IMPORTANT WORKS OF ART 1
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IMPORTANT PAINTINGS & CONTEMPORARY ART
TUESDAY 31 JULY 2012, 6.30PM
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
INTRODUCTION
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Webb’s 2012 winter season of Important Paintings and
open and closed states. Complementing this seminal work
Contemporary Art will present the market with significant
from Hammond’s mid-career period are works by practising
and rarely available contemporary, modern and historical
New Zealand artists such as Kushana Bush, John Ward
New Zealand practice. Webb’s is pleased to announce that
Knox, Tony de Latour, Max Gimblett, Gretchen Albrecht and
the sale includes an important single-vendor collection: the
Elizabeth Thomson.
estate of the late Sylvia and Peter Siddell. Reflecting on two
We will once again offer the market an in-depth, well-
lives spent immersed in New Zealand art, the Siddell family
referenced selection of modernist New Zealand painting.
collection is a compelling survey of modern New Zealand
The Veil of Saint Veronica, commenced by Tony Fomison
practice by artists such as Colin McCahon, Robin White,
on Good Friday 1973 and completed over the Easter
Milan Mrkusich and Richard Killeen which they assembled
weekend, belongs to a small but highly important and
throughout their lifetimes. The family has also agreed to
extremely rare body of works in which the artist depicted
release a work by each of Peter and Sylvia.
Jesus Christ. Colin McCahon’s The Lark’s Song, from
The contemporary section is anchored by a large-scale work
the Siddell family collection, was painted in 1969 and
by Bill Hammond which is to be offered to the secondary
recites a poem by Matire Kereama of the same title (in the
market for the first time. At the Flood, which belongs to
same year, McCahon painted another work based on this
the Ancestral series, sees Hammond cast his focus back
poem on a pair of wooden doors which is now held in the
to his visit to the remote Auckland Islands which inspired
collection at Auckland Art Gallery). The works from this
his creation of avian creatures. Referencing the biblical
period are highly important documents that informed the
deluge intended to rid the world of human sin, At the Flood
text works made in the last years of the artist’s life. Another
presents the viewer with a lush, green world untouched by
significant period of McCahon’s practice is represented by
the human hand, inhabited by a genus of creatures that has
the offering of an untitled oil on unstretched jute canvas
been allowed to evolve in complete isolation. Notably, the
from McCahon’s series of Northland paintings, to which the
work was realised on a three-panelled kauri altarpiece that
well-known Northland Panels (held in the collection of the
Hammond has painted on both its inside and outside planes
Te Papa Tongarewa) belong. This series of work was painted
– allowing it to present as a fully resolved work in both its
directly after McCahon’s return from an extensive research
COVER: LOT 33 MICHAEL PAREKOWHAI
INSIDE FRONT COVER: LOT 30 BILL HAMMOND
Driving Mr. Albert
At the Flood
rabbit, polyurethane, two-pot automotive paint
acrylic on board, three-panel altarpiece
1635mm x 255mm x 255mm
construction
$20,000 - $30,000
$180,000 - $220,000
trip to the United States. Prior to this international travel,
saw the artist return to the romantic approach that he
McCahon’s approach took its lead from European modernism
successfully honed at the Académie Julian in Paris during
whereas, after his return, the influence of mid-century
the 1880s where he used loose brushwork and richer tones.
American expressionism caused a distinct and lasting shift
The four works by Frances Hodgkins that are included,
in his working methods. Further works by New Zealand
comprising figurative and landscape painting, were all
modernists Rita Angus, Don Binney, Pat Hanly, Louise
completed prior to 1922 during the artist’s residence in
Henderson, Philip Clairmont, Jeffrey Harris and Ralph
Europe. This was a pivotal period in Hodgkin’s career as it
Hotere are also included.
saw the artist evolve as a talented lyrical watercolourist,
The offering of a number of notable works by Charles Goldie
laying the foundation for the fauvist abstraction of her
and Frances Hodgkins will comprise a comprehensive and
later career.
highly focused suite of historical New Zealand paintings.
Following this sale of Important Paintings and Contemporary
Two important portraits by Charles Goldie are included
Art are three specialist auctions: Militaria on Wednesday 1
and each exemplifies a distinct and notable period in the
August, Antiques and Decorative Arts on Thursday 2 August
artist’s career. No Koora Te Cigaretti, painted in 1915, is
and Modern Design on 7 August 2012, all of which are
a portrait of Mihipeka Wairama of the Tuhourangi iwi; she
catalogued in a stand-alone, accompanying publication.
is a sitter whom Goldie revisited and depicted a number of
Looking further forward, Webb’s is currently seeking entries
times throughout his career. The geographical boundaries
for our final sales of the calendar year. Our next sale in the
of Tuhourangi’s traditional region are centred on Lake
A2 category will be held on 25 September and the
Tarawera and, whilst the eruption of 1886 largely displaced
next sale of Important Paintings and Contemporary Art on
the iwi, its survivors – such as Mihipeka Wairama and Kapi
27 November. We encourage you to contact Webb’s for a
Kapi – received an enduring level of focus from Goldie.
free, no-obligation appraisal or for advice about current
Ngatirea (Day Dreams), Natarua Hangapa – Arawa Tribe
market dynamics.
pictures a sitter who descends from the Maori settlers who sailed to New Zealand on the great Arawa waka. The work
SOPHIE COUPLAND
is an excellent example of Goldie’s later career work, which
IMPORTANT WORKS IN OF FOCUS ART 3
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HIGHLIGHTS A. Allen Maddox Self Portrait achieved $28,600 B. Important Whale-tooth Rei Puta achieved $55,100 C. Charles Goldie Maori Woman with Moko achieved $160,000 D. Peter Siddell Western Balcony achieved $100,100 E. Large Chinese Blue and White Rice Bowl achieved $29,300 F. Emerald-cut diamond of 5.07ct and rare white (G), clarity VS2 achieved $165,800
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G. Falcon Chair and Footstool achieved $4,700 H. Pat Hanly “Golden Age� 3 with White Butterfly achieved $137,250 I. Philip Clairmont In Homage to Vincent (Self Portrait) achieved $24,600 J. Bill Hammond Boulder Bay Birds achieved $49,300 K. Don Binney Two Aspects of Tokatoka achieved $134,400 L. A Pair of Oriental Hardwood Carved Armchairs achieved $28,100
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M. Colin McCahon A Poem of Kaipara Flat 16 achieved $103,000 N. Ralph Hotere The Wind I burnished steel in original Roger Hicken frame, achieved $97,200 O. Colin McCahon Kaipara Flat With a Blue Sky achieved $91,500 P. Early Siebe Gorman Twelve Bolt Dive Helmet achieved $7,000 Q. Michael Parekowhai, Bosom of Abraham achieved $7,400 R. Milo Baughman black leather armchairs (pair) achieved $3,100 S. FabergĂŠ Lapis Lazuli and Yellow Gold Box, Workmaster Henrik Wigstrom, achieved $87,750
T. Toss Woollaston Lyttlelton Harbour achieved $30,900 U. 1974 Jaguar Mk III E Type V17 Roadster achieved $123,000 V. Len Castle Yellow Sulphur Bowl achieved $6,900 W. Archie Shine Hamilton Sideboard by Robert Heritage achieved $5,200 X. Richard Killeen City Living achieved $38,900 Y. An Early Colonial Taxidermy Case of New Zealand Birds achieved $14,100 All prices listed are inclusive of buyer’s premium and gst, rounded to the nearest $100.
IMPORTANT WORKS OF ART 5
crane-brothers.com
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Black Leather Eames 670 Armchair and Ottoman by Herman Miller with cherrywood veneer. $5,000 - $7,000
MODERN DESIGN
07.08.2012, 6.00PM
CATALOGUE NOW AVAILABLE VIEW ONLINE Webb’s and Mr. Bigglesworthy are pleased to announce a sale featuring organic and minimalist Scandinavian design, armchairs and sideboards from leading English furniture manufacturers G-Plan, as well as one of the most recognised armchairs in the world, Charles Eames’ 670 Armchair and Ottoman by Herman Miller alongside pieces by Charlotte Perriand, Mies van der Rohe, Florence Knoll, Peter Hvidt, Arne Jacobsen, Grant Featherston and Michael Payne. Mid-century modern has continued to be enduringly popular with this market, establishing itself as one of the key areas in contemporary collecting.
CONTACT Josh Williams E: jwilliams@webbs.co.nz P: 021 073 6545
IMPORTANT WORKS OF ART 7
JEWELS
WEDNESDAY 29 AUGUST CONSIGN NOW
Entries invited, closing Wednesday 25 July. Contact Christopher Devereaux to make an appointment for an obligation-free appraisal.
Ring set with a 19.38ct emerald in platinum with 4.65ct of fine quality diamonds
CONTACT Christopher Devereaux E: cdevereaux@webbs.co.nz P: 09 529 5606
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$90,000 - $120,000. Necklace set with a 9.98ct emerald and 15.5ct of diamonds in 18ct white gold $70,000 - $80,000
COMING SOON: IMPROBABLE GIFTS FOR IMPOSSIBLE PEOPLE #2 By Zora Bell Boyd From the curious to the contemporary, this is your chance to acquire something entirely unique for that impossible person in your life.
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MAX GIMBLETT for
Courtesy Gow Langsford Gallery
ANTIQUES & DECORATIVE ARTS 02.08.2012, 6:00PM
CATALOGUE NOW AVAILABLE VIEW ONLINE Presenting Royal Worcester and rare Royal Doulton and Wedgwood porcelain, Georgian and Victorian silver, antique furniture including superb European marquetry furniture, exceptional chandeliers and other lighting, antique Chinese and Japanese porcelain, jade, ivory and scrolls, Persian rugs, 20th-century German tin-plate toys, a collection of vintage ladies' handbags, a Georgian Intaglio collection and an 1893 New Zealand Rugby Union cap. 12
A Fine Georgian Sterling Silver Coffee Pot $2,000 - $2,500 CONTACT James Hogan E: jhogan@webbs.co.nz P: 021 510 477
“I desIgn each pIece wIth the eye of a sculptor.” thomas pheasant
Auckland 547a Parnell Road, Parnell 1052 | Tel +64 9 358 3771 Arrowtown 18 Buckingham Street, Arrowtown 9302 | Tel +64 3 442 0128 Email info@cavitco.com | www.cavitco.com IMPORTANT WORKS OF ART 13
SCULPTURE 11.2012 CONSIGN NOW Contact: Brian Wood E: bwood@webbs.co.nz P: 021 486948
STUDIO CERAMICS New Zealand Historical and Contemporary Studio Ceramics, including works by Len Castle, Mirek Smisek, Barry Brickell, Yvonne Rust, Ann Verdcourt, John Parker, Estelle Martin, Jim Cooper and others. 14
Three Len Castle Gourds blue glazed stoneware impressed LC mark underside $3,000 - $6,000 each
WELLINGTON FINE ART SPECIALIST SERVICES Webb’s is very pleased to announce the appointment of Carey Young as the head of Webb’s fine art services in Wellington. Carey comes to the role with 10 years' experience with a leading dealer gallery and is available to undertake current market appraisals, commentary on current market trends and valuations for insurance and other purposes. Works will also be available privately to Wellington clients, outside of the auction calendar. Complete packing, freight and logistic services will be provided to Wellington clients. CONTACT E: cyoung@webbs.co.nz P: 021 368 348
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CLASSIC MOTORCYCLES AND CARS OF THE DAY
10.2012 CONSIGN NOW
1968 Norton P11 Ranger $15,000 - $20,000 CONTACT Neil Campbell E: ncampbell@webbs.co.nz
FINE & RARE WINE 06.08.2012 CONTACT Simon Ward E: wine@webbs.co.nz P: 09 529 5600
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Louis XIII Cognac de Rémy Martin “A century in a bottle” - one of a series of cognacs bottled for a 1938 royal banquet at the opulent Château de Versailles that King George VI and Queen Elizabeth attended. Some of the eaux-de-vie blended to form this particular cognac would date back to the middle of the 19th century.
