Webb's Paramount Series, April 2016

pa r a m o u n t series 05.04.16

a rt at w e b b’ s Aleksandra Petrovic apetrovic@webbs.co.nz +64 9 524 6804

CaolĂĄn McAleer cmcaleer@webbs.co.nz +64 9 524 6804

Jessica Douglas jdouglas@webbs.co.nz +64 9 524 6804

Kate Shapiro kshapiro@webbs.co.nz +64 9 524 6804

Advertising Enquiries marketing@webbs.co.nz

23-25 Falcon Street Parnell, Auckland 1052 PO Box 99251, Newmarket Auckland 1149, New Zealand +64 9 524 6804 www.webbs.co.nz

Cover image: Lot 13, Gretchen Albrecht, Budding Landscape (detail), Estimate: $25,000 - $35,000

Catalogue printed by McCollams www.mccollams.co.nz Catalogue printed on Orbit Satin. Orbit is a range of ultra premium triple coated papers designed with an exceptionally smooth surface resulting in bright ultra sharp imagery and feels beautiful. Orbit Satin is an FSC Certified stock.

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Exhibition partners

5 March – 19 June Free entry Image Fiona Pardington My Mother’s Roses, Pomegranates and Silver Platter of Ihumoana, Ripiro Beach 2013

Introduction 5.

Viewing Times 7. the new zealand scene 8. sale highlights 10.

The roaring success of a rain-soaked fair 14.

How Social Media Is Shaping Art 20. catalogue 26. absentee bidding form 92.

Conditions of Sale for Buyers 93.

Index 94.

Lot 1 Bill Hammond, Playing the Drums, Estimate $1,500 - $2,500

Introduction Webb’s first art auction of 2016, to be held on Tuesday 5th April offers museum-quality and collectable artworks by New Zealand’s leading artists, covering the contemporary, modern and historical periods. Part One will offer important paintings and contemporary art, including works by; Peter Stichbury, Colin McCahon, Ralph Hotere, Rita Angus, Bill Hammond and Toss Woollaston. Highlights of the catalogue include Budding Landscape by Gretchen Albrecht, a work from Colin McCahon’s Gate series dating from the early 1960s, an early Michael Parekowhai cast bronze and Estelle 2 by Peter Stichbury.

Part Two of the catalogue offers a wide-ranging selection of affordable and collectable works by artists including; Charles Blomfield, Ian Scott, Dick Frizzell, Sara Hughes, Bill Hammond, Gavin Chilcott and Leon van den Eijkel.

Viewing will commence from Tuesday 22nd March, in our gallery located at 23-25 Falcon Street in Parnell, Auckland.

Please note that the gallery will be closed for the Easter Break from the 25th to the 28th of March. We look forward to welcoming you to the first art auction of the year.

Entries Invited into our upcoming Jewels & Watches auctions Webb’s reputation for the consignment and sale of jewellery is unmatched in New Zealand. As market leaders, our sales include a wide selection of fine and magnificent jewels, loose diamonds, antique and modern jewellery and watches from the most soughtafter makers in the world. They also present the perfect opportunity to sell any pre-loved jewellery to a wide range of collectors.

Entries are now invited for our forthcoming auctions.

We encourage you to make an appointment with Tam Fraser for a complimentary and no-obligation auction appraisal.

Contact: Tam Fraser Jewellery & Gem Specialist tfraser@webbs.co.nz 09 529 5606

vi e w i n g t i m e s Viewing Tuesday 22 March

9.00am – 5.30pm

Wednesday 23 March

9.00am – 5.30pm

Thursday 24 March

9.00am – 5.30pm

Closed for the Easter Break Tuesday 29 March

9.00am – 5.30pm

Wednesday 30 March

9.00am – 5.30pm

Thursday 31 March

9.00am – 5.30pm

Friday 1 April

9.00am – 5.30pm

Saturday 2 April

11.00am – 3.00pm

Sunday 3 April

11.00am – 3.00pm

Monday 4 April

9.00am – 5.30pm

Tuesday 5 April

9.00am – 5.30pm

Auction Tuesday 5 April, 6:30pm

Buyer’s Premium A buyer's premium of 17.5% will be charged on all items in this sale.

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

Paramount Series

The new zealand scene

Colin McCahon, French Bay, 1957, oil on canvas on board, Chartwell Collection, Auckland Art Gallery Toi o Tamaki, 1984

AUCKLAND Freedom and Structure: Cubism and New Zealand Art 1930–1960 Curated by Julia Waite, Freedom and Structure: Cubism and New Zealand Art 1930–1960 looks at the significant effect of Cubism on New Zealand painting, revealing its impact on the work of initial adopters John Weeks, Louise Henderson and Colin McCahon, to others including Melvin Day, Charles Tole and Wilfred Stanley Wallis. This exhibition explores how these artists incorporated the radical language of this style, weaving it into their work in inventive ways, as well as how the revolutionary style affected other disciplines including architecture, design and fashion around the world.

Freedom and Structure features works from the collections of Auckland Art Gallery Toi o Tāmaki, Dunedin Public Art Gallery, Waikato Museum, The University of Auckland, Victoria University of Wellington, The Hocken Library – University of Otago, Museum of New Zealand Te Papa Tongarewa and private lenders.

WHERE: Auckland Art Gallery WHEN: 16 May 2015 - 10 April 2016

WELLINGTON

Suburban Dreams The dream of the nuclear family in a brand new house on a quarter acre might be getting harder to reach but the suburban dream still shapes our national identity. Suburban Dreams explores the place of suburbia in our lives, finding significance and complexity in the commonplace.

This group exhibition includes an iconic Ian Scott painting that idealises the 1970s New Zealand family, contrasted with bittersweet reflection in a film from the same period by the late Joanna Margaret Paul that explores the traps of suburban life in Thorndon.

Humour is found in an ironic presentation of stately homes in 1990s Churton Park by Murray Hewitt, along with a celebration of the antics of twenty-first century teens in Wainuiomata by Tim Barlow.

WHERE: The Dowse Art Museum WHEN: 30 January – 29 May 2016 Ian Scott, Golden Dreams, 1969. Oil on canvas.

Collection of Te Manawa Museums Trust

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CHRISTCHURCH

Op + Pop

Daniel Crooks, Imaginary Object #3, 2007 (film detail). Image courtesy of Anna Schwartz Gallery

WELLINGTON

Op + Pop looks at the continued influence of two major international twentiethcentury art movements – Op Art and Pop Art, and their effect on New Zealand art. Op Art, born in Britain in the early 1960s, and Pop Art, which started in the United States in the late 1950s, opened up dynamic new possibilities for making art.

The exhibition features works by Andy Warhol, Carl Sydow, Julian Dashper, Mervyn Williams, Michael Parekowhai, Reuben Paterson and Gordon Walters.

WHERE: Christchurch Art Gallery WHEN: 6 February – 19 June 2016

Bullet Time

Bullet Time showcases the work of two New Zealand video artists who manipulate time, Daniel Crooks and Steve Carr. It places them in the context of two historical photographers, pioneers of motion studies—Eadweard Muybridge (1830–1904) and Harold ‘Doc’ Edgerton (1903–90).

Daniel Crooks’ videos explore temporal displacement by offering eccentric slices of space time. Using a computer, he reorganises information from digital-video footage, so what you see on one part of the screen might, in reality, have been shot slightly earlier than something on another. Crooks explores the effect of this both on views of a static world shot from a moving train and on views of moving things filmed from a static position.

Steve Carr uses slow-motion to observe bursting paint-filled balloons and bullets tearing open apples. Riffing on Egerton’s displaced eroticism, he’s less interested in the scientific aspect than the semiological one. The show includes his six-channel video installation Transpiration (2014). Filmed with a time-lapse camera, white carnations planted in dyed waters slowly absorb those hues, blushing with colour.

Michael Parekowhai, Cosmo McMurtry, 2006, woven nylon substrate, pigment, electrical components. Collection of Christchurch Art Gallery Te Puna o Waiwhetu

WHERE: City Gallery Wellington WHEN: 25 March - 10 July 2016

DUNEDIN

Frances Hodgkins: Sitting for Frances Sitting for Frances brings together works that explore the relationship between Frances Hodgkins and her sitters, largely drawn from the Dunedin Public Art Gallery Collection along with selected works from The Dowse Art Museum, The Hocken Pictorial Collection and Olveston Historic Home.

The selection of portraits and studies map her travels across New Zealand, Europe, and as far as Morocco, reflecting the connections she made along the way. Among the works are observations of Māori, portraits of families, characterisations of age and works that showcase her ability to capture warmth and emotion.

An interest in people persisted throughout Hodgkins’ career and continues to draw in new readings and connections to new audiences. Through particular works in Sitting for Frances we explore how depictions of people are made from both real and imagined experiences. In turn, we also see how Hodgkins’ portraits have played a significant role in strengthening family histories. These stories, along with other related ephemera, are explored across the exhibition.

WHERE: Dunedin Public Gallery WHEN: 19 December 2015 - 15 May 2016 Frances Hodgkins, Summer, c.1912 watercolour and charcoal on paper Collection Dunedin Public Art Gallery

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sale highlights

Lot 3 Billy Apple, Auctioned, Estimate: $2,500 - $5,000

Lot 1 Bill Hammond, Playing the Drums, Estimate: $1,500 - $2,500

Comprising of two parts, the forthcoming Paramount Series auction offers modern, historical and contemporary works from New Zealand’s leading artists. Part One offers a selection of seminal artworks for buyers seeking important works of artistic and academic merit.

Part Two includes works on paper by some of New Zealand’s best known artists, alongside works by modern and contemporary artists.

