(b6
Conditions of Sale for Buyers 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. 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 g iving 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. 10 No person purchasing any item which falls within the provisions of the Antiquities Act 1975 or the Arms Act 1958 shall be entitled to take possession of the item unless and until such person has produced to Webb's a licence under the appropriate Act. 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 :
(a) To issue proceedings against the purchaser for damages for breach of contract. (b) To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction (c) To resell the lot by public or private sale . Any deficiency resulting from such resale , after giving credit to the purchaser for any part payment , together with all costs incurred in connection with the lot shall be paid to Webb 's by the purchaser. Any surplus over the proceeds of.sale shall belong to the seller and in this condition the expression "proceeds of sale" shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction . (d) To store the lot whether at Webb's own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal , storage , insurance and all other costs connected to the lot. (e) To charge interest on the purchase price at a rate two percent 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 all 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 money remains unpaid under this co[ltract. (h) To apply any payment made by the purchaser to Webb 's towards any money owing to Webb 's In respect of anything whatsoever irrespective of any directive given in respect of, or restriction placed upon , such payment by the purchaser whether expressed or implied . INSTRUCTIONS TO 810 AT SALES Absentee bids These are accepted by Webb 's and carried out free of charge . Lots 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 . 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 .
VENDORS are requested to read and are bound of the Conditions of Sale printed upon the reverse side of Webb 's Contract to Sell. 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 . CREDIT on purchases of $7000 or more can in some cases be arranged . Please consult with our Manager.
catalogue 166
New Zealand Contemporary & Historical Paintings with European Paintings to be held on
WEDNESDAY 23 MARCH 1994 at 6pm
The works in the catalogue may be viewed at the following times:Tuesday 15th March-Friday 18th March 9am-5.30pm Sunday 20th March 1lam-4pm Monday 21st & Tuesday 22nd 9am-5.30pm Restricted viewing on day of sale
BUYER'S PREMIUM APPLYING TO THIS SALE Buyers shall pay to Webb's a buyer's premium of ten per cent of the hammer price plus GST on the premium. This sale is subject to the conditions of business printed inside the front l'over
Illustrated front cover: lot 9 Catalogue photography by Arne Looi
PeterWebb Galleries Litnited Estate & Fine Art Auctioneers & Valuers MGAANz 18 Manukau Road , Epsom , Auckland . P.O. Box 99251 Ph : 0-9-524 6804. Fax: 0-9-524 7048 .
New Zealand Contemporary Paintings
1 Michael Illingworth Portrait of a Flower oil on canvas signed, dated 1968 and titled on reverse 305 X 225 Illingworth claimed that his paintings have no intellectual meaning and carry no message, but the social comment is more than implicit. "The little faces in my paintings with no mouths and with hands waving signify two things, the feeling of a lost quality - what am I doing here? where do I belong? - and the feelin possibility, purity, an ideal that may be something but is certainly nothing a e moment" Reference: Barry Lett Galle · Newsletter, vol.1 no.2, 19 August 1965 Provenance: Collect" of Mr John Greer, Auckland see illustrati $3,000-4,000 /
Lot 1
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2 Michael Illingworth Bird Friend oil on canvas signed, dated 1968 an 305 X 225 ection of Mr John Greer,
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$3,000-4,000
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3 Michael Illingworth Flower Painting oil on canvas signed, Dated 1968 a 355 X 255 Provenance· ollection of Mr John Greer, Auckla $3,000-4,000
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4 Gretchen Albrecht Untitled acrylic on canvas signed and dated 1974 1275 X 2025 Albrecht's stained canvases of the early to mid 1970's were the works that began the artists purely abstract period, of which this is particularly fine example. The sens and ~
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beautiful use of colour through the stained canvas technique creates a metaphor for landscape and weather Provenance: Private collection, Auckland $13,000-16,000 see illustration
5
Lot 2
Gordon Walters Untitled 1967 ink on paper signed 345 X 265 "My work is an investigation of positive/negative relationships within a deliberately limited range of forms. Tb orms I use have no descriptive value in t mselves and are used solely to demonst e relations. I believe that dynamic relatio are most clearly expressed by the repetiti of a few simple elements." alters by Michael Dunn, Reference: Gordo Auckland City t Gallery, 1983. p124 Provenance: rivate collection, Auckland $5,000-7,000 see illustration
6 Colin McCahon Springtime Ikon Butex, Solpah and sand on board signed and dated December 1958
Lot 3
