Foreword
Kia ora koutou and welcome to Webb’s August 2024 Works of Art catalogue.
This remarkable catalogue features a diverse array of artworks, ranging from 19th-century paintings of the White Terraces by Charles Blomfield to contemporary photographic works by artists Fiona Pardington and Lisa Reihana.
I am particularly excited to present a suite of works by the renowned landscape painter Doris Lusk, whose works rarely appear at auction. This catalogue includes three stunning paintings from different decades of the artist’s oeuvre: Summer Landscape, Canterbury (1964), Midday Hawea (1972), and The Beginning of the End (1982), each work showcasing the artist’s development over the years.
We are also thrilled to be showcasing five unique works by Pat Hanly. These pieces demonstrate the artist's early influence from Francis Bacon, his popinfused style, and his later exploration of stained glass. True to Hanly’s practice, these works are vibrant, energetic, and joyful.
Headlining the sale is the fantastic late 1990s Don Binney painting Malay Dove, Wooden Mansions, which has never been on the market before. This work, featuring Binney’s signature brushwork, planes of colour, and depiction of bird life, is poignantly layered with references to his 1999 retirement from the Elam School of Fine Arts. The work has been featured in multiple exhibitions and books, including Gregory O’Brien’s recent Flight Path , and we are delighted to include a new essay by O’Brien discussing the painting.
Also highlighted in the catalogue is the exquisite oil painting Seaside Lodgings (c1919) by Frances Hodgkins. Coming from the Sutch Collection, Wellington, this painting has excellent provenance, having been originally owned by Hodgkins’ brother and exhibited in the United Kingdom, America and New Zealand. Oil paintings by Hodgkins are rarely seen at auction, and the delectable palette and intricate details make this work particularly captivating.
A superb example of Ralph Hotere’s Black Window series is included, featuring vigorous markings within his signature sash window frame. We are delighted to also present Bill Sutton’s glorious 1977 painting Te Tihi O Kahukura and Sky , and other modernist paintings by A. Lois White, Toss Woollaston, and Louise Henderson.
From further afield, we are thrilled to feature two Andy Warhol prints from his 1975 series of Mick Jagger. Rarely seen at auction in Aotearoa, these works were purchased in America and have been tightly held in a private collection since. Signed by both Jagger and Warhol, these prints are quintessential examples of pop art.
Rounding out the catalogue is a wonderful offering of sculptures by Terry Stringer, Auguste Rodin, John Edgar, Chris Charteris, and the impressive large-scale Geometric Figure 1 by Paul Dibble.
As Webb’s now has representation in Christchurch, we are excited to host a one-night-only catalogue launch featuring select works for our Cantabrian clients, ahead of our Wellington and Auckland viewings. We are honoured to have Helen Kedgley, esteemed director and curator, at the Wellington launch, and Erin Griffey, Associate Professor of Art History at the University of Auckland, at the Auckland launch to share their insights on the works offered. The live auction will then take place in our Mount Eden gallery on Monday 26 August at 6.30pm.
The Art team has worked diligently to curate an outstanding catalogue and is proud to share this exceptional selection of works with you. We look forward to seeing you at the viewings and live auction.
Tasha
Wellington Programme
Auckland Programme
auckland
33a Normanby Rd
Mount Eden
Auckland 1024
wellington
23 Marion Street
Te Aro
Wellington 6011
Launch Event Monday 12 August 5.30pm — 7.30pm
Launch Event
Wednesday 14 August 5.30pm — 7.30pm
Helen Kedgley, esteemed director, curator, trustee and leading national figure in art governance, will be discussing a selection of highlights from this catalogue with our Wellington based Senior Art Specialist, Mark Hutchins-Pond. Please RSVP to karen@webbs.co.nz.
Viewing
Thursday 15 — Friday 16 August 10am — 5pm
Saturday 17 August 11am — 4pm
Launch Event
Tuesday 20 August 6pm — 8pm
Join us at our Mount Eden gallery to hear Erin Griffey, Associate Professor of Art History at the University of Auckland, share her thoughts on this fantastic catalogue. Please RSVP to art@webbs.co.nz.
Viewing
Wednesday 21 — Friday 23 August 10am — 5pm
Saturday 24 — Sunday 25 August 10am — 4pm
Viewing on Request
Monday 26 August 10am — 5pm
Live Auction Monday 26 August 6.30pm
1 Peter Stichbury untitled 2002
graphite on paper
signed P. Stichbury and dated 02 in graphite lower left 290 × 205mm
est $5,500 — $7,500
provenance
Private collection, Auckland. Acquired from Starkwhite, Auckland.
2 Séraphine Pick untitled 2019
watercolour on paper signed Séraphine Pick and dated 2019 in graphite lower right 375 × 280mm
est $5,000 — $8,000
provenance
Private collection, Dunedin. Acquired from Nadene Milne Gallery, Arrowtown, 2020.
3 Bill Hammond
Singer Songwriter II 2001
lithograph on paper
signed W D Hammond, dated 2001 and inscribed Singer Songwriter I on plate 680 × 820mm
est $14,000 — $18,000
provenance
Private collection, Wellington. Acquired from Peter McLeavey Gallery, Wellington.
4 Andy Leleisi’ uao A Displaced Walk 2020
acrylic on canvas
signed Leleisi’uao in graphite lower left 1020 × 610mm
est $6,500 — $9,500
provenance
Private collection, Auckland. Gifted by the artist.
5 Richard Killeen Database J 2017
UV inkjet print on plywood signed Killeen and dated 2017 in ink verso 550 × 550mm
est $4,500 — $6,500
provenance
Private collection, Auckland.
6 Shane Cotton Half Cast 2010
acrylic on screenprint on paper, 14/25 signed Shane W Cotton, dated 2010 and inscribed BROKEN WATER HALF CAST in brushpoint lower edge 1210 × 1210mm
est $8,000 — $14,000
provenance
Private collection, Wellington.
7 Ans Westra untitled (Wahine at the Marae) c1980s
gelatin silver print 145 × 165mm
est $3,000 — $5,000
Private collection, Auckland. Acquired directly from the artist, c1990.
8 Ans Westra untitled (Protesters and Police) c1980s
gelatin silver print
160 × 225mm
est $3,000 — $5,000
provenance
Private collection, Auckland. Acquired directly from the artist, c1990.
9 Ans Westra untitled (Mongrel Mob Hui – Porirua) c1980s
gelatin silver print
170 × 230mm
est $3,000 — $5,000
provenance
Private collection, Auckland. Acquired directly from the artist, c1990.
10 Ans Westra untitled (Gang Members with the Mana Motuhake Banner – Protest at Waitangi, Waitangi Day)
1982
gelatin silver print
180 × 190mm
est $3,000 — $5,000
provenance
Private collection, Auckland. Acquired directly from the artist, c1990.
12 Pauline Yearbury
The Fish of Maui c1970
acrylic on incised rimu
signed JPY with incision lower right
790 × 450mm
est $5,000 — $7,000
provenance
Private collection, Napier. Acquired from James Yearbury, Russell, c1980s.
Hine-Raumati c1970
acrylic on incised rimu signed JPY with incision lower left
780 × 455mm
est $6,000 — $8,000
provenance
Private collection, Northland. Acquired from Colonial Gallery, Russell, c1970s.
11 Pauline Yearbury
Banks Peninsula, Imaginary Landscape 1986
watercolour on paper signed D. Lusk and dated 1986 in graphite lower left 515 × 655mm
est $10,000 — $15,000
provenance
Private collection, Christchurch.
14 Teuane Tibbo
Landscape with River oil on board signed Teuane Tibbo in brushpoint lower right 635 × 850mm
est $18,000 — $26,000
provenance
Private collection, Auckland. Acquired from New Collectors Art, Art+Object, Auckland, 7 December 2017, lot 110.
13 Doris Lusk
est $16,000 — $20,000
15 Lisa Reihana Flogging (22340) 2017 pigment print on paper on aluminium dibond, edition of 9 760 × 1000mm
est $25,000 — $35,000
16 Billy Apple I.O.U.
UV impregnated archival ink on canvas 600 × 420mm
signed Fiona Pardington in ink verso 1450 ×
est $25,000 — $40,000
Private collection, Auckland.
17 Fiona Pardington
Matiu’s Huia Feathers, Te Papa 2023
archival print on Hahnemühle
Photo Rag, 7/10
1090mm
2019
archival print on Hahnemühle
Photo Rag, edition of 10 signed Fiona Pardington in ink verso 1090 × 1588mm
est $30,000 — $50,000
18 Fiona Pardington
Andrew’s Huia Pair
19 Gretchen Albrecht Unfold 2006
acrylic on canvas
signed Albrecht, dated 06 and inscribed UNFOLD 06 in brushpoint verso 500 × 1000mm (widest points)
est $15,000 — $25,000
provenance
Private collection, Manawatū. Acquired from Nadine Milne Gallery, Arrowtown, 2014.
20 Max Gimblett Trickster 2007–8
gesso, clay, gilded palladium leaf and gold leaf on board
signed Max Gimblett, dated 2007/08 and inscribed "Trickster" in brushpoint verso 630 × 630mm (widest points)
est $16,000 — $25,000
provenance
Private collection, Auckland. Acquired from Gow Langsford Gallery, Auckland, 2009.
21 Stephen Bambury IC089339 2008–14
iron filings, 24 carat gold and acrylic on aluminium signed S. Bambury, dated 2008–2014 and inscribed IC089339 in ink verso 795 × 795mm
est $25,000 — $35,000
provenance
Private collection, Auckland. Acquired
from Nadene Milne Gallery, Arrowtown.
22 Louise Henderson
Femme Curieuses
1989
oil on board
signed Louise Henderson and dated 1989 in brushpoint lower left 1195 × 890mm
est $20,000 — $30,000
provenance
Private collection, Auckland.
23 Milan Mrkusich
Two Areas, Orange and Maroon 1980
acrylic on board
signed Mrkusich, dated ‘80 and inscribed Two Areas, Orange & Maroon 1980 in brushpoint verso 1225 × 1830mm
est $25,000 — $45,000
provenance
Private collection, Auckland.
exhibitions
New Zealand Painting Selected for Carnegie International, 1982, Dunedin Public Art Gallery, Dunedin; Carnegie International, Museum of Art Carnegie Institute, Pittsburgh, 1982–1983; A Decade Further On: 1974–1983, Auckland City Gallery, Auckland, 1985; Hit Parade: Contemporary Art from the Paris Family Collection; Wellington City Art Gallery, Wellington, 1992–1993.
literature
Peter Leech, Milan Mrkusich: A Decade Further On (Auckland: Auckland City Art Gallery, 1985), 29.
