Colin Mccahon Files in the E.H. Mccormick Research Library
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Canterbury Society of Arts Autumn Exhibition
-But i Canterbury Society of Arts Autumn Exhibition 12th April - t6th May 19 61 The Canterbury Society of Arts [Inc] 81st Annual Exhibition of New Zealand Art Opened by Prof. Vernon Griffiths, Dean of the Faculty of Music and Fine Arts on Wednesday, April 12th 1961. PATRON HIS EXCELLENCY THE GOVERNOR-GENERAL THE Rt. HONOURABLE VISCOUNT COBHAM, G.C.M.G. PRESIDENT G. T. C. SANDSTON, M.B.E., LL.M. VICE-PRESIDENTS H. G. HELMORE, M.B.E., FRANK GROSS ERIC J. DOUDNEY, F.R.B.S. PAUL PASCOE A.R.I.B.A. RONA FLEMING. COUNCIL IVY G. FIFE, D.F.A. (N.z.) STEWART MINSON, A.R.I.B.A. JOHN OAKLEY, DIP. F.A. DORlS LUSK F. MILES WARREN, A.R.I.B.A., DIP. ARCH. OLIVIA SPENCER BOWER QUENTIN MACFARLANE, DIP. F.A. (HONS.) PROF. H. J. SIMPSON HON. TREASURER D. B. WILKJE SECRETARY-TREASURER ANDRE BROOKE HON. AUDITOR B. F. BICKNELL, F.P.A.N.Z., F.I.A.N.Z. HON. SOLICITORS Messrs. WILDING, PERRY & ACLAND FOREWORD a The Annual Autumn Exhibition this year has attracted a greater number of exhibitors, with a wider variety of work than in recent years. You will find that many of the paintings re present the more contemporary conception of art. We are anxious to introduce you to the work of these young New Zealand artists, and while you may perhaps find some of them difficult to follow, we think you will find many of them exciting, colourful, and vigorous. During the last hundred years, the great French painters Cezanne, Gauguin, Renoir, and later the English painters and sculptors Sutherland, Nash, and Henry Moore, to mention a few, have broken away from the traditional methods of ex pression, and the work of artists has become more individual. -
Mccahon House Invites You to Dinner
McCahon House invites you to dinner McCahon House hosts three Artists in Residence per year. As part of each residency a bespoke dinner between our current artist and a guest chef is created. Join us for an evening of art inspired cuisine, and be part of an ongoing dialogue where ideas around art are exchanged amongst artists and peers. These events are exclusive to the Gate Project. We Roasted carrot with kaffir lime sauce invite you to join and help strengthen opportunities and orange blossom candy floss by for New Zealand’s artists and our culture. For more chef Alex Davies of Gatherings, information about the Gate Project and to join visit: Christchurch, in collaboration with mccahonhouse.org.nz/gate 2019 artist in resident, Jess Johnson. — The Gate Project ART + OBJECT Tel +64 9 354 4646 Free 0 800 80 60 01 3 Abbey Street Fax +64 9 354 4645 Newton Auckland [email protected] www.artandobject.co.nz PO Box 68345 Wellesley Street instagram: @artandobject Auckland 1141 facebook: Art+Object youtube: ArtandObject Photography: Sam Hartnett Design: Fount–via Print: Graeme Brazier Th is auction event, including art works made solely by Colin Marti Friedlander Gretchen Albrecht underneath McCahon's "As there is a McCahon, felt like a fi tting tribute in 2019, his Centenary constant fl ow of light ..." year. We hoped to put together a small off ering that would Courtesy the Gerrard and Marti Friedlander Charitable Trust refl ect the quality and variety of work that McCahon Marti Friedlander Archive, E.H. McCormick Research produced during his life-time and I think you will fi nd that Library, Auckland Art Gallery Toi o Tāmaki, on loan from the Gerrard and Marti Friedlander Charitable Trust, 2002 within these pages. -
Russell Clark 1905-1966 Strong Reaction to Sir
