IMPORTANT WORKS OF ART 1
IMPORTANT WORKS OF ART ANTIQUES & MODERN DESIGN 29 - 31 MAR 2011
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New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz
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IMPORTANT WORKS OF ART ANTIQUES & MODERN DESIGN 29 - 31 MARCH 2011 OPPOSITE: [27] Colin McCahon Noughts and Crosses, Series 2, No. 5, 1976 $250,000 - $350,000 FRONT COVER: [26] Don Binney Kotare Over Ratana Church, Te Kao $200,000 - $300,000 BACK COVER: [25] Peter RobinsoN A Wee Gem, 1994, Red Light Specials, Buy Now Risk Free, Factory Prices, Invest, Whyte Bros Trusted Dealers, Free Pipe with Each Purchase, $38,000 - $48,000 INSIDE BACK COVER: [35] Max Gimblett Crimson / Red $30,000 - $40,000
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321 IMPORTANT WORKS OF ART
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Tue 29 March 2011 – 6:30pm | VIEWING FROM WED 23 MARCH 5:30 PM
ANTIQUES & MODERN DESIGN
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Thu 31 March 2011 – 6:00pm | VIEWING FROM WED 23 MARCH 5:30 PM
EVENING PREVIEW Wednesday 23 March 5:30pm – 7:30pm Please join us to view the suite of sales and enjoy a glass of wine.
PLEASE NOTE A buyer’s premium of 12.5% will be charged on all items in the Important Works of Art sale; a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sale. GST (15%) is payable on the buyer’s premium.
LEFT: [31] Colin McCahon Throw Out the Lifeline from The Red Ones series $130,000 - $180,000
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INTRODUCTION Welcome to Webb’s first sale of Important Works of Art in 2011. Here we present an extensive survey of great New Zealand practice from cutting-edge Contemporary works to Modern masterpieces. The variety and quality of the offering included in this catalogue provides an opportunity to view a wonderful range of rare and significant works. Over the period of compiling this catalogue, the Christchurch earthquake hit with devastating consequences. On behalf of all Webb’s staff and directors, we extend our thoughts to those affected by the earthquake. Whilst Webb’s immediately began a fund-raising initiative which will see a good donation going to the Christchurch Relief Fund, we have been somewhat overshadowed by one extremely generous client. The owner of Don Binney’s Kotare over the Ratana Church, 1964 (lot 26), author and historian Dick Scott, has consigned this work and instructed Webb’s to pay the entire funds to the Christchurch appeal. Of extraordinary significance and coming to the market for the first time since its original purchase in 1964, this work is one of Binney’s great masterpieces from the mid-1960s’ period. Extensively reproduced and exhibited, this is unquestionably the most important work by this artist to ever be offered publicly at auction in this country. Dick Scott described its release to an exhibition of New Zealand painting at the Commonwealth Institute of London in 1965 and then its release in 2004 to a tour of New Zealand public galleries as “seeing off a family member”. After
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owning the work for over 50 years, the owner has now found a purpose with enough justification to release the work permanently. The catalogue includes six works by Colin McCahon, the earliest of which is Nude of 1955 (lot 30). Against a Cubistrendered ground, the female nude has substance and weight, reminiscent of Picasso and Braque from the 1920s. Noughts and Crosses, series 2, no. 5, 1976 (lot 27) provides a rich metaphor for the universal ‘game’ of life and death. McCahon takes a simple idea and develops it into a compelling visual rendering of universal truths. Also painted 1976, a highly productive period for the artist, is Throw Out the Lifeline from The Red Ones series (lot 31). Again McCahon addresses the existential struggle of humanity, transcribing metaphysical truths for the viewer. The work entitled 2, 1959 (lot 39) is an investigation of the symbolic potential of numeric values and demonstrates McCahon’s exploration of the facets of human existence and religious belief, yielding a wealth of visual and metaphysical references. A selection of abstraction in the catalogue provides a survey of reductive painting. The work of leading abstract painter Stephen Bambury is represented by a range of works from a small, early work on canvas Area No. 2 (lot 13) to a highly refined work from the Necessary Correction series from 1999 (lot 22) alongside three other works. Max Gimblett’s superb Crimson/Red, 1983 (lot 35) is a testament to reductive modernism and is presented alongside
the later quatrefoil Untitled 1998/1999 (lot 9) and diptych The Door that Contains the Night, 1999 (lot 24). Running concurrently with the sales included in this catalogue are standalone auctions of Oceanic and African Art (6.00pm, 30 March 2011) and Webb’s inaugural sale of Vintage Cars running alongside a sale of Vintage Motorcycles (6.30pm, 22 March 2011 – to be held at Shed 5, 90 Wellesley Street, Auckland). Webbs’ sound presence in the market for Maori, Oceanic and African arts was continued last year with two successful stand-alone auctions. Collectors chose to support Webb’s and, in doing so, have established diversity in the supply of auction services in this field. The niche market that Webb’s launched for Vintage Motorcycles quickly became Australasia’s leading forum for trading in this genre. Cars, a new venture for Webb’s, have been soundly embraced by leading collectors and connoisseurs seeking an alternative to traditional sale forums. The catalogue currently in the market contains some of the finest vehicles available in this part of the world and is the first of a range of automotive auctions planned over the coming year. A preview of the pieces in this catalogue together with those of the Oceanic and African Art offering will be held at Webb’s Manukau Road gallery on Wednesday 23 March from 5.30pm. We look forward to seeing you there. SOPHIE COUPLAND DIRECTOR
[26] Don Binney Kotare Over Ratana Church, Te Kao oil on board $200,000 - $300,000
IMPORTANT WORKS ART 5 IN OF FOCUS
JEWELLERY & WATCHES APRIL 20TH, 2PM & 6PM
FURTHER ENTRIES INVITED A HARLEQUIN SALE Including Fine Jewellery & Designer Costume Jewellery
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The sale will feature an excellent selection of diamond solitaires, antique and modern jewellery, desirable wristwatches (including Patek Philippe) together with an exciting collection of 50 pieces of collectable costume jewellery from noted makers such as Christian Dior, Coro including Duette, Miriam Haskell, Weiss, Trifari, Boucher, Staret, Butler & Wilson, Schiaparelli and Eisenberg, from an extensive collection once the property of leading industrialists, the Rudolph family of Schloss Dillich, in Germany. A selection of the offering is illustrated opposite and above. The sale will be preceded by our popular afternoon session of “Affordable & Estate Jewellery�. A catalogue will be available free of charge at viewings. Viewing: Friday 15 April 9am - 5.15pm Sunday 17 April 11am - 3.00pm Monday 18 April 9am - 5.15pm Tuesday 19 April 9am - 5.15pm Wednesday 20 April 9am - 12 noon sharp Final date for acceptance Wednesday 30th March Contact: Christopher Devereaux email cdevereaux@webbs.co.nz ph 09 529 5606
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HIGHLIGHTS 2010 marked another year of sound success for Webbs’ fine art department – clearly maintaining it’s position as the country’s leading art auction business achieving six of New Zealand’s ten highest prices at auction for the year, all with works priced over $200,000. Last year saw many important lots consigned to our sales by collectors maintaining confidence in auction as a dynamic market tool. Testament to this is the quality of the offering included in this catalogue. Equally,
Shane Cotton Lying in the Black Land $225,000
BILL HAMMOND A Lullaby of Birdland $220,000
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successful sales were achieved for many of the truly significant works offered by Webb’s last year. With this in mind, collectors can be assured that quality artworks, correctly presented, continue to perform well at auction. We look forward to continuing to work with our clients in 2011, whether it be offering advice for buying and selling, facilitating an updated valuation for your collection, or discussing the state of the art market in general.
Michael Parekowhai Poorman $85,000
Stephen Bambury Necessary Correction XIX $32,000
COLIN MCCAHON Seaweed on the Beach $210,000
Michael Illingworth Nude in a Starry Field $60,000
SHANE COTTON Blackout Movement (2001) $200,000
Bill Hammond All Along the Heaphy Highway $220,000
Greer Twiss The Birds $43,000
Don Binney Man’s Head from Te Henga III $225,000
[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]
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HIGHLIGHTS 1. 1949 AJS 7R 350
$42,000
10. Ole Wanscher Chair and Footstool
$2,000
$6,100
2. Exceptional emerald of over 7ct
6. diamond of 5ct WITH faint pink tint,
11. Sir Walter Buller
set in a ring with diamonds.
set IN A RING with yellow and white
A photograph album of ‘New Zealand
diamonds
Tree-Ferns’
$43,000
$6,000
$2,500
7 & 8. 2 Good Louis Vuitton SuitcasES
12. A RING SET WITH A 7.25ct DIAMOND
$3,000 each
$65,000
4. 4 George IV Sterling Silver Candlesticks
9. Loose Princess cut diamond of 3.01 ct
13. 2000 Chateau Petrus
$30,000
3. A Victorian Mahogany Campaign Table
$23,450
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5. Wedgewood hand thrown squat vase
$47,500
$3,800
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14. A Set of Six Georgian Dining Chairs
$2,600
15. A Siebe Gorman & Co Diving Helmet
$7,000
16. George French Angas The New Zealanders Illustrated, in 2 vols.
$17,500
17. Good 19th Century Campaign Chest
$5,200
18. yellow diamond of 5.14ct, set in a ring with two white diamonds
$131,000
19. A Rare Royal Doulton ‘Despair’ Flambe Figure By Charles Noke
$5,800
20. A Taxidermy Monitor Lizard
$1,100
21. Bracket Clock with 18th Century Works
$2,300
22. A Rare 17th Century English Sterling Silver Wrythen Knop Spoon
$6,300
[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]
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FINE & RARE WINE MON 28 MAR 2011 - 6:00PM The March auction will offer over 500 lots representing fine New Zealand, Australian, Bordeaux, Burgundy, Rhone, Italian and Champagne producers. A great opportunity to find bottles to fit every possible desire! CONTACT: Simon Ward wine@webbs.co.nz +64 21 642277
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IMPORTANT WORKS OF ART
INCLUDING HISTORICAL NEW ZEALAND WORKS AUGUST 2011 ENTRIES NOW INVITED Important modern, contemporary and historical works of art.
Gottfried Lindauer Ihakara Tukamaru
oil on canvas 850 x 680mm
$120,000 - $180,000
Ihakara Tukumaru (c.1881-1913) belonged to the principal family of Ngati Ngarongo, one of the many hapu of the powerful Ngati Raukawa tribe, who trace their descent from the migrants of the ‘Tainui’ canoe. Ihakara is credited with organising
the erection of two houses of Christian worship in the Foxton district. From 1852 until his death, Ihakara held the office of Native Assessor, a Government appointment. He is recognised for his role as a seller of land to the Government and
as a peacemaker during the 1860s and 1870s. Ihakara died at Matakarapa and was buried in the old Te Awahou cemetery six days later. Hundreds of mourners, both Maori and Pakeha, followed his body to its final resting place.
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IMPORTANT CARS & CLASSIC MOTORCYCLES TUESDAY 22 MARCH 6 PM AT SHED 5 VIEWING: FROM SATURDAY 12 MARCH. DAILY 10AM TO 3PM SHED 5, TOP DECK, 90 WELLESLEY STREET, AUCKLAND
LOT 64 1963 Ferrari Lusso 250 NZ$1,100,000 - NZ$1,400,000
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A catalogue is currently available for an auction of superb historic racing cars and classic automobiles, alongside a selection of classic motorcycles from the best private collections in New Zealand and Australia. Celebrating the very best of automotive industrial design, this long anticipated event reflects a passion for things well made. Entries are currently invited for a sale of Important cars and classic motorcycles to be held in October 2011. CONTACT: Neil Campbell ncampbell@webbs.co.nz +64 21 875 966
Be Inspired
WELLESLEY ST WEST ST PARK
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RHUBARB LANE 3 WILL BE HERE LA
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ALL SIX BUILDINGS NOW SELLING FROM ONLY $499,000 FREEHOLD URBAN VILLAGE LOFTS FOR WORKING &/OR LIVING COMPLETION DUE 2012
5 MO
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SALES & CAFE DISPLAY CENTRE SHED 5
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09 309 2524 Sales & Display Centre Open 10am-4pm Every Day Shed 5, Top Deck, 90 Wellesley St West www.multiplexliving.com IMPORTANT WORKS OF ART 15
Images are indicative only. Subject to change. TRAN7160.
Rhubarb Lane is Auckland’s newest CBD address where you can work, live and play. Situated on the lower west side of the CBD, Rhubarb Lane includes a cobblestone street, fresh village shopping, a lively theatre, a vibrant park and six stunning small buildings, each one designed by a different and world renowned architect – Ian Moore, Architectus, Fearon Hay, Warren And Mahoney, Cheshire, Peddle Thorp.
PARKING
NELSON ST
SA
C B D 8 0 0m
Khai Liew Spoehr 2007 armchair in American black walnut 765 x 560 x 555 mm John Young Northern Song #5 Summer 2007 Oil on linen 900 x 500 mm
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WEBB’S WELLINGTON Webb’s is pleased to announce a comprehensive auction service for Wellington clients. Wellingtonians have long supported Webb’s both as collectors and consignors. A permanent Webb’s presence in Wellington and streamlined services between the two centres will enable ease of access to the Auckland market for those in the ‘arts and culture capital’. Webb’s now offers a five-day-a-week appraisal and valuation service and personally supervised, doorto-door freight and logistics. This service extends to the entire lower North and upper South Islands.
Webb’s Wellington services will be headed by Jeff Hobbs, a 20 year veteran expert in Oceanic, Tribal Arts and antiquities. Jeff operated as a successful dealer and consultant in New York and the United Kingdom during the 1990s and subsequently owned and operated the well respected Sulu Gallery, Wellington. Although Jeff’s specialist interests lie in the fields of Tribal art and Eastern antiques, he will working closely with: Sophie Coupland, Webb’s head of Fine Arts, to provide fine art services; James Hogan, Webb’s head of Decorative Arts, to provide
services across the spectrum of antiques and collectables; and the extended team of Webb’s resident specialists. In recent months Jeff has travelled internationally on behalf of Webb’s repatriating significant Maori and Oceanic material to New Zealand. Last year, Jeff led the valuation of the entire Maori, Pacific and Ethnographic holdings at Te Papa Tongarewa. Please contact Jeff to discuss Webb’s Wellington services and how your pieces would be marketed and handled from Wellington.
CONTACT: Jeff Hobbs jhobbs@webbs.co.nz +64 21 503 251 JAMES BRAGGE, LAMBTON QUAY, BRAGGE’S WELLINGTON AND THE WAIRARAPA, WILLIAM MAIN, MILLWOOD PRESS, P.95.
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A3 ART AN UNCATALOGUED ART SALE This auction will include over 100 works with estimated values below $1,000, many to be sold without reserve. Comprising small-format works by some of New Zealand’s leading artists, this auction will provide excellent opportunities for buyers. All works will be illustrated at www.webbs .co.nz from 11 April. Viewing at 18 Manukau Road from 9am Friday 15 April. No physical catalogue will be posted. Provide us with your email address to receive information about this auction and regular updates regarding Webb’s events.
Illustrated: Tim Thatcher Shooting Kiwis Acrylic on paper 205 x 295mm $500 - $700
THE NEW COLLECTOR: TRIBAL ART 18 APRIL 2011
A strict selection criterion for Webb’s specialist Oceanic and African catalogues has generated a whole new category of sale, Oceanic and African new collector sales. A second tier sale including Maori artefacts such as toki, Maori folk art, 19th and 20th century pieces from Pacific, Papua New Guinea, Melanesian, Aboriginal and African cultures. With most pieces priced below $1,000, this sale presents an opportunity for new collectors to enter this wonderful and diverse field of collecting. CONTACT: Neil Campbell ncampbell@webbs.co.nz +64 21 875 966 18
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THURSDAY 24 MARCH 2011 // WEBB’S AUCTION HOUSE, 18 MANUKAU ROAD, NEWMARKET // DOORS OPEN 7.30PM, START 8.20PM // $10 CASH DOORSALES
A Pecha Kucha Night is an event format in which presenters show a slideshow of 20 images, each of which is shown for 20 seconds — giving a total presentation time of 6 minutes 40 seconds. Each event usually has 8 14 presenters. Presenters (and much of the audience) are usually from the design, architecture, photography, art and creative fields. The event format has been replicated in more than 360 cities, including London, San Francisco, Seattle, Rotterdam, Shanghai and Berlin. Drawing its name from the Japanese term for the sound of conversation (“chit chat”), it’s 20x20 format ensures concise presentations, and keeps things moving at a rapid pace. Its presentation format was originally devised by Astrid Klein and Mark Dytham of Kein-Dytham Architecture (KDa) in Tokyo, Japan in 2003.
