Webb's August catalogue

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FRONT COVER: LOT 11MICHAEL PAREKOWHAIPoorman, Beggarman, Thief (Poorman) detail$100,000 - $120,000

IN FOCUS 3

IMPORTANT WORKS OF ART

FINE JEWELLERY & WATCHES

ANTIQUES & MODERN

DESIGN

OPPOSITE PAGE: LOT 24 SHANE COTTON

Lying in the Blackland2000mm x 3000mm

$250,000 - $300,000

LEFT: LOT 17MICHAEL PAREKOWHAIKapa Haka series (Puhina)

$45,000 - $65,000

IN FOCUS 3


Tue 3 Aug 2010 – 6:30pm VIEWING FROM TUE 27 JULY

FINE JEWELLERY

& WATCHES Wed 4 Aug 2010 – 6:00pm

VIEWING FROM THU 29 JULY

ANTIQUES & MODERN DESIGN

Thu 5 Aug 2010 – 6:00pmVIEWING FROM THU 29 JULY

EVENING VIEWING Thu 29 July 5:30pm – 7:30pm

Please join us to view the suite of sales.

FULL VIEWING TIMESImportant Works of Art – refer to page 14.

Fine Jewellery & Watches – refer to page 100.Antiques & Modern Design – refer to page 110.

PLEASE NOTE

A buyer’s premium of 12.5% will be charged on all items in the Important Works of Art and

Fine Jewellery & Watches sales.A buyer’s premium of 15% will be charged on

all items in the Antiques & Modern Design sale. GST (12.5%) is payable on the buyer’s premium.

OPPOSITE PAGE: LOT 31BILL HAMMOND

All Along the Heaphy Highway$230,000 - $270,000

PRICES REALISED AND SALE TOTALS LISTED IN THE ‘IN FOCUS’ SECTION OF THIS CATALOGUE INCLUDE BUYER’S PREMIUM AND GST, AND ARE ROUNDED TO THE NEAREST $100.

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IN FOCUS IMPORTANT WORKS OF ARTAt the halfway point of the 2010 auction season, Webb’s has achieved six of the ten highest prices achieved at auction in New Zealand this year. With over $1.7 million in turnover at the March Important Works of Art sale, the response from buyers demonstrates strong demand for quality works.

Seemingly defying uncertain economic times, Webb’s has experienced a steady increase in sales by value over the past two years. Whilst volumes are slightly down, the average price per lot has increased alongside increased sale rates by volume at the top end of the market. Within a context of low interest rates, poor confidence in sharemarket performance and low or negative growth in real estate values, art is being taken seriously as an alternative investment.

In the previous March sale, Webb’s was entrusted with marketing many important works by leading New Zealand modern and contemporary artists. The results for the high-value end of the market could be compared, for the first time in a decade, with the strong confidence levels of the early 2000s. Of the ten works offered with estimates over $50,000, six attracted saleroom competition which resulted in sales under the hammer, three sold immediately afterwards and only one work remains unsold. Equally, various works stimulated considerable competition which took their prices well beyond our estimate range. With our 90% success rate at the top end, two sales over $200,000 and three over $100,000, vendors of major works took note and have come forward with another selection of extraordinary works for this catalogue.

Of the modern period, our masterpiece in this

catalogue is unquestionably the lyrical, large and early bird painting by Don Binney, Man’s Head from Te Henga III. This painting is significantly larger than is the one which holds the record price for Don Binney’s work at auction, Kotare over Hikurangi, which achieved $220,000 at Webb’s in mid-2009. The inclusion of this painting in the catalogue represents a rare opportunity to acquire one of the artist’s great early works.

In the contemporary domain, this catalogue includes several works of justified critical acclaim by leading contemporary artists.

After setting a new record price at auction for the work of Shane Cotton with the sale of Blackout Movement in March, Webb’s presents to the market Lying in the Black Land, arguably the most important work by the artist ever to be offered at auction. Produced in 1997 whilst Cotton was a Frances Hodgkins Fellow, this work signifies an important shift in the artist’s practice. The foundation for the significant series of paintings broadly grouped as Kenehi (Genesis) paintings, which date from 1998 to 2002, this work defines the artist’s practice from this period with its dense and layered symbolism combining Maori and Christian belief systems.

Webb’s welcomes back All Along the Heaphy Highway, a work which is regarded as one of the most overtly political paintings by Bill Hammond. Heaphy, after whom the track is named, is ironically juxtaposed with Heaphy the artist and Heaphy the surveyor. Beautifully conceived and executed, the elegant gang of bird people dominates the right-hand side of the work, overlaid with text and musical notes, whilst on the left are dense gothic bird, horse and ghoul figures.

Allan Smith sums up this work in his text as being in “opposition between two of Hammond’s key themes – the chaos and an irrational, dark complexity of feelings on the one hand and, on the other, the sublimely dignified serenity of painterly ornamentation”. Exquisite in its emerald-green palette, this is the first of Hammond’s works in this hue presented to the market since Webb’s set the current auction market record for Hammond’s work in 2008 with Fortified Gang Headquarters.

By superb coincidence, the sale includes examples of both figures that comprised Michael Parekowhai’s contribution to the Third Asia Pacific Triennial in 2004 entitled ‘Paradise Now? Contemporary Art from the Pacific’. The show was intended to question whether the Pacific was indeed a Paradise and, if it was, then whose Paradise was it? As a result, Parekowhai’s work, which is largely concerned with the racial stereotyping of minorities in New Zealand and with issues of identity, was well suited to the show. Poorman of the Poorman, Beggarman, Thief trio is one of the artist’s most important early sculptural works. Reflecting Webb’s high-level relationships with corporate business, some works in this catalogue have been consigned on behalf of Air New Zealand and will be sold to support their chosen charity, Kids Restore New Zealand. This organisation concentrates on the restoration of New Zealand’s natural environment through the leadership of young people. SOPHIE COUPLAND DIRECTOR

IN FOCUS 5

LOT 18DON BINNEYMan's Head from Te Henga III $250,000 - $350,000

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With consignment from institutional and major private

collections and auction records set across many genre

and price points; the Oceanic and African Art sale held

on June 15th was a resounding success. Sales exceeded

$830,000 reflecting the quality of the materials offered

and Webb’s handling and promotion. The huia feather

featured on the front cover of the catalogue achieved

$8,500, setting a world record for the sale of a single

feather. The Maori and Pacific sections of the sale were

the focus for local collectors, who competed fiercely for

the fine examples of weapons, adornment, adzes and

carved taonga. A full list of prices realised is published on

page 130 of this catalogue.

