IMPORTANT PAINTINGS & CONTEMPRARY ART 1
IMPORTANT PAINTINGS & C0NTEMPORARY ART MODERN DESIGN ANTIQUES 27 - 29 MARCH 2012 333
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
Important Paintings & Contemporary Art Interiors: Modern Design Antiques & Decorative Arts 27-29 March 2012
IMPORTANT PAINTINGS & CONTEMPRARY ART 1
333 Important Paintings & Contemporary Art
16
Tuesday 27 March – 6:30pm
Interiors Modern Design
88
Thursday 29 March – 6:00pm
Antiques & Decorative Arts
106
Thursday 29 March – 7:00pm
VIEWING FROM THURS 22 MARCH 9:00AM EVENING PREVIEW COVER: LOT 25 RICHARD KILLEEN City Living (detail) $25,000 - $35,000
Thursday 22 March 5:30pm – 7:30pm Please join us to view the suite of sales and enjoy a glass of Peregrine wine.
LEFT: LOT 9 LAURENCE ABERHART Angel Over Whangapa Harbour, Northland, 6 May 1982 $4,000 - $6,000 INSIDE BACK COVER: LOT 23 ANDREW MCLEOD Untitled (Camowhaiwhai) (detail) $9,000 - $12,000 BACK COVER: LOT 59 Ronnie Van Hout Mephitis (detail) $10,000 - $15,000
BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Paintings Contemporary Art sale, and a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sales. GST (15%) is payable on the buyer’s premium.
IMPORTANT PAINTINGS & CONTEMPRARY ART 3
Introduction
Webb’s March suite of sales promises to appeal with significant offerings presented in all key areas of collecting. March is traditionally an important month of sales and Webb’s is pleased to be offering Important Paintings and Contemporary Art, Modern Design, Tribal and Oceanic Arts, Fine and Rare Wine, and Antiques between 26 and 29 March. Following these sales, the month will conclude with a sale of Classic and Vintage Motorcycles and Cars to be held on 31 March. Included in the first sale of Important Paintings and Contemporary Art for 2012 will be a landmark offering of three major works by the New Zealand modernist Philip Clairmont. This presentation will comprise Innocence Threatened, a large-scale diptych on jute canvas painted in 1970, an interior still life on jute dated 1981 and a self-portrait entitled Homage to Vincent painted on found board. In addition to this, Webb’s is pleased to be presenting an early female portrait by Charles F Goldie, the sitter characterised by an elated expression. These modern and historical works will be accompanied by a comprehensive survey of contemporary practice which includes works by Bill Hammond, Shane Cotton, Peter Robinson, Michael Parekowhai, Peter Stichbury, Fiona Pardington, Andrew McLeod, Hye Rim
Lee, Ben Cauchi and Reuben Paterson. This year will see the debut of Webb’s partnership with Mr. Bigglesworthy to present stand-alone sales of interior design. With a particular focus on the post-World War II era through to the 1970s, this well-referenced offering of mid-century design will comprise a predominantly international selection. Key pieces from this sale include a Grant Featherston R160 Rocking Chair, 1956, a Douglas Snelling Armchair and Footstool, 1949, and an Archie Shine ‘Hamilton’ sideboard designed by Robert Heritage, 1957. The first sale of Oceanic and African Art for 2012 will once again be presented in a stand-alone catalogue and will see several significant collections offered to the market. A key consignment to this sale is a rare pou tokomanawa attributed to Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai. Alongside this piece, the sale will include two important cloaks, an historically important tekoteko, a lifetime collection of Oceanic fish-hooks, a quality selection of Melanesian and Polynesian tribal artworks and two international collections of African art. Webb’s sale of Fine and Rare Wine will present a selection of wellcellared premium wines, whisky and champagne: offering the finest-quality auction sales available to the market.
An auction of Decorative Arts and Antiques comprises a range of rare collector pieces and opulent interior furnishing. A butler’s tray weighing over 5kg is the highlight of a fine selection of sterling silver. The sale also includes five pieces by Austrian-born British studio potter, Lucie Rie. These small pieces include bowls, a cup and saucer, and plates and demonstrate Rie’s Scandinavian modernist aesthetic with its elegant flowing forms with sgraffito decoration and textured glazes. Featuring a number of forgotten motorcycle collections and superb vintage automobiles, Webb’s March Classic and Vintage Motorcycle and Car auction is sure to attract the true enthusiast. Two significant barn-find collections of motorcycles will give the market the opportunity to acquire rare and valuable project machines. We look forward to seeing you as you come to view these sales during the weeks ahead.
IMPORTANT PAINTINGS & CONTEMPRARY ART 5
Highlights A Chinese banquet bowl achieves $29,000 The market for Chinese ceramics and antiques continues to boom, with prices for rare and unusual items fetching well above their estimates. This trend is seen at auctions globally, as all things in classic Chinese taste are in huge demand and Chinese buyers look to source and repatriate items dispersed to the West during the Cultural Revolution. In London, imperial ceramics of Emperor Daoguang’s reigning period (1820 – 1850) are priced at roughly ten times the amounts for which they were selling around 2002. The response, last month, to what is believed to be a Jiajing Period
(1522 – 1566) underglaze blue-andwhite banquet bowl is confirmation that local collectors are also on the lookout for special Chinese pieces. After keen and protracted bidding, the bowl was eventually purchased by a collector for the sum of $29,000. Acquired by the vendor’s father who had lived in China during the 1950s, the bowl had been in the same family for over 50 years. With a diameter of 480mm, the scale of this piece makes it a large and rare domestic example. Whilst it is wonderful to see a piece of this scale intact, it carries a significant flaw where the base was cracked during firing.
A. An emerald-cut diamond of 5.07 ct Realised $165,800 B. Fiona Pardington Wiriwiri, Tremble .Realised $8,400 C. Paul Dibble Geometric Figure 1. Realised $10,500 D. Rueben Paterson Black and White T.V. Realised $4,000 E. Grahame Sydney On the Sea Ice. Realised $4,700 F. Dick Frizzell Silver Surfer. Realised $2,200
February Highlights A
Last month, Webb’s A2 fine art sale demonstrated firm demand in the middle range of the market with new collectors participating enthusiastically. Whilst collectors continue to seek out the very best on offer at the top end, over the last 12 months the A2 sales have also performed well with strong demand for the quality of works presented. Webb’s February A2 sale saw a large turnout of buyers set to compete and this resulted in a sale total of over $340,000. This total rests at twice that of the sale at the same time last year and signals a demand for works in the $5,000 to $20,000 range. Entries are now invited for the next auction in this category to be held on 29 May. On the following day, an emeraldcut diamond of 5.07 ct and rare white (G), clarity VS2, received keen competition from several bidders who were impressed with the quality of this superb stone. It achieved $165,800, demonstrating that discerning collectors continue to engage with the very best on offer. Entries are now invited for the next sale of jewellery to be held on 2 May.
E
B
C
D
F
IMPORTANT PAINTINGS & CONTEMPRARY ART 7
Valuation Services SPECIALIST VALUERS OF FINE ART AND ANTIQUES, WEBB’S PROVIDE VALUATIONS TO PUBLIC INSTITUTIONS, CORPORATE AND PRIVATE COLLECTIONS INCLUDING:
TE PAPA TONGAREWA, MUSEUM OF NEW ZEALAND; THE TAONGA MAORI, PACIFIC, HISTORY, ETHNOGRAPHIC COLLECTIONS, HISTORICAL AND CONTEMPORARY PHOTOGRAPHY COLLECTIONS, THE TE AKA MATUA RESEARCH LIBRARY · AUCKLAND ART GALLERY AUCKLAND CITY LIBRARY · TE AWAMUTU MUSEUM · THE POMPALLIER DIOCESAN CENTRE NORTH SHORE CITY COUNCIL · HOCKEN LIBRARY COLLECTIONS · SARJEANT GALLERY WHANGANUI ROTORUA DISTRICT COUNCIL · ROTORUA CHARITABLE ENERGY TRUST · DUNEDIN PUBLIC ART GALLERY · THE UNIVERSITYOFAUCKLAND ··WELLINGTONCITYCOUNCIL AUCKLAND WAR MEMORIAL MUSEUM · LAKE TAUPO MUSEUM AND ART GALLERY · ELMS MISSION STATION AUCKLAND CITY COUNCIL · THE MACKELVIE COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · UNIVERSITY OF OTAGO · HUKA LODGE · MANUKAU INSTITUTE OF TECHNOLOGY · SOUTH WAIKATO DISTRICT COUNCIL · NORTHLAND REGIONAL COUNCIL BURIED VILLAGE ROTORUA · THE SIR EDMUND HILLARY COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · ARCHIVES NEW ZEALAND · HISTORIC PLACES TRUST · MUSEUM OF TRANSPORT AND TECHNOLOGY · WEST COAST DISTRICT MUSEUM RUSSELL MUSEUM · WHANGAREI ART MUSEUM DILWORTH TRUST · NEW ZEALAND PORTRAIT GALLERY CONTACT: Brian Wood | bwood@webbs.co.nz | +64 9 529 5609 | +64 21 486 948
When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste of Central Otago, you also directly contribute towards the survival and recovery of our New Zealand’s endemic Falcons and Saddlebacks. Peregrine is a major sponsor of both the New Zealand Wingspan Trust and the Fiordland Conservation Trust, who are fully committed to the protection and survival of these rare and unique birds. We think this is something worth savouring. To order our wines and to find out more information on these projects – visit our website or call into our cellar door.
www.peregrinewines.co.nz Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown IMPORTANT PAINTINGS & CONTEMPRARY ART 9
Ron English Exhibition 10 - 24 May Webb’s is pleased to announce Australasia’s first exhibition by Ron English. Widely considered to be one of the forefathers of modern street art, English first rose to prominence with his ‘liberated’ billboards of the 1980s where commercial billboards were illegally altered so that they broadcast political messages. Notably, English’s unique imagery
was featured prominently in the documentary Super Size Me and on album covers such as The Dandy Warhols’ Welcome to the Monkey House and Chris Brown’s F.A.M.E., and in the permanent collections of Whitney Museum, New York, Everhart Museum, Pennsylvania, Mauermuseum, Berlin and Museum of Contemporary Art, Paris.
IMPORTANT PAINTINGS & CONTEMPRARY ART 11
Fine & Rare Wine Monday 26 March The sale will feature a superb selection of rare New Zealand wines alongside Bordeaux, vintage Champagne, and other excellent wines, ports and spirits. Two Sessions: New Zealand & Australian Wines - 4.30pm Old World Wines - 6.30pm
History Under The Hammer Prime TV 7.00pm Sundays Webb's is delighted to be involved in History Under The Hammer, a series currently screening on PRIME TV, Sundays at 7.00pm. In this series, the history of New Zealand is illuminated through the story of objects and art works as they are followed through their sale at auction. Thanks to Greenstone Pictures, PRIME TV and NZ On Air. TONY FOMISON "Aramoana" (The Threat of Otakau Peninsula) Achieved $45,000 and featured in this series
Bethunes Rare Books Wednesday 21 March Bethunes at Webb’s is proud to be offering the C L Thomas Collection of rare books and related materials. In addition to a profusion of New Zealand classics, the C L Thomas Collection features an important group of items relating to notable pioneer William Colenso, including books and pamphlets, manuscript diaries and papers, a collecting tin and a handsome botanical microscope.
Classic Motorcycles & Cars Of The Day SATURDAY 31 MARCH Featuring a number of forgotten motorcycle collections, Webb’s March event is sure to attract the true enthusiast. Two significant barn find collections will give the market the opportunity to acquire rare and valuable project machines. Also included is a range of rare English and American motor vehicles. Contact Neil Campbell ncampbell@webbs.co.nz 021 875 966 | 09 529 5607
IMPORTANT PAINTINGS & CONTEMPRARY ART 13
Oceanic & African Arts WEDNESDAY 28 MARCH CATALOGUE NOW ONLINE Contact Jeff Hobbs jhobbs@webbs.co.nz +64 21 503 251
Important Poutokomanawa carved by Anaha Te Rahui (1822-1913) $50,000 – $70,000
Webb’s March Oceanic and African Art auction will present taonga Māori, Pacific artefacts and artworks from Oceanic cultures alongside a superb selection of African art and artefacts. Included are several significant international collections of toanga Maori recently repatriated to Aotearoa. Webb’s is particularly pleased to present to New Zealand collectors and institutions an opportunity to acquire the most historically important pou tokomanawa (carved centre post) to have been presented publicly in recent memory. Attributed to master carver Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai, this male form stands at an impressive 1,210mm high. A further key consignment to this sale is an extensive collection of Māori and Oceanic fish-hooks, including early examples from the Kenneth Athol Webster Collection. Kenneth Webster (1906 – 1967) was an early collector and dealer of manuscripts, fine art and ethnographic artefacts associated with Oceanic peoples. In addition, the auction includes important feather cloaks including a fine kahu huruhuru. Introduced in the second half of the 19th century, the kahu huruhuru employed geometric motifs and celebrated the prestigious nature of the Polynesian cloak with the use of the feathers of high-status bird species such as the kererū, kakariki, kākā and tui. Two international collections of African art comprising fine selections of ceremonial masks together with a quality offering of Melanesian and Polynesian tribal artworks present an excellent opportunity for collectors to acquire in these specialist art fields.
IMPORTANT PAINTINGS & CONTEMPRARY ART 15
IMPORTANT PAINTINGS & CONTEMPORARY ART TUES 27 MARCH 6:30PM EVENING VIEWING 22nd March 5.30 – 7.00pm Viewing Thursday 22nd March
9.00am – 5.30pm
Friday 23rd March
9.00am – 5.30pm
Saturday 24th March
11.00am – 3.00pm
Sunday 25th March
11.00am – 3.00pm
Monday 26th March
9.00am – 5.30pm LIMITED VIEWING ON SALE DAY BUYER’S PREMIUM
22 Richard Killeen People Passing $20,000 - $30,000
A buyer’s premium of 12.5% will be charged on all items in the Important Paintings and Contemporary Art section of this sale. GST (15%) is payable on the buyer’s premium only.
IMPORTANT PAINTINGS & CONTEMPRARY ART 17
2 1
Bill Hammond
Untitled
pencil on paper signed W. Hammond, dated 9/78 and
1
inscribed plucked from skip in pencil lower right 315mm x 218mm $2,000 - $3,000
2
Peter Stichbury
Glister
glicee print on Ilford Gallerie gold silk archival paper signed P. Stichbury, dated ‘08 and inscribed
63/100 in pencil lower edge 265mm x 225mm $2,000 - $3,000
3
Shane Cotton
Tu
acrylic on canvas signed S. Cotton, dated 2000 and inscribed TU in brushpoint lower right; signed S. W. Cotton, dated 2000 and inscribed TU in marker pen lower edge verso
3
200mm x 200mm $4,000 - $8,000
5
4
6
4
5
6
Language is Not Neutral
Matauri 2
Untitled
acrylic on paper
acrylic on paper
gouache on paper, 1969
signed Killeen, dated 7.84 and inscribed
745mm x 555mm
signed Killeen and dated 6/2/69 in pencil
Language is not neutral in brushpoint
$4,000 - $6,000
lower right
Richard Killeen
lower right 760mm x 570mm $6,000 - $7,000
Julian Dashper
Richard Killeen
200mm x 400mm $3,000 - $4,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 19
7
9
8
7
Ben Cauchi
Ectoplasm
unique ambrotype signed Ben Cauchi, dated 2004 and inscribed “Ectoplasm� ambrotype in pencil verso 230mm x 185mm $3,000 - $4,000
8
Rueben Paterson
Crack
glitter on canvas signed Rueben Paterson, dated 2007 and inscribed Crack and Beecroft Auction in pastel verso 760mm x 760mm PROVENANCE Purchased by the current owner from the
10
Beecroft Charity Auction, 2007. $6,000 - $8,000
9
Laurence Aberhart
Angel Over Whangapa Harbour, Northland, 6 May 1982 gelatin silver print inscribed Angel over Whangape Harbour, Northland and dated 5 May 1982 in pencil lower left; signed L. Aberhart and dated
1982 1983 in pencil lower right 175mm x 242mm ILLUSTRATED Aberhart, Victoria University Press, 2007, pl.31. $4,000 - $6,000
10
11
Laurence Aberhart
Watertank, Orepuki, Southland, May 1981 gelatin silver print signed L. Aberhart and dated 1981 in pencil lower right 215mm x 275mm ILLUSTRATED
11
Ronnie Van Hout
Undead
Aberhart, Victoria University Press, 2007,
pegasus print
pl.31.
