The Piers Abbenes Collection, July 2024

The Piers Abbenes Collection

Online Auction Catalogue

24—29 July 2024

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Paul Evans Managing Director paul@webbs.co.nz

+64 21 866 000

Mel Hargrave General Manager mel@webbs.co.nz

+64 27 929 5604

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+64 22 344 5610

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

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Single-Owner Collections

Caolán McAleer Head of Single-Owner Collections caolan@webbs.co.nz

+64 27 929 5603

Chris Wiseman Administrator, Single-Owner Collections cars@webbs.co.nz

+64 21 215 7646

Crucial Colour Edition of 800 Offset Printed, 72 pages 300gsm Matt Art 113gsm Matt Art

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

33a Normanby Road Mount Eden Auckland, 1024

23 Marion Street Te Aro Wellington, 6011 webbs.co.nz

Caolán McAleer, Head of Single-Owner Collections

Webb’s Head of Single-Owner Collections, Caolán McAleer reminisces about his friendship and professional relationship with a unique and inspiring young collector.

Piers is a remarkable anomaly in today’s art world. In an industry and environment where his contemporaries are often almost double his age, he stands out as a rare individual. Despite lacking substantial means, he has managed to build a sizable collection of art and ceramics before even reaching the age of 30.

How does one achieve this without a considerable salary or a trust fund? Piers believes he has accomplished this by setting aside around $200–$300 every week and conducting careful research to purchase items that might be overlooked at first glance. While he has occasionally stretched this budget for larger gallery purchases, he is a testament of the notion that, for a young collector, the auction house is often the best place to start as it is where original artworks and prints can be accessed for a few hundred dollars.

Piers in his Studio, 2024. Photographed by Adrienne Martyn

I first encountered Piers in 2018 in a storage lock-up in Eden Terrace. At the ripe old age of 23, he was embarking on a business venture as a small dealer of art and decorative arts. His collection already boasted the names of Clarice Cliff, Ralph Hotere, Keith Murray, and Mario Bellini, among others.

I was delighted to meet someone of a similar age to mine, with such refined taste, and who was carving out a career in an industry akin to my own. We hit it off, and Piers agreed to consign many strong lots to my inaugural sale as the newly appointed Head of Decorative Arts at the ‘Brand New Webb’s.’

Piers’ lots sold well, and we were onto a promising venture. Over the years, we have remained close, and I vividly recall one scorching February afternoon when I had to usher him out of the gallery as he had arrived without shoes, only to return wearing his trusty jandals. Piers’ keen knowledge and discerning eye have led him to roles at Cordy’s and, after relocating to Wellington, at Dunbar Sloane.

This collection represents what I am certain will be the first of several Piers Abbenes collections. As a true collector, he understands the importance of letting go and starting anew, which is commendable. He has thoughtfully brought together many works by the same practitioners, giving the collection the feel of a curated group exhibition rather than a mere auction. This is why we believe it deserves to be viewed in Wellington, a city dear to Piers’ heart and his native Auckland.

I hope you enjoy this outstanding catalogue as much as we have enjoyed assembling it.

▲ Caolán McAleer, Head of Single-Owner Collections

Wellington Launch Event

Wednesday 29 May 5.30pm — 7.30pm

Wellington Viewing

Thursday 30 May — Friday 31 May 10am — 5pm

Saturday 1 June 11am — 3pm

Sunday 2 — Monday 3 June CLOSED

Tuesday 4 — Friday 7 June 10am — 4pm

Saturday 8 June 11am — 3pm

Auckland Launch Event

Tuesday 23 July 6pm — 8pm

Auckland Viewing

Wednesday 24 — Friday 26 July 10am — 5pm

Saturday 27 July 10am — 4pm

Sunday 28 July CLOSED

Monday 29 July 10am — 5pm

Online Auction

Wednesday 24 — Monday 29 July

281 Lots

Although we are presenting the collection with a physical viewing, this is an online only auction.

Bidding opens Wednesday 24 July at 10am and runs until Monday 29 July at 8pm, lots close in groups of ten every two minutes from 8pm. If a bid is placed on an item in the last two minutes, closing time on that individual lot will auto-extend by two minutes.

Purchased Jhana Millers (then Millers O’Brien), November 2019. Exhibited ‘Strands’ Dowse Nov 2019 – Mar 2020

Bedroom

signed 470 × 570mm

EST $800 — $1,600

signed 170 ×

EST $800 —

2 Michael Smither, Three Cows on Observatory Hill 1971 screenprint, 1/23

3 Michael Smither, Mount Taranaki 1981 screenprint, 27/449

160mm

$1,600

4 Michael Smither, Cloud

on paper (collage)

5 Michael Smither, Multicoloured with Large Black Piece

6 Michael Smither, untitled (Dusk) c1971

(collage)

7 Tom Mutch, Progress the Dream

1982 screenprint, 10/29 signed

385 × 285mm EST $300 — $600

8 Philippa Blair, Crossing Borders 1989 lithograph, 5/50 signed 550 × 740mm EST $600 — $1,000

NOTE see Te Papa collection- CA000933/024/0008

—

signed

530 × 720mm EST $400 — $800 NOTE see Te Puna O Waiwhetū 92/22:1-6

270 × 285mm

$150 — $300

475 × 355mm EST $300 — $600

11 Philippa Blair, Duende 1986 lithograph, 7/15 signed

13 Philippa Blair, Set Piece: La Scala 1988 etching, 5/25 signed

12 Philippa Blair, Italia 1988 etching (ltd ed. A/P) signed

270 × 250mm

$150

$300

9 Philippa Blair, Golden Envelopes

10 Philippa Blair, Anasazi 1991 lithograph, 44/50

370 × 555mm

$600 — $1,000

bamboo engraving and lithograph,

705 × 550mm (sheet)

14 Stanley Palmer, Old Man 1970 bamboo engraving and lithograph, 1/20

$600 — $1,000

15 Stanley Palmer, Two Trees – Harataonga 1980

bamboo engraving and lithograph, 23/60 signed

16 Stanley Palmer, Hillside 1979

bamboo engraving and lithograph, 15/60

× 530mm (sheet)

17 Stanley Palmer, Old Pohutakawa – Mahurangi 1971

16/50

EST

270 × 190mm

EST

EST

EST $800 — $1,600

19 Joan Taylor, Creation I 1979 colour etching, 2/25 signed

$200 — $400

20 Nigel Brown, Driveways 1974 oil on board signed and title inscribed 420 × 330mm

$7,000 — $9,000

21 Nigel Brown, Recent Paintings – Elva Bett Gallery 1980 acrylic on paper 890 × 635mm

$1,500 — $3,000

22 Nigel Brown, Letter to Christina Upon the End of The World 1983 lithograph, 4/15 signed 335 × 465mm

18 Joan Taylor, Overlooking the Waitemata 1980 colour etching, 4/40 signed 660 × 560mm

$400 — $800

$400 — $800

$800 — $1,600

$600 — $1,200

23 Christina Conrad, Sorrow 1988 lithograph (1/20)

× 250mm (sheet)

24 Christina Conrad, The Life of the Teapot 1987 oil on paper

25 Christina Conrad, Two Figures 1985 oil on paper

26 Christina Conrad, Afterwards 1988

27 Christina Conrad, Sorrow Came + I did not take it

c1970

acrylic and watercolour on paper

900 × 580mm

EST $3,000 — $6,000

c1970

acrylic and watercolour on paper

900 × 580mm

EST $3,000 — $6,000

c1970

acrylic and watercolour on paper

900 × 580mm

EST $3,000 — $6,000

445 × 370mm

EST $800 — $1,200

28 Michael Smither, untitled (Stations of the Cross)

29 Michael Smither, untitled (Stations of the Cross)

30 Michael Smither, Jesus Falls for the First Time (Stations of the Cross)

31 William H. Wright, untitled (Still Life with Benin Bronze & Apples)

A Somewhat Cavalier Approach by Piers Abbenes

Briar Gardner’s (1879–1968) family had generational roots in the brick and pipe industry, though she was in her mid 50’s before she discovered studio pottery, and “taught herself pottery by trial and error”.4 Descriptions of Briar Gardner’s output levied against those of her historical stature and influence seem antithetical. Perhaps this is because her ceramics beg not to be reduced to simple pots — but seen as enthusiastic exercises in discovery — art through experimentation.