THE JOURNAL OF THE CANTERBURY SOCIETY OF ARTS CNR DURHAM AND ARMAGH STREETS P.O. BOX 772 news CHRISTCHURCH NUMBER NINE, SEPTEMBER, 1966 TELEPHONE 67-261 RUSSELL CLARK 1905-1966 TOLERANCE AND INTOLERANCE Whoever was "sure members would enjoy reading the very fine speech" of Sir Charles Wheeler did not, I hope, think he was referring to all members. I did not enjoy it. Was its prominent publication in the "News", and the drooling introduction in the little rectangle at the top, a sort of student-like joke to raise a laugh? Or was it a social-climbing activity designed to seduce thoss members not critically expert enough to defend themselves mentally against this sort of manipulation by their organisers? To the first point, I did not laugh, the joke was too likely to be taken seriously by too many. To the second, my answer is that I am angry to think that my good intentions in joining the Society in the first place have landed me in the position of belonging to an organisation apparently willing to erode my standards by threatening me with the charge of intolerance if I don't tolerate this intolerable down- sucking quicksand. People who throw about spent phrases and words like "delightful", "very much pleasure", "very fine" in print can have very little to say surely, but wish to impress us rather by the dinner-jackets (jaded uniform!) their heroes wear, and the social prominence of the positions they hold. This particular piece of pomposity has latched on to the word tolerance, and used it as a weapon, In his life he displayed a never-ending capacity for hoping to disarm the opposition so plainly expected— creative endeavour. -
2016 Annual Report
ANNUAL REPORT 2016 INTRODUCTION Andre Brönnimann with two of the subjects of his winning portrait - Ria Wihapi Waikerepuru and Te Rawanake Robinson-Coles at the opening of the Adam Portraiture Award 2016. Treasurers, first John Sladden and then Richard 2016 was a year of Tuckey, to improve the quality of our budgets and endeavour, rewarded financial control. We are all very grateful for the commitment, the good humour and fellowship that over almost all of the full David brought to our affairs. Our fellow Trustee, Mike Curtis – a Partner with Deloitte – continued as range of our activities. It Chairman of the Finance and Planning Committee. presented us with a number In December we were pleased to be able to elect two new Trustees. Dr. David Galler, a well-known of challenges, ones of intensive care specialist in Auckland, and the personnel; of gallery space; author of a recent bestselling book about his life and work, Things That Matter. David brings his of governance; and, as wide knowledge of Auckland to our deliberations, along with a strong management background and always, of funding. a life-long interest in art. Helen Kedgley, who was Director of the Pātaka Art and Museum in Porirua But I would like to start by stating my own personal pleasure and satisfaction at the excellence of last year’s exhibition programme, a view that is shared, I know, by many of you. Quite apart from their intrinsic interest, and the pleasure as well as insight that they bring, these presentations are enhancing our reputation nationally and leading to increased cooperation with galleries and collectors both in this country and overseas. -
COLIN Mccahon [1919-1987 Aotearoa New Zealand] ANNE Mccahon (Née HAMBLETT) [1915-1993 Aotearoa New Zealand]
COLIN McCAHON [1919-1987 Aotearoa New Zealand] ANNE McCAHON (née HAMBLETT) [1915-1993 Aotearoa New Zealand] [Paintings for Children] 1944 Ink, pen, watercolour on paper Private Collection [Harbour Scene - Paintings for Children] 1944 Ink, pen, watercolour on paper Collection of the Forrester Gallery. Gifted by the John C. Parsloe Trust. [Ships and Planes – Paintings for Children] 1944 Ink, pen, watercolour on paper Private Collection, Wellington Colin McCahon met fellow artist Anne Hamblett in 1937 while both studying at the Dunedin School of Art. The couple married on 21 September 1942 and went on to have four children. In the mid-1940s, Anne began a sixteen-year long career as an illustrator, often illustrating children’s books, such as At the Beach by Aileen Findlay, published in 1943. During this time, the McCahons collaborated on the series known as Paintings for Children. This would be the first and only time the couple would produce work together. The subject-matter was divided among the two, Colin was responsible for the landscape, while Anne filled each scene with bustling activity, including buildings, trains, ships, cars and people. These works were exhibited at Dunedin’s Modern Books, a co-operative book shop, in November 1945. This exhibition received positive praise