IMPORTANT NEW ZEALAND FURNITURE 04.09.2012 CONSIGN NOW
Anton Seuffert, The Burton Cabinet, 1870. An exquisite Louis XV revival escritoire or ‘bonheur du jour’ cabinet, composed of New Zealand native timbers, with
CONTACT
elaborate carved and marquetry
Neil Campbell
decoration.
E: ncampbell@webbs.co.nz
$300,000 - $350,000
P: 021 875 966
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OCEANIC & AFRICAN ART
04.09.2012 CONSIGN NOW
CONTACT Jeff Hobbs E: jhobbs@webbs.co.nz P: 021 503 251
Finely Carved Waka Huia (detail) $10,000 - $15,000
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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
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IMPORTANT PAINTINGS & CONTEMPORARY ART
TUESDAY 31 JULY 2012, 6:30 PM
EVENING PREVIEW
Thursday 26 July 5:30pm – 7:30pm
Please join us to view the suite of sales and enjoy a glass of wine thanks to Peregrine Wines, Central Otago. Viewing Thursday 26 July
9.00am – 7.30pm
Friday 27 July
9.00am – 5.30pm
Saturday 28 July
11.00am – 3.00pm
Sunday 29 July
11.00am – 3.00pm
Monday 30 July
9.00am – 5.30pm
Tuesday 31 July
9.00am – 12.00pm LIMITED VIEWING ON SALE DAY
BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the Important Paintings and Contemporary Art sale. GST (15%) is payable on the buyer’s premium.
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CHARLES FREDERICK GOLDIE No Koora te Cigaretti, A Portrait of Mihipeka Wairama, Tuhourangi oil on canvas Estimate $170,000 - $200,000
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KUSHANA BUSH Modern Semaphore, Full Continental Expression gouache and pencil on paper signed Kushana Bush, dated 2009 and inscribed Kushana Bush, Modern Semaphore, ‘Full continental extension’, Gouache and pencil on paper in pencil middle verso; Brett McDowell Gallery label affixed to backing board verso 1000mm x 700mm Estimate $4,000 - $6,000
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TONY DE LAUTOUR Heads, Numbers, Mountains oil on canvas signed Tony de Lautour, dated 2000 and inscribed Heads, Numbers, Mountains in brushpoint upper edge 700mm x 500mm Estimate $4,000 - $5,000
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JOHN WARD KNOX Untitled - Study Of Hands oil on calico signed John Ward Knox, dated 2010 in pencil upper edge verso 500mm x 300mm Estimate $2,500 - $3,500
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TONY DE LAUTOUR NZ Co oil on unstretched canvas signed Tony de Lautour, dated 1998 (indistinct) and inscribed NZ Co in brushpoint lower right 1050mm x 2140mm ILLUSTRATED New Zealand Listener, 19 September 1998, Mightier Than the Sword by Tessa Laird Estimate $18,000 - $24,000
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PETER STICHBURY Untitled (Girl in a Coat) graphite on paper signed P. Stichbury and dated 2003 in graphite lower left; Temple Gallery label affixed verso 560mm x 420mm PROVENANCE Private collection, Auckland. Purchased by the present owner from Temple Gallery, Dunedin. Estimate $4,000 - $6,000
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TERRY STRINGER The Wrestlers patinated, cast bronze sculpture, ed 2/3 signed Terry Stringer, dated 2008 and inscribed 2/3 lower edge height 750mm Estimate $8,000 - $12,000
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TERRY STRINGER Elevation pair of patinated bronze bookends signed Terry Stringer and dated 1999 lower edge 120mm x 120mm x 15mm (each) Estimate $2,000 - $3,000
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PETER STICHBURY Glister giclee print, 25/100 signed P. Stichbury and dated 08 in pencil lower right 265mm x 230mm Estimate $2,500 - $3,500
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IMPORTANT WORKS OF ART 27
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COLIN MCCAHON Puketutu Manukau suite of four lithographs, edition of 100 one signed Colin McCahon, dated 1957, and inscribed Puketutu Manukau, 3 lithographs and ed. 100, Published by Peter Webb, High St., Auckland in lithograph facsimile; one signed C McC and dated 57 in lithograph facsimile lower right; one dated ‘57 and inscribed Puketutu from my boat and ed. 100 in lithograph facsimile lower left 215mm x 265mm (each) REFERENCE Colin McCahon database reference number CM001346. Estimate $7,000 - $12,000
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10 ALLEN MADDOX Untitled (2000) oil on canvas signed AM and dated 2.00 in marker pen verso 910mm x 915mm Estimate $15,000 - $20,000
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11 ALLEN MADDOX Untitled oil on canvas circa 1976, Warwick Henderson Gallery label affixed verso 565mm x 565mm Estimate $5,000 - $8,000 12 STEPHEN BAMBURY Letters to Paul VIII resin and graphite on wood panel signed S Bambury, dated 2001 and inscribed Fix: ¢ screws from top 50 & 500 and Letters To Paul (VIII), Stephen Bambury ©, resin and graphite on panel in marker pen verso; Jensen gallery label affixed verso 590mm x 590mm Estimate $12,000 - $18,000 13 COLIN MCCAHON In My Own Village charcoal on paper signed McCahon, dated ‘71 and inscribed Caselberg in charcoal lower right; inscribed IN MY OWN / in my own village / VILLAGE I think there / I think there are / are / MORE Scarecrows / more scarecrows left / LEFT / THAN OTHER PEOPLE / than other people / my very bone ends / Burn in charcoal; inscribed Heat waves to heaven / Rising from the hearts / heat waves from heavens / rising from the Ruined hearts of three thousand homes / In my own village / I think there are more scarcrows left than other people / In my own village / In my OWN VILLAGE in charcoal and graphite verso 355mm x 270mm NOTE The text, by John Caselberg, is one of several haiku-like poems written in response to McCahon’s request for a suitable text for the second Gate series. REFERENCE Colin McCahon database reference number CM001512. Estimate $18,000 - $25,000
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IMPORTANT WORKS OF ART 31
14 ELIZABETH THOMSON Ariel hand-painted cast zinc on spray-coated panel 1100mm x 1100mm Estimate $12,000 - $18,000
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15 MAX GIMBLETT Feast two pot resin, gold leaf and graphite on quatrefoil shaped plywood signed © Max Gimblett, dated 2002/03, and inscribed “Feast” in marker pen middle verso 635mm x 635mm Estimate $12,000 - $18,000
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WORKS FROM THE COLLECTION OF PETER AND SYLVIA SIDDELL
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18 ROBERT ELLIS Maungawhau/Mt Eden
16 JAN NIGRO Peter and Sylvia Siddell coloured pencil on paper signed Jan Nigro, dated ‘85 in pencil lower right; and inscribed Peter and Sylvia Siddell in pencil lower left 760mm x 560mm
mixed media on paper signed Robert Ellis, dated 2000, and inscribed Maungawhau/Mt Eden in ink lower left; certificate of valuation by Jane Sanders affixed verso 570mm x 500mm PROVENANCE From the collection of the late Peter and Sylvia Siddell.
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
EXHIBITED Recent Works on Paper - Greer Twiss and Robert Ellis, Twiss Studio, Auckland, May 2000.
Estimate $1,500 - $2,500
Estimate $2,000 - $3,000
20 MILAN MRKUSICH Four Elements in Combination (Crimson), from the Elements Series
Combination
Sinbad Enters Underground River
ink on paper signed Killeen and dated 20.10.75 in pencil lower right; Data Gallery label affixed verso 685mm x 350mm
acrylic on canvas signed Sylvia Siddell and dated ‘09 in brushpoint lower right 1000mm x 750mm
oil and graphite on board signed Mrkusich and dated ‘66 in brushpoint lower right; signed Milan Mrkusich, dated 1966, and inscribed Four Elements in Combination (Crimson) in crayon verso; inscribed A.S.C.M. benefit auction in pencil verso; original Barry Lett Galleries Ltd. invoice, dated 31-5-68, affixed verso 285mm x 510mm
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
Estimate $1,000 - $2,000
Estimate $3,000 - $5,000
Estimate $10,000 - $15,000
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19 SYLVIA SIDDELL
IMPORTANT WORKS OF ART 35
21 ROBIN WHITE Porirua Harbour I oil on canvas signed Robin White and dated ‘70 in brushpoint lower right; signed Robin White and inscribed Porirua Harbour I in marker pen upper edge verso; inscribed Porirua Harbour I in marker pen middle verso 765mm x 610mm PROVENANCE From the collection of the late Peter and Sylvia Siddell. Estimate $60,000 - $80,000
Robin White’s sleight-of-hand utterance, “What I paint depends on where I am”,¹ in an article that she wrote for an early issue of Art New Zealand, is perhaps the mostconclusive and well-rounded summation of her practice to ever be published. For, while her paintings are able to effortlessly function as a distilled commentary about the nation’s civic and social climate at the time in which they were made, the focus of her practice was always dictated by her immediate environment: the places and people that she understood best. White’s landscape painting of the 1970s often conformed to a universal convention. Generally presenting a supple, unpopulated hinterland nestled between the foreshore and mountainous terrain, these images carry with them an implicit criticism of modern New Zealand’s taming of the landscape through ongoing urban sprawl. Porirua 1 is a view across the shorelines of the Porirua Harbour, as seen from the suburb of Elsdon. This was the location of Mana College, the first school where White taught after graduating from teachers’ college in 1968. Robin White attended art school with the support of a Ministry of Education studentship, which bonded her to teaching work in return for covering her tuition fees and providing her with a living stipend. While White has presented the viewer with a landscape devoid of any human habitation, the landforms that she has chosen to include carry with them an implicit narrative that delves deep into the history of the region. Porirua was originally planned as a satellite city of Wellington in the 1940s that was to consist mainly of state housing, but industrial development in the region led to an accelerated growth in population and the eventual reclamation of a tract of land on the southern tip of the Harbour. Porirua 1 appears as a double-format image where two separate compositions are sandwiched one on top of the other. However, those familiar with the topography of the area will recognise that the two distinctive strips of land – Whitirea Park reserve 36
in the foreground and the distinctive hill shoreline of Plimmerton behind – would have been ideally observed from the corner of Wineera Drive, at the edge of the reclaimed land. It was during her first year in Porirua that White learned to stretch canvas and working on this new substrate immediately changed the way in which she painted. The soft, absorbent surface of the canvas dampened her approach to laying down paint. It was also around this time that White began to pay specific and careful attention to the way in which her images were assembled or, in her words, “the feeling for the structure of painting, the idea of contrast, how a painting’s put together”.² White’s three-year tenure at Mana College was a formative period in her career that saw her construct images that relied more on their own internal logic than on a desire to recreate a particular vantage. In Porirua 1, there is a form of foreshortening at play whereby the expanses of sea between the landforms are extended and reshaped so that they are able to be present within the image. Further, subtly crafted shading has been applied to the very lip of the landforms so they recede into space in a manner that is not governed by the rules of perspective. Porirua 1 is an exemplary embodiment of White’s new image-making strategies which positioned her, along with Don Binney, at the forefront of a second wave of modern painting that emerged in the 1970s and sought to update the themes propagated by regionalist New Zealand painting in the 1930s. CHARLES NINOW ¹ White, Robin. “Art and conservation are synonymous”, Art New Zealand Spring 1977, p.40. ² Taylor, Alistair. “Perspective: Robin White talks to Alister Taylor”, in Alister Taylor and Deborah Coddington (ed.), Robin White: New Zealand Painter (Martinborough: Alister Taylor, 1981), p.10.
