FRONT COVER IMAGE
Lot 22 Colin McCahon Gannets Leaving Muriwai $160,000 - $200,000 BACK COVER IMAGE
Lot 23 Colin McCahon Dance of the Gannets $160,000 - $200,000
Single-Owner Auction Specialists
23-25 Falcon Street Parnell, Auckland 1052 New Zealand P +64 9 524 6804 F +64 9 524 7048 E mail@mossgreen-webbs.co.nz mossgreen-webbs.co.nz
Important Paintings & Contemporary Art Thursday 11 August 2016, 6.30pm
MOSSGREEN-WEBB’S AUCTION HOUSE
Board of Directors Jack Gringlas (OAM) Chairman Charles Leski Deputy Chairman
Paul Sumner Chief Executive Officer
Specialist Enquiries
Sophie Coupland 022 510 8766 sophie.coupland@jossgreen-webbs.co.nz Briar Williams 027 345 6765 briar.williams@mossgreen-webbs.co.nz
Condition Reports
Aleksandra Petrovic 09 524 6804 aleksandra.petrovic@mossgreen-webbs.co.nz
Collections and Shipping
Jessica Douglas 09 524 6804 jessica.douglas@mossgreen-webbs.co.nz Lot 26 Bill Hammond Primeval Screen (detail) $150,000 - $200,000
Pg. 2 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Important Paintings & Contemporary Art
Evening Preview
Monday 1 August
5:30pm – 7:30pm
Viewing Monday 1 August
9:00am – 5:30pm
Tuesday 2 August
9:00am – 5:30pm
Wednesday 3 August
9:00am – 5:30pm
Thursday 4 August
9:00am – 5:30pm
Friday 5 August
9:00am – 5:30pm
Saturday 6 August
11:00am – 3:00pm
Sunday 7 August
11:00am – 3:00pm
Monday 8 August
9:00am – 5:30pm
Tuesday 9 August
9:00am – 5:30pm
Wednesday 10 August
9:00am – 5:30pm
Thursday 11 August
9:00am – 12:30pm
Auction Thursday 11 August 2016
6.30pm
— Pg. 3
MOSSGREEN-WEBB’S AUCTION HOUSE
Lot 27 Adele Younghusband Singing Girls $50,000 - $60,000
Pg. 4 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Introduction
The Webb’s business has been provided with the dynamic and forward-thinking governance that it requires to be, once again, an essential secondary market establishment It is now history that our family sold Webb’s in 2014 and that, shortly thereafter, I left my role within the business, which I had held for more than 20 years. Earlier this year, the company was acquired by the successful Australian auction house, Mossgreen, which invited me back as Head of Fine Arts of the newly formed Mossgreen-Webb’s. Honouring the Webb’s brand, we’ve set ourselves apart as the most diversified auction house in New Zealand; we offer specialist services across the collecting genres and we have returned to the core values of passionate expertise, scholarship, exceptional customer service, integrity and innovation. Led by entrepreneurial auction veteran, Paul Sumner, the Webb’s business has been provided with the dynamic and forward-thinking governance that it requires to be, once again, an essential secondary market establishment. Our considered approach and specialised knowledge led clients to seek our guidance on selling, acquisition and collecting trends. As we move forward, this finely honed expertise will again become evident in all aspects of our business, from the calibre and quality of our sale catalogues, events and exhibitions, to the superior level of our individualised client service.
The formation of our team has been hugely positive and I am privileged to have the support and assistance of a great group of staff, whose contribution has been invaluable. With positive governance and set with a challenge, we have re-established a culture for the business which is collaborative and focused. Over many years I have formed long-standing and trusting client relationships, both private and public. With a new remit to focus solely on the sale of the best works of New Zealand’s modern, contemporary and historical art, I have had the support of these friends and associates as I have corralled the works included in this first, watershed auction. The heritage of Peter Webb’s long-standing relationships came to bear in the consignment of two important oil paintings by Frances Hodgkins: real proof that the DNA of the business remains sound. I would like to thank all of our vendors who trusted in our vision for the new business: those who could appreciate the benefits for the market of having a more competitive environment. Thank you also to those individuals who supported me personally as I sought to form a collection of works that signals our return as a leader in the field.
Sophie Coupland Director of Art, Mossgreen-Webb’s
— Pg. 5
MOSSGREEN-WEBB’S AUCTION HOUSE
Contents
8 - 15
Frances Hodgkins and her 'firm
supporters', Geoffrey & Rée Gorer
16 - 17
Don Binney
18 - 21
Gordon H Brown discusses Dance of the
by Colin McCahon
24 - 25
Max Dupain
Gannets and Gannets Leaving Muriwai ABOVE
A selection of works from Important Paintings & Contemporary Art, August, 2016 Pg. 6 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
26 - 31
Art in Focus: The Sale in Review
122 - 126
Our Specialists
32 - 33
Fine Collectable Art, September 2016
127
How to Buy at Auction
34 - 35
Important Paintings & Contemporary
128 - 130
Terms & Conditions
131
Index of Artists
Art, November 2016
37 - 96
The Catalogue
97 - 121
Upcoming Auctions & Market
Commentary — Pg. 7
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 8 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Frances Hodgkins and her ‘firm supporters’, Geoffrey & Rée Gorer Two Frances Hodgkins oil paintings included in this catalogue come to Mossgreen-Webb’s directly from the family of Geoffrey Gorer, the artist’s patron and friend. Leading Frances Hodgkins scholar, Joanne Drayton discusses the artist's relationship with the Gorer family.
LEFT
Image of Frances Mary Hodgkins, circa 1937, signed For Rée Gorer from Frances Hodgkins. Photographer unidentified. Ref: 1/2-117607-F. Alexander Turnbull Library, Wellington, New Zealand.
— Pg. 9
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 10 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Frances Hodgkins met Geoffrey Gorer in 1929 at a flamboyant soirée hosted by Cedric Morris and Lett Haines at their Great Ormond Street studio in London. Despite the decades of difference between their ages, their meeting was an immediate success. Geoffrey Gorer was just 24 years old when they were introduced. He was a budding writer, anthropologist and sociologist, who would travel extensively to Africa, the Himalayas and the USA, and, in time, would work with Margaret Mead and Ruth Benedict, the great practitioners of anthropological field study. Gorer was hugely impressed by Hodgkins and, during the crucial years of her late career, would become one of a number of influential men and women who advanced her reputation.
ABOVE
Frances Hodgkins Outside of the Ramparts graphite on paper signed Frances Hodgkins in graphite lower edge Collection of the Dunedin Public Art Gallery LEFT
Lot 18 Frances Hodgkins Ibiza $230,000 - $330,000
Geoffrey was joined in his avid appreciation of Hodgkins’ painting by his mother Rée Gorer, who became a friend and supporter of her work. Rée was a remarkable woman in her own right. In her youth, she had studied at the Slade School of Fine Art in London and was a lifelong friend of Edith Sitwell and her brother Sacheverell. Rée’s husband Edgar Gorer’s tragic death on 7 May 1915, when the RMS Lusitania was torpedoed by a German submarine, left her widowed with three young sons. Geoffrey, the eldest, was 10, his brother Peter eight and Richard, just a toddler, was only three years old when calamity struck. Regardless of their own difficulties, the Gorers reached out to Hodgkins, seeing not only her hardship but also, a s Geoffrey described it, “her strange and unplaceable” talent.1 The Gorers were invaluable to Hodgkins. “They have been such firm supporters (in the practical way) ever since I have known them – I have a great regard and affection for the family,” she explained to her art dealer, Lucy Wertheim, in 1930.2 At regular intervals, Rée Gorer and her son Geoffrey had Hodgkins to stay at their Highgate house (The Elms) in London and their cottage in Somerset (The Croft). This generosity was essential to her physical and mental well-being, as well as to
her creative vision. She painted some of her most innovative and interesting work while living in their homes. Berries and Laurel (c. 1930), for instance, is a view from the window of The Croft at Bradfordon-Tone. The work is daring in its handling of landscape and still life. Pictorial space has been flattened: the sky a thin band of blue at the top of the painting. Dominating the picture from the foreground is a simple still life with a white vase. It is an elegant example of English modernism inspired by the progressive Seven and Five Society. Geoffrey and Rée Gorer became great patrons of Hodgkins’ work. Rée’s purchase of a painting in 1932 was pivotal in allowing Hodgkins to make the long, expensive trip to Ibiza in the Balearic Islands off the coast of Spain. During Britain’s bitter winter, she enjoyed the island’s tempestuous but balmy climate. “Awful turmoil here – climactic – freak storms – short and wild, lamb like intervals – then wild cat fury again high seas – no boats out – deluge of rain,” Frances wrote to Karl Hagedorn, an old friend from Manchester, “all the time almond blossom bursting on the trees in spite of dirty looks from the skies.”3 The life there was simple and slow, and the history and culture of Ibiza fascinated her. The first sightseers and visitors to Ibiza had arrived towards the end of the 19th century but it was not until 1929 that proper tourist trips were organised. Once hotels opened there in the 1930s, Ibiza became an increasingly popular destination for artists, writers and rationalist architects, who came to study its indigenous architecture and ancient buildings. Hodgkins worked hard and prolifically in the first months but by May was feeling oppressed. She had managed to send six works to the Seven and Five Society, and was trying to paint for a show at the Lefevre Gallery. “My work has been pressing on me,” she told her friend Dorothy Selby. I have been straining to complete contract work; not been too happy over it – got overtired: had to go away from here to other side of Island and get it off my mind!… I have had to postpone my Show until Autumn… I am in a nervy depressed state and for the moment am not painting… Fact is, I live too close to my work.4 But Hodgkins did produce many outstanding images of the elemental indigenous architecture, the surrounding countryside, and even the cats and dogs that she saw. In fact, her Ibiza experience Hodgkins' Ibiza experience was so profound she continued to execute work inspired by her time there after her return to London. These and the numerous works she produced in situ became part of her Lefevre show in October and November 1933, and her February 1935 exhibition at the Leicester Galleries.
— Pg. 11
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 12 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
In May 1940, Hodgkins moved into the Gorers’ cottage in Somerset on a more permanent basis. “Geoffrey Gorer asked me to take charge of his cottage & keep it “warm & human”. In late October 1937, Frances showed the sizeable number of 63 works: the greatest number she had exhibited in one venue since her 1912–13 tour of Australia and New Zealand. The subjects were varied, reflecting her travels over the previous few years in Cornwall, Somerset, Wales, Ibiza and Spain. The paintings were in watercolour, oils and gouache, a medium she was using with increasing frequency and, ultimately, great success. The Lefevre exhibition was intended to be a comprehensive demonstration of excellence and modernity so the relatively apathetic critical response was disappointing. Reviews of her Lefevre show appeared in The Times, the Manchester Guardian, the Time and Tide and The Sunday Times, but it was Geoffrey Gorer’s review in The Listener that was most fulsome and thought provoking in its praise. He identified two reasons for Hodgkins’ unique talent – “she is a woman and she is a New Zealander”.5 These, in turn, gave her work a sensitivity and freshness of vision that made her “the most original and individual painter working in England today”.6 Gorer was not the first critic to discuss Hodgkins’ gender in relation to her work. “Hers is essentially feminine painting: gay, intelligent, and never pushed an inch beyond her scope,” the critic for the New Statesman and Nation had written the previous year. “Personally, I regret what I take to be the masculine influence of Dufy in some of her pictures, of Paul Nash in others.”7 There were numerous examples at the time of sexist commentary in critical discussions of her work. Though intermittent, it was often used to patronise or dismiss. However, Geoffrey Gorer’s comments were framed positively and Hodgkins was pleased, though disappointed overall by the response to her exhibition. She “felt depressed… that the Show had fallen flat on a blasé London.”8 LEFT
Lot 19 Frances Hodgkins River Boats $230,000 - $330,000
— Pg. 13
MOSSGREEN-WEBB’S AUCTION HOUSE
Her situation, often desperate and despairing, was made bearable by the Gorers’ support. In mid-1938, When Hodgkins announced to the directors of the Lefevre Gallery that she could not continue working according to the agreed terms of her 1932 contract, she knew she had the backing of her friends. “The Gallery now realises I have the Gorers very solidly behind me – their one wish is that I should be unworried and rested – and not overworked.”
TOP RIGHT
Frances Hodgkins and Dorothy Selby in the garden of Geoffrey Gorer’s Cottage, Bradfordon-Tone, Somerset, c 1940 E H McCormick Papers, E H McCormick Research Library, Auckland Art Gallery Toi o Tāmaki, gift of Linda Gill, 2015 RIGHT
The Croft House, Geoffrey Gorer's cottage in the small village of Bradford-on-Tone, Somerset FAR RIGHT
Geoffrey, Richard and Peter Gorer (L-R), 1950, at Abbey Lodge, London, where Rée Gorer lived until her death in 1954. Behind Geoffrey's head is the bottom portion of Frances Hodgkins' Private Bathing, sold by Webb's for the Gorer family in 2003
Pg. 14 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Hodgkins spent the Christmas period of 1937 in Wiltshire. Although Christmas Day was passed quietly and alone, Mrs Coggan, the Gorers’ housekeeper, ensured she had a chicken and a plum pudding. “I wish the chicken was still alive so that it could eat the plum pudding,” she wrote in an amusing aside to Dorothy.9 Rée Gorer and her son Geoffrey continued to offer Hodgkins hospitality at their Highgate house in London and their Somerset cottage.
disappeared as her life, ever in motion, intersected with the lives of others. Not long after coming back from St Tropez, she was ready for another shift. “Geoffrey Gorer asked me to take charge of his cottage and keep it ‘warm and human’ while he was absent in America,” she told Dorothy. “(He has gone to work for Rockefellers)… I packed up and came over – here I am – comfortable and regaining my health, which is, by now, almost rude thanks to Mrs Coggan’s care and cooking.”14
Her situation, often desperate and despairing, was made bearable by the Gorers’ support. In mid-1938, when Hodgkins announced to the directors of the Lefevre Gallery that she could not continue working according to the agreed terms of her 1932 contract, she knew she had the backing of her friends. “The Gallery now realises I have the Gorers very solidly behind me – their one wish is that I should be unworried and rested – and not overworked.”10 In February 1939, she told Dorothy she was in “the pit of depression”and might have stayed there had her spirits not been lifted by an unexpected journey.11 “Mrs Gorer had persuaded [me] to go on a motoring trip through France to [St Tropez in]… the South… stopping at places off the beaten track and having, incidentally, some good food and wine – on the road. We start from London this next Friday – to be met by her chauffeur with a car at Boulogne.”12
In May 1940, Hodgkins moved into the Gorers’ cottage in Somerset on a more permanent basis. Bombing raids made it no safer living there than anywhere else, but The Croft had an ample kitchen garden and an able and amiable housekeeper, Mrs Coggan, to supply her with a daily meal. The shift also gave her the change of environment she needed to work. “Come when you feel like it and for as long [as] you like – I shall be overjoyed,” she wrote to Dorothy in 1940 and, as the picture of the pair taken in the garden at The Croft attests, Dorothy did stay.15 Although the arrival of evacuees would eventually force Hodgkins to move on to Corfe Castle in Dorset, the Gorers’ generous hospitality and ongoing support would help sustain her to the end of her life.
Hodgkins returned to England exhausted but exhilarated. It had been the break she needed. She loved seeing the French countryside again, even if much of it was from the window of a car. She saw “moving things and sad things” but “people were gay and showed no sign of a problem, such as a worldwide war – ahead of them!”13 Hodgkins’ friends found it difficult to keep track of her itinerant existence. She appeared and
JOANNE DRAYTON
1 Geoffrey Gorer quoted in Art in New Zealand, March 1938, p. 160. 2 Letter from Frances Hodgkins to Lucy Wertheim, c. 3 July 1930. 3 Letter from FH to Karl Hagedorn, 29 January 1933. 4 Letter from FH to Dorothy Selby, 2 May 1933. 5 Geoffrey Gorer quoted in Art in New Zealand, March 1938, p. 160. 6 Ibid, p. 163. 7 ‘The Feminine Touch’, New Statesman and Nation, 18 January 1936. 8 Letter from FH to DS, 30 November 1937. 9 Letter from FH to DS, 30 December 1937. 10 Letter from FH to DS, 27 July 1938. 11 Letter from FH to DS, 14 February 1939.a 12 Ibid. 13 Letter from FH to DS, 14 March 1939. 14 Letter from FH to DS, c. 4 May 1939. 15 Ibid.
— Pg. 15
MOSSGREEN-WEBB’S AUCTION HOUSE
Don Peter Binney
Stichbury
Pg. 16 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Mossgreen Uncovers Impressive Don Binney Painting in Australia The relationship between Mossgreen-Webb’s and Mossgreen is already working to the benefit of both sister companies. There have been viewings of Australian sales hosted in New Zealand, sharing of clients and, now, the sourcing of a previously unpublished work by the late Donald Binney. Don Binney’s Te Henga from the Razor Back (lot 15) from 1973, alongside two early bronzes by Terry Stringer (lots 20 and 21), have been consigned into this catalogue from the estate of Joy Marchant. The rest of this wonderful collection will be offered for sale in Sydney in August. Joy Marchant developed a collection of fine New Zealand and Australian art over a period of travelling between the two countries. She was a patron of the arts and enjoyed supporting emerging artists. She was well known for her elegant style, her refined tastes and her love of a vibrant social life. For further enquiries on The Estate of Joy Marchant, contact Hamish Clark at hamish.clark@mossgreen.com.au.
