Two decades after they were published prints of paintings by Bolivian born artist Graciela Rodo Boulanger are topping the sales charts again in – of all places – New Zealand.  The curious story of how a Latin American artist who worked mainly in France has recently become one of the top selling artists at NZ’s specialist art print retailer, New Zealand Fine Prints.

About the artist

Born in 1935 in La Paz, the cultural capital of Bolivia in South America Graciela Rodo Boulanger’s parents were a concert pianist and an art collector.  A talented musician Rodo Boulanger studied in Vienna in 1952 and moved to Buenos Aires at the age of 22 to further her musical career. It was in Argentina that she embraced an artistic career path instead of continuing as a professional pianist. Rodo Boulanger has always considered printmaking a key part of her practice, she was working in a French engraver’s studio in the early 1960s when she met and married French diplomat Claude Boulanger and by 1968 Boulanger had her own etching studio in Paris.

For most people their first exposure to the work of Graciela Rodo Boulanger was through a series of prints of her paintings such as “Holiday on Wheels” published by “Touchstone Publishers” starting in the mid 1970s.

Boulanger prints stored for over twenty years in New Zealand

Boulanger’s Print “Girl with Cello”

A large number of these prints were imported into New Zealand from the publisher in the US. Prior to 1984 NZ had import licensing which meant distributors were incentivised to purchase ludicrously large amounts of prints at one time to use up their entire precious allocation of overseas funds once they had been granted a license. Back in those days NZ Fine Prints used to have a license to import prints for “educational purposes”, at one point we had about twenty years supply of famous prints by artists like Van Gogh and Monet in stock for our market of just over 4 million people!

For twenty years the Boulanger prints sat in a warehouse in NZ, carefully stored in their orginal packaging until the advent of online shopping brought them to light again.  Almost as soon as we listed the prints for sale online we began shipping Boulanger prints all over the world.  We deliver for just $NZ15 (approximately $US10-12 depending on the exchange rate on the day) by Airmail and prints are wrapped in acid free tissue and packed in super solid cardboard mailing tubes so they will get to buyers in perfect condition.  With worldwide demand both from new collectors of her work combined with people looking to buy pristine replacements of a favourite print that has faded or been damaged prints by Graciela Rodo Boulanger are outselling prints by NZ’s most popular artists and printmakers in their own land!

Print supply running out due to buying online from around the world

However with a rapidly dwindling supply of prints, some titles (especially from her bicycle and musical themed series such as the girl with cello print that we have used to illustrate this article) are getting very low on stock.  We have sold out of several prints over recent weeks and today have less than ten on hand of several titles listed for sale in the Graciela Rodo Boulanger collection at our gallery.

When the artist began publishing reproductions of her work nearly 40 years ago she would never have imagined that they would lie unsold for decades in a small country in the middle of the South Pacific only to re-appear in the top selling charts (albeit briefly) thanks to the magic of being able to search online for exactly the print you need from anywhere in the world.

Two decades after they were published prints of paintings by Bolivian born artist Graciela Rodo Boulanger are topping the sales charts again in – of all places – New Zealand.  The curious story of how a Latin American artist who worked mainly in France has recently become one of the top selling artists at NZ’s specialist art print retailer, New Zealand Fine Prints.

About the artist

Born in 1935 in La Paz, the cultural capital of Bolivia in South America Graciela Rodo Boulanger’s parents were a concert pianist and an art collector.  A talented musician Rodo Boulanger studied in Vienna in 1952 and moved to Buenos Aires at the age of 22 to further her musical career. It was in Argentina that she embraced an artistic career path instead of continuing as a professional pianist. Rodo Boulanger has always considered printmaking a key part of her practice, she was working in a French engraver’s studio in the early 1960s when she met and married French diplomat Claude Boulanger and by 1968 Boulanger had her own etching studio in Paris.

For most people their first exposure to the work of Graciela Rodo Boulanger was through a series of prints of her paintings such as “Holiday on Wheels” published by “Touchstone Publishers” starting in the mid 1970s.