IMPORTANT WORKS OF ART 37
22 PETER SIDDELL Untitled (Evensong 2) oil on canvas signed Peter Siddell and dated 2009 in brushpoint lower left 900mm x 1490mm PROVENANCE From the collection of the late Peter and Sylvia Siddell. Estimate $70,000 - $100,000
Evensong has a religious meaning as an Anglican Church service
graveyard points heavenwards as a sign of hope and is a motif
of prayers, psalms and canticles held in the evening. This label
often found in funerary art. Although absent in this version, the
fits the mood and time of day captured by Peter Siddell’s painting
meaning is implied. Siddell creates a mood that is contemplative
and was probably given to it as a title after the work had evolved
and almost sacred in feeling.
and taken on its present appearance – for the work was on the
As usual with Peter Siddell, although the painting appears
easel for some time in various stages of resolution. The image
recognisable as a specific place, it is a composite of parts that
of a small chapel by twilight with the sun setting over the water
did not exist in their present relationship. The funerary chapel
nearby encourages thoughts about the passing of time, the end
was based on one in Waikumete Cemetery, distant from the coast,
of human life and its aftermath. Significantly, it was among the
but at home here in a new setting. For the artist, the effect and
last major paintings made by Siddell after he had been diagnosed
meaning he wanted were more important than topographical
with a terminal illness and knew that his own life was coming to
accuracy to a particular view. The setting sun reflected in the
an end. While the subject matter of a chapel near the sea occurs
water recalls Turner, an artist he admired for his atmospheric
in his earlier works, the reflective mood and elegiac message
effects and lighting. By calling attention to the end of the day
are distinctive to this canvas and a related second version with
with its promise of renewal at dawn, Siddell draws an analogy
the same title. Even the detail for which he is famous has been
with nature for the hope that death will be followed cyclically
reduced to enhance the effect of fading light. Indeed the main
by new life. The predominance of warm hues tends to give the
forms of the chapel and surrounding cypress trees were blocked
painting a positive mood that counters its otherwise sombre tone.
in broadly before any detail was introduced.
sense of melancholy and mystery. It is the reflective mood of
of the composition and important for its symbolic meanings:
the work that casts our thoughts inwards and away from exterior
the presence of light in encompassing darkness is a comforting
appearances. Evensong is at once personal in its relevance to
symbol of hope for those of Christian belief in the resurrection
Peter Siddell’s own life but universal in its address to wider
and eternal life – especially in this context of a Gothic chapel.
issues that we must all confront of faith and hope in the face of
While Siddell’s paintings are noted for their emptiness of
our mortality. The importance of the subject to him is indicated
people and their silence, here we can imagine the sound of a
by the fact that he returned to it more than once: something very
psalm being sung and its cadences drifting in the air across the
rare in his practice as a painter.
peaceful landscape. In the related version, a marble angel in the
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He suffuses the commonplace objects and setting with a palpable
The lit window of the chapel in its Gothic elegance is a pivot
MICHAEL DUNN
IMPORTANT WORKS OF ART 39
23 COLIN MCCAHON The Lark’s Song watercolour, pastel, and charcoal on paper inscribed Ka tahi tii. ka rua tii. / Ka noho mai te patii te patoo re. Ka rau na. / Ka noho te kiwi. Ka poo he wai a mai.
Tai tai / to pi to paa Ka toko / te rangi.
Ka hui
Kai ana
te whetu. Te marama / i te rangi. papa takina.
E hui / tarere.
I te
Ko te tio e
rere. Ra runga ra / tope Kapeka.
E hue
kaurere turakina te / arero o te rangi Kotare wiwi wawa keke. Te / manu i tau noo / tuu e in charcoal 1500mm x 600mm PROVENANCE Purchased from Barry Lett Gallery, Auckland, 1972. From the collection of the late Sylvia and Peter Siddell. Estimate $70,000 - $100,000
The body of text works made by McCahon during 1969, throughout his first 12 months at his Muriwai studio, is an important forebear for both the artist’s environmentally focused Necessary Protection series and also the text paintings that the artist would make in the last years of his career where he transcribed passages directly from the Old Testament. Prior to 1969, the artist had experimented briefly with Maori motifs, most notably with his Koru paintings of 1962, which were formal studies that reflected on the traditional koru form, and then again in 1965 with his studies for a proposed mural at Caltex’s Auckland offices, in which the letterforms of the word ‘Caltex’ were formed from stylised koru motifs. However, it was not until moving into his Muriwai studio that McCahon engaged seriously with Maori subject matter. Gordon Brown explains that the genus of this development within McCahon’s practice was two pronged and drawn from his personal life.¹ The first event of significance was his daughter Victoria, who was married to a Maori husband, giving birth to his grandson Matiu. The second event was his daughter Catherine bringing Matire Kereama’s book, The Tail of the Fish, to his attention. It was in this book that her poem, The Lark’s Song, was published. The poem is recited within the work and describes the gentle descent of native birds from the sky to their places of rest, where they will spend the evening. It describes their twilight song that permeates their surroundings and speaks of the stars looking out and the moon keeping watch. The words of the The Lark’s Song form a soothing lullaby and, by McCahon’s hand, they flow with a graceful rhythm that 40
denies the possibility that any turmoil could be buried within their meaning. This is the result of a conscious effort on McCahon’s part to allow the words to function not as legible text but rather as repeated sound. In transcribing the poem, McCahon inserted breaks between words and altered and extended the words themselves in order to temper the cadence of the passage. Rather than simply overlay text onto image, McCahon gave the words a palpable, material presence that reverberates throughout the composition. Central to The Lark’s Song is McCahon’s recognition of the binding and vitally important relationship between the tangata whenua and the New Zealand landscape. While McCahon had dealt with the issue of New Zealand’s national identity throughout his career, notably in his religious works of the late 1940s such as The Promised Land (held in the collection of Auckland Art Gallery), the subject was always approached through a pakeha frame of reference, using Christian references and depictions of Western objects and dwellings. By rendering the words of Kareama so that they fade in and out of the soft, white cloud forms in the sky, McCahon presented them as an atmospheric force: an essential lifeblood to the New Zealand environment. The profound importance that McCahon placed on his discovery of Kareama’s poem was compounded by the fact that, in the same year, the artist completed another larger work based on the same poem, using two found doors as a substrate. Sharing the same title, this work is now held in the collection of Auckland Art Gallery. In this later painting, McCahon chose to add one further line of text after Kareama’s words: “Can you hear me, St Francis?” St Francis of Assisi was the patron saint of the environment – and the addition of this sentence to the later work suggests his use of Kareama’s text was motivated by environmental concerns. McCahon readily engaged with environmental issues within his Necessary Protection series, stating in a catalogue that accompanied his first exhibition of the series that the purpose of the showing was to “draw attention to the many conservation issues facing this country”.² The Lark’s Song predates the Necessary Protection series by a number of years and, thus, stands as an important early example of the artist’s concerns about industrial and residential development of New Zealand’s landscape. Further, the use of Karamea’s text showed that McCahon was not concerned just with the depletion of natural habitats but also with the alienation of the ‘people of the land’. Thus, The Lark’s Song embodies a significant shift in McCahon’s concept of New Zealand’s national identity, updated to reflect contemporary challenges facing New Zealand society. CHARLES NINOW 1 Brown, Gordon, H., Colin McCahon: Artist (Auckland: Reed, 1984), p.157. 2 Ibid, p.164.
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24 RALPH HOTERE
25 ROBIN WHITE
26 MICHEL TUFFERY
Sangro
Bottle Creek, Paremata
Fa’a Samoa/Fa’a Palagi
watercolour on paper signed Hotere, dated ‘78 and inscribed Avignon in pencil lower right 455mm x 320mm
pencil on paper signed R. White, dated ‘69 and inscribed Bottle Creek, Paremata in pencil lower edge 370mm x 250mm
mixed media print, artist’s proof signed Michel Tuffery, dated ‘90, and inscribed Fa’a Samoa/Fa’a Palagi in pencil lower edge 1300mm x 610mm
PROVENANCE Provenance: From the collection of the late Peter and Sylvia Siddell.
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
PROVENANCE From the collection of the late Peter and Sylvia Siddell.
Estimate $12,000 - $18,000
Estimate $4,000 - $6,000
Estimate $1,800 - $2,500
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27 RITA ANGUS Portrait of a Maori Girl watercolour on paper signed Rita Angus in brushpoint lower right 310mm x 240mm PROVENANCE Purchased by Joyce Tolfree from an exhibition, likely at Roy Parsons’ gallery and bookshop in Wellington during the 1950s. Gifted to the present owner. Estimate $12,000 - $18,000
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28 FRANCES HODGKINS Venetian Lagoon watercolour on paper signed Frances Hodgkins in brushpoint lower right; inscribed Venetian Lagoon (9) in pencil verso; inscribed in another hand Hodgkins, Frances Mary, Venetian Lagoon c. 1921, watercolour 41.9 x 45.8cm, Helen Stewart Collection (given to Louise Ryan (niece), probably Martigues (The Venice of France) where the artist stayed in 1921, Shown in the 1928 Annual Exhibition in pen on backing board 425mm x 455mm
PROVENANCE From the collection of the artist, Helen Stewart, gifted to the artist’s neice Louise Ryan and passed by descent to the present owner. Helen Stewart and Frances Hodgkins exhibited works together at the 1928 Annual Exhibition where Stewart won a prize and spent the prize money on the acquisition of this work. Helen Stewart may have met Frances Hodgkins at the Acadamie Colarossi in Paris, as Helen studied there and was in London and Paris until 1928. Frances Hodgkins was one of the first female teachers at the Acadamie Colarossi. Estimate $35,000 - $45,000
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29 TONY FOMISON The Veil of Saint Veronica - After An Old Engraving of a Relic at the Vatican oil on cotton stretched over card in found frame signed Tony Fomison, dated 7. 4. 73 - Good Friday 1973 and coloured in on 16. 5. 73, and inscribed The Veil of Saint Veronica ~ after an old engraving of a relic at the Vatican in brushpoint on frame; inscribed This frame is old fashioned telephone wall bracket / from the dining from of 10 Papanui Road (forgotten who) of / Papanui Rd, (pulled down last year). / Cloth stretched on photographer’s cards & / prepared…one heavy saturation coat Harns / gelatine (at 2 way between size) glue proportions; one / coat off white undercoat finally 2 coats of main / separation ( separg) … white. The black lamp (black) started 7.4.7… / Sepia finished on Easter Eve 20-21.4.73, Good Friday. / Glazed in on 16.5.73. Rose Madder in a little… / bit Mars brown mixed with a little Rose Madder in ink on label verso 190mm x 140mm PROVENANCE Painted over an Easter weekend 1973 in the presence of the current owner. Gifted by the artist to the present owner shortly thereafter. Estimate $18,000 - $25,000
There is no biblical reference either to Saint Veronica or, conversely, to the Veil of Saint Veronica; however, the legend surrounding the inception and existence of the Veil is inextricably linked to the biblical retelling of the crucifixion of Jesus Christ. It is said that, while Jesus was making his way along the Via Dolorosa (translated: ‘way of suffering’) to Calvary where he was crucified, he encountered Saint Veronica who reached forward and wiped the sweat from his face. Miraculously, after making contact with Jesus’ face, the cloth she used was found to bear his image. Unlike the Shroud of Turin, which was discovered much later, the Veil of Saint Veronica did not picture a negative imprint of his face but, rather, a fully resolved image and thus could be the result only of divine intervention. As it is based on an artist’s impression of the Veil, Fomison’s The Veil of Saint Veronica – after an engraving of a relic at the Vatican, is focused less on the extraordinary nature of the event itself and more on the myth and conjecture surrounding the artefact’s continued existence. It is said that, until 1527, upon the Sack of Rome where mutinous troops bombarded the city, the Veil was held in the Old St Peter’s Basilica in the Vatican. After this time, there is no common consensus
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on where the Veil has been held or whether or not it is still in existence. Nonetheless, even though Pope Urban VIII banned the act of depicting the Veil in 1629 and supposedly destroyed all existing copies, there are now six copies in existence that are claimed to be either the original or direct copies of the original. These are all from varying origins and all bear the distinctive, three-pronged silhouette (outlining a beard and long, hanging hair either side of the face) that is seen in Fomison’s rendering. Fomison’s painting, The Veil of Saint Veronica – after an engraving of a relic at the Vatican, is itself based on an image stated to be a reproduction and it embodies a deliberate act to perpetuate a long tradition of replicating an image purported to be of divine provenance: a tradition that has seen refined conventions emerge from different geographic regions (while based on an engraving from the Vatican, Fomsion’s image conforms to the Spanish convention which excludes the crown of thorns and depicts Christ without facial injuries). Rather than demonstrate that Fomison held personal Christian beliefs, The Veil of Saint Veronica – after an engraving of a relic at the Vatican sees the artist reflect on the social function of religion, finding his footing in the Marxist adage that religion is the ‘opium of the People’.¹ While Marx’s theory relating to religion was fundamentally tied to a critique of the capitalist economic system, at its heart was the observation that religion was a human construct that provided society with a means of escapism. Outside of the images of the Veil that claim to have some degree of authenticity, the image of the Veil has appeared throughout Western art production of the last six centuries, including in the practice of Fomison’s contemporary Colin McCahon, as a signifier for divine abilities of a higher power. To Fomison, the pervasive presence of the image in Western cultural production, in spite of the fact that it has no basis in written history, was palpable evidence of the human belief that the challenges associated with survival on earth had some greater purpose. Charles Ninow ¹ Marx, Karl (February 1844), “Introduction”. A Contribution to the Critique of Hegel’s Philosophy of Right. Unpublished during the writer’s lifetime.