240 X 290 . "Unlike the North/and Panels and The Wake, the majority of the landscapes McCahon painted late in 1958 and during 1959 were not of a scroll type, but were painted in Butex and Solpah on hardboard, plywood or card, often with the addition of sand to the paint to enliven the painted surface ...While the landscape imagery was in most instances derived from that associated with ~ North/and Panels, the degree of ariation is relatively wide ... Tbe most co 1stent grouping is of those landscapes whi are both austere and somewhat schemati m appearance ... Related them, but less schematic in its spa ·al division and with greater symbolic tential, is the brooding landscape with · s emphatic but equivocal statement..." Reference: olin McCahon: Artist. (New 1 Edition) by Gordon H. Brown 1993, p.97. Provenance: Private collection, Auckland $12,000-15,00: ~ see illustration
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Lot 7 7 Colin McCahon
Northland Landscape oil on canvas signed and dated 2.12.62 785 X 820 "In range and general disposition, the formal landscape features found in the North/and drawings are closer in appearance to the three central hill landscapes in the North/and Panels and especially to the one inscribed "a landscape with too few lovers " - than were most of the landscapes painted in 1958 and 1959. The semi-circular arc shape of the dominant hill, plus the linear division of the foreground space in this particular panel, became the features more exclusively developed as major motifs in the North/and paintings. These loosely related paintings occupied McCahon during the latter half of
1962 and for much of 1963 ... He described them as being produced on unsized canvas. The canvas was made sopping wet and on this oil paint was used, but only after most of the oil had been soaked out first by putting it on paper. This gives a very matt finish to the final painting, but it has to be done very quickly. The technique also allows a great deal of freedom. This gave to the painting medium the effect of translucent washes of colour applied to the surface as well as a slight! mottled appearance akin to the gritty ality McCahon associated with the drawings" Reference: Colin McCaho : Artist (New Edition), Gordon Brow , 1993 p.99-100, cf.pl.15 Provenance: Collec ·on of Deirdre Seresin London $45 ,000-65 ,000 see illustration
Lot 10 8 Colin McCahon North Otago Landscape screen print ... 440 X 550
$1,000-1,500
9 Robin White
Mangaweka oil on ea vas signed nd dated 1973 101 1016 M ngaweka is one of the artist's largest and ost important paintings. It embodies the characteristics of White's style to create a powerful icon of a small New Zealand town on a hot summer's day. The formalised approach to creating an image produces a clarity of vision which Michael Dunn singled out as her most remarkable quality as an artist. Gordon
Brown has referred to her use of compositional awkwardness to convey a visual tension beneficial to the painting. The preference for frontal, diagrammatic rendering of buildings, elimination of linear perspective and clear colour values evokes a stillness and iconic quality to Mangaweka. "What I paint depends on where I am" the artist observed in 1977, "I'm not concerned with just recording something though. I take great liberties with the environment, using it to my own ends. I've always been conscious that painting is fundamentally an abstract thing". Reference: Robin White New Zealand Painter, Alister Taylor, 1981, p.102 cat.no.142 Provenance: The collection of Mr Jonathan Hardy, Brisbane. $35,000-45,000 see illustration front cover J'
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Lot 11
10 Milan Mrkusich Emblem 2 oil on canv. s signed d dated 1966 on reverse 140 850 1s work is part of the Emblems series begun m the early 1960's. The artists interest in abstract symbolism is evident in the use of simple geometric motifs. The circle within a square symbolises wholeness, aesthetic harmony and a union of opposites, human and divine. A review in the New Zealand Herald, 13 March 1965 referred to the spiritual dimension in Mrkusich's abstract painting. "Always a superb colourist, Mrkusich's latest works have shown considerable distillation of form. These two factors combined with an almost obsessive use of the circle as a symbol give his paintings an undeniable religious force". Reference: Headlands, Thinking Through New Zealand Art, edited by Mary Barr, Museum of Contemporary Art, Sydney, 1992, p.105 Provenance: Collection of Mr John Greer, Auckland see illustration $30,000-40,000
11 Tony Fomison Shakes e staking home his Muse (we've go ur own Theatre to get on with) oil on hessian signed and dated 2.5.84 on reverse 340 X 465 "Tony Fomison was around when I was directing the Mercury theatre and we were treading the difficult path of creating new New Zealand works before the process became formalised, unionised and academicised. It was a passionate time and Fomison was given to going into halls of the pretentious and shouting rudeness at them because they did not speak from themselves but through the poets of elsewhere and yesteryear. I recall well the great lines of Glover. 'I do not dream of Sussex down or quaint old England's quaint old towns. I dream of sights yet to be seen, in Johnsonville and Geraldine'. The painting then springs from this time when a truly indigenous New Zealand theatre was possible, although it now expresses itself in the film world. In painting Tony expressed his delight by calling this painting, "Shakespeare's taking home his muse (we have our own theatre now thank you)." They are the words of a very passionate and talented New Zealander." Jonathan Hardy Provenance: Collection of Mr Jonathan Hardy, Brisbane see illustration $12,000-15,000
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Lot 15 12 Tony Fomison
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board /j~~t~alled and dated 1969 1200 X 730
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13 Don Binney
Portal To A City oil on board 905 X 640 signed and dated 1962-3 This work was exhibite the artists first one e Barry Lett Galleries, man show in 1963 a Auckland lection of Mr John Greer,