PICTUREDA RARE AND SUPERB FIJIAN WAR CLUB. Realised: $32,700 B RARE TONGAN WHALEBONE CHEST ORNAMENT. Realised: $23,400C IMPORTANT FIJIAN HEADREST. Realised:$8,200D RARE BAINING PAPUA NEW GUINEA CEREMONIAL MASK. Realised: $7,200 E MATAU - MAORI BRONZE SHARK HOOK. Realised: $3,700F PA KAHAWAI - MAORI FISHING LURE. Realised: $2,500G MAORI TEKOTEKO - CARVED ANCESTRAL FIGURE. Realised $11,100H HUIA FEATHER. Realised $8,500I CLASSICAL LUBA KIFWEBE AFRICAN MASK. Realised: $12,900J MAORI KAKA PORIA POUNAMU. Realised: $2,300K RARE MAORI MOA BONE HARPOON HEAD. Realised: $9,600L PATU PARAOA - MAORI WHALEBONE MASTER CARVER’S MALLET. Realised: $8,200M PRE CONTACT MAORI FINELY CARVED WAKA HUIA. Realised: $46,000N LARGE AND SUPERB MAORI TOKI. Realised: $25,000O KETE MUKA KIWI - MAORI FLAX AND KIWI FEATHER BAG. Realised: $7,000P SUPERB AND IMPORTANT MAORI KUMETE. Realised: $29,200

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TOM MACKIE COLLECTION OF COMICS SUNDAY 24 OCTOBER - 5:00PM A special sale featuring an exciting array of quality comics and related materials from Australasia, the USA, the UK and Europe. Comprising over 10,000 objects spanning more than a century of graphic narration, the Mackie Collection will offer a fascinating insight into this important artform.

MODEL SOLDIERS & SHIPSFROM THE COLLECTION OF JOHN GIBSON QC

WEDNESDAY 29 SEPTEMBER – 6:00PM Consisting of a connoisseur’s collection of over 1,000 items, this sale includes pieces by Hocker, Britains, Imperial Productions and other well known makers of model soldiers and ships. The sale also includes the reference library and prints relating to the collection.

Francis [email protected]+64 21 232 603

Brian [email protected]+64 21 486 948

CONTACT

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IN FOCUS 9

CONTEMPORARY ART PHOTOGRAPHY & CERAMICS

21 SEPTEMBER 2010ENTRIES NOW INVITED

Providing an overview of current practice across the

genres of contemporary art, photography and ceramics,

with a particular focus on works produced since 1990.

BILL CULBERTOff White

reconstructed fluorescent tube title inscribed signed and dated April ‘03

610mm x 180mm x 100mm$12,000 - $18,000

MARTIN POPPLEWELLSkull

glazed ceramic$500 - $700

CONTACT

Emma [email protected]+64 21 646 828


IN FOCUS 9

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MONDAY 30 AUGUSTENTRIES INVITEDThe August wine auction will continue the recent theme of offering a wide variety of quality aged wines. Well cellared fine and rare wines from New Zealand, Australia and the great regions of Europe are currently invited for inclusion.

2000 CHATEAU PETRUSRealised $4,440, June 2010

CONTACT

Simon [email protected]+64 21 642 277

Francis [email protected]+64 21 232 603

FINE & RARE WINE The Fine Wine auction held in May saw over $313,200 in sales, a record for this specialist department. Plentiful supply and strong demand for international wines, especially for French Grand Cru Bordeaux wines has strongly boosted sales. A bottle of 2000 Chateau Petrus, cru exceptional, Pomerol, realised an impressive $4,400.For information regarding consigning or purchasing, contact Webb’s fine wine specialist Simon Ward.

The Bethunes at Webb’s June sale of rare books featured the finest collection of Maori books and printed materials seen at auction for over a decade, as well as impressive offerings of New Zealand literature and history titles. Angas’s The New Zealanders Illustrated was the top seller, realising $21,000. A handsome copy of the 1898 facsimile edition of Tasman’s journal fetched an impressive $3,400. For information regarding consigning or purchasing, contact Webb’s rare book specialist Francis McWhannell.

The September sale of rare books, maps, photography and ephemera will include an impressive offering of Maori imprints, together with a strong collection of New Zealand history titles. Quality additional entries are invited until early August.

SUNDAY 5 SEPTEMBERENTRIES INVITED

G F ANGAS The New Zealanders Illustrated Realised $21,000, June 2010

RARE BOOKS

IN FOCUS 11

ASIAN ARTS

A 19TH CENTURY BURMESE MANDALAY SEATED CAST

BRONZE BUDDHA$3,000 - $5,000

The sale includes two substantial private

collections, featuring Chinese and Japanese

ceramics, bronzes, lacquerware, cloisonné,

jade, ivory, netsuke, inro, swords and snuff bottles.

20 SEPTEMBER 2010

CONTACT

Jeff [email protected]

+64 21 503 251

James [email protected]

+64 9 524 6804

RARE BOOKS

IN FOCUS 11

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IMPORTANT COMMISSION

Webb’s was honoured to be contracted to value the prestigious

Taonga Maori, Oceanic and international ethnographic collections

of the Museum of New Zealand Te Papa Tongarewa during the

month of July. These collections are of world heritage significance.

Managing Director Neil Campbell, Head of Tribal Art Jeff Hobbs

and Head of Valuations Brian Wood would like to thank the

curators and managers of the collections for their hospitality and

support during this exciting project.


CONTACT

Webb’s value collections at the Museum of New Zealand Te Papa Tongarewa

IN FOCUS 13

Brian Wood 021 486 948

[email protected]

CONTACT`Ahu `ula (Feathered cloak) 1700s Plant fiber, feather1520 x 2450mmRegistration Number FE000327Gift of Lord St Oswald, 1912

AN INVITATION TO CONSIGN

A FINE WAKAHUIAATTRIBUTED TO

TENE WAITEREL 615mm

$8,000 – $12,000

OCEANIC & AFRICAN ART

CONTACT

Neil [email protected]+64 21 875 966

Jeff [email protected]+64 21 503 251

Following the remarkable results of the June sale which saw over $830,000 of fine Oceanic and African Arts sold, entries are now invited

for another sale in this important category.

IN FOCUS 13

IN FOCUS 15

Day 1, Tue 3 Aug 2010 – 6:30pmVIEWING

Tue 27 July 9:00am – 5:30pmWed 28 July 9:00am – 5:30pmThu 29 July 9:00am – 7:30pmFri 30 July 9:00am – 5:30pmSat 31 July 11:00am – 3:00pm Sun 1 Aug 11:00am – 3:00pmMon 2 Aug 9:00am – 5:30pmTue 3 Aug 9:00am – 12:00pm

BUYER’S PREMIUMA buyer’s premium of 12.5% will be charged on all items

in this Important Works of Art sale.GST (12.5%) is payable on the buyer’s premium only.