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30 BILL HAMMOND At the Flood acrylic on board, three-panel altarpiece construction signed W. D. Hammond, dated 2004 and inscribed At the Flood in brushpoint central panel; signed W. D. Hammond and dated 2004 in brushpoint right panel verso; inscribed 26 Canterbury St, Lyttleton and Maimeri acrylic paint, Maimeri mat waterbased varnish (671), cedar frame, kauri ply, Maimeri gesso in marker pen central panel verso 990mm x 430mm (left and right panels); 990mm x 870mm (central panel); 990mm x 1730mm (overall) PROVENANCE Purchased by the current owners from Ivan Anthony Gallery, Auckland, 2004. Estimate $180,000 - $220,000
Hammond’s At the Flood confounds and seduces viewers with an alchemical concoction that is partly Christian, partly weird science and mostly Pagan poetry. The title immediately alludes to the biblical deluge – and Hammond has called forth a mossy, dripping world in which it has quite likely been raining for forty days and forty nights. Likewise, the painting’s format has its origins in the Christian traditions of European art – multi-panelled altarpieces in which the side panels were painted on both sides so that the painting could effectively be closed, increasing the sense of reverence for the contents when it was opened. Hammond’s lavish use of gold binds him irrevocably to the world of icons and worship, and the shimmering, incandescent winged creatures he depicts might very well be angels. Except that they’re not. These bird figures plumb the depths of history – invoking the haughty, all-seeing eye of hawkheaded Horus, or the long, elegant beak of ibis-headed Thoth. The heraldic profiles of Hammond’s birds are instantly resonant with Egyptian dynastic art. But even Ancient Egyptian hybrid deities were plainly men’s bodies with birdheaded masks, as were Hammond’s earlier bird figures in paintings like Watching for Buller (1994). In At the Flood, however, Hammond’s avian creations have become lithe and fluid, with bodies that curl and twist like sea horses through his primordial, painterly soup. Many of them eschew limbs altogether; their plump chests merely taper off into sinuous coils and, like tadpoles, they could be creatures in a state of becoming, hinting at endless potential metamorphoses.
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Humans were conspicuous by their absence in Hammond’s Buller paintings; birds were the only life forms in a land that time forgot. But there are people of sorts in At the Flood, although you have to open the front panels to see them. Perhaps that is the sacred secret the painting holds – the evidence that our ancestors are equally implicated in this mythical-evolutionary tableau. The humanoids have enlarged heads, hinting at some sort of telepathic capability. Like the birds, they have golden profiles, and the two species are united by their vegetative tattoos. Each of the creatures is delicately adorned with a filigree of ferns, shoots and seed pods. Whether these emerald traceries are intrinsic to their being, or decorative additions, one can only guess. But Hammond’s viridian gene pool cuts and splices human, avian, hippocampus and plant matter. But this is not a hideous scene of monstrous deformity or mad science dreamed up by William Burroughs, nor is it a warning of the dangers of genetic engineering. Hammond’s world of changelings and chimeras is a wondrous utopia of meditative calm. Perhaps this unrelenting palette of green was inspired by the Emerald Tablet of Hermes Trismegistus, a legendary alchemical text which combined the esoteric knowledges of Egypt and Greece. Or perhaps Hammond is channelling Hildegard von Bingen’s notion of Viriditas, which equates moral truth with the colour green – the divine force of nature. Either way, Hammond conjures a zone of unimaginable elegance and timelessness: certainly a space worthy of our reverence. TESSA LAIRD
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31 LOUISE HENDERSON Untitled (Three Figures) oil on canvas inscribed Thomas Lücke in pencil upper left verso 855mm x 950mm PROVENANCE Gifted to the present owner by a friend of the artists, Thomas Lücke. Estimate $35,000 - $45,000
This study of three female figures was completed by Louise Henderson upon her return from Paris in 1953, where she had studied under the tutelage of Jean Metzinger, then in the final years of his life. Metzinger was acknowledged as a leading theorist of cubism and, together with Albert Gleizes, he co-wrote the first published treatise on cubist practice, Du Cubisme, the first edition of which was printed in 1911. Having arrived slightly after the height of the original ‘Paris School’ – a group of influential modern painters who lived and practised in Paris during the 1940s – Henderson was undoubtedly influenced also by the new approaches to figuration that emerged from Paris in the 1950s: notably, the practices of lyrical abstractionists such as Francis Picabia, Jean René Bazaine and Serge Poliakoff. The problem of distance and isolation has been much discussed in relation to the development of modern painting within New Zealand. While a distinct, modernist shift occurred in New Zealand in the decade prior to when Untitled (Three Figures) was made, the early works of McCahon, Woollaston and Lusk were all informed by images in books – a medium that does not allow the viewer to experience the scale and physicality of an artwork. Henderson’s time in Paris was brief; however, it allowed the artist to step outside of the frame of reference that informed other New Zealand practitioners in the 1950s and thus, importantly, her work stands apart from the linear development of New Zealand’s art history. After her return from Paris, and under the influence of her mentor John Weeks, Henderson was driven to take up the brush in a more confident and academic manner and began producing cubist-style works that led to a show of
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paintings and drawings held at the Auckland City Art Gallery in 1953 that would mark her as a figurehead of New Zealand abstract art. The cubist movement began a revolution away from the traditional concept of the painting as a reflection of nature and questioned common techniques of the time to create an intelligent and diverse range of new painting ideals. These new concepts removed the need to render the image by the use of techniques to achieve a three-dimensional illusion and, in their stead, inspired the practice of creating an image that would commend the two-dimensional qualities that already existed on a canvas surface. Abstraction would not have the same analytical impact with today’s audience without an acknowledgement of this reformation of painting culture. The practices of other painters who had engaged with cubism in New Zealand during the 1950s – such as Colin McCahon and, to a lesser extent, John Weeks – took their lead from the analytic cubism propagated by earlier cubist works such as Marcel Duchamp’s Nude Descending a Staircase of 1912, which aimed to recreate the scattered and disjointed experience of viewing objects and movement in real time. The strength of Henderson’s practice is that her use of cubist principles makes her image more direct. Henderson is concerned more with the flat pictorial plane, subtly rendering areas to give the suggestion of form. Indeed, aside from its novel approach to figuration, Untitled (Three Figures) exhibits a deeply intelligent, material sensitivity. The knowingly applied trapezoid shapes of orange, blue and chalky turquoise speak of an artist who is intimately ‘at one’ with her craft.
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32 COLIN MCCAHON Truth from the King Country, Load Bearing Structures 4 acrylic on board signed Colin McCahon, dated 78, and inscribed Truth from the King Country, (4) Load Bearing Structures in brushpoint middle verso 195mm x 245mm Estimate $50,000 - $70,000
In a manner that is reminiscent of Colin McCahon’s seminal early work On Building Bridges of 1952, which was made during the artist’s period of engagement with analytic cubism and presented a view of the Canterbury landscape seen through and obscured by the support struts of a metallic structure, Truth from the King Country: Load Bearing Structures 4 once again shapes our view of the landscape with a man-made structure – in this case, a structure of the artist’s own making. The prominent black Tau form described in this image finds its origins in the Necessary Protection works which McCahon made while working from his studio in Muriwai in the early 1970s. Initially, as the title suggests, these works were born out of the artist’s concerns about the gradual gentrification and pollution of the west coast landscape; he stated: “I am painting about what is still there and what I can still see before the sky turns black with soot and the sea becomes a slowly heaving rubbish tip”.¹ The series would evolve to have a much-wider-reaching relevance as McCahon shaped the discourse into a proposal that all human actions are part of a path towards spiritual enlightenment. The Tau form found its origins in the negative space that was formed by the two cliff faces, one on either side of Muriwai Beach, as described by McCahon’s drawings of the area. McCahon imbued the form with a symbolic relevance – the horizontal bar represented a divine entity and the vertical bar represented man’s path through the physical world – and it became a prominent feature of his practice that he would use exclusively for a two-year period in the early 1970s. Unlike the landscapes of McCahon’s earlier career, Truth from the King Country: Load Bearing Structures 4 was not a reaction to the artist’s immediate physical surroundings. Rather, this work saw McCahon engage with the written history of the geographical region pictured within the work.
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The King Country was named after the Maori King movement, which took force in the mid-1800s and sought to establish the region as a sovereign state, free from the control of the British monarchy. As a result, the region was the site of ongoing conflict between Maori and Pakeha settlers until 1867 when economic difficulties affecting the inhabitants of the King Country led to a peace agreement between the two parties. The Truth from the King Country series was painted in the wake of the fallout that followed the passing into law of the Treaty of Waitangi Act of 1975, which established the Waitangi Tribunal. When the Tau motif was related to the ongoing conflict between the rival ideologies of Pakeha and the tangata whenua, McCahon found that it had a new and poignant relevance. Yet, unlike the works that McCahon had painted at the start of the decade, the Truth from the King Country series does not present the viewer with a situation of hopeless decline. In the years before he painted the Truth from the King Country series, McCahon had all but abandoned the Tau form and had primarily been making black and white paintings featuring words and linear imagery suspended in dark pools of negative space. In contrast to this dark shift, Truth from the King Country: Load Bearing Structures 4, with its use of burning orange-yellow, is a light at the end of a tenebrous tunnel. It presents a sunrise over a horizon. While Truth from the King Country: Load Bearing Structures 4 reflects upon an ongoing conflict, the proposition that equilibrium will one day be reached is what lies at its heart. In this work, McCahon propagates his hope that a load-bearing structure – a set of governing principles – will eventually lead to a resolution. Charles Ninow 1 Brown, Gordon, H., Colin McCahon: Artist (Auckland: Reed, 1984), p.164.
