Important Paintings & Contemporary Art

Catalogue 366 28 November 2013

Catalogue 366 28 November 2013

Important paintings and contemporary art

Important paintings and contemporary art

WEBB’S

Catalogue 366 Foreword 6 - 7

Invitation to Preview & Book Launch

8 - 9

The New Zealand Scene

10 - 11

The World of Art

12 - 15

In Focus: Peter McLeavey & Peter Webb

16 - 17

Fine Jewellery and Watches – Preview

18 - 21

Important Paintings and Contemporary Art – This Sale in Review

22 - 23

The Art of Gordon Walters

24 - 27

The Art of Kushana Bush

28 - 29

The Art of Michael Harrison

30 - 31

Depicting the Tangata Whenua – This Sale in Review

The Catalogue 33 - 132

Important Paintings & Contemporary Art

Upcoming Auctions & Market Commentary 137 - 154

Upcoming Auctions & Market Commentary

Who to Talk to at Webb’s 155

Regional Services

156 - 160 161

Webb’s Departments & People The Last Word - Charles Ninow - Profile

162 - 163 Valuation Services

Terms & Conditions & Index of Artists 164

Webb’s Terms & Conditions for Buying

166

Index of Artists Webb’s Auction House. 18 Manukau Road, Newmarket, Auckland 1149, New Zealand Ph: 09 524 6804 E:auctions@webbs.co.nz www.webbs.co.nz CATALOGUE 366

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“If only taxation was black and white�

Covisory Partners advises on the tax implications arising from major acquisitions including art transactions and international affairs.

Experienced, knowledgeable & discreet.

www.covisory.com

NIGEL SMITH PH + 64 9 307 1777

WEBB’S

IMPORTANT PAINTINGS & CONTEMPORARY ART Sale 366

Thursday 28 November 2013, 6:30pm

Evening Preview & Peter McLeavey Book Launch Wed 20 Nov

6:00pm - 8:00pm

Viewing Wed 20 Nov

6:00pm - 8:00pm

Thur 21 Nov

9:00am - 5:30pm

Fri 22 Nov

9:00pm - 5:30pm

Sat 23 Nov

11:00am - 3:00pm

Sun 24 Nov

11:00am - 3:00pm

Mon 25 Nov

9:00am - 5:30pm

Tue 26 Nov

9:00am - 5:30pm

Wed 27 Nov

9:00am - 5:30pm

Thur 28 Nov

9:00am - 1:00pm

Buyer’s Premium A buyer's premium of 15% will be charged on all items in this sale.

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

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Invitation Peter M Leavey Book Launch preview of Important Paintings & Contemporary Art Fine Jewellery & Watches Wednesday 20 November 6.00pm – 8.00pm Please join us to celebrate the launch of ‘Peter McLeavey: The life and times of a New Zealand art dealer’, by Jill Trevelyan and published by Te Papa Press on the same evening as the Auckland preview of our November Important Paintings & Contemporary Art sale.

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Please join us: When Wednesday 20 November 6pm - 8pm Where Webb’s 18 Manukau Road, Newmarket RSVP to: Helen Winskill hwinskill@webbs.co.nz

Important Paintings and Contemporary Art

ANN SHELTON: DOUBLETHINK This site-orientated exhibition in Midhirst, New Plymouth, and Whanganui which runs until 2 Feb 2014 is an adjunct project to Ann Shelton’s exhibition City of Gold and Lead at Sargeant Gallery. Doublethink reiterates and repositions the graffiti-ed message left

by Neil Roberts before he attempted to blow up the New Zealand Government’s Wanganui Computer on the Whanganui River. The text “we have maintained a silence closely resembling stupidity” was discovered on a nearby toilet wall. The phrase was a translation from the 1809 revolutionary proclamation of South America’s first independent government as it declared its independence from the Spanish Crown. Written with sparklers in the night sky and photographed

by Shelton on the 30th anniversary of the bombing and Neil Robert’s consequent death, the work raises questions about the message’s relevance, problematic status and meaning in today’s social landscape. The project’s outcome is free published material in the form of flat or folded posters of the artwork, each with an accompanying essay.

SPECIAL PUBLIC LECTURE In 1971, art historian Linda Nochlin asked “Why have there been no great women artists?” Centre for Art Studies Director Dr Linda Tyler will provide a gender comparative analysis of New Zealand auction prices, focusing on the prices reached by women artists.

When Sat, 30 Nov, 2013, 1pm Where Gus Fisher Gallery

2015 VENICE BIENNALE Creative New Zealand has announced that sculptor and installation artist Simon Denny and curator Robert Leonard will represent New Zealand at the 56th Venice Biennale in 2015.

The commissioner of the 2015 Venice Biennale, Heather Galbraith, describes Denny’s work as “… rich, intelligent, challenging and political… it will be very compelling within the context of the Venice Biennale”.

Denny and Leonard will present the exhibition Five Eyes. The title refers to the ‘five eyes’ of the USAUK Security Agreement, which finds New Zealand, the United States, the United Kingdom, Australia and Canada sharing ‘signals intelligence’. Denny studied at Elam School of Fine Arts and at Frankfurt’s Städelschule, graduating in 2009. He is currently based in Berlin. In Germany, Denny started to explore the implications of recent changes in communications technology that saw tube TVs replaced by flat screens—the ‘box’ replaced by the ‘picture’. His work explores the culture of internet firms, the obsolescence of analogue technology, neo-liberal corporate culture and contemporary constructions of national identity. This year, he exhibited The Personal Effects of Kim Dotcom at mumok, Vienna, and presented All You Need Is Data: The DLD 2012 Conference Redux at Kunstverein Munich, Petzel Gallery, New York, and Hamburger Bahnhof, Berlin.

SASKIA LEEK: DESK COLLECTION Saskia Leek, Untitled, from a Modern Menu, 2011. Image courtesy of the artist.

Desk Collection is an exhibition of 60 paintings produced by Dunedinbased artist Saskia Leek between 1994 and 2012, drawn from public and private collections in New Zealand and Australia. The exhibition’s title stakes a claim for art that is intimate, hinting at the modest scale of Leek’s paintings and the fact that almost all of them could have been produced at a desk. The survey, curated by Emma Bugden of the Dowse Art Museum, traces Leek’s career, beginning with her launch into the New Zealand art world in 1995 through the group exhibition Hangover, which placed her in a new generation of artists whose 8

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work explored popular culture. From the personal comic-book nature of her early works, she moved on to test the possibilities and limits of the painted image. Leek continues to make work on a small and intimate scale in stark contrast to the ever-larger and louder artworks out in the market.

The exhibition is being toured by the Dowse Art Museum and there is a fullcolour catalogue accompanying it.

When 19 Oct – 14 Dec 2013 Where Gus Fisher Gallery

Simon Denny, in front of Kim Dotcom’s mansion, Auckland 2012.

Image courtesy of the artist and Michael Lett, Auckland.

Ann Shelton Doublethink, detail.

Digital photograph. Courtesy of the artist

the new zealand SCENE.

WEBB’S

Martin Basher, Free Spirit No Interest, 2009. Image courtesy of the artist and Starkwhite.

Francis Upritchard, Blue and Green Scarf, 2012, Auckland Art Gallery. Image courtesy of Ivan Anthony & Francis Upritchard

Freedom Farmers: NEW ZEALAND ARTISTS GROWING IDEAS

of artists born since the 1970s. A wide-ranging public programme series runs concurrently with the exhibition and includes inspirational speakers from a variety of fields such as neuroscience and eco-business. Members of the public are encouraged to be involved at ‘The Ideas Market’ for tips on sustainable living, or at one of a number of family drop-ins designed by the artists. Architect and academic Matthew Bradbury will lead an informal walking tour of some of Auckland’s failed urban areas.

When 26 Oct 2013 – 23 Feb 2014 Where Auckland Art Gallery

BODYTOK QUINTET: THE HUMAN INSTRUMENT ARCHIVE

MARTI FRIEDLANDER: TOKELAU

Presented by SCAPE 7 Public Art Christchurch Biennial and Christchurch Art Gallery, Bodytok Quintet provides an opportunity for audiences to engage with artwork while the Christchurch Art Gallery is closed for repairs.

In conjunction with the launch of Self-Portrait, Marti Friedlander with Hugo Manson, Gus Fisher Gallery has mounted a digital exhibition of Marti Friedlander’s photographs of Tokelau, commissioned by the Department of Anthropology, The University of Auckland, in 1971.

Developed by sound artist Phil Dadson, Bodytok Quintet is an interactive video and audio installation that reveals the idiosyncratic non-verbal sounds people can make using only their bodies. These are sounds often learnt in childhood and carried forward as unique quirks or skills, be they bone-clicking, whistlewarbling or other inventions of the human instrument. Each contributor performed directly to a camera against a background colour of their choice. During the Christchurch presentation, visitors will have the opportunity to add unique noises to

an evolving installation so that the collection of contributing participants is ongoing.

Philip Dadson is a video and sound artist with an international transdisciplinary practice which includes building and performing with experimental musical instruments, sound sculptures, digital media, music competitions, graphic scores and drawings.

When 27 Sep 2013 – 2 Feb 2014 Where ArtBox CPIT (corner Madras & St Asaph Streets, Christchurch)

When 23 Oct – 29 Nov 2013 Where Gus Fisher Gallery Two

Marti Friedlander, Building a New Cookhouse, 1971

Bodytok Quintek: The Human Instrument Archive `courtesy of the artist) 2013

Curated by Natasha Conland, this exhibition at Auckland Art Gallery offers a dynamic sample of 20 contemporary artists engaging with ideas of Utopia, sustainability and artistic freedom. It provides an opportunity for audiences to experience a new body of specially commissioned artworks. Freedom Farmers is the gallery’s largest survey of New Zealand contemporary art in 25 years and showcases the work of emerging and established practitioners such as Walters Prize winners Francis Upritchard, Dan Arps, et al., along with Richard Maloy, Martin Basher and Edith Amituanai and a new generation

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Important Paintings and Contemporary Art

The World OF ART.

FRIEZE 2013

Frieze London. Courtesy: Frieze

From 17 to 20 October 2013, the 11th edition of Frieze Art Fair set the stage for the most highly anticipated week in the international art calendar, featuring over 100 exhibitors from 30 countries. Although infamous for its year-on-year expansion in both size and remit, this year saw Frieze consciously seek to pare back through facilitating more concentrated scope, audience and exhibition space (wider aisles, fewer galleries and a 20% cut in ticket availability). The event saw a number of galleries also hone their focus, with 23 galleries curating stands of single-artist shows, and Lisson Gallery offering a solo stand consisting of just one work by Dan Graham. Following on the success of its 2012 launch, the sister fair Frieze Masters, an event touted as offering “a unique contemporary perspective on art throughout the ages” also boasted an impressive line-up of international exhibitors.

Outside the confines of Regent’s Park, a huge number of satellite fairs and independent events across the city left the art world buzzing. Amongst this year’s leading events were the highly acclaimed The Other Art Fair and the inaugural 1:54 Contemporary African Art Fair at Somerset House. Finally, as ever, Frieze week coincided with the flagship auctions of Post-war and Contemporary Art at Sotheby’s, Christie’s and Bonhams, which saw a combined offering, estimated in excess of a staggering £150,000,000, go under the hammer.

CHRISTOPHER WOOL: GUGGENHEIM RETROSPECTIVE A blockbuster retrospective of the work of iconic post-conceptual painter and master of contemporary American abstraction Christopher Wool has opened at the Guggenheim in New York.

The exhibition comprehensively captures the range of Wool’s adept and complex forays into the nature of painting and, in its sheer breadth, expresses the range of media employed within his oeuvre.

Of particular note is the important photographic series and urban survey, Absent Without Leave, which documents the bleak existentialism of the artist’s nomadic travels abroad.

Other works, perhaps more readily identifiable within Wool’s oeuvre, offer a disconnected juncture which both highlights and eliminates the painterly process. The extraordinary demand manifested by the secondary market for Wool’s work in recent years has seen him emerge as one of the most highly sought-after painters of the 21st century. Indeed, this institutional celebration of his work comes at a time when the market has similarly affirmed the stronghold of Wool’s position, with Christie’s upcoming major sale of Post-war and Contemporary Art to include one of the most significant text paintings by Wool to have ever surfaced on the market.

Apocalypse Now, referred to as “the essential image of our times”, screams the words “SELL THE HOUSE SELL THE CAR SELL THE KIDS” and will be sold with a pre-sale estimate of $15 million to $20 million.

Richard Serra’s New Sculpture exhibition at Gagosian Gallery in New York presents the finest of the artist’s contemporary practice and offers insight into the conceptual development which has driven development of form in his work. This is manifested in an evolution from the signature curved-steel forms which had, thus far, comprised the essence of his sculptural practice.

Described as Stonehenge-like in the treatment of form, the challenging angular intersections and psychologically monumental forms which fill the gallery’s space represent a conscious decision on the part of the artist to redefine the sculptural interface. In the artist’s own words, “People are never asked to walk into corners, but I thought I’d ask because it gives such a feeling of compression and release … I feel so psychologically grounded here in a way that I don’t in the weightless curvy spaces.”

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Christopher Wool, Apocalypse Now, 1988.

Courtesy of the artist and Christies

RICHARD SERRA: UNVEILS EXHIBITION OF NEW SCULPTURE IN NEW YORK

WEBB’S

world first auction of digital art A few weeks ago, the first ever-auction of digital art by Phillips auction house broke new ground in the realm of the art market. The event, hosted in conjunction with Tumblr, utilised a hybrid auction model which, in addition to engaging live participation on the night of the auction in New York, allowed buyers to bid live online during the week leading up to the sale. The 20 works offered secured a sell-through rate of 92% by value; whilst 80% of the sale’s profits went to the artists, the remaining 20% was donated to online platform Rhizome, which supports the proliferation, dialogue and commissioning of digital art.

In addition to providing a platform for celebrated digital media artists whose reputations on the art market have already been cemented, the sale engaged a number of artists whose works are fresh to the market and whose presences online are growing indomitably: names such as Rafaël Rozendaal, for whom a website domain name was sold, and Joe Hamilton, whose work Hyper Geography was created through a series of Tumblr posts. The sale represents a significant step forward in creating a dialogue between the market and the digital realm, and engaging with the complexity of media and the difficulties associated with defining and valuing digital art. In the words of sale curator Lindsay Howard, “one of the legacies of this auction will be the ongoing exploration surrounding best practices for presenting, collecting, and preserving digital works”.

Rafael Rozendaal, image courtesy of Postmasters Gallery, New York.

A MIRACULOUS JOURNEY: HIRST PROJECT IN QUATAR The rising star of Qatar as an international platform for contemporary art was asserted this October: 14 balloons suspended in front of Doha’s Sidra and Medical Research Center were revealed – to the sound of a beating heart – to contain a series of monumental bronze sculptures by Damien Hirst.

Entitled The Miraculous Journey, Hirst’s epic sculptural narrative chronicles the development of a foetus from conception to birth, culminating in a 14-metre statue of a baby boy. In the artist’s own words, the works expressed “a desire to create something monumental, whilst essentially human”. Such a bold and unapologetic engagement with the naked human form in a public arena has generated speculation that the works would be controversially received within the conservative climate of traditional Islamist Qatar. According to curator Sheikha al Mayassa Hamad bin Khalifa al-Thani, however, this is not necessarily the case; the sentiment of the works strikes an accord with

Damien Hirst, The Miraculous Journey.

Image courtesy of Penny Wang.

Islamist values and beliefs: “There is a verse in the Koran about the miracle of birth … It is not against our culture or our religion”. The unveiling of the sculptures coincides with the opening of Hirst’s largestever exhibition, Relics, at the ALRIWAQ Doha exhibition space.

JUSTIN PATON APPOINTED TO AGNSW This October saw the announcement that one of New Zealand’s leading curatorial figures will be assuming a position leading the expansion of Australia’s Art Gallery of New South Wales. The appointment of Justin Paton as the head of International Art at the gallery represents a further step in the restructuring of the gallery’s senior management which has been undertaken by director Michael Brand since 2009. Paton has been a senior curator at Christchurch Gallery since 2007 and curated Bill Culbert’s presentation at the Venice Biennale earlier this year. He expressed his own vision for the engagement of the AGNSW’s new spaces: “I think relation and connection should be keywords in the presentation of the international collection. Exchange between traditions and places is one of the engines of art history… a great collection display in a globally minded gallery should strive to reflect that kind of imaginative exchange, rather than fiercely ring-fencing different moments and traditions.”

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McLeavey & Webb The release of Jill Trevelyan’s biography Peter McLeavey: The life and times of a New Zealand art dealer will be a chance to reflect on the extraordinary narrative defining the career of arguably the godfather of the New Zealand art market.

Through his unique vision and foresight, Peter McLeavey came to make his mark and establish himself as the central figure within the overall landscape of the New Zealand art market, representing the key names in New Zealand modernism.

Peter Webb spoke of his first encounter with McLeavey in the early 1950’s, describing how “I remember in my first gallery in High Street, Peter calling in and telling me he wanted to be an art dealer. I looked him up and down and thought, you don’t look like an art dealer. He had a tweed suit on … I thought, you don’t look a bit arty.

That was my first meeting with him.”

During this time when art market awareness and exposure was particularly low, McLeavey experienced his fair share of difficulties getting business off the ground in the Wellington market. One particular challenge in this capacity was overcoming the precarious status of the dealer gallery at the time. He speaks of how “there was the idea that the dealer was “taking” money from the artist, and that the art would become so much more expensive

Peter McLeavey at Don Binney: Paintings and drawings July – August 1970, photographed by John B. Turner

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Important Paintings and Contemporary Art

McLeavey’s response to the commercial necessity of being a dealer was decidedly different, however, and he never supported auctions or bought stock, choosing to sell everything on commission. As Peter Webb describes it, “McLeavey’s an old school purist, influenced by McCahon’s thinking too … it was a religion almost”. Although his role was one of a dealer, McLeavey rued the “pervasive commodification of art”, commenting that “we are all affected by it, some swept along by it”. Given McLeavey’s banking and insurance background, it is perhaps not surprising that he was of the firm belief that “the economic indicators suggest that prudence should be the rule”. In contrast, the nature of Peter Webb’s style can probably be best summarised in a letter from Gordon Walters to McLeavey in 1978: “I thoroughly detest the whole business of exhibitions. Not that this one was so unpleasant, after deciding with Peter Webb to do the thing on a fairly modest scale it ended up as a rather lavish event, or so it seemed to me. The trouble is that Peter and his cobbers are fairly lavish livers, given the slightest excuse … I can’t help feeling that one reason for the economic difficulties faced by Peter’s outfit is his tendency to ‘live it up’ if one may use such a dated expression.

Peter McLeavey with his first Colin McCahon painting Was this the promised land, 1962

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Anyway, I had a good time in Auckland, the show looked fairly good … and just about everything has been sold.”

Peter McLeavey was foremost in shaping the face of the New Zealand art market as we know it today, and the legacy of his career continues to thrive as an integral aspect of our national visual arts identity.

Jill Trevelyan’s just published work, Peter McLeavey: The life and times of a New Zealand art dealer is a thoroughly enjoyable and informative read and is highly recommended to all with an interest in the story of New Zealand art.

Webb’s is honoured and delighted to host the Auckland launch of this important publication on 20 November 6 pm to 8pm.

Peter Webb standing at the entrance to his recently opened gallery in Lorne St, Auckland, 1974

and unaffordable”. Part of this can be linked to the Auckland / Wellington dichotomy existing within the national art market, a fact which McLeavey felt acutely. As Trevelyan notes, “The Barrington Gallery … opened by Peter Webb in Auckland (between his role as Exhibitions Officer at the Auckland City Art Gallery and the launching of Peter Webb Galleries in 1974) caused Peter McLeavey some trepidation. As he confided to McCahon: ‘It scares me a bit; way down here in Wellington I think that eventually I’ll be put out of business by the ‘big boys’”.

The mailout poster for McCahon’s last show in Auckland held by arrangement with Peter McLeavey.

Fine Jewellery & Watches

Antique and Contemporary Jewellery under the hammer. Saturday 30 November.

Catalogue now online 16

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WEBB’S

Webb’s is delighted to present an exceptional quality sale of Fine Jewellery and Watches, to be held on 10 August.

This sale represents one of the finest and most diverse offerings to have been presented to the market, and includes contemporary and antique pieces with large diamonds and other precious-stone jewellery alongside rare and collectable watches.

Diamonds are again well represented with a very important contemporary Cartier solitaire diamond ring, which is designed in platinum and claw set with a large 3.55ct pear-shaped diamond. A rare, matching diamond necklace and bracelet set in platinum has 84 roundcut brilliant diamonds all of the same size, colour and clarity; this is a feat unto itself in the international diamond market. Also highlighted are a fancy yellow-gold 4.226ct diamond ring of old mine-cut style with an interesting history from the 1870s and a beautifully constructed 19th-century Indian yellow-gold necklace with emerald and old, rose-cut diamonds.

A strong offering of watches, including a men’s Rolex Daytona Cosmograph in steel and gold, includes many from the houses of Rolex, Omega, Franck Muller, Breguet and Girard Perregaux.

For those seeking the unusual, the sale presents a fantasy section of finely set stones in elaborate and colourful designs.