Accounts of Briar Gardner paint her as endlessly curious, joyously contrarian, unconventional and unabashed — a personality which is intrinsic through her work — “her hands were never idle and whatever she touched reflected something of her original nature”.5 Of a 1930’s educational film featuring Briar Gardner, John Parker notes, “the sheer exuberance with which she attacks the bisqueware with the glazes is infectious.”6

Lloyd Jenkins in Fomison, 2002, p10.

2 Gardner et al., 1984, p8.

3 quoted in Fomison, 2002, p27.

4 Scott in Gardner et al., 1984, p2.

5 Rudd, 2022

6 Gardner et al., 1984, p14.

7 Clarke in Gardner et al., 1984, p4.

Briar Gardner produced enduring and exceptional pots, arguably becoming New Zealand’s first studio potter simply by “following her own inspiration”.7 Though ‘Anglo-Oriental influences [would become] dominant in studio ceramics’8 it is undeniable that ceramic history in Aotearoa followed Gardner’s inspiration, too.

Almost a century ago, on first discovering a catalogue of glazes, Gardner enthused over “every colour and many shades and tints of each to make any lover of colour aflame with desire to use them all”.9 Gardner’s resulting pots have much the same effect — to make any lover of colour aflame with desire.

Confronted by her family over her “inability to grasp the economic significance of the ‘reproducible experiment’ … her answer was always the same… ‘That would not be art’”.10

Image supplied from private collection.

32 Briar Gardner, canoe form trough vase blue glaze ceramic signed

90 × 255 × 90mm (widest points)

EST $200 — $300

33 Briar Gardner, trough vase blue exterior and yellow interior glazed slip cast ceramic signed

80 × 220 × 90mm (widest points)

EST $150 — $300

34 Briar Gardner, trough vase ochre with pale green highlights glazed slip cast ceramic signed

80 × 220 × 80mm (widest points)

EST $150 — $300

35 Briar Gardner, trough vase variegated blue exterior, green interior glazed slip cast ceramic signed

55 × 240 × 100mm

EST $150 — $300

36 Briar Gardner, posy pot blue with green highlights exterior, yellow interior glazed ceramic signed

70 × 120mm (diameter)

EST $150 — $300

37 Briar Gardner, posy pot yellow with peach highlights glazed ceramic signed

75 × 110mm (diameter)

EST $150 — $300

38 Briar Gardner, posy pot yellow with plum highlights glazed ceramic signed

75 × 110mm (diameter)

EST $50 — $100

39 Briar Gardner, baluster vase 1941 deep green glazed ceramic signed and dated 110 × 90mm (diameter)

EST $100 — $200

“Briar Gardner was not a great potter”/ “Her determination to make handmade pottery acted as a catalyst in the story of ceramic making in New Zealand” ▲ Brian Muir quoted in Gardner et al., 1984, p19.

40 Briar Gardner, baluster vase 1941 peach with pink highlights glazed ceramic signed and dated

70 × 80mm (diameter)

EST $100 — $200

41 Briar Gardner, baluster vase 1941 yellow and green glazed ceramic signed and dated

90 × 70mm (diameter)

EST $100 — $200

42 Briar Gardner, wall pocket rich green glazed slab built ceramic signed

250 × 120 × 40mm (widest points)

EST $200 — $300

43 Briar Gardner, large trough vase green exterior, yellow exterior ceramic signed

80 × 300 × 140mm (widest points)

EST $250 — $500

44 Briar Gardner, handled jug 1933 pale tone glazed ceramic signed and dated 110 × 115mm

EST $100 — $200

45 Briar Gardner, trough vase yellow with green highlights glazed ceramic signed

60 × 180 × 65mm (widest points)

EST $150 — $300

46 Briar Gardner, trough vase multicoloured glazed ceramic signed

60 × 180 × 65mm (widest points

EST $150 — $300

47 Briar Gardner, trough vase yellow with pink highlights glazed ceramic signed

55 × 165 × 70mm (widest points)

EST $150 — $300

48 Briar Gardner, trough vase green over blue glazed ceramic signed

55 × 165 × 65mm (widest points)

EST $150 — $300

“The maker of chunky, and often clunky vases… Her work is an acquired taste”/ “A great New Zealand potter… a craftsperson of real… individualistic vision”

▲ Douglas Lloyd Jenkins, Lloyd-Jenkins, 2006, p59, p61.

49 Briar Gardner, trough vase pitted blue with cream interior glazed ceramic signed

50 × 160 × 60mm (widest points)

EST $150 — $300

50 Briar Gardner, trough vase multicoloured glazed ceramic signed

50 × 155 × 60mm (widest points)

EST $150 — $300

51 Briar Gardner, trough vase cream glazed ceramic signed

50 × 165 × 65mm (widest points)

EST $150 — $300

52 Briar Gardner, trough vase multicoloured glazed ceramic signed

50 × 160 × 60mm (widest points)

EST $150 — $300

53 Briar Gardner, ovoid vase 1935 partially brushed blue glazed ceramic signed and dated 80 × 70mm (diameter)

EST $100 — $200

54 Briar Gardner, small ribbed dish matte pink glazed ceramic signed 35 × 90mm

EST $100 — $200

55 Briar Gardner, bowl with incised rim decoration pale mauve exterior with maroon highlighted interior glazed ceramic signed 45 × 100mm (diameter)

EST $200 — $300

56 Briar Gardner, small dish rich green glazed ceramic signed 30 × 80mm

EST $150 — $300

57 Briar Gardner, small rimmed dish multicoloured with pink undertone glazed ceramic signed 40 × 95mm

EST $150 — $300

58 Peter Peryer, untitled (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

59 Peter Peryer, Lily (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

NOTE

An edition held by Te Papa Tongarewa.

60 Peter Peryer, Drowned Woman (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

NOTE Illustrated ‘Second Nature: Peter Peryer, Photographer, New Zealand’ p11 / ‘Photoforum August/September 1976’, cover.

61 Peter Peryer, Journey to Wellington (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

NOTE An edition held by Te Papa Tongarewa.

62 Peter Peryer, Gone Home (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

63 Peter Peryer, Caravan I (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

64 Peter Peryer, AEPB (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

NOTE

An edition held by Te Papa Tongarewa.

65 Peter Peryer, Caravan II (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

66 Peter Peryer, BC (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

67 Peter Peryer, Stairs (from Gone Home) 1976

gelatin silver photograph facsimile signature verso 175 × 175mm

EST $1,000 — $2,000

NOTE

A complete set of Gone Home is held by both Sarjeant Gallery Te Whare o Rehua, and Auckland Art Gallery Toi o Tāmaki.

68 Peter Peryer, Birds & Cage –Auckland Zoo (Zoo Music) 1983

gelatin silver photograph facsimile signature verso 190 × 290mm

EST $1,000 — $2,000

NOTE

Illlustrated ‘Peter Peryer: A Careful Eye’ p76 / ‘Peter Peryer: Photographer p35 (plate 11).

69 Bill Culbert, Clay, Sun, Shadow I & II 1975

silver diptych

EST $1,000 — $2,000

PROVENANCE Illustrated ‘Bill Culbert, Making Light Work’ p107–108, exhibited ‘Bill Culbert | Slow Wonder’

Art Gallery (18 Jul 2021 — 21 Nov 2021).

