Webb's Important Works of Art March 2011

IMPORTANT WORKS OF ART 1

IMPORTANT WORKS OF ART ANTIQUES & MODERN DESIGN 29 - 31 MAR 2011

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New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz

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IMPORTANT WORKS OF ART ANTIQUES & MODERN DESIGN 29 - 31 MARCH 2011 OPPOSITE: [27] Colin McCahon Noughts and Crosses, Series 2, No. 5, 1976 $250,000 - $350,000 FRONT COVER: [26] Don Binney Kotare Over Ratana Church, Te Kao $200,000 - $300,000 BACK COVER: [25] Peter RobinsoN A Wee Gem, 1994, Red Light Specials, Buy Now Risk Free, Factory Prices, Invest, Whyte Bros Trusted Dealers, Free Pipe with Each Purchase, $38,000 - $48,000 INSIDE BACK COVER: [35] Max Gimblett Crimson / Red $30,000 - $40,000

IMPORTANT WORKS OF ART 1

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321 IMPORTANT WORKS OF ART

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Tue 29 March 2011 – 6:30pm | VIEWING FROM WED 23 MARCH 5:30 PM

ANTIQUES & MODERN DESIGN

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Thu 31 March 2011 – 6:00pm | VIEWING FROM WED 23 MARCH 5:30 PM

EVENING PREVIEW Wednesday 23 March 5:30pm – 7:30pm Please join us to view the suite of sales and enjoy a glass of wine.

PLEASE NOTE A buyer’s premium of 12.5% will be charged on all items in the Important Works of Art sale; a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sale. GST (15%) is payable on the buyer’s premium.

LEFT: [31] Colin McCahon Throw Out the Lifeline from The Red Ones series $130,000 - $180,000

IMPORTANT WORKS OF ART 3

INTRODUCTION Welcome to Webb’s first sale of Important Works of Art in 2011. Here we present an extensive survey of great New Zealand practice from cutting-edge Contemporary works to Modern masterpieces. The variety and quality of the offering included in this catalogue provides an opportunity to view a wonderful range of rare and significant works.

Over the period of compiling this catalogue, the Christchurch earthquake hit with devastating consequences. On behalf of all Webb’s staff and directors, we extend our thoughts to those affected by the earthquake. Whilst Webb’s immediately began a fund-raising initiative which will see a good donation going to the Christchurch Relief Fund, we have been somewhat overshadowed by one extremely generous client.

The owner of Don Binney’s Kotare over the Ratana Church, 1964 (lot 26), author and historian Dick Scott, has consigned this work and instructed Webb’s to pay the entire funds to the Christchurch appeal. Of extraordinary significance and coming to the market for the first time since its original purchase in 1964, this work is one of Binney’s great masterpieces from the mid-1960s’ period. Extensively reproduced and exhibited, this is unquestionably the most important work by this artist to ever be offered publicly at auction in this country.

Dick Scott described its release to an exhibition of New Zealand painting at the Commonwealth Institute of London in 1965 and then its release in 2004 to a tour of New Zealand public galleries as “seeing off a family member”. After

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owning the work for over 50 years, the owner has now found a purpose with enough justification to release the work permanently.

The catalogue includes six works by Colin McCahon, the earliest of which is Nude of 1955 (lot 30). Against a Cubistrendered ground, the female nude has substance and weight, reminiscent of Picasso and Braque from the 1920s.

Noughts and Crosses, series 2, no. 5, 1976 (lot 27) provides a rich metaphor for the universal ‘game’ of life and death.

McCahon takes a simple idea and develops it into a compelling visual rendering of universal truths. Also painted 1976, a highly productive period for the artist, is Throw Out the Lifeline from The Red Ones series (lot 31). Again McCahon addresses the existential struggle of humanity, transcribing metaphysical truths for the viewer.

The work entitled 2, 1959 (lot 39) is an investigation of the symbolic potential of numeric values and demonstrates McCahon’s exploration of the facets of human existence and religious belief, yielding a wealth of visual and metaphysical references.

A selection of abstraction in the catalogue provides a survey of reductive painting. The work of leading abstract painter Stephen Bambury is represented by a range of works from a small, early work on canvas Area No. 2 (lot 13) to a highly refined work from the Necessary Correction series from 1999 (lot 22) alongside three other works.

Max Gimblett’s superb Crimson/Red, 1983 (lot 35) is a testament to reductive modernism and is presented alongside

the later quatrefoil Untitled 1998/1999 (lot 9) and diptych The Door that Contains the Night, 1999 (lot 24).

Running concurrently with the sales included in this catalogue are standalone auctions of Oceanic and African Art (6.00pm, 30 March 2011) and Webb’s inaugural sale of Vintage Cars running alongside a sale of Vintage Motorcycles (6.30pm, 22 March 2011 – to be held at Shed 5, 90 Wellesley Street, Auckland).

Webbs’ sound presence in the market for Maori, Oceanic and African arts was continued last year with two successful stand-alone auctions. Collectors chose to support Webb’s and, in doing so, have established diversity in the supply of auction services in this field. The niche market that Webb’s launched for Vintage Motorcycles quickly became Australasia’s leading forum for trading in this genre. Cars, a new venture for Webb’s, have been soundly embraced by leading collectors and connoisseurs seeking an alternative to traditional sale forums. The catalogue currently in the market contains some of the finest vehicles available in this part of the world and is the first of a range of automotive auctions planned over the coming year.

A preview of the pieces in this catalogue together with those of the Oceanic and African Art offering will be held at Webb’s Manukau Road gallery on Wednesday 23 March from 5.30pm.

We look forward to seeing you there.

SOPHIE COUPLAND DIRECTOR

[26] Don Binney Kotare Over Ratana Church, Te Kao oil on board $200,000 - $300,000

IMPORTANT WORKS ART 5 IN OF FOCUS

JEWELLERY & WATCHES APRIL 20TH, 2PM & 6PM

FURTHER ENTRIES INVITED A HARLEQUIN SALE Including Fine Jewellery & Designer Costume Jewellery

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The sale will feature an excellent selection of diamond solitaires, antique and modern jewellery, desirable wristwatches (including Patek Philippe) together with an exciting collection of 50 pieces of collectable costume jewellery from noted makers such as Christian Dior, Coro including Duette, Miriam Haskell, Weiss, Trifari, Boucher, Staret, Butler & Wilson, Schiaparelli and Eisenberg, from an extensive collection once the property of leading industrialists, the Rudolph family of Schloss Dillich, in Germany. A selection of the offering is illustrated opposite and above. The sale will be preceded by our popular afternoon session of “Affordable & Estate Jewellery�.

A catalogue will be available free of charge at viewings.

Viewing: Friday 15 April 9am - 5.15pm

Sunday 17 April 11am - 3.00pm

Monday 18 April 9am - 5.15pm

Tuesday 19 April 9am - 5.15pm

Wednesday 20 April 9am - 12 noon sharp Final date for acceptance Wednesday 30th March Contact: Christopher Devereaux email cdevereaux@webbs.co.nz ph 09 529 5606

IMPORTANT WORKS OF ART 7

HIGHLIGHTS 2010 marked another year of sound success for Webbs’ fine art department – clearly maintaining it’s position as the country’s leading art auction business achieving six of New Zealand’s ten highest prices at auction for the year, all with works priced over $200,000.

Last year saw many important lots consigned to our sales by collectors maintaining confidence in auction as a dynamic market tool. Testament to this is the quality of the offering included in this catalogue. Equally,

Shane Cotton Lying in the Black Land $225,000

BILL HAMMOND A Lullaby of Birdland $220,000

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successful sales were achieved for many of the truly significant works offered by Webb’s last year. With this in mind, collectors can be assured that quality artworks, correctly presented, continue to perform well at auction.

We look forward to continuing to work with our clients in 2011, whether it be offering advice for buying and selling, facilitating an updated valuation for your collection, or discussing the state of the art market in general.

Michael Parekowhai Poorman $85,000

Stephen Bambury Necessary Correction XIX $32,000

COLIN MCCAHON Seaweed on the Beach $210,000

Michael Illingworth Nude in a Starry Field $60,000

SHANE COTTON Blackout Movement (2001) $200,000

Bill Hammond All Along the Heaphy Highway $220,000

Greer Twiss The Birds $43,000

Don Binney Man’s Head from Te Henga III $225,000

[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]

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HIGHLIGHTS 1. 1949 AJS 7R 350

$42,000

10. Ole Wanscher Chair and Footstool

$2,000

$6,100

2. Exceptional emerald of over 7ct

6. diamond of 5ct WITH faint pink tint,

11. Sir Walter Buller

set in a ring with diamonds.

set IN A RING with yellow and white

A photograph album of ‘New Zealand

diamonds

Tree-Ferns’

$43,000

$6,000

$2,500

7 & 8. 2 Good Louis Vuitton SuitcasES

12. A RING SET WITH A 7.25ct DIAMOND

$3,000 each

$65,000

4. 4 George IV Sterling Silver Candlesticks

9. Loose Princess cut diamond of 3.01 ct

13. 2000 Chateau Petrus

$30,000

3. A Victorian Mahogany Campaign Table

$23,450

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5. Wedgewood hand thrown squat vase

$47,500

$3,800

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14. A Set of Six Georgian Dining Chairs

$2,600

15. A Siebe Gorman & Co Diving Helmet

$7,000

16. George French Angas The New Zealanders Illustrated, in 2 vols.

$17,500

17. Good 19th Century Campaign Chest

$5,200

18. yellow diamond of 5.14ct, set in a ring with two white diamonds

$131,000

19. A Rare Royal Doulton ‘Despair’ Flambe Figure By Charles Noke

$5,800

20. A Taxidermy Monitor Lizard

$1,100

21. Bracket Clock with 18th Century Works

$2,300

22. A Rare 17th Century English Sterling Silver Wrythen Knop Spoon

$6,300

[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]

IMPORTANT WORKS OF ART 11

FINE & RARE WINE MON 28 MAR 2011 - 6:00PM The March auction will offer over 500 lots representing fine New Zealand, Australian, Bordeaux, Burgundy, Rhone, Italian and Champagne producers. A great opportunity to find bottles to fit every possible desire!

CONTACT: Simon Ward wine@webbs.co.nz +64 21 642277

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IMPORTANT WORKS OF ART

INCLUDING HISTORICAL NEW ZEALAND WORKS AUGUST 2011 ENTRIES NOW INVITED Important modern, contemporary and historical works of art.

Gottfried Lindauer Ihakara Tukamaru

oil on canvas 850 x 680mm

$120,000 - $180,000

Ihakara Tukumaru (c.1881-1913) belonged to the principal family of Ngati Ngarongo, one of the many hapu of the powerful Ngati Raukawa tribe, who trace their descent from the migrants of the ‘Tainui’ canoe.

Ihakara is credited with organising

the erection of two houses of Christian worship in the Foxton district. From 1852 until his death, Ihakara held the office of Native Assessor, a Government appointment.

He is recognised for his role as a seller of land to the Government and

as a peacemaker during the 1860s and 1870s. Ihakara died at Matakarapa and was buried in the old Te Awahou cemetery six days later. Hundreds of mourners, both Maori and Pakeha, followed his body to its final resting place.

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IMPORTANT CARS & CLASSIC MOTORCYCLES TUESDAY 22 MARCH 6 PM AT SHED 5 VIEWING: FROM SATURDAY 12 MARCH. DAILY 10AM TO 3PM SHED 5, TOP DECK, 90 WELLESLEY STREET, AUCKLAND

LOT 64 1963 Ferrari Lusso 250 NZ$1,100,000 - NZ$1,400,000

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A catalogue is currently available for an auction of superb historic racing cars and classic automobiles, alongside a selection of classic motorcycles from the best private collections in New Zealand and Australia. Celebrating the very best of automotive industrial design, this long anticipated event reflects a passion for things well made.

Entries are currently invited for a sale of Important cars and classic motorcycles to be held in October 2011.

CONTACT: Neil Campbell ncampbell@webbs.co.nz +64 21 875 966

Be Inspired

WELLESLEY ST WEST ST PARK

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RHUBARB LANE 3 WILL BE HERE LA

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ALL SIX BUILDINGS NOW SELLING FROM ONLY $499,000 FREEHOLD URBAN VILLAGE LOFTS FOR WORKING &/OR LIVING COMPLETION DUE 2012

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SALES & CAFE DISPLAY CENTRE SHED 5

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09 309 2524 Sales & Display Centre Open 10am-4pm Every Day Shed 5, Top Deck, 90 Wellesley St West www.multiplexliving.com IMPORTANT WORKS OF ART 15

Images are indicative only. Subject to change. TRAN7160.

Rhubarb Lane is Auckland’s newest CBD address where you can work, live and play. Situated on the lower west side of the CBD, Rhubarb Lane includes a cobblestone street, fresh village shopping, a lively theatre, a vibrant park and six stunning small buildings, each one designed by a different and world renowned architect – Ian Moore, Architectus, Fearon Hay, Warren And Mahoney, Cheshire, Peddle Thorp.

PARKING

NELSON ST

SA

C B D 8 0 0m

Khai Liew Spoehr 2007 armchair in American black walnut 765 x 560 x 555 mm John Young Northern Song #5 Summer 2007 Oil on linen 900 x 500 mm

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WEBB’S WELLINGTON Webb’s is pleased to announce a comprehensive auction service for Wellington clients. Wellingtonians have long supported Webb’s both as collectors and consignors. A permanent Webb’s presence in Wellington and streamlined services between the two centres will enable ease of access to the Auckland market for those in the ‘arts and culture capital’. Webb’s now offers a five-day-a-week appraisal and valuation service and personally supervised, doorto-door freight and logistics. This service extends to the entire lower North and upper South Islands.

Webb’s Wellington services will be headed by Jeff Hobbs, a 20 year veteran expert in Oceanic, Tribal Arts and antiquities. Jeff operated as a successful dealer and consultant in New York and the United Kingdom during the 1990s and subsequently owned and operated the well respected Sulu Gallery, Wellington. Although Jeff’s specialist interests lie in the fields of Tribal art and Eastern antiques, he will working closely with: Sophie Coupland, Webb’s head of Fine Arts, to provide fine art services; James Hogan, Webb’s head of Decorative Arts, to provide

services across the spectrum of antiques and collectables; and the extended team of Webb’s resident specialists.

In recent months Jeff has travelled internationally on behalf of Webb’s repatriating significant Maori and Oceanic material to New Zealand.

Last year, Jeff led the valuation of the entire Maori, Pacific and Ethnographic holdings at Te Papa Tongarewa.

Please contact Jeff to discuss Webb’s Wellington services and how your pieces would be marketed and handled from Wellington.

CONTACT: Jeff Hobbs jhobbs@webbs.co.nz +64 21 503 251 JAMES BRAGGE, LAMBTON QUAY, BRAGGE’S WELLINGTON AND THE WAIRARAPA, WILLIAM MAIN, MILLWOOD PRESS, P.95.

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A3 ART AN UNCATALOGUED ART SALE This auction will include over 100 works with estimated values below $1,000, many to be sold without reserve.

Comprising small-format works by some of New Zealand’s leading artists, this auction will provide excellent opportunities for buyers.

All works will be illustrated at www.webbs .co.nz from 11 April.

Viewing at 18 Manukau Road from 9am Friday 15 April. No physical catalogue will be posted. Provide us with your email address to receive information about this auction and regular updates regarding Webb’s events.

Illustrated: Tim Thatcher Shooting Kiwis Acrylic on paper 205 x 295mm $500 - $700

THE NEW COLLECTOR: TRIBAL ART 18 APRIL 2011

A strict selection criterion for Webb’s specialist Oceanic and African catalogues has generated a whole new category of sale, Oceanic and African new collector sales. A second tier sale including Maori artefacts such as toki, Maori folk art, 19th and 20th century pieces from Pacific, Papua New Guinea, Melanesian, Aboriginal and African cultures. With most pieces priced below $1,000, this sale presents an opportunity for new collectors to enter this wonderful and diverse field of collecting.

