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Lot 42: COLIN McCAHON, (1919 - 1987, New Zealand), DANCE OF THE GANNETS, c.1976 - 1978, synthetic polymer paint on unstretched canvas

Est: $140,000 AUD - $180,000 AUDPassed
Deutscher and HackettMelbourne, AustraliaMay 04, 2016

Item Overview

Description

COLIN McCAHON, (1919 - 1987, New Zealand), DANCE OF THE GANNETS, c.1976 - 1978, synthetic polymer paint on unstretched canvas

SIGNED:
inscribed lower centre right: DANCE OF THE GANNETS
further inscribed: [illeg.]hy throne - God is for - ever and ever, and the /sceptre of justice is the - sceptre of His Kingdom

DIMENSIONS:
79.5 - 122.0 cm

PROVENANCE:
Gordon H. Brown, New Zealand, - gift from the artist
Martin Browne Fine Art, Sydney
Private collection, Sydney

LITERATURE:
Colin McCahon Online Catalogue, www.mccahon.co.nz, ref. cm000291

ESSAY:
One of the great masters of twentieth century painting, Colin McCahon today remains widely revered for his prophetic vision which imbued the vernacular with universal significance to powerfully interrogate sacred questions of faith and doubt, life and death, meaning and despair. Yet while McCahon invariably drew inspiration from the most mundane objects and events in his spiritual quest, the original sources for his meditations are rarely self-evident from the works themselves. Rather it is the existential situation that emerges from the artist’s response to this impetus – his reflection distilled through the alchemy of time, memory and recollection – that is immortalised in the sublime incarnations constituting his remarkable legacy.

As with the loosely connected group of works comprising McCahon’s ‘Necessary Protection’ series from the early seventies, the present two compositions Dance of the Gannets, 1976-78 and Gannets Leaving Muriwai, 1976 – 78 were inspired by the rugged coastal landscape surrounding his hilltop studio at Muriwai, north-west of Auckland. Describing the area as ‘shockingly beautiful…wild… and empty and utterly beautiful’1, McCahon was acutely aware of the fragility of the ecosystem here and hence, its very real need for protection; as he despaired, ‘On the lower cliffs there are the nests of Fairy Terns [McCahon later corrected himself, for the birds are gannets]. In the early summer the young are taught how to fly and swim and to gather their food. This goes on in spite of our intrusions, the cliff top parties, the broken bottles, the paper and plastic everywhere…’2 And later, ‘I am not painting protest pictures, I am painting about what is still there and what I can see before the sky turns black with soot and the sea becomes a slowly heaving rubbish tip. I am painting what we have got now and will never get again.’3

Given McCahon’s longstanding empathy for Maori culture and traditions, particularly in his affinity for and personification of the land, it is perhaps not surprising that he should possess such a deep love for this area which is also renowned as ‘the coast along which the Maori souls pass over on their way from life to death – to Te Reinga (Spirits Bay) carrying their fronds and branches…’4 Accordingly, if the ‘Necessary Protection’ series was initially conceived to highlight society’s responsibility to protect the Muriwai environment, over time McCahon’s iconography evolved to also evoke deeper spiritual implications – namely the difficulty of embracing that leap of faith required to accept spiritual nurture and interaction with God, the birds here symbolising human souls. Such connotations are perhaps most poignantly explored in the monumental Walk (Beach Walk, series C), 1973 - a closely related work which recalls the spirit of McCahon’s deceased friend and poet James Baxter, whom he joins in an imagined walk along Muriwai beach, the ‘Christian’ walk here paralleling the Maori ‘walk’.