Boulanger prints stored for over twenty years in New Zealand

Boulanger’s Print “Girl with Cello”

A large number of these prints were imported into New Zealand from the publisher in the US. Prior to 1984 NZ had import licensing which meant distributors were incentivised to purchase ludicrously large amounts of prints at one time to use up their entire precious allocation of overseas funds once they had been granted a license. Back in those days NZ Fine Prints used to have a license to import prints for “educational purposes”, at one point we had about twenty years supply of famous prints by artists like Van Gogh and Monet in stock for our market of just over 4 million people!

For twenty years the Boulanger prints sat in a warehouse in NZ, carefully stored in their orginal packaging until the advent of online shopping brought them to light again.  Almost as soon as we listed the prints for sale online we began shipping Boulanger prints all over the world.  We deliver for just $NZ15 (approximately $US10-12 depending on the exchange rate on the day) by Airmail and prints are wrapped in acid free tissue and packed in super solid cardboard mailing tubes so they will get to buyers in perfect condition.  With worldwide demand both from new collectors of her work combined with people looking to buy pristine replacements of a favourite print that has faded or been damaged prints by Graciela Rodo Boulanger are outselling prints by NZ’s most popular artists and printmakers in their own land!

Print supply running out due to buying online from around the world

However with a rapidly dwindling supply of prints, some titles (especially from her bicycle and musical themed series such as the girl with cello print that we have used to illustrate this article) are getting very low on stock.  We have sold out of several prints over recent weeks and today have less than ten on hand of several titles listed for sale in the Graciela Rodo Boulanger collection at our gallery.

When the artist began publishing reproductions of her work nearly 40 years ago she would never have imagined that they would lie unsold for decades in a small country in the middle of the South Pacific only to re-appear in the top selling charts (albeit briefly) thanks to the magic of being able to search online for exactly the print you need from anywhere in the world.

Behind the Canvas: An insider’s guide to the New Zealand art market by Warwick Henderson

Review of Behind the Canvas: An insider’s guide to the New Zealand art market.  By Warwick Henderson with a foreword by Hamish Keith.  Published by New Holland Publishers.  In bookstores now or purchase directly from Warwick Henderson Gallery here.

Our verdict: Indispensable. 

Format

“Behind the Canvas” is structured in 10 chapters, starting with “A Brief History of the Art Market”, taking you through “Building a New Zealand Art Collection” to “Selling Artwork” with diversions into the illuminating “Information and Advice for Artists” and “Fakes, Forgeries and Flops” along the way.  A helpful “Recommended Reading and References” section rounds off the main part of the book. This is followed by in depth endnotes, exhaustive picture credits and a useful and thorough index (the book is well edited and nicely designed by Kate Stone and Kate Barraclough at New Holland).

Engaging & Informative

The soul of this publication is Henderson’s ability to convey his enthusiasm for the the NZ art market in a delightful breezy style whilst filling the reader with knowledge.  Readable, often funny and comprehensively informative Henderson de-mystifies collecting art in the affable manner of a kiwi Bill Bryson taking a complex topic and making it highly digestible.

There is an entertaining openness and disarming honesty about “Behind the Canvas”,  Henderson’s mistakes are wryly dissected and not every purchase ends in triumph although lessons may be learned. The intersection between art and business is the central theme of the book, the role of the dealer balancing the needs of each side of the transaction is clearly explained. The interests and requirements of both collectors and artists are taken into consideration across the chapters, and aspiring (and perhaps competitive) dealers will learn a lot too!

A key influence on Henderson’s approach to art dealing seems to have been one of the author’s “first forays into a Wellington dealer gallery” where the dealer was “extremely personable and friendly – a typical Kiwi bloke and not the stereotypical snobby dealer”. This book is in the tradition of making art accessible without dumbing it down that outlets like Peter McLeavey’s gallery epitomised to the first generation of buyers of contemporary NZ art.

Prints

This writer expected the usual dismissive treatment of artists’ prints but was pleasantly surprised when original prints were covered respectfully and some were even illustrated in the book.  Early NZ prints were even mentioned as a possible starting point for a collection.