LEFT
Lot 15 Don Binney Te Henga, from the Razor Back $90,000 - $120,000
— Pg. 17
MOSSGREEN-WEBB’S AUCTION HOUSE
ABOVE
Interior view of Colin McCahon's Muriwai studio where Dance of the Gannets and Gannets Leaving Muriwai were painted and the property that the original owner of those works, Gordon Brown, acquired in 1985 Ian MacDonald (G190_12) Colin McCahon studio #4 (from the Colin McCahon studio series) (1977) Image courtesy of Ian MacDonald Pg. 18 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Gordon H Brown discusses Dance of the Gannets and Gannets Leaving Muriwai by
Colin McCahon
— Pg. 19
MOSSGREEN-WEBB’S AUCTION HOUSE
Provenance A gift from Colin McCahon's family to Gordon H Brown for help given. BELOW
Lot 23 Colin McCahon Dance of the Gannets $160,000 - $200,000
BELOW RIGHT
Lot 22 Colin McCahon Gannets Leaving Muriwai $160,000 - $200,000
Pg. 20 —
Dance of the Gannets and Gannets Leaving Muriwai (both c. 1976–78) are works that are unique in Colin’s oeuvre. I hung these works in my lounge, where I would look at them and recall my time with Colin: of when we would watch the gannets flying high then, with wings folded in diving down to grab the fish from Māori Bay. Colin was aware that the birds’ original home on Oaia Island was becoming overcrowded and that they were coming to roost at the headland of Muriwai Beach. His dotted brush strokes throughout the paintings represent these gannets taking flight. During my time with Dance of the Gannets and Gannets Leaving Muriwai, I enjoyed them for their singularity as distinct works in Colin’s oeuvre. The works McCahon produced at Muriwai encompass many of his central concerns. The leap of each baby gannet in its first flight, a plunge that represents an existential leap of faith, led Colin to produce the Jump series. This body of work engages with the questions of life: of what it means to live and take risks. Muriwai also led Colin to his Necessary Protection series, which was concerned with conservation and protection of the land. These two series gave a new avenue to Colin’s way of working that echoed his earlier interest in landscape, but with a new approach. We see this in the Gannet paintings, where one suggests day, with sunlight shining from behind the text, while the other has sun shining on the noticeboard, with a darker seascape behind, implying night. These paintings are principally text works, presented as though on a noticeboard, like a sign that might stand on the foreshore warning beachgoers to protect the dunes. Colin forms his noticeboards in these works using the Egyptian Tau cross. These T-shaped crosses are the island rocks on which the
IMPORTANT PAINTINGS & CONTEMPORARY ART
gannets would stand. The Biblical scripture speaks of guarding the land and its creatures; the “fiery flame” is an armour of protection. Throughout these years, Colin was exploring the implication of certain sections of the Bible that were of particular interest to him and, here, the text is an affirmation of faith. Behind my acquiring of – and parting from – these two Colin McCahon paintings, lies quite a story. Towards the late-1970s, Colin and his wife, Anne, settled into their new house in Crummer Road, Grey Lynn. The McCahon family was forced to leave their previous Partridge Street house, just as Colin had got it to his liking, as the works department took over the property and three other houses for the development of the North-Western motorway. Colin thereby left behind a number of important paintings in his Muriwai studio. Meanwhile, as Colin set up a small studio at the rear of his new Grey Lynn property, I was living in a flat in Freemans Bay. As Colin was no longer allowed to drive at this stage, he walked everywhere – including the considerable distance between his place and mine. He visited me at my flat numerous times but, once his new studio was up, he was back into his paintings and written scrolls – by this time, Colin was fully immersed in his text painting. Instead of visiting me, Colin would frequently phone with the plea: “I’m stuck Gordon; come around”. And so I would go to his studio, where he would show me the latest painting he was working on. Usually this involved us both talking around this artwork. I might begin by reading aloud the words contained in the painting and, sometimes, Colin would join in this verbal reading. Our reading of the painting’s text acted as a stimulant for Colin; a prelude to his next works.
Quite some time after Colin had ceased to paint, the question arose as to what to do about his Muriwai property, the ownership of which he had placed under Anne’s name. At this time, I wished to move from my flat and find somewhere else to live. Anne was thinking of selling the Muriwai property; I suggested that I would be interested in buying it and she agreed. By then William McCahon, Colin and Anne’s son, had removed all of Colin’s paintings from the Muriwai studio into his care. To raise the necessary finance, I arranged for Peter Webb to auction most of my art collection thus allowing for the purchase of the property. I’m fairly certain that, at this time, Anne suggested to William that he should give me one of Colin’s works for all the support I had given him during his final period of painting. William agreed and so this was how I acquired the two McCahon paintings. The shift from Freemans Bay to Colin’s former home at the corner property of Oaia and Motutara Roads, Muriwai, took place during January 1985. As the land, house and shed, which had served as McCahon’s studio for a decade, needed additions and repairs, I required money – with most of mine gone into the purchase of the property. Much to my regret, some months later, Martin Browne, knowing that I was short of cash, asked me if I would release the two Gannet paintings for him to take back to Sydney with him for sale. I agreed very reluctantly and yet – here they are. The works are back again in Auckland, reminding me of my time spent with Colin and his text paintings and, perhaps, shaming me. Gordon H Brown with Jessica Douglas, July 2016
— Pg. 21
MOSSGREEN-WEBB’S AUCTION HOUSE
Christchurch in the 1930s Exhibition at Mossgreen-Webb's 10 October – 21 October
Rita Angus Portrait of Leo Bensemann (detail) watercolour and graphite on paper
Pg. 22 —
In Christchurch during the interwar years, artists Rita Angus and Leo Bensemann, and their circle of friends, lived around Cambridge Terrace and worked in unison to break away from traditional conventions and structures, seeking to reinterpret the world around them. Based on the archive of June Jones, Rita Angus’ sister, this exhibition will present watercolour sketches by Rita Angus, and wood engravings and books by Leo Bensemann, as well as Jean
Jones’ own drawings and sculptures. Also included are fascinating letters written between Jean Jones, Leo Bensemann and their friends, which reference art and artworks of the period. In addition, the exhibition will feature works by Canterbury artists such as Archibald Nicoll, Ivy Fife and Margaret Stoddart, whose artworks provide a broader context to the workings of the Cambridge Terrace group.
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Pg. 24 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Max
Dupain
Record Breaking Max Dupain Auction at Mossgreen Marks a Coming of Age for Australian Photography
“The results of the auction at Mossgreen in Sydney is the most significant marker of the maturity of the appreciation of photographic arts in Australia.” – Gael Newton, former curator at the AGNSW and NGA Mossgreen’s landmark auction of Max Dupain
moment for Australian photography at auction. We
(1911–1992): Estate Photographs, held on
are delighted that the auction was such a roaring
19 June 2016 at the firm’s glamorous new Sydney
success after an extensive marketing campaign
headquarters, totalled a sum of $1,743,000,
around Australia and New Zealand. It was also the
establishing a new Australian auction record for
perfect start for our new Sydney premises, being
any collection of photographs. All 500 original
the first auction that we have held there.”
photographs by one of Australia’s most famous photographers were sold. Numerous records were established, including for Dupain’s iconic Sunbaker, which far exceeded the previous record; it sold for $112,778 and established a new world auction record for the artist after spirited bidding.
In front of a packed house of more than 400 registered bidders, the auction saw strong buying by institutional participants as well as by private collectors, together with multiple new buyers who had never purchased photography before. Multiple auction records were set for classic Dupain images,
Commenting on the record-breaking auction,
including for Jean with Wire Mesh (1938), which
Paul Sumner, CEO of Mossgreen and Mossgreen-
sold for $39,804, and Bondi (1939), which sold
Webb’s, said: “This auction marks a watershed
for $33,170.
LEFT
Max Dupain Sunbaker (1937) silver gelatin photograph Achieved: $112,778, a record for this artist at auction
— Pg. 25
Art in Focus: The Sale in Review
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 26 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
This year is a significant one for the history of Webb’s. Our acquisition by the highly successful Melbourne-based auction house Mossgreen has brought fresh relationships, expertise and scholarship to our newly minted Mossgreen-Webb’s brand.
LEFT
ABOVE
Lot 17 Charles Frederick Goldie Kapi Kapi or Ahinata te Rangitautini $200,000 - $300,000
Lot 11 Allen Maddox Untitled $20,000 - $30,000
— Pg. 27
MOSSGREEN-WEBB’S AUCTION HOUSE
Presented in our first fine art sale is a collection of significant works covering all periods of our nation’s art history, from a masterful portrait by Charles Frederick Goldie, to a comprehensive offering of modern and contemporary works as well as ceramic and glass pieces. Also included is a selection of international works by merited artists. Our journey through art begins with Charles Frederick Goldie’s Kapi Kapi or Ahinata Te Rangitautini. Goldie’s spiritual tour de force is evoked in this sensitive rendering of a portrait of an aging Māori woman. Kapi Kapi was one of Goldie’s favourite models and appeared in at least 22 of his paintings. She was renowned for her moko, which Goldie has depicted in this work with striking detail, demonstrating his deft observational skills. According to the historian and friend of Goldie, James Cowan, she was the only Māori woman portrayed by Goldie who had a rare spiral nostril tattoo. Pg. 28 —
Further underpinning this catalogue of works are exceptional pieces by Frances Hodgkins and Colin McCahon – artists whose pivotal roles in shaping New Zealand’s art history have been paramount. Hodgkins’ Ibiza Landscape with Trees (c. 1933–34) and River Scene with Boats (c. 1932) hail from the prominent collection of Geoffrey Gorer, Hodgkins’ friend and patron. The four artworks by McCahon offered in this sale all belong to celebrated periods of the artist’s practice. Gannets Leaving Muriwai (1976–78) and Dance of the Gannets (1976–78) are two of McCahon’s highly sought-after text paintings, concerned with both the physical and spiritual shift away from the land. Muriwai. High Wind & Rain. Light Falls Through a Dark Landscape (1971) is part of McCahon’s acclaimed Necessary Protection series and is similarly set in the artist’s favoured landscape of Muriwai. Quite different from these black-and-white works is his North Otago (1967), a South Island landscape of rolling
ABOVE
Lot 14 Colin McCahon Muriwai. High Wind & Rain. Light Falls Through a Dark Landscape $35,000 - $45,000
RIGHT
Lot 40 Brett Whiteley Untitled (from the Tangier Postcard series) $10,000 - $15,000
FAR RIGHT
Lot 9 Sol Lewitt Untitled $9,000 - $13,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
hills with the sun either setting or rising softly in the distant background. There are a number of works by expressionists and other significant modernists included in this sale: Allen Maddox, Robert Ellis, Evelyn Page, Pat Hanly, Adele Younghusband and Russell Clark, to name a few. These pieces mark a striking comparison to the diverse range of contemporary works on offer. In Primeval Screen (1996–97), Bill Hammond takes us to a lost paradise. The six-panelled screen is thick with saturated greens and luscious, dripping paint. Hammond’s elaborately mannered painting style gives the work an ornate decadence – yet it holds a sinister quality. In amongst the vast landscape, we see a tree-dwelling community of Hammond’s acclaimed but ominous ‘humaniforms’, where birds blend with human figures. These hybrids are a reference to New Zealand-born Sir Walter Lawry Buller. Acquiring much native wildlife for his own collection, Buller was an ornithologist responsible for the extinction of numerous New Zealand bird species.
LEFT
Lot 26 Bill Hammond Primeval Screen $150,000 - $200,000
— Pg. 29
MOSSGREEN-WEBB’S AUCTION HOUSE
Michael Harrison’s playful Joke (1997–2002) continues the artist’s interest in a softly drawn, singular, iconic image. The deer stares in profile, rather unsettlingly, with tall antlers reaching towards the top of the paper. The pale wash of the black background makes prominent the vibrant red of the animal’s speech bubble, playing up New Zealand’s signature colours. Matt Hunt’s richly coloured oil, Arise (1995), serves us the artist’s dream world. The imagery of the eagle, swooping above a sword, suggests an eerie spiritual vision coupled with a biblical ethos; beneath the sword is written, “The living Lord Jesus Christ can set you free forever”. This rich symbolism is synonymous with the artist’s oeuvre, yet, at the same time, is ompletely universal. Another recognisable feature brought out in this work is Hunt’s interest in music. Like a poster for an ’80s metal rock band, perhaps amalgamated with comic books and other pop culture references, the artwork features surrealist, stylised imagery against black and burning oranges and reds.
ABOVE
ABOVE
Lot 37 Ans Westra Catching Crickets, Greymouth 1970 $2,500 - $3,500
Lot 1 Michael Harrison Joke $8,000 – 12,000
RIGHT
Lot 42 Matt Hunt Arise $2,500 - $3,500
Pg. 30 —
ABOVE RIGHT
Lot 6 Fiona Pardington Huia Lovers Family Print , Huia Lovers Family Print $10,000 - $15,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
Not unlike Matt Hunt, contemporary artist Andrew McLeod provokes the viewer with bizarre, visual juxtaposition, as is the case in Camowhaiwhai. The use of his paint-by-numbers style makes us nostalgic for our youth while calling into question the sanctity of art: of the skill involved in creating a ‘masterpiece’. Combining army colours with Māori motifs, McLeod also makes us consider and recontextualise the New Zealand brand or identity. There are a number of works by contemporary New Zealand photographers offered within this sale. These sombre, predominantly black-andwhite photographs by Yvonne Todd, Peter Peryer, Michael Parekowhai, Fiona Pardington and Ans Westra are strong, iconic examples of the medium, exemplifying the market’s growing interest in, and demand for, photography. Merilyn Wiseman, Layla Walter and Katherine Rutecki are three of Aotearoa’s leading ceramic and glass artists. Their graceful works exemplify
deft craftsmanship combined with patience and a meticulous eye. Untitled, Cosmos-Mistral’s Camellia-Leaves and Spurt (Venus) each strike a remarkable stillness and balance within their curved, art deco forms. There are excellent examples of international artwork featured in this sale, from painting to sculpture and mixed media. Sol LeWitt’s vibrant gouache on paper is in keeping with the North American artist’s fascination for hypnotic, geometric stripes. Croatian-born Australian Ante Dabro’s skill in fine, figurative sculpture is exemplified in his elegantly carved, bronze portrait bust. Untitled (from the Tangier Postcard series) by Australian avant-garde artist Brett Whiteley belongs to his 18-part Tangier Postcard series. In this, Whiteley celebrates his three-month-long stay in the city through his use of ink, gouache and found imagery on paper. British artist John Hoyland and Australian John Vickery are two more international artists represented in this auction.
— Pg. 31
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Fine Collectable Art Consigning Now 21 September, 2016
This auction comprises paintings, sculptures, graphic editions and works on paper by leading contemporary, modern and historical artists, with estimated values of less than $20,000. European, continental and other international works are also to be offered. Entries are now invited. Contact Briar Williams for an auction appraisal and to discuss consignment.
Laurence Aberhart Lodge Concord #39, Papanui, Christchurch, December 1981 silver gellatin print Estimate: $2,000 – $3,000
CONTACT
Briar Williams Art Department Manager P 027 345 6765 E briar.williams@mossgreen-webbs.co.nz
Pg. 32 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 33
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Important Paintings & Contemporary Art
Consigning Now November, 2016
The November sale of Important Paintings & Contemporary Art will be the second under new ownership. The catalogue will include quality works by celebrated New Zealand modernist artists as well as works by leading contemporary practitioners, contemporary photography and significant historical works including portraits of tangata whenua by Charles Goldie and Gottfried Lindauer. International consignments are also invited for these sales. Entries are now invited. Contact Sophie Coupland for an auction appraisal and to discuss consignment.
Tony Fomison The Veil of Saint Veronica—After an Old Engraving of a Relic at the Vatican (1973), oil on cotton stretched over card in found frame Estimate: $45,000 - $55,000
CONTACT
Sophie Coupland Director of Art P 022 510 8766 E sophie.coupland@mossgreen-webbs.co.nz
Pg. 34 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 35
Arabella Lane, Snells Beach, Warkworth, New Zealand Open daily 10-5 year round. Tel: 09 425 4690 ext 2 www.brickbaysculpture.co.nz Artwork: Stephen Woodward Table Mise, 2016 P.O.A
MOSSGREEN-WEBB’S AUCTION HOUSE
Thursday 11 August, 2016, 6.30pm
Important Paintings & Contemporary Art Viewing From: Monday 1 August, 9.00am – 5.30pm Evening Preview: Monday 1 August, 5.30pm – 7.30pm
Pg. 37 —
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1. Michael Harrison Joke acrylic on paper, produced 1997–2002 signed M.C. Harrison in graphite upper left; inscribed [S] 20.8.97 19.9.97 20.9.97 11.10.98 23.3.99 27.4.99 26.11.99 18.5.02 16.9.02 Joke in graphite in another hand verso 223mm x 165mm $3,000 - $4,000
Pg. 38 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
2. Andrew McLeod Camowhaiwhai acrylic and graphite on paper signed 'AND'rew and inscribed I in graphite lower right 1060mm x 750mm $5,000 - $6,000
— Pg. 39
MOSSGREEN-WEBB’S AUCTION HOUSE
3. Seung Yul Oh Untitled acrylic and ink on canvas, diptych signed Seung Yul Oh and dated '06 in brushpoint on underside (each) 150mm x 150mm (each) $500 – $700
4. Yvonne Todd Atlantis C-type print, 1/3 signed Yvonne Todd, dated Nov 27, 2003 and inscribed "Atlantis" 1/3 in ink verso 195mm x 176mm $2,000 – $3,000
Pg. 40 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
5. Michael Parekowhai What's the Time Mr Woolf? C-type print and marker pen inscribed What's the Time Mr Woolf? in ink; dated 2004 and inscribed What's the Time Mr Woolf? Chromira print + marker pen 275 x 267mm image 322 x 314mm frame on printed Michael Lett gallery label affixed verso 275mm x 267mm $2,500 – $3,500
6. Fiona Pardington Huia Lovers Family Print , Huia Lovers Family Print gold toned silver gelatin print, diptych signed Fiona Pardington, dated 2005 and inscribed Huia Lovers Family Print in graphite verso; signed Fiona Pardington, dated 2005 and inscribed Huia Lovers Family Print in graphite verso 565mm x 440mm (each) $10,000 – $15,000
— Pg. 41
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7. Tony de Lautour
8. Tony de Lautour
9. Sol Lewitt
Candy Spot
Blue Skull
Untitled
oil on canvas signed Tony de Lautour, dated 1995 and inscribed Candy Spot in graphite verso; signed Tony de Lautour and dated 1995 in graphite on stretcher verso; dated 1995 and inscribed Candy Spot on printed Govett-Brewster Art Gallery label affixed verso 308mm x 445mm
oil on canvas signed Tony de Lautour, dated 1995 and inscribed Blue Skull in graphite verso 308mm x 445mm
gouache on paper signed S. Lewitt in graphite lower right 227mm x 128mm
$3,500 - $4,500
Pg. 42 —
$3,500 – $4,500
$9,000 – $13,000 PROVENANCE Private collection, Wellington. Gifted to the current owner by the artist in 1991, on the occasion of the exhibition Original Copies Fax Art, Murray Lazelle Gallery, Auckland, 1991.