PRESENTERS Jessica Hansell aka Coco Solid // musician and writer // ‘The war of the inner-worlds’ Melinda Williams // freelance editor / Surface Asia / Dwell Asia // www.surfaceasiamag.com Greg Wood // filmmaker/artist // Bill Ward, Greg Wood & The Bonneville Salt Flats Mau Muaiava // independent samoan filmmaker & visual artist // MAUPRODUCTIONS Jamie McLellan // product & furniture designer // my small world // www.jamiemclellan.com Paul McLaney // musician, general manager of mushroom music publishing // album covers and their totemic existence in my psyche Mark Seeney // designer // my ruins Nat Cheshire // delineator, cheshire architects // on ugliness Neill Gaddes + Yijing Xu // exhibition designers // Shenzhen speed via Beijing bureaucracy // www.sanspractice.com Jack Quinn // F1 racing car driver // industrial automotive design
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COOPERS CREEK SELECT VINEYARDS YOUR DISCOVERY. OUR INSPIRATION. 20
A RARE EARLY 20TH CENTURY ‘POWERS’ MOVIE PROJECTOR, C.1900. ACHIEVED $5,700 PLUS BUYER’S PREMIUM (15%) AND GST, NOVEMBER 2010
WEBB’S VALUATION SERVICES Specialist valuers of fine art and antiques, Webb’s provides valuations to public institutions, corporate and private collections. Recent institutional commissions include: the Auckland Art Gallery’s entire collection of high-value New Zealand works of art; the entire holdings of Te Awamutu Museum including Uenuku, one of New Zealand’s most culturally significant artefacts; and the entire Maori, Pacific
and Enthnographic collections at Te Papa Tongarewa. Domestic valuation services include single items or entire collections and cover artworks and the full spectrum of antiques and collectables. It is important to ensure your insurance valuations are up to date as market pressures cause fluxuations in value for rare and unique pieces. As New Zealand’s premier auctioneer, Webb’s auctions regularly recalibrate values,
placing us at the forefront of market trends. Webb’s valuation criteria comply with industry best practice.
CONTACT: Brian Wood bwood@webbs.co.nz +64 9 524 6804 +64 21 486 948
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IMPORTANT WORKS OF ART TUESDAY 29 MARCH 6:30PM Viewing Wed 23 Mar
Evening Preview 5:30pm - 7:30pm
Thu 24 Mar
9:00am – 5:30pm
Fri 25 Mar
9:00am – 5:30pm
Sat 26 Mar
11:00am – 3:00pm
Sun 27 Mar
11:00am – 3:00pm
Mon 28 Mar
9:00am – 5:30pm
Tue 29 Mar
9:00am – 12:00pm
BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in this Important Works of Art sale. GST (15%) is payable on the buyer’s premium only. LEFT [34] Shane Cotton Which Art in Heaven $90,000 - $150,000
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[1] Saskia Leek The Egg - Egg - Eggman oil and resin on board title inscribed, signed and dated 2000 verso 210mm x 305mm Provenance: Private collection Auckland $1,800 - $2,600
[2] Tony De Latour
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Landscape 3 oil on canvas title inscribed and signed; title inscribed, signed and dated 2000 verso 200mm x 300mm Provenance: Private collection Auckland $1,500 - $2,500
[3] Bill Hammond It’s a Frame of Mind That You’re In. It’s a Frame It’s a Frame It’s a Frame - Linda Lewis pencil on paper title inscribed, signed and dated 1988 190mm x 350mm Provenance: Private collection Auckland $4,500 - $6,500
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[4] Karl Maughan Untitled, Garden Painting oil on canvas 915mm x 110mm Provenance: Private collection Auckland $13,000 - $18,000
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[5] John Pule Restless Spirit a suite of 11 lithographs on paper artist proof title inscribed, signed and dated 2000 760mm x 560mm each Provenance: Private collection Auckland $15,000 - $25,000
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[6] Andy Warhol Joseph Beuys screenprint on lenox museum board, trial proof, unique colour 17/45 signed; Gow Langsford Gallery label affixed verso 1015mm x 810mm Provenance: Private collection Tauranga $13,000 - $18,000
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[7] Pablo Picasso Joueur de Flute et Chevre (AR No. 382) painted and partially glazed earthenware plaque stamped Empreinte Originale de Picasso, Madoura Plein Feu verso. Conceived in 1956 in an edition of 450. diameter 250mm Provenance: Purchased Sotheby’s, London, sale W05711, October 2005, lot 267. Private collection Auckland. $7,500 - $10,000
[8] Henri Matisse Nu Allongè - Nude Lying Down Poesies etching William Weston Gallery label affixed verso 245mm x 325mm Provenance: Private collection Tauranga $4,000 - $6,000
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[9] Max Gimblett Untitled 1998-1999 acrylic polymer, resin and coper leaf on board with gilded copper edges signed and dated 98/99 verso 633mm x 633mm Provenance: Private collection Auckland $14,000 - $18,000
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[10] Brendan Wilkinson The Overloaded Man a suite of nine oil on canvases signed and dated 2000 verso various dimensions; minimum 155mm x 245mm to maximum 190mm x 290mm Provenance: Private collection Auckland $2,800 - $5,000
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[11] Michael Parekowhai The Bosom of Abraham fluorescent light fitting, screenprinted vinyl 1310mm x 220mm x 70mm Provenance: Private collection Auckland Illustrated: Michael Parekowhai. Michael Lett Publishing, 2007. p.31 $7,000 - $9,000
[12] Michael Parekowhai The Bosom of Abraham fluorescent light fitting, screenprinted vinyl 1310mm x 220mm x 70mm Provenance: Private collection Auckland Illustrated: Michael Parekowhai. Michael Lett Publishing, 2007. p.31 $7,000 - $9,000
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[13] Stephen Bambury Area No.2 acrylic on canvas title inscribed, signed and dated Nov 1976 verso 225mm x 330mm Provenance: Private collection Auckland $3,500 - $5,500
[14] Stephen Bambury
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Siena XXXIV 23ct gold and acrylic on 2 aluminium panels title inscribed, signed and dated 1999 verso 170mm x 340mm Provenance: Private collection Tauranga $6,000 - $8,000
[15] Seraphine Pick Untitled oil on canvas signed and dated 2002 355mm x 460mm Provenance: Private collection Dunedin $3,000 - $4,000
[16] Gavin Hurley
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JFK Senior as a Boy acrylic on canvas signed with the artist’s initials GJH and dated ‘05 1350mm x 1000mm Provenance: Private collection Auckland $12,000 - $15,000
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[17] Graham Sydney
Grahame Sydney is celebrated for his
history of art stemming back to the early
Skull egg tempera on gesso on board signed and dated 1980; title inscribed, signed and dated 1980 verso 360mm x 380mm Provenance: purchased directly from the artist, from his Mt Pisa station studio. On loan to the artist 1985 - 1990. Private collection South Island $30,000 - $40,000
quiet compositions that often feature
Northern European Renaissance and the
expansive landscapes punctuated by
development of vanitas paintings that
telegraph poles and lonely signs of
used symbolic items such as skulls and
an absent humanity such as empty
snuffed candles to remind viewers of the
buildings, untended letterboxes and
futility of earthly vanity in the face of
windmills; his work is consistently
inevitable mortality. In Skull, the carcass
completed with a breathtaking
of the burnt, rusted vehicle becomes a
verisimilitude. Sydney’s characteristic
metaphor for the unavoidable passing
attention to the smallest details and his
of time and the transience of beauty and
mimetic brushwork is clearly apparent
material possessions. However, what
in Skull. Each blade of grass, grain
could be a work resounding with despair
of wood in the jumble of planks and
and melancholy is skilfully tempered
corrugation in the wall is individually
by an air of nostalgic romance, elegant
transcribed, combining to produce a
poise and calm stillness that pervades
masterful illusion that belies the two-
the painting.
dimensional nature of the canvas. The discarded skeleton of the front of a vehicle lies rusting and wasting
man-made items that often adorn his
away against the blue-green patina of
canvases in lieu of their creators. As a
a corrugated-iron building. Devoid of
result, paintings such as Skull contain
windows, wheels and with only one
a specificity and familiarity despite
headlight, the vehicle shows only a
the fact that depicted locations, for the
hollow bowl where the engine would
most part, remain unknown to the
have lain, encased in the embrace of its
viewer. Sydney intentionally avoids
protective bonnet. The diagonal slant
busy compositions in favour of a limited
of the corrugated shed offers the viewer
number of objects or an uninterrupted
a glimpse of a brilliant sky and the
landform, wherein each element is
tantalising suggestion of a world beyond
recorded with a high level of exactitude.
that which is depicted in the painting.
This structural choice allows Sydney
Strong, clear sunlight is evidenced by the
to paint with a painstaking fidelity to
segment of blue sky and drifting cloud in
nature and this results in an almost
the top right-hand corner, which carries
palpable three-dimensional quality that
on in the sharp shadows cast by truck
seduces the viewer into an illusionistic
and roof ledge. The painting is bathed
scene, rather than overwhelming them
in a heightened clarity, so that each
with a intricate myriad of commodities
element, whether it be large and central
and their particulars.
such as the vehicle carcass or small and
Juxtaposing polished brushwork
seemingly insignificant such as an iron
with facets of decay and disuse, Sydney’s
nail in the shed, is lavished with the
Skull operates as an elegiac poem that
same level of attention.
whispers of people, time and objects
The title of the painting, Skull, endows
gone past, yet also celebrates a flawless
it with an anthropomorphic aspect and
tranquillity and an amicable solitude, all
highlights an underlying preoccupation
within a deft application of paint.
with the passage of time and mortality.
JEMMA FIELD
In this, the work is connected with a rich
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The sense of a human presence is suggested by Sydney’s incorporation of
IMPORTANT WORKS OF ART 35
[18] Michael Illingworth
Crafted from a rainbow of saturated
blankly into the middle distance. An
Portrait of Eve Figure oil on canvas title inscribed, signed and dated ‘66 verso 500m x 620mm Provenance: Private collection Auckland $60,000 - $70,000
colour and simplified forms, Michael
element of the surreal is found in the
Illingworth’s Portrait of Eve Figure
empty quietude of the painting, which is
clearly bears the influence of
enhanced by a stylised perfection. The
international modernists such as Paul
yolk-yellow sun is pristinely circular
Klee, Joan Miro and Henri Matisse.
and hangs neatly against the azure blue
Illingworth was enchanted by these
of the sky while the flat, rocky backdrop
artists during his time in Britain and
is devoid of plant or animal life. The use
his paintings often show stylistic
of all-over light, unmodulated colours
similarities, although he deftly carved
and sharp outlining may in fact be a
in paint his own unique image of the
response to the clear, bright light of the
world, which is characterised by his
South Pacific that greeted Illingworth
highly stylised figures. When present,
on his arrival to New Zealand in the
Illingworth’s idiosyncratic figures
early 1950s, and that so enchanted his
dominate the composition, facing the
contemporary Pat Hanly.
viewer front-on and staring directly
Illingworth commonly makes little
out of the picture plane. Immediately
or no attempt at spatial recession and, in
recognisable, they comprise a
conjunction with the use of high-keyed
pyramidal body, skinny tubular arms
colour, he succeeds in Portrait of Eve
and an ovoid head which is punctuated
Figure to produce a potent composition
only by a strictly triangular nose and
that demands attention. The only
large circular eyes. It is this character
suggestion of depth comes from the
that Illingworth reincarnates in Portrait
superimposition of the figure over the
of Eve Figure. Somewhat unusually,
mountainous range. The scalloped
however, this particular Eve has been
contours of the craggy outcrop are
gifted a mouth, which she appears to
echoed in a thin ribbon of pale blue that
open as if in greeting – a gesture that
undulates across the top of the canvas.
is given further weight by her raised
These parameters provide an orderly
right arm, which looks as if she could
framing device, within which Eve is
be waving. It is as though Illingworth’s
carefully circumscribed.
conception of the primordial woman is
of Illingworth’s paintings, sometimes
members of humanity. Devoid of sexual
appearing in tandem with Adam in a
overtones, the gourd-like shape of her
rendition of the more traditional and
breasts draws attention to her role as the
popular art-historic subject of The
quintessential life-bearer and, in her
Expulsion. Illingworth’s depiction of
capacity as the biblical ancestor of all
Eden, however, is consistently dramatic
mankind, it is fitting that she be situated
in its sparseness. Presenting the viewer
in an otherworldly utopia.
with a searing vision of a paradise
Painted in 1966, Portrait of Eve Figure
that is soaked in vibrant colours and is
is eerie yet enticing with its flat planes
brightly lit, it remains populated only by
of colour and crisp outlines. Closely
his inimitably stylised figures.
cropped and pressed against the picture
JEMMA FIELD
plane, the mythic Eve-figure stares
36
The figure of Eve graces a number
one who welcomes forth all subsequent
IMPORTANT WORKS OF ART 37
[19] Tony Fomison “Aramoana” (The Threat to Otakau Peninsula) oil on hessian on board title inscribed, signed and dated 1980 verso 440 x 625mm Provenance: Purchased Denis Cohn Gallery, 1980. Acquired by the current owner c. 1990. Private collection Auckland. Exhibited: Denis Cohn Gallery, Auckland, 1980. Fomison. What shall we tell them? City Gallery Wellington, 1994. Catalouge no. 56. Illustrated: Fomison. What shall we tell them? City Gallery Wellington, 1994. p.117. $65,000 - $85,000
smelter, which incited feverish protest
hessian. As is common with many of
throughout New Zealand and inspired a
Fomison’s paintings, the coarse textural
number of artists to voice their objections
fibres of the hessian that he often used
in their work. In this painting, Fomison
are clearly visible through the brushed
employs a muddied palette to delineate
paint. Indeed, this grainy backdrop has
a series of rippling hills punctuated by a
come to function as a hallmark of his
large brooding head and dusky shadows
distinctive style while simultaneously
that all reside under a pale emerald sky.
imparting an additional level of visual
The focus on a specifically South
of Fomison, and clearly apparent
a nostalgic air and sees it continue from
in Aramoana (The Threat to Otakou
the body of work that Fomison began
Peninsula), is the use of found materials
in 1976 which centred, allegorically
to frame his works. Here, the painting is
at least, on Christchurch. During this
embraced by the wooden arms of what
time, Fomison was living and exhibiting
could potentially be a window frame,
in Auckland but his subject matter
cupboard door or perhaps the back
was largely drawn from his childhood
of a chair. Adding a further aspect of
memories of Christchurch. These works
uniqueness to the work, this practise is
saw glimmering Polynesian heads issue
also seen in Fomison’s Self-Portrait from
forth from nondescript backgrounds and
1977 that is currently in the collection of
were crowned with symbolic titles such
the Auckland Art Gallery.
as Ah South Island. Likewise, Aramoana
Residing centre stage, the nebulous
(The Threat to Otakou Peninsula) features a
head in Aramoana (The Threat to Otakou
mysterious looming head that drifts into
Peninsula) contributes a pensive element
the heart of the painting where it pauses,
of foreboding yet also one of peace and
poised as if in deep contemplation with
protection as though, while holding
closed eyes and parted lips. Although
its breath, it probes its surroundings
Fomison provides only a very cursory
for latent threats. Blanketed over the
delineation of the human form, the
middle of the landscape, the blurred,
viewer is nevertheless able to glean
smeary edges of this humanoid form
from the painting that the figure is a
see it literally dissolve into its verdant
Polynesian male. Fomison’s interest in
surround. While amorphous forms are
and appreciation of Polynesian culture
a characteristic feature of Fomison’s
is well known. Polynesian heads and
work and occur regularly throughout his
faces regularly traverse the landscape of
oeuvre, in this painting, the ill-defined
his paintings and in 1979 Fomison was
visage of the central shape, allows it to
The title of Tony Fomison’s 1980
granted the rare privilege for a European
function as a generic ancestral figure,
painting Aramoana (The Threat to
pakeha of receiving pe’a – the traditional
watching over and preserving the
Otakou Peninsula) locates it firmly in
male Samoan tattoo that decorates the
natural world from destruction and
the South Island and specifically in
thighs and buttocks.