The ever-popular Buy/Sell/Collect Auction will make up a second sale to be held at 2.30pm on Saturday 30 November. Included is an extensive collection of vintage, retro and contemporary jewellery including bracelets, earrings, necklaces, easy-to-wear watches, rings and affordable gold pieces.

The Webb’s Jewellery team presents our Fine Jewellery and Watches sale to be held on 30 November 2013 at 11:00am, following the success of our August auction with our newly designed and well-received catalogue.

This sale features an even-wider range of brooches, antique jewellery, pearls, watches and stunning diamond jewellery than ever before; it is time to lift the bar even higher.

Lot 67. A platinum & diamond necklace with 23 claw set, round cut, brilliant diamonds.

Lot 28. A Rolex Daytona cosmograph steel and gold man’s wristwatch

We are delighted to offer private sales at Webb’s, for those interested in buying loose diamonds of any size, colour, clarity and cut, outside of our auction calendar. Countless private transactions have been brokered through Webb’s on behalf of our clients and our direct access to an international diamond supply uniquely qualifies Webb’s to facilitate lucrative transactions off the auction floor as well as on it. This service is discreet and all aspects of a private sale are held in the strictest confidence. Enquiries from those looking to buy privately are welcomed. The Webb’s Fine Jewellery and Watches specialists will reach out to our extensive network in order to source the loose diamonds you are seeking.

Lot 158. A large and spectacular quartz diamond, ruby and garnet ring

Lot 63. A platinum diamond necklace with fifty seven matching diamonds

Fine Jewellery & Watches When Saturday 30 November 11am Where Webb’s Auction House

jewels buy - sell - collect When Saturday 30 November 2.30pm Where Webb’s Auction House CATALOGUE 366

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Lot 20. Bill Hammond, Farmer’s Market

Important Paintings & Contemporary Art This sale in review

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WEBB’S

The final sale of Important Paintings & Contemporary Art for 2013 will draw a highly successful auction year at Webb’s to a strong close. The breadth and academic rigour of works included within this sale emphasise both the continued strength of the market and Webb’s specialisation in handling the sale of high-value artworks.

The unwavering market enthusiasm for, and strong reputation held by Webb’s November sale as the industry-leading event to round up the auction calendar is glowingly affirmed when considering the offerings of the present sale. Following on from an incredibly successful year, which has seen art sales achieve in excess of $5.93 million, a strong level of engagement from discerning collectors competing for works

at the upper tier of the market has seen an already-healthy market go from strength to strength and quantify itself at the highest level.

The present sale of Important Paintings & Contemporary Art has been carefully considered in light of current market responsiveness and areas of growth. With a curatorial view to presenting a selection of art which represents key areas in the mainstay

Lot 19. Bill Hammond, Fly

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Lot 14. Michael Parekowhai, Jim McMurtry

Important Paintings and Contemporary Art

of New Zealand’s art history, the expertise and specialisation of Webb’s Art department has enabled us to actively source and consign an exceptional offering of works.

It is an absolute pleasure to present Gordon Walters’ Genealogy to the market. The Genealogy series represents the very pinnacle of Walters’ exploration into the rhythm and balance of the koru form; the vertical stacking of motifs recalls the visual intensity of European Op-Art works. On a more conceptually engaged level, Genealogy also comprises a philosophically attuned reflection on the exchange of new life and whakapapa (genealogy). This is a truly exceptional work, of a quality which previously has not been 20

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Bill Hammond’s epic Farmer’s Market has the potential to break new ground in the secondary market for Hammond’s work and set a new record. Densely populated with Hammond’s iconic avian anthropomorphic figures, and stylistically emblematic of the later period in the artist’s production, this work is an unrivalled masterpiece. It is derived from the very upper tier of the artist’s later practice, and the

secondary market has never been exposed before to the likes of this work. Farmer’s Market will be accompanied by a classic smallerscale work by the artist encompassing the core concerns of his 1990s practice: Fly, in addition to the 2009 work, Moa Hunter Cave 2, and three rare 1980s’ paintings.

Leading the sale’s selection of contemporary art in both scale and significance is Shane Cotton’s The Painted Bird, which was recently exhibited as part of the artist’s mid-career survey at City Gallery

Lot 1. Tony Fomison, Untitled

Lot 16. Bill Culbert, Off White

presented to the market, and which represents the quintessence of Walters’ finest practice.

WEBB’S

Wellington. This museum-quality work represents the pinnacle of Cotton’s evolution from a historical grounding in the richness of the New Zealand landscape to a deeply spiritual, upwards-looking release from gravity. Other significant contemporary works include Bill Culbert’s fluorescent tube work Off White, and Jim McMurtry, a work by Michael Parekowhai which preceded the artist’s iconic large-scale sculpture of the same subject.

Outstanding examples by artists such as Kushana Bush and Michael Harrison will be presented also; these artists, who have recently started to garner significant attention from the secondary market, lead the generation of artists whose reputations will be safeguarded within the lexicon of New Zealand art in years to come.

Another significant work which is certain to capture the attention of the buying audience is Michael Smither’s Elizabeth with Sarah and Joseph. This large-scale painting encompasses the core concerns of Smither’s artistic remit in creating his Domestic series: both the desire to give centrality and importance to the everyday aspects of domestic life, and the technical use of a brightly coloured palette and application of extreme linear

plasticity and clarity of form. This is undoubtedly one of the most significant of this series to have ever been presented to the market.

At the heart of New Zealand’s art-historical narrative and in a capacity which draws enduring and enthusiastic engagement is the market for modern works. This represents the pinnacle of the nation’s most-cherished bastion of art. In recognition of this, the sale comprehensively surveys the most-acclaimed names of this period. Two important mid-1980s’ works by Pat Hanly, Hope Vessel Attacked and Pacific Fire, will accompany a significant still life by Michael Illingworth, and two works by Allen Maddox, including a 1987 neon-green grid painting. A fine Tony Fomison work on paper and a 1978 painting by the artist entitled Thinking Quietly with Eyes On will be presented also, in addition to works

by Colin McCahon, Rita Angus and Ralph Hotere.

Finally, the inclusion of the three paintings by Charles Goldie and Gottfried Lindauer: ‘One of the Old School’, Wiripine Ninia A Ngati Awa Chieftainess, Te Hei, A Ngati Raukawa Chieftainess and Mrs Huia Whakamairu comprise the core

IMPORTANT PAINTINGS & CONTEMPORARY ART

Lot 21. Shane Cotton, The Painted Bird

Lot 25. Michael Smither, Elizabeth with Sarah and Joseph

offering of the sale’s historical component. Not in recent history has there ever been such a strong and comprehensive selection of highvalue, exceptional Maori portraits within a single sale. The provenance of each has seen the works remain in private collections for the past generations; they have never been presented to the market before.

Moreover, it is important to acknowledge the extent to which each of these works is unique – the ability to define them collectively as exemplary female Maori portraits should not negate the individual mana and differing stylistic merits of each.

Where Goldie’s depiction of Wiripine Ninia captures the signature aspects of his technical proficiency and reflects the pinnacle of his career, Te Hei was one of the last fine portraits to have been accomplished by the artist and reflects the maturity of his artistic refinement. Lindauer’s portrait is special in being one of the earlier portraits to have been undertaken by the artist in the years following his arrival in New Zealand.

When Thursday 28 November 6:30pm Where Webb’s Auction House CATALOGUE 366

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Lot 24. Gordon Walters, Genealogy

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Gordon Walters Gordon Walters’ fundamental aesthetic draws on the rhythmic and modular geometry of the koru; it was in effecting seamlessly visual harmonies based on this form that he critically progressed the landscape of New Zealand’s modern art narrative.

Gordon Walters’ fundamental aesthetic draws on the rhythmic and modular geometry of the koru; it was in effecting seamlessly visual harmonies based on this form that he critically progressed the landscape of New Zealand’s modern art narrative.

The artist was pioneering in paving the way for a tradition of modernism which, whilst being internationallyinclined in its embodiment of conceptual abstractionist concerns, was simultaneously vital in its local relevance and engagement with a nationally significant visual motif.

When considering the art of Gordon Walters, the extent to which his practice pervades our national art historical consciousness can be partly quantified through a market-based consideration. Since the artist’s seminal first seminal exhibition in 1966, the market for his work has undergone extraordinary fortification, as manifested by the significant increase in prices achieved for works over the years. It is remarkable to consider, for example, that in 1969, Peter McLeavey’s exhibition of Gordon Walters’ work sold five small acrylic Koru paintings holding values between the range of $150 and $400.

Some forty years down the track, significant works from this same series have the potential to achieve well in excess of $200,000 at auction.

Webb’s champions a rich history of engagement with Gordon Walters and his market. This goes back to the most nascent and formative stages of the artist’s presence on the secondary market, at the time when Peter Webb Galleries was showcasing Walters’ work to the Auckland market in the

1970s. Over the years, Webb’s have continued to lead the charge in the development of the artist’s market, a fact clearly indicated in the price points achieved at auction and our share of the market: by volume, Webb’s have handled 280% more sales than our closest competitor. In an investment-driven climate where the market’s focus is inextricably linked to the modern period of production within New Zealand’s art history, Walters’ position is at the heart of this market. To this day, Webb’s hold the record for a work sold

by Gordon Walters, Tirangi II, which achieved a hammer price of $380,000 back in 2001.

It is a great pleasure to present Genealogy to the market as part of this sale of Important Paintings & Contemporary art. This is, without a doubt, one of the most significant koru paintings by the artist to have ever been offered at auction. The work is a triumph of that critical period of production in Walters’ development, in which he came to fully express the positive/negative relationship facilitated through exchange and irrevocable dynamism and interchange of form. Genealogy has the potential to set a record price for the artist’s work at auction, and in doing so, continue to break new ground in setting a new precedent for both Walters’ work and the strength of Webb’s activity within this market sector. The work will be presented alongside a fine koru work on paper, which exemplifies the crisp technical finesse and delicacy of form characteristic of Walters’ finest work. Originally exhibited two years after the artist’s seminal exhibition at New Vision Gallery in 1966, this work captures the potent nature of Walters’ engagement with the koru, wherein the bulbous perfection of this stylised, geometric form had come to fruition within his practice.

Lot 29. Gordon Walters, Untitled Koru

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Kushana Bush

Kushana Bush assumes the role of ‘artist as anthropologist’ and draws on numerous sources to produce her beautifully executed paintings. She references the painting techniques of Giotto’s 14th-century frescoes, erotic Japanese prints and Indo-Persian miniature traditions and sees a correspondence between the fetishistic nature of her work and the practice of collecting.

Lot 4. Kushana Bush, Turnbunkle Squat

Bush grew up in a Dunedin household as a first-generation New Zealander with an English father who collected unusual artefacts from other cultures.

Her works’ decorative elegance is contrasted with a satirical focus on contemporary anxieties. Bush says of her methodology: “When I make a body of work, I think about it as a kind of country – a society of people in a particular time – and this allows me the luxury of playing God. It gives me the possibility to create unrealistic solutions to real life concerns.”

In October this year, Bush became the recipient of the 2013 Arts Foundation New Generation Award. This award is an acknowledgement of her assured potential and outstanding promise. Along with that of other New Generation award-winners, her work displays a depth of thinking and consistency. Hers is an art practice that brings together constituent elements from all over the world to reconfigure a new geographical, political and social landscape.

Bush’s appeal can be attributed to her paintings’ exquisite aesthetic and strong sociocultural and conceptual underpinning. It is gratifying that there is no attempt to interpose conceptual distance between audience and subject. Bush’s art is described by Hocken Library Curator Natalie Poland as cutting across difference and participating in the project of cosmopolitanism, a philosophical concept based on the politics of world citizenship. By reflecting on and engaging with the transcultural and transnational flows of people, ideas and objects that characterise the global economy, her paintings participate in a critical

dialogue between the “cosmopolitan imagination, embodied ethics and locational identity”.

It is remarkable that Bush graduated with a Bachelor of Fine Arts from the School of Art, Otago Polytechnic, less than 10 years ago – in 2004 – and then began lecturing there for four years before committing to painting full time in 2008. Since then, her art career has been on a steady trajectory. She won the Art & Australia Contemporary Art Award in 2009 and, in the same year, was Artist in Residence at the National Art Studio, Changdong, Seoul (an Arts Centre/Asia New Zealand Foundation residency). The resultant series, Hungry Ghosts, was shown at the Observatory Arts Centre, Christchurch, later that year.

Bush initially wanted to travel to Korea because of her interest in Korean folk and traditional art but she says now that “on reflection it was more the physical experience of being there that affected the work … so it’s not just a direct visual influence; it’s an understanding of humans and cultures …” While in Korea, she became interested in Chaekorri painting, a tradition of stilllife painting from the Choson Dynasty (1392–1910), which revered scholars and scholarship. Her works reference the flattened and even reversed perspective, formal arrangement and decorative patterning used in these exquisite paintings of scholars’ objects floating against blank backgrounds, although the people she depicts seem to be seeking transcendence through the body as opposed to the mind.

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like impossible-to-achieve sexual positions and, like the paintings themselves, underpin disturbing subject matter with humour and pathos.

Bush was selected as the Frances Hodgkins Fellow at the University of Otago in 2011. This very important and well-supported artist residency allowed Bush to focus on primitive Italian painting and British artist Stanley Spencer. Just before the fellowship started, she made a longplanned pilgrimage, or the equivalent of the educational Grand Tour, to Europe to research Giotto’s work in the Arena Chapel and Indian and Persian miniatures in the Victoria and Albert Museum. On her return, she spent the year painting 31 miniatures for her exhibition All Things to All Men for the Hocken Library. This fellowship culminated in a beautifully designed, full-colour, hard-cover publication of the same title produced by the University of Otago in 2012. This fellowship allowed Bush to dedicate herself to developing her methodology.

She builds her paintings with gouache very slowly over a long period of time.

Each work begins as a drawing and she usually has several works under way at the same time. There is a high rate of attrition and only a few are deemed fit enough for exhibition.

Working with gouache as a medium is a challenge as it doesn’t allow an artist to cover or eliminate areas of colour and detail. According to Bush, this requires concentration, otherwise “with one drift away from what you are doing, you can lose hours, days and weeks of work”. This methodology certainly tempers the release of the artist’s work and the availability of her practice.

In addition to this, the last two years have seen Bush develop a reputation in the art world for producing series of paintings each with a strong sense of continuity – as if the ‘anthropologist artist’ were observing and defining the known habits and social structure of a recently discovered species.

Looking back over the artist’s limited sales history at auction, this seriality allows for a clear analysis of the trends governing the prices achieved for her work. The artist’s first-ever

Kushana Bush, Modern Semaphore Full Continental Expression, achieved $5,460, Webb’s 2012

Kushana Bush presented with Arts Foundation of New Zealand, New Generation Award by New Generation Patron, Malcolm Brow.

sale at auction was transacted in 2009 and, while it achieved a relatively modest price, the next offering in 2011 improved on this early benchmark by 169% – a noteworthy recognition of her growing visibility. Further, the most-recent offering of the artist’s practice, Modern Semaphore, Full Continental Expression, sold by Webb’s for $5,465, subsequently improved on the 2011 result by 35%. The trajectory of the artist’s value development indicates that the artist’s practice is supported by an active and motivated collector base. There is something about her work that appeals to the raw instinct of the market, which is intrigued by her exacting technique and distinctly satirical edge, eliciting questions about power and sexuality.

The fascination with the small details of human behaviour is pervasive in Bush’s images and this has been

something to which audiences have responded. There continues to be a strong interest in her work from leading curators and public institutions; she featured in Liquid Dreams at The Dowse Art Museum, Lower Hutt, and Ready to Roll at City Gallery Wellington. Her work was again exhibited at City Gallery in the 2011 exhibition Tender is the Night and as part of Game On at the Hastings City Art Gallery. This year, her work featured in A Different View at the Gus Fisher Gallery, Auckland, and Octopus 13 curated by Glenn Barkley for Gertrude Contemporary, Melbourne. Bush’s paintings are already held in the collections of the Art & Australia Collection, Centre of Contemporary Art, Christchurch, the James Wallace Trust, the Hocken Collection, University of Otago, Dunedin, and the Otago Polytechnic.

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Michael Harrison It would be an understatement to say that Michael Harrison has been in the art business long enough to manifest a signature style. He has been working steadily since the late 1980s, producing mostly smallscale paintings and watercolours of people and animals sourced from his imagination, book and magazine illustration, art history, photography and life itself.

Yet it appears that he has been incrementally exhibiting various degrees of ‘emergence’ in the art market. In examining Harrison’s oeuvre, it is evident that no one measure can be applied to this artist’s career to define the notion of emergence. For instance, his inclusion in the 14th Sydney Biennale On Reason and Emotion in 2004 could have been a defining factor or it could have been when his work was included in the inaugural City Gallery Wellington biennale exhibition Prospect 2001: New Art New Zealand, or when a survey exhibition of his work, Love in the Shadows, initiated

by Artspace, Auckland, toured the country in 2002/03. When it comes to Harrison, the traditional definitions of stages in an artistic career and measures of professional and commercial success are more complex. He has often been described as ‘an artist’s artist’, and gallerists and curators in New Zealand and Australia have had faith in Harrison’s work since his graduation from Elam in 1996 with a Master’s degree in Fine Arts with First Class Honours (Painting).

Harrison had his first solo show with a public gallery – Artspace’s George Fraser Gallery – in 1988 and has been exhibiting with major dealer galleries since the early 1990s. In addition to support from major institutional collections such as the Chartwell Trust and Te Papa Tongarewa, Harrison’s practice has also built up a dedicated following of private collectors and, accordingly, the release of the artist’s practice to the secondary market has occurred in a sustained but controlled fashion. Recently, there has been a perceptible shift in the volume of

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and prices for Harrison’s work at auction and through dealer galleries; since 2010, there has been a twofold increase in the volume of sales at auction. By value, the average price achieved at auction has increased by 43%. As Justin Paton noted in his essay for the Love in the Shadows publication, “Michael Harrison’s strange, pale art has been rustling at the peripheries for years”; however, it seems that this is about to change.

Like many artists, Harrison shares a concern for the complex, contemporary relationship between art and everyday life. Visual art’s greatest challenge today is competition from the ‘real world’.

Why would an artist bother to invent or make a single image when new reproductive technologies can ensure global distribution? Harrison has developed a strategy for dealing with the effects of media culture on contemporary art. He underlines art’s status as ‘old technology’ and, while new media gives up its message quickly, his art releases its content only slowly, by degrees. He provides uneasy personal narratives in which the hand and history of the artist are strongly visible. His works have been described as romantic and playful yet sincere and sometimes ambiguous: full of soft, moonlit shadows, expressing thoughts of touch and longing. Art writer Jon Bywater was quoted in a review of Harrison’s work for Art New Zealand in 2001: “In offering us a chance to project our own memories or acknowledge our own private desires, the paintings are visual equivalents for classically crafted pop songs.”

Lot 3. Michael Harrison, Triangle

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Depicting the Tangata Whenua 1870 - 1920

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Webb’s is proud to present to the market three rare Maori portraits by Charles Frederick Goldie and Gottfried Lindauer.

The significance of these ancestral portraits is reflected not just in the technical and arthistorical importance of each, but also in the value they hold as precious ancestral taonga.

Historically speaking, the market for exceptional examples of Maori portraiture is one of the few subsectors that have exemplified a consistently high level of performance since the 19th century. Going back 150 years, it was predominantly the European buying audience which drove this market and ensured that masters such as Goldie and Lindauer were paid top dollars for their works. The extent to which this was motivated by an ethnographically minded curiosity is well documented; through a Western (albeit colonially distorted) lens, the tangata whenua were, for all intents and purposes, culturally distinct. A cultural fascination, partly drawing on the belief that Maori were a dying race, contributed greatly to the value and desirability of such portraits.

Contemporaneous secondary market performance and auction statistics reveal the ongoing centrality of Maori portraiture within the mainstay of the 21st-century art market. Throughout recent decades, an engaged and dedicated buying audience has repeatedly shown a willingness to spiritedly compete and pay a premium for these works. When viewed in light of the dramatically changing face of the New Zealand art market over the last 50 years and, in particular, the extent to which the current market’s focus is primarily captured by works of a modern and contemporary nature, this unwavering emphasis on and consistency of market reception for Maori portraits is all the more notable.

There is an unquestionable beauty in the exquisite technical finesse of the three works depicting Huia Whakamairu, Wiripine Ninia and Te Hei. All three of these speak to the artistic mastery of their creators: Lindauer’s mathematical precision and gorgeous treatment of light; Goldie’s direct and psychologically intimate engagement with his sitters.

However, their significance extends beyond the technical splendour of

each; there is also a precious and compelling ancestral value held inherently within these taonga.

The significance of these historical likenesses, therefore, is not just of value to descendants of the sitters but exists within the common psyche of New Zealand’s national identity. That the value of these portraits is both art historical and cultural is what makes them truly outstanding.

important paintings & contemporary art

Lot 22. Charles F. Goldie, Wiripine Ninia

Lot 26. Charles F. Goldie, Te Hei

When Thursday 28 November 6:30pm Where Webb’s Auction House Lot 23. Gottfried Lindauer, Mrs Huria Whakamairu, Wairarapa

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Thursday 28 November 2013, 6.30pm

Important Paintings & Contemporary Art

Viewing from Wednesday 20 November Evening viewing Wednesday 20 November 6:00pm – 8:00pm

Please join us to view the suite of sales.