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33 MICHAEL PAREKOWHAI Driving Mr. Albert rabbit, polyurethane, two-pot automotive paint 1635mm x 255mm x 255mm ILLUSTRATED Lett, Michael and Ryan Moore (ed.), Michael Parekowhai (Auckland: Michael Lett Publishing, 2007). p. 89, 163 EXHIBITED Previously on long term loan to Suter Art Gallery Te Aratoi o Whakatu, Nelson. Estimate $20,000 - $30,000
In a short, unpublished piece of prose written to accompany Michael Parekowhai’s exhibition Driving Mr. Albert in 2005, the artist’s sister Cushla Parekowhai explains that the title for the series of works was derived from the title of a novel by Michael Paterniti called Driving Mr. Albert: A Trip across America with Einstein’s Brain. The book tells the story of a road trip across America with the pathologist Thomas Stoltz Harvey, who performed the autopsy on Albert Einstein at Princeton University after his death in 1955 and who removed the brain of the subject without the permission of the family. Paterniti spent three months sectioning the brain to produce 12 sets of slides and then retained the remains which were kept “floating in a Tupperware bowl of formaldehyde for over forty years”.¹ Reading as though it has been plucked from the pages of a science fiction novel, a tale of such brazen disregard for medical ethics almost lacks any gravitas – the true implications of such an act are beyond the comprehension of most. However, Cushla Parekowhai grounds Paterniti’s story in a local context by referencing the now-infamous Greenlane Heart Library, uncovered in 2002. Greenlane Hospital revealed that, since 1950, it had harvested and collected 1,350 hearts for research purposes without the consent of the deceased patients or of their families. Most of the organs were taken from infants and children, the majority of whom had died from congenital heart disease. Like Einstein’s brain, these organs were collected for the purpose of scientific research, supposedly, for the greater good. In referencing these two cases of misconduct – one American folklore and one local history – Parekowhai’s intention was to perpetuate a discourse that was focused not on the events themselves but, rather, on the organisational structures that allowed such events to take place. At the heart of Driving Mr. Albert is a dialogue about the tenuous relationship between the tangata whenua and nationalised health care: the tendency of bureaucratic process to impinge on the Maori insistence that “the deceased be given up by the authorities
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intact and as quickly as possible”.² In Driving Mr. Albert, Parekowhai offers this conflict between two tenets as a wide-reaching model for the way in which tangata whenua have been forced to adapt their customs in order to conform to an imposed system of governance. The body of works to which Driving Mr. Albert belongs was originally presented en masse in Parekowhai’s 2005 exhibition of the same title. The works were of equal height. Each confronted the viewer at eye level and each presented a taxidermied rabbit immortalised in a different pose. Some offered themselves to the viewer willingly, while others cowered and faced the wall. The high-gloss pedestals were cast from the naturally balanced form of the radiata pine tree, a species introduced to New Zealand for commercial uses. These pedestals were painted in an array of hues and, in his text in Parekowhai’s monograph, Justin Paton referred to these trunks as a “colour-coded” forest.³ Taxidermied rabbit hides have a broad-reaching presence within Parekowhai’s practice and appear in a number his key works – The Barefoot Potter Boys Brigade (1999), Craig Keller (from The Beverly Hills Gun Club series, 2000) and Roebuck Jones and the Cuniculus Kid (2001). Their continued presence emphasises the lack of value attached to the rabbit, a pest introduced to the New Zealand landscape somewhat earlier than was the radiata pine. In the greater taxonomic order that pertains to New Zealand’s environment, the rabbit stands on the lowest rung and, in the Driving Mr. Albert series, it plays the role of an underclass coalesced into an arrangement that has irrevocably changed the nature of its existence. CHARLES NINOW ¹ Parekowhai, Cushla. Driving Mr. Albert (2005), unpublished. ² Ibid. ³ Paton, Justin. “The Big Ask: 20 questions about Michael Parekowhai” in Michael Lett and Ryan Moore (eds.), Michael Parekowhai (Auckland: Michael Lett Publishing, 2007), p. V–XV.
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34 CHARLES FREDERICK GOLDIE No Koora te Cigaretti, A Portrait of Mihipeka Wairama, Tuhourangi oil on canvas signed C. F. Goldie and dated 1915 in brushpoint lower left; signed C. F. Goldie and inscribed No Koora te Cigaretti, No. 1, Sale price £13.13.0 in ink on original artist’s label affixed verso 240mm x 190mm Estimate $170,000 - $200,000
Mihipeka Wairama was a favourite model for Goldie between 1912 and 1915 when he was at the peak of his powers as a portraitist of old-time Maori. Her striking facial features, heavily lined but still handsome, her wonderful chin moko and her splendid head of hair made her an irresistible subject for him. Her colourful history as a survivor of the Tarawera eruption linked her to the Buried Village of Te Wairoa and the tragic events there in 1886 when the Pink and White Terraces were destroyed. When he met her in 1908 at Whakarewarewa, she was living with other Tuhourangi people near Rotorua, displaced from her ancestral home and dependent for a living on the tourist trade. Now a mature woman, a kuia, with stories to tell of her early life and its tragic beginnings, she was willing to sit for Goldie no doubt for a small fee. He painted two versions of No Koora Te Cigaretti, the earlier dated 1912 and now in Adelaide, and the present example dated 1915. Their compositions are almost the same but the Adelaide version is unfinished in the corners of the canvas and may have been intended to be presented in an oval frame. He also painted another fine portrait of her in near profile, dated 1912 (private collection) without the cigarette. All three paintings show her in head-and-shoulders format set close to the picture frame and dressed in a woven blanket draped over a blouse with a scarf around her neck. The present work shows her facial features full frontal in sharp, meticulous detail. Her ear pendant of greenstone is painted with great care to bring out its hard, shiny surface and contrast it with her softer, textured skin. Conveying the tactile qualities of the subject matter and the contrasts between skin, hair, blanket and moko are critical to Goldie’s
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mission as a painter. In accordance with his French academic training, he wants to make her appear real and for the work to be a fully finished study, accurate in every detail. Everything is resolved, nothing left to chance. There is also careful attention to lighting and modelling of the features. He uses a pronounced chiaroscuro that casts her right cheek and shoulder into shadow where detail is reduced, but where, too, the white of the cigarette stands out against the shadowy skin behind it. Each touch of paint is placed carefully with the virtuosity of a master in command of his craft. The title No Koora Te Cigaretti draws attention to her smoking and introduces an element of controversy. Loosely translated, it means ‘cigarettes are no good’ in the sense that she would prefer something stronger, namely tobacco in a pipe. The habit of smoking like that of drinking alcohol was introduced to Maori by the European settlers much to their disadvantage when they became addicted. Both men and women indulged at a time when it was rare for middle-class European women to smoke or drink heavily. Goldie seems to see some humour in her addiction though the portrait is sympathetic rather than judgmental and her dignity is preserved. She is shown at a time of change when traditional Maori life and customs were threatened by European values and adjustments had to be made. Goldie was well aware that he was recording a vanishing way of life and tended to dwell on the nostalgic aspects of his subjects. This explains the reflective nature of Mihipeka’s expression with eyes half closed as if thinking about times past rather than about the present. MICHAEL DUNN
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35 BILL HAMMOND Sea Legs watercolour on paper signed W. D. Hammond, dated 1995 and inscribed Sea Legs in brushpoint lower right 900mm x 1220mm Estimate $65,000 - $85,000
Painted in 1995, Bill Hammond’s Sea Legs is a hauntingly beautiful example of the artist’s fascination with birdlife, which began to tentatively grace his paintings from the early ’90s after a transformative trip to Enderby Island in 1989. As an archipelago of the New Zealand sub-Antarctic islands with no permanent human inhabitants, the Auckland Islands are a safe haven for wildlife and an important breeding site for a number of endemic birds. Hammond’s visit to the islands was the catalyst for his searing vision of a ‘birdland’, which he has sought to populate ever since with a mythological race of ornithological creatures, the genesis of which is readily apparent in Sea Legs.
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waves roll simultaneously in and rush out, their highly stylised forms and curling filigree crests conjuring the work of Japanese woodblock artists such as the revered Katsushika Hokusai. Reminiscent of sheets of corrugated iron, the frozen sea retreats on a sharp diagonal, drawing the spectator into the centre of the painting where a dark, billowing sky is seen weeping ribbons of silver.
Suggestive of brevity, fragility and the sheer beauty of the natural world, Sea Legs displays a masterful handling of watercolour and clearly illustrates Laurence Aberhart’s appellation of Hammond as “the pre-eminent painter of surface”. ¹ The paper has been stained with a series of dark violets, inky blues and charcoal-grey hues that canvas the work so that it virtually hums with a raw dynamism. In true Hammond form, however, it is an energy that is intimately tempered by an elegiac and meditative charm. Sea Legs is
Signs of domesticity grace the foreground with the sea carrying in a small yet staunch bulldog and the beginnings of a russet-coloured velveteen chaise longue, which casually disappears off the edge of the paper, suggesting that more domestic flotsam abounds. On the left of the painting, a lone shag is seen perched atop a jagged piece of rock and staring resolutely out to sea. Neatly circumscribed within an ornamental cabinet that is complete with an identification label, the shag faces off against an encroaching tide of human invasion and settlement. The bird remains aloof, protected and distant, and yet at the same time it is a covetable commodity that has been ostensibly purchased, owned and possessed. This is Hammond at his best, drawing commentary that is resonant with suggestion, allusion and
blanketed in fine striations of modulated colour that evoke divisions of sky, horizon line, land and sea, while thin rivulets of pigment dribble and run down the expanse of the painting. Dripping tendrils of paint are as much a hallmark of Hammond’s artistic repertoire as are his bird creatures and can be seen running and weaving through the majority of his paintings.
possibility while offering it to the viewer in an enticing, lyrical manner. Like the individual pieces of a puzzle, the three figurative elements of glass-caged bird, bulldog and chaise longue come together to weave a poetic narrative that eloquently speaks of a rich, personal experience, historical exploration and settlement, and the mythic possibilities of a hybridised ornithological race.
A starless, cloudy sky presides over the wet and windswept land of Sea Legs. Misty squalls buffet the terrain while the sun struggles to pierce the cloud, carving a brief patch of blanched sky in the middle distance. A series of five inverted
JEMMA FIELD ¹ Aberhart, Laurence, “Welcome to Bill’s Bar”, in Jennifer Hay (ed.), Bill Hammond: Jingle Jangle Morning (Christchurch Art Gallery, 2007), p.12–15.
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36 RALPH HOTERE Black Painting acrylic on canvas signed Hotere, dated 69 and inscribed Black Painting in brushpoint verso; inscribed cat no. 30 and $150 in pencil on stretcher 1115mm x 915mm PROVENANCE Purchased by the current owners directly from the artist, circa 1974. Estimate $80,000 - $120,000
Like musical chords suspended in the silence of darkness, a lyrical mysticism exudes from the boards of Hotere’s Black Painting series, which were to form the foundations of Hotere’s artistic career. Black Painting (1969) is an exquisite example from this series, on which the artist focused for two years from 1968 to 1969. In contrast to the majority of works in this sequence, which were painted with brolite lacquer on hardboard to eliminate any trace of brushwork, Hotere here rejects the luminous and reflective quality of the lacquer in favour of a matt finish. Rendered in acrylic on canvas, the circle of fine illuminated threads of colour glimmers against the black background. The all-encompassing scale of the painting, offers an altar-like quality to the piece. Hotere’s practice has frequently been compared with the hybrid Maori Catholic upbringing of the artist. Hotere was steeped in Catholic liturgy, theology, sacramentalism, mysticism and iconography, and Latin texts as a young boy and his works carry an intrinsic spiritual quality, which is redolent throughout his oeuvre. His early paintings from this series feature a recurring cross. In Black Painting (1969), we see a departure from these linear works, yet the focal point of the painting remains constant, resembling an altarpiece, or illuminated halo: the circle becoming a metaphor for God or the universe. During the 1960s, Hotere was greatly inspired by his travels to Europe and the South of France, where he resided for several months. Living near to the monastery, Hotere frequently visited the Dominican Chapel of the Rosary in Vence, whose ecclesiastical designs by Matisse were the antithesis of the stark, unadorned church of his home town, Mitimiti. Formally, his black paintings are an inversion of Matisse’s chapel drawings, yet they share a similar sensory ‘vibration’, which fills their surrounds.
