Cordys

0001

Guy Ngan (1926-2017) — Artist and collector
Sorting through Guy’s things before his house sold, I was struck by his wide range of creativity and interests. He worked in wood, pounamu, bone, aluminium, bronze, copper, oils, watercolour, ink, pencil, Perspex, concrete and tiles to create murals, sculpture, paintings, drawings, screen prints, furniture or jewellery. With a curious mind, he collected books and ceramics, Chinese calligraphy and scrolls, and pieces from his travels or his time as Director of the NZ Academy of Fine Arts (1976-86). He gathered the work of friends and artists he admired, including Hundertwasser — a longstanding friend since the 1970s. Guy identified as Pacific Chinese and made his living as a wood carver, designer and artist. His sensibility of Chinese and Asian art grew from his early schooling in Guangzhou and later travel throughout Asia. His Western art and design whakapapa derived from study at Wellington Technical College, London’s Royal College of Art and extensive travel in Europe and the US. His embrace of Māori and Pacific art evolved from an interest in local arts and materials, and his love of the natural environment. He fervently believed that good design could make the world a better place and that artworks or beautiful crafts in public and private settings added to the enjoyment of life. He built his home along these lines — white plaster walls for displaying art, shelves to hold books and ceramics, windows to capture views of a garden or sculpture, a fish pond for contemplation and calm, workspaces for heavy machinery or for finer work. His house and garden were full of interesting crafts, plants, river stones and driftwood, and constantly changing sculpture, pictures and pots. Guy’s living space was an extension of his creative expression, as well as a home to raise a family in and to welcome friends to. He loved to cook and to grow things, to talk history or the news of the day. He was generous in supporting other artists and craftspeople through the exchange of ideas and by connecting them with collectors and buyers. This estate sale represents a portion of Guy’s work and collections from the 1960s to the 2000s. There are favourite pieces he made or collected because he liked them, items that decorated his house or which appeared in his garden. Thanks to Andrew and the Cordy’s team for their understanding of Guy’s kaupapa and their care in bringing this sale to fruition. Liz Ngan, Sep 2019 Guy’s daughter

0001A

Wonderwall
I first met Guy Ngan in 1991 while searching out works for the Auckland Art Gallery’s 1950s Show. This was the gallery’s first exhibition of New Zealand design in decades and there was some leeway as to which artists might be included. Ngan was then best known for large public murals in both Auckland and Wellington undertaken in the 1950s. One of these, atop Bledisloe house, had caught the attention of artist Julian Dashper and Ngan was, unbeknownst to the artist, undergoing his first revival of interest among a younger generation. However to many establishment figures, Ngan, ex Director of the Academy of Fine Arts, was more a curiosity than an artist to be taken seriously. At that time there were a number of senior New Zealand artists who had worked as graphic or interior designers through the 1950s. Later, having established themselves as professional artists they were keen to leave the whole idea of design behind them. To them my research was a vague threat, as it risked exposing elements of their long forgotten past, that they felt detrimental to their art careers. It’s an observation that reflects the low regard we then had for local design as much as it does the attitudes of a generation of artists. Knowing all this I half expected a frosty response but arriving at the Ngan house in Stokes Valley, not only did I get a warm welcome but I knew immediately that here was an artist who thought differently. The ideal of fifties modernism was to live in a fully realised and integrated environment in which all objects were aligned with the vision of the house. In turn, that house and its landscape should be bound together, as were the occupants in their communities. The Ngan house expressed this perfectly but what most impressed me was one wall of his studio, made in plywood with simple horizontal battens. Here changing displays of his work in painting, printmaking, graphic design and sculpture (represented in photographs) jostled for attention. The key to understanding how a collector might approach Ngan, is to know he loved murals, printmaking, painting and sculpture, as he loved architecture and gardening but unlike many of his contemporaries he never came to impose hierarchies on those pursuits. A Ngan work is a Ngan work, it’s as simple as that, they all received the same meticulous attention. In recent years Ngan has come to be seen as an important modernist artist, symbolic of a more diverse New Zealand modernism than initially supposed. Recent exhibitions Guy Ngan: Habitation (2019) at the Dowse Art Museum in Lower Hutt and Either Possible or Necessary (2019) at Artspace Aotearoa in Auckland, have bought Ngan widespread and much deserved attention. As to my own project, at the end, of a pleasant day, I selected two drawings. These were interiors done while Ngan was at Stephenson & Turner. Depicting commercial spaces and slightly incongruous in the context of the finished show, which had taken a more domestic slant, I doubt anyone paid them much attention. I know now, after almost thirty years of curation, it was Guy Ngan’s wall of art and design, I should have included. Douglas Lloyd Jenkins

0001B

Doreen Blumhardt
spherical stoneware pot with band of brushed wax resist decoration. Impressed mark. H.240mm.