CONTACT: Neil Campbell ncampbell@webbs.co.nz +64 21 875 966 18

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THURSDAY 24 MARCH 2011 // WEBB’S AUCTION HOUSE, 18 MANUKAU ROAD, NEWMARKET // DOORS OPEN 7.30PM, START 8.20PM // $10 CASH DOORSALES

A Pecha Kucha Night is an event format in which presenters show a slideshow of 20 images, each of which is shown for 20 seconds — giving a total presentation time of 6 minutes 40 seconds. Each event usually has 8 14 presenters. Presenters (and much of the audience) are usually from the design, architecture, photography, art and creative fields. The event format has been replicated in more than 360 cities, including London, San Francisco, Seattle, Rotterdam, Shanghai and Berlin. Drawing its name from the Japanese term for the sound of conversation (“chit chat”), it’s 20x20 format ensures concise presentations, and keeps things moving at a rapid pace. Its presentation format was originally devised by Astrid Klein and Mark Dytham of Kein-Dytham Architecture (KDa) in Tokyo, Japan in 2003.

PRESENTERS Jessica Hansell aka Coco Solid // musician and writer // ‘The war of the inner-worlds’ Melinda Williams // freelance editor / Surface Asia / Dwell Asia // www.surfaceasiamag.com Greg Wood // filmmaker/artist // Bill Ward, Greg Wood & The Bonneville Salt Flats Mau Muaiava // independent samoan filmmaker & visual artist // MAUPRODUCTIONS Jamie McLellan // product & furniture designer // my small world // www.jamiemclellan.com Paul McLaney // musician, general manager of mushroom music publishing // album covers and their totemic existence in my psyche Mark Seeney // designer // my ruins Nat Cheshire // delineator, cheshire architects // on ugliness Neill Gaddes + Yijing Xu // exhibition designers // Shenzhen speed via Beijing bureaucracy // www.sanspractice.com Jack Quinn // F1 racing car driver // industrial automotive design

IN FOCUS 19

COOPERS CREEK SELECT VINEYARDS YOUR DISCOVERY. OUR INSPIRATION. 20

A RARE EARLY 20TH CENTURY ‘POWERS’ MOVIE PROJECTOR, C.1900. ACHIEVED $5,700 PLUS BUYER’S PREMIUM (15%) AND GST, NOVEMBER 2010

WEBB’S VALUATION SERVICES Specialist valuers of fine art and antiques, Webb’s provides valuations to public institutions, corporate and private collections.

Recent institutional commissions include: the Auckland Art Gallery’s entire collection of high-value New Zealand works of art; the entire holdings of Te Awamutu Museum including Uenuku, one of New Zealand’s most culturally significant artefacts; and the entire Maori, Pacific

and Enthnographic collections at Te Papa Tongarewa.

Domestic valuation services include single items or entire collections and cover artworks and the full spectrum of antiques and collectables. It is important to ensure your insurance valuations are up to date as market pressures cause fluxuations in value for rare and unique pieces. As New Zealand’s premier auctioneer, Webb’s auctions regularly recalibrate values,

placing us at the forefront of market trends. Webb’s valuation criteria comply with industry best practice.

CONTACT: Brian Wood bwood@webbs.co.nz +64 9 524 6804 +64 21 486 948

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IMPORTANT WORKS OF ART TUESDAY 29 MARCH 6:30PM Viewing Wed 23 Mar

Evening Preview 5:30pm - 7:30pm

Thu 24 Mar

9:00am – 5:30pm

Fri 25 Mar

9:00am – 5:30pm

Sat 26 Mar

11:00am – 3:00pm

Sun 27 Mar

11:00am – 3:00pm

Mon 28 Mar

9:00am – 5:30pm

Tue 29 Mar

9:00am – 12:00pm

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in this Important Works of Art sale.

GST (15%) is payable on the buyer’s premium only.

LEFT [34] Shane Cotton Which Art in Heaven $90,000 - $150,000

IMPORTANT WORKS OF ART 23

[1] Saskia Leek The Egg - Egg - Eggman oil and resin on board title inscribed, signed and dated 2000 verso 210mm x 305mm Provenance: Private collection Auckland $1,800 - $2,600

[2] Tony De Latour

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Landscape 3 oil on canvas title inscribed and signed; title inscribed, signed and dated 2000 verso 200mm x 300mm Provenance: Private collection Auckland $1,500 - $2,500

[3] Bill Hammond It’s a Frame of Mind That You’re In. It’s a Frame It’s a Frame It’s a Frame - Linda Lewis pencil on paper title inscribed, signed and dated 1988 190mm x 350mm Provenance: Private collection Auckland $4,500 - $6,500

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[4] Karl Maughan Untitled, Garden Painting oil on canvas 915mm x 110mm Provenance: Private collection Auckland $13,000 - $18,000

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[5] John Pule Restless Spirit a suite of 11 lithographs on paper artist proof title inscribed, signed and dated 2000 760mm x 560mm each Provenance: Private collection Auckland $15,000 - $25,000

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[6] Andy Warhol Joseph Beuys screenprint on lenox museum board, trial proof, unique colour 17/45 signed; Gow Langsford Gallery label affixed verso 1015mm x 810mm Provenance: Private collection Tauranga $13,000 - $18,000

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[7] Pablo Picasso Joueur de Flute et Chevre (AR No. 382) painted and partially glazed earthenware plaque stamped Empreinte Originale de Picasso, Madoura Plein Feu verso. Conceived in 1956 in an edition of 450. diameter 250mm Provenance: Purchased Sotheby’s, London, sale W05711, October 2005, lot 267. Private collection Auckland. $7,500 - $10,000

[8] Henri Matisse Nu Allongè - Nude Lying Down Poesies etching William Weston Gallery label affixed verso 245mm x 325mm Provenance: Private collection Tauranga $4,000 - $6,000

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[9] Max Gimblett Untitled 1998-1999 acrylic polymer, resin and coper leaf on board with gilded copper edges signed and dated 98/99 verso 633mm x 633mm Provenance: Private collection Auckland $14,000 - $18,000

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[10] Brendan Wilkinson The Overloaded Man a suite of nine oil on canvases signed and dated 2000 verso various dimensions; minimum 155mm x 245mm to maximum 190mm x 290mm Provenance: Private collection Auckland $2,800 - $5,000

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[11] Michael Parekowhai The Bosom of Abraham fluorescent light fitting, screenprinted vinyl 1310mm x 220mm x 70mm Provenance: Private collection Auckland Illustrated: Michael Parekowhai. Michael Lett Publishing, 2007. p.31 $7,000 - $9,000

[12] Michael Parekowhai The Bosom of Abraham fluorescent light fitting, screenprinted vinyl 1310mm x 220mm x 70mm Provenance: Private collection Auckland Illustrated: Michael Parekowhai. Michael Lett Publishing, 2007. p.31 $7,000 - $9,000

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[13] Stephen Bambury Area No.2 acrylic on canvas title inscribed, signed and dated Nov 1976 verso 225mm x 330mm Provenance: Private collection Auckland $3,500 - $5,500

[14] Stephen Bambury

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Siena XXXIV 23ct gold and acrylic on 2 aluminium panels title inscribed, signed and dated 1999 verso 170mm x 340mm Provenance: Private collection Tauranga $6,000 - $8,000

[15] Seraphine Pick Untitled oil on canvas signed and dated 2002 355mm x 460mm Provenance: Private collection Dunedin $3,000 - $4,000

[16] Gavin Hurley

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JFK Senior as a Boy acrylic on canvas signed with the artist’s initials GJH and dated ‘05 1350mm x 1000mm Provenance: Private collection Auckland $12,000 - $15,000

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IMPORTANT WORKS OF ART 33

[17] Graham Sydney

Grahame Sydney is celebrated for his

history of art stemming back to the early

Skull egg tempera on gesso on board signed and dated 1980; title inscribed, signed and dated 1980 verso 360mm x 380mm Provenance: purchased directly from the artist, from his Mt Pisa station studio.

On loan to the artist 1985 - 1990.

Private collection South Island $30,000 - $40,000

quiet compositions that often feature

Northern European Renaissance and the

expansive landscapes punctuated by

development of vanitas paintings that

telegraph poles and lonely signs of

used symbolic items such as skulls and

an absent humanity such as empty

snuffed candles to remind viewers of the

buildings, untended letterboxes and

futility of earthly vanity in the face of

windmills; his work is consistently

inevitable mortality. In Skull, the carcass

completed with a breathtaking

of the burnt, rusted vehicle becomes a

verisimilitude. Sydney’s characteristic

metaphor for the unavoidable passing

attention to the smallest details and his

of time and the transience of beauty and

mimetic brushwork is clearly apparent

material possessions. However, what

in Skull. Each blade of grass, grain

could be a work resounding with despair

of wood in the jumble of planks and

and melancholy is skilfully tempered

corrugation in the wall is individually

by an air of nostalgic romance, elegant

transcribed, combining to produce a

poise and calm stillness that pervades

masterful illusion that belies the two-

the painting.

dimensional nature of the canvas.

The discarded skeleton of the front of a vehicle lies rusting and wasting

man-made items that often adorn his

away against the blue-green patina of

canvases in lieu of their creators. As a

a corrugated-iron building. Devoid of

result, paintings such as Skull contain

windows, wheels and with only one

a specificity and familiarity despite

headlight, the vehicle shows only a

the fact that depicted locations, for the

hollow bowl where the engine would

most part, remain unknown to the

have lain, encased in the embrace of its

viewer. Sydney intentionally avoids

protective bonnet. The diagonal slant

busy compositions in favour of a limited

of the corrugated shed offers the viewer

number of objects or an uninterrupted

a glimpse of a brilliant sky and the

landform, wherein each element is

tantalising suggestion of a world beyond

recorded with a high level of exactitude.

that which is depicted in the painting.

This structural choice allows Sydney

Strong, clear sunlight is evidenced by the

to paint with a painstaking fidelity to

segment of blue sky and drifting cloud in

nature and this results in an almost

the top right-hand corner, which carries

palpable three-dimensional quality that

on in the sharp shadows cast by truck

seduces the viewer into an illusionistic

and roof ledge. The painting is bathed

scene, rather than overwhelming them

in a heightened clarity, so that each

with a intricate myriad of commodities

element, whether it be large and central

and their particulars.

such as the vehicle carcass or small and

Juxtaposing polished brushwork

seemingly insignificant such as an iron

with facets of decay and disuse, Sydney’s

nail in the shed, is lavished with the

Skull operates as an elegiac poem that

same level of attention.

whispers of people, time and objects

The title of the painting, Skull, endows

gone past, yet also celebrates a flawless

it with an anthropomorphic aspect and

tranquillity and an amicable solitude, all

highlights an underlying preoccupation

within a deft application of paint.

with the passage of time and mortality.

JEMMA FIELD

In this, the work is connected with a rich

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The sense of a human presence is suggested by Sydney’s incorporation of

IMPORTANT WORKS OF ART 35

[18] Michael Illingworth

Crafted from a rainbow of saturated

blankly into the middle distance. An

Portrait of Eve Figure oil on canvas title inscribed, signed and dated ‘66 verso 500m x 620mm Provenance: Private collection Auckland $60,000 - $70,000

colour and simplified forms, Michael

element of the surreal is found in the

Illingworth’s Portrait of Eve Figure

empty quietude of the painting, which is

clearly bears the influence of

enhanced by a stylised perfection. The

international modernists such as Paul

yolk-yellow sun is pristinely circular

Klee, Joan Miro and Henri Matisse.

and hangs neatly against the azure blue

Illingworth was enchanted by these

of the sky while the flat, rocky backdrop

artists during his time in Britain and

is devoid of plant or animal life. The use

his paintings often show stylistic

of all-over light, unmodulated colours

similarities, although he deftly carved

and sharp outlining may in fact be a

in paint his own unique image of the

response to the clear, bright light of the

world, which is characterised by his

South Pacific that greeted Illingworth

highly stylised figures. When present,

on his arrival to New Zealand in the

Illingworth’s idiosyncratic figures

early 1950s, and that so enchanted his

dominate the composition, facing the

contemporary Pat Hanly.

viewer front-on and staring directly

Illingworth commonly makes little

out of the picture plane. Immediately

or no attempt at spatial recession and, in

recognisable, they comprise a

conjunction with the use of high-keyed

pyramidal body, skinny tubular arms

colour, he succeeds in Portrait of Eve

and an ovoid head which is punctuated

Figure to produce a potent composition

only by a strictly triangular nose and

that demands attention. The only

large circular eyes. It is this character

suggestion of depth comes from the

that Illingworth reincarnates in Portrait

superimposition of the figure over the

of Eve Figure. Somewhat unusually,

mountainous range. The scalloped

however, this particular Eve has been

contours of the craggy outcrop are

gifted a mouth, which she appears to

echoed in a thin ribbon of pale blue that

open as if in greeting – a gesture that

undulates across the top of the canvas.

is given further weight by her raised

These parameters provide an orderly

right arm, which looks as if she could

framing device, within which Eve is

be waving. It is as though Illingworth’s

carefully circumscribed.

conception of the primordial woman is

of Illingworth’s paintings, sometimes

members of humanity. Devoid of sexual

appearing in tandem with Adam in a

overtones, the gourd-like shape of her

rendition of the more traditional and

breasts draws attention to her role as the

popular art-historic subject of The

quintessential life-bearer and, in her

Expulsion. Illingworth’s depiction of

capacity as the biblical ancestor of all

Eden, however, is consistently dramatic

mankind, it is fitting that she be situated

in its sparseness. Presenting the viewer

in an otherworldly utopia.

with a searing vision of a paradise

Painted in 1966, Portrait of Eve Figure

that is soaked in vibrant colours and is

is eerie yet enticing with its flat planes

brightly lit, it remains populated only by

of colour and crisp outlines. Closely

his inimitably stylised figures.

cropped and pressed against the picture

JEMMA FIELD

plane, the mythic Eve-figure stares

36

The figure of Eve graces a number

one who welcomes forth all subsequent

IMPORTANT WORKS OF ART 37

[19] Tony Fomison “Aramoana” (The Threat to Otakau Peninsula) oil on hessian on board title inscribed, signed and dated 1980 verso 440 x 625mm Provenance: Purchased Denis Cohn Gallery, 1980.

Acquired by the current owner c. 1990.

Private collection Auckland.

Exhibited: Denis Cohn Gallery, Auckland, 1980. Fomison. What shall we tell them? City Gallery Wellington, 1994.

Catalouge no. 56.

