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Webbs Departments Managing Director: Peter Webb General Manager: Ann Webb

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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 biddings the lot in dispute will be immediately put up for sale again at the preceding bidding , or the auctioneer may declare the purchaser, which declaration shall be conclusive.

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2. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted . 3. All lots are sold subject to the right of the seller or his agent to bid or else to impose a reserve . 4. The purchaser shall complete a bidding card before the sale giving name and address . Immediately aiter the sale the purchaser shall pay 10% of the purchase price in part payment and shall pay the balance within ten days of the date of the sale unless prior credit arrangements have been made. 5. The purchaser shall pay to Peter Webb Galleries Limited (Webb's) a premium of 10% of the hammer price together with G.S.T. on such premium at the current rate . 6. All lots are sold as shown and with all errors to description , faults and imperfections whether visible or not. Neither Webb's or its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. 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. Each lot is at the risk of the purchaser from the fall of the hammer and is to be taken away at the purchaser's expense immediately after the sale . If this is not done Webb's will not be responsible if the lot is lost . stolen , damaged or destroyed . 9. No goods are to be removed while selling is in progress. Receipted invoices must be produced prior to delivery of any lot. The auctioneers reserve the right to request identification in the case of any purchaser not known to Webb's who pays by cheque. Credit cards will not be accepted as means of payment.

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INSTRUCTIONS TO BID AT SALES Absentee bids These are accepted by Webb's and carried out free of charge . Lot s will be bought as favourably as is allowed by the bidding.in the saleroom and any reserve imposed. "Buy" (unlimited) bidding directions will not be accepted . Webb's require confirmation in writing or by fax of bidding directions prior to the sale .

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Telephone bids Webb 's will use its best endeavours to take telephone bids from buyers who have made proper arrangements prior to the sale . Because this method cannot be entirely free from the risk of communication cutoff Webb ·s cannot be responsible for losses arising from missed bids .

11 . 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 ri hts or remedies :

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Buy plus

VENDORS are requested to read and are bound of the Conditions of Sale printed upon the reverse side of Webb's Contract to Sell.

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CATALOGUES can be obtained on annual subscription or from our saleroom . PRESALE ESTIMATES are intended as a guide only and can be subject to revision nearer to the time of a sale . Webb 's staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure .

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CREDIT on purchases of $7000 or more can in some cases be arranged . Please consu lt with our Manager.

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sale 181

Webb's catalogue of

Fine New Zealand Paintings including

The Goodman Fielder Collection of early New Zealand paintings featuring thirty-three important historical watercolours by Captain Richard Oliver R.N. together with The Alex & Leigh Ann Lawson Collection of Contemporary New Zealand paintings, and Colin McCahon's Let be, let be from the Elias series

TUESDAY 28th MARCH at 6pm Contemporary New Zealand Paintings including The Alex & Leigh Ann Lawson Collection

WEDNESDAY 29th MARCH at 6pm The Goodman Fielder Collection together with other historical and foreign paintings The catalogue may be viewed at the following times: Wednesday 22nd to Friday 24th March 9am - 5.30pm Sunday 26th March 11am - 3pm Monday 27th March 9am - 5.30pm Days of sale 9am to noon, later by appointment viewing outside of the published viewing times can be arranged by making an appointment BUYER' S PREMIUM APPLYING TO THIS SALE Buyers shall pay to Webb ' s a buyer' s premium of ten percent of the hammer price plus GST on the premium. This sale is subject to the conditions of business printed in the catalogue ofl'/eDbS

L-asae weoos est mates and

Illustrated front cover: Lot 98 (detail) catalogue photography; Arne Loot. catalogue production; Graeme Brazier Ltd.

Peter Webb Galleries Limited Estate & Fine Art Auctioneers & Valuers MAANZ 18 Manukau Road, Epsom, Auckland. P.O. Box 99251 Ph: 0-9-524 6804. Fax: 0-9-524 7048.

FIRST SESSION. Tuesday 28th March 1995 at 6pm

1 Colin McCahon 1919-1987 Let be, let be solpah enamel and sand on hardboard signed and dated 1959, signed again verso and inscribed, No.29. Let be will he come to save him Jan-Aug 59 solpah and sand 60 gns. 1830 X 1220mm Collection: The McCahon Family, Auckland Exhibitions: Queen Elizabeth II Arts Council of New Zealand Contemporary New Zealand Painting 1965 Commonwealth Institute, London, catalogue number 39 National Art Gallery, Wellington; Museum of Contemporary Art, Sydney, Headlands exhibition, 1992 Illustrations: Colin McCahon, Artist Gordon H. Brown, new edition, Reed 1993, p.116 Forty Modern New Zealand Painters Francis Pound, Penguin Books 1985. pl.25 Headlands exhibition catalogue, page 55 estimate on request see illustration right see pages 6 and 7 for catalogue notes by Gordon H. Brown and William McCahon

my God) the impression that Jesus had been crying out to Elias, one of Israel's great prophets. At that time the association of Elias with the Messianic tradition was a commonly held idea and, for many, Jesus had been seen as the Messiah within the frustrated nationalistic aims of this popular tradition. Also open to interpretation is the emotive tone in which these words were spoken. This is especially so when recalling the mocking tone of the priests, scribes and elders when they had earlier addressed the crowd concerning Jesus. "He saved others; himself he cannot save. If he be King of Israel, let him now come down from the cross, and we will believe him. He trusted in God; let him deliver him now, if he will have him: for he said, ' I am the son of God. " ' Discern how certain key words are repeated, and are there not established certain similar emotive echoes? Indeed, McCahon ' s own statement, relating his interest "in men ' s doubts" to issues arising from the implications of Christ Crucified (and Risen after three days from the dead), and the fact that "these same doubts constantly [troubled him]", only have coherent meaning if both these quoted passages are read in unison . There is no doubt that McCahon ' s deployment of the second quoted, questioning statement (with its implied allusions to the first) , including his freedom in applying a triple reading to the phrase " will come to save him" , is pondered with a measured seriousness far removed from the mockery of the priests and elders' assertions. While the multiple reading dominates the text in Let be, let be and clearly demonstrates McCahon' s sombre playfulness, it can equally be asked whether such a wilful word-play implies anything beyond the possibilities raised by the uncertain emotive tone underlying the original statement and the erroneous situation from which it arose. Remember, such a reading must also include the visual weight assigned by the artist to each word and its adjacent, associated colour or surrounding tonality; each of these elements being aspects inherent in how the text can be interpreted, for the reading of the words detached from their visual environment will not, if so isolated, impart their full meaning. It is not a case of words being spoken by an ethereal Ariel, but of words plucked from the elements that surround the earthly Caliban. And like the raw pigments in the painting itself, the alchemy of art is capable of

A Catalogue Note by Gordon H. Brown on Colin McCahon's Painting Let be, let be

While the origin of the words used in Let be, let be are based on a text found in St Mathew's Gospel, by a less direct path, it is possible to trace the didactic source behind McCahon' s approach to the major works in his Elias series paintings to the writings of Eric Gill and John Anderson. McCahon had read Gill during 1942; Anderson ' s essay on Some Questions of Aesthetics about ten years later. Gill considered an artist' s responsibilty extended beyond purely aesthetic considerations through the ability to respond and communicate the essential character and sense of wonder inherent in the subject of a painting. Anderson, on the other hand, emphasised the importance of a theme powerful and complicated enough to ensure that in its working out the theme's development would enhance the "objective order" of the art work' s aesthetic structure. For McCahon these two ideas both complimented and sustained each other in his own approach to the human pulse that he thought should give to art its purpose. Gill and Anderson's combined subjective, thematic emphasis underlay McCahon's comments, often quoted, from his 1972 Survey Exhibition catalogue concerning the origins of his Elias series. The paintings, he wrote, " .. .all came out of the story of the crucifixion ... and I [McCahon] became interested in men's doubts. (This theme appears here and appears later - I could never call myself a Christian, therefore these same doubts constantly assail me too.)" The particular incident referred to by McCahon in connection with the events of Christ's crucifixion are relayed in both St Mark's and St Mathew ' s Gospels, though the authorised text of the latter is the one followed more closely by McCahon. In the Let be, let be painting, as in others of the Elias series, it is the words spoken by a group of spectators, come to watch the event, "Let be, let us see whether Elias will come to save him," that is the basis for McCahon's text. Yet, in a way typical of McCahon, the quoted text is fraught with ambiguity. In saying what they said, this section of the crowd had based their statements on a failure to hear what Jesus had cried out, taking from Eli,Eli (My God,