Lot 2 Michael Parekowhai, Untitled, Estimate: $3,500 - $5,500

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WEBB’S

Lot 14 Colin McCahon, Manukau 2, Estimate: $40,000 - $60,000

Lot 25 Colin McCahon, Gate, Estimate: $100,000 - $130,000

This catalogue offers works by artists whose practices have defined the narrative of art history in New Zealand, with some works being seen on the market for the very first time. Beginning with two iconic works by Colin McCahon, to highly regarded contemporary artists Michael Parekowhai and Peter Stichbury. McCahon’s associations with Peter Webb date back to 1957, when Webb held a solo exhibition of McCahon’s work. In the present day, with McCahon’s status as one of New Zealand’s most important artists firmly established, it is surprising to learn that not one work from that exhibition found a buyer. Works offered since, however, have found buyers, and McCahon’s Gate hails from a private collection, having found a buyer when it was offered on the secondary market for the first time with Webb’s in 2006. Gate was previously held in the collection of the late Professor Robert Chapman and his wife Noeline. Professor Chapman was instrumental in establishing the University of Auckland art collection, as well as encouraging the appointment of McCahon as a Lecturer in Painting at the Elam School of Fine Arts. Gate dates from this period in the artist’s career. Born from McCahon’s conversations with John Caselberg and concerns about nuclear armaments, the present work harks back to the earlier Gate series as well as the Northland series. Also included in the upcoming auction is Manukau 2, a fine watercolour produced during McCahon’s time in French Bay, and shows the influence of Cubism, especially the work of Georges Braque on McCahon’s work. Both works are catalogued on the Colin McCahon reference database; Gate carries the number cm001115, and Manukau 2 the number cm000852.

The beginning of McCahon’s tenure as Lecturer in Painting at Elam, coincided with Gretchen Albrecht’s first exhibition at the Ikon Gallery, in August 1964. McCahon spoke at the opening of this exhibition; and Albrecht would set up her studio in the same Titirangi bush that had provided McCahon with the inspiration for some of his best-known works some 13 years prior. Although held

Lot 13 Gretchen Albrecht, Budding Landscape, Estimate: $25,000 - $35,000

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Paramount Series

Lot 12 Bill Hammond, Meantime - Organ Donor Swappa Crate 3, Estimate: $35,000 - $45,000

in the artist’s collection until 1980, Budding Landscape belongs to one of Albrecht’s most celebrated series of works and is being offered on the market for the first time. This bridges Albrecht’s previous series’ of landscape works, and that of the ovals and hemispheres. The striking fields of colour present in Budding Landscape are a recollection of experience, and this process of articulating experience and emotion through composition and colour is emblematic of Albrecht’s strongest works.

considered colour relationships and compositional concerns of the Lattice works are echoed in the works by Barnett Newman and Paul Cézanne that are visible behind the models. Tony Fomison’s #142 (Self Portrait Outside a Cave in Kaikoura) is an exploration into the formation of meaning and allegory.

Lot 46 Grahame Sydney, Albatross, Estimate: $2,000 - $3,000

Bill Hammond has previously been well-represented on the secondary market, with Webb’s securing record prices in recent years. Included in the upcoming auction are four works on paper: the panoramic Meantime - Organ Donor Swappa Crate 3, alongside an ink study titled Mysteries of Life. Both works date from earlier in Hammond’s career, which has witnessed an increase in interest from collectors, showing the evolution in Hammond’s conceptual interests, style and manner of painting. These fine works on paper are complemented by two lithographs; Bone Eagle B and Playing the Drums.

Lot 20 Peter Stichbury, Estelle 2, Estimate: $35,000 - $45,000

We are also delighted to offer works by artists such as Tony Fomison, Don Binney, Ian Scott, Billy Apple, Ans Westra, Don Peebles and Milan Mrkusich. Included in the auction are two of Scott’s highly-acclaimed Lattice works, as well as two works from his Model series. Although seemingly disparate, these series of works illustrate Scott’s investigations into representation and the very act of image making. The carefully 12

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A small selection of important historic works is also included, by artists such as John Barr Clarke Hoyte and John Gully. Helyar Wedderburn Bishop worked in the Native Land Department, acquiring extensive knowledge of the Māori language and customs, and eventually becoming a senior Stipendiary Magistrate of New Zealand. Together with his wife Annie Tiria Ngatata Bishop, niece of Hon Wi Tako Ngatata MLC, of the Ti Ati Awa tribe, they acquired a pair of works from Hoyte, of which Lake Waikaremoana is one. The work has passed through the family to the present owner, and is seen on the market for the first time since its acquisition in the 1870s. John Gully’s Lake Tennyson Near

WEBB’S

Lot 8 Ian Scott Small, Lattice No. 242, Estimate: $4,000 - $6,000

Nelson South Island, carries similar historic provenance, with the work formerly held in Earlsbrae, the colonial mansion now part of Lowther Hall Anglican Grammar School, in east Melbourne.

Contemporary artists are also well-represented in the forthcoming catalogue, with works by Michael Parekowhai and Peter Stichbury.

Parekowhai’s recent retrospective held at the Queensland Art Gallery in Australia included the work Acts (10:34-38) “He went about doing good”, to which the untitled work included in the auction is related. Utilising a similar process which coalesced into the evocative scene depicted in Albrecht’s Budding Landscape, Peter Stichbury’s Estelle 2 is a composite of a selection of idealised representations of beauty which proliferate contemporary culture.

The figure depicted in Estelle 2 has been one to which Stichbury has returned to, creating series of works, where each repeated image belies an alteration to the subject’s appearance, inviting further examination of the differences between each image. She has been featured on the illuminated billboard exhibited during Christchurch Art Gallery’s rebuild, on the walls of Tracey Williams Gallery, in New York, and is being offered in the auction for the first time.

Lot 22 John Barr Clarke Hoyte, Lake Waikaremoana, Estimate: $12,000 - $18,000

Lot 9 Tony Fomison, # 142 (Self Portrait outside a Cave in Kaikoura), Estimate: $25,000 - $35,000

Among the works offered are three lithographs by Graham Sydney, as well as a portrait by Toss Woollaston.

The past 12 months have witnessed Webb’s relocation to new premises in Parnell, marking a new chapter in its history. The works offered here illustrate the breadth of artistic practice within New Zealand, as well as the enduring legacy Webb’s has had in establishing a secondary market for many of the artists featured in this catalogue. It is with pleasure that we are able to offer this selection of works in the upcoming Paramount Series auction, and welcome you to join us for the first art auction of 2016.

Lot 62 Grahame Sydney, Night Store, Estimate: $2,000 - $3,000

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The roaring success of a rainsoaked fair

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WEBB’S

Alighiero Boetti, Tutto, 1992. Image courtesy of Jessica Douglas.

During her time in Miami last December 2015, Webb’s fine art specialist, Jessica Douglas, managed to explore the contemporary art on show at Art Basel Miami Beach.

participating galleries in collaboration with the host city’s local institutions. Last year’s Art Basel Miami Beach opened to VIPs on 2 December and to the public one day later, and closing on 6 December. These jam-packed and eventful few days boasted contribution from 267 galleries, coordinated by its Director of the Americas, Noah Horowitz.

Art and commerce. The two worlds collide, fast and furiously, not only in auction houses but also in the likes of art fairs around the world. As the largest art fair in the United States, Art Basel Miami Beach is a prime example.

Art fairs, such as Art Basel Miami Beach, are important for developing relationships between emerging artists, collector bases as well as new dealers. The exploding phenomenon that is the art fair is instrumental in shaping how the global art market advances into new regions of the world. 2015’s Art Basel in Miami placed an obvious emphasis on art that asks ‘big’ questions; issues on race and identity, cultural appropriation and pop culture, communication and environmentalism. Although the many artworks were diverse and exciting, vivid and playful, at their core they also reached into serious topics or held a tone of cynicism.

Originating in Basel, Switzerland, in 1970, the fair now stages annual events in Hong Kong and Miami, as well as its motherland.

The fair welcomes many – museum directors, curators, critics, collectors, gallerists, historians, writers, journalists and art enthusiasts – to explore contemporary art with the

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Paramount Series

Alferdo Jaar, Be Afraid of the Enormity of the Possible, 2015. Image courtesy of the artist and Galarie Lelong.

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WEBB’S

While the artworks’ themes remained far-reaching, so too did their medium. Each corner of the fair stretched into a different style – there was never a question of one type of art remaining more fashionable or popular. Traditional oil on canvas continued its resurgence, as with works by such artists as Kehinde Wiley and Mel Bochner; neon works were also present, with pieces by Sam Durant, Alfredo Jaar and Karl Holmqvist; and conceptual and tangible works by Yinka Shonibare, Louise Nevelson and Jeppe Hein also captured the eye.

Art Basel Miami Beach is centered on the large Miami Beach Convention Centre, however a number of other locations (associated with the grand Art Basel fair) stage pop-up fairs over the course of the week. NADA, or New Art Dealers Alliance, held at the Fontainebleau Miami Beach Resort, was one. This fair looked at underexposed art of young and emerging contemporary artists, with the booth by What Pipeline sparking my curiosity.

Sam Durant, You Have the Power, 2015. Image courtesy of the artist and Paula Cooper Gallery.

participate, and shuttle buses run between various presentations and performances. Unfortunately torrential downpours dominated most of the time, which made it difficult to move between and juggle the various events. Nevertheless, spectators didn’t let the rain ruin the week, and the mixture of parties and business continued. Some exhibitors commented that rain was actually better for sales – people were prompted to stay inside and ended up buying more works than anticipated.

The fair as a whole proved a success. Los Angeles dealer Michael Kohn stated, “The fair is as busy if not busier than it’s ever been… there are more people, more admirers, a bigger market”. By Sunday evening, over 77,000 people had attended the art fair.

According to Art Net News, one of the highest recorded prices was for Francis Bacon’s Man in Blue VI (1954), which sold for US$15 million. Paul McCarthy’s sculpture, White Snow, Dopey, Black Red White, Black (2011-2015) achieved US$1.5 million.

It goes to show that big names still attract big prices. Likewise, Robert Rauschenberg’s metal sculpture Appalachian Double Latch Spring Glut (1989) went for US$770,000, Barbara Kruger’s Untitled (Beneath You) (2015) for US$320,000, and Dorothea Tanning’s Salut, délire! (Hail, Delirium) (1979) for US$400,000.

Kehinde Wiley, Portrait of Dacdjo Ndie Joseph, 2015. Image courtesy of the artist and John Berggruen Gallery.

The booth exhibited work by Nolan Simon (b. 1980), a Detroitbased artist who is interested in the power of the internet. Simon takes images from the internet and renders distorted versions onto canvas. In doing so, the artist plays with representations of reality and explores issues pertaining to copyright and perhaps even notoriety. Upon entering What Pipeline’s booth, a giant inflatable globe of the world immediately infiltrates the viewer’s personal space. Titled Earth (2014), this globe was created with satellite imagery from NASA, drawing to attention the problems around surveillance and security.

