Show and tell

In 1990 we saw an exhibition in Wellington by a couple of artists who’d go on to shake up NZ art. It was located in a kind of furniture, rugs and curios emporium called The Last Decade Gallery down on Wellington’s Thorndon Quay. The exhibition was titled Nature, Forms, Myth and the two artists were Shane Cotton and Peter Robinson. Cotton was showing his early abstract work and Robinson curious objects some of which looked as though they’d been through the fires of hell. It’s possible that this was the first dealer gallery show for each of them. Just a year out of art school in Christchurch and virtually unknown in Wellington, their exhibition was hugely memorable. Today we passed all that remains of the building where that impressive show was installed. 

Image: the lot that once held the Last Decade Gallery in Sar Street

Room with a point of view

One of the big changes in the past decade has been the way dealer galleries have muscled into what was once the undisputed territory of public art museums. With no necessity on them to entertain their audiences, charge at the door or provide child friendly environments, dealers have expanded the services they offer their artists and the opportunities the give their clients and would-be clients. Starting at the top, take the Larry Gagosian global empire. It frequently presents serious, museum-quality exhibitions with many works borrowed from leading art institutions like MoMA or Tate. Research facilities, archives, publications, magazines, many dealers not coming close to the scale of Gagosian are jumping in to ramp up the credibility and accessibility of their artists. And then there is the controversial border crossing into the commercial sector by those who once were public art museum curators. They are rewarded with extraordinary curatorial freedom as long as they are happy to open their Rolodexes. Here in NZ dealers are starting to play the same game. The most recent example opens today in Wellington. In a spacious well-lit room above Suite Gallery on Cuba Street, you can access an extensive Ans Westra archive and rotating display of images. Westra's own record in media clippings of the infamous Washday at the Pah controversy is a highlight along with an extensive library of books and journals illustrated with Westra images. Or, buy an Ans Westra photograph. There you go.

Images: Westra museum at Suite in Wellington top to bottom, memorabilia and prints, illustrated books, Washday at the Pah clippings and exhibition space

Don Wood 1938-2016

In the history of art dealing in New Zealand the death this week of Don Wood is a big marker. In 1960, when he was in his early 20s, Wood opened The Gallery (shortly after renamed the Ikon Gallery) with Frank Lowe, a fellow architecture student. It was one of the very early dealer galleries in New Zealand focusing on the contemporary art of the time. As examples it was the Ikon Gallery that was the first to show Don Binney’s bird paintings and Pat Hanly’s iconic Figures in light series. 

Wood was also an important early supporter of Colin McCahon who had three exhibitions at the Gallery in its Symonds Street location (it was rather wonderfully situated in the basement of Rationalist House). The impressive line-up included The Wake, the first showing of  Here I give thanks to Mondrian, the Gate painting Waioneke and the large banners Landscape theme and variations specifically designed by McCahon ‘to fill the Ikon'. In 1964 when the gallery shifted to Lorne Street as Ikon Fine Arts McCahon showed his Waterfall series there. 

When Wood sold 19 paintings by Colin McCahon to the American Edward J Danziger he also became a key player in one of the great art mystery stories of the sixties. Danziger, an ex movie producer (more Roger Corman that Goldwyn-Mayer) turned hotel owner, took the paintings out of the country to decorate his chain of hotels in the Gordon Hotel Group. The Bellini paintings vanished and became something of an El Dorado. Dealers would trawl the US in search of the lost mother lode until Australian based art dealer Martin Browne painstakingly located most of them. 

After a few brief years at the centre of NZ's emergent contemporary art world, the Ikon Fine Arts closed in 1964. Wood continued his involvement in art dealing most importantly working alongside Peter Webb, another of the heroes of art dealing in New Zealand. You can get a feel for Wood's architectural background, a field he worked in for most of his life, here in Wystan Curnow's account of his negotiations with Billy Apple over proposed changes to the Peter Webb Gallery in the 1970s. As well as being a patient man, Wood built up a collection of contemporary art and there is a rare opportunity to see his taste in action via this Art + Object catalogue that featured a good part of it.

Image: center, Rationalist House the site of the Ikon Gallery as it is today

Slim pickings

The recent wrangling over money and who-did-what-to-whom by Stephen Bambury and his ex dealer Andrew Jensen was revealing about how the artist dealer relationship works. (You can now read the full transcript of the judge’s findings here.) Word is that Jensen will appeal so more to come.