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Hotere’s piece also reveals his ongoing affinity with nature. At this time, it was likely that Hotere would have been influenced by D’Arcy Wentworth Thompson’s scientific studies on the form and patterning of nature, which were widely discussed by artists in London in the early 1960s. The repetition and patterning of fine lines, central to Black Painting (1969), echo the rhythm of the isobars or contours of a map. These lines resonate in his landscape drawings produced later the same year, which appeared on the cover of James K. Baxter’s Jerusalem Sonnets (1969). Yet, one cannot overlook the overtly aesthetic and formal properties of this canvas. The perfectly rendered surface, fine symmetry, repetition of line, geometry and extreme reductivism, place the work comfortably alongside minimalist masters of the 1960s and ’70s. Hotere’s Black Painting series calls to mind works by Ad Reinhardt, Mark Rothko, Barnett Newman and Kazimir Malevich. Later, these paintings became a catalyst for his exploration of paint and darkness as his practice moved towards qualities of abstract expressionism. His obsession with the monochrome, secures Hotere among the family of black painters described by Robert Motherwell: Manet, Goya, Matisse and Motherwell himself, as “painters who employ a certain sardonic intensity, almost a perversity in their commitment to the sacramental centrality of this primary pigment”. ¹ Though minimalist, Black Painting (1969) speaks a poetry of its own, transcending nature and religion through its sublime beauty and intellectual elegance. EMILY GARDINER ¹ Quoted in Eric Protter ed., Painters on Painting, Grosset & Dunlap, New York, 1963.
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37 CHARLES FREDERICK GOLDIE Ngatirea (Day Dreams), Natarua Hangapa Arawa Tribe oil on canvas signed C. F. Goldie, inscribed N.Z., and dated 1938 in brushpoint upper left; original John Leech Gallery label affixed verso 300mm x 245mm Estimate $150,000 - $200,000
Painted by Charles Frederick Goldie in 1938, Ngatirea (Daydreams), Natarua Hangapa – Arawa Tribe is a prime example of the artist’s unparalleled ability to weave together historical fact with an elegance and integrity through his painstakingly mimetic technique. This combination of elements is to some extent responsible for earning Goldie a place as New Zealand’s most-celebrated and esteemed painter of the 20th century. Ngatirea (Daydreams) is an excellent example of Goldie’s late phase of works that were completed throughout the 1930s. Characterised by a thinner application of paint, a looser handling of the brush and comparatively richer tonalities, these works were a departure from the rigid compositions of his earlier career and each imbues the sitter with a romantic light. Thus, in this later work, we see Goldie return to and further develop the approach that he had successfully honed at the Académie Julian in Paris during the 1890s. Executed in bust-length format, the present painting depicts a relatively young Maori woman positioned front on to the viewer with her head inclined to the left and eyes downcast. Loose hair cascades over her shoulders and is delicately pinned back by a cluster of scarlet kaka beak (Clianthus puniceus) flowers. Performing a purely decorative function in the portrait, the flowers of the kaka beak traditionally served a specific function for Maori. Containing a large amount of nectar, the flowers from the two endemic species of kaka beak were used to feed tui that were kept in cages in order to attract other birds that could then be trapped. While the majority of Goldie’s portraits of Māori woman depict them with unadorned hair, an earlier work from 1932 entitled Reverie – Hinemoa, Te Arawa also depicts a young woman with untied long hair that is adorned by a bunch of the highly
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distinctive kaka beak flowers. Further similarities are seen between the two works in terms of format, pose, costume and accoutrements and it is notable that, presumably due to the youth of the two sitters, they have not yet received kauae moko (chin tattoo). The focus in Ngatirea (Daydreams) has been placed on the subject and her material taonga. She is shown wearing a korowai (cloak) that is decorated with fine black hukahuka (tassels) along with a pounamu tiki pendant and two whakakai pounamu (greenstone earrings). Although this issue has been repeatedly noted in discussions of Goldie’s paintings, it is still worth contextualising his work by recapitulating the prevailing Pakeha view at the turn of the 20th century that New Zealand’s indigenous people were destined for extinction or assimilation. Despite evidence of Maori regeneration, these beliefs were still prevalent in 1935 when the Auckland Star claimed that Goldie’s portraits “of Maori men and women will be ‘Old Masters’ – and connoisseurs will fight for them… when none of the race he perpetuates are here”. While Goldie’s personal position on the matter remains unknown, his portraits of Maori sitters in varying states of solemn contemplation like Ngatirea (Daydreams) did serve to illustrate the contemporary opinion that the Maori was an ill-fated race. Somewhat ironically, however, Goldie’s exacting approach to documenting what he likely thought were the last members of a ‘noble race’ has bequeathed New Zealand invaluable taonga tuku iho (prized heirlooms) that serve to record the people, material appearances and attitudes of a specific time in this country’s past. JEMMA FIELD
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38 GRETCHEN ALBRECHT Gains and Losses (Aequus) acrylic on canvas signed Albrecht and dated 98 in brushpoint verso, lower right; dated 98 and inscribed Gains and losses (aequus) in brushpoint on stretcher; inscribed gains and losses and dated 1998, Ref. No: 6A/10 98-12 in ink on original artist’s label affixed to stretcher verso 1360mm x 2375mm Estimate $30,000 - $40,000
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39 COLIN MCCAHON Northland ink wash on paper signed McCahon, dated April ‘59 and inscribed Northland in ink lower right 620mm x 500mm REFERENCE Colin McCahon database reference number cm001231 Estimate $40,000 - $60,000
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40 TOSS WOOLLASTON A View of Tasman Bay from Harley’s Road oil on board signed Woollaston in brushpoint lower right; unfinished painting verso 1145mm x 2600mm PROVENANCE Private collection, Auckland. Formerly in the collection of Hamish Keith. ILLUSTRATED Gerald Barnett, Toss Woollaston, An Illustrated Biography National Art Gallery, 1991, p 105. Estimate $120,000 - $180,000
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The basis of Toss Woollaston’s approach to image-making can be found in his career-long ambition to make paintings that were not concerned with reproducing the physical appearance of his subject matter. Rather, Woollaston’s primary concern was always to transmute to the viewer the sensation of standing before his subject. Woollaston was unconcerned with carefully editing and selecting the content that is presented to the viewer as his works are about the imperfect experience of encountering physical objects in real, three-dimensional space. Woollaston’s maxim stood as a stark contrast to the canon of artistic practice in New Zealand which, up until his arrival and that of McCahon (with whom he had socialised in Nelson during the summers of the 1930s), had been firmly entrenched in a colonialist obligation to depict the landscape as a vast and idyllic resource rather than as an entity with its own innate character.
variation between light and dark and, while Woollaston’s distribution of colour does accentuate the physical character of the landscape, the pigments that he chose have dusky undertones that speak directly to the New Zealand climate. In A View of Tasman Bay from Haley’s Road, a further point of departure from Woollaston’s modern roots can be found in the artist’s almost alchemic ability to present receding space without altering the measure of his brush strokes. A primary development that turn-of-the-century modernists enacted was an elevated awareness of the material quality of their paintings: a shift of focus from illusory effects to surface qualities. A View of Tasman Bay from Haley’s Road sees Woollaston further develop these principles so that, while his strokes have their own ebb and flow and a thick, palpable presence, they are also a gateway into a world of the artist’s inception.
A View of Tasman Bay from Haley’s Road is a mature work that, while painted when the artist was aged 71, is redolent of the influences that drew Woollaston’s focus towards expressionist mark-making at the very outset of his career. Yet, at the same time, the work also presents an approach to painting that could be nurtured only in New Zealand – a mode of pictorial representation that could be shaped only by the volcanic rock underbelly saddled beneath this particular landscape’s green grass and tussock hills. Woollaston’s methodology was torn from the playbook of turn-of-the century modernists like Cézanne and Kirchner; however, his use of colour represents a significant point of departure from these forebears. An important development in the practice of these modern masters was their willingness to choose pigments that unequivocally amplified the form and presence of their subject matter. However, the colours used by Woollaston were always firmly grounded in a study of the light conditions that were specific to New Zealand. A View of Tasman Bay from Haley’s Road utilises extreme tonal
Perhaps the most-celebrated aspect of Woollaston’s painting practice is the way in which the structure of the New Zealand landscape always plays a prominent role in his works. In A View of Tasman Bay from Haley’s Road, the artist’s gestural markings are draped across a sea of contours, almost suggesting that concealed beneath them is a seething mass of unimaginable power. In relation to the much-larger geological forces that are hidden beneath the landscape, this blanket of paintwork serves to illustrate the thinly spread proportions of the life and vegetation that inhabit its surface. There is a reverent overture in this depiction of Woollaston’s own Nelson landscape: a personal recognition of the area’s undulating ability to inspire. While the artist was not born in Nelson, he settled in the area in his early 20s. Further, while he moved away from the area, he would later find his way back and he would die in the nearby town of Upper Moutere. A View of Tasman Bay from Haley’s Road is an embodiment of Woollaston’s lifelong relationship with the Tasman Bay area. CHARLES NINOW
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41 TONY FOMISON After the Land Do You Look oil on canvas in artist-painted timber roundel, inscribed #207, “After the land do you look”, started 12.5.78, Finished the next month. Canvas I stretched on inside of a roundel picked up from fleamarket. Oils in graphite on papel label affixed verso diameter 230mm
43 TONY FOMISON
The Seer
Nightflight
oil on canvas on board in found frame (round metal plate) signed Fomison, inscribed The Seer, and dated 7.5.76 in brushpoint lower edge diameter 165mm
oil on jute canvas on board in artist-made frame, signed Tony Fomison, dated 1980, and inscribed “Nightflight” in graphite middle verso 660mm x 445mm
EXHIBITED Exhibited: Whangarei Art Gallery.
PROVENANCE Purchased by the current owner from Barry Lett Gallery 1976; original Barry Lett receipt affixed verso
Esimate $20,000 - $30,000
Estimate $10,000 - $15,000
PROVENANCE Gifted by the artist to the present owner, 1978.
