Works of Art, November 2023

A. Lois White Bathers

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Auction Catalogue November 2023 Contemporary, Modern and Historical Art

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Publishing Details printer Crucial Colour 24 Fairfax Avenue Penrose Auckland 1061

Edition of 1,700 Offset printed, 120 pages 150gsm Matt Art 120gsm Laser Offset

Freely distributed to subscribers or available at select public art spaces and hospitality venues.

Publishing Contacts head office Paul Evans Managing Director paul@webbs.co.nz +64 21 866 000

Mel Hargrave General Manager mel@webbs.co.nz +64 27 929 5604

Caolán McAleer Head of Marketing caolan@webbs.co.nz +64 27 929 5603

advertising

press

design

Karen Rigby Business Manager karen@webbs.co.nz +64 22 344 5610

Elizabeth Boadicea Marketing Manager elizabeth@webbs.co.nz +64 22 029 5611

Olivia Woodgate Creative Director design@webbs.co.nz +64 22 323 4919

Art Department auckland

wellington

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610

Georgina Brett Cataloguer, Art cataloguer@webbs.co.nz +64 27 929 5609

Hannah Owen Registrar, Art registrar@webbs.co.nz +64 9 529 5609

Jo Bragg Inventory Coordinator, Art art@webbs.co.nz +64 21 113 5001

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Charles Tongue Valuations Specialist valuations@webbs.co.nz +64 22 406 5514

Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 4 555 6001

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auckland 33a Normanby Road Mount Eden Auckland 1024

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610

wellington 23 Marion Street Te Aro Wellington 6011

Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

We are now inviting final entries for Pencil Case Painters, a curated live auction that will take place in February 2024.

The catalogue will present work by six highly regarded New Zealand artists: Shane Cotton, Bill Hammond, Séraphine Pick, Tony de Lautour, Saskia Leek and Peter Robinson.

As a group these artists are referred to as the ‘pencil case painters’ — a moniker which captures the doodle-like qualities of works created by this group in the early 1990s while at Ilam School of Fine Arts.

If you have works by any of these artists that you are looking to bring to market, this bespoke catalogue offers a unique opportunity. Please get in touch with our specialists for an obligation-free appraisal.

Séraphine Pick, untitled (detail), 1995, EST $4,000 — $5,000

Select

auckland 33a Normanby Road Mount Eden Auckland 1024 wellington 23 Marion Street Te Aro Wellington 6011

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610 Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

11.12.2023

Ayesha Green In the Extension of My Feet EST $1,500 — $3,000

Our final Select auction of the year will take place on Monday 11 December at 6.30pm. This much-anticipated sale will be Webb’s last live auction of 2023 and features an exciting range of well-established and on-the-rise artists. Carefully chosen by our team of specialists, the broad offering will please both new and seasoned collectors. Highlights from the catalogue include works by Robert Ellis, Ayesha Green, Guy Ngan, Juliet Peters, E Mervyn Taylor, Andy Leleisi'uao and more.

We are now accepting entries for our next iteration of Select which will take place in February 2024.

If you have any artworks you are interested in bringing to market, please contact our specialist team.

Launch Event, Auckland Tuesday 5 December

Auction, Auckland 6pm — 8pm

Viewing, Auckland Wednesday 6 — Sunday 10 December

Monday 11 December

6.30pm

Contents

Journal 18 Foreword

26

Programme 27 Plates 29

Webb's

Terms & Conditions

117

Index of Artists

120

2023

17

Jaguar: A Design Evolution The history of Jaguar — one of the most iconic British car manufacturers — is a testament to the evolution of automotive body design. Although the marque has had its fair share of technological firsts — such as a stunning Jaguar C-type racer that was fitted with fade-resistant disc brakes for 1953’s Mille Miglia time trial in Italy, it is its design vocabulary that has garnered it both a loyal following and an unmistakable street appeal.

Jaguar's roots trace back to the Swallow Sidecar Company (SS), a Blackpool, Lancashire motorcycle sidecar manufacturer founded by two young friends in 1922.

In the early 1930s, their SS100 sports car was a precursor to Jaguar's design philosophy. These early models featured a classic British design of graceful curves, a low-to-the-ground persona, elongated bonnets, and prominent wire-spoke wheels. The interiors were characterised by luxurious leather, wood, and art deco influences.

A l re a d y s e e i n g a c e r t a i n ‘muscularity’ to their design, the company named their 1935, 2.5l Saloon the ‘Jaguar’, a name that would later prove fortuitous when World War II began and the SS Company decided to fully disassociate itself from the

unfortunate acronym by 1945.

It was also around this time that the black cat began to take advantage of its feline curvature and inherent prowl. The popular XK120, XK140, and XK150 models featured a streamlined, aerodynamic design with their distinctive front grilles, voluptuous fenders, and curvaceous exteriors.

Their rear-end was significantly lower to the ground which, combined with its curvature — seemed to emulate a large cat in a pre-pounce crouch.

Fast forward to the 1960s when, under the baton of Sir William Lyons and aeronautical engineer Malcolm Sayer, Jaguar launched the iconic E-Type. Often described as one of the most beautiful cars ever made, its ground-breaking design captured the cool nonchalance of the jazz era and although it retained a touch of masculinity, it was also softer, more sensuous than many of its predecessors and competitors. The E-Type was and continues to be imitated by European, American and later Japanese marques hoping the Jaguar’s musk of success would rub on their own designs.

From there, Jaguar’s most extreme design evolution was unveiled in the 70s in the form of an XJ — a car that, in many ways, obtained its design

nous from the Mark I and II. Moving away from the two-seater market and hoping to capitalise on the success of four-door sedans by the likes of Aston Martin and Jensen, Jaguar launched a daring, if controversial design that included a ‘flying buttresses’, sweeping from the top of the rear roofline down to the rear of the wings and distinctive quad-headlams. If the E-Type was sleek and jazzy, the XJ was suited up; elegant and sophisticated. The XJ body was ahead of its time and it took some time for critics to fully understand how it allowed for excellent drag coefficient and speeds unheard of in cars of its type.

In the 21st century, Jaguar revived its sports car line-up with the XK and later the F-Type. These models feature a sleek, contemporary design with a focus on aerodynamics and performance.

The interiors blend technology with traditional craftsmanship, offering a harmonious driving experience. The F-Type, in particular, embodies Jaguar's commitment to maintaining its sports car heritage.

Jaguar's design history reflects a journey of innovation and timeless elegance. From its early SS models to the modern F-Type, Jaguar has consistently combined beauty with performance, leaving an indelible mark on the automotive world.

To discuss consignment and the process around selling at auction, please get in touch with our specialists.

Caolán McAleer Head of Collectors’ Cars caolan@webbs.co.nz +64 27 929 5603 Ian Nott Consultant, Collectors’ Cars ian@webbs.co.nz +64 21 610 911

1962 Jaguar E-Type, Series I, Fixed Head Coupe est $145,000 — $175,000

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18

Bill Hammond Melting Moments I

auckland Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610 wellington Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

The Land Before the Birds: Bill Hammond’s Soaring Value Anyone who has ever marvelled at a painting from Bill Hammond’s ‘birdpeople’ period (post-1993) knows that they elicit an effect that can only be described as hypnotic. Drips and melts, like lanky tree trunks, create a mysterious backdrop to his zoomorphic figures. Inspired by the primordial proliferation of bird-life Hammond witnessed on a trip to the Auckland Islands in 1989, these figures reveal an alien, yet unnervingly familiar reflection of ourselves.

The fact that these ‘hypnotisms’ have captured not just casual art viewers but also serious investors and collectors comes as no surprise to Webb’s specialist team who have attained the highest prices for Hammond's work in the last 20 years.

In August 2023 Webb’s sold Webb's

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Hammond’s Melting Moments I for a staggering $1.7 million, breaking the artist’s previous record also achieved by Webb’s in 2021 for another painting from the same series, Melting Moments II. Although by now no one doubts that Hammond’s zoomorphisms have become serious, cultural currency, the Webb’s team have noticed other exciting sales trends emanating from the artist’s prolific career.

“While Hammond’s emerald, 90s works are still his most sought-after and highest achieving era,” says Tasha Jenkins, “the market for other works by the artist has also been steadily increasing. Early cartoon-like works from the 1980s, later bird-people works from the 2010s and even prints are all achieving phenomenal results at auction.”

A strong selection of artworks

by Hammond will be presented as part of Webb’s Pencil Case Painters, a curated sale scheduled for February 2024. Featuring artists associated with Canterbury's Ilam School of Fine Arts and nicknamed ‘Pencil Case Painters’ for the doodle-like nature of their work, the catalogue will also feature works by Shane Cotton, Séraphine Pick, Peter Robinson, Tony de Lautour and Saskia Leek.

As Bill Hammond’s oeuvre continues to fetch highly favourable prices, it is an excellent time to sell.

Webb’s is currently accepting further consignments by Hammond and the Pencil Case Painters stable of artists.

To discuss potential consignments or register your interest in particular artworks, please get in touch with our specialists.

19

A Moment with: Florence Fournier

Before starting her role with the Webb's Decorative Arts department in early 2021, Christchurch-born Florence S. Fournier used to attend “almost every Webb’s auction.” She did so not as a prospective buyer, but “just to take in the atmosphere.”

At that point Florence was working for Mr Bigglesworthy, the Auckland retail store with a focus on premium mid-century modern furniture and vintage design classics, and her budding enthusiasm for industrial design had found a theatrical stage set at Webb’s vibrant auction floor.

As a young, recent graduate with a focus on business, arts and communications, she began learning as much as she could about the craft of furniture making, particularly from brands whose designs have withstood the test of time.

“At the furniture store it was especially nice when we would get in a vintage piece and we also had the new, contemporary iteration in stock. It was great to see the little tweaks and changes in its evolution which have ensured its longevity.”

But what makes these items endure? What gives that ‘classic’ status to an utilitarian object like a chair or a table?

“You have to start with the items that tend to hold or increase in value,” she says, “in the same way as with good art. They reflect the time they were created and they say something about the society around them. This ensures they have a lasting impact and become part of a larger history of decorative art.”

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As examples, and very much in line with her fascination with modernism and mid-century craft, she offers Charles and Ray Eames, George Nelson and Florence Knoll. “I could go on and on,” she warns, “but in general, they are designers who used materials in ways that hadn't been done before and paved the way for future generations.”

Part of Florence's role at Webb’s involves installing exhibitions and styling photoshoots aimed at highlighting the design vocabularies of consigned objects and exploring their versatility in gallery or editorial contexts.

“My favourite days at Webb’s are the install days,” she confesses and talks about bringing items out of storage to give them a chance to shine: “I absolutely love working hands-on with objects and telling a curated story with them.”

