Important Paintings and Contemporary Art, Modern Design and Antiques

IMPORTANT PAINTINGS & CONTEMPRARY ART 1

IMPORTANT PAINTINGS & C0NTEMPORARY ART MODERN DESIGN ANTIQUES 27 - 29 MARCH 2012 333

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

Important Paintings & Contemporary Art Interiors: Modern Design Antiques & Decorative Arts 27-29 March 2012

IMPORTANT PAINTINGS & CONTEMPRARY ART 1

333 Important Paintings & Contemporary Art

16

Tuesday 27 March – 6:30pm

Interiors Modern Design

88

Thursday 29 March – 6:00pm

Antiques & Decorative Arts

106

Thursday 29 March – 7:00pm

VIEWING FROM THURS 22 MARCH 9:00AM EVENING PREVIEW COVER: LOT 25 RICHARD KILLEEN City Living (detail) $25,000 - $35,000

Thursday 22 March 5:30pm – 7:30pm Please join us to view the suite of sales and enjoy a glass of Peregrine wine.

LEFT: LOT 9 LAURENCE ABERHART Angel Over Whangapa Harbour, Northland, 6 May 1982 $4,000 - $6,000 INSIDE BACK COVER: LOT 23 ANDREW MCLEOD Untitled (Camowhaiwhai) (detail) $9,000 - $12,000 BACK COVER: LOT 59 Ronnie Van Hout Mephitis (detail) $10,000 - $15,000

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Paintings Contemporary Art sale, and a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sales.

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

IMPORTANT PAINTINGS & CONTEMPRARY ART 3

Introduction

Webb’s March suite of sales promises to appeal with significant offerings presented in all key areas of collecting.

March is traditionally an important month of sales and Webb’s is pleased to be offering Important Paintings and Contemporary Art, Modern Design, Tribal and Oceanic Arts, Fine and Rare Wine, and Antiques between 26 and 29 March. Following these sales, the month will conclude with a sale of Classic and Vintage Motorcycles and Cars to be held on 31 March.

Included in the first sale of Important Paintings and Contemporary Art for 2012 will be a landmark offering of three major works by the New Zealand modernist Philip Clairmont. This presentation will comprise Innocence Threatened, a large-scale diptych on jute canvas painted in 1970, an interior still life on jute dated 1981 and a self-portrait entitled Homage to Vincent painted on found board. In addition to this, Webb’s is pleased to be presenting an early female portrait by Charles F Goldie, the sitter characterised by an elated expression.

These modern and historical works will be accompanied by a comprehensive survey of contemporary practice which includes works by Bill Hammond, Shane Cotton, Peter Robinson, Michael Parekowhai, Peter Stichbury, Fiona Pardington, Andrew McLeod, Hye Rim

Lee, Ben Cauchi and Reuben Paterson.

This year will see the debut of Webb’s partnership with Mr. Bigglesworthy to present stand-alone sales of interior design. With a particular focus on the post-World War II era through to the 1970s, this well-referenced offering of mid-century design will comprise a predominantly international selection.

Key pieces from this sale include a Grant Featherston R160 Rocking Chair, 1956, a Douglas Snelling Armchair and Footstool, 1949, and an Archie Shine ‘Hamilton’ sideboard designed by Robert Heritage, 1957.

The first sale of Oceanic and African Art for 2012 will once again be presented in a stand-alone catalogue and will see several significant collections offered to the market. A key consignment to this sale is a rare pou tokomanawa attributed to Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai. Alongside this piece, the sale will include two important cloaks, an historically important tekoteko, a lifetime collection of Oceanic fish-hooks, a quality selection of Melanesian and Polynesian tribal artworks and two international collections of African art.

Webb’s sale of Fine and Rare Wine will present a selection of wellcellared premium wines, whisky and champagne: offering the finest-quality auction sales available to the market.

An auction of Decorative Arts and Antiques comprises a range of rare collector pieces and opulent interior furnishing. A butler’s tray weighing over 5kg is the highlight of a fine selection of sterling silver. The sale also includes five pieces by Austrian-born British studio potter, Lucie Rie. These small pieces include bowls, a cup and saucer, and plates and demonstrate Rie’s Scandinavian modernist aesthetic with its elegant flowing forms with sgraffito decoration and textured glazes.

Featuring a number of forgotten motorcycle collections and superb vintage automobiles, Webb’s March Classic and Vintage Motorcycle and Car auction is sure to attract the true enthusiast.

Two significant barn-find collections of motorcycles will give the market the opportunity to acquire rare and valuable project machines.

We look forward to seeing you as you come to view these sales during the weeks ahead.

IMPORTANT PAINTINGS & CONTEMPRARY ART 5

Highlights A Chinese banquet bowl achieves $29,000 The market for Chinese ceramics and antiques continues to boom, with prices for rare and unusual items fetching well above their estimates.

This trend is seen at auctions globally, as all things in classic Chinese taste are in huge demand and Chinese buyers look to source and repatriate items dispersed to the West during the Cultural Revolution. In London, imperial ceramics of Emperor Daoguang’s reigning period (1820 – 1850) are priced at roughly ten times the amounts for which they were selling around 2002.

The response, last month, to what is believed to be a Jiajing Period

(1522 – 1566) underglaze blue-andwhite banquet bowl is confirmation that local collectors are also on the lookout for special Chinese pieces.

After keen and protracted bidding, the bowl was eventually purchased by a collector for the sum of $29,000.

Acquired by the vendor’s father who had lived in China during the 1950s, the bowl had been in the same family for over 50 years.

With a diameter of 480mm, the scale of this piece makes it a large and rare domestic example. Whilst it is wonderful to see a piece of this scale intact, it carries a significant flaw where the base was cracked during firing.

A. An emerald-cut diamond of 5.07 ct Realised $165,800 B. Fiona Pardington Wiriwiri, Tremble .Realised $8,400 C. Paul Dibble Geometric Figure 1. Realised $10,500 D. Rueben Paterson Black and White T.V. Realised $4,000 E. Grahame Sydney On the Sea Ice. Realised $4,700 F. Dick Frizzell Silver Surfer. Realised $2,200

February Highlights A

Last month, Webb’s A2 fine art sale demonstrated firm demand in the middle range of the market with new collectors participating enthusiastically.

Whilst collectors continue to seek out the very best on offer at the top end, over the last 12 months the A2 sales have also performed well with strong demand for the quality of works presented. Webb’s February A2 sale saw a large turnout of buyers set to compete and this resulted in a sale total of over $340,000. This total rests at twice that of the sale at the same time last year and signals a demand for works in the $5,000 to $20,000 range.

Entries are now invited for the next auction in this category to be held on 29 May. On the following day, an emeraldcut diamond of 5.07 ct and rare white (G), clarity VS2, received keen competition from several bidders who were impressed with the quality of this superb stone. It achieved $165,800, demonstrating that discerning collectors continue to engage with the very best on offer. Entries are now invited for the next sale of jewellery to be held on 2 May.

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IMPORTANT PAINTINGS & CONTEMPRARY ART 7

Valuation Services SPECIALIST VALUERS OF FINE ART AND ANTIQUES, WEBB’S PROVIDE VALUATIONS TO PUBLIC INSTITUTIONS, CORPORATE AND PRIVATE COLLECTIONS INCLUDING:

TE PAPA TONGAREWA, MUSEUM OF NEW ZEALAND; THE TAONGA MAORI, PACIFIC, HISTORY, ETHNOGRAPHIC COLLECTIONS, HISTORICAL AND CONTEMPORARY PHOTOGRAPHY COLLECTIONS, THE TE AKA MATUA RESEARCH LIBRARY · AUCKLAND ART GALLERY AUCKLAND CITY LIBRARY · TE AWAMUTU MUSEUM · THE POMPALLIER DIOCESAN CENTRE NORTH SHORE CITY COUNCIL · HOCKEN LIBRARY COLLECTIONS · SARJEANT GALLERY WHANGANUI ROTORUA DISTRICT COUNCIL · ROTORUA CHARITABLE ENERGY TRUST · DUNEDIN PUBLIC ART GALLERY · THE UNIVERSITYOFAUCKLAND ··WELLINGTONCITYCOUNCIL AUCKLAND WAR MEMORIAL MUSEUM · LAKE TAUPO MUSEUM AND ART GALLERY · ELMS MISSION STATION AUCKLAND CITY COUNCIL · THE MACKELVIE COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · UNIVERSITY OF OTAGO · HUKA LODGE · MANUKAU INSTITUTE OF TECHNOLOGY · SOUTH WAIKATO DISTRICT COUNCIL · NORTHLAND REGIONAL COUNCIL BURIED VILLAGE ROTORUA · THE SIR EDMUND HILLARY COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · ARCHIVES NEW ZEALAND · HISTORIC PLACES TRUST · MUSEUM OF TRANSPORT AND TECHNOLOGY · WEST COAST DISTRICT MUSEUM RUSSELL MUSEUM · WHANGAREI ART MUSEUM DILWORTH TRUST · NEW ZEALAND PORTRAIT GALLERY CONTACT: Brian Wood | bwood@webbs.co.nz | +64 9 529 5609 | +64 21 486 948

When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste of Central Otago, you also directly contribute towards the survival and recovery of our New Zealand’s endemic Falcons and Saddlebacks.

Peregrine is a major sponsor of both the New Zealand Wingspan Trust and the Fiordland Conservation Trust, who are fully committed to the protection and survival of these rare and unique birds. We think this is something worth savouring. To order our wines and to find out more information on these projects – visit our website or call into our cellar door.

www.peregrinewines.co.nz Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown IMPORTANT PAINTINGS & CONTEMPRARY ART 9

Ron English Exhibition 10 - 24 May Webb’s is pleased to announce Australasia’s first exhibition by Ron English. Widely considered to be one of the forefathers of modern street art, English first rose to prominence with his ‘liberated’ billboards of the 1980s where commercial billboards were illegally altered so that they broadcast political messages.

Notably, English’s unique imagery

was featured prominently in the documentary Super Size Me and on album covers such as The Dandy Warhols’ Welcome to the Monkey House and Chris Brown’s F.A.M.E., and in the permanent collections of Whitney Museum, New York, Everhart Museum, Pennsylvania, Mauermuseum, Berlin and Museum of Contemporary Art, Paris.

IMPORTANT PAINTINGS & CONTEMPRARY ART 11

Fine & Rare Wine Monday 26 March The sale will feature a superb selection of rare New Zealand wines alongside Bordeaux, vintage Champagne, and other excellent wines, ports and spirits.

Two Sessions: New Zealand & Australian Wines - 4.30pm Old World Wines - 6.30pm

History Under The Hammer Prime TV 7.00pm Sundays Webb's is delighted to be involved in History Under The Hammer, a series currently screening on PRIME TV, Sundays at 7.00pm. In this series, the history of New Zealand is illuminated through the story of objects and art works as they are followed through their sale at auction. Thanks to Greenstone Pictures, PRIME TV and NZ On Air. TONY FOMISON "Aramoana" (The Threat of Otakau Peninsula) Achieved $45,000 and featured in this series

Bethunes Rare Books Wednesday 21 March Bethunes at Webb’s is proud to be offering the C L Thomas Collection of rare books and related materials. In addition to a profusion of New Zealand classics, the C L Thomas Collection features an important group of items relating to notable pioneer William Colenso, including books and pamphlets, manuscript diaries and papers, a collecting tin and a handsome botanical microscope.

Classic Motorcycles & Cars Of The Day SATURDAY 31 MARCH Featuring a number of forgotten motorcycle collections, Webb’s March event is sure to attract the true enthusiast. Two significant barn find collections will give the market the opportunity to acquire rare and valuable project machines.

Also included is a range of rare English and American motor vehicles.

Contact Neil Campbell ncampbell@webbs.co.nz 021 875 966 | 09 529 5607

IMPORTANT PAINTINGS & CONTEMPRARY ART 13

Oceanic & African Arts WEDNESDAY 28 MARCH CATALOGUE NOW ONLINE Contact Jeff Hobbs jhobbs@webbs.co.nz +64 21 503 251

Important Poutokomanawa carved by Anaha Te Rahui (1822-1913) $50,000 – $70,000

Webb’s March Oceanic and African Art auction will present taonga Māori, Pacific artefacts and artworks from Oceanic cultures alongside a superb selection of African art and artefacts. Included are several significant international collections of toanga Maori recently repatriated to Aotearoa. Webb’s is particularly pleased to present to New Zealand collectors and institutions an opportunity to acquire the most historically important pou tokomanawa (carved centre post) to have been presented publicly in recent memory. Attributed to master carver Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai, this male form stands at an impressive 1,210mm high.

A further key consignment to this sale is an extensive collection of Māori and Oceanic fish-hooks, including early examples from the Kenneth Athol Webster Collection. Kenneth Webster (1906 – 1967) was an early collector and dealer of manuscripts, fine art and ethnographic artefacts associated with Oceanic peoples.

In addition, the auction includes important feather cloaks including a fine kahu huruhuru. Introduced in the second half of the 19th century, the kahu huruhuru employed geometric motifs and celebrated the prestigious nature of the Polynesian cloak with the use of the feathers of high-status bird species such as the kererū, kakariki, kākā and tui.

Two international collections of African art comprising fine selections of ceremonial masks together with a quality offering of Melanesian and Polynesian tribal artworks present an excellent opportunity for collectors to acquire in these specialist art fields.

IMPORTANT PAINTINGS & CONTEMPRARY ART 15

IMPORTANT PAINTINGS & CONTEMPORARY ART TUES 27 MARCH 6:30PM EVENING VIEWING 22nd March 5.30 – 7.00pm Viewing Thursday 22nd March

9.00am – 5.30pm

Friday 23rd March

9.00am – 5.30pm

Saturday 24th March

11.00am – 3.00pm

Sunday 25th March

11.00am – 3.00pm

Monday 26th March

9.00am – 5.30pm LIMITED VIEWING ON SALE DAY BUYER’S PREMIUM

22 Richard Killeen People Passing $20,000 - $30,000

A buyer’s premium of 12.5% will be charged on all items in the Important Paintings and Contemporary Art section of this sale. GST (15%) is payable on the buyer’s premium only.

IMPORTANT PAINTINGS & CONTEMPRARY ART 17

2 1

Bill Hammond

Untitled

pencil on paper signed W. Hammond, dated 9/78 and

1

inscribed plucked from skip in pencil lower right 315mm x 218mm $2,000 - $3,000

2

Peter Stichbury

Glister

glicee print on Ilford Gallerie gold silk archival paper signed P. Stichbury, dated ‘08 and inscribed

63/100 in pencil lower edge 265mm x 225mm $2,000 - $3,000

3

Shane Cotton

Tu

acrylic on canvas signed S. Cotton, dated 2000 and inscribed TU in brushpoint lower right; signed S. W. Cotton, dated 2000 and inscribed TU in marker pen lower edge verso

3

200mm x 200mm $4,000 - $8,000

5

4

6

4

5

6

Language is Not Neutral

Matauri 2

Untitled

acrylic on paper

acrylic on paper

gouache on paper, 1969

signed Killeen, dated 7.84 and inscribed

745mm x 555mm

signed Killeen and dated 6/2/69 in pencil

Language is not neutral in brushpoint

$4,000 - $6,000

lower right

Richard Killeen

lower right 760mm x 570mm $6,000 - $7,000

Julian Dashper

Richard Killeen

200mm x 400mm $3,000 - $4,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 19

7

9

8

7

Ben Cauchi

Ectoplasm

unique ambrotype signed Ben Cauchi, dated 2004 and inscribed “Ectoplasm� ambrotype in pencil verso 230mm x 185mm $3,000 - $4,000

8

Rueben Paterson

Crack

glitter on canvas signed Rueben Paterson, dated 2007 and inscribed Crack and Beecroft Auction in pastel verso 760mm x 760mm PROVENANCE Purchased by the current owner from the

10

Beecroft Charity Auction, 2007. $6,000 - $8,000

9

Laurence Aberhart

Angel Over Whangapa Harbour, Northland, 6 May 1982 gelatin silver print inscribed Angel over Whangape Harbour, Northland and dated 5 May 1982 in pencil lower left; signed L. Aberhart and dated

1982 1983 in pencil lower right 175mm x 242mm ILLUSTRATED Aberhart, Victoria University Press, 2007, pl.31. $4,000 - $6,000

10

11

Laurence Aberhart

Watertank, Orepuki, Southland, May 1981 gelatin silver print signed L. Aberhart and dated 1981 in pencil lower right 215mm x 275mm ILLUSTRATED

11

Ronnie Van Hout

Undead

Aberhart, Victoria University Press, 2007,

pegasus print

pl.31.

