ose Bribiesca Don Ramage A.R.D. Fairburn Juliet Peter Robert Ellis R
Good Eileen Mayo John Weeks Don Driver Roy Cowan Garth Cheste
Bob Roukema John Crichton Len Castle Modernism in Russell Clar
ervyn Williams Colin McCahon Ted Dutch New Zealand Andre Broo
rank Hofmann Freda Simmonds Greer Twiss Theo Schoon Ross Ritch
Geoffrey Fairburn Frank Carpay Ruth Castle Jova Rancich John Mid
dleditch Elizabeth Matheson Mirek Smisek Richard Parker Jeff Schol
Anneke Borren Robyn Stewart Peter Stichbury Milan Mrkusich Barr
rickell Jean Ngan Vivienne Mountfort Georgia Suiter Theo Jansen
vid Trubridge Ces Renwick Edgar Mansfield Peter Sauerbier Steve Ru
sey Dorothy Thorpe LeVi Borgstrom Simon Engelhard Tony Fomiso
Paul Maseyk Rick Rudd Doreen Blumhardt Art+Object Leo King Patr
a Perrin David Brokenshire Manos Nathan 21 MAY 2014 Wi Taepa Mu
Moody Warren Tippett Elizabeth Lissaman Buck Nin E.Mervyn Taylo
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Modernism in
New Zealand
Wednesday, 21 May 2014
6.30pm
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Inside front cover:
Frank Hofmann,
Composition with
Cactus, 1952 (detail),
vintage gelatin silver
print. Lot 274.
“Strictly speaking New Zealand doesn’t
exist yet, though some possible New Zealands
glimmer in some poems and in some canvases.
It remains to be created – should I say
invented – by writers, musicians, artists,
architects, publishers.”
B
Inside back cover:
A.R.D. Fairburn,
Study of Maori Rock
Drawings (detail),
vintage screenprinted
fabric mounted to
board. Lot 251.
L
ALLEN CURNOW
FIRST YEARBOOK OF THE ARTS
IN NEW ZEALAND, 1945
MODERNISM in New Zealand at
the outset was defi ned by confl ict,
displacement and quite literally a clash
of cultures. World War II was the
catalyst for modernist thinking and
practice to take root in New Zealand
and effect critical change. Swept up
by the impending war, fleeing the
Nazi jackboot, or a desolated post
war Europe, a hardy band of cultured
refugees arrived in New Zealand
from the late 1930s to the early
1950s – strangers in a strange land –
and set about redefi ning the cultural
landscape of New Zealand. Educated
in Rotterdam, Vienna or Prague,
familiar with ideas of the Bauhaus,
New Objectivity, Surrealism and the
latest thinking in architecture and
design, this small group of influential
émigré artists bought new ideas to
what was then a cultural backwater of
the British Empire. Most importantly,
they saw New Zealand with fresh eyes.
The influence Frank Carpay
(1917–1985), Vlad Cacala (1926–
2007), Frank Hofmann (1916–1989),
Ernst Plischke (1903–1922), Theo
Schoon (1915–1985), Rudolph Gopas
(1913–1983) and many others spans
architecture, design, photography,
applied arts and art teaching. These
emigres were in effect a cultural ginger
group… a catalyst for what would
become an iconic period of change and
self-determination in the visual arts.
These artists hit the ground
running, engaging with local artists
and dazzling them with new concepts
and arguments. At a distance of some
seventy years the contemporary viewer
marvels at how quickly these displaced
but determined individuals resumed
their practice and made vital links with
New Zealand artists eager to embrace
the latest international thinking into
their own practice. For every Theo
Schoon there was a Gordon Walters: a
young, enquiring artist; bursting with
and receptive to new directions.
This catalogue also celebrates
the role of significant others – the
collector and the dedicated supporter.
Rodney Robertson’s collection of New
Zealand modernism is a tribute to the
eye of a singular collector. Likewise
the Theo Schoon archive assembled,
held and protected by William Vance
stands as a testimony to those lone
individuals who intercede to ensure
our cultural heritage is not lost for
future generations.
Q
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*P
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Catalogue Highlights
3 April 2014
Milan Mrkusich
Painting II (Blue)
acrylic on canvas, 1972
$125 455
A new record price for the
artist’s work at auction.
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Important Paintings
and Contemporary Art
Michael Illingworth
Fertile Fig and Timepieces
oil on canvas, 1967
$137 765
Ralph Hotere
Vidyapati’s Song
acrylic and dye on
unstretched canvas, 1975
$257 950
6/05/14 1:02 PM
A+O’s first major art catalogue of 2014 included the cutting edge collection of the
Strip Club 2004 – 2014 and a superb selection of major works by Colin McCahon,
one of which Black and White Landscape dating to 1959 could be described as a
‘lost’ work, being unrecorded on the www.mccahon.co.nz database. At auction it
was one of six works which sold for in excess of $100 000. The overall sale resulted
in one the highest clearance rates in the company’s history and the highest sale total
for the 2014 New Zealand autumn auction season.
Colin McCahon
Clouds No. 7
synthetic polymer paint
on Steinbach, 1975
1095 x 730mm
$263 810
Colin McCahon
Black White Landscape
enamel on hardboard, 1959
675 x 440mm
$146 560
Allen Maddox
Rhythm Grid
oil on canvas, 1976,
1630 x 2345mm
$64 485
Prices realised include buyer’s premium.
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After trading fi ne antiques at his Lake Road
premises for the past 40 years Donald Melville
has decided it is never too late to change.
The auction will include numerous pieces
of English and European furniture, copper,
pewter, ceramics, stoneware and other items.
This is the last opportunity to own a piece of
this well-known dealer’s inventory.
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Donald Melville
Antiques
Closing Auction
Saturday 24 May at 2pm
Onsite at 360 Lake Road, Takapuna.
Auction commences at 2.00pm.
Viewing daily from May 20
Catalogue online from May 12
6/05/14 1:02 PM
SHOWROOM
31 Crummer Rd, Ponsonby
31 Crummer Road Ponsonby, Auckland, New Zealand Phone +64 9 360 4290 admin@katalog.co.nz www.katalog.co.nz
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New Collectors Art
25 June 2014
Entries invited until 29 May
A+O’s second New Collectors
catalogue of 2014 will feature
the collection of former
Ikon Gallery Director Don
Wood. His collection includes
signature prints by Gordon
Walters, Pat Hanly, Colin
McCahon, Don Binney, Philip
Clairmont and many others.
Contact:
Leigh Melville
Manager, Art
Leigh@artandobject.co.nz
09 354 4646
021 406 678 (cell)
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Pat Hanly
The Kite
screenprint, 4/5
title inscribed, signed
and dated ‘71
510 x 520mm
$3000 – $5000
6/05/14 1:02 PM
prepare
for the best…
Wednesday 13 August
Vernissage
6pm
- 10pm
Thursday 14 August
Friday 15 August
Saturday 16 August
Sunday 17 August
11am
11am
10am
10am
-
6pm
8pm
6pm
5pm
For tickets and further information visit:
melbourneartfair.com.au
The Melbourne Art Fair is presented by
the Melbourne Art Foundation, a not for profit
organisation supporting living artists and
contemporary art.
Venue Partner
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Government Partners
Major Partners
Official Hotel Partner
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Chester Nealie Book
Fundraising Auction
Ruth Butterworth
Collection
24 June 2014
24 June 2014
A+O is pleased to present and host this important
New Zealand ceramics event. Funds raised from this
auction will go towards supporting the publication
of a high quality career monograph celebrating
Chester’s 50 year career as a potter. Numerous
artists have contributed works including Graham
Ambrose, Don Thornley, Bruce Martin, Anneke
Borren, Stanley Palmer, Rick Rudd, Kate Newby
and Nigel Brown.
Ruth Butterworth is a former Associate Professor of
Political Science at the University of Auckland. Her
collection, assembled over more than thirty years
reads like a survey of New Zealand studio ceramics
including fine examples of the work of Len Castle,
Warren Tippett, Bronwynne Cornish, Peter Alger
and many of the leading practitioners of the period.
Chester Nealie
Large Bottle
woodfired, salt glazed celadon
signed and dated 2010
H.450mm
$1500 – $3000
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Complimentary entries
are invited until May 29th.
Len Castle
Blossom vase
jun glaze over tenmoku
H. 530mm
$6000 – $8000
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EX 23 Archive
Auction
From 1985 to 1997 Wellington
based leather goods design
label EX 23 supplied NZ and
Australian fashion retailers
with handmade leather belts
and bags that defined street
culture on both sides of the
Tasman. In June the designer’s
final archive offered in as new
condition will be available for
sale at ART+OBJECT.
Contact:
James Parkinson
james@artandobject.co.nz
09 354 4646
09 306 6193 (DDI)
021 509 550 (cell)
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architecture to lift the spirit
www.bossleyarchitects.co.nz
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Important Paintings
and Contemporary Art
7 August 2014
Entries invited until July 11th
Peter Siddell
View towards Mt Eden from
Vicinity of Belle Vue Rd
acrylic on hardboard
title inscribed, signed and dated
1978 verso
460 x 905mm
$60 000 – $80 000
Provenance: Private collection,
Auckland.
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Billy Apple
Sold
acrylic on canvas
signed
2145 x 1525mm
$55 000 - $75 000
Provenance:
Collection of The Future Group,
Auckland.
Illustrated:
Francis Pound, Forty Modern New
Zealand Paintings (Auckland, 1985), pl. 3.
6/05/14 1:02 PM
Contact:
Ben Plumbly
Director, Art
ben@artandobject.co.nz
09 354 4646
021 222 8183 (cell)
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Asian and Decorative Arts
including Arts & Crafts
Ceramics from an
Auckland Collection
September 2014
Entries invited
A rare and important
Emile Galle Scent bottle
with enamel decoration
and sterling silver
top with early Galle
signature
$15 000 – $25 000
Contact:
James Parkinson
Director
james@artandobject.co.nz
09 354 4646
09 306 6193 (DDI)
021 509 550 (cell)
Giulia Rodighiero
Asian Art Specialist
Giulia@artandobject.co.nz
09 354 4646
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NZ and International
Studio Ceramics
September 2014
Entries invited
Lucy Rie coffee set
Stone ware with manganese glaze,
sgraffito banding to the exterior and
white tin gazed interior Circa 1960
impressed LR seal mark
$6000 – $8000
Contact:
James Parkinson
james@artandobject.co.nz
09 354 4646
09 306 6193 (DDI)
021 509 550 (cell)
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Modernism in
New Zealand
Auction
Wednesday 21 May at 6.30pm
3 Abbey Street, Newton, Auckland
Preview
Thursday May 15
6.00 – 8.00pm
Viewing
Friday 16 May 9.00am – 5.00pm
Saturday 17 May 11.00am – 4.00pm
Sunday 18 May 11.00am – 4.00pm
Monday 19 May 9.00am – 5.00pm
Tuesday 20 May 9.00am – 5.00pm
Wednesday 21 May 9.00am – 2.00pm
Opposite:
Guy Ngan, Blue Formation No 6. Lot 254.
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The Rodney Robertson Collection of
New Zealand design, studio ceramics and art
Lots 1–131 and 250 –262
RODNEY ROBERTSON is without doubt one of New
Zealand’s most well known and regarded collectors. As the
co-founder of New Zealand’s decorative arts destination
Art and Industry Rodney has serviced a New Zealand
and international clientele of aficionados and collectors
of the fi nest and rarest 20th century design and rarities.