That passion has turned her into something of a rising star in the field: “Florence’s installs are unrivalled in the New Zealand auction scene,” says Leah Morris, Head of Decorative Arts at Webb’s. “She is very meticulous and is always improving,” continues Morris, mentioning the inherent elegance of a photoshoot made to coincide with à la poursuite de la beauté, Webb’s 2022 auction of Lalique glass.

What is Florence looking forward to in coming months? “2024 mr mod sales,” she says unequivocally, “working with such a vast quantity of quality stock is such a privilege.

These sales offer incredible buying opportunities for rare designs with exceptional provenance.”

Florence S. Fournier Specialist, Decorative Arts florence@webbs.co.nz +64 22 499 5619

Florence shares some of her favourite Webb’s finds of all time:

A Campana Brothers 'Celia' Dining Suite sold $28,680

A Paolo Piva 'Alanda' Sofa for B+B Italia sold $7,170

A Set of Four Philippe Starck 'Costes' Chairs sold $7,289.50

20

Demystifying Diamonds: A Primer on Cut, Colour, Clarity and Carat

Christine Power AJP (GIA) Head of Fine Jewels, Watches & Luxury Accessories christinep@webbs.co.nz +64 27 929 5607

Since the early days of the gem route from India into Europe, diamonds have been romantic tokens, signifiers of status and symbols of luxury.

Evidently, global grading standards have been necessary to ensure consistency across markets. Alongside the Gemological Institute of America (GIA), have agreed on four simple categories (known as the 4Cs): Cut, Colour, Clarity and Carat to grade each diamond on their quality and value.

Understanding the ‘4Cs’ of diamond grading empowers buyers to make informed decisions when selecting these treasures.

Whether it's an engagement ring, a statement necklace, or a riveting pair of earrings, these categories provide a framework for appreciating the brilliance and uniqueness of each diamond, allowing you to find the gem that truly resonates with your heart and style.

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CUT

Raw diamonds are fairly shapeless and it takes a certain degree of artistry to coax enviable gems from them.

Specialists use several methods to express the natural geometry of these pieces while minimising waste and bringing out the most sparkle available. To do this, experts need to cut and polish in a way that ensures the stone’s facets align and are perfected to reflect and refract light.

The ‘Cut’ is graded on a scale from ‘excellent’ to ‘poor’ and encompasses aspects such as symmetry, polish, and overall craftsmanship. A perfectly cut diamond, regardless of its size, can outshine larger stones with poor cuts and that is why a great level of technical expertise is required to create perfect angles and proportions.

COLOUR

In the world of diamonds, purity is king and the ‘Colour’ grade evaluates a diamond's lack of colour, with the most valuable ones being entirely colourless. Colour in diamonds comes from chemical impurities: a blue diamond, for instance, contains boron while a yellow, nitrogen.

However, their presence is often very subtle and grading such miniscule changes in hue and shade requires either generational knowledge or highly calibrated equipment.

The ‘Colour’ grade is a scale of 23 shades that range from D (colourless) to Z (light yellow or brown). Each letter represents a slight variation in hue, with D-grade diamonds being the purest and most prized.

CLARITY

Diamonds are formed as carbon and put under tremendous heat and pressure well over 150 kilometres deep within the earth’s crust. This organic process means that the carbon is often mixed with other elements; traces of other minerals or uncrystallised carbon. Clarity refers to the presence of internal or external imperfections, often referred to as inclusions and blemishes. The ‘Clarity’ is graded from ‘Flawless’ (no inclusions or blemishes visible under 10x magnification) to ‘Included’ (inclusions and blemishes visible to the naked eye). A diamond with higher ‘Clarity’ is more valuable because it allows more light to pass through, enhancing its sparkle and brilliance.

CARAT

In broad terms, this measures the size of a diamond. The word ‘carat’ has its origins in ancient Greece where gem traders used the small, uniform ‘carob’ bean seeds as counterweights in their balance scales. Nowadays one carat is equivalent to 200 milligrams and measurements are taken to the hundredth decimal place to guarantee utmost accuracy. Although larger specimens are rarer, they are not necessarily always more valuable unless other categories of the 4C’s are also of a high standard.

21

Wayne Pate III: Collected Works From Paris, New York & Wellington 2018–2023

Continuing the ongoing success of Webb’s Wellington Gallery, we are proud to announce III: Collected Works From Paris, New York & Wellington 2018–2023, an upcoming exhibition of paintings, drawings and collages

by Wayne Pate.

The artist has always been in constant movement , both geographically and thematically, and this nomadic inclination underpins his visual abstractions. From his birth home in Texas, through to Paris, New York City, and now residing in Aotearoa’s windy capital, Pate has amassed a range of influences and material fascinations.

The foundation of his artistic expression is based on classical forms, grounded earthy hues, and narratives from ancient cultures and flora. Although several motifs are recurring in his oeuvre, Pate’s recent work has seen a profound transformation, giving way to “the richness of intuition.” It signifies a shift from his previous methodical approach to a newfound depth of contemplation and creativity. He likens his current practice to: "having been out to sea for a while and now [coming] back to port."

As such, this show is expected to reflect some of that inherent flux and internationalism but also a sense of repose. “In my travels, I gather those emotions and imagery from my own personal encounters and try to convey

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that in my work,” says Pate. “Beyond the subject matter are the important subtilties of its execution which are equally important.”

For Pate's Webb’s exhibition the artist will present the Polychromic work he began in Paris and continued during his recent time in New York City. Predominantly working with collage on paper, these pieces are delightful abstractions with echoes and ripples of classical architecture and ceramic art.

Also on show will be a selection of his most recent series created in Wellington: Iris Bulbs, Harmony and Organic Matter.

The Iris Bulbs series consists of about 90 completed compositions on paper, linen and canvas. This work — using an iris motif present in a lot of his practice — is executed using acrylic and oil stick and the process is “very quick and is completed without pause,” according to Pate.

Elements that emerged toward the end of the Iris Bulb series became the foundation for the subsequent Harmony series: “The predominant line work is more labouring [in the Harmony series] causing a slower pace in execution to that of Iris Bulbs,” he continues.

Meanwhile the Organic Matter works are “a complete deconstruction of process and presence of finish composition. Drawing has always

Wayne Pate, untitled, 2019, price $950

been at the core and I devised a way to combine this with painting which would give them equal footing in a finished composition.”

Creating a harmony between nature and an abstract representation has long been a focus for Pate, and now, with a certain ‘”arrival at port,” his work has shifted into a state of reductive visual relief, presented with a poetic simplicity.

III: Collected Words from Paris, New York & Wellington 2018–2023 will be on view at Webb's Wellington gallery from 22 November 2023 until 20 January 2024. The works will be available to purchase, for more information please contact our Wellington team.

wellington 23 Marion Street Te Aro Wellington 6011 Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

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Works of Art: Top 10 Prices of 2023 1

3

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Webb’s Art department has had a whirlwind 2023.

The highlight at our most recent Works of Art sale in August was the incomparable Melting Moments I by Bill Hammond, which achieved a record-breaking $1,700,000.

Other top prices of the year include excellent results for works by Don Binney, Tony Fomison, Colin McCahon, A. Lois White, Brent Wong, and Adele Younghusband.

These saw Webb's set multiple auction records, including the record for the most expensive artwork sold in New Zealand in 2023. We conclude this successful year with the exceptional offering featured our November catalogue.

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1

Bill Hammond Melting Moments I est $1,500,000 — $2,500,000 price $1,713,950 *New artist record **Highest price achieved for an artwork at auction in 2023 2

Tony Fomison What Shall We Tell Them? est $500,000 — $800,000 price $693,100 3

Don Binney Tahuna, Takapu est $200,000 — $400,000 price $280,825 4

A. Lois White Religion and Life est $150,000 — $300,000 price $209,350 5 Tony Fomison Mental Patient in a White Hat est $180,000 — $260,000 price $191,200

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Brent Wong The Bequest est $80,000 — $140,000 price $173,275 7

Michael Smither Taranaki est $80,000 — $160,000 price $173,275 8 Colin McCahon

The North Otago Landscape as Described

by Prof. C. A. Cotton & Seen by Colin McCahon est $120,000 — $180,000 price $177,520 9

Adele Younghusband Singing Girls est $80,000 — $160,000 price $159,150 10

Ralph Hōtere Black Window est $90,000 — $120,000 price $122,487

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Foreword 2023 has been an incredible year for Webb’s Art department. We have had the privilege of bringing some showstopping and significant paintings to market.

Our March Works of Art auction was headlined by Tony Fomison’s acclaimed 1970s painting What shall we tell them? This image was very familiar to me, and no doubt to many New Zealand artists and art historians, due to it featuring on the cover on Ian Wedde’s 1994 Fomison publication – a well-thumbed book in the Webb’s library.

It was very special to present this work at auction and achieve a remarkable result of $693,100.

In July we held our inaugural art auction in Wellington: Twenty. The growth of our loyal Wellington clientele and the success of this auction is a testament to our brilliant Wellington team, Mark Hutchins-Pond and Karen Rigby.

This sale championed artists whose investment level is on the rise as identified by the art team. It was thrilling to achieved excellent results for artists I have a personal affinity for, such as Adele Younghusband, A. Lois White, Louise Henderson and Teuane Tibbo.

The most recent iteration of Works of Art, held in August, saw the sale of the majestic Melting Moments I

by Bill Hammond. The work achieved a sale result of $1,713,950, resetting the auction record for Hammond and also becoming the most expensive artwork sold at auction in New Zealand in 2023.

Our November Works of Art catalogue is another oustanding offering, and as always it is tricky to select the highlight — however there a few personal standouts.

We are honoured to feature another duo of fantastic paintings by Hammond and Fomison. Hammond’s 1998 painting shows a menagerie of bird-forms on a background of his now-iconic emerald-green, which absolutely glows in the flesh. John the Baptist, from Caravaggio's St John with Ram showcases Fomison’s unique monochromatic chiaroscuro in his take on Caravaggio’s 17th century masterpiece.

We are also delighted to include the monumental painting Lake Wakatipu, Coronet Peak by Toss Woollaston.

At 1240 x 2740mm, the artist’s lush brushwork truly encapsulates you when standing before it. Another highlight is the beautifully painted Ida Valley and Cookhouse from 2002 by Grahame Sydney. Sydney has become known for his depictions of his beloved region, and this is an superb example.

The catalogue boasts two bold works by Gordon Walters – a gouache on paper exploring his iconic koru forms, and a delicate 1990 Transparency painting – which showcase two very different eras from his career. Another pair are two wonderful portraits by Russell Clark, which come to us from the collection of Marion and Ian Clark, who have held the works tightly in their collection for years.

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Our cover star for this catalogue is the delightful 1949 Bathers by A. Lois White, which is a firm staff favourite of the auction. Painted in the artist’s iconic art deco style, the decorative waves, fish, and leaves frame the swimsuit-clad women to create a balanced and tantalising composition.

