An Olive Jones Maori decorated cylindrical table jardiniere
with Maori figural supports, incised koru and chevron motifs, pale green glazed. Incised signature, marked NZ, and dated 1940. Glaze crazing. Dia.130mm, H.120mm. In 1939 when New Zealand’s population was around 1.6 million the Centennial Exhibition in 1939-40 held in Wellington attracted some 2.6 million visitors. There was a prevalent and heightened sense of national identity and souvenirs of a visit were de rigueur. Working at the ‘Fair’, Olive Jones was one of New Zealand’s pioneer potters who established a career after studying applied arts at the Wedgwood Institute in England. She demonstrated pottery making and produced a range of pieces for sale. Many of the items made by Jones were small souvenirs, however this table jardinière with its Maori motifs is a major piece of her production. Jones had learnt complex making practices at the Wedgwood Institute and had invested in an industrial potter’s wheel and large oil-fired kiln, enabling her to confidently produce wares such as this, whilst encapsulating the elements of folk-art design.
A Crown Lynn Wharetana Maori Art Pottery 'Kokowai Bowl'
model 1018, decorated with three stylised manaia figures below a border of rauponga pattern and raised on three swollen koruru mask feet. Rich green glaze. Dia.145mm.
A rare Wharetana prototype slip cast biscuit barrel
the walls modelled as three tiki figures standing facing outwards and with clasped hands forming handles, the lid with three tiki faces. Light brown glaze, with green glazed interior. Repair to one handle. H.200mm. This unmarked piece was bought by Ngaire Hart around 2006, from a trader who had bought it from a woman whose grandmother worked in the admin at Crown Lynn. Anecdotally she recounted that it was one of two examples made, the other which was gifted to Queen Elizabeth II on her visit to the factory in 1963. It was suggested that this piece did not go into production because of the difficulty of casting and the fragility of the arms that sit away from the body.
A Jane Brenkley folk art carved Maori design pedestal side table
the rectangular top with a woman, man and dog to the foreground, a lake with waka and background with whare and further figures beyond; raised on upon a figural column from a stepped base. Signed and dated 1942. Strong stained and painted colours. 510 x 335 x 560mm.
A c.1900 Sherwin & Cotton Maori portrait tile of the Ngatimaru Chief
Tuari Netana, with full moko and wearing a pākē, (rain cloak), entitled top right, the artist George Cartlidge’s monogram bottom left, maker's marks impressed to reverse. 225 x 150mm.
Alan Taylor (1933-2016) 'Waitemata Harbour'
acrylic on board, signed, signed and dated 2004 verso. 630 x 620mm.
Alan Taylor (1933-2016) 'Northland'
acrylic on canvas board, signed. 245 x 255mm.
A Jane Brenkley carved Maori folk art design pedestal side table
the rectangular top with a women, man and two dogs to the foreground, a lake with waka and background with whare and further figure beyond; raised on upon a figural column from a stepped base. Signed, c.1940s. Good original stained and painted colours. 540 x 355 x 585mm.
NOT BAD EH! THE WORK OF JANE BRENKLEY
.JANE BRENKLEY FOLK ART DIORAMA MAORI PA
My first ever contact with the work of Jane Brenkley was a visit to the Gunson Street studio Tony Fomison in the mid-1970s. There, right next to the main studio easel was a delightful carved and painted occasional table, the repository for the artist's key life support systems. That table was the work of self-taught artist Jane Brenkley found and purchased by Fomison in what he called ''The Golden Age of Flea Markets''. . After Fomison’s death in 1990 the table was used in an important survey of New Zealand folk art entitled ‘NOT BAD EH! along with some other Brenkley works that were exhibited at various institutions around the North Island including the Dowse Art Museum, the Rotorua Museum of Art and History and the Auckland Museum. A successful solo exhibition of her work was held at the at the Hawkes Bay Art Gallery and Museum near the end of last century. Jane Brenkley was a stand out woman artist about whom little was known in metropolitan art circles, but in the lower eastern side of the North Island she was quite well known and was held in high esteem. That a collection of this magnitude should come on to the market in one auction event should register around 8.5 on the cultural Richter scale... That Ngaire Hart has amassed this large and extensive collection of this unique woman artist's work is testimony to her zealous approach as a collector who had clear vision and foresight to collect for her pleasure and enjoyment the unique work of Jane Brenkley. With the recent passing of Ngaire Hart this mammoth collection is now to be spread far and wide for a much larger audience of public institutions and private collectors to savour and enjoy. John Perry Former Director of the Rotorua Museum of Art and History. LOT 57: AN EARLY JANE BRENKLEY FOLK ART DIORAMA, depicting a Maori hillside pa with warrior figures behind figural palisades and standing on an elevated platform hailing two figures standing below in a waka; with painted whares and figures in the background. Beech bentwood case with glazed sloping front. Signed and dated 1939. 320 x 420 x 280mm. The arched diorama, dated 1939, is one of the finest pieces by Brenkley to be offered at auction. The glass fronted display is in excellent condition and shows a Maori pa complete with whares, elaborate protective palisades and an approaching canoe whose figures appear to be friend and not foe. The interior of the diorama contains over twenty-five individually carved and painted figures and buildings. Brenkley was a noted exhibitor at the New Zealand Centennial Exhibition which ran from November 1939 to April 1940 and an item of this detail and ambition quite likely traces its provenance to this important cultural event.