In the meantime, the case reminded us of a document sent to us over 40 years ago by Philip Clairmont. It sets out the financial details of an exhibition Phil had in 1974 and demonstrates how complicated the art business can be and why artists often feel aggrieved by their share of sales. Bear in mind that the commission taken by dealers in the 1970s was 33/3 percent and not the 50 percent most ask for today.

In this case two of Clairmont’s paintings were sold from an exhibition for $290.00. As usual the dealer deducted a commission of $96.67. To complicate the situation though, a month or so before the show opened, Clairmont had sold a painting to a public art gallery for $370.00. It had been promised for the gallery's exhibition so feeling that it had missed out of the sale and the commission, the gallery deducted $61.66 from its payment to Clairmont for the exhibition sales. This amount was half of its standard commission if it had been given the work to sell. Some gallery costs were also deducted including mailing, printing invitations, catalogues and wine (at $2.50 probably not so great) adding up to a total of $42.60. And then there was a loan for some materials deducted (hessian at $5.00, hardboard and cardboard at  $17.89) plus the cost of returning a painting at $7.50. Another loan of $5.00 for fares so Clairmont could attend the exhibition opening was put aside.

So after the wash-up, Phil's cheque from the gallery was for $58.67. In 1974 that was the equivalent of 13 hours work at the average hourly rate.

Takes two to tango

It’s not too often that you walk into a public art museum and experience a bout of hyperkulturemia #stendhalsyndrome. Yet in the Dunedin Public Art Gallery last week we saw two very familiar paintings in an unexpected juxtaposition of great personal meaning. One was Julian Dashper’s large painting Rural Sheraton. As we'd lent this painting to the Gallery ourselves there were no surprises there (although we were pleased to see it hanging again) but it was the company it was keeping that caused the reaction. The last time we saw Colin McCahon’s Series D (Ahipara) it was hanging on the far wall of the smaller room at Peter McLeavey’s Gallery in Wellington. That was over 40 years ago. Back then we had placed a hopeful second option on it, but it was never going to happen. As far as we know it went overseas with its new owner who many years later put it on loan to Dunedin. 

To see these two works together showed just what public art museums can do that is so particular to them: putting great things together to create new ways of seeing and thinking. The chances that Julian’s painting would ever sit next to this great McCahon were never high and if it were to happen it could only ever be via a public collection. In a couple of weeks at Wellington's City Gallery there's going to be another pairing of McCahon and Dashper in another public institution, Wellington's City Gallery. This one will be something that Julian always hoped would happen: his Here I was given alongside Colin McCahon’s Here I give thanks to Mondrian. Now that is going to be something to see.

Images: Left  Colin McCahon’s Series D (Ahipara) and right Julian Dashper's Rural Sheraton at the Dunedin Public Art Gallery

Broken records

The long legal tussle between artist Stephen Bambury and art dealer Andrew Jensen has run its course. It's been an important case. It asked the court to consider the relationship between artists and dealers that are usually (given that there are few solid contractual agreements) conducted in a pretty fluid state. The way art is bought and sold in New Zealand can be complex with closely negotiated deals on prices, time payment, part-payments, packaging of works, exchanges, etc etc. Given that throughout their professional education artists learn diddly squat about how to run even the smallest business, it's not surprising that many artists end up with incomplete records and a sketchy idea of what’s in their various dealers' stock rooms or indeed who ends up owning their work.

This is the context in which Bambury questioned missing payments on sales made by Jensen’s gallery and Jensen, in the way of these things, counter-sued. Now the High Court has found in favour of the artist, awarding him over $100,000 plus interest accumulated over the years the complaint has been in dispute. Jensen’s counter-claims were put aside. Of course all this started with Jensen and Bambury working together very closely. Jensen was a believer in Bambury and Bambury a strong supporter of Jensen’s gallery with both benefiting. Unfortunately such friendships can also lead to the business practices associated with them being looser than usual. Dealings can get muddled via undocumented oral agreements, payments being used to offset other expenses, trade-ins and so forth.