IMPORTANT PAINTINGS & CONTEMPORARY ART
10. Max Gimblett Key acrylic, plaster weld, plaster, epoxy resin and vinyl polymer on wood panel signed © Max Gimblett, dated 2001 and inscribed "Key" in brushpoint verso; dated 2001 and inscribed Max Gimblett Key 25" dia plaster weld, plaster, epoxy vinyl polymer/ wood panel on Gow Langsford Gallery printed label affixed verso 635mm x 635mm $14,000 – $18,000 PROVENANCE Private collection, Auckland. Gifted to the current owner.
— Pg. 43
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11. Allen Maddox Untitled oil on canvas 922mm x 924mm $20,000 - $30,000
Pg. 44 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
12. Allen Maddox Free Crosses oil on canvas 970mm x 920mm $18,000 - $25,000
— Pg. 45
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13. Michael Smither Lava Flow Cave oil and alkyd on board signed MDS and dated 02 in brushpoint lower left 828mm x 815mm $28,000 - $38,000 PROVENANCE Private collection, Auckland. Formerly in the collection of the artist. Acquired by the current owner in 2009.
Painted in 2002, Lava Flow Cave continues Michael
in Lava Flow Cave are all instantly recognisable and
Smither’s focus on the Taranaki landscape and
familiar, the painting simultaneously maintains a
coastline, which has formed a significant body
mythical other-wordly element, offering a glimpse
of working his oeuvre that stretch back to the
into an unparalleled, kaleidoscopic whirlpool of
1960s. Many of Smither’s most-acclaimed and
chromatic enchantment.
coveted paintings feature the round stones, rocky shorelines and aquatic environments of
It is testament to Smither’s controlled aptitude for
the Taranaki region. Smither spent much of
close observation and his deft handling of paint
his life in New Plymouth and his intimate and
that such seemingly mundane subject matter as
extensive knowledge of the district has meant
rocks, hardened lava and flat pools of water can
that it repeatedly surfaces as the focal point
be both a source of enduring inspiration and one
of his painterly works. Appearing to have been
that he is able to imbue with a celestial, captivating
taken directly from nature, these paintings are,
and almost dream-like quality. Harking back to his
in fact, often drawn from memory or based on a
earlier rock-pool paintings, Lava Flow Cave offers
combination of drawings and various viewpoints;
the viewer an extreme close-up of an intricately
this results in paintings that are wholly unique and
detailed, motionless rock pool that is encircled by
individual.
a halo of solidified lava flow. The array of smooth, round rocks, which are like oversized pebbles,
As one of New Zealand’s most-celebrated, realist
and the rough, textured bands of hardened lava
painters, Smither has a vision of nature that is
completely dominate the work. The presence and
highly stylised and personal. Taking nature as his
erosion of the lava steam and the lustrous, rounded
starting point, Smither invariably interprets his
edges of stones testify to the energetic dynamism
chosen scene through unusual, slightly skewed
of both land and sea, which is then contrasted
vantage points. Using clear directional lighting, he
against Smither’s painterly technique. Executed
flattens and simplifies his forms and then translates
in an exceptionally even and polished manner
them onto the canvas through a palette of high-
that leaves little trace of the artist’s brush, Lava
keyed colour that is at once intensely concentrated
Flow Cave offers a quiet recess from the tumult
yet remarkably congruous. Thus, in this manner
of wind, tidal movement and human interference.
which has become indelibly associated with
The glassy body of water is almost imperceptible
Smither, Lava Flow Cave is completed through an
save for the patch of reflected light, while dappled
unexpected viewpoint with the spectator being
segments of sapphire, moss-green, indigo and
positioned in very close proximity to the pool of
lilac hues provide the painting with an inviting
water and directly over it so that we immediately
iridescence. The strikingly simple composition
peer down into its cool, tranquil depths. As a result,
in tandem with the confident application of
the present painting possesses an almost-abstract
paint produces a work that is principally and
quality since, by cropping out all contextual
fundamentally Smither.
information, Smither has ostensibly left us with a patchwork of painterly forms. Although the forms
Pg. 46 —
JEMMA FIELD
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 47
MOSSGREEN-WEBB’S AUCTION HOUSE
14. Colin McCahon
This charcoal on paper belongs to Colin McCahon’s
implying two rocky masses that expand and
Necessary Protection series, which was first
contract over various compositional structures.
charcoal on paper signed C McC and dated Oct '71 in charcoal lower right and inscribed Muriwai. High wind & rain. Light falls through a dark landscape in charcoal lower edge 440mm x 590mm
exhibited at Barry Lett Galleries, Auckland,
The reduced forms and flat picture planes of
in November 1971. This series encompasses
these works shape palpably tense, bold images
McCahon’s concern with the environment and its
that require a call to action: we must safeguard
need for protection. Painted in his West Coast
His environment. As in this particular artwork’s
studio, Muriwai. High Wind & Rain. Light Falls
concrete, geometric form, the physicality of the
$35,00 – $45,000
through a Dark Landscape depicts the deep
land and its spiritual connection to those who
PROVENANCE Private collection, Auckland.
crevasse formed in Muriwai Beach between
reside on it are inextricably linked; all things are
Otakamiro Point and Motutara Island. McCahon
unified and reliant upon one another. McCahon
renders the earth with a single block of dark
held a particular affinity with the wild Muriwai land,
charcoal, split in two by a beam of light. Two
and this power can be felt in Muriwai. High Wind
horizontal bars of light across the top and bottom
& Rain. Light Falls through a Dark Landscape. The
of the picture plane further divide the composition.
curved, soft smudges of charcoal, some made with
This light suggests spiritual connotations of
the artist’s fingers, give the sense of a rising swell,
enlightenment. The luminous light falls into a dark
wind and rain but also provide a physicality to the
landscape and takes the symbolic form of an ‘I’.
mark-making which brings McCahon’s presence
Muriwai. High Wind & Rain. Light Falls Through a Dark Landscape
into the work. McCahon’s Necessary Protection series is made up of iterations of these capital ‘I’ and ‘T’ shapes,
In 1972, McCahon was quoted: “My painting is
closely related to his waterfalls and Tau crosses.
almost entirely autobiographical – it tells you
Although significant letters would serve as the
where I am at any given time, where I am living and
artist’s inspiration for the rest of his career, here
the direction I am pointing”.1 The inscribed title of
they provide a host of interpretations. The ‘I’ shape
this piece is no exception. Though most artworks in
is the Roman numeral used by McCahon as the first
this series are simply named Light Falling through
letter of his existential expression: “I AM”. And the
a Landscape, here we are dealing with a slightly
‘T’ is a sacred symbol, the last letter of the Hebrew
unique case. McCahon has added the specific
alphabet (tav or taw, meaning truth) and a Judeo-
location and weather: “Muriwai. High Wind & Rain”.
Christian Tau cross. This symbolic cross provides
This feature makes the artwork personal and all the
a suitable icon for the series: the Israelites would
more compelling.
mark their houses with this as a sign of protection. JESSICA DOUGLAS Throughout the Necessary Protection series, the black charcoal varies in size and consistency,
Pg. 48 —
1
Quoted in Neil Rowe, ‘Notes Towards a McCahon ABC’, art-newzealand.com/Issues1to40/mccahon08nr.htm
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 49
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15. Don Binney Te Henga, from the Razor Back oil on canvas signed Don Binney and dated 1973 in brushpoint upper right 1010mm x 1520mm $90,000 – $120,000 PROVENANCE. From the collection of Joy Marchant, Sydney, Australia. Her full collection is to be sold at Mossgreen, Sydney, on 28 August, 2016.
Pg. 50 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
There is an exquisite serenity to Don Binney’s 1973 depiction of the West
The tradition of modern New Zealand art is interwoven with that precious
Auckland coastline near Te Henga, which, in its striking simplicity, articulates
relationship which we, in our collective national identity, treasure in oneness
a powerful ode to a part of the country which Binney held dear.
with the whenua, or land. Possessing a distinctive identity and artistic raison d’être from the outset of his career, Binney’s instantly recognisable and iconic
The plein air style in which Binney had been executing his paintings since
visual language instilled his impressive oeuvre with a common thread of life,
the late 1960s fills this work with a sense of freshness, immediacy and serene
richness and vivacity.
majesty. The landscape appears to multiply in an almost primal, cellular manner from the bottom right-hand of the canvas; Binney has applied a
Needless to say, the immediate association one draws with Binney’s work
topographical dedication to charting the territory with which he was so
is to his magnificent depiction of birds. In any work of art, the omission of
intimately engaged. This is further emphasised by the stark and enduringly
a trademark stylistic feature, subject matter or particular visual narrative
brilliant simplicity and lightness of both sea and sky. In this way, we, as
considered synonymous with an artist (in Don Binney’s case, the depiction of
viewers, come to engage purely and exclusively with the landscape as the
New Zealand birds) calls into question the associations which we, as viewers,
artist perceived it and spiritually received it.
would usually take for granted.
There is something interesting to be gleaned through understanding Binney’s
As such, through our own awareness of this avian omission, the landscape is
approach to modernism which, at one point, was actually considered to be
thus transformed and Te Henga, from the Razor back compels a much more
somewhat outdated. For just as Binney sought to engage with the formal
profound engagement with the artist’s oeuvre. Where, in any of Binney’s
aesthetic of a pared-back, stylised modernism and interpret the New Zealand
emblematic bird paintings, the landscape would traditionally serve as a
landscape in this very unique and identifiable way, he was also rejecting the
presence to focalise and frame a majestic bird form, in this case it has been
high-minded philosophical and formal concerns of modernism in favour of
presented in, of and for itself. The implied bird sanctuary has, therefore,
preserving a deeply intimate relationship with the landscape.
become one of direct and impressionable intimacy for the viewer: a mirror reflecting the charm and importance which this part of the
More than anything, what is striking in this encounter with Binney’s landscape
land held for Binney.
depiction is the pure, untouched nature which he has captured. Here is a landscape unmarred by industrialisation, deforestation and human presence.
RACHEL KLEINSMAN
This certainly resonates when considering Binney’s own political and environmental concerns, which were central to his work at the time.
— Pg. 51
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16. Pat Hanly Girl on a Couch, A oil and enamel on board signed Hanly and dated '73 in brushpoint lower left; dated 1973 and inscribed "Girl on a Couch" A 36" x 36" Energy Series in ink verso 900mm x 900mm $120,000 – $160,000 PROVENANCE Private collection, Auckland. Formerly in the collection of the artist's dealer and friend Rodney Kirk-Smith. ILLUSTRATED O'Brien, Gregory. Hanly, Ron Sang Publications, Auckland, 2012, p. 170.
Girl on a Couch, A is one of a number of paintings
Another prominent feature is the heavy white
with this title that Pat Hanly painted in the early
outline around the nude figure on the couch. The
1970s in his studio at Windmill Road in Mt Eden.
outline acts to identify the boundaries of the figure
It features the female nude which is exceptional
by way of what Hanly has called an aura or halo
in New Zealand painting, though common in the
— an emanation from the girl and sourced from
works of modernist masters such as Matisse and
the energy within all living things. It contributes a
Picasso, whose work Hanly admired. He showed
brightness and optimism to the figure, suggestive
several of these images in his Allsorts exhibition
of happiness and well-being.
in 1974. Although the girl appears to have been drawn from a model, her face is deliberately
Her nudity and semi-reclining pose add a sensual
left blank and she stands for the generic idea
dimension to the image, though the pose is
of an attractive young woman rather than for
modest with her hands clasped and held over
an individual. She is a motif to be deployed
her crotch. Other figures in the series actually
by the artist evoking a hedonistic lifestyle and
show embracing figures engaged in love-making.
sexual liberation. Her blank face is one of the key
The colour of the painting is bright and vibrant,
aspects of the work; it refutes our gaze rather
contributing a decorative flavour to the work, and
than returning it and forces us to engage with
the flat area of the brushed red of the couch recalls
the other dimensions of the work. The painting
the seductive images Matisse painted in Nice,
carries the subtitle Energy Series; this is important
with reclining odalisque figures on settees. Other
for explaining its central theme for it is less about
related paintings show gardens and flowers, all
actual physical appearances than it is about the
suggestive of love, life and fertility.
underlying molecular forces and their energy that are the bases of life. Sexual energy is foregrounded
Hanly uses the splatter effect of paint application
here in the context of procreation and fertility.
to imitate the energy of creation and to show the interconnectedness of people and things. In some
Painted on a hardboard support in oil and enamel,
related works, he pondered on the meaning of life
Girl on a Couch, A has passages of splattered
and individual identity, with titles such as Who
and dribbled paint rather like a work by Jackson
Am I? that ask the most basic and puzzling of
Pollock, most notably in the lower right corner. The
questions. This work is painted fluently and has all
same technique with more controlled and muted
the qualities that make Hanly’s work so appealing—
colour occurs in the blue-green background and in
colour, life, energy and optimism. It was a pleasant
the nude figure itself. The use of an action painting
change from the dark palette and concerns of
technique helps to give energy to the work by
other painters of the time such as Colin McCahon
painterly means.
and Tony Fomison. MICHAEL DUNN
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IMPORTANT PAINTINGS & CONTEMPORARY ART
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MOSSGREEN-WEBB’S AUCTION HOUSE
17. Charles Frederick Goldie Kapi Kapi or Ahinata te Rangitautini oil on panel signed C.F. Goldie and inscribed Auckland N.Z. in brushpoint lower right 245mm x 195mm $200,000 – $300,000 PROVENANCE Private Collection, South Island. Purchased by the current owner from Webb's in 2007. ILLUSTRATED Taylor, Alister and Jan Glen. C F Goldie 1870–1947 His Life and Painting, Martinborough, 1977, p. 292. Sotheby's catalogue, 28 January 1971. New Zealand Herald, 3 April 1971. Southland Times, 3 April 1971. Timaru Herald, 3 April 1971. Westport News, 20 April 1971.
Charles Frederick Goldie painted a number of portraits
Goldie made another version of this work, now in the
of Ahinata Te Rangitautini, known as Kapi Kapi, who
Auckland Art Gallery, dated 1910, which is very similar in
was one of his most popular sitters. She belonged to the
composition but, in this example, Kapi Kapi wears a bluish
Tuhourangi branch of the Arawa tribe and was a survivor
neck scarf rather than an open-necked vest. His other
of the Tarawera eruption in 1886; this gave her added
portraits of her show full frontal and profile views. This
appeal for the artist. He met her when she was living
series of portraits ranks as one of his major achievements.
at Whakarewarewa near Rotorua where she had been resettled. At the time, about 1909, Kapi Kapi was elderly:
In this portrait, Goldie places the head on a sideways
said to be 102 years old. Goldie’s paintings of her show
slant and looking down to assist in the impression of
white hair and wrinkled facial skin. They are studies of old
tiredness and introspection. In another version called The
age and character in the manner of Rembrandt, rather
Weariness of the Aged, his title underlined this aspect.
than commissioned portraits as such. Goldie chose her
It was not enough to delineate the features and moko
as a subject which he could interpret for his own artistic
of Kapi Kapi. He wanted to do more — to suggest an
purposes. She stood for a type of Māori woman that
idea, symbolic of the Māori at a time of change when
was becoming rare and was threatened by European
traditional values were threatened. By showing her eyes
colonisation.
nearly closed, the artist suggests that her inner thoughts are now more important than is the outer world around
An important component of her appeal for him was her
her and that she is dwelling on the past when she was
facial tattoo, her moko, on her lips and chin. In addition,
young and her culture was still strong. This painting
she had a spiral tattoo on her nose, which was rare and
is executed with the technical facility that Goldie had
gave added interest to her features. Therefore, it is not
acquired from his Paris training and is an excellent
surprising to find that Goldie draws attention to her moko
example of his use of chiaroscuro (light–dark contrast) to
by giving it a prominent place in his portrait, which is
give atmosphere and enhance the illusionist qualities of
restricted to the head and shoulders. We seem to be very
his painting. The background shows a traditional carved
close to the sitter and can almost reach out and touch
house, which provides a context for Goldie’s sitter.
her. The tactile dimension of the tattoo and the skin wrinkles contribute powerfully to the verisimilitude of the painting. We are convinced that it is a speaking likeness.
Pg. 54 —
MICHAEL DUNN
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 55
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 56 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
18. Frances Hodgkins
This resolutely modernist work is uncompromising
liberated colour from its objects,” Geoffrey Gorer
in its handling of the Ibiza landscape. Painted,
wrote in 1938 “and by the colour transforms it
possibly, after Hodgkins’ return from Ibiza to
so that it renders an emotion intensely felt and
London, the picture space is radically compressed
vividly communicated.”3 Hodgkins’ distinctive and
$230,000 – $330,000
and the flattened forms of buildings and trees
very personal use of colour elevates what would
PROVENANCE Acquired by Geoffrey Gorer's mother, Rée Gorer, either by direct purchase from Hodgkins or through a London gallery, probably the Lefevre Gallery. Upon her death, passed to her son Peter Gorer. After Peter Gorer's death, his widow Elizabeth returned to her roots in the Bar Harbor, Maine, taking the work with her. Upon Elizabeth's death in 2016, the work came into possession of her children, Peter Gorer and Rachel Gross.
move in a decorative rhythm across its surface.
otherwise be an ordinary scene. Her use of heavy
“In this clear ivory light,” Hodgkins wrote to Karl
black lines to delineate form gives the colours a
Hagedorn, “every common object looks important
stained-glass-style iridescence.