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1 Tony Fomison Untitled graphite on paper 210mm x 330mm PROVENANCE Acquired by the present owner from Gow Langsford Gallery, 2002 Estimate $14,000 - $18,000

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2 Michael Harrison Searchers

3 Michael Harrison Triangle

watercolour on paper signed M.C. Harrison in graphite upper left; dated 12-7-01, 19-07-01, 28-5-02 and 19-10-02 and inscribed SEARCHERS in graphite verso 300mm x 210mm

watercolour on paper signed M Harrison in graphite upper left; dated 28-7-00 and inscribed Triangle in graphite verso; Hamish McKay Gallery stamp applied verso 295mm x 210mm

EXHIBITED Hamish McKay Gallery, 2002

EXHIBITED Hamish McKay Gallery, 2000

Estimate $2,500 - $3,500

Estimate $2,500 - $3,500

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4 Kushana Bush Turnbunkle Squat gouache and graphite on paper signed Kushana Bush, dated 2010 and inscribed Turnbunkle Squat, Pimp Squeaks, pencil and gouache on paper in graphite verso 760mm x 560mm EXHIBITED Pimp Squeaks, Ivan Anthony, Auckland, 20th October – 20th November 2010.

Estimate $4,500 - $6,500

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5 Judy Millar Untitled acrylic on aluminium signed Millar and dated 2003 in brushpoint verso 780mm x 570mm Estimate $5,000 - $7,000

6 Peter Robinson Personal Messages oil on paper signed P Robinson in graphite lower right and inscribed Personal Messages in oil stick upper edge 900mm x 1190mm Estimate $10,000 - $15,000

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7 Tony Fomison Thinking Quietly With Eyes On oil on hessian and enamel on found metal dish signed Tony Fomison and dated 1978 in graphite on Elva Bett Gallery label affixed verso 180mm diameter Estimate $16,000 - $22,000

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8 Max Gimblett Orbit gesso, polyurethane, acrylic and vinyl polymers on canvas signed ©Max Gimblett, dated 2004 and inscribed “Orbit”, P3974 in ink verso; Gow Langsford Gallery label affixed verso 890mm diameter Estimate $20,000 - $30,000

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9 Allen Maddox Grid Painting oil on canvas signed AM and dated ‘87 in brushpoint verso 560mm x 510mm Estimate $12,000 - $18,000

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Allen Maddox’s practice of the mid to late 1980s saw the artist return to using the more regimented square-grids that first held his attention a decade earlier.

However, while certain aspects of this period were familiar, his practice of the time also ushered in an electric use of colour that was a complete departure

from his previous work. His work from 1986 and 1987, particularly, is celebrated because of its somewhat jarring palette that blends seemingly contradictory colour combinations into a bright, pulsating harmony.

CHARLES NINOW

10 John Weeks Two Potters oil on board certificate of authenticity affixed verso 420mm x 355mm PROVENANCE Acquired by the present owner from John Leech Gallery, 1994.

Estimate $12,000 -$18,000

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11 Patricia Piccinini 36 Degrees on the 14th digital c-type photograph, 27/60 signed Patricia Piccinini and dated 2000 in ink lower right; Gow Langsford Gallery label affixed verso 790mm x 790mm Estimate $3,000 - $6,000

12 Peter Peryer Christine Mathieson gelatin silver print signed Peter Peryer, dated 1977 and inscribed Christine Mathieson in graphite verso 225mm x 235mm ILLUSTRATED Peryer, Peter, Photographer, Auckland University Press: Auckland, 2008, p.108.

Estimate $5,000 - $7,000

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13 Ronnie van Hout Hybrid c-type print 370mm x 490mm Estimate $2,000 - $3,000

14 Michael Parekowhai Jim McMurtry acrylic on resin and compressed foam construct 200mm x 710mm x 410mm PROVENANCE Acquired by the present owner from Melbourne Art Fair, 2004.

EXHIBITED Full scale inflated woven nylon substrate pigment version exhibited: Gwangju Biennale, Korea, 2004; Zacheta National Gallery, Warsaw, Poland, 2006; Contemporary Art Centre, Vilniuis, Lithuania, 2006; Reboot, The Jim and Mary Barr Collection, Christchurch Art Gallery, 2007; Maori Hall, Michael Lett, 2008; Power Plant, Toronto, 2009; Plastic Maori - A Tradition of Innovation, The New Dowse, Lower Hutt, 2009.

NOTE Full scale version released in 2004.

Estimate $12,000 - $18,000

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15 Dick Frizzell Good Luck Angel # 2 oil on board signed Frizzell, dated 13/2/79 and inscribed Good Luck Angel #2 in brushpoint lower right 390mm x 450mm Estimate $16,000 - $20,000 16 Bill Culbert Off White fluorescent tube deconstructed and reconstructed signed Bill Culbert, dated April ‘03 and inscribed “Off White” in ink on light fixture 610mm x 180mm x 100mm Estimate $6,000 - $10,000

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17 Dick Frizzell Man and his Dog oil on canvas signed Frizzell, dated 30/12/2001 and inscribed Man and His Dog in brushpoint lower right 1000mm x 1000mm Estimate $26,000 - $32,000

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18 Michael Illingworth Still Life oil on canvas signed Illingworth and dated 82 in brushpoint verso 585mm x 710mm Estimate $30,000 - $40,000

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19 Bill Hammond Fly acrylic on canvas signed W. D. Hammond, dated 1999 and inscribed Fly in brushpoint upper edge; Brooke Gifford Gallery label affixed verso 600mm x 900mm Estimate $65,000 - $85,000

Fly belongs to the Zoomorphic Dream series produced in the late 1990s, which further expanded on Hammond’s distinctive visual repertoire, through his exploration into both subject matter and painting techniques. Zoomorphism is the representation of animal forms and the transformations between them. It is an omnipresent theme, which recurs in much of Hammond’s work and depicts beings ranging from the humanoids of his earlier paintings to the elegant bird creatures from recent years. This striking menagerie of hybrid beasts and shapeshifters emerged from Hammond’s enduring interest in medieval art, particularly the works of Hieronymus Bosch and Pieter Bruegel the Elder, whereby cryptic mythological themes concealing supernatural elements and animal forms can be found buried within the picture plane.

Hammond’s travels to the subantarctic Auckland Islands in 1989 gave rise to an epiphany of sorts. For Hammond, these islands were reminiscent of ‘paradise lost’, an archetypal ‘birdland’ which existed in the way it would have been before the European colonisers or Maori reached its shores. Hammond is quoted in Gregory O’Brien’s Lands and Deeds: Profiles of Contemporary New Zealand Painters, 1996, as saying of the experience, “You feel like a 48

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time traveller, as if you have just stumbled upon it – primeval forests, ratas like Walt Disney would make. It’s a beautiful place, but also full of ghosts, shipwrecks, death.”

In Fly, an emerald-green world recalls a primordial time: before time, before man, before colonisation. It is occupied by figures with the heads of native birds, most notably the huia, which was driven to extinction by an overzealous trade in its plumage. Here, they also provide a pictorial link between the past, when these birds lived undisturbed and undiscovered, and the present where conservation endeavours are being undertaken to prevent the extinction of further species.

The figures represent the guardians of an unspoiled world, an early-warning system to perils which are yet to come. However, these winged creatures seem to be lounging dreamily amongst the branches of trees or socialising – some hold silver fern fronds as if to fan themselves, unaware of any impending doom. In folklore, the depiction of a bird represents the spirit world, where birds are considered to be harbingers of fortune and evil, and in dream mythology they represent the dreamer’s personality. In Fly, however, the birds are the dreamers preoccupied in their own world. Far from appearing unnerving or unsettling, the scene could be considered calm and inviting. The

figures seem to embody an adaptable and prevailing force of nature at one with its environment.

Hammond presents a myriad of possible readings, creating complex layers of meaning through his imagery. He weaves many strands of narrative, mythology and history into the painting, conjuring a rich visual syntax for viewers to decode.

A multiplicity of references, ranging from Renaissance art to science fiction, serves to create finer points of interest that require constant revision by the viewer.

Hammond’s knowledge and salient use of paint serve to create a richly textured world and a unique setting for the characters inhabiting the work.

The painting’s surface is stained with the ‘patina of time’ and daubed with trails of dribbling paint. Max Podstolski, in his 2000 article Painting the Island of the Day Before: W.D. Hammond, states that: “Ultimately, Hammond’s work succeeds on visual as much as symbolic terms, balancing the painterly and sensuous against his obsessive reprocessing of graphic information, reaching out to enlist the viewer on his voyage of mythical discovery and open-ended imaginative transformation”.

MARY-LOUISE BROWNE

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20 Bill Hammond Farmer’s Market acrylic on stretched canvas signed W.D. Hammond, dated 2009 and inscribed Farmer’s Market in brushpoint lower left 1850mm x 2600mm EXHIBITED Peter McLeavey Gallery, 2009.

Estimate $300,000 - $350,000

Farmer’s Market belongs to an acclaimed series of works by Bill Hammond, commenced in 2007 and known collectively as the Cave Paintings. As suggested by the title, in this definitive body of work, cavernous rock formations are central motifs and, in Farmer’s Market, the mouth of a cave is delineated along the upper edge of the picture plane and across three of its four corners, suggesting that the viewer is positioned in its shadowy depths.

The work is populated with an array of the artist’s signature avian-headed, humanoid forms, each of which is delicately rendered in gold pigment. For the most part, the figures are situated close to the cave’s opening; only a few solitary beings can be seen venturing out into the landscape.

Many of the figures are grasping objects, such as delicate, porcelain-white Moa eggs, large, weapon-like Moa bones and lifeless Huia suspended by their legs, which function almost as theatrical props.

By assigning each figure with an identifier that has a clear utility, Hammond infers that, as a whole, these figures function as a cohesive group and that each being plays a role that is beneficial to the community at large.

Farmer’s Market engages with the history of human development and, specifically, uses the Palaeolithic era, when Neanderthals (or early humans) were not yet able to build any permanent architecture, as its central reference point.

The artist’s choice of title is intended to draw attention to the fact that, during this time, human life sustained itself solely by hunting and gathering. Thus, the work’s crystal-clean, rolling waves of water and wild, unforgiving and yet ultimately 50

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untouched landscape speak to the detrimental effect of farming, industrial production and organised human labour.

In Farmer’s Market, the artist is astutely aware of the symbolic potential of his avian-headed figures. The figures advocate the light environmental footprint left by bird-life but also warn that any dominant species is likely to perpetuate itself in a manner that is ultimately unsustainable.

In order to illustrate this Darwinian predisposition towards self-interest, Hammond turns to a poignant example from New Zealand’s own natural history.

Inspired by the text The Lost World of the Moa: Prehistoric Life of New Zealand

by Trevor Worthy and Richard Holdaway (Canterbury University Press, 2002), in Farmer’s Market, the artist recounts the hunting of one native species by another or, more specifically, the predatory dominance over the moa by the giant eagle. The giant eagle would generally hunt in pairs; one would land on the moa’s back and claw and strangle the creature, while the other would attack from beneath, pulling out the moa’s heart and gizzards. In the distance, on the right-hand side of the picture plane, the dead body of a moa can be seen slumped over a rock formation, with the silhouette of a victorious giant eagle perched on top of it. Elsewhere, the moa’s by-products are used for ceremonial purposes; its gizzards hover above a sacrificial pedestal in centre field and its bones are brandished as hunting trophies by the figures standing in the lower right corner.

The presence of an elegantly formed harp on the left-hand side of the picture

plane infers that Hammond’s reference to human civilisation extends beyond just the rampant over-hunting practised

by Neanderthals. The work is intended to address the entire breadth of human life’s expansionist tendencies, including examples where humans have forced certain sectors of their own species into subservient roles. Along with the harp, the demeanour and arrangement of the avian figures is intended to parallel the structure of ‘sophisticated’ Western society. In Hammond’s tableau, the proud, upright posture of the figures, the delicately carved form of the furniture and the lush, hypnotic melody of the aforementioned harp are exposed as window dressing intended to mask the brutal, masochistic underbelly of a dominant species’ reign. Farmer’s Market posits that all of modern life’s seemingly innocuous exchanges are built upon an uncompromising, primal desire to survive and prosper which overrides the interests of environmental equilibrium and societal protection.

Sharing many of the same signifiers as those of the artist’s highly celebrated Ancient Pitch of 2007 (illustrated in Jingle Jangle Morning, Christchurch Art Gallery, 2007), Farmer’s Market is a mature work in which Hammond evaluates the core philosophies that have informed his life’s work. Acting as a conceptual bookend to the artist’s first bird paintings of the 1990s, which explored the effects of colonisation, Farmer’s Market casts its eye back to early human history in order to extend the artist’s critique and celebration of nature’s perpetual cycle of violence.

CHARLES NINOW

20 Bill Hammond Farmer’s Market

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23 Shane Cotton The Painted Bird acrylic on canvas signed S Cotton and dated 2009-10 in brushpoint lower right and inscribed The Painted Bird in brushpoint upper left; signed Shane Cotton, dated 2010 and inscribed ‘The Painted Bird’ in ink verso 3000mm x 1900mm EXHIBITED Shane Cotton, The Hanging Sky, Christchurch Art Gallery in association with Institute of Modern Art, Campbelltown Arts Centre, City Gallery, Wellington.

Shane Cotton: smashed myth, Anna Schwartz Gallery, Sydney, 2010.

ILLUSTRATED Paton, Justin. Shane Cotton: The Hanging Sky, Christchurch Art Gallery Te Puna o Waiwhetu: Christchurch, 2013 Estimate $120,000 - $160,000

In The Painted Bird, Shane Cotton brings together a number of influences to create a multifaceted narrative which, by way of the physicality and scale of the work, envelops the viewer in a rich, contemplative and visceral experience.

The richness of the colour and autonomy of the suspended bird hark back to the artist’s celebrated earlier period; this comprised sepia-toned works exploring narratives around biculturalism and the politics around national identity. The beginning of this century witnessed a shift in the compositional and stylistic elements of Cotton’s practice, while the conceptual basis and focus of inquiry have not only remained consistent, but also become highly refined. The resulting works speak to the fragility of existence and the precarious relationships man has with his surroundings.

Drawing from the stark compositions of Ed Ruscha, as well as the skyscapes depicted in colonial paintings from the 19th century, Cotton creates a narrative composed of interwoven meanings.

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The paring back and elimination of superfluous compositional elements displays Cotton’s confidence in his subject as well as the conceptual basis which underpins his practice.

The central focus of this monumental work is a falling bird. Painted in a hue which possibly connotes violence, the bird seems battered by invisible, external forces, unable to fly beneath an oppressive, turbulent sky. The early 2000s witnessed a shift in the artist’s working methodology, signalling the increased utilisation of airbrush pigments, which have come to signify the artist’s Hanging Sky series of works, to which The Painted Bird belongs. The utilisation of this technique serves to create the dense and immersive backdrop, against which the brush marks of the bird’s plumage, seemingly painted in a frenetic, yet controlled staccato pattern, provide a formal counterpoint to the dramatic skyscape. Similar to his fellow contemporary Bill Hammond, Cotton employs the symbol of a bird to

address concepts of nationhood: with the implication and acknowledgement of violence to native flora, fauna and people, within New Zealand’s history. The bird could be interpreted in a number of ways: as a ghost, a soul falling to the underworld; as a symbol of the loss of spirituality through the conversion of Maori to Christianity; and as an allegory to the ongoing challenges facing tangata whenua in a post-colonial society. In utilising the iconography of the bird, which repeats in differing permutations throughout the Hanging Sky series of works, Cotton offers a connecting thread, an echo of the floating emblems and symbols. By repeating, accumulating and subtracting these elements and, in the case of The Painted Bird, the bird itself, Cotton creates a powerful allegory about fragility and the precariousness of existence, inviting contemplation about its meaning and subject matter.

ALEKSANDRA PETROVIC

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22 Charles Frederick Goldie “One of the Old School”, Wiripine Ninia A Ngati Awa Chieftainess oil on canvas signed C.F. Goldie and dated 1913 in brushpoint upper left; inscribed “One of the Old School”, Wiripine Ninia A Ngatiawa Chieftainess, C.F. Goldie, Sale price £[struck out] in ink on original artist’s label affixed verso 230mm x 175mm Estimate $210,000 - $270,000

One of the Old School is an exquisite painting capturing one of Charles Goldie’s favoured subjects, rangatira Wiripine Ninia of the Ngati Awa iwi. Instilling the portrait with an engaging immediacy, Goldie has captured the strong and dignified form of his sitter with her eyes downcast, in a deep and contemplative spirit. This work is one of very few instances where Wiripine was captured by Goldie in a front-on position, enabling the viewer to fully appreciate the intricate detailing of her beautiful ta moko.

Whilst many of Goldie’s works isolated his sitters in studio settings, this particular portrait has set Wiripine against a background of carved wood and a raupo thatched wall, commentating the dynamicity of the tension in her position as ‘One of the Old School’ with tenuous and necessitated links to colonialism, as manifested in her Western attire of a shirt, a scarf and a shawl.

In considering the formal specificities of the work, it is important to take into account Goldie’s background as an academic figural painter. The artist was trained in Paris at the Académie Julian and, from the outset of his career, he was steeped in, and very much engaged with, the formalist tradition of 19th-century European realism. Consequently, he was strongly opposed to the expressive plein56

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air practitioners and the atmospherically liberal adaptations of light and atmosphere as adopted by the impressionists of the time. In terms of how this art-historical conservatism translated to his own practice, rigour of technicality was ensured through a studio-based practice, where filtered light and consistency of environment allowed for the artist to have complete control of his surroundings. One of the most striking aspects of One of the Old School, however, is the absence of any sense of a contrived, studio-enhanced portrait setting. Rather than attempting to effect a certain cultural theatricality, Goldie has opted to present Wiripine as a reserved and dignified presence.

The artist’s technically meticulous approach which ensured the integrity of his studio environment also extended to the physical aspects of handling his canvas: for example, One of the Old School bears evidence of the artist’s signature priming process, wherein he would apply primer to the canvas in short, diagonally intersecting brush strokes to form an underlying pattern and textural base for the work, which, although not overtly evident, contribute added depth and luminosity to the work.

standing rapport with Wiripine. Although relatively little is known about the sitter – aside from her being of Ngati Awa descent – it is clear that, given both the splendour of her ta moko and Goldie’s referring to her as a chieftainess, she was of noble standing.

As was the case with many of his sitters, Goldie had a well-established and long-

RACHEL KLEINSMAN

A strong sense of Goldie’s attitude to Wiripine can be gleaned through a consideration of the titles ascribed to her portraits, amongst which are: Memories, Looking Backward and One of the Old School. Without a doubt, these sentimental titles are steeped in history: retrospectively inclined. Although such nostalgic treatment of a race which, for all intents and purposes, was considered ‘condemned’, is problematic, there is also an element of elderly veneration present and this, in part, adds to the significance of One of the Old School. Ultimately, the symbolic value of the work is in its offering a vital ancestral connection to this Ngati Awa rangatira; there is an irrefutable sense of the sitter’s mana present in the work.

Executed in 1913, the painting is an honest and sensitive treatment of its subject: an absolutely superb example from the peak of Goldie’s technical refinement.

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23 Gottfried Lindauer Mrs Huria Whakamairu, Wairarapa, New Zealand oil on canvas signed G. Lindauer in brushpoint lower right; signed G. Lindauer pinx, dated 1876 and inscribed Mrs Huria Whakamairu in Wairarapa, New Zealand in ink verso 660mm x 530mm PROVENANCE Acquired by the present owner’s father c. 1975 Estimate $150,000 - $180,000

This rare portrait by Gottfried Lindauer is a magnum opus of the artist’s oeuvre, which illustrates both his convincing realist technique and his gorgeously evocative use of Caravaggian light. The work captures the handsome likeness of Mrs Huria Whakamairu, of Ngati Kahungunu descent.

Huria was a relative of Ihia Whakamairu, who lived just outside Masterton at Manaia, and witnessed the sale of the land on which Masterton was founded. The Whakamairus were a high-ranking family of the Wairarapa.

The exquisite detail with which Huria has been rendered extends to the portrayal of her traditional Maori attire; this is certainly one of the most striking aspects of the work. Given the extent to which the minutiae of detail have been captured, in addition to the overall sense of psychological and formal realism present in the work, it is likely that the painting would have been executed from a photograph. This technique was commonplace amongst late-19th and 20th-century painters, and was frequently employed by Lindauer. In a sense, this says something about Lindauer’s relationship with his subjects; in lieu of placing emphasis on a personal engagement and rapport, the artist preferred to study from photographs in order to be able to apply a meticulous, quasi-scientific approach to the handling of light and his subject matter.

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A consideration of Lindauer’s artistic motivation in this instance is important; the relatively grand scale of the work, to start with, suggests that the portrait was likely intended for a European collector.

This is further evidenced by the full Maori attire with which Huria is adorned – this is a splendid costume which would have appealed greatly to a European audience.

In considering this, it is important to take into account the fact that creating a faithful account of his sitters was generally considered to be of secondary importance to Lindauer, who first and foremost sought to create aesthetically beautiful, well-executed works of overall cultural appeal. The relationship between Lindauer and his subjects is one which therefore reflects the artist’s conundrum of cultural representation. Spurred on by the belief that the Maori race was dying out, Lindauer believed that each portrait constituted a unique documentary record and there is certainly something special in this.

