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Working drawings.
Lower left (l.l.) in pencil: Working drawings. Hotere
Working drawings for Black Paintings. Zero is round, zero is black, zero is zero.
Lower right (l.r.) in pencil: Working drawings for Black Paintings. Hotere ’65; l.c. in pencil: Drawings for black paintings. Zero is round, zero is black, zero is zero; u.c. in pencil: too small - zero is round; l.l. in pencil: crap; l.l. in…
Working drawings for Black Paintings. All is black and there is no black (Suzuki).
Lower right (l.r.) in pencil: Working drawings for Black Paintings. Hotere ’69; C. in red fibre tipped pen: delete; l.c. in red fibre tipped pen: All is black and there is no black? (Suzuki).
Waterfall.
Lower right (l.r.) in ballpoint pen: McCahon Dec 64.
Victory Beach. Victory Aue.
A: vertically right in crayon: Victory Beach; verso: [reverse image in pencil]; b: l.l. - l.r. in crayon & wax crayon: Aue Victory Aue; verso: [reverse image in pencil]; c.: l.l. - l.r. in crayon & wax crayon: Aue Victory Aue; verso: [reverse image…
Untitled.
Verso in pencil: This way up. Colin McCahon; verso in pencil in different hand: Art School period.
Untitled.
Lower right (l.r.) in pencil: Hotere ’69.
Untitled.
Verso in ink: Greetings & a happy New Year from Rita
Untitled drawing from Murdering Beach series.
Verso lower centre (l.c.) in pencil: Ralph Hotere Untitled drawing from Murdering Beach series. 1969.
Two bathers.
Upper right (u.r.) in black ink: Jeffrey Harris July 1973; verso mount in ballpoint pen: Two bathers Jeffrey Harris Wgtn 1973
Truth from the King Country, Load bearing structures. Series 3/4.
Verso with brush: Truth from the King Country. Load bearing structures. 4 3rd Series. Colin McC ’78 Acrylic.
Triangles.
Upper right (u.r.) in capitals: McCahon Jan ’65.
Towards Auckland 6.
Lower left (l.l.): [title]; l.r.: McCahon Jan 54
Titirangi, Winter.
Lower left (l.l.): McCahon May ’ 57, Aug Sept 1, Titirangi; l.r. Winter.
The voyage - second version.
Lower right (l.r.): Hotere Port Chalmers 75-76; through image: [various inscriptions] throughout
The Blessed Virgin compared to a jug of pure water and the infant Jesus to a lamp.
Married and living with his wife and young son near Nelson in 1946-48, McCahon turned from depicting landscapes to Christian imagery. By synthesizing disparate elements - portraiture, still life and symbolism (the lamp and jug) with words McCahon…
Study for portrait of the washbasin with blood.
Lower right (l.r.) in pencil: Cl 71; l.r. in ink: Portrait of the washbasin with blood; on mount: Study for portrait of the washbasin with blood. May 1971. P. Clairmont
Sketch for Window.
McCahon felt that the design was: 'a bit too easy'. McCahon gave this sketch to Brown when helping him in his Crummer Road studio during 1979.
Rosegarden V.
Lower left (l.l.) with brush: C.McC. 74. Rosegarden - V.
Red on black.
Lower right (l.r.) in pencil: 7; verso in pencil: A14.
Rectangle.
Margin below image l. - r. in pencil: 1/10/73 Rectangle MDS
Preliminary drawings for Black Paintings.
Lower centre (l.c.) in pencil: Preliminary drawings for Black Paintings. Hotere; through image in pencil: [numerals]; verso in ink: [unfinished sketch].
Pohutukawa: from the Titirangi series.
Upper left (u.l.): C.M. Nov. ’57.