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$6,000-9,000
bbage Tree, Curio Bay oil on canvas signed, titled and dated 5/10/91 900 X 1795 ~ see illustration 'tf1/
$6,000-8,000
style. Essentially a diptych, although in two separate canvases, the Moon Series marks a move toward lyrical "organic" abstraction in the early 1960's. The gestural painterly surface and looser composition was influenced by the Abstract Expressionist movement in American art of the late 1950's to mid 1960's. They are evocative, and mystical in concept. Further works of this period were subsequently part of a touring exhibition with Milan Mrkusich's work which went to London, Paris and Brussels in 1965-66. Reference: New Zealand Women Artists. A Survey of 150 Years. Anne Kirker, 1993. . 31132 Provenance: Private collection, Au and see illustration 10,000-15,000 _ _=<0
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15 Louise Henderson Moon Series oil on canvas signed and dated 1961 two canvases each 545 x 640 This important work by the artist was executed at the beginning of a significant change in her Lot 13
16 Louise Henderson
Cloud Over Lake (Lake Series No.4) oil on board signed on face and signed, titled and dated 1965 on reverse 900 X 1350 This work is a part of the Lake Series of which The Lake triptych in the collection of the Auckland City Art Gallery is the most well known. The Lake Series stops short of complete abstraction, organic forms, colour and compositional devices provide clues to "read" the work as a landscape. Cloud Over Lake is a fine example from the series. Reference: New Zealand Woman Artists. A Survey of 150 Years. Anne Kirker, 1993. p.132 pl.33 $8,000-12,000 17 Louise Henderson
Winter watercolour signed and da 420 X 665
May 1964 $1,500-2,000
18 Richard Killeen Untitled acrylic o . paper sig and dated 3.5.78 0 X 300
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$1,000-2,000 19 Richard Killeen Untitled acrylic on er signed a dated 21.6.79 55 380
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$1,000-2,000 20 Jeffrey Harris Two Heads with Snake and Bowl aquatint 8/18 signed and dated 1988 590 X 870
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$1,200-1,800
Lot 27
Lot 41 21 Ralph Hotere Window In Spain watercolour signed and dated 1979 320 X 320 $1,800-2,200 22 Ralph Hotere Maunga Putaki watercolour signed and dat 430 X 650
24 Ralph Hotere Untitled oil on board signed on rever e 580 X 580 Proven ce: Collection of Mr John Greer, Aue and ____,fJ J $1,000-2,000
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$800-1,200
23 Ralph Hotere Orange On Black duco and enamel on bo initialled and dated 68 1205 X 600 Provenance: ollection of Mr John Greer, Auckland '1 $7,000-9,000
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25 Ralph Hotere Drawing for Song Cycle watercolour and ink on paper signed and dated 1976 385 X 270 This work and the following lot were studies for the Song Cycle banners which were shown at the Barry Lett Galleries, Auckland, and the Bosshard Galleries, Dunedin in mid 1976. The long narrow banners were originally conceived for Sound Movement Theatres Song Cycle performance. These were then develope ·nto an independent cycle of paintings exe ted in 1975-76, all incorporate to some e ent poetry by Bill Manhire. Reference: Art New Zea/an , o.2 OctoberNovember 1976. p.9-10 $1,800-2,500
26 Ralph Hotere Drawing for Song Cycle watercolour signed and dated 1976 380 X 280 $1,800-2,500 27 Robert El. Cityw· oil o ard si ed and dated 1965 9 5 X 915 llis's Motorway paintings allow the viewer to see in multiple viewpoints. The perspective is overhead, the eye looks down, yet the horizon is seen ahead. In many of the series there is an adaption of Maori forms and stylized symbols in the drawing. Also expressed is a love of materials in the densely worked surface. Reference: Pacific Parallels, Artists and the Landscape in New Zealand, Charles C. Eldredge with Jim and Mary Barr, 1991. p.4546 Provenance: Collection of Mr John Greer, Auckland see illustration $7,000-9,000 28 Robert Ellis Woman Kissing a Parrot oil on board signed 1210 X 600 Provenance: Collection of Mr John Greer, Auckland $3,000-5,000 29 Robert Ellis Skull Form oil on board signed 595 X 890 Provenance: The Collection of Mr John Greer, Auckland $2,000-3,000
30 Robert Ellis Untitled gouache on board signed 465 X 620 Provenance: The Collection of Mr John Greer, Auckland $2,000-3,000 31 Denys ·us Reading, Woman Holding A Fish watercolour signed 630 X 1010 see illustration
Lot 31 32 Mervyn Williams
Yucatan acrylic on canvas signed and dated 1986 on reverse 1220 X 1220 $2,000-3,000 33 John Holmwood
The Shopping Basket oil on board signed an dated 1950 540 X 700 see illustration
$5,000-7,000
40 Carole Shepheard
34 Rudi Gopas Glory, Glory Be ink on paper signed and dated August 15, 1976 275 X 200
The Moment Unheard acrylic on paper signed and dated 1991 575 X 775 $1,000-2,000
$1,000-2,000 35 Rudi Gopas Dedicated to Mikolas ink, watercolour and collage on paper signed and dated 1979 280 X 230 $1,000-2,000
41 Barry Brickell
Terrace Pot salt glazed ceramic 970 X 430 Provenance: Collection of Mr John Greer, Auckland $2,000-3,000 see illustration
36 Geoff Thornley Series A No. 7 acrylic on paper on canvas signed, titled and dated 1974 on reverse 530 X 530 $3,000-5,000 37 Jenny Dolezel Making New Friends pastel on paper signed and dated 1987 560 X 685 see illustration
$1,000-2,000
38 Jenny Dolezel
Figures in a Landscape pencil, ink, crayon on paper "' signed and dated 1991 400 X 700
Lot 42 $1,500-2,500 42 Peter McIntyre
39 Allan Maddox Untitled acrylic on canvas signed 480 X 660
The Shepherd oil on board signed 595 X 745
.