Indeed the court found the Bambury-Jensen relationship to be so closely intertwined that the judge regarded it to be more like a partnership than a business relationship between two separate companies. As a result issues of trust were seen as less critical than they might be in business to business relationships. This maybe why some of Bambury’s more complex claims were dismissed. So, a much reduced pay-out based on the initial claim of around $700,000, but still significant. It will no doubt reverberate through the dealer gallery system and should be a wake-up call to artists look carefully at their own responsibility to keep track of their work and the money it brings them.

Getting the hang of things

We’ve put up a lot of studio shots on OTNSTUDIO but we also have many more of artists installing exhibitions. It’s always interesting to look at the dynamics of placing work into a gallery space. As Richard Serra once put it, “different people have different problems and different relations to the exhibition of their work.” So here to kick off an occasional series are some shots taken over the last few days of Campbell Patterson setting up his exhibition at Michael Lett from the new 'outside the studio' section of OTNSTUDIO.
Images: a taste. Campbell Paterson and Andrew Thomas installing Patterson's exhibition at Michael Letts

Greedy artists make it tough for dealers to earn a buck

In the 1980s Wellington had a dealer gallery called 

-->331/3. The name was painted in blue right across the entire front of the bright yellow building. Why would you call a dealer gallery that? It was simply the rate of commission that art dealers took off artists in order to sell their work back then. Later it jumped to 40 percent and more recently 50 percent. What’s an artist to do? Run might be a good idea as a new threat looms on the horizon - German academic Magnus Resch. He's looked at data from 8,000 galleries based in Germany, London and the U.S and he is not impressed. In fact Resch discovered that 30 percent of the galleries weren’t making a profit at all. Change your business model says Magnus in his new book Management of art galleries, and change it fast. Apparently the problem is fourfold:
•  Rents are too high
•  Unique product is increasingly hard to find
•  Gallery staff are paid too little and..oh, oh…
•  Artists make too much money.

The solution, from this German anyway, is to raise the commission to a 70/30 split and we’ve got to tell you that 70 percent is not going to the artists. Impossible you say? You'd think so, but had you suggested to Gallery 331/3 that one day it would have to change its sign to a 50 they'd have laughed in your face.

Image: Adam Parker Smith’s 2013 painting I’m Looking for a Gallery Better Then This One

Male call

 David Kiehl, the Whitney’s curator for prints, has described them as 'art world royalty' and added their 88 posters to the museum's collection. The Guerrilla Girls have just celebrated their 30 year anniversary, 30 years of getting up the art world’s nose (the male section of it anyway) using statistics and humour to highlight the massive disparity between representation of female and male artists in institutions and dealer galleries. At its height the Guerrilla Girls had around 30 members but numbers have slowly dwindled as members got older and people's priorities shifted. One told the NY Times,  'Some of us wanted a piece of the pie, and some of us wanted to blow the whole pie up.'

To honour the Guerrilla Girls' work a new group called Pussy Galore has checked out the male/female ratios for the current dealer gallery rosters in NY. You can see it here. Pussy Galore uses the GG’s 1986 list as its baseline. We've done a similar count in the past for NZ (2012 and 2015) and now six months later in the spirit of the GGs, let's see how it looks (a bit better you have to say).

You can enlarge the chart by clicking on the image. See individual gallery percentages here.

Window shopping

What are the chances? Walking down Wilshire Boulevard the day before we leave LA, we look into an empty shop front. Making the usual comment about what a great art space it would make we then do a double take. It’s like Hopkinson Mossman has been transplanted in LA. On the far right hand corner is a sink with a very familiar splash of paint behind it. Turns out we have fluked on the site that Fiona Connor used to replicate one of the key pieces in her last HopMoss exhibition Can do academy.  Ok FC lives in the neighborhood, but still.

Images: top, Wilshire Blvd and the empty shop front. Bottom left, the ‘original’ sink and right, Connor’s version Can do academy #3 now in Te Papa’s collection

The returning

The new Bowerbank Ninow Gallery (set to open late November on K-Road) is promising a return to artists on the hammer price of works it sells at auction. Back in 2007 the attempt to legislate a return to artists on resales fell over in New Zealand after some forceful lobbying from dealer galleries. EU countries (including the UK) have had schemes in place since 2006 and Australia introduced its own version in 2010 covering works selling for more than $1,000. The proposal in NZ was for artists to have an inalienable right to 5% royalties on all resales. Now, according to Louisa Gommans in the Law Society's LawTalk, the debate is back. The issues are pretty much as you'd expect (an administrative nightmare, pressure on high value works, chiseled profit margins) but Bowerbank Ninow are diving in anyway. Their recent press release makes it unclear as to whether they intend this scheme to cover other secondary sales they undertake as well but presumably it will. As it stands, a work hammered down on the night by Bowerbank Ninow for $20,000 would return $450 to the artist.