Ibiza oil on canvas signed Frances Hodgkins in brushpoint lower edge 712mm x 585mm
REFERENCE Howell, Arthur Roland, Frances Hodgkins: Four Vital Years, London: Rockliff, 1951, p. 104. EXHIBITED UNESCO International Exhibition of Contemporary Painting, Paris, 1946 NOTE We would like to thank Joanne Drayton, Honorary Research Associate, Centre for Art Studies, University of Auckland and leading Frances Hodgkins scholar, and Mary Kisler, Senior Curator, Mackelvie Trust Collection, International Art, Auckland Art Gallery Toi o Tāmaki for their assistance with research, biographical and archival information.
and significant… things appear in stark simplicity minus all detail.”1 The distilling light of Ibiza and
It is likely that Ibiza Landscape With Trees 1933
the simple geometric forms of its indigenous
was exhibited in one or more of the numerous
architecture provided the perfect subject matter
exhibitions that featured Hodgkins’ Ibiza works
for this and other works. Everything depicted has
after her return to London in 1933. Because of the
its own entity; each object is rendered down to
multiplicity of similar titles, it is not always easy to
a simple geometric form or a nuanced pattern of
establish exactly which works were shown in which
calligraphic brush marks. Simplicity and complexity
exhibitions. However, this piece was undoubtedly
sit together in one canvas, as well as rationality and
included in the British section of the UNESCO
irrationality; this is part of Hodgkins’ genius.
International Exhibition of Contemporary Painting, in Paris, in 1946.
When compared to the pencil sketch Landscape (Ibiza) c. 1933, obviously a study for the finished
Ibiza Landscape With Trees 1933 was acquired
oil, which was found in her studio after her death,
by Rée Gorer, either by direct purchase from
it is substantially more austere in the rendering
Hodgkins or through a London gallery, probably
of forms. The sketch captures the natural detail,
the Lefevre Gallery. Upon her death, Rée Gorer’s
such as twigs and leaves, that the painted work
estate was divided between her sons and the
eliminates. While the pencil gives a sense of place,
landscapes Ibiza and River Scene were listed as
the oil exists more in Hodgkins’ imagination. “She
being inherited by her son Peter Gorer. After Peter
might just as well have stayed in Manchester”
Gorer’s death, his widow Elizabeth returned to her
because “what she paints is not a place but a state
roots in Bar Harbor, Maine. Upon Elizabeth’s death
of mind,” wrote one critic of her painting around
in 2016, Ibiza Landscape With Trees 1933 came
this time.2 There are shared reference points
into the possession of her children, Peter Gorer and
between the sketch and the finished work, the
Rachel Gross.
dominant tree and the multi-storeyed building, but the painting is removed from its location by a
JOANNE DRAYTON
purer, less representational aesthetic. The colour palette, a rich range of ochres, reds, blues and shimmering oyster-shell whites, is typical of her Ibiza work. “Frances Hodgkins has
1 2 3
Letter from Frances Hodgkins to Karl Hagedorn, 29 January 1933. ‘Frances Hodgkins’s Pictures’, Manchester Guardian, 29 October 1937. Geoffrey Gorer quoted in Art in New Zealand, March 1938, p. 163.
— Pg. 57
MOSSGREEN-WEBB’S AUCTION HOUSE
19. Frances Hodgkins
Amongst Hodgkins’ repertoire of favourite subjects
Mill in Suffolk or, very possibly, along the banks of
were river scenes, which offered an opportunity
the River Severn. The horizontal slant of the river is
for virtuosity in reflections of water and the simple
interesting as is the way it cuts into a bank rather
geometric shapes of boats. River Scene with
than spills out across a river plain. These features
$230,000 - $330,000
Boats is a clever rendering of one such scene.
are more unusual in Hodgkins’ painting as is the
PROVENANCE Acquired by Geoffrey Gorer's mother, Rée Gorer, either by direct purchase from Hodgkins or through a London gallery, probably the Lefevre Gallery. Upon her death, passed to her son Peter Gorer. After Peter Gorer's death, his widow Elizabeth returned to her roots in the Bar Harbor, Maine, taking the work with her. Upon Elizabeth's death in 2016, the work came into possession of her children, Peter Gorer and Rachel Gross.
Although this is a painting clearly driven from its
absence of buildings. There is no certainty that
conception by the tenants of modernism, it is also
the title given to this work by Arthur Howell is the
a celebration of a river and a boat scene. There is
only title it ever had. The habit of exchanging and
a remarkable energy that swells and ebbs across
using non-specific titles makes it very difficult to
its canvas from the simple grey clouds, which look
ascertain exactly from where this painting was
like stepping stones across the sky, to the swirling
taken. What is more certain, however, is that it is
leaves of trees that bend and sway in a lyrical flow.
not likely to have been made on site as, generally,
Its virtuosity, however, must certainly be the river
Hodgkins executed her oils in the studio, working
REFERENCE Howell, Arthur Roland, Frances Hodgkins: Four Vital Years, London: Rockliff, 1951, p. 104.
itself, which mirrors the boat hulls and echoes
from sketches. The technical demands of oils were
the dazzling patches of light. This magnificently
such that she preferred the studio to the river
meandering image places the viewer not just in the
bank to produce her effects. For instance, in this
NOTE We would like to thank Joanne Drayton, Honorary Research Associate, Centre for Art Studies, University of Auckland and leading Frances Hodgkins scholar, and Mary Kisler, Senior Curator, Mackelvie Trust Collection, International Art, Auckland Art Gallery Toi o Tāmaki for their assistance with research, biographical and archival information.
scene but on the river itself.
painting she has removed layers of paint to reveal
River Boats oil on canvas signed Frances Hodgkins in brushpoint lower left 591mm x 719mm
luxuriously coloured under-paint; this contributes The paint is deliciously thick and impasto but the
to the luminosity of the work.
precision with which it is placed is delicate and considered. Colours sit in exquisite juxtaposition:
This work was purchased by Rée Gorer, either
vibrant orange-browns against deep blue-black,
directly from Hodgkins or from one of her dealer
pinks against mauves, purples against Prussian
galleries. It passed to her son Peter Gorer on her
blues. The water is an abstraction of sombre blues,
death in 1954 and was listed with Ibiza on a ledger
blacks, browns and purples. This is Hodgkins at
of inherited property. In 1978, Elizabeth Gorer,
her most accomplished. Once again, she uses
Peter’s widow, commissioned Sotheby Parke
heavy black lines to delineate form and the effect
Bernet & Co. to carry out a valuation of both works
illuminates the work.
and the record of this valuation was kept. River Scene with Boats moved with Elizabeth Gorer to
In 1932, Hodgkins was in Bridgnorth before she
Bar Harbor, Maine, and is now in the possession of
went to Ibiza. This painting could have been
her heirs, Rachel Gross and Peter Gorer.
inspired by a scene at Bridgnorth or it may have come from work done in Cornwall, around Flatford
Pg. 58 —
JOANNE DRAYTON
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 59
MOSSGREEN-WEBB’S AUCTION HOUSE
20. Terry Stringer Rita Angus bronze on marble base signed Terry Stringer and dated 83, etched upper left; signed with artist's stamp upper left 600mm x 275mm x 110mm (widest points); 50mm x 200mm x 145mm (base) $9,000 - $12,000 PROVENANCE From the collection of Joy Marchant, Sydney, Australia. Her full collection is to be sold at Mossgreen, Sydney, on 28 August, 2016.
Pg. 60 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
21. Terry Stringer Hilda in her 1930s Cloche Hat bronze on marble base, 2/3 signed Terry Stringer and dated '83, etched lower right; signed with artist's stamp lower right 295mm x 200mm x 95mm (widest points); 95mm x 95mm x 52mm (base) $8,000 - $12,000 PROVENANCE From the collection of Joy Marchant, Sydney, Australia. Her full collection is to be sold at Mossgreen, Sydney, on 28 August, 2016.
— Pg. 61
MOSSGREEN-WEBB’S AUCTION HOUSE
Colin McCahon Gannets Leaving Muriwai and Dance of the Gannets by Peter Simpson
Pg. 62 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
These two late works by Colin McCahon, painted between 1976 and 1978,
Both paintings depict Muriwai landscapes as habitats for gannets. In Leaving,
have many common features – in form, setting, colour, subject and use of
a cluster of marks at the top left signifies birds gathering for departure. The
text – but, while immediately recognisable as his, they do not at first seem
written sign occupies the foreground of the painting but two horizontals
similar to any other McCahons. In particular, the central image in each of an
signify a landscape of sky/water/sand. In Dance, the sign is more dominant
unidentified biblical text written on a kind of signboard in front of a seascape
— more of a billboard, perhaps – but there is a clear demarcation between sky
is like nothing else in his extensive body of work. But this impression of their
and water (or is it sky and sand?). In this case, the birds are signified by three
difference and singularity is soon modified; they relate to some of the most
parallel rows of marks. A full seascape is evoked in both just as it was in Walk
abiding concerns in his work.
(1973) and The Shining Cuckoo (1974).
The titles, Gannets Leaving Muriwai and Dance of the Gannets, connect them
Turning to the textual element in the paintings, it is unusual, even
to the gannet colony at Muriwai Beach, north-west of Auckland. For a decade
unprecedented, in McCahon’s work for a ‘realist’ context to be provided for
after 1969, Muriwai figured frequently in McCahon’s paintings, especially
text. Here, the text is indubitably written on a signboard – like a sign that
after he built a studio and later a house there. Many great series of the 1970s,
might say ‘No Swimming’ or ‘Bathe between the Flags’. Elsewhere in his work,
including Necessary Protection, Jet out from Muriwai, Beach Walk, Jump,
there is plenty of text, of course, but paintings are either all text – such as
Blind, Clouds and Rocks in the Sky, were painted at Muriwai and relate to
some of the roughly contemporary Scared series, white writing on black – or
some aspect of the landscape there: the cliffs, the offshore islands, the
text is combined either with landscape, as in the great Gate III and Practical
birds, the beaches, the waves, the clouds, the tidal lagoons – the marine
Religion, or with abstract or symbolic shapes as in Through the Wall of Death:
environment in general.
A Banner (1972) or A Letter to Hebrews (1979). Incidentally, the recurrent Tau cross shape of the latter is alluded to in both Gannet paintings – the signboard
However, in 1978, McCahon built a new studio at Crummer Road in Grey Lynn
is also a cross.
and, for the last few active years of his career, all his paintings were done there. Furthermore, because of deteriorating mental health, McCahon stopped
Unusually for McCahon, no source is given for the texts; in fact they come
driving and Muriwai (40 kilometres away) became increasingly inaccessible.
from consecutive verses in Chapter 1 of A Letter to Hebrews, verses 7 and
In fact, this pair of works was probably the very last painted at or referring
8. Nor is this the only time these words were used. In the triptych Paul to
explicitly to Muriwai. On the McCahon website, about 60 works have ‘Muriwai’
Hebrews (1980), an ‘all text’ work, the text in the second panel begins: “He
in their titles; only two are dated later than 1976 – Gannets Leaving Muriwai
who makes his Angels winds, and his ministers a fiery flame. Thy throne
(1976–78) and Muriwai, a small, dark landscape, undated on the painting (like
O God, is for ever and ever. And the sceptre of justice is the sceptre of his
the Gannets pair) but ascribed the date 1977–79. Whether or not Gannets
Kingdom.” That is, the texts of the two Gannet paintings run together. And
Leaving Muriwai (and its companion) is literally his last Muriwai work, that
the text in Gannets Leaving Muriwai is also used in A Painting for Uncle Frank
is a possible implication of the title. Gannets are migratory; young gannets
(1980). Referring as they do to God’s omnipotence, eternity and justice, these
head for Australia as soon as they can fly and McCahon is also leaving the
verses obviously meant a lot to McCahon — a reassertion of faith very close
environment he loved and painted so often. The gannets are leaving
to the end of his active career. Gordon Brown, to whom McCahon gifted these
Muriwai and so is he.
two richly poignant works, argues, in his book Towards a Promised Land (2010), that the strong assertion of faith in the several late works quoting
Of the dozens of McCahon drawings and paintings which relate to birds, only
Hebrews should be seen as tempering the presumed ‘loss of faith’ reputedly
these two mention gannets by name. Undoubtedly, the birds depicted in many
expressed by McCahon in his final paintings from Ecclesiastes. Should the
others are gannets, such as the beautiful Care of Small Birds, Muriwai (1975),
prevailing greyness of these fascinating works be read as positive or negative?
but are not identified as such in the titles. And only these two make explicit
Perhaps a mixture of both.
reference to gannet behaviour in their ‘dancing’ and migratory ways. PETER SIMPSON
— Pg. 63
MOSSGREEN-WEBB’S AUCTION HOUSE
22. Colin McCahon Gannets Leaving Muriwai synthetic polymer paint on unstretched canvas inscribed Gannets Leaving Muriwai in brushpoint upper right and inscribed he who makes his angels winds, and his minister a fiery flame. in brushpoint upper centre 795mm x 1220mm $160,000 - $200,000 PROVENANCE Gordon H Brown, a gift from the artist's family for help given to the artist. Martin Browne Fine Art, Sydney Private collection, Sydney. REFERENCE Colin McCahon research database number: cm000292
Pg. 64 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 65
MOSSGREEN-WEBB’S AUCTION HOUSE
23. Colin McCahon Dance of the Gannets synthetic polymer paint on unstretched canvas inscribed Dance Of The Gannets in brushpoint lower centre right, inscribed Thy throne O God is for ever and ever, and the sceptre of justice is the sceptre of His Kingdom in brushpoint upper centre 795mm x 1220mm $160,000 – $200,000 PROVENANCE Gordon H Brown, a gift from the artist's family for help given to the artist. Martin Browne Fine Art, Sydney Private collection, Sydney. REFERENCE Colin McCahon research database number: cm000291
Pg. 66 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 67
MOSSGREEN-WEBB’S AUCTION HOUSE
24. John Hoyland
John Hoyland’s commitment to non-figurative
7.11.72 fits snugly into these years and, in fact, the
7.11.72
imagery is evident in this work, 7.11.72. Thick with
work marks a clear time in Hoyland’s career, before
acrylic on canvas dated 7.11.72 and inscribed John Hoyland Untitled Acrylic on canvas: 24 1/4" x 22" on printed André Emmerich, New York gallery label affixed verso; dated 7.11.72 and 1972 and inscribed John Hoyland, RA Untitled acrylic on canvas in another hand on Hillsboro Fine Art, Dublin gallery label affixed verso 615mm x 560mm
dripping acrylic paint, it is typical Hoyland with
he turned to the use of a palette knife in 1973. Its
its bubble-gum colours, which recall the British
medium of acrylic paint was new at the time and
artist’s large geometric canvases of the early
his use of it demonstrates the artist’s innovation
1960s. The canvas’ experimental biomorphic forms
and technical mastery. He has applied multiple
and shapes are consistent with the artistic practice
layers of acrylic paint so that its viscosity is raised
which spanned his entire career. Form and colour
and it acquires a leathery appearance.
$45,000 – $65,000
of brown along the right side of the painting and
Although Hoyland disliked the label ‘abstract
PROVENANCE Acquired by the present owner from Hillsboro Fine Art, Dublin.
the small applications of soft colours next to it
artist’, because he did not want to imply
work together to strengthen this half of the canvas
premeditated action or set working methods,
against the dominating area of pink on the left,
the work is devoid of any shape. It carries its
balancing the composition. And it was this deft
own set of unbiased emotion, inviting onlookers
artistic skill that brought John Hoyland (1934–2011)
to bring with them their own interpretations.
to the forefront of British abstract art.
This very painting is dependent on engagement
EXHIBITED André Emmerich Gallery, New York.
are unquestionably harmonised in 7.11.72. The strip
from viewers; it is not complete without personal Hoyland is an artist whose work continues to draw
thoughts and emotions. Some may look at this
interest and inspiration. His paintings have featured
canvas and recall the work of American abstract
in countless solo exhibitions as well as joint and
expressionists, such as Jackson Pollock or
group shows. By 1967, at the young age of 33, the
Mark Rothko. Others may feel a sense of nostalgia
artist had shown in London, Munich, New York,
for the sugary pastels of 1970s’ comic books, as in
Los Angeles and Montreal. His most recent
The Jetsons. And the rest may simply see layers
exhibition, Power Station (Oct 2015–April 2016),
of non-figurative, appeasing pigments.
at Damien Hirst’s Newport Street Gallery, London, explored the artist’s commitment to non-figurative shapes across the period of 1964–82. This was a pivotal time frame for the artist, as it draws the connection between his first solo museum exhibition at Whitechapel Gallery in 1967 and his defining retrospective at the Serpentine Galleries during 1979 and ’80. Pg. 68 —
JESSICA DOUGLAS
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 69
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 70 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
25. Colin McCahon
Colin McCahon’s North Otago series of 1967
He added: “In painting the landscape, I am not
North Otago
ranks as one of his most austere and reductive up
trying to show any simple likeness to a specific
acrylic on board signed McCahon and dated '67 in graphite lower edge 270mm x 200mm
to that time, though it has formal links with his
place. These paintings are about my love affair
Stations of the Cross and Waterfall works made
with North Otago as a unique and lovely place.”
$30,000 – $40,000
in this series in bands of tone spread across the
McCahon here reveals to us his feelings about
surface of the support, flattened to the point
North Otago in an almost Romantic fashion,
of being silhouettes. In most, a pale-cream sky
full of personal responses and memories. There
provides the highlight, while the landforms of hills
is little concern with the typical ingredients of
and plains are rendered in sombre dark green and
landscape painting of the time, which was based
black, with little tonal variation.
on rendering specific places and subjects with
between 1964 and 1966. He conceives the works
scenic appeal. Instead, he creates abstract forms There are no descriptive details of rural life such
to convey the essential and enduring aspects
as roads, houses or indeed livestock to disturb
of the land as he experienced it. His means are
the severe, imposing forms of the landscape.
simple and reductive and show an awareness of
Nothing more unlike the naturalistic North Otago
modernist abstraction. In this example, he uses
views of the local artist Colin Wheeler can be
broad, black outlining for the two main hill forms
imagined. Although comparatively small, the
that are flat and similar in shape: one black, the
present painting is an excellent example of the
other deep green. At their base is an elemental
series; however, it is a little unusual in that it is in
band of a deep, blackish hue to represent the
a vertical format rather than the horizontal one
plain from which they rise. No one had painted
which is found in many examples.
North Otago like this before. By using acrylic paints, McCahon was able to brush the pigment
McCahon had grown up in Oamaru and knew the
on quickly and give it a flat surface unlike that of
hinterland of North Otago intimately. In 1967, he
oil paint with its thickness and textures. This gives
wrote about the series in notes for the Auckland
it a more modern, two-dimensional finish and
Art Gallery: “I once lived in North Otago and, in
more impact. Atmospheric perspective is largely
the last 18 months, have revisited the area three
eliminated.
times. These visits have all been in the winter. Each time it has been windless and cold. Once,
The rawness of these paintings and their
a thin snowfall lay over the hills and the essential
authenticity were radical in 1967. They have lost
black and green quality of the landscape was
none of their impact today.
emphasised. Unlike many other parts of the country, the landforms of North Otago suggest
MICHAEL DUNN
both age and permanence.”