It is no surprise this work was used as the promotional image for the artists 1994 touring retrospective held by Auckland City Art Gallery.

Excellent works by Fiona Pardington, Teuane Tibbo, Jacqueline Fahey, Louise Henderson, John Walsh and more round out our final major art catalogue of the year.

It has been a year of growth within the Art department, and I feel proud to work with such a dedicated and talented team. This November catalogue is my first as Head of Art at Webb’s and it is a pleasure to share these works with you. I look forward to seeing our valued clients at the Wellington and Auckland viewings ahead of the Auckland auction on Monday 27 November.

The strength of the art market continues to rise, and Webb’s continues to lead the way. With many exciting auctions on the horizon the Art team are now looking toward next year. I can’t wait to see which artworks will pass through our doors in 2024.

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610

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Wellington Programme

Launch Event

The Nichols Treatment

Wednesday 15 November

6pm — 8pm

Dr Chelsea Nichols, Senior Curator at The Dowse Art Museum, will discuss her highlights from the selection of works on view at our Wellington premises.

Please RSVP to karen@webbs.co.nz

Viewing

Auckland Programme

Thursday 16 — Friday 17 November

10am — 5pm

Saturday 18 November

11am — 4pm

Launch Event Looking Closer: An Evening with Erin Griffey Wednesday 22 November

6pm — 8pm

Join us for an illuminating talk by Erin Griffey, Associate Professor of Art History at the University of Auckland, who will discuss her personal standouts from the catalogue. Please RSVP to registrar@webbs.co.nz

Viewing Wednesday 22 — Friday 24 November

10am — 5pm

Saturday 25 — Sunday 26 November

10am — 4pm

Viewing on Request Monday 27 November auckland 33a Normanby Rd Mount Eden Auckland 1024

Live Auction

wellington 23 Marion Street Te Aro Wellington 6011

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10am — 5pm

Monday 27 November

2023

6.30pm

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1 Bill Hammond

Limbo Bay III 2001 lithograph on paper, 25/48 signed Bill Hammond, dated 2001 and inscribed Limbo Bay III 25/48 in graphite lower right 730 × 570mm est

$12,500 — $16,500

provenance Private collection, Auckland. Acquired from New Zealand & International Fine Art, Day 1, Dunbar Sloane, Wellington, 2 February 2020, lot 4.

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2 Allen Maddox

untitled acrylic and pastel on paper 290 × 390mm est

$3,000 — $6,000

provenance Private collection, Wellington. Acquired from Gow Langsford Gallery, Auckland.

3 Karl Maughan

Plume screenprint on paper, edition of 100 signed K Maughan and inscribed Plume in graphite lower edge 965 × 1110mm est

$3,500 — $4,500

provenance Private collection.

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4 Bill Hammond

Singer Songwriter I 2001 lithograph on paper signed W D Hammond, dated 2001 and inscribed Singer Songwriter I in graphite upper edge 680 × 820mm est

$14,000 — $18,000

provenance Collection of Ross Wilson Smith, Banks Peninsula.

Passed by bequest, 2023; Private collection.

Acquired directly from the artist, c2001.

5 Bill Hammond

Singer Songwriter II 2001 lithograph on paper signed W D Hammond, dated 2001 and inscribed Singer Songwriter II in graphite upper edge 680 × 820mm est

$14,000 — $18,000

provenance Collection of Ross Wilson Smith, Banks Peninsula.

Passed by bequest, 2023; Private collection.

Acquired directly from the artist, c2001.

6 Bill Hammond

Singer Songwriter III 2001 lithograph on paper signed W D Hammond, dated 2001 and inscribed Singer Songwriter III in graphite upper edge 680 × 820mm est

$14,000 — $18,000

provenance Collection of Ross Wilson Smith, Banks Peninsula.

Passed by bequest, 2023; Private collection.

Acquired directly from the artist, c2001.

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7 Buck Nin

Putahi Near First Light c1992 acrylic on board inscribed PUTAHI NEAR FIRST LIGHT (DANCING OVER MY ANCESTRAL LAND SERIES) in ink and graphite verso 220 × 300mm est

$5,000 — $10,000

provenance Private collection, Auckland. Gifted privately, 2019; Private collection, Wellington. Gifted privately, 1992; Private collection, Christchurch. note From the Dancing Over My Ancestral Land series.

8 Buck Nin

Song Bird and Land 1992 acrylic on board signed B Nin, dated 1992 and inscribed Song Bird And Land (DANCING OVER MY ANCESTRAL LAND SERIES) in ink and graphite verso 280 × 350mm est

$8,000 — $12,000

provenance Private collection, Auckland. Gifted privately, 2019; Private collection, Wellington. Gifted privately, 1992; Private collection, Christchurch. note From the Dancing Over My Ancestral Land series.

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9 Jacqueline Fahey

Dog on Bed 1978 oil on board signed FAHEY in brushpoint lower right; dated 1978 and inscribed Dog on Bed in ink verso 830 × 530mm est

$12,000 — $16,000

provenance Private collection, Auckland. Passed by bequest, 2009; Private collection, Masterton.

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10 Gordon Walters

Arahura 1982 screenprint on paper, 50/125 signed Gordon Walters, dated 1982 and inscribed “Arahura” 50/125 in graphite lower edge 530 × 400mm est

est

$18,000 — $26,000

provenance Private collection, Auckland.

$15,000 — $25,000

provenance Private collection, Auckland. Acquired from The Prospect Collection of Contemporary New Zealand Art, Webb's, Auckland, 24 March 1987, lot 26.

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11 Gordon Walters

Kura 1982 screenprint on paper, 25/50 signed Gordon Walters, dated 1992 and inscribed “Kura” 25/150 in graphite lower edge 600 × 470mm

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literature Zara Stanhope et al., Gordon Walters: New Vision (Auckland: Auckland Art Gallery Toi o Tāmaki, 2017), 107.

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12 Don Binney

Kaiaraka Kaka, Great Barrier 1982 screenprint on paper, 29/150 signed Don Binney, dated 1982 and inscribed KAIARAKA KAKA, GREAT BARRIER in graphite lower edge 700 × 450mm est

$18,000 — $24,000

provenance Private collection, Auckland.

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13 Graham Fletcher

Untitled (Twin Figures II) 2018 acrylic on canvas signed G Fletcher, inscribed Untitled (Twin Figures II) and dated 2018 in ink verso 610 × 510mm est

$6,000 — $10,000

14 Christina Pataialii

Fortunate Son 2018 acrylic on canvas signed Christina Pataialii, inscribed Fortunate Son and dated 2018 in brushpoint verso 1220 × 1220mm est

$6,000 — $9,000

provenance Private collection. Acquired from Martin Browne Contemporary, Sydney, 2020.

provenance Private collection.

exhibitions Graham Fletcher: Dark Paradise, Martin Browne Contemporary, Sydney, 18 October–11 November 2018.

exhibitions Christina Pataialii: Solid Gold, Te Tuhi, Auckland, 1 December 2018–10 March 2019.

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15 Pat Hanly

Mother, Child and Bouquet 1994 acrylic, watercolour and graphite on paper signed Hanly, dated ‘94 and inscribed Mother Child and Bouquet in graphite lower right 720 × 890mm est

$15,000 — $20,000

provenance Private collection, Wellington.

Acquired from Williams Gallery, Petone.

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16 Shane Cotton

W here Ya From Man? 2010 acrylic on canvas signed S.C. and dated 2010 in brushpoint lower right; signed Shane W Cotton, dated 2010 and inscribed WHERE YA FROM MAN? in ink verso 460 × 350mm est

$10,000 — $14,000

provenance Private collection, Auckland.

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17 Shane Cotton

Stelliferous Biblia 24 2001 acrylic on canvas signed Shane Cotton, dated 2001 and inscribed Stelliferous Biblia 24 in ink verso 355 × 355mm est

$10,000 — $15,000

provenance Private collection, Auckland.

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18 Teuane Tibbo

The Retrievers oil on board 590 × 900mm est

$15,000 — $25,000

provenance Private collection, Auckland. Acquired from Peter Webb Galleries, Auckland, 1979, lot 23; Collection of Kim Wright, Auckland. Acquired from Barry Lett Galleries, Auckland, c1970. exhibitions The house is full, Te Tuhi, Auckland, 12 June–4 September 2022; The Kim Wright Collection of New Zealand Painting, Govett-Brewster Art Gallery, New Plymouth May–June 1974; Auckland City Art Gallery, Auckland, 18 June–14 July 1974; Gisbourne Art Gallery and Museum, Gisbourne, August–September 1974; Hawkes Bay Art Gallery Museum, Napier, October 1974; Robert McDougall Art Gallery, Christchurch, January 1975; Sargeant Art Gallery, Wanganui, March 1975; Waikato Art Museum, Hamilton, April–May 1975; New Zealand Academy of Fine Arts, Wellington, NZ, May–June 1975. literature The Kim Wright Collection of New Zealand Painting (New Plymouth: Govett-Brewster Art Gallery, 1974).

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19 Louise Henderson

Summer Night 1961 oil on board signed Henderson and dated ‘61 in brushpoint lower left; inscribed Summer Night in ink verso 650 × 820mm est

$45,000 — $60,000

provenance Private collection, Wellington. Gifted by the artist.

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20 John Tole

Dam Site, Whakamaru oil on board 300 × 340mm est

$8,000 — $14,000

provenance Private collection, Auckland.

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21 Doris Lusk

Autumn Botanical Gardens Christchurch c1945 acrylic on board signed D LUSK in brushpoint lower right 530 × 450mm est

$17,000 — $25,000

provenance Private collection, Auckland.

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22 Ans Westra

Ruatoria 1963. printed later archival print 380 × 380mm

23 Ans Westra

Ruatoria 1963. printed later archival print 380 × 380mm

est

est

$2,200 — $3,200

provenance Private collection.

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$2,200 — $3,200

provenance Private collection.

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24 Fiona Pardington

Small Portrait of a Fugitive 2005 gelatin silver print, edition of 7 signed Fiona Pardington and inscribed Small Portrait of a Fugitive in ink verso 330 × 430mm est

$20,000 — $30,000

provenance Private collection, Wellington. Acquired from Starkwhite, Auckland.

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Fiona Pardington Sinking Into Darkness

25 Fiona Pardington

Pipitonu, Two Hearts Beat as One 2022 pigment inks on Hahnemühle photorag paper, edition of 10 signed Fiona Pardington in ink verso 1750 × 1380mm est

$30,000 — $40,000

provenance Private collection, Auckland.

Acquired from Starkwhite, Auckland, 2022.

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Dr Fiona Pardington (Ngāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) is one of Aotearoa New Zealand’s most celebrated photographers. She has solidified a distinctive style that is intimately connected to her homeland.