What webs they weave

Over the last year a number of dealer galleries have clustered (as they do) on Arch Hill. Originally dominated by Two Rooms the area is anchored by the Great North Road. With typical perversity, Michael Lett chose last year to return from his Great North Road location to K-Road. And not just to K-Road but as a very close neighbor of Ivan Anthony and just across the road from Artspace. Anyone who visits this area will have seen another large empty space lurking on K-Road itself. Lett used it for a one-night dinner at the opening of his Implicated and immune exhibition as it’s part of the same ex-retail bank space he occupies. Now it seems another gallery is set to open its doors. Webb’s loss looks as though it might be K-Road’s gain as a couple of ex-Webb people are rumoured to have just signed the lease. As the current Webb’s current staff list has no head of department for fine art, and no one at all for wine, we’re guessing Charles Ninow will be one of them and probably Simon Ward the other. (Turns out the Simon is actually Simon Bowerbank who used to work for Ivan upstairs and also for Webb's - ok that makes us the simple ones, sorry Simons) What sort of gallery would these ex auction guys run? There is certainly room in the secondary market, especially to discreetly place high-end work. Watch that space.
Image: the K-Road site back in the days when you could bank on it being....a....bank.

Inside out

When New Zealand dealer galleries raised their commission from thirty-three and a third percent to forty percent there was a lot of grumbling. In most cases the change was made without discussion and the discussions that did take place were mostly announcements in disguise. The more recent increase from 40 percent to 50 percent barely caused a ripple. The unregulated New Zealand dealer system pretty much follows how it’s done in the rest of the world. The risk of this laissez-faire approach is being demonstrated right now by the ongoing case in Auckland between Stephen Bambury and Andrew Jensen. Jensen was reported as admitting, “The records were complicated by the sometimes casual nature of their financial relationship.” This “included oral agreements, payments being used to offset other expenses, and trade-ins.” Not an arrangement that would come as a big surprise to most New Zealand artists. The problem is that as prices rise and projects require more financing, these casual relationships come under far greater pressure. An interesting analysis of similar problems internationally is offered by the collector (and financier) Alain Servais. He complains that the dealer system has “no rules, no respect, no ethos, no nothing.”

You can access these three pieces here:

• Collector Alain Servais on Why the Venice Biennale Is the World's Best Art Fair 
• Collector Alain Servais on Insider Trading in the Art Market, “Blood-Sucking Leeches,” and Why We're Now Just the Fashion Industry 
• Art In The Shadow Of Art Market Industrialization 

The space race

How big is big? Colin McCahon’s Gate III painting in Victoria Univeristy's collection is big at 3.5 x 10.7 meters. But in New Zealand terms so is Steele and Goldie’s The arrival of the Maoris in New Zealand at 1.8 x 2.8 meters. Of course McCahon's work was made for an exhibition titled Ten big paintings (there were also monsters by Hotere, Driver, Hanly and Ellis) and the Steele and Goldie effort is tiny compared to the Géricault painting it is based on, The raft of the Medusa that comes in at 4.91 x 7.16 meters. 

So to walk into Katharina Grosse's latest exhibition in Berlin and find six paintings in the 4 x 8 meter range, you can understand it was a very large space. Like many of the large exhibition spaces opening now it was part of a commercial enterprise, not a public one. This time Galerie Johann Koenig is responsible with a major redevelopment of St Agnes Church. 

As if that weren't enough scaling up for one weekend, we'd just come from the recently opened KINDL - Centre for Contemporary Art. In what had been the 20 meter high distillery room of a huge brewery, the Swiss artist Roman Signer had suspended a full sized airplane and made it lazily rotate with the help of two large industrial fans. Little wonder all this largess made a big impression.
Images: left Katharina Grosse at Koenig and right Roman Signer at KINDL

Mobbed

Jono Rotman's photographs of Mongrel Mob members have just opened as an exhibition at Wellington's City Gallery. Key images from exhibition were originally shown at the Gow Langsford Gallery in Auckland April/May last year. That exhibition was instantly controversial when it was revealed that one of the portraits was of Shane Harrison who at the time was charged with the murder of  25 year old Sio Matalasi.