— Pg. 71
MOSSGREEN-WEBB’S AUCTION HOUSE
26. Bill Hammond
The late 1990s represents a watershed period
tradition which had served to inspire the French
Primeval Screen
in the career of Bill Hammond, the master and
Impressionists and scores of artists in previous
oil on hinged wooden screen, six panels signed W.D. Hammond, dated 1996 1997 in brushpoint lower right (far left panel) and inscribed Primeval Screen in brushpoint upper left (far left panel); signed W.D. Hammond, dated 1996 1997 and inscribed Primeval Screen, Studio Assistant Jesse Hammond, Webb Lane, Lyttelton in brushpoint on far right panel verso 1715mm x 375mm (each panel); 1715mm x 2250mm (overall, variable)
creator of Aotearoa’s disturbing and alternative
centuries. Each of the six panels has been arranged
underworld reality. A point of particular
in dialogue with the others; the screen, therefore,
importance in Hammond’s career is the year of
represents a living and dynamic exchange between
1997, for it was at this time that what would later
these anthropomorphic beings.
come to be acknowledged as the essence of his visual manifesto was finally articulated and
Striking in both its dynamicity and its presence,
expressed in its full glory. The product is a dark,
the screen assumes a commanding structure,
alluring narrative in which languid avian creatures
which is dominating in that it literally acts as a
$150,000 – $200,000
preside in an emerald void of spatial abstraction.
spatial barrier, which interrupts its surroundings
PROVENANCE Private collection, Auckland. Acquired by the present owner from Gregory Flint Gallery.
Hammond’s mastery of technique and ability
positioned. However, at the same time, it realises
to interweave a diverse range of formal and
a certain balance and lightness in its composition
philosophical influences into his work is on display
and graceful structure.
and punctuates the atmosphere in which it is
brilliantly in Primeval Screen. Recalling something of the horrific exaggerations and detail of Northern
There is a soulfulness to this work, one which
Renaissance artists such as Hieronymus Bosch, the
grips the viewer in a revelatory, almost religious
work also notably incorporates aesthetic concerns
narrative portending finality: the end of civilisation.
relating to abstract expressionism through its
How do we relate to these beasts, which, drawn
exploration of the potential of colour to serve as
from a narrative so close to our own national
subject matter.
identity and almost irrevocably mundane – think Buller’s Native Birds – express themselves and
The influence of Japanese woodblock printing can
communicate with that eerie, Mannerist-style
be linked with much of Hammond’s work of this
languor, free of our gaze and irrespective of our
period but, arguably, is never as apparent as it is on
existence? There is an ancient timelessness to their
the present screen. The painting onto the surface
being which, independent of both time and space,
of the six panels has been executed in a manner
offers a space for transcendental engagement and
which is acutely aware of, and integrated with, the
reflection.
surface of the wooden panels. The screen form draws further comparison with ancient traditions of Japanese applied arts – the same fundamental
Pg. 72 —
RACHEL KLEINSMAN
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 73
MOSSGREEN-WEBB’S AUCTION HOUSE
Pg. 74 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
27. Adele Younghusband
Singing Girls is representative of the mature work of Adele Younghusband
Singing Girls
(1878–1969) and a fine example of her painting of the 1950s. To those who
oil on canvasboard signed Adele Younghusband and dated 1951 in brushpoint lower right 450mm x 370mm
know her oeuvre, it shows evidence of her skill as a printmaker, favouring
$50,000 – $60,000
quite different in spirit from her prints. They are chiefly dependent on strong
PROVENANCE Private Collection, Auckland. Purchased from Webb's in 2011.
contrasts, even when she uses colour, with bold outlines of black ink and
NOTE We would like to thank those at the Whangarei Art Museum for their assistance with research.
the stylised, simple shapes that characterise her striking linocuts and the overlays of colour encouraged by printmaking processes. Yet the painting is
schematic modelling, well suited to her down-to-earth subject matter that includes genre and industrial scenes. In Singing Girls, on the other hand, the contours are flowing and created more by the edges of colour areas than by outlines, and there is little modelling. Instead, we find simple fluid shapes of delicate tints, sometimes overlapping to create different tones, so that some elements among the clustered heads of the singers and their song sheets seem transparent. There is a planar, decorative quality in Younghusband’s work, which is reminiscent of art deco. Yet this is not stylisation for the sake of ornament. The harmonious composition of interlaced figures charmingly captures the unison of their singing: mouths open and expressions solemn as they concentrate on their performance. The lyrical quality of the composition matches the lyrical occasion. How was it that a woman who grew up in rural New Zealand in the Victorian period, and never enjoyed a formal art education, came to work in a modernist style and adapt it to her interests? First a photographer, she worked increasingly as both a painter and a printmaker, and was active as a founder member of art societies in Whangarei and Hamilton. In 1937, she visited Australia where she studied with George Bell, who was familiar with recent art from working and travelling in the UK and Europe. After this sojourn, she became known as a modernist, called ‘a New Zealand surrealist’ by Arthur Hipwell in Art in New Zealand in 1941, and was one of the Phoenix Group of ‘progressive painters’ in the 1950s, when she made Singing Girls. Works like it and Younghusband’s still life studies of this time show an affinity with artists who used cubist concepts in a personal way – the pastel harmonies of Marie Laurencin, or the organic overlapping forms of purist artists Jeanneret and Ozenfant. Although she had solo exhibitions in Sydney, Auckland and Hamilton, including a retrospective of her work in the latter city in 1963, Younghusband was seldom on view thereafter. Her formalised naturalism probably seemed conservative when compared with the post-war New Zealand avant-garde. Yet, she was part of a generation of artists, particularly women, that made an important contribution, neatly summed up by Nicola Green when, in Art New Zealand in 1999, she called her a ‘transitional modernist’. Younghusband’s work has more recently received renewed attention, with travelling exhibitions in 1998 and 2008, curated by Scott Pothan of Whangarei Art Museum, which holds a significant collection of her works and has a gallery named in her honour. ELIZABETH RANKIN
— Pg. 75
MOSSGREEN-WEBB’S AUCTION HOUSE
28. Russell Clark Creek Bed oil on board signed Russell Clark in brushpoint lower left; signed Russell Clark, inscribed Creek Bed 50gns in graphite verso, inscribed 'Creek Bed, 1960' oils on board on Robert McDougall Art Gallery printed label affixed verso; Gow Langsford Gallery label affixed verso 590mm x 1200mm $55,000 - $75,000 PROVENANCE From the collection of the artist's widow, Rosalie Archer. EXHIBITED The Group Show, Durham Street Art Gallery, 8–23 October 1960. Russell Clark 1905-1966: A Retrospective Exhibition, Robert McDougall Art Gallery, Christchurch, 1975, cat. No 49.
Pg. 76 —
ILLUSTRATED Russell Clark 1905–1966: A Retrospective Exhibition, Christchurch City Council Cultural Committee: Christchurch, 1975, p. 46. Cape, Peter. New Zealand Painting since 1960: a study in themes and developments, Collings: Auckland, 1979, p. 132. REFERENCE Russell Clark 1905–1966: A Retrospective Exhibition, Christchurch City Council Cultural Committee: Christchurch, 1975, cat no. 49, p. 46. Cape, Peter. New Zealand Painting since 1960: a study in themes and developments, Collings: Auckland, 1979, p. 132.
NOTE: Accompanied by original graphite on paper sketch. RIGHT
Russell Clark Sketch for Creek Bed graphite on paper inscribed Red Brown Grey Viridian in graphite upper right and Green Yellow in graphite upper left; inscribed Whole area reduced by 10% black & white half-tone in graphite verso 277mm x 380mm
IMPORTANT PAINTINGS & CONTEMPORARY ART
Russell Clark (1905–66) is a well-known figure of the
are so strongly delineated that they seem to spill out of
mid-20th-century New Zealand art scene, and is included
the frame into our space. The linear style of their strong
in most surveys. But writers have difficulty pinning him
contours, some curved and smoothed by the water,
down for he was a remarkably versatile figure. He was
others more angular, is offset by the painterly brushwork
probably best known to New Zealanders as the artist who
of the bush on either side. The dark greens of the foliage
made illustrations for the New Zealand Listener from its
also provide a foil for the bleached colour of the stones.
inception in 1939, and for the School Journal; the annual
While they are predominantly neutral in tone, there are
award for outstanding illustrated children’s books in
also warm touches of ochre and buff, and even some hints
New Zealand is named for him. Others may have known
of grey-blue, linking them to the water in the creek. It, in
Clark as a war artist, recording World War II events in
turn, reflects the sky above, which forms a vividly blue
the Pacific, yet others as a supportive teacher at the
wedge that opens between the framing trees. Painted in
Canterbury College School of Art from 1947, where he
1960, the work was exhibited that year in the Group Show
had himself studied. As an artist, his style and his subject
of the Canterbury Art Society at the Durham Street Art
matter were as diverse as was his career. Peter Tomory,
Gallery in Christchurch, in the company of such artists
director of the Auckland City Art Gallery, called him a
as Angus, Hanly, Lusk, McCahon and Woollaston, and
“subject painter”, referring to works that “… with their
it stands up very well in that distinguished company.
realistic drawing, their romantic colour and their choice of
Although less familiar because it has been in the family
significant subjects, were quickly admired".1
collection, Creek Bed is a painting that deserves to be as well known as is William Sutton’s Dry September (1949)
Tomory may have been thinking particularly of Clark’s
and Michael Smither’s Rocks with Mountain (1968), which
studies of Māori subjects, in paintings and in sculptures,
share its subject matter. It, too, is a memorable icon of the
which show his admiration for the simplified monumental
New Zealand landscape.
figures of Henry Moore, although the paintings also have an anecdotal appeal. But, in his landscapes, Clark
ELIZABETH RANKIN
concentrated on more formal qualities and his mature
1 Distance Looks Our Way, ed. Keith Sinclair, 1961, p. 74
paintings remind us of Graham Sutherland’s fluid yet stylised English scenes. Nonetheless, Clark’s landscapes are distinctively New Zealand, none more so than Creek Bed. Traditionally, landscapists often used roads running into the picture to draw in the viewer’s eye but, here, there is no sign of human habitation and it is a creek that curves through the bush towards a sunny hill glimpsed in the distance. The creek stones that crowd the foreground — Pg. 77
MOSSGREEN-WEBB’S AUCTION HOUSE
29. Jeffrey Harris
Executed with an intentional naïvety, Jeffrey Harris’
employs a bright, almost gaudy, palette and
Adoration of Christ
Adoration of Christ presents the viewer with what
arbitrary colour while eschewing traditional tools
oil on board signed with artist's initials J H and dated '72 in brushpoint upper edge; signed J Harris, dated Jan. 1972 and inscribed Adoration of Christ in ink verso, signed Jeffrey Harris and inscribed NO 59 in pastel verso 1215mm x 1215mm
is ostensibly an art historical and religious parody.
of pictorial construction such as atmospheric or
The title immediately suggests a work of religious
linear perspective, scale and proportion. Instead,
veneration and brings to mind time-honoured
Harris flattens the picture plane and lets his
depictions of the baby Jesus being adored by
brushwork visibly scurry across the surface of the
either shepherds or kings. Instead of the three
painting, drawing attention to its two-dimensional
magi, however, Harris offers a small, crowded
physicality. Rather than merely avoiding
room peopled by Jesus and four male figures. Two
conventional illusionistic methods, Harris employs
are clothed in unremarkable contemporary dress
a number of them in order to seemingly highlight
while the other two appear to be naked and Jesus
and subvert them. The use of a window opening
has been wrapped in a loin cloth. There is no eye
onto a landscape view is an established way to
contact between the three seated figures who
open up a painting and provide deep spatial
stare transfixed into the middle distance; none
recession. In Adoration of Christ, however, Harris’
of the figures engages with the viewer either so
use of a window with a landscape view adds to
that one is left surveying a scene that is akin to
the frenetic pace of the painting by the distorted
that witnessed on a stage. Adding to the feel of
perspective and patchwork of colour.
$30,000 - $40,000 ILLUSTRATED Paton, Justin. Jeffrey Harris, Dunedin Public Art Gallery: Dunedin, 2005, p. 18. PROVENANCE Private collection, Auckland.
a surreal tableau are the two disembodied hands (potentially the hands of God), which extend
A celebrated feature of Harris’ work is his extensive
down from the top of the painting towards the
knowledge of, and open admiration for, art history
Christ figure as though to end his suffering by
that see him utilising national and international
plucking him from the tangible world and whisking
works for inspiration and formal elements. In this,
him away into the safe haven of the celestial
Adoration of Christ is no different. The tree-
realm. An aspect that reinforces the notion of
lined road satirically comments on the common
Christ’s suffering is the subtle trickle of blood
structural device of one-point perspective while
that drips onto the white sheet from his truncated
simultaneously paying homage to works in which
right arm. As if in response to Christ’s imminent
it is a key feature such as Rita Angus’ painting
departure, one of the men reaches out his arms
Fog, Hawke’s Bay (1966–68) and The Avenue at
in supplication; his brow is furrowed and his
Middelharnis (1689) by the Dutch seventeenth-
expression is one of concern and distress.
century landscape painter Meindert Hobbema. The surrounding landscape in Harris’ Adoration
Harris ruptures the possible severity of the subject
of Christ is painted in cross-hatched horizontal
by the inclusion of three women outside the
sections recalling Vincent van Gogh’s series of
window who remain oblivious to events unfolding
wheat fields as well as the flat, compartmentalised
inside and stand around idly chatting. This light-
landscapes of William Sutton and Rita Angus.
heartedness is also seen in the comic small, red
Harris’ amalgamation of these reconfigured
arrow that traverses the space between Christ
elements creates a postmodern masterpiece that is
and the standing man, cueing the audience to
supremely unique.
read a reciprocal gaze between the two figures. To further distance the painting from the potential admonishing sobriety of a religious subject, Harris
Pg. 78 —
JEMMA FIELD
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 79
MOSSGREEN-WEBB’S AUCTION HOUSE
30. Don Binney Queen Victoria oil on paper on board signed Don Binney and dated 1984 in brushpoint lower right 575mm x 701mm $25,000 – $35,000 PROVENANCE Private collection, Auckland
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IMPORTANT PAINTINGS & CONTEMPORARY ART
31. Mike Petre Field Study 120 oil on canvas signed Mike Petre, dated 2009 and inscribed Field Study 120 in ink verso 1675mm x 2135m $18,000 – $25,000
— Pg. 81
MOSSGREEN-WEBB’S AUCTION HOUSE
32. James Robinson
33. Robert Ellis
Martin
Maungawhau Mt Eden
ink, graphite and acrylic on paper, found images, wood, and velvet, cotton thread and wool on canvas signed J.F. Robinson and dated 06 in ink lower right and inscribed LOVE HATE FEAR POWER SKITZ ROT DEAD BRO MARTIN DRUGY TALKY in wool lower right; inscribed EAT YOU ALIVE FUCKER in cotton thread upper right edge; signed (Robinson R.I.P.) and inscribed "MARTIN" patches done on West Coast Stewart Island Helpers Brenden Phillip (tongue) Katrina Thompson Assembled Port Chalmers in ink verso 2120mm x 1720mm
oil on canvas signed Robert Ellis and dated '99 with incision and inscribed MAUGNAWHAUMtEDEN in brushpoint lower edge; inscribed JUPITER PARERERARAU CASTO POLLUX TE TE IPUAMATAAHO with incision upper centre 1818mm x 1530mm
$7,500 – $9,500 EXHIBITED Adam Portraiture Award, New Zealand Portrait Gallery, Wellington, 2006.