OPPOSITE PAGE: LOT 19 RALPH HOTERE

The Wind II $90,000 - $120,000

IMPORTANT WORKS OF ART 15

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1 RICHARD KILLEEN Lettercase acrylic on 20 aluminium pieces title inscribed, signed and dated 2002, together

with labelled matchbox case Cat# 3627 30mm x 30mm each piece $2,500 - $3,500

IN FOCUS 17

3 PAUL DIBBLE Man Getting the Measure of the Earth bronze, 2/3 signed and dated NZ 2000 450mm x 540mm x 100mm $12,000 - $18,000

2 GARTH TAPPER Toheroa Pickers oil on canvas signed and dated ‘95 1020mm x 755mm Provenance: Collection of Air New Zealand $10,000 - $15,000

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4 COLIN MCCAHON Van Gogh - Poems by John Caselberg four lithographs and title page title inscribed, signed on the plate and dated

Auckland September 1957 357mm x 251mm each Note: This suite of lithographs is held in the

collections of the Museum of New Zealand Te Papa Tongarewa, Wellington; Christchurch Art Gallery Te Puna O Waiwhetu, Christchurch; Forrester Gallery, Oamaru; National Gallery of Australia, Canberra

Exhibited: Answering Hark: McCahon/ Caselberg, Painter/Poet (Hocken Library, 1999)

Reference: Peter Simpson; Answering Hark: McCahon/Caselberg Craig Potton Publishing 2001 Illustrated: Ibid p. 52$18,000 - $25,000

Colin McCahon was introduced to John Caselberg, author of the poems

in the Van Gogh lithographs, by James K Baxter in Christchurch in 1948.

According to Caselberg, McCahon’s first words to him were: “Who

are you? A poet, or prophet, or what?” This was perceptive because

Caselberg was both a poet and something of a prophet; his heroes, at

least, were prophetic poets like William Blake and painters like Colin

McCahon. From 1952, he and McCahon became close friends and

collaborated together on Issue, a little magazine, the first of which

included seven love poems by Caselberg with a striking cover drawing

(a nude) by McCahon. Other collaborations were interrupted by

McCahon’s move to Auckland in 1953.

In Auckland, McCahon hit upon a cheap way of making prints: crayons

were used on specially prepared lithographic paper and prints run off

on a simple hand-operated machine. His first effort was Kauri (1954).

Sending a copy to Caselberg, McCahon remarked, “what about a few

more poems – another seven – to illustrate and produce per medium of

lithography”¹.

Meanwhile, Caselberg had published his first book of poems, The

Sound of the Morning (Pegasus Press, 1954), which included Van Gogh,

a poetic sequence dramatising the visions and sufferings of the great

Dutch post-impressionist. Eventually, in 1957, McCahon decided to

make a set of lithographic prints of the sequence. Either through an

oversight or some misadventure during printing, he used only five

of the six poems in the sequence. The set consists of five pages – a

simple lettered title page, a striking full-page image of multiple suns

as a kind of frontispiece, and three pages which combine images with

poems. McCahon’s drawings partly reflect images in the poems, and

partly Van Gogh’s paintings (the last drawing, for instance, recalls Van

Gogh’s ‘suicide’ painting, Crows over the Cornfield). One poem reading,

“God, it is all dark./The heart beat but there is no answering hark/Of a

hearer and no one to speak”, must have particularly struck a chord with

McCahon because he used it on two later works, John in Canterbury

(1959), dedicated to Caselberg, and again in one of his lettered scrolls in

1969. Presumably the poem’s anguished cry at lack of recognition, struck

home to both poet and printmaker. Unfortunately, Pegasus Press would

not release copyright, so the lithographs could not be sold and were not

exhibited until the 1970s; many were given by McCahon to friends.

Other McCahon lithographs were printed in editions of 50 or 100, which

is a possible indication of how many sets of Van Gogh were printed; the

sets are neither numbered nor signed, except on the first two plates. On

the other hand, he may have printed fewer when the copyright embargo

became known. This powerful sequence was McCahon’s most extensive

work in a print medium and is a fine early example of his combining

image and text. PETER SIMPSON

¹ Peter Simpson, Answering Hark: McCahon/Caselberg: Painter/Poet, 2001, p. 47

COLIN MCCAHON

IN FOCUS 19

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5 GREER TWISS The Birds copper plated lead 1. Gannett Takapu Sula Bassana Serrator.

940mmx 300mm x 240mm. 2. Pass Bird Takahe Notornis Mantelli. 860mm x 330mm x 240mm 3.Bellbird Koromiko Anthormis Mecanura. 80mm x 360mm x 240mm. 4. Morepork Ruru Noaeseeladiae novaeseeladie. 360mm x 240mm x 240mm. 5. Parrot Kakapo Strigops Habroptilus. 1350mm x 240mm x 240mm. 6. Bittern Matuku Hurfpo Botaurus Stellaris Poiciloptillus. 680mm x 460mm x 240mm. 7. Weka Gallirallus Australis. 1300mm x 310mm x 240mm. 8. a. Brown Kiwi Kiwi Apteryx Australis. b. Robin Toutouwai Petroica Traversi. 1540mm x 300mm x 240mm. 9. a. Kingfisher Kotare Halcyon Sancta Vagaws. b.Gull Karoro Larus Dominicanus. 1470mm x 400mm x 240mm. 10. a. Saddleback Tieke Philesturnus Carunculatus. b.Shag Karuhiuhi Phalaorooc orax. 680mm x 280mm x 240mm. 11.Duck Pavera Anus Superciliosa Superciliosa. 1540mm x 360mm x 240mm 12.a. Kea Nestor Notabilis. b.Parson Bird Tui Prosthemadera Novaeseelandiae. 1300mm x 240mm x 240mm,

Provenance: Collection of Air New Zealand $30,000 - $50,000

Commissioned in 1997 for the Koru Club Lounge at Auckland

International Airport, The Birds is part of Greer Twiss’ ongoing

exploration of aspects of conservation and museum practice. In its

original setting, this work occupied an indoor site, but these weather-

resistant copperplated birds could equally well be placed in a patio

or courtyard setting, arranged either in a group or dispersed as

stand-alone pieces. The work offers such flexibility in its composition

because the individual bird poles are not joined together but are

independent of each other; each bird pole is free-standing.

The Birds holds a significant place in the history of Greer Twiss’

sculpture. The work develops out of one of the sculptor’s largest

pieces, Edible History, an installation designed for the Elam Sculpture

Show in 1993. Edible History critiqued the museum presentation of

native birds: the Victorian practice of displaying stuffed, taxidermied

birds on top of spun metal poles, tagged and labelled with the Maori,

Latin and common names of the birds. Twiss’ birds, made out of

metal, infiltrated the display space as decoys, rather in the manner of

his Decoys and Illusions installation.

In both installations, Edible History and Decoys and Illusions, other

decoys were interspersed among the birds. In Edible History, a

bowler hat was placed on top of a pole: a bowler hat with a speaker

inside it. Representative of the European intruder, this acoustic work

was the voice of appreciation, presenting a recitation from Cook’s

journals, praising the beauty of New Zealand native birds, the sound

of their song and, most particularly, their fine flavour in a fricassee. In

this, Captain Cook prefigures Walter Buller killing New Zealand native

birds in order to preserve them in a museum display. Twiss critiques

them both.