Other fairs included Collins Park, which displayed 27 largescale works alongside live performances, and SCOPE along Ocean Drive, which focused on smaller booths of a contemporary nature. The programme also includes Miami galleries, who also

Fine art, emerging artists and established ones, conspicuous consumption, parties and stormy weather. It was a hectic week but an unforgettable one nonetheless. The art itself was intoxicating and the fair was an experience I would happily relive again.

Jessica Douglas

Art Deco district in Miami. Image courtesy of Jessica Douglas.

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Searching for that perfect diamond?

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

Enquires from those looking to buy privately are welcomed. Quotes are free of charge, confidential, and all consultation is on a no-obligation basis.

Contact Tam Fraser on 09 529 5606 or email tfraser@webbs.co.nz for further information.

a valued collection Specialist valuers of fine art, antiques and collectables, books and historical documents, artefacts, wine and household goods.

A dedicated and experienced team of in-house experts use daily market research and an extensive database of international sales records to ensure a prompt, accurate, competitively priced and confidential valuation service. Home or site visits, both locally and internationally, can be arranged by appointment.

Webb’s provide comprehensive valuation services for: • Insurance • Market • Post-Loss

• Family Estate Division • Relationship Property Division • Financial Reporting

Contact: Antonia Milsom 09 524 6804, amilsom@webbs.co.nz 23-25 Falcon Street, Parnell

How Social Media Is Shaping Art

Archer Davies, Message from the Grand Cannon 2015, oil on canvas. Image courtesy artist and Jan Manton Art.

Paramount Series

Art Gallery of South Australia director Nick Mitzevich ponders the new power of the image rendered through social media and considers its impact on art, artists and museums.

An artist friend of mine has more than 60,000 followers on Instagram. Every hour or so his work is seen by thousands of people – not in a gallery, nor in glossy print reproductions but via a digital, standard square format Instagram feed on a hand-held device.

His followers, including myself of course, are voyeurs. We choose this twenty-first century hand-held portal as a way into the life of an artist. This fascination with the work and world of the artist is nothing new – it’s the latest manifestation of our cultural obsession with artists, one that began in sixteenth century Italy when Vasari published his lives of artists.

But Instagram offers more than voyeurism – it offers us a connection with each other and a chance to share the creative stage. A single user can post images of themselves making art – themselves in the studio or their creative output. But they can also turn the very experience of viewing a work of art into their own work of art. Via the art of Instagram, we can all be artists. We can all achieve at least our 15 minutes of fame.

What would Andy Warhol have thought of it? In many ways his addiction to the Polaroid photograph prefigures our own obsession with Instagram. Described as the world’s first Instagram account, Warhol’s archive of instant images span the late 1950s until his death in 1987.

Not only are we all artists on Instagram, we are all curators.

This performative dimension involves the careful selection, presentation and sharing of visual content to a specific audience.

But has Instagram become more interesting than art?

We know from our visitors to the Art Gallery of South Australia that technology has certainly made art more interesting. Stroll

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through the permanent collection galleries any day or hour and you’ll see people using their phones and tablets as interlocutors and companions. Such devices help them not only ‘see’ the work but provide an instant community with whom to share the experience.

Social media has provided us with a new metrics – a currency of likes and shares. What can these tell us about art and audiences?

The Instagram posts that receive the most likes are those where the image speaks with the greatest clarity and purpose. And yet the best posts aren’t always examples of the best art. In this truly democratic system the success of an image can’t be known until it’s posted, and the ingredients of success largely remain a mystery.

This new-found reality presents a conundrum and possibly even a cause for celebration for art museums. Is it possible that our recently announced attendance figures (780,000 people with a 12 per cent increase on last year) are but a fraction of those who have experienced the work of artists via social media? What does this sharing of visual content digitally really mean for art, artists and museums?

Like the museum, Instagram offers a space where people can stop and look – a meditative modality and one that is very different to, say, Twitter, which has become a largely politicised and vituperative platform.

Artists will continue to make memorable images. One could argue that in this age of digital democratisation and aestheticisation of the image, the singular voice and vision of the artist is more important than ever.

Social media platforms including Instagram can amplify the relevance of art and extend the experience offered in art museums. Rather than seeing technology as supplanting the analogue era, technology has a key role to play in amplifying art’s relevance and reach.

Originally published in August 2015 on www.indaily.com.au. Nick Mitzevich is the director of the Art Gallery of South Australia, and a regular contributor to InDaily.

Follow Webb’s on Instagram @webbsauctions

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

Please contact our department specialist, Reece Warren, for an auction appraisal and to discuss consigning into future auctions.

Contact: Reece Warren Fine & Rare Wine Specialist rwarren@webbs.co.nz 09 524 6804

Entries Invited

Entries Invited into upcoming modern & Contemporary Art auctions Throughout Webb’s history, our focus has been on the placement of exemplary New Zealand cultural assets and the cultivation of a strong secondary market. With an extensive calendar of auctions and exhibitions, Webb’s Fine & Contemporary Art department regularly offers work by New Zealand’s most important Historic, Modern and Contemporary artists.

We are now seeking entries into forthcoming auctions to take place in 2016. Please contact our department specialists for a no-obligation auction appraisal and to discuss the consignment and marketing strategy of your work or collection.

Aleksandra Petrovic Fine Art Specialist apetrovic@webbs.co.nz 09 524 6804

Fine Art Specialist cmcaleer@webbs.co.nz 09 524 6804

Lot 9 Max Gimblett The Hermetic Museum (detail), Achieved: $23,450

Caolan Mcaleer

Lot 2 Michael Parekowhai, Untitled (detail), Estimate: $3,500 - $5,500

Tuesday 5 April 2016, 6.30pm

Paramount Series Part one

Viewing from Tuesday 22 March

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1 Bill Hammond Playing the Drums lithograph, 20/25 signed W.D. Hammond, dated 1988 and inscribed PLAYING THE DRUMS in graphite lower right 485mm x 360mm $1,500 - $2,500 2 Michael Parekowhai Untitled cast bronze affixed to card, unlimited edition signed Mike P and dated 95 in ink verso 15mm x 90mm approx. (each); 110mm x 330mm (overall) PROVENANCE Private Collection, Auckland. Gifted to the current owner by the artist in 1995.

REFERENCED This work relates to Acts (10:34-38) “He went about doing good”, 1993, acrylic on wood, held in the collection of Auckland Art Gallery, Toi o Tamaki, and included in the artists retrospective exhibition Michael Parekowhai: The Promised Land, Queensland Art Gallery, 28 March-21 June 2015. $3,500 - $5,500

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3 Billy Apple Auctioned screenprint and ink on paper signed Billy Apple and inscribed $3,000 Future Group Peter Webb Galleries 24th July 1985 in ink 992mm x 692mm $2,500 - $5,000 4 Ans Westra Ruatoria, 1963 (from Washday at the Pa) gelatin silver print 270mm x 270mm PROVENANCE NOTE: Accompanied by a certificate of authenticity from Suite Gallery signed by the artist’s daughter, Lisa van Hulst.

ILLUSTRATED Amery, Mark, Ans Westra, Washday at the Pa, Wellington, Suite Publishing, 2001, cover. $6,000 - $8,000

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5 Don Binney Untitled (Kotuku) pastel on paper signed Binney and dated 2003 in pastel upper right edge 655mm x 455mm PROVENANCE Private Collection. $12,000 - $18,000

Untitled (Kotuku) belongs to a series of works dating from the latter part of Don Binney’s career. While his early series featured images of birds suspended in distinctly flat yet vibrant expanses of sky, the latter series, to which this work belongs, illustrate the artist’s increasing environmental concerns and utilization of different materials.

After retiring from his position as the Head of Painting at the Elam School of Fine Arts, a position which he held for 24 years, Binney travelled extensively both within New Zealand and internationally to places of spiritual significance. During this time he focused full time on his art and love for ornithology, frequenting barely populated landforms and sourcing inspiration from birdlife in bush and on water.

The white heron dominates the composition of Untitled (Kotuku) and has been 30

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depicted in sweeping strokes of pastel which echoes his earlier treatment of plumage. Meanwhile, the background foliage has been executed with small, controlled movements which seek to carefully render each blade of grass and leaf. From 2002 he worked increasingly with other materials such as charcoal, coloured pencils, or as evidenced in this work, pastel. These materials allowed Binney to capture the essence of the birdlife and landscape with more immediacy and proved the perfect materials for his increased mobility during this time.

Unlike the hard-edged, flat planes of paint apparent in early works, the use of pastel resulted in a more textured, painterly finish revealing the artist’s hand with which the work was created.

KATE SHAPIRO

6 Brent Wong Field, Peninsula, Clouds acrylic on board signed BRENT WONG, dated 1997 and inscribed FIELD, PENINSULA, CLOUDS in brushpoint verso 352mm x 490mm $30,000 - $40,000

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7 Ian Scott Small Lattice No. 213 acrylic on canvas signed Ian Scott, inscribed “Small Lattice No. 242” and 30” x 30” verso 763mm x 760mm $4,000 - $6,000

8 Ian Scott Small Lattice No. 242 acrylic on canvas signed Ian Scott, inscribed “Small Lattice No. 242” verso 812mm x 812mm $4,000 - $6,000

Ian Scott had taken influence from his New Zealand artistic predecessors for his landscape works, but always sought inspiration from American artists when it came to contemporary Pop Art. Scott had anchored his Girlie series with modernist nudes similar to the work of Mel Ramos as seen in Leapaway Girl (1969), these works featured landscapes so stylised they were almost abstract; trees, hills and horizons were reduced to mere curves and geometric forms. This represented a transition for Scott as he began to experiment with colour and reduction.

This practice would be exercised further in the early-1970s when he began to experiment with line, initially with paint rollers and spray paint on large canvases, with strong emphasis on gesture as the Abstract Expressionists had done. Eventually this would transgress as a reaction against expressionist ideas to a notion of Post Painterly Abstraction with the use of masking tape, creating crisp straight lines with repeat patterns in flat primary colours in what would become known as the Lattice series. Scott had previously used clean lines and juxtaposed bright colours but never as deliberately as this.