Online Sales

Likewise when the heading “E-Commerce Sites and Other Art Junk” leapt off the page to this reviewer (disclosure: I am the marketing manager at one of NZ’s busiest art selling websites) what follows is a carefully nuanced review of the pitfalls of online sales of art from the vantage point of over 30 years in the industry that does not throw the ecommerce baby out with the bathwater.  What was particularly interesting was the even handedness of the critique, Henderson is equally concerned about the sellers of artwork on sites like TradeMe being hoodwinked by savvy buyers as he is by buyers unwittingly buying mass produced paintings being passed off as original artworks.

Conclusion

The only disappointment is that with such a comprehensive book – Henderson wryly notes the “scope of the book grew much wider than I (or the publishers) had originally envisaged” – there may not be enough material for another book by this writer on this topic in the near future.

Creative New Zealand’s visual arts budget would buy 100,000 copies of this book. This writer couldn’t think of single better way of supporting the continued long term growth of the NZ art market than delivering this engaging, inspiring and practical book into 100,000 households tomorrow.

As part of our occasional series of articles interviewing professionals working in the New Zealand art industry (see for example an industry snapshot of digital fine art printing and last year’s interview with Auckland studio photographer Bret Lucas on how to photograph paintings ) this week NZ Art Print News talks to paper conservator Lynn Campbell. A paper conservator’s job is concerned with the preservation, cleaning and repair of art works on paper like prints.

Lynn was incredibly generous with her time and sent through some superb background information about her work in art conservation and what is actually involved in training to be an art restorer like her. So in this first article we’ll meet Lynn, let you know a bit about her background and describe how you train to be a paper conservator plus try and give our readers an idea of what it’s like to work in art restoration.  In our next piece Lynn will then tell us what is best practice for the long term storage and display of artworks on paper such as prints.

Lynn Campbell – Paper Conservator 

Lynn removing dirt from an artwork

When we wanted to find the best advice on how to care for fine art prints there is no better source of expertise than New Zealand’s own globetrotting paper conservator Lynn Campbell.  Lynn’s company here in Christchurch, Campbell Conservation, offers a full range of paper conservation, alongside fine art works on paper like prints she also works on repairing and preserving documents, archives and even wallpaper.

Lynn teaches preventative conservation processes including disaster preparedness for collections, good handling, risk mitigation including storage and does conservation surveys of collections along with general care of art works advice for collectors.

Lynn’s recent projects

Campbell has just returned from her time as a Getty Guest Scholar at the Getty Conservation Institute (motto “Preserving the world’s cultural heritage to advance civil society”) where she shared her professional response to the Christchurch earthquakes in the paper An Investigation into New and Recent Methods and Processes Involved in the Salvage of Heritage Collections in an Earthquake Zone. The Getty Institute has a global focus working to advance “conservation practice in the visual arts, …serving the conservation community through scientific research, education and training, model field projects, and the broad dissemination of the results of both its own work and the work of others in the field.”

Another career highlight was three trips to Antarctica, as Lynn told us “I was one of the first conservators to travel to Antarctica to work on the three historic huts there. I returned twice after this to continue work on the huts of Scott and Shackleton”.

Why did you become a paper conservator?

Antique print prior to restoration (courtesy Campbell Conservation)

We asked Lynn to tell us a bit about her background and how she became an art conservator who specialises in paper.  She told us that she originally came from the UK and initially obtained a BA (Hons) in fine art printmaking.  Lynn says “I was always interested in conservation but it was only after I had finished my degree that I realised there were courses available to train in paper conservation in particular”.  Although she had been fascinated by museums as a child it was not until her teaching degree year that she “realised that there were courses in conservation. So I immediately applied to the Newcastle course [the "Post Graduate Certificate in Fine Art Conservation" from Newcastle University] and was accepted the next year”.

Post graduate degrees in both teaching and the conservation of fine art led to her first position at the Royal Scottish Museum in Edinburgh. Campbell then returned to teach on the Masters degree course in Conservation at Newcastle upon Tynne and just before she immigrated to New Zealand she taught basic conservation skills to archivists from throughout Africa in Zanzibar. In NZ she worked at what was the then Robert McDougall Art Gallery (now Christchurch Art Gallery) before launching her independant art conservation practice, Campbell Conservation.

What training do you need to work in Fine Art Conservation?