290mm x 385mm
$2,500 - $3,500
$1,800 - $2,600 IMPORTANT PAINTINGS & CONTEMPRARY ART 21
12
Fiona Pardington
Huia Love Triangle
gelatin silver print, within the edition of 5 signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso 410mm x 530mm $7,000 - $10,000
13
Fiona Pardington
Huia Lovers
gelatin silver print, within the edition of 5 signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso 410mm x 530mm
12
$7,000 - $10,000
14
Michael Parekowhai
Bosom of Abraham
screenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm $7,000 - $9,000
15
Michael Parekowhai
Bosom of Abraham
screenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm $7,000 - $9,000
13
13
14
IMPORTANT PAINTINGS & CONTEMPRARY ART 23
16
Ann Robinson
Spiral Vase ( Four Sections) 45% lead crystal 1/1 signed Robinson, dated 2001 and inscribed 1/1 and NZ on underside 620mm x 145mm REFERENCE Accompanied by the original purchase receipt from F.H.E Gallery, 2001. Accompanied by a certificate of authenticity from the artist, dating the work 16.02.2001; colours used as pink, purple and clear; reissued 7.3.2012. $20,000 - $25,000
17
Jim Speers
David Hamilton
vinyl, acrylic and fluorescent light 1998 960mm x 865mm x 240mm EXHIBITED for a cleaner world, Jensen Gallery, Auckland, 1998. $7,000 - $9,000 David Hamilton is part of an ongoing series of works that examine the formal potential of materials – fluorescent light and plastic – whose primary applications are utilitarian in nature. Speers’ approach does not revolve around simply making mundane materials attractive. Rather, he amplifies the specific qualities of these materials that make them garish. The plasticity of the Perspex allows it to be folded to form hard lines and its latent transparency, as well as that of the adhesive vinyl, is layered to create a deliberate muddying of colours. The fluorescent light fixtures too, which spill sideways to form rectangular bars of light rather than circular halos, are strategically placed at angles to leave projected markings that resemble a photographed motion blur The title of the work, David Hamilton, references the photographer who, in the 1990s, achieved both acclaim and revile for his photographs depicting children. Heavily romanticised in their staging and colouration in these works, the subjects were described in settings and poses that could be construed as intimate or sexualised. Speers’ work was originally included in a solo exhibition entitled for a cleaner world, referencing both the plastics from which David Hamilton is constituted – plastic is a material that, once formed, can never be broken down – and the moral dogma that has surrounded David Hamilton’s photographs. If anything is suggested by the glowing harmonics of David Hamilton, it is that, even though the mechanics of the world can sometimes be cruel and destructive, they can, at times, also carry a perverse and unexplained beauty. CHARLES NINOW
IMPORTANT PAINTINGS & CONTEMPRARY ART 25
18
19
In Homage to Vincent (Self Portrait) oil on board
The Problem with Darth Vadar, Lozenge 9
inscribed In Homage to Vincent in
oil on canvas
brushpoint lower left
signed am, dated ‘97 and inscribed The
Philip Clairmont
Allen Maddox
740mm x 520mm
Problem with Darth Vadar. Lozenge 9 in
PROVENANCE
brushpoint verso
Gifted from the artist and passed by
910mm x 910mm
descent to the current owners.
$12,000 - $18,000
$18,000 - $25,000 IMPORTANT PAINTINGS & CONTEMPRARY ART 27
20
Hye Rim Lee
Candyland
C-type print, custom made frame with
21
Andrew McLeod
two pot automative paint finish
House and Studio
700mm x 700mm
pigmented archival inkjet print, 1/2
EXHIBITED
signed Andrew in pencil lower right and
Starkwhite, Auckland, Candyland, 5
inscribed 1/2 in pencil lower left
December 2006 - 12 January 2007.
1320mm x 1000mm
$8,000 - $10,000
$9,000 - $12,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 29
22
Richard Killeen
People Passing
oil on hardboard signed with initials RK and dated 9/69 in brushpoint lower left; inscribed with catalogue number 505 verso in black pen and artist’s exhibition label affixed verso 670mm x 670mm EXHIBITED Peter McLeavey Gallery, Dead Man,
Dead Woman, 29 March - 23 April 1994. $20,000 - $30,000
Despite Killeen’s palette, which is
vestiges of a time gone by. They are
stylistically aware and finely nuanced
proud beacons of humankind’s mastery
in its selection, and also the elegant
over the natural world. So then, if the
and informal manner in which he has
jagged profile of the Te Henga coastline
depicted human form, People Passing is,
presents some form of universal truth,
in actuality, the artist at his most austere.
then surely this scene must represent its
What appears on the surface to be a
antithesis? Spotless in its execution but
simple musing on the idiosyncrasies of
also with fine details smoothed away to
suburban life is, in reality, a reflection
give the forms depicted here a sense of
on the propensity of modernity – or,
plasticity; this scene is surely a falsehood
more specifically, the concepts of
or fabrication.
profit, wealth and private property – to
The truth is, however, that having
estrange humanity from the natural
been painted in 1969, People Passing is
world. Killeen’s intent is not to condemn
remarkably of its time. The space-age
these taxonomic structures but rather
‘look’ of the attire and even the colour
to shed light on the manner in which
scheme of the interior are adroitly ‘on
they have influenced the formation of
trend’. And thus, what Killeen has
New Zealand’s national identity. In his
done here is effectively a reversal of the
monograph on the artist, Francis Pound
nationalist model whereby, instead of
suggested that, historically, if there were
allowing for escapism, he has presented
a nationalist ethos that pervaded New
the viewer with a mirror of their
Zealand’s cultural production then it was
present-day suburban reality. By doing
simply because commoditisation of the
so, he is seeking to draw attention to the
landscape was practised en masse. From
fact that the majority of New Zealanders
Sharpe’s rolling vistas where humans
no longer live in rural settings and that,
are seen wading gently in the shallows
consequently, the nation’s self-image
of a vast natural resource, to Angus’
is out of step with reality. The nation’s
rippling hills, warmed and distorted by
disposition is described skilfully by
memory, to Binney’s crystalline horizons,
the man positioned front row and
the landscape has developed a spiritual
almost centre who, despite his dapper
mien in New Zealand’s art: a presence
costuming, has a remarkably human
from which all else grows. Pound stated
face. Standing still and sombre in a field
categorically that, in his view, “the
of movement, he has the air of a stranger
Nationalist artist was an urban person
who has suddenly looked around to find
who painted the rural for other urban
himself in unfamiliar territory. Faced
persons”.1
with making a decision about which
As such, built from flat, horizontal
direction to take, he must either walk
bands of colour that describe a sterile,
in the direction in which all of the other
chlorinated interior, People Passing
people are going, or else he must walk
intentionally positions itself as a stark
backwards in an effort to find what he
contrast to this canon. With their
thought were his roots.
bouffant hairstyles and their A-line,
CHARLES NINOW
sleeveless shift dresses which consist of only minimal, essentialist tailoring, the women in this scene appear as both idyllic forms and as robotic and unfeeling. And, on the left, unfolding toward the viewer, the men appear almost peacock-like. Wearing their textiles of exotic hue, they sparkle as
1Pound, Francis, Stories we tell ourselves: The Paintings of Richard Killeen, David Bateman and Auckland Art Gallery, Toi O Tamaki: Auckland, 1999. p. 18.
IMPORTANT PAINTINGS & CONTEMPRARY ART 31
23
24
Untitled (Camowhaiwhai)
Boulder Bay Birds
acrylic, pencil and letraset on paper
acrylic on canvas
signed A. McLeod and dated ‘99 in pencil
signed W.D. Hammond, dated 2002
lower left
and inscribed Boulder Bay Birds in
1200mm x 900mm
brushpoint lower right
$9,000 - $12,000
400mm x 600mm
Andrew McLeod
Bill Hammond
$45,000 - $65,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 33
25
Richard Killeen
City Living
pigment ink, turps based acrylic resin varnish on canvas signed Killeen and inscribed City Living in brushpoint lower right; inscribed Richard Killeen, Cat no. B734, City Living, 2004, Pigment Ink, turps based acrylic resin varnish on canvas on original artist’s label attached verso 1520mm x 1015mm EXHIBITED Ivan Anthony Gallery, 2004. $25,000 - $35,000
Killeen’s large-scale canvas, City Living,
Other recurring emblems from
2004, is a dizzying and humorous
Killeen’s vast iconography, such as
representation of past and present icons,
Pacific and Celtic motifs, Roman busts,
which parodies modern culture: frozen
tools, native birds, insects and plant life
in time and preserved for antiquity
contain their own references, as well as
within the frame of a glass jar.
being touchstones of the artist’s inner
Marking a shift from Killeen’s
being. The frog on a man’s forehead,
hallmark assemblages, City Living recalls
which has featured consistently
his earlier realist period of the ’60s and
throughout his work, first emerging in
’70s, using skills mastered during his
his painting Frog Shooter (1976), may
formative years working with his father
be in homage to his late grandfather,
as a signwriter. The painting features
who used the term to refer to a ‘dodgy-
stylistically polished and rendered surfaces, which omit any trace of the
looking’ character.2 Yet, by condensing the images within
artist’s hand in testament to his early
a glass jar, like insects in a bottle or
recordings “[my] identity must not be the
museum display case, Killeen intercepts
cause and must not be present”.1 Each
such notions with a sense of wit and
element within the painting is formally
irony, casting a sense of trivia to everyday
constructed and sharply outlined
consumption and modern ritual. Like
with a precision acquired through a
his cut-out works, which follow in
process of collating computer-generated
the Byzantine tradition of landscape
images, which are stored, coloured and
painting, depicting isolated shapes
rearranged.
against a blank background, Killeen’s use
Rejecting conventional notions of
of the glass jar as a framing device, forces
self-portraiture or autobiographical
the assortment of contents into a cut-out
references, the painting’s subject matter
frame against the white canvas. The
speaks of a common culture living in
painting illustrates an extension of the
transnational suburbia. Yet drawing
artist’s exploration into the disruption of
from the artist’s oeuvre of repeated signs
hierarchies of order and display, whilst
and symbols, we see glimpses which
also raising questions about institutional
reveal intimate traces of the artist’s own
methods of textualisation and the
history, identity and fascination with
presentation of culturally specific
travel and archival artefacts.
artefacts. In this way, the jar becomes a
Symbols of ethnology, anthropology,
museum-like metaphor showcasing this
technology, paleontology, zoology, botany
modern medley of city life.
and prehistory are swept up in chaotic
EMILY GARDENER
array across the canvas, interrupting the seemingly sublime order of the nostalgic
1Richard Killeen, The Green Notebook, 1969, p.44
domestic surrounds. Amidst the array,
2Richard Killeen and Francis Pound, Stories We
a man sips his wine as he watches
Tell Ourselves: The Paintings of Richard Killeen
TV. Behind loom city walls, factories,
[published on the occasion of the Exhibition Stories
aircrafts and skyscrapers, painted
We Tell Ourselves: The Paintings of Richard Killeen,
against a brightly patterned background,
Auckland Art Gallery Toi o Tamaki (9 September –
which impede the tranquility of the
5 December 1999)], Auckland, New Zealand, David
suburban setting. Men’s faces peer
Bateman, 1999, p.38
over and through the city walls. In the foreground a woman is depicted with floral motifs on her back, as if to raise questions of gender and domesticity.
IMPORTANT PAINTINGS & CONTEMPRARY ART 35
26
Michael Smither
Moonlight Wave About To Invade Rock Pool oil on board signed M.D. Smither and dated ‘69 in brushpoint lower left; signed M. D. Smither, inscribed moonlight wave about
to invade rock pool and $250 in marker pen verso 1200mm x 900mm $70,000 - $90,000
Painted at the end of the 1960s,
concrete permanence of the rocks and
Michael Smither’s Moonlight wave about
the perpetual motion of the sea. The
to invade rock pool comes from one of
painterly treatment of the wave imbues
the artist’s most iconic series of work.
it with immediacy that speaks of the
Throughout the 1960s and 1970s, these
raw energy and power of the ocean in its
works cemented Smither’s artistic
ability to disrupt, change and overwhelm
reputation and he came to be known
all that lies in its path. In doing so,
primarily as a painter of pools and rocks.
Smither inserts an air of fragility into the
The rock pool paintings all feature a
work, as the glassy calm of the water in
simplified composition consisting only
the foreground is poised on the brink of
of patches of water, clusters of smooth,
disappearance.
rounded rocks in various configurations
In addition to the formal strength of
and occasionally, an indication of sea life.
Moonlight wave about to invade rock pool
It is probable that like the majority of
and Smither’s reductive approach, the
Smither’s rock pool paintings, Moonlight
piece is also highly symbolic. While
wave about to invade rock pool, is based on
water is traditionally associated with the
an amalgamation of several different
Virgin Mary, with purity and cleansing
views, experiences and drawings that the
while rocks are often used as a metaphor
artist completed in Taranaki from 1965
for the steadfastness of Christ. In the
onwards.
present painting then, rather than being
By dispensing with extraneous details
overwhelmed by water, the rocks can be
and focusing on a relatively simple
seen to be renewed and purified by its
composition, Smither draws attention
continual ebb and flow. Sitting motionless
to the painterly treatment of forms.
in the water, the rocks are attended to by
Characteristic of Smither’s early work is
their own seamless shadows that are akin
the use of an extreme close-up view that
to inverted haloes.
allows for the viewer to be looking down
The nuanced array of blue tonalities
on the scene and up at the breaking wave
used in Moonlight wave about to invade rock
simultaneously. The gathering of rocks
pool, adds to the overall tranquility of the
that frame the bottom edge of Moonlight
painting as shades of sapphire, indigo
wave about to invade rock pool, provide a
and navy make an appearance alongside
solid compositional base, anchoring the
darker shadowed areas, the bubbling
painting against the crashing movement
white foam of the rushing wave and the
of the sea. Adding to the solidity of
ribbon of grey of ocean in the distance.
the foreground is the smooth, settled
The bold reductive approach seen in
brushwork, which etches out uniformly
Moonlight wave about to invade rock pool,
polished rocks and a glassy pool of water,
speaks of Smither’s confident familiarity
which gives way to a flurry of visible
with the Taranaki coastline, which
strokes that mark out the impending
allowed him to craft convincing scenes
wave. This variance in technique works
from a scattering of formalist elements.
to underline the contrast between the
JEMMA FIELD
IMPORTANT PAINTINGS & CONTEMPRARY ART 37
27
28
29
Self Portrait
Meditation (with Blue Bar)
oil and metallic pigments on canvas
Allen Maddox
Gretchen Albrecht
Louise Henderson
acrylic on canvas
Palestinian Woman Seated in Jerusalem
signed am, dated 1995 and inscribed
signed Albrecht, dated ‘96 and inscribed
charcoal and pastel on paper
Self Portrait in brushpoint verso
Meditation (with blue bar) in brushpoint
720mm x 880mm
1205mm x 1205mm
on stretcher verso 730mm x 1205mm
PROVENANCE
$25,000 - $35,000
Original John Leech Gallery label
PROVENANCE
affixed verso
Purchased by the current owner
$4,500 - $6,500
from Sweet Louise, The Louise Perkins Foundation art auction, 2005. $15,000 - $20,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 39
30
Frances Hodgkins
Old Mill at Ibiza
watercolour on paper signed Frances Hodgkins in graphite lower right; inscribed “Old Mill Ibiza”
watercolour by Frances Hodgkins in type on exhibition label affixed verso; Ernst Brown and Phillips, Ltd, The Leicester Galleries label affixed verso; James Bourlet and Sons Ltd, Fine Art Packers, Frame Makers label affixed verso. 390mm x 540mm PROVENANCE Likely to have been acquired by Myfanwy Piper (1911 - 1997), British art critic and wife of the artist John Piper (1903 - 1992) who is thought to have purchased it directly from the artist. The work was then sold through The Leicester Gallery, London and purchased by Charles Brasch in the late 1930s. Brasch, a New Zealand poet, literary editor and arts patron was the founding editor of the literary journal
Landfall. Brasch gifted 448 paintings and drawings to the Hocken Collections, Dunedin either during his lifetime or after his death. Charles Brasch gifted this work to Rodney Kennedy (1909 1989) a friend and a passionate advocate of what has become the modern canon of New Zealand art. Rodney Kennedy made a bequest of a further 177 works to the Hocken Collections in 1989. This work was gifted by Kennedy to his godson, the current owner. $35,000 - $45,000 In 1932, after an extended period of time spent painting and exhibiting in England, Hodgkins escaped the bleak qualities of the British winter to sojourn on the nearby island of Ibiza. Upon her arrival, Hodgkins was struck by the “clear ivory light”1 that graced
the landscape. Furthermore, she was enamoured with the auspicious quality
of the flora and the flat, uncomplicated
viewer to consider the fact that this land
nature of the architecture which she
was actively inhabited by a population.