Illustrated: Fomison. What shall we tell them? City Gallery Wellington, 1994. p.117. $65,000 - $85,000

smelter, which incited feverish protest

hessian. As is common with many of

throughout New Zealand and inspired a

Fomison’s paintings, the coarse textural

number of artists to voice their objections

fibres of the hessian that he often used

in their work. In this painting, Fomison

are clearly visible through the brushed

employs a muddied palette to delineate

paint. Indeed, this grainy backdrop has

a series of rippling hills punctuated by a

come to function as a hallmark of his

large brooding head and dusky shadows

distinctive style while simultaneously

that all reside under a pale emerald sky.

imparting an additional level of visual

The focus on a specifically South

of Fomison, and clearly apparent

a nostalgic air and sees it continue from

in Aramoana (The Threat to Otakou

the body of work that Fomison began

Peninsula), is the use of found materials

in 1976 which centred, allegorically

to frame his works. Here, the painting is

at least, on Christchurch. During this

embraced by the wooden arms of what

time, Fomison was living and exhibiting

could potentially be a window frame,

in Auckland but his subject matter

cupboard door or perhaps the back

was largely drawn from his childhood

of a chair. Adding a further aspect of

memories of Christchurch. These works

uniqueness to the work, this practise is

saw glimmering Polynesian heads issue

also seen in Fomison’s Self-Portrait from

forth from nondescript backgrounds and

1977 that is currently in the collection of

were crowned with symbolic titles such

the Auckland Art Gallery.

as Ah South Island. Likewise, Aramoana

Residing centre stage, the nebulous

(The Threat to Otakou Peninsula) features a

head in Aramoana (The Threat to Otakou

mysterious looming head that drifts into

Peninsula) contributes a pensive element

the heart of the painting where it pauses,

of foreboding yet also one of peace and

poised as if in deep contemplation with

protection as though, while holding

closed eyes and parted lips. Although

its breath, it probes its surroundings

Fomison provides only a very cursory

for latent threats. Blanketed over the

delineation of the human form, the

middle of the landscape, the blurred,

viewer is nevertheless able to glean

smeary edges of this humanoid form

from the painting that the figure is a

see it literally dissolve into its verdant

Polynesian male. Fomison’s interest in

surround. While amorphous forms are

and appreciation of Polynesian culture

a characteristic feature of Fomison’s

is well known. Polynesian heads and

work and occur regularly throughout his

faces regularly traverse the landscape of

oeuvre, in this painting, the ill-defined

his paintings and in 1979 Fomison was

visage of the central shape, allows it to

The title of Tony Fomison’s 1980

granted the rare privilege for a European

function as a generic ancestral figure,

painting Aramoana (The Threat to

pakeha of receiving pe’a – the traditional

watching over and preserving the

Otakou Peninsula) locates it firmly in

male Samoan tattoo that decorates the

natural world from destruction and

the South Island and specifically in

thighs and buttocks.

despoliation. That this is so evocatively

the environmental protests of the late

38

interest. Similarly idiosyncratic

Island subject imbues the painting with

The compositional structure of

transcribed can be attributed in part

1970s. The settlements of Otakou and

Aramoana (The Threat to Otakou

to Fomison’s skilful handling of the

Aramoana sit near the entrance to

Peninsula) is effortless yet compelling.

brush, in part to his comprehensive

the Otago Harbour on the eastern and

The bulbous head breaks the horizon

understanding of character and

western shores respectively. In the late

line, joining forces with the rolling hills

form, and, most of all, to his power of

1970s, Aramoana was the proposed site

to create a sinuous tripartite diagonal

expression.

for the building of a major aluminium

that swoops across the rough plain of

JEMMA FIELD

IMPORTANT WORKS OF ART 39

[20] Russell Clark

In Russell Clark’s lifetime, his paintings,

cultural roots, as the meeting house in the

Field Workers, Urewera ink, watercolour and wax on paper c.1954. signed; title inscribed and signed verso 390mm x 470mm Provenance: Formerly in the collection of the late Jocelyn Tidswell. Purchased Webb’s, Sale 252, 2003.

Private collection Auckland $28,000 - $38,000

drawings and carvings of Maori

background of the Urewera fieldworkers

were among his most highly prized

attests. Their relationship to the land is

works. Clark (1905–66) was living

made concrete by their poses, especially

in Christchurch and teaching at the

that of the reclining figure who is rooted

Canterbury School of Art when he began

to the earth.

this important series of works in 1949. He

of media to achieve the textural and

illustrator for the New Zealand Listener

colouristic effects he wanted. This

and it was as an illustrator for the School

painting is in pen and watercolour with

Bulletin that he travelled to the Urewera

greasy crayon and wax to give the resist

country in 1949 to make studies of Maori

effect found in the costumes where

life for a special issue on Ruatahuna.

it gives an irregular, ragged quality

There, he was greatly taken by the Tuhoe

suggestive of the feel and substance of

people and their relationship to the land;

clothing. This was a popular technique

this led not only to an outstanding set of

for artists at the time and was used by

illustrations but also to an ongoing series

Moore as well as English painters like

of paintings and studies.

John Piper. Clark’s interest in surface

A feature of his imagery is the

texture extended to the frames that he

strength and monumentality he gives

customised himself by splattering them

to his figures, like the fieldworkers,

with gesso to give a mottled finish that

who appear dignified as they go about

he then wiped with paint to complement

their tasks. In achieving this new

the artwork. The retention of the original

dimension in his art, Clark responded

frames gives added authenticity to

to a number of influences, chief among

these excellent examples of his Maori

them the drawings of Henry Moore,

paintings.

one of which he was later to own. As

40

In his paintings, Clark used a variety

had made his popular reputation as an

Clark exhibited a number of these

a sculptor, Moore retained a three-

Maori subjects in a solo show he held at

dimensional quality in his drawings

the Centre Gallery, Wellington, in 1954. It

that have weight and presence, which

is likely that this work, too, was exhibited

Clark echoed in his Maori paintings.

there. The sophisticated handling of the

Clark depicted contemporary Maori

figures in the landscape relates to the

dressed in European clothes not the

major work, The Gathering of 1957,

traditional figures immortalised in

which is held by the Christchurch Art

Goldie’s paintings and in those of his

Gallery. It suggests a date of about 1954

many followers and imitators. They are

for this painting.

rural dwellers still and hold fast to their

MICHAEL DUNN

IMPORTANT WORKS OF ART 41

21

[22] Stephen Bambury [21] Jude Rae SL200 oil on linen title inscribed, signed and dated 2006 verso 470mm x 610mm Provenance: Private collection Auckland $9,000 - $15,000

42

Necessary Correction XV resin and acrylic on two aluminium panels title inscribed, signed and dated 1999 verso 1170mm x 850mm Provenance: Private collection Tauranga $30,000 - $40,000

22

IMPORTANT WORKS OF ART 43

[23] Colin McCahon Light Through a Landscape charcoal and pencil on paper title inscribed, signed and dated Oct. 17. ‘71 445mm x 595mm Provenance: Private collection Tauranga $30,000 - $40,000

44

[24] Max Gimblett The Door That Contains The Night gold leaf on board, acrylic polymer paint on canvas title inscribed, signed, dated 1999 verso Gow Langsford Gallery label affixed verso 380mm x 760mm Provenance: Private collection Tauranga $18,000 - $22,000

IMPORTANT WORKS OF ART 45

[25] Peter RobinsoN

The eight individual pieces that

the use of visual puns and often

A Wee Gem oil on red wool signed and dated ‘94 verso 355mm x 255mm

comprise this suite of works by Peter

controversial painted statements.

Robinson present an array of witty

Whyte Bros Trusted Dealers can be

juxtapositions between image and text

seen to continue on with Robinson’s

that are etched out in a diverse array of

facetious side, where an apparently

textures and a thick, almost palpable

simple painting is host to a seething

application of oil paint. These disparate

hotbed of the potent complexities that

paintings are unified by the regimented

surround gender and racial equality. The

use of a tripartite colour scheme, an

work ostensibly labels the pakeha New

intentionally imperfect, home-made

Zealander as society’s most responsible

aesthetic and a collective concern with

and honest buyer and seller of goods

facets of money, consumerism, financial

on the grounds of skin colour. The

stability and investment. Disbanding

privileged position of the white male

in some instances from the traditional

is further alluded to by the addition

medium of canvas, Robinson adds

of a bowler hat, an item of male dress

black velvet and red wool into the

associated with places and times past

mix, elevating these unconventional

that were the financial and professional

materials into the realm of high art.

playground of a white male elite. The

1994 $700 O.N.O oil on black velvet signed and dated ‘94 verso 300mm x 205mm Red Light Specials oil on canvas signed and dated ‘94 verso 350mm x 255mm Buy Now Risk Free oil on red wool signed and dated ‘94 verso 305mm x 205mm Factory Prices oil on canvas signed and dated ‘94 verso 350mm x 250mm Invest oil on black velvet signed and dated ‘94 verso 300mm x 200mm Whyte Bros Trusted Dealers oil on canvas signed and dated ‘94 verso 300mm x 200mm Free Pipe with Each Purchase oil on black velvet signed and dated ‘94 verso 400mm x 300mm Provenance: Private collection Wellington $38,000 - $48,000

Oil paint has been applied in some

term ‘Bros’ which adroitly plays back

squeezed directly from the tube and, in

into the question of skin colour, being

the works A Wee Gem, Buy Now Risk Free

a term commonly associated with the

and Invest, the words rise up from the

vernacular of Maori or Pacific Islanders.

painted backdrop, reaching an almost

In Robinson’s hands, the question arises

three-dimensional quality. Letters are

of whether or not these times are actually

not evenly spaced or perfectly straight

a past history along with the black

and the accompanying illustrations

Victorian hat, or whether the privileging

are purposefully simple, crude and

of whiteness and maleness continues to

unsophisticated. The words Factory

characterise contemporary society.

Prices coexist with a tall, smoking

Firmly ensconced in the artistic

chimney while Red Light Specials is

realm of witty wordsmiths, Peter

joined by a flashing red light bulb and

Robinson illustrates his dexterous

Invest is neatly attended to by a cursory

ability to compose paintings that are

delineation of a high-rise building. This

visually successful at face value but

somewhat naïve aesthetic belies the

also reward serious contemplation as

potent political undercurrents present

they divulge a multiplicity of potential

in many of the pieces. In the painting

meanings. Along with the variety of

1994 $700 O.N.O., completed in 1994, the

significance that can be sought out in

year itself is offered for sale by Robinson

each of the works is the diversity that

at the cut price of $700 or somewhere

can be achieved in their compositional

in the near vicinity, casting a poignant

arrangement. Each of the eight pieces

comment on the world of consumerism,

can function as a separate stand-alone

where everything can seemingly be

painting due to the strength of their

bought if the price is right.

formal configuration and yet they also

The palette choice of red, white

46

notion of a brotherhood is born out in the

cases in thick solid lines as though

cohere as an agreeable, rational and

and black has come to be somewhat

interrelated collection.

synonymous with Robinson as has

JEMMA FIELD

IMPORTANT WORKS OF ART 47

[26] Don Binney Kotare Over Ratana Church, Te Kao oil on board signed and dated 1963 1200mm x 990mm Provenance: Collection of Dick Scott, Auckland Exhibited: Ikon Fine Arts, Auckland, October 1964; Queen Elizabeth II Arts Council of New Zealand, Commonwealth Institute London, Contemporary New Zealand Painting, 1965, Cat. No. 6; Auckland City Art Gallery, Ten Years of New Zealand Painting in Auckland, 1967, Cat. No. 57; Auckland Art Gallery, Binney, Forty Years On, 28 Feburary - 5 September 2004; Dowse Art Museum, Binney, Forty Years On, September 2003 - January 2004 Illustrated: Herald, Picture of the Week, September 1964; Ikon Fine Arts, Don Binney exhibition catalogue, October 1964, priced at 50 guineas Listener, front cover, December 1968; Heritage Magazine, issue 79, 1973; 40 Modern New Zealand Paintings, Francis Pound, Penguin, 1985, pl. 4; Don Binney, NGA MANU/NGA MOTU -- BIRDS/ISLANDS, Damien Skinner, Auckland University Press, 2003, pl. 12 $200,000 - $300,000 THE PROCEEDS OF THE SALE OF THIS WORK ARE TO BE DONATED TO THE CHRISTCHURCH RELIEF FUND.

Painted when he was in his early twenties, Kotare over Ratana Church, Te Kao, 1964, combines the elements for which Don Binney is best known and acclaimed – a native bird flying above a characteristic New Zealand landscape, in this case with the added interest of a Ratana Church. The painting was first exhibited in Binney’s one-man show at Ikon Fine Arts, Auckland, in October 1964 and reproduced in its catalogue.

Priced at 50 guineas, it was to be sold

48

only on condition that it was available for inclusion in Contemporary New Zealand Painting at the Commonwealth Institute, London, the following year. Already it appears that it had been singled out as an exceptional work. It was bought from the show by Dick Scott, journalist and historian, who has kept it in his collection until the present day.

In 1989 Don Binney recalled the supportive art environment of the 1960’s when ‘one’s creativity was reinforced by an inquiring, literate and relatively homogeneous art scene. As often as not, a painting would be bought by another teacher, artist or writer as a gesture of collegial support as with Dick Scott’s purchase of Kotare over Ratana Church, Te Kao.’ Binney was then based in Auckland, though he spent ‘as much time as possible’ on the West Coast at Bethell’s Beach, Te Henga. But it was pointed out in the exhibition catalogue that ‘a number of other sources of reference can be found in his work, for Binney and his wife move around the country a great deal.’

Such was the case in this work with its Northland setting.

The catalogue text also gives some valuable insights on his ideas: ‘Don Binney’s paintings are indigenous to this country. They do not pretend, in their frequent use of land and bird forms to stress an obvious symbolism of New Zealand – they are not self-consciously New Zealand in any literary sense. They are images, directly stated, of forms familiar to and closely observed by the artist as ingredients of an intimate environment.’ The Ratana Church, however, does have specific New Zealand connotations and meanings, both cultural and historical. With its twin towers inscribed Arepa and Omeka, Maori transliterations of the Greek words Alpha and Omega (beginning and end), and the star and crescent visible above the Arepa turret, symbolic of holiness and enlightenment, it does represent a unique accommodation between Maori, Jewish and Christian spirituality and beliefs.

Prominent in the painting is a close-

up view of a kingfisher (kotare) flying over the land and passing in front of the church with its open beak suggesting that it is emitting a cry. The New Zealand kingfisher is a small bird, average size 19-25 cm, noted for its green/blue colouration. It occurs widely throughout the country and adapts to a range of habitats. Binney makes the kingfisher appear large and prominent by presenting it very close to the picture surface, as if viewed through an ornithologist’s binoculars. Cropping it by the picture frame enhances the effect of movement.

Because we see the bird from below, the pale colouring of its underbelly takes precedence over the green/blue plumage of its head and upper body. He simplifies the forms of the kingfisher, as he does the Ratana Church and the landscape. The imagery is all connected by a scaffolding of black outlines that links the clearly defined parts rather like the pieces of a stained glass window. While being figurative and accessible to the viewer, Binney’s imagery shows a knowledge of contemporary developments like formal abstraction and perhaps Pop Art. He attends to the shapes, lines and patterns with variations of handling including the use of palette knife and directional brush marks. Everything is ultimately referred back to the picture surface, undiminished by the atmospheric and perspectival effects of earlier realists. It is hard-edge and crisp looking even compared with works by Rita Angus and Christopher Perkins.

Kotare over Ratana Church at Te Kao is a pivotal work in the emergence of contemporary New Zealand painting in the early 1960s. It was totally in tune with the taste and theories of the time as represented by the Auckland Art Gallery director Peter Tomory, the influential critic Hamish Keith and enterprising dealers like Don Wood, Rodney Kirk Smith and Barry Lett. Works such as this established Don Binney as a major artist and helped make Auckland the leading art centre of New Zealand.

MICHAEL DUNN

IMPORTANT WORKS OF ART 49

[27] Colin McCahon

The years 1975 and 1976 were extremely

games and common to all but one is the

Noughts and Crosses, Series 2, No. 5, 1976 synthetic polymer paint on Steinbach paper on hardboard inscribed V Noughts & Crosses - 2, signed and dated ‘76 1095mm x 725mm Provenance: Kim Wright Collection, Auckland Rachel Power Collection, Auckland (by inheritance) Martin Browne Fine Art, Sydney Private Collection, Sydney Exhibited: Barry Lett Galleries, Colin McCahon: Paintings – Noughts and Crosses, Rocks in the Sky, On The Road, Auckland, 23 August – 3 September 1976, Cat. No 2 (as Noughts And Crosses (second set) with five other works from the same series.

Colin McCahon: A Question of Faith, Stedelijk Museum Amsterdam, The Netherlands, 30 August – 10 November 2002, and travelling to the City Gallery, Wellington, New Zealand; Auckland Art Gallery Toi o Tamaki; National Gallery of Victoria, Melbourne and Art Gallery of New South Wales, Sydney, 2002-2004 Illustrated: Colin McCahon: A Question of Faith, M. Bloem and M. Browne, Stedelijk Museum Amsterdam/ Craig Potton Publishing, Nelson, 2002, p. 135, p. 226.

Colin McCahon database cm001522.

productive ones for Colin McCahon. A

victory of the crosses. In each case, the

recurring theme in works from this period

cross depicted is the Latin Cross of the

was what McCahon saw as the ‘sacred

Crucifixion rather than an ‘x’. The sole

trust’ laid upon a community to teach its

exception is the upper game of Noughts

young its way of life – notwithstanding

and Crosses 7 (cm001439), the last in ‘the

that life can be unpredictable and difficult.

first set’, in which there is a ‘win’ for both

The three multi-panel Teaching Aids,

the noughts and the crosses – a result

with their variations on the Stations of

impossible in a real game where the first

the Cross number combinations, was

to achieve a complete line wins. But in the

one group that attempted to give a visual

lower game of no. 7, victory returns to the

reading of this issue; the Noughts and

Latin Crosses.

$250,000 - $350,000

Crosses was another.