see illustration
$1,200-1,800
$6,000-9,000
Lot 43
New Zealand Historical Paintings
44 William Henry Raworth
43
Lake Pukaki with the Southern Alps, New Zealand watercolour signed and titled on reverse 335 X 665 Raworth (1821-1904) arrived in New Ze at Lyttelton on the Sir John Seymour a surveyor. He worked in Christchur and is primarily recognised for his ro ntic landscapes. He also exhibite m Sydney and Melbourne, and is repre nted in public collections in New Z and and Australia. $5 ,000-7,000 see illustration
Charles Meryon
New Zealand, near Banks Peninsula. Charbonnier's Point, Akaroa. "Peche A La Seine", 1845 etching 115 X 295 Charles Meryon (1821-1868) received the critical acclaim of Baudelaire, Theophile Gautier, Paul Mantz and Thore for his superb etchings. He is the only famous European artist to have visited New Zealand during the early colonial period and recorded his impression, in this very fine etching, of Akaroa. The original drawing for this work was executed when Meryon was a naval cadet on the Rhine, which made a prolonged cruise visiting French territories in the mid 1840's. Reference: Etchings of Charles Me,yon, Hugh Stokes, p.14, pi.XU $2,000-3,000 see illustration
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45 John Gully
Cecil and Walter Peak, near Queenstown watercolour signed and dated 1881 350 X 605 see illustration $15,000-20,000 46 ully
tuary watercolour signed 110 X 180 $800-1,200
Lot 47
Lot 48 47
48
John Barr Clarke Hoyt
John Barr Clarke Hoyte
View of the Pink an watercolour signed 330 X 580 see illustr
bite Terraces
$12,000-15,000
View of the Pink and White Terraces watercolour signed 330 X 580 see illustration
$12,000-15,000
Lot 49 49 Charles Frederick Goldie Portrait of Louis J. Steele oil on canvas 550 X 425 This important study of Louis John Steele (1842-1918) was probably painted by Goldie in circa 1910 when Steele was 68 years old. Alister Taylor includes the painting in his book C.F. Goldie.His Life and Painting, Alister Taylor, 1977, p.193, as a Portrait of Louis J. Steele painted circa 1892. This however is an unlikely date as it would mean that the painting was executed when Steele was 50 years old, and he appears much older than this in the portrait. As Steele and Goldie were also not on speaking terms at this time due to the critical acclaim which Goldie received which overshadowed Steele, (previously Goldie's teacher); it is possible that the painting was executed from earlier studies or photographs.