Implicit in any contemporaneous visual analysis is an awareness of the ‘otherness’ of Lindauer’s sitters and the disparity between gaze and sitter.

Because Lindauer did not start keeping a diary of his work until 1877, there is no record of his commissions for 1876.

Nonetheless, archival information offers insight into the circumstances surrounding the production of Mrs Huria Whakamairu.

Following his arrival in Wellington in 1874, Lindauer went straight to Nelson where he stayed until 1875. It is likely that it was during his time travelling back to Wellington in 1875 that he first encountered Huria and obtained a photo of her likeness. The artist arrived in Auckland in 1876 and stayed until 1877 (when he painted this work). Portraits of Huria’s relatives Ihia Whakamairu and his daughter Erihapeti Whakamairu were also accomplished by the artist in the following year, 1877.

Whilst in Auckland, Lindauer established a relationship with businessman Henry Partridge, who eventually became the artist’s primary patron, and sought, through his patronage, to construct a pictorial record of the Maori people. In terms of a chronological consideration, it is also worth noting that this work was executed in the year prior to the artist’s influential Wellington exhibition of artwork in 1877, wherein his artistic reputation as a Maori portraitist was cemented.

He subsequently secured numerous commissions from Maori chiefs and prominent figures, and provided a service for both Maori and European clients.

RACHEL KLEINSMAN BIBLIOGRAPHY Biographical and archival information obtained with the assistance of Patrick Parsons.

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24 Gordon Walters Genealogy PVA on canvas signed Gordon Walters and dated 72 in brushpoint verso 1220mm x 910mm PROVENANCE Acquired by the present owner in 1982 EXHIBITED Petar James Gallery, 1972 ILLUSTRATED Full page reproduction.

Art International, Vol XIX/1, January 20 1975, p.25.

Estimate $390,000 - $470,000

Genealogy belongs to a series of paintings that Gordon Walters commenced in 1968 – two years after his first exhibition of paintings using ‘koru’-derived motifs at New Vision Gallery – and produced until 1974. Although, in using circular forms, horizontal bands and a binary interplay between fields of tone, the Genealogy paintings were based upon the same ‘tool kit’ as were the artist’s first paintings to explore the potential of the koru form, the manner in which these new works were composed was a distinct departure. It was typical for earlier works to contrast areas of dense activity with fields of uninterrupted bands of solid colour 1 and, in these works, the areas of activity were usually situated in a manner that subscribed to established compositional frameworks such as the rule of thirds or the golden section. Prior to the Genealogy series, Walters essentially constructed ‘images’ from his reduced koru motifs: compositions that were aware of the edges of the picture plane and had a legibility, and that could function independently from the dialogue associated with the interconnected koru forms.

The Genealogy series saw Walters step away from the conventions surrounding abstract painting as it had previously been practised in New Zealand.

Even cornerstone figures, such as Colin McCahon and Milan Mrkusich, who pioneered the practice of nonrepresentational painting in the 1950s and ’60s, made paintings with breaks, pauses and intended points of focus.

In McCahon’s practice, every part of the image had an intended purpose and, in Mrkusich’s early practice (such as the 60

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Emblem paintings), his images functioned almost as musical compositions, which, in turn, grew louder, then softer, then sharper and then slowed to an atmospheric hum.

The Genealogy series, which took its lead from the interconnected, carved rauponga patterns of Maori decorative art 2, saw Walters begin to make paintings without prescribed beginnings or ends 3. The works of this period were typified by the stacked, serialised use of the koru motif and the way in which he constructed this imagery had strong ties with strategies employed by minimalists such as Sol LeWitt and Frank Stella, whose practices developed concurrently with that of Walters.

This Genealogy painting, the only one to have ever resurfaced and been made available in a public, auction-based setting, is particularly notable because of its use of colour and an uninterrupted, modulated grid of koru forms. The base tone, a crisp and immediate coral-red, intentionally references the ochre-reds and siennas used to paint the carved panelling of Maori architecture 4, and the secondary colour resonates between dark graphite-grey and subdued blue. The colours share a common weight which denies that either is more dominant than the other. Like the interlocking koru, the colour scheme speaks quietly to the codependent nature of binary positions: a dominant theme in the artist’s practice.

The work’s uninterrupted grid of koru forms treats the motif as a raw material rather than a pointed statement. In Genealogy, Walters insinuates that, if the exterior bounds of the canvas were removed, the pattern would replicate and continue forever.

Much of the critical discourse surrounding Walters’ practice has emphasised the artist’s neutrality surrounding his appropriation of Maori symbols. The artist himself said: “My work is an investigation of positive/negative relationships within a deliberately limited range of forms; the forms I use have no descriptive value in themselves and are used solely to demonstrate relations.” 5 However, a work like Genealogy reveals the subtle and implied narrative intended in his use of the koru. In its traditional usage, the koru serves as a symbol of new life and growth and, in Genealogy, its interlocking repetition serves as an illustration of the laws that govern human life and the natural world; most notable is the fact that every life form is dependent on another for its survival and perpetuation. On both a literal and conceptual level, Genealogy examines the network of relationships that are the fabric of the physical world.

CHARLES NINOW REFERENCES 1 For example, see Painting No. 1 (1965), held in the collection of Auckland Art Gallery Toi o Tamaki and purchased in 1966.

2 Dunn, Michael. “The Art of Gordon Walters” (thesis for Doctor of Philosophy qualification in Art History, The University of Auckland, 1984), p. 191.

3 While some of the works from this series had visual breaks (such as can be seen along the lower edge of Genealogy, pictured right), they were less prescribed by the bounds of the canvas and used less as a means making the works function as images with delineated points of interest.

4 Dunn, Michael. p. 80.

5 Dunn, Michael. “The Enigma of Gordon Walters”, Art New Zealand.

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25 Michael Smither Elizabeth with Sarah and Joseph oil on board signed M. D. Smither and dated 68 in brushpoint lower left 1100mm x 1210mm PROVENANCE Acquired by the present owner from Warwick Henderson Gallery, 1996.

Estimate $120,000 - $150,000

Elizabeth with Sarah and Joseph captures a moment in the household which could have taken place at any time of day.

Rather than a specific space-in-time, what Michael Smither describes here is a transitory moment. With a disassembled doll and toys strewn across the table, and a child holding a cat in a manner that has prompted it to lash out with a swinging paw, this is not a delicately staged family portrait but, rather, a living reality. The work belongs to the artist’s seminal series of Domestic paintings, made between the late-’60s and mid-’70s, which have, along with his landscapes of the same period, come to be celebrated as a pivotal body of work for the artist. As suggested by their assumed moniker, the Domestic paintings saw the artist turn his focus towards his immediate home environment and, rather than simply celebrate the paternal experience, the works explore the sitters’ nascent psychosocial development.

In Elizabeth with Sarah and Joseph, the artist presents the members of his family as somewhat imperfect beings. In his stiffbristled strokes, applied with a confident, knowing hand, Smither has intentionally worked up concentrated areas of intense detail while others have been graded into smooth planes of modulated colour.

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Particularly, the heavy chiaroscuro on the children’s faces gives them a worldly appearance. As they are painted here, the children’s faces echo their adult selves; accordingly, the viewer is prompted to consider characteristics of their current dispositions which may be indicators of the way in which they will function in their future lives. It is rare that Smither pictures himself in these works and his absence positions him almost as an objective outsider performing a behavioural analysis of an unknown set of subjects.

While the gulf between the artist and his subjects in this Domestic painting suggests that their relationship is of a clinical nature, it also speaks to the issues associated with paternal absence.

While, on one hand, the work examines the implicit subtleties of undeveloped human nature, on the other, it speaks to the importance of a nurturing relationship between parent and child. It is well known that Smither was greatly influenced mid-century New Zealand regionalism and, accordingly, the influence of pastoral ideals can be keenly felt in Michael Smither’s landscape paintings of this period. While they picture the interior of an architectural environment, Michael Smither’s Domestic paintings can be seen

to be a celebration of a pastoral lifestyle and an existence that allows for a strong and reflexive familial bond.

Produced in 1972, Elizabeth with Sarah and Joseph was painted at a time that many regard to be the height of the artist’s technical proficiency. Like many of his contemporaries, such as Don Binney, who were practising during this time, the artist took a pragmatic approach to figuration and translated only the most necessary aspects of reality into his images. The details that were included were described in heightened colour and contrast and, accordingly, Smither’s images of this period have a formal immediacy.

In Elizabeth with Sarah and Joseph, the artist’s handling of imagery has a plasticity that speaks to the very nature of concrete experience and the way in which experiences are recorded to memory; whereby the most pronounced aspects of a moment-in-time feature more prominently in years to come. The artist’s handling of pictorial content speaks to the inherent value of seemingly trivial occurrences and the formative influence that they have on both parent and child.

CHARLES NINOW

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26 Charles Frederick Goldie Te Hei, A Ngati Raukawa Chieftainess oil on canvas signed C.F. Goldie dated 1920 in brushpoint upper left; inscribed Te Hei, A Ngatiraukawa Chieftainess in graphite and inscribed Te Hei, A Ngatiraukawa Chieftainess in graphite in another hand verso; John Leech Gallery label affixed verso 265mm x 220mm Estimate $195,000 - $240,000

Charles Goldie’s sensitive rendering of the aging chieftainess Te Hei evokes the humanity and spiritual tour de force of the artist’s hand. Although Goldie painted the likeness of Te Hei on several occasions over a period of 13 years, this particular portrait shines out as a gem of the artist’s later production, and is emblematic of the enduring relationships which Goldie cultivated with his sitters from the outset of the 20th century.

Formally speaking, the work demonstrates the slightly freer, more expressionistically inclined technique which defined the height of Goldie’s mature production.

One of the most engaging aspects of the portrait relates to the positioning of Te Hei within the picture plane; depicted in traditional Maori costume and wearing a striking hei tiki, Te Hei assumes a directly front-facing pose, becoming a strong and spiritedly gracious presence. At the same time, the vulnerability and rawness of her hunched pose and squinted gaze imbues the work with a certain element of fragility and humanity.

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Te Hei was captured by the artist in two portraits executed in 1907: a front-facing work and a profile study entitled Touched by the Hand of Time. An additional painting depicting the sitter was also executed in 1909 (this was one of the works stolen from Wellington’s National Art Gallery in 1969).

The fact that Goldie returned to re-engage with Te Hei after 11 years is indicative of the long-standing relationships he maintained with his sitters, and the extent to which he felt invested in documenting his subjects with artistic integrity over the years. Te Hei, a Ngati Raukawa Chieftainess, therefore, stands to represent much more than a likeness, and speaks to the ongoing relationship through which Goldie had continued to engage Te Hei over an extended period of time.

The present work is also one of the last important Maori portraits to have been realised by the artist before he relocated to Australia. He faced significant financial difficulties and it wasn’t until after his father started providing him with a regular income from 1913 that Goldie was able to hone his focus towards the production of modestly sized paintings – such as

the present depiction of Te Hei – for domestic consumption rather than the more-extravagant works tailored for a European market. In the years to come, the idea of going to Australia persisted with a discontented Goldie and, in 1916, he wrote to Sydney artist Alfred Hill to suggest a joint painting trip, lamenting that “things are very bad here in my line”. It was some years later, and very shortly after the present portrait of Te Hei was executed, that this plan came to fruition and Goldie relocated to Australia.

Although the artist did later return to New Zealand in 1923, this period marked a significant shift in the style and nature of his artistic output, and was plagued by the artist’s persistent ill health. Te Hei, a Ngati Raukawa Chieftainess is, therefore, particularly special for being one of the last Maori portraits from within this period of the artist’s production to have been accomplished by Goldie.

RACHEL KLEINSMAN BIBLIOGRAPHY Blackley, Roger, Goldie, Auckland Art Gallery: Auckland, 1997.

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27 Pat Hanly Hope Vessel Attacked oil and enamel on board signed Hanly, dated 85 and inscribed Hope Vessel Attacked in brushpoint upper right; signed Hanly, dated 85/86 and inscribed Hope Vessel Attacked and Post “Rainbow Warrior” in ink verso; Vavasour Godkin Gallery label affixed verso 1190mm x 1190mm Estimate $85,000 - $100,000

Hope Vessel Attacked is part of a suite of 16 ‘protest’ paintings, known as the Fire this Time (post Rainbow Warrior) series produced by Pat Hanly in a 14-month period after the bombing and sinking of the Rainbow Warrior in Auckland Harbour in July 1985. This act of sabotage and ongoing French nuclear testing in the Pacific refuelled this politicised phase in Hanly’s oeuvre. His concerns were as much social and political as they were aesthetic at a time when there was great public discord and disruption and he could see that his work could play a role in effecting change.

He consciously set out to express his antinuclear views to audiences in an exuberant and colourful manner, and to provoke and inspire. Gregory O’Brien in Hanly, his 2012 monograph on the artist, notes: “These acts of imaginative protest were perhaps his greatest merging of worldly politics and high-flying idealism – of pragmatism and daydreams of a perfect world”.

In this painting, it is evident that Hanly is revisiting themes and motives from the 1960s’ Fire series. His sailboats, which first appeared in the Fire series, are symbols of the freedom and sense of escape the artist experienced on the waters of Auckland Harbour. In the ’70s and ’80s, he gained a national reputation

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as a water-borne protester taking every opportunity to protest against the arrival of any nuclear-powered vessel, prompting the 1970s’ painting Pintado Protest which reintroduced the sailboat imagery along with a roiling, expressionistic painting style.

Hope Vessel Attacked, however, is brighter and bolder, and Hanly experiments with and showcases his unrivalled skills as a colourist.

The yacht motif, which Hanly saw as a ‘hope vessel or ark’, the sea and fire are still the predominant figurative elements in this work. Again, this was done at a time when Hanly was actively seeking to link his present work to the past. Elements from his earlier Inside the Garden series mutate into nuclear explosions and against a backdrop of electric blue, blooms from the natural world appear torn and frayed.

Hanly’s return to earlier paintings as points of reference became part of his methodology. He would find a way forward by going back. Russell Haley in Hanly – A New Zealand Artist remarked that Hanly worked “as we all must in life as well as art. We do not lose ourselves as we move forward. We are everything we were.”

MARY-LOUISE BROWNE

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28 Jude Rae “The Fold (Study)” oil on canvas signed J Rae, dated ‘94 and inscribed “The Fold (Study)” in ink verso and inscribed “The Fold” (Study) in ink on stretcher verso 1675mm x 1220mm Estimate $25,000 - $35,000

In the mid-1990s, Jude Rae embarked on a series of paintings of swagged, rumpled and twisted white fabric. A common subject for classical painters studying still life, this drapery brought a cloaked reference to the figure-painting tradition.

These works also subtly reference the practice of using fabric as a screen between the nude model and the onlooker when women were first admitted to life classes in the colonial outposts of the English Art School system. In this case, however, The Fold is reminiscent of the linen from an unmade bed and alludes to the absence of the figure in the painting.

Rae’s detailing of the fabric, rather than

of a figure, as the subject literally draws a curtain right across the scene and brings the act of concealment to the foreground.

The body is banished from direct sight but its presence becomes even more apparent in the folds and mounds of the cloth. The illusionary aspect of painting fabric on what is essentially fabric is what can be described as an artist’s sleight of hand. In this inherently realistic painting, Rae reveals her skills as a master painter capable of artifice and the conjuring of past events, memories and feelings.

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29 Gordon Walters Untitled ink on paper image size: 605mm x 455mm paper size: 635mm x 485mm PROVENANCE Previously in the collection of John Perry, former director of Bath House Museum, Rotorua.

EXHIBITED Drawing, New Vision Gallery, 1968.

ILLUSTRATED Dunn, Michael, Gordon Walters, Auckland Art Gallery Toi O Tamaki: Auckland, 1983, p. 36.

Estimate $60,000 - $70,000

When Gordon Walters utilised the positive/ negative pattern in his first koru painting, Te Whiti, in 1964, he found, through a Maori referent, the means to create one of the most aesthetically resolved pictorial structures. He then embarked on what is now considered to be one of the most important series of paintings to be made in New Zealand.

This work on paper, Untitled, originally exhibited in Walters’ first solo show for 17 years at New Vision Gallery in March 1966, is one of a series of works in an exhibition that has been lauded as a manifesto. Crucially, this was the first formal exhibition of Walters’ koru works. In Untitled, Walters has contrasted vertical rows of black motifs at the edges of the work with white motifs and done the same through its centre. This play on contrasts, deliberately restricted to black with white, of curved with straight, stacked one on top of the other, is carried on into the structure of the work itself.

The evolution of the koru series, named 70

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after the familiar Maori motif used by kowhaiwhai painters, unfolded over a number of years. In 1956, Walters first made serious studies using variations of the curving bulb and extended stem of the koru; these were painted entirely in freehand and had a strong sense of the artist’s manufacture. Walters organised the motifs across the paintings in lines so that the viewer typically reads them from left to right, unlike the Maori use of koru in traditional rafter painting or gourd carving.

As an extension of this idea, in Untitled, Walters has left the lower part of the work untouched, contrasting its active upper part with a quiet foundation. It is similar to those earlier studies painted on paper, in that there is a top and bottom to the design and this is assisted by the stretching of the koru stems into horizontal bands.

There is a cropping of the edges, which creates a sense of optical movement and a structural shift beyond the painted area.

Of Walters’ extant works on paper, some are in black ink while others are in a

combination of black ink and gouache.

Certainly they were instrumental in helping Walters arrive at the precision he wanted for his final koru paintings. In Untitled, it is evident that Walters has developed a more-mechanical methodology using a compass and ruler to draw bands and terminations. This shift to a harder-edged abstraction took his style further from its indigenous beginnings and the motif was translated into another context.

Walters turned towards a pure geometric minimalism and began to use tonal extremes at a time when “black and white resounded across the art world”.

Untitled demonstrates the infinite possibilities of a ‘limited vocabulary’. The optical punch which results from this more-concentrated black-and-white painting on paper emerges from the two-dimensional surface of the picture plane. “Reconciling opposites” in his work, Walters enjoyed “bringing the thing to a state of rest”.

MARY-LOUISE BROWNE

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30 Ralph Hotere Requiem for Tony acrylic and brolite lacquer on board signed Hotere and inscribed Requiem for Tony, Port Chalmers in brushpoint verso 810mm x 1185mm Estimate $70,000 - $90,000

Requiem for Tony belongs to a series of works created in 1973 and 1974. The series is centred on belief systems and offers an exploration into spirituality, mysticism and mythology. The work utilises Hotere’s austere compositions by adding pictorial elements created by a very precise hand in order to present a meditation on the nature of existence. The series is related to the 1973 death of the composer Anthony Watson, the University of Otago’s inaugural Mozart Fellow from 1970 to 1971, and the death of the artist’s mother in 1972.

brush strokes, which interrupt the flat texture of the parallel lines on the surface of the painting. The convergence of these two applications of paint creates a compositional focal point in the work.

Centred at the point where the red parallel lines dissect the violet lines, the area becomes a gateway into the work, leading the eye along each brush stroke outwards into the expanse of black which fills the surrounding space.

Parallel diagonal lines travel downwards in the lower half of the work in shades of red and violet. Upon closer inspection, these controlled lines betray their seemingly virtuoso execution and, by revealing this evidence of the artist’s hand, Requiem for Tony yields an unexpected visual surprise.

In Requiem for Tony, black is used as a tool for illuminating and reflecting, its glossy surface created by layer upon layer of brolite lacquer; this results in a mirror-like surface which reflects back the image of the viewer. In this way, the work draws the viewer into the compositional elements of the work and into considering the formal composition as well as its meaning.

The repetitive nature inherent in the execution of this part of the work could be interpreted as a monastic act, whose undertaking will bring about a serenity, ecstasy or rapture. These controlled lines are subverted by a series of gestural

The glossy surface prevents the many details of Requiem for Tony from being viewed at once, forcing the viewer to move around in front of the work in order to observe the many intricacies of its surface qualities. The delicate line curving upwards

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from the upper left edge appears to have been placed to echo this act. The dense field of black is immersive, intended to draw focus to the senses, once again displaying Hotere’s reference to the monastic tradition in evoking a heightened state of emotion. Requiem for Tony invites contemplative reflection, as the black also acts as a metaphor for death and rebirth.

The darkest parts of the composition move and shift, much like the skies at night, to reveal the breaking of dawn, the ceasing of nocturnal silence and eventual rebirth.

Thus the reflective surface of Requiem for Tony acts as a metaphor for the passing of time.

Hotere’s deliberate act of eliminating obvious religious doctrine in the work imbues it with a mutable narrative which shifts with each viewing. Through a measured utilisation of lines, symbols and composition, Requiem for Tony is a meditation on spirituality and its relationship to life.

