CARVED GOURD, THEO SCHOON CA 1965

From a Blenhiem collection, same source as my previous one, authenticated by John Perry

Born in Java of Dutch parents in 1915, sent to Holland for classical art education in Rotterdam, Schoon travelled through Europe absorbing all that the new movements could offer. Upon arrival in New Zealand in 1939 he was probably the best educated artist in the country. Schoon was an artist, photographer, potter, sculptor, greenstone carver, designer and an expert art researcher. He developed his knowledge of Maori design by going to the best Maori authorities. Often the only European invited by Maori to show his art and creations on their marae. He became an expert gourd maker. A number of his carved gourds are held in American museums. He researched the few Maori rock drawings that were then known, and began a time-consuming and physically demanding on-the-spot research in often isolated and deep caves. He recorded the rock drawings in his sketches and photographs.
Schoon undertook intense research at the same time, in to Maori design. He assembled the designs recorded by Williams, Augustus Hamilton and J H Menzies from the start of the century, and consulted with Maori elders and Tohunga. Applying aspects of Maori design to his own art, he developed a fern root spiral which became the well-known "koru". Schoon freely admitted he had adapted Maori design & was always free with his gifts to other artists.
for more information
portobello@woosh.co.nz

"Monika Ruke" ca 1910,

Original large hand tinted photo of Monica Ruke Ca 1910

sold thanks Christchurch

DE BEER PHOTOGRAPH ALBUM ALGIERS CA 1920

 De Beer Photograph Album Ca 1920


Esmond de Beer and his sisters, Mary and Dora, never married. After their parents died (Emily in 1930, Isidore in 1934) they lived together in London. The sisters had previously travelled between London, Europe and New Zealand. They enjoyed the outdoors. Dora was a mountaineer who made many climbs in the Southern Alps, the Swiss Alps and, in 1938, Yunan, China. Esmond and Mary were pedestrians - indefatigable walkers and trampers. All three regularly holidayed on the Hebridean island of Raasay.
The de Beers were among the most important benefactors of Dunedin’s cultural institutions. Esmond wrote, ‘My sisters and I have always thought of Dunedin as our ‘‘home’’, our essential background, and have wanted to do what we could towards the furtherance of its learning and culture’. All three were collectors: Esmond’s rare books were a scholar’s tool; Dora had a passion for rugs and textiles, often gathered on her travels; Mary loved poetry; all appreciated the visual arts. Many gifts to institutions were in the name of all three.

CARVED GOURD BY THEO SCHOON

From a Blenhiem collection, same source as my previous one, authenticated by John Perry

Born in Java of Dutch parents in 1915, sent to Holland for classical art education in Rotterdam, Schoon travelled through Europe absorbing all that the new movements could offer. Upon arrival in New Zealand in 1939 he was probably the best educated artist in the country. Schoon was an artist, photographer, potter, sculptor, greenstone carver, designer and an expert art researcher. He developed his knowledge of Maori design by going to the best Maori authorities. Often the only European invited by Maori to show his art and creations on their marae. He became an expert gourd maker. A number of his carved gourds are held in American museums. He researched the few Maori rock drawings that were then known, and began a time-consuming and physically demanding on-the-spot research in often isolated and deep caves. He recorded the rock drawings in his sketches and photographs.
Schoon undertook intense research at the same time, in to Maori design. He assembled the designs recorded by Williams, Augustus Hamilton and J H Menzies from the start of the century, and consulted with Maori elders and Tohunga. Applying aspects of Maori design to his own art, he developed a fern root spiral which became the well-known "koru". Schoon freely admitted he had adapted Maori design & was always free with his gifts to other artists.
for more information
portobello@woosh.co.nz

FELIX KELLY, DRIFTER AND STEAMERS

                                                                                                                                       

 

Original lithograph 49.5 x 76 cm printed by the Baynard Press in the 1940s. Kelly, a New Zealander, had no formal art training. Nevertheless he taught at Auckland School of Art before moving to London in the mid-thirties. Read thought that there was ‘always some element of poetry discovered by his imagination rather than his recording eye’. And indeed, Drifter and Steamers can be described as one of the most poetic of the School Prints. The muted, subtle blues and greys, with an overall mistiness, surrounding the strong focus on the funnel in the foreground, give the print a dreamlike quality. (1946, Herbert Read, Introduction to Paintings by Felix Kelly, Falcon Press).
for more information
portobello@woosh.co.nz

NAIVE PAINTINGS OF AKAROA

" Cygnet" and "Ruahine" at Wainui,
44cm x 40cm
for more information
portobello@woosh.co.nz














"Regatta Akaroa 1907" 73cm x 42 cm
both painted from postcards by Ray Bisman, Lyttleton

TONY FOMISON, CA 1968

Painted in oils on glass 1/2 gallon jar in the late 1960's while Tony Fomison was living in a house in Riccarton Road with Philip Clairmont and other bohemian artists.
Financial necessity led Fomison to use found objects to support or frame his paintings, such as window sashes, chair backs or cupboard doors.
His fascination with the works of European master painters such as Domenico Ghirlandaio (1449 –1494) is clearly evident in this work.
Signed on the shoulder and on the base.
for more information
portobello@woosh.co.nz

PAIR SHIP PORTRAITS BY REGINALD MATTHEWS. CONVICTED MURDERER

A pair of unusual ship portraits by Reg Mathews who shot an killed a man in Timaru in 1920 and also shot a policeman in Lyttleton while trying to make good his escape. Both are extensively inscribed on the reverse.He was found guilty but his death sentence was commuted on the grounds of insanity.He spent the rest of his life in various mental institutions.They are painted in lampblack, laundry blue and milk of magnesia. He notes one one painting,"painted under difficult conditions by an ex member of the vessels crew" A news paper clipping on the reverse states that" he spent 60 years behind locked doors, 45 of those in solitary confinement".

PAIR MAORI PORTRAITS

BOTH BY H TOMLINSON, TAUMRANUI, 1956