Small Lattice No. 242 uses robust primary and secondary blocks of colour that weave across the canvas, the stripes of colour reject convention when they weave under another stripe changing colour on the other side. The colour change will either use a complimentary or opposing colour that will float to the surface of the canvas or recede into the background creating a flatter image, the interruption of uniformity in the work further abstracts along with the black backdrop creating a sense of depth. Small Lattice No. 213 employs a

similar technique with a lack in uniformity in the over/under weaving producing works which are symmetrical in form but asymmetrical in colour. The abruptness of the reds, blues, greens and oranges is softened with grey, neutralising the impact producing a flatter overall quality. Small Lattice No. 213 employs white space to border the stripes as writer Edward Hanfling noted “what is a matter of fact is the basis of the Lattices is a flat, white surface. They are concerned with the fundamental, underlying material of painting, a primed white canvas.”1 Whilst the triangles and squares which appear in Small Lattice No. 242 are wholly black, in Small Lattice No. 213 they are the same colours as the stripes which eliminate the depth but also express the concept that there is more beyond the Lattice, almost like a voyeur we are peeking through to another dimensions or indeed another Lattice.

These works are both rigid and free, heavy and light, considered but always playful, that is the tension that Scott has so skillfully created in this dichotomy. The Lattice stripes don’t represent a specific image that the artist wishes to project onto the viewer, subject matter gives way to aesthetic, shifting the focus to the concepts of harmony, structure and colour.

The Lattice series comfortably sits side by side the American greats Kenneth Nolan and Frank Stella as key examples of the Post Painterly Abstraction and are fundamental examples of Scott’s work and instantly recognisable as his work alone.

1 Hanfling, Edward, Ian Scott: Lattices, Ferner Galleries of Fine Arts, 2005, p. 12

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9 Tony Fomison # 142 (Self Portrait outside a Cave in Kaikoura) c.1976 oil on canvas on wood inscribed #142 in brushpoint lower right; inscribed #142 verso, original Bosshard Gallery stamp applied verso 315mm x 225mm $25,000 - $35,000

During his time studying sculpture at the University of Canterbury, Tony Fomison became involved in the University’s Ethnology Department, participating in the excavation of Māori archaeological sites, recording Māori rock drawings, observing caves and shelters throughout the South Island and making tracings of the ancient drawings. These expeditions would have an integral influence on his work throughout his career with caves becoming a motif that would be systematically repeated, both stylistically and allegorically.

Fomison built a reputation for himself as an outsider for both his lifestyle and subject matter, choosing to paint those with disfigurements and the recognisable. He would be institutionalised himself on a number of occasions as the result of his drug use, these alternative subjects along with a monochromatic palette differentiated him from his contemporaries.

This notion of the artist as the solidary recluse seemingly emerged at an early age, as lamented by Fomison’s sister who discussed the long spells spent in “his little cave, his little room off the kitchen,”1 this cavernous imagery would be echoed in depictions of crypts, coffins and caves, emphasising a withdrawn and brooding aesthetic with in-

spirations drawn from fairy tales, nightmares and his own personal struggles with heroin addiction. #142 (Self Portrait Outside a Cave in Kaikoura) is one of eight self-portraits created over his short career, some of these executed as self-deprecating characters and grimacing clowns. However in this work the artist depicts himself as an almost featureless ghostly figure, with his naked body steeped in solitary thought. One side of the portrait is obscured in darkness, a stylistic hallmark of Fomison’s, inspired by Old Masters Caravaggio and Goya’s use of chiaroscuro, with his limited colour palette broken by a muted blue sky which was repeated in paintings of this time.

At this point in the mid-1970s Fomison had matured as an artist, worked and travelled overseas amassing a distinct body of work, fraught with moody landscapes and unique figures. It was through this cohesive darkness he cemented himself a reputation as the gothic auteur of New Zealand painting.

1 Wedde, Ian, ‘Making Ends Meet: Essays and Talks, 1992-2004 – Tony Fomison’s Dark Places A Postscript, John Leech Gallery, Auckland 2004, Victoria University Press, Wellington, 2005, p. 308

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10 Tim Wilson Milford Sound oil on canvas signed AHT Wilson, dated 90 and inscribed Milford Sound in brushpoint lower right; signed AHT Wilson and dated 91 in graphite verso 750mm x 1000mm $10,000 - $15,000

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11 Bill Hammond Mysteries of Life ink and oil pastel on paper signed W.D. Hammond, dated 24/11/79 and inscribed Mysteries of Life in ink lower edge 300mm x 225mm $7,000 - $10,000

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Bill Hammond

Meantime - Organ Donor Swappa Crate 3

acrylic and found images on wallpaper signed W.D Hammond and dated 1989 in brushpoint lower left; inscribed MEANTIME in brushpoint upper left and ORGAN DONOR SWAPPA CR ATE 3 in brushpoint lower left 505mm x 1600mm

$35,000 - $45,000

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Created in the same year that Hammond visited the Enderby Islands, Meantime Organ Donor Swappa Crate 3 fuses the elevated perspective often employed in his earlier works, with ghostly figures floating among the diaspora of his highly-regarded later works. The work can be interpreted as a portal into a surreal dreamscape, replete with shape shifting humanoids, a hospital bed, speeding car, and the denotative crate.

Hammond borrows from the Japanese Ukiyo-e pictorial tradition to create a floating urban world, and perhaps to make a wry comment on contemporary society, through choreographing a unique mise en scène in an urban environment. The panoramic scale of Meantime - Organ Donor Swappa Crate 3 invites speculation on a narrative

behind the work, something the writer Justin Paton notes is a “a faith that the frame is a place where matter misbehaves and the only constant is metamorphosis”1. Additionally, metamorphosis, and the blurring of the boundaries between the human and the animal is an omnipresent theme in Hammond’s work. In Meantime - Organ Donor Swappa Crate 3 the metamorphosis of the characters into crates, buildings and foliage provide an allegory to the excesses of contemporary life, further adding confusion amid the labyrinthine world before the viewer.

Hammond’s utilisation of a myriad of reference materials is also evident in this work; from the comic books of Art Spiegelman and Raymond Pettibon, to Hieronymus Bosch and Francisco Goya. The amalgama-

tion of low brow and high art references is present throughout Hammond’s oeuvre, and is especially evident in Meantime - Organ Donor Swappa Crate 3. Additionally, the dramatic, three dimensional spaces which move, subvert and disrupt our understanding of the outdoors and indoors echo the psychologically-charged planes of Giorgio de Chirico and Francis Bacon. The presence of the hospital bed located in the right of the work carries a double connotation as a space of physical impairment, but also of imaginative and spiritual freedom, as alluded to by the inclusion of the window looking out onto outside foliage, located above the bed.

The brush strokes of the figures serve to elongate them and exaggerate their movements. Hammond’s use of primary colours

heightens the visceral qualities of the work: an element borrowed from German expressionism, particularly the practice of Ernst Ludwig Kirchner, whose angular forms accentuated the physicality of the figures populating his paintings. Another point of comparison is in the urban settings of Kirschner’s works, particularly the street scenes, such as those in Potsdamer Platz, painted in 1914.

Hammond utilises these techniques to emphasise the converging diagonal lines of the central figure, creating a labyrinth through which the viewer’s eye travels.

Meantime - Organ Donor Swappa Crate 3 showcases the formal elements which would become evident in Hammond’s bird paintings, while also providing a connective thread to the use of formal elements such

as the application of paint, as well as the introduction of emerald green and gold; both colours synonymous with his best-known works, such as the Zoomorphic series, Jingle Jangle Morning and Giant Eagle. The utilisation of floating figures against a dense background landscape to entice the viewer to look further into the pictorial plane is present also; those figures are evidence of Hammond’s mastery of composition and his vast visual knowledge, which would become celebrated facets of his oeuvre.

1. Paton, Justin, Bill Hammond: 23 Big Pictures, Dunedin Public Art Gallery, Dunedin, 1999, p. 9.

ALEKSANDRA PETROVIC

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13 Gretchen Albrecht Budding Landscape acrylic on canvas signed Gretchen Albrecht and dated 1972 in ink on label affixed on stretcher verso; inscribed Budding Landscape acrylic on canvas 1500 x 830mm in ink on label affixed on stretcher verso; inscribed 27.2.80 in brushpoint on stretcher verso 1500mm x 830mm PROVENANCE Acquired by the current owner from the artist in 1980. Previously held in the artist’s personal collection. $25,000 - $35,000

Budding Landscape belongs to a vital period within Gretchen Albrecht’s oeuvre. Less than five years prior Albrecht had produced figurative works imbued with personal narrative, with the series to which the present work belongs, viewed as the precursor to the artist’s iconic hemispheres and oval works.

What signaled this important step within Albrecht’s practice, was the relocation to a house and studio built by Albrecht’s father for Albrecht and her family in Titirangi.

With its close proximity to the Waitakere ranges and beyond, Albrecht explored the beaches, the cliffs, the sinuous lines of the land, and of the coastlines of Karekare and Whatipu, noting the colours in quick watercolour studies.

Upon returning to the studio, these studies would act as recollections of the intensity and layers of colour that appeared at dawn or sunset, the organic compositions of the clouds against the land, with glimmers of bright, white sunlight appearing through the atmosphere. Albrecht had become interested in the potential of light as a colour, particularly in relation to other elements such as the sea, horizon, wind and clouds. The studies hurriedly completed outdoors were Albrecht’s attempts and capturing the restless, ever-changing landscape, whereas the paintings which resulted from these studies possess a resolute calmness and clarity. Portraying a moment distilled by the artist through the handling of paint, Albrecht’s use of colour is immersive, with the yellow and indigo jutted up against one another and threatening to escape the boundaries of the frame, enveloping the viewer.

The soft, sweeping curves of paint in Budding Landscape point to the physical act of sweeping, spreading,

staining, pushing and smearing of paint onto the canvas, allowing one layer to be absorbed completely, before the application of another. An implicit precision is present in the work; with the viewer invited to consider how Albrecht has manipulated gravitational effect on the washes of acrylic paint poured onto the canvas, as well as the deliberately allowed areas of raw canvas that remain visible along the work’s edges. Both these techniques allude to the quick watercolour studies, but also to the works of artists such as Helen Frankenthaler, Morris Louis and Mark Rothko.

Additionally, Budding Landscape, as well as the series of works to which it belongs, draws parallels to Colin McCahon’s Kaipara series of works, created around the same time. In both series of works, the landscape is distilled through each artist’s methodology, into a contemplative space; with the relationship between land, horizon and sky being a focus of the work, as well as a point of departure. This relationship is but one in a series of concerns regarding symmetrical oppositions to which Albrecht would return to throughout her practice, and which would be more formally explored in later works such as the hemispheres. The solid sliver of deep indigo located at the bottom edge of the work, versus the transparent layers of yellow which float above, the broad strokes of paint alongside the minute droplets visible on the canvas, add up to an exploration of emotion through colour, communicated through Albrecht’s utilisation as well as application. Budding Landscape invokes the feel of the wind against skin, rocks beneath feet, the fleeting rays of the sun, beneath a canopy of encroaching darkness.