We asked Lynn what is taught at a post graduate course in fine art conservation.  She told us “when studying in the conservation of Fine Art on paper one has to learn a great deal about practical methods and processes including the study of chemistry and physics”.   She quoted the fine art conservation course at Northumbria University which states “The ultimate goal of a paper conservator is to stabilise objects to ensure their continual existence. This not only entails state of the art treatment techniques on individual items but extends to the preservation needs of an entire collection.”

“The scope of the paper conservators’ work has widened in recent years and they are often involved with issues relating to collections care such as developing and maintaining archival housing standards, exhibitions, advocacy and project management.” Paper objects are particularly vulnerable to light, humidity and air pollutants as well as contact with harmful materials such as acidic backboards, pressure sensitive tapes and ill-fitting frames. Deterioration can also occur through improper handling and exposure to active mould spores. “

Next article we look forward to talking with Lynn about how to best preserve your works on paper (such as antique or artists’ prints) for long term storage and display.

Charles Heaphy’s Wellington, lithograph by Thomas Allom

International Art Centre‘s impending sale of “The John Leech Collection” (February 27 2013) contains a treasure trove of artworks from the stockroom of Auckland’s oldest dealer gallery.  Among the lots on offer are a fine selection of early NZ prints, including lots 141-143, a set of Charles Heaphy’s prints of Wellington and Nelson.  These prints feel like part of this writer’s family, I have in front of me a newspaper article featuring my mother (Enid) in her late twenties where she is pictured holding one of the Heaphy lithographs of Wellington from the Alexander Turnball library (similar to the one illustrating this post) and the project that resulted in the publication of Tony Murray-Oliver’s enormous book of Heaphy’s watercolours loomed large in my childhood (it didn’t go smoothly).  Both Don and Enid delighted in teaching us kids to spot differences both between Heaphy’s original watercolours and the lithographs by Thomas Allom and the more subtle changes that occurred between editions of this set of prints.  This demonstrated to us the way the New Zealand Company sought to project a certain image of NZ to potential immigrants which we found fascinating, not viewing this embellishment as propaganda but as marketing!  So as soon as I spotted the set for sale in International Art Centre’s catalogue I resolved to tell the story of this famous set of NZ prints (and for potential bidders at the sale – how to tell them apart).

Charles Heaphy

Artist – Charles Heaphy

Foremost among the surveyor-artists whom the New Zealand Company brought to New Zealand was Charles Heaphy, their draughtsman on that first voyage of the Tory. Though the details naturally differ, Heaphy’s career was in many ways typical of the lives of the surveyors and artists who came to New Zealand — men of more than usual ability, drive, and foresight, who made history in their adopted country and contributed in large measure to its development and prosperity.  Heaphy came of an artistic family, and had had five years training before his appointment as artist and draughtsman — at the age of nineteen — to the New Zealand Company. After his initial landing at Wellington, Heaphy visited the Hokianga and Kaipara, and in 1840 the Chatham Islands before assisting in the first surveys of Nelson in 1841. He went back to England in November 1841, taking with him the portfolio of water-colour drawings which were to form the basis of several prints of the New Zealand Company settlements. Whilst in England he published his Narrative of a Residence in Various Parts of New Zealand.

Heaphy returned to New Zealand in 1843, and took up land near Nelson, but farming soon took second place to his passion for exploration. In February 1846, with Fox (later Sir William Fox) and a Maori guide, Kehu, he explored part way down the Buller River. The following month, with Brunner, Heaphy began a trip down the West Coast which lasted for five months, and which ranks as an epic in the history of New Zealand exploration. On his return from this expedition, Heaphy was again employed as a surveyor in Nelson until May, 1848, when Governor Grey appointed him draughtsman at the Auckland Survey Office. The next four years were spent in general survey work, but with the discovery of gold Heaphy was appointed Commissioner of the Goldfields in 1852. The next year he was appointed District Surveyor by the Auckland Provincial Council, and received promotion to Provincial Surveyor in September 1856. During the New Zealand Wars of the next decade Heaphy played a conspicuous part; a member of the Auckland Rifle Volunteers, he was commissioned as a Lieutenant and rose to the rank of Major. Heaphy won his Victoria Cross at the battle of Rangiriri, becoming the first colonial soldier and the first volunteer so honoured. After the Waikato War Heaphy’s duties included a year surveying the land confiscated from the Maoris, before he was reappointed Provincial Surveyor. He now entered political life, representing Parnell (Auckland) in the House of Representatives from 1867 to 1869, and, after his retirement from the House, taking up the position of Commissioner of Native Reserves. In 1878 Heaphy was appointed a Government Insurance Commissioner and Judge of the Native Land Court, but he resigned all his positions in June 1881, and left New Zealand for retirement in Brisbane, where he died on 3rd August the same year.