Pg. 82 —
$15,000 - $20,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 83
MOSSGREEN-WEBB’S AUCTION HOUSE
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IMPORTANT PAINTINGS & CONTEMPORARY ART
34. Reuben Paterson
35. Shane Cotton
Whakapapa: Get Down on Your Knees 1
Gathering
glitter and synthetic polymer on canvas signed Reuben Paterson, dated 2009 and inscribed Get Down on Your Knees 1 in graphite verso 2000mm x 2000mm
oil on canvas signed Shane W Cotton, dated 89 – 90 and inscribed Gathering in graphite verso 1700mm x 2160mm
$20,0000 - $25,000
$20,000 - $30,000 PROVENANCE Private collection, Auckland
— Pg. 85
MOSSGREEN-WEBB’S AUCTION HOUSE
36. Stephen Bambury Eno acrylic and rust on aluminium, diptych signed S. Bambury ©, dated 2006 © and inscribed ENO, panel 1 (of 2) in ink verso; signed S. Bambury ©, dated 2006 © and inscribed ENO, panel 2 (of 2) in ink verso 390mm x 390mm (each); 390mm x 776mm (overall) $13,000 – $18,000
37. Ans Westra Catching Crickets, Greymouth 1970 silver gelatin print, printed 1976 signed with artist's initials AW in graphite lower left; inscribed Catching Crickets, Greymouth, 1970 printed 1976, vintage in graphite in another hand verso 314mm x 260mm $2,500 – $3,500
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IMPORTANT PAINTINGS & CONTEMPORARY ART
38. Stephen Bambury China (XLV) 23k gold and resin on aluminium on timber panel signed S. Bambury, dated 05 and inscribed China (XLV), Stephen Bambury 2005 23k gold and resin on aluminium timber panel in ink verso 170mm x 340mm $4,000 – $6,000
39. Peter Peryer Tatau silver gelatin print, 1/30 dated 1998 and inscribed Peter Peryer Tatau no 1 of an edition of 30 in graphite in another hand verso 170mm x 107mm $1,000 – $1,500
— Pg. 87
MOSSGREEN-WEBB’S AUCTION HOUSE
Brett Whiteley is a name synonymous with the
Marlborough Gallery in London in 1967. These
though unique in Whiteley’s oeuvre, featured
forefront of the Australian avante-garde. During
untitled mixed media works on paper represent
heavily throughout his Tangier series). This third
his short 53 years, he won Australia’s most
his major achievement of the period. In these,
eye alludes to mystical or esoteric concepts,
prestigious art awards multiple times, including
Whiteley discovered the same exoticism of Tangier
suggesting that — although she is silenced by her
the Archibald, Wynne and Sulman prizes. He also
that artist Henri Matisse saw when he visited the
veil — the woman perhaps sees more than the
exhibited worldwide in numerous shows and is now
town in 1912 and 1913.
common collective.
represented across collections of major galleries. Whiteley did, however, feel intimidated by many
The woman’s anonymity within her culture is
At the encouragement of Francis Bacon, a friend
aspects of Moroccan culture. He was particularly
stressed through her heavy burqa. Although we
and mentor of the artist during his time in London,
ambivalent about veiled women for he did not
get a sense of her body’s outline, it is painted
Whiteley, along with his wife and young daughter,
know how to relate to a person hidden beneath
over with gouache — hiding any real shape or
took a three month-long departure for Tangier
a swath of fabric.1 This apprehension is captured
womanliness. The burqa literally cloaks the woman,
in May, 1967. The family lodged at the Majestic
in his expressive, light and quick-fired application
masking her identity. Such restrictions were unlike
Hotel where they sought to escape the pressures
of ink in this Tangier Postcard where a nameless
anything Whiteley had ever experienced: his
and temptations of London life. The trip proved a
figure worryingly stares out at the viewer. The
representations of curvaceous, nude women are
success, for Whiteley not only found respite but
woman’s anxiety is emphasised by her eyelashes
what he is best known for.
also inspiration for what are now considered some
– so thick with mascara that they spread out
of his most controversial works. During this time,
across the paper like the legs of a spider. The artist
JESSICA DOUGLAS
he also completed eighteen Tangier Postcards —
has also included another eye in the lower right
1 Bruce James, Mode, November 1995, p. 53
each of which exhibited at the prestigious
side of the work via collage (a process which,
Pg. 88 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
40. Brett Whiteley
41. Michael Hight
Untitled (from the Tangier Postcard series)
Ngauruhoe
ink, gouache and found image on paper inscribed ...the Time? in ink lower right; dated 1967 and inscribed Brett Whiteley (b. 1939) Tangier Postcard ink drawing 22 x 30 on printed Marlborough Fine Arts Ltd, London gallery label affixed verso 558mm x 765mm
oil on linen signed Hight and dated 14 in brushpoint lower right; inscribed Ngauruhoe in brushpoint lower left; signed M. Hight, dated 2014 and inscribed Ngauruhoe in graphite verso 760mm x 1675mm
$10,000 – $15,000
$25,000 – $35,000
EXHIBITED Brett Whiteley, Marlborough Gallery, London, September 1967. NOTE: Accompanied by Marlborough Gallery exhibition booklet.
— Pg. 89
MOSSGREEN-WEBB’S AUCTION HOUSE
42. Matt Hunt Arise oil on canvasboard signed M Hunt and dated 1995 in brushpoint lower right; inscribed The Living Lord Jesus Christ Can Set You Free Forever in brushpoint lower edge; dated 1995 inscribed 'Arise' oil on canvas Price: NZ $700-00 (Seven Hundred New Zealand Dollars) in ink verso 387mm x 234mm $2,500 - $3,500
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IMPORTANT PAINTINGS & CONTEMPORARY ART
43. Max Gimblett Dragon/ You Know the Way oil, 12 carat white gold and hyplar spray varnish on canvas signed © Max Gimblett, dated 1989/90 and inscribed "You Know the Way" oil/size/12K white gold/hyplar spray varnish in ink verso 1245mm x 1245mm $20,000 – $30,000 PROVENANCE Private collection, Auckland. Acquired by the present owner from Gow Langsford Gallery. EXHIBITED Max Gimblett — Illuminations, Gow Langsford Gallery, 12–29 June 1991.
— Pg. 91
MOSSGREEN-WEBB’S AUCTION HOUSE
44. Katherine Rutecki Spurt (Venus) lost wax cast Gaffer glass on perspex base 175mm x 255mm x 240mm (widest points); 200mm x 250mm x 25mm (base) $2,500 - $3,500 PROVENANCE Acquired by the present owner from Masterworks Gallery.
45. Merilyn Wiseman Untitled white stoneware, white glaze 1100mm x 360mm x 160mm (widest points) $1,200 - $1,800 PROVENANCE Acquired by the present owner from Masterworks Gallery.
46. Evelyn Page Untitled (Lake Scene with Boat Sheds) oil on board signed Evelyn Page in brushpoint lower right 260mm x 310m $12,000 - $18,000
47. Peter McIntyre No. 4 Landscape Near Puhoi oil on board signed Peter McIntyre in brushpoint lower right; inscribed No. 4 Landscape Near Puhoi in another hand on McGregor Wright Gallery label affixed verso 540mm x 745mm $15,000 - $20,000
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 93
MOSSGREEN-WEBB’S AUCTION HOUSE
48. Layla Walter Cosmos-Mistral's Camellia-Leaves emerald cast glass, artist's proof signed Layla Walter, dated 2015 and inscribed Cosmos-Mistral's Camellia-Leaves a/p N.Z. with incision on underside 288mm x 156mm (diameter) $4,500 - $6,500 PROVENANCE Acquired by the present owner from Masterworks Gallery. 49. Andy Warhol Times/5 bracelet watch with titanium carbide coated stainless steel case, 195/250 signed Movado, "Time/5", Andy Warhol, No. 195/250. Manufactured in 1988. With five quartz movements, the dials depicting various images of New York City with red hands, the dials within five blackened rectangular cases linked together to form the bracelet with clasp. The backs stamped with Movado Watch Co. and a fascismile of Andy Warhol's signature. 38mm length (each case); 2200mm length (overall) $10,000 - $15,000 NOTE Accompanied by Movado glazed presentation case.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
50. Seung Yul Oh Head off the Other Side acrylic and varnish on canvas signed Seung Yul Oh, dated 06 and inscribed —Head off the Other Side —Acrylic, Varnish on Canvas in ink verso 555mm x 710mm $1,000 - $1,500
51. John Vickery Nocturne Cruciform #43 oil on canvas signed John Vickery on artist's label affixed verso; inscribed Cruciform "Nocturne" 60" x 40" oil on canvas on printed label affixed verso; inscribed John Vickery (1906–1983) Australian Nocturne Cruciform No. 43 oil on linen 153 x 102cm JV6 on David Jones Art Gallery, Melbourne label affixed verso; Charles Nodrum Gallery, Melbourne label affixed verso 1525mm x 1020mm $1,500 - $2,500 EXHIBITED John Vickery—Cruciform Paintings, McClelland Art Gallery, Langwarrin, Nov 24, 1991—Jan 5, 1992. LaTrobe Valley Arts Centre, Morwell, Jan 10—Feb 9, 1992. Charles Nodrum Gallery, Feb 15—March 18 Melbourne April 7–30 1992.
— Pg. 95
MOSSGREEN-WEBB’S AUCTION HOUSE
52. Ante Dabro
53. Richard McWhannell
Untitled
Mt Desmond, Akaroa
bronze signed DABRO and dated 76, etched on base 2950mm x 2400mm x 2250mm
oil on linen signed R. McWhannell, dated 1984 and inscribed Mt Desmond, Akaroa in graphite verso 719mm x 558mm
$2,000 - $3,000
$4,000 - $6,000
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Upcoming Auctions & Market Commentary Contents 98 – 99
The Single Owner Collection
100 - 101
Fine Jewels & Watches
102 – 103
Antiques & Decorative Art Collections
104 – 105
Māori & Oceanic Arts
106 - 107
The Fine Wine Collection of Saggio di Vino
108 – 109
Coins & Banknotes
112 - 113
The Power of the Single-Owner Collection
114 - 115
Forthcoming Mossgreen Auctions
116 - 117
Visiting Specialists from Melbourne
118
Mossgreen-Webb's Online
Consigning Now 30 August 2016 22 September 2016 Consigning Now 20 September 2016 Consigning Now Sale Review August - November 2016 August 2016
121 Parking
Who to Talk to at Mossgreen-Webb's 122 - 126
Our Specialists
Index of Artists & Terms & Conditions 127
How to Buy at Auction
128 - 130
Terms & Conditions
131
Index of Artists
— Pg. 97
MOSSGREEN-WEBB’S AUCTION HOUSE
The SingleOwner Collection Consigning Now
Single-Owner Collection auctions encompass all collecting fields, from fine art to jewels, photographs, motorcars, Asian arts, decorative arts, furniture, sporting memorabilia and stamps. What makes these auctions so special is that each one is unique, reflecting the taste and style of just one collector or family. For confidential advice on how best to present your collection to the market, contact James Hogan.
Collection of Warren & Bunty Bonython
CONTACT
James Hogan Single-Owner Collections P 09 524 6804 M 021 510 477 E james.hogan@mossgreen-webbs.co.nz
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 99
MOSSGREEN-WEBB’S AUCTION HOUSE
Fine Jewels & Watches Auction:
30 August, 2016, Melbourne
Auckland Viewing: Friday 19 August Saturday 20 August Sunday 21 August
In addition to a regular programme of jewellery sales in Auckland, Mossgreen-Webb’s provides clients with an opportunity to inspect, firsthand, sales of Fine Jewels, Watches and Luxury Accessories to be held in Melbourne. Please join us at this inaugural Auckland viewing. The August sale offers a world-class selection of contemporary jewellery by leading luxury brands, Victorian, art deco, art nouveau and other antique pieces, diamonds ranging in carat, cut, colour and clarity, and coloured stones, alongside collectable wristwatches and luxury accessories.
A Gentleman’s Stainless Steel Oyster Perpetual GMT Master II Wristwatch, Rolex circa 2010. $7,000 - $9,000.
CONTACT
Tam Fraser Jewellery Specialist P 09 524 6804 M 021 143 3702 E tam.fraser@mossgreen-webbs.co.nz
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 101
MOSSGREEN-WEBB’S AUCTION HOUSE
Antiques & Decorative Art Collections Consigning Now 22 September, 2016
Mossgreen-Webb’s presents collections of decorative arts, covering a wide array of periods and styles, from early European antiques to pieces of mid-20th century modernist design. The forthcoming auction features the Jessica Lambton-Young collection of Lalique glass and European furniture. Also included are collections of decorative arts, and antique furniture and furnishings from other vendors; these include china and porcelain, Chinese and oriental antiques, pocket watches, clocks, cameras, ivory, sterling silver and industrial furniture.
Lalique Languedoc Grand Vase $6,000 - $8,000.
CONTACT
James Hogan Single-Owner Collections P 09 524 6804 M 021 510 477 E james.hogan@mossgreen-webbs.co.nz
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 103
MOSSGREEN-WEBB’S AUCTION HOUSE
Maori & Oceanic Arts Consigning Now
Māori & Oceanic Arts sales include world heritage objects originating from Australia, Melanesia, Polynesia and Aotearoa. Mossgreen-Webb’s elevates Māori and Oceanic arts as a field of collecting and also repatriates rare Māori taonga and Oceanic artefacts back to New Zealand. These sales include pieces which, whilst highly aesthetic, embody the spiritual powers of the peoples who crafted them; they are more akin to art than to historical remnants or artefacts. The Māori taonga offered provide a remarkable overview of pre-contact through to 20th century Māori and Oceanic arts and culture.
An Important Pre-contact Hei Tiki (Ngāpuhi) Pale pounamu, with rare forward-facing head, open leg and toe indentations Height: 100mm. Provenance: Found 1919 near Kaikohe Published: The Journal of Polynesian Society, vol. 73, no. 2, 1964
CONTACT
Jesse De Deyne Māori & Oceanic Arts P +61 3 9508 8888 E jesse.dedeyne@mossgreen.com.au
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 105
MOSSGREEN-WEBB’S AUCTION HOUSE
The Fine Wine Collection of Saggio di Vino Sale Announcement 20 September, 2016
This sale presents the entire cellar from one of New Zealand’s finest dining restaurants: Saggio di Vino. The cellar list, formed by the Christchurch restaurant over a 25-year period, comprises well-cellared wine that would enhance any cellar.
The cellar of Saggio di Vino Restaurant, Christchurch.
CONTACT
CONTACT
Reece Warren Head of Fine & Rare Wines
Jemma Grobbelaar Fine & Rare Wines Specialist
P 09 524 6804 M 021 465 554 E reece.warren@mossgreen-webbs.co.nz
P 09 524 6804 E jemma@mossgreen-webbs.co.nz
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 107
MOSSGREEN-WEBB’S AUCTION HOUSE
Coins & Banknotes Consigning Now
Announcing the first specialist sale of fine and rare coins at Mossgreen-Webb’s. Coins provide insights into the social, economic, political and artistic histories of the world. Rare coin sales span the history of coinage from its origins in the seventh century BC to the present day. Mossgreen-Webb’s now presents a regular programme of rare coin sales in Auckland and provides appraisal services throughout the country. Viewings are held in both New Zealand and Australia. Consignments are also invited for coin sales conducted in Melbourne. Connecting with a global market, auctions are broadcast, via our live online bidding platform, and attract bidders from around the world. Our leading coin specialist, Nick Anning, offers an unparalleled range of services to New Zealand collectors.
CONTACT
Nick Anning Coins & Banknotes P +61 3 9508 8888 E nick.anning@mossgreen.com.au
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 109
New Zealand’s Contemporary Art Prize
201 6
16 Jul — 30 Oct
Pg. 110 —
Founding benefactors and principal donors
Major donors
ERIKA & ROBIN CONGREVE
DAYLE, LADY MACE
DAME JENNY GIBBS
CHRISTOPHER & CHARLOTTE SWASBROOK
4 JUNE– 30 OCTOBER
Doris Lusk: Practical Visionary Intricately constructed landscapes and luminous imaginative explorations from the remarkable Doris Lusk (1916–1990), who combined observation with invention in paintings that resonate with an insistent, authentic sense of place. Free entry Open 10am – 5pm daily Late night Wednesday until 9pm Cnr Worcester Blvd and Montreal St Strategic Partners
Doris Lusk Imagined Projects II, Limeworks (detail) 1983. Acrylic on canvas. Collection of Christchurch Art Gallery Te Puna o Waiwhetu, purchased 1984 Want to be in the loop? Sign up for our latest enewsletter at christchurchartgallery.org.nz
MOSSGREEN-WEBB’S AUCTION HOUSE
Mossgreen-Webb's Demonstrates the Power of the Single-Owner Collection Results for our first Single-Owner Collection sale, held in June:
1000/0 SOLD BY LOT
2340/0 SOLD BY VALUE
Luxury Furnishings from a Private Residence
The vendor is delighted with the success of the auction, which attracted competitive bidding far in excess of the levels that would have been generated should the pieces have been included in a standard mixed-vendor sale. The statistics for single-owner auctions speak for themselves. Mossgreen-Webb’s now provides comprehensive and unrivalled Single-Owner Collection auction services in New Zealand.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
BELOW
Interior Shot of One of New Zealand's Grandest Homes
— Pg. 113
MOSSGREEN-WEBB’S AUCTION HOUSE
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Forthcoming Mossgreen Auctions August
October
14 SUN 2016 | MELBOURNE
9 SUN 2016 | HOBART
Collectors’ Cars, Motorcycles & Automobilia
The Frost Collection of Australian & Colonial Antiques
16 TUES & 17 WED 2016 | MELBOURNE
Stamps & Postal History
17 MON 2016 | MELBOURNE
Australian & Colonial History - Entries Invited
21 SUN 2016 | SYDNEY
The Contents of Prince Albert House, Mosman
23 SUN 2016 | MELBOURNE
The Interior Decorator No. 8 28 SUN 2016 | SYDNEY
The Estate of Joy Marchant 29 MON & 30 TUES 2016 | MELBOURNE
Fine Australian & International Art
November 6 SUN & 7 MON 2016 | MELBOURNE
International Decorative Arts - Entries Invited
30 TUES 2016 | MELBOURNE
13 SUN 2016 | WELLINGTON
Fine Jewels, Watches & Luxury Accessories
An Important Private Collection of Collectors' Cars & Automobilia
September 6 TUES 2016 | MELBOURNE
Sporting Memorabilia - Entries Invited 11 SUN 2016 | SYDNEY
A Private Collection of Australian Fine Art & Decorative Arts 11 SUN 2016 | MELBOURNE
The Tom Frommer Collection of Australian Pioneer Aviation Postal History
21 MON 2016 | MELBOURNE
Fine Jewels, Watches & Luxury Accessories Entries Invited 22 TUES & 23 WED 2016 | MELBOURNE
Fine Australian & International Art Entries Invited 27 SUN 2016 | MELBOURNE
Collectors' Cars, Motorcycles & Automobilia Entries Invited 28 MON & 29 TUES 2016 | MELBOURNE
Stamps & Postal History - Entries Invited
— Pg. 115
MOSSGREEN-WEBB’S AUCTION HOUSE
Visiting Specialists from Melbourne An Invitation to Consign 15 — 18 AUGUST 2016 | AUCKLAND
Jennifer Gibson Antiques & Decorative Arts P +61 413 202 520 E jennifer.gibson@mossgreen.com.au
15 — 18 AUGUST 2016 | AUCKLAND
Ray Tregaskis Chinese & Asian Art P + 61 3 9508 8860 E ray.tregaskis@mossgreen.com.au
23 — 25 AUGUST 2016 | AUCKLAND 26 — 28 AUGUST 2016 | CHRISTCHURCH
Charles Leski Stamps & Coins, Historical & Sporting Memorabilia & Rare Books P +61 412 053 692 E charles.leski@mossgreen.com.au
Items consigned will have the opportunity to be included in a variety of auctions in Australia and New Zealand, offering New Zealand vendors access to the larger Australian market and trans-Tasman exposure. Please contact the specialist directly to make an appointment.
A 15th-century Chinese Gilt-Bronze Figure Achieved AU$1.22 million, 2012. A record for any International Decorative Art item sold in the Southern Hemisphere. Pg. 116 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 117
MOSSGREEN-WEBB’S AUCTION HOUSE
Mossgreen-Webb’s at the Forefront of Online Bidding Mossgreen-Webb’s Live is a free and user-friendly online bidding service created exclusively for our clients. Once you are registered, you can lodge absentee bids, watch auctions and bid in real time from the comfort of your living room, anywhere in the world. This service offers the convenience of saved searches, lot alerts and multi-lot bidding.
platforms offered in New Zealand incur a 3% commission fee; previously, this has deterred clients from utilising live online services. Visit mossgreen-webbs.co.nz
There is no additional commission charged for lots purchased via this service. All other live online bidding
Mossgreen-Webb’s Live — Buy Now Our Buy Now feature offers unsold items from selected auctions, which are available to purchase online. SUBSCRIBE TO OUR E-NEWSLETTER Subscribe to Mossgreen-Webb’s e-news and be the first to hear about our news and events.