Pardington grew up on Tāmaki Makaurau Auckland’s Hibiscus Coast, and knew from a young age that she wanted to be a photographer. Her ambition was cemented through tertiary study in photography at Elam School of Fine Arts, where she graduated with a bachelor’s degree in 1984, master’s in 2003, and doctorate in 2013.

Pardington’s subject matter has embraced many topics throughout her career and addressed issues from gender politics and the gaze to the politics surrounding Māori taonga. There is a sombre tonality that is a strong connecting factor throughout the artist’s oeuvre.

The three Pardington works featured in this catalogue all celebrate the legacy of the wellknown, now extinct, bird — the huia. Huia became extinct due to overhunting and deforestation, and the last confirmed sighting was in 1906. The huia was hunted for its beauty — its plumes were 48

used to decorate cloaks and the distinctive beak of the female was used for ornamental decoration. The species is noted as having the most defined sexual dimorphism in bill shape of any bird in the world; the female’s beak is an extensive elegant curve, while the male’s beak is short and stout.

In all three images, Pardington has placed the taxidermy specimens against a jet-black background, the definition of their delicate forms mysteriously sinking into the darkness.

In Inseparable Huia, a male and a female huia are positioned together in a still and lifeless kiss, their defining beaks touching, displaying a circle of connectedness and life. However, in Pipitonu, Two Hearts Beat as One, the two are overlapped with backs turned to each other. There is a tenderness within the works: “I’ve personalised them, made portraits of them and just treated them like they were individuals,” says Pardington.

The huia is a significant bird in Aotearoa — a country unique in its avifauna. Pardington continuously captures the romantic connection we have to the extinct species, and the depth of meaning and history that surrounds this taonga.

26 Fiona Pardington

Inseparable Huia 2016 pigment inks on Hahnemühle photorag paper, edition of 10 1090 × 1500mm est

$65,000 — $85,000

provenance Private collection, Auckland.

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27 Billy Apple

Golden Ratio (Billy Apple®) 2014 UV pigment ink on canvas 618 × 1000mm est

$25,000 — $35,000

provenance Private collection, Auckland.

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28 Tony de Lautour

Island 2000 oil on canvas 1400 × 2800mm est

$35,000 — $55,000

provenance Private collection, Auckland.

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29 Gordon Walters

Transparency IV 1990 acrylic on canvas signed GORDON WALTERS, dated '90 and inscribed TRANSPARENCY IV in ink verso 920 × 730mm est

Over his painting career of more than 50 years, Gordon Walters honed his immediately recognisable and individual approach to modernist abstraction. Walters is perhaps best known for his exploration of the koru form, which he used as a design motif for repetitive patterns. However, his mastery of geometric abstraction has been applied to many different series.

Walters’ influences drew on both traditional Māori art and international modernism. While his earlier compositions were more elaborate, with curved forms pulsating next to one another, his later works post-1970s distil this visual geometric language further to focus on the simple exploration of forms within space.

These works are usually limited in colour, relying on neutrals or monochromatic palettes that emphasise the relationships between shapes.

The artist's late-career Transparency paintings explore the tension between interconnected and superimposed forms.

Solid shapes are layered with, or alongside, coloured repetitions of themselves. Walters’ interest in overlapping transparent forms dates to the early 1950s and can be seen in a number of his gouache paintings based on Rolfe Hattaway’s drawings. These paintings were often pre-planned as collages and preparatory works on paper – which the artist utilised throughout his career – with Walters physically moving paper around the surface to explore different combinations of over-layered forms.1 The work featured in this catalogue, Transparency IV, is an example of this.

Painting in 1990 at age 71, Walters plays with balance to create a quiet disruption, like a ray of sunshine breaking the concrete shadows. This disruption does not take up a perfect quadrant of the composition, yet the work retains an equilibrium. It is a work defined by juxtaposition: simple yet complex, asymmetric yet balanced, neutral yet vibrant. In all his geometric abstractions, Walters focused on the careful balancing of his forms so that no single element achieved dominance over the others.

Just as Walters' koru works offer a visual illusion that plays on figure and ground, the blocks of colour in the Transparency works create new shapes through a constant oscillation of form and space.

$70,000 — $90,000

provenance Private collection, Auckland.

1

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“ Gordon Walters: A Glossary,” Auckland Art Gallery Toi o Tāmaki, https://www.aucklandartgallery.com/ article/gordon-walters-a-glossary

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30 Peter Robinson

untitled c2002 acrylic and oilstick on paper 1670 × 1250mm est

$40,000 — $60,000

provenance Private collection, Auckland.

1

obert Leonard, “Peter Robinson: The R End of the Twentieth Century,” Auckland Art Gallery News, March–June 2004.

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Tāmaki Makaurau-based Peter Robinson (Ngāi Tahu, Kāi Tahu, Pākehā) is one of Aotearoa’s leading contemporary artists.

Robinson was born in Ashburton and studied sculpture at Ilam School of Fine Arts from 1985 to 1989. Robinson’s work has been exhibited extensively both in Aotearoa and internationally.

Peter Robinson is one of the “young guns” Robert Leonard writes of in his 2004 essay Peter Robinson: The End of the Twentieth Century. He describes how alongside Robinson, artists Shane Cotton, Lisa Reihana, Michael Parekowhai, and Jacqueline Fraser challenged the convention of contemporary Māori art. Leonard states that Robinson’s specific contribution was “to attack the assumption that Māori art necessarily spoke from an earnest, worthy, aristocratic, spiritual position. Instead, his crass, shoddy-looking works paraded their lack of pedigree, their vulgarity. Looking like vernacular bogan-basement signage, his works were riddled with sales pitches, cheap shots, and tasteless taunts—they came as a shock to the system. Robinson’s work coincided with an international explosion in post-colonial identity art, and he soon found himself on the biennale circuit, his work providing an antidote to the worthy investigations that typified such shows.”1 Robinson now has a predominantly sculptural practice, but rose to fame for his politically charged, tongue-and-cheek paintings that used text and iconography to

challenge New Zealand’s bicultural debates of ethnicity, identity and authenticity. The painting featured in this catalogue is from this period of Robinson’s career. Like many of Robinson’s paintings, the work strikes a resemblance with DIY protest posters and bathroom graffiti. Inscribed on a large sheet of paper in black and red oil stick are a series of political sentiments reminiscent of opinion banter heard at a pub or on the radio. Featured at the centre of the scribbled statements, there is a list of people’s names, that the artist has entitled ‘BAD INFLUENCES + HIGHER BEINGS’, the names as those of famous “bad boy” visual and music artists: Marshall Mathers (rapper Eminem), James Jewel Ostenburg (rocker Iggy Pop), Raymond Pettibon (punk musician and visual artist) and Herr Malevich (artist Kazimir Malevich). In the upper right corner, an arrow next to the words ‘THE GOING TOO FAR CORNER’ AND ‘HIGHER BEINGS MADE ME DO IT!’ points to the corner of the paper that is blocked out into a hard triangle of black.

Robinson’s list of ‘bad influences’ reads like a self-proclamation and confession of his heroes, who are the cause for the artist’s bad behaviour. While the work is a personal expression of Robinson’s own unique nonconformism, the reference to universally known counterculture icons is also perhaps a signal for other likeminded individuals drawn to rebel against the general status quo.

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31 Peter Stichbury

Study for Welt 1998 acrylic on canvas signed PETER STICHBURY and inscribed STUDY FOR WELT in graphite verso 300 × 300mm est

$20,000 — $35,000

provenance Private collection, Auckland. Acquired from Contemporary Art & Objects, Art+Object, Auckland, 3 April 2008, lot 16.

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32 Karl Maughan

Bay View Road 2009 oil on canvas signed Karl Maughan and dated 2009 in brushpoint verso 1370 × 1370mm est

$35,000 — $45,000

provenance Private collection, Auckland. Acquired from Gow Langsford Gallery, Auckland, c2009. exhibitions Every Day is like Sunday, Gow Langsford Gallery, Auckland, 23 June–17 July 2009.

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33 Gordon Walters

Tirangi I c1979 ink on paper inscribed Tirangi I in graphite upper right 330 × 225mm est

$70,000 — $90,000

provenance Private collection, Auckland.

Acquired from Sue Crockford Gallery, Auckland.

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With a career spanning six decades, Gordon Walters (1919–1995) is renowned as one of the nation’s most influential modern artists.

By exploring the potential of just a few simple geometric elements, Walters created paintings, prints and drawings with an exacting purpose: to create works of timeless refinement. Walters is best known for his application of the principles of Western abstraction to the Māori koru motif, and this small and intricately rendered ink and graphite composition Tirangi I (1979) is no exception to his signature style.

The koru-pattern contours of Tirangi I are executed in black, with equally weighted white spacing in between. Proving to be vivid and eye catching, this work stands out in Walters' oeuvre for the graphite detailing on the borders of the compostition. This detailing is in the artist’s hand and appears to be a series of calculations toward the completion of the work while in progress. On closer study, the intimate puncture holes of the artist’s drawing compass can still be seen within the interior of the koru’s outermost coil. These details serve as remarkable evidence of the works facture and Walters' working process.

It is no surprise to the viewer that the artist had such a profound impact on the shape of Aotearoa’s art history, and influenced notable artists such as Chris Heaphy, Richard Killeen and Ian Scott. As for the wider field of abstract art in Aotearoa, Walters remains an unparalleled figure, with his geometric paintings defining narratives about our national identity and what it means to be an artist in this country.

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Grahame Sydney Ida Valley and Cookhouse

Located in Central Otago’s Ida Valley is Home Hills Run Road, where a woolshed, shearers’ quarters and cookhouse are scattered among tussock bushes. The valley and its buildings – the cookhouse especially – have been the subject of many works by artist Grahame Sydney, so much so that this landscape is now eternalised in New Zealand art history.

Sydney was always drawn to Central Otago, but perhaps not always confident he could develop a successful career rendering local landscape. An eighteen-month stint in London in 1973–74, where he literally dreamed of Otago landscapes, was enough to affirm that the region, for him, was home. Before the trip back, Sydney visited Paris, where he encountered two rooms of oil paintings by the Canadian artist Christopher Pratt. Sydney later described the exhibition as an inspirational, seminal experience, and it’s easy to understand why. A Newfoundlander, Pratt was focused on local Newfoundland subjects, and rendered them masterfully in oil paint. Pratt, Sydney later reflected, “was a Canadian regionalist painting a minimal, polished, stylised realism in an era of international modernism, wild gestural expressionism, colour field abstraction … producing images oblivious to the lofty pronouncements by the arbiters of art fashion.”1 In other words, the Pratt exhibition showed Sydney that he, too, could succeed as a regionalist, that he could produce paintings of Central Otago and make a living. With this new optimism, Sydney returned home to Otago shortly after. The following year, Peter Webb and Bob Ballard opened an exhibition of Sydney’s work in the Auckland Arts Festival. The morning after opening night, one of Webb's

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Grahame Sydney, “Myself, Looking Back,” in Grahame Sydney: Paintings 1974–2014 (Nelson: Craig Potton Publishing, 2014), 69.