despoliation. That this is so evocatively
the environmental protests of the late
38
interest. Similarly idiosyncratic
Island subject imbues the painting with
The compositional structure of
transcribed can be attributed in part
1970s. The settlements of Otakou and
Aramoana (The Threat to Otakou
to Fomison’s skilful handling of the
Aramoana sit near the entrance to
Peninsula) is effortless yet compelling.
brush, in part to his comprehensive
the Otago Harbour on the eastern and
The bulbous head breaks the horizon
understanding of character and
western shores respectively. In the late
line, joining forces with the rolling hills
form, and, most of all, to his power of
1970s, Aramoana was the proposed site
to create a sinuous tripartite diagonal
expression.
for the building of a major aluminium
that swoops across the rough plain of
JEMMA FIELD
IMPORTANT WORKS OF ART 39
[20] Russell Clark
In Russell Clark’s lifetime, his paintings,
cultural roots, as the meeting house in the
Field Workers, Urewera ink, watercolour and wax on paper c.1954. signed; title inscribed and signed verso 390mm x 470mm Provenance: Formerly in the collection of the late Jocelyn Tidswell. Purchased Webb’s, Sale 252, 2003. Private collection Auckland $28,000 - $38,000
drawings and carvings of Maori
background of the Urewera fieldworkers
were among his most highly prized
attests. Their relationship to the land is
works. Clark (1905–66) was living
made concrete by their poses, especially
in Christchurch and teaching at the
that of the reclining figure who is rooted
Canterbury School of Art when he began
to the earth.
this important series of works in 1949. He
of media to achieve the textural and
illustrator for the New Zealand Listener
colouristic effects he wanted. This
and it was as an illustrator for the School
painting is in pen and watercolour with
Bulletin that he travelled to the Urewera
greasy crayon and wax to give the resist
country in 1949 to make studies of Maori
effect found in the costumes where
life for a special issue on Ruatahuna.
it gives an irregular, ragged quality
There, he was greatly taken by the Tuhoe
suggestive of the feel and substance of
people and their relationship to the land;
clothing. This was a popular technique
this led not only to an outstanding set of
for artists at the time and was used by
illustrations but also to an ongoing series
Moore as well as English painters like
of paintings and studies.
John Piper. Clark’s interest in surface
A feature of his imagery is the
texture extended to the frames that he
strength and monumentality he gives
customised himself by splattering them
to his figures, like the fieldworkers,
with gesso to give a mottled finish that
who appear dignified as they go about
he then wiped with paint to complement
their tasks. In achieving this new
the artwork. The retention of the original
dimension in his art, Clark responded
frames gives added authenticity to
to a number of influences, chief among
these excellent examples of his Maori
them the drawings of Henry Moore,
paintings.
one of which he was later to own. As
40
In his paintings, Clark used a variety
had made his popular reputation as an
Clark exhibited a number of these
a sculptor, Moore retained a three-
Maori subjects in a solo show he held at
dimensional quality in his drawings
the Centre Gallery, Wellington, in 1954. It
that have weight and presence, which
is likely that this work, too, was exhibited
Clark echoed in his Maori paintings.
there. The sophisticated handling of the
Clark depicted contemporary Maori
figures in the landscape relates to the
dressed in European clothes not the
major work, The Gathering of 1957,
traditional figures immortalised in
which is held by the Christchurch Art
Goldie’s paintings and in those of his
Gallery. It suggests a date of about 1954
many followers and imitators. They are
for this painting.
rural dwellers still and hold fast to their
MICHAEL DUNN
IMPORTANT WORKS OF ART 41
21
[22] Stephen Bambury [21] Jude Rae SL200 oil on linen title inscribed, signed and dated 2006 verso 470mm x 610mm Provenance: Private collection Auckland $9,000 - $15,000
42
Necessary Correction XV resin and acrylic on two aluminium panels title inscribed, signed and dated 1999 verso 1170mm x 850mm Provenance: Private collection Tauranga $30,000 - $40,000
22
IMPORTANT WORKS OF ART 43
[23] Colin McCahon Light Through a Landscape charcoal and pencil on paper title inscribed, signed and dated Oct. 17. ‘71 445mm x 595mm Provenance: Private collection Tauranga $30,000 - $40,000
44
[24] Max Gimblett The Door That Contains The Night gold leaf on board, acrylic polymer paint on canvas title inscribed, signed, dated 1999 verso Gow Langsford Gallery label affixed verso 380mm x 760mm Provenance: Private collection Tauranga $18,000 - $22,000
IMPORTANT WORKS OF ART 45
[25] Peter RobinsoN
The eight individual pieces that
the use of visual puns and often
A Wee Gem oil on red wool signed and dated ‘94 verso 355mm x 255mm
comprise this suite of works by Peter
controversial painted statements.
Robinson present an array of witty
Whyte Bros Trusted Dealers can be
juxtapositions between image and text
seen to continue on with Robinson’s
that are etched out in a diverse array of
facetious side, where an apparently
textures and a thick, almost palpable
simple painting is host to a seething
application of oil paint. These disparate
hotbed of the potent complexities that
paintings are unified by the regimented
surround gender and racial equality. The
use of a tripartite colour scheme, an
work ostensibly labels the pakeha New
intentionally imperfect, home-made
Zealander as society’s most responsible
aesthetic and a collective concern with
and honest buyer and seller of goods
facets of money, consumerism, financial
on the grounds of skin colour. The
stability and investment. Disbanding
privileged position of the white male
in some instances from the traditional
is further alluded to by the addition
medium of canvas, Robinson adds
of a bowler hat, an item of male dress
black velvet and red wool into the
associated with places and times past
mix, elevating these unconventional
that were the financial and professional
materials into the realm of high art.
playground of a white male elite. The
1994 $700 O.N.O oil on black velvet signed and dated ‘94 verso 300mm x 205mm Red Light Specials oil on canvas signed and dated ‘94 verso 350mm x 255mm Buy Now Risk Free oil on red wool signed and dated ‘94 verso 305mm x 205mm Factory Prices oil on canvas signed and dated ‘94 verso 350mm x 250mm Invest oil on black velvet signed and dated ‘94 verso 300mm x 200mm Whyte Bros Trusted Dealers oil on canvas signed and dated ‘94 verso 300mm x 200mm Free Pipe with Each Purchase oil on black velvet signed and dated ‘94 verso 400mm x 300mm Provenance: Private collection Wellington $38,000 - $48,000
Oil paint has been applied in some
term ‘Bros’ which adroitly plays back
squeezed directly from the tube and, in
into the question of skin colour, being
the works A Wee Gem, Buy Now Risk Free
a term commonly associated with the
and Invest, the words rise up from the
vernacular of Maori or Pacific Islanders.
painted backdrop, reaching an almost
In Robinson’s hands, the question arises
three-dimensional quality. Letters are
of whether or not these times are actually
not evenly spaced or perfectly straight
a past history along with the black
and the accompanying illustrations
Victorian hat, or whether the privileging
are purposefully simple, crude and
of whiteness and maleness continues to
unsophisticated. The words Factory
characterise contemporary society.
Prices coexist with a tall, smoking
Firmly ensconced in the artistic
chimney while Red Light Specials is
realm of witty wordsmiths, Peter
joined by a flashing red light bulb and
Robinson illustrates his dexterous
Invest is neatly attended to by a cursory
ability to compose paintings that are
delineation of a high-rise building. This
visually successful at face value but
somewhat naïve aesthetic belies the
also reward serious contemplation as
potent political undercurrents present
they divulge a multiplicity of potential
in many of the pieces. In the painting
meanings. Along with the variety of
1994 $700 O.N.O., completed in 1994, the
significance that can be sought out in
year itself is offered for sale by Robinson
each of the works is the diversity that
at the cut price of $700 or somewhere
can be achieved in their compositional
in the near vicinity, casting a poignant
arrangement. Each of the eight pieces
comment on the world of consumerism,
can function as a separate stand-alone
where everything can seemingly be
painting due to the strength of their
bought if the price is right.
formal configuration and yet they also
The palette choice of red, white
46
notion of a brotherhood is born out in the
cases in thick solid lines as though
cohere as an agreeable, rational and
and black has come to be somewhat
interrelated collection.
synonymous with Robinson as has
JEMMA FIELD
IMPORTANT WORKS OF ART 47
[26] Don Binney Kotare Over Ratana Church, Te Kao oil on board signed and dated 1963 1200mm x 990mm Provenance: Collection of Dick Scott, Auckland Exhibited: Ikon Fine Arts, Auckland, October 1964; Queen Elizabeth II Arts Council of New Zealand, Commonwealth Institute London, Contemporary New Zealand Painting, 1965, Cat. No. 6; Auckland City Art Gallery, Ten Years of New Zealand Painting in Auckland, 1967, Cat. No. 57; Auckland Art Gallery, Binney, Forty Years On, 28 Feburary - 5 September 2004; Dowse Art Museum, Binney, Forty Years On, September 2003 - January 2004 Illustrated: Herald, Picture of the Week, September 1964; Ikon Fine Arts, Don Binney exhibition catalogue, October 1964, priced at 50 guineas Listener, front cover, December 1968; Heritage Magazine, issue 79, 1973; 40 Modern New Zealand Paintings, Francis Pound, Penguin, 1985, pl. 4; Don Binney, NGA MANU/NGA MOTU -- BIRDS/ISLANDS, Damien Skinner, Auckland University Press, 2003, pl. 12 $200,000 - $300,000 THE PROCEEDS OF THE SALE OF THIS WORK ARE TO BE DONATED TO THE CHRISTCHURCH RELIEF FUND.
Painted when he was in his early twenties, Kotare over Ratana Church, Te Kao, 1964, combines the elements for which Don Binney is best known and acclaimed – a native bird flying above a characteristic New Zealand landscape, in this case with the added interest of a Ratana Church. The painting was first exhibited in Binney’s one-man show at Ikon Fine Arts, Auckland, in October 1964 and reproduced in its catalogue. Priced at 50 guineas, it was to be sold
48
only on condition that it was available for inclusion in Contemporary New Zealand Painting at the Commonwealth Institute, London, the following year. Already it appears that it had been singled out as an exceptional work. It was bought from the show by Dick Scott, journalist and historian, who has kept it in his collection until the present day. In 1989 Don Binney recalled the supportive art environment of the 1960’s when ‘one’s creativity was reinforced by an inquiring, literate and relatively homogeneous art scene. As often as not, a painting would be bought by another teacher, artist or writer as a gesture of collegial support as with Dick Scott’s purchase of Kotare over Ratana Church, Te Kao.’ Binney was then based in Auckland, though he spent ‘as much time as possible’ on the West Coast at Bethell’s Beach, Te Henga. But it was pointed out in the exhibition catalogue that ‘a number of other sources of reference can be found in his work, for Binney and his wife move around the country a great deal.’ Such was the case in this work with its Northland setting. The catalogue text also gives some valuable insights on his ideas: ‘Don Binney’s paintings are indigenous to this country. They do not pretend, in their frequent use of land and bird forms to stress an obvious symbolism of New Zealand – they are not self-consciously New Zealand in any literary sense. They are images, directly stated, of forms familiar to and closely observed by the artist as ingredients of an intimate environment.’ The Ratana Church, however, does have specific New Zealand connotations and meanings, both cultural and historical. With its twin towers inscribed Arepa and Omeka, Maori transliterations of the Greek words Alpha and Omega (beginning and end), and the star and crescent visible above the Arepa turret, symbolic of holiness and enlightenment, it does represent a unique accommodation between Maori, Jewish and Christian spirituality and beliefs. Prominent in the painting is a close-
up view of a kingfisher (kotare) flying over the land and passing in front of the church with its open beak suggesting that it is emitting a cry. The New Zealand kingfisher is a small bird, average size 19-25 cm, noted for its green/blue colouration. It occurs widely throughout the country and adapts to a range of habitats. Binney makes the kingfisher appear large and prominent by presenting it very close to the picture surface, as if viewed through an ornithologist’s binoculars. Cropping it by the picture frame enhances the effect of movement. Because we see the bird from below, the pale colouring of its underbelly takes precedence over the green/blue plumage of its head and upper body. He simplifies the forms of the kingfisher, as he does the Ratana Church and the landscape. The imagery is all connected by a scaffolding of black outlines that links the clearly defined parts rather like the pieces of a stained glass window. While being figurative and accessible to the viewer, Binney’s imagery shows a knowledge of contemporary developments like formal abstraction and perhaps Pop Art. He attends to the shapes, lines and patterns with variations of handling including the use of palette knife and directional brush marks. Everything is ultimately referred back to the picture surface, undiminished by the atmospheric and perspectival effects of earlier realists. It is hard-edge and crisp looking even compared with works by Rita Angus and Christopher Perkins. Kotare over Ratana Church at Te Kao is a pivotal work in the emergence of contemporary New Zealand painting in the early 1960s. It was totally in tune with the taste and theories of the time as represented by the Auckland Art Gallery director Peter Tomory, the influential critic Hamish Keith and enterprising dealers like Don Wood, Rodney Kirk Smith and Barry Lett. Works such as this established Don Binney as a major artist and helped make Auckland the leading art centre of New Zealand. MICHAEL DUNN
IMPORTANT WORKS OF ART 49
[27] Colin McCahon
The years 1975 and 1976 were extremely
games and common to all but one is the
Noughts and Crosses, Series 2, No. 5, 1976 synthetic polymer paint on Steinbach paper on hardboard inscribed V Noughts & Crosses - 2, signed and dated ‘76 1095mm x 725mm Provenance: Kim Wright Collection, Auckland Rachel Power Collection, Auckland (by inheritance) Martin Browne Fine Art, Sydney Private Collection, Sydney Exhibited: Barry Lett Galleries, Colin McCahon: Paintings – Noughts and Crosses, Rocks in the Sky, On The Road, Auckland, 23 August – 3 September 1976, Cat. No 2 (as Noughts And Crosses (second set) with five other works from the same series. Colin McCahon: A Question of Faith, Stedelijk Museum Amsterdam, The Netherlands, 30 August – 10 November 2002, and travelling to the City Gallery, Wellington, New Zealand; Auckland Art Gallery Toi o Tamaki; National Gallery of Victoria, Melbourne and Art Gallery of New South Wales, Sydney, 2002-2004 Illustrated: Colin McCahon: A Question of Faith, M. Bloem and M. Browne, Stedelijk Museum Amsterdam/ Craig Potton Publishing, Nelson, 2002, p. 135, p. 226. Colin McCahon database cm001522.
productive ones for Colin McCahon. A
victory of the crosses. In each case, the
recurring theme in works from this period
cross depicted is the Latin Cross of the
was what McCahon saw as the ‘sacred
Crucifixion rather than an ‘x’. The sole
trust’ laid upon a community to teach its
exception is the upper game of Noughts
young its way of life – notwithstanding
and Crosses 7 (cm001439), the last in ‘the
that life can be unpredictable and difficult.
first set’, in which there is a ‘win’ for both
The three multi-panel Teaching Aids,
the noughts and the crosses – a result
with their variations on the Stations of
impossible in a real game where the first
the Cross number combinations, was
to achieve a complete line wins. But in the
one group that attempted to give a visual
lower game of no. 7, victory returns to the
reading of this issue; the Noughts and
Latin Crosses.