PROVENANCE

70 Patrick Reynolds, Planter’s Faith I

silver photograph (selenium)

71 Patrick Reynolds, Planter’s Faith II

silver photograph (selenium)

72 Patrick Reynolds, Planter’s Faith III

silver photograph (selenium)

× 285mm

$750 — $1,500

73 Robin Morrison, Robin White

74 Samantha Mitchell, ...and then he said 2005 ink and wash on book page signed, dated and title inscribed 130 × 205mm

EST $300 — $600

76 Samantha Mitchell,

2005 ink and wash on book page signed, dated and title inscribed 130 × 210mm

EST $300 — $600

75 Samantha

New

2005 ink and wash on book page signed, dated and title inscribed 135 × 200mm

EST $300 — $600

77 Samantha

2005 ink and wash on book page signed, dated and title inscribed 130 × 215mm

EST $300 — $600

78 Samantha

2005 ink and wash on book page signed

EST $400 — $600

Mitchell, What’s

Pussycat

Deadly Kiss

Mitchell, King Of Pain

Mitchell, Untitled (Wordsworth)

79 Photographer Unknown, Claudia Pond Eyley in Her Studio silver gelatin photograph

250 × 165mm

EST $100 — $200

PROVENANCE

Purchased from Portraits and Pastimes: The Group Online, Webbs, 2022, lot 225.

80 John

Pond Eyley in Her Studio 1987 silver gelatin photograph

180 × 250mm

EST $100 — $200

PROVENANCE

Purchased Portraits and Pastimes: The Group Online, Webbs, 2022, lot 252

81 Claudia

16 1970 oil on

signed 800 × 815mm EST $2,500 — $5,000

82 Claudia Pond-Eyley,

Women (Broadsheet

1980 offset lithograph (publication cover) signed 390 × 600mm

EST $400 — $800

NOTE see Auckland Museum EPH-PT-3-78

83 Claudia Pond-Eyley, Selfportrait and tree of life 1982 hand coloured etching, 20/20 signed 205 × 160mm

EST $400 — $800

Selkirk, Claudia

Pond-Eyley, Life No.

canvas

Defiant

Cover)

1993 lithograph, 7/35 signed EST $2,000 — $4,000

EST $800 — $1,200

84 Pat Hanly, Expo Bride & Groom

85 Denis Knight Turner, untitled Abstract (Red) 1972 watercolour on paper signed 470 × 330mm

86 Denis Knight Turner, untitled Abstract (Blue) 1973 watercolour on paper

$800 — $1,200

by Piers Abbenes

Betty Beadle (1924–2002) studied painting, drawing, ceramics and design at Newcastle (NSW, Australia) Art School. In 1961 she became a founding member of the Low Show Group — a pioneering group of female artists serious about forging professional art careers.26 In 1988, Beadle was a propelling influence, and founding member of what is now Medal Art New Zealand (MANZ). Through this group, Beadle and Marian [Fountain] introduced artist friends from various disciplines to the delights of the medal and held workshops to demonstrate the making processes.27

Exhibiting at the British Museum in 1992 the group was an exciting innovation… whose varied and energetic work is a tribute to the creative excitement created by Betty Beadle.28 A sentiment enforced by Greer Twiss, who attributed a surge of interest in medal making in New Zealand to the enthusiasm of Betty Beadle.29

87 Betty Beadle, Playing with the Moon 1994 monoprint

Amongst her initiatives and achievements, Beadle remained a productive artist who skillfully traversed mediums. Holding a lifelong interest in the technicalities of the processes used to create artworks,30 her works are a celebration of materials having their own inherent qualities.31

Compelled to produce across mediums Betty Beadle left dynamic examples of low relief medals, highly stylised pottery and (as illustrated in this catalogue) a variety of original prints boasting compact design elements.32 Beadle’s personal directive was to make works that demonstrated her own particular sensibilities, knowledge, imagination and response to materials to make things which are a direct product of [her] hands, instincts, mind and environment.33 The success of this directive is seen through Beadle’s loose, deftly employed mark making that gives her aquatints and monoprints abundant and distinguishable character.

While Beadle’s use of mediums is extensive — her subject matter is consistent throughout them — her work largely depicts domestic joy and harmony and her love of nature and life.34 She employs a revolving cast of birds, insects, plants and figures — harmoniously sharing the composition. Beadle’s expressively posed figures (often reminiscent of Matisse, or William Blake’s dancers) are almost exclusively nude — they are portrayed as equals of those with whom they share their environment. Beadle wrote that insects belong to the world of instinct and unthinking response which we too share, and obey more often than we would care to admit.35

▲

26 McBride, 2010, p71.

27 MANZ, 2021.

28 Jones 1992, in McBride, 2010, p191.

29 Twiss, 1993, p92.

30 Hetherington 2008, in McBride, 2010, p116.

31 Beadle 1969, in McBride, 2010, p114.

32 Stowell 1993, in McBride, 2010, p114.

33 Beadle 1969, in McBride, 2010, p114.

34 MANZ, 2021.

35 Beadle 1969, in McBride, 2010, p114.

Beadle’s works are whimsical and elegant portrayals of this world. While often reductively credited as the wife of Paul Beadle, Betty Beadle is better remembered as an accomplished visual artist, advocate for the arts, and an essential founding member of MANZ, which continues showcasing New Zealand art internationally, decades after its inception.

1992 softground etching,

signed

390 × 390mm (sheet)

EST $250 — $500

1992 softground etching,

signed

390 × 390mm (sheet) EST $250 — $500

90

1991 softground etching,

signed

390 × 390mm (sheet) EST $250 — $500

91 Betty

1993 monoprint signed

535 × 390mm (sheet)

EST $300 — $600

92 Betty

1992 monoprint signed

510 × 390mm (sheet)

EST $300 — $600

93 Betty

1994 monoprint signed

530 × 390mm (sheet) EST $300 — $600

Beadle, Bird / Fish

Beadle, Nectar Seeker

Beadle, Oops

88 Betty Beadle, Over The Hedge

3/15

89 Betty Beadle, The Tune of The Birds

2/15

Betty Beadle, Daisy

2/15

94 Bill

2012 lithograph (AP from edition of 22) signed 600 × 415mm (sheet) EST $1,800 — $3,000

signed 660 × 870mm (sheet)

$2,000 — $3,000

$800 — $1,600

Hammond, Proto 3

95 Richard Lewer, I wish to be Beaut-I-ful c2005

pastel on sandpaper

96 Richard Lewer, Cloud Drawing

97 Robyn Kahukiwa, E kore e ngaro he takēre Wakanui

on handmade paper, 27/45

98 Robyn Kahukiwa, he Tapu te Tinana o te Wahine ne te mea te Whare tāngata

watercolour on paper, 3/4

99 Robyn Kahukiwa, Ukaipo Paraune monoprint

100 Mirek Smisek, flagon salt glaze ceramic with original woven stopper and bound cane handle stamp mark

370 × 185mm (diameter)

EST $600 — $1,200

101 Mirek Smisek, flagon soda fired salt glaze ceramic with original woven stopper stamp mark with original paper label to base

325 × 200mm (diameter)

EST $500 — $1,000

102 Mirek Smisek, oil flagon salt glaze ceramic with original woven stopper stamp mark

230 × 135mm (diameter)

EST $300 — $500

103 Mirek Smisek, flagon soda fired salt glaze ceramic with original woven stopper stamp mark

300 × 180mm (diameter)

EST $500 — $1,000

104 Mirek Smisek, flagon salt glaze ceramic with original woven stopper stamp mark

350 × 210mm (diameter)

EST $800 — $1,200

105 Mirek Smisek, flagon tenmoku glaze ceramic with original woven stopper stamp mark

310 × 170mm (diameter)

EST $400 — $600

106 Mirek Smisek, flagon salt glaze ceramic with original woven stopper stamp mark

340 × 190mm (diameter)

EST $600 — $1,200

110 Malcolm Warman, James Greig gelatin silver photograph

250 × 200mm

EST $100 — $200

PROVENANCE

Purchased from Portraits and Pastimes: The Group Online, Webb’s, 2022, lot 256.