Realised: $440

0001C

AUCTION ROOM PHOTOS
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0002

Doreen Blumhardt
three bowls; one deep with brushwork frieze, one with pouring lip, one with gestural decoration to the well. Dia.180, 180 and 235mm.

Realised: $120

0003

Doreen Blumhardt
squat circular lidded box and two small sedge vases. Dia.120, 75 and 60mm.

Realised: $130

0004

Doreen Blumhardt
large squat circular vase, mottled olive with cobalt to the shoulder. Dia.300mm.

Realised: $210

0005

Doreen Blumhardt
large stoneware floor vase. c.1980s. Impressed artist's cipher. Dia.370mm

Realised: $375

0006

Doreen Blumhardt
bottle vase with heavy feldspar glaze. Impressed mark. H.370mm

Realised: $260

0007

Graeme Storm
large circular shallow bowl, tenmoku glaze with eight-petaled flower head motifs to the well. Impressed marks. Dia.490mm.

Realised: $550

0008

Juliet Peter
large ovoid stoneware vase, with negative resist pattern. Incised mark. Firing cracks to side. H.350mm.

Realised: $480

0009

Juliet Peter
salt glazed horse sculpture with candle holder to back. c.1970s. H.420mm

Realised: $3,600

0010

Len Castle
three spherical vases, graduating sizes, umber pigmented, impressed mark to each. Tallest 150mm.

Realised: $575

0011

Len Castle
early discoid wall vase, ash glazed with umber pigmented mouth. Impressed mark. Dia.275mm.

Realised: $375

0012

Len Castle
two porcelain double aperture grass vases, umber pigmented, impressed mark to each. Tallest 140mm.

Realised: $500

0013

Len Castle
yellow glazed bowl, c.1970s. Impressed mark. Dia.275mm

Realised: $525

0014

Len Castle
a squat circular vase with deep green glaze, two umber pigmented spherical small vases and an ash glazed circular box, with hairline crack to lid. Dia.125, 100, 85 and 130mm.

Realised: $160

0015

Len Castle
stoneware spike wall vase with impressed pattern and oxide pigmented detail. H.285

Realised: $875

0016

Len Castle
a shallow bowl, chun glazed interior and tenmoku exterior. Dia.215mm.

Realised: $675

0017

Len Castle
stoneware spherical vase with rich tenmoku glaze. Impressed mark. H.160mm

Realised: $250

0018

Campbell Hegan
squat ovoid vase with rich sang de boeuf glaze. Impressed mark. H.150mm.

Realised: $225

0019

Jean Hastedt
shino glazed teapot and two covered jars. Pot H.180, jars H.110mm.

Realised: $170

0020

Peter Stichbury
a set of four small bowl, dia.135mm; a two handled bowl, dia.240mm; and two others, dia.135mm and 175mm. Impressed mark to each.

Realised: $160

0021

Barry Brickell
set of four mugs, hand-thrown with 'mushroom' side handles, variously green-brown glazed. Impressed mark beneath handles. H.115mm

Realised: $1,000

0022

Jean Hastedt
three porcelain boxes, two tall with lug handles, one squat with fused lid. H.180, 155 and 100mm.

Realised: $260

0023

Jean Hastedt
three porcelain boxes, two tall with lug handles, corner chip to one, and one cube shaped. H.170, 155 and 100mm.

Realised: $240

0024

Jean Hastedt
shino glazed lidded jar and bowl, H.195, Dia.175mm.

Realised: $120

0025

Peter Stichbury
two coffee mugs, two short stemmed goblets and two small bowls. All with impressed mark

Realised: $80

0026

Juliet Peter
three squat circular, small, multi-aperture vases. Incised marks. Dia85, 85, 80mm.