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prophets. At iliat itheMessiaruc lea an~ for many, ah within the 1 popular ion is the emotive poken. This is Docking tone of tiie hey had e~lier lesus. "He saved he be King of om the cross. and 1God; let him tim: for he said, 'l 1 ertain key not established

statement 1bts" to issues luist Crucified he dead). and the tantly [troubled 1g if both these

cCahon·s ,questioning ins to the lir,t), ,atriple reading to n". is pondered !moved from the assertions. While etext in Let be, let ahon' ssombre :d i.hethersuch a ibeyond the in emotive tone and the erroneous nember, such a ,al weight assigned

1djacent tonaliij: each of rent in how the dinv of the words ]ID;Ot will not if ing. lt is not acase real Ariel. but of that surround the · the pigments 111 is capable of

allowing them their own form of poetry. Let be, let be, in its lyrical coloration, its almost atmospheric tonality, its suggestive imagery that merges into dramatic symbolism, plus its enlivening touches of acidity, has given to this painting the elements of visual poetry in McCahon's best manner. And beneath this splendour, the painterly, hand lettered, but fragmentary (if coherently readable) text becomes part of a dialogue that weaves in and oµt through the related paintings that form the Elias series. Yet, without an appreciation of the total context of the Crucifixion story as relayed in the Gospels, and not withstanding the flexibility given to various word combinations and layered readings derived from the same, short, basic text, the fragmentary sense of an umesolved dialogue persists. Only with the introduction of new texts into two late paintings in the series which, when later combined with an earlier, wordless painting to become the Elias Triptych , do these texts, which still relate to the Crucifixion story, but broach wider issues, bring the fragmentary Elias series discourse closer to an implied resolution. In the third panel of the triptych the risen Christ is confirmed, if shakily, as was McCahon's own uncertain position: "I believe, but don ' t believe." While in a real sense the Elias series addresses a very human predicament, the implications of the situation reflected very much McCahon ' s own uncertain religious and social affiliations. If the theme of the Elias paintings contains a largeness that satisfied McCahon ' s working out of its complexities while still tackling some consequential difficulties in his own Modernist practice, it can be argued that the way in which he fragmented and playfully pulled apart and reconstructed an already ambiguous text may well .have been done to partly hide from himself his own uneasiness with a theme that had become a bulwark to his inner resources as an artist, but to whose theological demands he could not fully commit himself. Yet, notwithstanding this, the Elias theme provided McCahon with a source for a handful of major works of which Let be, let be must be placed among the greatest.

A Catalogue Note by William McCahon on Colin McCahon's Painting Let be, let be

The painting Let be, let be was first shown to the family by Colin McCahon while we were still living at Titirangi. The product of many late nights after work, we children recognised its skies and moods . Let be let be and its companions in the Elias series, seemed to be about our concerns, our lives, and very modern; a triumph and an instant favourite. We felt this was an equal to those wonderful new works we saw in overseas magazines and books. At the time of this showing the central area was unlettered. It was felt by a family consensus, more writing was needed. We children did not respond to its w1itten messages of doubt and hope; we enjoyed its size, the moods of its skyscapes, the balances and harmonies of its construction. Some time later after much agonizing Colin, well fortified, lettered the central panel during the small hours of the morning, a time during which he knew he would not be disturbed. At first disappointed and depressed by my mother, Anne ' s criticism of the method by which he had achieved this script, he began to rework the words. Every brush stroke was much talked about. Putting any reservations aside he called the work finished, Anne agreeing. However, this spidery scrawl is possibly his most expressive writing in paint until perhaps the Scared series, being the most direct from his hand and heart, Colin himself was afraid of this directness, an issue of its own in modern art, while knowing when to stop is one of the hardest things for the artist himself to decide, and so an already complete work was brought into an even greater realisation of an original idea. At this time Colin was reading Christ Re-crucified by Nikos Kazatzakis, a Faber paperback. Colin strongly identified with the simple minded persecution and pillorying of the innocent shepherd in the story, subject himself to frequent personal attack and misunderstanding from the press and community, thus the line at the bottom of the painting, "It has always been like this". At this time the family , and Colin in particular, experienced various real and perceived persecutions by parts of the Titirangi community that made life difficult. Colin soon after shifted us all into the then slums of Newton Gully where no one cared what he did or painted and so was free of thoughtless criticism and angers.

Gordon H. Brown.

William McCahon

Colin McCahon Titirangi oil on hardboard signed inscribed Titirangi May - June 57 600 X 430mm Collection: Alex and Leigh Ann Lawson, Auckland 70,000-100,000 see illustration above

3 Colin McCahon Hillside solpah on hardboard inscribed McCahon, May June 1964 verso 460 X 300mm 15 ,000-20,000 see illustration above

4 Colin McCahon

Muriwai, 1969 acrylic, sand and graphite on hardboard inscribed As there is a constant flow of Light we are born into a pure land. Muriwai March 19 '69 McCahon 302 x 304mm Collection: Professor Robert Ellis, acquired by him directly from the artist. Not previously exhibited. 16,000-20,000 see illustration above

Colin McCahon Muriwai, 1969 acrylic, sand and graphite on hardboard inscribed As there is a constant flow of Light we are born into a pure land. McCahon. Muruwai [sic] March 191969 300 x 303mm Collection: Professor Robert Ellis, acquired by him directly from the artist, not previously exhibited. 16,000-20,000 see illustration above

Colin McCahon Waterfall solpah and sand on hardboard signed and dated Dec 64 on face, inscribed; McCahon December 1964 on reverse 303 X 303mm 10,000-14,000 see illustration above

7 Colin McCahon Waterfall solpah on hardboard inscribed; Colin McCahon, Waterfall June - July 64 N.F.S C57.41 verso 300 X 200mm 9000-12, 000 see illustration above

8 Colin McCahon A Nelson landscape

watercolour circa 1942 210 X 270mm Verso: A similar landscape Provenance: Formerly in the collection of Mr M. C. Draffin, Auckland, the artist's solicitor. 12,000-16,000 see illustrations above and below

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9 Colin McCahon Study of young kauri, Titirangi 1953 watercolour signed and dated 1953 265 X 230mm 9000-12,000 see illustration left

10 Colin McCahon Bather No. 1 ink drawing signed and dated 1943 100 X 82mm 4000-5000 see illustration below

11 Colin McCahon Red boat shed watercolour signed and dated 1939 250 x 305mm Provenance: Formerly in the collection of Gordon H. Brown 12,000-15,000 see illustration above

12 Ralph Hotere Aramoana, black window oil on hardboard titled, signed and dated 82-90 1020 x 755mm (includes frame) 18,000-25,000 see illustration above

13 Ralph Hotere At Blueskin Bay acrylic on canvas signed and dated 1990-91 and inscribed Death wears the colours of a Rainbow 1960 x 1820mm 15,000-25,000 see illustration above

14 Ralph Hotere Remuera, dripping, dripping oil on corrogated iron title inscribed, signed and dated 1.80 verso 2317 x 670mm Collection: Alex and Leigh Ann Lawson, Auckland 10,000-16,000 see illustration left

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15 Ralph Hotere Dripping gouache and oil stick on paper inscribed Dripping, drawing for a black Remuera painting - corrugated, 1 Grand View Road ; Hotere Jan 90 695 X 503mm Collection: Alex and Leigh Ann Lawson, Auckland 3000-4000 see illustration above

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16 Philip Clairmont 1949-1984 Black chair P.V.A acrylic on hardboard title inscribed, signed and dated 1973 verso , inscribed Black Chair on face 1180 X 900mm Exhibited: Serjeant Gallery December 1978 Collections: Barry Lett Gallery, 1978, and Alex and Leigh Ann Lawson, Auckland 1995 $25,000-35,000 see illustration above also see study for this painting, lot 47