The collection in this catalogue reflects Rodney’s interest
in New Zealand, Maori and pan-Pacific modernism and
was assembled over twenty five years form sources as
varied as auction house catalogues, private collections and
spontaneous discoveries. The collection has been housed at
his secluded coastal retreat. The 1950s bach itself presented
as a veritable museum of New Zealand mid-century design
and applied art
Rodney is regarded as an expert in the field and
has been invited on numerous occasions to lecture on New
Zealand and international design at Universities, Museums
and societies across New Zealand and abroad. Rodney’s
keen eye and inexhaustible approach to research led to many
of the ‘fi nds’ featured in this catalogue – some of which are
amongst the rarest and most sought after examples by the
leading lights of New Zealand modernist design.
Rodney’s collection is a prime example of the
crucial role played by collectors in making connections
and vital attributions of hitherto unknown or ‘lost’ works
and providing guardianship for future generations of new
collectors and enthusiasts.
CERAMICS
1. Juliet Peter stoneware rectangular
platter decorated with Tiki hand
forms. Incised initials and original
label to the base. L. 520mm.
Provenance: Martin Hill Collection.
$300 – $400
2. Juliet Peter
Stoneware rectangular platter
decorated with three koru forms.
Incised initials to the base.
L. 510mm
$200 – $400
2
1
3. Ted Dutch
Small Signaller figure, black stained
porcelain with red, yellow and blue
enamelled discs, signed.
H. 110mm.
$400 – $600
4. Ted Dutch
Prototype Signaller figure, black
and colour markers on cardboard,
signed. H. 125mm.
This is the fi rst Signaller figure
Ted Dutch ever made.
$200 – $400
5. Ted Dutch
Signaller figure, black stained
porcelain with red, blue and yellow
highlights (damaged), signed.
H. 230mm
$400 – $600
6. Ted Dutch
Small Signaller figure, black stained
porcelain with red, yellow and blue
enamelled discs, signed.
H. 95mm
$300 – $500
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7. Ted Dutch
Massive Signaller column, with
applied Signaller figures around the
central rectangular plinth, with red,
yellow and blue enamelled discs and
highlights (minor chips). H. 340mm
$1000 – $2000
7
8. Ted Dutch
Black oxide glazed ceramic tile
with two applied Signaller figures
and red, blue and yellow enamelled
highlights, signed. 155 x 155mm
$700 – $1000
9. Ted Dutch
Red glazed ceramic tile with applied
Signaller figure and yellow and blue
enamelled highlights, signed.
155 x 155mm
$700 – $1000
10. Ted Dutch
Ceramic tile with applied Signaller
figure and control tower, red, yellow
and blue enamelled highlights,
signed. 155 x 155mm
$600 – $800
11. Ted Dutch
Large stoneware monochrome
Signaller figure, signed. H. 265mm
$800 – $1200
11
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4
3
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12. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
13. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
14. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
15. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
16. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
17. New Zealand Railway Crown
Lynn tea cup and saucer, both
stamped with Crown and N.Z.R.
$100 – $200
21
18. Rick Rudd
Bottle, 1989
Pinched and coiled, raku fired with
white crackle glaze to the interior.
Exhibited: Rick Rudd True to Form,
Sarjeant Gallery, Whanganui,
1996. Illustrated on page 16 of the
catalogue. H.357 x 250 x 235mm
$1000 – $2000
19. Roy Cowan
Large rectangular platter with
stylised plant and koru design.
Incised initials to the base.
W. 440mm
$300 – $500
22
23
26
27
22. Roy Cowan
Large ovoid vase with blue and
green salt glaze with incised
geometric decoration. Complete
with original cork lid. Incised
initials to the base. H.380mm
$600 – $800
20. Elisabeth Lissaman
Small dish with a wax resist leaf
design. D.110mm
$30 – $50
23. Roy Cowan
Large ovoid vase decorated with
geometric and sun motifs in blue
and brown salt glaze on a pale blue
ground. Incised initials. H.350mm
$500 – $800
21. Roy Cowan
Tall ovoid stoneware vase with blue
salt glaze and incised geometric
decoration. Incised initials to the
base.H.480mm
$800 – $1200
24. Juliet Peter
Ovoid stoneware vase with blue
and green salt glaze, decorated with
incised geometric rondel and sun
forms in a checker pattern. Incised
initials to the base H.300mm
Provenance: Martin Hill collection
$300 – $500
24
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25
30
29. Wi Taepa
An impressive ovoid stoneware vase
cut away and reducing to the foot
ring. Decorated with a wheku head
with protruding tongue in high
relief. H.280mm
$1000 – $1500
31
28
25. Warren Tippet
Large and impressive lidded
stoneware jug with applied scroll
handle, tenmoku over ash glaze with
a wax resist stylised leaf design.
Impressed potter’s cipher to the
base. H.420mm
$800 – $1400
30. Wi Taepa
Stoneware vase of gourd type
from with deeply incised koru and
geometric decoration. H.300mm
$500 – $1000
26. Muriel Moody
Three stoneware salt glazed stylised
doves raised on a wooden plinth. 280
x260mm
$800 – $1200
31. Manos Nathan
Ipu Waiora
Vessel in black terra sigillata,
hand built carved and burnished
earthenware decorated with
a manaia head in side profile.
L.410mm
$1500 – $2500
27. Len Castle
Stoneware ovoid vase with ash glaze
with pieced stoneware lugs with
rope binding. Impressed initials to
the base. H.290mm
$400 – $800
28. Pat Perrin
Stoneware onion pot, with poured
glaze to the surface, original cork
stopper pierced at the shoulders for
suspension and with original rope
attached. H.300mm
$300 – $500
33
32
32. Anneke Borren and Owen Mapp
Lidded stoneware vase, made in the
form of a bamboo stalk with three
blackened bamboo handles, wax resit
geometric decoration in black on
a charcoal ground. Original label
affixed to the base.
H.400mm
$400 – 4800
33. Anneke Borren and Owen Mapp
Stoneware lidded bowl with wax
resist stylised floral decoration on
a charcoal ground. The lid with
three blackened bamboo handles.
H.340mm
$400 – $800
34. Anneke Borren and Owen Mapp
Stoneware lidded bowl with wax
resist geometric decoration in black
on a charcoal ground. The turned
kauri lid inlaid with a decorative
bronze rondel with koru and scroll
designs. Original label affixed to the
base. H.160mm
$350 – $500
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35. Leo King
‘Aura’ spherical slip cast orb with
black glaze with a flattened white
glazed upper surface decorated with
radiating bands. Original Leo King
label affixed to the base. D.250mm
$400 – $600
36. Leo King
‘Aura’ slip cast flattened spherical
bowl with black glazed exterior,
the interior with white glaze and
decorated with radiating bands.
Signed to the base. D.300mm
$400 – $600
37. Leo King
Spherical slip cast orb with black
glazed exterior, the hollowed
interior with grey and white glaze.
D.230mm
$350 – $500
38. Leo King
Spherical slip cast orb with black
glazed exterior the flattened top
section glazed in bands of pale
brown and white. D.170mm
$300 – $500
39. David Brokenshire
Two large ovoid floor vases, each
with umber pigmented textured
surface pierced with small circular
apertures to the upper section.
Impressed mark to each
$800 – $1200
40. David Brokenshire
Stoneware tapering cylindrical vase,
textured brown glaze with multiple
piercings. Potter’s cypher mark to
the base. H.430mm
$400 – $600
41. Pat Perrin
An impressive floor vase with
textured surface, hollowed open
aperture to the centre. H.640mm
$800 – $1200
49
41
35
50
37
36
39
26
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42. Doreen Blumhardt
Rare stoneware table with tenmoku
glazed top, the umber pigmented
base made in the manner of Korean
Shilla pottery with multiple
piercings. H.400mm x D.340mm
Provenance: Doreen Blumhardt
Collection. Sold at Dunbar Sloane
Wellington, July 2010
$400 – $800
48. Rick Rudd
Large impressive spiral vase,
pinched and coiled clay, raku fired.
H.480mm
$800 – $1200
53
43. Doreen Blumhardt
Rare stoneware table with tenmoku
glazed top, the umber pigmented
base made in the manner of Korean
Shilla pottery with multiple
piercings. H.400mm x D.340mm
Provenance: Doreen Blumhardt
Collection. Sold at Dunbar Sloane
Wellington July 2010.
$400 – $800
49. Paul Maseyk
Lyall Drinkwater, Transgender
vase 2
Wood fired terracotta.
Title inscribed. H.580mm
$500 – $1000
50. Tony Fomison
Rare terracotta hanging form made
as a stylised wheku head surmounted
by a portrait bust. Pierced for
suspension. Made at Driving
Creek railway, circa 1985. Minor
restoration.
$1500 – $3000
51. Simon Engelhard
Stoneware pedestal bowl decorated
with a fish design. Signed with
initials to the base. D.200mm
$200 – $400
44. Doreen Blumhardt
Rare hanging light with conical
top numerous hanging discs with
inlaid glass glazed turquoise panels.
H.700mm
Provenance: Doreen Blumhardt
Collection. Sold at Dunbar Sloane
Wellington July 2010.
$500 – $800
52. Simon Engelhard
Stoneware dish painted with a
stylised tree design, small hairline
crack. H.140mm
$50 – $100
45. Doreen Blumhardt
Pair of rare coral series stoneware
outdoor tables
Provenance: Doreen Blumhardt
Collection. Sold at Dunbar Sloane
Wellington 2010.
$1000 – $1500
53. Frank Carpay for Crown Lynn
Ferris Wheel. Six hand decorated
earthenware dishes on wire
framework
Provenance: Douglas Lloyd Jenkins
collection, Art and Object March
2011
Exhibited: Auckland City Art
Gallery 1950’s show (1991); Western
Lights: Art and design
In West Auckland 1945-1980 (1994);
Hawkes Bay Museum Frank Carpay
Crown Lynn and beyond (2002)
$2500 – $5000
46. Rick Rudd
Bottle, pinched and coiled clay raku,
fired. H.370mm
$300 – $500
47. Rick Rudd
Pod vase, pinched and coiled clay,
raku fired. H.220mm
$100 – $200
27
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54. Crown Lynn Biscuit blank
vase of cylindrical form, thrown
by Ernest Shufflebotham with
painted banded decoration by Royal
Oak potteries. Incised number 46.
H.180mm
$200 – $400
54
55
56
57
58
55. Crown Lynn Biscuit blank vase
of cylindrical form, thrown by
Ernest Shufflebotham with painted
banded decoration by Royal Oak
potteries. Incised number 46.
H.180mm
$200 – $400
56. Crown Lynn Biscuit blank
vase of cylindrical form, thrown
by Ernest Shufflebotham with
painted banded decoration by Royal
Oak potteries. Incised number 46.
H.180mm
$200 – $400
57. Crown Lynn Biscuit blank vase
of cylindrical form, thrown by
Ernest Shufflebotham with painted
banded decoration by Royal Oak
potteries. Incised number 46.
H.180mm
$200 – $400
58. Crown Lynn Biscuit blank
vase of cylindrical form, thrown
by Ernest Shufflebotham with
painted banded decoration by Royal
Oak potteries. Incised number 46.
H.180mm
$200 – $400
59. Dorothy Thorpe
Rare collection of twelve wine
glasses and four tumblers, hand
decorated in sterling silver on
crystal
$300 – $600
60. Dorothy Thorpe
Milk jug and sugar basin on a tray,
hand decorated in sterling silver on
crystal
$100 – $200
74
75
71
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61. Levi Borgstrom
Carved wood spoon, original label
affixed to the base
$200 – $300
62. Richard Cadness
Pair of stoneware bottle vases with
tenmoku glaze. Impressed initials to
the base of each. H.420mm
$400 – $600
62A. Richard Cadness
Two stone ware bottle vases.