Realised: $110

0027

Juliet Peter and Roy Cowan
a salt glazed pig money box, all legs repaired; and two plates incised mark JRC.

Realised: $140

0028

Peter Collis
two red glazed orb vases and two circular lidded boxes. H. 115 and 100mm, Dia. 95mm

Realised: $240

0029

Kingsley Baird
untitled bronze wall sculpture, signed, dated 1990, edition 3/6. H.235mm.

Realised: $800

0030

Ted Kindleysides Bronze reclining figure
on rosewood plinth. L.150mm

Realised: $375

0031

Jonathan Campbell
bronze female wetapunga. L.350mm

Realised: $850

0032

Jonathan Campbell
bronze female wetapunga and male tusked wetapunga, initialled and dated '07. L.390mm

Realised: $1,600

0033

Jonathan Campbell
'Wetapunga', cast silver mounted on acrylic plinth. Losses to two legs. L.130mm.

Realised: $160

0034

Nephrite pendant
disc form with double koru piercing. Dia.75mm

Realised: $550

0035

Nephrite pendant
bi disc form. Dia.75mm.

Realised: $275

0036

Nephrite sculpture
square form with koru piercing. 65 x 65mm

Realised: $325

0037

A sculpted leather ram skull
with natural horns and 'radiator mask'. W.340mm.

Realised: $320

0038

Anneke Borren
ceramic black on black glazed jar with bamboo handle, c.1985-91. H.215mm.

Realised: $280

0039

Gita Berzins
anagama fired stoneware 'eroded' vase. Impressed mark. c.1985. H.475mm

Realised: $160

0040

Doris Dutch
four vases, one of squat circular form with asymmetrically placed tall neck, the others of boulder shape with multiple pierced openings, the larger with impressed pattern. Tallest H.130mm.

Realised: $160

0041

Four pottery pieces
a lidded box, a yunomi, a small bowl and a cork stoppered jar. Various unknown makers

Realised: $115

0042

Ian Firth
a small casserole, an olive jar and a small bowl, each tenmoku glazed and with gestural resist decoration. Dia.180, H.210, Dia.145mm.

Realised: $90

0043

James Greig
stoneware coffee pot. Incised initials. H.215mm.

Realised: $160

0044

Martin Beck
two stoneware vases mallet shaped with sculptural decoration and partial glaze. H.160 and 130mm.

Realised: $100

0045

Rosemarie Brittain
six small bird sculptures, variously glazed.

Realised: $340

0046

Rosemarie Brittain
seven small bird sculptures.

Realised: $380

0047

Rosemarie Brittain
bird sculpture, coiled and slab built with oxide wash. H.200mm.

Realised: $260

0048

Rosemarie Brittain
bird sculpture, coiled and slab built with oxide wash. H. 240mm. Small beak chip.

Realised: $240

0049

Rosemarie Brittain
bird sculpture, coiled and slab built with oxide wash. H.195mm.

Realised: $300

0050

Onlie S.M. Ong
ceramic banana sculpture, applied label. L.410mm.

Realised: $380

0051

Keith Blight
pottery slab sided vase. H.350mm.

Realised: $300

0052

A NZ studio glass vase
amethyst with gold panels, signed and dated '99, inscribed Jean and Guy. H.170; along with an amethyst glass orb.

Realised: $80

0053

Graeme Storm
small bottle and twelve various small pottery items.

Realised: $90

0054

A turned black maire bowl
two porcelain apples, porcelain bowl, etc.

Realised: $110

0055

Paul Fisher
lidded stoneware box; unknown potter anagama teapot and small vase,

Realised: $180

0056

Artist unknown
salt glazed earthenware arched construction. 390 x 280 x 180mm.