17 Tony Fomison In memory of equality bill campaigner Stewart Fletcher, who died 8th October 1975, 1981 oil on canvas board 360 x 250mm Exhibited: Fomison, What shall we tell them?, City Gallery Wellington 1994, Catalogue entry No. 45, illustrated p.111 Collection: Alex and Leigh Ann Lawson, Auckland As this painting is currently on loan to the touring exhibition What shall we tell them? it cannot be made available to the purchaser until the close of the Auckland City Art Gallery showing of the exhibition on August 13th 1995. 15,000-25,000 see illustration above

18 Tony Fomison Te Hokianga, kite Pari-karanga oil on canvas on panel title inscribed, signed and dated 1984 verso 290 x 240mm Collection: Alex and Leigh Ann Lawson, Auckland 12,000-16,0Q0 see illustration above

19 Tony Fomison Monkey on your back oil on canvas board inscribed Started 9.9.86: finished 7.9.86: Driving Creek Coromandel 'Monke y on your back' Fomison 1986 400 x 295mm Illustrated Fomison, What shall we tell them ?, City Gallery Wellington travelling exhibition catalogue, p.21 Collection: Alex and Leigh Ann Lawson , Auckland 8000-12000 see illustration left

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20 Tony Fomison An actor's face oil on hessian on board titled, signed and dated 1986 on reverse 343 X 280mm Collection: Alex and Leigh Ann Lawson, Auckland 8000-12,000 see illustration left

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ibition wson. 22 Patrick Hanly Torso G enamel on hard board signed and dated 1978 815 x 815mm Collection: Alex and Leigh Ann Lawson, Auckland 8000-12000 see illustration above

21 Patrick Hanly Luna lover Oil on hardboard titled, signed and dated 1981 600 x 570mm Collection: Alex and Leigh Ann Lawson, Auckland 8000-12,000 see illustration above

23 Patrick Hanly Still life, energy series oil on canvas signed and dated 1973 title inscribed verso 710 x 685mm Collection: Alex and Leigh Ann Lawson, Auckland 7000-12000 see illustration left

24 Patrick Hanly Inside the garden watercolour signed 500 x 600mm Collection: Alex and Leigh Ann Lawson, Auckland 3500-5000 see illustration left

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25 Patrick Hanly New order 24, part II oil on canvas title inscribed signed and dated 1963 750 x 740mm 8000-12,000 see illustration left

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26 Robert Ellis Motorway oil on board signed and dated 1956 1205 X 905mm Collection: Alex and Leigh Ann Lawson , Auckland 6000-9000 see illustration left

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Robert Ellis City with motorways oil on hardboard signed and dated 1970 595 X 595mm Collection: Alex and Leigh Ann Lawson, Auckland 4000-6000 see illustration below

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28 Don Binney b.1940 Waiti oil on board signed and dated 1963-64 1065 X 605mm 12,000-16,000 see illustration above

30 Michael Shepherd White collar and striped tie oil on board 1980 inscribed 80 283 x 438mm Collection: Alex and Leigh Ann Lawson, Auckland 2000-3000 see illustration below

29 Michael Shepherd Still life with large adze and pukeko head oil on canvas 1980 inscribed 80 600 X 630mm Collection: Alex and Leigh Ann Lawson, Auckland 4000-6000 see illustration above

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31 Michael Shepherd Still life with cotton reel oil on canvas 1980 inscribed 80 240 X 295mm Collection: Alex and Leigh Ann Lawson, Auckland 2000-3000 see illustration left

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32 Milan Mrkusich b.1925 Chinese element, wood I acrylic on board signed and dated 1990 800 X 600mm 2500-3500 see illustration below

33 Dick Frizzell Huge skies and tornado warnings in Iowa enamel on hardboard signed and dated 10.1.80 1200 X 1010mm Collection: Alex and Leigh Ann Lawson, Auckland 5000-7000 see illustration above

34 Gordon Walters b.1919 Koru painting in black and dark grey gouache signed and dated 5.3.79 162 X 155mm 3000-5000 see illustration right

35 Gordon Walters Untitled Painting gouache on paper signed and dated 19.3.88 600 x400mm 2500-3500 see illustration lower right

36 Gordon Walters Untitled Drawing coloured pencil on paper signed and dated 11.1.54 and inscribed top 246 X 310mm 1200-1800 see illustration below

38 Gretchen Albrecht Intervention encaustic on paper signed and dated 1980 800 X 1200 1000-1500 see illustration below

Gretchen Albrecht Small hemisphere acry lie on shaped canvas 440x 885mm 4000-6000 see illustration above

39 Geoff Thornley b.1942 Untitled painting, Grey a/bus series circa 1974 acrylic on Steinbach paper on canvas 17 40 X 1200mm 6000-8000 see illustration below

40 Geoff Thornley Untitled painting 1972 mixed media on paper laid on canvas 720 X 470mm 3000-5000 see illustration above

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41 Philip Trusttum Untitled painting acrylic on paper signed 755 x 555mm Collection: Alex and Leigh Ann Lawson, Auckland 2000-3000 see illustration left

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42 Jeffrey Harris b .194 9 Untitled painting oil on board and collage signed and dated 1975 335 x 410mm 6000-9000 see illustration above

Michael Smither b.1939 The coffee pot oil on board 700 X 1050 verso: John Leech Gallery label Purchased from one man exhibition, John Leech Gallery: November 1966 4000-6000 see illustration below

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44 Bill Hammond Eagles at the racetrack, Kanazawa oil on canvas title inscribed, signed and dated 1992 800 x 500mm 4000-6000 see illustration left

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45 Theo Schoon Untitled drawing ink and coloured pencil signed and dated 1963 225 x 175mm 1000-1500 see illustration above

46 Nigel Brown b.1949 All the jokes about survival, painting A acrylic on board title inscribed, signed and dated 1983 verso 640 X 980mm 2000-3000 see illustration left

Philip Clairmont Study for chair ink drawing signed 560 X 370mm Collection: Alex and Leigh Ann Lawson, Auckland 2000-3000 see illustration left

ated 199!

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48 Philip Clairmont Still life with jug mixed media 411 x 340mm Verso: Portrait study of a woman ink drawing 1200-1800 see illustration right

49 Don Binney The Seven Lean Kine oil on board signed and dated 1963 965 X 670 2500-3500 see illustration left

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51 Louise Henderson Untitled abstract painting. oil on board signed and inscribed No.14 1010 x 755mm 3000-5000 see illustration below

Louise Henderson Night clouds, clouds oil on board title inscribed signed and verso 590 X 900mm 4000-6000 see illustration above

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53 Eric Lee-Johnson Near Mt Messenger watercolour 1965 signed 475 X 620mm 3000-5000 see illustration below

52 Eric Lee-Johnson Rural landscape gouache signed and dated 1946 255 X 445mm 3500-4500 see illustration above

55 John Reynolds Stations of the cross mixed media signed and dated 1989 verso 435 X 635mm 900-1200

56 Denis (Knight) Turner b.1924 Four masks watercolour and gouache on board signed Knight and dated 1951 273 x 180mm Exhibited: Here there here Sarjeant Gallery , Wanganui, Travelling Exhibition 1993 Collection: James McNeish, Wellington 2500-3500

54 Martin Roestenburg Crucifix painted glass tiles within wooden frame signed 600 x464mm Martin Roestenburg was active in New Zealand in the late fifties. He produced a stained glass window depicting a Maori madonna for the Mill Hill Father's Church at Waihi and a fourteen foot tall Maori madonna and child in carved granite for the Catholic Church at Taupo. 700-1000 see illustration above

56a 12 multiples A set of twelve loose silkscreen prints by Colin McCahon, Michael Smither, Ross Ritchie, Gordon Walters, M.T. Woollaston, Mervyn Williams, Robert Ellis, Michael Illingworth, Patrick Hanly, Ralph Hotere, Don Binney, Milan Mrkusich, with descriptive title sheet published by the Bimy Lett Galleries, Auckland circa 1970 imperial size 553 x 755mm 3000-4000

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57 Robert McCloud Magenta Mistake oil on canvas signed and dated 1977 verso 1520 X 1560mm see illustration above