1

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Elizabeth Caughey and John Gow, Contemporary New Zealand Art 2 (Auckland: David Bateman Ltd), 70.

Photograph by Reg Graham.

the works, Ida Valley Turnoff (1974), was on the front page of the Auckland Star.

The landscape of Ida Valley has continued to feature in Sydney’s imagery, and his own descriptions of particular works reveal his intimate knowledge of the area — not just topography, but letterboxes, vegetation and social histories, too. In Ida Valley and Cookhouse, the cookhouse dominates the lower right quadrant of the composition. Its stone walls and corrugated iron roof are cast in shadow, while the field beyond is graced with sunlight, some managing to squeeze through the building’s dilapidated window.

Sydney’s use of light helps to show the passing of time, as do the cloud patterns and tussocks, suggesting a gentle breeze. Simultaneously, though, Sydney’s pared-back approach to the subject suggests timelessness, an enduring and unchanged remote landscape.

Of course, the Central Otago landscape has changed, and Sydney doesn’t just paint and photograph his corner of the world — he advocates for it, too. He was part of the Clutha Rescue Group that opposed the Clyde Dam in the 1970s, albeit unsuccessfully. More recently, he fought against Meridian Energy’s (now axed) proposal to install a wind farm on the Lammermoor Range, and is also part of the Central Otago Wilding Conifers Control Group, which is concerned about the growing population of wilding pines. Sydney makes a conscious choice to paint the landscapes that he is emotionally connected to, and protective of. “I like paintings to come out of an absolute emotional connection and that builds up over a long time — years and decades sometimes.”2 The valley seems to be a continual source of inspiration for Sydney. “I seldom travel the length of the Ida without seeing something I know will find its way into a Webb's

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new painting,” he wrote in 2014.3 But this intimate familiarity does not mean Sydney strictly adheres to exactly what he sees.

Realist paintings can mislead the viewer into thinking they are looking at reality, but Sydney makes changes, additions and subtractions to serve his composition. The 2000s, especially, saw a reduction in the superficial details of his landscapes, stripping them of signs, fences and letterboxes. In an interview with Dunedin photographer Reg Graham, Sydney explained that this was his response to (positive) commentary on his technical handling of paint. “It became a worry,” Sydney stated, “that people were looking for the grass, or the corrugated iron or whatever, and not seeing the far grander picture, trying to work out what the intention was.”4 Indeed, works such as Ida Valley and Cookhouse offer Sydney’s personal view, rather than an objective one. However, as Sydney’s visions of Central Otago are by now so familiar, it is difficult not to conjure up his extraordinary paintings when visualising the region.

rahame Sydney, Grahame Sydney: Down South G (Porirua: Pātaka, 2011), 3.

3 Sydney, Grahame Sydney: Paintings 1974–2014, 294.

4 Grahame Sydney, The Art of Grahame Sydney (Dunedin: Longacre Press, 2000), 166.

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34 Grahame Sydney

Ida Valley and Cookhouse 2002 oil on linen signed Grahame Sydney and dated 2002 in brushpoint lower right; signed Grahame Sydney, dated 2002 and inscribed IDA VALLEY and COOKHOUSE in ink verso 760 × 1235mm est

$150,000 — $180,000

provenance Private collection, Hawkes Bay.

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Toss Woollaston Lake Wakatipu, Coronet Peak

Peter McLeavey and Don Binney with Toss Woollaston’s Mapua, 1971. Photographer unknown.

Jill Trevelyan, Peter McLeavey: The life and times of a New Zealand art dealer, (Wellington: Te Papa Press, 2103), 126.

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In early 1971, Wellington art dealer Peter McLeavey visited Toss Woollaston in Riwaka, a small town in the Tasman region. Woollaston and his wife, Edith, had moved back to the area in the summer of 1968–69. This visit was to be a pivotal event for Woollaston's career. Woollaston described McLeavey’s visit in a letter to his long-time correspondent, poet Charles Brasch, writing:

Peter McLeavey was here, and has (sort of) commissioned me to paint some local landscapes four by nine feet each. I’ve got one on the way — uncertain of its success yet, but it is early. The size has a curious effect on my feelings about other work. Peter perhaps knew what he was about.

I feel stimulated.1

1

etter of 30 January 1971, quoted in Jill Trevelyan, ed., L Toss Woollaston: A Life in Letters (Wellington: Te Papa Press, 2004), 351.

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McLeavey’s suggestion of an increased scale was a master stroke. Woollaston’s largescale panoramic landscapes proved popular with buyers, selling quickly when they were first exhibited at McLeavey’s Cuba Street gallery in September 1971. The Dominion printed a photo showing McLeavey and Don Binney carrying one of the works, Mapua, with the men’s figures emphasising its immense size. Woollaston, too, was happy with the outcome. He described his first 69

35 Toss Woollaston

Lake Wakatipu, Coronet Peak 1973–4 oil on board signed Woollaston in brushpoint lower right 1240 × 2740mm est

$180,000 — $280,000

provenance Private collection, Auckland. Acquired from Important Paintings & Contemporary Art, Art+Object, Auckland, 26 November 2015, lot 102.

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4 by 9-foot landscape as a “success”, writing, “I wouldn’t be surprised if it were the best I have yet done.”2 Woollaston’s subsequent panoramic landscapes of the 1970s and 80s have rightly been marked as a key point in his artistic career. They were not his first foray into large-scale compositions, but they were the welcome result of several stars aligning.

Along with McLeavey’s representation, the family had greater financial security, and Woollaston acquired a sizeable studio when they built a new house on their Riwaka land. This sense of space surely spurred – or facilitated, at least – the greater scale of Woollaston’s landscapes.

The subjects of Woollaston’s panoramic landscapes were not limited to the Nelson region, also featuring scener y from Wellington and Queenstown, including Lake Wakatipu, Coronet Peak (1973–74).

Unlike the Tasman region, which Woollaston returned to over his career, the artist was not intimately familiar with Queenstown topography. However, Woollaston was known for spending long periods of time observing his landscape before he started work, and then months working up and re-working these large compositions.

Consequently, Lake Wakatipu, Coronet Peak demonstrates the artist’s sensitive observation. The varying blues of Lake Wakatipu intersect the earthy tones of the surrounding hills, and the fiery oranges of the mountains in the right of the composition help to create a sense of depth. Woollaston once explained, “I wanted to paint the light, but only after it had been absorbed into the earth.” 3 This quote is exhaustively cited by art historians but, observing the burnt-ochre tones of the distant hills, it feels particularly apt here.

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Toss Woollaston painting Above Wellington, 1985. Photo by Peter McLeavey.

Jill Trevelyan, Peter McLeavey: The life and times of a New Zealand art dealer, (Wellington: Te Papa Press, 2103), 126.

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While the notation on the panels verso reveals Woollaston’s vantage point to be the Coronet Peak car park, Woollaston was less interested in accurately rendering his exact encountered view of the landscape. The way in which the lake winds up the canvas disrupts logical spatial recession and instead gives the viewer the sense of an aerial viewpoint.

Woollaston dated his stylistic approach of affording equal attention to distant forms to 1934, when he met New Zealand artist Flora Scales, and studied notes from her time at Hans Hofmann’s School of Fine Art in Munich. From that point, Woollaston stated, he was “as interested in the further details of the landscape as [he was] the nearer ones, and balancing them up so they are equally powerful.”4 Rather than replicating what he saw, Woollaston’s focus was on capturing the sense of his surroundings, and the experience of being in the landscape, rather than looking at it. This intent was certainly facilitated by his adoption of the panoramic scale, which enabled him to communicate the vast depth of topographies such as Queenstown, and his emotional response to the landscape. “When you paint a landscape you aren’t making visible again what is already visible — the physical landscape,” Woollaston asserted, “you are making visible your own feelings when you look at it.”5

Letter to Faye Hill of 10 April 1971, ibid, 352–353.

Francis Pound, The Invention of New Zealand Art: Art and National Identity, 1930–1970 (Auckland University Press, 2009), 54.

4 Dowse Art Gallery interview with Toss Woollaston in 1979, transcript in the artist’s file at the E. H. McCormick Research Library, Auckland Art Gallery Toi o Tāmaki.

5 Letter to Faye Hill of 10 April 1971, quoted in Trevelyan, Toss Woollaston: A Life in Letters, 353.

2 3

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A. Lois White Bathers

A. Lois White photobooth self portraits, c1925.

Nicola Green, By the Waters of Babylon: The Art of A. Lois White, (Auckland: Auckland City Art Gallery, 1993), 23.

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In the 1940s, given the limited materials available during wartime, A. Lois White had to abandon the large-scale compositions in oil that had dominated her output in the previous decade. She began working on a smaller scale, primarily in watercolour, but varnished these works as she had done her oils, to achieve a vibrant, almost jewel-like effect.

This treatment was not unique to White’s oeuvre. Thomas Gainsborough (1727–1788) produced many varnished watercolours in the 1770s, and various nineteenth-century British artistic manuals include instructions for varnishing watercolours, the advertised merits including “bringing out to its full pitch, the tone of a colour.”1 For White, use of the method may have sprung from wartime austerity, but, given she continually expressed an interest in surface and colour, the qualities created by varnishing watercolours clearly appealed to her artistic sensibilities, too. In 1941, White described the effect of the varnish as giving “the watercolour the same luminosity as when first applied wet.”2 74

Bathers by A. Lois White featured on a poster for the artist's Auckland City Art Gallery retrospective.

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Bathers (1949), included this catalogue, constitutes an outstanding example of White’s varnished watercolours. The bold imagery is rendered in rich colours that still retain a translucent quality. Certainly, the effect of the varnish, heightening the vibrancy of White’s colours, is made clear when comparing Bathers to White’s untitled watercolour sketch also offered in this catalogue (lot 36).

Bathers exemplifies the decorative quality that characterises White’s varnished watercolours of the 1940s, and indeed much of her output. Although ‘decorative’ is often unfairly used or interpreted as a negative label, White’s refined decorative style has set her apart from her contemporaries. In Bathers, these qualities include the strong outlines, the highly stylised figures, and the lack of spatial recession, with the elements all pushed up close to the picture plane. Many of White’s varnished watercolours were dominated by flora and fauna, while others celebrated the female form. In Bathers, the two female figures are the clear focal point of the composition. Exposed flesh reigns supreme, with every wave, bird and fish rhythmically attuned to the figures’ curves.

With an interest in the female form occupying much of White’s work, she returned to the subject of women bathing numerous times over her career. Indeed, the watercolour sketch (lot 36) is also dominated by seminude female forms, though in this work the figures’ forms and the muted palette blend body with landscape. For many, the work’s blue palette, the partially draped figures and their varied poses will bring to mind Paul Cézanne’s numerous depictions of bathers, a subject matter that also occupied much of his attention in the later decades of his career.