Realised: $220

0057

Anneke Borren
black on black cylindrical jar, with turned bone spire finial lid by Owen Mapp. H.290mm

Realised: $260

0058

Nola Barron
sculptural vase and two faceted orbs, shino glazed. H.210mm

Realised: $550

0059

George Kojis
sculptural vase and tall lidded box. Incised signature and dated '80 and '81. H.485 and 270mm

Realised: $240

0060

George Kojis
ovoid vase and cylindrical lidded jar, incised signature to both, the jar dated 1.80. H.300 and 445mm

Realised: $200

0062

George Kojis
freeform sculptural pottery lidded container. H.500mm

Realised: $160

0063

Two large pottery lidded jars
one with trailed glaze to the shoulder, the other with glazed interior (lid reglued). H.320 and 350mm

Realised: $160

0064

Garry Nash
translucent yellow glass bowl decorated with scattered murrines. Signed and dated '98. Dia.250mm

Realised: $425

0065

Keith Blight
four porcelain blade forms; and Julia Van Helden stoneware 'rock'. H.110 and 70mm

Realised: $100

0066

Teal Valley Pottery
squat circular vase, E. Stevens squat spherical vase and another of ovoid shape. Tallest 155mm

Realised: $80

0067

Guy Ngan
'Tiki Hands', acrylic on board, signed and dated '92. 900 x 900mm. Tiki Hands and Anchor Stones The inspiration for Tiki Hands and Anchor Stones comes from the discovery of new lands by the Polynesian people. Other seafarers have discovered land by design or by mistake. The Polynesians made the biggest discovery of all because the Pacific Ocean is enormous. For anything, there must be a beginning. Some time ago, I noticed that the same place names occurred in Japan and New Zealand – Otaki, for example. Also, the Japanese and Maori languages appeared to be similar. In Japanese, a river is called ‘kawa’; in Maori, it is ‘awa’. I thought there must be a connection. Say that about 10,000 years ago, at the end of the recent Ice Age, there was a tribe in Japan. Like all human beings, they were looking for something better. So, they took to their boats and headed south, searching for more food and a warmer climate. They might have found islands to settle, such as Okinawa and then Taiwan. Over the years, the people kept moving south, out into the Pacific. Some would get to Indonesia and Fiji, then east to the Marquesas. They would move from there to Tahiti and finally to Hawaii. How did the people know where to go? They had few instruments and no written language. My theory is this. When you live on an island, you see birds that come and go. When the birds take off and head out to sea, you wonder where they go. They must land somewhere. So, the tribe would sail out, looking for the land where the birds went. If you look at some seabirds, their webbed feet look as if they only have three ‘fingers’. Like early Maori carvings that only have three fingers, I have used these in the Tiki Hands paintings. It represents the birds the early Polynesian people might have followed when they set sail into the unknown ocean. When the people found land, they found anchorage. A place to settle down. Perhaps a better place than they had come from. The Anchor Stones represent settling down in a new land. I have much pleasure in showing some of my works that pay homage to the early Pacific people. Courageously, they discovered so many islands that we unhesitatingly call paradise. Guy Ngan March 2006

Realised: $27,000

0068

Guy Ngan
'Tiki Hands 1971' [Variation No2 completed 2007], acrylic on board, signed, inscribed and dated '94 (1994-2007). 900 x 895mm.

Realised: $25,000

0069

Guy Ngan
'Tiki Hands' (Generations), acrylic on board, signed and dated 2008. 1215 x 900mm

Realised: $20,000

0070

Guy Ngan
untitled Tiki Hands variant, acrylic on canvas. 1210 x 915mm

Realised: $17,000

0071

Guy Ngan
untitled Tiki Hand variant, acrylic on canvas, signed and dated 2012 (on side). 800 x 1000mm. Cf. Tiki Hands II (Green Fingers) c.2005, 810 x 1215mm, another variant, Exhibited: 'Guy Ngan, Journey, aluminium panel, Tiki Hands and Anchor Stones', City Gallery Wellington 2006 and 'Tiki Tour', Whangarei Art Museum 2006. sold at Cordy's Aug 2007

Realised: $10,000

0072

Guy Ngan
'Searching for Tiki Hands 1973' , oil and woodcut on board, signed and dated (1973) c.2005. 610 x 1200mm. Exhibited: City Gallery, Wellington, Guy Ngan: Journey: Aluminium Panel, Tiki Hands, and Anchor Stones 18 June–24 September 2006.

Realised: $8,000

0073

Guy Ngan
untitled [4 x /4], acrylic on board, signed and dated 1971 verso. 1215 x 1215mm.