In the 29 April NZ Herald story Art or insult” Accused killer in show Anna Leask reported that Matalasi’s family were “disgusted his alleged killer will be "immortalised" in a photo exhibition at an upmarket Auckland art gallery.” Gow Langsford Gallery director Gary Langsford told Leask that it was gallery policy ‘not to censor an artist's work’ “

The same day the Sensible Sentencing Trust's Ruth Money waded into the argument over mob photos being shown publicly in TVNZ’s Mongrel mob’s faces used in art.

TVNZ’s Te Karere programme also broadcast a short item on the Gow Langsford opening that has so far attracted 39465 hits on Youtube

Dr Paul Moon, Professor of History at Auckland University of Technology wrote a considered piece the same day Portraits fall back on shock value questioning Rotman’s use of Mongrel Mob members as subject matter. “His emphasis on the lurid 'Other' no doubt has an appeal for some viewers, but at the same time, the echoes with 19th century propaganda art which aimed at denigrating Maori are deafeningly loud.”

Blogger Arthur Meek is in awe of Rotman approaching the Mongrel Mob and on his blog takes Dr Paul Moon to task for dissing Goldie in his Rotman commentary in his 30 April post I’ll have my art like I have my porridge.

6 May TVNZ’s Seven Sharp reports in Mongrel Mob photographer refuses to give in to grieving father’s plea that photographer Jono Rotman refused a personal request by Matalasi’s father to remove the photograph of Shane Pierre Harrison, during a weekend meeting between the two men.

In his 9 May review A sharp emotional response NZH art critic T J McNamara compares Rotman’s work with Gottfried Lindauer, “Rotman's photographs are certainly not picturesque. They emphasis conscious brutality yet in the same way as Lindauer they bear witness. They are a record, done brilliantly and are totally memorable images.”

On 12 May in its item Rotman exhibition Auckland University student paper Craccum posed a few questions with John Mutambu and Emma Jameson concluding, "Rotman’s images represent a real facet of New Zealand society whether we, as viewers, choose to voyeurise or vilify it.”

24 September Shane Pierre Harrison and Dillin Pakai were found guilty of murdering Sio Matalasi. The story was reported on the Stuff website in Double guilty verdit in Mongrel Mob murder trial. "Two gang members have been found guilty of murder after a confrontation between rival factions turned deadly."

The Rotman exhibition opened at Wellington’s City Gallery on 13 March. The Dominion Post in its story Killer’s portrait to hang in victim’s hometown indicated confusion between the gallery and the Matalasi family as to whether Shane Harrison's portrait should be shown. “Gallery director Elizabeth Caldwell said Matalasi's family understood the project and were supportive of it. But his father, Iafeta, said this week that many family members were unhappy Harrison's portrait would hang in the gallery. It would be "ideal" if Harrison's portrait were removed from the exhibition, though he accepted that would not happen. “

In Photographer brings Mob portraits exhibition to Wellington Stuff’s Diana Decker talked to photographer Jono Rotman who defends his use of mob members as subject matter. "I understood the potential for difficulties to come about because of the history and public perception of these guys. That was always understood. The work is not about specifics, not about who did what or what happened. "

In its online introduction to the exhibition the City Gallery claims it is presenting Rotman’s Mongrel Mob Portraits to raise “questions why we consider certain types of people suitable to hang on a gallery wall in a formal portrait.”

Meanwhile a stream on NZ’s reddit are engaing in a long discussion (153 comments at this time) around the Rotman photographs including contributions from commentators claiming to be gang members.

Less is more

"That would be vulgar"

Art dealer Leo Castelli to art collector Robert Scull on being asked to sell him all the works in Jasper Johns' second exhibition (Scull purchased two but would eventually own 22 major works by Jasper Johns)

Pic of the week

Is Jim Allen the oldest performance artist still standing? He’s definitely the oldest standing operating a chainsaw and with Marina Abramovic at 66, Vito Acconti 74, Gina Paine and Carolee Schneemann just a year older and even Yayoi Kusama a youthful 85, we reckon the honours most definitely go to Allen at 92. On Wednesday night about 50 people watched him recreate the performance On planting a native from 1976 that involved cutting down a small tree and representing it on the gallery wall. In the audience was art writer and critic Wystan Curnow who has been a strong supporter of Allen and the other performance artists of the seventies. It was quite something to see Curnow transfixed by the performance as though it were the first time he had seen Jim Allen at work. He even edged closer mid-performance to take more pictures. Turns out that Curnow is also that other essential glue to the art world, a fan.