$250,000 - $350,000
Crosses was another. Inspiration for the Noughts and Crosses came to McCahon while he was watching
more ambiguous. Of the five works of the
his daughter Victoria play games of
seven ‘series 2’ paintings illustrated on
noughts and crosses with her young
the Colin McCahon Database and Image
sons. In their discarded scraps of paper
Library (www.mccahon.co.nz/browse/
covered in completed games, McCahon
series/1511) only no. 3 repeats the victory
found a rich metaphor for the universal
of the Latin Crosses that distinguished
‘game’ of life. For in life, as in noughts and
‘the first series’. Instead, in nos 4 and 5
crosses, each individual must play within
(the work offered here), the games are
a given set of rules, the choices made and
inconclusive – reflecting the more usual
chances taken determining what follows
state of human existence – while in no.
thereafter.
6 the victory of the crosses is rendered
Exploring the striking visual
with a line of bold black ‘x’s rather than
possibilities offered by the layout of the
the Latin Crosses used earlier. The
game, the artist produced a series of taut
ambiguity of whether this is really a
and unambiguous paintings in which
victory is emphasized by the drama of
this simple children’s game became
these inky black crosses placed over a
a diagram of life and death. Now the
background dense with smoke from a
crosses represented both a positive and
fiery hell. Finally, in no. 7, the last painting
affirmative act and, through the metaphor
of the 14, the hope offered by the Latin
of the Crucifixion, the promise of
Cross has been extinguished; the crosses
redemption. As well as the ‘x’ traditionally
here appear in black against a black
used as the ‘cross’ in the game, in these
background while victory lies with the
paintings McCahon employs the shape of
noughts.
the Latin Cross – ‘T’ – the Cross of Christ’s
Despite such an apparently bleak and
Crucifixion. By contrast, the noughts
nihilistic finale, there is no doubting the
here threaten the possibility of the abyss:
power of McCahon’s Noughts and Crosses
a primordial void from which there is no
paintings. Nowhere is the artist’s genius
hope of escape.
for taking simple ideas based on everyday
The overall series known as Noughts
50
In ‘series 2’, the imagery is reduced to single games and their results become
life and developing them into compelling
and Crosses comprises 14 paintings (again
visual renderings of universal truths
a reference to the 14 Stations of the Cross)
better illustrated than in these paintings
and is divided into two sets of seven,
– and Noughts and Crosses, series 2, no. 5 is
known as ‘the first set’ and ‘series 2’. Each
one of the group’s finest.
of ‘the first set’ depicts two completed
MARTIN BROWNE
IMPORTANT WORKS OF ART 51
[28] Dick Frizzell Small Plane Over an Ocean acrylic on canvas title inscribed, signed and dated 5/9/2002; original gallery label affixed verso 1800mm x 1800mm Provenance: Private collection Auckland $30,000 - $40,000
52
[29] Colin McCahon Help, Necessary Protection pastel and pencil on paper inscribed help, signed, dated Easter ‘73 and inscribed small bird flys in for heavens Protection at Muriwai I reach for my crayon and pick up a dead insect. 230mm x 305mm Provenance: Private collection Auckland $28,000 - $32,000
IMPORTANT WORKS OF ART 53
[30] Colin McCahon
The female nude, one of the classic
in wash and gouache, a French Bay
Nude oil on paper on board title inscribed, signed and dated 1955 762mm x 562mm Provenance: Private collection Auckland. Illustrated: Colin McCahon database cm000252 Colin McCahon: The Titirangi Years, 19531959, Peter Simpson, p.99 Auckland University Press 2007 $300,000 - $400,000
themes of Western art but uncommon
Bather in charcoal, and several curious
within New Zealand art (Pat Hanly being
wash studies of young kauri trees
a notable exception), is rare within Colin
which weirdly metamorphose into
McCahon’s work but far from being
female nudes.
unprecedented. In fact, his 1955 Nude
However, the 1955 Nude– his most
could be seen as the culmination of a
ambitious, fully developed example of
significant strain within his early work.
the genre – is unique in several respects:
There were several previous periods
it is painted in oils (like the two works
during which the nude briefly became a
painted in Christchurch in 1952);
subject of some importance to McCahon.
the nude figure is facing to the right
His first group of nude studies dates from
rather than the left as in almost all his
1942 and consists of about half a dozen
other nudes; and the figure is placed
drawings in pen and ink, some with
in an ambiguous indoor/outdoor space
crayon, which appear to be studies of his
rather than outdoors – she is seated on
wife Anne in various Nelson settings
a divan and is shown reading a book
such as Ruby Bay and the Motueka
held in her right hand while her left
River in the year of their marriage. A
hand rests against her cheek. The body
second set of pen-and-ink drawings was
is bulky and monumental, somewhat
exhibited in the 1943 Group Show in
reminiscent of nudes by Picasso and
Christchurch as Bathers Nos 1, 2, 3 and 4.
Braque in the 1920s. Most unusual of
The title Bathers inevitably calls up the
all is the treatment of the background
example of Cézanne, whose work was
which is divided up by diagonal faceting
studied intensively by McCahon at
somewhat similar to the treatment of
the time.
the sky in some of the Towards Auckland,
The motif of the nude figure re-
preceding year. McCahon used this
1950s as the period of figurative religious
device adapted from Cubism to avoid
paintings– which had dominated
an overly ‘descriptive’ approach. As
the period 1947–52 – was drawing to
he told Ron O’Reilly, “I found a grid
a close (one of the last, a mother and
of diagonals helped hold the image on
child, daringly places Jesus between
the paper and freed the imagination
Mary’s naked breasts). In 1952, he
to let the image expand” (quoted in
exhibited a nude in oils at the Group
Simpson, Colin McCahon: The Titirangi
Show (a painting now known as Bather).
Years 1953–1959, 2007, p.32). In Nude
Also from 1952 is Venus and Cupid
there is a subtle interplay between the
(after Raphael), another seated nude,
diagonals of the faceted background
similarly facing left and with the left
sky (if that’s what it is), the curves of the
arm extended. Both nudes are placed in
body and divan, and the lines and angles
outdoor settings.
formed by the disposition of arms, legs,
After McCahon’s move to Auckland in
54
Manukau and Kauri paintings of the
emerged in McCahon’s work in the early
nose and breasts, making for a strong,
1953, nudes turned up very occasionally
richly coloured and well-integrated
in his work for a few years, though the
composition – the successful culmination
1955 Nude was to be the last. In 1954,
of more than a decade of experiment.
there was a voluptuous Homage to Ingres
PETER SIMPSON
IMPORTANT WORKS OF ART 55
[31] Colin McCahon
Visually arresting with its simplistic
following the trail laid by a thin line of
Throw Out the Lifeline from The Red Ones series synthetic polymer paint on Steinbach laid onto canvas title inscribed, signed and dated ‘76 1905mm x 725mm Provenance: Private collection Auckland. Illustrated: Recent works by Colin McCahon, Peter McLeavey Gallery, Wellington, 17 August - 3 September 1976, Cat. No. 3 Colin McCahon database reference cm000331 $130,000 - $180,000
compositional structure and dramatic
black paint. This slender black string
use of red on black, Colin McCahon’s
cuts diagonally through the sunburnt
painting Throw Out the Lifeline from
sky, coils itself around the top of the
1976 resonates with a sumptuous
vertical red bar and then reappears
interior glow. The work is one of three
at its base where it continues with its
that McCahon completed that year,
downward trajectory, bisecting the
which are bound together by the use
horizontal plane of stippled brushwork.
of rectangular forms and a restricted
through a metaphysical landscape filled
Simply titled The Red Ones, these
with gloomy, shadowed pockets that
works are hauntingly beautiful in the
are tempered by patches of chromatic
distillation and reduction of formal
luminosity. In McCahon’s hands, this
elements and in McCahon’s skilful
landscape and the relationships that
application of red hues so that they
he weaves between light and dark, red
come to possess a soft refulgence. The
and black acquire a spiritual dimension
dominance of rectangular shapes in
being symbolic of a heavenly light that
these paintings anticipates some of
has the potential to alleviate darkness.
the formalist concerns that McCahon
Here, his shades of red exhibit a
continued in his series Angels and Bed,
celestial facet as they shimmer and
which he began later that year.
pulsate against the Stygian ground.
Roughly divided into three segments,
The title of the piece is evocative
the compositional arrangement of
of rescue, saviours, liberation and
Throw Out the Lifeline is evocative of
freedom. It is also suggestive of faith,
sky, land and sea. A coruscate sky
the power of belief and the saving
blazes in the top portion of the painting,
grace that can be solicited by some
its radiant colours reflected in the
from (their own) personal religiosity.
collection of red and black dabs of
As such, the painting traverses the
paint that march across the base of the
liminal space between McCahon’s own
painting in an evocation of light beams
spiritual journey and the key concerns
glimmering and dancing across the
of religious conviction, doubt and the
surface of water. A sunless landscape
nature of faith that dominate his oeuvre.
occupies the middle section of the
In a way, in Throw Out the Lifeline,
work, presenting a silent impermeable
McCahon is calling attention to the
black void. Lying against this dolorous
existential struggle of humanity and the
backdrop, a burnished, red, vertical
recurrent need of people to be rescued
band floats and bobs just below the
from a myriad of situations, physical,
horizon line. The brushwork here is thin
emotional and spiritual. In this,
and raked so that a variety of delicate
McCahon is fulfilling the art-historical
tonalities is visible, producing an oblong
role of the artist as prophet: as one who
that is mesmeric in its lambency. This
attempts to comprehend and transcribe
stands in congenial relation to the vivid,
metaphysical truths for the viewer to
unmodulated, coppery field above.
experience and contemplate.
The viewer is encouraged to move
JEMMA FIELD
and progress through the painting,
56
Throw Out the Lifeline offers a journey
palette comprising black and red tones.
IMPORTANT WORKS OF ART 57
[32] Rohan Wealleans
Cold Comfort was first exhibited in
one that hangs in the centre of Cold
Cold Comfort acrylic, polystyrene, fibreglass and board title inscribed; signed and dated 2006 verso 1800mm x 1210mm x 360mm Provenance: Private collection Auckland $20,000 - $30,000
Prospect, the Wellington City Gallery’s
Comfort, have become a recurring
2007 survey of emerging artistic
motif in Wealleans’ work. Similarly,
talent. While the work was made only
in more recent years, Wealleans
three years after Rohan Wealleans
has gone on to make works (such as
left Elam with his master’s degree, it
those completed during his tenure
was produced following a period of
at the McCahon residency in French
significant activity in which he won
Bay) that almost present themselves
the Waikato National Contemporary
as cave paintings. While European
Art Award, held his first solo museum
modernists of the 20th century openly
show and exhibited at the gallery of
acknowledged their use of tribal
leading Australian art dealer, Roslyn
artefacts, the practice was fraught
Oxley. This painting is a crowning
with an uneven power relationship.
achievement from the early part of
Rather than recognise the makers
Wealleans’ career.
of these artefacts as contemporaries,
Wealleans’ work is heavily informed
same way that one would discuss the
artist’s own words, “everything feeds
benefits of a particular still-life prop.
off itself”.1 He works almost exclusively
By deconstructing painted surfaces
in layered house paint using additional
and reassembling them into primitive
materials such as wood, fibreglass
forms, Wealleans is disarming a long,
and polystyrene only as structural
established history. He has neutralised
supports. All of his works are created
an oppressive power relationship by
by contorting the paint film in a unique
reversing its criteria.
and viscerally aware manner. In Cold
The strength of Wealleans’ work lies
Comfort we see areas where the surface
in its simplicity. He is not an alchemist.
of the paint has been whittled away to
He does not deal in mysterious
expose hidden layers as well as areas
techniques, nor does he hide behind a
where angular, jewel-like chunks of
complex rationale. Every single decision
paint have been cut out and added to
is on display. Whilst his works are built
the surface of the work. Like many of
around a sound rationale, on the surface
Weallean’s early works, Cold Comfort
they present themselves as elaborate
contains areas where he has carved
stream-of-consciousness narratives.
right through the paint, inadvertently
There has been much said about the
revealing the backing board. Such
apparently sexual nature of Wealleans’
foibles demonstrate the artist’s
work. The mounds and craters in Cold
inexhaustible devotion to exploring
Comfort could be seen as bodily forms,
every facet of his material. Rather than
yet they could just as easily be read as
setting out simply to construct illusory
something else. By asking us to assign
surfaces, Wealleans is constantly in
our own significance to androgynous
search of new discoveries.
forms, Wealleans is inadvertently
Wealleans’ work serves to critique
asking us to expose our own
the development of European
predispositions, carnal or otherwise.
modernism. From Cubism to Dada,
CHARLES NINOW
wholesale appropriation of primitive art forms was stock-in-trade.2 Strings of beaded paint chunks, like the
58
they spoke of their influence in the
by the process of its own making. In the
¹ Brennan, Stella. “Disciple of the Pearl,” Eyeline Summer 2007/8. ² Ibid.
IMPORTANT WORKS OF ART 59
[33] Robin White
Robin White has always endeavoured
identical images of felled tree stumps
Tui Tui ink on two polypropylene supports both pieces signed and dated verso 725mm x 1625mm each Provenance: Private collection Wellington Exhibited Peter Mcleavey Gallery, 2005 $45,000 - $65,000
to paint real situations. Rather than
assembled in a pyramid formation.
making images that are recordings of
Magpies were introduced to New
reality, she paints the world as she sees
Zealand in the 1980s to control pastoral
it. On first impression, Tui Tui is a stark
insect pests and have since become pests
departure from White’s iconic work of
in their own right. The felled tree stumps
the 1970s. Painted on two large pieces
refer to the deforestation that began in
of polypropylene and emblazoned with
New Zealand with Maori settlement and
angular spray-painted lettering, the work
accelerated rapidly with colonisation.
resembles a protest banner promoting
serve as omens: for threats from external
same way that she has used dominant
forces and threats from within. Against
landscape features in her earlier work,
a backdrop of empty national symbols,
White has utilised carefully constructed
the spray-painted waiata passage reads
patterns to give the work contextual
as a call to arms. The long phrase crosses
grounding. Rather than use motifs that
the divide between the two extremes
relate to a specific part of society, White
pictured in the work suggesting that
has employed national symbols that have
rather than condemn the effects of
become almost meaningless through
colonisation, the artist is casting a dark
their constant repetition; one area is
shadow on bipartisan sentiment. In
carefully decorated with silver ferns
Tui Tui, White suggests that our post-
while, elsewhere, the repeated letters NZ
colonial national identity cannot be
form a geometric pattern.
defined by old yardsticks; in her mind,
The text scrawled across the width of the work reads Whakarongo ake au – Ki te tangi a te manu, which means
terms such as the oppressor and the oppressed no longer hold any currency. White was born in New Zealand.
I listen, where up high – a bird flies.
Her father had Maori lineage while
The passage is taken from a traditional
her mother was the descendant of
waiata that uses the imagery of birds
European settlers from the Bay of
singing together as a metaphor for unity.