In the continuum of Twiss’ work, The Birds leads to the sculptor’s

Graftings in The Fernery at the Auckland Domain. In this work, birds

are set on poles as if they were grafted onto trees and planted. It is

a conservation allusion (and illusion) which has a specific parallel in

Greer Twiss’ most recent outing in the public arena, his large-scale

Flight Trainer for Albatross, erected on the Auckland waterfront in

2004. To this framework for injured albatross, Twiss has tied three

young birds, elevated and with wings extended, in an attempt to

teach them how to fly again. The birds face out to sea, where they

belong. The fourth bird, on the ladder on the ground, is learning

to walk again. Along with The Birds, this work is part of the formal

and thematic development that has characterised Greer Twiss’

work throughout his long and distinguished career. DR. ROBIN

WOODWARD

GREER TWISS

IN FOCUS 21

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6 ALLEN MADDOX A Hedonist’s Philosophy on Abstraction oil on three hessian canvases title inscribed, signed with artist’s initials AM and

dated ‘77 1860mm x 900mm, 1860mm x 1570mm, 1860mm x 810mm,

Provenance: Painted with Tony Fomison whilst he painted the Pieta triptych

$20,000 - $30,000

IN FOCUS 23

7 ANN ROBINSON Side Carved Flax Pod 45% lead crystal, 1/1

signed and dated 2001 295mm x 370mm x 250mm $30,000 - $40,000

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8 MICHAEL SMITHER Thomas at the Bathroom Window oil on board signed and dated ‘69; title inscribed and

signed verso 840mm x 845mm Illustrated: Trish Gribben, Michael Smither

Painter, Ron Sang Publications, 2004 p. 66 $70,000 - $90,000

MICHAEL SMITHER

The sixties was a time of prodigious output for Michael Smither.

Having moved into The Gables in New Plymouth, Smither was to

embark on an intense and intimate period of the portrayal of everyday

family life. His nearest and dearest were his subject matter: his wife

Elizabeth and his first two children, Thomas and Sarah, both born in

that decade. Thomas at the Bathroom Window has all of the hallmarks

of one such successful early domestic painting. Smither recalls the

bathroom at The Gables as being “pokey, narrow and green” ¹, and

certainly that is conveyed in the colour and unusual angles of the

composition. The work is also notable for its animation of line, feelings

of sentiment and nostalgia, and close observation. Who amongst us

with children in their lives, has not found their child under the curtain

staring out at the world? It is a place that they can enter only when

supervised and that is filled with possible excitement, adventure and

danger. Gazing with boundless wonder and fascination, Thomas sees

the garden hose lying like a coiled snake, green against the green

grass. Inside, spare details give a clear vision of period and place: the

chunky ceramic sink looming towards us in the cramped space, slightly

tired with its gaping overflow hole, prim taps and broken plug chain.

The cap has been left off the toothpaste: a source of much tension

in many households! And the worn toothbrushes of varying sizes are

hanging on their hooks, assuring us that Thomas is but one member of

a larger family.

Smither is often quoted as saying he uses oil paint like modelling

clay and Thomas’ trousers, the garden hose and the toothpaste

tube are enlivened with three-dimensional writhing folds and twists

of green, pink and blue. The citrus-fresh tones, oblique angles and

checkerboard floor keep the eye circling between the interior and

exterior spaces. EMMA FOX.

¹Trish Gribben, Michael Smither Painter, Ron Sang Publications, 2004, p. 66.

IN FOCUS 25

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10 GORDON WALTERS Untitled (Koru) ink on paper signed and dated 1975 verso 655mm x 455mm $65,000 - $85,000

9 JULIAN DASHPER Untitled (Drumskin) vinyl on drumskin 395mm diameter $15,000 - $20,000

IN FOCUS 27

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11 MICHAEL PAREKOWHAI Poorman, Beggarman, Thief (Poorman) fibreglass mannequin, dinner suit, inscribed name

badge on stand, from a suite of three. 1850mm x 765mm x 585mm Exhibited: Paradise Now? Contemporary Art from

the Pacific, Asia Society Museum, New York Feb 18 - May 9, 2004. Illustrated: Paradise Now? Contemporary Art from the Pacific, Asia Society Museum, New York p.17 and p.73. Michael Lett and Ryan Moore, Michael Parekowhai, Michael Lett Publishing 2007 p.384 p.422 p. 516.

$100,000 - $120,000

MICHAEL PAREKOWHAI

Consisting of three life-sized fibreglass mannequins, Michael Parekowhai’s

installation Poorman, Beggarman, Thief was originally set up within an

art gallery space. Posing as well-to-do members of a discerning and

sophisticated art-buying clique, the mannequins were attired in immaculate

tuxedos complete with bow ties, glossy wigs and brightly polished shoes.

The physical appearance of the figures visually jars with the disparaging

titles of the works and successfully draws attention to commonplace cultural

stereotypes.

Poorman, Beggarman, Thief initially comprised Parekowhai’s contribution to

Paradise Now? Contemporary Art from the Pacific, exhibited in New York in

2004. The show was intended to question whether the Pacific was indeed a

Paradise and, if it was, then whose Paradise was it? Therefore, Parekowhai’s

work, which is largely concerned with the racial stereotyping of minorities

in New Zealand and with issues of identity, was well suited to the show.

Produced in 1996 and modelled on his father, Parekowhai’s mannequin

Poorman stands casually at ease with legs slightly apart, his weight resting

on his back foot and arms crossed over his body.

The title of the work, Poorman, Beggarman, Thief boldly states that Maori

are too often thought of, and labelled as, a generalised body of people

rather than as individuals. The piece coolly offers three broad and somewhat

pejorative labels to refer to Maori en masse as being either poverty stricken

or criminals. Parekowhai reinforced this by fixing his mannequins with

name tags which introduced them with the ironic line “Hello, my name is

HORI”. The term ‘Hori’ is a generic and derogatory term used historically by

Pakeha to refer to Maori people. It is simultaneously the name of Michael

Parekowhai’s father and the Maori translation of the English name ‘George’.

Thus, Parekowhai’s work operates on a number of levels by being witty

and personally relevant while concurrently inviting the viewer to reconsider

culturally damning typecasts. Parekowhai calls negative New Zealand

assumptions about the ‘collective’ Maori into question with a rare finesse

which is equally apparent in his later work from 2003, Kapa Haka, (Puhina)

one of the figures from which can be seen on pages 36-37 of the

current catalogue.

Standing in the time-honoured contrapposto pose, Poorman returns the

viewer’s gaze and, in doing so, challenges the spectator to engage with the

work and to consider its physical presence as well as the issues and concerns

that Parekowhai has skilfully addressed in its creation. By completing the

work on a life-sized scale, Parekowhai has ensured that the mannequins are

abruptly confronting and yet curiously alluring. JEMMA FIELD

IN FOCUS 29

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13 RICHARD KILLEEN Left Right acrylic on 13 paper cutouts mounted on paper title inscribed, signed and dated 1981 760mm x 560mm Note: This work is a study for the work Left Right

alkyd on 13 aluminium panels, in the collection of the Auckland Art Gallery Toi o Tamaki.