290mm x 385mm

$2,500 - $3,500

$1,800 - $2,600 IMPORTANT PAINTINGS & CONTEMPRARY ART 21

12

Fiona Pardington

Huia Love Triangle

gelatin silver print, within the edition of 5 signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso 410mm x 530mm $7,000 - $10,000

13

Fiona Pardington

Huia Lovers

gelatin silver print, within the edition of 5 signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso 410mm x 530mm

12

$7,000 - $10,000

14

Michael Parekowhai

Bosom of Abraham

screenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm $7,000 - $9,000

15

Michael Parekowhai

Bosom of Abraham

screenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm $7,000 - $9,000

13

13

14

IMPORTANT PAINTINGS & CONTEMPRARY ART 23

16

Ann Robinson

Spiral Vase ( Four Sections) 45% lead crystal 1/1 signed Robinson, dated 2001 and inscribed 1/1 and NZ on underside 620mm x 145mm REFERENCE Accompanied by the original purchase receipt from F.H.E Gallery, 2001.

Accompanied by a certificate of authenticity from the artist, dating the work 16.02.2001; colours used as pink, purple and clear; reissued 7.3.2012. $20,000 - $25,000

17

Jim Speers

David Hamilton

vinyl, acrylic and fluorescent light 1998 960mm x 865mm x 240mm EXHIBITED for a cleaner world, Jensen Gallery, Auckland, 1998. $7,000 - $9,000 David Hamilton is part of an ongoing series of works that examine the formal potential of materials – fluorescent light and plastic – whose primary applications are utilitarian in nature.

Speers’ approach does not revolve around simply making mundane materials attractive.

Rather, he amplifies the specific qualities of these materials that make them garish. The plasticity of the Perspex allows it to be folded to form hard lines and its latent transparency, as well as that of the adhesive vinyl, is layered to create a deliberate muddying of colours.

The fluorescent light fixtures too, which spill sideways to form rectangular bars of light rather than circular halos, are strategically placed at angles to leave projected markings that resemble a photographed motion blur The title of the work, David Hamilton, references the photographer who, in the 1990s, achieved both acclaim and revile for his photographs depicting children. Heavily romanticised in their staging and colouration in these works, the subjects were described in settings and poses that could be construed as intimate or sexualised. Speers’ work was originally included in a solo exhibition entitled for a cleaner world, referencing both the plastics from which David Hamilton is constituted – plastic is a material that, once formed, can never be broken down – and the moral dogma that has surrounded David Hamilton’s photographs. If anything is suggested by the glowing harmonics of David Hamilton, it is that, even though the mechanics of the world can sometimes be cruel and destructive, they can, at times, also carry a perverse and unexplained beauty.

CHARLES NINOW

IMPORTANT PAINTINGS & CONTEMPRARY ART 25

18

19

In Homage to Vincent (Self Portrait) oil on board

The Problem with Darth Vadar, Lozenge 9

inscribed In Homage to Vincent in

oil on canvas

brushpoint lower left

signed am, dated ‘97 and inscribed The

Philip Clairmont

Allen Maddox

740mm x 520mm

Problem with Darth Vadar. Lozenge 9 in

PROVENANCE

brushpoint verso

Gifted from the artist and passed by

910mm x 910mm

descent to the current owners.

$12,000 - $18,000

$18,000 - $25,000 IMPORTANT PAINTINGS & CONTEMPRARY ART 27

20

Hye Rim Lee

Candyland

C-type print, custom made frame with

21

Andrew McLeod

two pot automative paint finish

House and Studio

700mm x 700mm

pigmented archival inkjet print, 1/2

EXHIBITED

signed Andrew in pencil lower right and

Starkwhite, Auckland, Candyland, 5

inscribed 1/2 in pencil lower left

December 2006 - 12 January 2007.

1320mm x 1000mm

$8,000 - $10,000

$9,000 - $12,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 29

22

Richard Killeen

People Passing

oil on hardboard signed with initials RK and dated 9/69 in brushpoint lower left; inscribed with catalogue number 505 verso in black pen and artist’s exhibition label affixed verso 670mm x 670mm EXHIBITED Peter McLeavey Gallery, Dead Man,

Dead Woman, 29 March - 23 April 1994. $20,000 - $30,000

Despite Killeen’s palette, which is

vestiges of a time gone by. They are

stylistically aware and finely nuanced

proud beacons of humankind’s mastery

in its selection, and also the elegant

over the natural world. So then, if the

and informal manner in which he has

jagged profile of the Te Henga coastline

depicted human form, People Passing is,

presents some form of universal truth,

in actuality, the artist at his most austere.

then surely this scene must represent its

What appears on the surface to be a

antithesis? Spotless in its execution but

simple musing on the idiosyncrasies of

also with fine details smoothed away to

suburban life is, in reality, a reflection

give the forms depicted here a sense of

on the propensity of modernity – or,

plasticity; this scene is surely a falsehood

more specifically, the concepts of

or fabrication.

profit, wealth and private property – to

The truth is, however, that having

estrange humanity from the natural

been painted in 1969, People Passing is

world. Killeen’s intent is not to condemn

remarkably of its time. The space-age

these taxonomic structures but rather

‘look’ of the attire and even the colour

to shed light on the manner in which

scheme of the interior are adroitly ‘on

they have influenced the formation of

trend’. And thus, what Killeen has

New Zealand’s national identity. In his

done here is effectively a reversal of the

monograph on the artist, Francis Pound

nationalist model whereby, instead of

suggested that, historically, if there were

allowing for escapism, he has presented

a nationalist ethos that pervaded New

the viewer with a mirror of their

Zealand’s cultural production then it was

present-day suburban reality. By doing

simply because commoditisation of the

so, he is seeking to draw attention to the

landscape was practised en masse. From

fact that the majority of New Zealanders

Sharpe’s rolling vistas where humans

no longer live in rural settings and that,

are seen wading gently in the shallows

consequently, the nation’s self-image

of a vast natural resource, to Angus’

is out of step with reality. The nation’s

rippling hills, warmed and distorted by

disposition is described skilfully by

memory, to Binney’s crystalline horizons,

the man positioned front row and

the landscape has developed a spiritual

almost centre who, despite his dapper

mien in New Zealand’s art: a presence

costuming, has a remarkably human

from which all else grows. Pound stated

face. Standing still and sombre in a field

categorically that, in his view, “the

of movement, he has the air of a stranger

Nationalist artist was an urban person

who has suddenly looked around to find

who painted the rural for other urban

himself in unfamiliar territory. Faced

persons”.1

with making a decision about which

As such, built from flat, horizontal

direction to take, he must either walk

bands of colour that describe a sterile,

in the direction in which all of the other

chlorinated interior, People Passing

people are going, or else he must walk

intentionally positions itself as a stark

backwards in an effort to find what he

contrast to this canon. With their

thought were his roots.

bouffant hairstyles and their A-line,

CHARLES NINOW

sleeveless shift dresses which consist of only minimal, essentialist tailoring, the women in this scene appear as both idyllic forms and as robotic and unfeeling. And, on the left, unfolding toward the viewer, the men appear almost peacock-like. Wearing their textiles of exotic hue, they sparkle as

1Pound, Francis, Stories we tell ourselves: The Paintings of Richard Killeen, David Bateman and Auckland Art Gallery, Toi O Tamaki: Auckland, 1999. p. 18.

IMPORTANT PAINTINGS & CONTEMPRARY ART 31

23

24

Untitled (Camowhaiwhai)

Boulder Bay Birds

acrylic, pencil and letraset on paper

acrylic on canvas

signed A. McLeod and dated ‘99 in pencil

signed W.D. Hammond, dated 2002

lower left

and inscribed Boulder Bay Birds in

1200mm x 900mm

brushpoint lower right

$9,000 - $12,000

400mm x 600mm

Andrew McLeod

Bill Hammond

$45,000 - $65,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 33

25

Richard Killeen

City Living

pigment ink, turps based acrylic resin varnish on canvas signed Killeen and inscribed City Living in brushpoint lower right; inscribed Richard Killeen, Cat no. B734, City Living, 2004, Pigment Ink, turps based acrylic resin varnish on canvas on original artist’s label attached verso 1520mm x 1015mm EXHIBITED Ivan Anthony Gallery, 2004. $25,000 - $35,000

Killeen’s large-scale canvas, City Living,

Other recurring emblems from

2004, is a dizzying and humorous

Killeen’s vast iconography, such as

representation of past and present icons,

Pacific and Celtic motifs, Roman busts,

which parodies modern culture: frozen

tools, native birds, insects and plant life

in time and preserved for antiquity

contain their own references, as well as

within the frame of a glass jar.

being touchstones of the artist’s inner

Marking a shift from Killeen’s

being. The frog on a man’s forehead,

hallmark assemblages, City Living recalls

which has featured consistently

his earlier realist period of the ’60s and

throughout his work, first emerging in

’70s, using skills mastered during his

his painting Frog Shooter (1976), may

formative years working with his father

be in homage to his late grandfather,

as a signwriter. The painting features

who used the term to refer to a ‘dodgy-

stylistically polished and rendered surfaces, which omit any trace of the

looking’ character.2 Yet, by condensing the images within

artist’s hand in testament to his early

a glass jar, like insects in a bottle or

recordings “[my] identity must not be the

museum display case, Killeen intercepts

cause and must not be present”.1 Each

such notions with a sense of wit and

element within the painting is formally

irony, casting a sense of trivia to everyday

constructed and sharply outlined

consumption and modern ritual. Like

with a precision acquired through a

his cut-out works, which follow in

process of collating computer-generated

the Byzantine tradition of landscape

images, which are stored, coloured and

painting, depicting isolated shapes

rearranged.

against a blank background, Killeen’s use

Rejecting conventional notions of

of the glass jar as a framing device, forces

self-portraiture or autobiographical

the assortment of contents into a cut-out

references, the painting’s subject matter

frame against the white canvas. The

speaks of a common culture living in

painting illustrates an extension of the

transnational suburbia. Yet drawing

artist’s exploration into the disruption of

from the artist’s oeuvre of repeated signs

hierarchies of order and display, whilst

and symbols, we see glimpses which

also raising questions about institutional

reveal intimate traces of the artist’s own

methods of textualisation and the

history, identity and fascination with

presentation of culturally specific

travel and archival artefacts.

artefacts. In this way, the jar becomes a

Symbols of ethnology, anthropology,

museum-like metaphor showcasing this

technology, paleontology, zoology, botany

modern medley of city life.

and prehistory are swept up in chaotic

EMILY GARDENER

array across the canvas, interrupting the seemingly sublime order of the nostalgic

1Richard Killeen, The Green Notebook, 1969, p.44

domestic surrounds. Amidst the array,

2Richard Killeen and Francis Pound, Stories We

a man sips his wine as he watches

Tell Ourselves: The Paintings of Richard Killeen

TV. Behind loom city walls, factories,

[published on the occasion of the Exhibition Stories

aircrafts and skyscrapers, painted

We Tell Ourselves: The Paintings of Richard Killeen,

against a brightly patterned background,

Auckland Art Gallery Toi o Tamaki (9 September –

which impede the tranquility of the

5 December 1999)], Auckland, New Zealand, David

suburban setting. Men’s faces peer

Bateman, 1999, p.38

over and through the city walls. In the foreground a woman is depicted with floral motifs on her back, as if to raise questions of gender and domesticity.

IMPORTANT PAINTINGS & CONTEMPRARY ART 35

26

Michael Smither

Moonlight Wave About To Invade Rock Pool oil on board signed M.D. Smither and dated ‘69 in brushpoint lower left; signed M. D. Smither, inscribed moonlight wave about

to invade rock pool and $250 in marker pen verso 1200mm x 900mm $70,000 - $90,000

Painted at the end of the 1960s,

concrete permanence of the rocks and

Michael Smither’s Moonlight wave about

the perpetual motion of the sea. The

to invade rock pool comes from one of

painterly treatment of the wave imbues

the artist’s most iconic series of work.

it with immediacy that speaks of the

Throughout the 1960s and 1970s, these

raw energy and power of the ocean in its

works cemented Smither’s artistic

ability to disrupt, change and overwhelm

reputation and he came to be known

all that lies in its path. In doing so,

primarily as a painter of pools and rocks.

Smither inserts an air of fragility into the

The rock pool paintings all feature a

work, as the glassy calm of the water in

simplified composition consisting only

the foreground is poised on the brink of

of patches of water, clusters of smooth,

disappearance.

rounded rocks in various configurations

In addition to the formal strength of

and occasionally, an indication of sea life.

Moonlight wave about to invade rock pool

It is probable that like the majority of

and Smither’s reductive approach, the

Smither’s rock pool paintings, Moonlight

piece is also highly symbolic. While

wave about to invade rock pool, is based on

water is traditionally associated with the

an amalgamation of several different

Virgin Mary, with purity and cleansing

views, experiences and drawings that the

while rocks are often used as a metaphor

artist completed in Taranaki from 1965

for the steadfastness of Christ. In the

onwards.

present painting then, rather than being

By dispensing with extraneous details

overwhelmed by water, the rocks can be

and focusing on a relatively simple

seen to be renewed and purified by its

composition, Smither draws attention

continual ebb and flow. Sitting motionless

to the painterly treatment of forms.

in the water, the rocks are attended to by

Characteristic of Smither’s early work is

their own seamless shadows that are akin

the use of an extreme close-up view that

to inverted haloes.

allows for the viewer to be looking down

The nuanced array of blue tonalities

on the scene and up at the breaking wave

used in Moonlight wave about to invade rock

simultaneously. The gathering of rocks

pool, adds to the overall tranquility of the

that frame the bottom edge of Moonlight

painting as shades of sapphire, indigo

wave about to invade rock pool, provide a

and navy make an appearance alongside

solid compositional base, anchoring the

darker shadowed areas, the bubbling

painting against the crashing movement

white foam of the rushing wave and the

of the sea. Adding to the solidity of

ribbon of grey of ocean in the distance.

the foreground is the smooth, settled

The bold reductive approach seen in

brushwork, which etches out uniformly

Moonlight wave about to invade rock pool,

polished rocks and a glassy pool of water,

speaks of Smither’s confident familiarity

which gives way to a flurry of visible

with the Taranaki coastline, which

strokes that mark out the impending

allowed him to craft convincing scenes

wave. This variance in technique works

from a scattering of formalist elements.

to underline the contrast between the

JEMMA FIELD

IMPORTANT PAINTINGS & CONTEMPRARY ART 37

27

28

29

Self Portrait

Meditation (with Blue Bar)

oil and metallic pigments on canvas

Allen Maddox

Gretchen Albrecht

Louise Henderson

acrylic on canvas

Palestinian Woman Seated in Jerusalem

signed am, dated 1995 and inscribed

signed Albrecht, dated ‘96 and inscribed

charcoal and pastel on paper

Self Portrait in brushpoint verso

Meditation (with blue bar) in brushpoint

720mm x 880mm

1205mm x 1205mm

on stretcher verso 730mm x 1205mm

PROVENANCE

$25,000 - $35,000

Original John Leech Gallery label

PROVENANCE

affixed verso

Purchased by the current owner

$4,500 - $6,500

from Sweet Louise, The Louise Perkins Foundation art auction, 2005. $15,000 - $20,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 39

30

Frances Hodgkins

Old Mill at Ibiza

watercolour on paper signed Frances Hodgkins in graphite lower right; inscribed “Old Mill Ibiza”

watercolour by Frances Hodgkins in type on exhibition label affixed verso; Ernst Brown and Phillips, Ltd, The Leicester Galleries label affixed verso; James Bourlet and Sons Ltd, Fine Art Packers, Frame Makers label affixed verso.

390mm x 540mm PROVENANCE Likely to have been acquired by Myfanwy Piper (1911 - 1997), British art critic and wife of the artist John Piper (1903 - 1992) who is thought to have purchased it directly from the artist. The work was then sold through The Leicester Gallery, London and purchased by Charles Brasch in the late 1930s. Brasch, a New Zealand poet, literary editor and arts patron was the founding editor of the literary journal

Landfall. Brasch gifted 448 paintings and drawings to the Hocken Collections, Dunedin either during his lifetime or after his death. Charles Brasch gifted this work to Rodney Kennedy (1909 1989) a friend and a passionate advocate of what has become the modern canon of New Zealand art. Rodney Kennedy made a bequest of a further 177 works to the Hocken Collections in 1989. This work was gifted by Kennedy to his godson, the current owner. $35,000 - $45,000 In 1932, after an extended period of time spent painting and exhibiting in England, Hodgkins escaped the bleak qualities of the British winter to sojourn on the nearby island of Ibiza.