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42 TONY FOMISON
PROVENANCE Acquired by the present owner from the artist at his studio, 1980. EXHIBITED Whangarei Art Gallery. Estimate $40,000 - $60,000
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44 COLIN MCCAHON Untitled (Landscape) from the Northland series oil on jute canvas 910mm x 580mm PROVENANCE Gifted by the artist to the present owner, circa 1961. While a teenager, and despite a meagre wage, the owner had purchased an oil from the Titirangi series. Apparently much impressed, McCahon gave her this work. REFERENCE Colin McCahon database reference number CM000461. Estimate $70,000 - $90,000
Roughly divided into three horizontal segments that logically bear out foreground, middle distance and sky, Colin McCahon’s Northland from 1962 offers the viewer a snapshot of a landscape that has been coarsely hewed and pared back so that only the essential, unadorned structure of the scene remains. The landscape vista is executed in a reduced palette of yellow ochre, burnt hazel and sooty black and McCahon transcribes it by removing almost all sense of spatial recession so that the viewer travels vertically up the canvas rather than receding into an imagined space. In place of an illusionistic three-dimensionality, McCahon focuses on realising a clarified unity of space and form. The present painting belongs to McCahon’s second series of Northland paintings, which he began in late 1962 and continued throughout the subsequent year. Following on from the Elias and Gate series, these works feature a formal sparseness and a notable internal rhythm that is communicated through a restricted palette of yellows and blacks. This is patently visible in Northland where the shadowy, swelling hill in the foreground blossoms to the right in a motion that is countered by a steep jump in the horizon line on the left. By comparison, the earlier Northland paintings from 1958 for the most part feature a wider palette choice and a heightened sense of naturalism in the more pronounced use of local colour. In the same manner as were the pivotal Northland Panels from 1958, the Northland paintings were part of McCahon’s attempt to convey something of the magic and rarity of the austere New Zealand landscape that he believed was endangered by the population’s apathy. 70
The key to the painterly vitality of Northland lies in McCahon’s controlled use of colour and pattern. A burnished sky bears witness to a brooding mass of lavender-tipped cloud that has been smudged across the canvas and now hangs obstinately in the centre of the painting. In places, McCahon’s application of paint is thin and raked so that the distinctively thick weave of the jute canvas becomes visible to the human eye and adds a textural dimension to the work. The edges of the painting are tightly cropped so that the rising landscape forms of Northland appear to spill out and continue beyond the confines of the canvas. The simple and orderly structure of Northland produces an infinite stillness so that the work comes to exude a measured poise and an explicit serenity that is akin to the contemplation of spiritual benevolence. As is the case with the majority of McCahon’s landscape paintings, Northland presents the viewer with a spiritual and metaphysical journey. It calls for the viewer to walk over the rolling hills, to watch the sun seep below the horizon line and to bear witness to the mystical power of the New Zealand landscape. As such, the painting bears a pensive religiosity and is an example of McCahon’s exploration of the symbolic potential of the landscape in his incessant quest to better understand the nature of faith and religious conviction. It also speaks of McCahon’s role as a prophetic visionary who was seeking a new and expressive visual language that would be able to communicate something of the fundamentals of belief and the poignancy of doubt to a wide and diverse audience. JEMMA FIELD
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45 COLIN MCCAHON Necessary Protection charcoal on paper signed McCahon, dated ‘71 and inscribed Necessary Protection in pencil lower edge 460mm x 610mm EXHIBITED A significant number of Necessary Protection paintings and drawings were exhibited in McCahon’s 1971 exhibition, Necessary Protection, Barry Lett Galleries, Auckland, 1 - 12 November 1971. No catalogue accompanied the exhibition so it is not possible to determine exactly which works were shown on that occasion. REFERENCE Colin McCahon Database Reference CM000339 Estimate $28,000 - $32,000
Necessary Protection, torn straight from the artist’s sketchbook, belongs to sprawling series of works defined by both a central conceptual framework and a common set of formal constraints. The works from this series are loosely based on both the sunset and the cliff formations that the artist observed at Muriwai Beach. The cliffs on either side of the beach are described by the two blocks of dark, negative space and the sunset is contained by the Tau shape in the centre of the image. Necessary Protection is not a reflection on one place in particular. Rather, in this work, the artist has sought to address the relationship between human beings and the earth beneath them. In the catalogue for his 1971 Earth/Earth exhibition at Barry Lett Galleries in Auckland, McCahon told of a cliff section at Muriwai that had been put on the market: “just like everything else,” he lamented, “it was for sale.” Further, he speculated that if it were bought by someone who sought to develop the land, it would set in motion a vicious cycle that would only lead to further gentrification and the gradual pollution of the black-sand beach that he loved so dearly with “plasticised ‘sundae’ containers and ice-cream sticks and wrappings and plastic bags from the new season’s bikinis”. It feels slightly off-key to refer to any of McCahon’s work as protest pieces as he was not an artist who provided the viewer with straightforward readings that could be shouted out across the room. However, upon first glance, the full frontal weight of the cliff faces makes them appear almost as barricades, thrown up by the artist as if to say “stop!” The Tau form and the landscape draw meaning from each other. In this early iteration of the series, the artist has purposefully
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chosen not to define whether the sky has been framed by the landscape or, alternatively, whether the Tau form has been juxtaposed on top. Most readily, the Tau form presents itself as a divine entity. It appears almost like the mid-section of a crucifix and it is implied that, beyond the viewer’s narrow frame of reference, the form extends up into the heavens and down through the core of the earth. Further, it also serves as an illustration of an uphill path to enlightenment. Outside of Christian imagery, the symbol Tau, from the Greek alphabet, has other connotations of which the artist was well aware. In mathematical equations, Tau serves as a symbol for time and, when set into the picture plane with this charge, its infliction is altered considerably. In this light, we see a diorama of the future that McCahon predicts. Stripped of its character, the Tau has cut the landscape into a uniform mass. Produced with only rudimentary materials and completed in the same setting in which it was commenced, Necessary Protection is a direct translation of the artist’s thought and feeling. The staple format – the divided landscape that inverts to a Tau – was used by the artist like a ready-made: a set of concerns and associations that could easily be inserted into a work simply by drawing the shape. Each time it was used, the treatment altered slightly and some new understanding was gained; thus McCahon repeated the Necessary Protection form exclusively for a period of two years. This series is responsible for the introduction of symbolic, hardedged abstraction into the artist’s work. CHARLES NINOW
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46 COLIN MCCAHON Untitled (North Otago Landscape) charcoal transfer on paper signed CM and dated ‘61 in charcoal lower right 260mm x 200mm PROVENANCE Gifted to the present owner by a friend and colleague of the artist. Originally consigned to the present owner and stored within the same UNESCO envelope, addressed to CJ McCahon, that accompanies the following lot. Estimate $8,000 - $15,000
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47 COLIN MCCAHON Untitled (Kauri) charcoal transfer on paper 260mm x 200mm PROVENANCE Gifted to the present owner by a friend and colleague of the artist. Accompanied by a UNESCO envelope, addressed to C J McCahon, in which the work was originally consigned to the present owner and in which the work was stored. Estimate $8,000 - $15,000
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48 PAT HANLY City Bride enamel and timber construction on board signed Hanly, dated 90 and inscribed City Bride in brushpoint lower left 1050mm x 840mm Estimate $20,000 - $30,000
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49 FRANCES HODGKINS Untitled (Girl in a 1920s Cloche Hat) watercolour on paper signed Frances Hodgkins in graphite lower right 440mm x 300mm Estimate $20,000 - $30,000
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50 COLIN MCCAHON Annunciation charcoal on paper on cardboard, signed McCahon 49 and inscribed Annunciation in charcoal upper centre; inscribed drawing Annunciation, Colin McCahon, 6gns verso; original Manawatu Art Gallery Travelling Exhibition label affixed to backing board inscribed Annunciation McCahon, Religious cat. no. 37 and inscribed carte 4 in red ink verso 650mm x 520mm PROVENANCE Purchased by the present owner from the Eric Scholes Gallery, Rotorua, 1964 EXHIBITED Colin McCahon and Toss Woollaston, Helen Hitchings gallery, Wellington, 30 July - 5 August 1949, 6 gns. Group Show 51, Canterbury Society of Arts Gallery, Durham Street, Christchurch, 15 - 26 October 1951, cat. no. 62, 6 gns. McCahon: ‘Religious’ works 1946-1952, Manawatu Art Gallery, 24 March-? April 1975, cat. no. 37. REFERENCE Colin McCahon database reference number CM000511 Estimate $60,000 - $75,000
Executed in 1949, Colin McCahon’s Annunciation is a monochromatic masterpiece of concentrated energy, hallowed serenity and an overriding sense of repose. It was completed in charcoal on paper and the close proximity of the two figures to each other and to the spectator, provides an honest directness that removes any possible barrier of distance, thereby heightening the immediacy of the scene. Narrated in The Gospel of Luke in the New Testament, The Annunciation is the event when the Archangel Gabriel was sent from Heaven to tell the Virgin Mary that she was to be the mother of Jesus, son of God. This pivotal biblical occasion has come to be one of the most common subjects in the history of Christian art. In choosing to depict The Annunciation, McCahon established a direct dialogue with the great masters of European art, paying homage to artists such as Duccio, Giotto, Titian, Signorelli and Gauguin who, from the pages of art books, had aided McCahon in his journey to clarify his painterly approach to religious themes and ideas. While Annunciation does not offer any direct quotations, the emotional and psychological intensity keenly harks back to the work of Titian while the stylised simplicity of the figures is reminiscent of Giotto, and the strong use of line recalls the cloisonné style of Gauguin. 78
The composition of McCahon’s Annunciation is powerful in its simplicity, with both the Virgin Mary and the Archangel Gabriel presented in extreme close-up and acutely cropped to bust-length format. A roughly shaded area of charcoal forms a circular framing device, crowning the two figures and creating a window through which the details of a distant landscape become apparent. A linear set of hills is seen rippling along the horizon line, blanketed by a stream of brisk cloud that scurries overhead. The middle ground offers an expansive spread of pasture interrupted only by a copse of trees and what is perhaps a milking shed or barn that has been neatly framed by a fence. Against this rural backdrop, McCahon envisions the portentous moment of The Annunciation. During the late 1940s and early 1950s, one of McCahon’s primary aims was to reconfigure the events of the Bible in order to make them relevant to the everyday concerns of contemporary New Zealanders. The way in which he achieved this was by bringing biblical episodes closer in time and space and by transplanting them into a locale that was inherently New Zealand. Thus, the rolling hills and wide, sparse areas of the Nelson region are recognisable as the physical location of many of McCahon’s early religious paintings. In discussing this section of McCahon’s oeuvre, Gordon H. Brown notes that “frequently the situation depicted shows one agent in an active role while the other is a passive recipient”¹, which is clearly borne out in Annunciation. Here, McCahon casts Mary as the inactive, acquiescent character in the scene, showing her with eyes closed and head bowed in a manner of reverent contemplation. Her abeyance is balanced by the Archangel who adopts an animated role, staring resolutely ahead with eyes wide open and lips slightly parted as though in the middle of delivering God’s sacred proclamation. Capturing the sacrosanct figures of Mary and Gabriel in a prophetic moment, McCahon’s tightly controlled composition, his sincerity of approach and his stylistic rawness coalesce to produce a work of enduring originality and pertinence. JEMMA FIELD ¹ Brown, Gordon H., Colin McCahon: Artist (Auckland: Reed, 1984), p.37.
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51 GRAHAME SYDNEY Winter at Burke’s Pass oil on linen signed Grahame Sydney and dated 2009 in brushpoint lower right; signed Grahame Sydney, dated © 2009, and inscribed “Winter at Burkes Pass”, oil on linen, Grahame Sydney, Cambrian Valley, Central Otago, NZ in marker pen lower right verso Estimate $45,000 - $65,000
Painted in 2009, Grahame Sydney’s Winter at Burkes Pass, takes the landscape of the Mackenzie Country in South Canterbury as its departure point. The important heritage site of Burkes Pass on the banks of the Opihi River divides the Two Thumbs and Rollesby Ranges, thereby allowing for easy access to the high tussock lands of the Mackenzie Basin. Under Sydney’s brush, a segment of the region is translated into a two-dimensional ivory haven. Freshly fallen snow blankets the earth and the painting virtually bristles under the silence of the scene.