107 Jim Greig, incised decoration slab vase wood fired ceramic

210 × 100mm

EST $150 — $300

108 Jim Greig, large lobe handled candlestick gloss glazed stoneware

110 × 305 × 265mm (widest points)

EST $150 — $300

109 Jim Greig, unfolding stoneware bowl ceramic with glazed interior

305 × 260 × 110mm (widest points)

EST $300 — $600

111 Michael Smither, Carp c1964 mixed media on paper signed 530 × 810mm

EST $1,800 — $3,000

112 John

c1960 watercolour and monoprint on paper signed

140 × 120mm

EST $300 — $600

PROVENANCE Ex Week’s O’Connor Estate.

113 John Weeks, Blue Tones c1960 watercolour and monoprint on paper signed 80 × 145mm

EST $300 — $600

PROVENANCE Ex Week’s O’Connor Estate.

1981

signed

EST $100 — $200

Weeks, Blue Motion

114 Jill Carter-Hansen, untitled (Double Portrait)

monoprint

645 × 500mm (sheet)

115 Max Gimblett, Searchings 2005

mixed media bound as book

signed

340 × 500mm (widest points)

EST $2,500 — $5,000

116 Max Gimblett, Searchings 2005

mixed media bound as book signed

340 × 500mm (widest points)

EST $2,500 — $5,000

117 Max Gimblett, Searchings 2005

mixed media bound as book signed

340 × 500mm (widest points)

EST $2,500 — $5,000

118 Fiona Pardington, Still Life with Gold Dildo, Glory Flowers and a Mango 2013 pigment ink on Hanemuhle photo rag, edition of 10 signed 740 × 900mm

EST $3,500 — $5,000

NOTE Produced during McCahon Residency, 2013. In her residency application Dr Fiona Pardington proposed “He Whakaotia: An Answering Hark”. Her application referred to synergies between her interests and McCahon’s, in particular with his identification with the local landscape and flora, and the way he used simple objects as transcendental motifs. During her residency Dr Pardington collected garden specimens (directly from McCahon’s former property next to the residency), flotsam and jetsam from personally significant coastal environs, and sourced bowls, candlestick holders and other material to collate into a suite of still life images. The resulting works are emotionally charged, technically awe-inspiring photographs evocative of baroque large-scale still-life paintings.

119 Yvonne Todd & Megan Dunn, Alice, Cigarette

C-type print on archival paper, 3/5

120 Yvonne Todd, Next time it will be Different 2021 offset print on paper, edition of 200

121 Trevor Moffitt, Jill No. 6 1980 oil on board signed 790 × 560mm

$2,500 — $5,000

122 Tracey Emin, The Room is Closed 2013 etching, 145/200 signed 360 × 380mm

$2,000 — $4,000

123 Tracey Emin, You Forgot Who You Are 2013 etching, 152/200 signed 370 × 405mm

$2,000 — $4,000

128 John Reynolds, Tenuous 2005 oil pen on canvas

124 John Reynolds, Fuck Write Off 2021 oil pen and acrylic on canvas

100 × 100mm

$300 — $600

127 John Reynolds, Oblivion 2005 oil pen on canvas

× 200mm

$500 — $800

126 John Reynolds, Vulcan 2004 lithograph, 8/20 signed

× 285mm

$400 — $800

125 John Reynolds, Hermes 2004 lithograph, 7/20

$800

Quite Ghastly Overtones

Sylvia Siddell (1941–2011) is best recognised for her ornate graphite works of complicated, shimmering moire patterns.11 Astoundingly, the vast majority of these trademark works were produced in less than decade — commencing in 1975, and concluding in 1984 when she became “wiped out by arthritis…”12 largely necessitating a switch to oil painting. It was after witnessing Jan Nigro’s chilling exhibition of the Haast Series (Barry Lett Gallery, 1970) that Siddell was inspired to become very involved in the pencil technique… a medium [she felt] had not been much used.13 This exhibition by Nigro is a characteristically feminist, and macabre point of departure that sets the tone for Siddell’s artistic output, though her ensuing style was almost immediately and wholly idiomatic.

Siddell’s drawings express strong allegiance to old master etchings and drawings — with a particular affinity to Albrecht Dürer, whom she greatly admired.14 Antique inspiration is mixed with consistent and overt homage to Siddell’s ‘first love-affair… a bolt of moire taffeta’ fabric.15 Siddell’s seductive beauty of pencil patterning16 is perhaps more suggestive of engraving than drawing, and its employment produces a ‘watered silk’ look. The inspiration for this aesthetic is seen most explicitly in Party Shoes, 1982, and The Intruder, 1983, each demonstrating excruciating attention-todetail throughout their fabric elements.

Siddell once suggested her work contains ‘quite ghastly overtones’17 — and overtones is an apt and durable descriptor of an output that employs little subtlety. Siddell is a symbolist, though her symbols are not abstract, they are explicit — yet her largely literal, realist representations still allay allegory. The works tell a story in which the cage of domesticity exacerbates restlessness, exhaustion, paranoia and anxiety. The products her illustrations contain (makeup, perfume, utensils, ingredients) are those of the domestic environment that she feels have made her the product. Sylvia Siddells’ works (though inconsistently featuring her portrait) can all be seen as ‘self-portraits’ — while frequently described as ‘fantasies’, or ‘nightmares’, they are neither. A mixture of humorous and harrowing, they are an embellishment of a palpable psychological reality. A reality which, like these drawings, exhibits a dynamic intensity… a vibrating energy that verges toward disintegration.18

Johnston, 1984, p59.

Siddell, 1984.

Siddell, 1983.

14 Johnston, 1984, p59.

15 Siddell, 1983.

16 Johnston, 1984, p59.

17 Siddell, 1983.

18 West-Newman, 2002, p70.

Sylvia Siddell, c1980s, Photographer Unknown, Sylvia Siddell Artist File, Courtesy of E H McCormick Research Library, Auckland Art Gallery Toi o Tāmaki

129

1983

graphite and pigment on paper

signed

300 × 210mm

EST $400 — $800

130

1985

graphite on paper signed

295 × 300mm

EST $400 — $800

131

2004

graphite and coloured pencil on paper signed

265 × 210mm

EST $400 — $800

1981 graphite on paper signed

305 × 285mm

EST $800 — $1,200

133

1983

graphite and coloured

on paper signed 635 × 455mm

EST $800 — $1,600

PROVENANCE

Exhibited

Sylvia Siddell, Night Visitor

Sylvia Siddell, Across the Table

Sylvia Siddell, Predator

132 Sylvia Siddell, untitled (Self Portrait in Still life with Fish)

Sylvia Siddell, Intruder

pencil

in Sylvia Siddell ‘Intrusions’ Denis Cohn Gallery 1983.

134 Sylvia Siddell, Party Shoes 1982 oil on board

435 × 600mm

EST $1,000 — $2,000

PROVENANCE Exhibited

135 Sylvia Siddell, Pineapple oil on canvas signed 570 × 380mm

$500 — $1,000

136 Sylvia Siddell, On the Table 1989 oil on canvas signed

× 620mm

$1,000 — $2,000

137 Sylvia Siddell, Dinner Party 1984 colour etching, 10/25 signed

$300 — $500

in Sylvia Siddell ‘Intrusions’ Denis Cohn Gallery 1983.