said gave a “blind restful feeling of
Hodgkins began her career depicting
immense space”. 2 Almost immediately,
the people around her with tapestries
the new setting signalled a change in
of lush flowing strokes, capturing their
the artist’s work. Up until Ibiza, working
likeness with a knowing ease that would
from her Cromwell studio, the artist had
bring her first acclaim. Yet here, when
been developing her seminal series of
she was 63, her scenery looks more
works in which still life compositions
like an assemblage of cut-outs than a
were painted into landscapes; yet here
translation of a three-dimensional plane.
she reverted to a seemingly ‘simplified’
The objects are pictured like ‘ducks in
approach where she reacted to only what
a row’, and the artist’s aim was to allow
existed in the physical environ directly
the viewer to examine and compare
before her. And while well-defined
the formal qualities of each in relation
brushstrokes and poolings of colour –
to the others. What was of foremost
holding their own material weight in
importance here was each object’s
spite of their representational function
shape and physical appearance rather
– had already begun to emerge, in the
than its symbolic potential. Expunged
works painted in Ibiza, we see the artist
of content, these objects were reduced
fully explore the lyrical potential of the
to a language of raw visual matter and
painted line.
treated in the same way that a studio
In Old Mill, Ibiza, we are presented
painter of a modernist ilk might treat
with a landscape which, while sparsely
a still life composition. And while such
covered, is rich with ripe vegetation. For
an approach might not raise an eyebrow
the most part, the individual silhouettes
today, at the time, it was revolutionary.
of the flora remain uninterrupted which
This offering of Old Mill, Ibiza presents
allows them to maintain their own
a rare opportunity to acquire a work
individual sense of objecthood. To the
that can be traced back to a direct
artist’s eye, the singularity of the trees,
transaction with the artist; it has, since
shrubs and falling leaves was made more
then, passed through an astounding
profound by the flat blanket of light
but small and exclusive group of hands.
that swept over them, heightening their
Resting at one time or another in the
colouration and amplifying the contrast
ownership of British artist John Piper
between object and open space. On the
and his wife, art critic Myfanwy Piper,
right-hand side of the image, perched
the esteemed founding editor of the
up on top of a hill, is an old mill house.
literary journal Landfall, Charles Brasch,
The building is of an elongated form and
and then Rodney Kennedy, artist, writer,
its roof appears skewed and off-centre,
philanthropist and key figure amongst
suggesting that the viewer is gazing at
Otago’s avant-garde of 1930s (which also
the building from some oblique vantage.
included, among others, Sir Tosswill
Its irregularities aside, the graduated
Woollaston and Colin McCahon), this
rooftop helps to provide the work with
work has developed a rich provenance in
some context as it includes the detailing
which New Zealand’s cultural history is
traditionally seen in colonial Spanish
extensively referenced.
architecture. Furthermore, in the same
CHARLES NINOW
method as can be seen in her works of the late 1930s and early 1940s where
1McCormick, E H, Portrait of Frances Hodgkins,
Hodgkins painted agricultural buildings
Auckland University Press and Oxford University
and equipment, the mill house has a
Press: Auckland, 1981. p. 117. 2Ibid.
reticent narrative function, calling on the
IMPORTANT PAINTINGS & CONTEMPRARY ART 41
31
Colin McCahon
A Poem of Kaipara Flat 16 watercolour on steinbach paper signed McCahon, dated ‘71 and inscribed A Poem of Kaipara Flat 16 in pencil lower left and right 1075mm x 660mm REFERENCE Colin McCahon database reference number #cm000269. $90,000 - $120,000
Built on the familiar scaffold of a single
that flank the horizon line from above
horizontal line weighted to the bottom
and below describe naturally occurring
half of the picture plane, A Poem of
phenomenon such as sunlight, clouds,
Kaipara Flat 16 belongs to an extended
dirt and grass, their colouration also
series of works that all consisted of the
renders them as other-worldly. The
same compositional format. It was after
burning red penetrating through the
he commenced work at his Muriwai
clouds and the swirling red and yellow
studio in 1968 that McCahon first began
brushwork of the foreground show
experimenting with the formal and
divine light both bearing down from
symbolic potential of the horizon line.
above and surging through the land
His enquiry was initiated with works
beneath.
that consisted of two solid blocks of
Due to the fact that the Kaipara
colour; the lower was green and the
series, to which A Poem of Kaipara Flat
upper was a faint yellow. As the research
16 belongs, follows a common idiom that
continued, McCahon’s approach to mark-
was repeated by the artist during 1971,
making loosened and his use of colour
the concentration of tone and colour
became less prescribed by the physical
used in each work varies greatly and,
properties of the landscape before him;
in an almost diaristic fashion, holds
green and gentle lemon yellow gave
up a mirror to McCahon’s personal
way to brilliant reds, blues, purples and
disposition at the time of its painting.
blacks belting a disquieting harmony out
It is well known that McCahon was a
from the page.
religious man, yet perhaps it is even
After receiving Professor Charles
better known that he had moments of
Cotton’s book Geomorphology of New
doubt. The heavy weight of the clouds in
Zealand as a wedding gift in 1942,
the sky, with their dark, purple depths,
McCahon became increasingly engaged
has an ominous, foreboding quality and,
in painting landscapes that paid
in one sense, this landscape appears
attention to the structure of the land
cold and inhospitable while, in another,
forms. This can be evidenced first in
absolution appears to be looming.
his early Otago Peninsula works and
Thus, it is difficult to say whether or
can be seen to continue through to the
not this was the work of McCahon the
works of the Kaipara series. McCahon’s
believer or of the McCahon who had
interest in the subterranean was
momentarily turned away. However,
sustained by the fact that, to him, the
the true significance of works such as A
ulterior mechanics of the landscape had
Poem of Kaipara Flat 16 lies not in their
allegorical significance. Rather than
ability to give an insight into the artist’s
simply constituting an explanation
psyche but, rather, in their ability to
of the way in which land mass was
structure a dialogue around the forces
formed, Geomorphology of New Zealand
of the universe, both physical and
presented an all-encompassing power
metaphysical, that can be understood
that was capable of moving the earth
through the scope of any belief system.
beneath his feet. While in A Poem of
CHARLES NINOW
Kaipara Flat 16, the colour and markings
IMPORTANT PAINTINGS & CONTEMPRARY ART 43
32
Philip Clairmont
Inocence (sic) Threatened
oil on two jute canvas sections, affixed to a stretched canvas signed Clairmont, dated 1970 in brushpoint lower left and inscribed Inocence Threatened in brushpoint lower right 1450mm x 1395mm REFERENCE This painting can be seen hanging above the artist’s bed in the documentary for the Profiles series on Clairmont. Clairmont was photographed sitting in front of it by Brian Staff for Spleen 4. $40,000 - $50,000
Shortly before painting Inocence
the face divided vertically into light and
Threatened, Clairmont had seen Ingmar
dark sides. Undoubtedly this symbolises
Bergman’s only horror movie, Hour of
the outer and inner aspects of the artist,
the Wolf, 1968. Filmed in stark black and
his visible and hidden sides, rather as the
white, it deals with an artist in crisis,
two parts of the diptych do on an enlarged
Johan, and his pregnant wife Alma
scale. Clairmont’s image continues
who have gone to a depopulated island
on the right panel but is overlaid with
where he paints outdoors alone. Johan
fragments of other faces – eyes, teeth and
is haunted by events from his past and,
ears can be found. Martin Edmond has
at times, appears surrounded by an array
discovered the head of Clairmont’s baby
of figures whose faces we see in a rapid
in the central form which is enclosed by
succession of images. Bergman mixes
a large, white, bird-like head and beak.
visions and reality so that we become
Birds appear as disturbing psychic forces
disoriented and unsure of which is which,
in Bergman’s film, too, which is more to
as happens in Clairmont’s painting. At
do with the subconscious than with the
the ‘hour of the wolf’, shortly before
visible. The title of the painting Inocence
dawn, Johan tells Alma of painful
Threatened would seem to refer to his
memories. Perhaps he hopes that his
newborn child and the forces in the
family life will erase the past and create
world, not all benign, that might beset her
a happier environment. In Clairmont’s
young life.
painting, his family is represented in the
Influences on Clairmont can be traced
right panel, while he appears in a partial
to the expressionist taste of his main
self-portrait on the left. He had recently
mentor at the Canterbury Art School,
married his first wife Viki and their only
Rudi Gopas, an outsider in conservative
child Melissa had just been born. As in
Christchurch, who was disturbed by his
Bergman’s film, there is a contemplation
own memories from his past experiences
of the role of the artist whose creative life
in World War II and refugee camps.
is about to be changed by his new family.
This was reinforced by Clairmont’s
This is a time of joy in fatherhood but also
friendship with Tony Fomison who had
of challenge because of the needs of his
recently been in Europe and returned
creative life as an artist.
addicted to drugs and experimenting
Inocence Threatened is a diptych made
to see how they could heighten artistic
of two pieces of canvas, mounted with a
creativity. He was to write an article
division between them. The left panel
on ‘Head Art’ advocating this practice.
is much narrower than is the right and
The highlighting, blinding auras, acidic
shows half a self-portrait of Clairmont
colours, fragmentation and vertigo-like
bisected down the centre of the face. It
swirling forms found in Clairmont’s work
is as if the image has been cut or torn
of this time relate to the psychedelic
in half. This appears to have been a
art popular on 1960s’ pop music album
deliberate choice of format to perhaps
covers. The music of Jimi Hendrix, in
show him caught between two roles:
particular, was an accompaniment to
that of father and that of artist. His face
Clairmont’s painting practice. When
is seen frontally with eye, nose and teeth
first shown at his solo show, this and
easily decipherable. In fact, it can be
related works caused a sensation. Inocence
compared with the self-portrait on the
Threatened, painted while Clairmont
catalogue for Clairmont’s solo show at
was just 21 and still at art school, has an
Several Arts, Christchurch, 1970, where
astonishing impact even today with its
Inocence Threatened was first exhibited.
vitality undiminished by time.
The catalogue image is complete but has
MICHAEL DUNN
IMPORTANT PAINTINGS & CONTEMPRARY ART 45
33
Shane Cotton
Untitled
acrylic on paper signed S.W.C., dated ‘95 and inscribed 2. At 3 Atrium LIFT WALL 2 in brushpoint lower centre, signed Shane W. Cotton and dated ‘95 in pencil lower right 760mm x 460mm REFERENCE This work is a study for the 1995 Sky Tower Casino, Auckland installation. $12,000 - $15,000
34
Paul Dibble
Body Architecture cast bronze, 3/3 signed Paul Dibble NZ and dated 206, 3/3 incised to base 640mm (height) PROVENANCE Purchased by the current owner from Black Barn Gallery, Hawkes Bay, 2006. $10,000 - $15,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 47
35
Charles Goldie
Māori Woman with Moko oil on board signed and dated 1910 in brushpoint lower right 190mm x 144mm PROVENANCE Purchased from a Bethune’s auction, Wellington, 5 July 1967, 545gs ILLUSTRATED Charles F Goldie, His Life and Paintings, Alister Taylor & Jan Glen, Alister Taylor Publishing 1977, p. 213. Evening Post, June 1967. The Dominion, 6 July 1967. $150,000 - $200,000
Painted in 1910, Charles Frederick
communicating to the viewer the tragic
Goldie’s Māori Woman with Moko is an
yet imminent extinction of this noble,
outstanding example of the technical
indigenous race of New Zealand. As has
brilliance, a culturally significant subject
often been said since, this was of course
and the high level of detail which have
a fabrication on Goldie’s behalf, that was
been cause for Goldie’s enduring status
born out of his Western-European art
as one of New Zealand’s most celebrated
training and his social attitudes. Despite
20th-century artists. Although the
Goldie’s erroneous beliefs, however,
sitter’s identity remains something of a
his meticulous approach to recording
mystery, the cloak, greenstone jewellery
what he thought were the vestiges of a
and moko that decorate the sitter’s lips
‘noble race’ has provided an invaluable
and chin testify to the distinguished
historical record; Goldie preserved in
standing of the kuia (elderly woman).
paint the Māori traditions of dress,
The excellent artistic quality of Goldie’s
jewellery and ta moko at the turn of the
Māori Woman with Moko further secures
20th century.
the painting as a treasured art piece
While there was a multitude of
in its own right. It is worth noting too
different cloaks that were woven and
that, as with many of his more-favoured
worn by Māori in the early 1900s, the
models, Goldie had painted a portrait of
cloak seen in Goldie’s Māori Woman with
the same sitter the year before; in that
Moko is that of the korowai, which is a
work, she likewise appears with her face
type regularly seen in Goldie’s portraits.
crinkled into an open smile.
Elegantly woven from the prepared
Goldie’s portraits, with few exceptions,
fibres of the New Zealand flax (muka),
were not commissioned and he took
they featured a fine covering of muka
it upon himself to choose his sitters.
tassels (hukahuka). The tiki pendant
He usually worked from photographs;
nestled into the folds of her cloak and
a photograph would have been an
her two kuru (greenstone earrings)
invaluable resource in allowing him to
indicate that the kuia depicted in Māori
study, at close proximity, the intricacies
Woman with Moko, is clearly one of high
of individual faces and ta moko. This
rank. The open, smiling mouth and
practice would have gone some way in
crinkled eyes increase the accessibility
enabling him to produce paintings of
of the work and imbue the kuia with
the startling verisimilitude for which
something of an endearing and light-
he is renowned. The level of animated
hearted frankness. The details in the
emotion seen in this bust-length portrait
background of the painting are subtly
of an elderly woman is unusual in
treated, ensuring that the main focus is
Goldie’s oeuvre. The majority of the
the sitter. Goldie deftly transcribes the
artist’s portraits display subjects in
individual features of the kuia: short,
varying states of sombre contemplation
greying halo of hair, eyebrow remnants,
often with long, drawn faces that are
honoured passages of ink and the prized
shown staring out of the canvases,
pieces of greenstone, and he indelibly
unseeing, into the middle distance.
traces each of the many wrinkles that
This, of course, was one of Goldie’s
are etched into her well-worn face.
prime techniques for instilling a noble
JEMMA FIELD
sentimentality into his works and
IMPORTANT PAINTINGS & CONTEMPRARY ART 49
36
37
38
Untitled (Still Life)
Linked Stories From the Garden
Study for Buller’s Tablecloth
oil on hessian
cast bronze
graphite and ink wash on paper
signed PCT and dated ‘81 in brushpoint
signed Paul Dibble, dated 2001 and
signed W.D.H and dated 1994 in pencil
lower left
inscribed N.Z incised on base
lower left
940mm x 1650mm
480mm x 580mm x 120mm
565mm x 740mm
PROVENANCE
$12,000 - $18,000
PROVENANCE
Philip Clairmont
Paul Dibble
Bill Hammond
Purchased by the current owner from
Purchased by present owner from
Janne Land Gallery, Wellington, 1981.
Peter McLeavey Gallery, Wellington.
REFERENCE
$18,000 - $25,000
The show in which this work was exhibited is referenced in The Resurrection of Philip Clairmont, Martin Edmond, Auckland University Press, 1999. pp.168-169. $35,000 - $45,000 IMPORTANT PAINTINGS & CONTEMPRARY ART 51
39
Colin McCahon
Mountain Landscape
Colin McCahon in return for hospitality when the artist conducted a summer
watercolour on paper
school in Whangarei in 1958. Dr Owens
circa 1958
was the Northland tutor for Adult
300mm x 240mm
Education. This work relates closely to
PROVENANCE
the cover illustration for The Inlaid Eye
Formerly in the collection of
by Dr Eric McCormick.