$12,000 - $18,000

12 GORDON WALTERS Untitled gouache and collage (double-sided) title inscribed, signed and dated 1958, on

one side 290mm x 390mm $10,000 - $15,000

IN FOCUS 31

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14 JOHN HOLMWOOD Horses and Children oil on board signed 735mm x 805mm $20,000 - $30,000

John Holmwood was a keen observer and painter of everyday life in New Zealand. Originally trained as

a commercial artist at Wellington Technical College, Holmwood went on to employment at the

New Zealand Railways advertising department. This saw him travel the country inspecting various railway

billboard sites in the 1940s and these journeys exposed him to a broad cross-section of New Zealand rural

life, including the clearing of native bush. This became a subject that he often painted, after Christopher

Perkins and Eric Lee-Johnson.

Horses and Children depicts a snapshot of rural life at a time when the land was changing. The children

run barefoot at play, flying kites and riding horses bareback, amidst the windswept trees. The scrub in the

distance atop the rugged terrain has been partially cleared and fenced off; the stumps at the foreground

offer a timely reminder of the realities that were required in order for farm life to occur.

Painted in a variety of techniques, including scratching and scumbling, the work is built up from numerous

applications and manipulations of paint, hinting that, perhaps, Holmwood painted from memory of the

feel of the place. Perhaps this scene was glimpsed from a passing train, the heaviness of the stumps

bearing the weight of Holmwood’s observation. JESSICA PEARLESS

IN FOCUS 33

15 ROBERT ELLIS Conjunction III oil on board signed and dated ‘74; title inscribed, signed

and dated 1974 and inscribed BL no.8 verso 1220mm x 1220mm $15,000 - $25,000

34

16 MICHAEL SMITHER Manifesto Café oil on board signed and dated 2001 790mm x 1200mm Illustrated: Trish Gribben, Michael Smither

Painter, Ron Sang Publications, 2004 p. 237 $65,000 - $85,000

MICHAEL SMITHER

Many of Michael Smither’s paintings are faithful records of a time and

place, carefully observed. The Manifesto Café and Wine Bar was a bit

of an institution in Queen Street, Auckland, in the mid-to-late-’90s.

Hosting weekly jazz sessions downstairs, it attracted visionaries such

as Mark de Clive Lowe, performing with Jan Hellriegel; Ken Haines

and his talented son Nathan, and many others. Living in Ponsonby

at the time, Michael Smither was a regular attendee, sketching the

performers and the audience from his corner vantage point. The

scene depicted is a couple seated in the window of the café area.

Smither tells it as an engagement “witnessed in a sidelong glance”¹

with the other elements combining to flesh out the story. The parking

meter marks time passing, the water is illustrating the purity of the

‘sacramental act’ of betrothal and the woman opposite signifies

loneliness.

The work is simplified by the blocks of colour which aid us in our

further reading of the work. The back of the blue sign points like

an arrow to the joined hands, the focal point of the physical and

emotional drama. The street cleaner is decked out entirely in bright

yellow: hat, clothing and equipment; the figure in green is for jealousy,

the betrothed in blue. There is a tongue of red in the expired meter;

the vehicle is red and white. The Volkswagen Kombi van has its own

art history, coming from a series of sketches made in Pat Condon’s

Merivale driveway, and is transplanted into the scene. Pat Condon was

the former director of the Canterbury Gallery and a lifelong friend of

Smither; the plate number is true to the original. EMMA FOX

¹ Trish Gribben, Michael Smither Painter, Ron Sang Publications, 2004 p. 236

IN FOCUS 35

36

17 MICHAEL PAREKOWHAI Kapa Haka series (Puhina) automotive paint on fibreglass, from an edition of

15, 2003 1880mm x 680mm x 420mm Exhibited: Kapa Haka, Michael Lett, Auckland

2003. Kapa Haka, Roslyn Oxley9, Sydney, 2003. Paradise Now? Contemporary Art From the Pacific, The Asia Society Museum, New York, Feb 18 - May 9 2004. Phoenix, an exhibition of work by Elam staff at the Gus Fisher Gallery, Auckland, 20 May 2006. Illustrated; Michael Lett and Ryan Moore, Michael Parekowhai, Michael Lett Publishing 2007 p.312-313

$45,000 - $65,000

Executed in 2003, Michael Parekowhai’s installation piece Kapa Haka was

expressly commissioned for the exhibition Paradise Now? Contemporary

Art from the Pacific (2004) that was held at the Asia Society Museum in

New York. The 15 identical, life-sized, glossy fibreglass figures, posed as

security guards, were originally positioned outside the museum as though

guarding the precious treasures within. Measuring around six feet tall

and solid in stature, each of the guards stands with legs apart and arms

staunchly crossed, collectively packing a powerful punch.

In a similar manner to his earlier work Poorman, Beggarman, Thief from

1999, which was modelled on Parekowhai’s father and can be seen

on pages 28-29 of the current catalogue, the security guard that stars

repeatedly in Kapa Haka is modelled on the artist’s brother, Paratene,

who is indeed a security guard. The use of repetition in Kapa Haka draws

attention to issues of identity since Parekowhai’s mannequins are afforded

scant individuality. Apart from their identifying colour tags, in this

instance puhina or grey, they are lumped together in an undifferentiated

mass: Parekowhai thus makes a poignant comment on New Zealand race

relations and the tendency for Maori to be viewed as a non-specific entity.

The only differentiating feature among the figures of Kapa Haka is the

use of those ID tags that identify each guard as a different colour in te

reo Maori. By crafting a crowd out of identical sameness but naming each

figure a different colour, Parekowhai invites the spectator to imagine the

full spectrum of difference and individuality that quietly thrives under the

pretence of an apparently indistinguishable exterior and, in the process,

to register the difference between what people assume about Maori

en masse and what Parekowhai knows about his brother as an individual

person.

The title of the work Kapa Haka refers to a specific and time-honoured

tradition of Maori performance which involves both song and dance

and works as a medium through which their unique cultural identity is

expressed. In the context of Parekowhai’s work, this custom is ironically

and playfully appropriated in a frozen performance piece. In New

Zealand, the fibreglass Kapa Haka figures were initially exhibited at

Michael Lett on Karangahape Road, Auckland, where five of them stood

motionlessly inside the front window and unabashedly guarded the

empty gallery space. As art objects, the figures are instantly alluring with

their lustrous, glossy finish and their curious sameness, which, in the same

manner as identical twins, cannot fail to pique the viewer’s curiosity and

insist on seriously close consideration.

Parekowhai’s infinitely layered pieces that comprise Kapa Haka are

successful in their multiplicity of meaning. Their heavy physical presence

demands that the spectator reconsider inherited assumptions concerning

racial stereotyping while their brusque pose, blank expression and

flawless polish allow them to be appreciated as aesthetic objects.