138 Jeffrey Harris, untitled (Self Portrait) 1973 ink on paper signed 195 × 125mm

EST $2,000 — $4,000

139 Jeffrey Harris, A Man graphite on paper signed 128 × 170mm

EST $800 — $1,200

140 Jeffrey Harris, A Failure graphite on paper signed 128 × 170mm

EST $800 — $1,200

141 Jeffrey Harris, In A City 1986 etching, 14/30 signed 520 × 360mm

EST $600 — $1,200

142 Jeffrey Harris, On the Road 1978 etching, 14/30 signed 235 × 285mm

EST $800 — $1,200

143 Jeffrey Harris, The Edge of the Sea 1986 etching, 10/30 signed 435 × 345mm

EST $800 — $1,200

144 Jeffrey Harris, In Possession 1988 sugarlift aquatint, 18/30 signed 770 × 1050mm

EST $1,200 — $2,400

145

Samuel Harrison, untitled (Self Portrait)

146 Henryk Szydlowski, Sleep Walker 1988 tech etching, 47/58 signed 275 × 205mm

$400

147 Henryk Szydlowski, Silent Night 1981 etching, 2/2 signed

× 80mm

148 Henryk Szydlowski, Eva 1985 colour etching, 15/16 signed

285 × 270mm

EST $150 —

EST

NOTE

335

EST

110 × 90mm

EST

EST

149 Artist Unknown (attr. Rob Franken), Untitled Abstract ink and watercolour signed

$300

150 Artist Unknown, untitled (Saint Nicholas) 18th C. woodblock

× 230mm

$300 — $500

151 Rogier van der Weyden (After), untitled (Renaissance Portrait) c1960 oil on card signed

110 × 90mm

$100 — $200

152 Rogier van der Weyden (After), untitled (Renaissance Portrait) c1960 oil on card signed

$100 — $200

153 Rodney Fumpston, Egypt - Two 1980–81 etching, aquatint and surface colour on paper signed 535 × 535mm

$300 — $600

NOTE

NOTE

154 Rodney Fumpston, Rear View Mirror 1996 mezzotint

× 380mm

$200 — $300

Illustrated ‘Fumpston Prints 1973–2003’, p45.

155 Rodney Fumpston, Ikon 1996 mezzotint

× 380mm

$200 — $300

Illustrated ‘Fumpston Prints 1973–2003’, p45.

156 Allen Maddox, Black Head 1986 lithograph, 5/12

× 350mm

$2,000 — $4,000

157 Marilyn Webb, Protection Work – Lake Mahinerangi by Day 1985 lithograph and watercolour, 2/20

$800 — $1,600

158 John Drawbridge, Interior (with Figure)

1970 mezzotint, 14/50

signed

650 × 375mm

EST $1,000 — $2,000

NOTE An edition illustrated ‘Prints and Printmakers in New Zealand’ – Peter Cape p80 / ‘John Drawbridge’ – Damien Skinner, p217 n.b ‘This was the first print that the British Museum bought. John felt very honoured by this recognition’.

159 John Drawbridge, Interior with Bottles 1986 mezzotint, 40/100

signed 760 × 565mm

EST $1,000 — $2,000

NOTE An edition illustrated in ‘John Drawbridge’ – Damien Skinner, p246.

161 Peter Wichman, untitled (study for Ariadne on Naxos II) c1990 charcoal on paper

signed

420 × 340mm

EST $400 — $800

162 Brian Brake, Untitled (Calligraphy) c1957

gelatin silver photograph

490 × 390mm

EST $800 — $1,200

PROVENANCE Ex. collection Doreen Blumhardt.

160 John Drawbridge, The Music Lesson (Vermeer) 1983 mezzotint, 8/100

signed 270 × 185mm

EST $800 — $1,200

NOTE

An edition illustrated ‘John Drawbridge: Wide Open Interior’, p40.

163 attr. Lawrence Baigent, untitled (Leo Bensemann in Workshop Smoking Pipe) early 1930s

gelatin silver photograph 50 × 60mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

164 attr. Lawrence Baigent, untitled (Leo Bensemann at Piano in Cambridge Terrace flat) early 1930s

gelatin silver photograph 85 × 60mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

165 attr. Lawrence Baigent, untitled (Cambridge Terrace Living Room) early 1930s

gelatin silver photograph 60 × 85mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

166 attr. Lawrence Baigent, 142 Victoria Street (Arrangement of Leo Bensemann works) 1931 gelatin silver photograph dated and title inscribed 55 × 85mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

167 attr. Lawrence Baigent, untitled (Leo Bensemann in Workshop with Saw) early 1930s

gelatin silver photograph 85 × 60mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

168 attr. Lawrence Baigent, untitled (Leo Bensemann poses before Self-Portrait) early 1930s

gelatin silver photograph 60 × 85mm

EST $300 — $600

PROVENANCE

Ex Lawrence Baigent, Robert Erwin collection.

169 Leo Bensemann (After), Wood Engravings (Holloway Press) 2004

book from original plates, 73/100 390 × 290mm

EST $600 — $1,000

170 Jeff Thomson, untitled (Peg)

c2001 cast lead, nail

70 × 20mm (widest points)

EST $100 — $200

171 Jeff Thomson, untitled (Screw) c2001 cast lead, nail

82 × 20mm (widest points)

EST $100 — $200

172 Jeff Thomson, untitled (Tap Handle) c2001 cast lead, nail 68 × 64mm (widest points)

EST $100 — $200

173 Terry Stringer, Pourer 1981 enamel on aluminium signed 320 × 208 × 80mm (widest points)

EST $800 — $1,200

Alison Pickmere (1908–1971) was “an artist with a highly individualised and colourful approach to landscape,”18 whose colour-etchings flourished in the 1960’s — as she mastered a technique influenced by her time spent at S. W Hayter’s Atelier 17.*19 A contributing member of some of the most influential local artist groups of her time, Pickmere exhibited with the Rutland Group, the Auckland Society of Arts (for whom she also performed the role of secretary 1942–46 and 1952–56), The Group, and the Thornhill Group.20

Pickmere’s personal history is interwoven with the story of New Zealand art in the 20th Century. As an artist her output was steady, distinctive, and of strictly conscientious standard. Yet, she remains suspiciously absent from the narrative of art history in Aotearoa (at least as told over the last five decades). There is little sense to be made of this exclusion. Perhaps though, her untimely passing in 1971 – at only 62 years of age –and before the proliferation of New Zealand dealer galleries contributes significantly.

During the 1930’s, Pickmere laid “a good foundation of design and drawing… at Elam School of Art.”21 Owing to her time and extended training overseas (particularly Sydney and Paris), Pickmere’s art (despite focusing on aspects of the New Zealand landscape) breaks through the restrictive thread of regionalism which had begun to have a stifling effect on art in Aotearoa by the 1950’s. International influence means Pickmere’s etchings are difficult to categorise among the work of her contemporaries. Comparisons can still be drawn, of course – for the fragmented geometry conveyed with proficiency through abstracted structural design, and heavy influence from the New Zealand bush – are all elements that share allegiance with works by Louise Henderson (also intrinsic between these two artists, is the widespread influence of John Weeks).

▲

18 Cape, 1974, p163.

19 Coolahan, Dictionary of NZ Biography volume V, p411.

20 Coolahan, Dictionary of NZ Biography volume V, p411.

21 Alison Pickmere,” 1949, p77.

22 Coolahan, 2000, p411.

23 Cape, 1974, p16.

24 Coolahan, 2000, p411.

25 Cape, 1974, p168.

Pickmere, a lifelong conservationist,22 saw “landscape as a subtle and complex association of organisms, both active and quiescent and she was able to reduce these to a state where they could be comprehended as a whole.”23 The passion and sensitivity with which Pickmere approached the New Zealand landscape is complimented by the distinctive style resulting from the technique of viscosity printing. This technique enabled the printing of many colours simultaneously24 and imbues her works with distinct painterly qualities. This printing process also results in what Peter Cape referred to as a ‘lack of uniformity in editions’25 – however, it is this quality that gives Pickmere’s works their strength of range – and an enforcing status as truly original prints.

*Others involved with Hayter’s Atelier 17 include Motherwell, Picasso, Pollock and Rothko.

Alison Pickmere, Jocelyn Harrison-Smith and Helen Brown at Baker’s farm, Hokianga, 1950, New Zealand, by Eric Lee-Johnson. © Te Papa. Te Papa (A.013262)

174 Alison Pickmere, Flight of the Fantail 1965 colour etching signed

600 × 710mm

EST $500 — $1,000

175 Alison Pickmere, Cuvier Island/Repenga 1971 colour etching, 32/60 signed

520 × 340mm

EST $400 — $800

176 Alison Pickmere, Cuvier Island/Repenga 1970 colour etching, 26/60 signed

510 × 345mm

EST $400 — $800

177 Alison Pickmere, Mahurangi (Green) 1968 colour etching, 12/30 signed

300 × 255mm

EST $400 — $800

178 Alison Pickmere, Mahurangi (Brown & Gold) 1970 colour etching, 25/60 signed

300 × 255mm

EST $400 — $800

179 Alison Pickmere, Mahurangi 1969 colour etching, 20/60, 2nd edition signed

300 × 255mm

EST $400 — $800

180 Alison Pickmere, Sea Bed 1968 colour etching, 4/80 signed

380 × 510mm

EST $400 — $800

p162.