On the 16 August 1917 there was an auction of the contents of Steele's studio from which Steele sold many paintings. It is likely that from this sale the painting became the property of the father of the Misses Danneford who sold the work at an auction sale in Auckland in August 1967, from which sale it was acquired by the present owner Reference: C.F. Goldie. His Life and Painting, Alister Taylor, 1977, p.193. The New Zealand Dictionary of Biography. General editor Claudia Orange, 1993. Early Identities, A Catalogue to an Exhibition of Portraits held at the Auckland City Art Gallery, £. Decernbe 9th to January 20th 1955-56. $20,000-30,000 see illu ration
1 I
Lot 44
50 Gottfried Lindauer Portrait of Emily Susanna Turner oil on canvas signed 855 X 650 Emily Susanna Turner was the wife of arles Wesley Turner, a Canterbury shi ner. Emily Turner died at the age of for -nine, the couple had thirteen children. Th· a in ting is one of the largest portraits o uropeans painted by Lindauer. see illustration $10,000-15,000
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51 John Gibb
Lot 51
"Loch Nevis" Rounding Cape Horn oil on canvas signed 1260 X 750 Gibb was trained in Scotland and arrived in New Zealand in 1876. He settled in Christchurch where he worked as a professional artist and teacher. Co ·aered one of the most important 19th ce ry New Zealand artists, he exhibit m Sydney, London, Melbourne a St. Louis. see illustration $15,000-20,000
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52 Robert F. Procter Sleeping Sails oil on canvas signed 510 X 760 Procter was born in Scotland d arrived in Christchurch in c.1886. studied at the Canterbury School of t and with Petrus van der Velden. Hee 1bited and taught in Christchurch roughout most of his career. in major public galleries in New Represen Zeala se · lustration $5,000-8,000
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Lot 50
Lot 53 53 Frances Mary Hodgkins The Bridge, Dordrecht watercolour signed 410 X 470 This fine watercolour dates from 1907 when Hodgkins established a sketching class at Dordrecht in Holland. During the period she spent there a number of works were completed that depict family groups and individuals crossing the bridges over canals in Dordrecht. The signature contains both the artists mono gramme and full signature which also places the work in 1907. agkins in New Reference: Works of Frances Zealand, E.H. McCormick, 54. p.186-187, p.116, p.245. J Provenance: Private c ection, Sydney see illustration $45,000-55,✓
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54 Isabel Jane Field (nee Hodgkins) Looking Toward the Southern Alps on the West Coast watercolour signed and dated 1901 230 X 490 ghter of painter W.M Hodgkins, sister o ranees Hodgkins. $5,000-7,000
55 William Matthew Hodgkins
Hatvesting Wheat on the Taiere Plains (Security Crop) watercolour signed and dated Ma h 1893 200 X 470 $7,000-9,000
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Lot 56 56 Charles Nathaniel Worsley
Streets of Toledo watercolour signed 980 X 655 Worsley was a professional artist who exhibited with all the metropolitan art societies between 1898 (when he arrived in New Zealand from England) and 1922. He is particularly well known for his city scenes in Europe where he spent a great deal of time travelling and working. This is a very fine example of these European cityscapes which illustrates his mastery of tone and atmosphere. He died in Brescia, Italy in 1923. $22,000-28,000 see illustration
$1,000-1,500
59 J.A Fryer
Waitoka Valley oil on canvas signed 1000 X 750 $3,500-5,500 60 E. Dalrymple
Cattle on a River Bank oil on canvas signed and dated 1896 875 X 825
57 Edmund T. Gouldsmith
View of Mount Cook oil on canvas signed 600 X 900 see illustration
58 E. Gill Waterfall, North Island River oil on board signed and dated 1877 545 X 370
$3,500-5,500
$3,000-5,000
61 Charles Blomfield Wanganui River oil on board signed and ated 1903 285x ~
$2,000-3,000
62 Charles Blomfield Mount Cook fro the Hooker Glacier oil on canvas l 440 X 590 'L._-J ~ $4,000-6,000 7 63 Charles Blomfield Taramakau River oil on board signed and ed 1899 250 X 45
Lot 64
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$2,000-3,000
64 Charles Blomfield Lake Mapaurika oil on canvas signed and ed 1891 415 X 64 see ii · stration 65 Charles Blomfield Waihi Falls, near Lake oil on board signed and d a 1905 495 X 390
~'t/u° $2,000-3,000
Lot 75
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$3,000-4,000
66 Charles Blomfield A River in the South
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(~tit) $3,000-4,000 67 John Douglas P ~ett South Island ake Scene oil on can s signed 430 X 30
Lot 14
$800-1,400
68 Thomas Reginald ttwood View in Fiord d oil on can s signe I. 44 X 775
qu° $2,000-3,000