from an Art New Zealand reviewer, who said: “These pictures are the purest fun: red trains rushing into and out from tunnels, through round green hills, and over viaducts against clear blue skies; bright ships queuing up for passage through amazing canals or diligently unloading at detailed wharves, people and horses and aeroplanes overhead all very serious and busy… They will be lucky children indeed who get these pictures – too lucky perhaps because the pictures should be turned into picture books and then every good child might have the lot.” 1 Two years later, in 1947, a group of Colin McCahon’s new paintings were also exhibited at Modern Books. -
The Tim & Sherrah Francis Collection
The Tim & Sherrah FrancisTimSherrah & Collection The The Tim & Sherrah Francis Collection A+O 106 a life, and love, in New Zealand art… The Tim & Sherrah Francis Collection Art + Object 7–8 September 2016 Tim and Sherrah Francis, Washington D.C., 1990. Contents 4 Our Friends, Tim and Sherrah Jim Barr & Mary Barr 10 The Tim and Sherrah Francis Collection: A Love Story… Ben Plumbly 14 Public Programme 15 Auction Venue, Viewing and Sale details Evening One 34 Yvonne Todd: Ben Plumbly 38 Michael Illingworth: Ben Plumbly 44 Shane Cotton: Kriselle Baker 47 Tim Francis on Shane Cotton 53 Gordon Walters: Michael Dunn 64 Tim Francis on Rita Angus 67 Rita Angus: Vicki Robson 72 Colin McCahon: Michael Dunn 75 Colin McCahon: Laurence Simmons 79 Tim Francis on The Canoe Tainui 80 Colin McCahon, The Canoe Tainui: Peter Simpson 98 Bill Hammond: Peter James Smith 105 Toss Woollaston: Peter Simpson 108 Richard Killeen: Laurence Simmons 113 Milan Mrkusich: Laurence Simmons 121 Sherrah Francis on The Naïve Collection 124 Charles Tole: Gregory O’Brien 135 Tim Francis on Toss Woollaston Evening Two 140 Art 162 Sherrah Francis on The Ceramics Collection 163 New Zealand Pottery 168 International Ceramics 170 Asian Ceramics 174 Books 188 Conditions of Sale 189 Absentee Bid Form 190 Artist Index All quotes, essays and photographs are from the Francis family archive. This includes interviews and notes generously prepared by Jim Barr and Mary Barr. Our Friends, Jim Barr and Mary Barr Tim and Sherrah Tim and Sherrah in their Wellington home with Kate Newby’s Loads of Difficult. -
The Evangelist How the Light Gets in the Christian Art of Colin Mccahon
The Evangelist the exodus from Egypt (Exodus 3:14). The texts, from the Psalms, included a prayer for self-awareness: I first encountered a Colin McCahon painting in the ‘teach us to order our days rightly, that we may enter mid 1970s when I was Ecumenical Chaplain at Victoria the gate of wisdom’ (Psalm 90:12),2 and an invocation University of Wellington. A gigantic mural appeared of God’s blessing: ‘God be gracious to us and bless us, on the wall of the entrance foyer of a new lecture God make his face shine upon us that his ways may block—now known as the Maclaurin Building. It be known on earth and his saving power among all the featured an enormous 3 metre-high ‘I AM’ in white nations’ (Psalm 67:1-2). and black letters, astride a stylised but recognisably New Zealand landscape, with texts reminiscent of the I remember standing before this vast mural, awed biblical prophets. by its impact. It was a profoundly counter-cultural It was a painting to walk past, from left to right. The statement—not unlike the ‘turn or burn’ preaching left panel, showing the lowering darkness of a bush of the Jesus People movement with which it is fire or an approaching storm, seemed heavy with contemporary—warning that our secular, materialistic How the light gets in The Christian art of Colin McCahon foreboding about secular culture, ‘this dark night of society will destroy itself, unless we humble Western civilisation’. It reminded me of the words of ourselves, seek wisdom, and pursue ‘the Lord, our true Fairburn, who a generation earlier had also lamented goal’. -
Fine & Applied Arts