In an interview with Art New Zealand in 1981, White explained that her artistic 75

approach involved both personal expression and careful consideration of the formal qualities of a composition. For this, she credited her mentor, A. J. C. Fisher (Director of Elam School of Art from 1924 to 1959), noting that “he had opened my eyes in the first place to the fact that I could use design and colour and tone and pattern to express the thoughts that were in my mind.”3 White preferred to use memory and imagination to develop her imagery, rather than studying forms from life.

“I can draw or paint things without having them in front of me,” she stated, “and as a matter of fact I think I do it better that way.”4 Bathers is also testament to White’s dexterity with compositional design and ability to achieve sophisticated rhythmic interplay of forms. White’s work exudes a strong sense of vitality, an artistic approach encouraged by Fisher. “Mr Fisher made me use my brains as well as my feelings,” she said. “I think it is that that brings things to life, rather than what abstract painters produce.”5 Unlike many of her contemporaries, White was not swept up by the tide of abstraction, remaining firmly a figurative artist. In 1949, the same year she painted, exhibited and sold Bathers, White joined other Elam staff and students in founding the New Group, a collective that continued to embrace figurative art amid the growing move towards abstraction.

The fact that Bathers was a principal work in the seminal 1994 travelling exhibition of White’s work speaks to its pertinence to her oeuvre and style. Featured in exhibition promotion and souvenirs, Bathers evidences White’s skill as a colourist, the celebration of womanhood and female sexuality that permeates her body of work, and her unique approach to composition design; all qualities that distinguish White as one of New Zealand’s celebrated twentieth-century painters.

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36 A. Lois White

untitled watercolour on paper signed A. Lois White in graphite lower right 245 × 205mm est

$25,000 — $35,000

provenance Private collection, Waikato. Acquired privately, c1973; Private collection, Auckland.

eorge F. Rosenberg, The Guide to Flower Painting in G Water Colours, 8th ed. (London: G. Rowney, 1867), 34.

2 “Biographical notes A. Lois White,” Alexander Turnbull Library, MS1764, quoted in Nicola Green, By the Waters of Babylon: The Art of A. Lois White (Auckland: Auckland City Art Gallery, 1993), 53.

3 ‘A Conversation with Lois White’ Art New Zealand 18 (Summer 1981), 39.

4 Gordon H. Brown, interview with Lois White, 15 March 1979, MS Papers 1764/4, Alexander Turnbull Library.

5 ‘A Conversation with Lois White’ Art New Zealand 18 (Summer 1981), 38.

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37 A. Lois White

Bathers 1949 varnished watercolour on paper 310 × 255mm est

$80,000 — $100,000

provenance Private collection, Waikato. Acquired privately, c1973; Private collection, Auckland. exhibitions By the Waters of Babylon: The Art of A. Lois White, Auckland City Art Gallery, Auckland, 9 March–8 May 1994; Auckland Society of Arts, Auckland, 1949. literature Nicola Green, By the Waters of Babylon: The Art of A. Lois White (Auckland: Auckland City Art Gallery, 1993), 78.

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Bill Hammond Looking Again

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Elizabeth Caughey and John Gow, Contemporary New Zealand Art 1, (Auckland: David Bateman Ltd, 1997), 80.

The Lochinvar green that dominates this painting by Bill Hammond is virtually synonymous with the artist’s name. Even if it weren’t populated by his legendary zoomorphic figures, we would instantly recognise the scene as Hammond’s. The colour is effective, not only as a hallmark of the artist’s work, but also in situating us in a fantastical realm. This world is not inhabited by humans; this is the land of Hammond’s iconic bird-people.

In this work from 1998, the scene is populated by 18 or so of Hammond’s humanoid birds. Some of the creatures wear clothing that varies in colour, marked with iridescent copper markings. Others, placed along the bottom of the composition, are rendered in a dark brown-grey, perhaps their natural plumage.

Most are uniformly postured: upright, arms by their sides, mid-step. Branches, protruding into the picture plane, serve as scaffolding, allowing the bird-people to infiltrate all levels of the canvas. Through the bird-people’s positioning, Hammond achieves a curious and masterly pictorial interplay. During his education at the University of Canterbury School of Fine Arts, Hammond’s tutor Don Peebles encouraged the young artist to experiment, and challenge himself in his artistic practice. Hammond’s compositions began to pose problems of pictorial balance Webb's

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for him to solve. In this painting, although the figures might feel intuitively placed, the balance is due to careful calculation on the artist’s part. The gaze of the avian forms, directed to either side of the canvas, and the horizontal smears of black, encourage the eye sideways; the diagonal branches guide the eye up and down. There is no moment of repose for the viewer. The black smears, as well as creating a sense of depth, ensure the setting does not feel paradisiacal. Instead, it has an ominous quality, as if the bird-people are awaiting a grim fate.

Hammond’s 1989 trip to the Auckland Islands is a story with which admirers of his work are intimately familiar. But, because the experience was so consequential for Hammond’s practice, and inextricably linked to his visual language, it bears repeating.

Along with other New Zealand artists, including photographers Lloyd Godman and Laurence Aberhart, Hammond found himself on a three-week trip to the subAntarctic Auckland Islands at the end of the 1980s. The group visited remote sites such as Enderby Island, the northernmost island on the sub-Antarctic archipelago. Owing to their predator-free status, these islands had thriving populations of native species and, thus, for Hammond, evoked Aotearoa’s ecosystem before human arrival. “I saw a 81

New Zealand before there were men, women, dogs and possums,” he reflected. “When you see it without the people, you know that the soulful, beautiful thing about New Zealand is the land.” Hammond dubbed the Auckland Islands ‘Birdland’, and the trip sparked his long interest in the effect of colonisation on Aotearoa’s avian species. In particular, Hammond’s work engages with the Victorian ornithologist Walter Buller, who rapaciously exploited birds, believing that the species would soon be extinct.

Does the painting here, then, present us with Hammond’s vision of primordial nature?

Indeed, aside from the coloured bodysuits, the items and imagery from everyday human life that are scattered throughout so many of the artist’s late-twentieth-century works are missing. This work is devoid of the barcodes, aeroplanes, exercise equipment and bells, the various quotidian details we often find among Hammond’s more unfamiliar, fantastical or disorientating imagery. Aside from the

figures, the only other distinguishable forms are tree branches, on which the bird people walk, kneel and even crawl. Notably, none of these avian forms sport wings, and Hammond leaves the viewer to wonder why. He was famously not fond of explanation.

For the viewer, there is a feeling of intrusion, of being unwelcome in these bird-people’s world. In fact, the cropped composition offers the sense of a window showing us a fragment, rather than the whole picture. And we certainly aren’t invited in — the figures either don’t know we are there, or avoid us, by not making eye contact, doggedly staring beyond the picture plane. The legs of the bird-people in the bottom half of the composition, uniformly facing towards the right-hand side of the picture plane, suggest they may be migrating somewhere. Where to, though? We are not included in their plan.

Again, in typical Hammond style, we have more questions than answers. That’s what keeps us coming back to look again.

Colour slides showing Auckland Islands in 1994.

Photos by Gerry Clark and others.

Courtesy of New Zealand Maritime Museum Hui Te Ananui a Tangaroa.

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38 Bill Hammond

untitled 1998 acrylic on canvas signed W D Hammond and dated 1998 in brushpoint lower right 500 × 350mm est

$280,000 — $360,000

provenance Private collection, Christchurch.

Acquired directly from the artist.

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Tony Fomison John the Baptist, from Caravaggio's St John with Ram

Tony Fomison first distinguished himself as a painter to watch when he exhibited with The Group in 1960 and gained the attention of Bill Sutton, Doris Lusk and Toss Woollaston. This was perhaps surprising; although he was studying at the University of Canterbury’s Ilam School of Fine Arts at the time, where Sutton was a senior tutor in painting, Fomison chose to study the modelling of three-dimensional form in Ilam’s sculpture department and would not have been among Sutton’s students.

From 1962 on, Fomison exhibited regularly in group shows at various galleries around Christchurch, developing a strong regional support base. This spread to Auckland in 1963 when his work featured in the exhibition Contemporary New Zealand Painting at Auckland City Art Gallery.

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In the catalogue for Fomison’s 1994 retrospective exhibition, Ian Wedde stated: “In one clarifying sense, Fomison’s career as an artist began where his contract with Canterbury Museum ended in 1962. Much of his training and study, including his time at art school, had been in preparation for a museum career. In 1962 that career path was blocked. The art path looked promising. In a more important sense, however, there was no rift — merely a repositioning of artist as maverick ethnologist outside the academic pale. This was a position in tune with the times: the artist as outsider.”1 In 1964 an Arts Advisory Board travel grant enabled him to travel to England and Europe for the first time, where his work was included in an exhibition of New Zealand artists at Qantas Gallery, London. He travelled 86

1

I an Wedde, “Tracing Tony Fomison,” Tony Fomison: What Shall We Tell Them (Wellington: City Gallery Wellington, 1994), 22.

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Tony Fomison, 1971. Photo by Michael Dunn.

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and stayed in various cities in Europe until 1967. The work featured in this catalogue is one of only a half-dozen works surviving from Fomison’s time in London, paintings developed out of sketches that persuaded him to reject the gestural ‘angry’ style he had developed at art school in Christchurch between 1958 and 1961.

While overseas Fomison began painting works based on masterpieces by Caravaggio, Morales and other European masters.

Caravaggio’s original painting John the Baptist, also known as "St John with Ram", c1610, hangs in the Borghese Gallery in Rome. It is unclear whether the drawings Fomison created of the work were made while directly in front of the original or from a reproduction of the painting. Whichever the case, he chose to make significant changes to the original composition when he painted John the Baptist, from Caravaggio’s “St John with Ram” in 1966. Most notable is his dramatic cropping of his picture to two thirds of the top half of the original. This cropping effectively eliminates the golden ram referenced in the title, which, along with the scarlet drapery St John reclines on, provides Caravaggio’s work with much of its chromatic warmth. Fomison’s image is far cooler, not just chromatically, but also in mood; the subject appears detached and introspective, rather than smouldering with Caravaggio-esque sensuality. Instead, Fomison allows us to focus on the painterly aspects of form and shading that he became so well known for.

Caravaggio was an important influence on Fomison. He is one obvious contributor to Fomison’s tenebrism, and to his liking for strong directional lighting, the dramatic modelling of the profile, and near-twodimensional backgrounds in which a Webb's

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Caravaggio, John the Baptist, c1610.

Held in Borghese Gallery, Rome.

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Installation view of Tony Fomison: What Shall We Tell Them?, City Gallery Wellington, 1994.

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sculptural perspective is suggested by meticulously graded dark tones.