69 Thomas Reginal A River Vie oil on ea as signe X 450
74 Frederick Casemero (Charles) Terry A View of the Nepean River watercolour signed and titled 465 X 400 Terry (1825-1869) settled in Sydney from England in 1852. His work depicts scenes around the Sydney area and is represented in several major Australian collections $10,000-15,000 see illustration
r tc:r-0 $500-1,000
70 William George Baker Lake W aikare lti oil on canvas signed 600 X 90
$4,000-5,000
71
aker
our wate 3 X 495 $1,000-2,000 72 William George Baker Lake Manapouri oil on canvas 445 X 645
Lot 74 $1,500-2,500
73 Frank Brookesmith Hobart watercolour signed and dated 1905 280 X 435 Frank Brookesmith was born in England about 1860 and died in 1932, his work is represented in the collection of the Hacken Library, Dunedin. He worked as an artist and a teacher in Melbourne and Invercargill. $3,000-4,000
75 Edward Fristrom Wellington Harbour from oil on board
$2,000-3,000 76 Edward Fristrom The White Terraces oil on board signed 295 X 4 $1,000-2,000
77 Roland S. Wakelin The Deserted House oil on board signed and dated 1936 492 X 355 Wakelin was born in New Zealand in 1887 and studied at the Wellington Technical College from 1904. He went to Australia in 1912 and studied there and in Paris. Wakelin was a founder of the Modern Movement in Sydney. A large retrospective of his work was held at the Art Gallery of New South Wales in 1967 $4,000-5,000
83 K. Airini Vane Landscape with Pohutukawa gouache on paper signed and dated 1944 545 X 645 $1,000-1,500 84 Sydney Lough Thompson Still Life with Roses oil on canvas signed 440 X 500
~ $3,000-4,000
78
$2,500-3,500
85 Russell Clark A Waikato Farm watercolour signed 260 X 315 $2,500-3,500
79 John Weeks A Kasbah in the Atlas Mountains, Morrocco ink and wash on paper signed ' 230 X 305 $1,000-2,000
X
400
c.f ccfv $3,000-4,000
81 John Weeks Northland Landscape watercolour signed , 245 X 335
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$1,000-2,000 82
oil on bo signed 425 335
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~~~ $3,000-4,000
87 Vera Cummings Karo Neko oil on canvas signed 240 X 185
80
sign
86 Olivia Spencer-Bowe Farm Buildings signed 380 X 455
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European Paintings
88 Adrian Maurice Daintry
Street Works, East 58th Street, New York oil on canvas signed 490 X 590 Born in London in 1902 and studied under Henry Tonks at the Slade. Exhibited often at the Royal Academy, London. $3,000-5,000
89 Lot 97
Paul E. Gorge
Lady Holding a Rose oil on canvas 450 X 370
$4,000-6,000 90 S.F Canaho?
Windmill at a Fishing Port oil on wood panel signed 340 X 250
$2,000-3,000
91 Frederic Vermorken
Lot 112
Lot 102
Still Life With Oranges oil on canvas signed 390 X 485 Born in Brussels in 1860 and studied at the Academy of Fine Arts in Anvers. He exhibited widely in America and is represented in the collections of the University of San Francisco and the State Collection of New Jersey $2,000-3,000
Lot 92 92 Leonhardi Guido Reni drawing a portrait of Beatrice Cenci in her cell oil on canvas signed 1000 X 1240 Beatrice Cenci (1577-99) with the aid of her brother and stepmother murdered her father. The crime was detected and she was sent to trial. In her defence the advocate asserted that the murder was in self defence against being raped by her father. She was however executed and this created divisive popular reaction in Rome, between those supporting her action and those condemning it. This event later inspired Shelley's tragedy The Cenci of 1819, which was banned in Britain until the 1950's. This impressive painting is referred to by E.V
Lucas in his book "Wanderer in Rome", published in 1926. In Chapter XI he states, "at the Palazzo Barbarini is a picture gallery with Guido Reni's famous head of Beatrice Cenci. The picture postcard shops of Rome sell a popular reproduction of a work by an artist named Leonhardi of Guido Reni actually in the act of making this portrait, visiting Beatrice in her prison cell for the purpose, while warders look on. Beatrice is at her crucifix and her head unmistakenly wears the turban ...... " This work was purchased in Wellington in the 1950's by the present owner. It is probable that the painting came onto the market after Italian museums were directed to sell some of their collections after the First World War to help pay some of the war debts of the Italian Government. $9,000-12,000 see illustration
93
J. Chamberg Dutch Marine Scene oil on canvas on board 645 X 1120 $2,000-3,000
94 Alfred de Breanski
Lot 101
Summer Storm oil on canvas signed 485 X 730 Exhibited frequently at the Royal Academy and the New Watercolour Society in London during the late 19th century. de Breanski received numerous prizes for his works in the early 20th century. His work is represented in the Sydney Museum Collection $4,000-6,000