Inspiration for the Noughts and Crosses came to McCahon while he was watching

more ambiguous. Of the five works of the

his daughter Victoria play games of

seven ‘series 2’ paintings illustrated on

noughts and crosses with her young

the Colin McCahon Database and Image

sons. In their discarded scraps of paper

Library (www.mccahon.co.nz/browse/

covered in completed games, McCahon

series/1511) only no. 3 repeats the victory

found a rich metaphor for the universal

of the Latin Crosses that distinguished

‘game’ of life. For in life, as in noughts and

‘the first series’. Instead, in nos 4 and 5

crosses, each individual must play within

(the work offered here), the games are

a given set of rules, the choices made and

inconclusive – reflecting the more usual

chances taken determining what follows

state of human existence – while in no.

thereafter.

6 the victory of the crosses is rendered

Exploring the striking visual

with a line of bold black ‘x’s rather than

possibilities offered by the layout of the

the Latin Crosses used earlier. The

game, the artist produced a series of taut

ambiguity of whether this is really a

and unambiguous paintings in which

victory is emphasized by the drama of

this simple children’s game became

these inky black crosses placed over a

a diagram of life and death. Now the

background dense with smoke from a

crosses represented both a positive and

fiery hell. Finally, in no. 7, the last painting

affirmative act and, through the metaphor

of the 14, the hope offered by the Latin

of the Crucifixion, the promise of

Cross has been extinguished; the crosses

redemption. As well as the ‘x’ traditionally

here appear in black against a black

used as the ‘cross’ in the game, in these

background while victory lies with the

paintings McCahon employs the shape of

noughts.

the Latin Cross – ‘T’ – the Cross of Christ’s

Despite such an apparently bleak and

Crucifixion. By contrast, the noughts

nihilistic finale, there is no doubting the

here threaten the possibility of the abyss:

power of McCahon’s Noughts and Crosses

a primordial void from which there is no

paintings. Nowhere is the artist’s genius

hope of escape.

for taking simple ideas based on everyday

The overall series known as Noughts

50

In ‘series 2’, the imagery is reduced to single games and their results become

life and developing them into compelling

and Crosses comprises 14 paintings (again

visual renderings of universal truths

a reference to the 14 Stations of the Cross)

better illustrated than in these paintings

and is divided into two sets of seven,

– and Noughts and Crosses, series 2, no. 5 is

known as ‘the first set’ and ‘series 2’. Each

one of the group’s finest.

of ‘the first set’ depicts two completed

MARTIN BROWNE

IMPORTANT WORKS OF ART 51

[28] Dick Frizzell Small Plane Over an Ocean acrylic on canvas title inscribed, signed and dated 5/9/2002; original gallery label affixed verso 1800mm x 1800mm Provenance: Private collection Auckland $30,000 - $40,000

52

[29] Colin McCahon Help, Necessary Protection pastel and pencil on paper inscribed help, signed, dated Easter ‘73 and inscribed small bird flys in for heavens Protection at Muriwai I reach for my crayon and pick up a dead insect.

230mm x 305mm Provenance: Private collection Auckland $28,000 - $32,000

IMPORTANT WORKS OF ART 53

[30] Colin McCahon

The female nude, one of the classic

in wash and gouache, a French Bay

Nude oil on paper on board title inscribed, signed and dated 1955 762mm x 562mm Provenance: Private collection Auckland.

Illustrated: Colin McCahon database cm000252 Colin McCahon: The Titirangi Years, 19531959, Peter Simpson, p.99 Auckland University Press 2007 $300,000 - $400,000

themes of Western art but uncommon

Bather in charcoal, and several curious

within New Zealand art (Pat Hanly being

wash studies of young kauri trees

a notable exception), is rare within Colin

which weirdly metamorphose into

McCahon’s work but far from being

female nudes.

unprecedented. In fact, his 1955 Nude

However, the 1955 Nude– his most

could be seen as the culmination of a

ambitious, fully developed example of

significant strain within his early work.

the genre – is unique in several respects:

There were several previous periods

it is painted in oils (like the two works

during which the nude briefly became a

painted in Christchurch in 1952);

subject of some importance to McCahon.

the nude figure is facing to the right

His first group of nude studies dates from

rather than the left as in almost all his

1942 and consists of about half a dozen

other nudes; and the figure is placed

drawings in pen and ink, some with

in an ambiguous indoor/outdoor space

crayon, which appear to be studies of his

rather than outdoors – she is seated on

wife Anne in various Nelson settings

a divan and is shown reading a book

such as Ruby Bay and the Motueka

held in her right hand while her left

River in the year of their marriage. A

hand rests against her cheek. The body

second set of pen-and-ink drawings was

is bulky and monumental, somewhat

exhibited in the 1943 Group Show in

reminiscent of nudes by Picasso and

Christchurch as Bathers Nos 1, 2, 3 and 4.

Braque in the 1920s. Most unusual of

The title Bathers inevitably calls up the

all is the treatment of the background

example of Cézanne, whose work was

which is divided up by diagonal faceting

studied intensively by McCahon at

somewhat similar to the treatment of

the time.

the sky in some of the Towards Auckland,

The motif of the nude figure re-

preceding year. McCahon used this

1950s as the period of figurative religious

device adapted from Cubism to avoid

paintings– which had dominated

an overly ‘descriptive’ approach. As

the period 1947–52 – was drawing to

he told Ron O’Reilly, “I found a grid

a close (one of the last, a mother and

of diagonals helped hold the image on

child, daringly places Jesus between

the paper and freed the imagination

Mary’s naked breasts). In 1952, he

to let the image expand” (quoted in

exhibited a nude in oils at the Group

Simpson, Colin McCahon: The Titirangi

Show (a painting now known as Bather).

Years 1953–1959, 2007, p.32). In Nude

Also from 1952 is Venus and Cupid

there is a subtle interplay between the

(after Raphael), another seated nude,

diagonals of the faceted background

similarly facing left and with the left

sky (if that’s what it is), the curves of the

arm extended. Both nudes are placed in

body and divan, and the lines and angles

outdoor settings.

formed by the disposition of arms, legs,

After McCahon’s move to Auckland in

54

Manukau and Kauri paintings of the

emerged in McCahon’s work in the early

nose and breasts, making for a strong,

1953, nudes turned up very occasionally

richly coloured and well-integrated

in his work for a few years, though the

composition – the successful culmination

1955 Nude was to be the last. In 1954,

of more than a decade of experiment.

there was a voluptuous Homage to Ingres

PETER SIMPSON

IMPORTANT WORKS OF ART 55

[31] Colin McCahon

Visually arresting with its simplistic

following the trail laid by a thin line of

Throw Out the Lifeline from The Red Ones series synthetic polymer paint on Steinbach laid onto canvas title inscribed, signed and dated ‘76 1905mm x 725mm Provenance: Private collection Auckland.

Illustrated: Recent works by Colin McCahon, Peter McLeavey Gallery, Wellington, 17 August - 3 September 1976, Cat. No. 3 Colin McCahon database reference cm000331 $130,000 - $180,000

compositional structure and dramatic

black paint. This slender black string

use of red on black, Colin McCahon’s

cuts diagonally through the sunburnt

painting Throw Out the Lifeline from

sky, coils itself around the top of the

1976 resonates with a sumptuous

vertical red bar and then reappears

interior glow. The work is one of three

at its base where it continues with its

that McCahon completed that year,

downward trajectory, bisecting the

which are bound together by the use

horizontal plane of stippled brushwork.

of rectangular forms and a restricted

through a metaphysical landscape filled

Simply titled The Red Ones, these

with gloomy, shadowed pockets that

works are hauntingly beautiful in the

are tempered by patches of chromatic

distillation and reduction of formal

luminosity. In McCahon’s hands, this

elements and in McCahon’s skilful

landscape and the relationships that

application of red hues so that they

he weaves between light and dark, red

come to possess a soft refulgence. The

and black acquire a spiritual dimension

dominance of rectangular shapes in

being symbolic of a heavenly light that

these paintings anticipates some of

has the potential to alleviate darkness.

the formalist concerns that McCahon

Here, his shades of red exhibit a

continued in his series Angels and Bed,

celestial facet as they shimmer and

which he began later that year.

pulsate against the Stygian ground.

Roughly divided into three segments,

The title of the piece is evocative

the compositional arrangement of

of rescue, saviours, liberation and

Throw Out the Lifeline is evocative of

freedom. It is also suggestive of faith,

sky, land and sea. A coruscate sky

the power of belief and the saving

blazes in the top portion of the painting,

grace that can be solicited by some

its radiant colours reflected in the

from (their own) personal religiosity.

collection of red and black dabs of

As such, the painting traverses the

paint that march across the base of the

liminal space between McCahon’s own

painting in an evocation of light beams

spiritual journey and the key concerns

glimmering and dancing across the

of religious conviction, doubt and the

surface of water. A sunless landscape

nature of faith that dominate his oeuvre.

occupies the middle section of the

In a way, in Throw Out the Lifeline,

work, presenting a silent impermeable

McCahon is calling attention to the

black void. Lying against this dolorous

existential struggle of humanity and the

backdrop, a burnished, red, vertical

recurrent need of people to be rescued

band floats and bobs just below the

from a myriad of situations, physical,

horizon line. The brushwork here is thin

emotional and spiritual. In this,

and raked so that a variety of delicate

McCahon is fulfilling the art-historical

tonalities is visible, producing an oblong

role of the artist as prophet: as one who

that is mesmeric in its lambency. This

attempts to comprehend and transcribe

stands in congenial relation to the vivid,

metaphysical truths for the viewer to

unmodulated, coppery field above.

experience and contemplate.

The viewer is encouraged to move

JEMMA FIELD

and progress through the painting,

56

Throw Out the Lifeline offers a journey

palette comprising black and red tones.

IMPORTANT WORKS OF ART 57

[32] Rohan Wealleans

Cold Comfort was first exhibited in

one that hangs in the centre of Cold

Cold Comfort acrylic, polystyrene, fibreglass and board title inscribed; signed and dated 2006 verso 1800mm x 1210mm x 360mm Provenance: Private collection Auckland $20,000 - $30,000

Prospect, the Wellington City Gallery’s

Comfort, have become a recurring

2007 survey of emerging artistic

motif in Wealleans’ work. Similarly,

talent. While the work was made only

in more recent years, Wealleans

three years after Rohan Wealleans

has gone on to make works (such as

left Elam with his master’s degree, it

those completed during his tenure

was produced following a period of

at the McCahon residency in French

significant activity in which he won

Bay) that almost present themselves

the Waikato National Contemporary

as cave paintings. While European

Art Award, held his first solo museum

modernists of the 20th century openly

show and exhibited at the gallery of

acknowledged their use of tribal

leading Australian art dealer, Roslyn

artefacts, the practice was fraught

Oxley. This painting is a crowning

with an uneven power relationship.

achievement from the early part of

Rather than recognise the makers

Wealleans’ career.

of these artefacts as contemporaries,

Wealleans’ work is heavily informed

same way that one would discuss the

artist’s own words, “everything feeds

benefits of a particular still-life prop.

off itself”.1 He works almost exclusively

By deconstructing painted surfaces

in layered house paint using additional

and reassembling them into primitive

materials such as wood, fibreglass

forms, Wealleans is disarming a long,

and polystyrene only as structural

established history. He has neutralised

supports. All of his works are created

an oppressive power relationship by

by contorting the paint film in a unique

reversing its criteria.

and viscerally aware manner. In Cold

The strength of Wealleans’ work lies

Comfort we see areas where the surface

in its simplicity. He is not an alchemist.

of the paint has been whittled away to

He does not deal in mysterious

expose hidden layers as well as areas

techniques, nor does he hide behind a

where angular, jewel-like chunks of

complex rationale. Every single decision

paint have been cut out and added to

is on display. Whilst his works are built

the surface of the work. Like many of

around a sound rationale, on the surface

Weallean’s early works, Cold Comfort

they present themselves as elaborate

contains areas where he has carved

stream-of-consciousness narratives.

right through the paint, inadvertently

There has been much said about the

revealing the backing board. Such

apparently sexual nature of Wealleans’

foibles demonstrate the artist’s

work. The mounds and craters in Cold

inexhaustible devotion to exploring

Comfort could be seen as bodily forms,

every facet of his material. Rather than

yet they could just as easily be read as

setting out simply to construct illusory

something else. By asking us to assign

surfaces, Wealleans is constantly in

our own significance to androgynous

search of new discoveries.

forms, Wealleans is inadvertently

Wealleans’ work serves to critique

asking us to expose our own

the development of European

predispositions, carnal or otherwise.

modernism. From Cubism to Dada,

CHARLES NINOW

wholesale appropriation of primitive art forms was stock-in-trade.2 Strings of beaded paint chunks, like the

58

they spoke of their influence in the

by the process of its own making. In the

¹ Brennan, Stella. “Disciple of the Pearl,” Eyeline Summer 2007/8. ² Ibid.

IMPORTANT WORKS OF ART 59

[33] Robin White

Robin White has always endeavoured

identical images of felled tree stumps

Tui Tui ink on two polypropylene supports both pieces signed and dated verso 725mm x 1625mm each Provenance: Private collection Wellington Exhibited Peter Mcleavey Gallery, 2005 $45,000 - $65,000

to paint real situations. Rather than

assembled in a pyramid formation.

making images that are recordings of

Magpies were introduced to New

reality, she paints the world as she sees

Zealand in the 1980s to control pastoral

it. On first impression, Tui Tui is a stark

insect pests and have since become pests

departure from White’s iconic work of

in their own right. The felled tree stumps

the 1970s. Painted on two large pieces

refer to the deforestation that began in

of polypropylene and emblazoned with

New Zealand with Maori settlement and

angular spray-painted lettering, the work

accelerated rapidly with colonisation.

resembles a protest banner promoting

serve as omens: for threats from external

same way that she has used dominant

forces and threats from within. Against

landscape features in her earlier work,

a backdrop of empty national symbols,

White has utilised carefully constructed

the spray-painted waiata passage reads

patterns to give the work contextual

as a call to arms. The long phrase crosses

grounding. Rather than use motifs that

the divide between the two extremes

relate to a specific part of society, White

pictured in the work suggesting that

has employed national symbols that have

rather than condemn the effects of

become almost meaningless through

colonisation, the artist is casting a dark

their constant repetition; one area is

shadow on bipartisan sentiment. In

carefully decorated with silver ferns

Tui Tui, White suggests that our post-

while, elsewhere, the repeated letters NZ

colonial national identity cannot be

form a geometric pattern.

defined by old yardsticks; in her mind,

The text scrawled across the width of the work reads Whakarongo ake au – Ki te tangi a te manu, which means

terms such as the oppressor and the oppressed no longer hold any currency.

White was born in New Zealand.

I listen, where up high – a bird flies.

Her father had Maori lineage while

The passage is taken from a traditional

her mother was the descendant of

waiata that uses the imagery of birds

European settlers from the Bay of

singing together as a metaphor for unity.