JEMMA FIELD

MICHAEL PAREKOWHAI

IN FOCUS 37

38

18 DON BINNEY Man’s Head from Te Henga III oil and acrylic on canvas title inscribed, signed and dated Oct-Dec 1974 1900mm x 1200mm Illustrated: Maurice Shadbolt, Binney’s Birds,

Jetaway Inflight Magazine, No. 26, p. 7 $250,000 - $350,000

DON BINNEY

Don Binney’s canvas featuring the distant outline of Old Man’s Head,

the rocky formations of Bethells Beach or Te Henga and a large,

centrally placed pukeko, is an arresting, magnificent piece that is

wholly characteristic of his iconic ‘New Zealand’ paintings from

the mid-seventies. The painting’s majestic calm is a fundamental

element of all of Binney’s most successful paintings, which function

almost as snapshots – fleeting instants that have been frozen in time

thanks to the skilful handling of Binney’s brush. The visual language

of the paintings is achieved through the poise of the birds, the

motionless landscape forms and the still ribbons or flat expanses of

ocean and sky.

Turning away from the raw energy of the distinctly American abstract

expressionists, who dominated the New Zealand art scene right

through the 1960s, Binney turned to the natural environment of his

native country and, specifically, its bountiful ornithological history

and its idiosyncratic geological formations. These elements have

graced his canvases ever since and most commonly they feature

together in a rich symbiosis. Although human figures rarely appear

in Binney’s work, their absence functions as a place-holder for the

viewer, inserting a human element into the painting by inviting and

enticing the spectator to exercise a form of ownership over the view

that is shown on the canvas. Ultimately, however, Binney succeeds in

maintaining a distance between image and viewer primarily through

the aforementioned regal serenity of his paintings. They exist at

a remove precisely because they exude such an innate quietude:

a composed tranquillity that is born from Binney’s love and close,

personal examination of New Zealand bush and bird life.

In Man’s Head from Te Henga III, Binney’s broad black outlining

and blocks of pigment call to mind stained-glass windows and Paul

Gauguin’s early cloisonné works, in which the post-impressionist

carefully juxtaposed wedges of arbitrary colour which were

contained within thick inky lines. Binney, too, largely structures his

chromatic relationships through a linear language that is executed

primarily in ebony. His paintings reward close inspection since

these outlines are often meticulously textured, adding to the visual

depth of his work while simultaneously ensuring a level of legibility.

The distinctive crisp clarity of Binney’s work is a further result of his

tendency to employ sharp outlines in conjunction with the typically

un-modulated expanses of sky as well as the use of bright, clear

colours. This lucidity is often attributed to the harshness of the New

Zealand light which has captivated many national talents including

Alfred Sharpe, Christopher Perkins, Rita Angus and Pat Hanly.

In Binney’s paintings, this inimitable light is distilled into a hard-

edged realism that maintains the integrity of the chosen view while

transforming it into a product of unique artistic vision.

In true Binney style, the oversized pukeko hovers soundlessly above

the still landscape of Auckland’s west coast, which stretches away

from the viewer towards a small band of sapphire sea. Feet dangling

and wings half-spread, the pukeko assumes a position of eternal poise

as it hangs suspended against Binney’s flat, unruffled sky and wispy

band of clouds. Comparatively, the pukeko’s breast offers a feast of

thick daubs of oil paint that gather into an almost sculptural mass,

which is then echoed in the rich impasto of the foreground foliage.

The pristine beauty of the rolling hills, grass fields, dense tree-tops

and sand dunes provides a comprehensive New Zealand environment,

above which the pukeko floats endlessly in an azure sky. JEMMA FIELD

IN FOCUS 39

40

19 RALPH HOTERE The Wind II burnished steel and acrylic on board, in

Roger Hicken driftwood frame title inscribed, signed and dated ‘83 and inscribed Bill Manhire, Port Chalmers; signed with initials RH to frame and stamped verso

890mm x 810mm Provenance: Bosshard Gallery, Dunedin 1983 Illustrated: Kriselle Baker and Vincent O’Sullivan,

Hotere, Ron Sang Publications, 2008 p. 222 $90,000 - $120,000

RALPH HOTERE

The collaborations between the country’s pre-eminent artist

Ralph Hotere and one of its leading poets, Bill Manhire, are some

of the most enriching in New Zealand’s cultural landscape. Hotere’s

work has long been regarded as occupying a unique place in

our recent art history, with its profoundly moving combination of

complete affinity to the land, sombre beauty, emotional intensity,

personal integrity and political address. His use of hitherto

unexpected materials, steel, iron or salvaged window frames, has

granted his work both clarity of expression because of their modesty

and lyrical freedom by virtue of the expressive leaps he achieves

with them. Similarly, Manhire’s poetry reflects and enables new and

affecting ways of encountering the world, often quietly painful and

often from the most prosaic of circumstances. The Wind II sits within

what is perhaps the most extraordinary and most intellectually and

emotionally expansive period of Hotere’s oeuvre: from the mid-

1970s to the mid-1980s. First shown (as Baby Iron No.3) in the Baby

Iron exhibition at Janne Land Gallery in Wellington in October 1983

then at RKS Art Auckland in December of the same year, it is one of

the more lyrical and to some extent mysterious of the 11 pieces that

appeared in that showing. As fresh and beautiful as it was 25-plus

years ago, it retains its original Roger Hickin driftwood frame with his

initials inscribed into the top edge, and his stamp verso.

In The Wind II, Hotere explores the properties of the polished steel

in a way that delights both in the physical properties available to

him and in the moving, enlivened surfaces that result. His use of an

oxyactetylene torch to mark out a strong, cruciform composition

establishes a stable structure to the work that strengthens the

activating fire-mark in the upper left quadrant (like a finger or comet

of heat) as well as the almost playful peeling back of the steel to

reveal a scarlet second ground in the lower right. It also adds a

strong, though subtle, degree of colour variation to the shiny

surface of the metal that softens the reflective surface: humanises

it somehow.

That invigorated surface then becomes the lively ground for the

burnishing tool: Hotere transcribing one of Manhire’s texts that

turns up on different occasions in his work – whether in a Song Cycle

banner of 1976 or a stainless-steel screen from 1987. There’s a finely

poised confluence between the text of this poem and the manner of

its realisation. The shift of the dullness and reflection of the surface

and the appearing and disappearing of words as you move before

the work seem to call up the wind of its opening line: to activate

growing shadows in ways that seem, all at once, to encourage and

then refuse a lover’s touch, collapse and then extend the distance

between the two people in the poem – as if the promised yet denied

proximity hinted at here is akin to some vertiginous moment of a

lovers’ encounter. Is this a reconciliation or a separation: a coming

together or an estrangement conveyed by the strange, haunting

question of the speaker and the change observed in the air?

The publisher, painter and writer Janet Paul remarked that Hotere’s

achievement in the Baby Iron works was “an animating way to

free the gesture with a poetic chemistry, allowing the flame to

augment his marks and engage our spirit”. Such a description of the

gestural and textual affect is entirely appropriate for this exquisite

and moving example of Hotere’s work from such a significant and

compelling suite. DR PETER SHAND

Janet Paul: Ralph Hotere’s Baby Iron, Art New Zealand 29, Summer 1983/84, pp. 22–23.Refer also: Kriselle Baker and Vincent O’Sullivan, Hotere, Ron Sang Publications, 2008; Gregory O’Brien Some Paintings I Am Frequently Asked About: Talking with Bill Manhire about Ralph Hotere, Landfall 191, March 1996, pp. 21–33; Gregory O’Brien, Hotere: Out the Black Window, Godwit, 1997.