24 Louise Henderson Bush Revisited 1972 oil on board
signed Louise Henderson in brushpoint upper left; signed Louise Henderson, dated 1972 and inscribed Bush Revisited in brushpoint verso 900 × 600mm
est $35,000 — $50,000
provenance
The Sutch-Ovenden Collection, Wellington.
DORIS LUSK
Three Landscapes
Essay by GRANT BANBURY
By the time Doris Lusk painted Summer Landscape, Canterbury , in 1964, she had been immersed in the Canterbury art scene for just over 20 years, made important connections in the literary world through Caxton Press, and was about to venture into an academic career. Following her marriage in 1942, and relocation from Dunedin to Christchurch, she was quickly embraced by The Group, where she remained a central figure until it was disbanded in 1977, after 50 years. The Group’s annual exhibitions, Lusk later claimed, kept her motivated, particularly during a period of busy domestic life as a young mother of three.
Lusk was regarded as one of the country’s foremost landscape painters of her generation, and the 1960s proved a decade of consolidation, experimentation and recognition, as well as professional growth. By this stage, her career was secured with key images from the 1930s, 40s and 50s, including poignant paintings inspired by locations such as Dunedin’s waterfront, Central Otago, the Nelson region and Christchurch, and power generation at Lake Waikaremoana. Themes of habitation, industrial growth, power generation and extraction, through the inclusion of built structures and dam sites, set Lusk’s vision apart and acknowledge her unique contribution to the development of New Zealand modernism.
A major retrospective held at the Dunedin Public Art Gallery in 1966 included 72 works and received critical attention. The same year, following the untimely death of Christchurch-based artist Russell Clark (1905–1966),
25 Doris Lusk
Midday Hawea (Tent series) 1972 oil and acrylic on canvas signed Doris Lusk, dated 1972 and inscribed Tent series 5 MID DAY HAWEA in brushpoint verso 545 × 745mm
est $30,000 — $35,000
provenance
Private collection, Christchurch.
exhibitions
Doris Lusk: Exhibition of Paintings & Drawings, Canterbury Society of Arts Gallery, Christchurch, 12–29 November 1972.
26 Doris Lusk
The Beginning of the End (Demolition series)
1982
acrylic on canvas
signed Doris Lusk, dated September 1982 and inscribed The Beginning of the End Demolition series in brushpoint verso 1220 × 760mm
est $28,000 — $32,000
provenance
Private collection, Christchurch.
exhibitions
Constructed Demolitions, The Canterbury Society of Arts Gallery, Christchurch, 1982.
Lusk went on to replace him on the staff of the University of Canterbury School of Fine Arts, where she became an influential tutor and was much admired by both students and colleagues.
Summer Landscape, Canterbury , the largest of Lusk’s six works in the 1965 Group Show , was the highest priced, at 20 guineas, and was acquired from the exhibition by a Christchurch academic who lectured in the university’s English department. Two years later, when it appeared in her Dunedin retrospective, the painting was catalogued as Summer Landscape near Lake Coleridge , giving a clearer picture of the work’s rural location. The broad gestural brushstrokes employed in the painting illustrate an exciting departure from earlier, more detailed linear interpretations and opened a new chapter in the artist’s development.
The rolling foreground forms lead the viewer, via a central hedge-lined road, through undulating terrain and a clump of trees, reaching up and through blue mountains to an expansive cloud-filled sky. Note the single structure on the right. Most of Lusk’s landscapes present actionfilled skies, where repeated gestural forms connect both land and sky to energise as one image. Curiously, the land feels as if it is rising vertically on the picture plane. Dark-grey clouds appear to disperse at speed, not only documenting weather patterns but more importantly serving as perceptions of movement and time. The goldenyellow ochres, browns, subtle greys and blues combine to create a rich tapestry throughout the painting.
Underpinned by decades of direct observation, this studio painting hinges on memory, supported by sketches. A related oil, Mountain Landscape, Canterbury, also dated 1964, is comparable in colour and approach and was included in the same Group Show. It is now in the collection of Aigantighe Art Gallery in Timaru. The importance of Summer Landscape, Canterbury within the artist’s oeuvre was again highlighted by the painting’s inclusion in Lusk’s second retrospective, held at The Dowse Art Museum in 1973 and touring to all the main centres.
The output of our landscape painters often appears as a diary of places visited and experienced, and for many New Zealanders with families, tenting holidays offered
an affordable and relaxed option at the seaside or beside picturesque lakes. Lusk’s Midday Hawea (1972), one of six paintings from the Tent series, was the result of such a trip with family and grandchildren in tow. One work in the series documents Lusk’s daughter, Rachel, and a grandchild standing inside the tent. This image, from inside looking out, shows the tent opening to a wide vista of lake and mountains bathed in soft golden light, where the sweeping shoreline, dotted with orange and blue flowers, offers a rather surreal take on this South Island location. The rolled-up canvas entrance creates a striking silhouette of shapes along the top edge of the painting that encapsulates the scene as the wind creates ripples across the blue lake.
The Beginning of the End (1982) is from one of the artist’s important series of acrylic paintings, which was presented in a solo exhibition in Christchurch the same year. Inspired by seeing a partly demolished building in the inner city while driving, Lusk immediately stopped her car and photographed the structure bathed in late sunlight. Developed over three years, from 1979 to 1982, the series grew, and 14 acrylic paintings and 12 preliminary watercolour studies were presented in a solo show titled Constructed Demolitions. Cleverly, the show’s title refers to the artist’s unique approach to image making during this period. Cutting up photographs and reconstituting them into small collages, then watercolours, Lusk built the series in an imaginative and experimental way, initially staining with acrylic onto wet canvas and supporting with graphite and coloured-pencil drawing. The Beginning of the End appears as a stack of receding structures with a central mass of rubble held by poles on the right. Touches of pale yellow and pink enliven the cream-coloured stonework.
Summer Landscape, Canterbury 1964 oil on canvas signed Doris Lusk and dated 1964 in brushpoint lower right 680 × 885mm
est $40,000 — $50,000
provenance
Private collection, South Island. Acquired from Art South, Otago.
exhibitions
1964 Group Show, Durham Street Art Gallery, Christchurch, 1964; Doris Lusk Retrospective Exhibition, Dunedin Public Art Gallery, Dunedin, 1966; Doris Lusk Retrospective, The Dowse Art Museum, Lower Hutt, 1973.
27 Doris Lusk
28 Shane Cotton Te Paku o te Rangi 1998 oil on canvas signed SWC, dated 1998 and inscribed TE PAKU O TE RANGI in brushpoint lower right 655 × 835mm
est $25,000 — $35,000
provenance
Private collection, New South Wales.
29 Bill Hammond untitled crackle glazed ceramic
300 × 300mm
est $20,000 — $25,000
provenance
Private collection, Auckland.
est $24,000 — $38,000
provenance
30 Toss Woollaston untitled oil on board signed Woollaston in brushpoint lower right 595 × 795mm
The Sutch-Ovenden Collection, Wellington.
31 A.
Rooster and Chickens pastel on wallpaper
signed A. Lois White in pastel lower left 505 × 405mm
est $18,000 — $22,000 provenance
Private collection, Queenstown.
32 A.
Three Swans pastel on paper
signed A. Lois White in graphite lower right 620 × 495mm
est $35,000 — $45,000
provenance
Private collection, Queenstown.
33 A. Lois
Madrid Rooftops 1963 oil on board
signed A. Lois White and dated 1963 in brushpoint lower left 860 × 600mm
est $50,000 — $70,000
Private collection, Queenstown.
Lois White
Lois White
White
PAT
HANLY
A Tendency Towards Hope
Essay by LUCINDA BENNETT
Pat Hanly was born in Palmerston North in 1932 and, by the time he reached primary school, he was already “totally preoccupied with drawing and painting.”1 He left high school before completing fourth form and began a hairdressing apprenticeship, using his first wages to buy a book of Rembrandt drawings. Encouraged by his mother, Hanly enrolled in night classes at the local technical college and by 1952 was enrolled at the Canterbury College School of Art, albeit as a non-diploma student, having not completed his School Certificate. This didn’t stop him from winning the School’s Turner Prize for Landscape in 1953 at the tender age of 20.2
After leaving art school, Hanly resided primarily in Britain, with his wife, photographer Gil Hanly. It was here that he encountered abstract expressionism and the work of Pablo Picasso, Henri Matisse, Marc Chagall and Francis Bacon, all of whom would have a significant influence on his work. During this period, Hanly continued to make, although few paintings from this period survived; he was notorious for destroying any works that did not meet his exacting standards. The suite of works offered here span 40 years of his practice, from Dancer with Cloak (1961), painted just before his return from Europe in 1962, to the pair of stained-glass panels from his Bride and Groom series, created in 2000.
Early into his stay in London, Hanly secured a gig as a stage manager at the Gargoyle strip club. “They hired artists and medical students
to work behind the stage, as they knew they wouldn’t freak out with all the nude girls running around,” Gil Hanly explains.3 One of the rare surviving works from this time, Dancer with Cloak, shows an abstracted figure holding the corners of their cloak out to the very edges of the frame. The dark, moody palette and twisted form demonstrate Hanly’s particular admiration for the work of Francis Bacon –indeed, echoes of the fleshy, crouching nudes and haunting, enrobed popes that populate Bacon’s work of the late 1950s can be seen here, although Hanly never descends to the same depths of horror. Indeed, despite the stark political themes explored in much of Hanly’s work, there is a tendency towards hope and optimism often reflected in the bright colour palette and simple, recognisable forms – a dove, a rainbow – that crop up regularly in his paintings.
Hanly’s later Golden Age and Energy series from the late 1960s through the 70s exemplify his joyful palette: there is no darkness in Figure on the Floor (Energy Study) (1972), the titular figure thickly outlined in white paint, delineating her nude female form lying supine atop a bright background of pink, orange, yellow, teal and sky blue. By this time, Hanly was looking to America for inspiration, particularly Andy Warhol and Roy Lichtenstein, who were in turn responding to the aesthetics of screen printing and graphics. In Figure on the Floor, we see Hanly build a painting by combining flat areas of colour with bold outlines that
34 Pat Hanly untitled (from the Bride and Groom series)
2000
stained glass
signed Hanly and dated ‘00 with incision lower left
625 × 495mm
est $15,000 — $20,000
provenance
The Hanly Family Collection, Auckland.
note
This work was made in collaboration with Ben and Suzanne Hanly and is to be hung in front of a window.