58 Gretchen Albrecht Untitled abstract mixed media on paper signed and dated 1978 1070 X 695 600-1200

Philip Clairmont Self portrait woodcut, artists proof 3/4 title inscribed, signed and dated 1970 600 X 295mm 700-900

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61 Theo Schoon A portrait of Bill Miller charcoal on paper title inscribed, signed and dated 1946 530 X 450mm 800-1200

59 Jeffrey Harris Figure in landscape oil pastel on paper title inscribed, signed and dated 1968 verso 530 x 745mm 2000-2500

68 Eric Lee-Johnson The James Busby House, Waitangi ink drawing title inscribed, signed and dated 1957 215 X 280mm 250-350

Patrick Pound A book of wreaths collage and dried leaves title inscribed, signed and dated 1990 185 X 420mm Collection: Estate of Hilary Jean Pound , Auckland 700-900

63 Patrick Pound Travelling bookcase graphite and collage title inscribed, signed and dated 1988 780 X 590mm Collection: Estate of Hilary Jean Pound, Auckland 700-900

Jeffrey Harris Three figures in a city scape ink on paper signed and dated 1987 245 X 340mm 1000-1500

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Jeffrey Harris Three figures in a city scape ink on paper signed and dated 1987 245 X 340 1000-1500

64 Garth Tapper The meeting oil on board signed title inscribed, signed, dated and numbered No.9. verso 280 X 295mm 1000-1500

71 Russell Clark 1905-1966 Farmyard pencil on paper The work incorporates colour and design notes in the artist's hand, crtificate of authenticity verso 155 X 245mm 500-800

65 Garth Tapper A collection of nine drawings and three monoprints (12) various sizes 500-800

72 Ernest Buckmaster 1897-1968 Te Kaha, East Coast, North Island, New Zealand

66 Eric Lee-Johnson Te Kuma Bay, Coromandel pen and watercolour on paper 270 x 340mm 1200-1800

signed 750 X 950mm 2000-3000

lo Alleo!lad

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irucrilledX ol1)x110rr [O.~

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colOll!liilic

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o10x)flln JOO.iOO

73 Richard Killeen How do we learn ? computer printout, collage and acrylic on paper title inscribed, signed and dated 1992 290 X 380mm 600-800

67 Eric Lee-Johnson Landscape with pine trees watercolour signed and dated 1966 265 X 745 600-1200

Dean Buel Mel11Ulerin.

colourliilic

bUeinscrib

Wix o10n JOO.loo

1957

Eric Lee-Johnson 1908-1993 Coastal landscape watercolour signed and dated 1986 295 X 4'.30rrun 1600-2000

Philippa Blair MM/Einstein and the President colour lithograph 19/26 title inscribed, signed and dated 1988 760 X 575 300-500

75 James Ross The effect of the moon oil on two panels title inscribed, signed and dated 1989 verso 1216 x 296mm Collection: Estate of Hilary Jean Pound, Auckland 900-1300

81 Philippa Blair II Volvo Alitalia colour lithograph 24/28 title inscribed, signed and dated 1989 555 X 740mm 300-500

82 Patrick Hanly Butterfly vacation colour lithograph 48/55 title inscribed, signed and dated 1989 500-800

76 Allen Maddox Untitled painting oil on shaped canvas inscribed Xmas and dated 1.76 690 X 210mm 600-900

1d design notes of authentici~

IIsland, New

Alan Taylor Gull acrylic on canvas board 285 X 385 Exhibited: Denis Cohn Gallery, 1985 300-500

77 Gretchen Albrecht Nude with bird and foliage pencil on paper 540 X 375mm 600-1200

84 Alan Taylor Giant Petrel acrylic on canvas board 285 x 385mm Exibited: Denis Cohn Gallery, 1985 300-500

78 Dean Buchanan The gull colour lithograph 22/23 title inscribed, signed and dated 1987 620 x 760mm 300-500

85 Deborah Smith Falling back fibre based print with brass letters signed and dated 1987 on reverse 305 X 465mm Collection: Estate of Hilary Jean Pound , Auckland 200-300

79 nd acrylic on 1992

Dean Buchanan Meandering road colour lithograph 20/21 title inscribed, signed and dated 1987 805 X 620mm 300-500

92 Jenny Dolezel The game of love clour lithograph 15/36 title inscribed, signed and dated 1989 545 x 735mm 400-600

E. Mervyn Taylor Serenity woodblock print 69/300 title inscribed, signed 472 x 242mm 400-600

93 Gavin Chilcott Two postcards from Maine colour lithograph 15/17 inscribed Blue lobster claw, Permaquid Point signed and dated 1987 453 X 340 200-300

87 Don Binney Swoop of the Kotare, Wainamu screenprint 107/1875 title inscribed, signed and dated 1980 640 x 465mm 300-600

94 Richard McWhannell Erotica series six colour lithographs various sizes 300-600

Don Binney Pole lines, Te Henga colour lithograph 36/38 title inscribed, signed and dated 1989 550 x 730mm 300-600

95 Richard McWhannell Wisper on the wind colour lithograph 24/27 title inscribed, signed 550 X 735mm 300-500

89 Rodney Fumpston Anniversary Day drawing chalk pastel on paper title inscribed, signed and dated 1982 695 X 1010mm 200-400

96 Tony Lane A couple embracing colour lithograph 19/20 title inscribed, signed and dated 1987 1125 x 610mm 300-500

90 Philippa Hutchison (Blair) German night kite, high flying acrylic on shaped canvas title inscribed and signed verso 1420 x 900mm 200-400

97 Tony Lane Patron saint colour lithograph 22/23 title inscribed, signed and dated 1987 715 X 560mm 300-500

91 John Weeks Untitled abstract monoprint signed 160 x 133mm 200-300

End of First Session

lm.\luande

SECOND SESSION. Wednesday 29th March 1995 at 6pm

ed 19 9

'ermaquid Poiru

I!981

!981

98 John Alexander Gilfillan 1793-1863 Portrait of the artist's son, John Gordon Gilfillan, aged about six years watercolour signed and dated 1844 240 X 200mm John Alexander Gilfillan and his family emigrated to New Zealand in 1841 , arriving on Christmas Day. John Gilfillan had been Professor of Painting at Glasgow's Andersonian University for eleven years before transporting his family to the New Zealand Company colony of Wanganui. He established a farm in the Matarawa Valley, where after a quiet period of friendly relations with the

Maori, lasting near two years, a misunderstanding between a young naval officer from a visiting gun boat and the local tribe, resulted in the family being attacked by a Maori raiding party, on the 18th April 1847. Gilfillan's wife Mary was killed together with three of their children , and the farm house was destroyed. John Gordon, aged seven at the time of the attack, and his six year old sister Sarah were found walking out of the bush by the rescue party coming from Wanganui. John Gordon moved to Australia with his family but later returned to New Zealand. He was drowned in a canoe accident on Lake Rotorua in 1875, aged 35 . 10,000-15 ,000 see illustration above and detail front cover

These are typical examples of Lindauer' s portrait style. Against a neutral background, shaded to create a feeling of depth, the subjects face us yet at the same time seem to be looking past us. Many of the paintings Lindauer produced clients, including other husband-and-wife Maori for pairs, depicting Maori wearing their ' best' Pakeha clothes. It was the Pakeha collector Henry Partridge, Lindauer' s lifelong patron, who urged the artist to dress his portrait subjects in chiefly Maori attire. Mr Paramena is holding a distinctive taiaha, similar to one shown in Lindauer's portrait of Ngati Whatua chief Te Hira Te Kawau which hangs in the Auckland City Art Gallery. The exceptional feather

99 Gottfried Lindauer 1839-1926 Mr Paramena and Mrs Paramena oils on canvas inscribed in pencil on reverse in the artist' s hand Mr Paramena and Mrs Paramena 690 x 865mm each Bohemian by birth, Lindauer trained as an artist at the Vienna Academy and established his career as a portrait painter before emigrating to New Zealand in 1874. While his work here included portraits of Pakeha settlers, genre scenes and copies of famous European paintings, he soon established his speciality as portraiture of individual Maori.

clookmmb

The Hi'!mdlhe1 i~aPateha e~lanation :Jered b1 Ik'l)nne1er

~!he)