Realised: $8,500

0073A

Guy Ngan
'Impression of Yangshou', acrylic on board, signed and dated 2001. The title gained from the caption of the work illustrated in 'Guy Ngan, Scrapbook Number One', the area in southern China is renowned for the Li River and soaring karst mountain scenery. 1210 x 765mm

Realised: $5,200

0074

Guy Ngan
'Procreation No.2', acrylic on board, signed and entitled verso, label affixed verso: Artist's Collection N.F.S., c.1969. 1215 x 1215mm. Illustrated 'Guy Ngan, Scrapbook Number One'. Exhibited: Artspace -Aotearoa 'Guy Ngan: Either Possible or Necessary' 7 June – 17 August 2019.

Realised: $13,500

0075

Guy Ngan
'Aperture 283', acrylic on board, signed, dated 1974 verso. 1195 x 895mm

Realised: $3,700

0076

Guy Ngan
untitled, acrylic on board, signed and dated '69. 610 x 610mm

Realised: $2,800

0077

Guy Ngan
small bronze anchor stone. signed, numbered 2A, (Chinese character) and date 93. On green marble plinth base H.210mm. Bronze dimensions W.150 x D.140 x H.145mm. Exhibited: City Gallery, Wellington, Guy Ngan: Journey: Aluminium Panel, Tiki Hands, and Anchor Stones 18 June–24 September 2006

Realised: $8,500

0078

Guy Ngan
'Ink Painting' (Reflector Series), signed and dated '85. 600 x 970mm. Exhibited: Artspace -Aotearoa 'Guy Ngan: Either Possible or Necessary' 7 June – 17 August 2019.

Realised: $3,200

0079

Guy Ngan
'Australasia No.2', oil on board, signed and dated '73, entitled verso. 795 x 1900mm. Exhibited: Artspace -Aotearoa 'Guy Ngan: Either Possible or Necessary' 7 June – 17 August 2019. Too big to be confined ‘Australasia No.2’ (1973) conjures with the idea of a ‘landscape’ too big to be confined. Here compartments break down into contours, only to be overlaid with plans of ancient city walls, mounds and barrows all encircled by pre-historic tracks, linked by winding roads, bordered by canals and waterways that carry pale silt which break high-tide lines before flowing across beaches into dark seas. Ngan used this concept, painted in verdant greens, for his companion Waoku series, which in te reo refers to dense forest, reflecting an aerial view but also an embrace within the realm of Tane. Companion ideas to ‘Australasia No.2’ and the Waoku series also informed the design for the massive collaborative textile project ‘Forest in the Sun’ (1976) for the Beehive. In 1972 Ngan and his family made a trip to the Outback, after he won a sculpture competition for the town of Stanthorpe, Queensland. Liz Ngan recounts his fascination with the insect trails, landscape, rock formations and people. ‘Australasia No.2’ hints at great sandy deserts, tributaries of the Yellow River in China, mudflats of the Manukau harbour and, in Ngan’s lexicon, whispers of the migrations of people that populated and abandoned those places. We may call Ngan a New Zealand artist, but he called himself Pacific-Chinese, a twelve-year old émigré refugee from the Sino-Japanese war, with a complicated history of family, travel, employment and education. He thrived on that artistic and cultural complexity and his output was broad and multi-disciplinary. In the decade in which ‘Australasia No.2’ was produced Ngan was at the height of his powers, producing public art, including the mural for the Newton P.O in Karangahape Road and taking on the directorship of the NZAFA. ‘Australasia No.2’ is a major work, remarkable in scale, that comes from a period of incredible creative fertility. Ross Millar

Realised: $40,000

0080

Guy Ngan
Untitled stacked cubes, laminated tawa, signed and dated 1980. Each 190mm cube with internal tapering shafts opening to various sized apertures. This work has references to Ngan's 1974 Geometric Growth sculpture in Wellington. Originally sited on Victoria St, removed in 1989 for the Civic Square development, restored and reinstalled on Wakefield St in 2006.

Realised: $4,100

0081

Guy Ngan
untitled aluminium sculpture, three textured geometric aluminium sections on central stainless steel rod, on marble cube base. 530 x 470 x 670mm. Exhibited: The Dowse Art Museum 'Guy Ngan', 2019.

Realised: $2,600

0082

Guy Ngan
untitled Anchor Stone, laminated hardwood. 600 x 185 x 190mm (with associated H.1040mm plinth). A rare variant of the anchor form with a taller structure.