The Wellington & Nelson Lithographs

Lithographer – Thomas Allom

Among the best known and most valuable New Zealand prints are the four lithographs by Thomas Allom after the watercolour drawings by Charles Heaphy. Comparison of his watercolours (now in the Alexander Turnbull Library, Wellington – we have some prints of Heaphy’s paintings available here) with the New Zealand Company lithographs produced from them reveals several variations, the most notable being the addition of figures to the landscape. The New Zealand Company felt it necessary to show colonists actively engaged in the building of their settlements — it was feared those used to the benefits of civilisation would hesitate to come to an obviously empty country! The Heaphy lithographs appeared in several issues. Subsequent editions may have been published without intent to deceive, but the passage of time and increasing monetary value of the prints has caused them to be sold as originals, and for the purposes of this note they are termed ‘redrawn’.

The most exhaustive examination of their background was published by Tony Murray-Oliver in the Turnbull Library Record, October 1971. All four views were advertised, available either tinted or coloured, as published by Smith, Elder and Company. However, they seem to have actually published only two of the four (Part of Lambton Harbour and Mount Egmont), the other two (View of a part of the town of Wellington and View of Nelson Haven) being published by Trelawny Saunders and also issued without a publication line at all, apparently from the same stones. At some later date (possibly 1891 as the fiftieth anniversary of the first edition) the pair of Wellington views and the Nelson print were redrawn and reissued. It is possible that the Egmont view was also redrawn, but no examples have been seen.  Another issue of Part of Lambton Harbour is known, published possibly about 1940 (the centenary of the Treaty of Waitangi would seem a likely occasion on which to reissue the print.) It is on modern paper, with very fresh colours, and is from the 1891 Smith Elder redrawing.  According to “Early Prints of New Zealand” in November 1970 the Alexander Turnbull Library purchased a set of the two Wellington and the Nelson view which would seem to have been a deliberate forgery. From the 1891 redrawn set, the prints are not only vividly coloured, but printed on very heavy modern paper, showing platemarks and signs of offsetting of titles — extremely unlikely on genuine lithographs, to say the least!

Whilst all these issues do not necessarily make the redrawn prints less valuable, collectors would be well advised to examine the Heaphy lithographs on offer very closely before buying from the sale at International Art Centre.

Differences between the prints
The two Wellington and the Nelson views all have several differences between original and re-drawn issues. The quickest to check are: Part of Lambton Harbour — original issue, the standing Maori at the right holds a spear with feathers near tip; redrawn version the feathers are replaced by a circle like a collar.  Part of the Town of Wellington — original issue, the house on the beach, second to the left from Willis Street, has four windows; redrawn version has only three. View of Nelson Haven — original issue has very indistinct “sunbeams”; redrawn version has marked light area.  Although obviously not the coloured prints in the upcoming auction The Part of Lambton Harbour view was also engraved, and lithographed in black and white in reduced form, for use as book illustration, (300), and in addition appeared in the Illustrated London News.

The Alexander Turnbull Library issued photolithographic reproductions of three of the original Heaphy watercolour drawings in 1963. Limited to a hand-numbered edition of 1500 sets of the two Wellington and the Nelson view, and issued at one guinea a print, the edition sold out within six weeks.  This is the set commonly known as the “Queen’s Prints”; they were issued to mark the opening by H.M. the Queen of New Zealand House in London. Avon Fine Prints reproduced the lithographs, as a comparison with the Turnbull Library watercolours: the Wellington and Nelson views in 1971 in editions limited to 2000 copies, and the Egmont view in 1975 in an edition limited to 1000 copies.