Plenty. Throughout her career, White
Below this passage, the word Tui is
supplemented her income by teaching
systematically repeated five times.
art at high schools. Not only did this
Both panels share a very similar
60
Both the magpies and the tree stumps
both change and civil unrest. In the
expose her to facets of society to which
compositional structure. White has
she would not have otherwise had access,
included a depiction of the Tararua
it also allowed her to observe the effects
mountain range along the top of the right
of social policies of the time firsthand.
panel while the same area on the left
Rather than making work that is
panel is practically bare, containing only
intentionally political, White has always
six small stars; thus the two sides of the
demonstrated a remarkable aptitude for
work are framed as diametric opposites:
making art that reflects the challenges,
day and night. In a similar vein, the right
values and aspirations of the people
panel contains four identical images of a
around her.
magpie while the left panel features six
CHARLES NINOW
IMPORTANT WORKS OF ART 61
[34] Shane Cotton
In this seminal work from 1997, Shane
as if they are pierced into the surface of
Which Art in Heaven oil on canvas signed; title inscribed, signed and dated 1997 verso 1825mm x 1515mm Provenance: Private collection Wellington $90,000 - $150,000
Cotton presents us with a barren, post-
the canvas. During 1991, the Resource
apocalyptic landscape. The diluted
Management Act was passed into law,
scumbling on the foreground dictates
bringing with it a litany of changes to
that the earth has been scoured by
the way in which we were allowed to
fire and the radiantly pigmented sky
modify our environment. The Resource
postulates that the event will forever
Management Act regulates access to
colour the way in which we see this
natural, physical resources such as
particular landscape. Cotton has
land, water and air. The expressed aim
positioned a land mass in the middle
of the Act was to institute sustainable
of the image; however, it does not
management of these resources in
extend beyond the edges of the canvas
order to ensure that they were not
suggesting that the only thing beyond
irreversibly depleted. The Act was
the picture plane is a bleak horizon line.
widely derided by Maori who felt that it
Cotton has infused this image with
did not adequately cater for their needs.
various passages of text. In some areas,
At a time when there was very little
the letter forms sit clearly above the
Maori representation in Government,
image while in other areas they recede
the Resource Management Act imposed
back into the surface of the painting. In
uninvited regulations on tangata
an almost rhythmic manner, the text
whenua.
flows in and out of coherence. Some
Our father which art in heaven is
of the letters form Maori or English
inscribed in the top left-hand corner of
words while others do not appear to be
the canvas; it is an excerpt from The
part of any established language; in
Lord’s Prayer, a cornerstone of the
some cases, different letter forms and
Christian heritage. When New Zealand
words are merged together. In order
was colonised, many Maori converted
to deduce any meaning from the text,
to Christianity; in many circumstances,
one must isolate small portions and
they were lured with the promise of
consider them separately. The various
financial assistance for community
linguistic elements contained within
projects such as building marae.
the text refer to concrete imagery such
However, this funding called on Maori
as the earth and the sky, as well as to
to change their traditions somewhat;
abstract concepts such as ownership and
any marae built with the assistance of
violence.
the church was forbidden to contain
As if to imply that words can be
carving and instead was left bare. Ever
deceptive by their very nature, there are
since New Zealand was colonised,
four numbers inscribed in the luminous
Maori have had to make significant
area of the sky just above the horizon
compromises under the banner of
line which carry more significance
progress. Rather than being a lament for
than any other piece of text in this
lost traditions, Which Art in Heaven calls
painting. Amidst the haze of insinuated
for equilibrium. While the landscape is
meaning, Cotton has carefully painted
bare now, it is inevitable that the fields
the numbers 1991 so that they appear
will thrive once again. CHARLES NINOW
62
IMPORTANT WORKS OF ART 63
[35] Max Gimblett
Max Gimblett’s career as a professional
simple: one or two vertical bars that
Crimson / Red oil on canvas title inscribed, signed and dated 1981, inscribed Hang 8”10’’ from floor; original Gow Langsford Gallery labels affixed verso 1775mm x 1270mm Provenance: Private collection Tauranga Exhibited: Auckland Art Gallery, 1983. Seven Painters / The Eighties: The Politics of Abstraction. Illustrated: Seven Painters / The Eighties: The Politics of Abstraction, Wystan Curnow. Art New Zealand No. 28, 1983. p.38 $30,000 - $40,000
artist can be broadly divided into
were usually positioned symmetrically
two periods that are separated by
in a large square or rectangular space.
one distinct turning point. Just over
These works were always limited
a decade after he held his first solo
to two contrasting colours and, like
exhibition at Dave Hickey’s A Clean
Crimson/Red, they were accompanied
Well-Lighted Place in Austin, Texas,
by formulaic titles that declared this
Gimblett chose to cease his painting
relationship to be the subject of the work.
practice for a two-year period from
Furthermore, these works were quite
1982–83. Gimblett has referred to these
large and Gimblett usually inscribed
years as ‘a mid-life transformation’.1
the height at which each work was to
While it could be said that the central
be hung on the back of the stretcher,
concerns of Gimblett’s practice have
hinting that their proximity to the body
been consistent throughout his career,
was of importance (the suitable height
the artist used this period to broaden his
for Crimson/Red is between 8 and 10
frame of reference. Crimson/Red was
inches from the ground).
painted shortly before this self-imposed
in the series in that its scale is physically
important because for the three years
imposing; however, in terms of
preceding Gimblett’s return to painting,
colouration, it is a significant departure.
he unilaterally dedicated his attention
At a distance, the difference between the
to working on his newly developed,
two colours is barely distinguishable.
quatrefoil-shaped canvases.
While Gimblett used drawing to develop
When speaking of his caligraphic
his interest in spiritual and religious
abstraction, Gimblett uses the phrase
motifs during the period in which he
all mind/no mind to describe his
ceased painting, these early reductive
methodology; when his brush touches
works demonstrate that metaphysical
the paper, he does not think about his
concerns have always been at the heart
actions whatsoever, he simply executes
of his practice; even though they appear
marks as they flow through his body. At
to be focused on colour relationships,
the time of Crimson/Red’s making, his
the contrast between the two colours is
process was similarly anthropocentric
of more importance than the specific
in that he began painting at the top right-
qualities of the colours themselves. By
hand corner of a given area and moved
narrowing his constraints in Crimson/
through to the bottom left. 2 Thus, rather
Red, Gimblett sought to give a literal,
than using his hand to knowingly depict
physical form to a presence that
form, Gimblett allowed form to emerge
previously could only be felt in his work.
from his brush marks in an almost
CHARLES NINOW
residual manner.
¹ Barrie, Lita, “Iconic Abstraction.” Artspace,
Crimson/Red belongs to a series of works in which Gimblett was actively engaged in the politics of reductive modernism. Their imagery was very
64
Crimson/Red is like the other works
hiatus. Its timing is particularly
September/October 1992. p.47. ² Lee Thompson, Mary, “Max Gimblett: Paintings on Canvas and Paper.” Max Gimblett: Paintings on Canvas and Paper. San Francisco: Modernism, 1980. p.20–29.
IMPORTANT WORKS OF ART 65
66
[36] Peter Siddell
[37] Stephen Bambury
[38] Richard Killeen
Governor’s Rock, Karekare acrylic on canvas signed and dated 1985; original gallery label affixed verso 1240mm x 940mm Provenance: Private collection Auckland $45,000 - $65,000
The Darkness Lends the Paintings Death rust and acrylic on two aluminium panels title inscribed, signed and dated 2002 390mm x 780mm Provenance: Private collection Tauranga $12,000 - $18,000
Untitled oil on sand on enamel base signed and dated 77; signed, dated 1977 and inscribed No. 2737 verso 580mm x 580mm $20,000 - $30,000
IMPORTANT WORKS OF ART 67
[39] Colin McCahon
From the series Numerals One to Five
2 from the Numerals One to Five series ink on paper signed and dated 1959 760mm x 550mm Provenance: Private collection Auckland Exhibited: Gallery 91, Christchurch, October 1959, Paintings by Colin McCahon, November 1958-August 1959, Cat No 5 (as one of five) Illustrated: Colin McCahon database reference cm001381. $75,000 - $95,000
that Colin McCahon completed in
In comparison to the works
1959, 2 offers a coherent combination
comprising the preceding two series,
of abstract, roughly brushed strokes
the paintings from Numerals One
and figurative signs. Along with the
to Five are loose and spontaneous
other paintings in the series, 2 presents
and also feature a slight rotation or
the viewer with both the numeric and
distortion of the number, which works
the alphabetic versions of a number,
to reduce the legibility of the signs
which are joined together through a
while heightening the conceptual
cloudy morass of inky splatters, strokes,
potential of the composition. Thus, the
dribbles and dabs that warble and
ostensibly abstract forms of 2 can be
weave down the paper. It is testament
seen to contain evocations of landscape
both to McCahon’s artistic talent and
and humanoid elements. The thick,
to the strength of his exploration of the
black outline of the numeral appears
facets of human existence and religious
to enclose a mountainous structure,
belief that such a seemingly simple
separating it from the ominous murky
composition as that which makes up 2
black that descends from the heavens.
can yield such a wealth of visual and
Or perhaps it is a bowed head, fervently
metaphysical experience.
praying with closed eyes.
The series Numerals One to Five is the
68
viewer as a complete environment.
Executed in a monochromatic palette,
last of three that McCahon completed
the work is visually arresting. The
in the investigation of the symbolic
trace of McCahon’s hand is preserved in
potential of numeric values in the
the flurry of strokes that are scrawled
late 1950s. His first series from 1958
across the surface of the paper and,
featured only the numeral forms of
true to form, he has adeptly reached
the numbers one to three, which were
a harmony between abstract mark-
coloured in muted tones of reds, yellows,
making and recognisable figurative
earthy browns and pale blue and were
elements. In relation to the boldly dark
accompanied by geometric blocks of
lettering and serpentine numeral, the
colour. McCahon’s subsequent two
white expanse of untouched paper
series saw him add the spelt word of the
speaks of purity, of beginnings and of
corresponding numeral to each work
a celestial light that has the ability to
and eschew all chromatic possibilities in
penetrate and illuminate. Indeed, 2
favour of the sombre eloquence of black
virtually pulsates with depth of feeling
and white. The gestural qualities of the
and testifies to McCahon’s constant
last series are the most pronounced, as
yearning for knowledge and the
though McCahon had finally managed
understanding of the fundamentals of
to eliminate any compositional
faith, belief and spiritual conviction.
preconceptions and allow himself to be
The piece is a veritable masterpiece in
taken up in the moment. McCahon later
the distillation and communication of
returned to the theme of numbers in
mystical truths and evidences an artist
either numeric or alphabetic form in the
who was consistently able to imbue his
late 1960s and 1970s when he produced
works with an alluring type of prophetic
a number of large-scale panels, some
poignancy.
of which were intended to embrace the
JEMMA FIELD
IMPORTANT WORKS OF ART 69
[40] Jeffrey Harris
Executed with an intentional naïvety,
admonishing sobriety of a religious
Adoration of Christ oil on board signed with artist’s initials J H and dated ‘72; title inscribed, signed and dated Jan 1972 1215mm x 1215mm $40,000 - $50,000
Jeffrey Harris’ Adoration of Christ
subject, Harris employs a bright, almost
presents the viewer with what is
gaudy, palette and arbitrary colour while
ostensibly an art-historical and religious
eschewing traditional tools of pictorial
parody. The title immediately suggests a
construction such as atmospheric or
work of religious veneration and brings
linear perspective, scale and proportion.
to mind time-honoured depictions of
Instead, Harris flattens the picture
the baby Jesus being adored by either
plane and lets his brushwork visibly
shepherds or kings. Instead of the three
scurry across the surface of the painting,
magi, however, Harris offers a small,
drawing attention to its two-dimensional
crowded room peopled by Jesus and
physicality. Rather than merely avoiding
four male figures. Two are clothed in
conventional illusionistic methods,
unremarkable contemporary dress while
Harris employs a number of them in
the other two appear to be naked and
order to seemingly highlight and subvert
Jesus has been wrapped in a loin cloth.
them. The use of a window opening onto
There is no eye contact between the three
a landscape view is an established way
seated figures who stare transfixed into
to open up a painting and provide deep
the middle distance; none of the figures
spatial recession. In Adoration of Christ,
engages with the viewer either so that
however, Harris’ use of a window with
one is left surveying a scene that is akin
a landscape view adds to the frenetic
to that witnessed on a stage. Adding to
pace of the painting by the distorted
the feel of a surreal tableau are the two
perspective and patchwork of colour.
disembodied hands (potentially the
is his extensive knowledge of, and open
the top of the painting towards the Christ
admiration for, art history that see him
figure as though to end his suffering by
utilising national and international
plucking him from the tangible world
works for inspiration and formal
and whisking him away into the safe
elements. In this, Adoration of Christ is no
haven of the celestial realm. An aspect
different. The tree-lined road satirically
that reinforces the notion of Christ’s
comments on the common structural
suffering is the subtle trickle of blood
device of one-point perspective while
that drips onto the white sheet from his
simultaneously paying homage to works
truncated right arm. As if in response to
in which it is a key feature such as Rita
Christ’s imminent departure, one of the
Angus’ painting Fog, Hawke’s Bay (1966–
men reaches out his arms in supplication;
68) and The Avenue at Middelharnis
his brow is furrowed and his expression
(1689) by the Dutch seventeenth-century
is one of concern and distress.
landscape painter Meindert Hobbema.
Harris ruptures the possible severity
70
A celebrated feature of Harris’ work
hands of God), which extend down from
The surrounding landscape in Harris’
of the subject by the inclusion of three
Adoration of Christ is painted in cross-
women outside the window who remain
hatched horizontal sections recalling
oblivious to events unfolding inside and
Vincent van Gogh’s series of wheat fields
stand around idly chatting. This light-
as well as the flat, compartmentalised
heartedness is also seen in the comic
landscapes of William Sutton and
small, red arrow that traverses the space
Rita Angus. Harris’s amalgamation of
between Christ and the standing man,
these reconfigured elements creates
cueing the audience to read a reciprocal
a postmodern masterpiece that is
gaze between the two figures. To further
supremely unique.
distance the painting from the potential
JEMMA FIELD
IMPORTANT WORKS OF ART 71
[41] Ralph Hotere
Lo Negro Sobre Lo Oro belongs to a series
his decision to work behind glass in the
Lo Negro Sobre Lo Oro gold leaf and mixed media on glass in original wooden villa window frame title inscribed, signed and dated ‘92 990mm x 455mm Provenance: Private collection Auckland Illustrated: Hotere, Kristelle Baker and Vincent O’Sullivan, Ron Sang Publications, 2008 p.285 $90,000 - $120,000
of works that was started in 1991, all
Lo Negro Sobre Lo Oro works positions
of which share exactly the same title.
them as a significant departure from his
The title translates to Black over the
previous work where glossy surfaces
Gold and it has been suggested that the
were deeply integrated into the painting
works were strongly influenced by the
process. The glass surfaces of the Lo
Roman Catholic decorative art that
Negro Sobre Lo Oro works, serve to
Hotere saw during his time in Spain.1
separate the works from the outside
While the work at hand features easily
world. The reflective presence of the
recognisable crucifix forms, the series
glass insists that the viewer is not only
as a whole is considered to be a retreat
confronted with the content provided by
from Hotere’s politically motivated
the artist but also with a mirror image
work of the 1980s.
of themselves and their immediate
The Lo Negro Sobre Lo Oro works are typified by a refined use of common
While these works are not protest
materials: gold leaf, black lacquer, glass
paintings, they were not painted with
and window frames. While the works
purely formal motivations either. In
contain gestural markings that are
the Lo Negro Sobre Lo Oro works, we see
clearly informed by the skill set that
a subversive Hotere working through
Hotere developed whilst working on
a set of adopted aesthetic parameters
stainless steel, they also demonstrate
in order to further a dialogue. In this
a formal understanding that is
iteration of Lo Negro Sobre Lo Oro,
reminiscent of his work of the 1960s.
we see Hotere paring back the lush
In the Lo Negro Sobre Lo Oro works,
veneer of the Catholic Church in order
Hotere uses gold leaf in a manner that
to raise questions about its historic
is in stark contrast to the way in which
accumulation of wealth. However, it
he saw it used in Spanish cathedrals.
could also be said that by confronting
Traditionally, gold leaf is used to gild or
the viewer with the innately personal
entirely cover surfaces, as if to suggest
experience of observing one’s own
that they are made from gold. In the Lo
reflection, he extends the work’s
Negro Sobre Lo Oro works, he has taken
mandate to question the role of
individual sheets of gold leaf and used
organised religion in our everyday lives.
them as ready-mades; rather than deny
Beneath the work’s cold glass surface,
its presence, he has used the sheet’s
the undeniably hand-made, human feel
square shape as a structural device.
of the gold leaf cross and drawn crucifix
Glossy finishes have had a recurring
suggests that, for Hotere, organised
presence in Hotere’s practice. In order
religion still has potential to perform a
to highlight the sparse surface qualities
meaningful social function.
of his linear abstraction of the 1970s,
CHARLES NINOW
Hotere embraced the use of lacquers. In his previously mentioned work of the 1980s, he burnished and cut away from stainless steal surfaces. However,
72
physical environment.
¹ Mane-Wheoke, Jonathan. “The Black Light Paradox: The Sumptuous Austerity of Ralph Hotere’s Art,” Art New Zealand Autumn 2001.