ALEKSANDRA PETROVIC

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31 Peter Robinson Boy Am I Scarred oil stick, acrylic and duct tape on cardboard with cutout section in lower right quadrant signed Peter Robinson in graphite on label affixed verso 1540mm x 1110mm Estimate $45,000 - $65,000

In the last decade, Peter Robinson’s large scale, fabricated installations have established him as one of New Zealand’s most senior practitioners. It was these later works, which reference geomorphic mass and molecular structure, with which he represented New Zealand at the Venice Biennale in 2001 and then won the Walters Prize in 2008. However it is his early works from the 1990s that hold the most profound level of cultural significance.

the words Am I Scared Boy (Eh) inscribed across a dark, bleak field of sky. McCahon’s adoption of urban Maori vernacular, accented with the phrase ‘eh’, was intended to draw attention to a generation’s dislocation from its own cultural heritage and Robinson’s adoption of and amendments to the phrase – notably the change of the word scared to scarred – endow McCahon’s words with somewhat of a prophetic quality.

with Nazi Germany of the 1930s. However, the form drawn by Robinson was not a Nazi Swastika but rather, its vertical mirror image is a symbol used in ancient Tibet as the graphical representation of eternity. Once the viewer becomes aware of Robinson’s intervention, the fourarmed, equilateral cross sheds much of its inflammatory power and the phrase ‘Our Place’ is allowed to take on an inclusive rather than an exclusive tone.

The works from this period generally engaged with popular ideological positions – the type of vitriol that might emerge from a particularly heated debate on ‘talkback’ radio and continue to hold currency because of their ability to mirror contemporary political debate. Recently, a work from this period, featuring a prominent left-facing swastika, was given new significance when it was exhibited at Germany’s Frankfurter Kunstverien in a Creative New Zealand-funded survey of contemporary New Zealand art. The exhibition, entitled Contact, opened in October 2012, more than a decade after the work was originally made.

Robinson’s claim to a mixed European and Maori ancestry lends him the authority to engage with the politics of the tangata whenua’s treatment under the governance of the Treaty of Waitangi; however, with a stated 3.125% Maori ethnicity, Robinson’s claim is intended to be perceived as somewhat tenuous. Rather than subscribe to a position that is simply concerned with the rights of an indigenous people, Boy Am I Scarred Eh! seeks to address the potentially segregational nature of biculturalism.

These three works by Peter Robinson are all lent further meaning by the artist’s adroit use of materials. Each work is executed on found corrugated cardboard using thick, gritty oil stick and, in each work, the ridges of corrugated substrate affect and enliven the way in which the image is drawn. The choice of material borrows heavily from the language of the political placard and, as such, the treatment manages to endow even the potentially flaccid statement presented

by Fish + Chips with a protagonist thrust.

The works intentionally play to the art world’s liberal disposition towards minority causes at the same time as mocking its hierarchies by calculatedly avoiding the canvas and easel.

Boy Am I Scarred Eh! takes its choice of phrase from McCahon’s iconic painting of 1976 entitled Scared which featured 74

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On the surface, Our Place presents the viewer with an opposing viewpoint. With the prominent use of a Swastika-like form coupled with the words ‘Our Place’, the work easily recalls the white-nationalist sentiment that is typically associated

CHARLES NINOW

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32 Peter Robinson Our Place oil stick, acrylic and duct tape on cardboard signed Peter Robinson in graphite on label affixed verso 1090mm x 800mm Estimate $22,000 - $30,000

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33 Peter Robinson Fish & Chips oil stick, acrylic and duct tape on cardboard signed Peter Robinson in graphite on label affixed verso 1110mm x 770mm Estimate $16,000 - $26,000

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34 Bill Hammond Moa Hunter Cave 2 acrylic on canvas signed W.D. Hammond, dated 2009 and inscribed Moa Hunter Cave 2 in brushpoint upper left 900mm x 600mm EXHIBITED Peter McLeavey Gallery, 2009.

Estimate $70,000 - $80,000

Bill Hammond’s Moa Hunter Cave is a masterpiece of the artist’s contemporaneous production: an alluringly dark and brooding avian exploration.

Depicted near the entrance of the cave is the work’s dominating figure: an immense human-limbed creature, distinctly resembling New Zealand’s Haast eagle and suspended in mid-air, a translucent, limp hide of prey in its clutches.

A number of Hammond’s recent paintings contain similar depictions of these nowextinct New Zealand eagles, creatures which he bestows with the same sense of sinister pride that is palpable in the present work. On the whole, these stand out as gorgeous and distinct works, emblems of this gothically inclined period of his production.

Undoubtedly the most visually striking aspect of Moa Hunter Cave is the luminescence of gold ink which emanates from and bleeds through the canvas, radiating into the cave and shedding light on the minutiae of rocks and plant life, and the emerald-green of the eagle. The 78

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potency of the gold is such that, in parts, it reflects from beneath layers of green and blue, yielding an effect of stunning translucency. This use of light brings into stark evidence the viewer’s oppressively claustrophobic placement; rather than inviting us to gaze into the cave, Hammond has positioned the viewer within its deepest recesses, encouraging us to peer out alongside the predators in their natural environment and feast on every available glimpse of light.

Setting the scene within the cool obscurity of a cave, Hammond has rendered this melancholy depiction of avian hunters as one which breathes a dank, dark death. In addition to lamenting the extinction of the moa, the broader cautionary ecological message links the painting to Hammond’s wider oeuvre, and demands further exploration of the relationship between humans and the environment. In recalling the extinction of the moa, the unavoidable fact of the Haast eagle’s extinction is also brought to the fore. The human limbs

afforded to these predators manipulate our perception of, and question the role of humanity in, this process of extinction.

The setting of the forest also integrates Hammond’s awareness of Maori spirituality, a theme which has recurred throughout his work: the presence of the great eagle representing Tane, god of the forest. Remarkably, this eagle depiction was originally inspired by ancient Egyptian and Assyrian art; Horus, Lord of the Sky, was an eagle-headed figure which Hammond adapted to a uniquely New Zealand context. In this sense, Hammond has used the device of the eagle as a means of imbuing a sense of multilateral spirituality and recalling the predation and extinction of the moa; read the fragility and preciousness of the untouched natural world. The work’s presentation to the market is of further significance; it exists within the period of the artist’s production which has experienced a coming of age and maturation within the last two years.

RACHEL KLEINSMAN

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35 Bill Hammond I Had a Dream Last Night, You Were In It acrylic on canvas signed W. D. Hammond, dated 1984 and inscribed I Had a Dream Last Night, You Were In It (Randy Newman) in brushpoint on lower baton 1870mm x 1350mm Estimate $75,000 - $95,000

I Had a Dream Last Night, You Were in It presents a dystopian cityscape, which is both disorientating and familiar, replete with sharp angles and jagged lines, and populated by ghostly figures. Hammond’s love of music is evident in the title of the work; the song by Randy Newman, which also bears this title, focuses on a protagonist recollecting a recent disturbing dream populated by vampires, ghosts and a partner who has forgotten the protagonist’s identity.

Much like the song, the work can be interpreted as a portal into a surreal dreamscape. Hammond borrows from the Japanese Ukiyo-e pictorial tradition to create a floating urban world, and perhaps to make a wry comment on contemporary society, through choreographing a unique mise en scène in an urban environment.

Hammond’s interest in comic books, especially those of Art Spiegelman and Raymond Pettibon, is also evident in the rendering of the floating figures that populate I Had a Dream Last Night, You Were in It. The brush strokes of the figures serve to elongate them and exaggerate their movements. Hammond’s use of primary colours heightens the visceral qualities of the work: an element borrowed from German expressionism, particularly the practice of Ernst Ludwig Kirchner, whose angular forms accentuated the physicality of the figures populating his paintings. Another point of comparison is in the urban settings of Kirchner’s works, particularly the street scenes, such as

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those in Potsdamer Platz, painted in 1914.

Hammond utilises these techniques to emphasise the converging diagonal lines of the surrounding building façades, steps and roads, creating a labyrinth through which the viewer’s eye travels.

The application of paint throughout I Had a Dream Last Night, You Were in It is expressive also, with long diagonal sweeps of paint broken up by fine, controlled, dashes of the artist’s brush.

I Had a Dream Last Night, You Were in It showcases the formal elements which would also become evident in Hammond’s bird paintings. It is worth noting that the works produced before Hammond’s trip to the Enderby Islands in 1989 feature the elevated perspective seen in I Had a Dream Last Night, You Were in It while, in the works produced after the trip, the point of view is lowered to occupy that of the bird inhabitants. Aside from the differing colour palette, I Had a Dream Last Night, You Were in It also provides a connective thread to the use of formal elements such as the application of paint in strokes and drips, which would become prominent in the artist’s later works. The utilisation of floating figures against a dense background landscape to entice the viewer to look further into the pictorial plane is present also; those figures are evidence of Hammond’s mastery of composition and his vast visual knowledge, which would become celebrated facets of his oeuvre.

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36 Allen Maddox Untitled oil on canvas Gow Langsford Gallery label affixed verso 840mm x 1015mm Estimate $20,000 - $30,000

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45 Judy Millar Untitled acrylic on aluminium signed J Millar and dated 2001 in brushpoint verso 950mm x 800mm Estimate $6,000 - $8,000

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38 Pat Hanly Pacific Fire oil and enamel on board signed Hanly and dated 86 in brushpoint lower right and inscribed Pacific Fire in brushpoint upper right; original artist’s label and Vavasour Godkin Gallery label affixed verso 1195mm x 1200mm Estimate $85,000 - $100,000

Pat Hanly’s work is characterised by both an extraordinary energy and a persistent search for a fresher visual language and integrity of expression. Central to his work, also, is the affirmation of the value of life and issues that shaped the collective national psyche. Pacific Fire reflects the passion that Hanly felt about important moral, social and political issues and the use of paint to convey messages of protest. This artwork, a post-Rainbow Warrior painting from the Fire this Time series, balanced the need to express his response to nuclear testing in the Pacific with his desire to create dynamic works that conveyed great optimism. Here, his use of big shapes expands on his range of mark-making and deliberate graphic style.

The overall quality of this work is freer and more fluid and there is a more immediate sense of Hanly discovering his forms as he worked. It is evident that every technical and perceptual advance that Hanly had made up until this time was present in his Fire this Time series.

Hanly’s paintings are imbued with a figurative quality that has an immediate appeal. Yet there is little that is conventionally decorative in his work.

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In Pacific Fire, unidentifiable shapes and elements dissolve and float in a flat blue space, which has an unsettling absence of perspective. He purposefully puts the subjects to the front of the picture plane and highlights them against the expanses of colour and light. Of his use of a flat picture plane, Hanly wrote: “Remember the binoculars. Flat detail, all up close and real, early Italian landscape and figure paintings … clarity … and the curious truth of no perspective.”

Hanly was able to bring an anti-nuclear message to his audiences, while acknowledging Auckland’s position as the largest Polynesian city in the world, by using a painterly language that reflects an emerging Pasifika visual culture. The rich, rainbow-inflected character of his work is founded on the fact that New Zealand is linked culturally and geographically to the Pacific. Niuean-born poet and artist John Pule, who was drawn to Hanly’s use of brilliant and urgent colours, fully understood that he “pioneered the way for other artists and writers to see the Pacific as a place of true and powerful feelings”.

MARY-LOUISE BROWNE

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39 Raymond Ching Drawing is Possession/ Alice Through The Looking Glass Lets Flying Fish Swim Up Her Skirt (If They Want To) acrylic, pigment ink and ink on canvasboard signed Ray Ching, dated 2007 in brushpoint lower right and inscribed Drawing is Possession/ Alice Through the Looking Glass Lets Flying Fish Swim Up Her Skirt (If They Want To) with incision lower edge 990mm x 1150mm EXHIBITED Artis Gallery, Ray Ching Autobiography, October 2008 Estimate $35,000 - $45,000

Raymond Ching is considered to be one of the best wildlife painters of the 20th century producing artworks of mostly avian subjects which combine a scientist’s exacting detail with an artist’s vision.

Working from life observations, he has also been drawing and painting the human figure for over 30 years, meticulously rendering his subjects with consummate illusionary skills.

The painting Drawing is Possession/Alice Through the Looking Glass Lets Flying Fish Swim up her Skirt is from one of his more-recent series that departs from the photorealistic depictions of birds and introduces the human figure in settings that defy the conservative realism for which he is known. Ching has incorporated layer upon layer of almost-transparent paint to cleverly depict handwritten text and printed comic strips of the Katzenjammer Kids which underpin the floating figure of Alice, who is unaffected by practical restraints, flying high alongside exotic fish. Typically of Ching, this unique subject matter contains a multiplicity of narratives, which require 86

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close reading. He presents this painted visual extravagance to persuade the viewer “of the reality of what nearly is”.

Ching is aware that painting can be illusory by its very definition and enjoys the effect his work has on the viewer’s perception. To disrupt this notion of reality and illusion, he has deliberately introduced written words into the painting. Resembling handwriting, they are incised in black onto the surface of what appear to be white sheets of paper. Although there will be some who will draw comparisons to the ‘word’ paintings of McCahon, it would be more accurate to deduct that the use of text is referencing the work of the 19thcentury American realist, Thomas Eakins.

Ching found Eakins’ attitudes to painting to be very similar to his own after seeking out his work when visiting galleries in America. This earlier artist was also passionate about drawing and considered drawing and writing as “different aspects of a single master skill of eye and hand working in concert”. The use of text in this painting evokes a cultural context for the

subject and gives the painting an almost voyeuristic attraction as if the viewer were being encouraged to read someone’s personal diary. This text records Ching’s private account of intimate thoughts and observations from his time of growing up in 1940s’ Wellington. His specific concern then was about life drawing and he confesses that, for him, the “greatest of all mysteries was how exactly a woman might look without her clothes”.

By introducing text as the final painted layer, the artist manages to bring the background forward to the surface while, at the same time, contrasting the plastic form of Alice who appears to be extracting herself from this background. She seems within reach of the viewer yet her feet have disappeared back into the painting, absorbed by the text. As in Through the Looking-Glass, and What Alice Found There, space and direction are inverted and there is no set sense of reality as any rules for the Looking-Glass world are abandoned or changed throughout the course of the narrative.

MARY-LOUISE BROWNE

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40 Don Driver Nova vinyl cloth with perspex, tarpaulin, found chain, gardening fork and cotton fabric mounted on plywood signed Don Driver, dated 1990 and inscribed Nova in ink on plywood backing verso; signed Don Driver, dated 1989 and inscribed Nova in ink on vinyl cloth verso 1140mm x 630mm x 90mm

41 Dick Frizzell Loco-Motive oil on canvas signed Frizzell, dated 9/5/94 and inscribed Loco-Motive in brushpoint lower right; Gow Langsford Gallery label affixed verso 1650mm x 2750mm Estimate $30,000 - $40,000

Estimate $7,000 - $10,000

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42 Paul Dibble Monument to Explorers lost wax cast bronze with turned wooden plinth Cast Bronze: 1100mm x 500mm x 380mm; base: 1080mm x 380mm x 380mm; overall: 2180mm x 500mm x 380mm Estimate $25,000 - $35,000

Paul Dibble established his reputation in the 1980s with a series of whimsical yet monumental bronzes in which stylised female figures are juxtaposed with symbols and elements usually drawn from nature. These figures and objects form fragments of narratives from which the viewer is encouraged to make their own reading. In this sculpture, the viewer can engage in a neo-surrealist conversation with a mermaid, balancing on a conical shell holding aloft a miniature steamship, while a rabbit gazes on. The imported and indigenous meanings cohabit in the artwork, constantly modifying each other. The motifs of shell and mermaid anchor the work in a Pacific context. The steamship alludes to the vessel enabling New Zealand’s expanded settlement, the long maritime tradition in this country and the artist’s love of the sea. The rabbit, used in previous sculptures, originally referred to Easter but also refers to colonial legacies.

Vitality and humour are defining characteristics of Dibble’s work and many of his sculptures are affectionate portrayals of New Zealand icons. Alexa Johnson notes in the 2001 monograph of the artist’s work that Dibble “is attracted to the humanism and wit of Matisse’s sculpture”.

In Monument to Explorers, the artist has contrasted different sculptural styles by combining the sinuous curves of the female figure with geometric modelling.

Viewed from the front, this work gives the impression of an imposing mass resting on a classical pedestal but, when viewed from the side, some elements seem to “disappear into abstracted wafers”, creating a play between two and three dimensions and imbuing the work with a finely weighted sense of balance.

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43 Pat Hanly New Order 10 oil on board signed Hanly, dated 63 and inscribed New Order 10 in brushpoint lower right 730mm x 600mm Estimate $22,000 - $28,000

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44 Ralph Hotere Lo Negro Sobre lo Oro acrylic, lacquer and gold leaf on glass in colonial villa sash window frame signed Hotere, dated ‘92 and inscribed Lo Negro Sobro Lo Oro with incision lower right and inscribed Black Window, Port Chalmers with incision lower left; inscribed First exhibited Aero Club Gallery, Port Chalmers and inscribed 30/8/92 to 12/9/92 on printed label affixed verso 970mm x 915mm EXHIBITED Aero Club Gallery, Port Chalmers, 30 August 1992 to 12 September 1992.

Estimate $70,000 - $90,000

Lo Negro Sobre Lo Oro is imbued with a strong sense of spirituality, having been inspired by Ralph Hotere’s time in Spain, and differs from the politically motivated works which are synonymous with Hotere’s practice. Taking inspiration from the gilded interiors of Roman Catholic cathedrals, Hotere gilded the underside of the work, using the materiality of the gold leaf to build up pools of texture which draw the viewer in and provide a counterpoint to the richness and depth of the surrounding pool of black.

practice, with the obscured visibility intended to critique the traditional function of a window. This mystification could be interpreted as a comment on the nature of spirituality in a modern society, which is replete with icons, symbols and totems. In Lo Negro Sobre Lo Oro, the window frame could also be interpreted as a gateway towards spiritual meditation, the four points created in gold leaf acting as spiritual markers within the darkness, or candles in a dimly lit church, which guide the faithful.

The use of black is pertinent within Hotere’s practice, carrying multiple meanings and narrative potential. When viewed in Lo Negro Sobre Lo Oro, the black acts as a veil to enlightenment and, when combined with the glass and its reflective qualities, adds a further element of obfuscation. The texture of the gold leaf, applied to the underside of the glass, contrasts against the black lacquer and the reflective qualities of the glass.

Hotere’s pared-back composition, which immerses the viewer in the pools of reflection cast by its surface, showcases his confident hand in the creation of the work. Even the black lacquer, which has previously been employed by Hotere as a metaphor for oppression and darkness, achieves the opposite in Lo Negro Sobre Lo Oro; the lacquer lies smoothly beneath the glass, and changes according to the surroundings in which the work is placed.

The viewer is confronted not only with their image reflected, but also a reflection of the outside world. Through this, Hotere

The recycled villa sash window frame is also a recurrent feature of Hotere’s 92

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imbues the glass with dual functions of reflection: creating a physical barrier which prevents further sight into the space beyond the glassy surface, whilst also creating an opportunity for self-reflection and contemplation. Viewed in this way, the villa sash window frame indeed frames the image that is seen, and acts as a physical barrier which controls how much is reflected in the surface of the work. The sleek sophistication of Lo Negro Sobre Lo Oro showcases Hotere’s consideration of the relationship between the viewer and the work, with this relationship and interaction being integral facets in the interpretation and meaning.

Lo Negro Sobre Lo Oro translates to ‘Black over Gold’, and belongs to a series of works, created by Hotere from 1991 onwards, which has become iconic within the artist’s oeuvre. Although this work shares its title with the other works from the series, each work possesses delicate details and intricate compositional elements that render it distinct.

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45 Gavin Hurley Big Buccanneer oil on canvas signed GJH and dated ‘06 in brushpoint verso 1350mm x 1000mm EXHIBITED Anna Bibby Gallery, 2006 Estimate $12,000 - $18,000

46 Lawrence Aberhart Hau Hau Flag #2

47 Lawrence Aberhart Hau Hau Flag #3

gelatin silver print inscribed Hau Hau Flag #2 in ink lower left; inscribed Hau Hau Flag 2, Lawrence Aberhart, 1983 in graphite in another hand verso 100mm x 240mm

gelatin silver print inscribed Hau Hau Flag #3 in ink lower left; inscribed Hau Hau Flag 2, Lawrence Aberhart, 1983 in graphite in another hand verso 90mm x 230mm

Estimate $3,000 - $4,000

Estimate $3,000 - $4,000

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48 Peter Robinson The Going Too Far Corner Higher Beings (Kaufmann and Polke) Made Me Do it oil on paper signed P. Robinson and dated 2002 in graphite lower right and inscribed The Going too Far Corner, Higher Beings (Kaufmann & Polke) Made Me Do It in brushpoint lower edge 1220mm x 980mm Estimate $12,000 - $15,000

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49 Allen Maddox Untitled oil on canvas signed AM and dated 95 in brushpoint verso 605mm x 605mm Estimate $8,000 - $12,000

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50 Shane Cotton Genesis and Shooter oil on linen signed S Cotton, dated 2001 and inscribed Genesis and Shooter in brushpoint lower right; signed S Cotton, dated 2001 and inscribed Genesis and Shooter in ink verso; Brooke Gifford Gallery label affixed verso 705mm x 1000mm Estimate $30,000 - $40,000

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51 Paul Dibble Umbrellas over the Blue Pacific lost wax cast bronze 460mm x 300mm x 335mm Estimate $10,000 - $12,000

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52 Andrew McLeod Red Green Blue Abstraction oil on canvas signed Andrew McLeod, dated 2000 in brushpoint verso; signed Andrew McLeod in brushpoint verso; signed Andrew McLeod, dated 2000 in brushpoint verso; signed Andrew McLeod, dated 2000 in brushpoint verso; signed Andrew McLeod, dated 2000 in brushpoint verso 270mm x 205mm; 270mm x 205mm; 250mm x 205; 260mm x 205; 250mm x 200; 272mm x 1020mm overall Estimate $4,500 - $6,500 53 Katharina Grosse Untitled sprayed acrylic on aluminium signed K Grosse and dated 2001 in pastel verso 760mm x 560mm Estimate $6,000 - $9,000

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54 Don Driver New Slant sewn construction of found materials including felt, plastic netting and cotton fabric signed Don Driver, dated 1989 and inscribed New Slant in ink verso 1520mm x 1000mm Estimate $7,000 - $9,000

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55 Bill Hammond And I’m in the Kitchen with the Tombstone Blues acrylic on board signed W.D. Hammond, dated 1983 and inscribed And I’m in the Kitchen with the Tombstone Blues, Part II, B. Dylan in brushpoint lower right 570mm x 730mm Estimate $25,000 - $30,000

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56 Bill Hammond I’ll Put a Spell on You acrylic on board signed W.D. Hammond, dated 1983 and inscribed I’ll Put a Spell on You, Manfred Mann in brushpoint lower edge 570mm x 785mm Estimate $25,000 - $30,000

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57 Ralph Hotere Untitled acrylic and brolite lacquer on board signed Hotere and dated 1969 in brushpoint verso 900mm x 450mm Estimate $60,000 - $80,000

Much has been written about Ralph Hotere’s use of black. This untitled work offers a metaphorical sanctuary with opportunities for exploration into spirituality, mysticism and mythology.