35 Pat Hanly Bride and Groom (from the Bride and Groom series)
2000
stained glass
signed Hanly and dated 2000 with incision lower right 535 × 580mm
est $15,000 — $20,000
provenance
The Hanly Family Collection, Auckland.
literature
Gregory O‘Brien, Hanly (Auckland: Ron Sang Publications, 2012), 243.
note
This work was made in collaboration with Ben and Suzanne Hanly and is to be hung in front of a window.
acrylic
board signed Hanly and dated 86 in brushpoint upper left; signed Hanly, dated ‘86 and inscribed “Hope + Fire” B, Love Pat & Gil in ink verso 425 × 510mm
est $45,000 — $60,000
36 Pat Hanly Hope + Fire B 1986
and enamel on
The Hanly Family Collection, Auckland.
37 Pat Hanly Dancer with Cloak 1961 oil on canvas board signed Hanly and dated 61 in brushpoint lower right 1235 × 890mm
est $70,000 — $90,000
provenance
The Hanly Family Collection, Auckland. exhibitions New Zealand Contemporary Paintings and Ceramics, Tokyo, 1964.
literature Gregory O'Brien, Hanly (Auckland: Ron Sang Publications, 2012), 38; Russell Haley, Hanly: A New Zealand Artist (Auckland: Hodder & Staughton, 1989), plate 9.
38 Pat Hanly Figure on the Floor (Energy Study) 1972 oil on board signed Hanly and dated 72 in brushpoint lower right; signed Hanly, dated 1972 and inscribed “Figure on the Floor” Energy Study in ink verso 445 × 440mm
est $70,000 — $90,000
provenance
Private collection, Auckland. Acquired from Barry Lett Galleries, Auckland, c1970s.
literature
Gregory O‘Brien, Hanly (Auckland: Ron Sang Publications, 2012), 173.
he thought of as halos, suggesting that the sacred can be found in the carnal realm – a notion in line with the ethos of the sexual revolution that was underway.4
Perhaps the most recognisably ‘Hanly’ of the works in this group is the untitled painting from 1986, which features one of his most prevalent motifs: the sailboat. For Hanly, this was a symbol of freedom and escape – he was an avid sailor – but also protest, having first appeared in his 1960s Fire paintings, which were made in response to the growing nuclear threat during the Cold War. Painted over a decade later, this work responds to the same threat in a new form, protesting nuclear testing in the Pacific and the subsequent bombing of the Rainbow Warrior by French military agents in Auckland Harbour. Despite the horror of this moment in history, Hanly’s painting communicates hope: there is fire, but there is also beauty, and there are also people protecting that beauty, taking to the seas to stand for nature, earth, harmony and joy.
Today, Hanly is considered one of the most significant Aotearoa artists of the twentieth century as well as one of our most socially engaged, understanding early that his art could play a role in increasing people’s awareness and encouraging political action. Throughout his career, he completed multiple significant public commissions, including the mural Rainbow Pieces (1972) at Christchurch Town Hall, which was restored and reinstalled for the Town Hall’s post-quake reopening in early 2019. Hanly’s works are held in numerous notable private collections and all major public collections across Aotearoa, where they are enjoyed by visitors of all ages.
1 Russell Haley, Hanly: A New Zealand Artist (Auckland: Hodder & Stoughton, 1989), quoted in “Pat Hanly’s Biography,” The Arts Foundation Tumu Toi, last modified 22 March 2021, https://www.thearts.co.nz/artists/pat-hanly
2 “Pat Hanly’s Biography,” The Arts Foundation Tumu Toi.
3 Gil Hanly interviewed by Art News, “Pat Hanly: Painter of Light,” Art News New Zealand 158, 14 August 2012, https://artnews.co.nz/pat-hanly-2012/
4 Greg O’Brien, “Voyages into the Unknown,” The New Zealand Herald, 23 March 2013, https://www.nzherald. co.nz/entertainment/voyages-into-the-unknown/ G7TZJUMZXXDKRVTV7LPXBUNCTE/
Bill Sutton’s painting practice has been incontrovertibly dedicated to capturing the geography of the Canterbury region. As well as teaching at the University of Canterbury School of Fine Arts for over 30 years, where possible Sutton prioritised exhibiting his work in Canterbury. During the 1970s and 80s, his work was dominated by representations of the local landscape. Undoubtedly, this is why Sutton has been afforded the label of regionalist.
Te Tihi o Kahukura and Sky (The Citadel of the Rainbow God) is an apt visual testament to Sutton’s fervour for the Canterbury region and its landscape. It is one of a series of works of the same name, painted between 1975 and 1977, all of which depict Te Tihi o Kahukura (the Citadel of the Rainbow God), also known as Castle Rock, in Christchurch’s Port Hills. The ten canvases that make up the series adopt different vantage points and distinct atmospheric conditions. Some of the paintings depict dark, brooding clouds that threaten the landscape and imbue their composition with a sense of drama. The work offered to us here, however, is more Arcadian, dominated by a paleblue sky and wispy, unimposing white clouds. Our view of Te Tihi o Kahukura, the limestone outcrop positioned in the centre right of the composition, is disrupted by a hazy cloud that imparts an eerie, mystical quality to the landscape.
While Sutton could view the Port Hills from his home – especially from an upstairs window, where he could see Te
Tihi o Kahukura specifically – he would travel to the area, surely preferring an uninterrupted view of the landscape. There, he made preliminary pencil and watercolour studies en plein air. Many of the studies Sutton made for his Te Tihi o Kahukura and Sky series are now in the collection of Christchurch Art Gallery Te Puna o Waiwhetū, and they show the artist faithfully recording the hills’ topography, capturing the light effects on the land, and observing atmospheric conditions. Back in the studio, Sutton worked these observational studies up into monumental oil paintings. In this way, his working process can be likened to that of the English Romantic J. M. W. Turner (1775–1851), who made rapid studies outdoors before spending much time in his studio, sometimes many months, working them up in oils.
Sutton injects a sense of dynamism into Te Tihi o Kahukura and Sky — the thin clouds seem to sweep across the canvas as if gently blown by the wind, and the shadows falling on the hills suggest the sun’s progress across the sky. Sutton’s landscapes also emit a timelessness, through their lack of signs of human presence. Measuring over 1.5 by 2.4 metres, the painting’s composition envelops the viewer, imparting that sense of smallness and awe felt when surrounded by uninhabited landscape. One can only imagine the reverence of being surrounded by ten of these heroic works.
by Victoria Munn
est $70,000 — $90,000
provenance
39 Bill Sutton Te Tihi O Kahukura and Sky (The Citadel of the Rainbow God) 1977 oil on canvas signed W A Sutton and dated ‘77 in brushpoint lower right 1525 × 2440mm
Private collection, Martinborough. Acquired from FHE Galleries, Auckland, 1998.
acrylic, pastel and ink on paper; Roger Hickin frame signed Hotere, dated '84 and inscribed Dawn/ Water Poem Port Chalmers in graphite lower left; signed Ralph Hotere, dated 1984 and inscribed Mururoa Dawn & Water Series in ink verso 760 × 555mm
est $30,000 — $40,000 provenance Private collection, Christchurch.
40 Ralph Hotere Dawn/Water Poem 1984
collection, Christchurch.
41 Tony Fomison untitled (Head) oil on canvas on board 100mm diameter
$22,000 — $26,000
Christchurch.
42 Tony Fomison untitled (Skull) oil on canvas on board 90mm diameter
$22,000 — $26,000
43 Chris Charteris untitled granite and steel cable 1950 × 1300mm (widest points; dimensions variable)
est $18,000 — $24,000
provenance
Private collection, Taranaki. Acquired from KORU Contemporary Art Gallery, Hong Kong.
44 John Edgar Double Transformer 2001 granite, glass and lead 2130 × 480 × 110mm (widest points)
est $28,000 — $48,000
provenance
Private collection, Wellington. Passed by bequest; Private collection, Wellington. Acquired privately, 2020; Collection of Collin Post, Wellington. Acquired by private commission via Tinakori Gallery, Wellington, 2001.
est $40,000 — $65,000
Private collection. Gifted by the artist.
45 Allen Maddox
acrylic and graphite on calico 1300 × 1600mm
Fiona Pardington (Ngāi Tahu, Kāti Māmoe and Ngāti Kahungunu, Clan Cameron of Erracht) has frequently turned her lens to a variety of artefacts: skulls and cut flowers, taxidermied birds, the stuff of vanitas and still life. Many of Pardington’s avian sitters have been sourced by visiting museum collections around Aotearoa, including those of Inseparable Huia , which hail from the Canterbury Museum. While these taxidermied specimens might otherwise live a concealed afterlife, sequestered to archival museum storage and unseen by public eyes, Pardington revitalises these subjects through her lens and breathes new life into them.
The two huia in question float in and out of a dense blackness; there is nothing else to distract or detract from this elegant pair, but their exact forms are withheld from us, bleeding so deftly into the enveloping black that it is unclear where these figures end and where the void begins. In this gentle play of push and pull, our eyes are invited to continue traversing, investigating, searching for more, to steady ourselves and to make meaning.
Where Pardington denies us the traditional anchors of perspectival depth or other pictorial details to engage with, we are left to reconsider the ‘nothingness’ of the inky surrounds. In Pardington’s wellknown oeuvre that speaks confidently to her Māoritanga and to te ao Māori, does the black expanse offer a version of Te Pō (the dark night)? It is the middle chapter of the Māori creation story, one characterised by the endless and everexpanding shades of darkness that
preceded all life. It is only from Te Pō that we have since stepped forth into the final chapter, Te Ao Mārama – the world of light and life – where all living beings, these inseparable huia included, now reside. Pardington’s lens perhaps captures the precipice between the two. So in this world of light and life, as viewers we now stand before the black-lacquered, weighty frame and take pause to consider these subjects anew. The huia is well known for its distinctive white-tipped feathers, so prized by both Māori and Pākehā for the mana bestowed upon their wearers that the species was hunted to extinction by the early twentieth century. Yet this most iconic feature is curiously and knowingly excluded from the frame; the mourned demise of the huia is perhaps not Pardington’s concern in this particular work. Instead, our focus is redirected by a careful framing of the birds’ heads, presented in dignified profile.