IMPORTANT WORKS OF ART 73
[42] Callum Innes
In 1995, Innes was a finalist in
as a Fontana cut, nor as regular as
Two Identified Forms oil on canvas title inscribed and dated verso 400mm x 620mm Provenance: Private collection Tauranga $10,000 - $15,000
the Turner Prize, the following
a Newman zip, but they share an
year winning the NatWest Prize
essentialist quality and a clarity of
for paintings and then, in quick
gesture that is compelling.
succession, the Jerwood Prize for
of a significant survey exhibition
a complex series of works, driven by
curated for the Fruitmarket Gallery
an intensely focused studio practice
in Edinburgh which later travelled
– this quality set Innes’ practice aside
to the Museum of Contemporary Art
from a generation of young British
in Sydney. Titled From Memory, the
artists whose profiles were as much
exhibition included works from the
determined by social manoeuvring as
major series that have formed the
by the work produced.
basis of Innes’ rigorous and nuanced
At the moment that Innes’ profile began to grow, he had already begun
74
In 2007, Innes was the subject
painting. These awards recognised
practice. His work is collected throughout the
to make Exposed Paintings, the series
world and significant examples are
that dominates his practice thus far,
held by museums such as Tate Modern,
but he had previously produced a
London, Scottish National Gallery of
small body of paintings variously titled
Modern Art, Edinburgh, Irish Museum
Identified Forms. In each, a dark ‘almost
of Modern Art, Dublin, Kunsthalle
black’ surface has lean and attenuated
Bern, Kunsthaus Zurich, Guggenheim
vertical fissures made through the
Museum, New York City, National
erasure of pigment. These carefully
Gallery of Australia, Canberra, and
determined marks suggest an organic
Auckland Art Gallery Toi o Tāmaki.
rupture in the surface, not as intrusive
EMMA FOX
IMPORTANT WORKS OF ART 75
[43] Ralph Hotere The Wind II burnished steel and acrylic on board, in Roger Hicken driftwood frame, title inscribed, signed and dated ‘83 and inscribed Bill Manhire, Port Chalmers; signed with initials RH to frame and stamped verso 890mm x 810mm Provenance: Private collection Auckland Illustrated: Hotere, Kristelle Baker and Vincent O’Sullivan, Ron Sang Publications, 2008 p.222 $75,000 - $95,000 The collaborations between the
as it was 25-plus years ago, it retains its
words as you move before the work seem
country’s pre-eminent artist Ralph
original Roger Hickin driftwood frame
to call up the wind of its opening line: to
Hotere and one of its leading poets, Bill
with his initials inscribed into the top
activate growing shadows in ways that
Manhire, are some of the most enriching
edge, and his stamp verso.
seem, all at once, to encourage and then
in New Zealand’s cultural landscape.
refuse a lover’s touch, collapse and then
Hotere’s work has long been regarded
properties of the polished steel in a
extend the distance between the two
as occupying a unique place in our
way that delights both in the physical
people in the poem – as if the promised
recent art history, with its profoundly
properties available to him and in
yet denied proximity hinted at here is
moving combination of complete affinity
the moving, enlivened surfaces that
akin to some vertiginous moment of a
to the land, sombre beauty, emotional
result. His use of an oxyactetylene
lovers’ encounter. Is this a reconciliation
intensity, personal integrity and political
torch to mark out a strong, cruciform
or a separation: a coming together or an
address. His use of hitherto unexpected
composition establishes a stable
estrangement conveyed by the strange,
materials, steel, iron or salvaged window
structure to the work that strengthens
haunting question of the speaker and the
frames, has granted his work both
the activating fire-mark in the upper left
change observed in the air?
clarity of expression because of their
quadrant (like a finger or comet of heat)
modesty and lyrical freedom by virtue
as well as the almost playful peeling
Janet Paul remarked that Hotere’s
of the expressive leaps he achieves
back of the steel to reveal a scarlet
achievement in the Baby Iron works was
with them. Similarly, Manhire’s poetry
second ground in the lower right. It also
“an animating way to free the gesture
reflects and enables new and affecting
adds a strong, though subtle, degree of
with a poetic chemistry, allowing the
ways of encountering the world, often
colour variation to the shiny surface
flame to augment his marks and engage
quietly painful and often from the most
of the metal that softens the reflective
our spirit”. Such a description of the
prosaic of circumstances. The Wind II
surface: humanises it somehow.
gestural and textual affect is entirely
sits within what is perhaps the most
76
In The Wind II, Hotere explores the
That invigorated surface then
The publisher, painter and writer
appropriate for this exquisite and
extraordinary and most intellectually
becomes the lively ground for the
moving example of Hotere’s work from
and emotionally expansive period of
burnishing tool: Hotere transcribing
such a significant and compelling suite.
Hotere’s oeuvre: from the mid-1970s
one of Manhire’s texts that turns up
DR PETER SHAND
to the mid-1980s. First shown (as Baby
on different occasions in his work –
Iron No.3) in the Baby Iron exhibition at
whether in a Song Cycle banner of 1976
Janne Land Gallery in Wellington in
or a stainless-steel screen from 1987.
October 1983 then at RKS Art Auckland
There’s a finely poised confluence
in December of the same year, it is one
between the text of this poem and the
of the more lyrical and to some extent
manner of its realisation. The shift of
mysterious of the 11 pieces that appeared
the dullness and reflection of the surface
in that showing. As fresh and beautiful
and the appearing and disappearing of
Janet Paul: Ralph Hotere’s Baby Iron, Art New Zealand 29, Summer 1983/84, pp. 22–23. Refer also: Kriselle Baker and Vincent O’Sullivan, Hotere, Ron Sang Publications, 2008; Gregory O’Brien Some Paintings I Am Frequently Asked About: Talking with Bill Manhire about Ralph Hotere, Landfall 191, March 1996, pp. 21–33; Gregory O’Brien, Hotere: Out the Black Window, Godwit, 1997.
IMPORTANT WORKS OF ART 77
[44] Don Binney
Between 1967 and ’68, Don Binney
course of the 20th century, certain
Mexico D.F. acrylic on canvas title inscribed, signed and dated MarzoAbril 1968 2000mm x 1500mm Provenance: Private Collection, Canada Purchased by the current owner from Barry Lett Gallery 1969 $80,000 - $120,000
travelled extensively throughout
areas sank as far as nine metres into
Central America and Mexico with
the ground. The dwellings are depicted
the aid of a Queen Elizabeth II Arts
using very simple, geometric features.
Council travel fellowship. Binney was
Two of the structures are adorned by
in his mid-twenties at the time. His
boldly coloured logos. The Jarritos logo
expressed aim was to examine animal
featured on the left-hand side of the row
and bird imagery in pre-Colombian art;
belongs to a popular brand of Mexican
however, he was also interested in how
soft drink while the PRI logo on the
a tri-cultural population such as that of
right belongs to the political party that
Mexico might resonate with a person
was in power during Binney’s time in
such as himself.
Mexico.
While the work’s setting is almost
suggests its subject matter was not the
as part of the title give some clue to
result of chance discovery. It is no mere
its contextual lineage. The letters –
coincidence that this work is based on
DF– are an abbreviation of the phrase
an area that holds symbolic significance
Distrito Federal. Mexico’s constitution
to the people of Mexico: an area that is,
established Mexico City as a territory
quite literally, legislated as the heart of
that is not a part of any one state; rather,
the country. While the mountainous
it belongs to the federation of states as a
form and sinking ground are derived
whole. As such, Mexico City is referred
from existing environmental
to as the Federal District or Distrito
conditions, they can also be seen to
Federal.
refer to wider-reaching civil problems
Even at a young age, Binney exhibited
78
The highly edited nature of the work
indistinguishable, the initials included
that were imminent while Binney was
an implicit understanding of the
in Mexico. At the time when this work
environmental conditions affecting
was painted, almost half of Mexico’s
his given subject. While much of this
population was living below the poverty
painting has been crafted using flat
line. Binney’s flat, two-dimensional
planes of colour, the mountainous form
depiction of the dwellings makes them
is rendered in a manner that lends it an
appear almost as if they form a line of
imposing, almost three-dimensional
placards. While they do not feature
depth. Furthermore, the line that
slogans or pointed messages, their
separates the ground and sky is subtly
ability to stand without any apparent
concaved for narrative effect. Mexico
structural support serves as an indelible
City is surrounded by a volcanic belt
testament to the willpower of their
and is situated on top of a clay lake
inhabitants to strive through adversity.
bed that is rapidly collapsing; over the
CHARLES NINOW
IMPORTANT WORKS OF ART 79
[45] Bill Hammond Ancestral K acrylic on canvas title inscribed, signed and dated 2005 850mm x 850mm Provenance: Private collection South Island $45,000 - $65,000
80
[46] Shane Cotton Melanin Face acrylic on canvas title inscribed, signed with initials, dated 2005 and inscribed (Nga Karu); title inscribed, signed and dated 2005 verso 1400mm x 1400mm Provenance: Private collection Auckland $45,000 - $65,000
IMPORTANT WORKS OF ART 81
[47] Robert Ellis Rakaumangamanga oil on canvas title inscribed, signed and dated 1988 1820mm x 1670mm Provenance: Private collection Auckland. $20,000 - $30,000
82
[48] Milan Mrkusich Abstract oil on board signed and dated 1960 850mm x 530mm Provenance: Private collection Auckland $25,000 - $35,000
IMPORTANT WORKS OF ART 83
[49] Shane Cotton Kawakawa Pattern acrylic on canvas title inscribed, signed and dated 2003; title inscribed, signed and dated 2003 verso 710mm x 1064mm Provenance: Private collection Wellington $18,000 - $25,000
84
[50] Tony Fomison Night and Day oil on canvasboard title inscribed, signed and inscribed Lincoln St/Wanganui Ave Grey Lynn verso, dated June 1988 - 1989 verso 365mm x 740mm Provenance: Private collection Auckland $28,000 - $35,000 Tony Fomison completed Night and Day during the final two years of his life. The work depicts two faces, both of which are obscured to varying degrees. The most easily recognisable face, on the right of the image, is shrouded so that only its eyes are visible. The second face is subsumed in the black area on the left. Fomison delineated its presence by subtly dulling the paint’s sheen in a ghostlike oval shape. As such, it can only be seen when light hits the work from a certain angle.
IMPORTANT WORKS OF ART 85
[51] Stephen Bambury Surfaces will be Smooth and Bright (Primary) acrylic polymer and acrylic on aluminium title inscribed, signed and dated 1990 verso 1250mm x 1250mm Provenance: Private collection Tauranga $30,000 - $40,000
86
[52] Shane Cotton Folding Space Painting from the Blackout Movement series acrylic on canvas title inscribed; signed and dated 2001 and inscribed Mamuku verso 500mm x 700mm Provenance: Private collection Auckland $23,000 - $28,000
IMPORTANT WORKS OF ART 87
[53] John Reynolds Untitled oil and mixed media on two panels title inscribed, signed and dated 1994 verso 1980mm x 1620mm Provenance: Private collection Auckland $7,000 - $10,000
88
[54] Richard Killeen Coming and Going oil on board, 1972 signed; original artists label affixed verso 1225mm x 990mm Provenance: Private collection Auckland $9,000 - $15,000
IMPORTANT WORKS OF ART 89
[55] Toss Woollaston Landscape oil on board signed 585mm x 750mm Provenance: Private collection Auckland $15,000 - $20,000
90
[56] Don Peebles Accord 4 acrylic and cord on canvas title inscribed, signed and dated 1998 verso 2020mm x 2635mm Studies for Accord pencil and watercolour on paper titles inscribed Accord 4, Study, Studies towards Ptgs and Studies. signed and dated 97, ‘98, ‘98 and 1998 210mm x 295mm (4) Provenance: Private collection Tauranga $20,000 - $30,000
IMPORTANT WORKS OF ART 91
[57] John Weeks Patterned Landscape oil on board signed; title inscribed and dated 1950 verso 380mm x 475mm Provenance: Private collection Auckland $15,000 - $20,000
[58] Charles Tole Newmarket oil on board signed and dated ‘44 260mm x 305mm Provenance: Private collection Auckland $7,500 - $9,500
57
58
92
[59] Gordon Walters II collage on paper title inscribed, signed and dated ‘73; framing record attached verso 185mm x 145mm Provenance: Private collection Auckland $4,000 - $6,000
[60] Simon Kaan Untitled, Composition with Waka acrylic on board signed and dated 2003 1550mm x 1550mm Provenance: Private collection Auckland $12,000 - $18,000
[61] Nigel Brown In Praise of Old Places acrylic on board title incribed, signed and dated ‘86; title inscribed, signed, dated and inscribed Auckland verso 1185mm x 890mm Provenance: Private collection Auckland $9,000 - $12,000
59
60
61
IMPORTANT WORKS OF ART 93
62
63
94
66
64
65 [62] Martin Popplewell
[64] Garth Tapper
[66] Tony Fomison
Napier Hill From Te Awanga oil on canvasboard 605mm x 875mm Provenance: Private collection Tauranga $8,000 - $10,000
Peter Reid in Manets’s Cafè oil on canvas signed; title inscribed and signed verso 470mm x 570mm $7,500 - $8,000
[63] Alfred Sharpe
[65] Joanna Braithwaite
Pelorus Sounds watercolour title inscribed, signed and dated 188? (date obscured by mount) and inscribed NZ 280mm x 630mm $18,000 - $25,000
Moon Watch oil on canvas title inscribed; signed and dated 2003 840mm x 1065mm $9,000 - $12,000
Maori Face oil on board signed with monogram and dated 11/01/63 850mm x 430mm Provenance: Private collection Auckland. $8,000 - $10,000
IMPORTANT WORKS OF ART 95
[67] Rueben Patterson Sometimes I Fantasise glitter dust on canvas title inscribed, signed and dated 2003 on stretcher 760mm x 760mm Provenance: Private collection Auckland Exhibited: 12 - 31 July 2003 Milford Gallery, Dunedin. Cat No. 6. $7,000 - $9,000
[68] Jenny Dolezel Applause oil on canvas title inscribed, signed and dated 2003 655mm x 760mm Provenance: Private collection Auckland $8,000 - $10,000
[69] Mark Cross 67
68
69
96
The Earth acrylic on board signed; title inscribed and dated May ‘94 verso 690mm x 1200mm Provenance: Private collection Auckland $9,000 - $12,000
71 70 [70] Terry Stringer In Dad’s Shoes bronze, 3/3 signed and dated 1996 335mm x 140mm x 110mm Provenance: Private collection Auckland $4,500 - $6,500
[71] Seung Yul Oh Untitled acrylic on metal plate signed and dated ‘04 790mm x 990mm Provenance: Private collection Auckland $5,500 - $7,500
[72] Alan Maddox Lozenge (Blue) oil on canvas title inscribed, signed and dated 97/98 verso 610mm x 610mm Provenance: Private collection Auckland $6,000 - $9,000
72
IMPORTANT WORKS OF ART 97
[73] Eugenea Tea Ceremony acrylic on canvas 740mm x 590mm Provenance: Private collection Auckland Purchased International Art Centre, Parnell $15,000 - $18,000
98
[74] Salavador Dali Poisson Malebranche green and clear glass sculpture by Daum, in two pieces, 84/150 cast ergmatine ‘Dali’ and marked Daum, Made in France, 84/150 430mm x115mm x 180mm Provenance: Private collection Auckland Accompanied by a certificate of Authenticity $4,000 - $6,000
[75] Karl Maughan Riccarton Road oil on canvas title inscribed, signed and dated 15/09/08 verso 915mm x 915mm $10,000 - $15,000
75
[76] Ralph Hotere Figure Drawing ink on paper signed and dated ‘70 345mm x 415mm Provenance: Private collection Dunedin $5,000 - $7,000
[77] Joel Fisher Ninety Degrees (Staches) plaster, gesso and pigments on wood 450mm x 380mm x 210mm Provenance: Private collection Tauranga $6,000 - $8,000
74
76
77
IMPORTANT WORKS OF ART 99
ANTIQUES & MODERN DESIGN THURSDAY 31 MARCH 6:00PM Published in this catalogue is an overview of the highlights of the Decorative Art & Modern Design section of the sale, providing just a taste of the broader offering. A catalogue with full descriptions of all lots included in the sale will be available free of charge at viewing and online from March 22.