181 Alison Pickmere, Top Dressing 1970 colour etching, 18/80 signed 200 × 510mm

EST $400 — $800

PROVENANCE

This example exhibited ‘Alison Pickmere’ (John Leech Gallery, 1977); an edition illustrated ‘Prints and Printmakers in New Zealand’ – Peter Cape, p167; ‘Aeroplanes are not usually regarded as “artistic” subjects. Neither is superphosphate. Yet in her etching “Top Dressing” Pickmere has been able to use these two in themselves not very inspiring subjects together to form an image which is meaningful to a New Zealander’ Peter Cape (Prints and Printmakers, 1974 p165).

182 Alison Pickmere, Pakari Sandhills 1970 colour etching, 50/80 signed 385 × 510mm

EST $500 — $1,000

183 Alison Pickmere, Deep Bush 1966 colour etching, 16/50 signed 345 × 305mm

EST $400 — $800

184 Alison Pickmere, Deep Bush 1970

colour etching, 66/80 signed 345 × 305mm

EST $400 — $800

185 Alison Pickmere, Coppermine Island 1970 colour etching, 53/80 signed 375 × 300mm

EST $400 — $800

186 Alison Pickmere, Pohutakawa Coast 1966 colour etching, 15/80 signed 305 × 330mm

EST $400 — $800

NOTE

An edition illustrated ‘Prints and Printmakers in New Zealand’ – Peter Cape, p166,’”Pohutukawa Coast” is lyrical.. although it contains, at its Pohutukawa-roots-level, its North Auckland symbolism. There are interesting counterpoints between the angles of the roots (which have a certain human quality) and the curves of the naked reclining figure (which in this situation is a little reminiscent of a piece of driftwood). And wood and flesh are bound 168 together by the sand and the sea’ – Peter Cape (Prints and Printmakers), 1974 p168.

187 Len Castle, hanging spear form with stamp impressions c1970 wood fired ceramic stamp mark

EST $1,200 — $2,400

188 Chester Nealie, teapot anagama fired ceramic with cane bound handle

145 × 145mm

EST $250 — $500

189 Chester Nealie, leaf impressed specimen vase with lug hundle

anagama fired ceramic

120 × 65mm (diameter)

EST $250 — $500

190 Warren Tippet, early floral stamp impression jug glazed ceramic with tenmoku undertones stamp mark

120 × 135mm (diameter)

EST $100 — $200

191 Warren Tippet, early ewer tenmoku glaze ceramic with wax resist decoration

200 × 170mm

EST $100 — $200

192 Andrew van der Putten, carafe green drip glaze ceramic stamp mark

220 × 160mm (diameter)

EST $100 — $200

193 Paul Melser, ovoid vase gloss drip glaze ceramic stamp mark

115 × 150mm (diameter)

EST $100 — $200

194 Paul Melser, hand thrown brushpot green salt glaze ceramic stamp mark

285 × 130mm

EST $200 — $400

195 Len Castle, textured brushpot 1980s wood ash glaze stoneware stamp mark

205 × 105mm

EST $300 — $600

PROVENANCE Illustrated in Len Castle – Making the Molecules Dance, p162.

196 Peter Stichbury, brushpot with impressed Nigerian roulette pattern shino glaze stroneware with light iron oxide highlights stamp mark

215 × 130mm (diameter)

EST $300 — $600

PROVENANCE

Ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

197 Peter Stichbury, brushpot with impressed Nigerian roulette pattern tenmoku and partial blue glaze stoneware stamp mark

230 × 135mm (diameter)

EST $300 — $600

PROVENANCE

ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

198 Peter Stichbury, cylinder vase chun and tenmoku glaze ceramic stamp mark

160 × (120mm (diameter)

EST $100 — $200

PROVENANCE

Ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

199 Peter Stichbury, lobed baluster vase shino glaze stoneware stamp mark

190 × 135mm (diameter)

EST $150 — $300

PROVENANCE

ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

200 Peter Stichbury, large open beaker form pot shino glaze ceramic with banded wax resist decoration stamp mark

250 × 210mm (diameter)

EST $400 — $600

PROVENANCE

Ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

201 Peter Stichbury, baluster vase shino glaze ceramic with lustrous brushed leaf decoration stamp mark

240 × 195mm (diameter)

EST $300 — $500

PROVENANCE

ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

202 Peter Stichbury, incised ovoid speciman vase shino glaze ceramic stamp mark

140 × 100mm (diameter)

EST $50 — $100

203 Peter Stichbury, large flared bowl rich starburst chun interior and tenmoku exterior ceramic stamp mark

120 × 310mm (diameter)

EST $400 — $600

PROVENANCE

Ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

204 Peter Stichbury, tapered cylinder vase dark shino glaze stoneware stamp mark

225 × 140mm (diameter)

EST $150 — $300

205 Peter Stichbury, stoppered bottle with decorative medallion glazed ceramic with cork and ceramic stopper stamp mark

260 × 150mm (diameter)

EST $100 — $200

206 Peter Stichbury, swollen form footed bowl chun interior and rich tenmoku exterior ceramic stamp mark

140 × 170mm (diameter)

EST $150 — $300

PROVENANCE

Ex. the collection of one of the potter’s nephews. He attended many of the open days where Peter invited family, friends and the public to view and purchase his latest offering of pots.

207 Doreen Blumhardt, trio of candlesticks / vases tenmoku glaze ceramic stamp mark (to each)

210 × 110mm (largest)

EST $100 — $200

208 Doreen Blumhardt, rock impression wall hanging stoneware with iron oxide stamp mark

380 × 170 × 55mm (widest points)

EST $100 — $200

209 John Weeks, untitled (Still Life with Bananas) c1930s

conte on paper

110 × 120mm

EST $300 — $600

PROVENANCE Ex. Weeks O’Connor Estate.

210 John Weeks, untitled (House Amongst Trees) colour pencil and graphite on paper

285 × 200mm

EST $250 — $500

PROVENANCE Ex Week’s O’Connor Estate.

211 John Weeks, untitled (Nude

c1930s conte on paper

380 × 480mm

EST $300 — $600

PROVENANCE Ex Week’s O’Connor Estate.

212 John Weeks, untitled (Nude

Study) c1930s conte on paper

250 × 430mm

EST $400 — $800

PROVENANCE

Ex. Week’s O’Connor Estate.

213 John Weeks, untitled (Bathers with Reference Lines) c1930s graphite and coloured pencil on paper

170 × 210mm

EST $300 — $600

PROVENANCE Ex. Weeks O’Connor Estate.

Study in Two Tones)

Figure

214 John Weeks, untitled (Church of Saint-Nicolas du Chardonnet, Paris) late 1920s oil on board signed 570 × 635mm

EST $2,000 — $4,000

PROVENANCE Ex Week’s O’Connor Estate, stamp verso.

215 John Weeks, untitled (Church of Saint-Nicolas du Chardonnet, Paris) late 1920s oil on canvas

830 × 855mm

EST $3,000 — $5,000

PROVENANCE Ex Week’s O’Connor Estate, stamp verso.

216 John Weeks, untitled (Church of Saint-Nicolas du Chardonnet, Paris) late 1920s

graphite on paper

signed

135 × 110mm

EST $300 — $600

PROVENANCE Ex Weeks O’Connor Estate.

217 John Weeks, untitled (Shipyard) c1930 graphite on paper

410 × 515mm

EST $400 — $600

PROVENANCE Ex. Weeks O’Connor Estate.