Plenty. Throughout her career, White

Below this passage, the word Tui is

supplemented her income by teaching

systematically repeated five times.

art at high schools. Not only did this

Both panels share a very similar

60

Both the magpies and the tree stumps

both change and civil unrest. In the

expose her to facets of society to which

compositional structure. White has

she would not have otherwise had access,

included a depiction of the Tararua

it also allowed her to observe the effects

mountain range along the top of the right

of social policies of the time firsthand.

panel while the same area on the left

Rather than making work that is

panel is practically bare, containing only

intentionally political, White has always

six small stars; thus the two sides of the

demonstrated a remarkable aptitude for

work are framed as diametric opposites:

making art that reflects the challenges,

day and night. In a similar vein, the right

values and aspirations of the people

panel contains four identical images of a

around her.

magpie while the left panel features six

CHARLES NINOW

IMPORTANT WORKS OF ART 61

[34] Shane Cotton

In this seminal work from 1997, Shane

as if they are pierced into the surface of

Which Art in Heaven oil on canvas signed; title inscribed, signed and dated 1997 verso 1825mm x 1515mm Provenance: Private collection Wellington $90,000 - $150,000

Cotton presents us with a barren, post-

the canvas. During 1991, the Resource

apocalyptic landscape. The diluted

Management Act was passed into law,

scumbling on the foreground dictates

bringing with it a litany of changes to

that the earth has been scoured by

the way in which we were allowed to

fire and the radiantly pigmented sky

modify our environment. The Resource

postulates that the event will forever

Management Act regulates access to

colour the way in which we see this

natural, physical resources such as

particular landscape. Cotton has

land, water and air. The expressed aim

positioned a land mass in the middle

of the Act was to institute sustainable

of the image; however, it does not

management of these resources in

extend beyond the edges of the canvas

order to ensure that they were not

suggesting that the only thing beyond

irreversibly depleted. The Act was

the picture plane is a bleak horizon line.

widely derided by Maori who felt that it

Cotton has infused this image with

did not adequately cater for their needs.

various passages of text. In some areas,

At a time when there was very little

the letter forms sit clearly above the

Maori representation in Government,

image while in other areas they recede

the Resource Management Act imposed

back into the surface of the painting. In

uninvited regulations on tangata

an almost rhythmic manner, the text

whenua.

flows in and out of coherence. Some

Our father which art in heaven is

of the letters form Maori or English

inscribed in the top left-hand corner of

words while others do not appear to be

the canvas; it is an excerpt from The

part of any established language; in

Lord’s Prayer, a cornerstone of the

some cases, different letter forms and

Christian heritage. When New Zealand

words are merged together. In order

was colonised, many Maori converted

to deduce any meaning from the text,

to Christianity; in many circumstances,

one must isolate small portions and

they were lured with the promise of

consider them separately. The various

financial assistance for community

linguistic elements contained within

projects such as building marae.

the text refer to concrete imagery such

However, this funding called on Maori

as the earth and the sky, as well as to

to change their traditions somewhat;

abstract concepts such as ownership and

any marae built with the assistance of

violence.

the church was forbidden to contain

As if to imply that words can be

carving and instead was left bare. Ever

deceptive by their very nature, there are

since New Zealand was colonised,

four numbers inscribed in the luminous

Maori have had to make significant

area of the sky just above the horizon

compromises under the banner of

line which carry more significance

progress. Rather than being a lament for

than any other piece of text in this

lost traditions, Which Art in Heaven calls

painting. Amidst the haze of insinuated

for equilibrium. While the landscape is

meaning, Cotton has carefully painted

bare now, it is inevitable that the fields

the numbers 1991 so that they appear

will thrive once again.

CHARLES NINOW

62

IMPORTANT WORKS OF ART 63

[35] Max Gimblett

Max Gimblett’s career as a professional

simple: one or two vertical bars that

Crimson / Red oil on canvas title inscribed, signed and dated 1981, inscribed Hang 8”10’’ from floor; original Gow Langsford Gallery labels affixed verso 1775mm x 1270mm Provenance: Private collection Tauranga Exhibited: Auckland Art Gallery, 1983.

Seven Painters / The Eighties: The Politics of Abstraction.

Illustrated: Seven Painters / The Eighties: The Politics of Abstraction, Wystan Curnow. Art New Zealand No. 28, 1983. p.38 $30,000 - $40,000

artist can be broadly divided into

were usually positioned symmetrically

two periods that are separated by

in a large square or rectangular space.

one distinct turning point. Just over

These works were always limited

a decade after he held his first solo

to two contrasting colours and, like

exhibition at Dave Hickey’s A Clean

Crimson/Red, they were accompanied

Well-Lighted Place in Austin, Texas,

by formulaic titles that declared this

Gimblett chose to cease his painting

relationship to be the subject of the work.

practice for a two-year period from

Furthermore, these works were quite

1982–83. Gimblett has referred to these

large and Gimblett usually inscribed

years as ‘a mid-life transformation’.1

the height at which each work was to

While it could be said that the central

be hung on the back of the stretcher,

concerns of Gimblett’s practice have

hinting that their proximity to the body

been consistent throughout his career,

was of importance (the suitable height

the artist used this period to broaden his

for Crimson/Red is between 8 and 10

frame of reference. Crimson/Red was

inches from the ground).

painted shortly before this self-imposed

in the series in that its scale is physically

important because for the three years

imposing; however, in terms of

preceding Gimblett’s return to painting,

colouration, it is a significant departure.

he unilaterally dedicated his attention

At a distance, the difference between the

to working on his newly developed,

two colours is barely distinguishable.

quatrefoil-shaped canvases.

While Gimblett used drawing to develop

When speaking of his caligraphic

his interest in spiritual and religious

abstraction, Gimblett uses the phrase

motifs during the period in which he

all mind/no mind to describe his

ceased painting, these early reductive

methodology; when his brush touches

works demonstrate that metaphysical

the paper, he does not think about his

concerns have always been at the heart

actions whatsoever, he simply executes

of his practice; even though they appear

marks as they flow through his body. At

to be focused on colour relationships,

the time of Crimson/Red’s making, his

the contrast between the two colours is

process was similarly anthropocentric

of more importance than the specific

in that he began painting at the top right-

qualities of the colours themselves. By

hand corner of a given area and moved

narrowing his constraints in Crimson/

through to the bottom left. 2 Thus, rather

Red, Gimblett sought to give a literal,

than using his hand to knowingly depict

physical form to a presence that

form, Gimblett allowed form to emerge

previously could only be felt in his work.

from his brush marks in an almost

CHARLES NINOW

residual manner.

¹ Barrie, Lita, “Iconic Abstraction.” Artspace,

Crimson/Red belongs to a series of works in which Gimblett was actively engaged in the politics of reductive modernism. Their imagery was very

64

Crimson/Red is like the other works

hiatus. Its timing is particularly

September/October 1992. p.47. ² Lee Thompson, Mary, “Max Gimblett: Paintings on Canvas and Paper.” Max Gimblett: Paintings on Canvas and Paper. San Francisco: Modernism, 1980. p.20–29.

IMPORTANT WORKS OF ART 65

66

[36] Peter Siddell

[37] Stephen Bambury

[38] Richard Killeen

Governor’s Rock, Karekare acrylic on canvas signed and dated 1985; original gallery label affixed verso 1240mm x 940mm Provenance: Private collection Auckland $45,000 - $65,000

The Darkness Lends the Paintings Death rust and acrylic on two aluminium panels title inscribed, signed and dated 2002 390mm x 780mm Provenance: Private collection Tauranga $12,000 - $18,000

Untitled oil on sand on enamel base signed and dated 77; signed, dated 1977 and inscribed No. 2737 verso 580mm x 580mm $20,000 - $30,000

IMPORTANT WORKS OF ART 67

[39] Colin McCahon

From the series Numerals One to Five

2 from the Numerals One to Five series ink on paper signed and dated 1959 760mm x 550mm Provenance: Private collection Auckland Exhibited: Gallery 91, Christchurch, October 1959, Paintings by Colin McCahon, November 1958-August 1959, Cat No 5 (as one of five) Illustrated: Colin McCahon database reference cm001381. $75,000 - $95,000

that Colin McCahon completed in

In comparison to the works

1959, 2 offers a coherent combination

comprising the preceding two series,

of abstract, roughly brushed strokes

the paintings from Numerals One

and figurative signs. Along with the

to Five are loose and spontaneous

other paintings in the series, 2 presents

and also feature a slight rotation or

the viewer with both the numeric and

distortion of the number, which works

the alphabetic versions of a number,

to reduce the legibility of the signs

which are joined together through a

while heightening the conceptual

cloudy morass of inky splatters, strokes,

potential of the composition. Thus, the

dribbles and dabs that warble and

ostensibly abstract forms of 2 can be

weave down the paper. It is testament

seen to contain evocations of landscape

both to McCahon’s artistic talent and

and humanoid elements. The thick,

to the strength of his exploration of the

black outline of the numeral appears

facets of human existence and religious

to enclose a mountainous structure,

belief that such a seemingly simple

separating it from the ominous murky

composition as that which makes up 2

black that descends from the heavens.

can yield such a wealth of visual and

Or perhaps it is a bowed head, fervently

metaphysical experience.

praying with closed eyes.

The series Numerals One to Five is the

68

viewer as a complete environment.

Executed in a monochromatic palette,

last of three that McCahon completed

the work is visually arresting. The

in the investigation of the symbolic

trace of McCahon’s hand is preserved in

potential of numeric values in the

the flurry of strokes that are scrawled

late 1950s. His first series from 1958

across the surface of the paper and,

featured only the numeral forms of

true to form, he has adeptly reached

the numbers one to three, which were

a harmony between abstract mark-

coloured in muted tones of reds, yellows,

making and recognisable figurative

earthy browns and pale blue and were

elements. In relation to the boldly dark

accompanied by geometric blocks of

lettering and serpentine numeral, the

colour. McCahon’s subsequent two

white expanse of untouched paper

series saw him add the spelt word of the

speaks of purity, of beginnings and of

corresponding numeral to each work

a celestial light that has the ability to

and eschew all chromatic possibilities in

penetrate and illuminate. Indeed, 2

favour of the sombre eloquence of black

virtually pulsates with depth of feeling

and white. The gestural qualities of the

and testifies to McCahon’s constant

last series are the most pronounced, as

yearning for knowledge and the

though McCahon had finally managed

understanding of the fundamentals of

to eliminate any compositional

faith, belief and spiritual conviction.

preconceptions and allow himself to be

The piece is a veritable masterpiece in

taken up in the moment. McCahon later

the distillation and communication of

returned to the theme of numbers in

mystical truths and evidences an artist

either numeric or alphabetic form in the

who was consistently able to imbue his

late 1960s and 1970s when he produced

works with an alluring type of prophetic

a number of large-scale panels, some

poignancy.

of which were intended to embrace the

JEMMA FIELD

IMPORTANT WORKS OF ART 69

[40] Jeffrey Harris

Executed with an intentional naïvety,

admonishing sobriety of a religious

Adoration of Christ oil on board signed with artist’s initials J H and dated ‘72; title inscribed, signed and dated Jan 1972 1215mm x 1215mm $40,000 - $50,000

Jeffrey Harris’ Adoration of Christ

subject, Harris employs a bright, almost

presents the viewer with what is

gaudy, palette and arbitrary colour while

ostensibly an art-historical and religious

eschewing traditional tools of pictorial

parody. The title immediately suggests a

construction such as atmospheric or

work of religious veneration and brings

linear perspective, scale and proportion.

to mind time-honoured depictions of

Instead, Harris flattens the picture

the baby Jesus being adored by either

plane and lets his brushwork visibly

shepherds or kings. Instead of the three

scurry across the surface of the painting,

magi, however, Harris offers a small,

drawing attention to its two-dimensional

crowded room peopled by Jesus and

physicality. Rather than merely avoiding

four male figures. Two are clothed in

conventional illusionistic methods,

unremarkable contemporary dress while

Harris employs a number of them in

the other two appear to be naked and

order to seemingly highlight and subvert

Jesus has been wrapped in a loin cloth.

them. The use of a window opening onto

There is no eye contact between the three

a landscape view is an established way

seated figures who stare transfixed into

to open up a painting and provide deep

the middle distance; none of the figures

spatial recession. In Adoration of Christ,

engages with the viewer either so that

however, Harris’ use of a window with

one is left surveying a scene that is akin

a landscape view adds to the frenetic

to that witnessed on a stage. Adding to

pace of the painting by the distorted

the feel of a surreal tableau are the two

perspective and patchwork of colour.

disembodied hands (potentially the

is his extensive knowledge of, and open

the top of the painting towards the Christ

admiration for, art history that see him

figure as though to end his suffering by

utilising national and international

plucking him from the tangible world

works for inspiration and formal

and whisking him away into the safe

elements. In this, Adoration of Christ is no

haven of the celestial realm. An aspect

different. The tree-lined road satirically

that reinforces the notion of Christ’s

comments on the common structural

suffering is the subtle trickle of blood

device of one-point perspective while

that drips onto the white sheet from his

simultaneously paying homage to works

truncated right arm. As if in response to

in which it is a key feature such as Rita

Christ’s imminent departure, one of the

Angus’ painting Fog, Hawke’s Bay (1966–

men reaches out his arms in supplication;

68) and The Avenue at Middelharnis

his brow is furrowed and his expression

(1689) by the Dutch seventeenth-century

is one of concern and distress.

landscape painter Meindert Hobbema.

Harris ruptures the possible severity

70

A celebrated feature of Harris’ work

hands of God), which extend down from

The surrounding landscape in Harris’

of the subject by the inclusion of three

Adoration of Christ is painted in cross-

women outside the window who remain

hatched horizontal sections recalling

oblivious to events unfolding inside and

Vincent van Gogh’s series of wheat fields

stand around idly chatting. This light-

as well as the flat, compartmentalised

heartedness is also seen in the comic

landscapes of William Sutton and

small, red arrow that traverses the space

Rita Angus. Harris’s amalgamation of

between Christ and the standing man,

these reconfigured elements creates

cueing the audience to read a reciprocal

a postmodern masterpiece that is

gaze between the two figures. To further

supremely unique.

distance the painting from the potential

JEMMA FIELD

IMPORTANT WORKS OF ART 71

[41] Ralph Hotere

Lo Negro Sobre Lo Oro belongs to a series

his decision to work behind glass in the

Lo Negro Sobre Lo Oro gold leaf and mixed media on glass in original wooden villa window frame title inscribed, signed and dated ‘92 990mm x 455mm Provenance: Private collection Auckland Illustrated: Hotere, Kristelle Baker and Vincent O’Sullivan, Ron Sang Publications, 2008 p.285 $90,000 - $120,000

of works that was started in 1991, all

Lo Negro Sobre Lo Oro works positions

of which share exactly the same title.

them as a significant departure from his

The title translates to Black over the

previous work where glossy surfaces

Gold and it has been suggested that the

were deeply integrated into the painting

works were strongly influenced by the

process. The glass surfaces of the Lo

Roman Catholic decorative art that

Negro Sobre Lo Oro works, serve to

Hotere saw during his time in Spain.1

separate the works from the outside

While the work at hand features easily

world. The reflective presence of the

recognisable crucifix forms, the series

glass insists that the viewer is not only

as a whole is considered to be a retreat

confronted with the content provided by

from Hotere’s politically motivated

the artist but also with a mirror image

work of the 1980s.

of themselves and their immediate

The Lo Negro Sobre Lo Oro works are typified by a refined use of common

While these works are not protest

materials: gold leaf, black lacquer, glass

paintings, they were not painted with

and window frames. While the works

purely formal motivations either. In

contain gestural markings that are

the Lo Negro Sobre Lo Oro works, we see

clearly informed by the skill set that

a subversive Hotere working through

Hotere developed whilst working on

a set of adopted aesthetic parameters

stainless steel, they also demonstrate

in order to further a dialogue. In this

a formal understanding that is

iteration of Lo Negro Sobre Lo Oro,

reminiscent of his work of the 1960s.

we see Hotere paring back the lush

In the Lo Negro Sobre Lo Oro works,

veneer of the Catholic Church in order

Hotere uses gold leaf in a manner that

to raise questions about its historic

is in stark contrast to the way in which

accumulation of wealth. However, it

he saw it used in Spanish cathedrals.

could also be said that by confronting

Traditionally, gold leaf is used to gild or

the viewer with the innately personal

entirely cover surfaces, as if to suggest

experience of observing one’s own

that they are made from gold. In the Lo

reflection, he extends the work’s

Negro Sobre Lo Oro works, he has taken

mandate to question the role of

individual sheets of gold leaf and used

organised religion in our everyday lives.

them as ready-mades; rather than deny

Beneath the work’s cold glass surface,

its presence, he has used the sheet’s

the undeniably hand-made, human feel

square shape as a structural device.

of the gold leaf cross and drawn crucifix

Glossy finishes have had a recurring

suggests that, for Hotere, organised

presence in Hotere’s practice. In order

religion still has potential to perform a

to highlight the sparse surface qualities

meaningful social function.

of his linear abstraction of the 1970s,

CHARLES NINOW

Hotere embraced the use of lacquers.

In his previously mentioned work of the 1980s, he burnished and cut away from stainless steal surfaces. However,

72

physical environment.

¹ Mane-Wheoke, Jonathan. “The Black Light Paradox: The Sumptuous Austerity of Ralph Hotere’s Art,” Art New Zealand Autumn 2001.