Impressed initials to the base of
each. H.420mm
$400 – $600
63. Elizabeth Fraser
Five 1970s turned wood boxes,
each with cloisonné enamel top
$200 – $400
64. Seventy four volumes
of NZ Potter
$500 – $1000
65. John Crichton (attributed)
Trivet stand of fish form, blackened
metal with cane handle
$100 – $200
66. Ruth Castle
Onion basket, dye and natural cane.
H. 450mm
$80 – $120
67. New Zealand 1950’s kauri bowl
together with a leaf shaped dish.
$100 – $200
68. Four Delware and Ceraware
copper backed enamel dishes with
Maori cave art designs after Theo
Schoon
$80 – $120
69. Four Ceraware copper backed
enamel dishes with Maori cave art
designs
$80 – $120
70
70. Jose Bribiesca
Rare Chess Set. 32 pieces in
chromed steel with coloured and
inset Perspex on glass chessboard.
Individual pieces of variable
dimensions, height of tallest 73mm;
chessboard measures 405 x 405mm
$1500 – $2500
72. A composite standing mania
figure. H.500mm
$200 – $400
73. Peter Sauerbier
Aotearoa
Bronze Tiki figure, modelled
holding standing holding a patu.
H.600mm
$1000 – $2000
Sculpture
76. Theo Jansen
Untitled abstract figural form
Nine ceramic tiles mounted on
board. 460 x 460mm
$500 – $1000
74. Edgar Mansfield
Animism Sculpture in bronze
issuing from a green marble and
ebonised wood base. H.560mm
$1000 – $2000
71. John Middleditch (attributed)
Carved kauri Maori modernist
tekoteko figure raised from a
naturalistic base. H. 1700mm
For a similar smaller stylised female
figure by John Middleditch see
Group Architects by Julia Gatley,
p.134
$1500 – $3000
75. Edgar Mansfield
Animism Sculpture in bronze
issuing from a cast composite base
H.680mm
$800 – $1500
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Furniture and
related items
77. A rare New Zealand 1940
Centennial Exhibition oversize
coffer. The front carved with the
Centennial insignia to the centre
and haehae and pataki notching
framed by four tiki figures with paua
shell eyes, the front carved with a
pare form with tiki and manaia, the
sides with wheku head handles and
further haehae and pataki notching
raised on four block legs carved with
manaia in low relief. W. 1000mm
$1500 – $2500
78. New Zealand 1950’s oak
telephone table with slat seat raised
on triangulated tapering legs.
$200 – $400
79. Bob Roukema for Jon Jansen
Wingback lounge chair raised on
a four point base with tapering
cylindrical legs, and later Sanderson
floral upholstery
$2500 – $4000
80
80. Bob Roukema for Jon Jansen
Wingback lounge chair raised on
a four point base with tapering
cylindrical legs, and blue velour
upholstery
$2500 – $4000
81. Garth Chester
Curvesse bent plywood chair,
rare original prototype model
without feet
$4000 – $6000
82. 1950’s side table with blue
laminate top
$100 – $200
83. Ces Renwick for Airest
Bahama lounge chair and matching
ottoman. Made circa 1955
$1000 – $2000
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86
79
77
91
81
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84. John Crichton
Standard lamp, red painted tubular
metal with adjustable shade.
H. 1310mm
$250 – $500
85. Jon Jansen
Rare standard lamp with blackened
tubular steel three legged base
with wooden ball feet, the original
raffia shade supported on a tapering
cylindrical wooden support.
H. 1640mm
$500 – $1000
86. John Crichton
Pair of cane Java chairs with
blackened tubular steel legs on
original nylon glides. D. 630mm
$300 – $500
87. Jon Jansen
Table lamp with three tubular
blackened steel legs with wooden
ball feet and original tapa shade
raised on a tapering oak support.
H. 540mm
$400 – $800
92
88. John Crichton
Side table blackened tubular
steel three legged base with a
triangulated top with crackle paint
finish.
$300 – $500
89. John Crichton
Side table blackened tubular
steel three legged base with a
triangulated top with crackle
paint finish.
$300 – $500
90. John Crichton [attributed]
Plant stand, the plaster planter
housed in a woven cane surround
with blackened wrought iron three
legged support. H. 410mm
$100 – $200
104
105
108
84
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91. New Zealand made 1950’s oak
sideboard with a single drawer above
a cupboard flanked by cupboards
with metal rondel handles raised on
blackened tubular steel legs.
L. 1400mm
$600 – $1200
92. David Trubridge
Body Raft 1998, steam bent wych
elm with pegged joints. This rare
variant of the Body Raft is one of
only two known examples. 2100 x
780 x 620mm
$6000 – $8000
93. John Crichton
Turned kauri bowl original label
affixed to the base “designed by John
Crichton interior designer”.
D. 200mm
$100 – $200
94. John Crichton
Rare turned kauri pestle and mortar
original label affixed to the base
(repaired). D. 180mm
$100 – $200
95. John Crichton
Turned teak salad bowl original
label affixed to the base. D. 340mm
$200 – $400
96. John Crichton
Turned kauri salad bowl. D. 390mm
$150 – $250
97. John Crichton
Turned kauri salad bowl. D. 300mm
$100 – $200
98. John Crichton
A large and impressive tiled mosaic
wall charger in brown, apricot, ecru,
aqua, white and blue tiles.
D. 560mm
$2000 – $4000
99. John Crichton
A rare circular side table with
mosaic tiled top, raised on a tubular
metal support and four splayed legs.
D.600mm
$2000 – $3000
100. John Crichton
Rare counter poised side lamp,
anodised aluminium with brass legs
and ball feet. This lamp is made
in the manner of early 1950s table
lamps made by the important Swiss
born architect Otto Kolb.
$400 – $800
101. John Crichton (attributed)
Pair of wall lights in red and blue
aluminium with saucer form shades.
Made in the manner of wall lights
made by the Italian designer Gino
Safatti
$200 – $400
102. Tattersfield Maori Legend all
wool rug decorated with a tukutuku
panel design. L.1360mm
$300 – $500
98
103. New Zealand 1950’s coffee table
of rectangular shape with white tiled
mosaic shelf and glass top, raised on
four blackened metal legs.
L. 1150mm
$400 – $800
104. John Crichton
Rare 1950s uplighter lamp with spun
red anodised aluminium shade held
on three aluminium rods
Provenance: Previously in the Mike
Zero collection. H.1710mm
$400 – $800
93
99
105. Rare 1950s uplighter lamp
with spun gold anodised aluminium
shade held on three aluminium rods
Provenance: Previously in the Mike
Zero collection. H.1790mm
$400 – $800
95
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123 – 130
115
116. Theo Jansen
Bronze horseman sculpture.
H.600mm
$600 – $1200
106. John Crichton
Rare Java couch in woven cane
Provenance: Previously in the Mike
Zero collection
$400 – $800
107. Unusual 1950s glass top table
raised on an aluminium bowl form
support held on blackened tubular
steel legs. Possibly by John Crichton
Provenance: Mike Zero collection
$150 – $250
108. New Zealand 1950s minimalist
design rectangular pine desk
raised on bent wrought iron
blackened tubular legs together
with a matching 1950s side chair.
Provenance: Robertson House
Glendowie. Group architect design.
Illustrated in Home magazine
$500 – $1000
109. Bob Roukema for Jon Jansen
A rare dining table suite with solid
mahogany quatrefoil top raised on
splayed tapering cylindrical legs
complete with six ergonomically
designed chairs, the legs conforming
with those of the table. This is the
only known surviving example of
this style of table and chairs
$2500 – $4000
117. Theo Jansen
Untitled abstract stone and marble
sculpture. Artist label affixed to the
base. H.230mm
$100 – $200
116
110. 1950s standard lamp
with tapa shade
$100 – $200
Rugs and Textiles
111. 1970s four panel room
divider screen
$100 – $200
118. Georgia Suiter
Sea and Sky 1976
Wall hanging in wool wrapped rods
in in blue, green and brown. 1260
x 1330mm. An almost identical
example illustrated on the cover of
Craft New Zealand. The Art of the
Craftsman, Doreen Blumhardt and
Brian Brake, 1981
$2000 – $4000
112. John Crichton
Turned Kauri salad bowl. D.280mm
$100 – $200
113. Ruth Castle
Woven bowl, Phoenix palm tendrils
and Palembang. D.200mm
$150 – $300
119. Georgia Suiter
Hand woven floor rug in blue,
brown and green wool. Signed on
an original label attached to the
underside. Provenance: Previously
in the collection of the Ministry of
Foreign Affairs, Wellington, orginal
collection label attached to the
underside. 1960 x 1060mm
$350 – $600
114. Ruth Castle
Hanging basket. H.180mm
$50 – $100
115. Theo Jansen
Te Wairua Po (The spirit of the
night) Carved andesite stone.
H.310mm
$600 – $800
122
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120
120. Vivienne Mountfort
Tree roots. Wool in various colours
woven in relief on a ply disc.
D.1200mm
$500 – $1000
121. Jean Ngan
Flat weave woollen rug No 1. Hand
woven in blue and brown wool .
Original label attached.
1610 x 910mm
$350 – $600
122. Don Ramage
Maori cave art design wool rug.
Made in 1972 for the NZ wool
commission, woven by Feltex
carpets. 1740 x 950mm
$1000 – $2000
123. Onehunga Mills Te Ariki
woollen travel rug with a tukutuku
panel design in green brown orange
and white. Original Onehunga
Woollen Mills label attached.
1680 x 1450mm
$300 – $500
118
124. Onehunga Mills Te Ariki
woollen travel rug with a tukutuku
panel design in red black brown and
white. Original Onehunga Woollen
Mills label attached. 1720 x 1420mm
$300 – $500
127. Onehunga Mills Te Ariki
woollen travel rug with a tukutuku
panel design in black red white
orange and yellow. Original
Onehunga Woollen Mills label
attached. 1600 x 1490mm
$300 – $500
125. Roslyn Dunedin Textiles
woollen manatunga (Maori for
keepsake) woollen travel rug with a
tukutuku panel design in red white
yellow and black. Original label
attached. 1660 x 1480mm
$300 – $500
128. Roslyn Dunedin Textiles
woollen manatunga (Maori for
keepsake) woollen travel rug with a
tukutuku panel design in red white
brown and black. Original label
attached. 1460 x 1560mm
$300 – $500
126. Onehunga Mills Te Ariki
woollen travel rug with a Poutama
(stairway to heaven) tukutuku
panel design in green white brown
and orange, small tear to fringe.
Original Onehunga Woollen Mills
label attached. 1500 x 1750mm
$200 – $400
129. Onehunga Mills Te Ariki
woollen travel rug with a Poutama
(stairway to heaven) Tukutuku panel
design in green brown orange and
white. Original Onehunga Woollen
Mills label attached. 1700 x 1480mm
$300 – $500
130. Onehunga Mills Te Ariki
woollen travel rug with a Tukutuku
panel design in red black brown and
white. Original Onehunga Woollen
Mills label attached 1770 x 1470mm
$300 – $500
130A. A pair of Tattersfield Maori
Legend all wool rugs decorated
with a kowhaiwhai and tukutuku
panel pattern in black and salmon.