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FOLLOW US ON SOCIAL MEDIA Join our social media channels and keep up to date with auction news, results and market commentary.
The Govett-Brewster Art Gallery presents:
27 Aug – 27 Nov
2016
Matt Henry: Long Division Henry’s paintings are minimalist interruptions, unconventionally installed according to the artist’s close studies of the Govett-Brewster’s architecture. Matt Henry and Ruth Buchanan’s projects reflect the Govett-Brewster’s commitment to bringing Taranaki artists home. Matt Henry Untitled Dyad (Signal Yellow/Grey) 2011. Acrylic and lacquer on linen, cedar stretchers. Courtesy the artist
3 Sep – 27 Nov Set in Motion Kinetic sculpture by Len Lye is shown in the context of work by four exciting contemporary artists, all of whom experiment with found materials and movement: Rebecca Baumann, Žilvinas Kempinas, Taree Mackenzie and Ross Manning.
Exhibition Partner Rebecca Baumann Once More with feeling 2014. Photo Bo Wong
10 Sep – 4 Dec Ruth Buchanan: The actual and its document During her artist residency, Buchanan investigated the Govett Brewster’s collecting from 1970–1983. Alongside collection works, her exhibition makes a series of spatial interventions in the gallery space. Exhibition Partner Film still from Kaleidoscope De-Accession 4 June 1982. Courtesy TVNZ Television Archive
govettbrewster.com
42 Queen Street New Plymouth Aotearoa New Zealand
Open six days Sun, Mon, Wed, Fri, Sat I 10 am – 6 pm Thu I 10 am – 9 pm Closed Tuesdays and Christmas Day
Principal Funder
— Pg. 119
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Mark Braunias Field of Vision NOW SHOWING 28 June – 4 September
Mark Braunias, Hidden Identities, 1990, Oil, newsprint and wax on canvas, 1660 x 2150mm, Collection of the James Wallace Arts Trust.
Also: Painting Programme featuring the works of 27 of Mark Braunias’ students NOW SHOWING in the Upstairs Galleries
Brent Hayward, Rivertribe in Technicolor, 2012
Jill Kennedy, Curtains, 2016
The Pah Homestead, TSB Bank Wallace Arts Centre 72 Hillsborough Road, Hillsborough, Auckland www.tsbbankwallaceartscentre.org.nz Opening hours: Tuesday – Friday 10am-3pm, Saturday & Sunday 8am-5pm WALLACE ARTS TRUST
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St
Mossgreen-Webb’s provides ample parking for our clients. Auction Night Parking
We have 25 complimentary client parking spaces available, just a 1.5 minute walk away at St John’s car park, 244 Parnell Road. These carparks will be clearly singposted for your use.
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Viewing days and between auctions P arn ell parking available within our building. We have Ris Simply enter ethe drive and press the buzzer t le S for access. Ear
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— Pg. 121
n
MOSSGREEN-WEBB’S AUCTION HOUSE
Our Specialists
Fine Art Sophie Coupland | Director of Art | sophie.coupland@mossgreen-webbs.co.nz Sophie Coupland has 20 years of experience in the sale and marketing of fine art. Her long-standing market-based knowledge, together with significant business and commercial achievements, positions her as one of New Zealand’s most experienced fine art professionals. Sophie has a broad knowledge of New Zealand art history with specialist expertise in modern and contemporary practice.
Briar Williams | Art Department Manager | briar.williams@mossgreen-webbs.co.nz Briar Williams is an experienced and respected art valuer and auctioneer, having worked in both auctions and galleries in New Zealand and Australia for 13 years. Briar was the Head of Art at Leonard Joel, one of the oldest auction houses in Australia, where she oversaw a period of rapid growth in the art department. Briar holds a Bachelor of Arts degree in Art History from The University of Auckland and a Postgraduate Diploma from Sotheby's Institute, London.
Aleksandra Petrovic | Fine Art Specialist | aleksandra.petrovic@mossgreen-webbs.co.nz Aleksandra has a strong interest in modern and contemporary art and holds a Postgraduate Diploma of Fine Art from Elam School of Fine Arts. With experience working in commercial galleries and for private art consultants, Aleksandra brings a broad knowledge of contemporary art and design to her position at Mosgreen-Webb’s.
Jessica Douglas | Fine Art Specialist | jessica.douglas@mossgreen-webbs.co.nz Jessica is currently working towards her Master of Arts in Art History at The University of Auckland, where she holds an Honours degree in Art History, a Bachelor of Arts (Art History and French) and a Bachelor of Commerce (Economics and Marketing). She also works with Art News magazine and as a freelance writer. She has worked on curatorial projects and has interned at the Peggy Guggenheim Collection in Venice and at the Wallace Arts Trust.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Single-Owner Collections Paul Sumner | CEO / Single-Owner Collections | paul.sumner@mossgreen.com.au Paul is a respected specialist in the fields of Australian art, Chinese and Asian arts and European design, antiques and art. He has 30 years of experience working in the art and antiques industry with international and Australian auction houses. Paul is CEO of Mossgreen, which is now Australia’s largest multi-departmental auction house and, since the acquisition of the former Webb’s auction house in New Zealand, the company is now run as a trans-Tasman regional business.
James Hogan | Single-Owner Collections | james.hogan@mossgreen-webbs.co.nz James is one of New Zealand’s most experienced specialist valuers and appraisers. He has provided almost three decades of service to the growth and development of Webb’s as New Zealand’s leading auction house. James has been involved in many of Webb’s most successful auctions over the years, in a variety of departments, and holds a record for the highest price for a decorative arts item sold at auction in New Zealand.
Peter Downey | Jewellery and Antique Jewels Specialist & Valuer Peter was a founding director of the Webb’s jewellery department in the 1980s, and has 44 years of market experience. He is one of New Zealand’s most experienced jewellery specialists. Peter has a comprehensive knowledge of all materials and styles, and his specialist areas include Castellani, Giuliano, Fabergé, Cartier, art nouveau and art deco.
Murdoch McLennan | Consultant Murdoch joined Webb’s in 1986 as the Antiques Manager and he created many auction records including a record price for an Anton Seuffert Bonheur du Jour. Since leaving Webb’s, he has been running Murdoch McLennan Antiques, which today continues to be one of the few remaining successful antique shops in New Zealand.He specialises in 18th and 19th-century furniture, porcelain and silver.
Caolán McAleer | Single-Owner Collections | caolan.mcaleer@mossgreen-webbs.co.nz Caolán holds a Bachelor of Arts in Media, Cultural Studies and Marketing from John Moores University in Liverpool and has a background in sales and marketing. Caolán brings to Mossgreen-Webb’s his experience working in the Fine Art department of Gormleys, one of Ireland’s leading commercial art galleries and auction houses.
— Pg. 123
MOSSGREEN-WEBB’S AUCTION HOUSE
Fine & Rare Wines Reece Warren | Head of Fine & Rare Wines | reece.warren@mossgreen-webbs.co.nz Reece brings to Mossgreen-Webb’s over 25 years in the industry, encompassing grape growing, sales, marketing and vineyard management. Reece’s international experience includes three years based in England studying and doing vintage in France. He holds a Diploma of Wine (Wine & Spirit Trust Education Trust, England).
Jemma Grobbelaar | Fine & Rare Wines | jemma@mossgreen-webbs.co.nz Jemma discovered her passion for wine while working in various roles at Vergelegen Wine Estate in Stellenbosch, South Africa. She is currently in her second year of the Wine and Spirits Education Trust, Level 4 Diploma, studying towards a Master of Wine degree. She is also currently on the Court of Master Sommeliers Education programme and has recently passed her introductory Sommelier certificate. In 2015, she was a finalist in the New Zealand Junior Sommelier of the Year.
Fine Jewels & Watches Patti Sedgwick | Head of Jewellery | patti.sedgwick@mossgreen.com.au A registered jewellery appraiser, gemmologist and diamond grader with over 20 years of industry experience, Patti brings a wealth of expertise to the Fine Jewels & Watches department at Mossgreen-Webb’s. Patti has previously headed up Fine Jewellery departments at Sotheby’s Australia and Bonhams and conducted many highly successful auctions in Melbourne and Sydney.
Tam Fraser | Jewellery & Gem Specialist | tam.fraser@mossgreen-webbs.co.nz Tam Fraser brings with her with more than 15 years of wholesale and retail experience in gemstones and jewellery. Tam has spent the last nine years as a Sales and Marketing Manager, diamond grader and jewellery designer for New Zealand’s largest diamond company. She is trained in GIA and HRD diamond grading.
Chinese & Asian Art Ray Tregaskis | Head of Chinese & Asian Art | ray.tregaskis@mossgreen.com.au Ray began collecting Asian art in Europe in 1975 and opened his first gallery in Sydney in January 1979. Ray and his partner, Victoria, have travelled extensively throughout Asia and Europe over the past 30 years, holding many exhibitions nationally and internationally with Ray also writing numerous articles on various aspects of Asian antiques. Ray is a long-standing member of the AAADA and a Valuer of Asian Art under the Cultural Gifts Scheme for the Commonwealth Government.
Luke Guan | Chinese & Asian Art Specialist | luke.guan@mossgreen.com.au Luke graduated from Christie’s Education in London and the University of Glasgow with a Master of Arts in Art History and Art World Practice with a major in Arts of China. He has worked with Chinese art since 2010: for Christie’s in London and Hong Kong, and for leading Hong Kong antiques gallery – Joyce Gallery – as a specialist and cataloguer.
Pg. 124 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Collectors’ Cars, Motorcycles & Automobilia Robert Richards | Head of Collectors’ Cars, Motorcycles & Automobilia | robert.richards@mossgreen.com.au Robert has more than 18 years’ experience within the auction industry both in Australia and North America. Robert became Collectors’ Cars, Motorcycles & Automobilia Specialist for Mossgreen’s newly formed department in 2014. Following two very successful auctions, the department expanded and Robert is now Head of Collectors’ Cars, Motorcycles and Automobilia.
Catherine Davison | Collectors’ Cars, Motorcycles & Automobilia | catherine.davison@mossgreen.com.au Catherine brings extensive industry experience to Mossgreen-Webb’s and her long-held international associations with some of the most highly respected leaders in engineering, motor sport and blue ribbon auction houses brings a unique cross-section of experience to Mossgreen-Webb’s Collectors’ Cars, Motorcycles & Automobilia Department.
International Decorative Arts Jennifer Gibson | Head of Decorative Arts | jennifer.gibson@mossgreen.com.au Jennifer is a well-respected furniture and decorative arts specialist, valuer and auctioneer with a wide-ranging knowledge of her field. Her expertise includes English, Australian and Continental furniture, ceramics, glass, sculpture and silver and is coupled with a keen interest in Asian works of art, including Japanese ceramics and textiles.
Sandy Bruce | Senior Specialist, Decorative Arts | sandy.bruce@mossgreen.com.au Sandy is well respected in the industry, having worked at Sotheby’s in the United Kingdom and Australia for more than 30 years. Sandy has been involved in the sale of some of the most important decorative arts collections in Australia including The David Lawrence Collection and The John Weller Collection of Oriental & Decorative Art.
Maori & Oceanic Arts Bill Evans | Head of Oceanic Art | bill.evans@mossgreen.com.au Bill has specialised in tribal art, antique rugs and Asian textiles in Sydney for more than 35 years. He graduated magna cum laude in History from the University of Minnesota and formerly ran the Caspian Gallery in Paddington, Sydney. Bill has been a frequent speaker to museum and textile groups through the years and has written articles on Oceanic and Aboriginal collections in Australian museums for the magazine Tribal Art, the international bible for tribal art enthusiasts.
Jesse De Deyne | Deputy Director of Australian Indigenous Art | jesse.dedeyne@mossgreen.com.au Jesse studied Art History and Business Management at The University of Queensland and combines his knowledge of both subjects in his role at Mossgreen-Webb’s. He has a long-standing passion for Australian indigenous art, and has spent time volunteering at the Maningrida Art & Culture centre and Bula’bula Arts centre in Arnhem Land, as well as in the Kimberley region.
— Pg. 125
MOSSGREEN-WEBB’S AUCTION HOUSE
Sporting Memorabilia Max Williamson | Head of Sporting Memorabilia | max.williamson@mossgreen.com.au Max began his career in collectables when Stanley Gibbons Ltd opened an office in Melbourne in 1979, specialising in rare stamps and postal history. He trained in London, spending time with the rare stamps, auctions, publishing, maps and scripophily (old bonds and share certificates) departments. After 15 years, he joined Leski Auctions in 1994, and helped to introduce and grow the sports and general memorabilia auctions.
Stamps & Postal History Gary Watson | Head of Philately & Numismatics |
gary.watson@mossgreen.com.au
Gary has been a professional philatelist since 1979. As proprietor of Prestige Philately, he earned a reputation as one of the most innovative and respected stamp auctioneers in the world. A passionate collector since childhood, Gary has formed several significant/important collections of stamps, postmarks, postal history, postal stationery and philatelic literature. He has been a successful exhibitor and is a qualified National Judge in three disciplines.
Charles Leski | Deputy Chairman/Philately & Historical Memorabilia | charles.leski@mossgreen.com.au Charles established Leski Auctions in 1973. Initially focusing on Philately, the company soon diversified into other collecting fields including Sporting Memorabilia, Coins and Banknotes, Cameras and Photography, Australiana, Historical Documents and Letters, and other collectables. Charles became established as a leading authority in the field of collectables in Australia and, by 2013, the company was conducting 20 auctions a year with extensive buyer participation from interstate and overseas. He is a successful exhibitor and is a qualified National Judge in three disciplines.
Coins & Banknotes Nick Anning | Philately & Numismatics Specialist
| nick.anning@mossgreen.com.au
Nick has been a collector of stamps and coins since childhood, with a focus on stamps from Great Britain. He worked in a variety of non-philatelic roles in the United Kingdom, France and Spain before settling in Australia in 1999. Nick worked for Prestige Philately for eight years before joining Mossgreen as Stamps & Coins Specialist in 2014. He is a member of The Royal Philatelic Society of Victoria and Great Britain Philatelic Society.
Pg. 126 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
How to Buy at Auction
01
Browse the Catalogue
Browse and enjoy our beautiful printed catalogue. The auction catalogue provides descriptions, images and price estimates for each lot in the sale.
02
Attend a Viewing
Visit our salerooms, located in Parnell, during
03
a viewing time. Our specialists are always
can provide a condition report detailing the
bidding at a live auction. Our auctions
happy to discuss any lot with you in greater
current condition of an item.
are open to the public with no obligation
Obtain a Condition Report Upon request, Mossgreen-Webb’s specialists
04
Bid in Person
Experience the excitement, theatre and fun of
for the attendees to bid.
detail, and their contact details are published in each catalogue and on the website.
05
Bid Online via Mossgreen-Webb’s Live, Phone or Absentee Bid
06
Payment & Collection
This can be the perfect solution for when
watch the auction and bid in real time from
You can pay for your purchase immediately
you are unable to attend the auction.
anywherein the world.
after the auction at reception; otherwise,
Mossgreen-Webb’s Live is a free and user-
Your Mossgreen-Webb’s Live profile will offer
friendly online bidding service created
the convenience of saved searches and lot
exclusively for Mossgreen-Webb’s clients.
alerts, multi-lot bidding, and much more.
By registering with Mossgreen-Webb’s Live, you can lodge your absentee bids,
Please note there is no additional commission charged for lots purchased
an invoice will be emailed or posted to you in the days following the sale. Mossgreen-Webb’s applies a buyer’s premium of 17.5% of the hammer price plus GST on the premium.
via Mossgreen-Webb’s Live. — Pg. 127
MOSSGREEN-WEBB’S AUCTION HOUSE
Terms and Conditions
For Terms & Conditions specific to Philatelic / Numismatic auctions, please see online.
condition. Images are not shown at a standard scale. Mention is rarely made
The terms and conditions of sale listed here contain the policies of Mossgreen-Webb’s
of frames (which may be provided as supplementary images on the website)
Ltd. They are the terms on which Mossgreen-Webb’s Ltd and the Seller contract with the
which do not form part of the lot as described in the printed catalogue.
Buyer. They may be amended by printed Saleroom Notices or oral announcements made
An item bought “on Extension” must be paid for in full before it will be released to the
before and during the sale. By bidding at auction you agree to be bound by these terms.
purchaser or his/her agreed expertising committee or specialist. Payments received for
1. Background to the Terms used in these Conditions
such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity
The conditions that are listed below contain terms that are used
has been resolved more quickly. Extensions must be requested before the auction.
regularly and may need explanation. They are as follows:
Foreign buyers should note that all transactions are in Australian dollars so there may
“the Buyer”
be a small exchange rate risk. The costs associated with acquiring a good opinion
means the person with the highest bid accepted by the Auctioneer.
or certificate will be carried by the purchaser. If the item turns out to be forged or
“the Lot”
otherwise incorrectly described, all reasonable costs will be borne by the vendor.
means any item depicted within the sale for auction and in particular the
Buyers Responsibility
item or items described against any lot number in the catalogue.
All property is sold “as is” without representation or warranty of any kind
“the Hammer price”
by Mossgreen-Webb’s or the Seller. Buyers are responsible for satisfying
means the amount of the highest bid accepted by the auctioneer in relation to a lot.
themselves concerning the condition of the property and the matters
“the Buyer’s Premium”
referred to in the catalogue by requesting a condition report.
means the charge payable by the Buyer to the auction
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid
house as a percentage of the hammer price.
or treated by any other process unless the Auctioneer’s permission to subject
“the Reserve”
the lot to such immersion or treatment has first been obtained in writing.
means the lowest amount at which Mossgreen-Webb’s has
4. At the Sale
agreed with the Seller that the lot can be sold.