Dr John Owens of Palmerston North
$20,000 - $30,000
who received the painting from
40
40
41
41
42
42 41
Len Castle
42
glazed earthenware
Yellow Sulphar Bowl
glazed earthenware
signed L.C. and dated 2009 incised on
glazed earthenware
signed with artist’s stamp on underside
underside
signed with artist’s stamp on underside
455mm diameter
525mm diameter
520mm diameter
$3,500 - $5,500
$2,500 - $3,500
$2,500 - $3,500
40
Len Castle
Yellow Sulphar Bowl
Large Blue Shallow Bowl
Len Castle
IMPORTANT PAINTINGS & CONTEMPRARY ART 53
43
Jude Rae
Lost
acrylic on canvas 1990 1700mm x 1200mm EXHIBITED Jonathan Jensen Gallery, Christchurch, 1990. $30,000 - $40,000
Painted in 1990, Lost is one of a series
the painted fabrics that graced historical
of paintings of cloth that Jude Rae
paintings such as canopies of state,
completed throughout the 1990s. These
tapestries, ceremonial robes and religious
works are unified in their use of extreme
mantles.
cropping so that only a close-up view
In Rae’s Lost, the loosely brushed
of a segment of drapery is shown. This
pigment provides a dry, scumbled effect
technique has a somewhat disorientating
and creates the impression of the viewer
and puzzling effect on the viewer who
being shown the loose weave of material
is left to wonder at the nature of the
which, in reality, is actually a painted
fabric they are viewing: is it a curtain
artifice. In doing so, Rae plays with the
or a tablecloth or a bed-sheet or a piece
ability of the master painter to foil the
of linen? Testament to Rae’s painterly
human eye and to craft illusions. Unlike
skill is her ability to create an interesting
many of Rae’s paintings, however, the
visual feast from a potentially mundane
inherent realism is tempered by the
subject – fabric folds. As seen in Lost,
use of lettering, which cements the
Rae’s expertise in capturing the effects
physicality of the painted board by
of light falling across drapery serves to
drawing attention to the two-dimensional
animate the painting through its rippling
reality of the painting. From a distance,
declivities.
the words are barely perceptible and
As with all of Rae’s paintings, Lost
coalesce into a filigreed pattern that
possesses poise and tranquility, but
marches across the painting in a central
her cloth paintings are not merely
band. Up closer, though, it is apparent
ornamental objects. Rich in personal,
that running the expanse of the canvas
cultural, symbolic and art-historical
are nine lines of stenciled text comprising
inferences, these works are suggestive
repetitions of the word ‘Lost’, which is
of curtains, shrouds, veils, dust sheets
spelt out in capital letters and separated
and bandages. Consequently, the cloth
by way of unobtrusive forward strokes.
paintings conjure memories, thoughts
Stamped across the board, the
and feelings connected to major events
repetition of the word ‘Lost’ becomes
such as death, healing, recuperation
something of a mantra or prayer. Who
and marriage. On a personal note, the
or what is lost is left up to the viewer –
artist has stated that these works evoke
whether it is something of a metaphysical
memories of the sheets on her parents’
musing, a personal remembrance of the
bed and her mother’s rustling skirts.
artist as a small child lost amongst the
Within the art-historical canon, they
folds of her mother’s skirt, or perhaps it
are linked to the struggle of artists to
is a literal observation as the viewer is
realistically depict the folds of drapery
drawn in and lost among the rhythmic
on a flat surface; this skill was finally
undulations of Rae’s painted cloth.
mastered in the Renaissance. Thus,
JEMMA FIELD
Rae’s cloth works are associated with
IMPORTANT PAINTINGS & CONTEMPRARY ART 55
44
Ralph Hotere
Black Painting No. 8
brolite lacquer on two boards with timber construct inscribed 8 in crayon verso PROVENANCE Gifted or acquired by a friend of the artist from the Frances Hodgkins Fellow Exhibition, Otago Museum, Dunedin, in November 1969. The work hung at the Globe Theatre, Dunedin and then at the owner’s homes until his passing in 2007 when it was deposited with the Eastern Southland Gallery, Gore. Passed by descent to the present owners. EXHIBITED Frances Hodgkins Fellow Exhibition, Otago Museum,Dunedin 9 - 22 November 1969 $180,000 - $200,000
Completed in 1969, Ralph Hotere’s Black
of colour so that, in effect, light is seen
Painting No. 8 presents the viewer with
to be piercing a starless firmament.
a strikingly clean and lucid composition.
The notion of light penetrating and
The silken ebon ground is bisected by
illuminating the darkness is evocative of
a thin piece of timber and, within each
both the Māori and the Christian stories
compartment, a series of pencil-thin
of Creation, the birth of the Universe and
radiating circles of colour is seen. The
the beginnings of mankind. So too is the
two circles constitute seven concentric
circle, which is a traditional symbol of
rings which are etched out in each
new life, new beginnings and often also
of the seven colours of the spectrum:
of God and/or the Universe. As such,
red, orange, yellow, green, blue, indigo
Hotere’s Black Painting No. 8, formally
and violet. Shadowless, the circles lie
and chromatically, bears witness to
neatly encased within the structural
an artistic exploration of existentialist
bounds of the frame. While the top
truths, mysticism, absolutism and
circle radiates out from light into dark
iconography that had been present in the
and encompasses a barely perceptible
artist’s upbringing and later education.
horizontal line, the lower circle is
Whatever the possible implications
mapped out in the reverse colour order
and meanings of Hotere’s choice of
and embraces a vertical stripe. Through
shape and palette, however, in terms
this measured alliance of opposites,
of pure aesthetics, Black Painting No.
Hotere successfully activates the panels.
39 is undeniably enchanting with
The use of all seven colours of the
its flawless lustre and meticulous
spectrum in Black Painting No. 8, allows
execution. Testifying to its own
the work to be seen in some respects
material existence, the glossy finish of
as a culmination of Hotere’s preceding
Hotere’s Black Painting No. 8 produces
seven brolite lacquered Black Paintings.
a reflective surface that is animated
Each one of these paintings featured
by its surroundings and the presence
a lustrously dark ground upon which
of the spectator, both of which can be
a central cruciform was traced in one
glimpsed fleetingly within the painting.
of the seven colours of the spectrum.
The magnetism of Black Painting No.
Brought together in Black Painting No.
8 has much to do with this pared-back
8, the seven rainbow colours of the
nature. The dominant blanket of raven
spectrum combine to produce white
blackness that is finely pricked by
light, which offers a metaphysical
threads of colour imparts to the painting
counter to the gleaming piceous plane on
a sober and meditative quietude. This,
which they lie.
indeed, is Hotere at his best: effortlessly
The time-honoured and richly
manipulating and teasing out the myriad
symbolic dichotomy of light and dark
possibilities of blackness – its hidden
is a thread that runs through much of
depths, its seductive potential and its
Hotere’s work. In the Black Paintings, it
nuanced tonalities.
is notable that Hotere paints the glossy
JEMMA FIELD
black sheet before he applies the ribbons
IMPORTANT PAINTINGS & CONTEMPRARY ART 57
45
Francis McCracken
A Summer Picnic oil on canvas
signed F. Mcracken and dated 1910 in brushpoint lower left 900mm x 700mm $12,000 - $18,000
46
Sydney Lough Thompson
Boats in Port oil on board
signed S.L. Thompson in brushpoint lower left 345mm x 450mm $15,000 - $20,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 59
47
Colonel Robert Henry Wynyard
Princes St.1849
watercolour and ink on paper inscribed Princes St. and dated 1849 in ink lower edge 180mm x 220mm PROVENANCE Formerly in the collection of the Wynyard family. $25,000 - $35,000
Shortland Street in Emily Place. At
and around them, though the drawing
that time, Shortland Street led up a
offers little sense of this (and maybe
steep hill to St Paul’s and connected
deliberately so).
Princes and Queen Streets. The church
is Wynyard’s inclusion of what
Britomart on what was, in the 1840s, the
appears to be the British flag flying
highest point of land. It was, as such, an
at Point Britomart (to the right of the
important landmark both in the town
church). Other drawings of Princes
and from the harbour. It was demolished
Street from around the time do not
in 1885 with Point Britomart as part of
include the flagstaff and it is not clear
the reclamation being undertaken at
whether it would even have been visible
that time.
from the vantage point of Wynyard’s
Princes Street was a prestigious street in the township. It was close to
Wynyard was a key figure in the early history of Auckland and the colony. The contribution he made is reflected in the Auckland landmarks that bear his name – Wynyard Pier (now demolished), Wynyard Street and, most recently, Wynyard Quarter. Wynyard arrived in Auckland in 1846 as Lieutenant-Colonel of the 58th Regiment and was immediately dispatched to the Bay of Islands to assist the British forces fighting in the so-called ‘War in the North’. From 1847 to 1858, he lived in Auckland at Official Bay and occupied a number of important military and official positions. From 1851 to 1858, he was Commander of the Military Forces in New Zealand. In 1851, he was also appointed LieutenantGovernor of New Ulster (the North Island) and, in the following year, he became Superintendent of the newlycreated Auckland Province. From 1853 to 1854, Wynyard was Acting Governor of the colony as a whole. Wynyard lived on the corner of Jermyn Street (later Anzac Ave) and Emily Place. He documented his time in Auckland by drawing and painting watercolours of the views and places around him; this drawing is one of his works. The centrepiece of the drawing is St Paul’s Church which sat at the foot of Princes Street and at the top of
Of particular interest in the drawing
was positioned on the hill above Point
drawing. In including it, Wynyard may simply
the main administrative and military
have been seeking to add interest
buildings and included commercial
to his drawing. He was, however,
buildings as well as the residences of
a military man and key Crown
key military figures. The first building
official, and the British flag was one
visible on the left in the drawing is
of the greatest symbols of the Crown
Woods Royal Hotel. By 1849, it was being
which he represented and for which
leased and occupied by Major-General
he fought. Also, two years previously,
Pitt, then Commander of the Military
he had played a commanding role in
Forces in New Zealand and Wynyard’s
the ‘War in the North’ begun by Hone
commanding officer. Next door was the
Heke’s chopping down of the flagstaff
double-storeyed Royal Masonic Hotel
at Russell. By including the flagstaff in
and, next to the hotel, was the Union
this drawing, Wynyard gave his picture
Bank of Australia. Going down the road
a more political overtone; while two
on the right and in the buildings closest
peoples made up the township and
to the church were residences occupied
colony he depicted, they were to be
by other officers.
governed by a British God and British
Beyond the buildings and the
Queen alone. The town itself appears
landscape, the drawing seeks to portray
dominated by British people, culture and
something of the nature of the township
architecture. The reality of Auckland
at this time. Pictured in the foreground
(and the colony as a whole) in the 1840s
are a military officer and his lady. This
was quite different: Māori dominated
reflects the greater military presence
both numerically and militarily, while
in Auckland from the later 1840s; the
the battle to decide whose authority was
city was in the process of being fortified
supreme was still far from over.
to counter the growing threat of Māori
In this sense, the picture is more than
resistance. Māori – sitting and standing
a simple record of the landscape and
in the centre foreground – are also
architecture of the time. It is a reflection
clearly visible. While the Auckland
of the intentions and expectations of
isthmus was sparsely populated by
the many British officers and officials of
Māori up to the late 1830s, during the
the time who, like Wynyard, were then
1840s, a huge influx of Māori entered
seeking to assert British control and
the town to be close to the Governor
dominance.
and the Europeans and their trade. The European population in Auckland was, in fact, dwarfed throughout the 1840s by the Māori population living with
IMPORTANT PAINTINGS & CONTEMPRARY ART 61
48
Ralph Hotere
Song of Solomon
mixed media on fourteen sheets of paper each individual sheet signed with initials R.H and C.M.Q in pencil lower edge; signed Hotere and McQueen and inscribed Song of Solomon and numbered No. xx of 14 in marker pen verso 630mm x 490mm each, 1324mm x 3675mm overall $95,000 - $150,000
Created in response to the 1991 Gulf War,
A staccato string of words, ‘cut out’ one
this is a haunting multi-panel painting
might guess, from military reports and
full of paradoxes. It operates like an
press releases covering the Gulf War,
antiphonal project, a choral work built
run like two through-lines in the top
on statement and response, between
and bottom sequence of panels. The
monochromatic chord structures and
word strings act as fixed horizon lines
printed text and between opposing
amidst a plurality of graphic levels that
levels of textual content. Wedged into
jump and drop in syncopated order.
14 panels the painting unfolds through
The plain-text or ‘courier’ font of the
an alternation of thick bands or blocks
printed words holds the communications
of sprayed black paint with glaring
technology of earlier wars with their
white-paper blanks. The tragic grandeur
typewritten despatches from the
of the work’s major tonal progression is
front together with the plain-text of
modulated by a host of bleedings, scuffs,
contemporary data screens and email
speckles, arcs of silver dots, and scripted
systems. This is Cilla McQueen’s text at
annotations. The improvisational
work in the Hotere matrix. McQueen’s
diversity of these playful surface effects
lexical collage functions like a reality
appears to go against the painting’s
principle to Hotere’s broodingly romantic
overridingly bitter and melancholy pall.
graphic and painterly rhetoric. It is as
if, through breaks in battlefield smoke
in a sense, have responded to Adorno’s
Hotere’s handwritten fragments from
or post-war toxic haze, and shown up
rhetorical question, “Can there be poetry
the Song of Songs, the ancient Hebrew
by detonations and muzzle flashes on
after Auschwitz?” What sort of art and
text of seduction and lament for an
the skyline, McQueen’s chains of words
poetry can accompany our contemporary
elusive lover who approaches in the
tear through the aesthetic dazzle of
and all too extensive knowledge of war
night. The lover calls, “Arise my love,
the military sublime. Photographs and
and atrocities? Perhaps only something
my fair one and come away”, “For lo, the
videos that we followed on CNN at the
that works through a sort of affectless
winter is past and the rain is over and
time seduced us with their telemetric
enumeration, a machinic refusal to
gone”. The work therefore talks to itself,
and optical wizadry. Tracer bullet tattoos
play with delectations of word choice
and thus becomes many works in one,
of white across night-vision green, slow
and tonal chromatics. This is the sort
but whether its borrowing of the new
exfoliations of black and grey from
of protection from trauma that Freud
testament stations of the cross format
destroyed buildings and bridges became
alluded to in his discussion of ‘the
or the old testament poetry of desire
familiar imagery in the living room.
compulsion to repeat’. The McQueen
and lament provide the work with the
vocabulary which cites ‘main gambit
confidence of redemptive purpose amid
McQueen’s words, following one another
box airburst shift communications
desolation has deliberately been left
randomly and dumbly mimics the kind
schrapnel [sic] jam chamber’ and ‘smart
unresolved.
of psychic shutdown that can act as one
blood break count bodybag holymilk
ALLAN SMITH
form of defense against unmanageable
operations kill strategy factory reprisal’
trauma. Perhaps McQueen and Hotere,
is answered in a dreamlike manner by
The asyntactical repetition of
IMPORTANT PAINTINGS & CONTEMPRARY ART 63
49
50
Hauiti Recieves Water
Rainbow Dog
oil on board
oil on board
signed J. Walsh, dated 2002 and inscribed
signed Don Binney, dated Jan 1964 and
Hauiti Recieves Water in pencil lower
inscribed Otago in brushpoint lower right
right verso
910mm x 565mm
1230mm x 1230mm
$30,000 - $40,000
John Walsh
$16,000 - $22,000
Don Binney
IMPORTANT PAINTINGS & CONTEMPRARY ART 65
51
Ralph Hotere
The Wind I
burnished steel in original Roger Hicken frame inscribed When We Touch Forests enter our bodies, The dark wind shakes the branch, The dark branch shakes the wind; signed For Annie from Ralph, dated ‘85 and inscribed L-V in oil pastel verso 760mm x 675mm REFERENCE Text is by Bill Manhire, from a poem titled The Wind I. $90,000 - $120,000
Ralph Hotere’s Baby Iron series
words “when we touch forests enter our
summons motifs and imagery seen
bodies, the dark wind shakes the branch,
elsewhere in his practice, such as the
the dark branch shakes the wind”,
large central cross of the Zero and Black
speak of the way in which seemingly
Window paintings or the repeated
contradictory forces can mediate, shape
markings that follow the gestural sway
and inform the way in which ‘each other’
of the arm that first became prominent
is perceived. Constituting an almost ‘yin
his Aramoana works; the most important
and yang’-type relationship, the words
element of the series is the substrate on
describe this interdependency using a
which they were executed. Completed
succinct visual image. Like an abstract
between 1983 and 1984 on both smooth
narrative, they also help to describe
and corrugated steel, this series differed
the painting’s utilitarian aims. In its
from others created during this period
everyday mode, stainless steel is used in
due to its distinct lack of emphatic
heavy municipal applications; ever bright
political content. Using the words of his
and difficult to tarnish, it acts almost as
long-time friend and collaborator Bill
a buffer between human interactions. It
Manhire as their impetus, Hotere’s Baby
is perhaps its observed potential to act
Iron works instead explored the interplay
as a common ground between opposing
between the form of the letters and the
activities that cemented Hotere’s resolve
poetic qualities of the drawn line.
to use the material.