Upon her arrival, Hodgkins was struck by the “clear ivory light”1 that graced

the landscape. Furthermore, she was enamoured with the auspicious quality

of the flora and the flat, uncomplicated

viewer to consider the fact that this land

nature of the architecture which she

was actively inhabited by a population.

said gave a “blind restful feeling of

Hodgkins began her career depicting

immense space”. 2 Almost immediately,

the people around her with tapestries

the new setting signalled a change in

of lush flowing strokes, capturing their

the artist’s work. Up until Ibiza, working

likeness with a knowing ease that would

from her Cromwell studio, the artist had

bring her first acclaim. Yet here, when

been developing her seminal series of

she was 63, her scenery looks more

works in which still life compositions

like an assemblage of cut-outs than a

were painted into landscapes; yet here

translation of a three-dimensional plane.

she reverted to a seemingly ‘simplified’

The objects are pictured like ‘ducks in

approach where she reacted to only what

a row’, and the artist’s aim was to allow

existed in the physical environ directly

the viewer to examine and compare

before her. And while well-defined

the formal qualities of each in relation

brushstrokes and poolings of colour –

to the others. What was of foremost

holding their own material weight in

importance here was each object’s

spite of their representational function

shape and physical appearance rather

– had already begun to emerge, in the

than its symbolic potential. Expunged

works painted in Ibiza, we see the artist

of content, these objects were reduced

fully explore the lyrical potential of the

to a language of raw visual matter and

painted line.

treated in the same way that a studio

In Old Mill, Ibiza, we are presented

painter of a modernist ilk might treat

with a landscape which, while sparsely

a still life composition. And while such

covered, is rich with ripe vegetation. For

an approach might not raise an eyebrow

the most part, the individual silhouettes

today, at the time, it was revolutionary.

of the flora remain uninterrupted which

This offering of Old Mill, Ibiza presents

allows them to maintain their own

a rare opportunity to acquire a work

individual sense of objecthood. To the

that can be traced back to a direct

artist’s eye, the singularity of the trees,

transaction with the artist; it has, since

shrubs and falling leaves was made more

then, passed through an astounding

profound by the flat blanket of light

but small and exclusive group of hands.

that swept over them, heightening their

Resting at one time or another in the

colouration and amplifying the contrast

ownership of British artist John Piper

between object and open space. On the

and his wife, art critic Myfanwy Piper,

right-hand side of the image, perched

the esteemed founding editor of the

up on top of a hill, is an old mill house.

literary journal Landfall, Charles Brasch,

The building is of an elongated form and

and then Rodney Kennedy, artist, writer,

its roof appears skewed and off-centre,

philanthropist and key figure amongst

suggesting that the viewer is gazing at

Otago’s avant-garde of 1930s (which also

the building from some oblique vantage.

included, among others, Sir Tosswill

Its irregularities aside, the graduated

Woollaston and Colin McCahon), this

rooftop helps to provide the work with

work has developed a rich provenance in

some context as it includes the detailing

which New Zealand’s cultural history is

traditionally seen in colonial Spanish

extensively referenced.

architecture. Furthermore, in the same

CHARLES NINOW

method as can be seen in her works of the late 1930s and early 1940s where

1McCormick, E H, Portrait of Frances Hodgkins,

Hodgkins painted agricultural buildings

Auckland University Press and Oxford University

and equipment, the mill house has a

Press: Auckland, 1981. p. 117.

2Ibid.

reticent narrative function, calling on the

IMPORTANT PAINTINGS & CONTEMPRARY ART 41

31

Colin McCahon

A Poem of Kaipara Flat 16 watercolour on steinbach paper signed McCahon, dated ‘71 and inscribed A Poem of Kaipara Flat 16 in pencil lower left and right 1075mm x 660mm REFERENCE Colin McCahon database reference number #cm000269. $90,000 - $120,000

Built on the familiar scaffold of a single

that flank the horizon line from above

horizontal line weighted to the bottom

and below describe naturally occurring

half of the picture plane, A Poem of

phenomenon such as sunlight, clouds,

Kaipara Flat 16 belongs to an extended

dirt and grass, their colouration also

series of works that all consisted of the

renders them as other-worldly. The

same compositional format. It was after

burning red penetrating through the

he commenced work at his Muriwai

clouds and the swirling red and yellow

studio in 1968 that McCahon first began

brushwork of the foreground show

experimenting with the formal and

divine light both bearing down from

symbolic potential of the horizon line.

above and surging through the land

His enquiry was initiated with works

beneath.

that consisted of two solid blocks of

Due to the fact that the Kaipara

colour; the lower was green and the

series, to which A Poem of Kaipara Flat

upper was a faint yellow. As the research

16 belongs, follows a common idiom that

continued, McCahon’s approach to mark-

was repeated by the artist during 1971,

making loosened and his use of colour

the concentration of tone and colour

became less prescribed by the physical

used in each work varies greatly and,

properties of the landscape before him;

in an almost diaristic fashion, holds

green and gentle lemon yellow gave

up a mirror to McCahon’s personal

way to brilliant reds, blues, purples and

disposition at the time of its painting.

blacks belting a disquieting harmony out

It is well known that McCahon was a

from the page.

religious man, yet perhaps it is even

After receiving Professor Charles

better known that he had moments of

Cotton’s book Geomorphology of New

doubt. The heavy weight of the clouds in

Zealand as a wedding gift in 1942,

the sky, with their dark, purple depths,

McCahon became increasingly engaged

has an ominous, foreboding quality and,

in painting landscapes that paid

in one sense, this landscape appears

attention to the structure of the land

cold and inhospitable while, in another,

forms. This can be evidenced first in

absolution appears to be looming.

his early Otago Peninsula works and

Thus, it is difficult to say whether or

can be seen to continue through to the

not this was the work of McCahon the

works of the Kaipara series. McCahon’s

believer or of the McCahon who had

interest in the subterranean was

momentarily turned away. However,

sustained by the fact that, to him, the

the true significance of works such as A

ulterior mechanics of the landscape had

Poem of Kaipara Flat 16 lies not in their

allegorical significance. Rather than

ability to give an insight into the artist’s

simply constituting an explanation

psyche but, rather, in their ability to

of the way in which land mass was

structure a dialogue around the forces

formed, Geomorphology of New Zealand

of the universe, both physical and

presented an all-encompassing power

metaphysical, that can be understood

that was capable of moving the earth

through the scope of any belief system.

beneath his feet. While in A Poem of

CHARLES NINOW

Kaipara Flat 16, the colour and markings

IMPORTANT PAINTINGS & CONTEMPRARY ART 43

32

Philip Clairmont

Inocence (sic) Threatened

oil on two jute canvas sections, affixed to a stretched canvas signed Clairmont, dated 1970 in brushpoint lower left and inscribed Inocence Threatened in brushpoint lower right 1450mm x 1395mm REFERENCE This painting can be seen hanging above the artist’s bed in the documentary for the Profiles series on Clairmont.

Clairmont was photographed sitting in front of it by Brian Staff for Spleen 4. $40,000 - $50,000

Shortly before painting Inocence

the face divided vertically into light and

Threatened, Clairmont had seen Ingmar

dark sides. Undoubtedly this symbolises

Bergman’s only horror movie, Hour of

the outer and inner aspects of the artist,

the Wolf, 1968. Filmed in stark black and

his visible and hidden sides, rather as the

white, it deals with an artist in crisis,

two parts of the diptych do on an enlarged

Johan, and his pregnant wife Alma

scale. Clairmont’s image continues

who have gone to a depopulated island

on the right panel but is overlaid with

where he paints outdoors alone. Johan

fragments of other faces – eyes, teeth and

is haunted by events from his past and,

ears can be found. Martin Edmond has

at times, appears surrounded by an array

discovered the head of Clairmont’s baby

of figures whose faces we see in a rapid

in the central form which is enclosed by

succession of images. Bergman mixes

a large, white, bird-like head and beak.

visions and reality so that we become

Birds appear as disturbing psychic forces

disoriented and unsure of which is which,

in Bergman’s film, too, which is more to

as happens in Clairmont’s painting. At

do with the subconscious than with the

the ‘hour of the wolf’, shortly before

visible. The title of the painting Inocence

dawn, Johan tells Alma of painful

Threatened would seem to refer to his

memories. Perhaps he hopes that his

newborn child and the forces in the

family life will erase the past and create

world, not all benign, that might beset her

a happier environment. In Clairmont’s

young life.

painting, his family is represented in the

Influences on Clairmont can be traced

right panel, while he appears in a partial

to the expressionist taste of his main

self-portrait on the left. He had recently

mentor at the Canterbury Art School,

married his first wife Viki and their only

Rudi Gopas, an outsider in conservative

child Melissa had just been born. As in

Christchurch, who was disturbed by his

Bergman’s film, there is a contemplation

own memories from his past experiences

of the role of the artist whose creative life

in World War II and refugee camps.

is about to be changed by his new family.

This was reinforced by Clairmont’s

This is a time of joy in fatherhood but also

friendship with Tony Fomison who had

of challenge because of the needs of his

recently been in Europe and returned

creative life as an artist.

addicted to drugs and experimenting

Inocence Threatened is a diptych made

to see how they could heighten artistic

of two pieces of canvas, mounted with a

creativity. He was to write an article

division between them. The left panel

on ‘Head Art’ advocating this practice.

is much narrower than is the right and

The highlighting, blinding auras, acidic

shows half a self-portrait of Clairmont

colours, fragmentation and vertigo-like

bisected down the centre of the face. It

swirling forms found in Clairmont’s work

is as if the image has been cut or torn

of this time relate to the psychedelic

in half. This appears to have been a

art popular on 1960s’ pop music album

deliberate choice of format to perhaps

covers. The music of Jimi Hendrix, in

show him caught between two roles:

particular, was an accompaniment to

that of father and that of artist. His face

Clairmont’s painting practice. When

is seen frontally with eye, nose and teeth

first shown at his solo show, this and

easily decipherable. In fact, it can be

related works caused a sensation. Inocence

compared with the self-portrait on the

Threatened, painted while Clairmont

catalogue for Clairmont’s solo show at

was just 21 and still at art school, has an

Several Arts, Christchurch, 1970, where

astonishing impact even today with its

Inocence Threatened was first exhibited.

vitality undiminished by time.

The catalogue image is complete but has

MICHAEL DUNN

IMPORTANT PAINTINGS & CONTEMPRARY ART 45

33

Shane Cotton

Untitled

acrylic on paper signed S.W.C., dated ‘95 and inscribed 2.

At 3 Atrium LIFT WALL 2 in brushpoint lower centre, signed Shane W. Cotton and dated ‘95 in pencil lower right 760mm x 460mm REFERENCE This work is a study for the 1995 Sky Tower Casino, Auckland installation. $12,000 - $15,000

34

Paul Dibble

Body Architecture cast bronze, 3/3 signed Paul Dibble NZ and dated 206, 3/3 incised to base 640mm (height) PROVENANCE Purchased by the current owner from Black Barn Gallery, Hawkes Bay, 2006. $10,000 - $15,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 47

35

Charles Goldie

Māori Woman with Moko oil on board signed and dated 1910 in brushpoint lower right 190mm x 144mm PROVENANCE Purchased from a Bethune’s auction, Wellington, 5 July 1967, 545gs ILLUSTRATED Charles F Goldie, His Life and Paintings, Alister Taylor & Jan Glen, Alister Taylor Publishing 1977, p. 213.

Evening Post, June 1967.

The Dominion, 6 July 1967. $150,000 - $200,000

Painted in 1910, Charles Frederick

communicating to the viewer the tragic

Goldie’s Māori Woman with Moko is an

yet imminent extinction of this noble,

outstanding example of the technical

indigenous race of New Zealand. As has

brilliance, a culturally significant subject

often been said since, this was of course

and the high level of detail which have

a fabrication on Goldie’s behalf, that was

been cause for Goldie’s enduring status

born out of his Western-European art

as one of New Zealand’s most celebrated

training and his social attitudes. Despite

20th-century artists. Although the

Goldie’s erroneous beliefs, however,

sitter’s identity remains something of a

his meticulous approach to recording

mystery, the cloak, greenstone jewellery

what he thought were the vestiges of a

and moko that decorate the sitter’s lips

‘noble race’ has provided an invaluable

and chin testify to the distinguished

historical record; Goldie preserved in

standing of the kuia (elderly woman).

paint the Māori traditions of dress,

The excellent artistic quality of Goldie’s

jewellery and ta moko at the turn of the

Māori Woman with Moko further secures

20th century.

the painting as a treasured art piece

While there was a multitude of

in its own right. It is worth noting too

different cloaks that were woven and

that, as with many of his more-favoured

worn by Māori in the early 1900s, the

models, Goldie had painted a portrait of

cloak seen in Goldie’s Māori Woman with

the same sitter the year before; in that

Moko is that of the korowai, which is a

work, she likewise appears with her face

type regularly seen in Goldie’s portraits.

crinkled into an open smile.

Elegantly woven from the prepared

Goldie’s portraits, with few exceptions,

fibres of the New Zealand flax (muka),

were not commissioned and he took

they featured a fine covering of muka

it upon himself to choose his sitters.

tassels (hukahuka). The tiki pendant

He usually worked from photographs;

nestled into the folds of her cloak and

a photograph would have been an

her two kuru (greenstone earrings)

invaluable resource in allowing him to

indicate that the kuia depicted in Māori

study, at close proximity, the intricacies

Woman with Moko, is clearly one of high

of individual faces and ta moko. This

rank. The open, smiling mouth and

practice would have gone some way in

crinkled eyes increase the accessibility

enabling him to produce paintings of

of the work and imbue the kuia with

the startling verisimilitude for which

something of an endearing and light-

he is renowned. The level of animated

hearted frankness. The details in the

emotion seen in this bust-length portrait

background of the painting are subtly

of an elderly woman is unusual in

treated, ensuring that the main focus is

Goldie’s oeuvre. The majority of the

the sitter. Goldie deftly transcribes the

artist’s portraits display subjects in

individual features of the kuia: short,

varying states of sombre contemplation

greying halo of hair, eyebrow remnants,

often with long, drawn faces that are

honoured passages of ink and the prized

shown staring out of the canvases,

pieces of greenstone, and he indelibly

unseeing, into the middle distance.

traces each of the many wrinkles that

This, of course, was one of Goldie’s

are etched into her well-worn face.

prime techniques for instilling a noble

JEMMA FIELD

sentimentality into his works and

IMPORTANT PAINTINGS & CONTEMPRARY ART 49

36

37

38

Untitled (Still Life)

Linked Stories From the Garden

Study for Buller’s Tablecloth

oil on hessian

cast bronze

graphite and ink wash on paper

signed PCT and dated ‘81 in brushpoint

signed Paul Dibble, dated 2001 and

signed W.D.H and dated 1994 in pencil

lower left

inscribed N.Z incised on base

lower left

940mm x 1650mm

480mm x 580mm x 120mm

565mm x 740mm

PROVENANCE

$12,000 - $18,000

PROVENANCE

Philip Clairmont

Paul Dibble

Bill Hammond

Purchased by the current owner from

Purchased by present owner from

Janne Land Gallery, Wellington, 1981.

Peter McLeavey Gallery, Wellington.

REFERENCE

$18,000 - $25,000

The show in which this work was exhibited is referenced in The Resurrection of Philip Clairmont, Martin Edmond, Auckland University Press, 1999. pp.168-169. $35,000 - $45,000 IMPORTANT PAINTINGS & CONTEMPRARY ART 51

39

Colin McCahon

Mountain Landscape

Colin McCahon in return for hospitality when the artist conducted a summer

watercolour on paper

school in Whangarei in 1958. Dr Owens

circa 1958

was the Northland tutor for Adult

300mm x 240mm

Education. This work relates closely to

PROVENANCE

the cover illustration for The Inlaid Eye

Formerly in the collection of

by Dr Eric McCormick.