Members of a species known to mate for life, these two huia are aptly memorialised in an embrace: the curve of their beaks approaching each other in a delicate and loving kiss. The human viewer – once their primary predator – is of no concern to these two, whose gaze and focus remains eternally locked to each other. Pardington’s birds reclaim a life force all of their own, and possess a strength and nobility that rebukes their presumed narrative as lifeless museum specimens. Instead of speaking to the funereal, Inseparable Huia presents to us an image that is quietly full of vitality, of devotion, of life.
by Christie Simpson
est $45,000 — $55,000
46 Fiona Pardington Inseparable Huia 2016
archival print on Hahnemühle Photo Rag, 6/10 1100 × 1500mm
47 Trevor Moffitt
Rakaia River Series No. 54
1984
oil on board
signed Moffitt and dated 84 in brushpoint lower right; inscribed “Rakaia River Series” No. 54 in ink verso 585 × 885mm
est $20,000 — $30,000
provenance
Private collection, Christchurch. Acquired privately, 1986. The Holmwood Collection.
48 Peter Siddell Looking North 1993
oil on canvas
signed Peter Siddell and dated 1993 in brushpoint lower right 345 × 1475mm
est $70,000 — $120,000
provenance
Private collection, Auckland. Acquired directly from the artist, c1993.
Don Binney
oil on board
signed Binney and dated 1998 in brushpoint lower right 595 × 1115mm
est $80,000 — $120,000
provenance
Private collection, Auckland. Acquired from Judith Anderson Gallery, Auckland, 1998.
exhibitions
Sites of Significance, Judith Anderson Gallery, Auckland, 4–23 October 1998.
50 Andy Warhol Mick Jagger FS IIB.147 screenprint on paper, 8/250 signed Andy Warhol and inscribed 8/250 in graphite lower edge; signed M. Jagger in ink lower left 1100 × 730mm
est $140,000 — $200,000 provenance
Private collection, Auckland. Acquired from Atlanta, 1975.
F Feldman and J Schellmann, Andy Warhol Prints: A Catalogue Raisonne 1962–1987 (New York: Ronald Feldman Fine Arts, 1997), 63.
In the pop art movement there is no figure more notorious, celebrated, quoted or copied than Andy Warhol. Renowned for his innovative and often provocative approach, he created some of the most instantly recognisable work of the twentieth century, and among his most iconic pieces is a portfolio of ten portraits of Mick Jagger, the charismatic frontman of the Rolling Stones.
Created in 1975 – at the height of Jagger’s fame – these portraits are perhaps the pinnacle of both Warhol’s signature artistic vision and his fascination with celebrity culture; the collaboration being not just a meeting of two largerthan-life figures, but also a fusion of art and rock‘n’roll — two cultural forces that defined the 1960s and 70s.
At the time the portraits were created, Warhol and Jagger already had a well-documented friendship, with Warhol spending considerable time with the superstar and his glamorous then wife, Bianca. Warhol was of course also responsible for the envelope-pushing cover of the Stones’ seminal 1971 album Sticky Fingers — featuring a close-up of a man’s denim-enclosed crotch, complete with functional zipper. This established personal and professional relationship meant there was arguably no artist better positioned to capture the enigmatic, godlike rock star in his many personas.
Warhol’s portraits of Jagger are a series of ten silkscreen prints that showcase the former’s signature style and offer an early example of his ‘collage’
work. Warhol employed a technique that involved overlaying photographic images with hand-drawn lines and splashes of colour, a method that created a sense of movement and energy, reflecting Jagger’s electrifying stage presence. The use of bright, contrasting hues and ripped borders also added a sense of drama and intensity to the portraits, making them visually striking.
One of the most intriguing aspects of these portraits, though, is the way Warhol captured Jagger’s multifaceted personality. In some images Jagger appears contemplative and introspective, while in others he exudes that hallmark confidence and swagger. The two prints on offer in this auction are in the former camp: in Mick Jagger FS IIB.145 the charismatic singer presents as uncharacteristically vulnerable, appearing almost as if just woken from sleep. In Mick Jagger FS IIB.147 we find him pensive and serious, his hands clasped in contemplation beneath that matchless pout.
This ‘behind the curtain’ element is a hallmark of Warhol’s work, as he often sought to reveal the complexities and contradictions of his subjects. This was particularly true during the 1970s, when his artistic output largely focused on commissioned celebrity portraits. By presenting Jagger in different – often humanising – lights, Warhol not only highlighted the rock star’s versatility but also challenged the viewer’s perceptions of celebrity, and in doing so created some of the most iconic and era-defining images in pop art – and music – history.
by Katie Ruscoe
51 Andy Warhol
Mick Jagger FS II.145
screenprint on paper, 8/250 signed Andy Warhol and inscribed 8/250 in graphite lower edge; signed M. Jagger in ink lower left 1100 × 730mm
est $140,000 — $200,000
provenance
Private collection, Auckland. Acquired from Atlanta, 1975.
literature
F Feldman and J Schellmann, Andy Warhol
Prints: A Catalogue Raisonne 1962–1987 (New York: Ronald Feldman Fine Arts, 1997), 63.
52 Ralph Hotere Black Window 1982–91
burnished steel and acrylic on board; villa sash window frame signed Hotere and inscribed PORT CHALMERS in graphite right edge; signed HOTERE, dated 1982 – Feb ‘91 and inscribed Port Chalmers BLACK WINDOW in ink verso 1120 × 952mm
est $100,000 — $150,000
provenance
Private collection, Auckland. Acquired from Sue Crockford Gallery, Auckland.
literature Ralph Hotere with Kriselle Baker and Vincent O‘Sullivan, Ralph Hotere (Auckland: Ron Sang Publications, 2008), 220.
2
1
53 Paul Dibble
Geometric Figure 1 2001
bronze
signed Paul Dibble and dated NZ 2001 with incision lower edge 1900 × 440 × 270mm (widest points)
est $170,000 — $250,000
provenance
Private collection, Wellington. Passed by bequest; Private collection, Wellington. Acquired privately, 2020; Collection of Collin Post, Wellington. Acquired by private commission via Tinakori Gallery, Wellington, 2001.
literature
Another from the edition featured in Paul and Fran Dibble, Paul Dibble: The Large Works (Auckland: David Bateman Ltd, 2012), 70.
“Paul Dibble … makes objects that inhabit three dimensions, like the viewer; but although from some angles his work seems solid and bulky, from others it flattens to a wisp of its former self, almost a shadow.”1
It is perhaps an oxymoron to describe Paul Dibble’s monumental bronze sculptures as wisps and shadows, and yet that is their magic: they flit between two and three dimensions, light on their feet, hard edged with soft curves, elegant, enigmatic. Much like the figurative sculptures of Henri Matisse, which he greatly admired, Dibble’s works show bodies in motion, not always dancing (although at times they are) but stretching, striding, posing, turning, bending, moving through space, making shapes.
Having worked primarily with bronze for around three decades – Dibble was one of only a few artists in Aotearoa to cast their own large-scale works, which he did at the foundry he shared with his wife, sculptor Fran Dibble, in Palmerston North – he began making his geometric sculptures in the late 1990s, beginning what would become a decades-long series loosely termed The Hard Geometrics. 2 These reduced human forms make reference to the lithe, early cubist sculptures of Alexander Archipenko, or Ossip Zadkine’s wrenching, emotive bodies, and yet Dibble’s geometrics are wholly his own, adorned with his characteristic organic patterning; delicate
cut-outs indicating a part of the body – a breast, a knee; gracefully proportioned, although not in the human sense.
With her formidable height and exaggerated pose, Geometric Figure 1 (2001) exudes confidence, arms raised to cradle the back of her head, chin raised as though stretching her spine or perhaps lifting her warmly burnished face (or at least, where we might imagine a face could be) towards the sun. Her torso is a smooth cylinder punctuated by two circular mounds for breasts. Her waist is defined only by the hyperbolic curve of her hips, the form splitting into two thick columns, each leg as wide as the torso before one slims down and the other suddenly veers outwards, ballooning and transforming into a perfectly geometric cone, abstracted beyond identification as a ‘leg’; the leg has been replaced.
The pleasure of Dibble’s geometric works lies in the tension between figuration and abstraction, between cone and leg, sphere and head – and also quite literally between cone and sphere, because this expanse of bronze includes the delicate protrusion of a stomach, the deeply human asymmetry of one hip slightly lower than the other, but also the inhuman tubular form from breast to abdomen, the sharp triangle of elbows held aloft. This careful interplay between angles and curves creates a sense of balance and harmony, of a figure oscillating between humanness and architecture.
by Lucinda Bennett
Paul and Fran Dibble, Paul Dibble: The Large Works (Auckland: David Bateman Ltd, 2012), 128.
Paul Dibble and Graeme Brown, Paul Dibble: The Geometric Figures: 20 Years (Palmerston North: Dibble Art Company, 2017), 3.
54 Ralph Hotere
Black Window Towards Aramoana 1983–84
oil on board; villa sash window frame signed Hotere, dated 83–84 and inscribed Port Chalmers in brushpoint lower right; inscribed Towards ARAMOANA in brushpoint lower left; inscribed BLACK WINDOW in brushpoint upper edge 1120 × 1020mm (widest points)
est $200,000 — $240,000
provenance
Private collection, Auckland.
exhibitions
The 5th Biennale of Sydney, Art Gallery of New South Wales, Sydney, 11 April–17 June 1984.
In the late 1970s, a tiny settlement at the mouth of the Otago Harbour was proposed as the site for a new aluminium smelter. The project was quickly withdrawn in the face of modest opposition, but locals remained alert to the threat and when surveyors were spotted over the summer of 1979–80, folks began to rally into what would become the Save Aramoana Campaign, with Ralph Hotere and his then wife, poet Cilla McQueen, involved in the resistance alongside passionate residents and local iwi. By 1983–84, when this work was made, Aramoana had been saved. From the window of his studio at Observation Point in Port Chalmers (where Hotere Garden Oputae now sits), Hotere could see the bright line of the sand-dune spit reaching out into the moana, and the surrounding swirl of the saltmarsh where seabirds and waders fossick for food. Despite having won the campaign, Hotere continued to be inspired – or perhaps haunted – by the fight to save Aramoana, focusing more on environmental concerns and drawing increasingly from his local environment. For his Aramoana series of 1982–85, Hotere sourced local building materials, utilising sheets of corrugated iron and wooden sash-window frames saved from demolished colonial villas to create deeply idiosyncratic works combining the language of international modernism with the vernacular of local materials and references. Instead of glass windowpanes, Hotere filled his window frames with black paintings on board. Art historian Michael Dunn has interpreted this as an act of erasure: “Instead of the villa window opening upon an unsullied natural environment, the painting cancels the view and symbolically points to its erasure by the smelter development.”1 However, they might also be viewed more literally, as windows at night, gazing out onto the water, the orange flames of the smelter reflected in the dark ripples. In Black Window Towards Aramoana, the very window-ness is emphasised by the white cross painted in the centre, dividing the board into four sections just as the wooden muntins would have once done. But so too is the painting-ness emphasised, for the black paint does not extend quite to the edges, revealing the brown, terracotta and yellow laid beneath – whenua colours under a tarry veil, suggesting that black here is not an erasure but an addition, like the Aramoana lampposts he painted black in protest, or the black acrylic splattered over smelter hoardings.2 While still ostensibly taking Aramoana as his subject, these later works from the Aramoana series show just how deeply affected Hotere was by his participation in the resistance, spurring him towards deeper engagement with environmental themes and the vernacular of local materials, both of which would continue to inform his practice in the ensuing decades.