PLEASE NOTE Absentee and phone bids must be registered before 12:00pm on Thursday 31 March This sale will be preceded by an uncatalogued Collectables sale at 4:00pm. Both sales are fully illustrated online at webbs.co.nz.
Viewing Wed 23 Mar
Evening Preview 5:30pm - 7:30pm
Thu 24 Mar
9:00am – 5:30pm
Fri 25 Mar
9:00am – 5:30pm
Sat 26 Mar
11:00am – 3:00pm
Sun 27 Mar
11:00am – 3:00pm
Mon 28 Mar
9:00am – 5:30pm
Tue 29 Mar
9:00am – 5.30pm
Wed 30 Mar
9:00am – 5.30pm
Thur 31 Mar
9:00am – 12.00pm
BUYER’S PREMIUM [303] A Large Early 20th Century Ernemann II 35mm Movie Projector $1,500 - $2,500
A buyer’s premium of 15% will be charged on all items in this Important Works of Art sale. GST (15%) is payable on the buyer’s premium only.
MISCELLANEOUS [100] A Pair of Mounted Reindeer Horns $200 - $400
[101] A Pair of Mounted Deer Horns $200 - $400
[102] A Pair of Mounted Moose Horns
[133] An Early 20th Century Small Portrait Miniature
$200 - $400
$150 - $250
[118] A Cased Lens in Brass
[134] An European Painted Oval Portrait Miniature
$50 - $100
[119] A Black Homberg $30 - $50
$600 - $800
[120] An Early Cased Photograph
[103] A Massive Taxidermy Moose Head
[121] A 19th Century Ship Photograph
$200 - $300
$3,000 - 5,000
$100 - $150
[104] A Late 19th Century Cased Inlaid New Zealand Woods Speciman Box
[122] A Portrait Miniature
$500 - $800
[105] A Victorian Fruit Set $150 - $200
[106] An 18th Century Dutch Brass Oval Tobacco Box $200 - $300
[107] A WW11 Flying Helmet and Goggles $200 - $300
[108] A WW11 Lemon Squeezer Hat $100 - $200
[109] A Union Jack Flag $70 - $100
[110] A Gentleman’s Cane
[138] A Georgian Painted Portrait Oval Miniature
[124] A Portrait Miniature $80 - $120
$200 - $300
[125] A Portrait Miniature
[139] A Small Victorian Oval Hand Painted Miniature
$100 - $150
[126] A Portrait Miniature $50 - $100
[127] A Pair of Miniature Paintings $150 - $250
[128] A Late 18th Century Portrait Miniature $150 - $250
[112] A Top Hat $80 - $120
$150 - $250
[113] A Riding Whip
[131] A 19th Century Oval Portrait Miniature
$200 - $300
[116] A Victorian Officer’s Sword $200 - $300
$200 - $300
$50 - $100
[130] An Early 19th Century Portrait Silhouette
[115] A George V Officer’s Sword
[136] An Early 19th Century Oval Portrait Miniature
$200 - $300
$150 - $250
$70 - $100
$200 - $300
[123] A Portrait Miniature
[111] A Gentleman’s Walking Stick
[114] A Walking Stick
[135] An Early 19th Century Painted Portrait Miniature
[137] A Victorian Hand Painted Porcelain Oval Miniature
$100 - $200
$100 - $200
$300 - $400
$50 - $100
[129] An Early 19th Century Portrait Miniature
$100 - $200
102
[117] Two 1916 War Office Maps of France
$300 - $400
[140] A Victorian Oval Painted Portrait Miniature $200 - $350
[141] An Edwardian Portrait Painted Miniature $200 - $300
[142] A Victorian Hand Painted Oval Portrait on Porcelain $350 - $450
[143] A Victorian Brooch $80 - $120
[144] A 1940’s Cased Sextant $900 - $1,200
$150 - $250
[145] A 19th Century Oak Cased Sextant
[132] An Early 19th Century Painted Miniature of General Sir George Madden
[146] A Large Japanese Naval ‘Saura’ Compass
$300 - $400
$1,000 - $1,400
$600 - $800
103
149
318
ANTIQUES OCEANIC & MODERN & AFRICAN DESIGN ART 103
[147] A Scratch Built Wooden Pond Yacht
[163] An Impressive Silver Plate Tea Tray
[179] A Cased Pair of Georgian Sterling Silver Berry Spoons
$200 - $400
$300 - $500
$300 - $500
[148] A Victorian Railway Campanion
[164] A Miniature Sterling Silver Tea Table
GLASS
$150 - $220
[149] A Rare Early 19th Century Mahogany Doctor’s Travelling Medicine Cabinet
$200 - $300
[165] An Impressive Sterling Silver Punch Bowl
$2,000 - $2,500
$3,000 - $5,000
[150] A Late Victorian Gentleman’s Smoking Cabinet
[166] A Sterling Silver Miniature Sauce Boat
$200 - $300
[181] Two Flashed Jugs $80 - $120
[182] A Pair of Decanters
$1,000 - $1,500
$50 - $100
$150 - $250
[151] A Circular Wall Mounted Brass Barometer
[167] A Sterling Silver Mounted Letter Opener
[183] A Glass Floral Engraved Decanter
$200 - $400
$70 - $100
[184] A Pair of Faceted Glass Tankards
[152] A Victorian Carpet Bowl
[168] A Sterling Silver Bar Brooch
$80 - $120
$40 - $60
$50 - $80
[153] A Greenstone Letter Opener
[185] A Pair of Red Flashed Water Decanters
$200 - $300
[169] A Cased Art Deco Sri Lankan Silver Tea Service
[154] A Pair of 19th Century Pewter Plates
$3,000 - $4,000
[186] A Cranberry Glass Jug
[170] A Sterling Silver Pin Box
$40 - $60
$150 - $250
$250 - $350
[187] Two Bristol Blue Flasks
[155] A Bronze Chamberstick
[171] A Sterling Silver Salver
$150 - $250
$40 - $60
$600 - $900
[188] A Bristol Blue Decanter
[156] A Shagreen Powder Compact
[172] A Sterling Silver Cigarette Case
$150 - $250
$80 - $150
$40 - $60
[189] A Bristol Blue Rummer
[157] A Victorian Giltmetal Purse
[173] A Georgian Sterling Silver Caddy Spoon
$120 - $180
$50 - $100
[158] A Mid 19th Century Chatelaine $200 - $400
[159] A Tortoiseshell Case $250 - $350
[160] A Large Victorian Copper Measure Jug $120 - $150
SILVER AND SILVER PLATE [161] A Silver Dressing Table Set $100 - $200
[162] An Art Deco Period Dressing Table Set $100 - $200
$60 - $80
[174] Eight William IV Sterling Silver Teaspoons $100 - $150
[175] A Pair of Sheffield Plate Coasters $100 - $150
[176] A Sterling Silver Four Piece Condiment Set $60 - $90
[177] A Large Georgian Old English Pattern Serving Spoon $150 - $180
[178] An American Birks Silver Queens Pattern Cutlery Set $1,200 - $1,800
104
[180] A Victorian Double Ended Scent Bottle
$60 - $90
$60 - $80
[190] A Pair of Over Sized Rummers $100 - $200
[191] A Bristol Blue Mug $100 - $150
[192] A Small Glass Jug $20 - $40
[193] A Harlequin Set of Six Place Card Holders $80 - $150
[194] A Harlequin Set of Six Glasses $70 - $100
[195] Two Venetian Glass Fish $50 - $100
[196] A Murano Glass Stylised Bird $80 - $120
252
221
236
382 253
381
233
254
220
225
228
229
[197] A Venetian Glass Duck $40 - $60
[198] A Murano Glass Duck $100 - $150
[199] A Venetian Glass Latticino Jug $150 - $250
[200] Four Venetian Glass Liqueur Glasses $60 - $80
[201] A Small Venetian Glass Flask and Stopper $30 - $50
[202] A Venetian Glass Dish $60 - $90
[203] Two Small Murano Glass Flasks $40 - $60
[204] A Murano Multi Coloured Glass Mask $30 - $50
[205] A Small Venetian Glass Bowl $30 - $50
[206] Six Small Venetian Glass Vases $80 - $120
[207] Six Small Venetian Glass Vases
PORCELIAN AND POTTERY [214] A Large Royal Dux Watermaid Figure $200 - $400
[215] A Large Royal Dux Sheherazade Figure
[231] An Antique Teabowl
$30 - $50
[211] A Green and Gold Murano Glass Scent Flask $50 - $80
[212] A Venetian Glass Rooster
$40 - $60
[217] A Len Castle Vase
[232] A Decorative Pair of Cockerel and Hen
$120 - $180
[218] A 1970’s Len Castle Circular Stoneware Flask Vase
$120 - $180
[233] A Large Pair of Porcelain Parrots
$100 - $200
$200 - $300
[219] A 1970’s Len Castle Stoneware Bottle Vase in Hanging Form
[234] A Staffordshire Toby Jug
$200 - $500
[220] A Large Barry Brickell Fat Bodied Salt Glazed Lidded Crock $2,000 - $3,000
[221] A Denis O’Conner Fat Bodied Stoneware Bowl $200 - $300
[223] A Briar Gardner Pottery Trough Vase $200 - $300
[224] A Pair of Briar Gardner Baluster Vases $250 - $350
[225] A Briar Gardner Attributed Cat Teapot $400 - $600
[226] A Luke Adams Framed Panel of Miniature Bricks and Tiles
$80 - $150
$100 - $200
[213] A Set of High Quality Gilded Glasses and Bowls
[227] A Crown Lynn New Zealand Flora and Fauna Relief Wall Plate
$300 - $400
$150 - $250
$200 - $300
$80 - $120
[210] A Venetian Blue and Gold Glass Fish
$100 - $200
[216] Five Late Victorian Belleek Coffee Cups and Saucers
[208] A Finely Blown Glass Jug
$50 - $80
[229] A Pair of Staffordshire Sheep [230] Four Royal Doulton Demi-Tasse Cups and Saucers
$80 - $120
[209] Ten Hand Blown Green Glass Liqueur Glasses
$400 - $700
$800 - $1,200
[222] A Denis O’Conner Wood Fired Stoneware Vase
$150 - $200
[228] A Vintage Villeroy and Boch ‘Acapulco’ Dinner Service
$400 - $600
$100 - $150
[235] A Tin Glazed Toby Jug $50 - $100
[236] A Porcelain Rooster Shaped Teapot $200 - $400
[237] A Pair of Porcelain Figures $100 - $200
[238] A Ceramic Revolving Table Stand $150 - $250
[239] A Large Dutch Gouda Pottery Charger $300 - $400
[240] A Victorian Parianware Style Figure Group $300 - $500
[241] A Large Victorian Staffordshire Pottery Meat Plate $250 - $350
[242] A Pair of Keith Murray Wedgwood Etruria Silver Lustre Mugs $80 - $120
ORIENTAL [243] A Pair of Large Covered Oriental Export Jars $600 - $900
106
310
304
305
311
307
306
309
[244] A Large Chinese Blue and White Porcelain Plate
[260] A Large Chinese Blue and White Baluster Vase
$200 - $400
$400 - $600
[245] A Famille Vert Baluster Vase
[261] A Chinese Carved Horn
$80 - $150
$200 - $400
[246] A Fine Kutani Jar and Cover
[262] A Chinese Carved Stone Tablet
$400 - $600
$200 - $300
[247] Three Chinese Ching Boxwood God Figures
[263] A Small Famille Verte Plate
$150 - $200
$100 - $200
[276] A Chinese Red Ink Calligraphy Tablet $700 - $900
AFRICAN [277] A Fine African Baule Statue $800 - $1,200
[278] An African Bobo Mask $200 - $400
[279] An African Baule Mask
[248] An Exportware Coffee Can
[264] A Well Decorated Famille Rose Plate
$40 - $60
$150 - $250
[280] An African Idoma Mask
[249] A Bronze Foo Dog Incense Burner
[265] A Chinese Cylindrical Decorative Vase
[281] An African Bete Mask
$200 - $400 $300 - $600
$500 - $800
$200 - $300
$300 - $600
[250] An Oriental Bronze Vase
[266] A Chinese Blue and White Dragon Bowl
[282] A Superb African Bete Mask
$150 - $200
[251] A Bone and Bamboo Mahjong Set
$100 - $150
[267] A Chinese Squat Tea Glazed Vase
$200 - $300
$200 - $300
[252] An Impressive Exportware Bowl
[268] A Blue and White Oriental Vessel
$1,000 - $1,500
$180 - $250
[253] An Impressive Oriental Cloisonne Charger
[269] A Carved Hand Painted Wood and Gesso Seated Buddha
$1,800 - $2,500
$300 - $500
[254] An Oriental Cloisonne Charger
[270] A Carved Hand Painted Wood and Gesso Seated Buddha
$600 - $1,000
[255] A Pair of Oriental Cloisonne Table Lamps $800 - $1,200
[256] A Late 19th Century Japanese Satsuma Pottery Vase $300 - $500
[257] A Blue Lotus Decorated Exportware Plate
$300 - $500
[271] A Chinese Eight Fold Lacquer Screen $400 - $600
[272] A Late 19th Century Chinese Celadon Glaze Dish $50 - $100
[273] A Samll Burmese Bronze Buddha
$1,000 - $2,000
[283] A Rare African Ligbi Mask $300 - $600
[284] A Cameroon Buffalo Mask $300 - $600
[285] A Superb African Mossi Mask $1,000 - $2,000
[286] An African Bronze Tikar Mask $600 - $800
[287] An African Senufo Firespitter Mask $600 - $800
[288] An African Guinea Mask $300 - $500
[289] An African Bobo Mask $1,000 - $2,000
FURNITURE, CLOCKS, PAINTINGS AND RELIGIOUS
$50 - $100
$50 - $100
[290] A Chrome Floor Arc Lamp
[258] An Oriental Bronze Jardinere/ Incense Burner
[274] A Pair of Qing Dynasty Small Bowls
$300 - $500
$400 - $600
$1,000 - $1,500
[259] A Large Chinese Crackle Glaze Vase
[275] An Export Style Oval Blue and White Plate
$800 - $1,200
$200 - $300
[291] A Pair of Pierre Vandel Black Anodised Side Tables $400 - $500
[292] A Contemporary Swedish Standing Anglepoise Lamp $250 - $400
108
169
379
362
367 373
368 165
377
302
369
378
374
[293] A Contemporary Swedish Standing Anglepoise Lamp $250 - $400
[294] A Magnus Olesen Danish Circular Table $800 - $1,200
[295] An Omann Jun Danish Rosewood Furniture Suite $2,000 - $3,000
[296] A Vintage Danish Rosewood Sideboard $1,800 - $2,200
[297] A Vintage Danish Figured Rosewood Coffee Table $600 - $900
[298] A Large Vintage Danish Teak Shelving Unit $500 - $800
[299] A Vintage Danish Rosewood Wall Mirror $200 - $400
[300] A Vintage Danish Rosewood Wall Mirror
$5,000 - $6,000
[308] A ‘Museo Ollo’ Wall Shelf by Alessandro Mendini for Studio Achilmia $1,000 - $1,200
[309] A ‘Museo Ollo’ Wall Shelf by Alessandro Mendini for Studio Achilmia $1,000 - $1,200
[322] A Victorian Mahogany Sofa Table $800 - $1,000
[323] A 19th Century Mahogany Apprentice Chest $500 - $800
[324] A 19th Century Blade Back Chair $100 - $200
[311] An Eileen Grey ‘Brick’ Four Panel Screen
[326] An Unusual 20th Century Shaped Chair
$8,000 - $10,000
$150 - $250
[312] A Philippe Starck White Leather Armchair
[327] A Pair of Victorian Button Back Chairs
$2,000 - $3,000
$800 - $1,000
[313] A Vintage Rosewood Office Desk
[328] A 19th Century Fruitwood Spinning Wheel
$150 - $250
$150 - $250
[302] A Jaegar Le Coultre ‘Atmos’ Mantel Clock
[315] A Pair of Vintage Teak Nesting Tables
$1,200 - $1,600
$150 - $250
[303] A Large Early 20th Century Ernemann II 35mm Movie Projector
[316] An Unusual European Carved Fruitwood Stool
$1,500 - $2,500
$800 - $1,200
[304] A ‘Museo Ollo’ Table and Four Chairs by Alessandro Mendini for Studio Achilmia
[317] A Georgian Mahogany Secretaire Bookcase
$5,000 - $6,000
$100 - $200
$150 - $250
[314] A Pair of Vintage Teak Nesting Tables