Dr John Owens of Palmerston North

$20,000 - $30,000

who received the painting from

40

40

41

41

42

42 41

Len Castle

42

glazed earthenware

Yellow Sulphar Bowl

glazed earthenware

signed L.C. and dated 2009 incised on

glazed earthenware

signed with artist’s stamp on underside

underside

signed with artist’s stamp on underside

455mm diameter

525mm diameter

520mm diameter

$3,500 - $5,500

$2,500 - $3,500

$2,500 - $3,500

40

Len Castle

Yellow Sulphar Bowl

Large Blue Shallow Bowl

Len Castle

IMPORTANT PAINTINGS & CONTEMPRARY ART 53

43

Jude Rae

Lost

acrylic on canvas 1990 1700mm x 1200mm EXHIBITED Jonathan Jensen Gallery, Christchurch, 1990. $30,000 - $40,000

Painted in 1990, Lost is one of a series

the painted fabrics that graced historical

of paintings of cloth that Jude Rae

paintings such as canopies of state,

completed throughout the 1990s. These

tapestries, ceremonial robes and religious

works are unified in their use of extreme

mantles.

cropping so that only a close-up view

In Rae’s Lost, the loosely brushed

of a segment of drapery is shown. This

pigment provides a dry, scumbled effect

technique has a somewhat disorientating

and creates the impression of the viewer

and puzzling effect on the viewer who

being shown the loose weave of material

is left to wonder at the nature of the

which, in reality, is actually a painted

fabric they are viewing: is it a curtain

artifice. In doing so, Rae plays with the

or a tablecloth or a bed-sheet or a piece

ability of the master painter to foil the

of linen? Testament to Rae’s painterly

human eye and to craft illusions. Unlike

skill is her ability to create an interesting

many of Rae’s paintings, however, the

visual feast from a potentially mundane

inherent realism is tempered by the

subject – fabric folds. As seen in Lost,

use of lettering, which cements the

Rae’s expertise in capturing the effects

physicality of the painted board by

of light falling across drapery serves to

drawing attention to the two-dimensional

animate the painting through its rippling

reality of the painting. From a distance,

declivities.

the words are barely perceptible and

As with all of Rae’s paintings, Lost

coalesce into a filigreed pattern that

possesses poise and tranquility, but

marches across the painting in a central

her cloth paintings are not merely

band. Up closer, though, it is apparent

ornamental objects. Rich in personal,

that running the expanse of the canvas

cultural, symbolic and art-historical

are nine lines of stenciled text comprising

inferences, these works are suggestive

repetitions of the word ‘Lost’, which is

of curtains, shrouds, veils, dust sheets

spelt out in capital letters and separated

and bandages. Consequently, the cloth

by way of unobtrusive forward strokes.

paintings conjure memories, thoughts

Stamped across the board, the

and feelings connected to major events

repetition of the word ‘Lost’ becomes

such as death, healing, recuperation

something of a mantra or prayer. Who

and marriage. On a personal note, the

or what is lost is left up to the viewer –

artist has stated that these works evoke

whether it is something of a metaphysical

memories of the sheets on her parents’

musing, a personal remembrance of the

bed and her mother’s rustling skirts.

artist as a small child lost amongst the

Within the art-historical canon, they

folds of her mother’s skirt, or perhaps it

are linked to the struggle of artists to

is a literal observation as the viewer is

realistically depict the folds of drapery

drawn in and lost among the rhythmic

on a flat surface; this skill was finally

undulations of Rae’s painted cloth.

mastered in the Renaissance. Thus,

JEMMA FIELD

Rae’s cloth works are associated with

IMPORTANT PAINTINGS & CONTEMPRARY ART 55

44

Ralph Hotere

Black Painting No. 8

brolite lacquer on two boards with timber construct inscribed 8 in crayon verso PROVENANCE Gifted or acquired by a friend of the artist from the Frances Hodgkins Fellow Exhibition, Otago Museum, Dunedin, in November 1969. The work hung at the Globe Theatre, Dunedin and then at the owner’s homes until his passing in 2007 when it was deposited with the Eastern Southland Gallery, Gore. Passed by descent to the present owners.

EXHIBITED Frances Hodgkins Fellow Exhibition, Otago Museum,Dunedin 9 - 22 November 1969 $180,000 - $200,000

Completed in 1969, Ralph Hotere’s Black

of colour so that, in effect, light is seen

Painting No. 8 presents the viewer with

to be piercing a starless firmament.

a strikingly clean and lucid composition.

The notion of light penetrating and

The silken ebon ground is bisected by

illuminating the darkness is evocative of

a thin piece of timber and, within each

both the Māori and the Christian stories

compartment, a series of pencil-thin

of Creation, the birth of the Universe and

radiating circles of colour is seen. The

the beginnings of mankind. So too is the

two circles constitute seven concentric

circle, which is a traditional symbol of

rings which are etched out in each

new life, new beginnings and often also

of the seven colours of the spectrum:

of God and/or the Universe. As such,

red, orange, yellow, green, blue, indigo

Hotere’s Black Painting No. 8, formally

and violet. Shadowless, the circles lie

and chromatically, bears witness to

neatly encased within the structural

an artistic exploration of existentialist

bounds of the frame. While the top

truths, mysticism, absolutism and

circle radiates out from light into dark

iconography that had been present in the

and encompasses a barely perceptible

artist’s upbringing and later education.

horizontal line, the lower circle is

Whatever the possible implications

mapped out in the reverse colour order

and meanings of Hotere’s choice of

and embraces a vertical stripe. Through

shape and palette, however, in terms

this measured alliance of opposites,

of pure aesthetics, Black Painting No.

Hotere successfully activates the panels.

39 is undeniably enchanting with

The use of all seven colours of the

its flawless lustre and meticulous

spectrum in Black Painting No. 8, allows

execution. Testifying to its own

the work to be seen in some respects

material existence, the glossy finish of

as a culmination of Hotere’s preceding

Hotere’s Black Painting No. 8 produces

seven brolite lacquered Black Paintings.

a reflective surface that is animated

Each one of these paintings featured

by its surroundings and the presence

a lustrously dark ground upon which

of the spectator, both of which can be

a central cruciform was traced in one

glimpsed fleetingly within the painting.

of the seven colours of the spectrum.

The magnetism of Black Painting No.

Brought together in Black Painting No.

8 has much to do with this pared-back

8, the seven rainbow colours of the

nature. The dominant blanket of raven

spectrum combine to produce white

blackness that is finely pricked by

light, which offers a metaphysical

threads of colour imparts to the painting

counter to the gleaming piceous plane on

a sober and meditative quietude. This,

which they lie.

indeed, is Hotere at his best: effortlessly

The time-honoured and richly

manipulating and teasing out the myriad

symbolic dichotomy of light and dark

possibilities of blackness – its hidden

is a thread that runs through much of

depths, its seductive potential and its

Hotere’s work. In the Black Paintings, it

nuanced tonalities.

is notable that Hotere paints the glossy

JEMMA FIELD

black sheet before he applies the ribbons

IMPORTANT PAINTINGS & CONTEMPRARY ART 57

45

Francis McCracken

A Summer Picnic oil on canvas

signed F. Mcracken and dated 1910 in brushpoint lower left 900mm x 700mm $12,000 - $18,000

46

Sydney Lough Thompson

Boats in Port oil on board

signed S.L. Thompson in brushpoint lower left 345mm x 450mm $15,000 - $20,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 59

47

Colonel Robert Henry Wynyard

Princes St.1849

watercolour and ink on paper inscribed Princes St. and dated 1849 in ink lower edge 180mm x 220mm PROVENANCE Formerly in the collection of the Wynyard family. $25,000 - $35,000

Shortland Street in Emily Place. At

and around them, though the drawing

that time, Shortland Street led up a

offers little sense of this (and maybe

steep hill to St Paul’s and connected

deliberately so).

Princes and Queen Streets. The church

is Wynyard’s inclusion of what

Britomart on what was, in the 1840s, the

appears to be the British flag flying

highest point of land. It was, as such, an

at Point Britomart (to the right of the

important landmark both in the town

church). Other drawings of Princes

and from the harbour. It was demolished

Street from around the time do not

in 1885 with Point Britomart as part of

include the flagstaff and it is not clear

the reclamation being undertaken at

whether it would even have been visible

that time.

from the vantage point of Wynyard’s

Princes Street was a prestigious street in the township. It was close to

Wynyard was a key figure in the early history of Auckland and the colony. The contribution he made is reflected in the Auckland landmarks that bear his name – Wynyard Pier (now demolished), Wynyard Street and, most recently, Wynyard Quarter.

Wynyard arrived in Auckland in 1846 as Lieutenant-Colonel of the 58th Regiment and was immediately dispatched to the Bay of Islands to assist the British forces fighting in the so-called ‘War in the North’. From 1847 to 1858, he lived in Auckland at Official Bay and occupied a number of important military and official positions. From 1851 to 1858, he was Commander of the Military Forces in New Zealand. In 1851, he was also appointed LieutenantGovernor of New Ulster (the North Island) and, in the following year, he became Superintendent of the newlycreated Auckland Province. From 1853 to 1854, Wynyard was Acting Governor of the colony as a whole.

Wynyard lived on the corner of Jermyn Street (later Anzac Ave) and Emily Place. He documented his time in Auckland by drawing and painting watercolours of the views and places around him; this drawing is one of his works.

The centrepiece of the drawing is St Paul’s Church which sat at the foot of Princes Street and at the top of

Of particular interest in the drawing

was positioned on the hill above Point

drawing.

In including it, Wynyard may simply

the main administrative and military

have been seeking to add interest

buildings and included commercial

to his drawing. He was, however,

buildings as well as the residences of

a military man and key Crown

key military figures. The first building

official, and the British flag was one

visible on the left in the drawing is

of the greatest symbols of the Crown

Woods Royal Hotel. By 1849, it was being

which he represented and for which

leased and occupied by Major-General

he fought. Also, two years previously,

Pitt, then Commander of the Military

he had played a commanding role in

Forces in New Zealand and Wynyard’s

the ‘War in the North’ begun by Hone

commanding officer. Next door was the

Heke’s chopping down of the flagstaff

double-storeyed Royal Masonic Hotel

at Russell. By including the flagstaff in

and, next to the hotel, was the Union

this drawing, Wynyard gave his picture

Bank of Australia. Going down the road

a more political overtone; while two

on the right and in the buildings closest

peoples made up the township and

to the church were residences occupied

colony he depicted, they were to be

by other officers.

governed by a British God and British

Beyond the buildings and the

Queen alone. The town itself appears

landscape, the drawing seeks to portray

dominated by British people, culture and

something of the nature of the township

architecture. The reality of Auckland

at this time. Pictured in the foreground

(and the colony as a whole) in the 1840s

are a military officer and his lady. This

was quite different: Māori dominated

reflects the greater military presence

both numerically and militarily, while

in Auckland from the later 1840s; the

the battle to decide whose authority was

city was in the process of being fortified

supreme was still far from over.

to counter the growing threat of Māori

In this sense, the picture is more than

resistance. Māori – sitting and standing

a simple record of the landscape and

in the centre foreground – are also

architecture of the time. It is a reflection

clearly visible. While the Auckland

of the intentions and expectations of

isthmus was sparsely populated by

the many British officers and officials of

Māori up to the late 1830s, during the

the time who, like Wynyard, were then

1840s, a huge influx of Māori entered

seeking to assert British control and

the town to be close to the Governor

dominance.

and the Europeans and their trade. The European population in Auckland was, in fact, dwarfed throughout the 1840s by the Māori population living with

IMPORTANT PAINTINGS & CONTEMPRARY ART 61

48

Ralph Hotere

Song of Solomon

mixed media on fourteen sheets of paper each individual sheet signed with initials R.H and C.M.Q in pencil lower edge; signed Hotere and McQueen and inscribed Song of Solomon and numbered No. xx of 14 in marker pen verso 630mm x 490mm each, 1324mm x 3675mm overall $95,000 - $150,000

Created in response to the 1991 Gulf War,

A staccato string of words, ‘cut out’ one

this is a haunting multi-panel painting

might guess, from military reports and

full of paradoxes. It operates like an

press releases covering the Gulf War,

antiphonal project, a choral work built

run like two through-lines in the top

on statement and response, between

and bottom sequence of panels. The

monochromatic chord structures and

word strings act as fixed horizon lines

printed text and between opposing

amidst a plurality of graphic levels that

levels of textual content. Wedged into

jump and drop in syncopated order.

14 panels the painting unfolds through

The plain-text or ‘courier’ font of the

an alternation of thick bands or blocks

printed words holds the communications

of sprayed black paint with glaring

technology of earlier wars with their

white-paper blanks. The tragic grandeur

typewritten despatches from the

of the work’s major tonal progression is

front together with the plain-text of

modulated by a host of bleedings, scuffs,

contemporary data screens and email

speckles, arcs of silver dots, and scripted

systems. This is Cilla McQueen’s text at

annotations. The improvisational

work in the Hotere matrix. McQueen’s

diversity of these playful surface effects

lexical collage functions like a reality

appears to go against the painting’s

principle to Hotere’s broodingly romantic

overridingly bitter and melancholy pall.

graphic and painterly rhetoric. It is as

if, through breaks in battlefield smoke

in a sense, have responded to Adorno’s

Hotere’s handwritten fragments from

or post-war toxic haze, and shown up

rhetorical question, “Can there be poetry

the Song of Songs, the ancient Hebrew

by detonations and muzzle flashes on

after Auschwitz?” What sort of art and

text of seduction and lament for an

the skyline, McQueen’s chains of words

poetry can accompany our contemporary

elusive lover who approaches in the

tear through the aesthetic dazzle of

and all too extensive knowledge of war

night. The lover calls, “Arise my love,

the military sublime. Photographs and

and atrocities? Perhaps only something

my fair one and come away”, “For lo, the

videos that we followed on CNN at the

that works through a sort of affectless

winter is past and the rain is over and

time seduced us with their telemetric

enumeration, a machinic refusal to

gone”. The work therefore talks to itself,

and optical wizadry. Tracer bullet tattoos

play with delectations of word choice

and thus becomes many works in one,

of white across night-vision green, slow

and tonal chromatics. This is the sort

but whether its borrowing of the new

exfoliations of black and grey from

of protection from trauma that Freud

testament stations of the cross format

destroyed buildings and bridges became

alluded to in his discussion of ‘the

or the old testament poetry of desire

familiar imagery in the living room.

compulsion to repeat’. The McQueen

and lament provide the work with the

vocabulary which cites ‘main gambit

confidence of redemptive purpose amid

McQueen’s words, following one another

box airburst shift communications

desolation has deliberately been left

randomly and dumbly mimics the kind

schrapnel [sic] jam chamber’ and ‘smart

unresolved.

of psychic shutdown that can act as one

blood break count bodybag holymilk

ALLAN SMITH

form of defense against unmanageable

operations kill strategy factory reprisal’

trauma. Perhaps McQueen and Hotere,

is answered in a dreamlike manner by

The asyntactical repetition of

IMPORTANT PAINTINGS & CONTEMPRARY ART 63

49

50

Hauiti Recieves Water

Rainbow Dog

oil on board

oil on board

signed J. Walsh, dated 2002 and inscribed

signed Don Binney, dated Jan 1964 and

Hauiti Recieves Water in pencil lower

inscribed Otago in brushpoint lower right

right verso

910mm x 565mm

1230mm x 1230mm

$30,000 - $40,000

John Walsh

$16,000 - $22,000

Don Binney

IMPORTANT PAINTINGS & CONTEMPRARY ART 65

51

Ralph Hotere

The Wind I

burnished steel in original Roger Hicken frame inscribed When We Touch Forests enter our bodies, The dark wind shakes the branch, The dark branch shakes the wind; signed For Annie from Ralph, dated ‘85 and inscribed L-V in oil pastel verso 760mm x 675mm REFERENCE Text is by Bill Manhire, from a poem titled The Wind I. $90,000 - $120,000

Ralph Hotere’s Baby Iron series

words “when we touch forests enter our

summons motifs and imagery seen

bodies, the dark wind shakes the branch,

elsewhere in his practice, such as the

the dark branch shakes the wind”,

large central cross of the Zero and Black

speak of the way in which seemingly

Window paintings or the repeated

contradictory forces can mediate, shape

markings that follow the gestural sway

and inform the way in which ‘each other’

of the arm that first became prominent

is perceived. Constituting an almost ‘yin

his Aramoana works; the most important

and yang’-type relationship, the words

element of the series is the substrate on

describe this interdependency using a

which they were executed. Completed

succinct visual image. Like an abstract

between 1983 and 1984 on both smooth

narrative, they also help to describe

and corrugated steel, this series differed

the painting’s utilitarian aims. In its

from others created during this period

everyday mode, stainless steel is used in

due to its distinct lack of emphatic

heavy municipal applications; ever bright

political content. Using the words of his

and difficult to tarnish, it acts almost as

long-time friend and collaborator Bill

a buffer between human interactions. It

Manhire as their impetus, Hotere’s Baby

is perhaps its observed potential to act

Iron works instead explored the interplay

as a common ground between opposing

between the form of the letters and the

activities that cemented Hotere’s resolve

poetic qualities of the drawn line.

to use the material.