Lindauer·s f(lrtr: ground. snaoei bjects face11i 1~ , Opast us. eLindauer pnxlt r nu1bano-ano- 1 tberr ·1,e1f ia1,

torHetUYPaJtll',·

uried me art! efly\laorialllfl

ie taiaha sinul~ ·I Of''o,,,ati\\111, hicb nanis tP ~ exeeptional featil'

cloaks worn by both Mr and Mrs Paramena have no counterpart in any known Lindauer portraits, and must have been worn by the Paramenas when Lindauer made his preparatory photographs for the portraits. Colour notes would have been another essential guide for the artist back in his Woodville studio. The origin of the portraits is mysterious. How did they come to be given as wedding presents for a Pakeha couple, as family tradition asserts? One explanation could be that these particular portraits, ordered by the Paramena family, were for some reason never delivered to their intended owners. Instead, they remained to be admired by the visitors

who sought out Woodville's renowned painter, and were ultimately purchased as wedding gifts. The paintings are exceptionally well preserved, their surfaces showing none of the signs of damage and restoration seen on many of Lindauer's paintings in public collections. The sitters' tribal identity and place of residence is not yet known, and it is likely that their actual names differ from the inscriptions Mr Paramena and Mrs Paramena, which are pencilled on to the back of the stretcher frame. estimate on request see illustrations

The Goodman Fielder Collection of Early New Zealand Paintings

the New Zealand Court of London's Great Exhibition of 1851. The painting is said to have sold to an English buyer for £200.00, but before it disappeared Moore commissioned the large lithographic reproduction that is the only surviving record of the composition. The fate of the original painting is uncertain ; some authorities maintain that it was destroyed during the Prussian seige of Paris, others that it was last seen in Madrid.

100 John Alexander Gilfillan Putiki Pa, Wanganui watercolour signed and dated 1847 in pencil 275 X 400mm

This watercolour provided one of the main sources for Gilfillan's celebrated 'lost' painting Interior of a native village, or 'pa', in New Zealand. The painting was executed after Gilfillan had shifted his surviving family to Sydney in 1847 and was consigned to a Captain Moore for exhibition in

References: T.W.Downes, Old Whanganui, Hawera 1915, pp.241-289. see illustration

101 Alfred Sharpe c.1830-1912 Old native pah and burial ground, entrance of Mata Creek, Mangapai. Daylight effect, after rain 1877 watercolour signed and dated 1877 in pencil 600 x 910mm

of Lonooo'I G:: tine 6saiatobat , l00.00. but heh m1ssioneo ibe I::

at 6rheo~)IU!I

[he fate of ihe 00,

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this body of work is Sharpe ' s awareness that colonisation was radically transforming the New Zealand landscape. In his reminiscences of this period of his life, Sharpe wrote about the " ... rapid disappearances of the Maories [sic]. .. " evidenced by the abandoned pa sites and plantations around the Mangapai area. When he first arrived at Mangapai, there had been five of six Maori settlements on the river, each with thirty to forty inhabitants. Six years later, according to Sharpe, there were only three remaining settlements with a combined population of around thirty five. The appreciation of Maori art and culture revealed in

This painting was first exhibited at the Auckland Society of Artists in 1877, priced at 12 guineas. It was the largest work Sharpe had painted to date, depicting the tidal estuary south of Whangarei on which he and and two friends had settled in 1859. Sharpe lived there for six years, before he mortgaged his share of the land and moved to Auckland where he found employment as an architectural draughtsman and teacher of painting. While Sharpe's career as a settler had ended in failure, the years he spent exploring and sketching in Northland provided the inspiration for many of the ambitious landscape watercolours he produced over the following two decades. Central to

many of Sharp's writings is unusual for an artist of his generation, and starkly opposed to the attitude of racial superiority displayed by the majority of his fellow colonists. Sharpe was also keenly interested in the particularities of weather and time of day, often noting these factors on the manuscript labels he pasted to the back of his paintings. The original inscription on this watercolour read Daylight effect, after rain. What he intended to convey is that he was depicting a mid-day scene, in distinction to the sunset and twilight scenes that were his usual trademark. Contemporary critics found fault with Sharp' s distinctive technique, describing his works

as ' painfully elaborate' and ' photographic'. In their style, Sharpe's paintings owe much to the preRaphaelite landscapes that he saw in Liverpool exhibitions of the 1850's, especially the sharp focus, vivid use of colour, and interest in particularities of weather. Their closest New Zealand parallel can be found in the work of the Dunedin artist George O' Brien, another architectural draughtsman whose radiant watercolours drew similar comments from the critics. Reference: Roger Blackley, The Art of Alfred Sharpe, Bateman/ Auckland City Art Gallery 1992, (especially Chapter 2). see illustration previous page

102 John Gully 1819-1888 Mount Richmond, Nelson watercolour signed and dated 1877 735 x 1250mm see illustration below

103 John Gully Mitre Peak and Milford Sound with a figure sketching in the foreground watercolour signed and dated 1877 360 X 640mm The artist depicted in the foreground is probably Gully's fellow artist and close friend James Crowe Richmond Provenance: Formerly in the collection of Peter Skellerup, Christchurch Exhibited: Robert McDougall Art Gallery Three Generations May 1967. see illustration above

104 Charles M. lgglesdon active 1866-1897 Wellington Harbour from Flagstaff Hill watercolour signed and dated-December 1868 360 X 510mm see illustration above

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O))Stl) held tn 1

105 Johannes Gerardus Keulemans Kokakos watercolour 640 x 590mm

Keulemans was one of the finest ornithological painters of the nineteenth century and he was Sir Walter Lawry Buller's first choice as the illustrator for his Birds of New Zealand published in 1873. The original illustrations for this book are now mostly held in the British Museum of National

History. This watercolour depicts the South Island Kokako, the North Island Kokako and the albino Kokako. References: Birds of New Zealand Sir W.L. Buller, 1st edition 1873. see illustration above

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106 Charles Decimus Barraud 1822-1897 Bullock cart on Rimutaka Road signed and dated 1884 520 X 470mm see illustration above

107 Charles Decimus Barraud Central Otago lake and mountain scene with drovers in foreground watercolour signed and dated 1876 355 x 760mm see illustration above

108 Charles Decimus Barraud Mt Egmontfrom Urenui watercolour signed and dated 1892 title inscribed and signed on label affixed verso 350 X 520mm see illustration below

109 John Barr Clarke Hoyte 1835-1913 North Island river landscape with mountain pah site and Maori figures in foreground watercolour signed 380 x 680mm see illustration above

110 Charles Henry Howorth 1856-1945 The Wanganui River with canoe oil on canvas signed 880 X 710mm see illustration above

Captain Richard Oliver 1811-1889 Thirty-Three Important Historical Watercolours Important notice concerning the collection of watercolours by Captain Richard Oliver

Fielder have instructed Webb's to first offer the collection in its entirety as one lot. Should the collection offered as one lot fail to attract a buyer, then the thirty three paintings will be offered individually in catalogue order.

To provide the opportunity of keeping intact, the important collection of early watercolours by Captain Richard Oliver, the owners, Goodman

111 Captain Richard Aldworth Oliver Feast at the Bay of Islands September 1849 watercolour 370 x 520mm

involving the production of tons of potatoes, the raising of hundreds of pigs, and the construction of a vast wooden stage potehe to store the foods . Just as the hakari as the central institution of tribal prestige, the elaborate potehe was among the most spectacular example of Maori monumental architecture. The erection and dismantling of the stage, consumed as fuel for cooking the food, was an essential component of the event. In his Story of New Zealand (1859), A. S. Thomson wrote: ' Every pastime of the people was celebrated at hakari. There was dancing, singing, talking, flying kites, playing at ti, tossing the poi ball, and the commercial amusements of buying and selling, which were carried on in giving and receiving presents. Since the year 1840, firing guns, playing cards, draughts, and horseracing have been introduced.' (p.190) see illustration above

Captain R. A. Oliver, commander of the ship conducting the first hydrographic survey of New Zealand during the years 1847-51, was also a talented watercolourist. H.M.S . Fly was based in Auckland (then New Zealand 's capital) and would frequently carry Governor Grey on his state visits. After his tour of duty in New Zealand Oliver returned to England where he died with the rank of Admiral in London, 1889. In September 1849, Oliver attended a great feast or hakari hosted by Nga Puhi at Kororareka (Russell) in the Bay of Islands, at which Grey was a guest of honour. Preparations for such a feast were enormous,