ALEKSANDRA PETROVIC

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14 Colin McCahon Manukau 2 watercolour on paper signed McCahon, dated Jan ‘54 and inscribed Manukau 2 in brushpoint lower left; Gow Langsford Gallery label affixed verso 540mm x 740mm EXHIBITED The Group Show 54, Canterbury Society of Arts Gallery, Durham Street, 2 - 17 October 1954.

ILLUSTRATED: Simpson, Peter, Colin McCahon: The Titirangi Years, 1953-1959, Auckland University Press, Auckland, 2007, p. 84 REFERENCE Colin McCahon reference database number: cm000852 $40,000 - $60,000

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This fine watercolour belongs to a numbered series of landscapes by Colin McCahon which were created in response to his new environment at French Bay on the Manukau Harbour. He had moved north to Auckland in May 1953 and was immediately struck by the wet climate and dramatic lighting of the area when compared with Canterbury.

He recalled: “At this time, the bush and the harbour were of prime importance as subjects... the November light for that first year was a miracle. It remains an obsession and is still a miracle.” Painted in watercolour and gouache on paper, Manukau 2 depicts the harbour and background hills to the left and bush to the right. Above, a cloudy sky animates the scene and is reflected in the waters of the harbour.

Although it is easy to make out the landscape elements in naturalistic terms, McCahon’s painting has other concerns. The artist shows a modernist interest in the formal structure of the imagery as evidenced in the division of the surface by a scaffolding of curved and straight lines. These divisions have very little to do with nature and much to do with constructing a painting on a twodimensional surface. The lines animate the surface and refer us to it. They also help divide the surface into planes that are merged into one another by the technique of passage introduced into painting by Cézanne and the Analytic Cubists. In this technique, an opening, allowing one form to be merged with another, facilitates the transition between them and allows foreground and background to be interlocked. Cubism, and especially the work of Georges Braque, was of interest to McCahon at this time. He was especially

concerned with making the painting appear as something solid and permanent rather than ephemeral and illusory. He noted: “In nature there are no empty spaces; the air between houses is as real as the air inside houses and the houses themselves...” In this painting, we can see this principle in action as the clouds and their reflections in the water are made to appear to be as substantial as are the hills and the foreshore.

A further aspect to note is the subdued palette which is restricted to mainly blue/ grey and ochre tints. Rather than imitating local colours, McCahon created an image of sky and water and the ochre of bush and foreshore. In doing so, he was once more following the example of Braque and Picasso who found that a restricted palette enhanced the objecthood of their cubist works and drew attention to their formalist nature. It is also possible to see in Manukau 2 the use of multiple viewpoints for, at times, we seem to be looking at forms like the hills at eye level while the harbour and bush appear as if viewed from above. This presentation had the advantage of freeing the artist from the constraints of conventional one-point perspective and allowing the element of time and movement to enter the work. All these ideas and more were to figure prominently in McCahon’s large paintings. Related works include the Towards Auckland paintings and the Kauri series. This is a fine painting in its own right and one that is of great interest because it contains fertile ideas that McCahon was to follow up in his later series.

MICHAEL DUNN

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15 Mervyn Williams Blue Radiance acrylic on canvas signed Mervyn Williams, dated 1992 and inscribed ‘Blue Radiance’ in brushpoint verso 800mm x 600mm $8,000 - $12,000

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16 Don Peebles Untitled Green acrylic on canvas signed Don Peebles and inscribed Untitled Green in brushpoint verso; signed Don Peebles and dated 1989 in graphite verso; signed Don Peebles and inscribed AcrylicCanvas, 665 x 1045mm in ink verso 665mm x 1045mm PROVENANCE Private Collection. Previously held in the Saatchi & Saatchi Art New Zealand Art Collection. $15,000 - $25,000

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17 Gordon Walters Untitled gouache on paper signed Gordon Walters and dated ‘76 in graphite verso 148mm x 117mm PROVENANCE Acquired by the present owner from Peter McLeavey Gallery c. 1976. $35,000 - $55,000

It was in 1956 that Gordon Walters first made serious studies concerning the depiction of koru-derived imagery, a design that has become synonymous with the artist. In this small gouache on paper, the artist continues his interest in the Māori motif.

The contrasted vertical rows are deliberately restricted to a limited palette, a feature Walters often used in order to balance the composition and form an interconnected and complementary construction. Here, the yellow and grey-blue bands of colours are identical in shape and size so that the free-flowing design deftly interplays positively and nega-

tively. These two tones delicately rest beside one another in a dual interplay, where Walters’ iconic minimalistic design is repeated to form a stylised image.

A closer inspection of the curved bulbs reveals slight pencil marks, exemplifying the artist’s manufacture and freehand technique.

He used these curved circular forms and their horizontal bands in order to create an optical illusion: the edges of the stacked rows are cropped, which suggests a canvas that extends beyond the two-dimensional picture frame and into infinity.

JESSICA DOUGLAS

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18 Ian Scott Model with Cezanne acrylic on canvas signed Ian Scott in brushpoint lower right edge; signed Ian Scott, dated 1991, and inscribed “Model with Cezanne” and 40” x 30” verso 1014mm x 760mm $12,000 - $22,000

Ian Scott began his depiction of the female form in what became known as the ‘Girlie’ series in the late 1960s, producing colourful works with scantily clad frolicking women against hard edged New Zealand landscapes. These figures were inspired by the models in Vogue, Playboy and in contemporary popular culture; they were married with the lush green landscapes inspired by the works of Don Binney, as well as Scott’s teacher at Elam, Colin McCahon. The clash of the highbrow art world and the ‘low’ of contemporary pop culture would be revisited again in Scott’s Model series.

In his Model series of the 1990s Scott stripped his female models further and positioned them into more pornographic and suggestive poses. Rather than using stylised landscapes wrought with hard edges and elongated clouds which had been the stylistic hallmarks of his predecessors, the artist now appropriates and directly replicates both historic and modernist paintings in backdrops for the models.

Scott had taken inspiration from the American artist Tom Wesselmann who interjected Mondrian and Warhol works into his own vibrant compositions.

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Model with Cezanne depicts Still Life with Red Onions (1898), as part of the backdrop, with a scantily-clad blonde suggestively gazing out to the viewer. Cezanne’s delicately arranged still life comprised of onions and a bottle representing his transition from a fixation with brushstrokes to one with form, particularly as Cubist developments were burgeoning in late Nineteenth Century France, this echoes the crude application of paint employed by Scott in the depiction of his anonymous female sitter. She seductively looks at the viewer whilst resting her chin on her arms, covering her bosom but exposing her crotch and buttocks encompassing the notion of the male gaze in this composition.

In Model with Newman, Scott employs a similar approach but with a stronger aesthetic. A modernist work from Barnett Newman’s Who’s Afraid of Red Yellow and Blue series (1966-70) is visible in the background; it’s sharp lines and primary colours are not unlike Scott’s Lattice series which began in 1976. The self assured model confidently poses topless with her hands resting on her hips, holding a cigarette unlike the figure depicted in Model with Cezanne, her gaze confronts the viewer.

19 Ian Scott Model with Newman acrylic on canvas signed Ian Scott in brushpoint lower right edge; signed Ian Scott, dated 1991, and inscribed “Model with Newman” and 40” x 30” verso 1014mm x 760mm $12,000 - $22,000

The Model series sees Scott’s stylish sixties pinups in miniskirts and bikinis given a nineties makeover reflecting a porn industry which was now available to the masses in the technological developments of the VCR. The models now sport blow-dry’s, perms and more provocative ensembles. These works are intended to challenge the viewer, and the series could be viewed as a precursor to our now “pornofied” world. In contemporary society where nudity is broadcast on a daily basis; in music videos, advertising, television and online, the argument that the intended audience of these images has been desensitised to the shock value of such works is increasingly valid. By asking whether Scott’s nudes still as shocking as many found them in the sixties, the viewer is drawn into an uncomfortable space of a voyeur as well as admirer of the work.

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20 Peter Stichbury Estelle 2 acrylic on linen signed PETER STICHBURY, dated 2009 and inscribed ‘ESTELLE 2’ ACRYLIC ON LINEN in brushpoint verso 600mm x 500mm PROVENANCE Acquired by the current owner from Starkwhite in 2010. $35,000 - $45,000

Peter Stichbury’s pristinely executed paintings of manicured faces engage in a dialogue with the world of popular culture replete with cosmetic surgery, reality television and commercial imagery of celebrity and advertising.

Peter Stichbury is an eclectic collector of visual material – magazines, newspapers and posters are, for Stichbury, the truest commentary on contemporary culture. Such visual materials provide the inspiration for the constructed imagery used in his paintings, as witnessed in his portraits of Paris Hilton, Mark Zuckerberg and Zack Klein. His studio is lined with torn out pages from fashion magazines, with Stichbury having to sacrifice some 400 issues from his extensive collection, to simply gain access to his workplace. 1 In Estelle 2, Stichbury features a fictional character whose striking features reference the idealized perceptions of beauty already present in the magazines from his collection. More recently, the endless realm of cyberspace has become the perfect roaming ground for Stichbury to source his imagery.

Wide-set doe eyes, manicured eyebrows,

flawlessly polished skin and sharp attire; she diverts her stare as if to avoid any confrontation with the viewer that would reveal her inner thoughts. Such an expression conveys stifling feelings of alienation and isolation - an awkward, bewildered character almost unsure of her reasons for being there. By not depicting a celebrity or recognizable character, Stichbury invites viewers to draw their own conclusions about this individual.

Initially alluring, yet ultimately disturbing, Estelle 2 is emblematic of Stichbury’s work exposing society’s obsession with the cultivation of the perfect public image.