John the Baptist, from Caravaggio’s “St John with Ram” is one of the earliest examples of Fomison’s admiration and adaptation of Caravaggio’s dramatic use of chiaroscuro.

The employment of the strong, singular light source that rakes across the subject, throws certain features into high relief while swamping others in dark shadow. Fomison continued to explore and exploit his own interpretations of chiaroscuro for the rest of his career, but his palette was always cooler and more monochrome than that of the Italian baroque artists who were so inspired by Caravaggio centuries earlier. In his notes on this work, Wedde also suggests Fomison may have felt some empathy with Caravaggio the man, as well as the painter.

They certainly had a number of personal traits in common: both had attracted admiration for their painting at a young age; both considered themselves outsiders and, to some extent, social outcasts, attracted to the seedy underbelly of urbanity.

Tony Fomison’s archive and library is now housed in the University of Canterbury School of Fine Arts at Ilam, Christchurch.

Ian Wedde describes its shelves as being “jammed with apparent conf licts. The classic Phaidon book on Michelangelo is shelved with a picture history of centrefold nudes: both seem to become the objects of an equalising ethnological scrutiny.

A rare edition on Hans Holbein’s The Dance of Death joins a filmography on horror movies.” This eclectic mix of source material fed into Fomison’s work.

This incredible painting of St John is a perfect example of the extraordinary ideas Fomison’s paintings extract from their sources.

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39 Tony Fomison

John the Baptist, from Caravaggio's St John with Ram 1966 oil on jute signed Fomison and dated 20–28.9.66 30.9.66 in brushpoint lower left; inscribed John the Baptist from Caravaggio's St John with Ram in brushpoint lower right 435 × 585mm est

$560,000 — $740,000

provenance Collection of Gerald Lascelles, Christchurch.

Acquired directly from the artist, c1970s. exhibitions Fomison: What shall we tell them?, City Gallery, Wellingon, 13 February–22 May 1994. literature Ian Wedde, ed., Fomison: What shall we tell them? (City Gallery, Wellingon, 1994), 94.

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By the 1940s, Russell Clark had established himself as a notable, successful New Zealand artist. From 1922–28 he studied at the Canterbury College School of Art, under the tutelage of Archibald Nicoll and Richard Wallwork. In the late 1920s, Clark exhibited with the Otago Art Society, Auckland Society of Arts and the New Zealand Academy of Fine Arts, and by the end of the decade he was established as a commercial artist. The following decade, based in Dunedin, he began teaching art classes, with the likes of a teenage Colin McCahon and Doris Lusk among those attending.

Clark’s commercial career involved illustrative work, for publications such as the New Zealand Listener and the New Zealand School Journal.

In March of 1942, Clark approached Prime Minister Peter Fraser to offer his services as a war artist. He would eventually serve in the 3rd New Zealand Division, and witnessed military operations in the Pacific, depicting scenes in pencil and paint. When he returned to New Zealand in 1944, Clark used these studies to create a series of watercolours, many of which remain in the Archives New Zealand war art collection. Although Clark was predominantly based in the Solomon Islands, he travelled to Fiji and New Caledonia, too, where he likely painted, or made a study for, Javanese Woman, Noumea.

The work reveals Clark’s keen interest in light, which comes from the right, casting a shadow over the figure’s face. Clark has also sensitively rendered the individuality of his sitter, her lips, facial structure and neckline carefully handled. Clark made numerous portraits over his career.

In the early 1930s, he kept a scrapbook of reproduced works by artists including Englishman Ambrose McEvoy and Irishman William Orpen, the influence of whom can be seen in the patchy paint application in the background of Javanese Woman, Noumea.

During the late 1940s and early 1950s, Clark frequently travelled north to Te Urewera. As part of a commissioned project from the Education Department, he created illustrations for a primary school bulletin about the small Māori village of Ruatāhuna. During these visits, Clark developed an affinity for the Tūhoe people, and Māori became the subject of many of Clark’s paintings and sculptures, several examples of which are in the Auckland Art Gallery Toi o Tāmaki collection.

In the other painting by Clark offered here (lot 41), the Māori sitter is depicted similarly to Javanese Woman, Noumea. In both portraits a strong shadow is cast on the sitter’s neck and the right side of their face. Clark has clearly paid close attention to modelling the sitters’ faces to experiment with the textural possibilities of oil paint.

40 Russell Clark Javanese Women, Noumea 1946 oil on canvas signed Russell Clark in brushpoint lower left 500 × 400mm est

$40,000 — $60,000

provenance Collection of Marion and Ian Clark, Christchurch. Acquired from Robert McDougall Art Gallery, Christchurch. exhibitions One Man Show, Dunedin Public Library, Dunedin, 1949; Russell Clark 1905–1966: A Retrospective Exhibition, Robert McDougall Art Gallery, Christchurch, 1975. literature Russell Clark 1905–1966: A Retrospective (Christchurch: Christchurch City Council Cultural Committee, 1975), 37.

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41 Russell Clark

untitled oil on board 370 × 280mm est

$20,000 — $30,000

provenance Collection of Marion and Ian Clark, Christchurch. Acquired privately; Collection of Rosalie Archer, Christchurch. note Accompanied by a 1986 Certificate of Authenticity signed by Bill Sutton.

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42 Peter McIntyre

untitled acrylic on canvas signed PETER MCINTYRE in brushpoint lower right 750 × 520mm est

$55,000 — $85,000

provenance Private collection, Wellington. Passed by bequest, c2019; Private collection, Wellington.

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43 William Dunning

untitled 2003 acrylic on canvas signed W. Dunning and dated 2003 in brushpoint lower right 1130 × 2250mm est

William Dunning creates visually stimulating and meticulously rendered artworks that provide often uncomfortable commentary on the colonial history of Aotearoa. With a skill for imitation, the artist frequently draws upon historical imagery.

Here, Dunning utilises a visual tool that appears often in his work — that of a picture within a picture. The main image depicts a Māori figure, with traditional tā moko and dressed in a korowai, seated at an ornate table across from a Pākehā man in European clothing.

On the left side of the work we see objects and imagery that relate to the Māori figure, with a pounamu wahaika and a waka huia resting on the table top. Below the table top are what appear to be carvings of Māori faces, also featuring tā moko; however these look uncomfortably similar to the face of the kneeling man, giving the eerie suggestion that they could be real heads. Koru carvings and native Aotearoa fauna are detailed on the lower edge and legs of the table.

The painting within the painting on this left side shows two Māori figures, a man and a woman, flanking a painting framed in gold, again decorated with koru motifs. The figures have downturned faces, and are dressed in woollen blankets and korowai, while the man wears a European bowler-like hat. He seems to be pointing toward the painting – perhaps a warning for the future? Or a mourning of the past?

The image he is pointing at depicts a Māori pā, with whare nestled together, a group of figures and waka near the river, with a lush forest of trees in the background.

Conversely, on the Pākehā man’s side of the table, sits a golden lantern, fountain pens and two leather-bound books — shiny new items that we assume he has brought

$50,000 — $80,000

provenance Private collection, Auckland.

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to Aotearoa from afar. Also present is what appears to be a piece of paper — could this be te Tiriti o Waitangi, perhaps moments before it was signed?

On the table we see carvings of Pākehā faces – with European features and hairstyles – holding up the table top, and European filigree engravings on the legs of the table, referencing the background of the figure on this side. This painting within a painting is a flipped version of the scene on the left, with a Pākehā man and woman in traditional European clothing on either side of the ornate gold frame. The image between them shows a Pākehā village, also with huts and figures, and European canoes.

Depicted in the bay are sailing boats, possibly indicating that these people have recently arrived in this area. Further in the background, the thick forest from the left is gone, replaced by an empty hillside, which could be read as a sign of the European development of Māori land.

At the very centre of the work and on the corner of the table, there is third painting within the painting. This shows a Māori man and woman dressed in korowai and blankets, and a Pākehā figure to the right who appears to be dressed in hunting boots and jacket.

These layers of symbolism, and the stillness and suspension of the figures, could point to the painting as an allegory for the moments before the signing of te Tiriti. Perhaps the paintings within paintings are showing a predicted future — could the centre panel be the idealised scenario of the two groups existing peacefully together? While Dunning’s layered imagery and symbolism leave room for a variety of interpretations, there is no doubt that his accomplished rendering of this scene is an evocative commentary on the colonisation of Aotearoa.

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In November 2007, John Walsh participated in Antarctica New Zealand’s artist-inresidence programme Artists to Antarctica, which saw him travel to the continent for two weeks alongside author Tessa Duder and multi-media artist Ronnie van Hout. This experience directly informed his 2008 solo exhibition at the Janne Land Gallery, titled Thoughts on Antarctica. The Reserve Bank, featured in this catalogue, belongs to this series of paintings.

While in Antarctica, Walsh observed samples of ice, from hundreds of metres deep, being extracted for scientific study.

The ice samples, hundreds of millennia in age, tell us about the past composition and evolution of the atmosphere. This research adds to the ever-mounting evidence of the planet’s decline, and the impact of human activities on the atmosphere. For Walsh, the irony of the ice-core drilling in Antarctica was glaringly obvious: “Core drilling, broadcasting proof that plundering our planet has brought it to the very brink of collapse, is paid for by governments and industries that are reliant – and drunk – on exponential plunder. And they will not – cannot – stop.”1 For Walsh, visiting the Antarctic continent reinforced the grave reality of climate change, a consequence of humans exploiting the earth’s natural resources at the atmosphere’s expense. Walsh realised that Antarctica was the only continent on earth that has escaped colonial landgrabs and exploitation for finite resources.

Antarctica, he ascertained, “is our reserve bank in its natural state.”2 In the painting’s horizontal format, the denominations printed in upper and lower

corners, and the limited colour palette, Walsh adopts the format of a bank note.

However, where you would expect to find a transparent window on the right-hand side, in The Reserve Bank Walsh has rendered a spiky bubble. In it floats a ship, not unlike those in which colonisers, and explorers like Ernest Shackleton, would have travelled.

More unfamiliar imagery and motifs populate the composition, surrounding the Antarctic icebergs. The infinity sign, spiralling like a coil or helix, appears across the bank note, even replacing the zeroes in the 100 denomination. This could be interpreted as a comment on the finitude of Earth’s resources, or the seemingly infinite sums of money capitalist governments and institutions spend on scientific study.

The combination of the familiar bank-note format with the unfamiliar imagery, and the translucent and cool colour palette, with aqua greens and purples mingled with the blue, gives The Reserve Bank an unsettling and mystic quality.

Perhaps it is Walsh’s intention to unsettle us. “We are all trapped within this system,” he observes, “and speaking out … seems the only way to fight.”3 At the opening of Walsh’s 2008 Janne Land Gallery exhibition, the artist scattered 100 bank-note-sized copies of The Reserve Bank over the gallery floor. The work was already spoken for, but attendees could take home a small-scale paper copy. These were probably not intended as souvenirs, but perhaps a call to arms.