L.1360mm
$400 – $800
131. Urshala Fenton Wilkes
Woven tukutuku style panel in
the Poutama (stairway to Heaven
pattern)
$150 – $300
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138
137
145
143
142
141
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NZ Pottery from other
vendors
132. Juliet Peter
Three-piece stoneware teaset,
comprising teapot, milk jug and
sugar basin.Incised initials and
original label to the bases.
W. 200mm
$150 – $300
133. Roy Cowan
Stoneware platter painted with a sea
creature, 1960s. Incised initials to
the base. L. 450mm
$200 – $300
134. Juliet Peter
Set of five dishes with leaf design.
D. 140mm
$50 – $100
135. Paul Fisher
Stoneware slab vase with tenmoku
glaze, signed. H. 220mm
$200 – $300
136. Roy Cowan
Blue glazed stoneware dish.
D. 220mm
$80 – $120
137. Roy Cowan
A large stoneware slab form garden
pot the body pierced and incised.
H. 920 x 620mm
Provenance: Lorraine and Patrick
Williams collection, Wellington
$1500 – $2000
138. Roy Cowan and Juliet Peter
A large stoneware floor vase painted
in blue and green with abstract
gestural decoration. H. 660mm
Provenance: Lorraine and Patrick
Williams collection, Wellington
$500 – $800
139. Roy Cowan
A large and impressive stoneware
blue salt glazed floor vase incised
with concentric bands and
interweaving stylised koru forms.
H. 820mm
This impressive floor vase was held
for many years in Roy Cowan and
Juliet Peter’s personal collection. It
was then passed onto Lorraine and
Patrick Williams the proprietors of
Williams Gallery in Wellington.
Lorraine and Patrick represented
Roy and Juliet in Wellington and
had a long standing association and
friendship with the potters
$8000 – $12 000
140. Len Castle
Large stoneware bowl with iron
glaze over tenmoku. Impressed
initials. D. 325mm
$450 – $600
141. Len Castle
Large rectangular dish with
impressed decoration. Iimpressed
initials (hairline cracks repaired).
D. 410mm
$300 – $500
142. Len Castle
Branch vase, with jun glaze over
tenmoku. Impressed initials to the
base. H. 345mm
$1500 – $3000
143. Len Castle
A large and impressive discoid vase,
potter’s initials impressed to the
base. D. 540mm
$2400 – $3000
139
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144
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144. Len Castle and Theo Schoon
Nineteen high-fired earthenware
umber tablets made by Castle,
impressed with patterns
representing an almost complete
dictionary of examples of
Schoon’s stamps. The stamps
were subsequently deposited at
Te Papa, circa 1984. The tablets
bear approximately 153 impressions,
while 144 stamps appear individual.
Various sizes [largest 40 x 110 x
8mm]
Provenance: Len Castle collection,
sold in the inaugural contemporary
Art+Object auction May 3rd 2007
$8000 – $10 000
145. Ruth Castle
Rare hanging form, fine rattan core
dyed with Condys crystals made
using a fish basket technique.
H. 450mm. This is one of three
unique hanging forms that Ruth
Castle made in 1960s.
$400 – $800
146. Barry Brickell
Stoneware vase with tenmoku glaze,
impressed potter’s mark to foot rim.
H. 210mm
$50– $100
147. Peter Stichbury
Stoneware charger (repaired).
D. 400mm
$30 – $50
148. Mirek Smisek
Large stoneware charger with
tenmoku glaze and wax resist
sunflower decoration, impressed
initials to the base. D. 390mm
Provenance: Martin Hill Collection
auction, lot 138
$250 – $500
149. Mirek Smisek
Salt glazed stoneware jug. Potters
cypher mark to the base. H.260mm
$150 – $250
164
165
174
172
150. Potter unknown
Stoneware floor vase of organic form
with multiple apertures and umber
pigmented surface. H. 670mm
$100 – $200
157. Richard Parker
Cylindrical vase with ovoid vase
yellow glazed, potters label affixed
to the base. H. 200mm
$250 – $350
165. Royal Doulton Maori art
side plate, hand painted with a
Kowhaiwhai design in red and black
on a yellow ground. D.175mm
$100 – $200
151. Anneke Borren
Earthenware orb form painted with
geometric designs, potters cypher
mark to base. H. 160mm
$300 – $500
158. Richard Parker
Cylindrical vase with ovoid vase
yellow glazed, potters label affixed
to the base. H. 185mm
$250 – $350
Early NZ Studio Pottery
and Crown Lynn
152. Robyn Stewart
Totem form, dung fired burnished
and textured surface with incised
koru. H. 520mm
$500 – $800
159. Richard Parker
Winged vase with drizzled yellow
and green glaze, potters label affixed
to the base. H. 180mm
$300 – $500
153. Jeff Scholes
Stoneware jug with tenmoku glaze.
H. 280mm
$300 – $400
160. John Dawson
Shino glazed cups and saucers.
$100 – $200
161. Duncan Shearer
Salt glazed vase. H. 270mm
$150 – $250
154. Brian Gartside
Large stoneware dish with painted
abstract decoration. D. 480mm
$300 – $400
162. Duncan Shearer
Three salt glazed vases of
graduated size
$200 – $300
155. Richard Parker
Glazed terracotta dish, black and
white pod pattern design, potters
label affixed to the base. D. 290mm
$350 – $500
163. Duncan Shearer
Large ovoid floor vase with lug
handles. H. 450mm
$300 – $400
156. Richard Parker
Terracotta pedestal dish with yellow
and green glaze
$250 – $400
164. Rare Royal Doulton Maori
Art oversize cup and saucer, hand
painted with a Kowhaiwhai design
in red and black on a yellow ground
$400 – $600
166. Elisabeth Matheson
Paka pottery monochrome blue
vase. H.100mm
$30 – $50
167. Jova Rancich
Small pottery squat vase, with
green, blue and red majolica-type
glaze. Impressed marks. H. 75mm
$100 – $200
168. Jova Rancich
Pottery posy vase, with red, green
and blue majolica-type glaze.
Impressed marks. H. 140mm
$350 – $500
169. Jova Rancich
Pottery fat body jug with multicoloured majolica-type glaze.
Unmarked. H. 130mm
$500 – $800
170. Jova Rancich
Pottery posy vase, covered in a rich
green, blue and brown majolica-type
glaze. Impressed marks. H. 200mm
$600 – $1000
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171. Jova Rancich
Large pottery handled vase, covered
with a cream crackled glaze.
Unmarked. H. 170mm
$300 – $500
Other New Zealand
Furniture and related
items
181. Bob Roukema for Jon Jansen
Rare 1950s armchair raised on
tapering legs with original wheat
coloured velour upholstery. A
similar chair held in the Auckland
Museum collection. This style of
chair can also be seen in archival
photos of the Jon Jansen store as
part of the Easter show display
$1200 – $1800
172. A rare pair of large Crown
Lynn white swans, each with factory
painted beaks. Crown mark to the
base of each. W.310mm
$1200 – $1800
173. A rare small white slip cast
Crown Lynn swan with factory
painted beak. Tiki mark to the base
$350 – $500
182. Set of four New Zealand made
1950s armchairs with red vinyl seats
and backs the shaped arms with
exposed finger joints. Made for a
Group architect designed house in
Island Bay View Terrace, Howick
$400 – $800
174. A rare pair of large white slip
cast Crown Lynn male and female
swans. Each with impressed mark
170, the female with crown factory
mark and the male with Tiki mark
to the base. L.310mm
$350 – $500
207
183. A set of six 1950’s side chairs
blackened tubular metal framing in
blue red and white vinyl
$300 – $500
175. Three Crown Lynn slip cast
shell vases, shape 553, in mint green,
white and pale blue
$500 – $800
184. A set of four Danske Mobler
compass chairs with white vinyl
upholstery
$500 – $1000
176. Crown Lynn slip cast pearl
lustre shell vase, shape 2067
$150 – $250
185. Don Furniture
1960’s teak framed armchair
reupholstered with contemporary
fabric in an orange abstract design
on a pale brown ground.
$700 – $900
177. A pair of Crown Lynn mint
green slip cast trough vases, shape
510. L.275mm
$200 – $300
178. Crown Lynn slip cast pink
basket form vase, shape 507.
L.310mm
$150 – $250
208
169
186. Garth Chester
A rare Winter’s salon chair with
paddle shaped arms raised on
tapering cylindrical legs with brass
feet, green leatherette upholstery
$1000 – $2000
179. McAlpine yellow glazed fridge
jug. H. 225mm
$300 – $500
170
168
188. A pair of 1950s lounge chairs
with webbed seats and backs in the
manner of Jens Risom
$350 – $500
189. Garth Chester bent plywood
Curvesse chair
$4000 – $8000
190. New Zealand made 1950s Hans
Wegner style plank chair
$500– $100
191. New Zealand made 1950s Hans
Wegner style plank chair
$500 – $1000
192. Oak 1950s coffee table with
glass top raised on tree triangular
legs
$250 – $500
193. Backhouse day bed with
black leatherette upholstery and
mahogany frame
$1200 – $1800
194. John Middleditch
Crucifixion, patinated wrought
copper figure suspended on a
wooden cross. 720 x 520mm
$800 – $1200
195. John Middleditch
Totem form, patinated copper.
Signed with initials and dated 77.
H.490mm
$500 – $800
196. John Middleditch
Untitled abstract sculpture in
copper with variegated surface
together with a watercolour
depicting a similar form. Signed and
dated 1970. Sculpture W.600mm,
Watercolour 380 x 570mm
$400 – $600
187. Three 1950s armchairs with
tubular wrought iron framing with
white textured vinyl upholstery
$200 – $400
180. Pair of Crown Lynn 1970 stamp
design dishes, Tasman Glacier and
Maori rock drawing
$50 – $80
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197. John Middleditch
Abstract copper wall sculpture
number 190. 270 x 220mm.
Offered together with an archival
photograph of the work.
$200 – $400
198. Betty Beadle
Ten assorted embossed metal discs.
Various sizes
$100 – $200
199. John Middleditch
Indian Mandala Mosaic tiles on
board. Title inscribed signed and
dated 1982 verso 310 x 310mm
$100 – $200
200. John Middleditch
Two unfinished watercolour
paintings, three sketches and a
collection of archival photographs
$50 – $100
181
201. NZ composite moulded tray
decorated with Maori Kowhaiwhai
patterns. L.370mm
$50 – $100
186
202. Set of six NZ glasses decorated
with Maori cave art and weaponry
$100 – $150
203. NZ folk art fire bellows carved
with a tekoteko figure. H.370mm
$180 – $250
204. An Italian Delta Indigenous
People collection pen
‘Maori’, limited roller ball edition.
In as new condition complete with
original box. Edition 689/1642
$300 – $400
205. John Crichton
Small mosaic tiled saucer. D. 130mm
$30 – $50
190
192
191
206. An unusual New Zealand made
arts and crafts style brass and copper
jug, the handle decorated with a cut
brass outline of New Zealand, the
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210. Cera Ware decorative plaque
featuring Cave Art after Theo
Schoon – Ahuriri River Figures
enamel over copper. 155 x 283mm
$300 – $500
212 – 217
212. Cera Ware enamel on copper
plaque with a Maori cave art design
after Theo Schoon of a figure
paddling a raft. 250 x 250mm
$100 – $200
213. Five Ceraware dishes and two
coasters, decorated in enamel on
copper with Maori motifs
$100 – $200
194
jug inlaid with a fantail and other
New Zealand birds in various shades
of Paua shell. H. 250mm
$300 – $500
207. Louis Boros
Symphony Bay of Islands Opus No 2
wool and cotton tapestry
title inscribed and signed on
original artist’s label affixed verso
1960 x 1410mm
Exhibited: ANZ Art Awards, 1987
$2000 – $4000
208. Louis Boros
Nights Lights over Rangi
wool and linen tapestry
title inscribed, signed and dated
1990 on original artist’s label affixed
verso. 1830 x 1410mm
$2000 – $4000
Collection of Del Ware
and Cera Ware
214. Ten Del Ware enamel and
copper dishes decorated in enamel
on copper with Maori cave art
designs. D.100mm
$200 – $300
215. Nine Del Ware dishes of
triangulated shape decorated with
Maori cave art designs
$100 – $200
216. Cera Ware plaque decorated
with a Maori cave art design.