IMPORTANT WORKS OF ART 73

[42] Callum Innes

In 1995, Innes was a finalist in

as a Fontana cut, nor as regular as

Two Identified Forms oil on canvas title inscribed and dated verso 400mm x 620mm Provenance: Private collection Tauranga $10,000 - $15,000

the Turner Prize, the following

a Newman zip, but they share an

year winning the NatWest Prize

essentialist quality and a clarity of

for paintings and then, in quick

gesture that is compelling.

succession, the Jerwood Prize for

of a significant survey exhibition

a complex series of works, driven by

curated for the Fruitmarket Gallery

an intensely focused studio practice

in Edinburgh which later travelled

– this quality set Innes’ practice aside

to the Museum of Contemporary Art

from a generation of young British

in Sydney. Titled From Memory, the

artists whose profiles were as much

exhibition included works from the

determined by social manoeuvring as

major series that have formed the

by the work produced.

basis of Innes’ rigorous and nuanced

At the moment that Innes’ profile began to grow, he had already begun

74

In 2007, Innes was the subject

painting. These awards recognised

practice.

His work is collected throughout the

to make Exposed Paintings, the series

world and significant examples are

that dominates his practice thus far,

held by museums such as Tate Modern,

but he had previously produced a

London, Scottish National Gallery of

small body of paintings variously titled

Modern Art, Edinburgh, Irish Museum

Identified Forms. In each, a dark ‘almost

of Modern Art, Dublin, Kunsthalle

black’ surface has lean and attenuated

Bern, Kunsthaus Zurich, Guggenheim

vertical fissures made through the

Museum, New York City, National

erasure of pigment. These carefully

Gallery of Australia, Canberra, and

determined marks suggest an organic

Auckland Art Gallery Toi o Tāmaki.

rupture in the surface, not as intrusive

EMMA FOX

IMPORTANT WORKS OF ART 75

[43] Ralph Hotere The Wind II burnished steel and acrylic on board, in Roger Hicken driftwood frame, title inscribed, signed and dated ‘83 and inscribed Bill Manhire, Port Chalmers; signed with initials RH to frame and stamped verso 890mm x 810mm Provenance: Private collection Auckland Illustrated: Hotere, Kristelle Baker and Vincent O’Sullivan, Ron Sang Publications, 2008 p.222 $75,000 - $95,000 The collaborations between the

as it was 25-plus years ago, it retains its

words as you move before the work seem

country’s pre-eminent artist Ralph

original Roger Hickin driftwood frame

to call up the wind of its opening line: to

Hotere and one of its leading poets, Bill

with his initials inscribed into the top

activate growing shadows in ways that

Manhire, are some of the most enriching

edge, and his stamp verso.

seem, all at once, to encourage and then

in New Zealand’s cultural landscape.

refuse a lover’s touch, collapse and then

Hotere’s work has long been regarded

properties of the polished steel in a

extend the distance between the two

as occupying a unique place in our

way that delights both in the physical

people in the poem – as if the promised

recent art history, with its profoundly

properties available to him and in

yet denied proximity hinted at here is

moving combination of complete affinity

the moving, enlivened surfaces that

akin to some vertiginous moment of a

to the land, sombre beauty, emotional

result. His use of an oxyactetylene

lovers’ encounter. Is this a reconciliation

intensity, personal integrity and political

torch to mark out a strong, cruciform

or a separation: a coming together or an

address. His use of hitherto unexpected

composition establishes a stable

estrangement conveyed by the strange,

materials, steel, iron or salvaged window

structure to the work that strengthens

haunting question of the speaker and the

frames, has granted his work both

the activating fire-mark in the upper left

change observed in the air?

clarity of expression because of their

quadrant (like a finger or comet of heat)

modesty and lyrical freedom by virtue

as well as the almost playful peeling

Janet Paul remarked that Hotere’s

of the expressive leaps he achieves

back of the steel to reveal a scarlet

achievement in the Baby Iron works was

with them. Similarly, Manhire’s poetry

second ground in the lower right. It also

“an animating way to free the gesture

reflects and enables new and affecting

adds a strong, though subtle, degree of

with a poetic chemistry, allowing the

ways of encountering the world, often

colour variation to the shiny surface

flame to augment his marks and engage

quietly painful and often from the most

of the metal that softens the reflective

our spirit”. Such a description of the

prosaic of circumstances. The Wind II

surface: humanises it somehow.

gestural and textual affect is entirely

sits within what is perhaps the most

76

In The Wind II, Hotere explores the

That invigorated surface then

The publisher, painter and writer

appropriate for this exquisite and

extraordinary and most intellectually

becomes the lively ground for the

moving example of Hotere’s work from

and emotionally expansive period of

burnishing tool: Hotere transcribing

such a significant and compelling suite.

Hotere’s oeuvre: from the mid-1970s

one of Manhire’s texts that turns up

DR PETER SHAND

to the mid-1980s. First shown (as Baby

on different occasions in his work –

Iron No.3) in the Baby Iron exhibition at

whether in a Song Cycle banner of 1976

Janne Land Gallery in Wellington in

or a stainless-steel screen from 1987.

October 1983 then at RKS Art Auckland

There’s a finely poised confluence

in December of the same year, it is one

between the text of this poem and the

of the more lyrical and to some extent

manner of its realisation. The shift of

mysterious of the 11 pieces that appeared

the dullness and reflection of the surface

in that showing. As fresh and beautiful

and the appearing and disappearing of

Janet Paul: Ralph Hotere’s Baby Iron, Art New Zealand 29, Summer 1983/84, pp. 22–23.

Refer also: Kriselle Baker and Vincent O’Sullivan, Hotere, Ron Sang Publications, 2008; Gregory O’Brien Some Paintings I Am Frequently Asked About: Talking with Bill Manhire about Ralph Hotere, Landfall 191, March 1996, pp. 21–33; Gregory O’Brien, Hotere: Out the Black Window, Godwit, 1997.

IMPORTANT WORKS OF ART 77

[44] Don Binney

Between 1967 and ’68, Don Binney

course of the 20th century, certain

Mexico D.F. acrylic on canvas title inscribed, signed and dated MarzoAbril 1968 2000mm x 1500mm Provenance: Private Collection, Canada Purchased by the current owner from Barry Lett Gallery 1969 $80,000 - $120,000

travelled extensively throughout

areas sank as far as nine metres into

Central America and Mexico with

the ground. The dwellings are depicted

the aid of a Queen Elizabeth II Arts

using very simple, geometric features.

Council travel fellowship. Binney was

Two of the structures are adorned by

in his mid-twenties at the time. His

boldly coloured logos. The Jarritos logo

expressed aim was to examine animal

featured on the left-hand side of the row

and bird imagery in pre-Colombian art;

belongs to a popular brand of Mexican

however, he was also interested in how

soft drink while the PRI logo on the

a tri-cultural population such as that of

right belongs to the political party that

Mexico might resonate with a person

was in power during Binney’s time in

such as himself.

Mexico.

While the work’s setting is almost

suggests its subject matter was not the

as part of the title give some clue to

result of chance discovery. It is no mere

its contextual lineage. The letters –

coincidence that this work is based on

DF– are an abbreviation of the phrase

an area that holds symbolic significance

Distrito Federal. Mexico’s constitution

to the people of Mexico: an area that is,

established Mexico City as a territory

quite literally, legislated as the heart of

that is not a part of any one state; rather,

the country. While the mountainous

it belongs to the federation of states as a

form and sinking ground are derived

whole. As such, Mexico City is referred

from existing environmental

to as the Federal District or Distrito

conditions, they can also be seen to

Federal.

refer to wider-reaching civil problems

Even at a young age, Binney exhibited

78

The highly edited nature of the work

indistinguishable, the initials included

that were imminent while Binney was

an implicit understanding of the

in Mexico. At the time when this work

environmental conditions affecting

was painted, almost half of Mexico’s

his given subject. While much of this

population was living below the poverty

painting has been crafted using flat

line. Binney’s flat, two-dimensional

planes of colour, the mountainous form

depiction of the dwellings makes them

is rendered in a manner that lends it an

appear almost as if they form a line of

imposing, almost three-dimensional

placards. While they do not feature

depth. Furthermore, the line that

slogans or pointed messages, their

separates the ground and sky is subtly

ability to stand without any apparent

concaved for narrative effect. Mexico

structural support serves as an indelible

City is surrounded by a volcanic belt

testament to the willpower of their

and is situated on top of a clay lake

inhabitants to strive through adversity.

bed that is rapidly collapsing; over the

CHARLES NINOW

IMPORTANT WORKS OF ART 79

[45] Bill Hammond Ancestral K acrylic on canvas title inscribed, signed and dated 2005 850mm x 850mm Provenance: Private collection South Island $45,000 - $65,000

80

[46] Shane Cotton Melanin Face acrylic on canvas title inscribed, signed with initials, dated 2005 and inscribed (Nga Karu); title inscribed, signed and dated 2005 verso 1400mm x 1400mm Provenance: Private collection Auckland $45,000 - $65,000

IMPORTANT WORKS OF ART 81

[47] Robert Ellis Rakaumangamanga oil on canvas title inscribed, signed and dated 1988 1820mm x 1670mm Provenance: Private collection Auckland. $20,000 - $30,000

82

[48] Milan Mrkusich Abstract oil on board signed and dated 1960 850mm x 530mm Provenance: Private collection Auckland $25,000 - $35,000

IMPORTANT WORKS OF ART 83

[49] Shane Cotton Kawakawa Pattern acrylic on canvas title inscribed, signed and dated 2003; title inscribed, signed and dated 2003 verso 710mm x 1064mm Provenance: Private collection Wellington $18,000 - $25,000

84

[50] Tony Fomison Night and Day oil on canvasboard title inscribed, signed and inscribed Lincoln St/Wanganui Ave Grey Lynn verso, dated June 1988 - 1989 verso 365mm x 740mm Provenance: Private collection Auckland $28,000 - $35,000 Tony Fomison completed Night and Day during the final two years of his life. The work depicts two faces, both of which are obscured to varying degrees.

The most easily recognisable face, on the right of the image, is shrouded so that only its eyes are visible. The second face is subsumed in the black area on the left. Fomison delineated its presence by subtly dulling the paint’s sheen in a ghostlike oval shape. As such, it can only be seen when light hits the work from a certain angle.

IMPORTANT WORKS OF ART 85

[51] Stephen Bambury Surfaces will be Smooth and Bright (Primary) acrylic polymer and acrylic on aluminium title inscribed, signed and dated 1990 verso 1250mm x 1250mm Provenance: Private collection Tauranga $30,000 - $40,000

86

[52] Shane Cotton Folding Space Painting from the Blackout Movement series acrylic on canvas title inscribed; signed and dated 2001 and inscribed Mamuku verso 500mm x 700mm Provenance: Private collection Auckland $23,000 - $28,000

IMPORTANT WORKS OF ART 87

[53] John Reynolds Untitled oil and mixed media on two panels title inscribed, signed and dated 1994 verso 1980mm x 1620mm Provenance: Private collection Auckland $7,000 - $10,000

88

[54] Richard Killeen Coming and Going oil on board, 1972 signed; original artists label affixed verso 1225mm x 990mm Provenance: Private collection Auckland $9,000 - $15,000

IMPORTANT WORKS OF ART 89

[55] Toss Woollaston Landscape oil on board signed 585mm x 750mm Provenance: Private collection Auckland $15,000 - $20,000

90

[56] Don Peebles Accord 4 acrylic and cord on canvas title inscribed, signed and dated 1998 verso 2020mm x 2635mm Studies for Accord pencil and watercolour on paper titles inscribed Accord 4, Study, Studies towards Ptgs and Studies. signed and dated 97, ‘98, ‘98 and 1998 210mm x 295mm (4) Provenance: Private collection Tauranga $20,000 - $30,000

IMPORTANT WORKS OF ART 91

[57] John Weeks Patterned Landscape oil on board signed; title inscribed and dated 1950 verso 380mm x 475mm Provenance: Private collection Auckland $15,000 - $20,000

[58] Charles Tole Newmarket oil on board signed and dated ‘44 260mm x 305mm Provenance: Private collection Auckland $7,500 - $9,500

57

58

92

[59] Gordon Walters II collage on paper title inscribed, signed and dated ‘73; framing record attached verso 185mm x 145mm Provenance: Private collection Auckland $4,000 - $6,000

[60] Simon Kaan Untitled, Composition with Waka acrylic on board signed and dated 2003 1550mm x 1550mm Provenance: Private collection Auckland $12,000 - $18,000

[61] Nigel Brown In Praise of Old Places acrylic on board title incribed, signed and dated ‘86; title inscribed, signed, dated and inscribed Auckland verso 1185mm x 890mm Provenance: Private collection Auckland $9,000 - $12,000

59

60

61

IMPORTANT WORKS OF ART 93

62

63

94

66

64

65 [62] Martin Popplewell

[64] Garth Tapper

[66] Tony Fomison

Napier Hill From Te Awanga oil on canvasboard 605mm x 875mm Provenance: Private collection Tauranga $8,000 - $10,000

Peter Reid in Manets’s Cafè oil on canvas signed; title inscribed and signed verso 470mm x 570mm $7,500 - $8,000

[63] Alfred Sharpe

[65] Joanna Braithwaite

Pelorus Sounds watercolour title inscribed, signed and dated 188? (date obscured by mount) and inscribed NZ 280mm x 630mm $18,000 - $25,000

Moon Watch oil on canvas title inscribed; signed and dated 2003 840mm x 1065mm $9,000 - $12,000

Maori Face oil on board signed with monogram and dated 11/01/63 850mm x 430mm Provenance: Private collection Auckland. $8,000 - $10,000

IMPORTANT WORKS OF ART 95

[67] Rueben Patterson Sometimes I Fantasise glitter dust on canvas title inscribed, signed and dated 2003 on stretcher 760mm x 760mm Provenance: Private collection Auckland Exhibited: 12 - 31 July 2003 Milford Gallery, Dunedin. Cat No. 6. $7,000 - $9,000

[68] Jenny Dolezel Applause oil on canvas title inscribed, signed and dated 2003 655mm x 760mm Provenance: Private collection Auckland $8,000 - $10,000

[69] Mark Cross 67

68

69

96

The Earth acrylic on board signed; title inscribed and dated May ‘94 verso 690mm x 1200mm Provenance: Private collection Auckland $9,000 - $12,000

71 70 [70] Terry Stringer In Dad’s Shoes bronze, 3/3 signed and dated 1996 335mm x 140mm x 110mm Provenance: Private collection Auckland $4,500 - $6,500

[71] Seung Yul Oh Untitled acrylic on metal plate signed and dated ‘04 790mm x 990mm Provenance: Private collection Auckland $5,500 - $7,500

[72] Alan Maddox Lozenge (Blue) oil on canvas title inscribed, signed and dated 97/98 verso 610mm x 610mm Provenance: Private collection Auckland $6,000 - $9,000

72

IMPORTANT WORKS OF ART 97

[73] Eugenea Tea Ceremony acrylic on canvas 740mm x 590mm Provenance: Private collection Auckland Purchased International Art Centre, Parnell $15,000 - $18,000

98

[74] Salavador Dali Poisson Malebranche green and clear glass sculpture by Daum, in two pieces, 84/150 cast ergmatine ‘Dali’ and marked Daum, Made in France, 84/150 430mm x115mm x 180mm Provenance: Private collection Auckland Accompanied by a certificate of Authenticity $4,000 - $6,000

[75] Karl Maughan Riccarton Road oil on canvas title inscribed, signed and dated 15/09/08 verso 915mm x 915mm $10,000 - $15,000

75

[76] Ralph Hotere Figure Drawing ink on paper signed and dated ‘70 345mm x 415mm Provenance: Private collection Dunedin $5,000 - $7,000

[77] Joel Fisher Ninety Degrees (Staches) plaster, gesso and pigments on wood 450mm x 380mm x 210mm Provenance: Private collection Tauranga $6,000 - $8,000

74

76

77

IMPORTANT WORKS OF ART 99

ANTIQUES & MODERN DESIGN THURSDAY 31 MARCH 6:00PM Published in this catalogue is an overview of the highlights of the Decorative Art & Modern Design section of the sale, providing just a taste of the broader offering. A catalogue with full descriptions of all lots included in the sale will be available free of charge at viewing and online from March 22.