IN FOCUS 41

42

20 JEFFREY HARRIS War oil on board title inscribed, signed and dated 1972 and

inscribed August 1983 on loan National Art Gallery, Wellington on original label affixed verso

1210mm x 1210mm Exhibited: Jeffrey Harris, Dunedin Public Art Gallery,

Dunedin, 2 Oct 2004 - 13 February 2005 Illustrated: Justin Paton, Jeffrey Harris, Victoria

University Press, Dunedin Public Art Gallery, 2005 p. 109

$40,000 - $60,000

JEFFREY HARRIS

In 1972, at the age of 23, Jeffrey Harris had already won the attention

of a small group of influential artists and collectors in Dunedin,

and had been included in New Zealand Young Contemporaries at

Auckland Art Gallery. His energy and confidence were matched in

paintings and drawings shown at the CSA Gallery in Christchurch

and in the Otago Museum foyer, Dunedin, and he was taken up by

the leading North Island dealers Barry Lett in Auckland and Peter

McLeavey in Wellington.

At first sight, the paintings that caused this excitement appeared

naive and anachronistic. Hectic, crowded and with highly charged

symbols and paradoxical tableaux, their content defied narrative

interpretation. Recognisable art-historical subjects such as

crucifixions, genres of landscape and portrait painting, and

composition strategies including perspectives and grids, were

violently mashed up. This outburst of imaginative energy did not fit

within the then-emerging rumours of a Neo-Expressionism centred

on German Neue Wilden painters who dominated the international

art market from the late 1970s through the mid-1980s either. Harris

arrived at a style and purpose for his art independently of any

movement or training. He flaunted his self-taught approaches and

omnivorous, chaotic uptake of art history. A highly sophisticated,

intuitive intelligence was combined with intense emotional force.

These qualities are dramatically at work in the painting, War (1972).

At first sight, this might be interpreted as an anti-war painting.

Fires rage across a landscape above which military aircraft fly. But

the coherence of this narrative soon breaks down. A dark road has

anomalously lit up beyond the place where twin gallows stand. In

a landscape of lurid greens, a lone tree appears bleached as if by

a blast of heat or light; three crucifixes or grave markers cast harsh

shadows as if they, too, are in the path of a violent light. On a small

stage, an abject tableau is being enacted. Behind this, a man pursues

a naked figure; another points in the direction of these events but

without a hand at the end of his sleeve. Another man holds up a

frame which seems to extend the stage in some way but without

any apparent purpose. In the foreground, a naked man and woman

embrace, but with expressions of anguish or even agony; the man

stares in the direction of a crudely painted, armless figure. Another,

perhaps a Veronica figure, seems to be wiping the armless man

with a pleated napkin. Meanings collapse, the abjection of the work

seems neither exclusively subjective nor a protest of some sort. A

grotesque chaos engulfs narrative sense.

Justin Paton, who curated the Harris retrospective at Dunedin

Public Art Gallery in 2004, used a quote by the American curator,

Robert Storr, who located the grotesque where “logical and

emotional certainties waver, taste loses its bearings, and familiar

realities warp into disorienting paradoxes”. Harris has said that he

uses highly charged symbols such as crucifixions simply to increase

the emotional intensity of paintings. Both comments are key to

responding to War, one of the most complex and highly charged

works in the artist’s unflaggingly intense oeuvre. The effect of War

is in its total impact, not in the narratives that fragment within it.

IAN WEDDE

IN FOCUS 43

44

21 RICHARD KILLEEN Behind City Windows unique pigment inkjet on canvas title inscribed, signed and dated 2004 914mm x 610mm Exhibited: City Living, Ivan Anthony,

Auckland, 2004 Reference: T.J. McNamara, Killeen

Gets You Thinking, New Zealand Herald, August 4th, 2004

$20,000 - $30,000

IN FOCUS 45

22 GEOFF THORNLEY Construction Tondo oil on canvas on board signed and stencilled and dated

4.81 verso 1300mm diameter $15,000 - $20,000

Geoff Thornley’s Tondo series relies on the compositional devices

of balance, geometry and structure. Movement is captured in

the visualization of a rotation or circular motion, enhanced by the

triangular variations in the surface of the work at various points in

its structure.

The redness of the circular void of Tondo envelopes you as a

viewer, pulling you into a consideration of the space the work

inhabits. The expansive openness creates a vastness, yet also

controls and encompasses space, while the white components offer

contemplative pauses.

The refined surfaces of the Tondo series, as is the case with many of

the constructed works, are made of highly finished layers of oil finely

built up on to a surface of gessoed canvas laid on to board. The

outer edge of the red circle is perforated by the segments of white,

which are physically separate components from the main red surface.

The Tondo paintings were completed in conjunction with the

Constructions and Albus works in the late 1970s and early 1980s.

Untitled (Construction #13) (Lot 29) is painted in juxtaposing

shades of a deep sky blue and sharp green, the two tones forming

contrasting voids. The tension of the work lies in the slice of

blue within the green, forming an off-kilter rectangular plane.

Untitled (Dyad) (Lot 49) completes the significant offering of highly

constructed, sophisticated works by Thornley which are represented

in this catalogue. JESSICA PEARLESS

46

23 MICHAEL ILLINGWORTH Nude in a Starry Field oil on jute canvas signed with artist’s cipher and dated ‘71 verso 710mm x 610mm $50,000 - $70,000

MICHAEL ILLINGWORTH

Nude in a Starry Field is a paean to the power of nature, sex and painting, all

touchstones of Michael Illingworth’s art. It belongs to a body of whimsical

anthropomorphic landscapes started in the late 1960s which banish

Illingworth’s familiar cast of bewildered and neutered suburbanites beyond

the frame. Illingworth turns his gaze away from the evils of modern culture,

fully devoting his art to the wonders and majesty of the natural world.

Recognisable landscape forms are refigured through imagined or magical

elements, with heavy sexual overtones. The centralised hill becomes the

breast of a living landscape, whose sweeps and curves are echoed in the

pulsating organic shapes that writhe in orgiastic ecstasy beneath it. These

are the potent and majestic deities of nature who, Illingworth insisted, were

appreciated by Maori but were being driven from the land through Western

materialism and the inhibited and restrictive behaviour it encourages.

Nude in a Starry Field can easily be read through the social criticism for

which Illingworth is best known. Bourgeois Western culture is condemned

through its absence and distance from this scene of natural harmony. But, for

Illingworth, these landscapes were primarily about seeing, experiencing and

conveying the full power of nature. He argued that art itself had its origins in

these elemental forces, and must “come straight from the heart, the primeval

being”¹. Here a back-to-earth nature philosophy merges with a romantic

faith in the artist as a visionary or seer who can experience the world more

sensitively than can most, and whose role is to convey these experiences

through art.

This painting demonstrates Illingworth’s solution to this difficult task. He

liberates his landscape from the demands of realistic representation, with

its appeal to surface appearances. The organic sexualised forms serve as

flat strips or bands of colour that extend across the picture plane, and are

layered to eliminate spatial depth and emphasise pattern and colouring.