Sharply marked by a geometrical synthesis of line and form, this work lures the viewer into examining the sleek, glossy surface as well as the delicate and meticulous balance of form constructed by Hotere.

Hotere’s introduction of a circle to the centre of the work brings forth a myriad of meanings: unity, infinity, regeneration and completeness, amongst many others of the Christian tradition and of Maori mythology. Many cultural fables have been passed down through time, claiming that the ability to draw a perfect circle is the mark of an excellent draughtsman or artist – as well as of a conjuror, illusionist or shaman capable of revealing deeper truths. Hotere himself is a conjuror and an illusionist. The elegant, thin line contained within the confines of the circle and bordering it on either side displays more 104

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than just the mastery of the artist’s chosen medium. The placement of the circle within the composition serves an important purpose; the viewer is enticed to gaze deeper into the surface of the painting and spend time examining the composition, in turn, transforming the act of looking into something more meditative.

The circle acts as a portal into another dimension, possibly alluding to the transformative power of an eclipse.

Situated between two parallel lines of seemingly infinite capacity, it could be viewed as the faint outline of a planetary orb viewed against the night sky. Thus, the field of black is filled with potential.

It is not oppressive, nor sorrowful, but optimistic and imbued with an intense spirituality, reminding the viewer that a dark night is a necessary prelude to a new dawn.

It is important to take note of the light reflected in the surface of the work, created by layer upon layer of brolite lacquer, as it was Hotere’s intention to

utilise the highly reflective qualities of the medium in bringing forth underlying concepts.

The reflected image on the surface exists only for the duration of time during which the viewer sees it – this allusion to time is an important concept within much of Hotere’s work. This work is, therefore, a document of a passage of time: not just of the time of its creation but also of the passage of time consumed with each viewing, and the passage of time in darkness before there is light. The universe existed in absolute blackness for a stilldebated amount of time, a time before time until, suddenly, there was light, white, intense, blinding light, and the birth of the universe. Hotere’s work acts as a document of time that cannot be accurately recorded as it is fluid and variable, and the darkness is an absolute essential in exploring existential truths and mysticism before reaching spiritual nirvana, complete with clarity, precision and light.

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58 Allen Maddox A Letter oil on canvas signed AM, dated 96 and inscribed AÂ Letter in brushpoint verso 910mm x 910mm Estimate $11,000 - $15,000

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59 Dick Frizzell Hot Buttered II oil on canvas signed Frizzell, dated 8/2/2008 and inscribed Hot Buttered II in brushpoint lower right 910mm x 610mm Estimate $14,000 - $18,000

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60 Peter Robinson Koripi tar and oil on canvas 1830mm x 1430mm PROVENANCE Acquired by the present owner from Hamish McKay Gallery, 1991 Estimate $40,000 - $60,000

Koripi forms part of a pivotal point in the oeuvre of Peter Robinson, where the artist sought to address, reflect and confront ideas around being an artist practising primarily in New Zealand and within a post-colonial society.

Koripi, a verb, means to cut, sever or slice.

The violence implied by the action of cutting and severing, of the dislocation of one part from another, could be interpreted as a metaphor for the dislocation and alienation of Maori from their ancestors through colonialism. The word, with its own dual meanings, becomes inherently linked to infiltration, dislocation and introduction, and seeks to conceptualise colonisation and the consequences of exchange.

Robinson takes the meaning of the word further by applying it to his personal situation. Being of Kai Tahu descent through a great-great-grandmother, Robinson seeks to re-address the label ‘indigenous’ and to place it within a postmodern context. He seeks to expand, instead of constrict, the meanings and investigations into identity in a country with a recent post-colonial history, and provide an alternative conversation though the visual symbols present in the work.

The artist’s extensive knowledge of art history is present in the work. Robinson’s play on the dualities of his own identity, the biculturalism of New Zealand and the two

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meanings of the work’s title are present in the work. The choice of materials also highlights this; Robinson uses a combination of materials, from refined oils, which instantly reference fine art and the canon of artistic practice, to bitumen and wood. These carefully considered choices illustrate Robinson’s wit, intelligence and desire to critique political correctness around issues of ethnicity and cultural identity. Also, Robinson’s knowledge of art history, psychology and postmodern theory is evident within the work, through his use of culturally relevant symbols and subverting them in order to comment on the different ways in which these very symbols are viewed from different cultural positions.

The work Koripi is a key example of Robinson’s exploration into concepts of national identity and ethnicity, but viewed through the artist’s highly personal lens.

Koripi is both accessible and thought provoking. It exposes the dichotomy faced by people living in nations with postcolonial histories, and their feelings of dislocation while they belong to a nation which seeks to unify divergent cultures.

Robinson’s work highlights a new approach towards finding new roots and using preexisting symbols in order to articulate a new sense of self.

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61 Sam Mitchell Black King acrylic on perspex, in found frame selected by artist signed Sam Mitchell, dated 2006 and inscribed Black King in brushpoint verso 430mm x 320mm Estimate $3,500 - $5,500 62 Gavin Hurley Sea Horse oil on Belgian linen, signed GJH, dated 07 and inscribed “seahorse” in brushpoint verso 560mm x 700mm Estimate $4,000 -$6,000

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63 John Reynolds Men Are Mortal

64 John Reynolds I’m Immortal

oil-based paint marker on acrylic enamel on canvas inscribed Men Are Mortal Beings Too in oil paint marker; signed Reynolds, dated 2003 and inscribed Men are Mortal, oil paint marker on Acrylic Enamel (1.5 x 1m), 60 x 40, (Duchamp in Conversation) in ink verso 1520mm x 1010mm

oil-based paint marker on acrylic enamel on canvas inscribed I’m Immortal When I’m With You in oil paint marker; signed Reynolds, dated 2003 and inscribed I’m Immortal, oil paint marker on Acrylic Enamel (1.5 x 1m), (P.J. Harvey) in ink verso 1520mm x 1010mm

Estimate $8,000 - $12,000

Estimate $8,000 - $12,000

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65 Marti Friedlander Ralph Hotere - Studies Port Chalmers gelatin silver print - reprint (photographer’s edition) signed M. Friedlander on FHE Galleries certificate affixed verso; inscribed Ralph Hotere-studies Port Chalmers, 1978 and Artist’s Studies, Port Chalmers, Dunedin, 2004. gelatin silver print, gold toned photographer’s edition on FHE Galleries certificate verso 490mm x 400mm PROVENANCE Acquired by the present owner from FHE Gallery, Auckland.

Hotere, Ralph & Bill Culbert, Dunedin Public Art Gallery, Ralph Hotere: Black Light, Te Papa Press: Wellington, p. 119.

Estimate $3,500 - $5,500 66 Peter Peryer Torso, 1980. gelatin silver print 420mm x 265mm ILLUSTRATED Burke, Gregory and Peter Weiermair (eds), Second Nature, Peter Peryer, Photographer, New Zealand, City Gallery: Wellington, 1995, pl. 8, p. 33.

Estimate $1,200 - $2,000

67 Peter Stichbury Heather Tramont giclee print on Ilford Galerie gold silk paper, 32/50 signed P Stichbury and dated 06 in graphite lower right 540mm x 450mm Estimate $3,500 - $4,500

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68 Len Castle Bowl stoneware, eliptical with a blue pitted glaze 165mm x 385mm Estimate $2,000 - $3,000 69 Len Castle Blue Bowl Large, with all over textured glaze.

Impressed mark 165mm x 375mm Estimate $2,000 - $3,000 70 Len Castle Crater Lake Bowl earthenware with a dark copper blue glaze interior and a grey exterior and sculpted rim. Impressed mark 150mm x 530mm Estimate $3,000 - $5,000 71 Len Castle Branch Pot a large and impressive press moulded |branch pot with a chun glaze to upper section over a tenmoku glaze.

Impressed mark 550mm x 470mm x 260mm Estimate $12,000 - $18,000

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72 Frances Hodgkins Arrangement of Jugs lithograph signed Frances Hodgkins in graphite lower right 450mm x 600mm EXHIBITED From the only edition issued by Contemporary Lithographs. 1939.

Drawn at the Curwen Studio, London 1938. The edition was intended to be c.250/300 impressions but it was only about half completed due to the outbreak of the War. Only a small number were signed. This work is described by William Weston as One of the great icon images of 1930’s modernism in the graphic medium.

Sparkling fresh impression with excellent colours. Excellent condition but with the artist’s signature in pencil on a small piece of wove paper affixed to the lower margin which has been reduced, possibly to fit a frame REFERENCE From the only edition issued by Contemporary Lithographs, 1939 Estimate $10,000 - $15,000

73 Ralph Hotere Reclining Woman in Bathtub ink on paper signed Hotere in graphite lower left 305mm x 370mm Estimate $4,000 - $6,000

74 Saskia Leek Untitled oil on board signed S. Leek and dated 2001 in ink verso 200mm x 240mm Estimate $2,000 - $3,000

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75 Chris Heaphy Soil acrylic and oil stick on 16 canvas boards, mounted on plywood signed C. Heaphy and dated 1995 in brushpoint lower right and inscribed Soil in oil stick upper edge; signed Chris Heaphy, dated 1995 and inscribed Soil in ink verso 1620mm x 1215mm

76 Simon Kaan Untitled - Composition with Waka

77 Roy Good Gem II

oil on board signed Kaan and dated 04 in brushpoint upper right 510mm x 510mm

acrylic on canvas signed Roy Good, dated 2012 and inscribed Gem II in ink verso 1450mm x 1450mm

Estimate $6,000 - $9,000

Estimate $6,000 - $8,000

Estimate $8,000 - $12,000

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78 Russell Clark Canoes – Guadacanal gouache on paper signed Russell Clark in brushpoint lower right 410mm x 480mm Estimate $12,000 - $18,000

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79 Jeffrey Harris War acrylic on board signed Jeffrey Harris, dated April-June 1970 and inscribed War, No. 11, $60, 48x48 in marker pen verso 1200mm x 1200mm Estimate $20,000 - $30,000

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80 Ralph Hotere Red Over Brown brolite lacquer on board signed Hotere, dated ‘69 and inscribed Red Over Brown in brushpoint verso 1200mm x 603mm Estimate $30,000 - $40,000

Painted with meticulous precision, Ralph Hotere’s Red over Brown from 1969 resonates with a richness of potential symbolism, association and allegory.

The compositional simplicity of the piece channels the viewer’s focus to the materiality of the work and the delicate balance that Hotere weaves between the sleek, glossy fragments and the two areas of scumbled, painterly marks.

Executed with silky swathes of brolite lacquer on hardboard, Red over Brown is punctuated by two thinly incised circles that extend to the outer reaches of the work before coming together to briefly touch at the mid-point of the painting.

Featuring a soft shade of burnished auburn, the background plane is finished with a highly polished, seductive surface that is completely devoid of any textural or figurative detailing.

This is not an empty void, however; as in Hotere’s other lacquer works, part of the enticing beauty of the present painting is that it interacts with its immediate environment. Registering shifts in light and changes in time, and reflecting the presence of objects that are in close proximity to it, the surface of Red over 118

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Brown is constantly changing as it forms and reforms a fragile and transient dialogue with the world beyond.

Hotere’s use of the circle furnishes the painting with a host of possible significance and meanings. As a timehonoured symbol of unity, new life, regeneration, wholeness and infinity, the circle is a potent motif that crosses the boundaries of culture, geography and even time. It seems to have held a personal significance for Hotere as it has repeatedly punctuated his oeuvre, appearing in the Black Paintings of the late 1960s, dominating the entire series of the Malady paintings from the early 1970s and reappearing in such monumental pieces as The Flight of the Godwit from 1977. In all of these works and in Red over Brown, Hotere’s use of the circle remains elusive and enigmatic. It functions as a visually and symbolically compelling motif and yet without prescription; it serves to open Hotere’s paintings to a host of discursive nexus and personal interpretations.

Perhaps that is part of their lyrical charm.

On a formal level, the two circles serve to energise and illuminate the painting as their mottled interiors contain an

embedded lustre. In this manner, while the smooth, glassy portion of Red over Brown successfully elicits a level of dynamism from the external world, the two orbs, by contrast, demarcate sections of robust internal activity. The top sphere is almost completely engulfed by a flurry of burntumber marks, which are then repeated in a central band that branches across the lower circle.

The raw vitality of these dappled segments strikes a discreet and restorative balance with the elegant and glossy surround. As such, like all of Hotere’s lacquer paintings, the graceful honeyed depths of Red over Brown visually accommodate and reflect the spectator while the inclusion of shadowy passages encourages metaphorical considerations. The divergence in treatment and the layers of meaning that are present in Red over Brown, speak volumes about Hotere’s mastery of formalist elements such as paint and compositional structure, while also underscoring his unique ability to understand and communicate the beauty and importance of silence, intrigue and individual contemplation.

JEMMA FIELD

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81 Chris Heaphy Finding the Gap acrylic on five boards signed C. J. Heaphy, dated ‘97 and inscribed ‘Finding the Gap’ in ink on each panel verso 1980mm x 760mm each; 1980mm x 3800mm (overall) Estimate $25,000 - $35,000

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82 Chris Heaphy Bushfire Lost acrylic on canvas signed C. Heaphy, dated 1998 and inscribed Bushfire Lost in brushpoint lower right 1150mm x 1600mm Estimate $8,000 - $12,000

83 David McCracken Untitled stainless steela signed D. McCracken and dated ‘5 with incision lower edge 2435mm x 405mm x 400mm Estimate $8,000 - $12,000

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84 Ralph Hotere Untitled acrylic, lacquer and gold leaf on glass in colonial villa sash window frame signed Hotere and dated 95 with incision lower right 335mm x 235mm Estimate $20,000 - $25,000

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85 Paul Dibble NZ Live Sheep Trade lost wax cast bronze signed Paul Dibble, dated 91 and inscribed NZ Live Sheep Trade, P/N with incision on upper side of base 615mm x 255mm x 217mm, widest points Estimate $5,000 - $7,000

86 Paul Dibble Seated Queen

87 Terry Stringer Face in Profile

lost wax cast bronze signed Paul Dibble and dated 1990 with incision on upper side of base 405mm x 370mm x 115mm, widest points

bronze signed Terry Stringer, dated ‘90 and inscribed #592 with incision on sculpture edge 325mm x 840mm x 840mm

Estimate $5,000 - $7,000

Estimate $4,000 - $6,000

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88 Jacqueline Fraser The Obscure Artist Sees the Shamed Boy Peter Down Deep (Remanded to Reside Directed at the Night Shelter with a Curfew Between the Hours of 8pm and 7am) tulle netting, French brocade, Italian sequin organza, braid, black satin ribbon, plastic covered wire, Venetian Rubelli brocade 2350mm x 840mm x 190mm EXHIBITED An Elegant Portrait Refined In Eleven Studious Parts (a loose canon), Roslyn Oxley9 Gallery, Sydney, Australia, 16 April - 17 May 2003.

89 Colin McCahon Van Gogh - Poems by John Caselberg suite of five lithographs, comprising a frontispiece and four pages of verse inscribed Van Gogh - Poems by John Caselberg, lithographs by Colin McCahon, Auckland, September 1957Â on plate 360mm x 250mm each Another suite from the edition is illustrated in Simpson, Peter, Answering Hark, Craig Potton Publishing: Nelson, 2001, p. 52.

Estimate $15,000 - $20,000

Estimate $15,000 - $20,000

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90 Rita Angus Tree watercolour on paper signed Rita Angus and dated 57 in graphite lower right 485mm x 360mm Estimate $15,000 - $20,000

91 Gottfried Lindauer Portrait of Myra Lindauer Graham nee Partridge, Henry Partridge’s daughter oil on canvas 800mm x 600mm PROVENANCE From the collection of the Partridge family. Henry Partridge was one of Gottfried Lindauer’s earliest clients and grew to be his most dedicated patron. This professional relationship lasted more than forty years. Partridge is now best remembered as having amassed a collection of over seventy paintings by Lindauer, later known as The Partridge Collection. This work has been passed by descent from Henry Partridge to the present owner.

Estimate $12,000 - $18,000

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92 Dick Frizzell Morning, Noon and Night oil on canvas signed Frizzell, dated 31.10.2006 and inscribed Morning, Noon and Night in brushpoint lower right 1000mm x 1350mm Estimate $22,000 - $28,000

93 Dick Frizzell BAKE oil on linen, diptych signed Frizzell and dated 3/6/98 in brushpoint lower right on right panel and inscribed BA in brushpoint lower right on left panel and inscribed KE in brushpoint lower left on right panel 610mm x 610mm each; 610mm x 1220mm overall Estimate $13,000 - $17,000

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94 Mervyn Williams Poles Apart acrylic on canvas signed Mervyn Williams and dated ‘96 in brushpoint verso 800mm x 675mm Estimate $5,000 - $7,000

95 Mervyn Williams Study (Parallax Green)

96 Neil Dawson Jive

acrylic on canvas signed Mervyn Williams, dated ‘97 and inscribed Study (Parallax Green) in brushpoint verso 800mm x 600mm

laser cut steel, edition 18/35 signed Neil Dawson, dated 2003 and inscribed Jive in ink on upper left corner of box lid 380mm diameter

Estimate $4,000 - $6,000

NOTE Accompanied by the original artist-made wooden storage box.

Estimate $3,000 - $4,000

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97 Allen Maddox A Hedonists’s Philosophy oil on hessian, mounted on canvas, tripdych 1815mm x 610mm; 1815mm x 1505mm; 1815mm x 770mm; 1815mm x 2885mm overall Estimate $8,000 - $15,000

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98 Robert Ellis Motorway oil on board signed Robert Ellis and dated ‘62 in graphite lower right 510mm x 825mm Estimate $3,000 - $4,000

99 Tom Esplin Thera Greece oil on board signed Esplin in brushpoint lower left; inscribed Thera Greece and Tom Esplin in another hand on label affixed verso 400mm x 270mm Estimate $5,000 - $8,000

100 Tom Esplin Procession near La Rochelle oil on board signed Esplin in brushpoint lower left; inscribed Procession near La Rochelle and Tom Esplin in another hand on McGregor Wright Gallery label affixed verso 450mm x 300mm

101 John Holmwood Still Life with Lemons oil on board signed Holmwood with incision lower left; Ferner Gallery label affixed verso 510mm x 600mm Estimate $4,000 - $6,000

Estimate $5,000 - $8,000

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102 Jeff Thompson Bouquet screenprint and acrylic on corrugated iron construct signed Jeff Thompson and dated 08 in graphite lower right 1700mm x 1280 x 150mm, widest points Estimate $8,000 - $10,000 103 Philip Trusttum Bus Ticket acrylic on unstretched canvas 1900mm x 3480mm Estimate $8,000 - $12,000

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life imitating art. your space. our place.

CORPORATE RATES. ECO FRIENDLY. CENTRAL LOCATION. COMPLIMENTARY BROADBAND. OHTEL 66 ORIENTAL PARADE WELLINGTON NZ P +64 4 803 0600 E ROOM@OHTEL.COM WWW.OHTEL.COM CATALOGUE 366

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a house of empty walls is a home with no soul

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HANGING S P E C I A L I S T S

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Robert Bratton (mob) 021567776

robert@picturehanging.co.nz

WWW.ZORABELLBOYD.COM

WEBB’S

Upcoming AuctionS & Market commentary Upcoming Auctions & Market Commentary 138 - 139

Important Paintings & Contemporary Art – March 2014

140 - 141

A2 Art – Feb 2014

142 - 143

Fine Jewellery & Watches – Feb 2014

144 - 145

Modern Design – March 2014

146 - 147

Ceramics – March 2014

148 - 149

Interiors: Decorative Arts – Dec 2013

150

Fine Red Wine – Dec 2014

151

Oceanic & African Art – March 2014

152

Museum Sale – Dec 2014

153

Classic Cars & Vintage Motorcycles – March 2014

154

Bethunes – Dec 2013

Who to Talk to at Webb’s 155 - 161

Webb’s Departments & People

162 - 163

Valuation Services

Terms & Conditions & Index of Artists 164

Webb’s Terms & Conditions for Buying

166

Index of Artists

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Important Paintings and Contemporary Art

ENtries now invited FOR MARCH 2014 AUCTION

Contact sophie coupland scoupland@webbs.co.nz / 021 510 876

important paintings & contemporary art

Liz Maw, Aura, Achieved $56,300 138

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WEBB’S

Webb’s important paintings & contemporary art MARKET HIGHLIGHTS

70% 129% of the top 10 prices achieved in 2013

five

Sophie Coupland Director Fine Art Department

Webb’s total art turnover compared to the nearest result from another auction house

new record prices achieved

In both the quality of works presented and the chronologically rigorous breadth of its selection, Webb’s August sale of Important Paintings & Contemporary Art was emblematic of our specialisation in both engaging the richness of the tradition which has shaped New Zealand’s art-historical narrative, and spearheading growth in the secondary market for exceptional modern and contemporary works.