Thi lrorangatira i .l"tk Zea

1uoli1hed 1 tllerpressr lllnslrued •

Xµtitoatri cnaracter,1

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i one lot. l~

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ion of a1,sti(!lj/1 1as thehakari~ltt the elaborate fil11 example of \I: in and disrnanilili cing the food. i~ t

iland (18i91. AI of the peoik 1

:ini. singing. talli£: • aJ!lltl he pai b~I. . and selling. ilur .5· It 1gpreien~- r!ICI (!raugh~- and W

Southern district of New Zealand ... Te Rangihaeta had not embraced Christianity up to the point of my departure, and still affected to despise the Manners, Customs, Arts, and Religion of the Pakehas" . In his private journal, Oliver commented favourably on Te Rangihaeata' s preference for Maori clothing, adding "There is no one with the least feeling for the Picturesque who would not lament the change in the native costume" . Reference: Marian Minson Encounter with Eden: New Zealand 1770-1870 (National Library of New Zealand, 1990) p.43. see illustration above

112 Captain Richard Aldworth Oliver Te Rangihaeata, chief of the Ngati Toa watercolour 490 X 320mm This portrait of Te Rangihaeata of Ngati Toarangatira was the first plate in Oliver' s Sketches in New Zealand , a series of eight lithographs published in London in 1852. The associated letterpress reads "Rangihaeta ' s [sic] name may be translated ' The Heavenly Dawn'. He is chief as the Ngatitoa tribe, and, both from descent and energy of character, is the most influential native in the

113 Captain Richard Aldworth Oliver Half Castes at Po mare's Pah, Bay of Islands watercolour 250 x 360mm see illustration above

JU Captain lruidet ta!ercol

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s11illusn

114 Captain Richard Aldworth Oliver Inside the stockade with natives outside watercolour 270x 365mm see illustration above

115 Captain Richard Aldworth Oliver Maori girls, Auckland watercolour 370 X 260mm see illustration above

116 Captain Richard Aldworth ()liver Natives outside a hutt watercolour 350 X 250mm see illustration above

117

118

Captain Richard Aldworth Oliver Rangi-Hira, the wife of the chief Rangihaeta watercolour 310 X 480mm see illustration above

Captl Ylllii ~aleJi

2 X see 1/

118 Captain Richard Aldworth Oliver Native family at Akaroa watercolour 240x 330mm see illustration above

119 Captain Richard Aldworth Oliver Te Rehe, Maori chief at Akaroa watercolour 310 X 230mm see illustration left Ill Captain Ri1 [tPGki

,atercolour

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,11•1usrrat

120 Captain Richard Aldworth Oliver Three seated Maori figures wearing cloaks watercolour 260 X 365mm see illustration above 121 Captain Richard Aldworth Oliver Te Hara watercolour 360 X 250mm see illustration left

122

123

Captain Richard Aldworth Oliver Te Paki watercolour 350 X 270mm see illustration above

Captain Richard Aldworth Oliver Flora, a Half Caste Girl watercolour 360 X 260mm see illustration above /

124 Captain Richard Aldworth Oliver Du Du, Maori canoe watercolour 250 X 370mm see illustration above

125

126

Captain Richard Aldworth Oliver A Maori girl wearing a cloak watercolour · 360 x 250mm see illustration above

Captain Richard Aldworth Oliver A Maori mother and child outside a stockade watercolour 370x 260mm see illustration above

127 Captain Richard Aldworth Oliver A young Maori watercolour 250 X 360mm see illustration above

128 Captain Richard Aldworth Oliver Li'a,y, a Maori girl watercolour 340 X 255mm see illustration left

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129 Captain Richard Aldworth Oliver Mary, a half caste girl watercolour 370 X 250mm see illustration above

130 Captain Richard Aldworth Oliver Two young Maori girls watercolour 350 X 240mm see illustration left

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Captain Ri H!ll:9<kC

waterrol

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131 Captain Richard Aldworth Oliver Wangeroa watercolour 250 x 360mm see illustration above

132 Captain Richard Aldworth Oliver A Maori girl wearing a red cloak watercolour 325 X 250mm see illustration left

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134 Captain Richard Aldworth Oliver A thatched hut beside a river watercolour 250 X 360mm see illustration below

133 Captain Richard Aldworth Oliver A bullock cart watercolour 260 X 360mm see illustration above

135 Captain Richard Aldworth Oliver Tree ferns watercolour 340 X 250mm see illustration left

136 Captain Richard Aldworth Oliver Bush scenery watercolour 365 X 265mm see illustration above

137 Captain Richard Aldworth Oliver A young Maori boy watercolour 340 X 240mm see illustration left

Oli1er

139 Captain Richard Aldworth Oliver View of Port Nicholson over the hills from Wellington watercolour 270 X 370mm see illustration below

138 Captain Richard Aldworth Oliver A wooden bridge above a waterfall watercolour 260 X 250mm see illustration above

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141 Captain Richard Aldworth Oliver Inlet, Milford Sound watercolour 260 X 360mm see illustration above

140 Captain Richard Aldworth Oliver A Maori and his wife on a road with packhorses watercolour · 370 x 260mm see illustration above

142 Captain Richard Aldworth Oliver Otago Heads, North Shore watercolour 265 x 365mm see illustration above

143 Captain Richard Aldworth Oliver Cattle beside the Hutt River watercolour 370 x 255mm see illustration left

145 Thomas J. Somerscales 1842-1927 Sailing ships oil on canvas signed and dated 1900 1200 X 1820 see illustration below

144 George Charles Haite 1855-1924 Mediterranean Costal Landscape watercolour 370 X 255mm see illustration left

146 Tom Peerless active 1884-1899 Maori on track to lake watercolour signed 540 X 760mm see illustration above

147 Tom Peerless Waitangi River, Canterbury, New Zealand watercolour title inscribed and signed 540 X 760mm see illustration below

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148 Charles Blomfield 1848-1926 North Island bush landscape with stream and Nikau palms oil on canvas signed and dated 1890 585 x 410mm see illustration above

149 Charles Nathaniel Worsley d.1923 The Bay of Naples watercolour signed 335 x 495mm see illustration above

150 Lieut. Col. William Anson McLeverty 1806-1897 A view of Lake Waiarapa watercolour 274 x 370mm see illustration above

151 Constable Figgis Bridge Street, Nelson watercolour circa 1840 335 X 490mm see illustration above

133

152 Sydney Lough Thompson 1877- 1973 Draught horses oil on canvas signed 455 x 640mm

see illustration above

153 Sydney Lough Thompson Rural landscape, southern Europe oil on canvas signed

154 Sydney Lough Thompson Notre Dame de Bzuse oil on board signed

435 x 530mm

247 x 310mm

see illustration above

see illustration below

155 Tom Peerless active 1884-1889 The Pink Terrace, Rotomahana watercolour signed 400 x 555mm 3500-5500 see illustration above

156 Tom Peerless The White Terrace, Rotomahana watercolour signed 400 X 555mm 3500-5500 see illustration below

157 Jane Evans b.1946 Under the pagoda gouache signed and dated 1982 550 x 1765mm see illustration left

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158 Ion Brown The garden path acrylic on board signed and dated 1983 495 x 600mm see illustration left

159 Tom Esplin b.1915 Ibiza town oil on board signed 300 x 530mm see illustration left

160

163

Peter Beadle Mt Pembroke and the Lion, Milford Sound

E. B. Lattey The Ford, Taringamatu

acrylic on board signed 710 x 1010mm

acrylic on board signed 670 x 900mm

see illustration above

161 Robert Chilvers Mt Tapuaeneku , Marlborough

164 M.Blow Still life with carnations in a vase

acrylic on board igned title inscribed, signed and dated 1981 verso 340 x 580mm

acrylic on canvas board signed 535 x 415mm

162

165

B. Bland Floral still life

M.Blow Still life with cheese board

acrylic on board signed 735x6l5mm

acrylic on canvas board signed 490 X 745

Works from Other Vendors

attractive painting probably produced from one such sketch has remained within one family since it was acquired by Richard James Strachan Harman , the Deputy Superintendent of Canterbury Province from 1871 to 1876. For much of its life it hung in the Harman home which still stands in Antigua Street in Christchurch. Collections: Estate of G.W. Harman , Christchurch 45,000-65 ,000