In The Wind I, the presence of
Focusing on the relationship between
stainless steel serves a double purpose.
the artist and his source material and,
On one hand, it is a medium chosen
in turn, the relationship between the
simply because its hard-wearing
painter and the canvas (so to speak)
qualities allow it to withstand a
and, in turn, the relationship between
particularly unforgiving approach to
the viewer and the artwork, The
mark-making using tools such as a
Wind I is purely about the sharing of
blowtorch and an angle grinder. On the
experience. The concept of aroha –
other hand, its reflective, warped and
literally translating to love but effectively
beaten surface has a more symbolic
referring to something, an essence
function. Like the polished surfaces of
perhaps, that is present in all human
Hotere’s Black Paintings, the stainless
beings – is central to Hotere’s work.
steel projects the viewer’s own face
Elsewhere in his practice, aroha has
towards them. Rather than treat the
been summoned using chant-like protest
viewer as spectator, The Wind I seeks
and references to death and grief and,
to draw them into the work and shape
here, aroha is present in the common
their self-image with its content. Cilla
understanding and experience of
McQueen, New Zealand poet and
visceral, poetic devices.
Hotere’s one-time partner, has likened
CHARLES NINOW
the surface of the Baby Iron works to a “hall of mirrors” that “track inwards to
1McQueen, Cilla, Baby Iron. In Gregory O’Brien
yourself”.1
(ed.), Hotere: Out of the Black Window, Godwit:
The Wind I shares the same title as the Bill Manhire poem which it quotes: the
Auckland, 1997. p. 114.
IMPORTANT PAINTINGS & CONTEMPRARY ART 67
52
Jeffrey Harris
Times Triangle oil on canvas
signed J.Harris and dated November
1981 in brushpoint lower edge; signed Jeffrey Harris, dated November 1981 and inscribed ‘Times Triangle. oil/canvas upper edge verso 1360mm x 1500mm EXHIBITED Bosshard Galleries, Dunedin, March 1982 PROVENANCE Purchased by the current owners from Bosshard Galleries, Dunedin, circa 1983. $25,000 - $30,000
Painted in 1981, Times Triangle belongs to
do not see it purely as an arrangement
a group of striking canvases first shown
of lines, forms and colours. Instead,
at the Bosshard Galleries, Dunedin, the
his figures cry out for interpretation.
following year. Justin Paton included
Who, we ask, is the girl wearing what
it in a list of ‘six remarkable works’
looks like a leotard and ballet shoes?
painted during that period, along with
She resembles a gymnast,maybe
the well-known Family now in the
appropriated by Harris from a magazine
Dunedin Public Art Gallery. Stylistically,
photograph – such photographs were
it has links with Family, in the way
ready sources of contemporary material
the picture is built up of modelled
which he collected at that time. In the
and linear elements. For example, the
context of the two men – polarised on
linear approach is seen in the sketchy
different sides of the canvas, one either
treatment of the male protagonists’
side of the central girl – and the word
shirts and the modelled approach in
‘triangle’ in the title, we can see her as
the central figure of the girl, seemingly
a victim of jealousy and antagonism
impaled and falling towards the water
between two admirers. The two
below. She shares this status with the
arrows shooting into the canvas from
two men’s faces, both looking towards
the viewer’s left might endorse that
the girl as if drawn magnetically to her.
view – the darts of love become the
It is very much in keeping with the
weapons of frustrated desire. Whatever
postmodernist approach of the period
our interpretation, and it remains
when varying styles were brought
speculative because this is not an
promiscuously together on the one
illustration, we know that the girl is the
canvas to show awareness of painterly
object of the male gaze – she is dead or in
conventions and to allow the artist
a deadly swoon, while the men are very
freedom to flaunt them. Here, too,
much alive and awake, alert and looking
the abstract and the representational
at her.
come together in a clash of idioms. The
As with other works of the period by
floating abstract shapes – red, orange, yellow and black – move around and between the representational figures in a restless display of energy. The extensive untouched areas of white canvas tell us we are looking at a flat surface, a tabula rasa, on which Harris can work his magic, turning lines and smudges of paint into bearers of meaning. Harris allows us to share his sense of being in charge, of being able to mix and match styles and conventions to suit his theme. Undoubtedly, Times Triangle works well without any narrative meaning, but we
Harris, Times Triangle is troubling pyschologically. Violence, overt or implicit, is never far from the surface and the relationship between men and women, though central to his concerns, is fraught with discord and tension. With this canvas and others of the early 1980s like Floating Woman, Harris moves beyond his earlier preoccupation with himself and his family to engage with a more anonymous and wide-ranging theatre of modern life. MICHAEL DUNN
IMPORTANT PAINTINGS & CONTEMPRARY ART 69
53
54
Greymouth
Lyttleton Harbour
oil on board
oil on board
signed Woollaston in brushpoint lower
signed Woollaston in brushpoint lower
right verso (a copy of this signature is
edge
affixed verso as the canvas has been
950mm x 750mm
relaid onto archival board and is not
$20,000 - $30,000
Toss Woollaston
visible) 460mm x 520mm $20,000 - $25,000
Toss Wollaston
IMPORTANT PAINTINGS & CONTEMPRARY ART 71
55
Peter Stichbury
Untitled
graphite on paper signed P Stichbury and dated ‘04 in graphite lower right 750mm x 565mm $5,000 - $7,000
56
Peter Stichbury
Untitled
acrylic on board signed Peter Stichbury, dated 1995 and inscribed Acrylic, Untitled in pen upper left verso 1470mm x 1215mm REFERENCE After Michelangelo Merisi de Caravaggio’s, The Entombment of Christ 1602 - 1603. $20,000 - $25,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 73
57
58
Mexico
Pole Line Te Henga
acrylic on canvas
oil on board
signed Don Binney, dated Marzo-Abril
signed Don Binney and dated MM in
1968, and inscribed Mexico D.F. in
brushpoint lower right
brushpoint lower right
565mm x 750mm
2000mm x 1500mm
$40,000 - $48,000
Don Binney
Don Binney
PROVENANCE Purchased by the current owner from Barry Lett Gallery, 1969. Private Collection, Canada. $40,000 - $50,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 75
59
62
Mephitis
Small Plane over an Ocean
sixteen black and white pegasus prints
acrylic on canvas
edition of 20
signed Frizzell and inscribed Small Plane
signed R. V. Hout, dated 1995 and
Over an Ocean and dated 5/9/2002 incised
inscribed Mephitis and 6/20 in marker
lower right; original Gow Langsford
pen lower edge verso
gallery label affixed verso
550mm x 365mm each
1800mm x 1800mm
3365mm x 2570mm overall, variable
$25,000 - $35,000
Ronnie Van Hout
Dick Frizzell
$10,000 - $15,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 77
61
62
63
Motuhake
Burkes Pass
Tipi Haere II
oil on board
oil on canvas
oil on board
signed J Walsh, inscribed Motuheke
signed Hight and dated 05 in brushpoint
signed J Walsh, dated 2003 and inscribed
and dated 2005 in pencil verso; original
lower right; inscribed Burkes Pass in
exhibition label affixed verso
brushpoint lower left
1230mm x 1230mm
900mm x 1200mm
915mm x 1110mm
$16,000 - $22,000
$18,000 - $22,000
$18,000 - $22,000
John Walsh
Michael Hight
John Walsh
Tipi Haere in pencil lower left verso
IMPORTANT PAINTINGS & CONTEMPRARY ART 79
64
Ralph Hotere
Let Us Weep - For His is Not The Death of the Moon acrylic on paper signed Hotere, dated ‘72 and inscribed Let us weep - for his is not the death of the moon in brushpoint lower edge $20,000 - $30,000
65
Frederick RICE Stack
View Of The Auckland Harbour, New Zealand, Taken During The Regatta Of January 1862. (The Race of the Māori War Canoes). View Of Auckland, New Zealand, From The Crater Of Mount Eden. View Of Auckland, New Zealand From The Lake On The North Shore. View Of The Firth Of The Thames, Waitamata, Tamaki, And Gulf of Hauraki, From The Howick Ranges. View Of The Wairoa Creek (Pheasant Shooting On The Estate of Alexander Kennedy Esquire) On The Road Leading To The Wairoa Valley. five hand-coloured lithographs title of each work inscribed in ink lower edge 185mm x 385mm each ILLUSTRATED Ellis , E.M. & D.G.. Early Prints of New Zealand. Avon Fine Prints: Christchurch, 1978. Item reference numbers 624 – 628. p. 166-167 REFERENCE A suite of these lithographs is in the collection of Auckland Art Gallery, Toi O Tamaki. $10,000 - $15,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 81
66
Peter McIntyre
Outback Still Life with Grass and Rocks oil on board, c. 1968 610mm x 910mm PROVENANCE Original John Leech Gallery label and Certificate of Authenticity affixed verso $14,000 - $18,000
67
Frances Hodgkins
The Harbour
watercolour on paper signed F.H and dated 1901 in brushpoint lower right 200mm x 150mm $10,000 - $15,000
68
Ralph Hotere
Window in Spain
mixed media on paper signed Hotere, dated ‘78 and inscribed N.F.S, Window in Spain, Menorca and For S. x R. in marker pen verso 305mm x 225mm $12,000 - $15,000
69
Michael Hight
Cambrians
oil on canvas singed Hight and dated 07 in brushpoint lower right and inscribed Cambrians in brushpoint lower left 610mm x 1520mm $18,000 - $22,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 83
70
James Robinson
I Dreamt I Was The Pacific Basin mixed media on canvas signed J Robinson in marker pen upper right and lower left; signed James Robinson in brushpoint upper left and lower right, dated 2006 - 2012 in brush point lower right verso; signed James Robinson ‘06 and inscribed I worry about it, gave it power, let it breed fear. I wished for better dreams, decided to be a man, learnt love is all there is. Holding the door, breathing relief, in and out. ‘Winter Koputai’ (womb of the Ocean, Port Chalmers) in marker pen on stretcher verso; notes from the artist’s booklet affixed verso 1190mm x 1400mm $6,000 - $10,000
71
TONY DE LAUTOUR
New World
mixed media on canvas screenprint with hand painted acrylic signed Tony de Lautour, dated 2001 in brushpoint lower right and inscribed New World in brushpoint upper left 1040mm x 1100mm $5,500 - $7,500
73
Simon Kaan
72
Jenny Dolezel
At The End Of The Day oil on canvas signed J. Dolezel, dated 2006 in brushpoint upper left and inscribed At
Untitled (triptych)
oil on three stretched canvases 775mm x 530mm; 775mm x 1060mm; 775mm x 530mm (775mm x 2125mm overall) signed Kaan and dated 01 on right edge
the end of the day in brushpoint lower
of centre canvas
right; signed Jenny Dolezel, dated 2006
PROVENANCE
and inscribed At the end of the day in
The central canvas purchased from
marker pen verso
the artist and the two outer works
840mm x 1120mm
commisioned, 2001.
$8,000 - $12,000
$9,000 - $12,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 85
74
75
Untitled
Untitled
oil, composition ornaments and gold
pastel on paper
leaf on gesso panel
signed Jeffrey Harris and dated 1988 in
signed TL and dated 11.99 in
pencil upper left
brushpoint lower edge
1000mm x 1520mm
520mm x 2020mm
$4,500 - $6,500
Tony Lane
$7,000 - $9,000
Jeffrey Harris
76
Jeffrey Harris
For Judith
conte on paper signed Jeffrey Harris, dated ‘79 and inscribed For Judith in ink upper edge 620mm x 870mm $3,000 - $4,000
77
Peter Stichbury
Untitled - Portrait of Paul Hartigan oil on board signed Peter Stichbury and dated 1996 in pencil verso 497mm x 424mm x 95mm $4,000 - $6,000
78
Rueben Paterson
Echo Resounding
enamel and polyurethane varnish on di-bond aluminium signed, dated and inscribed Echo Resounding in white ink lower edge verso 1000mm x 1000mm $10,000 - $15,000
IMPORTANT PAINTINGS & CONTEMPRARY ART 87
Webb’s is pleased to introduce the Mr. Bigglesworthy Modern Design collection. Dan and Emma of Mr. Bigglesworthy love the promise and potential of design. Their collection is a culmination of their passions, knowledge and shared love of modern design. The collection spans 30 years of design development in the Western world, from post-World War II up to the 1970s. It’s a story of modernist ideals told by designers who sought to break with tradition and unearth new possibilities. They utilised and pioneered constant changes in technology and encouraged new lifestyle developments. The narrative begins with a set of early utilitarian chairs designed by Ernest Race, produced from scrap aluminium left over from the war. His design reflects the austerity and sombre tone of the post-war world mixed with a sense of optimism and a desire to move forward and towards the new. This is compared with, on the other end of the modernist spectrum, the exuberance and luxury from the 1970s, exhibited in pieces from designers such as Sigurd Resell and Robert Heritage. These designers opted for materials like chrome and rosewood, producing a wholly different aesthetic yet remaining strongly connected to the ideals of simplicity, form and function.
INTERIORS MODERN DESIGN
THURS 29 MARCH 6:00PM Thursday 22nd March Thursday 22nd March Friday 23rd March Saturday 24th March Sunday 25th March Monday 26th March Tuesday 27th March Wednesday 28th March Thursday 29th March
Evening Preview 5.30 – 7.00pm Viewing 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 12.00pm
BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this Modern Design sale. GST (15%) is payable on the buyer’s premium only. PLEASE NOTE ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ Please register absentee and phone bids by 12:00pm on Thursday 23 February.
IMPORTANT PAINTINGS & CONTEMPRARY MODERN DESIGN ART 89
100 A Grant Featherston R160 Rocking Chair $7,500 - $9,000
Grant Featherston with wife and design partner Mary stand at the pinnacle of modern Australian design. From humble beginnings as a self taught designer, Featherston worked with glass panels and lighting. On his return from serving in WWII, Featherston was inspired by the emerging post-war technologies, especially advances in plywood. This combined with a fascination with nature and its organic forms led to the creation of his seminal body of work The Contour Series of 1951–55. The design for the contour chair came to Featherston while sitting on a tram, casually bending his tram ticket around with his hand. He noticed the shape which was formed by the two ends arched towards each other. That same curve from the ticket became the basis for the plywood shells of the Contour Range. The contour series has become one of the most innovative and iconic designs to emerge from Australia. The clean, sculptural lines and visually light appearance are thoroughly modern in design and intention. This R160 rocking chair with its tapered telescopic legs and figure hugging organic plywood shell is a very rare offering – one of less than 20 known to exist.
101 Two Rare Ernst Plischke Architectural Rimu Chairs $7,500 - $9,000
Despite a working style that was obstinate, obsessive and uncompromising Ernst Plischke’s legacy is one of architectural innovation and excellence. In his home country of Austria he was a leading proponent in the modernist “Neues Bauen” (New Construction) movement before fleeing to New Zealand in 1939 as a refugee from Nazism. Plischke was not only a talented architect but also an accomplished writer and furniture designer. His legacy includes some of the most inspired public and private architectural works throughout New Zealand in the 1940s and 50s. From large scale projects such as Wellington’s first modern skyscraper, the glass-curtain fronted Massey House, to quaint churches such as St Mary’s chapel in Taihape, Plischke has left an enduring reminder of the international modern style. Since Plischke’s death in 1992, his reputation has continued to grow in both New Zealand and Austria. Of his early European designs, many are protected as landmark modernist buildings and his exceedingly rare furniture has become highly coveted internationally.
IMPORTANT PAINTINGS & CONTEMPRARY ART 91
102 A Sigurd Resell Falcon Chair and Footstool $2,500 - $3,500
Sigurd Resell is one of the few elite Norwegian designers responsible for putting the small country firmly on the map for international design. Resell’s career was kickstarted when his drawing for a furniture design competition was praised by master furniture maker Niels Vodder. In 1958 a prototype from the drawing, called the SR 600, won an award at the Copenhagen Cabinetmaker’s Guild Exhibition for craftsmen in Denmark.
Resell designed the chair that would define his career in 1971, the impressively named Falcon Chair. The iconic design showcased a striking hammock profile rendered in a chromed steel exoskeleton. The organic steel frame allowed both a lightness of form and an almost floating sitting experience that can only be described as exceedingly comfortable. By 1974 production of the steel frame was halted and replaced with a cost saving steam bent laminated wood frame.
