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.
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.
'A Girl on the Beach', oil on canvas, signed, original label on reverse with title and details, original Exhibition invitation attached. 495 x 600. Note: Our elderly vendor recalls the artist informing him that this painting was 'one of the best that he had done'.
'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.
19thC British School
Mother and child, oil on canvas, unsigned. 745 x 630mm
Robin White (b.1946)
'Florence and Harbour Cone', silkscreen print 17/40, signed and dated 'R. White 12/75' and inscribed with title (upper margin). 630 x 430. Ref: Robin White New Zealand Painter (Martinborough 1981) p. 58 (col illus); p. 107, 168.
Albin Martin (UK Italy NZ 1813-88)
Amalfi ( an Italianate landscape with view of a harbour), oil on board, 475 x 585mm. Ref: Webb's lot 232 14/10/1993. Albin Martin abandoned his Cambridge studies and in 1834 became a pupil of the landscape painter John Linnell (1792-1882). He painted in Italy in 1837 and in 1841-43 before migrating to New Zealand in 1851 to take up farming whilst continuing to paint.
Daniel Hernandez Morillo (Peru/France 1856-1932)
'Cherries' (portrait of a young woman), oil on board, signed, entitled on mount. Founder and first director of the National School of Fine Arts of Peru. 650 x 345mm.
Paul Dubois (French 1829-1905)
'Le Courage Militaire' (Military Courage) bronze, signed, foundry mark of F. Barbedienne Fondeur, Paris. Réduction Méchanique / A. Collas / Breveté pastille. Dark brown patina. H.855mm.
After Andrea del Verrocchio (Ital. c.1435-1488)
19thC copy of the Equestrian statue of Bartolomeo Colleoni, bronze. Height 620.
Peter McIntyre 'Still Life with Violin'
oil on canvas on board, signed in pencil, 500 x 595. Provenance: Purchased by our vendor's grandparents from a Gisborne gallery. Note - our vendor's mother remembers a visit from Peter and Pattie McIntyre where they laughed with delight at seeing the painting as Peter had bought the violin to learn to play but he was hopeless and painted it instead.