Image: Wystan Curnow photographs Jim Allen at Michael Lett

By the numbers

To anyone (that’s anyone living below the Bombay Hills) who doesn’t believe that Auckland is now the Cultural Capital of NZ, here’s some numbers based on the Walters Prize and the Venice Biennale. And they are kind of compelling. Compelling that is if you believe that representation by a dealer gallery is one possible measure of an artist's standing. Anyway, of the 25 artists who have been finalists in the seven Walters Prizes, all are represented in Auckland and just seven in Wellington. Then in the last two Prizes non of the eight finalists are represented in Wellington at all. Of the nine artists who have carried the NZ flag at the Venice Biennale, only three are represented in Wellington. Over both of our major art events then less than 30 percent of the exhibitors are represented by a Wellington dealer. As to the South Island, someone down there can do that sorry sum..

And for the record, the lists:

NZ’s representation at the Venice Biennale:
2001 Jacqueline Fraser and Peter Robinson
2003 Michael Stevenson
2005 et al.
2009 Francis Upritchard and Judy Millar
2011 Michael Parekowhai
2013 Bill Culbert
2015 Simon Denny

Walters Prize:
2002
Yvonne Todd
Gavin Hipkins
John Reynolds
Mike Stevenson

2004
et al.
Jacqueline Fraser
Ronnie van Hout
Daniel von Sturmer

2006
Francis Upritchard
Stella Brennan
Phil Dadson
Peter Robinson

2008
Peter Robinson
Edith Amituanai
Lisa Reihana
John Reynolds

2010
Dan Arps
Fiona Connor
Saskia Leek
Alex Monteith

2012
Kate Newby
Simon Denny
Alicia Frankovich
Sriwhana Spong

2014
Luke Willis Thompson
Simon Denny
Maddie Leach
Kalisolaite Uhila

Starkwhite comes to Wellington

The relationship between dealer galleries and public art museums has changed a lot. There was a time when the museums stood on their ethics and kept the dealers at arm's length in case their curatorial independence was compromised. That stand feels rather quaint now with big international dealers like Gagosian and Hauser & Wirth having a huge impact on what goes into (or possibly more importantly what’s not made available for) public museum shows, biennales and commissions. These galleries fund exhibitions and publications on a lavish scale and of course present substantial exhibitions of their own. The boundaries are well and truly blurred and the results not always to the benefit of museum independence. When visiting public museums shows today studying the labels to see who claims who and who's credited for what and who gets thanked is simply another part of the filtering process.

If you visited the current suite of exhibitions at the City Gallery in Wellington you'd think you'd hit the nexus of the public museum/dealer relationship. The City Gallery's spaces are all but filled on both floors with three solo exhibitions by artists (and yes in the City Gallery tradition they're all male) who show at a single Auckland dealer gallery - Starkwhite. Then stir in some personal history. The City Gallery’s Senior curator Robert Leonard was Starkwhite director John McCormack's curator at the Govett-Brewster and the Dunedin Public Art Gallery. And what about the transparency issue? The Starkwhite connection is credited on two of the exhibitions (Martin Basher and Grant Stevens) at the City Gallery but is nowhere to be seen in the biggest exhibition where the three ground floor galleries are filled with Seung Yul Oh’s work. And this in an institution that raised eyebrows in the past over the multiple appearances and support of artists from the Sydney-based dealer Roslyn Oxley.
 
But as it happens it turns out the Starkwhiteathon is actually a mixture of loose programming and poor timing: the Seung Yul Oh show was developed in conjunction with the Dunedin Public Art Gallery and had no association with Starkwhite, Leonard has been a long-term supporter of Grant Stevens (he introduced the artist to Starkwhite way back) and the Martin Basher exhibition was already on the books.
 
So not exhibition programming's finest hour but a King-hit for Starkwhite

Image: Seung Yul Oh (detail)

Stories

Jill Trevelyn's book on Peter McLeavey steps out in a somewhat more conventional get-up when it's published into the UK market.
Images: left the NZ edition and right the UK