103
104
103 A Douglas Snelling Armchair and Footstool $800 - $1,000
104 A Vintage Danish Style Sofa Converts to a bed. H780mm W1970mm D800mm $1,200 - $1,800
105 A Set of Six Danish Dining Chairs $1,200 - $1,800
105
IMPORTANT PAINTINGS & CONTEMPRARY ART 93
Robert Heritage Archie Shine ‘Hamilton’ and ‘Granville’ Sideboards Robert Heritage is one of the greatest British mid century designers. He is also the most awarded designer by the British Design Council. Heritage trained in art in his hometown of Birmingham then studied at the Royal College of Arts. In 1953 he set up a studio with his wife Dorothy, a textile designer.
1957 was a big year for Heritage, collaboration with high end London furniture manufacturer Archie Shine led to one of his most lauded designs – the ‘Hamilton’ range of furniture. The design won the revered British Design council award and created a highly successful business relationship that would last well into the 1970s.
Throughout his career Heritage collaborated with some of the biggest names in furniture and lighting both for British and foreign firms - Ernest Race, Gordon Russell and Concord to name just a few. His trademark style features clean lines combined with post war modernist sophistication – enduring designs in high end furniture.
106 An Archie Shine Granville Sideboard H770mm W2140mm D540mm $3,500 - $4,500
107 An Archie Shine Hamilton Sideboard $2,800 - $3,500
109
108
108 Four G-Plan Dining Chairs $1,000 - $1,500
111
109 A Danish Mahogany Planter
110
$50 - $80
110 A Philippe Starck Hoola Hoop Chair $200 - $300
111 A Philippe Starck Hoola Hoop Chair $200 - $300
112 Two Vintage New Zealand Architect Chairs $1,000 - $1,500
113 An Extensive Cado Teak Wall Unit
112
$1,800 - $2,500
IMPORTANT PAINTINGS & CONTEMPRARY ART 95
114 An Otto Larsen Dining Table D1340mm
115 117
$400 - $600
114
116
115 A West German Studio Vase H540mm $180 - $220
118
116 A West German Studio Vase H400mm $120 - $180
117 A West German Studio Vase H240mm $50 - $80
118 A Jens Risom Sideboard H640mm W1990mm D 530mm $2,000 - $2,600
119 Four Ernest Race Dining Chairs $1,200 - $1,800
120 A Herbert Terry Anglepoise Lamp Makers of the original anglepoise lamp. 119
$300 - $500
122
120
121 A Herbert Terry Anglepoise Lamp Similar to above. $300 - $500
122 A Gerrit Rietveld Draughting Table With blue steel frame and green wooden height adjustable desk top.
124
125
$1,200 - $1,800
123 A Gerrit Rietveld Draughting Table With green steel frame and green wooden height adjustable desk top. $1,200 - $1,800
124 A Red West German Studio Vase H300mm $50 - $80
125 A Blue West German Studio Vase H300mm $30 - $60
126
126 Six Arne Jacobsen Ant Chairs $1,000 - $1,500
IMPORTANT PAINTINGS & CONTEMPRARY ART 97
128
127
129
130
131
127 Two Garth Chester Chairs
129 Three Frank Guille Bar Stools
$500 - $750
$450 - $600
128 A Vintage ‘Clean Your Teeth’ Poster H510mm W380mm
130 A G-Plan Coffee Table H400mm W1370mm D490mm
$650 - $850
$400 - $600
131 An Atomic Style Floor Lamp H650mm $400 - $500
132 A Danish Dansk Teak Bowl H115mm D300mm $80 - $120
136
135
135 A Michael Payne Expo Chair With Tawa teak veneer body
137
$1,000 - $1,300
136 A Frem Rojle Dining Suite D1050mm
138 A Cappellini Loop Desk
$3,000 - $4,000
$1,200 - $1,800
137 A Backhouse Coffee Table H450mm W1220mm D560mm
139 A Mahogany Floor Lamp H1380mm
$300 - $500
$400 - $500
139
IMPORTANT PAINTINGS & CONTEMPRARY ART 99
FROM OTHER VENDORS 140 A Plycraft Green Leather Armchair $2,500 - $3,500
141 A Vintage Danish Figured Rosewood Sideboard the central tambour doors above two drawers and flanked by two cupboards on square sectioned legs. H1030 W2000 D470 $2,000 - $3,000
142 A Vintage Danish Rosewood Sideboard with four sliding doors above foor drawers on tapering legs. H1130 W2000 D455 $2,000 - $3,000
143 A Louis Poulsen Panthella Table Lamp designed by Verner Panton. White acrylic body and shade. H540 140
141
$650 - $800
144 A Reproduction Thor-Larsen Egg Chair H.1400mm $1,300 - $1,800
145 A Reproduction Thor-Larsen Egg Chair H.1400mm $1,300 - $1,800
146 A Vintage Chrome Coffee Table of over-lapping square section steel bands and glass top. Purchased in Wellington 1970’s. H340 W1120 D1120 $400 - $600
147 An Ib Kofod Larsen Walnut Armchair with original brown check wool fabric and adjustable seat. $1,800 - $2,200
144
145
142
147
IMPORTANT PAINTINGS & CONTEMPRARY ART 101
148
156 A Murano Brown Glass Vase of cylindrical form with repeating bubble
148 A Grant Featherston Dining Suite with four grey textured fabric dining
152 A German Studio Pottery Handled Vase
chairs and extendable table. The tabletop
with charcoal and dribbled flambe glaze.
with wear.
H210
L1200/1600 W835
$100 - $150
$3,500 - $5,000
149 A Midwinter Red Domino Coffee Set
inclusions. H255 D175 $200 - $300
157 An Aseda Glasbruk Amber Glass Bottle Vase
153 A Murano Sommerso Glass Vase
H405 $100 - $200
blue and yellow triple cased facet cut.
comprising teapot, milk and sugar with
H305
four cups, saucers and plate.
158 A Kosta Boda Blue Glass Bottle Vase
$80 - $120
H500
154 A Pair of Iittala Tall Glass Candlesticks
$200 - $300
$150 - $250
150 A Midwinter Monaco Coffee Set comprising coffee pot, six cups and
H220
saucers, jug and basin.
159 A Nuutajarvi Notso Green Art Glass Vase
$100 - $150
$200 - $400
151 A Carltonware Orbit Coffee Set
155 A Pair of Iittala Short Glass Candlesticks
160 Three Rare Timo Sarpaneva Sun Balls for Iittala
comprising coffee pot with four mugs and
by Timo Sarpaneva. With iceberg finish.
with fine internal thread. Two blue and
saucers, jug and basin.
H190
one clear. Signed and with sticker. 1960.
$150 - $250
$100 - $150
$1,000 - $1,500
$150 - $250
by Timo Sarpaneva. With iceberg finish.
161 An Impressive Italian Crystal Chandelier the circular light with numerous tiered triangular crystal drops. H380 D500 $2,500 - $4,000
162 A Circular Brass and Crystal Chandelier the central brass frame pierced with numerous layered spears of glass drops.
164
H320 D500 $1,400 - $1,800
163 An American Lucite Chandelier of squared octangular shape with alternating clear and frosted, interlinking drops. H500 W 350 D350 $1,000 - $1,50
164 A Pair of Kit Stewart Turquoise Tub Chairs
150
151
$1,500 - $2,000
165 A George Nelson White Vinyl Lightshade of globe form with ribbed sides. D500 $450 - $650
166 An American Lucite Chandelier the circular light with tiered alternating, clear and frosted triangular lucite drops. H300 - D500 $600 - $900
167 Four Mid Century English Dining Chairs in yellow vinyl upholstery and exposed wood legs. $500 - $700
167
IMPORTANT PAINTINGS & CONTEMPRARY ART 103
170
172
172 An Oscar Tusquets Dining Table for Driade
168 A Nest of Three G-Plan Occasional Tables
170 A Pair of Milo Baughman Black Leather Armchairs
the largest with inset tile top.
with shaped teak veneer backs. One chair
cherry wood borders. Table is extendable
H510 W500 D500
with later castors. $2,500 - $3,500
with drop side options and adjustable
$350 - $500
the table structure and legs in Wenge with
height. L1500 W1200 extended L2800
169 A Vintage Danish Hansen Teak Dining Table
171 A Milo Baughman Burr Walnut Table
the rectangular table with extendable
H480 W760 D760
173 A Verner Panton Blue Flowerpot Lamp
leaves and glass top.
$1,200 - $1,800
by Louis Poulsen with original box. D230
$1,200 - $1,800
with shaped chrome legs.
$6,000 - $7,000
$500 - $700
174
173
177
171
174 An Early David Trubridge ‘Glide’ Rocking Recliner The success of David Trubridge both locally and internationally now stand greats. His Pacific and nautical inspired
175 Three Matching Occasional Sidetables
designs, together with an environmental
with round white formica tops and three
consciousness, mark his works as
wood legs.
enduring classics. The glide recliner is
H450 D400
more structurally sound than the Body
$450 - $600
him as one of New Zealand’s design
Raft and rated by Sotheby’s at the Milan
and constructed of steam bent ash and
176 A Watson Victor Industrial New Zealand Floor Lamp
stainless steel screws, this early example
with a chrome base and adjustabe spun
was made in 2002 by David Trubridge.
aluminium shade. Circa 1940’s.
decorated circular tile top.
H800 L2300 W700
H1350
H430 D860
$8,000 - $10,000
$500 - $800
$600 $900
Furniture Fair as one of the best rocking chairs in the world. Designed in 2001
177 A Mid Century French Coffee Table with an iron base and signed hand
IMPORTANT PAINTINGS & CONTEMPRARY ART 105
INTERIORS
ANTIQUES & DECORATIVE ARTS
THURS 29 MARCH 7:00PM Thursday 22nd March Thursday 22nd March Friday 23rd March Saturday 24th March Sunday 25th March Monday 26th March Tuesday 27th March Wednesday 28th March Thursday 29th March
Evening Preview 5.30 – 7.30pm Viewing 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 12.00pm
BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this Antiques & Decorative Arts sale. GST (15%) is payable on the buyer’s premium only.
PLEASE NOTE ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ
322 A Mid Victorian Sterling Silver Decanter Stand $1,200 - $1,800
Please register absentee and phone bids by 12:00pm on Thursday 23 February. This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, fully illustrated online at webbs.co.nz.
IMPORTANT PAINTINGS & CONTEMPRARY ART 107
MISCELLANEOUS 200 An Early Victorian Child’s Sampler Anne Dent aged 10 1854’. H265 W280 $150 - $250 201 An Early Victorian Child’s Sampler Anne Dent aged 10 1855’. H435 W410 $200 - $300
210 A World War Two 2nd Model Luftwaffe with dagger,aluminium mounts, scabbard and halyard. Small chip to the handle and
220
light corrosion to the blade. $400 - $600
A Mounted Deer Skull
211
and twelve point antlers. $300 - $500
A Victorian W. R. Pape Double Barrelled
221
Shotgun Not in working order, with condition
A Hand Painted Ivory Miniature
issues. Circa 1860’s. $400 - $600
frame. H95 $100 - $200
212
203
stamped WD and VR. Wooden hilt with
A Hand Painted Porcelain Miniature
leather and steel sheath. L440 $100 - $200
of Christ with an angel. Gilt and silver
A Vintage Painted Cork Decoy Duck L340 $100 - $150
Dagger
202 of the Duchess of Devonshire?, Ormolu
219
A Late Victorian Rifle Bayonet
A Mounted Deer Skull and ten point antlers. $300 - $500 222 A Mounted Chamois Skull and Horns H330 $150 - $200 223 A Taxidermy Beaver
frame. L115 $100 - $200
213
204
stamped WD and VR. Leather hilt with
A Hand Painted Ivory Miniature
leather and steel sheath. L615 $100 - $200
224
Lago B. H130 $100 - $200
214
205
iscribed and dated 1934. With three other
Observator - Rotterdam. W295 600 - $800
A Tin Plate Jolly Joe Money Box
medals. $100 - $200
225
box. Circa 1930. H180 $150 - $300
215
206
Cover
gimbal fitting. ‘Lisbon’. H930 $300 - $500
A Victorian Reducing Glass in a gold plated lorgnette style frame. L68 $80 - $120
black with painted coat of arms. H540 $300 - $500 see illustration p. 115
207
216
of Napoleon. Gilt brass mount. Signed
together with a Eureka Tin safe money
A Late Victorian Rifle Bayonet
A Silver St. John Service Medal
An Early Victorian Leather Canon Muzzle
A Pair of Antique Turned Brass
A Victorian Wilkinson Officer’s Sword
Candlesticks
with four bar guard and engraved blade.
H340 $350 - $450
Metal scabbard. L990 $300 - $500
208
217
A Large 19th Century Copper Kettle
An Antique Japanese Wakazashi Sword
H300 $50 - $80
matching fuchi, kashira and rayskin grip
209 Four 19th Century Cut Crystal Liqueur
with menuki , tsuba and kozuka. Rubbed lacquer saya. Blade needs attention. L640 $400 - $800
Glasses
218
scottish thistle shape and one other. $80 - $120
A 19th Century French Rifle Bayonet with steel scabbard. Engraved and dated 1879. L660 $100 - $200
on a natural habitat mount. H334 L930 $500 - $650
A Vintage Dutch Cased Sextant in a mahogany case with fittings. NV.
A 19th Century Brass Marine Barometer mercury column with brass wall mount
226 A Vintage Binnacle Compass with gimbal and side lamp. W260 $250 - $400 227 A 19th Century Cased Dutch Marine Compass F.J. Joosten of Dordrecht. W250 $250 - $400 228 A Vintage Cased Engineer’s Drafting Set E.O. Richter & Co. Some rust. W480 $150 - $200 229 A Vintage Engineer’s Parallel Rolling Rule L485 $50 - $80
230
240
An Old Dutch Draught Horse Yoke
A Pair of Large Brass Marine Bolts
L1100 $150 - $250
on wooden bases with plaque ‘The R.M.S.