This sale affirmed Webb’s stronghold in the market for high-value artworks.

Webb’s share of sales over $100,000 by volume, 2013.

Overall throughout 2013, Webb’s has transacted 67% more sales of over $100,000 than has our nearest competitor, and holds a 70% share of the top ten prices achieved this year. This is a reflection of the confidence that has been invested in Webb’s as the leader of the New Zealand auction art market.

Webb’s hold of the contemporary market and ongoing success in offering iconic works

by Bill Hammond saw Zoomorphic Lounge achieve $205,190, and Liz Maw’s Aura

“The demand for exceptional works was reflected in the prices achieved”

achieved $56,300, setting a new record price for the artist. Charles Frederick Goldie’s Memories, Wiripine Ninia, a Ngati Awa Chieftainess, achieved $281,400, affirming a sustained market demand for historical works. The demand for exceptional works from modernist artists was reflected in the prices achieved for two works by Colin McCahon; Landscape with a Road, from the Curnow collection, achieved $117,250 and the expressive ink on paper, Portrait, achieved $86,800.

Webb’s important paintings & contemporary art SALES HIGHLIGHTS

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01 – 02 – 03 – 04 –

Rohan Wealleans, Grey Lynn Boogie Woogie, Achieved $19,930 Russell Clark, Seated Figure, Achieved $46,900 Michael Smither, Portrait of Sarah, Achieved $120,000 Colin McCahon, Landscape with Road, Achieved $117,250

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05 – Charles Frederick Goldie, Memories, Wiripine Ninia, a Ngati Awa Chieftainess, Achieved: $281,400 06 – Charles Tole, Port Moles, Achieved $21,105 07 – Colin McCahon, Portrait, Achieved $86,800 08 – Bill Hammond, Zoomorphic Lounge, Achieved $205,190 CATALOGUE 366

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Important Paintings and Contemporary Art

ENtries now invited FOR 25 february 2014 AUCTION

A2 ART

Contact charles ninow cninow@webbs.co.nz / 09 529 5601

Dan Arps Studies for a Proposed Subdivision #4 Estimate: $1,500 - $2,500 140

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WEBB’S

6

Webb’s A2 Art MARKET HIGHLIGHTS

114% Average return on reserve.

$600,000+

Charles Ninow Webb’s Fine Art Specialist

NEW RECORDS

A record sale total in September.

Webb’s A2 sales offer an industry-leading forum for the sale of middle-market works.

Our recent A2 sale, held in September, set a new precedent within the market sector, achieving a total in excess of $600,000: a record performance at this level.

The recent A2 sale was a successful reflection of the ongoing growth and reputability of this auction category and reaffirmed that Webb’s A2 auctions are the most-effective secondary market platform in New Zealand for the sale of works

“Excellent results were secured for vendors on the night: on average, sold works achieved a substantial 114% of the reserve price.”

with values ranging between $1,000 and $20,000. Excellent results were secured for vendors on the night; on average, sold works achieved a substantial 114% of their reserve prices. The sale of Don Binney’s Swoop of the Kotare for $20,167 was not only the highest price ever achieved for a print by Don Binney, but also set a new record as the highest price ever achieved for a print by a New Zealand artist.

A record price was also set for Ans Westra’s practice, with a price of $6,115 achieved for an untitled work from the

Washday at the Pa series. Also, new records were set on the night for Ann Shelton’s and David McCracken’s practices.

Entries for the forthcoming February A2 sale are now invited. With a number of rare examples already consigned, the sale will be a strong launch of Webb’s 2014 art auction calendar. Webb’s team of art specialists encourages you to make an appointment to discuss consignment opportunities and to obtain a complimentary market appraisal.

Webb’s A2 Art SALES HIGHLIGHTS 2013

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01 – Ann Shelton, Frederick B. Butler Collection, Puke Ariki, New Plymouth #6, Achieved $7,035 02 – Don Driver, Pouch, Achieved $8,207 03 – Dick Frizzell, Drowning Woman, Achieved $11,725 04 – Robin White, At the Bay, Portobello, Achieved $14,363 05 – Yvonne Todd, Artificial Telephone, Achieved $4,690

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06 – 07 – 08 – 09 – 10 –

Ans Westra, Untitled (From Washday at the Pa Series), Achieved $6,115 Philip Clairmont, Untitled, Achieved $9,966 Don Binney, Swoop of the Kotare, Achieved $20,167 David McCracken, Silver Ball, Achieved $24,036 Ralph Hoatere, Palais des Papes, Achieved $24,600

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Important Paintings and Contemporary Art

ENtries now invited FOR February 2014 AUCTION

Zora Bell Boyd zbellboyd@webbs.co.nz / 09 529 5606

fine JEWELLERY & Watches Anna Carr acarr@webbs.co.nz/ 09 529 5606

Included in forthcoming auction: 30 Nov. A very important Cartier modern pear shaped brilliant solitaire diamond ring.

Designed in platinum and claw set with a large pear shaped stone of 3.55ct. Colour F, clarity VS2 with GIA certified diamond grading report. Tapered baguette shoulders. Stamped PT950, Cartier 51CS, 3.55, 61PPPR. Sold with original sales folder and documents.

Estimate $130,000 - $150,000

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WEBB’S

Webb’s fine JEWELLERY & watches entries now invited

34%

Zora Bell Boyd Webb’s Jewellery Specialist

The August sale saw an increase on the average turnover for a jewellery sale at Webb’s over the 2013 financial year of 34%

The new jewellery department’s first auction of Fine Jewellery and Watches achieved record breaking sales of $800,193 (hammer price plus buyer’s premium and gst); the highest result ever achieved in the history of Webb’s Jewellery department.

The highlights from the sale included a 5ct cushion cut diamond which achieved

Anna Carr Webb’s Jewellery Specialist

“This auction has seen a new record in sales, not only in the history of Webb’s Jewellery department but across the secondary market for jewellery in New Zealand.”

$205,187. The diamond of colour E/F and clarity VS1 was the highest recorded price for a loose stone.

tall tapered claw set diamond baguettes and a central diamond of three carats achieved $27,600.

A very fine platinum necklace with fifty seven matched round brilliant cut pink sapphires, each set in a linked round collet four clawed mount realised $43,700.

Consignments for the next auction are now invited, submissions can be initiated by email or phone; all pieces are expertly appraised. Quotes are free of charge and confidential and all consultations are on a no-obligation basis.

A beautiful handmade platinum ring with

Webb’s JEWELLERY PREVIOUS SALE HIGHLIGHTS

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Antique amethyst cross necklace. Achieved $4,890 5ct cushion cut diamond. Achieved $205,187 Platinum and pink sapphire necklace. Achieved $43,700 Solitaire diamond ring. Achieved $27,600

05 06 07 08 -

18ct yellow gold Rolex submariner wristwatch Achieved $10,260 A ladies very fine Patek Philippe wristwatch. Achieved $37,520 18ct yellow gold ring with a yellow sapphire and diamond. Achieved $10,300 A ring and earring suite set with diamonds. Achieved $12,890 CATALOGUE 366

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Important Paintings and Contemporary Art

ENtries now invited FOR MARCH 2014 AUCTION

Contact Josh Williams jwilliams@webbs.co.nz / 09 524 6804

MODERN DESIGN In association with mr. Bigglesworthy

A Curtis Jere Birds in Flight Wall Sculpture.

Achieved $7,000 144

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WEBB’S

Webb’s MODERN DESIGN MARKET HIGHLIGHTS Josh Williams Webb’s Modern Design Specialist

73% 100% of lots sold, by volume

“ The success of the sale was reflected in national interest and reconfirmed modern design as a key area of collecting. ”

sell-through rate, by value

October marked not only the fourth collaborative partnership between Webb’s and mid-century specialists Mr. Bigglesworthy, but also the most successful Modern Design sale in Webb’s history. This partnership brings together the scholarship and enthusiasm for design found in Dan and Emma Eagle and Webb’s marketing strength; the results of this sale demonstrated active engagement from design collectors. The success of the sale was reflected in national interest and

reconfirmed modern design as a key area of collecting.

The sale entitled ‘Line & Form’ was a finely curated selection of objects with the intent to inspire, excite and challenge the concepts of modern design with pieces chosen from across a landscape of time, place and materials. In particular, the modern design aesthetic, captured by the forward-focused architects and designers of the 20th century who embraced functionality over frivolous decoration and

whose work inspired a new generation of contemporary designers and collectors, was showcased. The majority of pieces in the sale were new to the New Zealand market, directly imported from Europe and America. A sell-through rate by volume of 73% and a 100% sell-through rate by value reflect the consistent quality of the offering and further confirm quality modern design as an established investment market.

Webb’s MODERN DESIGN SALES HIGHLIGHTS

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A Charles & Ray Eames Cherry Cherry Wood Folding Screen. Achieved $3,900 An Adrian Pearsall Platform Sofa by Craft Associates. Achieved $7,000 A Set of Eight Niels Moller Dining Chairs by J.L. Moller. Achieved $6,100 A Vintage Jielde Floor Lamp. Achieved $2,200 A Geoffery Harcourt F590 Lounge Chair by Artifort. Achieved $5,200

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06 - A Vintage German Station Clock. Achieved $2,300 07 - A Milo Baughman Burr Walnut Consol Table. Achieved $4,400 08 - An Ib Kofod Larsen Model 66 Rosewood Sideboard by Faarup.

Achieved $10,500 09 - A Bob Roukema Contour Chair by Jon Jansen. Achieved $5,100 CATALOGUE 366

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Important Paintings and Contemporary Art

ENtries now invited FOR MARCH 2014 AUCTION

Contact Brian WoOd bwood@webbs.co.nz / 09 524 6804

CERAMICS

Barry Brickell, Relief Plaque, Achieved $750

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WEBB’S

Webb’s CERAMICS MARKET HIGHLIGHTS

$14,025

Webb’s hold the record price for the work of Len Castle sold at auction

Brian Wood Webb’s Studio Ceramics Specialist & Head of Valuations

70%

“The results achieved demonstrate that interest in this area has escalated with both a larger audience and improved prices.”

sell-through rate 2013

Our recent October Ceramics sale showcased three impressive private collections of New Zealand studio ceramics and has been regarded as one of the best specialist sales in this genre for some years. With a sell-through rate of over 70% and with most lots selling within the estimated range, this sale shows our in-house expert’s specialist

knowledge and precision with regard to current market trends. Another major collection of studio ceramics, which includes works by Michael Cardew, Lucie Rie, Len Castle, Barry Brickell and Mirek Smisek, has been sourced and our next curated sale will feature both an international and a New Zealand section.

Further entries for this sale, scheduled

for early 2014, are now invited. We cater for any size of entry from single consignments through to complete collections and offer a first-class collection service. To have your items included in our next specialist sale, contact our in-house expert.

Webb’s CERAMICS SALES HIGHLIGHTS

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Juliet Peter, Salt Glazed Horse. Achieved $1,080 Peter Stichbury, Tea & Coffee Service. Achieved $340 Merilyn Wiseman, Woodfired Platter. Achieved $740 Len Castle, Sea Secret. Achieved $1,030 Keith Murray, Shoulder Vase. Achieved $3,090 Denis O’Connor, Bottle. Achieved $750

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Barry Brickell, Terracotta Sculpture. Achieved $1,090 John Parker, Bronze Glazed Vase, Achieved $600 Richard Parker, Small Winged Vase. Achieved $800 Len Castle, Square Section Vase. Achieved $2,500 Barry Brickell, Open Form Sculpture. Achieved $2,300

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Important Paintings and Contemporary Art

forthcoming auction 5 december 2013 ENtries now invited Contact josh williams jwilliams@webbs.co.nz / 09 524 6804 FOR FEBRUARY 2014 AUCTION

Interiors: DECORATIVE ARTS & AnTIques

A rare pair of 19th-century Chinese Carved Rhinoceros Horns.

Achieved $797,300 148

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WEBB’S

Webb’s DECORATIVE ARTS MARKET HIGHLIGHTS carved rhinoceros horns

Josh Williams Webb’s Decorative Arts Specialist

Exceeded their upper estimate by 454%

$797,300

“Certainly the finest and rarest example of a Chinese antique ever offered on the New Zealand market, the horns achieved a record breaking price”

Record price for an antique in New Zealand The October Interiors: Decorative Arts auction saw Webb’s achieve a record price for any antique piece sold in New Zealand with the sale of a magnificent pair of 19th century Chinese carved rhinoceros horns.

Certainly the finest and rarest example of a Chinese antique ever offered on the New Zealand market, the horns achieved a record breaking price of $797,300, exceeding the upper estimate by 454%.

The pair of horns carried a pre-sale estimate of $120,000 - $150,000, figures in line with results for similar horns sold on the international market. This is one of the highest prices ever achieved for antique carved rhinoceros horns globally and the sale demonstrates the global reach of Webb’s marketing and highlights growing interest in rare and exotic Asian antiques.

In the wake of this extraordinary result Webb’s have received two further rare antique Rhinoceros Horn items for inclusion in the next auction to be held on the 5th of December; a Libation cup and a South African hunting club.

Webb’s decorative arts SALES HIGHLIGHTS

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A Royal Worcester Highland Cattle Vase $3,200 A Black Forest Carved Bear Settle $6,000 An Antique Chinese Inscribed Elephant Tusk $8,700 A Vintage Gent’s Tower Clock $2,900

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A George III Sterling Silver Tankard $3,700 A George V Sterling Silver Butler’s Tray $5,200 A Maori Folk Art Carved Table $2,400 A Chinese Polychrome Enamel Vase $4,600 CATALOGUE 366

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Important Paintings and Contemporary Art

ENtries now invited FOR December 2013 & february 2014 AUCTIONs

Contact simon ward wine@webbs.co.nz / 09 524 6804

FINE & RARE WINE Webb’s Fine & Rare Wine department holds an established position as one of one of New Zealand’s leading sources of cellared quality vintage wines. Alongside New Zealand wines by the great makers such as Te Mata, Dry River and Felton Road, each sale offers a selection of boutique French wines from the

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Burgundy, Champagne and Bordeaux regions. In particular, French Wine Vintages have demanded top prices on the markets of London, New York and Hong Kong and their availability at Webb’s offers local buyers the opportunity to purchase some of the world’s finest wines.

WEBB’S

ENtries now invited FOR MARCH 2014 AUCTION

Contact Jeff Hobbs jhobbs@webbs.co.nz / 021 503 251

oceanic & african art In its fourth year under the direction of Oceanic Art Specialist Jeff Hobbs, Webb’s Oceanic and Tribal Art department demonstrated not only the department’s strength in sales, achieving a total of $691,836.89 (hammer price with buyer’s premium) but also the ability to source and make available to the market some of the world’s finest and rarest Oceanic and Tribal

artefacts. Among them, the repatriation of a number of significant pieces of Taonga Maori to New Zealand.

A highlight in the most recent Oceanic & Tribal Art sale was a rare whalebone Nguru flute, believed not to have been played for nearly 170 years achieving $46,900 at auction (hammer’s price plus buyer’s premium).

Important Nguru Flute. Achieved $46,900 September 2013 CATALOGUE 366

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Important Paintings and Contemporary Art

an on-site museum sale 7 December 2013, 11am

museum sale Pete’s Pioneer & Transport museum To be viewed and sold on-site at 460 Kerikeri Road, Kerikeri, Bay of Islands.

CONTACT STEVE GALPAN sgalpan@webbs.co.nz Contact Neil Campbell ncampbell@webbs.co.nz

A complete pioneer and transport museum is to be sold in its entirety comprising 40 historic and vintage cars, classic British motorcycles and colonial collectables traversing New Zealand’s history. The museum features pioneer exhibits including memorabilia, fashion, tools, collectables and furniture, a blacksmith’s foundry, a pioneer house, a grocery shop and a late-19th-century school house.

Also included: 1926 Dodge Ute, 1968 Triumph, 1969 Triumph Bonneville, 1929 Sunbeam Model 90, 1966 Norton 650ss, 1961 Holden EK, 1910 Sizaire & Naudin, 1968 Trekka, 1958 Nash Metropolitan, 1965 Hillman IMP plus many more rare machines.

Viewing Wednesday 4 December 10am – 4pm Thursday 5 December 10am – 4pm Friday 6 December 10am – 4pm Sat 7 December 9am – 11.45am All lots will be illustrated online at webbs.co.nz

1968 Vintage Trekker $6,000 - $8,000 152

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WEBB’S

ENtries now invited FOR MARCH 2014 AUCTION

Contact Neil Campbell ncampbell@webbs.co.nz / 021 875 966

classic cars & VINTAGE MOTORCYCLES

1965 Formula Two Racing Car ex Denny Hulme $160,000 - $180,000 CATALOGUE 366

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Important Paintings and Contemporary Art

ENtries now invited FOR 9 DECEMBER 2014 AUCTION

Contact ben ashley bashley@webbs.co.nz / 09 524 6804

BETHUNES Founded in 1877, Bethunes is New Zealand’s oldest book auctioneer. This book-lover’s paradise originally occupied a twostoreyed building in central Wellington.

The sales generally took place in the evening and stories of hardy bibliophiles braving the icy winds and entering the sanctuary of Bethunes has become the stuff of legend. Many of New Zealand’s most recognisable literary figures were

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frequent visitors and both they and other collectors would bid on a wide variety of collectable titles. Hundreds of books lined the shelves, but the ‘pièce de résistance’ of any early Bethunes sale would be a copy of Sir Walter Lawry Buller’s A History of the Birds of New Zealand. This tradition remains strong today, with a first edition of Buller’s Birds being offered in the upcoming Bethunes Rare Books December

sale. Further highlights include a strong selection of early New Zealand literature, military history and historical photography.

For further enquiries or specialist advice regarding collection or consignment, please contact Ben Ashley.

WEBB’S

contact a webb’s specialist

REGIONAL SERVICES webb’s wellington Webb’s provides a comprehensive auction service for Wellington clients. A Webb’s presence in Wellington and streamlined services between the two centres enable ease of access to the Auckland market for those in the ‘arts and culture capital’.

Wellingtonians have long supported Webb’s both as collectors and consignors.

A five-day-a-week appraisal and valuation service and personally supervised, door-todoor freight and logistics extends beyond Wellington to the entire lower North and upper South Islands. Webb’s Wellington services are headed by Carey Young and Jeff Hobbs.

currant market appraisals, commentary on current market trends, valuations and consignment and acquisition advice.

A 20 year veteran expert in Oceanic, Tribal arts and antiquities, Jeff operated as a successful dealer and consultant in New York and the United Kingdom during the 1990s and subsequently owned and operated the well respected Sulu Gallery, Wellington. Although Jeff’s specialist interests lie in the fields of Tribal art and Eastern antiques, he will be working closely with Webb’s Auckland specialists to provide services across the spectrum of antiques and collectables.

contact Jeff Hobbs jhobbs@webbs.co.nz / 021 503 251 Carey Young cyoung@webbs.co.nz / 021 368 348

Jeff Hobbs Webb’s Oceanic Art Specialist

Carey Young Head of Fine Art Services, Wellington

Fine art specialist and gallerist, Carey Young leads Webb’s art department services in Wellington and is available to undertake

webb’s south island Gillie Deans, our resident Christchurch and South Island specialist, has over 30 years’ experience within the visual arts community. Gillie Deans provides comprehensive fine art services including current market and insurance valuations, conservation and advice around the purchase and sale of artworks by auction or private treaty.

Working with those who are both new to collecting art and seasoned connoisseurs, Gillie Deans prides herself on providing accurate market based knowledge and working with discretion and honesty.

Gillie Deans gdeans@webbs.co.nz / 027 226 9785

Gillie Deans Resident South Island Specialist

“…Gillie Deans provides comprehensive fine art services including current market and insurance valuations.”

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Webb’s people Over 37 years of experience in fine art and auctions.

Founded in 1976, Webb’s created a market for contemporary art at auction through the 1980s and led the rise of the art market in the early 2000s, establishing a position as New Zealand’s foremost auction house. Webb’s has a total turnover of roughly twice that of any other New Zealand auction house, unsurpassed specialist expertise and the business diversity needed to cater for an all-encompassing range of collecting genres; thus, our identity is shaped as an acclaimed industry authority.

Fine Art Department.