1 Michael Dunn, New Zealand Painting: A Concise History (Auckland University Press, 2003), 131.
2 Kriselle Baker and Vincent O’Sullivan, Hotere (Auckland: Ron Sang Publications, 2008), 317. by Lucinda Bennett
FRANCES HODGKINS
Seaside Lodgings
Essay by LINDA TYLER
Painted when expatriate artist Frances Hodgkins was based in St Ives, Cornwall, this depiction of two women crammed behind a breakfast table in a parlour is reminiscent of the subject matter of the British post-impressionist Camden Town Group. Founded by Walter Sickert in London in 1911, the group’s approach to portraying lower-middleclass life with gritty realism is exemplified by Sickert’s own portrayal of a bored couple in a dated interior. Eric McCormick, Hodgkins’ biographer, bases his dating of the painting on a letter home to her mother, in which she exults, “The Director of the Carnegie Institute
Frances Hodgkins in her studio, St Ives, Cornwall, 1918. Photograph by Beatrice Wood.
I told you of has seen my ‘Seaside Lodgings’ at the International & written specially inviting it to America.”1 ‘The International’ was the abbreviation for the International Society of Sculptors, Painters and Gravers, which operated in London from 1898 to 1925. Hodgkins had been showing with this group since 1911, and six of her works were included in the autumn exhibition in October 1919, the society’s 26th, which was held at the Grosvenor Gallery at 51a New Bond Street. Listed in the catalogue as number 377, Seaside Lodgings was her only oil, and caught the attention of John Wesley Beatty (1850–1924), the inaugural director of the Department of Fine Arts at the Carnegie Institute in Pittsburgh. He was on a mission to collect “the old masters of tomorrow” for his institution’s annual survey of contemporary painting.
The Daily Express’s account of Seaside Lodgings in this exhibition called it “The Fatal Picture”, attributing it to a Mr Francis Hodgkins. The Belfast Telegraph compounded the error by misspelling Hodgkins’ surname.
Their review of the painting is titled “Seaside Lodging Realism”, and derides the dreariness of English bed and breakfast boarding houses by the sea:
There is one picture in the exhibition of the International Society of Sculptors, Painters and Engravers at the Grosvenor Gallery which must not – which cannot – be missed. Its number in the catalogue is 377. It is called “Seaside Lodgings.” It is painted by Mr. Francis Hodgins. The realism of the picture is terrible. There are 599 exhibits, but after brief glances at them one returns to “seaside lodgings.”
The picture (the London “Daily Express” says) is that of a parlour in a house which is almost certainly called “Seaview.” The room contains two desolate female figures. One of them is seated at the breakfast table trying hard to be cheerful. The other is gazing at the mantelpiece, on which there are some ornamental vases of the period of Albert the Good. It is a room of d’oyleys, antimacassars, and wax fruit under glass. These things are
suggested rather than actually represented. One feels that they are there just as one realises that on a back bookshelf there is a mildewed volume of the “Quiver” and a copy of “Christie’s Old Organ.”2
Old-fashioned features depicted by Hodgkins in her interior include the kerosene lamp and the mantelpiece decorations, suggesting arts of British manufacture such as those championed by Queen Victoria’s consort Prince Albert (1819–1861) 70 years previously. Yet there are symbols of youth and vitality included here too: bunches of daisies in the blue vases at either end of the piano where one woman sits doing her needlework, and another arrangement of flowers in a pink vase on top of a sideboard, above the head of the second woman, whose face is lit in profile as she reads a newspaper. These fresh blooms and the fireplace with its potted plant in the grate suggest that it is summertime, and these youthful women are enjoying a holiday together by the seaside. Far from searching for copies of the Victorian children’s book by Amy Walton or the biblical weekly magazine imagined by the reviewer, they appear to be quietly communing in the bright morning light as they wait for breakfast to be served. An array of coffee pots, jugs and crockery is tipped up towards the viewer to allow us to survey the pleasing arrangement of forms outlined on the white diamond shape of the tabletop.
What would the Americans have made of this time capsule of British seaside holidaying when the painting went on display in Pittsburgh, Pennsylvania and at the Albright Gallery in Buffalo, New York, in the summer of 1920? That was the year in which the 19th Amendment to the American Constitution gave (white) women the vote, eight years ahead of their British counterparts. The painting came back to Hodgkins for inclusion
1920 Carnegie Institute International Exhibition of Paintings catalogue, which featured Hodgkins' Seaside Lodgings.
1 Letter from Frances Hodgkins to Rachel Hodgkins, 18 November 1919, in Letters from Frances Hodgkins. Field, Isabel Jane, 1867–1950 : Correspondence of Frances Hodgkins and family / collected by Isabel Field. Ref: MSPapers-0085. Alexander Turnbull Library, Wellington.
2 “Seaside Lodging Realism,” Belfast Telegraph, 8 October 1919, 4.
3 James Shelley, “Canterbury Society of Arts Exhibition,” Lyttelton Times, 19 March 1928, 5.
4 James Shelley, “Canterbury Society of Arts Exhibition,” Lyttelton Times, 13 April 1928, 10.
5 Eric McCormick, Works of Frances Hodgkins in New Zealand (Auckland City Art Gallery, 1954), 99.
in a major exhibition of 80 paintings she staged in the basement at 2 Mount Street, Manchester, in November 1926. Priced by the artist at £40 in recognition of its recent American exposure, it was the second most expensive work in that show. The following year, she packaged it up as part of a large collection of her unsold work and sent it to her brother, William John Parker Hodgkins (1866–1945), who was then working as a bank manager in Invercargill. Obligingly, he submitted her paintings to exhibitions in several cities. In Christchurch in March 1928, Seaside Lodgings featured at the Canterbury Society of Arts. The discerning academic and critic James Shelley (1884–1961) rejoiced in the way Hodgkins had embraced “the more revolutionary [art] movements of Europe” 3 , and commended this painting as a “flattoned experiment in distorted drawing” in his Lyttelton Times review.4
Among the last of the artist’s work exhibited, but too modern to be sold in New Zealand during her lifetime, Seaside Lodgings remained in her brother’s possession until his death in 1945, when it was inherited by his son, Geoffrey William Michael Hodgkins (1902–1965), the Tauranga naturalist. Michael Hodgkins sold the painting to economist William Ball Sutch (1907–1975) when he returned from the United Nations in New York in 1951. The work remained in Sutch’s stewardship thereafter, and in 1954 it was included in Eric McCormick’s catalogue Works of Frances Hodgkins in New Zealand, published by Auckland Art Gallery. Listed then as catalogue number 268, the work was described as emphasising “the solid appearance of objects … so reminiscent of Camden Town theorisings.”5
Ennui (1917–18) by Walter Sickert, which exemplified The Camden Town Group's artistic approach.
55 Frances Hodgkins
Seaside Lodgings c1919
oil on canvas signed FRANCES HODGKINS in brushpoint lower left 650 × 630mm
est $240,000 — $360,000
provenance
The Sutch-Ovenden Collection, Wellington. Acquired privately; Collection of Michael Hodgkins, Tauranga. Passed by bequest; Collection of William Hodgkins, Invercargill.
exhibitions
Frances Hodgkins: From Dunedin to Waikanae, Toi Mahara Gallery, Waikanae, April–May 2019; Canterbury Society of Arts: 48th Annual Exhibition, Canterbury Society of Arts Gallery, Christchurch, March 1928; Exhibition of Paintings by Frances Hodgkins, Mount Street Gallery, Manchester, 4–30 November 1926; Foreign Paintings from the Carnegie Institute International Exhibition, Albright Art Gallery, Buffalo Fine Arts Academy, New York, 10–31 October 1920; Nineteenth Annual International Exhibitions of Paintings, Carnegie Institute, Pittsburgh, 29 April–13 June 1920; International Society, 26th Exhibition, Grosvenor Gallery, London, October 1919.
literature
E H McCormick, Works of Frances Hodgkins in New Zealand (Auckland: Auckland City Art Gallery, 1954), 196; E H McCormick, Portrait of Frances Hodgkins (Auckland: Auckland University Press, 1981), 94.
note
The Complete Frances Hodgkins catalogue raisonné number: FH0630.
DON BINNEY
Malay Dove, Wooden Mansions
Essay by GREGORY O'BRIEN
With their persistent themes of arrival and departure, Don Binney’s bird paintings are a melding of autobiographical strands and elements from his ornithological adventuring. Such an approach is epitomised by the artist’s best-known and most-often reproduced work from the 1990s, the oil and acrylic painting Malay Dove, Wooden Mansions. From the time of its completion, it was a significant and defining work in Binney’s mind. It was included in his survey exhibition Binney – Forty Years On at the Dowse Art Museum in 2003; it was reproduced in Art New Zealand 96 and, three years later, in Damian Skinner’s book Don Binney: Nga Manu/Nga Motu – Birds/Islands. While Binney primarily focused on native birds during the golden era of his bird paintings – the 1960s and 70s, at which point he had a studio at the Auckland west coast beach of Te Henga – later in his career he often painted introduced species. He would have been
Don Binney, 1989. Photographs by Sunday Star Times
familiar with the Malay spotted dove from his childhood birdwatching expeditions. The bird had the status of an “abundant naturalised introduction” in the Auckland region, where it was introduced in the 1920s. According to Scofield and Stephenson, the dove became “common in the North Island and appears to have spread along the railway network, probably due to the species’ habit of nesting in old carriages.”1 The species is distinguished by its long tail, speckled plumage and white-spotted black collar — details that Binney has wonderfully rendered in his distinctively stylised manner.
