Milly Paris at home in 2012. Photo / Chris Coad, courtesy of Jim and Mary Barr, supplied
Milly Paris at home in 2012. Photo / Chris Coad, courtesy of Jim and Mary Barr, supplied
Milly Paris, 83, reflects on the joy of collecting as she prepares to farewell the paintings and photographs that she says were always more than just famous signatures.
In 2012, the Les and Milly Paris collection broke auction records when $4.5 million of work by some of New Zealand's greatest artists was sold. But it was only part of the story. Les had died, and Milly planned to stay in the Wellington house they'd lived in since their marriage in 1963, surrounded by some of her favourites - Colin McCahon, Gordon Walters, Ralph Hotere and more. Unfortunately, she says, "life and circumstances have another way of dictating what is really going to happen". On Thursday, Auckland's Art+Object will auction part two of the Paris collection - the works that 83-year-old Milly can no longer fit in her assisted living home in Australia, where she has moved to be closer to family. In an edited extract from the auction catalogue, Milly reflects on the art she describes as friends, "not a signature, or status symbol, or an investment", including a Philip Clairmont mixed media collage of a couch that has a famous sibling in Te Papa.
"I suppose one has to have some kind of madness to get this emotive feeling from an inanimate object. I always supposed the feeling to stem from all the history relating to each work - our relationship with the artist and his/her dealer, the circumstances surrounding the acquiring of the work of art and all the other associated points of interest, especially that mutual intuition Les and I had that enveloped us both together at the same moment in time. I can count on the fingers of one hand, when we may not have been in accordance with each other. We were so in tune, each to the other.
Paris and artist Julian Dashper, January 1992. Photos / Chris Coad, courtesy of Jim and Mary Barr, supplied
"No words needed to be said. It was like an electric current passed between us and, in that moment, we knew what the other was feeling and thinking.
"When a work of art 'hit' us, we did not need to discuss its purchase at any length, for we both knew instinctively and simultaneously that if it was at all viable, we would like to live with it in our home forever and ever. At that time, no such thought ever entered our heads that the day may come when one of us would have to downsize the collection and move to another country.
"Les was quite serious when he said that the art would provide for our old age. Unfortunately, he didn't make it. We would still be living in Strathmore Park surrounded and being pushed out of our home by all the art.
"Once you have the bug, as long as there is still a friendly bank manager, or dealer gallery willing to take a deposit and the rest to be paid off over a few months, we would still be collecting. That is how we managed to build up such an amazing collection.
Philip Clairmont's Scarred Couch II. The mixed media collage has a catalogue estimate of $160,000-$240,00.
"Each painting has a story. Les and I made a visit to see Philip Clairmont and Rachel Power. They lived in Wanganui at the time, and Phil wanted to show Les his new studio. We wandered through the various rooms and took in what was displayed on the walls. The last room was used as Phil's studio, and there on the wall was a very large hessian hanging of a dilapidated couch, with an unfinished and unsuccessful attempt to cover the areas that were threadbare, as Rachel's brother-in-law, Galvin Chilcott had run out of the material, and couldn't find any more of the same.
"The wall on which it hung had been freshly whitewashed, so the colours appeared so brilliant in contrast. It was a riot of colour, and so much more vivid than the Scarred Couch No. 1, which is a lovely painting with the palette being more subdued, and with fewer colours being used. This hangs in Te Papa. As we gazed at Scarred Couch No. 2, it gave off this very compelling feeling that enveloped us completely.
"Les told me later, that as they walked back to the other side of the house, Phil kept on steering him towards the studio and kept talking to him about the Scarred Couch painting. This happened two or three times, and Les got the feeling the Phil really wanted him to buy this major work. As we couldn't afford to pay its full price, Les asked if he could pay it off over three months and these terms were very acceptable and so the deal was done.
Milly and Les Paris' Wellington home before it was raised to incorporate a ground-floor gallery. Photo / Chris Coad
"Only one problem, where could we possibly hang something so large in our small house? The walls were crammed, top to bottom and side to side, in some places three deep. This contributed to our decision to hydraulically jack up the house 11ft [3.35m] so that we could build a large room we called 'The Gallery', which also included an open plan office for Les.
"For some artists it is unfortunate that some buyers of art are so fickle and only follow trends rather than their own preferences. There is no right or wrong when choosing art if you like it, for one may have to live with it for a long time. And who enjoys living with a work of art they don't enjoy, just because it has a 'signature' and for the reason they bought what they considered to be an investment?"
Lowdown The Les and Milly Paris Collection Part II is open for viewing at Art + Object, 3 Abbey St, Auckland, 11am-4pm this weekend with a floor talk by artist Philip Clairmont's son Orlando at 3pm today. The collection goes to auction on Thursday, 6.30pm.