In The Wind I, the presence of

Focusing on the relationship between

stainless steel serves a double purpose.

the artist and his source material and,

On one hand, it is a medium chosen

in turn, the relationship between the

simply because its hard-wearing

painter and the canvas (so to speak)

qualities allow it to withstand a

and, in turn, the relationship between

particularly unforgiving approach to

the viewer and the artwork, The

mark-making using tools such as a

Wind I is purely about the sharing of

blowtorch and an angle grinder. On the

experience. The concept of aroha –

other hand, its reflective, warped and

literally translating to love but effectively

beaten surface has a more symbolic

referring to something, an essence

function. Like the polished surfaces of

perhaps, that is present in all human

Hotere’s Black Paintings, the stainless

beings – is central to Hotere’s work.

steel projects the viewer’s own face

Elsewhere in his practice, aroha has

towards them. Rather than treat the

been summoned using chant-like protest

viewer as spectator, The Wind I seeks

and references to death and grief and,

to draw them into the work and shape

here, aroha is present in the common

their self-image with its content. Cilla

understanding and experience of

McQueen, New Zealand poet and

visceral, poetic devices.

Hotere’s one-time partner, has likened

CHARLES NINOW

the surface of the Baby Iron works to a “hall of mirrors” that “track inwards to

1McQueen, Cilla, Baby Iron. In Gregory O’Brien

yourself”.1

(ed.), Hotere: Out of the Black Window, Godwit:

The Wind I shares the same title as the Bill Manhire poem which it quotes: the

Auckland, 1997. p. 114.

IMPORTANT PAINTINGS & CONTEMPRARY ART 67

52

Jeffrey Harris

Times Triangle oil on canvas

signed J.Harris and dated November

1981 in brushpoint lower edge; signed Jeffrey Harris, dated November 1981 and inscribed ‘Times Triangle. oil/canvas upper edge verso 1360mm x 1500mm EXHIBITED Bosshard Galleries, Dunedin, March 1982 PROVENANCE Purchased by the current owners from Bosshard Galleries, Dunedin, circa 1983. $25,000 - $30,000

Painted in 1981, Times Triangle belongs to

do not see it purely as an arrangement

a group of striking canvases first shown

of lines, forms and colours. Instead,

at the Bosshard Galleries, Dunedin, the

his figures cry out for interpretation.

following year. Justin Paton included

Who, we ask, is the girl wearing what

it in a list of ‘six remarkable works’

looks like a leotard and ballet shoes?

painted during that period, along with

She resembles a gymnast,maybe

the well-known Family now in the

appropriated by Harris from a magazine

Dunedin Public Art Gallery. Stylistically,

photograph – such photographs were

it has links with Family, in the way

ready sources of contemporary material

the picture is built up of modelled

which he collected at that time. In the

and linear elements. For example, the

context of the two men – polarised on

linear approach is seen in the sketchy

different sides of the canvas, one either

treatment of the male protagonists’

side of the central girl – and the word

shirts and the modelled approach in

‘triangle’ in the title, we can see her as

the central figure of the girl, seemingly

a victim of jealousy and antagonism

impaled and falling towards the water

between two admirers. The two

below. She shares this status with the

arrows shooting into the canvas from

two men’s faces, both looking towards

the viewer’s left might endorse that

the girl as if drawn magnetically to her.

view – the darts of love become the

It is very much in keeping with the

weapons of frustrated desire. Whatever

postmodernist approach of the period

our interpretation, and it remains

when varying styles were brought

speculative because this is not an

promiscuously together on the one

illustration, we know that the girl is the

canvas to show awareness of painterly

object of the male gaze – she is dead or in

conventions and to allow the artist

a deadly swoon, while the men are very

freedom to flaunt them. Here, too,

much alive and awake, alert and looking

the abstract and the representational

at her.

come together in a clash of idioms. The

As with other works of the period by

floating abstract shapes – red, orange, yellow and black – move around and between the representational figures in a restless display of energy. The extensive untouched areas of white canvas tell us we are looking at a flat surface, a tabula rasa, on which Harris can work his magic, turning lines and smudges of paint into bearers of meaning. Harris allows us to share his sense of being in charge, of being able to mix and match styles and conventions to suit his theme.

Undoubtedly, Times Triangle works well without any narrative meaning, but we

Harris, Times Triangle is troubling pyschologically. Violence, overt or implicit, is never far from the surface and the relationship between men and women, though central to his concerns, is fraught with discord and tension. With this canvas and others of the early 1980s like Floating Woman, Harris moves beyond his earlier preoccupation with himself and his family to engage with a more anonymous and wide-ranging theatre of modern life.

MICHAEL DUNN

IMPORTANT PAINTINGS & CONTEMPRARY ART 69

53

54

Greymouth

Lyttleton Harbour

oil on board

oil on board

signed Woollaston in brushpoint lower

signed Woollaston in brushpoint lower

right verso (a copy of this signature is

edge

affixed verso as the canvas has been

950mm x 750mm

relaid onto archival board and is not

$20,000 - $30,000

Toss Woollaston

visible) 460mm x 520mm $20,000 - $25,000

Toss Wollaston

IMPORTANT PAINTINGS & CONTEMPRARY ART 71

55

Peter Stichbury

Untitled

graphite on paper signed P Stichbury and dated ‘04 in graphite lower right 750mm x 565mm $5,000 - $7,000

56

Peter Stichbury

Untitled

acrylic on board signed Peter Stichbury, dated 1995 and inscribed Acrylic, Untitled in pen upper left verso 1470mm x 1215mm REFERENCE After Michelangelo Merisi de Caravaggio’s, The Entombment of Christ 1602 - 1603. $20,000 - $25,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 73

57

58

Mexico

Pole Line Te Henga

acrylic on canvas

oil on board

signed Don Binney, dated Marzo-Abril

signed Don Binney and dated MM in

1968, and inscribed Mexico D.F. in

brushpoint lower right

brushpoint lower right

565mm x 750mm

2000mm x 1500mm

$40,000 - $48,000

Don Binney

Don Binney

PROVENANCE Purchased by the current owner from Barry Lett Gallery, 1969.

Private Collection, Canada. $40,000 - $50,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 75

59

62

Mephitis

Small Plane over an Ocean

sixteen black and white pegasus prints

acrylic on canvas

edition of 20

signed Frizzell and inscribed Small Plane

signed R. V. Hout, dated 1995 and

Over an Ocean and dated 5/9/2002 incised

inscribed Mephitis and 6/20 in marker

lower right; original Gow Langsford

pen lower edge verso

gallery label affixed verso

550mm x 365mm each

1800mm x 1800mm

3365mm x 2570mm overall, variable

$25,000 - $35,000

Ronnie Van Hout

Dick Frizzell

$10,000 - $15,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 77

61

62

63

Motuhake

Burkes Pass

Tipi Haere II

oil on board

oil on canvas

oil on board

signed J Walsh, inscribed Motuheke

signed Hight and dated 05 in brushpoint

signed J Walsh, dated 2003 and inscribed

and dated 2005 in pencil verso; original

lower right; inscribed Burkes Pass in

exhibition label affixed verso

brushpoint lower left

1230mm x 1230mm

900mm x 1200mm

915mm x 1110mm

$16,000 - $22,000

$18,000 - $22,000

$18,000 - $22,000

John Walsh

Michael Hight

John Walsh

Tipi Haere in pencil lower left verso

IMPORTANT PAINTINGS & CONTEMPRARY ART 79

64

Ralph Hotere

Let Us Weep - For His is Not The Death of the Moon acrylic on paper signed Hotere, dated ‘72 and inscribed Let us weep - for his is not the death of the moon in brushpoint lower edge $20,000 - $30,000

65

Frederick RICE Stack

View Of The Auckland Harbour, New Zealand, Taken During The Regatta Of January 1862. (The Race of the Māori War Canoes).

View Of Auckland, New Zealand, From The Crater Of Mount Eden.

View Of Auckland, New Zealand From The Lake On The North Shore.

View Of The Firth Of The Thames, Waitamata, Tamaki, And Gulf of Hauraki, From The Howick Ranges.

View Of The Wairoa Creek (Pheasant Shooting On The Estate of Alexander Kennedy Esquire) On The Road Leading To The Wairoa Valley. five hand-coloured lithographs title of each work inscribed in ink lower edge 185mm x 385mm each ILLUSTRATED Ellis , E.M. & D.G.. Early Prints of New Zealand. Avon Fine Prints: Christchurch, 1978. Item reference numbers 624 – 628. p. 166-167 REFERENCE A suite of these lithographs is in the collection of Auckland Art Gallery, Toi O Tamaki. $10,000 - $15,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 81

66

Peter McIntyre

Outback Still Life with Grass and Rocks oil on board, c. 1968 610mm x 910mm PROVENANCE Original John Leech Gallery label and Certificate of Authenticity affixed verso $14,000 - $18,000

67

Frances Hodgkins

The Harbour

watercolour on paper signed F.H and dated 1901 in brushpoint lower right 200mm x 150mm $10,000 - $15,000

68

Ralph Hotere

Window in Spain

mixed media on paper signed Hotere, dated ‘78 and inscribed N.F.S, Window in Spain, Menorca and For S. x R. in marker pen verso 305mm x 225mm $12,000 - $15,000

69

Michael Hight

Cambrians

oil on canvas singed Hight and dated 07 in brushpoint lower right and inscribed Cambrians in brushpoint lower left 610mm x 1520mm $18,000 - $22,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 83

70

James Robinson

I Dreamt I Was The Pacific Basin mixed media on canvas signed J Robinson in marker pen upper right and lower left; signed James Robinson in brushpoint upper left and lower right, dated 2006 - 2012 in brush point lower right verso; signed James Robinson ‘06 and inscribed I worry about it, gave it power, let it breed fear. I wished for better dreams, decided to be a man, learnt love is all there is. Holding the door, breathing relief, in and out. ‘Winter Koputai’ (womb of the Ocean, Port Chalmers) in marker pen on stretcher verso; notes from the artist’s booklet affixed verso 1190mm x 1400mm $6,000 - $10,000

71

TONY DE LAUTOUR

New World

mixed media on canvas screenprint with hand painted acrylic signed Tony de Lautour, dated 2001 in brushpoint lower right and inscribed New World in brushpoint upper left 1040mm x 1100mm $5,500 - $7,500

73

Simon Kaan

72

Jenny Dolezel

At The End Of The Day oil on canvas signed J. Dolezel, dated 2006 in brushpoint upper left and inscribed At

Untitled (triptych)

oil on three stretched canvases 775mm x 530mm; 775mm x 1060mm; 775mm x 530mm (775mm x 2125mm overall) signed Kaan and dated 01 on right edge

the end of the day in brushpoint lower

of centre canvas

right; signed Jenny Dolezel, dated 2006

PROVENANCE

and inscribed At the end of the day in

The central canvas purchased from

marker pen verso

the artist and the two outer works

840mm x 1120mm

commisioned, 2001.

$8,000 - $12,000

$9,000 - $12,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 85

74

75

Untitled

Untitled

oil, composition ornaments and gold

pastel on paper

leaf on gesso panel

signed Jeffrey Harris and dated 1988 in

signed TL and dated 11.99 in

pencil upper left

brushpoint lower edge

1000mm x 1520mm

520mm x 2020mm

$4,500 - $6,500

Tony Lane

$7,000 - $9,000

Jeffrey Harris

76

Jeffrey Harris

For Judith

conte on paper signed Jeffrey Harris, dated ‘79 and inscribed For Judith in ink upper edge 620mm x 870mm $3,000 - $4,000

77

Peter Stichbury

Untitled - Portrait of Paul Hartigan oil on board signed Peter Stichbury and dated 1996 in pencil verso 497mm x 424mm x 95mm $4,000 - $6,000

78

Rueben Paterson

Echo Resounding

enamel and polyurethane varnish on di-bond aluminium signed, dated and inscribed Echo Resounding in white ink lower edge verso 1000mm x 1000mm $10,000 - $15,000

IMPORTANT PAINTINGS & CONTEMPRARY ART 87

Webb’s is pleased to introduce the Mr. Bigglesworthy Modern Design collection.

Dan and Emma of Mr. Bigglesworthy love the promise and potential of design. Their collection is a culmination of their passions, knowledge and shared love of modern design. The collection spans 30 years of design development in the Western world, from post-World War II up to the 1970s. It’s a story of modernist ideals told by designers who sought to break with tradition and unearth new possibilities. They utilised and pioneered constant changes in technology and encouraged new lifestyle developments.

The narrative begins with a set of early utilitarian chairs designed by Ernest Race, produced from scrap aluminium left over from the war.

His design reflects the austerity and sombre tone of the post-war world mixed with a sense of optimism and a desire to move forward and towards the new. This is compared with, on the other end of the modernist spectrum, the exuberance and luxury from the 1970s, exhibited in pieces from designers such as Sigurd Resell and Robert Heritage. These designers opted for materials like chrome and rosewood, producing a wholly different aesthetic yet remaining strongly connected to the ideals of simplicity, form and function.

INTERIORS MODERN DESIGN

THURS 29 MARCH 6:00PM Thursday 22nd March Thursday 22nd March Friday 23rd March Saturday 24th March Sunday 25th March Monday 26th March Tuesday 27th March Wednesday 28th March Thursday 29th March

Evening Preview 5.30 – 7.00pm Viewing 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 12.00pm

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this Modern Design sale.

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

PLEASE NOTE ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ Please register absentee and phone bids by 12:00pm on Thursday 23 February.

IMPORTANT PAINTINGS & CONTEMPRARY MODERN DESIGN ART 89

100 A Grant Featherston R160 Rocking Chair $7,500 - $9,000

Grant Featherston with wife and design partner Mary stand at the pinnacle of modern Australian design.

From humble beginnings as a self taught designer, Featherston worked with glass panels and lighting. On his return from serving in WWII, Featherston was inspired by the emerging post-war technologies, especially advances in plywood. This combined with a fascination with nature and its organic forms led to the creation of his seminal body of work The Contour Series of 1951–55.

The design for the contour chair came to Featherston while sitting on a tram, casually bending his tram ticket around with his hand. He noticed the shape which was formed by the two ends arched towards each other. That same curve from the ticket became the basis for the plywood shells of the Contour Range.

The contour series has become one of the most innovative and iconic designs to emerge from Australia. The clean, sculptural lines and visually light appearance are thoroughly modern in design and intention. This R160 rocking chair with its tapered telescopic legs and figure hugging organic plywood shell is a very rare offering – one of less than 20 known to exist.

101 Two Rare Ernst Plischke Architectural Rimu Chairs $7,500 - $9,000

Despite a working style that was obstinate, obsessive and uncompromising Ernst Plischke’s legacy is one of architectural innovation and excellence.

In his home country of Austria he was a leading proponent in the modernist “Neues Bauen” (New Construction) movement before fleeing to New Zealand in 1939 as a refugee from Nazism.

Plischke was not only a talented architect but also an accomplished writer and furniture designer. His legacy includes some of the most inspired public and private architectural works throughout New Zealand in the 1940s and 50s. From large scale projects such as Wellington’s first modern skyscraper, the glass-curtain fronted Massey House, to quaint churches such as St Mary’s chapel in Taihape, Plischke has left an enduring reminder of the international modern style.

Since Plischke’s death in 1992, his reputation has continued to grow in both New Zealand and Austria. Of his early European designs, many are protected as landmark modernist buildings and his exceedingly rare furniture has become highly coveted internationally.

IMPORTANT PAINTINGS & CONTEMPRARY ART 91

102 A Sigurd Resell Falcon Chair and Footstool $2,500 - $3,500

Sigurd Resell is one of the few elite Norwegian designers responsible for putting the small country firmly on the map for international design.

Resell’s career was kickstarted when his drawing for a furniture design competition was praised by master furniture maker Niels Vodder. In 1958 a prototype from the drawing, called the SR 600, won an award at the Copenhagen Cabinetmaker’s Guild Exhibition for craftsmen in Denmark.

Resell designed the chair that would define his career in 1971, the impressively named Falcon Chair. The iconic design showcased a striking hammock profile rendered in a chromed steel exoskeleton. The organic steel frame allowed both a lightness of form and an almost floating sitting experience that can only be described as exceedingly comfortable. By 1974 production of the steel frame was halted and replaced with a cost saving steam bent laminated wood frame.