Compositionally graceful, Winter at Burkes Pass is solidly anchored by a thick wooden post in the lower left foreground that gives way to a series of wooden palings and strings of barbed wire. Radically foreshortened, the fence marches backwards into the painting where it carves out a sharp right angle, turning to shadow the horizon line until it trails off the edge of the painting in an amaranthine manner. A circular concrete water trough punctuates the far corner of the fenced paddock and the occasional brave stalk of grass can be seen breaking the snowy covering.
From a distance, Sydney’s Winter at Burkes Pass appears to be an almost barren wonderland of white and grey tonalities. United in their milky hues, sky and earth are nearly indistinguishable with the exception of the two rivulets of muted silver that run the expanse of the painting and serve to cleave the niveous landscape from a brooding, bloodless sky. Nestled in the snowy haze, this nebulous grey patch is perhaps a run of pine trees but, then again, it is maybe a rocky outcrop or a series of rolling hills or even, possibly, a band of houses. Comprising, ostensibly, an expanse of bleached ground, a leaden, chalky sky and a murky smudge in the middle distance, Winter at Burkes Pass is evidence of Sydney’s supreme technical virtuosity. If one draws closer to Winter at Burkes Pass, however, a number of small, mimetic elements reveal themselves, looming out of the picture plane and pitting the work with an internal narrative.
It is characteristic of Sydney that Winter at Burkes Pass is devoid of any human presence. However, as with most of his best works, the painting contains hints and traces of humanity, of civilisation, progress and ownership. Unobtrusive yet assertive, the wooden railing and rounded trough signal that this is a maintained property and not a bleak, desolate wilderness. The landscape is private and cultivated, and belongs to someone, and the painting pays a humble and subtle tribute to agriculture, industry, perseverance and the human desire for ownership. In conjunction with the works that Sydney completed following his trips to Ross Island, Antarctica, in 2003 and 2006, Winter at Burkes Pass is a testimony to his ability to transform a pallid and almost empty expanse of frozen landscape into an image of enduring visual interest. These images of alabaster lands punctuated by small and comparatively insignificant markers of humanity have become something of a hallmark of Sydney’s style.
Viewing the painting at a closer proximity, the spectator is welcomed into a finely detailed wintery world. 80
JEMMA FIELD
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53 52 JULIAN DASHPER 52
Halley’s Comet at Silverdale oil on paper signed Julian Dashper, dated 1986 and inscribed Halleys Comet at Silverdale in pencil upper edge verso 1200mm x 790mm Estimate $7,000 - $10,000 53 RICHARD KILLEEN East-West watercolour on paper signed Killeen, dated 26.2.80 and inscribed East-West in pencil lower edge 570mm x 390mm Estimate $3,000 - $5,000 54 MICHEL TUFFERY Ha’amana’o Raiatea Nui graphite and coloured pencil on paper signed Michel Tuffery and inscribed Ha’amana’o Raiatea Nui in pencil lower edge 750mm x 540mm NOTE One of five works produced whilst the artist was in the Solomon Islands to teach the local artists how to make woodblock prints.
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Estimate $3,000 - $4,000
55 BRIAN BRAKE Buddha Hand - National Museum, Gampeng Pet, Thailand 1970 chromogenic colour print impressed signature stamp lower right 620mm x 470mm Estimate $5,000 - $7,000
56 GEOFF THORNLEY Of His, Him #3 string, modelling compound, and oil on linen, signed Thornley in brushpoint verso; signed Thornley, dated 6.95 and inscribed Of His, Him. #3 in stencil verso 2190mm x 760mm Estimate $9,000 - $15,000
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57 FRANCES HODGKINS Rue de l’Horloge, Dinan, France pencil and watercolour on paper signed FH and dated 1902 in brushpoint lower right; inscribed Rue de l’Horloge, Dinan, £7-7-, Frances Hodgkins in pencil verso 370mm x 270mm Estimate $28,000 - $35,000
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58 FRANCES HODGKINS Washer Women pencil and watercolour on paper signed FMH in brushpoint lower right 340mm x 255mm Estimate $25,000 - $35,000
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59 RALPH HOTERE
60 ELIZABETH THOMSON
Drawing for Requiem Series
Space, Time Continuum
ink and watercolour on paper signed Hotere, dated ‘74 and inscribed Drawing for Requiem series in ink upper right 500mm x 700mm
hand-painted cast zinc on spray-coated panel signed Elizabeth Thomson, dated 2003 and inscribed Space, time Continuum in pencil upper right verso 610mm x 2300mm
Estimate $20,000 - $30,000
Estimate $18,000 - $25,000
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63 JEFFREY HARRIS 62 JEFFREY HARRIS 61 KARL MAUGHAN
Portrait of My Wife
Double Portrait
oil on canvas signed with artists signature and dated 23/10/89 in oil pastel upper left verso 1210mm x 1990mm
oil on board signed Jeffrey Harris, dated 1971 and inscribed Portrait of my wife [Joanna Paul] in pencil verso 410mm x 430mm
oil on board signed J. Harris and dated 1974 in brushpoint lower right; signed Jeffrey Harris and dated 1974 in pen verso; inscribed Double Portrait in pencil verso 415mm x 455mm
Estimate $22,000 - $30,000
Estimate $8,000 - $12,000
Estimate $8,000 - $12,000
Untitled (Garden Painting)
IMPORTANT WORKS OF ART 87
65 LEN CASTLE Crater Lake Bowl 64 ANN ROBINSON Spiral Vase (Four Sections) 45% lead crystal, 1/1 signed A Robinson, dated 2001 and inscribed 1/1 and NZ on underside PROVENANCE 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 are pink, purple and clear; reissued 7.3.2012. Estimate $18,000 - $22,000
88
earthenware, matt black exterior, grey hand-modelled rim, blue alkaline interior glaze, impressed LC mark underside diameter 540mm, height 130mm Estimate $5,000 - $8,000 66 LEN CASTLE Sulphur Bowl stoneware, matt black exterior, yellow cracquelure interior glaze, impressed LC mark underside diameter 415mm, height 150mm Estimate $5,000 - $8,000
67 DORIS LUSK College Demolition acrylic on canvas signed D. Lusk and dated ‘81 in brushpoint lower edge 855mm x 630mm REFERENCE Doris Lusk’s Demolition series carries an unsettling prescience, the works decrying Christchurch’s partiality for demolition. Estimate $12,000 - $18,000
IMPORTANT WORKS OF ART 89
68 RUDOLPH GOPAS Area of Quietness oil on jute canvas on board inscribed Auckland Art Gallery in brushpoint verso; Auckland Art Gallery exhibition label affixed verso 910mm x 1080mm EXHIBITED Contemporary New Zealand Paintings, Auckland City Art Gallery, Auckland, 1964; The Group Show, Durham Street Art Gallery, Christchurch, 31 October - 15 November 1964. Estimate $8,000 - $12,000
69 PHILIP CLAIRMONT The Red Chair of China oil and acrylic on canvas signed P. Clairmont and dated 1976 in brushpoint lower edge; inscribed The Red Chair - of China in brushpoint upper edge 1240mm x 1240mm Estimate $25,000 - $35,000
IMPORTANT WORKS OF ART 91
70 JOHN WALSH Tipi Haere II oil on board signed J Walsh, dated 2003 and inscribed Tipi Haere in pencil lower left verso 1230mm x 1230mm Estimate $16,000 - $22,000
71 IAN SCOTT Lattice No. 153 acrylic on canvas signed Ian Scott and dated ‘87 in pencil upper right verso; signed Ian Scott, dated April, 1987 and inscribed 411, 72” x 72”, Lattice No. 153 in marker pen on stretcher verso; Ferner Galleries certificate of authenticity affixed verso 1830mm x 1830mm Estimate $12,000 - $18,000
IMPORTANT WORKS OF ART 93
72
74
73
72 EDWARD FRISTROM Untitled (View of Wellington) oil on board signed Edward Fristrom in brushpoint lower left 350mm x 240mm PROVENANCE A gift from the artist and passed by descent to the present owner Estimate $5,000 - $7,000 73 RALPH HOTERE Les Saintes Maries de la Mer watercolour, graphite, oilstick and gold leaf on paper signed Hotere, dated ‘78, and inscribed Les Saintes Maries de la Mer in ink lower edge 375mm x 275mm Estimate $7,000 - $9,000 74 STANLEY PALMER White Island - Whakaari East oil on canvas on board signed S. Palmer and dated 2000 in brushpoint lower right 605mm x 1155mm Estimate $10,000 - $15,000 75 RALPH HOTERE Pine watercolour and woodblock print on paper signed Hotere, dated ‘71, inscribed from Pine a poem by Bill Manhire lower right; letterpress printed Printed on the royal Columbian handpress, Bibliography Room, University of Otago lower left 540mm x 340mm Estimate $10,000 - $15,000
75
IMPORTANT WORKS OF ART 95
76
76 DICK FRIZZELL Chore Boy Painting oil on canvas signed Frizzell, dated 17/11/98, and inscribed Chore Boy Painting in brushpoint lower right 610mm x 610mm Estimate $8,000 - $12,000 77 TONY DE LAUTOUR Mystic acrylic on paper signed and dated 2008 in pencil verso 640mm x 900mm 77
96
Estimate $2,500 - $3,500
78 DICK FRIZZELL No Sweat oil on canvas signed Frizzell, dated 18/5/98, and inscribed No Sweat in brushpoint lower right 755mm x 610mm Estimate $10,000 - $15,000
IMPORTANT WORKS OF ART 97
78
79
79 IAN SCOTT Lattice watercolour dated September 1984 and inscribed Lattice drawing no 109 in pencil verso 340mm x 340mm Estimate $900 - $1,800
80 RALPH HOTERE Jerusalem, Jerusalem oil, acrylic, collage and lithographic imprint on paper signed Hotere and dated 2004 in pencil lower right; Temple Gallery label affixed verso 570mm x 760mm Estimate $18,000 - $25,000 81 FATU FEU’U Ake Ake acrylic on canvas signed Feu’u and dated 05 in brushpoint lower right 1830mm x 1210mm Estimate $8,000 - $12,000
98
80
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, (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.
IMPORTANT WORKS OF ART 99
INDEX OF ARTISTS
Albrecht, Gretchen
38
Killeen, Richard
Angus, Rita
27
Lusk, Doris
Bambury, Stephen
12
Maddox, Allen
10, 11
Brake, Brian
55
Maughan, Karl
61
Bush, Kushana Castle, Len
67
1
McCahon, Colin
44, 45, 9, 13, 23, 32, 39, 46, 47, 50
65, 66
Mrkusich, Milan
20
Clairmont, Philip
69
Nigro, Jan
16
Dashper, Julian
52
Palmer, Stanley
74
de Lautour, Tony
2, 4
Parekowhai, Michael
33 64
Ellis, Robert
18
Robinson, Ann
Feu’u, Fatu
81
Scott, Ian
Fomison, Tony Fristrom, Edward Frizzell, Dick Gimblett, Max Goldie, Charles Frederick Gopas, Rudolph Hammond, Bill Hanly, Pat Harris, Jeffrey
71, 78
29, 41, 42, 43, 77
Siddell, Peter
22
72
Siddell, Sylvia
19
76, 79 15 34, 37 68
Stichbury, Peter
5, 8
Stringer, Terry
6, 7
Sydney, Grahame Thomson, Elizabeth
51 14, 60
30, 35
Thornley, Geoff
56
48
Tuffery, Michel
26, 54
62, 63
Henderson, Louise
31
Hodgkins, Frances
28, 49, 57, 58
Hotere, Ralph 100
17, 53
24, 36, 59, 73, 75, 80
Walsh, John Ward Knox, John White, Robin Woollaston, Toss
70 3 21, 25 40
IMPORTANT WORKS OF ART 101
102