With thanks to John Walsh for providing generous and informative background information for this essay.

atrick Shepherd, ed., Artists in Antarctica P (Wellington: Massey University Press and Scorpio Books, 2023), 220.

2 Ibid, 221.

3 Ibid, 220.

1

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44 John Walsh

The Reserve Bank oil on canvas signed Walsh with incision lower edge 1100 × 2390mm est

$50,000 — $70,000

provenance Private collection, Auckland. Acquired from Janne Land Gallery, Wellington, 2008. exhibitions Thoughts on Antarctica, Janne Land Gallery, Wellington, 2008. literature Patrick Shepherd, ed., Artists in Antarctica (Massey University Press and Scorpio Books, 2023), 221.

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45 Andy Warhol Joseph Beuys 1963 screenprint on paper on museum board, trial proof signed Andy Warhol and inscribed TP 17/45 in graphite lower right 1016 × 813mm est

$70,000 — $100,000

provenance Private collection, Auckland. Acquired from Important Works of Art, Webb's, 29 March 2011, lot 6.

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46 Max Gimblett

CAPE 2003 acrylic and resin on board signed MAX GIMBLETT, dated 2003 and inscribed "CAPE" in brushpoint verso 1010 × 1010mm (widest points) est

$35,000 — $45,000

provenance Private collection, Auckland.

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47 Max Gimblett

In the Depths of These Islands 2017 acrylic, aquasize, gold leaf and resin on canvas signed MAX GIMBLETT, dated 2017 and inscribed "IN THE DEPTHS OF THESE ISLANDS" in brushpoint verso 1000 × 1000mm (widest points) est

$45,000 — $55,000

provenance Private collection, Auckland. exhibitions Sunset Moon | Max Gimblett, Gow Langsford Gallery, Auckland, 21 February–17 March 2018.

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48 Julia Morison

Myriorama OEAEO 2008 acrylic, ink, synthetic wax finish on aluminium and polyuerethane laminate 880 × 1700mm (widest points) est

$9,000 — $12,000

provenance Private collection, Auckland. exhibitions Myriorama:01, 64zero3, Christchurch, 2008.

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49 Jude Rae

SL 140 2003 oil on linen signed J Rae, dated 2003 and inscribed SL 140 in graphite verso 750 × 900mm est

$20,000 — $30,000

provenance Private collection, Auckland.

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50 Jude Rae

SL 202 2007 oil on linen signed J Rae, dated 2007 and inscribed SL 202 in graphite verso 820 × 965mm est

$30,000 — $40,000

provenance Private collection, Auckland.

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51 Terry Stringer

Youth and the Antique 2022 bronze, unique 2000 × 350 × 320mm (widest points) est

$60,000 — $80,000

provenance Private collection, Auckland.

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52 Terry Stringer

The Falling Man 2021 bronze, 2/3 signed TERRY STRINGER, dated 2021 and inscribed 2/3 with incision lower edge 420 × 100 × 110mm (widest points) est

$6,000 — $8,000

provenance Private collection.

53 Paul Dibble

Bird Dance bronze, 2/5 signed Paul Dibble with incision lower edge; inscribed 2/5 with incision on base 450 × 250 × 180mm est

$9,000 — $12,000

provenance Private collection.

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54 Bill Hammond

untitled 2006 lithograph on paper, edition of 100 signed Bill Hammond and dated 2006 in graphite lower right 585 × 430mm est

$10,000 — $15,000

provenance Private collection.

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55 Stephen Bambury

And the Fundamental Reality 2002 rust and acrylic on aluminium inscribed 02/Stephen Bambury/'And The Fundamental Reality'/Rust & Acrylic On 2x Alumnium Panels/Panel 1 (OF 2) in ink verso (left panel), signed S. Bambury, dated 02 and inscribed 02/Stephen Bambury/'And The Fundamental Reality'/ Panel 2 (of 2) in ink verso (right panel) 390 × 390mm (each panel) est

$10,000 — $15,000

provenance Private collection, Auckland. Acquired from Jensen Gallery, Auckland, 2000. exhibitions Stephen Bambury, Jensen Gallery, Auckland, 2000.

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56 Stephen Bambury

Ghost (XV) 2005 chemical action and silver leaf on aluminium signed S.Bambury, dated 2005 and inscribed GHOST (IV) CHEMICAL ACTION AND SILVER LEAF ON ALUMINIUM PANEL in ink verso 70 × 340mm est

$5,000 — $8,000

provenance Private collection, Auckland.

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57 Robert Ellis

Rakaumangamanga 1994 acrylic on canvas signed Robert Ellis, dated 23 Hepetema 1994 and inscribed Rakaumangamanga with inscision upper left 1600 × 1900mm est

$18,000 — $26,000

provenance The Estate of Robert Ellis, Auckland.

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58 Dick Frizzell

Enjoy 2005 acrylic on canvas signed FRIZZELL, dated 25/5/2005 and inscribed ENJOY in brushpoint lower right 750 × 1000mm est

$30,000 — $40,000

provenance Private collection, Lower Hutt.

Acquired from Janne Land Gallery, Wellington.

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59 André Hemer

untitled 2021 acrylic and pigment on canvas signed André Hemer and dated 2021 in graphite verso 750 × 560mm est

$7,500 — $12,000

provenance Private collection.

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60 Geoff Thornley

untitled (B21.76) 1977 oil on canvas on board signed Thornley, dated ‘77 and inscribed B21.76 in brushpoint verso 900 × 800mm est

61 Don Driver

Hello Dolly 1968 vinyl, acrylic, plastic balls, plastic dolls and canvas on board signed DON DRIVER, dated 1968 and inscribed "HELLO DOLLY" in ink verso 755 × 755mm

$10,000 — $16,000 est

provenance Private collection, Auckland. Acquired from Selected Works from the Fletcher Trust Collection, International Art Centre, Auckland, 10 September 2014, lot 38; Private Collection, Auckland. Acquired from Petar James Gallery, 1977, Auckland.

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$10,000 — $15,000

provenance Private collection, Hawkes Bay. Acquired from A2 Art, Webb's, Auckland, 20 June 2017, lot 160.

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62 Denys Watkins

Volcanic Plateau 1987 oil on canvas signed Denys Watkins, dated 1987 and inscribed Volcanic Plateau in ink verso 1905 × 1700mm est

$6,000 — $10,000

provenance Private collection, Wellington.

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63 John Reynolds

Emblem (Stake) 1987 leather and oil on canvas and wood signed REYNOLDS and dated 1987 in brushpoint lower left 1810 × 2000mm (widest points) est

$8,000 — $12,000

provenance Private collection, Wellington.

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Terms and Conditions The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.

1.

Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue.

Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2.

Webb’s Auctions as Agent

Except as otherwise stated, Webb’s acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3.

Before the Sale

3.1.

Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

The property is otherwise sold “AS IS” 3.2.

Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition

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2022

report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/ her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.

Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

3.3.

Buyers Responsibility All property is sold “as is” without representation or warranty of any kind

by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4.

At the Sale

4.1.

Refusal of Admission Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

4.2.

Registration Before Bidding Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.

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4.3.

Bidding as a Principal When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.

4.4.

International Registrations All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.

This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.

4.5.

Absentee Bids Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first.

Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise.

It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

4.6.

Telephone Bids Priority will be given to overseas and bidders from other regions.

Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process.

The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen.

Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.

Webb's

4.7.

Online Bidding Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.

Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.

4.8.

Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold.

The reserve will not exceed the low estimate printed in the catalogue.

The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller.

The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

4.9.

Auctioneers Discretion The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.

4.10. Successful Bid and Passing of Risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer.

Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

4.11. Indicative Bidding Steps, etc.

Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps: Increment Dollar Range Amount $20 $0–$500 $50 $500–$1,000 $100 $1,000–$2,000 $200 $2,000–$5,000 $500 $5,000–$10,000 $1,000 $10,000–$20,000 $2,000 $20,000–$50,000 $5,000 $50,000 – $100,000 $10,000 $100,000–$200,000 $20,000 $200,000–$500,000 $50,000 $500,000–$1,000,000 Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

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5.

After the Sale

5.1.

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST (Goods and Services Tax) where applicable.

5.2.

Payment and Passing of Title The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.

The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.

Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Bank cheques are subject to five days clearance.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

5.3.

Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds.

Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

5.4.

Packing, Handling and Shipping Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service.

All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

5.5.

Permits, Licences and Certificates Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.

5.6.

Remedies for Non-Payment If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)

5.6.1. to charge interest at such a rate as we shall reasonably decide.

5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.

5.6.3. to cancel the sale.

5.6.4. to resell the property publicly or privately on such terms as we see fit.

5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.

5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.

5.6.10. to take such other action as Webb’s deem necessary or appropriate.

If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that

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Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

5.7.

Failure to Collect Purchases Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6.

Extent of Webb’s Liability

Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7.

Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. the benefits of the warranty are not assignable and shall apply only to

Webb's

the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction. the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased.

8.

possible after the sale. Results will include buyer’s premium.

These results will be posted at www.webbs.co.nz.

13.

Goods and Service Tax

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.

Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9.

Copyright

The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10.

Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.

11.

Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision.

Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.

12.

Sale Results

Webb’s will provide auction results, which will be available as soon as

2022

119

Index of Artists A Apple, Billy

N 27

B Bambury, Stephen Binney, Don

109 37

92, 93, 94 40, 41

53 107 113 96, 97

E Ellis, Robert

110

35 38 90, 91 111

G Gimblett, Max

101, 102

H Hammond, Bill Hanly, Pat Hemer, André Henderson, Louise

47, 48, 49, 50, 51 38

Rae, Jude Reynolds, John Robinson, Peter

104, 105 115 56, 57

S Stichbury, Peter Stringer, Terry Sydney, Grahame

58 106, 107 66, 67

T

F Fahey, Jacqueline Fletcher, Graham Fomison, Tony Frizzell, Dick

Pardington, Fiona Pataialii, Christina R

D de Lautour, Tony Dibble, Paul Driver, Don Dunning, William

34

P

C Clark, Russell Cotton, Shane

Nin, Buck

Thornley, Geoff Tibbo, Teuane Tole, John

113 42 44

W Walsh, John Walters, Gordon Warhol, Andy Watkins, Denys Westra, Ans White, A. Lois Woollaston, Toss

99 36, 54, 55, 60, 61 100 114 46 76, 77, 78, 79 70, 71

30, 32, 33, 84, 85, 108 39 112 43

L Lusk, Doris

45

M Maddox, Allen Maughan, Karl McIntyre, Peter Morison, Julia

Webb's

November

31 31, 59 95 103

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33a Normanby Road Mount Eden Auckland 1024 23 Marion Street Te Aro Wellington 6011 webbs.co.nz