A pair of Crown Lynn Wharetana ware 'Moko' bookends
recorded in the promotional pamphlet as 'Ceremonial Life-Sized wooden masks... The face moko (tattoo) is typical of a Maori chief or tohunga...', striking dark green glaze, impressed model 1019 to base of each. 100 x 95 x 140mm. The Wharetana range of ceramic ware made by Crown Lynn was designed by Harry Hargreaves who emigrated to New Zealand in 1924. He worked at Crown Lynn from 1943 and died in the 1960s. The range began production around 1947 and assimilated Maori designs in a contemporary manner. Hargreaves records and family anecdotes recalls his interest in Maori culture and the language. They note his universal tool was a sharpened 4 inch nail with which he carved numerous designs on a range of artware shapes including trinket and cigarette boxes, plates and wall plaques, ashtrays and small dishes. The ware was slip cast and generally finished in brown glaze resembling wood through to various green glazes suggesting pale (inanga) to rich (kawakawa) greenstone (pounamu). Produced with an eye on the overseas tourist trade, not surprisingly the most desirable of Crown Lynn’s production is rare in New Zealand.
A Robin Ranga ceramic wall sculpture 'Dame Whina Cooper and her granddaughter Irenee'
white slip with black painted finish. H.350mm
A rare Thomas Norman Lovatt glazed terracotta pottery bust of 'Pomar-e'
finely modelled with incised moko, wearing a cloak to his shoulders; incised to the base 'No. T.N. Lovatt, Temuka, NZ' and with the subject's name. 245 x 135 x 170mm. Pomare II (Ngapuhi) was an important Maori chief, born in the latter part of the 18thC, a signatory to the Treaty of Waitangi. Lovatt (1896-1968) emigrated from England in 1923 taking up the position of manager at the Benhar Pottery in Otago, and subsequently with N.Z. Insulators Ltd which owned Temuka Pottery in 1941. He retired in 1966 and opened his own studio in Temuka, Lovatt's Pottery Studio.
A Crown Lynn Wharetana Maori Art Pottery 'Maori Chief' wall plate
green glaze, portrait of a 'young Ariki (chief) at the height of his personal adornment' to the centre the border with relief stylised Maori figures (Taniwha). Number 1027 impressed to reverse and with two suspension holes. Dia.248mm.
A c.1900 Sherwin & Cotton Maori portrait tile of famous guide
Sophia, wearing a korowai, huia feather, tiki and pendant, entitled top left, the artist George Cartlidge’s monogram bottom right, maker's marks impressed to reverse and named in ink. 225 x 150mm. Framed.
Crown Lynn Wharetana Maori Art Pottery wall 'plaque'
Model #1021, rich deep (pounamu) green glaze, with a spiral centre framed by the outer border with taniwha and masks. Impressed number to reverse, two original holes for suspension to the foot. Dia.255mm.
A rare Jane Brenkley diorama of a Maori marae
with an intricately carved whare whakairo fascia forming the backdrop, eight figures and three dogs positioned before it along with a pataka and waka, flanked by trees in the foreground. 630 x 420 x 380mm.
A Crown Lynn Wharetana Maori Art Pottery wall plaque
model #1010, modelled with back to back taniwha stylised figures in rich dark chocolate brown glaze. Original triangular label to reverse. Dia.255mm
A Crown Lynn Wharetana Maori Art Pottery "Hei Tiki' wall 'plaque'
model #1022, the brown glazed center with 'A grotesquely postured presentation of a Hei Tiki', the green glaze border with 'patapata' designs. Impressed number and two suspension holes to the reverse. Dia.252mm.
Five framed Anneke Borren pottery tile panels
each panel of twenty-five tiles forming one large bird painting. Each panel 830 X 840mm. Originally purchased as a large tiled cube from the Anneke Borren Auction in October 2017 and deconstructed/remade into five panels.
A Jane Brenkley carved wood 'wakahuia'
of elongated form tapering at the ends, the hinged lid carved with lizards and naive Maori masks to either end; the sides carved with further masks and notch designs; colour stained and painted; the interior with pokerwork coastal landscape, epithets, signature and date 1951. 695 x 85 x 85mm excluding plinth feet.