Cordys

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.


B010-0079

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

B010-0068

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

C007-0637

Ralph Hotere
'Song Cycle - A Wind Goes', acrylic on canvas, title inscribed on canvas verso, title inscribed, signed and dated 1975 on stretcher verso, 1200 x 450mm. Note: Bill Manhire's poem written out in Hotere's hand on label affixed verso 'The Wind (II) A wind goes out over the fields. A shadow grows where I touch you. What is this distance? Whose hand is quietly waving?'. Canvas tear towards the lower right corner. Sold Webb's 8/4/2003. This work reflects the five large banners Hotere made in 1975 as part of the stage design for a performance at Sound Movement Theatre's production of 'Song Cycle' in Dunedin. Bill Manhire’s poetry inspired the dance and banner design. The arts writer Gregory O'Brien noted 'the banners are Hotere's most explicit statement about the relationship between art forms- in this case visual art, poetry, music and dance.’

Realised: $20,000

B010-0069

Guy Ngan
'Tiki Hands' (Generations), acrylic on board, signed and dated 2008. 1215 x 900mm

Realised: $20,000

B013-0684

John Barr Clarke Hoyte (1835-1913)
Auckland from Pigeon Mountain, Half Moon Bay, watercolour, signed, 295 x 415mm. Note: This unique and rare extensive view of Auckland Harbour c.1860 features Fort Britomart, Situated on Point Britomart, and using the defences of an earlier pā, Fort Britomart was built as an army barracks. (The British flag was first unfurled on the headland on 16 September 1840.) The initial building was completed in 1841, and other buildings were added in response to external and local threats in subsequent decades. The Fort closed in the early 1870s and operations were transferred to the nearby Albert barracks. Point Britomart was then excavated to provide fill for waterfront reclamations, the flying flag can be seen in this image. To the left we have St. Paul's Church and early Parnell houses, in front is St. John's College Chapel with a tall chimney evident below coming from the waters edge industrial building in Official Bay, this building is pictured in other Hoyte drawings of this period. The view is presumably from Pigeon Mountain, the volcanic cone at Half Moon Bay. The harbour features Wynyard Pier and Queen St. wharf, a multitude of vessels including waka taua, a wooden paddle steamer, tall and other ships together with many smaller vessels.

Realised: $18,000

B010-0070

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

Realised: $17,000

B011-0662

Guy Ngan (1926-2017)
'125' (Habitation), bronze sculpture, signed, numbered and dated 3.85. Raised on green marble base. 255 x 255 x 157mm

Realised: $16,000

B011-0661

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.

Realised: $15,000

B010-0074

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

B09-0604

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).

Realised: $10,750