In a similar vein, the strong T structure dominating many Muriwai compositions (including Gannets Leaving Muriwai) derives from the physical reality of the landscape - the dark landforms are immediately recognisable as the cliffs near Otakamiro Point, while the space between is the chasm which separates near-shore rock that is Motutara Island where the gannets nest – but more importantly, also symbolises the Tau or Old Testament cross commonly associated with Moses and his time in the wilderness. Similarly, the Roman numeral I featured in Dance of the Gannets may be understood as signifying the sky, falling light and enlightened land.5

Arguably elucidating the artist’s intentions most directly however, are the scripture texts reproduced here which link the two works with the crowning achievements of McCahon’s final years. Derived from Hebrews 1:7 (in turn quoted from Psalm 104:4), the line of Gannets Leaving Muriwai (‘He who makes his angels winds, and his ministers a fiery flame’) significantly also appears in the lower right hand corner of A Painting for Uncle Frank, 1980 – a work dedicated to the memory of the itinerant, uncompromising preacher who was the uncle of the artist’s friend Toss Woollaston, and under whose influence Woollaston and McCahon ‘made a sort of vow together to devote ourselves to God.’6 The verse, together with the line from Hebrews 1:8 included in Dance of the Gannets (‘Thy throne O God is, for ever and ever, and the sceptre of justice is the sceptre of His Kingdom’), similarly features in the epic three-paneled work Paul to the Hebrews, 1980 – arguably one of McCahon’s most compelling and sophisticated investigations of the sacred themes of faith and doubt, meaning and despair, life and death.

Considered together, the verses reproduced in the two Muriwai paintings on offer illuminate Paul’s endeavour to distinguish for the Hebrew recipients of the Letter the difference between the angels of Old Testament times and Jesus – to demonstrate that the latter was not merely another angel or prophet, but rather the Son of God chosen above all prophets who had gone before. More generally, the text alludes to His indulgence and everlasting protection in an essentially positive way, and as such, Dance of the Gannets and Gannets Leaving Muriwai are noteworthy within the closing chapter of McCahon’s oeuvre for the vestiges of hope they still contain. Indeed, within only a couple of years of these two works being executed, the mood of McCahon’s practice would change forever. Unequivocally bleak, dark and pessimistic, his final works – admonishments culminating in the so-called last painting I considered all the acts of oppression, 1980-82 – came to reflect rather the artist’s increasingly dispirited personal state and raging battle with mental illness, lamenting the futility of all human endeavour and suggesting a total collapse of faith in faith itself. Yet therein perhaps lies the enduring power, universality and poignant beauty of McCahon’s prophetic vision; the doubts and frailties that assail so many individuals constantly plagued him too. As one author astutely observes of his legacy, ‘…it is the existential situation that prevails… The viewer is asked to stand with the artist, in a situation where each person must decide the issue in their own way… It is a confession that, while it affects a solitary person, has become externalised and addressed to all. It is art used to give the conflict of faith and doubt coherence of thought, effort and expression in its most positive form...’7

1. McCahon, C., in his statement for An exhibition of paintings by Colin McCahon, Dawsons Limited Exhibition Gallery, Dunedin, 1971, unpaginated
2. ibid.
3. McCahon, C., cited in Brown, G., Colin McCahon: Artist, A.H. & A.W. Reed, Wellington, 1984, p. 166
4. McCahon, C., op.cit., 1971
5. The iconography of the ‘T’ and ‘I’ symbols was elucidated by Colin McCahon in his introduction to the catalogue accompanying the first exhibition of the ‘Necessary Protection’ series at Barry Lett Galleries, Auckland, November 1971
6. McCahon, C., cited in Bail, M., ‘I Am’ in Bloem, M., & Browne, M., Colin McCahon: A Question of Faith, Stedelijk Museum, Amsterdam & Craig Potton Publishing, New Zealand, 2002, p. 41
7. Brown, op.cit., 1984, pp. 117 – 118

VERONICA ANGELATOS

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: American Express, COD (cash on delivery), MasterCard, Personal Check, Visa, Wire Transfer

Shipping

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Auction Details

Important Australian and International Fine Art

by
Deutscher and Hackett
May 04, 2016, 07:00 PM AEST

105 Commercial Road South Yarra, Melbourne, VIC, 3141, AU

Terms

Buyer's Premium

25.0%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
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SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION

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REGISTRATION
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CONDUCT OF AUCTION
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ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE
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BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):

$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
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PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22% (plus GST) of the final bid price. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue on page XXX. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
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EXPORT
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COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.