Dominating the lower half of the painting are the Elam School of Fine Arts’ ‘Wooden Mansions’ — “a building long occupied by painters-to-be and their instructors, including myself”2 and a cherished location for Binney. Following an immensely productive two decades working at Te Henga, he had been forced, for personal reasons, to relocate his practice back to the city in 1977. He would recount this geographical adjustment with resignation, noting that “the shabby easy-chair which had gazed out to sea since the time of my father’s retirement now looked onto the extensive black oak which screened the art school’s Wooden Mansions from the Grafton off-ramp.” While the foliage and birdlife of Grafton Gully could not match Te Henga, the new locale accommodated him well enough and, by 1979, when Marti Friedlander came to photograph him there, he was productively engaged and looking very much in his element.
During his 20 years of full-time teaching at Elam School of Fine Arts, Binney had struggled to find the energy to satisfy both his pedagogical and creative inclinations. Malay Dove, Wooden Mansions heralded his return to full-time painting; it was begun during the first year of his retirement and completed in 1999. It also marked a strident reintroduction of birdlife as a central motif in his art. In a 2000 Art New Zealand article, Richard Wolfe observed how the painting not only signposted the artist’s “exit from Elam” but how the combination of “foreign bird and ominous sky [referred] to a conservation issue of global proportions, the devastating forest fires in Malaya in 1998.”3 With its melancholy mood and sense of the calm before a storm, the work also alluded to the pending
demolition of his beloved Mansions — which were soon to be flattened to make way for a multi-storey development.
Binney had been fascinated by architectural forms since his early student days at Elam, when he trundled around inner-city Auckland, sketchbook in hand, making studies of house frontages. In this, he might have been channelling the spirit of his great-uncle, Ron Binney, who had been a prominent early-twentieth-century Auckland architect and proponent of the Arts and Crafts style. Michael Dunn has noted how Binney’s conservation-mindedness extended beyond ecological matters to encompass Victorian and Edwardian architecture: “He always wanted to keep the Wooden Mansions, even when the Works Department wanted to pull it down.”4
As noted in Don Binney – Flight Path, birds served as embodiments of the artist’s sense of his own identity, reflecting his aloneness, his bodily and soulful immersion in the currents of the natural world. Yet he made the further point that architecture could also serve a similar end and how, in Malay Dove, “that ramshackle old haunt, and its feral garden felt like an act of self-portraiture.”5 The scene is allegorical in tone: plant forms wrap around the building, as if to buffer it against the encroaching world; the dove flies up into the upper left corner of the painting – at once an exile, fugitive and refugee.
The work’s muted, almost pastel tones contrast with the bright, at times shrill, colour schemes of Binney’s earlier bird paintings. In this regard it prefigures his later avian paintings, which tend to have less abrasive colour schemes. The combination of oil and acrylic paint used here, as elsewhere, is an idiosyncratic but surprisingly successful method. The painting has the clarity of graphic design – the black poster-like outlines accentuating
bird and architecture, linking them together formally. At the same time there are virtuosic passages of oil painting, most notably in the impasto lawn and stippled bird’s plumage. Binney’s studio had been located on the first floor of the Mansions, on the right-hand side of the present view. The blacked-out windows strike a fatalistic note, the drawn blinds evoking a McCahon-esque night sky with nocturnal cloud formations – the implication being that night has fallen (or is falling) inside the building. The painting was his way of saying goodbye not only to a phase of his life but also to a defining location in his painterly life. He was also consciously marking the conclusion of the twentieth century. With its sense of time lost and irrevocable, the image is undeniably melancholic and introspective. At the same time, for Don Binney, Malay Dove, Wooden Mansions marked a regathering of energy, a rebirth and a direction for the future.
1 Paul Scofield and Brent Stephenson, Birds of New Zealand: A Photographic Guide (Auckland University Press 2013), 377.
2 Don Binney, unpublished Don Binney memoir manuscript, unpaginated.
3 Richard Wolfe, “Working Out, Recent Painting by Don Binney,” Art New Zealand 96, Spring 2000, 92.
4 Michael Dunn quoted in Gregory O’Brien, Don Binney – Flight Path (Auckland University Press, 2023), 290.
5 Don Binney, Binney – Forty Years On, exhibition catalogue with essay by the artist (Lower Hutt: The Dowse Art Museum, 2003), unpaginated.
56 Don Binney
Malay Dove, Wooden Mansions 1998–99
oil and acrylic on canvas signed DON BINNEY and dated 1998–99 in brushpoint lower right 1010 × 500mm
est $500,000 — $750,000
provenance
Private collection, Wellington. Acquired from Brooke/Gifford Gallery, Christchurch, 1999.
exhibitions
Don Binney: Forty Years On, The Dowse Art Museum, Lower Hutt, 19 September 2003–20 January 2004; Don Binney: Forty Years On, Auckland Art Gallery Toi o Tāmaki, Auckland, 28 February–9 May 2004; Don Binney – Revisiting, Brooke/Gifford Gallery, Christchurch, August–September 1999.
literature
Gregory O'Brien, Don Binney: Flight Path (Auckland: Auckland University Press, 2023), 291; Damian Skinner, Don Binney: Nga Manu/Nga Motu—Birds/Islands (Auckland: Auckland University Press, 2003), 104.
Tony Fomison first distinguished himself as a painter to watch when he exhibited with The Group in 1960 and gained the attention of Bill Sutton, Doris Lusk and Toss Woollaston. From 1962 on, Fomison exhibited regularly in group shows at various galleries around Christchurch, developing a strong regional support base. This spread to Auckland in 1963 when his work featured in the exhibition Contemporary New Zealand Painting at Auckland City Art Gallery.
In the catalogue for Fomison’s 1994 retrospective exhibition, Ian Wedde stated: “In one clarifying sense, Fomison’s career as an artist began where his contract with Canterbury Museum ended in 1962. Much of his training and study, including his time at art school, had been in preparation for a museum career. In 1962 that career path was blocked. The art path looked promising. In a more important sense, however, there was no rift — merely a repositioning of artist as maverick ethnologist outside the academic pale… the artist as outsider.”1
In 1964 an Arts Advisory Board travel grant enabled him to travel to England and Europe for the first time, where his work was included in an exhibition of New Zealand artists at Qantas Gallery, London. He travelled and stayed in various cities until 1967.
While overseas Fomison began painting works based on masterpieces by Caravaggio and other European masters. Caravaggio’s original painting John the Baptist , also known as "St John with Ram", c1610, hangs in the Borghese Gallery in Rome. However, Fomison
chose to make significant changes to the original composition when he painted John the Baptist, from Caravaggio’s St John with Ram in 1966. Most notable is his dramatic cropping to the upper two-thirds of the original. This cropping effectively eliminates the golden ram referenced in the title, which, along with the scarlet drapery St John reclines on, provides Caravaggio’s work with much of its warmth. Fomison’s image is far cooler, not just chromatically, but also in mood; the subject appears detached and introspective, rather than smouldering with sensuality. Instead, Fomison allows us to focus on the painterly aspects of form and shading that he became so well known for.
John the Baptist, from Caravaggio’s St John with Ram is one of the earliest examples of Fomison’s admiration and adaptation of Caravaggio’s dramatic use of chiaroscuro. The employment of the strong, singular light source rakes across the subject, throwing certain features into high relief while swamping others in dark shadow. In his notes on this work, Wedde also suggests Fomison may have felt some empathy with Caravaggio the man, as well as the painter. They certainly had a number of personal traits in common: both had attracted admiration for their painting at a young age; both considered themselves outsiders and, to some extent, social outcasts, attracted to the seedy underbelly of urbanity.
This incredible painting of St John showcases Fomison's skillful painting techniques and is a perfect example of the variety of source material he drew from.
by Mark Hutchins-Pond
1 Ian Wedde, “Tracing Tony Fomison,” Tony Fomison: What Shall We Tell Them (Wellington: City Gallery Wellington, 1994), 22.
57 Tony Fomison
John the Baptist, from Caravaggio‘s St John with Ram 1966 oil on jute signed Fomison and dated 20–28.9.66
30.9.66 in brushpoint lower left; inscribed John the Baptist from Caravaggio’s St John with Ram in brushpoint lower right 435 × 585mm
est $500,000 — $560,000
provenance
Collection of Gerald Lascelles, Christchurch. Acquired directly from the artist, c1970s.
exhibitions
Fomison: What shall we tell them?, City Gallery, Wellington, 13 February–22 May 1994.
literature
Ian Wedde (editor), Fomison: What shall we tell them? (City Gallery, Wellington, 1994), 94.
58 Colin McCahon
The First Bellini Madonna (Second Version) 1961 enamel on board signed C.M and dated OCT.'61 in brushpoint lower right; inscribed THE FIRST BELLINI MADONNA. (SECOND VERSION) in brushpoint lower edge 1205 × 755mm
est $300,000 — $400,000
Private collection.
Over the course of his career, Colin McCahon would be variously defined as a landscape artist, a figurative painter, a regionalist, and an innovator for his use of text. Perhaps the two most defining thematics of, however, are McCahon’s relationship with religion and his abstraction, as perfectly encapsulated in The First Bellini Madonna (Second Version) from 1961. The piece is one of a series of four known works by McCahon, responding to Renaissance painter Giovanni Bellini’s The Alzano Madonna/Madonna with a Pear (c1485), which depicts the Virgin Mary cloaked in lapis lazuli blue, cradling the infant Christ. McCahon was a lover of Bellini, and scholar Gordon H. Brown relays that, after discovering a colour plate showing Bellini’s The Pieta with St John, McCahon was so moved he slammed the book shut until he could recover his composure. 1 McCahon’s son, William, recalls that at the time of painting this series, McCahon underwent religious instruction within the Catholic church and, in particular, the trouble he was having with some of the doctrine around the bodily assumption of the Virgin Mary.
Most striking about McCahon’s The First Bellini Madonna (Second Version) is the geometric blocks that make up the composition, as extracted from Bellini’s original. The Bellini Madonna series came shortly after McCahon’s transformative trip to America in late 1958, which pared back his practice in response to American abstraction. It is possible to imagine the green brocade curtain of Bellini’s work translated into the top-left block of McCahon’s, its texture conveyed in ash, charcoal and golden ochre. The soft modulating in the lower left block – palpable and fleshy pink and smudgy brown tones beneath a sky-blue triangle – derives from the drapery of the Madonna’s robe and the red marble parapet, but also alludes to the impending suffering of the Christ
Child. Dominating the right-hand side of the painting is the velvety black that would become so familiar to McCahon’s later religious works: the unknowable, the void, God.
Light too is symbolic for both artists. Bellini’s use of light, in particular the shadowing behind the Madonna, places the figures in our world. Her shadow must be cast from a light source in front of the figures and therefore, from outside the frame where we, the viewers, exist. The same light that illuminates them illuminates us, binding secular and divine. For McCahon, who explored and grappled with questions of faith and doubt throughout his life and practice, imagery of darkness and light in the Christian tradition was deeply significant and often employed. The Bellini Madonna became geometric abstractions into which he poured his broader message.