95 William Adolphus Knell
A Newcastle Collier Dismastcd In The North Sea watercolour signed 440 X 710
Lot 115
Knell's work is represented in the collection of the Art Gallery in Edinburgh and the Royal Collections $8,000-10,000
96 Richard Henry Nibbs
Prison Hulk at Portsmouth with Hay Barge oil on canvas signed 485 X 740
Nibbs (1816-93) exhibited frequently at the Royal Academy, primarily scenes of battle and storms. He painted around the south coast of England, and in France and Holland Reference: A Dictionary of British Landscape Painters, Maurice Grant, 1976. p.137 $8,000-12,000
Lot 100 97 R.H Busk Venetian Canal Scene watercolour signed 320x515 see illustration
$1,500-2,500
98 P. Naovap Fishing Boats in Harbour oil on canvas signed 530 X 785 $1,000-2,000 99 Allan C. Green Aristides watercolour signed and dated 1925 400 X 605 $1,000-2,000 100 American School, 19th Century "White Lady" oil on board 475 X 720 see illustration
$2,000-3,000
101 Robert Charles Leslie Shoreline at Portsmouth oil on canvas signed 410 X 685 see illustration
$4,000-6,000
102 Barcelona Agosto S.S Powhatan of Liverpool watercolour signed 480 X 690 The Powhatan (or Yucatan) was built in 1870. It was one of the first refrigerated cargo vessels of both sail and steam. She traded out of Dunedin in the late 1800's and was eventually sold to G.T. Nicol of Auckland in 1903. see illustration $3,000-4,000
103 De Simone
The S.S Zangla in a Storm watercolour signed and dated 1884 420 X 645 This lot and those following of the Zangla Line ships depict various salvage operations off the coast of Zanzibar. This line also traded out of New Zealand and consequently these are rare and unique records of ships with a connection with early New Zealand maritime trade $2,000-3,000 104 De Simone
The S.S Zangla Towing the S.S Rhinestein watercolour 480 X 800 $2,000-3,000 105
at the Royal Academy in 1804 and was a founder member of the Watercolour Society. His brilliant palette was very suited to the light of the Mediterranean where he frequently painted and his technique was admired by Turner. His work is represented in the collections of the Victoria and Albert Museum the Manchester Art Gallery, and in other important British collections $3,000-4,000 109 Thomas Rowlandson
Reclining Nude ink and wash on paper signed 70 X 140 Rowlandson (1756-1827) is particularly well known for his caricatures, watercolours and portraits which capture the social climate and customs of England in the late 18th century. $500-1,000
De Simone
The S.S Zadne of the Zangla Line Towing the S.S Balooie watercolour 779 X 480 $2,000-3,000
110 Edward Harrison Compton
The New Forest, Hampshire oil on canvas signed on reverse 210 X 285 $3,000-5,000
106 British School, 19th Century
Chepstow Castle on the River Wye oil on canvas 695 X 900
111 James Barry
$2,500-3,500 107 William George Robb
L'Heure Exquise oil on panel 800 X 1050 Robb studied at the Aberdeen Art School and then travelled to Paris where he studied under Bouguereau. He exhibited at the Royal Academy, London. Provenance: The Beaux Art Gallery, London $3,000-5,000 108 William Havell
Women Washing in the River watercolour signed 230 X 320 William Havell (1782-1857). He first exhibited
Landscape watercolour 150 X 210 The reverse of the painting has a card affixed which outlines Barry's life and career. Barry was born at Cork, Ireland in 1741 and died in London in 1806. He was appointed as Professor at the Royal Academy in 1783. His work is represented in art museums in London and Nottingham $1,000-2,000 112 Edwin Saint-John
A Lane in the Scottish Highlands watercolour signed 535 X 845 see illustration
$1,500-2,500
113 Oliver Clare Plums oil on canvas signed and dated 1898 220 X 165
120 British School, 19th Century Young Woman Reading watercolour 445 X 275 $1,000-2,000 $1,500-2,500 121 British School, 19th Century Children Carried By a White Horse watercolour 285 X 405 $1,000-1,500
114 Oliver Clare Pansies oil on canvas signed and dated 1898 218 X 168
$1,500-2,500 115 Frank Sherwin Porlock Weir oil on board signed 330 X 465 see illustration
122 British School, 19th Century Man and a Horse oil on panel
260 X 315 $3,000-5,000
$3,000-5,000 End of Sale
116 Ernest George Avignon watercolour signed and dated 1897 375 X 260
$1,500-2,500 117 D.Y. Cameron Cantyre Coast from the Island of Ghiha oil on canvas 745 X 1250 $2,000-3,000 118 John Pilbrow Der Konigsee oil on canvas 490 X 745
$500-1,000 119 D.Y. Cameron The Cantyre Coast from the Island of Ghiha oil on canvas 745 X 1250 $2,000-3,000
Prices Realised Art Sale 164, 15 & 16 December 1993 Lot
$
Lot
$
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$
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$
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$