The considered composition of Estelle 2 references the history of portraiture apparent in the trajectory of art history. Meanwhile, the flat application of paint employed to create a naturalistic yet unrealistic rendering recalls the portraiture of German-born British painter, Lucian Freud. While traditional portraiture seeks to reveal the subject’s personality through expression, pose and environment, Stichbury portrays his subjects devoid of emotion or feeling. He is an artist poised between new and old, or as he himself Kate Shapiro

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once termed it, ‘a cross-pollination of Disney and French neoclassical portraiture.’ 2 It is a stance that recognizes the dismantling of portraiture’s power to represent truth in any stable sense, instead exploiting the plasticity of painting as a medium, its kinship to parody and pastiche.3 The series to which Estelle 2 belongs, sees Stichbury repeatedly returning to this subject, and experimenting with portraiture further, with every depiction of his sitter altered in some way, thus undermining what is perceived to be real or artificial. The plasticity of the subject’s skin could be seen as a comment on the pervasive effect of unattainable notions of beauty as espoused within the pages of Stichbury’s magazine archive, while the deliberately placed moles on her neck hint at natural imperfections and signs of individuality.

1. Bugden, Emma ‘The Role Call’, Peter Stichbury: The Alumni, Auckland: Starkwhite and Te Tuhi Centre for the Arts, 2010, p.9.

2. Ibid.

3. Ibid., p.10.

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21s John Gully Lake Tennyson Near Nelson South Island watercolour on paper signed J. Gully in brushpoint lower left; inscribed Lake Tennyson Near Nelson South Island in another hand in ink verso 462mm x 670mm PROVENANCE Formerly in the collection of Earlsbrae, the colonial mansion now part of Lowthner Hall Anglican Grammar School, in east Melbourne. $7,000 - $10,000 22 John Barr Clarke Hoyte Lake Waikaremoana watercolour on paper 345mm x 540mm PROVENANCE Purchased by Helyar Wedderburn Bishop and Annie Tiria Ngatata Bishop c. 1870.

Passed by descent to the present owner.

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$12,000 - $18,000 23 Ralph Hotere A Cambridge Connection lithograph, 14/18 signed Hotere and dated 1990 and in graphite lower right; inscribed Port Chalmers in graphite lower left 626mm x 525mm $4,500 - $6,500 24 Toss Woollaston Wayne watercolour on paper signed Woollaston in brushpoint upper left 395mm x 315mm PROVENANCE Purchased by the current owner from the artist in 1971. $2,500 - $4,500

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25 Colin McCahon Gate oil on shaped board inscribed I.N.R.I. in brushpoint 780mm x 630mm PROVENANCE Acquired by the present owner from Webb’s in 2006; where it was listed as previously held in the collection of the late Professor Robert and Noeline Chapman. Originally purchased from Ikon Gallery in 1963-1964. $100,000 - $130,000

McCahon’s Gate paintings were conceived after the artist had shifted from Titirangi to Partridge Street, Grey Lynn. Their geometric forms have been related to the built-up urban environment that surrounded his inner-city house compared with the bush that was so dominant in Titirangi on the city fringe where he had previously lived. McCahon himself wrote in 1972 that ‘The compositions all come from a tree outside our bedroom window, and inner city roofs.’ Of course, there was more to it than that and the abstract idiom used reflects his interest in Mondrian at the time and the challenges posed by his art.

Thematically in the Gate series McCahon addresses the political situation caused by the cold War and the massive build up of nuclear armaments by the United States and the Soviet Union. On a personal level he was trying to find a way trying to find a way through the difficulties posed by the situation and even joined the Campaign for Nuclear Disarmament.

There are two Gate series, the first being a group of individual works painted in 1961 on hardboard with commercial paints such as Solpah. These works in the main are not word paintings and are painted in a limited monochrome palette. Many were not dated but preceded his exhibition at the Gallery, Symonds Street, Auckland, in August/September 1961. The second Gate series was conceived as a whole and involved collaboration with his friend the writer John Caselberg. It is more colourful than the first and is distinguished by its extensive use of text of an apocalyptic nature chosen from the Old Testament by Caselberg.

The current work is unusual in some respects combining as it does features of both series and may well have been painted early in 1962 shortly before he completed the second Gate series. It is distinctive partly because of its shaped format with the corners cut off, all at different angles. There are a few Gate paintings in a shaped format but these have curving tops and are quite unlike this example. McCahon was interested in the ways of making the imagery escape the limitations of the painting’s edges, as Mondrian had done, by allowing the forms to be cut off and to imply movement into the picture space from outside. The shaped format further helps to break down the confines of the picture space and give more movement and dynamism to the imagery. Unlike many paintings of the first series, this one is strongly coloured and includes a sonorous red and black combination that links it with the apocalyptic imagery of the second Gate series. In the background, behind the encroaching rectangles is a fearsome column rising from a nuclear explosion, expressive of cataclysmic destruction. This, too, is unusual in its graphic and explicit reference to nuclear war whereas in most of the series this is referred to more obliquely. Finally the letters I.N.R.I. painted across the lower section of the painting refer to those placed on the cross at Christ’s crucifixion. The stand for the words Jesus of Nazareth, King of the Jews, and here almost certainly suggest that Christian faith is our only hope in dealing with this dire predicament facing humanity.

This Gate painting is a unique and remarkable work from one of McCahon’s most important series.

MICHAEL DUNN

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26 John Reynolds

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28 Ralph Hotere

Alien Hand Painting #4

Alien Hand Painting #2

Drawing for Song Cycle

enamel, graphite and ink on canvas signed Reynolds, dated 2006 and inscribed Alien Hand Painting #4 in ink verso 1502mm x 1010mm

enamel, graphite and ink on canvas signed Reynolds, dated 2006 and inscribed Alien Hand Painting #2 in ink verso 1522mm x 1010mm

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watercolour on paper signed Hotere, dated 8/76 and inscribed Drawing for Song Cycle in ink lower right; inscribed POEMS Bill MANHIRE MUSIC JACK BODYN & BARAY MARGAN DANCE CASSERLEY HAMMEL in ink lower edge 374mm x 278mm $15,000 - $20,000

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29 Rita Angus Portrait of Jenny Jones (Artist’s Niece) oil on board signed Rita Angus in brushpoint lower right; title inscribed on Ferner Fine Arts gallery label affixed verso 440mm x 345mm $10,000 - $15,000

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30 Elizabeth Rees Large Screen II oil on canvas signed Rees and dated ‘94 in brushpoint lower right 2130mm x 1820mm EXHIBITED Second Stage, Chiaroscuro, Auckland, October 1994. $6,000 - $10,000 CATALOGUE 533

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31 Frances Hodgkins Untitled (Farmyard Scene) watercolour on paper signed Frances Hodgkins in brushpoint lower right 365mm x 358mm PROVENANCE Acquired by the present owner c. 1992.

Previously held in the collection of the artist’s friend, British painter John Piper. $20,000 - $30,000

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32 Frances Hodgkins

33 John Gully

Untitled (Still Life )

MaÂŻoris on the Greenstone Track

watercolour on paper signed FH and dated 1901 in brushpoint lower right 210mm x 384mm

watercolour on paper signed John Gully and dated 1878 in brushpoint lower left 350mm x 625mm

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34 Milan Mrkusich Achromatic Dark I acrylic on canvas signed Mrkusich, dated ‘77 and inscribed Achromatic, Dark I verso; inscribed Show Bg. One Man Show 1980, view 5 21 st April - 1st May on label affixed verso 1760mm x 1430mm ILLUSTRATED Wright, Alan, Edward Hanfling, Mrkusich: the Art of Transformation, Auckland, Auckland University Press, 2009, plate 67. $45,000 - $55,000

Achromatic, Dark I belongs to a period spanning the years of 1977-78, where Mrkusich’s investigations into the grid were refined and contrasted against the artist’s other formalist concern: the surface of the work itself.

Delicate lines appear embedded on the surface of the work, creating a band in the lower third of the work comprised of miniature squares. These squares echo the four lines of the frame, and indeed the four edges of the work itself. Mrkusich’s concern here is to manifest the essence and power of the hue, which fills the viewer’s field of vision alongside the materiality of the painted surface.

By creating the surface with a paint roller Mrkusich has removed the traditional mark

of the artist’s brush, which characterised his earlier works, in an effort to distill his working methodology to only the most essential components. While this technique at first detaches the work from the hand of the artist, the grid lines in the lower part of the work betray this by alluding to Mrkusich’s meticulous precision and concentration in their application onto the canvas. The viewer is confronted not just with a monochromatic palette but also an abstract geometric form, where formalist concerns have been elegantly intertwined with aesthetic values.

AleKSandra petrovic

35 Ralph Hotere Black Window lithograph, RI signed Hotere, dated ‘88 and inscribed Black Window in graphite lower edge 420mm x 292mm $3,000 - $5,000

CATALOGUE 533

63

Lot 62 Grahame Sydney, Night Store (detail), Estimate: $2,000 - $3,000

64

CATALOGUE 533

Tuesday 5 April 2016, 6.30pm

Paramount Series part two

Viewing from Tuesday 22 March

CATALOGUE 533

65

36

Bill Hammond

Bone Eagle B

lithograph,20/25

title inscribed, signed and dated 2007

285mm x 380mm

PROVENANCE Acquired by the present owner in 2007 from PaperGraphica, Christchurch. $1,500 - $2,500

36

66

CATALOGUE 533

37

38

37s Dick Frizzell

Freighter in Heavy Sea

screenprint, printer’s proof title inscribed, signed and dated 2008 1205mm x 805mm

$1,800 - $2,500 38s Dick Frizzell

Cut Out Tiki

screenprint, printer’s proof title inscribed, signed and dated 2005 896mm x 750mm

$1,500 - $2,500 39s Gavin Chilcott

Self Portrait with Friends, Food and Silhouettes

acrylic, charcoal and pastel on paper title inscribed, signed and dated 1991 1130mm x 1150mm $1,000 -$1,500

39

CATALOGUE 533

67

40

41

68

CATALOGUE 533

40s Sara Hughes

41

Bardavid Regi

42s R.B. Ball

Data Attraction I

Imagine This Sound

screenprint, printer’s proof title inscribed, signed and dated 2006 568mm x 745mm

oil and beeswax on canvas, triptych signed and dated JHB 2004 2300mm x 2200mm

acrylic on canvas inscribed Overtly Perverse and 103 x 115mm on label affixed verso

1020mm x 1150mm

$4,000 - $5,000

$1,000 - $2,000

Overtly Perverse

$600 - $900

43

Bardavid Regi

44s Allie Eagle

45

Resonance I

Coming Through To Me

Untitled

oil and beeswax on canvas signed and dated JHB 2004 1080mm x 1080mm

watercolour on paper title inscribed, signed and dated January 1986 725mm x 535mm

PROVENANCE Corporate Collection.