231
Queen Mary’. AF. $100 - $200
A 19th Century Coach Lamp
241
H520 $100 - $150
A Chinese Marine Port Lamp
232 An Antique Brass Oil Lamp H270 $50 - $80 233 A ‘Flying Dutchman’ Handpainted Pub
with oil lamp and dhimney ‘Tung Woo’. H390 $150 - $220 242 A Cased Pair of Opera Glasses in mother of pearl and gilt metal. $100 - $150
249 A Victorian Oak Tantalus with three square cut crystal decanters. One stopper with chip. H320 $200 - $350 250 A Victorian Oak Tantalus combined cigar and whiskey casywith gothic brass mounts. H260 $300 - $400 251 A Lalique Green Ormeaux Vase the round vase in the form of relief leaves, pinched neck and flared lip. Signed to base. R. Lalique, France. Hairline crack to
Sign
243
Thornby- on -Tees. The lower panel
An Early 20th Century French Travel
depicting ships at sea, restored. H1380
Trunk
W1640 $500 - $1,000
with original painted and printed
252
decoration. H450 W980 D475 $220 $300
A Small Galle Squat Glass Vase
234 A Large Wooden Model Ship
244
H560 W1860 $300 - $400
An Antique Turkish Marble Headstone
235 A Scratch Built Model Yacht H930 $200 - $400 236 A Pair of Red Cross Storage Cases H420 W400 D615 $150 - $300 237 A Pair of Red Cross Storage Cases H420 W400 D615 $150 - $300 238 A Pair of R.M.S. Queen Mary Canvas Life Jackets and certificate. $200 - $300 239 A R.M.S. Queen Mary Switchboard mounted on a wooden plinth, with a photo. L830 $100 - $200
body. H160 $1,200 - $1,800
overlay tendril leaf pattern, red on amber. Signed. W90 $800 - $1,200
the rectangular panel with carved
253
inscription surmounted by a turban. Circa
A Quality French Brass Figural Mantel
1850. 245 An early 19th Centruy Writing Slope with brass detailing. Contents include compass, matchbox holder, flask etc. H400 W425 D550 $400 - $600 246 A 19th Century Papiermache Snuff Box with butterfly and floral decoration. L75 $80 - $120 247 A 19th Century French Papiermache Snuff Box with inlaid pewter decoration. L90 $80 - $120 248 A Victorian Oval Horn Snuff Box with silver engraved panel. L76 $100 - $150 see illustration p. 115
Clock the clock features an Elizabethan romantic seated on a rocky outcrop and a rectangular sectioned Rococo decorated base. The clock with white enamel face and roman numerals.Silk suspension works. Circa 1840. H425 W305 $1,800 - $2,200 254 A Walnut and Ebonised Wood Wall Clock with ornate pediment and white enamel dial. H1180 W600 $400 - $600 255 A Decorative Polished Brass Table Lamp twin lights with triple caduceus columns around an urn. H680 $200 - $300 256 A Decorative Table Lamp with twin candle lights on a bird branch around a centre column. H410 $100 - $200
IMPORTANT PAINTINGS & CONTEMPRARY ART 109
257
266
277
A Swiss Gilt Brass Bedside Clock
Six Facet Glass Soda Siphons
A Minton Pottery “The Mecca” Foot
with a painted miniature ivory panel of
in an old wooden crate. $150 - $250
Warmer
windmills and children. ‘Le Beau - Moulin’
H350 $150 - $200
L100 $600 - $800
267 Seven Facet and Etched Glass Soda
278
258
Siphons
An O.C. Stephens Hors D’oeuvre Tray
A Pair of South East Asian Garden
five Ballins Bros. $150 - $250
with seven green dishes on a circular
Statues H700 $300 - $500 259 A Pair of French Long Yellow Silk Curtains with green bird, harp and urn motifs. L3500 $300 - $500 260 A French Green Silk Curtain with woven neo-classical motifs. L2600 W1200 $100 - $200 261 A Quantity of French Silk Fabric including a bed cover. $100 - $200 262 An Edwardian Woven Shawl with embroidered silver thread floral pattern and border. W1800 $80 - $120 263 A Decorative Gypsy Mirror etched and painted in original velvet and oak frame. H870 W560 $250 - $350 264 Four Decorative Cupboard Doors faced with various book spines. H520 W440 $250 - $400 265 A Small Iron Bound Oak Barrel ex Lion Breweries. H385 $80 - $120
268
kauri base. Signed. D360 $250 - $350
Six Etched Glass Soda Siphons
279
Alexander & Co. $150 - $250
An O.C. Stephens Yellow Lidded Box
269
signed. W122 $100 - $150
A Carved Maori Folk Art Box
280
W190 D190 $100 - $150
A Daniel Steenstra Painted Crown Lynn
270 A Burr Kauri and Rewarewa Gavel with a mottled Kauri octagonal base. L210 $120 - $180 271 A Carved Maori Folk Art Waka Huia with gecko lid and manaia handles. L380 $150 - $250 272 A Carved Maori Folk Art Box W140 $100 - $150 273 A Carved Maori Folk Art Inkstand depicting a tiki mask with paua shell eyes. Circa 1940’s. W220 $250 - $350 274 A Set of Maori Folk Art Bellows L530 $120 - $180
CERAMICS 275
Vase the baluster with painted branch and leaf design on a white ground. H250 $1,200 - $1,500 see illustration p. 111 281 A Len Castle Stoneware Serving Bowl with blue night sky monochrome glaze and impressed key border. W400 $1,000 - $1,500 282 A Large Len Castle Stoneware with brown wax resist glaze. Impressed mark. W410 $1,500 - $2,000 283 A John Parker Stoneware Bowl wide flared form with speckled green and ochre glaze. W255 $200 - $400 284 A Denis O’Conner Stoneware Bowl with variegated red and green glaze. Impressed mark. D200 $250 - $400
A Crown Lynn Legends Plate
285
W285 $250 - $450
with a fat body and ribbed decoration.
276 A Temuka Brown Glaze Teapot of hexagonal form. T.N. Lovatt. H220 $400 - $600
A Mirek Smisek Iron Glaze Vase H280 $100 - $200
297
298
384 301 302 300
383
378
280
307
492
493
308
309
IMPORTANT PAINTINGS & CONTEMPRARY ART 111
286
295
304
A Juliet Peter Stoneware Platter
A Briglin Figure of Sir John Gielgud
A Part Royal Doulton Tango Coffee Set
iron glaze on four bar feet. Initialled. W270 $80 - $120
same as above. No.86. H320 $350 - $500
four coffe cans, six saucers, sugar bowl and
287
296
A Juliet Peter Stoneware Platter
A Briglin Figure of Margot Fonteyn
305
speckled iron glaze on long bar feet.
same as above. No.21. Faulted. H295 $80 - $120
A Victorian Green Floral Transfer Ashet
Initialled. W480 $180 - $220
297
cream jug. $150 - $200
W530 $100 - $150
288
A Lucie Rie Stoneware Bowl
306
A Large Wedgwood Keith Murray Green
of eliptical form and satin black
A Collingwood Tea Set
Vase
manganese glaze. Impressed mark. W150 $1,000 - $1,500 see illustration p. 111
consisting of eight cup, saucer and plates.
298
307
A Lucie Rie Stoneware Cup and Saucer
A William Moorcroft Two Handled Fruit
with manganese glaze and scraffito
Bowl
linework. Impressed mark. W140 $2,200 - $2,800 see illustration p. 111
on stand with boldly painted Persian
the tapered and turned shoulder vase with green matt satin glaze. H290 $1,200 - $1,800 289 A Large Wedgwood Keith Murray Cream Vase the tapered and turned shoulder vase with green matt cream glaze. H285 $1,000 - $1,500
299
Floral swg and gilt border decoration. $100 - $200
design.Signed and impressed marks. D285 $400 - $600 see illustration p. 111
A Lucie Rie Stoneware Plate
308
with grey glaze and brown rim. Small
A William Moorcroft Cauldron Vase
Keith Murray style. H275 $250 - $350
edge nibble. Unmarked. D135 $200 - $400
with Eventide pattern. Blue signature,
291
300
290 A Mingay Blue Shoulder Vase
A Mingay Red Shoulder Vase Keith Murray style. H275 $250 - $350 292 A Poole Pottery Hand Painted Vase
A Lucie Rie Stoneware Pourer
circa 1925. H80 $800 - $1,000 see illustration p. 111
with side handle and lemon glaze interior.
309
Minor rim repair. W155 $800 - $1,200 see illustration p. 111
A Walter Moorcroft Squat Vase with Anemone pattern, stamped marks. H85 $100 - $200 see illustration p. 111
the fat body decorated with fern fronds.
301
Signed. H175 $200 - $300
with side handle, grey glaze and
310
manganese rim. Impressed mark. W160 $1,000 - $1,500 see illustration p. 111
A Walter Moorcroft Squat Vase
293 A Sue Fraser ‘Spirited Horse’ Ceramic Figure the horse of contemporary stylised ancient Chinese form with green and blue glaze. H240 W300 $1,000 - $1,500 294 A Briglin Figure of Sir Laurence Olivier designed and made by Sarah Parkinson for Briglin.No.12. H315 $350 - $500
A Lucie Rie Stoneware Pourer
302
with Hibiscus pattern,impressed marks. W115 $100 - $200
A Lucie Rie Stoneware Beaker
311
of cylindrical form with grey glaze and
A Moorcroft Pottery Pendant
manganese rim. Impressed mark. H110 $600 - $900 see illustration p. 111
with Hibiscus Pattern. L75 $50 - $100
303
A Pair of Royal Worcester Urn Vases
A Carol Murphy Ceramic Sculpted Head
312 the fat bodies with fern and racken
the elongated head bisque fired on a
painted pattern on a cream and lemon
square plinth. H230 $150 - $250
ground. Circa 1895. H300 $600 - $800
313
322
330
A Pair of Royal Dux Courting Figures
A Mid Victorian Sterling Silver Decanter
Four Georgian Sterling Silver Salts
in 18th century dress, biscuit fired and pink
Stand
boat shape with relief swag and reeded
glaze. Marked to base. H460 $700 - $900
with tricorn base and floral scroll decoration
decoration on an oval base. Original blue glass
around a centre carry handle. Together with
liners. L125. LONDON 1809 $1,000 - $1,400 see illustration p. 115
314 A Large Imperial Amphora Vase painted and incised pelican pattern. H440 $120 - $180 315 A Black Mark Belleek Milk Jug grape leaf pattern, rope twist handle. H160 $150 - $250 316 A Derby Young Girl Figurine
three later cut crystal decanters. W.R. Smiley London 1855. $1,200 - $1,800 see illustration p. 106
Bowl
A William IV Sterling Silver Snuff Box
London 1904. W180 $250 - $400
rectangular with scroll edging and engine turned decoration. Gilt interior. Lawrence & Co.Birmingham 1836. L68 $250 - $400 see illustration p. 115 324
317
with pierced cover and gilt interior.
Pair of 19th C Meissen Dancing Figures
Birmingham 1836. L3500 $200 - $350 see illustration p. 115
crossed swords mark. AF. H160 $250 - $400 318 19th Century European Porcelain Girl Figure with a bird box. Blue crown mark H110 $50 - $80 319 Pair of 19th C European Porcelain Figures of girl with basket and boy with staff. Blue
A Sterling Silver Two Handled Porringer
323
H110 $50 - $100
in dancing pose on a gilded scroll base. Blue
331
A George IV Sterling Silver Viniagrette Box
325 A George III Sterling Silver Oval Vinagrette with gilt interior and hair locket cover. London 1801 L32 $200 - $350 see illustration p. 115 326 A Sterling Silver and Oval Crystal Claret Jug
332 A Set of Three Silver Plate Oval Meat Dishes with removeable handles and beaded edges. C1900. W350 $350 - $450 333 A Fine Early Victorian Sterling Silver Butler’s Tray with handles and wide scroll, shell and leaf borders around an engraved centre. Leopard crest. Robinson, Edkins & Ashton. Birmingham 1839. 5.2kg. W770 $6,000 - $8,000 see illustration p. 115 334 A Pair of Victorian Sheffield Plate Candleabras with three branches and gadrooned borders.
crown mark. H165 $300 - $400
silver neck and handle, London 1906. H200 $300 - $500
320
327
335
A Fine George II Sterling Silver Milk Jug
A Pair of Georgian Sheffield Plate Coasters
A Large Delft Charger with painted underglaze blue Frans Haals copy of a female portrait. D400 $300 - $400
SILVER
with a hollow hoop handle and bird beak spout. London 1731. 522g. $800 - $1,000 see illustration p. 115 328
321
A Sterling Silver Circular Teapot
A Fine Gentleman’s Tooled Leather Dressing
bakelite handle and finial. Mappin and Webb
Case
1921. L230 $400 - $600
an assortment of sterling silver topped bottles, boxes and dishes. The lift out tray reveals cut-throat razors and a circular silver box. Frans Douglas, London 1847 - 1851. With hand written letters to Lord Glengall etc. $2,000 - $3,000 see illustration p. 115
329 A George II Sterling Silver Coffee Pot. of tapered baluster shape with scroll and shell spout, acorn finial and later ebony handle. London 1757. Repaired. H260 $1,800 - $2,200 see illustration p. 115
H430 $400 - $600
pierced leaf gallery and turned wood bases. D140 $200 - $300 336 Seven Georgian Sterling Silver Table Forks fiddle pattern, Eley & Fearn, London 1817. 500g. $300 - $500 337 A George III Sterling Silver Coffee Pot of baluster form on a beaded circular foot. Chased floral wreath decoration to the body. Charles Wright, London 1775. $2,500 - $2,800
IMPORTANT PAINTINGS & CONTEMPRARY ART 113
338
347
357
Eight Sterling Silver Fiddle Pattern
A Sterling Silver Sweetmeat Bowl
A 19th Century Chinese Embroidered
Dessert Forks
with pierced oval body, gadrooned edge
Wall Hanging
1814 - 1847, 380g. $250 - $350
and scroll ends. Birminghma 1903. L270 $200 - $350
with five Kylin playing in a floral and
339
348
Two Georgian Sterling Silver Dessert
A Victorian Silver Plate Decanter Stand
358
Spoons
triple form , mirror top. Elkington. W260 $100 - $200
A Pair of Chinese Cloisonne Baluster
old English pattern. J. Fountain, London 1807. $80 - $120
349
340
Moistener
An Arts and Crafts Sterling Silver Spoon with hammered bowl and castle knopp.
Birmingham 1913. One roller broken. $80 - $120
Circa 1900. $50 - $80
ORIENTAL
341
350
A Rare Georgian Sterling Silver Cream Jug with acorn shaped body and scroll handle on three hoof feet.Gilt interior. London circa 1750. $500 - $800 342 A Victorian Sterling Silver Cup with flared mouth and scroll handles on a circular foot. Gilt interior, London 1842. W125 $500 - $800 343 A Georgian Sterling Silver Toddy Ladle with cauldron bowl and turned wood handle. Newcastle circa 1760. L310 $500 - $700 see illustration p. 115 344 Three Sterling Silver Table Spoons old English Pattern. $120 - $180 345 A Sterling Silver Table Matchbox Holder rectangular on ball feet. Birmingham 1914. L60 $80 - $120 346 A Sterling Silver Bonbon Dish with pierced bowl on a circular foot. London 1904. W180 $80 - $120
A Sterling Silver Mounted Glass Stamp
A Pair of Chinese Silver Dishes each inset with a silver dollar coin. W85 $80 - $120 351 A Chinese Carved Soapstone Seal a crouching foo dog sits atop a column with engraved character and floral decoration. H90 $400 - $600 352 A Vintage Chinese Red Silk Jacket with embroidered dragon decoration. $300 - $500
cloud landscape. L2500 H530 $300 - $500
Vases with dragon and cloud decoration on a black ground. H260 $150 - $300 359 A Carved Ivory Tusk with a carved centre panel of a dragon amidst clouds. $300 - $500 360 A Chinese Carved Wood Sage Figure with whisk beads and large hat. Inlaid eyes and teeth. H400 $80 - $120 361 A Long Chinese Paper and Silk Scroll with painteed poem, calligraphy, goddess and courtly figures. L4000 $100 - $200 362 A Chinese Double Gourd Vase with painted polychrome enamel goddess
353
figures in clouds above court figures and
A Vintage Chinese Blue Silk Jacket
signed poem. H335 $100 - $200
with silver thread floral decorartion. $200 - $400
363
354
A Pair of Chinese Carved Wood Sage
A Chinese Black Lacquer Shou Xing
Figures
Figure
smiling with large hats and cloaks. H150 $100 - $200
converted into a table lamp. H660 $150 - $300
364
355
A Chinese Brass Lidded Incense Burner
Chinese Carved and Gilded Temple Panel
with relief dragon and cloud decoration
depicting fighting warriors in a landscape of trees and temples. H660 $100 - $200 356 Chinese Carved and Gilded Temple Panel depicting fighting warriors in a landscape. H860 W400 $150 - $250
and pierced lid with a Foo dog. H300 $150 - $300 365 A Chinese Bronze Lidded Incense Burner with inlaid champleve enamel decoration. Surmounted by a kirin. H270 $200 - $300
248
343
323 325 324 333
215
330
321
329
327
IMPORTANT PAINTINGS & CONTEMPRARY ART 115
366
375
A Late 19th Century Japanese Imari Bowl
A Pair of Japanese Silver Baluster Vases
A Chinese Famille Rose Bowl
with four painted fan panels of birds and
with lion mask ring handles. Dents. Circ
of cartouche form, the centre with painted
shishi with mon and leaf tendril border.
1900. H170 $150 - $300
Mandarin court scene and an ornated
D240 $150 - $300
376
367
A Large Chinese Carved Shou Xing
A Late 19th Century Japanese Imari Plate
Figure
octagonal with floral panels in the imari
carrying peach and staff on a plinth. H600 $150 - $300
pattern. W230 $80 - $120
377
384
border of flying bats. W270 $400 - $600 see illustration p. 111 385 A Chinese Famille Rose Bowl with painted court scene. Repaired. W275 $100 - $200 386
368
A Chinese Cloisonne Kwan Yin Figure
A Late 19th Century Kutani Bottle Vase
standing with intricately decorated robes.
A 19th Century Japanese Bronze Hibachi
with painted floral and bird fan panels.
The head carved and painted ivory. H290 $300 - $500
with three shishi mask legs. W360 $150 - $250
378
387
H250 $100 - $200 369
Five Chinese Export Tea Bowls and
A Chinese Yellow Silk Embroidered Panel
A Late 19th Century Kutani Bottle Dish
Saucers
with two juxtaposed three toed dragons.
with shishi and floral decoration. Diaper
with underglaze blue willow pattern and
pattern and gilt border. D120 $100 - $200
H570 W590 $200 - $400
370
gilt decoration. $200 - $400 see illustration p. 111 379
A Pair of Japanese Fukugawa Sake Cups
Six Pieces of Chinese Export Tableware
with painted and gilt Buddhist symbol
coffee cup, tea bowl, three saucers and
decoration. H45 $100 - $150
bowl. $150 - $250
371
380
A Pair of Japanese Imari Sake Bottles
Three Chinese Export Tea Bowls and
with painted enamel decoration in the
Saucers
traditional manner. H145 $80 - $120
similar to above. $150 - $250
372
381
A Late 19th Century Japanese Imari
Seven Chinese Export Tea Bowls and
Charger
Saucers
with six section fan panels decorated in
similar to above. $200 - $400
D310 $400 - $600 see illustration p. 119
382
391
the traditional palette. D345 $300 - $500 373
Six Chinese Famille Rose Cups and
A 19th Century Japanese Plate
Saucers
with blue and brown birds in a plum tree.