[306] A ‘Museo Ollo’ Pillar Cabinet by Alessandro Mendini for Studio Achilmia
[321] A Mahogany Cheval Mirror
$1,800 - $2,200
[301] An Art Deco Chrome and Glass Tea Trolley
$5,000 - $6,000
$600 - $800
[325] An Edwardian Beech Three Fold Screen
$200 - $400
[305] A ‘Museo Ollo’ Pillar Cabinet by Alessandro Mendini for Studio Achilmia
[320] A Set of Six Victorian Walnut Balloon Back Chairs
[310] A ‘Museo Ollo’ Three Panel Screen by Alessandro Mendini for Studio Achilmia
$2,000 - $2,500
$3,500 - $4,500
110
[307] A ‘Museo Ollo’ Pillar Cabinet by Alessandro Mendini for Studio Achilmia
$8,000 - $12,000
[318] An Impressive 19th Century French Automaton by Henry Phalibois $20,000 - $25,000
[319] A Pair of Rush Seated Fruitwood Stools $200 - $400
$200 - $300
[329] A Foldover Demi-Lune Mahogany Tea Table $1,200 - $1,800
[330] A Superb 19th Century Foldover Card Table $1,200 - $1,800
[331] A Miniature Mahogany Tilt Top Table $200 - $300
[332] A Bentwood Coat Rack and Umbrella Stand $400 - $600
[333] A Bentwood Counter Chair $80 - $120
[334] A Victorian Walnut Circular Footstool $80 - $120
[335] An Oak Barrel Side Table $180 - $250
281
282
286
285
371
289
249
366
365
ANTIQUES IMPORTANT & MODERN WORKS DESIGN OF ART 111
[336] A Pair of Oak Barrel Side Tables $250 - $400
[337] A Pair of Oak Barrel Side Tables $250 - $400
[338] An Oak Barrel Side Table $180 - $250
[339] An Art Deco Period Table Lamp $250 - $350
[340] A Harelquin Set of Eight Fruitwood Dining Chairs $2,000 - $3,000
[341] An Early 20th Century Oak Dining Table $500 - $1,000
[342] An Oval Victorian Walnut Footstool $80 - $120
[343] A Pair of Chapman Taylor Peg Stools $150 - $250
[344] A Chapman Taylor Peg Stool $50 - $100
[345] A Set of Chapman Taylor Wall Shelves $80 - $120
[346] A Pair of Black Forest Corner Shelves $200 - $300
[347] A Wall Mounted Hand Knotted Small Rug $80 - $150
[348] An Early Sepia Tint North African Framed Photograph
$600 - $800
[354] A Pair of Decorative French Square Cast Iron Planters
[368] An Ebony and Wood Crucifix
$500 - $700
[355] A 19th Century French Cast Iron Planter $150 - $250
[356] A Pair of Late 19th Century Bronze Candlesticks $120 - $180
[357] A Pair of French Rococo Style Giltmetal Candlesticks $350 - $500
[358] A Pair of Old Brass Glass Drop Chandelier Lights $1,200 - $1,500
[359] An Early 19th Century Mahogany Wall Clock $500 - $700
[360] A Queen Anne Style Bracket Clock $400 - $600
[361] A German Walnut Spring Driven Regulator Wall Clock $400 - $600
[362] An Impressive French Bronze Ormolu Mantel Clock
[370] A Green Bronze Patinated Terracotta ‘Head of Christ’ Sculpture $800 - $1,200
[371] A French Bronze ‘Head of Christ’ Sculpture $2,000 - $2,500
[372] A Carved Wooden Figure of Christ $400 - $600
[373] A French Three Piece Silvered Metal Altar Set $400 - $600
[374] An Ornate French Louis Style Brass Stationary Box $2,000 - $2,500
[375] A Pair of Large Patinated Bronze Classical Figure Lamps $1,000 - $1,500
[376] A Pair of Rococo Style Silvered Candlesticks $80 - $120
[378] A French Silver Metal Crucifix
$800 - $1,200
[365] A French Painted and Gilt Terracotta Lioness Figure
$400 - $600
$1,000 - $1,200
[351] A Small Elm Stool
[366] A Stylised Art Deco French Bronze Lioness Sculpture
$120 - $180
$600 - $900
[363] A Decorative French Mantel Clock
$800 - $1,200
[352] A Rustic Pine Cutlery Rack
[369] An Ebony and Wood Crucifix
[377] A French Silver Metal Crucifix
[349] A Pair of Cushions
$120 - $180
$600 - $900
$1800 - $2,200
[364] A Pair of Decorative Brass Five Light Candelabra
[350] A Scandinavian Pine Settle
[367] A French Bronze Patinated Crucifix
$100 - $200
$100 - $150 $50 - $100
112
[353] An Old Burmantofs Faience Jardinere Stand
$800 - $1,200
$250 - $450 $250 - $450
[379] A 19th Century French Three Piece Clock Garniture $2,500 - $3,500
[380] An Antique Cast Plaster Cherub $150 - $250
[381] A 19th Century Persian Qajar Iron Helmet $250 - $400
[382] A 19th Century Persian Qajar Circular Shield $500 - $700
392
408
317
THE ENTIRE PROCEEDS FROM LOT 408 WILL BE DONATED TO THE CHRISTCHURCH EARTHQUAKE APPEAL AT THE VENDORS REQUEST. IN MEMORY OF TOM. ANTIQUES OCEANIC & MODERN & AFRICAN DESIGN ART 113
114
316
389
330
329
406
323
[407] An Antique European Fruitwood Mule Chest
[383] A 19th Century Qajar Beaten Brass Circular Shield
[398] Oil on Board Landscape - Victor Zelman
$300 - $500
$600 - $800
$1,500 - $1,800
[384] A Country Pine Table
[399] A Marine Watercolour - C. Muncaster
[408] A Georgian Mahogany Grandfather Clock - ‘Samuel Whalley’ Manchester
$300 - $500
[385] A 19th Century Oak Corner Cupboard $300 - $500
[386] A 19th Century Chest of Drawers $800 - $1,200
[387] An Attractive Mahogany Corner Cupboard $300 - $500
[388] A Helmet Shaped Copper and Brass Coal Scuttle $80 - $150
[389] A Georgian Style Walnut Wingback Chair $400 - $600
[390] A Child’s Horseshoe Backed Elm Chair $200 - $300
[391] A Small 19th Century Iron Bound Oak Trunk
$100 - $200
[400] A Watercolour Street Scene C.P. Ferrat $250 - $350
[409] A Scandinavian Pine Carpenter’s Bench
[401] Oil on Canvas Venetian Scene William Dargie
[410] An Antique White Marble Sink
$1,000 - $1,500
$200 - $400
$800 - $1,200
[402] An Antique Map of England
[411] A Late Victorian Walnut Loo Table
$100 - $200
$600 - $800
[403] Lot withdrawn
[412] A William IV Mahogany Pedestal Sideboard
[404] A Jacobean Style Consol Table $600 - $900
[405] A Victorian Decorative Brass Single Bed
$1,500 - $1,800
[413] A Hand Knotted Persian Rug $500 - $800
$400 - $600
[414] A Baluchi Runner
[406] A Late Victorian Twin Pedestal Writing Desk
[415] A Baluchi Rug
$1,000 - $1,400
$300 - $500 $200 - $300
[416] A Hand Knotted Persian Runner
$150 - $250
$300 - $400
[392] A Mid Victorian Inlaid Walnut Cabinet $3,500 - $4,500
[393] A Mahogany Bowfront Five Drawer Chest $1,200 - $1,800
[394] A Fur Rug $200 - $300
[395] A Marine Watercolour $1,500 - $2,000
[396] A Pair of Victorian Oil on Canvas Portraits $800 - $1,200
[397] A Pair of Victorian Oil on Canvas Portraits - W. Gistor $1,500 - $2,000
$2,000 - $3,000
296
PRICES REALISED SALE 320 (22 - 24 FEB 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT
$
1100 1 1100 3 850 4 800 5 500 6 2100 7 3000 9 1250 10 1200 11 5000 12 500 13 1650 15 4250 18 600 19 3750 22 400 26 1500 28 4000 30 31 10000 6500 34 4000 35 2000 36 6500 37 1500 38 900 39 2750 42 1500 43 1200 44 1200 45 350 49 1000 50 1000 51 1400 52 500 52B 52C 1100 300 52D 500 52E 750 52F 350 54 150 55 350 56 400 59 500 61 1100 62 5000 63 3000 64 4750 65 500 66 2500 67 7000 68 1400 70 1500 71
116
LOT 72 74 77 85 86 88 90 91 92 94 96 97 102 104 105 107 108 109 110 111 113 114 117 118 123 125 132 133 134 138 139 141 142 143 144 145 150 152 154 155 200 201 203 204 205 207 208 210 210A 212 215 216
$ 2000 2000 2000 6200 1700 4500 650 300 950 3500 1750 450 6000 2050 1700 2500 1350 1700 600 1900 1500 800 500 900 1800 2250 600 1000 900 750 500 800 800 800 1500 1100 800 350 300 600 1500 1700 2900 1600 4100 9000 3000 1400 3000 4600 1200 1600
LOT 217 218 219 220 221 223 224 225 226 227 228 233 234 235 236 237 238 239 242 243 245 248 249 251 252 256 262 265 266 269 273 276 277 278 285 288 291 295 296 301 302 303 304 305 307 308 309 312 314 315 400 401
$ 1400 3000 15500 20000 2600 325 200 2000 750 500 1700 450 2000 1150 1700 1300 900 250 7000 700 3250 800 750 4500 6000 2900 2000 2000 10500 3200 2000 2500 2800 12000 10000 6500 8000 600 1700 1000 500 1400 600 650 1200 1000 800 2100 1600 1500 5000 2400
LOT 403 404 405 410 411 413 414 415 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461
$ 500 30 70 200 60 80 30 350 210 20000 1500 550 90 140 275 875 100 400 250 140 70 1325 200 375 70 175 260 200 190 1500 80 110 90 340 375 180 5400 260 280 240 180 2000 375 425 250 300 200 290 210 270 120 110
LOT 462 463 465 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 488 489 490 491 493 498 501 503 504 506 508 510 513 514 516 518 519 522 524 525 527 548 552 553 554 556 557 558 561 562
$ 250 110 160 400 660 240 650 500 200 325 300 150 100 360 250 525 100 125 125 150 100 175 700 650 130 140 350 125 80 150 250 100 100 400 175 300 400 300 200 200 350 175 350 75 700 500 300 725 300 125 225 450
PRICES REALISED SALE 320 (22 - 24 FEB 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT
565 566 567 569 570 571 573 574 578 580 581 582 586 591 592 593 595 599 600 601 602 603 604 605 607 608 611 612 613 614 618 621 622 623 625 630 632 633 634 635 637 638 639 641 644 645 647 648 649 650 651 652
$
LOT
$
LOT
250 400 1150 700 600 225 80 600 600 500 1500 150 100 300 500 900 100 80 160 50 850 50 200 250 400 300 600 200 50 200 350 1500 300 210 800 420 700 1100 350 850 2100 1000 600 200 1600 500 600 2400 1400 800 1600 400
653 654 655 656 657 658 659 660 662 663 664 665 666 667 668 673 674 675 677 678 681 682 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029
2600 1300 375 125 600 50 90 300 50 50 100 750 100 440 380 1300 4400 1000 100 225 360 500 110 300 575 800 850 1200 250 450 1500 250 550 120 240 200 325 675 40 375 210 300 140 450 100 300 450 200 575 225 525 120
1030 1031 1032 1033 1034 1035 1036 1037 1039 1040 1041 1042 1044 1045 1046 1047 1048 1049 1052 1053 1055 1056 1057 1058 1060 1061 1062 1063 1064 1066 1070 1071 1074 1079 1080 1082 1085 1086 1087 1088 1090 1091 1092 1093 1094 1097 1099 1100 1101 1102 1103 1104
$
350 250 275 150 400 460 2300 550 475 190 280 700 450 80 200 120 300 20 300 60 400 275 475 200 260 120 575 650 2100 1300 1200 400 500 225 420 550 250 1800 300 100 70 200 250 450 200 110 200 50 100 80 160 120
LOT
$
LOT
$
1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 1121 1123 1124 1125 1127 1128 1129 1130 1131 1132 1133 1135 1137 1138 1139 1140 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1156 1157 1158 1159 1160 1161 1164 1166 1167
260 170 160 100 175 90 300 170 700 500 150 175 130 140 650 120 200 50 100 380 225 20 280 30 30 320 250 125 100 60 70 70 280 20 270 100 250 90 20 20 50 90 50 50 120 120 180 270 60 225 300 50
1169 1171 1172 1173 1174 1175 1176 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 1192 1193 1194
80 70 100 130 100 10 60 70 20 60 70 275 200 300 20 40 50 50 100 50 50 70 20
IMPORTANT WORKS OF ART 117
Bidding Slip For absentee bidders on lots in sale 321 Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Works of Art sale a buyer’s premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Design sale, a buyer’s premium of 15% will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.
lot no. catalogue description
bid*
MR MRS MISS MS (PLEASE CIRCLE) first name
surname/company
home phone
business phone
mobile
facsimilie
postal Address contact name email address ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered. * Webb’s will do its utmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it from doing so.
SIGNED
DATE
18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 | auctions@webbs.co.nz / www.webbs.co.nz
118
CONDITIONS of sale for buyers 1. Bidding. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted. 2. Reserves. All lots are sold subject to the right of the seller or her/his agent to impose a reserve. 3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% for the Important Works of Art and a buyer’s premium of 15% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums. 5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted. 6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract.
the same or any other auction. C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract. H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. condition of Items. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.
B. To rescind the sale of that or any other lot sold to the purchaser at
IMPORTANT WORKS OF ART 119
INDEX OF ARTISTS Bambury, Stephen Binney, Don
Maughan, Karl
4, 75
26, 44
McCahon, Colin
23, 27, 29, 30, 31, 39
Braithwaite, Joanna
65
Mrkusich, Milan
48
Brown, Nigel
61
Parekowhai, Michael
Clark, Russell
20
Patterson, Rueben
67
Cotton, Shane
11, 12
34, 46, 49, 52
Peebles, Don
56
Cross, Mark
69
Picasso, Pablo
7
Dali, Salavador
74
Pick, Seraphine
15
De Latour, Tony
2
Popplewell, Martin
62
Dolezel, Jenny
68
Pule, John
5
Ellis, Robert
47
Rae, Jude
21
Eugenea
73
Reynolds, John
53
Fisher, Joel,
77
Robinson, Peter
25
19, 50, 66
Sharpe, Alfred
63
28
Siddell, Peter
36
Gimblett, Max
9, 24, 35
Stringer, Terry
70
Hammond, Bill
3, 45
Sydney, Graham
17
Tapper, Garth
64
Tole, Charles
58 59
Fomison, Tony Frizzell, Dick
Harris, Jeffrey
40
Hotere, Ralph
41, 43, 76
Hurley, Gavin
16
Walters, Gordon
Illingworth, Michael
18
Warhol, Andy
Innes, Callum
42
Wealleans, Rohan
32
Kaan, Simon
60
Weeks, John
57
54 ,38
White, Robin
33
Wilkinson, Brendan
10
Woollaston, Toss
55
Yul Oh, Seung
71
Killeen, Richard Leek, Saskia
120
13, 14, 22 ,37, 51
1
Maddox, Alan
72
Matisse, Henri
8
6
IMPORTANT WORKS OF ART 121
122