166 Nicholas Chevalier 1828-1902 A South Island mountain and lake scene, 1867 oil on canvas signed and dated 1867 455 x 605mm Nicholas Chevalier, with his wife , toured the Southern Lake regions of the South Island c. 186667 during which time he produced about seventy odd s ketche s towards later oil paintings. This

see illustration above

seeillustrat

167 John Barr Clarke Hoyte Pah site at Ohihemutu with Mokoia Island, Lake Rotorua watercolour signed and dated 1873 340 X 600mm 15,000-25,000 see illustration above

168 John Barr Clarke Hoyte The Pink Terrace and the White Terrace, Rotomahana A pair of watercolours signed with initials J.C.H. 302 x 510mm each 20,000-30,000 see illustrations above and below

169 John Gully On the tree line, Southern Alps watercolour signed and dated 1881 445 x 685mm 35,000-45,000 see illustration above

170 John Barr Clarke Hoyte In the Sounds watercolour signed and dated 1877 315 x 555mm l 0,000-12,000 see illustration below

171

James(

Moo11/i.1

oil on c signed 600 X\ James to tak( forth Maste in De

3!XXJsee ii,

0)11

171 James Garland Trevithick 1846-1911 Moonlight on the Waitemata Harbour oil on canvas signed and dated 1881 600 x 910mm James Trevithick arrived in Auckland in 1879 to take up an appointment as drawing master for the Education Board. He was later Art Master at Auckland Grammar School. He lived in Devonport and Mt Eden 3000-5000 see illustration above

172 Walter Wright 1866-1933 Figures at a Lake Taupo settlement watercolour signed in brushpoint 264 x 390mm 4000-5000 see illustration below

173 Stephen Watkins 1830-1894 A view of Akaroa and harbour with a cottage andfigures in theforegound oil on canvas 400 x 600mm Stephen Watkins arrived in Akaroa in 1860, joining his family who had preceded him , acquiring a farm in 1850 under the Wakefield Settlement Scheme. He taught art at Dr Barker's School for Gentleboys at French Farm, Akaroa, and he took part in many of the settlements civic and social affairs. It is quite likely that some of his views of Akaroa have been attributed to his better known brother, William Montague Watkins, as he is recorded as having frequently left his paintings unsigned. 3000-4000 see illustration above

174 Charles Nathaniel Worsley d.1923 London city scape with cathedral in mist watercolour signed 515 x 340mm 5000-7000 see illustration right

175 Dorothy Kate Richmound 1861-1935 An English Woodland Scene with Farm Girl oil on canvas board signed and dated 1902 395 x 315mm 6000-8000 see illustration above

176 George Edmund Butler 1870-1936 Young fisherman, Wellington Harbour

177 Henry William Kirkwood 1854-1925 Riverbed and landscape at sunset

oil on canvas signed

oil on canvas signed with initial

270 x 395mm 2000-3000 see illustration above

440 x 905mm 3000-4000 see illustration below

178 Frederick Porter 1883-1944 A canal with boats oil on canvas signed and dated 1902 320x400mm Frederick Porter was born and educated in Auckland. He later studied in Paris at the Academy Julian under J.P. Laurens. In London, he took a studio in Bloomsbury and he became friendly with Walter Sickert, Charles Ginner, Roger Fry and Duncan Grant. In 1924 he joined the staff of the Central School of Art where he remained until his death in 1944. The great majority of his painting output is held in collections in Britain. He is represented in the Tate Gallery. 3000-5000 see illustration left

179 Eila Reed Le femme au bain oil on canvas after Rene Xavier Porinet 730 x 830mm Refer: page 47, C.F. Goldie, His Life and Paintings, A. Taylor 1977, for a reproduction of one of the two Goldie copies after the same subject. Eila Reed was a sister of painter Maude Burge and she studied in Paris at the same time as Goldie. 7000-9000 see illustration left

181 John Barr Clarke Hoyte River and landscape watercolour signed 295 x 200mm 1800-2400 see illustration below

180 John Barr Clarke Hoyte A North Island ril'er scene watercolour signed 215 x 315mm 1600-2400 see illustration above

182 William George Baker Maori life, Waikato Ri,•er oil on canvas titled and signed 600 x 900mm 4500-5500 see illu;tration lefi

183 Charles Decimus Barraud The Bowen Falls, Milford Sound watercolour signed and dated 1879 570 x 450mm 6000-8000 see illustration left

184 Albert Edward Aldis 1870-1921 An Auckland landscape, Mt Wellington oil on canvas, circa 1890 signed with initials 250 x 380mm 3000-4000 see illustration below

185 Charles Blomfield North Island bush with dead tre1 oil on canvas signed and dated 1882? 445 x 280mm 1500-2500 see illustration left

192 John Dou: Sco11 pass

ra5tel siened 1)5 X460 100-800

193 John D01 Harbour oil on bo signed 180 x36 100-800

194 William MountJ foregro/ waterc

15X7 800-12 195

Trevo1

186

189

Evelyn Polson (Page) 1899-1993 Church interior with man reading oil on canvas board signed and dated 11.11.19 2000-3000 see illustration above

Albin Martin 1813-1888 A view of the artist's farm at Tamaki watercolour 180 X 245 800-1200

190 Henry William Kirkwood Canoe on the Wanganui River oil on board signed with initials 290 X 450mm together with A Lake Scene by the same artist 280 X 430mm (2) 2000-3000 see illustration above

187 Frank Wright 1860-1923 A backwater at Te Whaiti watercolour 295 x 445mm 1600-2000

188

191

William Math~w Hodgkins 1839-1893 Mitre Peak, Milford Sound watercolour signed with initials 270 x425mm 1500-2000

John Douglas Perrett Lake Manapouri oil on board signed, titled and signed verso 305 X 430mm $500-800

North sepia e signed 345 X 500see ill 196

Trevc

North sepia signe 345 500see i 197

Tre

Ana

Sep· title 310 400 see

192 John Douglas Perrett 1859-1937 Scow passing Rangitoto in moonlight pastel signed 275 X 460mm 500-800

193 John Douglas Perrett Harbour sunset oil on board signed 180 X 360 500-800

194 William Henry Raworth 1821-1904 Mountain landscape with cattle and hutt in foreground watercolour 275 x 760mm 800-1200

195

199

Trevor Lloyd c.1864-1937 North Island bush scene sepia etching signed 345 X 230mm 500-600 see illustration top right

Trevor Lloyd The outpost sepia etching titled and signed in pencil 180 X 285mm 300-400

196 Trevor Lloyd c.1864-1937 North Island bush scene sepia etching signed 345 x 230mm 500-600 see illustration top right

197 Trevor Lloyd An old landmark, Auckland sepia etching titled and signed 310 X 205mm 400-500 see illustration right

198 Trevor Lloyd Kauri trees sepia etching 335 X 180mm 400-500

200

206

David Edward Hutton · The bubbling hrook, Kilso State Forest watercolour signed in brushpoint 1935 240 x 345mm 500-700206

Trevor Lloyd Tree ferns sepia etching 335 x 145mm 200-300

201

207 Trevor Lloyd Three sisters sepia etching titled in pencil 270 x 120mm 200-300

David Edward Hutton 1866-1946 Point Royale, Paris oil on board titled and signed 445 X 590 600-1000

202

208

David Edward Hutton The track to Smuggler's Cove, Diamond Harbour watercolour signed and dated 1933 240 x 340mm 500-700

Trevor Lloyd The virtuoso sepia etching 205 x 125mm 200-300

209

203

Trevor Lloyd Whaka Bridge pencil drawing titled 160 x 240mm 200-300

Trevor Lloyd Baby fantails sepia etching titled and signed 150 x I 80mm 300-400

204

210

Trevor Lloyd The Tui sepia etching titled and signed 245 x 155mm 400-500

Trevor Lloyd Fir trees sepia etching titled and signed in pen_cil 150 x 100mm 100-200