AF. $100 - $200
D210 $100 - $150
383
374
Six Chinese Famille Rose Plates
A Small Meiji Japanese Satsuma Bowl
with flowers, butterfly and figures. One
with gilt, painted figure and brocade
repaired. $500 - $700 see illustration p. 111
decoration. Sterling base, 1907. W60 $80 - $120
388 A Pair of Oriental Carved Vase Stands with marble inset tops. H370 $150 - $300 see illustration p. 119 389 A Nest of Four Chinese Hardwood Tables H730 $250 - $350 see illustration p. 119 390 An Oriental Hardwood Display Cabinet carved bamboo decoration. H1890 W650
An Oriental Hardwood Stand carved with inset marble top. H820mm H660 D900 $150 - $250 See illustration p119 392 Anglo-Burmese Revolving Table intricately carved with birds, elephants and plants on six sscroll legs. H580 D680 $500 - $800 see illustration p. 119
FURNITURE & RUGS 393 A Hand Knotted Runner seven central medallions and floral border in reds, blues and greens. L3020 W710 $300 - $500 394 A Hand Knotted Runner with five central medallions in red, white and blue. L3870 W760 $300 - $500
402
411
An Early 19th Century Mahogany
A Late 19th Century Twin Pedestal Desk
Kneehole Desk
with inset red leather top. H750 W1360
raised on bracket feet, replacement
D730 $1,200 - $1,500
hardware, BADA sticker. H800 W830 D520 $2,800 - $3,500 see illustration p. 121 403 An 18th Century Oak Cupboard with one single drawer and lower cupboard framed by two panels. Replaced brass
395
hardware and restoration. H840 W940
A Sarook Hand Knotted Rug
D390 $500 - $700
with central medallion and floral decoration L2110 W1320 $400 - $600 396 Georgian Scottish Mahogany Longcase Clock with satinwood stringing and quartered pillars to the case. Some distress to the white dial. William Dun, Glasgow. H2040 $1,800 - $2,200 397 Early Victorian Bow Front Mahogany Chest with five cock beaded drawers and satinwood stringing. Supported on splayed feet. Replaced handles. H1025 W1000 D500 $1,000 - $1,400 398
404 A 19th Century English Spindleback Chair $80 - $100 405 An English Elm Windsor Chair
412 A Baluchi Hand Knotted Rug in bright red and brown geometric pattern. L1450 W980 $600 - $800 413 A Turkoman Hand Knotted Rug in red and black repeating geometric pattern. L1600 W1240 $1,700 - $2,200 414 A Baluchi Hand Knotted Rug in red and black repeating geometric pattern L1750 W1250 $1,800 - $2,200
H1100 $350 - $450
415
406
in red, blue and brown geometric patterns.
An English Elm Windsor Chair
L2700 W2050 $1,800 - $2,200
H1090 $200 - $300
An Afghan Hand Knotted Rug
416
407
A Kashan Hand Knotted Rug
A Victorian Oak Dining Chair $100 - $150
in intricate brown, blue and orange floral pattern. L2170 W1400 $2,000 - $2,500
An Edwardian Mahogany Occasional Table
408
oval with inlaid satinwood stringing. H750
An Antique Cottonreel Turned Armchair
417
W600 $150 - $300
H1050 $400 - $600
A Fine Turkish Gold and Silk Prayer Rug
399
409
A Late Georgian Mahogany Toilet Mirror
An Early 20th Century Oak Desk Chair
on a three drawer base, turned and reeded columns. W620 $100 - $200
with a spindle back. $200 - $300 see illustration p. 121
400
410
A Victorian Flame Mahogany Chest
A Large Antique Pine Dresser
of five drawers with turned handles and
with three drawers above three panelled
bun feet. H1190 W1230 D550 $800 - $1,200
cupboards. The later upper section with
419
open shelves. H2050 W1870 D500 $1,000 - $1,500
A Victorian Two Drawer Hall Table
401 A 19th Century Mahogany Cheval Mirror with carved supports and shaped base.
the central pattern depicting birds in a tree within a floral border. Interwoven with golf thread. L800 W500 $3,200 - $4,000 418 A Birjand Hand Knotted Rug in repeating red and blue diamond pattern. L1800 W1440 $1,600 - $1,900
with ornate turned legs and stretcher, original glass handles. H790 W1060 D480 $400 - $800
H855 W880 $200 - $350 IMPORTANT PAINTINGS & CONTEMPRARY ART 117
420 A Late Georgian Mahogany Side Table with a single frieze drawer. H730 W750 D450 $500 - $800
431
425 A Cast Metal and Facet Glass Basket Chandelier with women’s faces and floral swags. H820
A French Provincial Oak Side Chair H820 $100 - $200
D360 $600 - $800
432
421 An Antique Mahogany Bachelor’s Chest
426 A Cast Metal and Facet Glass Basket
H820 $100 - $200
Chandelier
433
of four drawers with a brushing slide. On bracket feet with later hardware. H790 W860 D510 $700 - $1,000
A French Provincial Oak Side Chair
with women’s face detailing. H610 D360 $400 - $600
422 An 18th Century Style Glazed Display Cabinet on a turned stretcher base. The two doors with inlaid decoration. Requires restoration. H1610 W1570 D400 $1,500 - $2,000 423 A Good 19th Century Biedermeier Sewing Table in mahogany with tripod base, hexagonal
A Pair of French Style Carved Armchairs
427
with gilt frames. H1140 W650 D670 $500 - $700
A Spanish Provincial Glazed Cupboard
434
with two interior shelves and iron hardware H1730 W1090 D370 $600 - $800
A French Style Pair of Bed Ends with carved decoration and caned panels.
428
H1310 W970 $200 - $400
A Large European Cupboard
435
with central drawer. Constructed from heavy timbers. H1820 W1270 D580 $600 - $900
A French Provincial Fruitwood Dining Table supported on four tapering square section legswith a small drawer to the frieze. H760
column. Open well with fabric covered
429
silks drawer. H740 W530 D410 $800 - $1,200 see illustration p. 121
with three frieze drawers on
W2520 D910 $3,500 - $5,000
restrained cabriole legs. H750
436
424 An Early Victorian Armchair
A French Provincial Desk
W1290 D700 $800 - $1,500 see illustration p. 120
on cabriole legs. Contemporary upholstery. $600 - $800
Gates
A French Provincial Oak Side
H1450 W2240 $600 - $900 see illustration p. 118
Chair
437
430
with scrolled arms
A Pair of French Arched Wrought Iron
H820 $100 - $200
A Hand Knotted Baktriari Rug with stylised geometric floral decoration. L2000 W1390 $400 - $600
448 444
443
449
438
445
A Hand Knotted Rug
An Arts and Crafts Settee
A Kauri Arts and Crafts Display Cabinet
with intricate pattern in muted colours.
with a shaped back and pierced
with drawer to the base and pierced
L1700 W1250 $200 - $400
decoration. H1130 D1350 D560 $300 - $500
upstand back. H1750 W890 D380 $600 - $900
439
446
450
A Small Hand Knotted Runner
An Arts and Crafts Oak Sideboard
An English Industrial Side Table
with eight diamond medalllions in red
with upstand back and panelled detailing
constructed from a rivetted metal water
and indigo. L2700 W570 $200 - $300
H1430 W1760 D500 $500 - $800
tank. H510 W680 D510 $500 - $800
440
447
451
A Small Hand Knotted Runner
An Arts and Crafts Rimu Side Table
An Antique Iron Studded Coffer
with nine diamond medallions in red.
H775 W1720 D575 $200 - $400
H290 W1030 D460 $250 - $400
L2840 W670 $200 - $300
448
452
441
Six Original Lippinott Designed Chairs
A Mid 19th Century Mahogany Chest of
An English Oak Court Cupboard
ex Auckland University. $1,000 - $1,500 see illustration p. 118
Drawers
Jacobean style with extensive carving and decorative ironwork. The whole raised on
bowfront, on bracket feet with brass detailing and later ring handles. H1200 W1100 D570 $1,000 - $1,500
a platform base with turned and carved supports. H1770 W1970 D540 $1,000 - $1,500
453
442
A Victorian Walnut Credenza
An Oak Morris Chair $300 - $600
with mirrored doors, white marble top and carved mirrored back, inlaid decoration. H1780 W1520 D420 $1,500 - $2,200
443 An Arts and Crafts Corner Coat Stand with six pegholes and umbrella stand.
454
H1720 $300 - $400 see illustration p. 118
A Large Cast Garden Classical Maiden Statue
444
H2250 $400 - $600
An Arts and Crafts Oak Settle
455
with a contemporary cushion. W1710 D620 $300 -$500 see illustration p. 118
A French Wrought Iron Chandelier H1100 D800 $700 - 900
392
390
391
388
389
IMPORTANT PAINTINGS & CONTEMPRARY ART 119
456
465
473
An Ornate Mid 19th Century Walnut
Large Colonial Kauri Crank Dining Table
An Early 19th Century Oil on Canvas
Armchair
with turned legs on castors. H760 W2690
Dutch Portrait
with button back and carved frame. $400 - $600
D1380 $1,500 - $2,200
of a gentlewoman doing handwork, while
457
466
A Fine 19th Century Mahogany Tea Table
A Colonial Hall Chair
474
the tilt top with seven circular recesses
with ornate carved and turned decoration
Three Jon Jansen Attributed Dining
amongst foliate carving. The turned tripod
and unusual inlaid detail to the seat. $200 - $300
Chairs
base with acanthus details above claw feet. Some faults. H700 D790 $2,500 - $3,500
467
458
campagna style, one rim with a fault.
A Victorian Tripod Piano Stool
H950 D740 $600 - $800 see illustration p. 120
$100 - $150 459 A Georgian Style Carver Chair
468
with pierced backsplat and cabriole legs. $150 - $200
with carved heraldic and foliate
460 A Pair of Late Victorian Parlour Chairs newly upholstered in check fabric. $400 - $600 461 A Hand Knotted Pakistani Runner of eighteen diamonds on a red ground. 468
Impressive Pair of Cast Iron Garden Urns
An Unusual 20th Century Longcase Clock decoration. H2270 W610 $600 - $900 see illustration p. 120 469 A Grey Leather Study Chair circa 1940’s. $200 - $300
L6280 W810 $200 - $300
470
462
drawer. Circa 1920. H700 W1070 D640 $400 - $500
A Dutch Pastry Table white enamel top, painted base and single
A Hand Knotted Runner with twelve central gulls on ared ground. L3360 W830 $200 - $300
471 Mid 19th C French Gilt Carved Mirror arch topped with carved foliate decoration.
463 A 19th Century Oak Twin Pedestal Desk on castors with inset top. H755 W1220
H1460 W1280 $400 - $800
D580 $650 - $800
472
464
L3300 W2200 $400 - $600
reading. Gilt framed. H1040 W820 $600 - $1000
with teak frames and green vinyl seats. $450 - $600 475 A Retro Circular Formica Dining Table with faux wood grain top and four rocket ship legs. D1230 $500 - $800 476 A Greek Flokati Rug with repeating diamond pattern. L2230 W1660 $200 - $400 477 A New Zealand Brown Vinyl Armchair on a four star base. $150 - $220 478 A Retro Adjustable Floor Lamp with dark brown base and shade. Circa 1970’s. H1410 $150 - $250 479 A Grant Featherston Dining Chair in original textured grey fabric. Slightly distressed condition. $200 - $300
A Turkish Hand Knotted Carpet
436
with geometric design on a cream ground.
A Large Stoneware Garden Pot H780 D930 $300 - $500
467 429
480 A Midwinter Zambezi Plate W250 $30 - $50
497
489 A Louis Poulsen HW Patina Pole Light copper shade with frosted glass lamp. H600 D700 $650 - $800
481 A Midwinter Gay Gobbler Plate W280 $30 - $50
in white finish. W485 D250 $300 - $500
Tibor Reich Denby Tigoware Coffee Pot H245 $30 - $50
in white finish. W485 D250 $300 - $500
A Thomas ‘Coup’ White Dinnerware Set
Gabriel Dauchot Female Portrait with Dog
of eight dinner, side,soup and cups. Two mugs and eight gourmet plates. $750 - $900
oil on canvas, unsigned. H785 W380 $500 - $800 see illustration p. 111
484
493
A Rare Swedish Itera Plastic Bike
A Gabriel Dauchot Male Portrait
485 A Rare Swedish Itera Plastic Bike only in production from 1982 - 1985. $200 - $400 486
oil on canvas, signed. H785 W380 $500 - $800 see illustration p. 111 494 A Trevor Lloyd Etching of Kaimatua Falls H310 W85 $200 - $300
A Louis Poulsen Nyhavn Bollard Light
495
steel in white finish H1800 D600 $750 - $900
Green’
487 A Louis Poulsen Waterfront Bollard Light grey aluminium. H1500 D270 $650 - $800 488 A Louis Poulsen Waterfront Bollard Light grey aluminium. H1770 D270 $650 - $800
signed ‘C.W’. H165 W235 $200 - $300 499 signed ‘Leslie’ H320 W430 $300 - $400 500 Raymond Wilson Kingfisher Watercolour
492
design by Constantin Grcic. Consisting
only in production from 1982 - 1985. $200 - $400
498
An Oil on Canvas Coastal Scene
491 A Pair of Louis Poulsen White Wall Lights
483
H500 W560 $400 - $600
An Oil on Board European Marine Scene
490 A Pair of Louis Poulsen White Wall Lights
482
A Set of Six Georgian Hunting Prints
Watercolour of the Ship MacQuarie - ‘A signed 1967. H240 W290 $80 - $120 496 An Oil on Canvas European Landscape ‘M. Hagedoorm’ H450 W540 $100 - $200
signed 1981. H375 W310 $300 - $500 501 A Rodney Fumpston Screenprint signed ‘Silver Pavillion’ 58/75. H380 W270 $100 - $200 502 A Watercolour Landscape - J.W. Elsdon H470 W560 $100 - $200 503 A Watercolour English Manor - L.M. Death H550 W650 $100 - $200 504 An Oil on Board Landscape - R. Watson Sunshine and Frost’. H500 W600 $500 - $800 505 An Oil on Canvas Mountain Scene Maurice Wilks Errisberg, Mount Connemara. H600 W700 $500 - $800
423
409 402
IMPORTANT PAINTINGS & CONTEMPRARY ART 121
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 Paintings and Contemporary Art sale, 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. B. To rescind the sale of that or any other lot sold to the purchaser at
the same or any other auction. C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or 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.
Bidding Slip For absentee bidders on lots in sale 332 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 Paintings and Contemporary 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 sales, 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.
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
IMPORTANT PAINTINGS & CONTEMPRARY ART 123
INDEX OF ARTISTS Aberhart, Laurence
9, 10
Albrecht, Gretchen
28
Lane, Tony Lee, Hye Rim
74 20
Binney, Don
50, 57, 58
Maddox, Allen
19, 27
Castle, Len
40, 41, 42
McCahon, Colin
31, 39
Cauchi, Ben Clairmont, Philip Cotton, Shane Dashper, Julian de Lautour, Tony Dibble, Paul
7 18, 32, 36
McCracken, Francis McIntyre, Peter
45 66
3, 33
McLeod, Andrew
21, 23
5
Pardington, Fiona
12, 13
Parekowhai, Michael
14, 15
71 34, 37
Paterson, Rueben
8, 78
Dolezel, Jenny
72
Rae, Jude
43
Frizzell, Dick
60
Robinson, Ann
16
Goldie, Charles
35
Robinson, James
70
Hammond, Bill
1, 24, 38
Speers, Jim
17
Harris, Jeffrey
52, 75, 76
Stack, Frederick Rice
Henderson, Louise
29
Stichbury, Peter
Hight, Michael
62
Thompson, Sydney Lough
Hight, Michael
69
Van Hout, Ronnie
Hodgkins, Frances Hotere, Ralph Kaan, Simon Killeen, Richard
30, 67 44, 68, 48, 51, 64 73 4, 6, 22, 25
Walsh, John Wollaston, Toss Wynyard, Colonel Robert Henry
65 2, 55, 56, 77 46 11, 59 49, 61, 63 53, 54 47
IMPORTANT PAINTINGS & CONTEMPRARY ART 125