In the publication for A Question of Faith, the first European retrospective of Colin McCahon, Stedelijk Museum curator Marja Bloem describes how “... it became apparent that landscape and religion or, more accurately, the spiritual – but also humanist – message conveyed by the language of the Christian Bible, are constant factors in his life and work.”2 McCahon’s relationship with Christianity was complex and multifaceted. He underwent spiritual training from c. 1959-62, but was never a member of any religious organisation. McCahon remained, in the words of his son William, a “homeless Christian” 3
The First Bellini Madonna (Second Version) is a distillation of Bellini’s Christian symbolism and an exploration of how meaning can be communicated with sparse means. Exploring faith, doubt, hope, despair: this is a remarkable work, offering substance and engagement with spiritual matters without the easy handrails offered by the figures, narratives and texts of McCahon’s earlier, as well as later, practice.
by Kelly Carmichael
1 Gordon H. Brown, Colin McCahon: Artist (Wellington, NZ: A. H. and A. W. Reed, 1984), 35.
2 William McCahon, “The First Bellini Madonna (Second Version),” (unpublished essay, January 2002)
as quoted in Marja Bloem and Martin Browne, Colin McCahon: A Question of Faith (Nelson, NZ and Amsterdam, Netherlands: Craig Potton Publishing and Stedelijk Museum Amsterdam, 2002), np.
3 Ibid., 50.
The Alzano Madonna (c1487) by Giovanni Bellini, which inspired McCahon's The First Bellini Madonna (Second Version)
In the early 2000s Bill Hammond (1947–2021) painted numerous works inspired by American artist James Abbott McNeil Whistler’s most famous painting, officially titled Arrangement in Grey and Black No. 1, but more commonly known as ‘Whistler’s Mother’ (1871). The original painting is of an elderly woman clad in soft black and white lace, hands resting gently on her lap as she gazes steadily at, apparently, nothing. Despite the subtle palette and the placid nature of the subject, it is an unsettling painting. Standing before Whistler’s Mother 2 (2000), it might be this quality that Hammond was drawn to as it is emulated here, a feeling of waiting, like the eerie calm that falls just before the heavens open.
Like Whistler’s painting, Hammond’s work shows a figure in profile. Unlike Whistler’s painting, Hammond’s figure is a bird. Not an ordinary bird, but one of Hammond’s anthropomorphised creatures, an upright figure with the curved head and beak of a seagull but the five fingers and vertical S-shaped spine of a person, with human clothes buttoned over her top-heavy, grey body. Much has been written about the hybrid bird-people who first began to populate Hammond’s paintings after his 1989 trip to the subantarctic Auckland Islands, a place inhabited by birds alone; a place much like Aotearoa must have been before the arrival of humans. Curator Robert Leonard has described Hammond’s bird-people as “interpretative conundrums”, their anthropomorphism allowing us to believe these creatures are knowable, to “project our own human desires and emotions” onto them, while also remaining silent and inscrutable; especially as their heads, the focal point
of human communication, are their most nonhuman part. 1
Unlike that of Whistler’s painting, Hammond’s palette is not confined to grey and black. His bird-woman stands before and somewhat within an uncertain aqueous space, watery turquoise paint loosely washed over canvas and left to drip. Art historian Jennifer Hay has suggested that Hammond’s paint-runs – a hallmark of his work – may “take their origin from Japanese woodblock imagery depicting rain.”2 She goes on to note that Hammond’s runs seem to reflect the realities of the weather in Aotearoa, describing how, “unlike the fine, misty rain that informed Vincent van Gogh’s work, [Hammond’s] weeping runs of paint evoke the heavy and foreboding downpours of the West Coast.”3
Writing for The New Yorker after seeing ‘Whistler’s Mother’ in the flesh, Peter Schjeldahl suggests that perhaps the reason this painting is considered so iconic is because it shares a certain attribute with other artistic icons such as the Mona Lisa or The Scream . Each of these works functions as a “distillation of meaning instantly recognized and forever inexhaustible.” 4 In the case of ‘Whistler’s Mother’, Schjeldahl believes this ‘distilled meaning’ is “the mysteries of motherhood. Everybody has a mother, and something close to half of everybody becomes one.” It is a peculiar aspect of being human, that the things we have the most intimate, personal relationships with – our bodies, the natural world, our mothers – are also the most mysterious. Hammond’s Whistler’s Mother 2 seems to swirl these mysteries together, not to provide answers, but to point to their inscrutability and consider how one mystery might shed light on the others.
by Lucinda Bennett
1 Robert Leonard, Bill Hammond: Goods and Services (Auckland: Webb’s, 2022), https://robertleonard.org/bill-hammond-goods-and-services/
2 Jennifer Hay, “Jingle Jangle Morning,” in Bill Hammond: Jingle Jangle Morning (Christchurch Art Gallery Te Puna o Waiwhetū, 2007), 38.
3 Ibid, 39.
4 Peter Schjeldahl, “Mom’s Home,” The New Yorker, 24 August 2015, https://www.newyorker. com/magazine/2015/08/31/moms-home
est $160,000 — $220,000
provenance
Private collection. Acquired from Brooke/ Gifford Gallery, Christchurch, 2000.
59 Bill Hammond Whistler’s Mother 2 2000
acrylic on canvas signed W D Hammond, dated 2000 and inscribed Whistler’s Mother 2 in brushpoint upper edge 1020 × 760mm
60 Terry Stringer Youth and the Antique 2022
bronze, 1/1
2000 × 350 × 320mm (widest points)
est $55,000 — $85,000
provenance
Private collection, Auckland.
est $24,000 — $36,000
61 Lyonel Grant Chelsea Heads bronze with granite base
320 × 120 × 120mm (widest points; each)
Private collection, Wellington. Gifted by the artist.
In the 1960s and 70s Michael Smither turned his attention to depicting personal themes of domestic life. Such scenes, which captured his family mid-action – piled into the front seat of a van, his children playing, dinner-table happenings – have now become iconic in New Zealand art history. Conversely, in a series of portraits Smither painted in the 1970s, including that of his father, Bill Smither, he extracts his family members from these domestic settings. Instead, in Portrait of the Artist’s Father (Bill Smither), Smither frames his father’s portrait tightly, similar to that of a passport headshot.
Portraits of Smither’s parents feature regularly throughout his oeuvre. The first he painted when he was in his early 20s. The 1962 portrait of his father in profile, Smither explains, was executed in noticeably thinned oil paint, “because I was married, and poorer.”1 Another, The Death Watch (1985), constitutes a strikingly intimate portrait, depicting Bill in bed, eyes shut, in his dying days. Smither’s numerous depictions of his father attest to their close relationship. Bill was a screen printer, and Smither began working in
the medium in the 1960s, drawn in by the clarity that could be achieved with screen-printing techniques. 2 Father and son collaborated in the process: between 1963 and 1981 the pair made hundreds of silkscreen prints in the basement of the Smither family home.
In Portrait of the Artist's Father (Bill Smither) , the artist’s super-realist style heightens his father’s features. Our eyes are drawn to Bill’s jowls, his Adam’s apple and the thin, wrinkled skin around his eyes. Smither’s close observation and emphasis of his father’s physiognomy result in a deeply personal portrait, a testament to the closeness of artist and sitter. There is also a clear dialogue between this 1970s series of portraits and Smither’s depictions of the landscape. When he was painting Mary Smither (1972) (the pendant to Portrait of the Artist's Father (Bill Smither), and now in the collection of Christchurch Art Gallery Te Puna o Waiwhetū), Smither translated his elderly mother’s features into a landscape by rendering her ageing skin with plains, ridges and valleys. The stylistic influence of the landscape is
materialised in Smither’s depiction of his father, too. In this painting, the folds of wrinkles under Bill’s eyes echo the forms of the Central Otago hills depicted in the1972 screenprint St Bathans (lot 93). Yet, while Smither magnifies the timeworn physical signs of ageing, the cerulean background and the crispness of the portrait – Bill’s shirt collar, his sharp glasses and the clean contours – bestow a sense of eternal vitality.
A preparatory graphite sketch in the collection of the Govett-Brewster Art Gallery visualises Smither’s artistic intent. Although Smither has described the sketch as a 20-minute exercise, it shows acute focus on the plasticity of Bill’s skin, through concentrated areas of tonal modelling of his face and neck. Prior to execution, Smither had seemingly already decided on the figure’s position and sightline. In both the graphite sketch and the finished oil painting, Bill is very slightly turned away from the viewer, his gaze directed just leftwards. This positioning activates the figure and, with his gently arched eyebrow and glazed eyes, Smither suggests his father’s mind at work.
by Victoria Munn
2
1
Quoted in Trish Gribben, Michael Smither: Painter (Auckland: Ron Sang Publications, 2004), 21.
Robert Leonard, “Michael Smither: To My Father the Printer,” Midwest 2, 1993.
Michael Smither and his father Bill Smither with Portrait of the Artist's Father at the 1975 Peter McLeavey Gallery exhibition opening.
est $55,000 — $80,000
provenance
Private collection, Wellington.
exhibitions
Michael Smither: An Introduction, Govett-Brewster Art Gallery, New Plymouth, 1 November–16 December 1984; Recent Paintings, Peter Webb Galleries, Auckland, 1976; Peter McLeavey Gallery, Wellington, 1975.
literature
Trish Gribben, Michael Smither: Painter (Auckland: Ron Sang Publications, 2004), 139; Joan Comer (editor), Michael Smither: An Introduction (New Plymouth: Govett-Brewster Art Gallery, 1984), 52.
62 Michael Smither Portrait of the Artist’s Father (Bill Smither) 1975 oil on board 912 × 638mm
63 Margaret Stoddart Arthur’s Pass watercolour on paper signed M Stoddart in brushpoint lower left
240 × 340mm
est $15,000 — $17,500
provenance
Private collection, South Island. Acquired from Art South, Otago.
64 Toss Woollaston Tower and Verandah, Greymouth c1956 oil on board
580 × 710mm
est $22,000 — $38,000
provenance
Private collection, Upper Hutt. Acquired privately, 2018; Private collection. Acquired from McLeavey Gallery, Wellington, c1980s.