W.120mm
$35 – $50
217. Seven Cera Ware coasters
decorated with Maori cave art
designs, housed in an original
turned wood barrel
$100 – $200
210
209. Cera Ware decorative plaque
featuring Cave Art after Theo
Schoon – Opihi River Taniwha
Figures, enamel over copper
230 x 155mm
$300 – $500
195
196
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Theo Schoon
and New Zealand Rock Art
Few episodes in New Zealand Art History were as
unlikely as the encounter of Theo Schoon with Maori
Rock Art in the 1940s, and few as significant. This chance
meeting between an itinerant Dutch artist and a sadly
neglected cultural heritage of rock drawings led Schoon to
an immediate re-evaluation of his own work with ongoing
impact on painting, photography and the applied arts. For
Schoon and his associates, especially Gordon Walters, there
came a radical change of outlook and approach to their
creative work.
Schoon first saw fragments of rock art in the Otago
Museum and copies of some of the drawings in the mid 1940s.
With his knowledge of modern European art, of Surrealism
and the Bauhaus, he was able to see the seemingly ‘primitive’
images with fresh insight. He knew, for example, of the
influence of child art on the Surrealists and the attempts to
direct modern art away from traditional approaches towards
a more intuitive and individual response. It meant moving
from matching to making. The conventions of realist
painting, like perspective and modelling could be dispensed
with. Instead, as in the rock drawings, the imagery could be
drawn or painted in two dimensions on a flat surface with
no illusionism or attempt at realism. It would be the birth of
New Zealand modernism.
Somehow, with no qualifications, Schoon managed
to get some funding in 1946 to record the rock art in
Canterbury and North Otago for the Canterbury Museum.
He reported to Roger Duff, later Director, who viewed the
drawings as childish graffiti with no artistic merit. Schoon’s
brief was to record the drawings located on limestone bluffs
and boulders in areas being farmed for sheep and where
the limestone was being quarried for fertilizer by blasting
Lot 263. Theo Schoon, Self-Portrait, circa 1980.
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– processes that destroyed the drawings. He was to make
painted copies of the rock art for the museum and also take
photographs. The enormity of the task, involving climbing
over considerable areas of barely accessible cliffs and fording
fast flowing rivers, like the Opihi and Waitaki, while
carrying boards for his paintings and camera equipment
– plus provisions for overnight stays in the rock shelters –
cannot be exaggerated.
But Schoon was up for it. He was an experienced
professional photographer and also a gifted and trained
painter with incredible technical skill. Plus he was young,
in his early thirties, very strong and totally fanatical in
his enthusiasm for the task. With no car, little money, few
possessions and the rural postal service as his means of
communication with Roger Duff in Christchurch, he was
truly a man alone. What he achieved, though controversial,
was astonishing in both quantity and quality.
By his letters written on location, by his articles
for the media and his promotion of his discoveries to
colleagues like Gordon Walters, Dennis Knight Turner and
Rex Fairburn he brought the main rock art images, such
as the Taniwha Freize at Gould’s Farm, from obscurity to
mainstream public attention. Thanks to Fairburn and others
using the rock art imagery supplied to them by Schoon for
commercial purposes such as wall hangings, coasters and
tea towels it became debased maybe but suddenly known
and admired.
On location there were numerous difficulties to be
overcome. His photographs were hampered by poor and
uneven light in the shelters where the rock art was drawn
on both walls and ceilings continuously. Also, the limestone
surfaces were often granulated and flaking making the
drawings irregular, incomplete and fragmented. Schoon’s
pragmatic and egotistical solution was to ‘retouch’ them to
make the drawings more legible and easier to photograph.
In doing so, he had to interpret what was there and in
many cases select what made sense to his idea of the work.
His photographs are therefore manipulated and have a
heightened artistic dimension at the expense of archeological
fidelity. Schoon was no archeologist. His ‘copies’ of the
rock art are best seen as free interpretations which he has
transformed into modernist paintings. Initially with a ‘copy’
of moa drawings at Craigmore Schoon tried to simulate the
colour and texture of the originals. Quickly he abandoned
that approach in favour of a reductive mono-tonal imagery
rendered in flat, hard-edged forms on a smooth grey ground.
This procedure gives the imagery the scale and format of
modernist European paintings. A reference to Paul Klee in
the title of one of his photographs confirms his knowledge
of this context.
One feels that he has composed and positioned his
rock art motifs against the ground with an awareness of
relational composition and of figure ground interaction. By
eliminating conventional spatial and naturalistic concerns,
Schoon frees his forms to interact across the surface. It is a
dramatic advance that lays the groundwork for his own and
Gordon Walters’ abstract paintings that follow. Until now
it has only been possible to see his rock art paintings in a
museum context. It is time to see them as they really are –
creative art works.
Michael Dunn
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William Vance Collection of Theo Schoon Cave Art
from the period 1946-49
218. Theo Schoon
R.Gould Opihi, copy by Theo Schoon, 1946
oil on card
title inscribed, signed and dated verso, also
inscribed scale 1:4 indecipherable
600 x 760mm
$2000 – $4000
219. Theo Schoon
Tongawai Gorge. Albury Park Station Part 1.
oil on card
title inscribed on verso, also inscribed drawings on
single rock in artist’s hand
520 x 650mm
$2000 – $4000
220. Theo Schoon
Waitohi Composition. Part 2.
oil on card
title inscribed verso
$2000 – $4000
221. Theo Schoon
Craigmore, Pareora Parts one & two
oil on card
title inscribed verso
520 x 1300mm, diptych
$5000 – $7000
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222. Theo Schoon
Giant Dog Shelter – Rockwood
oil on card
title inscribed verso
525 x 645mm
$2500 – $4500
223. Theo Schoon
Limestone Valley Road, Tycho
oil on card
title inscribed verso
520 x 650mm
$2500 – $4500
224. Theo Schoon
Opihi River II
oil on card
title inscribed verso
504 x 643mm
$2000 – $4000
225. Theo Schoon
Carter’s Rockpool. Opihi Riverbed. Actual size
oil on card
title inscribed verso
520 x 652mm
$3000 – $5000
226. Theo Schoon
Ford’s Hanging Rock part 3
oil on card
title inscribed verso
523 x 650mm
$2500 – $4500
Catalogue note: In the catalogue for the 1985
exhibition at the Robert McDougall Art Gallery,
Christichurch a variant of this work is entitled
Colonial Church, Raincliff
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227. Theo Schoon
Ford’s Hanging Rock part 4
oil on card
title inscribed verso
523 x 647mm
$4000 – $6000
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228. Theo Schoon
Ford’s Hanging Rock part 5
oil on card
title inscribed verso
522 x 650mm
$2500 – $4500
230. Theo Schoon
Ahuriri River Waitaki part 2.
oil on card
title inscribed verso
520 x 650mm
$2000 – $4000
231. Theo Schoon
Ahuriri River part 2, copy by Theo Schoon
February 1949
oil on card
title inscribed, signed and dated verso
518 x 647mm
$2000 – $4000
Catalogue note: This image is a reverse image of
the previous lot and is dated after Schoon’s period
in the field. By early 1949 Schoon had relocated to
Auckland, possibly staying with A.R.D. Fairburn.
It is probable that this image was painted using
a photographic reference which resulted in the
image becoming ‘flipped’.
229. Theo Schoon
Upper Totara Valley part 1, reduced 1/6th
(canoe prow)
oil on card
title inscribed verso
520 x 650mm
$2500 – $4500
“Mr. Theo Schoon … has spent about three
years recording these drawings … In the
course of his travels he has discovered about
three times as many as were previously
known. I prophesy that in times to come his
name will be remembered with gratitude by
generations that have come to appreciate the
full value of these primitive works of art.”
A.R.D. Fairburn, 1949
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232. Theo Schoon
Ahuriri River. Part 1
oil on card
title inscribed verso
520 x 650mm
$4000 – $6000
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233. Theo Schoon
Earthquakes Duntroon
oil on card
title inscribed verso
525 x 645mm
$4000 – $6000
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234. Theo Schoon
Earthquakes Mauruawhenua, Part of Eagle
Composition, Actual Size
oil on card
title inscribed verso
520 x 652mm
$2000 – $4000
235. Theo Schoon
Monkey Face Shelter No 1 part 6, Kaikoura
oil on card
title inscribed verso
508 x 633mm
$2500 – $4500
236. Theo Schoon
Kaikoura Monkey Face Reserve part 2.
oil on card
title inscribed verso
520 x 648mm
$2000 – $4000
237. Theo Schoon
Kaikoura, Monkey Face Reserve part 1
oil on card
title inscribed verso
525 x 650mm
$2000 – $4000
238. Theo Schoon
Monkey Face Shelter No 1 Kaikoura
oil on board
title inscribed verso
650 x 522mm
$2500 – $4500
239. Theo Schoon
Scargill – Waihari district nearly actual size
oil on card
title inscribed verso
650 x 522mm
$2500 – $4500
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240. Theo Schoon
Large Mythic Monster Taniwha, a human figure,
and some typical maori designs
oil on card
title inscribed on signed accompanying
photograph by Theo Schoon
510 x 635mm
$3000 – $5000
241. Theo Schoon
Untitled – Cave Drawing Figures
oil on card
510 x 633mm
$2000 – $4000
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Cave Art Photography
by Theo Schoon
243. Theo Schoon
Opihi River Taniwha
14 medium format (203 x 253mm) together with 6 small format (164 x 215mm)
vintage silver gelatin prints of taniwha figures and numerous details. All
photographs annotated by Theo Schoon verso, many dated 1948
$500 – $1000
242. Theo Schoon
Cave Art Sites and Environs
8 large format (250 x 305mm) vintage gelatin silver prints of cave art sites,
environs and limestone formations, 2 with annotations by Theo Schoon
verso, for example image illustrated above left is inscribed Rocks on South bank
of Opihi River, The large Shelter with drawings in the background, photo T. Schoon
$500 – $1000
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244. Theo Schoon
Monkey Face, Kaikoura
5 medium format (203 x 253mm) vintage silver
gelatin prints of cave art and environs. All
photographs annotated by Theo Schoon verso, for
example the image illustrated is inscribed Monkey
Face Cave No.1 (centre foreground) Monkey Face
Reserve, Kaikoura
$200 – $400
245. Theo Schoon
Waitaki River
6 medium format (203 x 253mm) vintage silver
gelatin prints of Waitaki and Ahuriri River
environs. 3 photographs annotated by Theo
Schoon verso, for example the image illustrated
is inscribed Black Jack Point on the Waitaki River –
photographed in 1947 by Theo Schoon
$200 – $400
246. Theo Schoon
Pareora, Raincliff, Weka Pass and Upper Totara
Valley
10 medium format (203 x 253mm) vintage silver
gelatin prints of various cave art environs and
limestone bluffs. 6 photographs annotated by
Theo Schoon verso, for example the image
illustrated is inscribed Upper Totara Valley Showing
various shelters
$300 – $600
247. Theo Schoon
Cave Art Figures
20 medium format (203 x 253mm) vintage silver
gelatin prints of various cave art figures and
details from Weka Pass, Waitohi, Hazelburn
High Shelter, Craigmore Valley, Duntroon and
Totara Valley. 19 photographs annotated by Theo
Schoon, for example the image illustrated is
inscribed Weka Pass Main Shelter detail study
$400 – $800
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248. Theo Schoon
Pareora River Bird Men and other Cave Art Figures
four small format (164 x 215mm)vintage gelatin prints.