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1 2 3 4
600 180 165 160 120 120 100 160 150 170 120 160 250 150 400 750 500 260 500 650 300 180 1250 550 900 900 450 950 500 450 120 275 200 400 130 1900 100 450 500 625 250 150 475 300 2400 2600 2250 750 160 800 500 800 2200 1000 7000
70 71 72 73 74 75 76 77 77a 78 79 82 85 87 88 89 90 92 93 94 95 96 98 100 101 102 104 105 106 108 109 110 113 117 120 125 126 127 127a 127b 127c 127d 127e 128 129 130 131 133 134 135 136 137 138 139 140
5000 1200 7000 10000 7000 1300 2100 2200 21000 130 450 325 900 600 8000 2800 140 100 450 225 200 600 1300 700 4500 2500 1100 2500 1500 4300 1500 260 1000 150 4250 6250 12000 1850 650 500 3500 4000 2500 525 250 800 225 275 150 200 400 1200 350 100 90
141 142 143 146 149 150 151 153 154 155 157 159a 161 164 165 166 168 169 172 175 176 178 179 181 182 183 184 187 189 201a 205 206 207 209 210 211 212 214 215 218 221 222 223a 228 240 244 246 247 248 249 252 253 254 255 256
425 50 50 150 150 140 100 125 1000 400 110 5500 800 500 850 450 800 400 700 70 70 250 400 200 160 80 90 130 175 7000 250 1200 700 2000 200 1000 800 1100 2750 900 450 2500 20000 6500 1000 700 500 800 1000 7000 26000 8500 10500 8500 8500
259 269 271 275 277 279 281 282 285 287 290 292 293 294 295 301 304 308 311 315 315B 317 318 320 321 323 325 327 329 330 332 334 340 341 342 345 346 347 348 349 350 351 352 353 354 355 356 360 361 362 363 364 366 367 368
5000 500 3000 2500 600 400 800 1200 2800 1800 11000 3750 7000 12000 12000 700 850 3000 900 1200 700 850 650 100 170 400 50 600 50 900 300 200 200 200 625 180 2900 80 300 275 400 400 400 70 180 140 190 70 120 260 900 430 50 80 230
370 371 373 378 379 380 381 382 383 384 386 387 390 392 392a 395 396 397 398 399 401 402 403 404 405 406 408 409 411 414 415 416 417 418 420 428 430 431 432 433 438 440 441 442 443 444 445 446 447 448 449 450 452 453
260 375 2000 100 220 240 700 1300 700 800 250 240 160 40 60 360 900 190 200 280 800 100 100 100 100 400 400 500 1000 80 400 420 400 400 400 2800 1200 1850 420 1150 4700 250 1000 550 1200 5250 2600 1400 1000 2350 2100 3200 925 950
454 454a 454b 456 457 459 460 463 468 469 470 472a 473 474 475 484 485 488 491 492 495 497 500 502 503 506 507 508 509 510 511 514 515 517 522 524 525 526 527 529 530 531 432 533 541 542 545 546 548 549 550 551 552 553
800 450 550 550 750 3000 3600 3000 3000 3000 840 700 2500 700 1150 1100 375 4500 350 250 280 1300 30 70 295 50 100 600 225 110 100 400 650 375 70 100 425 230 800 200 100 400 30 650 230 30 600 180 480 140 230 420 50 70
554
90 50 150 120 50 100 350 70 60 50 650 120 230 140 179 20 120 70 20 20 160 110 400 260 220 225 450 30 6500 270 200 420 200 70 150 100 150
5 5
7 10 12 13 14 16 17 18 19 21 22 23 24 25 26 27 28 29 30 31 32 34 35 36 37 38 39 40 41 43 45 47 48 49 50 51 53 55
58 59 61 62 63 64 65 66 67 68 69
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557 558 559 560 561 562 564 565 567 568 570 571 573 575 580 582 588 589 591 593 595 597 603 604 613 614 615 616 618 621 622 623 627 628 629
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Peter Webb Galleries Limited Directors Peter Webb Managi,ng Director Ann Webb General Manager
Fine Art Department Christopher Taylor Manager
Decorative Arts Department Peter Webb Manager Sophia Coupland Assistant
Jewellery Department Christopher Devereaux Consultant
Estate Clearance Sales & Collectibles Department James Hogan Manager James Parkinson Assistant
Administration Trish Shann Manager Kim Carter Assistant
Reception Angela Woodyear-Smith
Valuations Written valuations for Insurance, Family Division and other purposes are carried out by all departments for reasonable fees. Verbal estimates of value are free.
Peter Webb Galleries Limited MAANZ Fine Art & Estate Auctioneers 18 Manukau Road, Epsom, Auckland, PO Box 99251 Newmarket Telephone (09) 524 6804 Facsimile (09) 524 7048
announces the sale on
Wednesday 27th April 1994 at 6pm of
New Zealand Paintings & Original Works on Paper Sculpture, Ceramics, Photographs, Rare Books, Maori and Pacific Artefacts and Works of Art In addition to its quarterly sales of fine paintings and works of art,
Webb's announces a new category of sales to be known as Newmarket Sales. Paul Beadle - Bronze Angel
Colin McCahon - Fifteen Drawings
These sales will be held on a regular basis and will include principally New Zealand works on paper and contemporary paintings by emerging artists, as well as interesting topographical and historical material including documents, maps and rare books. A section of the catalogues will be devoted to Maori and Pacific Art, and the sales will include Photographs and Ceramics when suitable entries become available.
Catalogues for Newmarket Sales will be sent to all subscribers to Webb's Art Catalogues.
Charles Tole - Landscape Oil
Patricia Perrin - Two Jugs