103

104

103 A Douglas Snelling Armchair and Footstool $800 - $1,000

104 A Vintage Danish Style Sofa Converts to a bed.

H780mm W1970mm D800mm $1,200 - $1,800

105 A Set of Six Danish Dining Chairs $1,200 - $1,800

105

IMPORTANT PAINTINGS & CONTEMPRARY ART 93

Robert Heritage Archie Shine ‘Hamilton’ and ‘Granville’ Sideboards Robert Heritage is one of the greatest British mid century designers. He is also the most awarded designer by the British Design Council. Heritage trained in art in his hometown of Birmingham then studied at the Royal College of Arts. In 1953 he set up a studio with his wife Dorothy, a textile designer.

1957 was a big year for Heritage, collaboration with high end London furniture manufacturer Archie Shine led to one of his most lauded designs – the ‘Hamilton’ range of furniture. The design won the revered British Design council award and created a highly successful business relationship that would last well into the 1970s.

Throughout his career Heritage collaborated with some of the biggest names in furniture and lighting both for British and foreign firms - Ernest Race, Gordon Russell and Concord to name just a few. His trademark style features clean lines combined with post war modernist sophistication – enduring designs in high end furniture.

106 An Archie Shine Granville Sideboard H770mm W2140mm D540mm $3,500 - $4,500

107 An Archie Shine Hamilton Sideboard $2,800 - $3,500

109

108

108 Four G-Plan Dining Chairs $1,000 - $1,500

111

109 A Danish Mahogany Planter

110

$50 - $80

110 A Philippe Starck Hoola Hoop Chair $200 - $300

111 A Philippe Starck Hoola Hoop Chair $200 - $300

112 Two Vintage New Zealand Architect Chairs $1,000 - $1,500

113 An Extensive Cado Teak Wall Unit

112

$1,800 - $2,500

IMPORTANT PAINTINGS & CONTEMPRARY ART 95

114 An Otto Larsen Dining Table D1340mm

115 117

$400 - $600

114

116

115 A West German Studio Vase H540mm $180 - $220

118

116 A West German Studio Vase H400mm $120 - $180

117 A West German Studio Vase H240mm $50 - $80

118 A Jens Risom Sideboard H640mm W1990mm D 530mm $2,000 - $2,600

119 Four Ernest Race Dining Chairs $1,200 - $1,800

120 A Herbert Terry Anglepoise Lamp Makers of the original anglepoise lamp.

119

$300 - $500

122

120

121 A Herbert Terry Anglepoise Lamp Similar to above. $300 - $500

122 A Gerrit Rietveld Draughting Table With blue steel frame and green wooden height adjustable desk top.

124

125

$1,200 - $1,800

123 A Gerrit Rietveld Draughting Table With green steel frame and green wooden height adjustable desk top. $1,200 - $1,800

124 A Red West German Studio Vase H300mm $50 - $80

125 A Blue West German Studio Vase H300mm $30 - $60

126

126 Six Arne Jacobsen Ant Chairs $1,000 - $1,500

IMPORTANT PAINTINGS & CONTEMPRARY ART 97

128

127

129

130

131

127 Two Garth Chester Chairs

129 Three Frank Guille Bar Stools

$500 - $750

$450 - $600

128 A Vintage ‘Clean Your Teeth’ Poster H510mm W380mm

130 A G-Plan Coffee Table H400mm W1370mm D490mm

$650 - $850

$400 - $600

131 An Atomic Style Floor Lamp H650mm $400 - $500

132 A Danish Dansk Teak Bowl H115mm D300mm $80 - $120

136

135

135 A Michael Payne Expo Chair With Tawa teak veneer body

137

$1,000 - $1,300

136 A Frem Rojle Dining Suite D1050mm

138 A Cappellini Loop Desk

$3,000 - $4,000

$1,200 - $1,800

137 A Backhouse Coffee Table H450mm W1220mm D560mm

139 A Mahogany Floor Lamp H1380mm

$300 - $500

$400 - $500

139

IMPORTANT PAINTINGS & CONTEMPRARY ART 99

FROM OTHER VENDORS 140 A Plycraft Green Leather Armchair $2,500 - $3,500

141 A Vintage Danish Figured Rosewood Sideboard the central tambour doors above two drawers and flanked by two cupboards on square sectioned legs.

H1030 W2000 D470 $2,000 - $3,000

142 A Vintage Danish Rosewood Sideboard with four sliding doors above foor drawers on tapering legs.

H1130 W2000 D455 $2,000 - $3,000

143 A Louis Poulsen Panthella Table Lamp designed by Verner Panton. White acrylic body and shade.

H540 140

141

$650 - $800

144 A Reproduction Thor-Larsen Egg Chair H.1400mm $1,300 - $1,800

145 A Reproduction Thor-Larsen Egg Chair H.1400mm $1,300 - $1,800

146 A Vintage Chrome Coffee Table of over-lapping square section steel bands and glass top. Purchased in Wellington 1970’s.

H340 W1120 D1120 $400 - $600

147 An Ib Kofod Larsen Walnut Armchair with original brown check wool fabric and adjustable seat. $1,800 - $2,200

144

145

142

147

IMPORTANT PAINTINGS & CONTEMPRARY ART 101

148

156 A Murano Brown Glass Vase of cylindrical form with repeating bubble

148 A Grant Featherston Dining Suite with four grey textured fabric dining

152 A German Studio Pottery Handled Vase

chairs and extendable table. The tabletop

with charcoal and dribbled flambe glaze.

with wear.

H210

L1200/1600 W835

$100 - $150

$3,500 - $5,000

149 A Midwinter Red Domino Coffee Set

inclusions.

H255 D175 $200 - $300

157 An Aseda Glasbruk Amber Glass Bottle Vase

153 A Murano Sommerso Glass Vase

H405 $100 - $200

blue and yellow triple cased facet cut.

comprising teapot, milk and sugar with

H305

four cups, saucers and plate.

158 A Kosta Boda Blue Glass Bottle Vase

$80 - $120

H500

154 A Pair of Iittala Tall Glass Candlesticks

$200 - $300

$150 - $250

150 A Midwinter Monaco Coffee Set comprising coffee pot, six cups and

H220

saucers, jug and basin.

159 A Nuutajarvi Notso Green Art Glass Vase

$100 - $150

$200 - $400

151 A Carltonware Orbit Coffee Set

155 A Pair of Iittala Short Glass Candlesticks

160 Three Rare Timo Sarpaneva Sun Balls for Iittala

comprising coffee pot with four mugs and

by Timo Sarpaneva. With iceberg finish.

with fine internal thread. Two blue and

saucers, jug and basin.

H190

one clear. Signed and with sticker. 1960.

$150 - $250

$100 - $150

$1,000 - $1,500

$150 - $250

by Timo Sarpaneva. With iceberg finish.

161 An Impressive Italian Crystal Chandelier the circular light with numerous tiered triangular crystal drops.

H380 D500 $2,500 - $4,000

162 A Circular Brass and Crystal Chandelier the central brass frame pierced with numerous layered spears of glass drops.

164

H320 D500 $1,400 - $1,800

163 An American Lucite Chandelier of squared octangular shape with alternating clear and frosted, interlinking drops.

H500 W 350 D350 $1,000 - $1,50

164 A Pair of Kit Stewart Turquoise Tub Chairs

150

151

$1,500 - $2,000

165 A George Nelson White Vinyl Lightshade of globe form with ribbed sides.

D500 $450 - $650

166 An American Lucite Chandelier the circular light with tiered alternating, clear and frosted triangular lucite drops.

H300 - D500 $600 - $900

167 Four Mid Century English Dining Chairs in yellow vinyl upholstery and exposed wood legs. $500 - $700

167

IMPORTANT PAINTINGS & CONTEMPRARY ART 103

170

172

172 An Oscar Tusquets Dining Table for Driade

168 A Nest of Three G-Plan Occasional Tables

170 A Pair of Milo Baughman Black Leather Armchairs

the largest with inset tile top.

with shaped teak veneer backs. One chair

cherry wood borders. Table is extendable

H510 W500 D500

with later castors. $2,500 - $3,500

with drop side options and adjustable

$350 - $500

the table structure and legs in Wenge with

height.

L1500 W1200 extended L2800

169 A Vintage Danish Hansen Teak Dining Table

171 A Milo Baughman Burr Walnut Table

the rectangular table with extendable

H480 W760 D760

173 A Verner Panton Blue Flowerpot Lamp

leaves and glass top.

$1,200 - $1,800

by Louis Poulsen with original box. D230

$1,200 - $1,800

with shaped chrome legs.

$6,000 - $7,000

$500 - $700

174

173

177

171

174 An Early David Trubridge ‘Glide’ Rocking Recliner The success of David Trubridge both locally and internationally now stand greats. His Pacific and nautical inspired

175 Three Matching Occasional Sidetables

designs, together with an environmental

with round white formica tops and three

consciousness, mark his works as

wood legs.

enduring classics. The glide recliner is

H450 D400

more structurally sound than the Body

$450 - $600

him as one of New Zealand’s design

Raft and rated by Sotheby’s at the Milan

and constructed of steam bent ash and

176 A Watson Victor Industrial New Zealand Floor Lamp

stainless steel screws, this early example

with a chrome base and adjustabe spun

was made in 2002 by David Trubridge.

aluminium shade. Circa 1940’s.

decorated circular tile top.

H800 L2300 W700

H1350

H430 D860

$8,000 - $10,000

$500 - $800

$600 $900

Furniture Fair as one of the best rocking chairs in the world. Designed in 2001

177 A Mid Century French Coffee Table with an iron base and signed hand

IMPORTANT PAINTINGS & CONTEMPRARY ART 105

INTERIORS

ANTIQUES & DECORATIVE ARTS

THURS 29 MARCH 7:00PM Thursday 22nd March Thursday 22nd March Friday 23rd March Saturday 24th March Sunday 25th March Monday 26th March Tuesday 27th March Wednesday 28th March Thursday 29th March

Evening Preview 5.30 – 7.30pm Viewing 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 12.00pm

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this Antiques & Decorative Arts sale.

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

PLEASE NOTE ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ

322 A Mid Victorian Sterling Silver Decanter Stand $1,200 - $1,800

Please register absentee and phone bids by 12:00pm on Thursday 23 February.

This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, fully illustrated online at webbs.co.nz.

IMPORTANT PAINTINGS & CONTEMPRARY ART 107

MISCELLANEOUS 200 An Early Victorian Child’s Sampler Anne Dent aged 10 1854’. H265 W280 $150 - $250 201 An Early Victorian Child’s Sampler Anne Dent aged 10 1855’. H435 W410 $200 - $300

210 A World War Two 2nd Model Luftwaffe with dagger,aluminium mounts, scabbard and halyard. Small chip to the handle and

220

light corrosion to the blade. $400 - $600

A Mounted Deer Skull

211

and twelve point antlers. $300 - $500

A Victorian W. R. Pape Double Barrelled

221

Shotgun Not in working order, with condition

A Hand Painted Ivory Miniature

issues. Circa 1860’s. $400 - $600

frame. H95 $100 - $200

212

203

stamped WD and VR. Wooden hilt with

A Hand Painted Porcelain Miniature

leather and steel sheath. L440 $100 - $200

of Christ with an angel. Gilt and silver

A Vintage Painted Cork Decoy Duck L340 $100 - $150

Dagger

202 of the Duchess of Devonshire?, Ormolu

219

A Late Victorian Rifle Bayonet

A Mounted Deer Skull and ten point antlers. $300 - $500 222 A Mounted Chamois Skull and Horns H330 $150 - $200 223 A Taxidermy Beaver

frame. L115 $100 - $200

213

204

stamped WD and VR. Leather hilt with

A Hand Painted Ivory Miniature

leather and steel sheath. L615 $100 - $200

224

Lago B. H130 $100 - $200

214

205

iscribed and dated 1934. With three other

Observator - Rotterdam. W295 600 - $800

A Tin Plate Jolly Joe Money Box

medals. $100 - $200

225

box. Circa 1930. H180 $150 - $300

215

206

Cover

gimbal fitting. ‘Lisbon’. H930 $300 - $500

A Victorian Reducing Glass in a gold plated lorgnette style frame. L68 $80 - $120

black with painted coat of arms. H540 $300 - $500 see illustration p. 115

207

216

of Napoleon. Gilt brass mount. Signed

together with a Eureka Tin safe money

A Late Victorian Rifle Bayonet

A Silver St. John Service Medal

An Early Victorian Leather Canon Muzzle

A Pair of Antique Turned Brass

A Victorian Wilkinson Officer’s Sword

Candlesticks

with four bar guard and engraved blade.

H340 $350 - $450

Metal scabbard. L990 $300 - $500

208

217

A Large 19th Century Copper Kettle

An Antique Japanese Wakazashi Sword

H300 $50 - $80

matching fuchi, kashira and rayskin grip

209 Four 19th Century Cut Crystal Liqueur

with menuki , tsuba and kozuka. Rubbed lacquer saya. Blade needs attention. L640 $400 - $800

Glasses

218

scottish thistle shape and one other. $80 - $120

A 19th Century French Rifle Bayonet with steel scabbard. Engraved and dated 1879. L660 $100 - $200

on a natural habitat mount. H334 L930 $500 - $650

A Vintage Dutch Cased Sextant in a mahogany case with fittings. NV.

A 19th Century Brass Marine Barometer mercury column with brass wall mount

226 A Vintage Binnacle Compass with gimbal and side lamp. W260 $250 - $400 227 A 19th Century Cased Dutch Marine Compass F.J. Joosten of Dordrecht. W250 $250 - $400 228 A Vintage Cased Engineer’s Drafting Set E.O. Richter & Co. Some rust. W480 $150 - $200 229 A Vintage Engineer’s Parallel Rolling Rule L485 $50 - $80

230

240

An Old Dutch Draught Horse Yoke

A Pair of Large Brass Marine Bolts

L1100 $150 - $250

on wooden bases with plaque ‘The R.M.S.

231

Queen Mary’. AF. $100 - $200

A 19th Century Coach Lamp

241

H520 $100 - $150

A Chinese Marine Port Lamp

232 An Antique Brass Oil Lamp H270 $50 - $80 233 A ‘Flying Dutchman’ Handpainted Pub

with oil lamp and dhimney ‘Tung Woo’.

H390 $150 - $220 242 A Cased Pair of Opera Glasses in mother of pearl and gilt metal. $100 - $150

249 A Victorian Oak Tantalus with three square cut crystal decanters.

One stopper with chip. H320 $200 - $350 250 A Victorian Oak Tantalus combined cigar and whiskey casywith gothic brass mounts. H260 $300 - $400 251 A Lalique Green Ormeaux Vase the round vase in the form of relief leaves, pinched neck and flared lip. Signed to base. R. Lalique, France. Hairline crack to

Sign

243

Thornby- on -Tees. The lower panel

An Early 20th Century French Travel

depicting ships at sea, restored. H1380

Trunk

W1640 $500 - $1,000

with original painted and printed

252

decoration. H450 W980 D475 $220 $300

A Small Galle Squat Glass Vase

234 A Large Wooden Model Ship

244

H560 W1860 $300 - $400

An Antique Turkish Marble Headstone

235 A Scratch Built Model Yacht H930 $200 - $400 236 A Pair of Red Cross Storage Cases H420 W400 D615 $150 - $300 237 A Pair of Red Cross Storage Cases H420 W400 D615 $150 - $300 238 A Pair of R.M.S. Queen Mary Canvas Life Jackets and certificate. $200 - $300 239 A R.M.S. Queen Mary Switchboard mounted on a wooden plinth, with a photo. L830 $100 - $200

body. H160 $1,200 - $1,800

overlay tendril leaf pattern, red on amber.

Signed. W90 $800 - $1,200

the rectangular panel with carved

253

inscription surmounted by a turban. Circa

A Quality French Brass Figural Mantel

1850.