All annotated verso by Theo Schoon
illustrated clockwise from top left
Pareora River Birds, Bird Men and fish; Theo Schoon ‘46 a recent
discovery of incised figure resembling Maori Tatoo in Duntroon
(catalogue note: this figure is extensively outlined in white
ink by the artist); Large human figure “Earthquakes” Duntroon.
One of the most fantastic places Theo Schoon ‘47; Glennis,
Hazelburn, detail study
$800 – $1500
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The William Vance Archive of Correspondence, Publications, Articles
and Photographs relating to the Theo Schoon Cave Art Project
249. William Vance was born in Lyttelton in 1900 and
during his secondary school years began collecting New
Zealand books and artefacts. His enthusiasm for this nation’s
story led to his graduation from Canterbury College (now
university) with a degree in history, and, after a decade as a
journalist, to his appointment in the mid 1940s as historical
research officer with the Department of Internal Affairs.
Vance’s allotted territory, South Canterbury, was
appropriate as he had spent his holidays at Pleasant Point on
his uncle’s farm in the limestone country that contains one
of the main concentrations of Maori rock art. The nearby
Mackenzie Country was a focus of Vance’s interests as a
mountaineer and collector of the pioneers’ stories.
Once employed by the department, Vance was
able to implement his boyhood dream of protecting the
rock drawings. The arrival of Theo Schoon with the same
vision, began that fraught but ultimately successful process.
Correspondence
The William Vance archive documents the management of the Cave Art project and dates from
the early 1940s to the early 1950s. The archive
includes correspondence between William Vance,
Theo Schoon, Roger Duff (director of the Canterbury Museum), A.R.D. Fairburn, A.G. Harper
(Under-Secretary of the Department of Internal
Affairs), Twentieth Century Fox Film Corporation
(NZ) relating to filming and screening of newsreel
footage of Theo and the caves, D.C. Kidd M.P., H.
D. Skinner (Director of the Otago Museum) and
various local landowners.
Of particular note is a letter dated October
1st, 1946 from Vance to Schoon in which the former relates his meeting with the artist Gordon
Walters and Roger Duff and their impressions of
the cave paintings.
Paragraph 3 of the letter reads…’Roger
was delighted with the result of your paintings of the
Much of the detail of the project – one of the most
extraordinary in the narrative of New Zealand art and
ethnology – has not been made public and is recorded in great
detail with assiduous documentation of original material in
the Vance archive.
It records not just the administrative problems
that arose between the free-wheeling Dutch artist and the
pernickety New Zealand bureaucracy but also the friendship
that arose between Schoon and Vance. The latter enjoyed
dealing with difficult people and the former needed a buffer
between his visionary drive and a slow moving officialdom.
Vance and Schoon complemented each other perfectly.
Schoon went on to diverse artistic pursuits but never
lost his grounding in Maori culture. Vance went on to write
the standard history of the Mackenzie, dozens of articles and
half a dozen books on Canterbury.
rock-drawings of Blackler’s high shelter, and in my
report to the Department of Internal Affairs he asked
me to say: “I can add from personal experience that the
number and variety and placing of the figures make it a
most difficult job to copy them and they have been copied
with incomparable skill”. Surely there can be no better
tribute than that to your work’
The archive also includes 85 pages of Theo
Schoon’s field notes commencing August 1946 with
numerous maps, annotations and illustrations.
The correspondence between the various
parties covers a wide range of topics including:
selection and payment for cave paintings by various public museums, the creation of sets of boards
for different museums necessitating duplicates,
Schoon’s discovery of different types of pigment
application as well as incised figures, and perhaps
most importantly Schoon’s interpretation of the
creation and meaning of the cave art.
The archive also contains an inventory of
receipts for batches of cave paintings and photo-
graphs as furnished by the Department of Internal
Affairs. Of particular note is extensive correspondence between Schoon, Vance, Roger Duff and
A.G. Harper, Assistant Under-Secretary of the
Department of Internal Affairs and others on the
question of retouching the images within the shelters, a practice which had gone on for many years
prior to Schoon’s arrival. The arguments for and
against the practice and the difficulty in managing
Schoon in the field make for illuminating reading.
Of particular note on this topic is a letter dated
12th March, 1946 from H.D. Skinner, Director
of the Otago Museum who recounts at least two
previous attempts at retouching by his father W.H.
Skinner then Commissioner for Crown Lands in
Canterbury and Dr. W.B. Oliver.
One important handwritten note by Cliff
Brunsden, a Timaru artist and later the founding
director of the Aigantighe Gallery details (most
probably under instruction by Theo Schoon) the
formula for the grey ground of the boards em-
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for Schoon to earn some revenue from the sale of
photographs after the original sets of paintings had
been sold.
Amongst literally dozens of handwritten letters from Schoon to Vance one is worth quoting.
It is undated, but based on the chronology of correspondence was most probably written in January
1947. An excerpt reads: “ I have submitted a short
article and some photographs to the NZ. Listener, in
which I aimed at introducing this work as a legacy of
religious art, backed by an analysis which is getting
down to Tin Tacks, rather than the vague and unbased
opinions, which Roger (Duff ) has aired so persistently
over such a long period.”
Publications
G.B. Stevenson, Journal of the Polynesian Society
( JPS), extract Vol.52, No.4, December, 1943,
Waitaki Maori Paintings
G.B. Stevenson, JPS Vol. 55, No.3, Sept, 1946,
Rock Paintings at Kokoamo, North Otago
Catalogue of Exhibition of Australian Aboriginal
Cave Paintings, London, 1947
W.A. Taylor, Pictographs and Moa Hunters, 1949
Exhibition of Schoon paintings by South Canterbury Historical Society, circa 1948.
Neil Roberts curator, Maori Rock Drawings, The
Theo Schoon Interpretations, Robert McDougall Art
Gallery, Christchurch, 1985
Articles
ployed by Schoon: Oil Ground, Ordinary white lead,
add 50% China Clay, add turpentine and Raw Linseed
oil to the …… Add powder colour mixed with turps as
desired
The close nature of the relationship between
William Vance and Schoon is revealed across
countless letters and an extensive file detailing advances and loans from Vance to Schoon, no doubt
to tide the artist over between payments from the
Department of Internal Affairs. Vance, as can be
deduced from the exchange of letters balanced the
demands of an artist in the field with the at times
parsimonious attitude of the Govt. Department
which refused Schoon’s requests for assistance with
transport and even denied the artist a field tent!
All the while it is clear that Vance was in no doubt
as to the importance of Schoon’s project and the
AO722FA Cat78 text p25-84.indd 58
privations the artist had to endure which ranged
from poor weather, difficult conditions, limestone
blasting within metres of important cave art sites.
Looming in the background is time pressure as a
consequence of impending flooding of the Waitaki
river as part of the hydro schemes of the late 1940s.
The archive also includes fascinating correspondence between Vance, Schoon, the Department of Internal Affairs and other govt bodies such
as Canterbury Museum and the Adult Education
Department of the Canterbury University College
on the subject of acquiring suites of photographic
prints. It is clear Schoon was adamant in owning
and not releasing negatives or selling a duplicate
set. There was, however clear demand from numerous institutions for suites of photographs.
Retaining control of the negatives was an avenue
The archive contains an extensive collection
of published articles and complete typewritten
copies of important documents.
Maori Rock Paintings, Memorandum dated 18th
November 1929. Prepared by the Dominion
Museum, Wellington for the The Under
– Secretary, Internal Affairs Department.
(typewritten copy)
Also another signed W.B. Oliver and dated 28th
May, 1929 which includes a typewritten copy
of a letter by J.L. Elmore dated 24th September
1916 addressed to Dr Thomson on the subject of
tracing and physically removing cave paintings
from various sites listed.
5/05/14 8:40 PM
Dr. J.D. Elmore, Prehistoric Art, Timaru Herald,
October 1916. (typewritten copy)
H.E. Wedde, Ancient Rock Paintings – Discoveries in
North Otago, Otago Daily Times, 2.7.46
J.R. Irvine, New Zealand’s Early Artists – Drawings
Near Albury, Timaru Herald, December 22, 1936
Maori Rock Drawings – Art of “Doodling?”,
Christchurch Press, 10.7.1947
J.T. Salmon, Report on trip to South Island, 25th
to 31st march, 1939, to Photograph Maori Rock
Paintings. (typewritten copy)
Visit by Dutch Artist –Study of Ancient Art Relics,
Southland Times, December 20, 1947
G.B. Stevenson, Maori Paintings Near Duntroon,
the Oamaru Mail, July 20, 1939. A fascinating
article which contains the prescient comment,
‘Above a floor of clean dry, light grey sand, some
ancient artist, using a mixture of red pigment,
probably hematite, and fish or bird oil, had painted a
number of crude figures, which, like some of our ultra
modern art require a good deal of interpretation, and
which have little, if any, resemblance to Maori Art, as
we know it in weaving or carving.’
G.B Stevenson was the author of the Journal of
the Polynesian Society ( JPS), extract Vol.52,
No.4, December, 1943 (see above) which is
credited with sparking Schoon’s interest in
recording the cave art.
Memorandum for the Under-Secretary
(Department of Internal Affairs) General File re
Maori Rock Paintings, prepared by J.D .Pascoe,
4th March, 1941, (typewritten copy). An
important document which compiles all known
interaction with the various cave art sites from
1916 until the date of the document, their level of
documentation and state of repair.
Roger Duff, Ethnologist, Canterbury Museum,
Report On Native Rock Drawings of South
Canterbury: Presented to the South Canterbury
Historical Society, February 15, 1946.
(typewritten copy)
It was this report which combined with the
lobbying of the South Canterbury Historical
Society of which William Vance was an active
member that led directly to the employment of
Theo Schoon later in 1946 to record the cave
drawings.
Theo Schoon, Dominion’s Oldest Art Gallery –
Pictures in Limestone Caves, The Weekly News,
January 7, 1948. Article illustrated with Taniwha
image – see lot 240
Ancient Rock Drawings Found in Southland,
Southland Times, January 10, 1948
Timaru Herald, various cuttings dating from
1943 to 1951 on the subject of the Cave drawings,
their recording and preservation including
the announcement on February 12, 1949 of an
exhibition at the Canterbury Museum of the
Schoon Cave drawings and an address by the
artist.
A.R.D. Fairburn, Polynesian Cave Drawings
published in Home & Building, June-July 1949.
The article includes a telling quote,“Mr. Theo
Schoon (who is a very fine painter in his own right)
has spent about three years recording these drawings …
In the course of his travels he has discovered about three
times as many as were previously known. I prophesy
that in times to come his name will be remembered
with gratitude by generations that have come to
appreciate the full value of these primitive works of
art.”
W.A. Taylor, Rock Paintings of Canterbury,
The Plainsman, January 1, 1950
New Zealand Cave Drawings in Danger, N.Z.
Listener, April 13 1951
William Vance (far right) leads an expedition into
cave art territory in his trusty Buick, late 1940s.
