Garden of Delights, 2018, by Holly Zandbergen $8250
At just 26 years of age Holly Zandbergen is making inroads into an international art career with representation by Rebecca Hossack gallery in London and Black Asterisk in Auckland. Zandbergen’s energetic works in impasto cover a range of subjects from majestic landscapes to haunting figurative works to sublime botanical studies. In a recent Art New Zealand review, writer Michael Dunn explained: “Zandbergen paints fluently with an intense pleasure . . . It all seems effortless, as if she creates her works like a bird singing its song — something joyous and spontaneous”.
Oil on canvas 100 x 120cm
Black Asterisk, 10 Ponsonby Rd, Grey Lynn
Portrait of Elmer Keith No.2, 2004, by Michael Parekowhai $15,000-$20,000
Michael Parekowhai’s Portrait of Elmer Keith #2, from his Beverly Hills Gun Club series, is a characteristic example of the artist’s use of photography. The taxidermy sparrow depicted in the image functions as a representative of an invasive species, by extension commenting on the legacy of colonialism in New Zealand. This work is included in Bowerbank Ninow’s Auction N?11, on November 28.
C-type print, edition of 10, 1220mm x 990mm.
Bowerbank Ninow, 312 Karangahape Rd, Newton
Untitled, 2018 by Salome Tanuvasa $2750
Salome Tanuvasa’s first solo show at Tim Melville Gallery includes a suite of vibrantly coloured works on paper. The Untitled works “perform a similar function to Rorschach inkblot tests”, notes art critic Lana Lopesi. “They are gestural and instinctual but they also encourage the viewer into an unexpected space of contemplation.”
Marker pen on paper, 1000mm H x 630mm, 1215mm H x 825mm W (frame)
Tim Melville Gallery, 4 Winchester St, Grey Lynn
Mananui, Queen Charlotte, 2005, by Don Binney $160,000-$190,000
This delicate and beautifully executed painting represents the breaking of new ground by one of New Zealand’s most celebrated senior artists. Binney’s exploration of Marlborough Sounds is optimised in this piece, capturng the stunning soft southern light, the unique landscape and the rare wildlife that make the Sounds one of the most awe-inspiring regions of New Zealand.
Oil on canvas 550mm x 1100mm.
To be sold by Webb’s Auction House, Tuesday December 4, 6pm
Yellow, 2018, by Bill Culbert $13,500
Bill Culbert’s sculpture and installations explore the transformative potential of light. In Culbert’s work, whether it is a large-scale sculpture or a modest single object, light is channeled to open space for imaginative play. Culbert left New Zealand in 1957 to study at the Royal College of Art, London and now lives and works between London and the South of France. He has had more than 100 solo exhibitions at major institutions in New Zealand, England, Europe, the USA and Australia.
Plastic bottles, fluorescent tube, 350 x 600 x 50mm
Hopkinson Mossman, 19 Putiki St, Grey Lynn
Drawing on Secret Knowledge (I), 2014, by Stephen Bambury $5,600
Stephen Bambury’s work Drawing on Secret Knowledge (I) carries mysterious overtones, with its 23 karat gold gilding colliding with deep black to create perspectival depth. It continues his preoccupation with squares, circles and crosses over his productive 40-year career.
Pencil, acrylic, enamel and 23k gold on handmade Indian paper, 490 x 480mm (framed with museum glass).
Trish Clark Gallery, 1 Bowen Ave, central city
Ana, 2018, by Kirstin Carlin $4000
Kirstin Carlin’s recent paintings take their cue from Manet’s last flower paintings, Scottish artist Ann Redpath’s still lifes, the colours of Matisse’s fauvist landscapes, de Kooning’s lurid yellows and greens and the bright colours of industrial signage near her home in New Lynn. Named after potential South Pacific tropical cyclones as a reference to their intensity and vigour, they are an assortment of floral bouquets.
Oil on board (framed), 380 x 300mm
Melanie Roger Gallery, 444 Karangahape Rd, Newton
Davis Kea Wings, 2015, by Fiona Pardington $20,000-$30,000
Birds have long been a key subject in the art of Fiona Pardington and have deep spiritual significance for her, says Art + Object art director Ben Plumbly. “They speak of her environmental concerns and her love of our unique landscape and flora and fauna. This image showcases her great skill as a photographer and gains its resonance through the total focus on the magnificent wings of New Zealand’s native kea. The intense lighting highlights the beauty and mystery of the kea.” The print is included in an auction of paintings and contemporary art on November 29 at Art + Object.
Archival inkjet print on Hahnemuhle paper, diptych, 2015 (edition of 10). 725 x 2200mm
Art + Object, 3 Abbey St, Auckland
Gold Heart, 1996, by Tony Lane $9500
Look behind the scenes in this painting by Tony Lane — the pair of draped tables, the heart that becomes a chalice, the surrounding rosary, the shimmer of gold leaf, this is a painting that looks old; it has the feel of an antique from a fine palazzo in Italy, and yet it is new. For the artist it is a reconstructing of history’s images, those symbols of faith that anchor us to the past, but help us navigate the present.
Oil paint and gold leaf on gesso panel. 845 x 1000mm.
Orexart, Level 1/15 Putiki St, Arch Hill
10-18, 2018, by Simon Kaan $15,250
Simon Kaan’s latest work exemplifies all the features the artist is well-known for. It has strong horizontal banding, the motif of the waka and the visible grain of cedar. Kaan has a dual practice making paintings and prints — often using both techniques in the same work. This piece demonstrates the printmaking techniques informing his painting practise, in the carved detail that adds a relief element to the surface and revealing the black underpainting, the layering of the paint creating a lustre and depth of surface. Simon Kaan’s work is on display at Sanderson Contemporary from November 27.
Carved oil on board, 1555mm x 955mm, framed
Sanderson Contemporary, 2 Kent St, Newmarket
Netsuke 1, 2018 by Madeleine Child $350
Portage Ceramics Awards 2018 finalist Madeleine Child was inspired by 16th-century Japanese sculptural kimono toggles for her latest work. “Either ricecake-shaped, elongated with slits or solid 3D compact forms, these are meant to be handled, or rather, fondled and fiddled with,” says Madeleine, who has studied ceramic and glass in New York, Lisbon and London. Her work is on display at Whitespace galllery until December 7.
Ceramic. 130 x 100mm on flocked wooden plinth, 160 x 115mm (plinth not included)
Whitespace, 20 Monmouth St, Grey Lynn