Refusal of Admission
“Forgery”
Mossgreen-Webb’s reserves the right at our complete discretion to refuse admission
means an item constituting an imitation originally conceived and executed as a whole,
to the auction premises or participation in any auction and to reject any bid.
with a fraudulent intention to deceive as to authorship, origin, age, period, culture
Registration Before Bidding
or source, where the correct description as to such matters is not reflected by the
Any prospective new buyer must complete and sign a registration form and
description in the catalogue. Accordingly no lot shall be capable of being a forgery
provide photo identification before bidding. Mossgreen-Webb’s may request
by reason of any damage or restoration work of any kind (Including re-painting).
bank, trade or other financial references to substantiate this registration.
“the insured value”
Bidding as a Principal
means the amount that Mossgreen-Webb’s in its absolute discretion from
When making a bid, a bidder is accepting personal liability to pay the purchase
time to time shall consider the value for which a lot should be covered for
price including the buyer’s premium and all applicable taxes, plus all other
insurance (whether or not insurance is arranged by Mossgreen-Webb’s).
applicable charges, unless it has been explicitly agreed in writing with Mossgreen-
All values expressed in Mossgreen-Webb’s Ltd catalogues (in any format)
Webb’s before the commencement of the sale that the bidder is acting as
are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”,
agent on behalf of an identified third party acceptable to Mossgreen-Webb’s
“Buyers Premium” and other expressions of value are understood by all
and that Mossgreen-Webb’s will only look to the principal for payment.
parties to be in New Zealand Dollars (NZD$) unless otherwise specified.
International Registrations
2. Mossgreen-Webb’s Auctions as Agent
All International clients not known to Mossgreen-Webb’s will be required to scan
Except as otherwise stated Mossgreen-Webb’s Ltd acts as agent for the Seller.
or fax through an accredited form of photo identification and pay a deposit
The contract for the sale of the property is therefore
at our discretion in cleared funds into Mossgreen-Webb’s account at least 24
made between the Seller and the Buyer.
hours before the commencement of the auction. Bids will not be accepted
3. Before the Sale
without this deposit. Mossgreen-Webb’s also reserves the right to request any
Examination of Property
additional forms of identification prior to registering an overseas bid.
Prospective Buyers are strongly advised to examine in person any property in
This deposit can be made using a credit card, however the balance of any purchase
which they are interested before the Auction takes place. Neither Mossgreen-
price in excess of $5,000 cannot be charged to this card without prior arrangement.
Webb’s nor the Seller provides any guarantee in relation to the nature of
This deposit is redeemable against any auction purchase and
the property apart from the Limited warranty in the paragraph below.
will be refunded in full if no purchases are made.
The property is otherwise sold “AS IS”
Absentee Bids
Catalogue and Other Descriptions
Mossgreen-Webb’s will use reasonable efforts to execute written bids delivered to us
All statements by Mossgreen-Webb’s in the catalogue entry for the property or
AT LEAST 24 Hours before the sale for the convenience of those clients who are unable
in the condition report, or made orally or in writing elsewhere, are statements of
to attend the auction in person. If we receive identical written bids on a particular lot,
opinion and are not to be relied upon as statements of fact. Such statements do not
and at the auction these are the highest bids on that lot, then the lot will be sold to the
constitute a representation, warranty or assumption of liability by Mossgreen-Webb’s
person whose written bid was received and accepted first. Execution of written bids
of any kind. References in the catalogue entry to the condition report to damage or
is a free service undertaken subject to other commitments at the time of the sale and
restoration are for guidance only and should be evaluated by personal inspection
we do not accept liability for failing to execute a written bid or for errors or omissions
by the bidder or a knowledgeable representative. The absence of such a reference
which may arise. It is the bidder’s responsibility to check with Mossgreen-Webb’s after
does not imply that an item is free from defects or restoration, nor does a reference
the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
to particular defects imply the absence of any others. Estimates of the selling price
Telephone Bids
should not be relied on as a statement that this is the price at which the item will
Priority will be given to overseas and bidders from other regions. Please refer to the
sell or it’s value for any other purpose. Neither Mossgreen-Webb’s nor The Seller is
catalogue for the Telephone Bids form. Arrangements for this service must be confirmed
responsible for any errors or omissions in the catalogue or any supplemental material.
AT LEAST 24 HOURS PRIOR to the auction commencing. Mossgreen-Webb’s accepts no
Images are measured height by width (sight size). Illustrations are provided only
responsibility whatsoever for any errors or failure to execute bids. In telephone bidding
as a guide and should not be relied upon as a true representation of colour or
the buyer agrees to be bound by all terms and conditions listed here and accepts
Pg. 128 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
that Mossgreen-Webb’s cannot be held responsible for any miscommunications in the
Absentee bids must follow these increments and any bids that don’t
process. The success of telephone bidding cannot be guaranteed due to circumstances
follow the steps will be rounded up to the nearest acceptable bid.
that are unforeseen. Buyers should be aware of the risk and accept the consequences
5. After the Sale
should contact be unsuccessful at the time of Auction. You must advise Mossgreen-
Buyers Premium
Webb’s of the lots in question and you will be assumed to be a buyer at the minimum
In addition to the hammer price, the buyer agrees to pay to Mossgreen-
price of 75% of estimate (i.e. reserve) for all such lots. Mossgreen-Webb’s will advise
Webb’s the buyer’s premium. The buyer’s premium is 17.5% of the hammer
Telephone Bidders who have registered at least 24 hours before the auction of any
price plus GST. (Goods and Services Tax) where applicable.
relevant changes to descriptions, withdrawals or any other sale room notices.
Payment and Passing of Title
Online Bidding
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium
Mossgreen-Webb’s offers an online bidding service. When bidding online the buyer
and any applicable taxes and GST) not later than 5 days after the auction date.
agrees to be bound by all terms and conditions listed here by Mossgreen-Webb’s.
The buyer will not acquire title to the lot until Mossgreen-Webb’s receives
Mossgreen-Webb’s accepts no responsibility for any errors, failure to execute bids
full payment in cleared funds, and no goods under any circumstances
or any other miscommunications regarding this process. It is the online bidder’s
will be released without confirmation of cleared funds received. This
responsibility to ensure the accuracy of the relevant information regarding bids, lot
applies even if the buyer wishes to send items overseas.
numbers and contact details. Mossgreen-Webb’s does not charge for this service.
Payment can be made by direct transfer, cash (not exceeding NZD$10,000, if wishing
Reserves
to pay more than NZD$10,000 then this must be deposited directly into a Bank of
Unless otherwise indicated, all lots are offered subject to a reserve, which is the
New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily
confidential minimum price below which the Lot will not be sold. The reserve will
limit). Payments can also be made by credit card in person with a 2.2% merchant fee
not exceed the low estimate printed in the catalogue. The auctioneer may open the
for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of
bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The
$5,000 and where the card holder is not present, cannot be charged to a credit card
auctioneer may continue to bid on behalf of seller up to the amount of the reserve,
without prior arrangement. Personal cheques are accepted, but funds must be cleared
either by placing consecutive bids or by placing bids in response to other bidders.
before goods will be released. Bank cheques are subject to five days clearance.
Auctioneers Discretion
The buyer is responsible for any bank fees and charges applicable
The Auctioneer has the right at his/her absolute and sole discretion to refuse any
for the transfer of funds into Mossgreen-Webb’s account.
bid, to advance the bidding in such a manner as he/she may decide, to withdraw or
Collection of Purchases & Insurance
divide any lot, to combine any two or more lots and, in the case or error or dispute
Mossgreen-Webb’s is entitled to retain items sold until all amounts due to us
and whether during or after the sale, to determine the successful bidder, to continue
have been received in full in good cleared funds. Subject to this, the Buyer
the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any
shall collect purchased lots within 5 days from the date of the sale unless
dispute arises after the sale, then Mossgreen-Webb’s sale record is conclusive.
otherwise agreed in writing between Mossgreen-Webb’s and the Buyer.
Successful Bid and Passing of Risk
At the fall of the hammer, insurance is the responsibility of the purchaser.
Subject to the auctioneer’s discretion, the highest bidder accepted by
Packing, Handling and Shipping
the auctioneer will be the buyer and the striking of his hammer marks the
Mossgreen-Webb’s will be able to suggest removals companies that the buyer can
acceptance of the highest bid and the conclusion of a contract for sale
use but takes no responsibility whatsoever for the actions of any recommended
between the Seller and the Buyer. Risk and responsibility for the lot (including
third party. Mossgreen-Webb’s can pack and handle goods purchased at the auction
frames or glass where relevant) passes immediately to the Buyer.
by agreement and a charge will be made for this service. All packing, shipping,
Indicative Bidding Steps, etc.
insurance, postage & associated charges will be borne by the purchaser.
Mossgreen-Webb’s reserves the right to refuse any bid, withdraw
Permits, Licences and Certificates
any lot from sale, to place a reserve on any lot and to advance
Under The Protected Objects Act 1975, buyers may be required to
the bidding according to the following indicative steps:
obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington. Remedies for Non-Payment
Increment Amount
Dollar Range
$20
$0–$500
to asserting any other rights or remedies available under the law)
$50
$500–$1,000
to hold the defaulting Buyer liable for the total amount due and to
$100
$1,000–$2,000
$200
$2,000–$5,000
$500
$5,000–$10,000
$1,000
$10,000–$20,000
to set off against any amounts which Mossgreen-Webb’s may owe the Buyer in
$2,000
$20,000–$50,000
where several amounts are owed by the Buyer to us, in respect of different
$5,000
$50,000 – $100,000
$10,000
$100,000–$200,000
$20,000
$200,000–$500,000
$50,000
$500,000–$1,000,000
If the Buyer fails to make full payment immediately, Mossgreen-Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to charge interest at such a rate as we shall reasonably decide. commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law. to cancel the sale. to resell the property publicly or privately on such terms as we see fit. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Mossgreen-Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount. any other transactions, the outstanding amount remaining unpaid by the Buyer. transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us. to take such other action as Mossgreen-Webb’s deem necessary or appropriate. — Pg. 129
MOSSGREEN-WEBB’S AUCTION HOUSE
If we do sell the property under paragraph (4), then the defaulting Buyer shall
shall remain the property at all times of Mossgreen-Webb’s and shall not be used
be liable for payment of any deficiency between the total amount originally
by the Buyer, nor by anyone else without our prior written consent. Mossgreen-
due to us and the price obtained upon reselling as well as for all costs,
Webb’s and the Seller make no representation or warranty that the Buyer of
expenses, damages, legal fees and commissions and premiums of whatever
a property will acquire any copyright or other reproduction rights in it.
kinds associated with both sales or otherwise arising from the default.
10. Law and Jurisdiction
If we pay any amount to the Seller under paragraph (5) the Buyer
These terms and conditions and any matters concerned with the foregoing fall within
acknowledges that Mossgreen-Webb’s shall have all of the rights of the
the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.
Seller, however arising, to pursue the Buyer for such amount.
11. Pre-Sale Estimates
Failure to Collect Purchases
Mossgreen-Webb’s publishes with each catalogue our opinion as to the estimated
Where purchases are not collected within 5 days from the sale date, whether or
price range for each lot. These estimates are approximate prices only and are
not payment has been made, we shall be permitted to remove the property to
not intended to be definitive. They are prepared well in advance of the sale
a warehouse at the buyer’s expense, and only release the items after payment
and may be subject to revision. Interested parties should contact Mossgreen-
in full has been made of removal, storage handling, insurance and any other
Webb’s prior to auction for updated pre-sale estimates and starting prices.
costs incurred, together with payment of all other amounts due to us.
12. Sale Results
6. Extent of Mossgreen-Webb’s Liability
Mossgreen-Webb’s will provide auction results, which will be available
Mossgreen-Webb’s agrees to refund the purchase price in the circumstances of the
as soon as possible after the sale. Results will include buyer’s premium.
Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor
These results will be posted at www.mossgreen-webbs.co.nz.
we, nor any of our employees or agents are responsible for the correctness of any
13. Goods and Service Tax
statement of whatever kind concerning any lot, whether written or oral, nor for any
GST is applicable on the hammer price in the case where the seller is selling
other errors or omissions in description or for any faults or defects in any lots. Except
property that is owned by an entity registered for GST. GST is also applicable
as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or
on the hammer price in the case where the seller is not a New Zealand resident.
employees give any representation warranty or guarantee or assume any liability of
These lots are denoted by a dagger symbol † placed next to the estimate.
any kind in respect of any lot with regard to merchantability, fitness for a particular
GST is also applicable on the buyer’s premium.
purpose, description, size, quality, condition, attribution, authenticity, rarity, importance,
Overseas buyers and buyers non-resident in New Zealand will not be charged
medium, provenance, exhibition history, literature or historical relevance. Except as
GST on both hammer price and premiums under the following conditions:
required by local law any warranty of any kind is excluded by this paragraph.
The items are exported through a Mossgreen-Webb’s approved
7. Limited Warranty
freight company including New Zealand Post
Subject to the terms and conditions of this paragraph, the Seller warrants for the
The items are exported within 60 days of the date of the sale
period of thirty days from the date of the sale that any property described in this
The invoice supplied by Mossgreen-Webb’s for purchases will
catalogue (noting such description may be amended by any saleroom notice or
be regarded as a Tax invoice for GST purposes.
announcement) which is stated without qualification to be the work of a named author
14. Jewels & Watches
or authorship is authentic and not a forgery. The term “Author” or “authorship” refers
GEMSTONES
to the creator of the property or to the period, culture, source, or origin as the case
Gemstones have historically been subjected to a variety of treatments to enhance
may be, with which the creation of such property is identified in the catalogue.
their appearances. Sapphires and rubies are routinely heat treated to improve their
The warranty is subject to the following:
colour and clarity, similarly emeralds are frequently treated with oils or resin for
it does not apply where a) the catalogue description or saleroom notice
the same purpose. Other treatments such as staining and dyeing, irradiation, filling
corresponded to the generally accepted opinion of scholars and experts at the date
or coating may have been used on other precious and semi-precious gemstones
of the sale or fairly indicated that there was a conflict of opinions, or b) correct
and organic material. These treatments may be permanent, whilst others may need
identification of a lot can be demonstrated only by means of a scientific process
special care to preserve their appearance. Buyers should assume that each lot has
not generally accepted for use until after publication of the catalogue or a
been subject to some form of treatment and that the estimates reflect this.
process which at the date of the publication of the catalogue was unreasonably
A number of laboratories issue certificates that give detailed descriptions of
expensive or impractical or likely to have caused damage to the property.
gemstones, and in the event that Mossgreen-Webb’s has been supplied with or
the benefits of the warranty are not assignable and shall apply only to
obtained certificates for any lot, this shall be noted in the catalogue. However, as
the original buyer of the lot as shown on the invoice originally issued
there may not be consensus between different laboratories on the degree, or types
by Mossgreen-Webb’s when the lot was sold at Auction.
of treatment of the gemstones Mossgreen-Webb’s supplies these without warranty.
the Original Buyer must have remained the owner of the lot
PEARLS
without disposing of any interest in it to any third party.
Pearls, like gemstones, can also be subjected to various treatments. Buyers
The Buyer’s sole and exclusive remedy against the Seller in place of any other
should assume that any pearls sold by Mossgreen-Webb’s may have been
remedy which might be available, is the cancellation of the sale and the refund of
subjected to such treatments, and that the catalogue estimates reflect this.
the original purchase price paid for the lot less the buyer’s premium which is non-
WATCHES
refundable. Neither the Seller nor Mossgreen-Webb’s will be liable for any special,
Please note: All watches sold by Mossgreen-Webb’s are sold on an “as is” basis.
incidental nor consequential damages including, without limitation, loss of profits.
Mossgreen-Webb’s makes no representation or warranty that any watch is in
The Buyer must give written notice of claim to us within thirty days of the date of the
working order. Many watches have been repaired over their lifetime and may
Auction. The Seller shall have the right, to require the Buyer to obtain two written
contain non-original parts. The absence of any reference to the condition of a watch
opinions by recognised experts in the field, mutually acceptable to the Buyer and
does not imply that the lot is in good condition and without defects, repairs or
Mossgreen-Webb’s to decide whether or not to cancel the sale under warranty.
restorations. Buyers should be aware that a general service charge for battery or
the Buyer must return the lot to Seller in the same condition that it was purchased.
further repair work, for which the Buyer is solely responsible, may be necessary.
8. Severability
ESTIMATED WEIGHTS
If any part of these Conditions of Sale is found by any court to be invalid,
If a stone has a known weight, it has been weighed out of the mount. If a stone has an
illegal or unenforceable, that part shall be discounted and the rest of the
estimated weight, it is an approximate weight only and has been measured by us in the
Conditions shall continue to be valid to the fullest extent permitted by law.
mount and is a statement of opinion only. The information is given as a guide only and
9. Copyright
Buyers should satisfy themselves with regard to this information as to its accuracy.
The copyright in all images, illustrations and written material produced by Mossgreen-Webb’s relating to a lot including the contents of this catalogue, is and
Pg. 130 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Index of Artists
Artists Name
Lot
McLeod, Andrew
2
Bambury, Stephen
36, 38
McWhannell, Richard
53
Binney, Don
15, 30
Oh, Seung Yul
3, 50
Clark, Russell
28
Page, Evelyn
46
Cotton, Shane
35
Pardington, Fiona
6
Dabro, Ante
52
Parekowhai, Michael
5
de Lautour, Tony
7, 8
Paterson, Reuben
34
Ellis, Robert
33
Peryer, Peter
39
Gimblett, Max
10, 43
Petre, Mike
31
Goldie, Charles Frederick
17
Robinson, James
32
Hammond, Bill
26
Rutecki, Katherine
44
Hanly, Pat
16
Smither, Michael
13
Harris, Jeffrey
29
Stringer, Terry
20, 21
Harrison, Michael
1
Todd, Yvonne
4
Hight, Michael
41
Vickery, John
51
Hodgkins, Frances
18, 19
Walter, Layla
48
Hoyland, John
24
Warhol, Andy
49
Hunt, Matt
42
Westra, Ans
37
Lewitt, Sol
9
Whiteley, Brett
40
Maddox, Allen
11, 12
Wiseman, Merilyn
45
McCahon, Colin
14, 22, 23, 25
Younghusband, Adele
27
McIntyre, Peter
47
— Pg. 131
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