Realised: $17,000

0083

Guy Ngan
'Elevating Worms', stainless steel. c.2011. H.1470mm. A companion work to the Stokes Valley Shopping Centre sculpture gifted by Ngan to the community. Exhibited: Artspace -Aotearoa 'Guy Ngan: Either Possible or Necessary' 7 June – 17 August 2019.

Realised: $8,500

0084

Guy Ngan
'Nineteen Seventy Six', acrylic and lacquered wood, artist's label underneath. Illustrated: New Vision Gallery exhibition preview invitation 18 July 1976. Exhibited: New Vision Gallery 'An Exhibition of Works by Guy Ngan 19-30 July 1976. Artspace -Aotearoa 'Guy Ngan: Either Possible or Necessary' 7 June – 17 August 2019. 1976 It was Kees and Tine Hos, founders of the New Vision Gallery, who enticed Guy Ngan to mount one of his few solo shows at their prestigious New Vision Gallery in His Majesty’s Arcade, Auckland in 1976. Although an enthusiastic and prolific maker Ngan had turned down a number of offers to show in galleries. Convinced by the Kees and Tina the time was right Ngan designed his own preview invitation and catalogue, the cover of which was dominated by 'Nineteen Seventy Six'. Conceived and made after NASA’s Apollo moon shots and before the first manned space station Skylab had crashed back through earth’s atmosphere ‘Nineteen Seventy Six’ hints at an environmental-themed science fiction film set with open-ended possibilities. The hemispheric domed architecture of 'Nineteen Seventy Six' was an extension of themes explored in ‘Procreation No.2’ (lot 74), however whereas there Ngan had introduced a pair of minute figures on the planetary discs of the painting and photographed his ‘Habitation’ series bronzes populated with miniature figures, here he left the towers and scaffolding, under the violet dome of ‘Nineteen Seventy Six’, devoid of people. The sculpture seems to hint, not at an empty biosphere, but rather the prospect of existence on other planets or worlds. Ross Millar

Realised: $4,000

0085

Guy Ngan
large bronze sculptural component. This piece appears similar in size and casting style to component pieces of the fifty piece (Taiaha 1972) sculpture Ngan made for the Reserve Bank Building, Wellington. 480 x 410 x 310mm

Realised: $3,100

0086

Guy Ngan
untitled 'whalebone' sculpture, cast acrylic on travertine base. A version, additionally rendered in bronze with perforations in two areas, the bronze example illustrated twice in 'Guy Ngan, Scrapbook Number One'. H.310mm.

Realised: $1,000

0087

Guy Ngan
bronze torso, on marble plinth, signed and dated 2001. Illustrated 'Guy Ngan, Scrapbook Number One'. H.245mm

Realised: $4,000

0088

Guy Ngan
untitled 'whalebone' sculpture, cast acrylic with metallic paint finish. A version, additionally rendered in bronze with perforations in two areas, the bronze example illustrated twice in 'Guy Ngan, Scrapbook Number One'. H.310mm.

Realised: $1,000

0089

Guy Ngan
'Wilderness 4', ink and watercolour on paper, signed, inscribed and dated 1979. 595 x 890mm

Realised: $2,400

0090

Guy Ngan
'Wilderness 5', ink and watercolour on paper, signed, inscribed and dated 1979. 595 x 890mm

Realised: $2,200

0091

Guy Ngan
'Wilderness 6', ink and watercolour on paper, signed, inscribed and dated 1979. 595 x 890mm

Realised: $3,200

0092

Guy Ngan
'Wilderness 9', ink and watercolour on paper, signed, inscribed and dated 1979. 595 x 890mm

Realised: $2,000

0093

Guy Ngan
'Blue Habitation 9', ink and watercolour on paper, signed, inscribed and dated 1979. 890 x 595mm

Realised: $4,500

0094

Guy Ngan
untitled - bone blade with piercing and aperture outlined with braided nylon cord lashing and pigment drawings. L.1110mm.

Realised: $1,200

0095

Guy Ngan
untitled bronze blade sculpture, c.1988. H.955mm incl marble base.

Realised: $3,600

0096

Guy Ngan
Untitled amethyst totem, ceramic and acrylic encased mineral specimen. H1180mm.

Realised: $450

0097

Guy Ngan
'Rice cake, Tokyo', acrylic on board, signed, entitled and dated 1984. 1980 x 525mm

Realised: $5,000