Webb’s Fine Art department has an unmatched reputation for excellent service in achieving record prices at auction for contemporary, early modern, modern and historical artworks. Our extensive Fine Art calendar leads the market and consists of specialist sales of Important New Zealand Works of Art, Contemporary Art, Historical Works of Art, Photography and A2 Art (auction tier two).

Sophie Coupland — BA, Director & Head of Department, Fine Art With 15 years’ experience in the fine art industry, Sophie’s 19th to 21st-century fine art knowledge is extensive and highly referenced. She has managed the sale and placement of many of the country’s finest and most-coveted works of art, and headed the Webb’s Fine Art department through the rise of the market (1999 – 2004).

Mobile: +64 21 510 876 DDI: +64 9 529 5603 scoupland@webbs.co.nz

Charles Ninow — MFA, Fine Art Specialist Charles joined Webb’s in 2011 and has an expert, well-referenced knowledge of the New Zealand secondary market. Particularly, his areas of interest lie in the modern and contemporary periods.

In addition to this, he is also engaged with current critical discourse surrounding the primary market and the institutional sector. Charles holds a master’s degree from Elam School of Fine Arts.

Mobile: +64 29 770 4767 DDI: +64 9 529 5601 cninow@webbs.co.nz

Gillie Deans — Resident South Island Specialist With over 30 years’ experience within the visual arts community, Gillie provides fine art services to Christchurch and South Island clients including current market and insurance valuations, conservation and advice around the purchase and sale of artworks by auction or private treaty.

Mobile: +64 27 226 9785 gdeans@webbs.co.nz

Carey Young — Head of Fine Art Services, Wellington Founder and director of newly opened Wellington contemporary gallery The Young, Carey previously worked for leading dealer gallery Hamish McKay and has over ten years’ experience in the industry. She is available in Wellington to provide commentary on current market trends and valuations for market and insurance purposes.

Mobile: +64 21 368 348 cyoung@webbs.co.nz

Rachel Kleinsman — BA, MA, Fine Art Specialist, Assistant Manager Rachel is an art specialist with a strong knowledge of the international art market, and has worked for Christie’s, Sotheby’s and White Cube gallery in London. She holds a Bachelor of Arts degree in Art History and Modern Languages (Victoria University of Wellington) and a Master of Arts degree in Art Business (Sotheby’s Institute of Art, London).

DDI: +64 9 524 6804 rkleinsman@webbs.co.nz

Hannah Daly — BA, Registrar, Fine Art Department Hannah holds a Bachelor of Arts degree, majoring in Art History and History from The University of Auckland. She has a strong interest in European modernism, particularly across the fields of fine art and design.

DDI: +64 9 524 6804 artteam@webbs.co.nz

Aleksandra Petrovic — BFA, PgDipFA, Junior Fine Arts Specialist, Registrar With an interest in modern and contemporary art, Aleksandra has previous experience in commercial and contemporary art spaces and galleries, and a background in fine art.

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DDI: +64 9 524 6804 apetrovic@webbs.co.nz

WEBB’S

Peter Webb Chairman peter@webbs.co.nz

Ann Webb Director Ann@webbs.co.nz

Neil Campbell LLBBEcom Mobile: +64 21 875 966 DDI: +64 9 529 5607 ncampbell@webbs.co.nz

Sophie Coupland BA Mobile: +64 21 510 876 DDI: +64 9 529 5603 scoupland@webbs.co.nz

Chris Allsop Mobile: +64 21 679 319 DDI: +64 9 529 5605 callsop@webbs.co.nz

Charles Ninow Mobile: +64 29 770 4767 DDI: +64 9 529 5601 cninow@webbs.co.nz

Rachel Kleinsman rkleinsman@webbs.co.nz

Aleksandra Petrovic DDI: +64 9 524 6804 apetrovic@webbs.co.nz

Hannah Daly artteam@webbs.co.nz

James Hogan Mobile: +64 21 510 477 jhoganl@webbs.co.nz

Josh Williams DDI: +64 9 524 6804 jwilliams@webbs.co.nz

Amy Moore DDI: +64 9 5246804 amoore@webbs.co.nz

Zora Bell Boyd Mobile: +64 21 268 589 DDI: +64 9 529 5606 zbellboyd@webbs.co.nz

Peter Downey DDI: +64 9 529 5606 jewels@webbs.co.nz

Brian Wood DDI: +64 9 529 5609 bwood@webbs.co.nz

Anna Carr DDI: +64 9 529 5606 acarr@webbs.co.nz

Simon Ward Mobile: +64 21 642 277 DDI: +64 9 529 5600 wine@webbs.co.nz

Ben Ashley DDI: +64 9 524 6804 bashley@webbs.co.nz

Helen Winskill DDI: +64 9 529 5602 hwinskill@webbs.co.nz

Dan Keone DDI: +64 9 524 6804 Tech@webbs.co.nz

Steve Galpin DDI: +64 9 524 6804 sgalpin@webbs.co.nz

Duncan Rooney DDI: +64 9 524 6804 drooney@webbs.co.nz

Jeff Hobbs Mobile: +64 21 503 251 jhobbs@webbs.co.nz

Katrina Sewell DDI: +64 9 524 6804 ksewell@webbs.co.nz

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departments Antiques & Decorative Arts, Collectables & Estates Department.

The Antiques & Decorative Arts department comprises a dedicated, experienced team of specialists covering 20th/21st-century design, New Zealand ceramics, Maori and Oceanic arts, folk art, colonial furniture, European ceramics and glassware, Asian arts, clocks, marine and nautical instruments, sterling silver, textiles and vintage clothing, and toys and dolls.

Complementarily, the Collectables & Estates department hold affordable weekly sales offering a wide variety of interesting and useful items including antiques, household furnishings, collectables, appliances, crockery, cutlery, jewellery, paintings and prints.

James Hogan — Head of Department, Antiques & Decorative Arts James has worked with Webb’s for over 20 years, and is a highly experienced senior valuer and appraiser of antiques and decorative arts from the 18th to the 21st centuries. His particular interests include New Zealand colonial furniture, English and Continental furniture from the 18th and 19th centuries, retro and modernist furniture and interior objects.

Mobile: +64 21 510 477 jhoganl@webbs.co.nz

Josh Williams — BA, Auction Manager, Modern Design Specialist Having worked for Auckland Museum, the Victoria and Albert Museum, and in antique shops in London, Josh’s specialist interests include Georgian furniture and antiques, and mid-century modern design. He holds a Bachelor of Arts degree (The University of Auckland) and a Postgraduate Certificate in Museum Studies (The University of Sydney).

DDI: +64 9 524 6804 jwilliams@webbs.co.nz

Steve Galpin — Estate & Decorative Arts Specialist Steve has worked for sixteen years as Webb’s senior in-house valuer of decorative arts and antiques. With an extensive knowledge of decorative arts from the 18th to the 20th centuries, Steve is one of New Zealand’s most broadly knowledgeable experts on antiques, decorative arts and the sale of antiques at auction.

DDI: +64 9 524 6804 sgalpin@webbs.co.nz

Duncan Rooney — BFA, Auction Administrator With a Bachelor of Fine Arts degree from The University of Auckland’s Elam School of Fine Arts, Duncan is also a keen carpenter, designing and making a range of contemporary furniture in his spare time. Duncan is available to provide advice to clients on all matters relating to our weekly sales and the auction process.

DDI: +64 9 524 6804 drooney@webbs.co.nz

Fine Wine Department.

Webb’s Fine & Rare Wine department leads the New Zealand auction market in the sale of fine, collectable wine. Webb’s sales feature fine New Zealand wines, premium Australian wines, Champagne, First Growth Bordeaux, premium Burgundy and a selection of Sauternes, Ports, Italian wines and Cognacs.

Simon Ward — RAWM, Consultant, Fine Wine Department Simon joined Webb’s as director of the Fine Wine department in 2009. With over 20 years in the industry encompassing production, sales, marketing and winery management, Simon’s international experience includes four years based in Italy. He holds an Associate Diploma of Wine Marketing (Roseworthy College, South Australia).

Mobile: +64 21 642 277 DDI: +64 9 529 5600 wine@webbs.co.nz

Oceanic And African Art Department.

Two sales are held annually in this specialised area of collecting. Sales feature artefacts from the pre-contact and contact periods through to 20th-century works. Pieces covered include those used for ritual, ceremonial, decorative and practical purposes within traditional Maori and Oceanic and African cultures, as well as New Zealand colonial furniture.

Jeff Hobbs — Consultant, Oceanic And African Art Department Jeff is a veteran expert in Oceanic, Tribal Arts and antiquities. A successful dealer and consultant in New York and the United Kingdom during the 1990s, he subsequently owned and operated Wellington’s well-respected Sulu Gallery. Jeff has travelled internationally on behalf of Webb’s repatriating significant Maori and Oceanic material 158

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Mobile: +64 21 503 251 jhobbs@webbs.co.nz

WEBB’S

Fine Jewels & Watches.

Webb’s jewellery sales include a wide selection of fine and magnificent jewels together with valuable watches, significant diamonds, the finest antique and modern jewels, and watches from the most sought-after makers in the world.

Zora Bell Boyd — BA (Hons), BDes, Specialist – Marketing Manager Zora has a background in precious gemstone trading, bespoke jewellery manufacture and high fashion. She established Wunderkammer, a boutique fashion destination, and her own jewellery range, and has over 10 years’ experience sourcing precious stones and antique jewellery from locations as far afield as South America and Asia.

Mobile: +64 21 268 589 DDI: +64 9 529 5606 zbellboyd@webbs.co.nz

Peter Downey — Senior Specialist, Valuer – Antique Jewellery A founding director of Webb’s jewellery department in the 1980s, Peter has 44 years of market experience and is one of New Zealand’s foremost jewellery specialists. He has a comprehensive knowledge of all materials and styles, and his specialist areas include Castellani, Giuliano, Fabergé, Cartier, art nouveau and art deco.

DDI: +64 9 529 5606 jewels@webbs.co.nz

Ruri Rhee — Jewellery Auction Assistant & Administrator Ruri has a strong interest in contemporary jewellery design and holds a Bachelor of Arts degree in Art History and is currently working towards her Masters Degree in Arts Management.

Working closely with Zora Bell Boyd, Anna Carr and Peter Downey to facilitate the operations of the Webb’s fine Jewellery Department, Ruri has been part of the Webb’s team now for nearly a year.

DDI: +64 9 529 5606 jewelleryteam@webbs.co.nz

Anna Carr — BDes, DipTeach, Specialist Anna Carr (nee Ward) is a practising jeweller who, since graduating in 2004 with a Bachelor of Design (Honours) degree, majoring in Contemporary Jewellery, and a Postgraduate Diploma in teaching, has exhibited nationally and internationally. Prior to starting at Webb’s, Anna worked as a Jewellery Coordinator at Masterworks for four years.

DDI: +64 9 529 5606 acarr@webbs.co.nz

Vintage Motorcycles & Industrial Design Department.

Webb’s is the market leader in the sale of collectors’ motorcycles in Australasia. As the largest auction house in New Zealand to hold scheduled exhibitions and auctions of important motorcycles, Webb’s delivers international prices and expert service to its clients and caters for both local and global demand for superior machines.

Neil Campbell — LLB, BEcon, Managing Director A trained lawyer with a degree in Economics, Neil worked in the film production sector for many years, and as a script-writer (his story ‘The Freezer’ was made into a film in 2006). Neil formerly represented the New Zealand Union for Film Directors, and worked as the in-house content lawyer for TVNZ. Neil ensures Webb’s team is well-supported and focused on providing the best range of services in New Zealand.

Mobile: +64 21 875 966 DDI: +64 9 529 5607 ncampbell@webbs.co.nz

Modern Design.

Held twice annually, these sales present design classics and pieces by the world’s most celebrated designers. Webb’s modern design partnership with mid-century specialists Mr. Bigglesworthy ensures that high-calibre, classic and desirable designs are offered.

Josh Williams — BA, Auction Manager, Modern Design Specialist Having worked for Auckland Museum, the Victoria and Albert Museum, and in antique shops in London, Josh’s specialist interests include Georgian furniture and antiques, and midcentury modern design. He holds a Bachelor of Arts degree (The University of Auckland) and a Postgraduate Certificate in Museum Studies (The University of Sydney).

DDI: +64 9 524 6804 jwilliams@webbs.co.nz

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departments Valuations Department.

Webb’s provides valuation services to public institutions, and corporate and private collections, including Auckland Art Gallery, Te Papa Tongarewa and numerous regional galleries and museums. Domestic valuation services include single items or entire collections and cover artworks and the full spectrum of antiques, interiors, modern design and collectables.

Brian Wood — BFA, Head of Valuations Leading the Valuation department, Brian has a sound knowledge across the collecting genres and is a specialist in studio ceramics. Brian ran his own art and antique gallery before heading overseas. On his return to New Zealand, he completed a Bachelor of Fine Arts degree majoring in ceramics and managed a private art collection before joining Webb’s.

Mobile: +64 21 486 948 DDI: +64 9 529 5609 bwood@webbs.co.nz

Bethunes at Webb’s – Rare Book Department.

Bethunes operates as the rare book department of Webb’s. The department deals in rare, out-of-print and collectable books, historical photography, maps and plans, manuscripts, documents and ephemera, posters and prints, and postcards.

Ben Ashley — BA, Head of the Rare Books Department Ben has a background of over ten years’ experience in high-end retail, and his varied skills and knowledge provide a fresh, pragmatic approach to book sales and appraisals. Ben studied New Zealand Literature at The University of Auckland, Victoria University of Wellington and the International Institute of Modern Letters.

DDI: +64 9 524 6804 bashley@webbs.co.nz

Management, Owners & Founders.

Neil Campbell — LLB, BEcon, Managing Director A trained lawyer with a degree in Economics, Neil worked in the film production sector for many years, and as a script-writer (his story ‘The Freezer’ was made into a film in 2006). Neil formerly represented the New Zealand Union for Film Directors, and worked as the in-house content lawyer for TVNZ. Neil ensures Webb’s team is well-supported and focused on providing the best range of services in New Zealand.

Mobile: +64 21 875 966 DDI: +64 9 529 5607 ncampbell@webbs.co.nz

Chris Allsop — DipActg, DipIntlMktg, General Manager Chris Allsop comes to Webb’s with over 20 years’ experience in accounting, administration and business management. Having been with Webb’s for seven years, he brings to the business exceptional financial and management skills.

Mobile: +64 21 679 319 DDI: +64 9 529 5605 callsop@webbs.co.nz

Peter & Ann Webb Peter and Ann Webb’s contribution to the New Zealand contemporary art market is extensive.

The founder of one of New Zealand’s first dealer galleries, Peter introduced a highly successful auction programme which eventually prompted the gallery’s conversion into an auction house.

In 1980, during one of Peter’s last major gallery shows, Colin McCahon’s New Paintings, he met Ann, who joined the company later that year. The two were married in 1990. As Executive Director of Webb’s, Ann helped build the business that would become the country’s foremost specialist auction house.

Mowbray Collectables Ltd Mowbray Collectables Ltd is a publicly listed parent company which houses a range of auction based assets in key fields of collecting and cultural investment. Mowbray Collectables also hold a 25% equity stake in Sotheby’s Australia and 14% of BuddyBid.com. John Mowbray is the former President of the International Federation of Stamp Dealers Associations and is a director of Webb’s and Sotheby’s Australia.

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pwebb@webbs.co.nz awebb@webbs.co.nz

WEBB’S

THE LAST WORD

Charles Ninow

Fine Arts Specialist Charles’ time with Webb’s began almost three years ago, shortly after he graduated from the Master’s programme at Elam.

“Before I started with Webb’s, I had become increasingly interested in the way in which markets functioned as reflections of the societies that sustained them,” says Charles. “In my last years of art school, I had been doing a lot of reading that situated art-making within the sociopolitical and economic context and it got me really interested in the idea of cultural capital and how it is created.” Accordingly, in the months prior to being gainfully employed by Webb’s, Charles had been spending as many evenings as possible standing at the back of various salerooms around Auckland, gleaning as much information as he could. That the opportunity to actually work in an auction house was just around the corner was ‘fortuitous’ as Charles puts it.

“I was attracted to Webb’s partly because of the company’s historical lineage – the fact that I work in the business that descended from the gallery that held McCahon’s first Auckland exhibition is still something that I find pretty exciting,” says Charles. He points to the international market to emphasise the fact that an auction house such as Webb’s, whose backbone is a multigenerational client and knowledge base, is a rarity. “While Webb’s marketing strategies are industry leading and have resulted in a 29% lead on our closest competitor over 2013, our approach is grounded in the old-fashioned practice of letting good paintings emphasise their own narratives.” In the past three years since Charles began working at Webb’s, the company has undergone significant growth. “What I find enthralling about the auction business is that we are always breaking new ground in shaping our nation’s cultural history – the auction mechanism is constantly

re-evaluating the legacy and importance of certain artists and schools of thought, and this is something that I find consistently fascinating.”

Charles has a wide-ranging knowledge of and enthusiasm for the entire spectrum of New Zealand’s art-historical landscape; from historical painting to works from the modern period to contemporary practice, his approach to the consignment and marketing of artworks is typified by a well-referenced awareness of the market and a scholarly understanding of arthistorical context. Charles has a natural flair as an auctioneer and he has sold at numerous charity events and at auctions across the spectrum of Webb’s departments; this catalogue represents the first sale of Important Paintings & Contemporary Art that he will conduct. Charles is available for appraisals Auckland-wide and travels to New Zealand’s major metropolitan centres regularly.

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Bill Hammond, Zoomorphic Lounge, Achieved $205,190 August 2013

WEBB’S

commissions now invited Webb’s Valuations service

Contact Brian WoOd bwood@webbs.co.nz / 09 524 6804

Valuations Webb’s Valuation department is the most comprehensive of its kind in New Zealand. With over 35 years of experience and a team of 20 specialist staff members, we provide tailored services that set the industry standard. Significant recent commissions include valuing the entire Taonga Maori, Pacific and Ethnographic collections at Te Papa Tongarewa, and valuations for Auckland Art Gallery, Wellington City Council Public Art Collection, the complete contents of Olveston, several collections for Auckland War Memorial Museum, Auckland Council, Museum of Transport & Technology, Voyager New Zealand Maritime Museum,

and numerous regional museums and galleries. Webb’s valuers offer a proven ability to accurately undertake valuations for any items, from single pieces to complete collections, within set time frames and in a cost-effective manner.

Specialist fields of expertise include: - New Zealand and International Art - Photography - Ceramics - Antiques and Decorative Arts - Modern Design - Maori Artefacts and Oceanic Art - Books, Rare Documents, Maps and Manuscripts - Fine and Rare Wine - Vintage Motorcycles

- Fashion and Textiles - Household Chattels

Valuations are prepared for the purposes of: - Insurance - Post-loss Insurance - Family Estate Division - Financial Reporting - Relationship Property Division - Corporate Compliance Webb’s valuations are based on industry-standard methodology and are accepted by all of the leading insurance companies and brokers.

To discuss your valuation requirements or for a no-obligation quote, contact Brian Wood.

Webb’s valuations recent comissions

1

2

3

4

01 - Te Papa Tongarewa 02 - Olveston Historic House, Dunedin 03 - Auckland Art Gallery

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04 - Motat 05 - Wellington CIty Council Public Art

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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 15% for the sale, (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 errors 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.

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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.

Important Paintings and Contemporary Art

INDEX OF ARTISTS Aberhart, Lawrence 46, 47

Hotere, Ralph 30, 44, 57, 73, 80, 84

Angus, Rita 90

Hurley, Gavin 45, 62

Bush, Kushana 4

Illingworth, Michael 18

Castle, Len 68, 69, 70, 71

Kaan, Simon 76

Ching, Raymond 39

Leek, Saskia 74

Clark, Russell 78

Lindauer, Gottfried 23, 91

Cotton, Shane 21, 50

Maddox, Allen 9, 36, 49, 58, 97

Culbert, Bill 16

McCahon, Colin 89

Dawson, Neil 96

McCracken, David 83

Dibble, Paul 42, 51, 85, 86

McLeod, Andrew 52

Driver, Don 40, 54

Millar, Judy 5, 37

Ellis, Robert 98

Mitchell, Sam 61

Esplin, Tom 99, 100

Parekowhai, Michael 14

Fomison, Tony 1, 7

Peryer, Peter 12, 66

Fraser, Jacqueline 88

Piccinini, Patricia 11

Friedlander, Marti 65

Rae, Jude 28

Frizzell, Dick 15, 17, 41, 59, 92, 93

Reynolds, John 63, 64

Gimblett, Max 8

Robinson, Peter 6, 31, 32, 33, 48, 60

Goldie, Charles Frederick 22, 26

Smither, Michael 25

Good, Roy 77

Stichbury, Peter 67

Grosse, Katharina 53

Stringer, Terry 87

Hammond, Bill 19, 20, 34, 35, 55, 56

Thompson, Jeff 102

Hanly, Pat 27, 38, 43

Trusttum, Philip 103

Harris, Jeffrey 79

van Hout, Ronnie 13

Harrison, Michael 2, 3

Walters, Gordon 24, 29

Heaphy, Chris 75, 81, 82

Weeks, John 10

Hodgkins, Frances 72

Williams, Mervyn 94, 95

Holmwood, John 101

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Catalogue 366 28 November 2013

Catalogue 366 28 November 2013

Important paintings and contemporary art

Important paintings and contemporary art