note: to the are made ART+OBJECTprior requests that these arrangements goods can be uplifted or dispatched. for collection or dispatch of I mywill arrange purchases. If forART+OBJECT bypacking me to is arrange instructed payadvice.to this of immediatelyreceipt on Payment bybe will cash, transfer.bank or cheque beforecleared be to need will cheques that understand I AR 3. Post to ART+OBJECT, POBox 68-345Newton, Auckland 1145, New Zealand 2. Emailaprinted, to: signedand scannedform [email protected] 1. to Faxthiscompletedform ART+OBJECT +6493544645 To registerfor mustAbsentee biddingthisform be lodgedwith ART+OBJECT tothepublished saletimeinoneofthreeways: prior Signed asagreed: FAX: BUSINESS PHONE: STREET ADDRESS: POSTAL ADDRESS: P inthecatalogue.and agreetocomply withtheconditionsofsaleasprinted listed the and form this on premium. haveI buyers that the also on GST and listed (12.5%) understood forsale and premium this read buyers warrant I prices the below or at lots or lot the purchase will I successful if that understand I following indicatedbelow. lotsuptoprices These bidsaretobeexecuted atthelowest levels possible. price This completed and signed authorizes form ART+OBJECT to bid on my behalf at the above mentioned auction for the Bidding Absentee BiddingInstr MR/MRS/MS: ayment and T+OBJECT 3 Abbey Street, Newton, Auckland, NewZealand. Telephone +6493544646, Freephone0800806001

Lot no. N o.

auctionNo16 Deliver

y 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 Contemporar Description

y MOBILE: SURNAME: EMAIL: Ar uctions t and Objects 3 April 2008

ABSENTEE BID

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THE 21 AUCTION HOUSE t s CENTURY 94

95

information objects index of artists

ARTIST Lot Number ARTIST Lot Number ARTIST Lot Number

Galia AMSEL 105 Gail HAFFERN 20 Richard PARKER 170, 171, 172 Billy APPLE 25 Greg HALL 200 Reuben PATERSON 41 Raewyn ATKINSON 144, 145 Shoji HAMADA 107, 108, 109 Patricia PERRIN 184, 225 Bill HAMMOND 62, 74 Peter PERYER 48 Barry BALL 29 Paul HARTIGAN 192, 193, 194 Juliet PETER 215 George BALOGHY 13 Glen HAYWARD 46 Seraphine PICK 6, 81, 84 Stephen BAMBURY 10 Michael HIGHT 50 Martin POPPELWELL 91,92,93 Greg BARRON 208 Ola and Marie HOGLUND 199 John PULE 40 Doreen BLUMHARDT 162 Ralph HOTERE 19 Anneke BORREN 151, 152 Sara HUGHES 49, 56 Elizabeth REES 14 Christine BOSWIJK 147 Gavin HURLEY 82 John REYNOLDS 32, 33, 34, Barry BRICKELL 202, 203 35, 76, 80 Noel IVANOFF 70 David BROKENSHIRE 234 Lucie RIE 112, 113, Nigel BROWN 21 Lucie RIE & Hans COPER 114 Olive JONES 124, 125, 126, 127, Mary-Louise BROWNE 45 Ann ROBINSON 99, 101 128, 129 Peter ROBINSON 15, 61, 75 Susan JOWSEY 24 Frank CARPAY 133, 134 Ray ROGERS 165, 166 Len CASTLE 148, 149, 173, 175, Rick RUDD 154 Kanjiro KAWAI 106 181, 182, 183, 185, Richard KILLEEN 11, 123 186, 197, 210, 223, Nike SAVVAS 8 Virginia KING 3 224 Susan SCHREIBER 9 Denise KUM 47 Chris CHARTERIS 120 Steven SCHOLEFIELD 205 Peter COLLIS 95, 96, 176, 177 Jeena SHIN 55 Paul LAIRD 157 Shane COTTON 17, 43, 44, 51, 63 Ernest SHUFFLEBOTTOM 142 Peter LANGE 218, 219, 220 Matt COUPER 89 Emily SIDDELL 118 Richard LEWER 27, 57, Roy COWAN 155, 156 Ian SMAIL 209 Saskia LEEK 59, 79 John CROUCHER 201 Mirek SMISEK 178, 179, 196, 222 Tim CURREY 143 Daniel STEENSTRA 135, 136, 137, Estelle MARTIN 214 Gary CURRIN 26 138, 139 Philip MAXWELL 22 Michael STEVENSON 60 Elizabeth MCCLURE 97, 98, 100 Julian DASHPER 88 Peter STICHBURY 16 Royce MCGLASHEN 158 Paul DIBBLE 2 Graeme STORM 150, 174 Sam MITCHELL 87 Neil DRIVER 12 Heather STRAKA 86 Judy MILLAR 7, 83 Tony DE LAUTOUR 65 Terry STRINGER 1, 4,5,163 Margaret MILNE 190, 191 Ross MITCHELL-ANYON 231, 232 et al. 18, 42, 53, 54 Garth TAPPER 30 Gaylene MORLEY 159 Kathy TEMIN 69 Antonio MURADO 58 Jacqueline FAHEY 23 Byron TEMPLE 198 Geoff FAIRBURN 167, 168, 169 David MURRAY 102 David THOMAS 119 Jacqueline FRASER 73 Richard THOMPSON 78 Warwick FREEMAN 121 Gary NASH 103, 104, Warren TIPPETT 204, 216, 217, 236 Marco FUSINATO 90 Manos NATHAN 94 Steve FULLMER 161 Chester NEALIE 180 66, 67, 68 Rose NOLAN 52 Briar GARDINER 130 Susan NORRIE 77 Brian GARTSIDE 160, 212 Pete WHEELER 64 Christina Hurihia WIRIHANA 122 Murray GRIMSDALE 153 Richard ORJIS 85 Howard WILLIAMS 213 Jim GREIG 195 Ani O’NEILL 38,39 Mervyn WILLIAMS 28 Merilyn WISEMAN 206, 207 John PAPAS 31 Janet WRIGHT 226 Michael PAREKOWHAI 36,37, 71, 72 John PARKER 115, 116, 117, 187, 188, 189