218 John Weeks, untitled (Figures in Archway) late 1920s

charcoal on paper

470 × 395mm

EST $500 — $1,000

PROVENANCE Ex Week’s O’Connor Estate.

219 John Weeks, untitled (Marrakesh) c1928 tempera on board

615 × 840mm

EST $3,000 — $6,000

PROVENANCE Ex Weeks O’Connor Estate, stamp verso (obscured by frame).

EST

EST

PROVENANCE Ex

PROVENANCE Ex

220 John Weeks, untitled (Courtyard, Morocco) late 1920s charcoal on paper

370 × 455mm

$400 — $800

Week’s O’Connor Estate.

221 John Weeks, untitled (Rooftops, Morocco) late 1920s charcoal on paper

370 × 460mm

$400 — $800

Week’s O’Connor Estate.

222 Garth Tapper, Study for a Still Life Painting 1986 ink and graphite signed

130 × 180mm

$400 — $800

223 Suzanne Goldberg, untitled (Three Figures) 1969 ink, watercolour and gouache on paper signed 180 × 120mm

$250 — $500

224 Suzanne Goldberg, untitled (Nude) 1994 mixed media and collage signed 650 × 345mm

$300 — $500

225 David Cauchi, After the Fall 2017 mixed media on linen

400 × 300mm

EST $1,500 — $3,000

PROVENANCE Originally purchased Robert Heald, exhibited ‘David Cauchi: Less complicated than simple’ Whangarei Art Gallery 2023–2024.

226 David Cauchi, untitled (Still Life with Apple) 2015 ink, watercolour and oil on linen

400 × 300mm

EST $1,500 — $3,000

PROVENANCE Originally Purchased Ivan Anthony Gallery, Ex Collection Laurence Simmons.

227 Tom Mutch, Eggcology 1989 screenprint, 6/30 signed

390 × 215mm

EST $150 — $300

228 Guy Ngan, Animated

1974 (reprint) screenprint, 27/50 signed 990 × 695mm

EST $3,000 — $5,000

of 6 screenprints, edition of 14 signed and dated 435 × 405mm (each panel)

EST $1,500 — $3,000

EST

NOTE see Puke Ariki collection A87.646 for ‘Te Kautu Ki Te Rangi 2’

EST

Colours

229 Michael Smither, Cloud I, Cloud II, Cloud III, Cloud IV, Cloud V, Cloud IV 1975 suite

231 Roy Dalgarno, Moon intaglio collagraph signed 510 × 465mm

$300 — $600

230 John Bevan Ford, Te Kautu Ki Te Rangi late 1970s acrylic on board signed and title inscribed 415 × 645mm

$1,800 — $2,500

232 Artist Unknown, untitled (Chess Players) 1957 conte on paper signed

425 × 500mm

EST $100 — $200

1949 watercolour on paper signed

440 × 540mm

EST $2,000 — $4,000

234 Douglas

V 1964 acrylic on plastic signed

490 × 690mm

EST $3,000 — $5,000

190 × 250mm

EST $500 — $1,000

233 Douglas MacDiarmid, Near Paekakariki

MacDiarmid, Corsica

235 Charlton Edgar, Pueblo Ruins c1960 oil and gouache on paper on board

236 Artist Unknown, shallow charger chun glaze ceramic stamp mark

EST $100 — $200

237 Garry Nash, Iridescent Nouveau Inspired Vase glass signed

EST $200 — $300

238 Paul Liard, lobed vase with gold highlights ceramic incised mark

195 × 170mm (diameter)

EST $100 — $200

239 Mirek Smisek, large bowl with impressed rim tenmoku and speckled ash glaze ceramic stamp mark

85 × 310mm (diameter)

EST $150 — $300

240 Don Thornely, platter tenmoku and ash glaze ceramic stamp mark

365mm (diameter)

EST $100 — $200

241 Don Thornely, platter glazed ceramic with patterned interior stamp mark

320 × 330mm

EST $100 — $200

242 Don Thornely, stoppered vessel wood fired ceramic with braided rope handle stamp mark

145 × 90mm (diameter)

EST $50 — $100

243 Wilf and Janet Wright, carafe partially glazed ceramic stamp mark

265 × 130mm (diameter)

EST $50 — $100

244 Barry Brickell, stoneware jug grogged clay gloss glazed ceramic stamp mark

175 × 150mm (diameter)

EST $200 — $300

245 Juliet Peter, Globe Pot crackle glaze ceramic incised mark with original exhibition label to base

65 × 80mm

EST $150 — $300

246 Juliet Peter, Globe Pot iron speckled glaze ceramic incised mark

70 × 85mm

EST $150 — $300

$6,000 — $10,000

247 Juliet Peter, Night Flight North

signed

495

EST

EST

signed

490

248 Juliet Peter, Wind Demons – Northerly 1974 lithograph, 9/18

× 390mm

$800 — $1,600

249 Juliet Peter, Wind Demons – Westerly 1974 lithograph, 6/18

× 390mm

$800 — $1,600

253 Jos Kivitz, untitled (Romantic Colonial Inspired Landscape)

250 Ralph Hotere, Untitled (Malady)

251 Alan Ibell, Kindling (The Unbound Offering) 2013

252 Lois McIvor, Phantasy VI

256 Gary Tricker, The Otira Train 1976 etching, artist’s proof, edition of 40 signed

350 × 240mm

EST $150 — $300

254 Gary Tricker, Concert Dream 1991 colour etching, 1/50 signed

300 × 360mm

EST $200 — $400

257 Gary Tricker, Petone Railway 1976 etching, 1/30, 2nd edition signed

230 × 265mm

EST $100 — $200

255 Gary Tricker,

2000 colour etching, 12/60 signed

235 × 320mm

EST $200 — $300

signed

490 × 330mm

EST $300 — $400

Aotearoa

signed 590 × 435mm

EST $800 — $1,200

PROVENANCE

Exhibited in ‘FIVE’ Jhana Millers Gallery, 2023.

Evening Express

258 Nancy Parker (née Bolton), The Shearer c1950 lithograph

259 Carolyn McQuarrie, Whitework Sampler no. 01 2023

Corriedale wool from Niche Textile Studio, pegboard

signed 435 × 575mm

$800 — $1,200

signed 250 × 400mm

$400 — $800

signed 365 × 550mm

EST $300 — $500

380

signed 430 ×

EST $300 — $600

NOTE

See Tate collection P01709 / Victoria & Albert Museum collection E.2129-1946.

262 T. A McCormack, Mountain near Fairlie 1930s watercolour on buff paper

263 Felix Kelly, Drifter and Paddlesteamers 1946 colour lithograph

690mm

264 Artist Unknown, Trieste Harbour 1946 oil on board

× 480mm

$300 — $500

261 Michael Smither, Hapuku Head 1975 fibre-tip marker on paper

260 Michael Smither, Thomas With Toys 1967 graphite and ballpoint pen on paper

265 John Sturgess, Owl and Pussy Kat

oil on board

266 John Sturgess, 2 Kats Looking out to Sea

267 John Sturgess, Last Supper – King Rat 2021 oil on board signed, dated and title inscribed

× 385mm

$300 — $500

268 John Sturgess, Cat – Playing with (Dynamite)

269 John Sturgess, Diamond Planet X-13.731 c2018 acrylic on card

× 190mm

EST

EST

EST

PROVENANCE Purchased directly from the artist.

271 Michael Smither, Harmonics 1979 screenprint, 17/30 signed 760 × 615mm

$500 — $1,000

272 Holly Schröder, Intermingling 2017 oil on canvas signed, dated and title inscribed 760 × 1015mm

$400 — $800

270 Michael Smither, Clouds and Horizon 1978 screenprint, edition of 41 signed

$800 — $1,600

273 Jess Johnson, MILXYZ PIPS

2020 digital print on paper, 32/50 signed

280 × 215mm

EST $250 — $500

274 Jess Johnson, Vegetable Television

2016 digital print on paper, 32/50 signed

525 × 405mm

EST $400 — $800

780

EST

PROVENANCE Ex Week’s

EST

780

PROVENANCE Ex Week’s

275 John Weeks, untitled (Anatomical Sketch) c1920s charcoal on buff paper

× 380mm

$250 — $500

O’Connor Estate.