Photographs
Approximately 20 small vintage gelatin silver
prints of 65 x 110mm dms depicting various
cave art sites including Hart’s farm Waitohi,
Hazelburn Blackler and Doghead Rock Cave. An
annotation reads Photographs taken in 1918 by Mrs
Carlow of rock drawings in Mr Hart’s farm. This
date is supported by a letter dated March 13, 1946
by G.H. Carlow addressed to William Vance
which notes that the photographs were taken in
1917 or 1918.
A suite of approximately 22 small (dimensions
variable) vintage gelatin silver prints depicting
cave art field trips including William Vance in
the period 1948 – 50 to locations such as Ahuriri
River, Earthquakes, Pareora and Gould’s Shelter.
Also a vintage gelatin silver print (165 x 215mm)
depicting an exhibition of Schoon cave art
paintings by the South Canterbury Historical
Society, circa 1948.
$1500 – $2500
David Grace, Mystery of Cave Murals – Art of the
Maori, The Weekly News, October 6, 1952
Gerard O’Regan, The shifting place of Ngai Tahu
rock art, Ngai Tahu Maori Rock Art Trust, circa
2009
Rock Drawings Re-Assessed, Christchurch Press,
10.5. 1947
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Rodney Robertson Art collection
250. Theo Schoon
Untitled – Maori Cave Art Figures
relief print on butchers paper
285 x 385mm
$1000 – $1500
251. A.R.D. Fairburn
Study of Maori Rock Drawings
vintage screenprinted fabric mounted to board
640 x 800mm
$3500 – $5000
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252. Dennis Knight-Turner
Painting No. 6
oil on board
title inscribed, signed and dated 1952
355 x 340mm
$5000 – $7000
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253. Don Driver
Two Part Relief
mixed media
title inscribed, signed and dated
1974 verso
560 x 1130mm
$3000 – $6000
255. Robert Ellis
To the City Centre
oil on canvas
title inscribed, signed and dated
1966 EX10 No 16 verso
915 x 610mm
$4000 – $7000
254. Guy Ngan
Blue Formation No 6
oil on board
signed and dated ’75, title inscribed
on original artist’s label affixed verso
600 x 600mm
$3500 – $6000
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256. John Weeks
Still Life with Jug, Vase and Plate
collage
290 x 350mm
$2000 – $4000
257. Greer Twiss
Long Shadow
cast bronze with applied cellulose lacquer pigment
title inscribed, signed and dated 1970 to the underside
570 x 210 x 250mm
$2500 – $4000
259. Eileen Mayo
The Tree
screenprint, artist’s proof VIII
title inscribed and signed
480 x 300mm
$800 – $1500
260. Eileen Mayo
Moths on the Window
screenprint 10/35
Title inscribed and
signed
560 x 340mm
$800 – $1500
261. Don Ramage
Abstract Composition
screenprint
515 x 860mm
$200 – $400
258. Edgar Mansfield
The Rime of the Ancient Mariner
screenprint 6/25
signed, title inscribed on original
John Leech Gallery label affixed
verso
290 x 210mm
$400 – $700
262. The Original 4 Square Man
commercial art sign (section)
oil on board
420 x 330mm
$300 – $500
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Photography
263. Theo Schoon
Self-Portrait, circa 1980
C-type print
305 x 210mm
$1000 – $2000
Illustrated:
Michael Dunn, The Art of Theo
Schoon, Art New Zealand No. 25,
1982, p.22
also this catalogue, p.44
265. Theo Schoon
Opihi River View – Looking North
vintage gelatin silver print, circa
1947
title inscribed and signed photo
T.Schoon verso
235 x 285mm
$1500 – $2500
264. Michael Dunn
Theo Schoon on Location at
Waiotapu, 1965
gelatin silver print
305 x 305mm
$750 – $1250
266. Theo Schoon
Untitled – Waiotapu Mudpool
Composition with Fern
C-type print from original medium
format Kodak Ektachrome colour
transparency, image circa 1966
312 x 312mm
$2000 – $4000
267. Theo Schoon
Untitled – Waiotapu Mudpool Study
gelatin silver print
275 x 275mm
$2000 – $4000
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269. Theo Schoon
Untitled – Reflection, Refraction & Abstraction
gelatin silver print
305 x 305mm
$1500 – $2500
268. Theo Schoon
Untitled – Large Waiotapu Mudpool Study
C-type print, image circa 1966
300 x 600mm
$2000 – $4000
270. Steven Rumsey
Barry Woods at Retouching Desk (1953)
gelatin silver print
280 x 375mm
$200 – $400
Illustrated: Gordon H Brown, The Elusive
Modernist Steve Rumsey’s Camera Club Photographs
1948 – 1964, Art New Zealand 108
271. Barry Woods
The very thought of an anniversary
gives me a headache
gelatin silver print (1960)
title inscribed verso with Barry Woods,
Palmerston North stamp applied
390 x 320mm
$200 – $400
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Photographs from the Estate of Frank Hofmann
272. Frank Hofmann
Hofmann House, 75 Bell Road, Remuera
(designed by Vernon Brown), Auckland, 1948
vintage gelatin silver print
225 x 290mm
$2000 – $3000
Exhibited:
From Prague to Auckland The Photographs of Frank
Hofmann (1916-89), curated by Leonard Bell at the
Gus Fisher Gallery, The University of Auckland,
26 August – 29 October 2011.
273. Frank Hofmann
Waikato Heads
vintage gelatin silver print
title inscribed, signed and dated 1965 verso;
original Auckland Photographic Society Merit
award dated 8/4/65 affixed verso
300 x 370mm
$3000 – $5000
Illustrated:
Leonard Bell From Prague to Auckland The
Photographs of Frank Hofmann (1916-89)
Auckland University Press, 2011, p.37
Literature:
Leonard Bell, ibid, pp. 35-38.
274. Frank Hofmann
Composition with Cactus, 1952
vintage gelatin silver print
title inscribed and signed verso, original
Photographic Society of New Zealand, 4th
National Salon, Auckland, 1955 affixed verso,
annotated as Champion Print
355 x 285mm
$4000 – $6000
Exhibited:
From Prague to Auckland The Photographs of Frank
Hofmann (1916-89), curated by Leonard Bell
at the Gus Fisher Gallery, The University of
Auckland, 26 August – 29 October 2011.
Illustrated:
Leonard Bell From Prague to Auckland The
Photographs of Frank Hofmann (1916-89)
Auckland University Press, 2011, p.10, entitled
Reversal Design
Literature:
Leonard Bell, ibid., p.11
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275. Frank Hofmann
Hella Hoffmann at Treaty House Waitangi,
Summer 1966/67
C-type print on Ilford Cibachrome paper
title inscribed verso
385 x 385mm
$3500 – $5500
276. Frank Hofmann
Kiri te Kanawa
vintage gelatin silver print on Kodak Royal paper
title inscribed, signed and dated 1965 verso
370 x 300mm
$4000 – $6000
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Further Art
278. A.R.D. Fairburn
Study of Maori Rock Drawings
vintage screenprinted fabric mounted to board
650 x 614mm
$800 – $1500
279. Geoffrey Fairburn
Untitled – Rhythmic Figures
watercolour and mixed media on paper
signed G.E. Fairburn
360 x 405mm
$500 – $800
Provenance: previously in the collection of the
artist’s estate
277. Theo Schoon
Untitled – Maori Thigh Tattoo Design
screenprint, circa 1971
260 x 185mm
$500 – $800
280. Geoffrey Fairburn
Decorative Gourd in the manner of Theo Schoon
incised and stained with a rhythmic motif to the
neck and anthropomorphic figures to the body
h. 450mm
$300 – $500
281. John Middleditch
Painted construction
acrylic on board with wrought copper inset
title inscribed, signed and dated 1983 verso
600 x 600mm
$350 – $700
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282. Russell Clark
Tainui
graphite on paper
title inscribed
315 x 510mm
$2000 – $4000
283. Russell Clark
Wellington Harbour
watercolour, circa 1938 – 40
signed
$6000 – $9000
Illustrated: Michael Dunn, Russell
Clark, 1905 – 1966 A Retrospective
Exhibition, (Robert McDougall Art
Gallery, 1975), p.33
Catalogue note: When exhibited in
the 1975 retrospective exhibition
the work was dated 1938.
Subsequent research suggests the
ship depicted is the light cruiser
HMNZS Achilles. The New
Zealand National Collection of
War Art includes a gouache of, as
it was then, HMS Achilles, by the
artist Frank Norton. The passage
below is quoted from Te Ara – the
Encyclopedia of New Zealand
New Zealand’s first significant
military action in the war was
when HMS Achilles, one of New
Zealand’s two light cruisers, became
involved in the hunt for the German
warship Admiral Graf Spee which
had sunk nine British merchant
ships. Eventually, with two other
cruisers, the Achilles intercepted
the German warship and attacked it
on 13 December 1939. The Admiral
Graf Spee fled into the neutral
port of Montevideo, Uruguay, but
eventually the commander took it
out of the harbour and scuttled it.
Four men had been killed on the
Achilles. When the ship returned
to New Zealand in early 1940 there
was a huge welcome.
The National Library of New
Zealand Te Puna Matauranga o
Aotearoa also houses a photograph
by Sydney Charles Smith entitled
HMS Achilles at Aotea Quay,
Wellington with the date given as the
late 1930s.
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284. Mervyn Williams
Artifice
gouache on paper
signed and dated ’59, title inscribed verso
490 x 610mm
$2000 – $4000
285. Mervyn Williams
Maxim
acrylic on linen on board
title inscribed, initialled and dated ’71 verso
685 x 770mm
$5000 – $8000
Mervyn Williams began his
career as he intended to continue,
setting his sights on the standards
established by the international
modernist movement. In the midlate 1950s, remarkably while still
a teenager, he was painting highly
sophisticated
abstract
pictures
that recall mid-twentieth century
European abstractionists such as
Vieira de Silva, Georges Matthieu
and Victor Pasmore. In these early
gouaches, Williams was exploring
purely painterly matters, totally at
odds with the emphasis on landscape
and the local found in the work of
his contemporaries. (Remember that
abstract art was not a common sight in
New Zealand at the time, and most of
the artists who turned to abstraction
did so only after working through
representational
or
semi-abstract
styles.) The accumulation of loose
patches of colour and confident linear
marks generates a complex, ambiguous,
‘floating’ sense of space – a pictorial
world that is primarily optical in
the sense that it draws the eye of
the viewer in and around and about,
without representing an actual or
physical space.
The idea of testing and
manipulating the eye of the viewer
is central to the style known as Op
Art, to which Williams turned in
the 1960s, conjuring forth, out of flat
painted forms, an impression of threedimensionality and a wealth of dazzling
optical effects. Williams has said that
‘there is something about Optic art
that appeals to a more innocent side of
ourselves’,1 and this is supported by the
fact that, in contrast to the hostility that
greeted most twentieth century avantgarde movements, the compositions of
Bridget Riley, Victor Vasarely, Richard
Anuszkiewicz and others, quickly
sparked a fashion that spread beyond
the cloistered world of ‘high art’. Op
Art gave modernist abstraction a new
twist, jazzed it up and converted its
aspirations into something less esoteric
and metaphysical – something more
easily appreciated and in line with
the new mood of the 1960s, the rise
of popular culture and progressive
social movements. For Williams, it
represented the perfect mix of rigorous
abstraction and egalitarian appeal.