PLEASE NOTE Absentee and phone bids must be registered before 12:00pm on Thursday 31 March This sale will be preceded by an uncatalogued Collectables sale at 4:00pm.

Both sales are fully illustrated online at webbs.co.nz.

Viewing Wed 23 Mar

Evening Preview 5:30pm - 7:30pm

Thu 24 Mar

9:00am – 5:30pm

Fri 25 Mar

9:00am – 5:30pm

Sat 26 Mar

11:00am – 3:00pm

Sun 27 Mar

11:00am – 3:00pm

Mon 28 Mar

9:00am – 5:30pm

Tue 29 Mar

9:00am – 5.30pm

Wed 30 Mar

9:00am – 5.30pm

Thur 31 Mar

9:00am – 12.00pm

BUYER’S PREMIUM [303] A Large Early 20th Century Ernemann II 35mm Movie Projector $1,500 - $2,500

A buyer’s premium of 15% will be charged on all items in this Important Works of Art sale.

GST (15%) is payable on the buyer’s premium only.

MISCELLANEOUS [100] A Pair of Mounted Reindeer Horns $200 - $400

[101] A Pair of Mounted Deer Horns $200 - $400

[102] A Pair of Mounted Moose Horns

[133] An Early 20th Century Small Portrait Miniature

$200 - $400

$150 - $250

[118] A Cased Lens in Brass

[134] An European Painted Oval Portrait Miniature

$50 - $100

[119] A Black Homberg $30 - $50

$600 - $800

[120] An Early Cased Photograph

[103] A Massive Taxidermy Moose Head

[121] A 19th Century Ship Photograph

$200 - $300

$3,000 - 5,000

$100 - $150

[104] A Late 19th Century Cased Inlaid New Zealand Woods Speciman Box

[122] A Portrait Miniature

$500 - $800

[105] A Victorian Fruit Set $150 - $200

[106] An 18th Century Dutch Brass Oval Tobacco Box $200 - $300

[107] A WW11 Flying Helmet and Goggles $200 - $300

[108] A WW11 Lemon Squeezer Hat $100 - $200

[109] A Union Jack Flag $70 - $100

[110] A Gentleman’s Cane

[138] A Georgian Painted Portrait Oval Miniature

[124] A Portrait Miniature $80 - $120

$200 - $300

[125] A Portrait Miniature

[139] A Small Victorian Oval Hand Painted Miniature

$100 - $150

[126] A Portrait Miniature $50 - $100

[127] A Pair of Miniature Paintings $150 - $250

[128] A Late 18th Century Portrait Miniature $150 - $250

[112] A Top Hat $80 - $120

$150 - $250

[113] A Riding Whip

[131] A 19th Century Oval Portrait Miniature

$200 - $300

[116] A Victorian Officer’s Sword $200 - $300

$200 - $300

$50 - $100

[130] An Early 19th Century Portrait Silhouette

[115] A George V Officer’s Sword

[136] An Early 19th Century Oval Portrait Miniature

$200 - $300

$150 - $250

$70 - $100

$200 - $300

[123] A Portrait Miniature

[111] A Gentleman’s Walking Stick

[114] A Walking Stick

[135] An Early 19th Century Painted Portrait Miniature

[137] A Victorian Hand Painted Porcelain Oval Miniature

$100 - $200

$100 - $200

$300 - $400

$50 - $100

[129] An Early 19th Century Portrait Miniature

$100 - $200

102

[117] Two 1916 War Office Maps of France

$300 - $400

[140] A Victorian Oval Painted Portrait Miniature $200 - $350

[141] An Edwardian Portrait Painted Miniature $200 - $300

[142] A Victorian Hand Painted Oval Portrait on Porcelain $350 - $450

[143] A Victorian Brooch $80 - $120

[144] A 1940’s Cased Sextant $900 - $1,200

$150 - $250

[145] A 19th Century Oak Cased Sextant

[132] An Early 19th Century Painted Miniature of General Sir George Madden

[146] A Large Japanese Naval ‘Saura’ Compass

$300 - $400

$1,000 - $1,400

$600 - $800

103

149

318

ANTIQUES OCEANIC & MODERN & AFRICAN DESIGN ART 103

[147] A Scratch Built Wooden Pond Yacht

[163] An Impressive Silver Plate Tea Tray

[179] A Cased Pair of Georgian Sterling Silver Berry Spoons

$200 - $400

$300 - $500

$300 - $500

[148] A Victorian Railway Campanion

[164] A Miniature Sterling Silver Tea Table

GLASS

$150 - $220

[149] A Rare Early 19th Century Mahogany Doctor’s Travelling Medicine Cabinet

$200 - $300

[165] An Impressive Sterling Silver Punch Bowl

$2,000 - $2,500

$3,000 - $5,000

[150] A Late Victorian Gentleman’s Smoking Cabinet

[166] A Sterling Silver Miniature Sauce Boat

$200 - $300

[181] Two Flashed Jugs $80 - $120

[182] A Pair of Decanters

$1,000 - $1,500

$50 - $100

$150 - $250

[151] A Circular Wall Mounted Brass Barometer

[167] A Sterling Silver Mounted Letter Opener

[183] A Glass Floral Engraved Decanter

$200 - $400

$70 - $100

[184] A Pair of Faceted Glass Tankards

[152] A Victorian Carpet Bowl

[168] A Sterling Silver Bar Brooch

$80 - $120

$40 - $60

$50 - $80

[153] A Greenstone Letter Opener

[185] A Pair of Red Flashed Water Decanters

$200 - $300

[169] A Cased Art Deco Sri Lankan Silver Tea Service

[154] A Pair of 19th Century Pewter Plates

$3,000 - $4,000

[186] A Cranberry Glass Jug

[170] A Sterling Silver Pin Box

$40 - $60

$150 - $250

$250 - $350

[187] Two Bristol Blue Flasks

[155] A Bronze Chamberstick

[171] A Sterling Silver Salver

$150 - $250

$40 - $60

$600 - $900

[188] A Bristol Blue Decanter

[156] A Shagreen Powder Compact

[172] A Sterling Silver Cigarette Case

$150 - $250

$80 - $150

$40 - $60

[189] A Bristol Blue Rummer

[157] A Victorian Giltmetal Purse

[173] A Georgian Sterling Silver Caddy Spoon

$120 - $180

$50 - $100

[158] A Mid 19th Century Chatelaine $200 - $400

[159] A Tortoiseshell Case $250 - $350

[160] A Large Victorian Copper Measure Jug $120 - $150

SILVER AND SILVER PLATE [161] A Silver Dressing Table Set $100 - $200

[162] An Art Deco Period Dressing Table Set $100 - $200

$60 - $80

[174] Eight William IV Sterling Silver Teaspoons $100 - $150

[175] A Pair of Sheffield Plate Coasters $100 - $150

[176] A Sterling Silver Four Piece Condiment Set $60 - $90

[177] A Large Georgian Old English Pattern Serving Spoon $150 - $180

[178] An American Birks Silver Queens Pattern Cutlery Set $1,200 - $1,800

104

[180] A Victorian Double Ended Scent Bottle

$60 - $90

$60 - $80

[190] A Pair of Over Sized Rummers $100 - $200

[191] A Bristol Blue Mug $100 - $150

[192] A Small Glass Jug $20 - $40

[193] A Harlequin Set of Six Place Card Holders $80 - $150

[194] A Harlequin Set of Six Glasses $70 - $100

[195] Two Venetian Glass Fish $50 - $100

[196] A Murano Glass Stylised Bird $80 - $120

252

221

236

382 253

381

233

254

220

225

228

229

[197] A Venetian Glass Duck $40 - $60

[198] A Murano Glass Duck $100 - $150

[199] A Venetian Glass Latticino Jug $150 - $250

[200] Four Venetian Glass Liqueur Glasses $60 - $80

[201] A Small Venetian Glass Flask and Stopper $30 - $50

[202] A Venetian Glass Dish $60 - $90

[203] Two Small Murano Glass Flasks $40 - $60

[204] A Murano Multi Coloured Glass Mask $30 - $50

[205] A Small Venetian Glass Bowl $30 - $50

[206] Six Small Venetian Glass Vases $80 - $120

[207] Six Small Venetian Glass Vases

PORCELIAN AND POTTERY [214] A Large Royal Dux Watermaid Figure $200 - $400

[215] A Large Royal Dux Sheherazade Figure

[231] An Antique Teabowl

$30 - $50

[211] A Green and Gold Murano Glass Scent Flask $50 - $80

[212] A Venetian Glass Rooster

$40 - $60

[217] A Len Castle Vase

[232] A Decorative Pair of Cockerel and Hen

$120 - $180

[218] A 1970’s Len Castle Circular Stoneware Flask Vase

$120 - $180

[233] A Large Pair of Porcelain Parrots

$100 - $200

$200 - $300

[219] A 1970’s Len Castle Stoneware Bottle Vase in Hanging Form

[234] A Staffordshire Toby Jug

$200 - $500

[220] A Large Barry Brickell Fat Bodied Salt Glazed Lidded Crock $2,000 - $3,000

[221] A Denis O’Conner Fat Bodied Stoneware Bowl $200 - $300

[223] A Briar Gardner Pottery Trough Vase $200 - $300

[224] A Pair of Briar Gardner Baluster Vases $250 - $350

[225] A Briar Gardner Attributed Cat Teapot $400 - $600

[226] A Luke Adams Framed Panel of Miniature Bricks and Tiles

$80 - $150

$100 - $200

[213] A Set of High Quality Gilded Glasses and Bowls

[227] A Crown Lynn New Zealand Flora and Fauna Relief Wall Plate

$300 - $400

$150 - $250

$200 - $300

$80 - $120

[210] A Venetian Blue and Gold Glass Fish

$100 - $200

[216] Five Late Victorian Belleek Coffee Cups and Saucers

[208] A Finely Blown Glass Jug

$50 - $80

[229] A Pair of Staffordshire Sheep [230] Four Royal Doulton Demi-Tasse Cups and Saucers

$80 - $120

[209] Ten Hand Blown Green Glass Liqueur Glasses

$400 - $700

$800 - $1,200

[222] A Denis O’Conner Wood Fired Stoneware Vase

$150 - $200

[228] A Vintage Villeroy and Boch ‘Acapulco’ Dinner Service

$400 - $600

$100 - $150

[235] A Tin Glazed Toby Jug $50 - $100

[236] A Porcelain Rooster Shaped Teapot $200 - $400

[237] A Pair of Porcelain Figures $100 - $200

[238] A Ceramic Revolving Table Stand $150 - $250

[239] A Large Dutch Gouda Pottery Charger $300 - $400

[240] A Victorian Parianware Style Figure Group $300 - $500

[241] A Large Victorian Staffordshire Pottery Meat Plate $250 - $350

[242] A Pair of Keith Murray Wedgwood Etruria Silver Lustre Mugs $80 - $120

ORIENTAL [243] A Pair of Large Covered Oriental Export Jars $600 - $900

106

310

304

305

311

307

306

309

[244] A Large Chinese Blue and White Porcelain Plate

[260] A Large Chinese Blue and White Baluster Vase

$200 - $400

$400 - $600

[245] A Famille Vert Baluster Vase

[261] A Chinese Carved Horn

$80 - $150

$200 - $400

[246] A Fine Kutani Jar and Cover

[262] A Chinese Carved Stone Tablet

$400 - $600

$200 - $300

[247] Three Chinese Ching Boxwood God Figures

[263] A Small Famille Verte Plate

$150 - $200

$100 - $200

[276] A Chinese Red Ink Calligraphy Tablet $700 - $900

AFRICAN [277] A Fine African Baule Statue $800 - $1,200

[278] An African Bobo Mask $200 - $400

[279] An African Baule Mask

[248] An Exportware Coffee Can

[264] A Well Decorated Famille Rose Plate

$40 - $60

$150 - $250

[280] An African Idoma Mask

[249] A Bronze Foo Dog Incense Burner

[265] A Chinese Cylindrical Decorative Vase

[281] An African Bete Mask

$200 - $400 $300 - $600

$500 - $800

$200 - $300

$300 - $600

[250] An Oriental Bronze Vase

[266] A Chinese Blue and White Dragon Bowl

[282] A Superb African Bete Mask

$150 - $200

[251] A Bone and Bamboo Mahjong Set

$100 - $150

[267] A Chinese Squat Tea Glazed Vase

$200 - $300

$200 - $300

[252] An Impressive Exportware Bowl

[268] A Blue and White Oriental Vessel

$1,000 - $1,500

$180 - $250

[253] An Impressive Oriental Cloisonne Charger

[269] A Carved Hand Painted Wood and Gesso Seated Buddha

$1,800 - $2,500

$300 - $500

[254] An Oriental Cloisonne Charger

[270] A Carved Hand Painted Wood and Gesso Seated Buddha

$600 - $1,000

[255] A Pair of Oriental Cloisonne Table Lamps $800 - $1,200

[256] A Late 19th Century Japanese Satsuma Pottery Vase $300 - $500

[257] A Blue Lotus Decorated Exportware Plate

$300 - $500

[271] A Chinese Eight Fold Lacquer Screen $400 - $600

[272] A Late 19th Century Chinese Celadon Glaze Dish $50 - $100

[273] A Samll Burmese Bronze Buddha

$1,000 - $2,000

[283] A Rare African Ligbi Mask $300 - $600

[284] A Cameroon Buffalo Mask $300 - $600

[285] A Superb African Mossi Mask $1,000 - $2,000

[286] An African Bronze Tikar Mask $600 - $800

[287] An African Senufo Firespitter Mask $600 - $800

[288] An African Guinea Mask $300 - $500

[289] An African Bobo Mask $1,000 - $2,000

FURNITURE, CLOCKS, PAINTINGS AND RELIGIOUS

$50 - $100

$50 - $100

[290] A Chrome Floor Arc Lamp

[258] An Oriental Bronze Jardinere/ Incense Burner

[274] A Pair of Qing Dynasty Small Bowls

$300 - $500

$400 - $600

$1,000 - $1,500

[259] A Large Chinese Crackle Glaze Vase

[275] An Export Style Oval Blue and White Plate

$800 - $1,200

$200 - $300

[291] A Pair of Pierre Vandel Black Anodised Side Tables $400 - $500

[292] A Contemporary Swedish Standing Anglepoise Lamp $250 - $400

108

169

379

362

367 373

368 165

377

302

369

378

374

[293] A Contemporary Swedish Standing Anglepoise Lamp $250 - $400

[294] A Magnus Olesen Danish Circular Table $800 - $1,200

[295] An Omann Jun Danish Rosewood Furniture Suite $2,000 - $3,000

[296] A Vintage Danish Rosewood Sideboard $1,800 - $2,200

[297] A Vintage Danish Figured Rosewood Coffee Table $600 - $900

[298] A Large Vintage Danish Teak Shelving Unit $500 - $800

[299] A Vintage Danish Rosewood Wall Mirror $200 - $400

[300] A Vintage Danish Rosewood Wall Mirror

$5,000 - $6,000

[308] A ‘Museo Ollo’ Wall Shelf

by Alessandro Mendini for Studio Achilmia $1,000 - $1,200

[309] A ‘Museo Ollo’ Wall Shelf

by Alessandro Mendini for Studio Achilmia $1,000 - $1,200

[322] A Victorian Mahogany Sofa Table $800 - $1,000

[323] A 19th Century Mahogany Apprentice Chest $500 - $800

[324] A 19th Century Blade Back Chair $100 - $200

[311] An Eileen Grey ‘Brick’ Four Panel Screen

[326] An Unusual 20th Century Shaped Chair

$8,000 - $10,000

$150 - $250

[312] A Philippe Starck White Leather Armchair

[327] A Pair of Victorian Button Back Chairs

$2,000 - $3,000

$800 - $1,000

[313] A Vintage Rosewood Office Desk

[328] A 19th Century Fruitwood Spinning Wheel

$150 - $250

$150 - $250

[302] A Jaegar Le Coultre ‘Atmos’ Mantel Clock

[315] A Pair of Vintage Teak Nesting Tables

$1,200 - $1,600

$150 - $250

[303] A Large Early 20th Century Ernemann II 35mm Movie Projector

[316] An Unusual European Carved Fruitwood Stool

$1,500 - $2,500

$800 - $1,200

[304] A ‘Museo Ollo’ Table and Four Chairs by Alessandro Mendini for Studio Achilmia