245 An early 19th Centruy Writing Slope with brass detailing. Contents include compass, matchbox holder, flask etc. H400 W425 D550 $400 - $600 246 A 19th Century Papiermache Snuff Box with butterfly and floral decoration. L75 $80 - $120 247 A 19th Century French Papiermache Snuff Box with inlaid pewter decoration. L90 $80 - $120 248 A Victorian Oval Horn Snuff Box with silver engraved panel. L76 $100 - $150 see illustration p. 115

Clock the clock features an Elizabethan romantic seated on a rocky outcrop and a rectangular sectioned Rococo decorated base. The clock with white enamel face and roman numerals.Silk suspension works. Circa 1840. H425 W305 $1,800 - $2,200 254 A Walnut and Ebonised Wood Wall Clock with ornate pediment and white enamel dial. H1180 W600 $400 - $600 255 A Decorative Polished Brass Table Lamp twin lights with triple caduceus columns around an urn. H680 $200 - $300 256 A Decorative Table Lamp with twin candle lights on a bird branch around a centre column. H410 $100 - $200

IMPORTANT PAINTINGS & CONTEMPRARY ART 109

257

266

277

A Swiss Gilt Brass Bedside Clock

Six Facet Glass Soda Siphons

A Minton Pottery “The Mecca” Foot

with a painted miniature ivory panel of

in an old wooden crate. $150 - $250

Warmer

windmills and children. ‘Le Beau - Moulin’

H350 $150 - $200

L100 $600 - $800

267 Seven Facet and Etched Glass Soda

278

258

Siphons

An O.C. Stephens Hors D’oeuvre Tray

A Pair of South East Asian Garden

five Ballins Bros. $150 - $250

with seven green dishes on a circular

Statues H700 $300 - $500 259 A Pair of French Long Yellow Silk Curtains with green bird, harp and urn motifs.

L3500 $300 - $500 260 A French Green Silk Curtain with woven neo-classical motifs. L2600 W1200 $100 - $200 261 A Quantity of French Silk Fabric including a bed cover. $100 - $200 262 An Edwardian Woven Shawl with embroidered silver thread floral pattern and border. W1800 $80 - $120 263 A Decorative Gypsy Mirror etched and painted in original velvet and oak frame. H870 W560 $250 - $350 264 Four Decorative Cupboard Doors faced with various book spines. H520 W440 $250 - $400 265 A Small Iron Bound Oak Barrel ex Lion Breweries. H385 $80 - $120

268

kauri base. Signed. D360 $250 - $350

Six Etched Glass Soda Siphons

279

Alexander & Co. $150 - $250

An O.C. Stephens Yellow Lidded Box

269

signed. W122 $100 - $150

A Carved Maori Folk Art Box

280

W190 D190 $100 - $150

A Daniel Steenstra Painted Crown Lynn

270 A Burr Kauri and Rewarewa Gavel with a mottled Kauri octagonal base. L210 $120 - $180 271 A Carved Maori Folk Art Waka Huia with gecko lid and manaia handles. L380 $150 - $250 272 A Carved Maori Folk Art Box W140 $100 - $150 273 A Carved Maori Folk Art Inkstand depicting a tiki mask with paua shell eyes.

Circa 1940’s. W220 $250 - $350 274 A Set of Maori Folk Art Bellows L530 $120 - $180

CERAMICS 275

Vase the baluster with painted branch and leaf design on a white ground. H250 $1,200 - $1,500 see illustration p. 111 281 A Len Castle Stoneware Serving Bowl with blue night sky monochrome glaze and impressed key border. W400 $1,000 - $1,500 282 A Large Len Castle Stoneware with brown wax resist glaze. Impressed mark. W410 $1,500 - $2,000 283 A John Parker Stoneware Bowl wide flared form with speckled green and ochre glaze. W255 $200 - $400 284 A Denis O’Conner Stoneware Bowl with variegated red and green glaze.

Impressed mark. D200 $250 - $400

A Crown Lynn Legends Plate

285

W285 $250 - $450

with a fat body and ribbed decoration.

276 A Temuka Brown Glaze Teapot of hexagonal form. T.N. Lovatt. H220 $400 - $600

A Mirek Smisek Iron Glaze Vase H280 $100 - $200

297

298

384 301 302 300

383

378

280

307

492

493

308

309

IMPORTANT PAINTINGS & CONTEMPRARY ART 111

286

295

304

A Juliet Peter Stoneware Platter

A Briglin Figure of Sir John Gielgud

A Part Royal Doulton Tango Coffee Set

iron glaze on four bar feet. Initialled. W270 $80 - $120

same as above. No.86. H320 $350 - $500

four coffe cans, six saucers, sugar bowl and

287

296

A Juliet Peter Stoneware Platter

A Briglin Figure of Margot Fonteyn

305

speckled iron glaze on long bar feet.

same as above. No.21. Faulted. H295 $80 - $120

A Victorian Green Floral Transfer Ashet

Initialled. W480 $180 - $220

297

cream jug. $150 - $200

W530 $100 - $150

288

A Lucie Rie Stoneware Bowl

306

A Large Wedgwood Keith Murray Green

of eliptical form and satin black

A Collingwood Tea Set

Vase

manganese glaze. Impressed mark. W150 $1,000 - $1,500 see illustration p. 111

consisting of eight cup, saucer and plates.

298

307

A Lucie Rie Stoneware Cup and Saucer

A William Moorcroft Two Handled Fruit

with manganese glaze and scraffito

Bowl

linework. Impressed mark. W140 $2,200 - $2,800 see illustration p. 111

on stand with boldly painted Persian

the tapered and turned shoulder vase with green matt satin glaze. H290 $1,200 - $1,800 289 A Large Wedgwood Keith Murray Cream Vase the tapered and turned shoulder vase with green matt cream glaze. H285 $1,000 - $1,500

299

Floral swg and gilt border decoration. $100 - $200

design.Signed and impressed marks. D285 $400 - $600 see illustration p. 111

A Lucie Rie Stoneware Plate

308

with grey glaze and brown rim. Small

A William Moorcroft Cauldron Vase

Keith Murray style. H275 $250 - $350

edge nibble. Unmarked. D135 $200 - $400

with Eventide pattern. Blue signature,

291

300

290 A Mingay Blue Shoulder Vase

A Mingay Red Shoulder Vase Keith Murray style. H275 $250 - $350 292 A Poole Pottery Hand Painted Vase

A Lucie Rie Stoneware Pourer

circa 1925. H80 $800 - $1,000 see illustration p. 111

with side handle and lemon glaze interior.

309

Minor rim repair. W155 $800 - $1,200 see illustration p. 111

A Walter Moorcroft Squat Vase with Anemone pattern, stamped marks.

H85 $100 - $200 see illustration p. 111

the fat body decorated with fern fronds.

301

Signed. H175 $200 - $300

with side handle, grey glaze and

310

manganese rim. Impressed mark. W160 $1,000 - $1,500 see illustration p. 111

A Walter Moorcroft Squat Vase

293 A Sue Fraser ‘Spirited Horse’ Ceramic Figure the horse of contemporary stylised ancient Chinese form with green and blue glaze.

H240 W300 $1,000 - $1,500 294 A Briglin Figure of Sir Laurence Olivier designed and made by Sarah Parkinson for Briglin.No.12. H315 $350 - $500

A Lucie Rie Stoneware Pourer

302

with Hibiscus pattern,impressed marks.

W115 $100 - $200

A Lucie Rie Stoneware Beaker

311

of cylindrical form with grey glaze and

A Moorcroft Pottery Pendant

manganese rim. Impressed mark. H110 $600 - $900 see illustration p. 111

with Hibiscus Pattern. L75 $50 - $100

303

A Pair of Royal Worcester Urn Vases

A Carol Murphy Ceramic Sculpted Head

312 the fat bodies with fern and racken

the elongated head bisque fired on a

painted pattern on a cream and lemon

square plinth. H230 $150 - $250

ground. Circa 1895. H300 $600 - $800

313

322

330

A Pair of Royal Dux Courting Figures

A Mid Victorian Sterling Silver Decanter

Four Georgian Sterling Silver Salts

in 18th century dress, biscuit fired and pink

Stand

boat shape with relief swag and reeded

glaze. Marked to base. H460 $700 - $900

with tricorn base and floral scroll decoration

decoration on an oval base. Original blue glass

around a centre carry handle. Together with

liners. L125. LONDON 1809 $1,000 - $1,400 see illustration p. 115

314 A Large Imperial Amphora Vase painted and incised pelican pattern. H440 $120 - $180 315 A Black Mark Belleek Milk Jug grape leaf pattern, rope twist handle. H160 $150 - $250 316 A Derby Young Girl Figurine

three later cut crystal decanters. W.R. Smiley London 1855. $1,200 - $1,800 see illustration p. 106

Bowl

A William IV Sterling Silver Snuff Box

London 1904. W180 $250 - $400

rectangular with scroll edging and engine turned decoration. Gilt interior. Lawrence & Co.Birmingham 1836. L68 $250 - $400 see illustration p. 115 324

317

with pierced cover and gilt interior.

Pair of 19th C Meissen Dancing Figures

Birmingham 1836. L3500 $200 - $350 see illustration p. 115

crossed swords mark. AF. H160 $250 - $400 318 19th Century European Porcelain Girl Figure with a bird box. Blue crown mark H110 $50 - $80 319 Pair of 19th C European Porcelain Figures of girl with basket and boy with staff. Blue

A Sterling Silver Two Handled Porringer

323

H110 $50 - $100

in dancing pose on a gilded scroll base. Blue

331

A George IV Sterling Silver Viniagrette Box

325 A George III Sterling Silver Oval Vinagrette with gilt interior and hair locket cover.

London 1801 L32 $200 - $350 see illustration p. 115 326 A Sterling Silver and Oval Crystal Claret Jug

332 A Set of Three Silver Plate Oval Meat Dishes with removeable handles and beaded edges.

C1900. W350 $350 - $450 333 A Fine Early Victorian Sterling Silver Butler’s Tray with handles and wide scroll, shell and leaf borders around an engraved centre.

Leopard crest. Robinson, Edkins & Ashton.

Birmingham 1839. 5.2kg. W770 $6,000 - $8,000 see illustration p. 115 334 A Pair of Victorian Sheffield Plate Candleabras with three branches and gadrooned borders.

crown mark. H165 $300 - $400

silver neck and handle, London 1906. H200 $300 - $500

320

327

335

A Fine George II Sterling Silver Milk Jug

A Pair of Georgian Sheffield Plate Coasters

A Large Delft Charger with painted underglaze blue Frans Haals copy of a female portrait. D400 $300 - $400

SILVER

with a hollow hoop handle and bird beak spout. London 1731. 522g. $800 - $1,000 see illustration p. 115 328

321

A Sterling Silver Circular Teapot

A Fine Gentleman’s Tooled Leather Dressing

bakelite handle and finial. Mappin and Webb

Case

1921. L230 $400 - $600

an assortment of sterling silver topped bottles, boxes and dishes. The lift out tray reveals cut-throat razors and a circular silver box.

Frans Douglas, London 1847 - 1851. With hand written letters to Lord Glengall etc. $2,000 - $3,000 see illustration p. 115

329 A George II Sterling Silver Coffee Pot. of tapered baluster shape with scroll and shell spout, acorn finial and later ebony handle.

London 1757. Repaired. H260 $1,800 - $2,200 see illustration p. 115

H430 $400 - $600

pierced leaf gallery and turned wood bases.

D140 $200 - $300 336 Seven Georgian Sterling Silver Table Forks fiddle pattern, Eley & Fearn, London 1817.

500g. $300 - $500 337 A George III Sterling Silver Coffee Pot of baluster form on a beaded circular foot.

Chased floral wreath decoration to the body.

Charles Wright, London 1775. $2,500 - $2,800

IMPORTANT PAINTINGS & CONTEMPRARY ART 113

338

347

357

Eight Sterling Silver Fiddle Pattern

A Sterling Silver Sweetmeat Bowl

A 19th Century Chinese Embroidered

Dessert Forks

with pierced oval body, gadrooned edge

Wall Hanging

1814 - 1847, 380g. $250 - $350

and scroll ends. Birminghma 1903. L270 $200 - $350

with five Kylin playing in a floral and

339

348

Two Georgian Sterling Silver Dessert

A Victorian Silver Plate Decanter Stand

358

Spoons

triple form , mirror top. Elkington. W260 $100 - $200

A Pair of Chinese Cloisonne Baluster

old English pattern. J. Fountain, London 1807. $80 - $120

349

340

Moistener

An Arts and Crafts Sterling Silver Spoon with hammered bowl and castle knopp.

Birmingham 1913. One roller broken. $80 - $120

Circa 1900. $50 - $80

ORIENTAL

341

350

A Rare Georgian Sterling Silver Cream Jug with acorn shaped body and scroll handle on three hoof feet.Gilt interior. London circa 1750. $500 - $800 342 A Victorian Sterling Silver Cup with flared mouth and scroll handles on a circular foot. Gilt interior, London 1842.

W125 $500 - $800 343 A Georgian Sterling Silver Toddy Ladle with cauldron bowl and turned wood handle. Newcastle circa 1760. L310 $500 - $700 see illustration p. 115 344 Three Sterling Silver Table Spoons old English Pattern. $120 - $180 345 A Sterling Silver Table Matchbox Holder rectangular on ball feet. Birmingham 1914.

L60 $80 - $120 346 A Sterling Silver Bonbon Dish with pierced bowl on a circular foot.

London 1904. W180 $80 - $120

A Sterling Silver Mounted Glass Stamp

A Pair of Chinese Silver Dishes each inset with a silver dollar coin. W85 $80 - $120 351 A Chinese Carved Soapstone Seal a crouching foo dog sits atop a column with engraved character and floral decoration. H90 $400 - $600 352 A Vintage Chinese Red Silk Jacket with embroidered dragon decoration. $300 - $500

cloud landscape. L2500 H530 $300 - $500

Vases with dragon and cloud decoration on a black ground. H260 $150 - $300 359 A Carved Ivory Tusk with a carved centre panel of a dragon amidst clouds. $300 - $500 360 A Chinese Carved Wood Sage Figure with whisk beads and large hat. Inlaid eyes and teeth. H400 $80 - $120 361 A Long Chinese Paper and Silk Scroll with painteed poem, calligraphy, goddess and courtly figures. L4000 $100 - $200 362 A Chinese Double Gourd Vase with painted polychrome enamel goddess

353

figures in clouds above court figures and

A Vintage Chinese Blue Silk Jacket

signed poem. H335 $100 - $200

with silver thread floral decorartion. $200 - $400

363

354

A Pair of Chinese Carved Wood Sage

A Chinese Black Lacquer Shou Xing

Figures

Figure

smiling with large hats and cloaks. H150 $100 - $200

converted into a table lamp. H660 $150 - $300

364

355

A Chinese Brass Lidded Incense Burner

Chinese Carved and Gilded Temple Panel

with relief dragon and cloud decoration

depicting fighting warriors in a landscape of trees and temples. H660 $100 - $200 356 Chinese Carved and Gilded Temple Panel depicting fighting warriors in a landscape.

H860 W400 $150 - $250

and pierced lid with a Foo dog. H300 $150 - $300 365 A Chinese Bronze Lidded Incense Burner with inlaid champleve enamel decoration.

Surmounted by a kirin. H270 $200 - $300

248

343

323 325 324 333

215

330

321

329

327

IMPORTANT PAINTINGS & CONTEMPRARY ART 115

366

375

A Late 19th Century Japanese Imari Bowl

A Pair of Japanese Silver Baluster Vases

A Chinese Famille Rose Bowl

with four painted fan panels of birds and

with lion mask ring handles. Dents. Circ

of cartouche form, the centre with painted

shishi with mon and leaf tendril border.

1900. H170 $150 - $300

Mandarin court scene and an ornated

D240 $150 - $300

376

367

A Large Chinese Carved Shou Xing

A Late 19th Century Japanese Imari Plate

Figure

octagonal with floral panels in the imari

carrying peach and staff on a plinth. H600 $150 - $300

pattern. W230 $80 - $120

377

384

border of flying bats. W270 $400 - $600 see illustration p. 111 385 A Chinese Famille Rose Bowl with painted court scene. Repaired. W275 $100 - $200 386

368

A Chinese Cloisonne Kwan Yin Figure

A Late 19th Century Kutani Bottle Vase

standing with intricately decorated robes.

A 19th Century Japanese Bronze Hibachi

with painted floral and bird fan panels.

The head carved and painted ivory. H290 $300 - $500

with three shishi mask legs. W360 $150 - $250

378

387

H250 $100 - $200 369

Five Chinese Export Tea Bowls and

A Chinese Yellow Silk Embroidered Panel

A Late 19th Century Kutani Bottle Dish

Saucers

with two juxtaposed three toed dragons.

with shishi and floral decoration. Diaper

with underglaze blue willow pattern and

pattern and gilt border. D120 $100 - $200

H570 W590 $200 - $400

370

gilt decoration. $200 - $400 see illustration p. 111 379

A Pair of Japanese Fukugawa Sake Cups

Six Pieces of Chinese Export Tableware

with painted and gilt Buddhist symbol

coffee cup, tea bowl, three saucers and

decoration. H45 $100 - $150

bowl. $150 - $250

371

380

A Pair of Japanese Imari Sake Bottles

Three Chinese Export Tea Bowls and

with painted enamel decoration in the

Saucers

traditional manner. H145 $80 - $120

similar to above. $150 - $250

372

381

A Late 19th Century Japanese Imari

Seven Chinese Export Tea Bowls and

Charger

Saucers

with six section fan panels decorated in

similar to above. $200 - $400

D310 $400 - $600 see illustration p. 119

382

391

the traditional palette. D345 $300 - $500 373

Six Chinese Famille Rose Cups and

A 19th Century Japanese Plate

Saucers

with blue and brown birds in a plum tree.