$1,500 - $2,500

Keith W. Clancy

acrylic on canvas signed verso 250mm x 200mm $700 - $1,200

$300 - $500

42

44

43

45

CATALOGUE 533

69

46

47

48

70

CATALOGUE 533

49

46

Grahame Sydney

47

Grahame Sydney

48

Virginia Craig

Albatross

Broken Hill

graphite on paper title inscribed, signed and dated 6/7. 2. 81 500mm x 760mm

Shimmering Gondolas; Maps, Islands and Pathways

etching, artist’s proof (each) title inscribed, signed and dated ‘93 (each) 740mm x 475mm (each)

lithograph, 61/75 title inscribed, signed and dated 1992 430mm x 715mm $2,000 - $3,000

$800 - $1,500

$150 - $300

49

Grahame Sydney

50

Shags at St Leonard’s

Untitled

lithograph

title inscribed, signed and dated Pinter’s Play May 1999

455mm x 325mm $1,800 - $2,800

Dorothy Richmond

watercolour on paper signed and dated 1924 250mm x 350mm $2,000 - $4,000

50

CATALOGUE 533

71

51

72

CATALOGUE 533

52

53

54

55

51

William Alexander (Bill) Sutton

Untitled

oil on canvas signed and dated 1941 496mm x 598mm $2,500 - $3,500

52s Simon Stockley Untitled

oil on canvas affixed to board signed

798mm x 1200mm $600 - $900 53s Grant Bambury

Thread Work 12

ink, acrylic and thread on paper title inscribed, signed and dated 1983 verso 675mm x 680mm

PROVENANCE Corporate Collection. $400 - $700

56

54

Glenys Brookbanks

Soundwaves of the Sea

watercolour and gouache on paper signed and dated ‘90 560mm x 750mm $800 - $1,200

55

Kate Wells

Untitled

hand-woven tapestry 485mm x 485mm (widest points)

EXHIBITED Fish out of Water, Manawatu Art Gallery $300 - $700

56

Regi Bardavid

Resonance III

oil and beeswax on canvas signed and dated JHB 2004 1080mm x 1080mm $1,500 - $2,500

57

57

Regi Bardavid

Resonance IV

oil and beeswax on canvas signed and dated JHB 2004 1080mm x 1080mm $1,500 - $2,500

CATALOGUE 533

73

58

59

60

58

Charles Henry Howorth

Haystacks in a Rural Mountain Landscape

oil on canvas signed

498mm x 746mm $1,000 - $2,000 59

Gabrielle Hope

Still Life Fruit

watercolour on paper title inscribed on label affixed verso 454mm x 627mm $800 - $1,500

60

Russell Clark

Untitled Landscape

watercolour on paper 244mm x 325mm $600 - $1,000

74

CATALOGUE 533

61

62

61

Greta Graetzer

Early Morning on the Pearl River

graphite and watercolour on paper signed; title inscribed in another hand verso 325mm x 370mm

$1,000 - $1,500

63

62

Grahame Sydney

Night Store

lithograph, 7/60 title inscribed, signed and dated Feb 2002 440mm x 625mm $2,000 - $3,000

63

Henry William Kirkwood

Untitled (Schooner and Rangitoto Island)

oil on board signed

300mm x 610mm $400 - $700 64

Ian Scott

Untitled (Beach Scene)

watercolour signed

340mm x 500mm $600 - $1,200 64

CATALOGUE 533

75

66

65

76

CATALOGUE 533

67

65

Leon van den Eijkel

Reflective Cubes 003, 2004

reflective vinyl on three ACM substrate cubes, 2 pack acrylic lacquer 600mm x 600mm x 600mm (each)

$5,000 - $8,000 66

Richard Killeen

7 Dogs

acrylic on paper title inscribed, signed and dated 0107-79 565mm x 385mm

68

69

$3,500 - $5,000 67

Richard Killeen

Primitives

acrylic on paper title inscribed, signed and dated 3008-80 565mm 385mm $3,500 - $5,000

68

Russell Jackson

New Zealand Rifleman (M)

watercolour and graphite on paper title inscribed, signed and dated ‘79 200mm x 170mm $300 - $400

69

Russell Jackson

New Zealand Rifleman (Female) A. Chloris

watercolour on paper title inscribed, signed and dated 1977 230mm x 200mm $300 - $400

70

Jane Evans

Man with a Bowtie

gouache on paper signed and dated ‘85; title inscribed, dated 1985 and inscribed gouache 560 x 380mm on label affixed verso 570mm x 390mm

$2,500 - $4,500

70

CATALOGUE 533

77

71s Robert P. West

Summer with Monika

oil on canvas title inscribed and signed 850mm x 1050mm $1,200 - $2,000

72

William Stephen (Bill) Coleman

Nude

oil on board signed

575mm x 725mm $2,000 - $4,000

73

Denys Watkins

Pateke

screenprint, 10/35 signed and dated 07 565mm x 757mm

71

$200 -$400

74

Denys Watkins

Kaki

screenprint, 33/35 signed and dated 07 565mm x 757mm $200 - $400

75

Ken Done

Frangipani

screenprint, 77/500 signed

670mm x 538mm $100 - $200

76

Robin White

Nautilus

lithograph, 14/30 title inscribed, signed an dated ‘85 217mm x 167mm

72

$800 - $1,200

77

Karen Moon

78

Dick Frizzell

Jack of Hearts; Hair Raising

Table Wine

etching, 3/30 IMP; etching 2/30 IMP title inscribed, signed and dated 1982; title inscribed, signed and dated 1983 266mm x 215mm; 383mm x 207mm

screenprint, 18/100 title inscribed, signed and dated 2002 600mm x 505mm

$100 -$200

78

CATALOGUE 533

$500 - $800

73

74

75

76

77

78

CATALOGUE 533

79

79

Donna North

Untitled

oil on canvas signed and dated 07 1120mm x 1528mm $1,000 - $2,000

80

Riduan Tompkins

Untitled

acrylic on canvas signed and dated ‘92 verso 610mm x 1217mm $700 - $1,200

81

Roy Dalgarno

Taking a Sample

ink on paper title inscribed, signed and dated 88 515mm x 692mm

$500 - $800 82

79

Riduan Tompkins

Untitled

acrylic on canvas signed verso 1230mm x 1228mm $1,500 - $2,500

83

Robin White

Two Shells Call Nuouo

lithograph, 10/30 title inscribed, signed and dated 1985 217mm x 167mm

80

$1,200 - $2,200 84

Riduan Tompkins

Untitled

acrylic on canvas signed verso 1230mm x 1228mm $1,500 - $2,500

85s Stanley Palmer Awana monoprint

title inscribed, signed and dated 1983

565mm x 582mm

PROVENANCE Corporate Collection. $300 - $500 81

80

CATALOGUE 533

82

83

84

85

CATALOGUE 533

81

86

88

87

91 89

90

82

CATALOGUE 533

86

Ernest Mervyn Taylor

87

Eric Lee-Johnson

88

John Philemore Backhouse

Squirrels

Landscape with House

War Canoe

watercolour on paper signed and dated 71 340mm x 202mm

oil on board title inscribed 77mm x 127mm

woodblock print titled inscribed and signed 215mm x 215mm $800 - $1,200

$700 - $1,000

$600 - $900

89s Grant Bambury

90

Aubrey de Lisle

91

Russell Jackson

Untitled

Reflections in Albert Street

Whangaruru Peninsula

etching, 65/80 title inscribed, signed and dated ‘84; title inscribed on The Hang Up Gallery label affixed verso 320mm x 240mm

PROVENANCE Corporate Collection.

watercolour and graphite on paper signed; title inscribed on ASA Gallery list affixed verso; inscribed BNZ Tower Construction Building Auckland in another hand verso 475mm x 294mm

ink, acrylic and thread on paper title inscribed, signed and dated 1987 verso 575mm x 380mm

$200 - $400

$150 -$300 93

Kate Newby & Tanja Jade (Misery)

Untitled

She just loved it y’know

acrylic and found wood sign title inscribed 1820mm x 600mm

92

Kate Newby & Tanja Jade (Misery)

acrylic and ink on found wallpaper 421mm x 516mm $800 - $1,200

$200 - $400

$1,500 - $3,000

92

93

CATALOGUE 533

83

94

94

William Lee Hankey

95s Heather Straka

Roses in Glass Jar

Kia Ora

oil on canvas signed; title inscribed on Fisher’s Fine Arts gallery label affixed verso 495mm x 395mm

screenprint, artist’s proof title inscribed, signed and dated 2012 800mm x 600mm

$1,200 - $2,000

$5,000 - $8,000 96

Robin White

97

Charles McPhee

98

This is Florence

Elizabeth Teuanui in Tahiti

Joy

lithograph, 22/30 title inscribed, signed an dated 1985 278mm x 167mm

oil on velvet title inscribed, signed and dated ‘86 882mm x 625mm

bonded bronze signed

320mm x 260mm

$800 - $1,200

84

CATALOGUE 533

$1,200 - $1,800

Bill Mack

$800 - $1,500

95

96

97 98

CATALOGUE 533

85

99

Leon van den Eijkel

Restructure B/BTTNL/DL

photo collage and acrylic on paper title inscribed, signed and dated 1993 315mm x 192mm $700 - $1,200

100 Leon van den Eijkel

Restructure D/BTTNL/DL

photo collage and acrylic on paper title inscribed, signed and dated 1993 315mm x 192mm $700 - $1,200

101 David Barker Homestead

acrylic on board signed and dated ‘74 450mm x 910mm

99

100

$800 - $1,000 102 Ruyzo Nishida

Matsu Modoki

handpainted plastic soldiers on perspex base 215mm x 260mm x 255mm (widest points)

$800 - $1,500 103 David Barker Ishmus

101

acrylic on board signed and dated ‘75 610mm x 600mm $400 - $600

102 103

86

CATALOGUE 533

105

104

104 Robin White

Self Portrait with Conrad and Shells

lithograph, 12/30 title inscribed, signed an dated Dec ‘85 517mm x 324mm $1,200 - $2,200