In 1960-70s New Zealand,
however, the reception for Op Art was
muted to say the least. Williams’ desire
to make crisp, pristine, vibrant images
that were about the act of perception
itself, was shared by only a few others,
notably Ray Thorburn and Gordon
Walters (and it is significant that
Walters invited Williams to exhibit
with him in a two-person show in
Christchurch in 1984). Yet the results
can now be appreciated as some of
the most radical and resplendent New
Zealand paintings of the period.
Ed Hanfling
1 Mervyn Williams, conversation with the
author, 30 April 2012.
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286. Roy Good
Untitled – Painting No.9
PVA and varnish on canvas
signed and dated R.G. ‘69
915 x 765mm
$4000 – $7000
Exhibited: Roy Good, Barry
Lett Galleries, Auckland, 1970
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287. Milan Mrkusich
Monochrome Green
acrylic on board, 13 sections
title inscribed, signed and dated ‘77 verso
712 x 405mm
$8000 – $12 000
Provenance: Private collection, Auckland
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288. Colin McCahon
Dark Landscape
synthetic polymer
paint and sawdust on
board, circa 1965
original Peter Webb
Gallery label affixed
verso
300 x 300mm
$20 000 – $25 000
Provenance: from
the collection of
Bob Harvey
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289. Colin McCahon’s Letterbox
From the artist’s residence at 10 Partridge Street,
Grey Lynn, Auckland
545 x 180 x 380mm
pigment over tin letterbox
$12 000 – $18 000
Provenance: from the collection of the artist
Paul Hartigan, acquired by him in 1989
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Colin McCahon’s letterbox
sits at the crossroads of a modernist
Duchampian readymade, collector
fetishism, artist homage and the
iconization of McCahon as New
Zealand’s greatest 20th century artist –
a position which renders his signature
an emblematic brand in its own right
– a Pacific Picasso. Like the French
master whose signature has moved
from the canvas to the Citroen car,
McCahon’s distinctive use of type has
entered the realm of the commercial
signifier in the form of a dedicated
typescript created by designer Luke
Wood in 2003. The McCahon font
has subsequently been used for
exhibition design and even a fruit juice
label. The font designer has stated
that the move from the canvas into
ad land was a nervous one for him,
but he noted that McCahon is on
record as citing rural roadside
fruitstand signs as being examples
of the New Zealand vernacular that
can be read into his work.
Paul Hartigan is another
artist who has mined this territory:
the intersection of conceptual art
thinking with the quotidian signs of
the street. Hartigan is perhaps most
well known for utilising that most high
profile of all signage materials: neon.
As an artist Hartigan has located his
practice within a diverse range of ‘non
art’ materials with neon being just
one that sits outside the descriptor, oil
on canvas. If any artist can be said to
be alert to the power of the sign it is
Hartigan. Works such as Pathfinder
which adorns the exterior of the
Govett Brewster, Whipping the Wind,
Wellington and of course the ebulliant
Colony located at the University of
Auckland School of Architecture have
themselves become visual reference
points both on our streets and in our
public galleries.
It is in this context that the
artist freely admits having coveted
this humble letterbox since first seeing
it in the collection of an art world
colleague in the 1970s, “the first time
I saw this I thought it was a complete
knock out. I begged the owner at the
time to give me first right of refusal if
he ever thought of selling of it. More
than a decade later I got the phone
call. I became so obsessed with this
‘McCahon’ that I had to create the
work Temple in 2006. It shows the
letterbox as it has sat in my studio for
over 20 years.”
The studio is of course the
world famous in Auckland, Snake
Studios
where
Hartigan
works
surrounded with vintage neon,
artwork, artist trades with colleagues
and a fantabulous collection of kiwiana,
Fun Ho!, Crown Lynn and the plain
interesting. Hartigan is an artist
whose work is informed by a collector’s
sensibility. He is well known to the
staff of auction houses and is regarded
as an authority on many key areas of
New Zealand cultural production.
Paul Hartigan, TEMPLE 2006, pigment print,
edition of 50.
In most cases he is years ahead of the
collecting curve.
Today the artist is selling this
piece to assist in funding a future
project, currently under wraps. He
is more than philosophical about the
parting, “selling something like this
treasure creates a range of emotions,
but I am excited about a new collector
experiencing such a unique piece that
somehow to me sums up the New
Zealand experience. I hope that it gets
them thinking and gives them the
pleasure it has given me for the last
twenty five years.”
Hamish Coney
Quotes from a conversation between
Paul Hartigan and Hamish Coney, May 2014
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290. Guy Ngan
Habitation #237
cast bronze on marble base
signed and dated 1999 with artist’s
impressed mark
180 x 180 x 150mm
$8000 – $12 000
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291. Guy Ngan
Animated Colours
screenprint 3/50
title inscribed, signed and dated 1973 (2009)
990 x 690mm
$1600 – $2500
292. Don McAra
Untitled – Abstract Tower Forms
oil on canvas mounted on board
signed and dated ‘65
1230 x 1550mm
$2000 – $4000
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293. Freda Simmonds
Red Cliffs, Kerr Point
oil on board
signed and dated ’66, title inscribed verso
440 x 745mm
$1500 – $2500
294. A.M. Stevens
Painting “R”
oil on canvas mounted on board
title inscribed, signed and dated
1973 verso
555 x 655mm
$500 – $1000
295. Andre Brooke
Composition No.1
oil on board
830 x 1000mm
$1000 – $1500
296. Andre Brooke
Still Life No. 4
oil on board
title inscribed and signed verso
900 x 590mm
$1500 – $2500
297. Roderick David Finlayson
Untitled – Kumara Harvest at
Pukehina
watercolour and graphite on paper
initialled RDF and dated 1930
400 x 250mm
$500 – $800
298. Patrick Mace Hutchison
Untitled – Symbolic Composition
watercolour
signed P.M. Hutchison
390 x 580mm
$500 – $800
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299. John Crichton
On the Beach
watercolour
signed and dated 1954,
title inscribed verso
540 x 405mm
$1000 – $2000
300. Violet Jolly
Little Miss Muffet
watercolour, circa 1950s
signed
515 x 590mm
$400 – $600
301. E. Mervyn Taylor
Profile
woodblock print and linocut, edition of 40
title inscribed and signed, original Hutt Art
Society Collection label verso
320 x 220mm
$1000 – $1500
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303. Geoffrey Fairburn
Flag Day II
watercolour and gouache on paper
signed G.E. Fairburn, title
inscribed, signed and dated 1985
verso
198 x 285mm
$500 – $800
Provenance: previously in the
collection of the artist’s estate
305. Geoffrey Fairburn
Untitled – Abstract Composition
watercolour
signed and dated 1990 verso
395 x 290mm
$600 – $1000
302. Geoffrey Fairburn
Early Morning
watercolour
signed G.E. Fairburn, title
inscribed, signed and dated 1960
verso
350 x 240mm
$500 – $800
Provenance: previously in the
collection of the artist’s estate
Provenance: previously in the
collection of the artist’s estate
304. Geoffrey Fairburn
Tropical Landscape
watercolour
title inscribed, signed G.E. Fairburn
and dated 1960 verso
390 x 285mm
$600 – $1000
Provenance: previously in the
collection of the artist’s estate
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306. Buck Nin
Untitled – Still Life
etching
signed and dated ‘62
310 x 205mm
$200 – $400
307. Ross Ritchie
Christ
oil on board
signed and dated ‘63
610 x 580mm
$500 – $800
308. Sam Cairncross
Clouds Over Ruapehu
oil on board
500 x 570mm
$500 – $1000
309. Ted Dutch
Two Figures
lithograph, 12/25
title inscribed, signed and dated ‘70
500 x 655mm
$400 – $600
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Conditions of sale
Please note: it is assumed that all bidders at auction have read and agreed to the conditions described on this page.
ART+OBJECT directors are available during the auction viewing to clarify any questions you may have.
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vendor’s reserve having been reached.
The auctioneer has the right to refuse any
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and catalogue lots offered for sale.
Notwithstanding this neither the vendor
nor ART+OBJECT accepts any liability
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This includes all registered absentee
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Payment: Successful bidders
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11.
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as sold ‘subject to vendor’s authority’
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8.
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legal remedy for breach of contract.
Important advice
for buyers
The following information does not form
part of the conditions of sale, however
buyers, particularly first time bidders are
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A.
Bidding at auction: Please ensure
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Absentee bidders must make provision
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These are accepted up to 2 hours prior to
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Telephone bids: The same
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highly preferable to bid over a landline
as the vagaries of cellphone connections
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be telephoned prior to your indicated
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the phone is engaged or connection
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D.
New Zealand dollars: All estimates
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82
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Absentee
bid form
This completed and signed form authorizes ART+OBJECT to bid on my behalf at the above mentioned
auction for the following lots up to prices indicated below. These bids are to be executed at the lowest price levels
possible.
Auction No. 78
Lot no.
I understand that if successful I will purchase the lot or lots at or below the prices listed on this form
and the listed buyers premium for this sale (15%) and GST on the buyers premium. I warrant also that I have
read and understood and agree to comply with the conditions of sale as printed in the catalogue.
Description
Bid maximum (New Zealand dollars)
Modernism in New Zealand
21 May 2014 at 6.30pm
ART+OBJECT
3 Abbey Street
Newton
Auckland
PO Box 68 345
Newton
Auckland 1145
Telephone: +64 9 354 4646
Freephone: 0 800 80 60 01
Facsimile: +64 9 354 4645
info@artandobject.co.nz
www.artandobject.co.nz
Payment and delivery: ART+OBJECT will advise me as soon as is practical that I am the successful bidder of the lot or lots described above.
I agree to pay immediately on receipt of this advice. Payment will be by cash, cheque or bank transfer. I understand that cheques will need to be
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me to arrange for packing and dispatch of goods I agree to pay any costs incurred by ART+OBJECT. Note: ART+OBJECT requests that these
arrangements are made prior to the auction date to ensure prompt delivery processing.
Please indicate as appropriate by ticking the box:
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Signed as agreed:
To register for Absentee bidding this form must be lodged with ART+OBJECT
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1. Fax this completed form to ART+OBJECT +64 9 354 4645
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3. Post to ART+OBJECT, PO Box 68 345 Newton, Auckland 1145, New Zealand
AO722FA Cat78 text p25-84.indd 83
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265. Theo Schoon
Opihi River View – Looking North
vintage gelatin silver print, circa 1947
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ose Bribiesca Don Ramage A.R.D. Fairburn Juliet Peter Robert Ellis R
Good Eileen Mayo John Weeks Don Driver Roy Cowan Garth Cheste
Bob Roukema John Crichton Len Castle Modernism in Russell Clar
ervyn Williams Colin McCahon Ted Dutch New Zealand Andre Broo
rank Hofmann Freda Simmonds Greer Twiss Theo Schoon Ross Ritch
Geoffrey Fairburn Frank Carpay Ruth Castle Jova Rancich John Mid
dleditch Elizabeth Matheson Mirek Smisek Richard Parker Jeff Schol
Anneke Borren Robyn Stewart Peter Stichbury Milan Mrkusich Barr
rickell Jean Ngan Vivienne Mountfort Georgia Suiter Theo Jansen
vid Trubridge Ces Renwick Edgar Mansfield Peter Sauerbier Steve Ru
sey Dorothy Thorpe LeVi Borgstrom Simon Engelhard Tony Fomiso
Paul Maseyk Rick Rudd Doreen Blumhardt Art+Object Leo King Patr
a Perrin David Brokenshire Manos Nathan 21 MAY 2014 Wi Taepa Mu
Moody Warren Tippett Elizabeth Lissaman Buck Nin E.Mervyn Taylo
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