AF. $100 - $200

D210 $100 - $150

383

374

Six Chinese Famille Rose Plates

A Small Meiji Japanese Satsuma Bowl

with flowers, butterfly and figures. One

with gilt, painted figure and brocade

repaired. $500 - $700 see illustration p. 111

decoration. Sterling base, 1907. W60 $80 - $120

388 A Pair of Oriental Carved Vase Stands with marble inset tops. H370 $150 - $300 see illustration p. 119 389 A Nest of Four Chinese Hardwood Tables H730 $250 - $350 see illustration p. 119 390 An Oriental Hardwood Display Cabinet carved bamboo decoration. H1890 W650

An Oriental Hardwood Stand carved with inset marble top. H820mm H660 D900 $150 - $250 See illustration p119 392 Anglo-Burmese Revolving Table intricately carved with birds, elephants and plants on six sscroll legs. H580 D680 $500 - $800 see illustration p. 119

FURNITURE & RUGS 393 A Hand Knotted Runner seven central medallions and floral border in reds, blues and greens. L3020 W710 $300 - $500 394 A Hand Knotted Runner with five central medallions in red, white and blue. L3870 W760 $300 - $500

402

411

An Early 19th Century Mahogany

A Late 19th Century Twin Pedestal Desk

Kneehole Desk

with inset red leather top. H750 W1360

raised on bracket feet, replacement

D730 $1,200 - $1,500

hardware, BADA sticker. H800 W830 D520 $2,800 - $3,500 see illustration p. 121 403 An 18th Century Oak Cupboard with one single drawer and lower cupboard framed by two panels. Replaced brass

395

hardware and restoration. H840 W940

A Sarook Hand Knotted Rug

D390 $500 - $700

with central medallion and floral decoration L2110 W1320 $400 - $600 396 Georgian Scottish Mahogany Longcase Clock with satinwood stringing and quartered pillars to the case. Some distress to the white dial. William Dun, Glasgow. H2040 $1,800 - $2,200 397 Early Victorian Bow Front Mahogany Chest with five cock beaded drawers and satinwood stringing. Supported on splayed feet. Replaced handles. H1025 W1000 D500 $1,000 - $1,400 398

404 A 19th Century English Spindleback Chair $80 - $100 405 An English Elm Windsor Chair

412 A Baluchi Hand Knotted Rug in bright red and brown geometric pattern.

L1450 W980 $600 - $800 413 A Turkoman Hand Knotted Rug in red and black repeating geometric pattern. L1600 W1240 $1,700 - $2,200 414 A Baluchi Hand Knotted Rug in red and black repeating geometric pattern L1750 W1250 $1,800 - $2,200

H1100 $350 - $450

415

406

in red, blue and brown geometric patterns.

An English Elm Windsor Chair

L2700 W2050 $1,800 - $2,200

H1090 $200 - $300

An Afghan Hand Knotted Rug

416

407

A Kashan Hand Knotted Rug

A Victorian Oak Dining Chair $100 - $150

in intricate brown, blue and orange floral pattern. L2170 W1400 $2,000 - $2,500

An Edwardian Mahogany Occasional Table

408

oval with inlaid satinwood stringing. H750

An Antique Cottonreel Turned Armchair

417

W600 $150 - $300

H1050 $400 - $600

A Fine Turkish Gold and Silk Prayer Rug

399

409

A Late Georgian Mahogany Toilet Mirror

An Early 20th Century Oak Desk Chair

on a three drawer base, turned and reeded columns. W620 $100 - $200

with a spindle back. $200 - $300 see illustration p. 121

400

410

A Victorian Flame Mahogany Chest

A Large Antique Pine Dresser

of five drawers with turned handles and

with three drawers above three panelled

bun feet. H1190 W1230 D550 $800 - $1,200

cupboards. The later upper section with

419

open shelves. H2050 W1870 D500 $1,000 - $1,500

A Victorian Two Drawer Hall Table

401 A 19th Century Mahogany Cheval Mirror with carved supports and shaped base.

the central pattern depicting birds in a tree within a floral border. Interwoven with golf thread. L800 W500 $3,200 - $4,000 418 A Birjand Hand Knotted Rug in repeating red and blue diamond pattern.

L1800 W1440 $1,600 - $1,900

with ornate turned legs and stretcher, original glass handles. H790 W1060 D480 $400 - $800

H855 W880 $200 - $350 IMPORTANT PAINTINGS & CONTEMPRARY ART 117

420 A Late Georgian Mahogany Side Table with a single frieze drawer. H730 W750 D450 $500 - $800

431

425 A Cast Metal and Facet Glass Basket Chandelier with women’s faces and floral swags. H820

A French Provincial Oak Side Chair H820 $100 - $200

D360 $600 - $800

432

421 An Antique Mahogany Bachelor’s Chest

426 A Cast Metal and Facet Glass Basket

H820 $100 - $200

Chandelier

433

of four drawers with a brushing slide. On bracket feet with later hardware. H790 W860 D510 $700 - $1,000

A French Provincial Oak Side Chair

with women’s face detailing. H610 D360 $400 - $600

422 An 18th Century Style Glazed Display Cabinet on a turned stretcher base. The two doors with inlaid decoration. Requires restoration. H1610 W1570 D400 $1,500 - $2,000 423 A Good 19th Century Biedermeier Sewing Table in mahogany with tripod base, hexagonal

A Pair of French Style Carved Armchairs

427

with gilt frames. H1140 W650 D670 $500 - $700

A Spanish Provincial Glazed Cupboard

434

with two interior shelves and iron hardware H1730 W1090 D370 $600 - $800

A French Style Pair of Bed Ends with carved decoration and caned panels.

428

H1310 W970 $200 - $400

A Large European Cupboard

435

with central drawer. Constructed from heavy timbers. H1820 W1270 D580 $600 - $900

A French Provincial Fruitwood Dining Table supported on four tapering square section legswith a small drawer to the frieze. H760

column. Open well with fabric covered

429

silks drawer. H740 W530 D410 $800 - $1,200 see illustration p. 121

with three frieze drawers on

W2520 D910 $3,500 - $5,000

restrained cabriole legs. H750

436

424 An Early Victorian Armchair

A French Provincial Desk

W1290 D700 $800 - $1,500 see illustration p. 120

on cabriole legs.

Contemporary upholstery. $600 - $800

Gates

A French Provincial Oak Side

H1450 W2240 $600 - $900 see illustration p. 118

Chair

437

430

with scrolled arms

A Pair of French Arched Wrought Iron

H820 $100 - $200

A Hand Knotted Baktriari Rug with stylised geometric floral decoration.

L2000 W1390 $400 - $600

448 444

443

449

438

445

A Hand Knotted Rug

An Arts and Crafts Settee

A Kauri Arts and Crafts Display Cabinet

with intricate pattern in muted colours.

with a shaped back and pierced

with drawer to the base and pierced

L1700 W1250 $200 - $400

decoration. H1130 D1350 D560 $300 - $500

upstand back. H1750 W890 D380 $600 - $900

439

446

450

A Small Hand Knotted Runner

An Arts and Crafts Oak Sideboard

An English Industrial Side Table

with eight diamond medalllions in red

with upstand back and panelled detailing

constructed from a rivetted metal water

and indigo. L2700 W570 $200 - $300

H1430 W1760 D500 $500 - $800

tank. H510 W680 D510 $500 - $800

440

447

451

A Small Hand Knotted Runner

An Arts and Crafts Rimu Side Table

An Antique Iron Studded Coffer

with nine diamond medallions in red.

H775 W1720 D575 $200 - $400

H290 W1030 D460 $250 - $400

L2840 W670 $200 - $300

448

452

441

Six Original Lippinott Designed Chairs

A Mid 19th Century Mahogany Chest of

An English Oak Court Cupboard

ex Auckland University. $1,000 - $1,500 see illustration p. 118

Drawers

Jacobean style with extensive carving and decorative ironwork. The whole raised on

bowfront, on bracket feet with brass detailing and later ring handles. H1200 W1100 D570 $1,000 - $1,500

a platform base with turned and carved supports. H1770 W1970 D540 $1,000 - $1,500

453

442

A Victorian Walnut Credenza

An Oak Morris Chair $300 - $600

with mirrored doors, white marble top and carved mirrored back, inlaid decoration.

H1780 W1520 D420 $1,500 - $2,200

443 An Arts and Crafts Corner Coat Stand with six pegholes and umbrella stand.

454

H1720 $300 - $400 see illustration p. 118

A Large Cast Garden Classical Maiden Statue

444

H2250 $400 - $600

An Arts and Crafts Oak Settle

455

with a contemporary cushion. W1710 D620 $300 -$500 see illustration p. 118

A French Wrought Iron Chandelier H1100 D800 $700 - 900

392

390

391

388

389

IMPORTANT PAINTINGS & CONTEMPRARY ART 119

456

465

473

An Ornate Mid 19th Century Walnut

Large Colonial Kauri Crank Dining Table

An Early 19th Century Oil on Canvas

Armchair

with turned legs on castors. H760 W2690

Dutch Portrait

with button back and carved frame. $400 - $600

D1380 $1,500 - $2,200

of a gentlewoman doing handwork, while

457

466

A Fine 19th Century Mahogany Tea Table

A Colonial Hall Chair

474

the tilt top with seven circular recesses

with ornate carved and turned decoration

Three Jon Jansen Attributed Dining

amongst foliate carving. The turned tripod

and unusual inlaid detail to the seat. $200 - $300

Chairs

base with acanthus details above claw feet.

Some faults. H700 D790 $2,500 - $3,500

467

458

campagna style, one rim with a fault.

A Victorian Tripod Piano Stool

H950 D740 $600 - $800 see illustration p. 120

$100 - $150 459 A Georgian Style Carver Chair

468

with pierced backsplat and cabriole legs. $150 - $200

with carved heraldic and foliate

460 A Pair of Late Victorian Parlour Chairs newly upholstered in check fabric. $400 - $600 461 A Hand Knotted Pakistani Runner of eighteen diamonds on a red ground.

468

Impressive Pair of Cast Iron Garden Urns

An Unusual 20th Century Longcase Clock decoration. H2270 W610 $600 - $900 see illustration p. 120 469 A Grey Leather Study Chair circa 1940’s. $200 - $300

L6280 W810 $200 - $300

470

462

drawer. Circa 1920. H700 W1070 D640 $400 - $500

A Dutch Pastry Table white enamel top, painted base and single

A Hand Knotted Runner with twelve central gulls on ared ground.

L3360 W830 $200 - $300

471 Mid 19th C French Gilt Carved Mirror arch topped with carved foliate decoration.

463 A 19th Century Oak Twin Pedestal Desk on castors with inset top. H755 W1220

H1460 W1280 $400 - $800

D580 $650 - $800

472

464

L3300 W2200 $400 - $600

reading. Gilt framed. H1040 W820 $600 - $1000

with teak frames and green vinyl seats. $450 - $600 475 A Retro Circular Formica Dining Table with faux wood grain top and four rocket ship legs. D1230 $500 - $800 476 A Greek Flokati Rug with repeating diamond pattern. L2230 W1660 $200 - $400 477 A New Zealand Brown Vinyl Armchair on a four star base. $150 - $220 478 A Retro Adjustable Floor Lamp with dark brown base and shade. Circa 1970’s. H1410 $150 - $250 479 A Grant Featherston Dining Chair in original textured grey fabric. Slightly distressed condition. $200 - $300

A Turkish Hand Knotted Carpet

436

with geometric design on a cream ground.

A Large Stoneware Garden Pot H780 D930 $300 - $500

467 429

480 A Midwinter Zambezi Plate W250 $30 - $50

497

489 A Louis Poulsen HW Patina Pole Light copper shade with frosted glass lamp.

H600 D700 $650 - $800

481 A Midwinter Gay Gobbler Plate W280 $30 - $50

in white finish. W485 D250 $300 - $500

Tibor Reich Denby Tigoware Coffee Pot H245 $30 - $50

in white finish. W485 D250 $300 - $500

A Thomas ‘Coup’ White Dinnerware Set

Gabriel Dauchot Female Portrait with Dog

of eight dinner, side,soup and cups. Two mugs and eight gourmet plates. $750 - $900

oil on canvas, unsigned. H785 W380 $500 - $800 see illustration p. 111

484

493

A Rare Swedish Itera Plastic Bike

A Gabriel Dauchot Male Portrait

485 A Rare Swedish Itera Plastic Bike only in production from 1982 - 1985. $200 - $400 486

oil on canvas, signed. H785 W380 $500 - $800 see illustration p. 111 494 A Trevor Lloyd Etching of Kaimatua Falls H310 W85 $200 - $300

A Louis Poulsen Nyhavn Bollard Light

495

steel in white finish H1800 D600 $750 - $900

Green’

487 A Louis Poulsen Waterfront Bollard Light grey aluminium. H1500 D270 $650 - $800 488 A Louis Poulsen Waterfront Bollard Light grey aluminium. H1770 D270 $650 - $800

signed ‘C.W’. H165 W235 $200 - $300 499 signed ‘Leslie’ H320 W430 $300 - $400 500 Raymond Wilson Kingfisher Watercolour

492

design by Constantin Grcic. Consisting

only in production from 1982 - 1985. $200 - $400

498

An Oil on Canvas Coastal Scene

491 A Pair of Louis Poulsen White Wall Lights

483

H500 W560 $400 - $600

An Oil on Board European Marine Scene

490 A Pair of Louis Poulsen White Wall Lights

482

A Set of Six Georgian Hunting Prints

Watercolour of the Ship MacQuarie - ‘A signed 1967. H240 W290 $80 - $120 496 An Oil on Canvas European Landscape ‘M. Hagedoorm’ H450 W540 $100 - $200

signed 1981. H375 W310 $300 - $500 501 A Rodney Fumpston Screenprint signed ‘Silver Pavillion’ 58/75. H380 W270 $100 - $200 502 A Watercolour Landscape - J.W. Elsdon H470 W560 $100 - $200 503 A Watercolour English Manor - L.M. Death H550 W650 $100 - $200 504 An Oil on Board Landscape - R. Watson Sunshine and Frost’. H500 W600 $500 - $800 505 An Oil on Canvas Mountain Scene Maurice Wilks Errisberg, Mount Connemara. H600 W700 $500 - $800

423

409 402

IMPORTANT PAINTINGS & CONTEMPRARY ART 121

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 Paintings and Contemporary Art sale, 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.

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

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.

Bidding Slip For absentee bidders on lots in sale 332 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 Paintings and Contemporary 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 sales, 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.

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

IMPORTANT PAINTINGS & CONTEMPRARY ART 123

INDEX OF ARTISTS Aberhart, Laurence

9, 10

Albrecht, Gretchen

28

Lane, Tony Lee, Hye Rim

74 20

Binney, Don

50, 57, 58

Maddox, Allen

19, 27

Castle, Len

40, 41, 42

McCahon, Colin

31, 39

Cauchi, Ben Clairmont, Philip Cotton, Shane Dashper, Julian de Lautour, Tony Dibble, Paul

7 18, 32, 36

McCracken, Francis McIntyre, Peter

45 66

3, 33

McLeod, Andrew

21, 23

5

Pardington, Fiona

12, 13

Parekowhai, Michael

14, 15

71 34, 37

Paterson, Rueben

8, 78

Dolezel, Jenny

72

Rae, Jude

43

Frizzell, Dick

60

Robinson, Ann

16

Goldie, Charles

35

Robinson, James

70

Hammond, Bill

1, 24, 38

Speers, Jim

17

Harris, Jeffrey

52, 75, 76

Stack, Frederick Rice

Henderson, Louise

29

Stichbury, Peter

Hight, Michael

62

Thompson, Sydney Lough

Hight, Michael

69

Van Hout, Ronnie

Hodgkins, Frances Hotere, Ralph Kaan, Simon Killeen, Richard

30, 67 44, 68, 48, 51, 64 73 4, 6, 22, 25

Walsh, John Wollaston, Toss Wynyard, Colonel Robert Henry

65 2, 55, 56, 77 46 11, 59 49, 61, 63 53, 54 47

IMPORTANT PAINTINGS & CONTEMPRARY ART 125