105 John Papas

Silence on the Land

oil on canvas and painted terracotta signed

1270mm x 1800mm $1,500 - $2,500 106

106 Kate Wells

Aria to the Desert Horizon

hand-woven tapestry signed; title inscribed, signed and dated 1988 on label affixed verso; title inscribed and dated 1988 on Manawatu Gallery label affixed verso 500mm x 720mm (widest points)

$400 - $700 107 Francisco Carratala Untitled

acrylic on paper signed and dated 82 518mm x 670mm $800 - $1,500

107

CATALOGUE 533

87

108 William James Forster

109 John Barr Clarke Hoyte

Untitled (Wanaka Steamer)

Mt Rolleston, Otira Gorge, Westland

watercolour and gouache on paper signed and dated 1879 260mm x 415mm

watercolour on paper title inscribed; title inscribed on Fisher’s Fine Arts gallery label affixed verso 345mm x 478mm

$800 - $1,500

$3,000 - $5,000

108

109

88

CATALOGUE 533

110 Johnny Groome

111 Ian Scott

112 Tom Esplin

Mt Eliot, Ahaura, West Coast

oil on board signed

190mm x 240mm $500 - $700

Surf Anawhata

watercolour signed

355mm x 525mm $600 - $1,200

Le Chateau de Chenonceau

oil on board signed

350mm x 455mm $4,000 - $6,000

110

111

112

CATALOGUE 533

89

113

114

115

113 Colin Wheeler

114 Lance O’Gorman

115 Douglas Badcock

Premises of the National Bank Oamaru

The Waimamakus

Silver Birches Jack’s Pass

oil on board signed and dated Dec 1994 350mm x 454mm

oil on board signed and dated ‘74 400mm x 510mm

oil on board signed and dated 58; title inscribed on H. Fisher and Son gallery label affixed verso 320mm x 446mm

$4,000 - $6,000

90

CATALOGUE 533

$800 - $1,200

$800 - $1,500

116

116 Charles Blomfield (attributed to)

Huka Falls

oil on canvas 508mm x 705mm

PROVENANCE Passed by descent from the artist to a relative of the present owner.

Restoration report included. $3,000 - $4,000

117 John Papas

Tell Me of Other Cities

acrylic and found images on paper title inscribed, signed and dated 90 990mm x 980mm $1,500 - $2,500

117

CATALOGUE 533

91

23-25 Falcon Street, Parnell, Auckland PO Box 99251, Newmarket, Auckland 1149, New Zealand

09 524 6804 (ph) 09 524 7048 (fax) auctions@webbs.co.nz www.webbs.co.nz

Absentee and telephone Bidding form BUYERS No: (Office use only) For absentee or telephone bidders on lots in the sale on: (Date) 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 if any. I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid a buyer’s premium will be added to the hammer price and that G.S.T is charged on the premium. I have checked the specific sale details for the rate of buyer’s premium. If I would prefer to use this form to lodge a telephone bid, I will inscribe ‘phone’ in the ‘bid’ column. I understand that I will be contacted during the sale and a saleroom representative will bid with me live over the phone.

Lot No.

Catalogue Description

Bid

Mr/Mrs/Ms

Initials

Surname/Company

Hm Ph

Bus Ph

Mobile

Fax

Email Postal Address

Contact Name

ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid.

I understand that Webb’s must have cleared funds before delivery of good will be made. If I pay by cash, eftpos or bank transfer, then I may receive immediate delivery of my goods. If I pay by direct fund transfer, then funds will take one business day to clear. If I pay by personal cheque, then funds will take five working days to clear. If I choose to pay by credit card, then I accept that there will be an additional charge of 2.5% - 4% on the total. 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.

* Signed

Dated

Webb’s will do its utmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.

C O N D I T I O N S o f sa l e f o r buyers 1. BIDDING. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person.

Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less as a bid than the sum nominated by the auctioneer. A bid may be withdrawn before the auctioneer declares that bidding on a lot is closed.

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

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

4. BUYERS’ PREMIUM. The purchaser accepts that Webb’s will apply a buyer’s premium which is charged in addition to the hammer price (unless otherwise stated) together with GST on the premium, which combined sum shall be the total purchase price.

The rate of Buyers Premium is published in each catalogue online in conjunction with the catalogue. Please note that there will be a minimum Buyers’ Premium of 17.5% from 1 April 2015.

5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid, in clear funds, within 5 working days. Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared within 5 working days of completion of the sale. Credit cards are not accepted.

6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Webb’s has used its skills and experience to ensure the genuineness or authenticity of each lot but, as it is impossible to provide conclusive proof of genuineness or authenticity for most items, buyers should proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale once payment in full has been made. If this is not done, Webb’s will not be responsible if the lot is lost stolen damaged or destroyed. Any payment by cheque will not be considered paid until the payment has cleared. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot.

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

b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot, shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s 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 contract. 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. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds.

Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase.

In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.

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

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

However a bid may be withdrawn by the highest bidder at any time before the vendor accepts the bid. Once accepted by the vendor a contract has been formed.

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

s

Vendor is from the trade and/or a party/entity associated with Mossgreen NZ Limited.

CATALOGUE 533

93

inde x o f ar t is t s Artist Lot Number

Artist Lot Number

A l b re ch t , G re tch e n

13

Fo m i s o n , To ny

9

A n g u s , R i ta

29

Fo rs te r, Wi l l i a m Ja m e s

108

Apple, Billy

3

Fr i zze l l , D i ck

3 7, 3 8 , 78

B a ck h o u s e , Jo h n P h i l e m o re 8 8

G ra e tze r, G re ta

61

B a d co ck , D o u g l a s

115

G ro o m e , Jo h n ny

110

Ball, R.B.

42

G u l l y, Jo h n

21, 33

B a m b u r y, G ra n t

53, 89

Ha m m o n d , B i l l

1, 11, 12, 36

B a rd a v i d , Re g i

4 1 , 4 3 , 5 6 , 57

Ha n ke y, Wi l l i a n L e e

94

B a rke r, D a v i d

101, 103

Ho d g k i n s , Fra n ce s

31, 32

B i n n e y, D o n

5

Ho p e , G a b r i e l l e

59

B l o m f i e l d , C h a rl e s ( a t t r i b u te d to )

1 16

Ho te re , Ra l p h

23, 28, 35

B ro o k b a n ks , G l e nys

54

Howo rt h , C h a rl e s He n r y Howo rt h

58

Ca r ra ta l a , Fra n c i s co

107

Hoy te , Jo h n B a r r C l a rke

22, 109

C h i l co t t , G a v i n

39

Hu g h e s , S a ra

40

C l a n c y, Ke i t h W.

45

Ja cks o n , R u ss e l l

6 8 , 6 9, 9 1

C l a rk , R u ss e l l

60

Ki l l e e n , R i ch a rd

6 6 , 67

Co l e m a n , Wi l l i a m S te p h e n ( B i l l )

72

Ki rkwo o d , He n r y Wi l l i a m

63

C ra i g, Vi rg i n i a

48

L e e - Jo h n s o n , E r i c

87

D a l g a r n o, Roy

81

Ma ck , B i l l

98

d e L i s l e , Au b re y

90

Mc Ca h o n , Co l i n

14 , 2 5

D o n e , Ke n

75

Mc P h e e , C h a rl e s

97

Eagle, Allie

44

Mo o n , Ka re n

77

E i j ke l , L e o n va n d e n E i j ke l

6 5 , 9 9, 1 0 0

Mrk u s i ch , M i l a n

34

Es p l i n , To m

112

Ne wby, Ka te & Ta n j a Ja d e ( M i s e r y )

92 ,93

Eva n s , Ja n e

70

Ni s h i d a , R u yzo

102

94

CATALOGUE 533

inde x o f ar t is t s Artist Lot Number

Artist Lot Number

No rt h , D o n n a

79

Syd n e y, G ra h a m e

4 6 , 4 7, 4 9, 62

O ’ G o r m a n , L a n ce

1 14

Ta yl o r, E r n e s t Me r v y n

85

Pa l m e r, S ta n l e y

85

To m p k i n s , R i d u a n

8 0, 8 2 , 84

Pa p a s , Jo h n

105, 117

Wa l te rs , G o rd o n

17

Pa re kowh a i , M i ch a e l

2

Wa t k i n s , D e nys

73 , 74

Pe e b l e s , D o n

16

We l l s , Ka te

55, 106

Re e s , E l i za b e t h

30

We s t , Ro b e rt P.

71

Re y n o l d s , Jo h n

26, 27

We s t ra , A n s

4

R i ch m o n d , D o ro t hy

50

W h e e l e r, Co l i n

113

W h i te , Ro b i n

76 , 8 3 , 9 5 , 1 0 3

Wi l l i a m s , Me r v y n

15

Wi l s o n , Ti m

10

Wo n g, B re n t

6

Wo o l l a s to n , To ss

2 4

S co t t , Ia n 7, 8 , 18 , 1 9, 6 4 , 111 S t i ch b u r y, Pe te r

20

S to ck l e y, S i m o n

52

S t ra ka , He a t h e r

95

S u t to n , Wi l l i a m A l exa n d e r ( B i l l )

51

CATALOGUE 533

95

P arkin g a t webb ’ s r Yo

Pa

r ne

t

ise

le S

t

St ac

th er

Cr

ea St

Hea

the

e ld

St

t

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tS

S rd

t

Be

d fo

H

fi Gar

r St

A ka

Win

roa

dso

t r S

St

Che

sk Ru

shir

yS

t

ug

nb

oro

De

ce hT

Gib

Sc

gh

C re s re

re s

St

C

re Ao

ar C

Bay Rd

tar

lt i b ra

Bi

w rd

d oo

Cr

es

PARKING IN 100m RADIUS

PARKING IN 200m RADIUS

69 Free Carparks 43 Paid * Carparks 112 Carparks Total

217 Free Carparks 240 Paid * Carparks 457 Carparks Total

* These include parking buildings and pay and display parking.

Ln

ra l

G

Carpark Building

arb

u oro

St Georges

100m Radius

200m Radius

St

arb

d

t

kin

Sc

ll R

St

ka S

t

en

r ne

con

Tik

in S

Ru s

Pa

Fa l

e St

T i ld St

ld St

St Georges Bay Rd

Garfie

B ra

St

df or d

th

St

Ba

r to n

Ear

Chu

ll R

kS

Sa Bird

wo o d

St Ma

int

S

C re s

ry Cl

Cathed

ral Pl

h te p

ens

Av

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