276 John Weeks, untitled (Anatomical Sketch) c1920s charcoal on buff paper

× 380mm

$250 — $500

O’Connor Estate.

engraving from Prints to Cooks Voyages (1777)

230 × 185mm

EST $500 — $1,000

Gates

1989 poster print signed 690 × 990mm EST $200 — $400

$2,500 — $4,000

277 William Hodges, Poe Bird 1777

278 Colin McCahon (After),

& Journeys

279 Ralph Hotere and Mary Macfarlane, Winter Solstice

steel, gold dust and acrylic on vintage mirror

280 Billy Apple, Paid (Mercury Energy Invoice)

2000 invoice, receipt and screenprint on paper (collage) signed

415 × 295mm

EST $1,500 — $2,500

2021 glazed ceramic, chain signed

165 × 105mm

EST $50 — $100

281 Francesca Sie, Abbenes Collection Plaque

Terms & Conditions

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

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

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

3.3. Buyers Responsibility

All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

4.6. Telephone Bids

1. Background to the Terms used in these Conditions

The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:

“the Buyer” means the person with the highest bid accepted by the Auctioneer.

“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.

“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.

“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.

“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).

“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

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

2. Webb’s Auctions as Agent

Except as otherwise stated, Webb’s acts

as agent for the Seller.

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

3. Before the Sale

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

The property is otherwise sold “AS IS”

3.2. Catalogue and Other Descriptions

All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

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

An item bought “on Extension” must be

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

4. At the Sale

4.1. Refusal of Admission

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

4.2. Registration Before Bidding

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

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

4.4. International Registrations

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

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

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

4.5. Absentee Bids

Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the

Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.

4.7. Online Bidding

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

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

4.8. Reserves

Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

4.9. Auctioneers Discretion

The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps:

$5,000 $50,000 – $100,000

$10,000 $100,000–$200,000

$20,000 $200,000–$500,000

$50,000 $500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5. After the Sale

5.1. Buyers Premium

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

5.2. Payment and Passing of Title

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

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

Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.

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

5.3. Collection of Purchases & Insurance

Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.

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

5.4. Packing, Handling and Shipping

Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

5.5. Permits, Licences and Certificates

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

5.6. Remedies for Non-Payment

If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following

rights or remedies (in addition to asserting any other rights or remedies available under the law)

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

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

5.6.3. to cancel the sale.

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

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

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

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

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

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

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

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

If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

Terms & Conditions

5.7. Failure to Collect Purchases

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

6.

Extent of Webb’s Liability

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

7. Limited Warranty

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

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

the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.

the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller

nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.

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

the Buyer must return the lot to Seller in the same condition that it was purchased.

8.

Severability

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

9. Copyright

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

10. Law and Jurisdiction

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

11. Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.

12. Sale Results

Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.

13. Goods and Service Tax

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

B Blair, Philippa 11 Brown, Nigel 13

Beadle, Betty 26, 28 Brake, Brian 44

Baigent, Lawrence 45 (After) Bensemann, Leo 46

Blumhardt, Doreen 51

Brickell, Barry 58

C Conrad, Christina 14

Culbert, Bill 22 Carter-Hansen, Jill 32 Castle, Len 50

Cauchi, David 56

D Dunn, Megan 34

Drawbridge, John 44

Dalgamo, Roy 57

E Emin, Tracey 35 Edgar, Charlton 59 F Fumpston, Rodney 42, 43

Quoted Texts

▲ Cape, P. (1974). Prints and Printmakers in New Zealand. Collins.

▲ Coolahan, K. (2000). The Dictionary of New Zealand Biography: 1941–1960 Auckland University Press.

▲ Fomison, A. (Ed.). (2002). Briar Gardner: Pioneer Potter (T. Wilkinson, Compiler). Corban Estate Arts Centre.

▲ Gardner, G. L., Gardner, B., Scott, D., & Muir, B. (1984). Auckland Waikato Historical Journal (J. P. Webster, Ed.; Vol. 44). Auckland Historical Society Inc. 0111-7653

▲ Lloyd-Jenkins, D. (2006). 40 Legends of New Zealand Design. Godwit.

▲ Pickmere, Alison. (1949). Yearbook of the Arts in New Zealand, p5, p76–80.

▲ Rudd, R. (2022). Singular Pioneers. Quartz, Museum of Studio Ceramics. Retrieved April 21, 2024, from https://www.quartzmuseum.org. nz/temporary-exhibitions/singular-pioneers/

▲ Siddell, Sylvia, (1983). NZSSPA Artist Slide Talks [Speech transcript]. Artist File, E. H. McCormick Research Library

▲ Siddell, Sylvia. (February 25, 1984). [Letter from Sylvia Siddell with ‘The Intruder’ Purchaser]. Collection of the Vendor.

▲ West-Newman, C. L. (2002, Winter). ‘Reading Sylvia Siddell’, Art New Zealand, p103, p68–70.

Acknowledgement by Piers Abbenes

A massive and extended thank you to all those who have encouraged me in all endeavours artadjacent and made this possible: First and foremost to Caolán McAleer, Mark Hutchins-Pond and the Webb’s team across both Auckland and Wellington for presenting this sale to an exceptional standard, and providing great direction with sensitive consideration toward my creative input. Alex and Tracey Dawson for their early encouragement of my involvement in the auction industry. James Brown for making good on a promise to answer any art related questions more than eight years ago. Andrew Grigg for his enduring mentorship, for tolerating my relentless enquiries as a customer, and of course tolerating me at all as an employee. James Hogan, whose humour and hospitality both know no bounds. Leigh Melville and Ben Plumbly, for their good humour — abundance of trust and pecuniary lenience. Richard Thompson for the same — and for his honest rejection of an early consignment alongside his encouragement to return. Jonathan Maze for his exceptional craftsmanship and genial nature. William Cottrell for being an obsessive to admire — and for his advice on letting go. Don Abbot and William Dart — for hand delivered magazines, extended deadlines and going above and beyond in all ‘New Zealand art’ matters. Dunbar Sloane, for allowing a smooth relocation and stable landing upon my move to Wellington — and for his patience with my character. Carey Young, for an exceptional introduction to Wellington, and perhaps the worst country music CD I have ever heard. David Maskill for acerbic wit and cheerful competition. James Parkinson for laughing at the idea of ‘destroying’ a collection. Melissa Snater for her oversight and kind words. Rob Cherry, Fatu Feu’u, Paul Hartigan, Seraphine Pick, Joe Sheehan, and Elizabeth Thomson for welcoming me into a world that once felt entirely out-of-reach. To Miro Harré for sharing my enthusiasm for Briar Gardner. Tani Bell Snater — for his ceramic cataloguing assistance and his continued, enthusiastic (often uncompensated) labour. Alastair Watchman for his sardonic humour and enduring counsel. William Hadwen for his warmth and support pertaining to this sale — and otherwise. Michael Beca for continued and exceptional generosity, endless knowledge and gusto. Kane Laing for relentless, selfless facilitation of the arts and for what would make a beautiful study of a barter-economy. John Gow — for always getting back to me, no matter how trivial the inquiry. Ayesha Green, Holly Schröder, Francesca Sie, and John Sturgess for their gracious permission to include their artworks in this sale. Jamie Chapman for insightful discussions about art, and his portrait of me, printed within this catalogue. Adrienne Martyn, for her kindness and support in professional endeavours — and the opportunity of a lifetime to have my portrait taken by one the greatest photographers to grace Aotearoa. Annabel Wylie for providing comfort and purpose in letting art go. To everyone in my personal life who has tolerated my obsession — and the prolonged, hermetic periods that come with it. Mum and Dad (of course). Finally to all artists — those who feature in this catalogue, and those who don’t. Thank you for illustrating and decorating my life with extraordinary beauty, and providing me with something that almost resembles direction.