65 Frances Hodgkins A Cornish Road 1903 watercolour on paper signed FH and dated 03 in brushpoint lower right 345 × 245mm
est $35,000 — $55,000
provenance
The Sutch-Ovenden Collection, Wellington. literature E H McCormick, Works of Frances Hodgkins in New Zealand (Auckland: Auckland City Art Gallery, 1954), 172.
note
The Complete Frances Hodgkins catalogue raisonné number: FH0382.
$50,000 — $70,000
66 Charles Blomfield The White Terraces 1890 oil on canvas signed C BLOMFIELD and dated 1890 in brushpoint lower left 490 × 740mm
Private collection, Auckland.
67 Charles Blomfield
The White Terraces 1885 oil on canvas
signed C. BLOMFIELD and dated 1885 in brushpoint lower left 420 × 570mm
est $40,000 — $60,000
provenance Private collection, Auckland.
68 Gottfried Lindauer untitled 1876 oil on canvas
signed G. Lindauer and dated 1876 in brushpoint lower right
605 × 500mm
est $12,000 — $18,000
provenance Private collection, Auckland.
69 after Auguste Rodin
Petite Etude pour Iris, Messagère des Dieux (Small Study for Iris, Messenger of the Gods) cast 1970
bronze
inscribed A Rodin No3 with incision lower edge 190 × 95 × 70mm (widest points)
est $30,000 — $40,000
provenance
Private collection, Lower Hutt. Acquired from David Jones Art Gallery, Sydney, 1983.
exhibitions
Auguste Rodin, 1840–1917: The Burghers of Calais, David Jones Art Gallery, Sydney, 5–30 March 1974.
note
Bronze cast by the Emile Godard Foundry, Paris. Accompanied by Musée Rodin Certificate of Authenticity.
70 Terry Stringer The Nature of Poetry 2006
bronze signed TERRY STRINGER, dated 2006 and inscribed THE NATURE OF POETRY with incision lower edge 510 × 145 × 130mm (widest points)
est $16,000 — $22,000
provenance
Private collection, Auckland.
71 Greer Twiss Flight of Fancy 1988 lead and found objects signed Twiss, dated 88 and inscribed Flight of Fancy with incision lower left 950 × 390 × 75mm (widest points)
est $10,000 — $15,000
provenance
Private collection, Auckland. Gifted by the artist, c1990.
72 Ngataiharuru Taepa
Nga kawai o te koopuu #3 2005
acrylic on board
signed Ngatai Taepa, dated 2005 and inscribed
Nga kawai o te koopuu #3 in ink verso 1460 × 370 × 200mm (widest points)
est $8,000 — $16,000
73 Ngataiharuru Taepa
Nga kawai o te koopuu #4 2005
acrylic on board
signed Ngatai taepa, dated 2005 and inscribed
Nga kawai o te koopuu #4 in ink verso 1460 × 370 × 200mm (widest points)
est $8,000 — $16,000
collection.
74 Bill Culbert Jug Spill 1991 found enamel jug and glass signed Bill Culbert, dated 91 and inscribed Jug Spill with incision lower edge
110 × 410 × 225mm (widest points)
est $3,000 — $6,000
provenance
Private collection, Auckland.
75 Bill Culbert Yellow Still Life 1989 plastic containers, found tin and electric lights
270 × 230 × 215mm (widest points)
est $8,000 — $12,000
provenance
Private collection, Auckland.
exhibitions
Home Sweet Home: Works from the Peter Fay Collection, National Gallery of Australia, Canberra, 11 October 2003–18 January 2004.
1984
lithograph and graphite on paper signed Hotere, dated ILAM '84 and inscribed 6/10 "The Wind" Bill Manhire in graphite lower edge 565 × 380mm
est $5,000 — $8,000
provenance Private collection.
Ralph
untitled 1971 ink on paper signed Hotere and dated ‘71 in graphite lower right 505 × 350mm
est $5,500 — $8,000
provenance Private collection, Dunedin. Gifted by the artist.
76 Ralph Hotere "The Wind" Bill Manhire
77
Hotere
78 Toss Woollaston untitled 1961 ink and watercolour on paper signed Woollaston and dated 9am 1961 in graphite lower right 270 × 360mm
est $5,000 — $8,000
provenance
Private collection, Christchurch.
79 Allen Maddox untitled 1994 watercolour on paper signed AM and dated 16.9.94 in graphite lower edge 290 × 410mm
est $3,500 — $6,500
provenance
Private collection, Dunedin. Acquired from Gow Langsford Gallery, Auckland, 2020.
80 Kushana Bush
Lost Song in Silence (from the Lost Song in Silence series) 2013 gouache and graphite on paper signed Kushana Bush, dated 2013 and inscribed ‘Last Song in Silence’ 2013 Last Song in Silence series 2013 in graphite verso 560 × 760mm
est $4,000 — $6,000
provenance
Private collection, Christchurch.
exhibitions
Kushana Bush: Last Song in Silence, Darren Knight Gallery, Sydney, 20 July–17 August 2013.
81 Jess Johnson
Endless Future Terror Forever 2015
ink, acrylic and gouache on paper 1710 × 1250mm
est $5,000 — $8,000
provenance
Private collection, Christchurch.
exhibitions
Endless Future Terror Forever, Darren Knight Gallery, Sydney, 25 July–22 August 2015.
82 Ralph Hotere untitled 2002
lithograph on paper, 13/22 signed Hotere, dated 02 and inscribed 13/22 in graphite lower edge 620 × 500mm
est $6,000 — $9,000
provenance Private collection.
83 Andrew Beck Equivalency 2018
acrylic and enamel on silver gelatin print and glass signed A. Beck, dated 2018 and inscribed Equivalency in ink verso 1090 × 740mm
est $5,000 — $8,000
provenance
Private collection, Christchurch.
84 Peter Roche Blue Pools 2012
neon, high gloss mount, steel 860 × 1230mm
est $6,000 — $9,000
provenance
Private collection, Auckland.
exhibitions
Peter Roche: Cinema, Saatchi & Saatchi Gallery, Auckland, 15 November–21 December 2012.
85 Ralph Hotere untitled (Picnic at Mahinerangi) 1976 graphite on paper signed, dated and title inscribed 300 × 230mm
est $5,500 — $8,000
provenance Private collection, Dunedin. Gifted by the artist.
86 Bill Hammond untitled 2006
lithograph on paper, edition of 100 signed Bill Hammond and dated 2006 in graphite lower right 585 × 430mm
est $7,000 — $10,000
provenance Private collection.
87 Len Castle untitled stoneware
stamped LC lower edge 530 × 480 × 320mm (widest points)
est $8,000 — $10,000
provenance
Private collection, Christchurch.
88 Mervyn Williams Pitch (Grey) 1998
acrylic on canvas
signed MERVYN WILLIAMS, dated 98 and inscribed PITCH (GREY) in brushpoint verso 1320 × 1120mm
est $12,000 — $16,000
provenance
Private collection, Auckland.
literature
Edward Hanfling, Mervyn Williams: From Modernism to the Digital Age (Auckland: Ron Sang Publications, 2014), 198.
89 Ralph Hotere
Drawing for Manhire Pine 1973
screenprint and ink on paper signed Hotere, dated 1973 and inscribed Drawing for Manhire Pine in graphite lower right 560 × 420mm
est $10,000 — $16,000
provenance
Private collection.
90 Barry Lett Dog 2010
Hawkes Bay grape vines and twine 1560 × 690 × 2430mm (widest points)
est $5,000 — $10,000
provenance
Private collection, Hastings. Acquired by commission directly from the artist for the Creative Hastings, deVineart, Hastings, 2010.
note
Created by Barry Lett for the 2010 Creative Hastings (now trading as Arts Inc) event, deVineart. Proceeds from the sale of this artwork will support community services within the local Hastings district.
91 Peter Hackett untitled oil on canvas
signed Hackett in brushpoint verso 1010 × 1760mm
est $18,000 — $25,000
provenance
Private collection, Auckland. Acquired from Parnell Gallery, Auckland.
92 Karl Maughan Domain Drive screenprint on paper, 12/25 signed Karl Maughan and inscribed Domain Drive in graphite lower edge 1230 × 1170mm
est $3,500 — $4,500
provenance
Private collection, Manawatū. Acquired from Nadene Milne Gallery, Arrowtown, 2014.
93 Michael Smither St Bathans 1972
screenprint on paper signed MDS and inscribed 1/55/72 in graphite lower edge 165 × 735mm
est $1,200 — $2,400
provenance
Private collection, Wellington.
94 Michael Smither untitled (Taranaki) from Diary of a Mountain series 1972
screenprint on paper signed MD and dated 72 in graphite lower right 165 × 165mm
est $500 — $1,000
provenance
Private collection, Wellington.
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Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.
4.11. Indicative Bidding Steps, etc.
Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps:
Increment Dollar
Range
$20
$50
Amount
$0–$500
$500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$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 also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard 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. Bank cheques are subject to five days clearance. 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.
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.
Albrecht, Gretchen 44 Apple, Billy 41
Bambury, Stephen 45 Beck, Andrew 115
Binney, Don 73, 92 Blomfield, Charles 106, 107 Bush, Kushana 114
Castle, Len 117 Charteris, Chris 68 Cotton, Shane 36, 54 Culbert, Bill 111
Dibble, Paul 78
Edgar, John 68
Fomison, Tony 67, 95
Gimblett, Max 44 Grant, Lyonel 101
Hackett, Peter 119 Hammond, Bill 35, 54, 99, 116 Hanly, Pat 59, 60, 61, 62 Henderson, Louise 46, 47 Hodgkins, Frances 86, 105 Hotere, Ralph 66, 77, 80, 112, 114, 116, 118
Johnson, Jess 114
Leleisi'uao, Andy 35 Lett, Barry 118 Lindauer, Gottfried 107 Lusk, Doris 39, 49, 50, 53
Maddox, Allen 69, 113 Maughan, Karl 119 McCahon, Colin 96 Moffitt, Trevor 72 Mrkusich, Milan 46
Pardington, Fiona 42, 43, 71 Pick, Séraphine 34
Reihana, Lisa 40 Roche, Peter 115 Rodin, after Auguste 1808
Siddell, Peter 72 Smither, Michael 103, 120 Stichbury, Peter 34 Stoddart, Margaret 104 Stringer, Terry 100, 109 Sutton, Bill 65
Taepa, Ngataiharuru 110 Tibbo, Teuane 39 Twiss, Greer 109
Warhol, Andy 74, 76 Westra, Ans 36, 37 White, A. Lois 56 Williams, Mervyn 117 Woollaston, Toss 55, 104, 113 Yearbury, Pauline 38
Killeen, Richard 36
Don Binney Malay Dove, Wooden Mansions
