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Summer Catalogue 2010/2011

Exhibition Dates: 7 Dec 2010 - 18 Feb 2011 Welcome to our Summer Catalogue for 2010-2011. Once again we present a superb range of fine art from 3 centuries of ...

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Exhibition Dates: 7 Dec 2010 – 18 Feb 2011

Welcome to our Summer Catalogue for 2010-2011. Once again we present a superb range of fine art from 3 centuries of New Zealand Art.An exquisite early oil by E. A.  Aldis depicting Shelly Beach in Auckland features from the 19th centuryperiod. This artist, one of New Zealand’s most underrated from this period, painted many early beach scenes around the Auckland region before motorways, motor vehicles and development changed the landscape forever. Many of these early scenes are now unrecognisable and they provide a fascinating flash back to a time when New Zealand remained a remote colony, largely undeveloped and sparsely populated. By the 1920s and 30s New Zealand had become a well established colony (New Zealand became a self-governing Dominion in 1907) and artists based here were influenced and many were well trained by overseas immigrant artists or teachers. Maud Sherwood is one of New Zealand’s most outstanding water-colourist’s from this period and studied under one of New Zealand’s foremost immigrant impressionist painters of the time James Nairn. Sherwood moved to Sydney in 1933, becoming one of the leading watercolourists there and is represented in most Australian public art Galleries. Sherwood specialised in Flower Studies although her output was certainly not limited to this subject. Two fine still life works (“Red Hibiscus” and “Blue and White Irises”) are included in this catalogue, which displaySherwood’s elegant and confident and omnipotent ability with the watercolour medium.

In the 1950s two of the leading painters who emerged from the Kelliher landscape movement were Austen Deans and Douglas Badcock. Along with Peter McIntyre these artists stood out and probably fulfilled Sir Henry Kelliher’s aspiration for art to more truly represent and celebrate the beauty of New Zealand’s landscape – perhaps in the manner of Australia’s early landscape artists such as Tom Roberts, Ernest Streeton, Ernest Buckmaster, Sir William Dargie and their followers. Both these New Zealand artists were in fact prize winners of the Kelliher art awards during the 1950s and 60s and two fine examples of their works are included in this catalogue Broadleaves, Peel Forest by Deans and Towards Lewis Pass by Badcock. Almost anathema to this genre of art, the 1960s saw the real arrival of contemporary and pop art in New Zealand and included in this movement were artists such as Don Binney, Patrick Hanly, Michael Illingworth, Michael Smither, Ian Scott and Richard Killeen. Don Binney’s art was an inspired response to the environment and an acknowledgement of New Zealand’s precious native birdlife and their surroundings.   In a 1968 review Gordon Brown stated, “His work has a compelling quality which makes it memorable… Don Binney is in the truest sense an image maker with the capacity to instil into his images the potentials of a symbol… native birds… which have an important place in his pictorial language…’ 1 The painting “Sunday, City Domain”  dated 1965, is a major work from this seminal series of paintings. The Tui is one of New Zealand’s most recognisable and favourite native birds and we see the bird depicted here in an almost stylised form, or as Gordon Brownso aptly stated, perhaps as ‘a symbol’. Another artist from this period was Trevor Moffitt, (1936 – 2006) but his art was more concerned with the Human Condition and the figure. At School in Japan is part of an extensive series of over 100 paintings which graphically displayed the fall fromgrace of a young girl following a visit to Japan as an exchange student. Trevor Moffitt’s art is unique and his depiction of New Zealand folklore, his father’s life and the Human Condition form not only an important part of New Zealand’s art but an enduring record of New Zealand’s culture and history. An artist who studied in Christchurch at the same time was Philippa Blair who was a formative part of a group of abstract and expressionist artists nurtured by Rudi Gopas. While continuing in the same style Blair’s work has endured, becoming more confident, sophisticated and resolved. Go Parrot ¬Go, a recent work is a triumph of this abstract style, bold primary colours woven and layered on to the canvas suggestive of the shimmering jewel like colours of the bird’s feathers. Major South Pacific artist Fatu Feu’u has included a typical work which features the South Pacific symbols and the painterly qualities on which this artist has built a formidable reputation.   A fine  early example of Nigel Brown’s genre works Family Table is also included in the catalogue, in addition to a Pacifica series work entitled Tivaevae Dog.  A delightful painting from Viky Garden entitled Billie, the “character” cat is also a feature of the SummerCatalogue.   Three artists who have risen to prominence recently are also featured in the catalogue; Mazda Art Award Winner Alexander Bartleet has included Crop, Nick Wall includes East East West and Mark Wooller has submitted Parnell Rise. These three artists have solo shows scheduled for 2011 and these paintings are a taste of what to look forward to next year. Separate catalogues will be produced for each artist at show time which will provide details of these talented artists work. We remind you all paintings are available for immediate sale and trust you will enjoy this quality display of New Zealand art from over three centuries of New Zealand Art.

1.  Brown, Gordon. Ascent. The Auckland Scene –

Reviews. No.64, Vol #2, July, 1968

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