205

211 Trevor Lloyd The old nikau oil on card title inscribed and signed on reverse 545 x 285mm 500-700

Trevor Lloyd A happy family sepia etching titled and signed in pencil ]35 X 200 300-400

-....... ~

Foreign Paintings

212 Late 16th Century Cologne School Christ crucified before a medieval town with Mary and St John, and at the foot of the cross, the donor The Latin inscription reads, You see here, the impressive face of the kind Theodorius - That is how he was. Simple, noble and pious oil on oak panel within original painted oak frame 850 x 750mm 6000-9000 see illustration above

213 Giuseppe Aureli 1858-1929 The pearl necklace watercolour signed and inscribed Rome 310 X 455mm 3500-5500 see illustration above

214 William Hounson Byles 1872-c.1924 Interior with painted screen and young woman arranging flowers oil on canvas board signed, circa 1915 400 X 535mm 6000-8000 see illustration below

216

An 215 A Lu ... ? Port and starboard porntraits of the sail and steamship Brookfield a pair of watercolours each signed and inscribed Genoa 189 I each 385 x 580mm

An interesting five page typescript copy of a letter written by Captain Vivian Millett who sailed as second officer aboard the Brookfield provides a lively account of life at sea while serving on that ship 2000-3000 see illustrations above and below

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216 plCO/)Ofaiefi[

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Andrew Nicholl 1804-1886 Landscape with dead tree and cattle in a field watercolour signed

300 x 465mm 2000-3000 see illustration above

217

218

19th century British school Dutch fishing boat at Humberside

19th century Italian School Tavern interior

oil on panel

oil on canvas

170x215mm 700-1000 see illustration above

580 x 376mm 2500-3500 see illustration above

219

220

19th century European school (Artist's signature illegible) A military gentleman at the breakfast table reading his newspaper and drinking from a Chinese blue and white trade porcelain cup, in the company of a young officer and a King Charles spaniel oil on oak panel, circa 1830 370 X 297mm 3000-4000 see illustration above

C. Morris Landscape with rustic cottage and figures oil on canvas signed and dated 1865 350 X 455mm 2500-3500 see illustration above

221 Albert Ernst Bottomley 1873-1950 At Rye, winter landscape with figures, horses and carts gouache 210 X 280 400-600 see illustration bottom left

222 William Heath Robinson 1872-1944 Illustration for Tommelise pen and watercolour signed, dated 1913 and inscribed Tommelise 530 X 380mm 500-700 end of sale

,, 100

Webb's Bidding Slip for absentee bidders on lots, in sale 181 on March 28 & 29, 1995: Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids, or reserves it any. I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid a buyers premium of ten percent will be added to the hammer price and that G.S.T is charged on the premium. (eg If I made a successful bid of$ l 000 on an item a ten percent buyers premium equalling$ 100 would be payable and G.S.T on the premium making a total of $1112.50.) On major lots customers may prefer to bid by telephone. Please enquire regarding thi s service which Webb 's carry out at no charge. LOT NO :

BID

DESCRIPTION

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ARRANGEMENTS FOR PAYMENT. I agree to pay immediately on receipt of notice from Webb's of my successful bid. Payment will be by cash, cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb's in having any purchases forwarded to me.

horses

NAME ADDRESS PHONE NUMBER _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ FAX NUMBER SIGNED Webb's will do it's upmost to carry out bidding instructions for absentee bidders. It will not be responsible however, if circumstances prevent it doing so. ARRANGEMENTS FOR PAYMENT In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.

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Index of Artists Albrecht, G. Aldis, A. E. Aureli. G. Baker. W. G. Barraud, C. D. Beadle, P. Binney , D. Blair, P. Bland, B. Blomfield, C. Blow,M . Bottomley, A. E. British School. Brown, N . Brown, I. Buchanan, D. Buckmaster, E. Butler, G. E . Byles, W. H. Chevalier, N. Chilcott. G. Chilvers, R. Clairmont, P. Clark, R. Cologne School. Dolezel, J. Ellis. R. Esplin. T. European School. Evans, J. Figgis. Fomison, T. Frizzell, D . Fumpston, R. Gilfillan, J. A. Gully, J. Haite, G. C. Hammond, B. Hanly, P. Harris, J. Henderson, L. Hodgkins, W. M. Hotere, R. Howorth, C. H. Hoyte, J. B. C. Hutton, D. E. Igglesdon, C. M. Italian School. Keulemans, J. G.

lots 37, 38, 58 , 77 lot 184 lot 213 lot 182 lots 106, 107, 108, 183 lot 160 lots 28, 30, 31, 32 . lot 80, 81, 90 lot 162 lots 143, 188 lot 164. 165 lot 221 lots215 ,2 17 lot46 lot 158 lot 78, 79 lot 72 lot 176 lot 214 lot 166 lot 93 lot 161 lots 16. 47. 48. 60 lot 71 lot 212 lot 92 lots 26. 27 lot 159 lot 219 lot 157 lot 151 lots 17, 18. 19. 20 lot 33 lot 89 lots 98, 100 lots I02, I 03 , I 69. 170 lot 144 lot44 lots 21, 22, 23. 24, 25. 82 lots 42, 59, 69. 70 lots 50, 51 lot 188 lots 12. 13, 14. 15 lot 110 lots 109, 168, 180. 181 lot 200-202 lot 104 lot 218 lot 105

Killeen, R. Kirkwood , H. W. Lane, T. Lattey. E. B. Lee-Johnson, E. Lindauer, G . Lloyd, T. Maddox , A. Martin , A. McCahon , C. 10, McLeveny, W. A. McWhannell , R. Morris. C. Mrkusich, M. Nicholl, A. Oliver, R. A. Page, (Polson) E. Peerless. T. Perrett, J. D. Porter. F. Pound , P. Raworth. W. H. Reed, E. Reynolds, J. Richardson. G. Richmond, D. K. Robinson, W. H . Roestenburg. M. Ross, J. Sharpe. A. Schoon, T. Shepherd, M. Smither. M. Somerscales, T. J. Tapper, G . Taylor. A. Taylor, E. M. Thompson S. L. Thornly, G. Trevithick, J. G. Trusttum , P. Turner, D. N. Walters, G.

Watkins. S. Weeks. J. Worsley. C. N. Wright. W. Wright. F.

lot 73 lot 177. 190 lots 96. 97 lot 163 10~52.53,66, 67,68, 74 lot 99 lots 196-219, 203-211 lot 76 lot 189 lots I. 2. 3, 4 , 5, 6, 7, 8, 9, 11. 12 lot 150 lots 94. 95 lot 220 lot 32 lot 216 lotslll-143 lot 186 lots 146, 147. 155, 156 lot 191-193 lot 178 lots 62, 63 lot 194 lot 179 lot 55 lot 195 lot 175 lot 222 lot 54 lot 75 lot 101 lots 45, 61 lots 29, 30, 31, 32 lot 43 lot 145 lots 64, 65 lots 83. 84 lot 86 lots 152, 153. 154 lots 39. 40 lot 171 lot41 lot 56 lot 34. 35, 36 lot 173 lot 91 lot 149, 174 lot 172 lot 187

Prices Realised Important New Zealand Paintings, Sale 177 10 November 1995 Lot

Lot

1 2 3 7 9

7500 15000 ./ 10500 / 25000 142000 / 12000 I 10000 / 20000 J 18000 / 5500 7500 5750 3750 8000 4250 10000 6000 1700 400 5000 10500 I 25000 4250 4500 5500

38 40 41 44 45 46 48 49 50 51 53 54 55 58 59 60 63 66 67 68 70 71

14000 13500 6000 4500 750 600 800 1000 750 1200 6400 2000 4250

78 79 80 82 88 89 95 97 98 99 101 103 104 105 107

3250 9000 2250 3000 2500 2500 18000 15000 2000 4250 1500 1300 1700 2500 3000 1500

~2 .s-

12 13 14 16 17

19 20 21 23 24 26 27 28 29 33 34 35 36 37 Js

-3~7 '\,

39500

10000 I 25000 37000 7500 6750 3250 6000 5000 5000 5000 2250

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