Cordys

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

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

0163

A large and impressive Roy Cowan sculptural garden pot
the swollen stoneware body with a mouth and shoulder modelled with scrolls reminiscent of a Ionic capital. 730 x 270 x 860mm. Illustrated front cover NZ Potter Magazine volume 13 number 2, Spring 1971.

Realised: $18,500

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

0070

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

Realised: $17,000

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

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

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

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

0073

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

Realised: $8,500

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

0100

Guy Ngan
'Sun Dance over the Central Kingdom', acrylic on canvas, signed, dated 2009 and entitled. 1000 x 800mm.

Realised: $5,800

0098

Guy Ngan
untitled, acrylic on particle board, c.1970s. 375 x 1315mm.

Realised: $5,500

0164

A large and impressive Roy Cowan sculpture
of open castellated form with four well defined flanges, covered with splattered light green and brown glaze effects. Old repair. H.800mm.

Realised: $5,500

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

0097

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

Realised: $5,000

0093

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

Realised: $4,500

0165

A large Roy Cowan sculptural garden pot
the swollen stoneware body with a mouth moulded with a volute scroll to one side and a sickle shaped 'prow' opposite. 980 X 290 X 925mm

Realised: $4,250