[317] A Georgian Mahogany Secretaire Bookcase

$5,000 - $6,000

$100 - $200

$150 - $250

[314] A Pair of Vintage Teak Nesting Tables

[306] A ‘Museo Ollo’ Pillar Cabinet

by Alessandro Mendini for Studio Achilmia

[321] A Mahogany Cheval Mirror

$1,800 - $2,200

[301] An Art Deco Chrome and Glass Tea Trolley

$5,000 - $6,000

$600 - $800

[325] An Edwardian Beech Three Fold Screen

$200 - $400

[305] A ‘Museo Ollo’ Pillar Cabinet

by Alessandro Mendini for Studio Achilmia

[320] A Set of Six Victorian Walnut Balloon Back Chairs

[310] A ‘Museo Ollo’ Three Panel Screen by Alessandro Mendini for Studio Achilmia

$2,000 - $2,500

$3,500 - $4,500

110

[307] A ‘Museo Ollo’ Pillar Cabinet

by Alessandro Mendini for Studio Achilmia

$8,000 - $12,000

[318] An Impressive 19th Century French Automaton by Henry Phalibois $20,000 - $25,000

[319] A Pair of Rush Seated Fruitwood Stools $200 - $400

$200 - $300

[329] A Foldover Demi-Lune Mahogany Tea Table $1,200 - $1,800

[330] A Superb 19th Century Foldover Card Table $1,200 - $1,800

[331] A Miniature Mahogany Tilt Top Table $200 - $300

[332] A Bentwood Coat Rack and Umbrella Stand $400 - $600

[333] A Bentwood Counter Chair $80 - $120

[334] A Victorian Walnut Circular Footstool $80 - $120

[335] An Oak Barrel Side Table $180 - $250

281

282

286

285

371

289

249

366

365

ANTIQUES IMPORTANT & MODERN WORKS DESIGN OF ART 111

[336] A Pair of Oak Barrel Side Tables $250 - $400

[337] A Pair of Oak Barrel Side Tables $250 - $400

[338] An Oak Barrel Side Table $180 - $250

[339] An Art Deco Period Table Lamp $250 - $350

[340] A Harelquin Set of Eight Fruitwood Dining Chairs $2,000 - $3,000

[341] An Early 20th Century Oak Dining Table $500 - $1,000

[342] An Oval Victorian Walnut Footstool $80 - $120

[343] A Pair of Chapman Taylor Peg Stools $150 - $250

[344] A Chapman Taylor Peg Stool $50 - $100

[345] A Set of Chapman Taylor Wall Shelves $80 - $120

[346] A Pair of Black Forest Corner Shelves $200 - $300

[347] A Wall Mounted Hand Knotted Small Rug $80 - $150

[348] An Early Sepia Tint North African Framed Photograph

$600 - $800

[354] A Pair of Decorative French Square Cast Iron Planters

[368] An Ebony and Wood Crucifix

$500 - $700

[355] A 19th Century French Cast Iron Planter $150 - $250

[356] A Pair of Late 19th Century Bronze Candlesticks $120 - $180

[357] A Pair of French Rococo Style Giltmetal Candlesticks $350 - $500

[358] A Pair of Old Brass Glass Drop Chandelier Lights $1,200 - $1,500

[359] An Early 19th Century Mahogany Wall Clock $500 - $700

[360] A Queen Anne Style Bracket Clock $400 - $600

[361] A German Walnut Spring Driven Regulator Wall Clock $400 - $600

[362] An Impressive French Bronze Ormolu Mantel Clock

[370] A Green Bronze Patinated Terracotta ‘Head of Christ’ Sculpture $800 - $1,200

[371] A French Bronze ‘Head of Christ’ Sculpture $2,000 - $2,500

[372] A Carved Wooden Figure of Christ $400 - $600

[373] A French Three Piece Silvered Metal Altar Set $400 - $600

[374] An Ornate French Louis Style Brass Stationary Box $2,000 - $2,500

[375] A Pair of Large Patinated Bronze Classical Figure Lamps $1,000 - $1,500

[376] A Pair of Rococo Style Silvered Candlesticks $80 - $120

[378] A French Silver Metal Crucifix

$800 - $1,200

[365] A French Painted and Gilt Terracotta Lioness Figure

$400 - $600

$1,000 - $1,200

[351] A Small Elm Stool

[366] A Stylised Art Deco French Bronze Lioness Sculpture

$120 - $180

$600 - $900

[363] A Decorative French Mantel Clock

$800 - $1,200

[352] A Rustic Pine Cutlery Rack

[369] An Ebony and Wood Crucifix

[377] A French Silver Metal Crucifix

[349] A Pair of Cushions

$120 - $180

$600 - $900

$1800 - $2,200

[364] A Pair of Decorative Brass Five Light Candelabra

[350] A Scandinavian Pine Settle

[367] A French Bronze Patinated Crucifix

$100 - $200

$100 - $150 $50 - $100

112

[353] An Old Burmantofs Faience Jardinere Stand

$800 - $1,200

$250 - $450 $250 - $450

[379] A 19th Century French Three Piece Clock Garniture $2,500 - $3,500

[380] An Antique Cast Plaster Cherub $150 - $250

[381] A 19th Century Persian Qajar Iron Helmet $250 - $400

[382] A 19th Century Persian Qajar Circular Shield $500 - $700

392

408

317

THE ENTIRE PROCEEDS FROM LOT 408 WILL BE DONATED TO THE CHRISTCHURCH EARTHQUAKE APPEAL AT THE VENDORS REQUEST. IN MEMORY OF TOM. ANTIQUES OCEANIC & MODERN & AFRICAN DESIGN ART 113

114

316

389

330

329

406

323

[407] An Antique European Fruitwood Mule Chest

[383] A 19th Century Qajar Beaten Brass Circular Shield

[398] Oil on Board Landscape - Victor Zelman

$300 - $500

$600 - $800

$1,500 - $1,800

[384] A Country Pine Table

[399] A Marine Watercolour - C. Muncaster

[408] A Georgian Mahogany Grandfather Clock - ‘Samuel Whalley’ Manchester

$300 - $500

[385] A 19th Century Oak Corner Cupboard $300 - $500

[386] A 19th Century Chest of Drawers $800 - $1,200

[387] An Attractive Mahogany Corner Cupboard $300 - $500

[388] A Helmet Shaped Copper and Brass Coal Scuttle $80 - $150

[389] A Georgian Style Walnut Wingback Chair $400 - $600

[390] A Child’s Horseshoe Backed Elm Chair $200 - $300

[391] A Small 19th Century Iron Bound Oak Trunk

$100 - $200

[400] A Watercolour Street Scene C.P. Ferrat $250 - $350

[409] A Scandinavian Pine Carpenter’s Bench

[401] Oil on Canvas Venetian Scene William Dargie

[410] An Antique White Marble Sink

$1,000 - $1,500

$200 - $400

$800 - $1,200

[402] An Antique Map of England

[411] A Late Victorian Walnut Loo Table

$100 - $200

$600 - $800

[403] Lot withdrawn

[412] A William IV Mahogany Pedestal Sideboard

[404] A Jacobean Style Consol Table $600 - $900

[405] A Victorian Decorative Brass Single Bed

$1,500 - $1,800

[413] A Hand Knotted Persian Rug $500 - $800

$400 - $600

[414] A Baluchi Runner

[406] A Late Victorian Twin Pedestal Writing Desk

[415] A Baluchi Rug

$1,000 - $1,400

$300 - $500 $200 - $300

[416] A Hand Knotted Persian Runner

$150 - $250

$300 - $400

[392] A Mid Victorian Inlaid Walnut Cabinet $3,500 - $4,500

[393] A Mahogany Bowfront Five Drawer Chest $1,200 - $1,800

[394] A Fur Rug $200 - $300

[395] A Marine Watercolour $1,500 - $2,000

[396] A Pair of Victorian Oil on Canvas Portraits $800 - $1,200

[397] A Pair of Victorian Oil on Canvas Portraits - W. Gistor $1,500 - $2,000

$2,000 - $3,000

296

PRICES REALISED SALE 320 (22 - 24 FEB 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT

$

1100 1 1100 3 850 4 800 5 500 6 2100 7 3000 9 1250 10 1200 11 5000 12 500 13 1650 15 4250 18 600 19 3750 22 400 26 1500 28 4000 30 31 10000 6500 34 4000 35 2000 36 6500 37 1500 38 900 39 2750 42 1500 43 1200 44 1200 45 350 49 1000 50 1000 51 1400 52 500 52B 52C 1100 300 52D 500 52E 750 52F 350 54 150 55 350 56 400 59 500 61 1100 62 5000 63 3000 64 4750 65 500 66 2500 67 7000 68 1400 70 1500 71

116

LOT 72 74 77 85 86 88 90 91 92 94 96 97 102 104 105 107 108 109 110 111 113 114 117 118 123 125 132 133 134 138 139 141 142 143 144 145 150 152 154 155 200 201 203 204 205 207 208 210 210A 212 215 216

$ 2000 2000 2000 6200 1700 4500 650 300 950 3500 1750 450 6000 2050 1700 2500 1350 1700 600 1900 1500 800 500 900 1800 2250 600 1000 900 750 500 800 800 800 1500 1100 800 350 300 600 1500 1700 2900 1600 4100 9000 3000 1400 3000 4600 1200 1600

LOT 217 218 219 220 221 223 224 225 226 227 228 233 234 235 236 237 238 239 242 243 245 248 249 251 252 256 262 265 266 269 273 276 277 278 285 288 291 295 296 301 302 303 304 305 307 308 309 312 314 315 400 401

$ 1400 3000 15500 20000 2600 325 200 2000 750 500 1700 450 2000 1150 1700 1300 900 250 7000 700 3250 800 750 4500 6000 2900 2000 2000 10500 3200 2000 2500 2800 12000 10000 6500 8000 600 1700 1000 500 1400 600 650 1200 1000 800 2100 1600 1500 5000 2400

LOT 403 404 405 410 411 413 414 415 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461

$ 500 30 70 200 60 80 30 350 210 20000 1500 550 90 140 275 875 100 400 250 140 70 1325 200 375 70 175 260 200 190 1500 80 110 90 340 375 180 5400 260 280 240 180 2000 375 425 250 300 200 290 210 270 120 110

LOT 462 463 465 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 488 489 490 491 493 498 501 503 504 506 508 510 513 514 516 518 519 522 524 525 527 548 552 553 554 556 557 558 561 562

$ 250 110 160 400 660 240 650 500 200 325 300 150 100 360 250 525 100 125 125 150 100 175 700 650 130 140 350 125 80 150 250 100 100 400 175 300 400 300 200 200 350 175 350 75 700 500 300 725 300 125 225 450

PRICES REALISED SALE 320 (22 - 24 FEB 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT

565 566 567 569 570 571 573 574 578 580 581 582 586 591 592 593 595 599 600 601 602 603 604 605 607 608 611 612 613 614 618 621 622 623 625 630 632 633 634 635 637 638 639 641 644 645 647 648 649 650 651 652

$

LOT

$

LOT

250 400 1150 700 600 225 80 600 600 500 1500 150 100 300 500 900 100 80 160 50 850 50 200 250 400 300 600 200 50 200 350 1500 300 210 800 420 700 1100 350 850 2100 1000 600 200 1600 500 600 2400 1400 800 1600 400

653 654 655 656 657 658 659 660 662 663 664 665 666 667 668 673 674 675 677 678 681 682 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029

2600 1300 375 125 600 50 90 300 50 50 100 750 100 440 380 1300 4400 1000 100 225 360 500 110 300 575 800 850 1200 250 450 1500 250 550 120 240 200 325 675 40 375 210 300 140 450 100 300 450 200 575 225 525 120

1030 1031 1032 1033 1034 1035 1036 1037 1039 1040 1041 1042 1044 1045 1046 1047 1048 1049 1052 1053 1055 1056 1057 1058 1060 1061 1062 1063 1064 1066 1070 1071 1074 1079 1080 1082 1085 1086 1087 1088 1090 1091 1092 1093 1094 1097 1099 1100 1101 1102 1103 1104

$

350 250 275 150 400 460 2300 550 475 190 280 700 450 80 200 120 300 20 300 60 400 275 475 200 260 120 575 650 2100 1300 1200 400 500 225 420 550 250 1800 300 100 70 200 250 450 200 110 200 50 100 80 160 120

LOT

$

LOT

$

1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 1121 1123 1124 1125 1127 1128 1129 1130 1131 1132 1133 1135 1137 1138 1139 1140 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1156 1157 1158 1159 1160 1161 1164 1166 1167

260 170 160 100 175 90 300 170 700 500 150 175 130 140 650 120 200 50 100 380 225 20 280 30 30 320 250 125 100 60 70 70 280 20 270 100 250 90 20 20 50 90 50 50 120 120 180 270 60 225 300 50

1169 1171 1172 1173 1174 1175 1176 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 1192 1193 1194

80 70 100 130 100 10 60 70 20 60 70 275 200 300 20 40 50 50 100 50 50 70 20

IMPORTANT WORKS OF ART 117

Bidding Slip For absentee bidders on lots in sale 321 Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Works of Art sale a buyer’s premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Design sale, a buyer’s premium of 15% will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

lot no. catalogue description

bid*

MR MRS MISS MS (PLEASE CIRCLE) first name

surname/company

home phone

business phone

mobile

facsimilie

postal Address contact name email address ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered. * Webb’s will do its utmost to carry out bidding instructions for absentee bidders.

It will not be responsible however if circumstances prevent it from doing so.

SIGNED

DATE

18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 | auctions@webbs.co.nz / www.webbs.co.nz

118

CONDITIONS of sale for buyers 1. Bidding. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person.

Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted.

2. Reserves. All lots are sold subject to the right of the seller or her/his agent to impose a reserve.

3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.

4. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% for the Important Works of Art and a buyer’s premium of 15% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums.

5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale.

If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.

Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.

6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement.

Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed.

Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.

9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract.

the same or any other auction.

C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction.

D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.

E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.

F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.

G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract.

H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied.

I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds.

Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising.

11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.

12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.

13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated.

14. condition of Items. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

B. To rescind the sale of that or any other lot sold to the purchaser at

IMPORTANT WORKS OF ART 119

INDEX OF ARTISTS Bambury, Stephen Binney, Don

Maughan, Karl

4, 75

26, 44

McCahon, Colin

23, 27, 29, 30, 31, 39

Braithwaite, Joanna

65

Mrkusich, Milan

48

Brown, Nigel

61

Parekowhai, Michael

Clark, Russell

20

Patterson, Rueben

67

Cotton, Shane

11, 12

34, 46, 49, 52

Peebles, Don

56

Cross, Mark

69

Picasso, Pablo

7

Dali, Salavador

74

Pick, Seraphine

15

De Latour, Tony

2

Popplewell, Martin

62

Dolezel, Jenny

68

Pule, John

5

Ellis, Robert

47

Rae, Jude

21

Eugenea

73

Reynolds, John

53

Fisher, Joel,

77

Robinson, Peter

25

19, 50, 66

Sharpe, Alfred

63

28

Siddell, Peter

36

Gimblett, Max

9, 24, 35

Stringer, Terry

70

Hammond, Bill

3, 45

Sydney, Graham

17

Tapper, Garth

64

Tole, Charles

58 59

Fomison, Tony Frizzell, Dick

Harris, Jeffrey

40

Hotere, Ralph

41, 43, 76

Hurley, Gavin

16

Walters, Gordon

Illingworth, Michael

18

Warhol, Andy

Innes, Callum

42

Wealleans, Rohan

32

Kaan, Simon

60

Weeks, John

57

54 ,38

White, Robin

33

Wilkinson, Brendan

10

Woollaston, Toss

55

Yul Oh, Seung

71

Killeen, Richard Leek, Saskia

120

13, 14, 22 ,37, 51

1

Maddox, Alan

72

Matisse, Henri

8

6

IMPORTANT WORKS OF ART 121

122