FINE & APPLIED ARTS 9 & 10 SEPTEMBER 2020 WE HAVE MOVED 94 FEATHERSON STREET DUNBAR SLOANE SINCE 1919 Our Wellington auction house has shifted to new premises, located in Kiwi Wealth House corner of Featherston & Ballance Street. Our phone number, email address and bank details remain unchanged. We look forward to welcoming you to our new premises. Dunbar Sloane Ltd 94 Featherston Street Wellington CBD www.dunbarsloane.com NEW ZEALAND & INTERNATIONAL FINE & APPLIED ART Wednesday 9 September 2020 6pm start Part One - Evening Sale Lot 1 - 62 Thursday 10 September 2020 12noon start Part Two - Day Sale & Applied Arts Lot 200 - 268, 307 - 361 Studio Ceramics & Applied Arts Lot 269 - 306 VIEWING SCHEDULE LIVE BIDDING PLEASE NOTE NO OPENING FUNCTION Please note we now offer our own live online bidding service. Friday 4th September 9am - 4pm Sunday 6th September 12noon - 3pm For instruction see our website: Monday 7th September 9am - 4pm www.dunbarsloane.co.nz Tuesday 8th September 9am - 4pm Online registrations and absentee bids must be made at least Wednesday 9th September 9am - 4pm 2 hours before the auction commences, or 24 hours if you are an International client ENQUIRIES Helena Walker, Director Fine Arts BUYERS PREMIUM Each lot is subject to 17% + GST buyers premium +64 4 472 1367 / [email protected] PO Box 224, Wellington 6140 NEW ZEALAND & INTERNATIONAL FINE ART PART ONE / EVENING SALE Wednesday 9 September 2020 6pm start Lot 1 - 62 1 2 1 2 Bill Hammond (b 1947) Bill Hammond (b 1947) Singer Songwriter I Bone Eagle B lithograph, edition of 100 etching, PP (limited edition of 25) signed, inscribed with title and dated 2001 signed and dated ‘W D Hammond/2007’ (upper centre within print) (lower right), inscribed with title (lower left) 68 x 82.5cm 38 x 28cm $4,000 - $7,000 $2,000 - $4,000 PROVENANCE PROVENANCE Private collection, Wellington Private collection, Wellington 8 DUNBAR SLOANE 3 4 3 4 Bill Hammond (b 1947) Gordon Walters (1919-95) Seamless, Gutless, Spotless, Useless Painting No. -
Download PDF Catalogue
THE 21st CENTURY AUCTION HOUSE A+O 7 A+O THE 21st CENTURY AUCTION HOUSE 3 Abbey Street, Newton PO Box 68 345, Newton Auckland 1145, New Zealand Phone +64 9 354 4646 Freephone 0800 80 60 01 Facsimile +64 9 354 4645 [email protected] www.artandobject.co.nz Auction from 1pm Saturday 15 September 3 Abbey Street, Newton, Auckland. Note: Intending bidders are asked to turn to page 14 for viewing times and auction timing. Cover: lot 256, Dennis Knight Turner, Exhibition Thoughts on the Bev & Murray Gow Collection from John Gow and Ben Plumbly I remember vividly when I was twelve years old, hopping in the car with Dad, heading down the dusty rural Te Miro Road to Cambridge to meet the train from Auckland. There was a special package on this train, a painting that my parents had bought and I recall the ceremony of unwrapping and Mum and Dad’s obvious delight, but being completely perplexed by this ‘artwork’. Now I look at the Woollaston watercolour and think how farsighted they were. Dad’s love of art was fostered at Auckland University through meeting Diane McKegg (nee Henderson), the daughter of Louise Henderson. As a student he subsequently bought his first painting from Louise, an oil on paper, Rooftops Newmarket. After marrying Beverley South, their mutual interest in the arts ensured the collection’s growth. They visited exhibitions in the Waikato and Auckland and because Mother was a soprano soloist, and a member of the Hamilton Civic Bev and Murray Gow Choir, concert trips to Auckland, Tauranga, New Plymouth, Gisborne and other centres were in their Orakei home involved. -
A LAND of GRANITE: Mccahon and OTAGO
1 A LAND OF GRANITE: McCAHON AND OTAGO DUNEDIN PUBLIC ART GALLERY COLIN McCAHON OTAGO PENINSULA 1946-1949. OIL AND GESSO ON BOARD. COLLECTION OF DUNEDIN PUBLIC LIBRARIES KĀ KETE WĀNAKA O ŌTEPOTI, RODNEY KENNEDY BEQUEST. COURTESY OF THE COLIN McCAHON RESEARCH AND PUBLICATION TRUST 7 MARCH - 18 OCT 2020 Otago has a calmness, a coldness, almost a classic geological order. It is, perhaps, A LAND OF an Egyptian landscape, a land of calm orderly granite. ...Big hills stood in front of GRANITE: FREE ADMISSION: OPEN 10AM-5PM DAILY P. +64 3 474 3240 E. [email protected] the little hills, which rose up distantly across the plain from the flat land: there 30 The Octagon Dunedin 9016 A department of the Dunedin City Council McCAHON