Bringing New Zealand historical, modern and contemporary art, sculpture and photography together with a wide rage of international art covering many disciplines and media we present monthly a selection of work from sought after and celebrated makers through to decorative pieces at accessible prices. Under this section we offer paintings, watercolours, etchings and engravings, bronzes, limited editioned prints and photography.
'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
'Tiki Hands 1971' [Variation No2 completed 2007], acrylic on board, signed, inscribed and dated '94 (1994-2007). 900 x 895mm.
set of eight hand carved vintage lino printing blocks, fixed to wooden block backs, c1950's / 1960's. Includes: 1. 'Bird in the Ahuriri Style' 335 x 28 x 318mm. 2. ‘Design in the Ahuriri Style’ 290 x 26 x 127mm. 3. Untitled figure 121 x 48 x 240mm. 4. ‘Spirits and Clouds’ 147 x 25 x 285mm. 5. Untitled complex figure 215 x 26 x 136mm. 6. 'Design in the Opihi River Style' 401 x 18 x 124mm. 7. 'The Eye' 141 x 47 x 170mm. 8. Untitled 207 x 18 x 32mm. Provenance: These blocks were given by Theo to our vendor's father, Peter Andre, a friend and accomplice upon many of Theo's expeditions. Peter, like Theo was of Dutch Indonesian descent. Note: The post war art scene in New Zealand was very insular, Theo's European modernism and fascination in cross cultural themes were of interest to only a few, Gordon Walters was one of them, he was profoundly influenced. We are only recently appreciating the impact that Theo had on New Zealand art. His documenting of Maori rock art in Canterbury was of major importance and forms the basis of inspiration for this set of rare and important lino blocks. Exhibited: 1982 Rotorua Art Gallery 'Theo Schoon, Collected Works' curated by John Perry. In 1982 in my role as Director of the then Rotorua Art Gallery curated an exhibition entitled 'Theo Schoon Collected Works', so successful was the first ever survey show of the then expatriate artist that Theo returned to N.Z. and resided with me in Rotorua. Word of his return soon got around and an old comrade of Theo's with a similar Dutch, Indonesian heritage got in touch informing Theo that the lino blocks Theo had entrusted to him with many years before were still in his possession having been stored up in the cavity of roof of his house for safe keeping for many years. The lino blocks featuring mainly Rock art and Rotorua inspired elements were reunited with Theo. With Theo's authority five of the blocks were given to me to take up to Elam Art School and a very limited number of impressions  were made from each block under the watchful eye of Robin Lush a Master Printer at the school. When the print run was completed the blocks were returned to the 'owner' as Theo had no need to own them considering his age and physical condition. A small number of the sets were signed by Theo and given away by Theo. The Rotorua Museum of Art and History has in its permanent collection a full set of the signed prints. As far as Theo was concerned they represented a seminal distillation of his early exploration of Maori rock art and his initial reaction to the geothermal activity he bore witness to in the land of 'sulphur steam' and contemporary thoughts and ideas that were percolating in his mind in the early 1950s That these original lino blocks have survived at all bears testimony to the love, respect and understanding that Peter Andre and his descendants had for Theo Schoon. John Perry.
'Tiki Hands' (Generations), acrylic on board, signed and dated 2008. 1215 x 900mm
untitled Tiki Hands variant, acrylic on canvas. 1210 x 915mm
Guy Ngan (1926-2017)
'125' (Habitation), bronze sculpture, signed, numbered and dated 3.85. Raised on green marble base. 255 x 255 x 157mm
Guy Ngan (1926-2017)
'100' (Habitation), bronze sculpture, signed, numbered and dated 1979, raised on alabaster base with brass trim. 200 x 200 x 135mm.
'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.
'Hibiscus', oil on board, signed, entitled on reverse. Note: Tibbo (1895-1984), a self-taught Samoan artist rose to art stardom in the early 1960s when her primitive folk style was critiqued as 'a special case, a charming primitive'. Her works were exhibited alongside those of McCahon, Hanly, Illingworth and others, it is recorded that 'the Auckland art community of the period created a space for her painting within the domain of Fine Art because folk art, such as that produced by Tibbo, in all its unpretentious, unlearned splendour. fed directly into the anti-establishment, anti-capitalist mood of the times', taken from Art New Zealand 'Between Fine Folk, The Paintings of Teuane Tibbo' by Bronwyn Fletcher, published summer 2002-03 #105. Provenance: From the estate collection of Joy and Denis Hanna. 560 x 685, original frame.
Frank Brangwyn (UK 1867-1956) Study for Empress of Britain mural
oil and glazes on four gilded fibreboard panels. Verso: manuscript label: [Study for Empress of Britain / by Frank Brangwyn / lent by Count de Belleroche / insure £200] printed and manuscript label [William de Belleroche Collection / ‘Study for Empress of Britain’]. Each panel 610 x 610mm. Verso one panel painted with portrait of a young woman. Note: The bohemian artist and collector Count William de Belleroche (1913-69) met Brangwyn in 1934; he authored several books on Brangwyn. The RMS Empress of Britain was a luxury ocean liner launched in 1930, Brangwyn painted murals for the Salle Jacques Cartier (First Class dining room).