www.dunedin.art.museum was a landscape of splendour, and order and peace. [Colin McCahon, Beginnings Landfall 80 p.363-64 December 1966] Exhibition Partner AND OTAGO This guide was originally produced as a double-sided A1 poster for the exhibition A Land of Granite: McCahon and Otago (Dunedin Public Art Gallery, 7 March – 18 October 2020). Above is the front side of the poster and following are the texts and images from the reverse side of the poster. The reverse side has been reformated to this A4 document for either reading online or downloading and printing. The image above is: COLIN McCAHON Otago Peninsula 1946-1949 Oil on gesso on board Collection of Dunedin Public Libraries Kā Kete Wānaka o Ōtepoti, Rodney Kennedy bequest. Courtesy of the Colin McCahon Research and Publication Trust 2 A LAND OF GRANITE: McCAHON AND OTAGO A LAND OF GRANITE: DUNEDIN PUBLIC ART GALLERY McCAHON AND OTAGO A Land of Granite: Colin McCahon and Otago was developed by Dunedin Public Art Gallery. -
John Stringer Page 1 Draft 1/10/12 John Stringer Page 2 Draft 1/10/12
John Stringer Page 1 Draft 1/10/12 John Stringer Page 2 Draft 1/10/12 DEDICATION Professor Bill Sutton who redirected the journey and Frances Stringer writing her own Notebook. John Stringer Page 3 Draft 1/10/12 Contents 1. Changing the Way We See 2. Beginnings and Influences 3. Landscape 4. Portraits and Still Life 5. Surf, Sea, Skate series 6. The Eve and Bride series 7. The Masters, a shift in direction 8. A Vermeer in Our Sumner Midst by John Stringer (Interview with Kees Bruin, 2005). 9. Allusion & Illusion, Kees Bruin by Neil Roberts (Interview with Kees Bruin, 2006). 10. Appendix 11. Plates John Stringer Page 4 Draft 1/10/12 Kees Bruin’s four-decade painterly oeuvre. 1970s-1990s Photo-realism; Surf, Sea, Skate, culminating in Euphoria, 1995. The Peace Tree series Early 1980s to early 1990s The Door series Early 1990s The Eve series Mid-1990s to mid 2000s The Bride series 2000s The Masters Mid to late 2000s The Vanitas series Late 2000s The Bride Grounded culminating in Signs of the Son of Man, 2009. 4 September 2010 7.1 earthquake, Canterbury (Darfield) 22 February 2011 6.3 earthquake, Canterbury (Port Hills) John Stringer Page 5 Draft 1/10/12 Forward John Stringer Page 6 Draft 1/10/12 1. Changing the Way We See The emotional pathos of tragedy is well captured in art: war (Picasso’s Guernica, 1937; Goya’s The Third of May 1808, 1814), mental angst (Munch’s The Scream, 1893; Van Gogh and James Robinson), loss (Nigel Brown’s I Miss You Terribly, 1979; Gains & Losses, 1980), and dislocation (Margaret Hudson-Ware’s Refugees, 2003). -
A Matter of Passion Marilyn Rea-Menzies
A Matter of Passion Marilyn Rea-Menzies What drives your need to seek out learning experiences? I have always had the need to be the very best that I could possibly be, and as I am self-taught I have always motivated myself to learn about other artists mainly through reading about them, visiting art galleries wherever possible to see original art works, and also through attending exhibition openings. I became quite an exhibition opening “junkie”. I am a bit of a “bookaholic” and love art books. Any spare money that I may have is often spent on books about artists working in many different mediums, and over the years, I have built up quite a collection in my library. Some of the artists who have influenced my work are New Zealand artists Colin McCahon, Louise Henderson, and John Weeks, and international artists Chuck Close, Jasper Johns, Robert Rauschenberg, and David Hockney. When I came to Christchurch to live in 1994, I decided that I would try to develop my reputation as an artist as well as that of a weaver. I was known as a tapestry weaver in many circles and it is often a surprise to people when they discover that I also work in a number of other mediums such as photography, painting, drawing, and digital design. I believe that my skills as a painter and photographer, as well as my drawing abilities, inter-relate closely with my weaving; they are inseparable. To be a successful tapestry weaver I realised that I needed to keep on developing my proficiency in drawing and painting.