Heightened colour and stylised forms further remove the scene from ‘the

real’, while making connections to the art and vision of children which

Illingworth valued for their potential to reconfigure the familiar in new and

unexpected ways.

Illingworth borrowed Paul Klee’s term ‘poetic imagery’ to explain the impact

a painting like Nude in a Starry Field should have on the viewer. This is an art

that seeks to bypass the intellect and reason. It is designed to arouse the

sensory and the imaginative: qualities Illingworth believed were crushed

in modern society, but could be fully restored through the ‘return’ to older

and more meaningful ways of experiencing the world. Nude in a Starry Field

acts as evidence of Illingworth’s own communion with these forces and as an

invitation for us all to experience this way of being. AARON LISTER

¹ ‘Interview with Michael Illingworth’, Barry Lett Galleries Newsletter, 19 August 1965.

IN FOCUS 47

48

SHANE COTTON

Lying in the Black Land is one of the first paintings completed after

Shane Cotton was awarded the Frances Hodgkins Fellowship in 1998.

It is amongst the most important works in New Zealand’s art history

due to its exploration of the historical conflict between Christianity

and Maoritanga. The conflation of Christian and Maori imagery in

Lying in the Black Land is central to Cotton’s work from the late 1990s.

The paintings that Cotton produced between 1998 and 2002 have

been loosely grouped together as the Kenehi or Genesis paintings

and are characterised by a marked interest in his own personal and

family history. Of these exceptionally significant works, Lying in the

Black Land is one of the first and most significant as it references

and repeats the fraught relationship that played out between 19th-

century colonial missionaries and Cotton’s Ngapuhi ancestors, whose

traditional art practices were suppressed as they were thought to

be pagan. It is therefore poignantly appropriate that Cotton should

explore this historic relationship in pictorial format. Its scale too,

is significant, in that it marks a radical change in the artist’s oeuvre

as his work shifted into what Lara Strongman has termed Cotton’s

‘museum scale’ pieces.¹ Indeed, the monumental scale of Lying in the

Black Land transforms the painting into a veritable environment that

engulfs the spectator.

Cotton neatly splits the vast canvas through palette choice with the

left half bearing a burnt brown ground while the right half is coloured

in an inky black which came to dominate his work of the late 1990s.

A solid white cross further subdivides the left half of the work, the

centre of which is dominated by a large floating head composed in

a style that references Maori carvings. In Maori meeting houses, a

carved body-less head is often seen at the apex of the gable and

is known as the parata or koruru; it is representative of the ancestor

after whom the house is named. The body of this carved head is

often seen on the ridge pole inside the porch while the house itself

is also symbolic of the koruru body. In Cotton’s painting, traditional

Maori and Christian symbols are seamlessly juxtaposed with the

large tiki head bearing a saintly halo while its tongue offers a carved

pattern of puriri leaves. This amalgamation of Maori and Western

motifs is central to Cotton’s art practice of the period and it recurs

throughout the large expanse of Lying in the Black Land. Two smaller

koruru appear at the base of the cross as the fruits born by a small

plant while passages in te reo Maori abound alongside koru patterns

and Western emblems of eternity.²

Several more koruru are dotted across the black portion on the

right-hand side of the canvas. This half of the painting is inundated

with complex yet covert symbols. Small and predominantly white

crosses march horizontally across the pitch-black darkness. A couple

of them are ominously twisted, hinting at the potent symbol of

white supremacy in the swastika of the Nazi party. The centre of the

painting is taken up by a white bird settled on a fluttering ribbon

which is embellished with te reo Maori that speaks of the puriri trees

of Taiamai. The motif recurs in Cotton’s later work where the bird and

the puriri tree are invoked as symbols of the area of Taiamai.³ It can

alternatively be seen as a reworking of the potent ancient symbol of

rebirth, as a white phoenix rising from the ashes.

Alongside time-honoured Western motifs, Cotton also includes

more localised imagery with shrunken silhouettes of mountain

ranges anchoring the work in New Zealand while the appearance of

a steamship and a charabanc car have been identified by Strongman

as allusions to ‘waka transformations’ found on meeting houses along

the East Coast from the early 20th century.4 Two waka are found in

the work, forming one of a number of Cotton’s poignant motifs that

hold Maori and Pakehaārelevance simultaneously. A brown waka sits

upright at the bottom of the painting while further up the canvas a

white waka lies upturned. The waka are inscribed with text and refer

concurrently to the biblical story of Christ’s incredible ability to walk

on water and to the Ngapuhi proverb that queries “Who will right the

upturned waka?” Both narratives hold personal relevance for Cotton

deriving from his familial marae at Ngawha.

The jet-black half of the canvas hosts a multitude of complex symbolic

imagery. Thick white ribbons of paint swim out in a serpentine

manner from a square tiki head at the top of the work, which Cotton

employs as a backdrop for poignantly symbolic Maori words which are

written in bold, demanding capital letters. The large sprawling letters

that spell whakanuia suggest acknowledgement and recognition,

celebration, promotion, commemoration and merriment. As with

most of Cotton’s paintings, possibility and ambiguity reign supreme.

Much of the strength and success of Cotton’s work lies in his use of

imagery and words that abound with latent symbolism. Whakanuia

could allude to the racial inequality that many still see as dividing

Maori and Pakehaāor perhaps to the need for Maori concerns to be

better acknowledged. There is even the possibility that the painting is

itself celebrating New Zealand’s unique biculturalism. It is significant

that the word has been taken up in recent years to designate the

celebrations held on Waitangi Day in Rotorua that are intended to

educate people about traditional Maori culture. As well as powerfully

suggestive words, Lying in the Black Land contains Maori proverbs or

whakatauaki, which succinctly allude to the values, feelings and beliefs

of Cotton’s ancestors. JEMMA FIELD

¹Lara Strongman, ‘Ruarangi: The Meeting Place between Sea and Sky. A

Consideration of Shane Cotton’s Work 1993–2003’, pp. 14–31 in Shane Cotton:

Survey 1993–2003, Exhib. Cat., Wellington, 2004, p. 23. ibid, ² p. 24.

³ibid, p. 24–5. 4 ibid, p. 24.

24 SHANE COTTON Lying in the Blackland oil on canvas title inscribed, signed and dated ©1998 2000mm x 3000mm Exhibited: Shane Cotton: Survey 1993 - 2003, City

Gallery, Wellington 17 July - 19 October 2003 Illustrated: in the accompanying exhibition catalogue, Shane Cotton, City Gallery, Wellington 2003, p. 67

$250,000 - $300,000

IN FOCUS 51

STEPHEN BAMBURY

25 STEPHEN BAMBURY Necessary Correction XIX acrylic and graphite on two aluminium panels title inscribed, signed and dated ‘05 1180mm x 860mm $35,000 - $45,000

Stephen Bambury began his group of paintings titled “Necessary Correction” in

1994. The title makes reference to Colin McCahon’s Necessary Protection paintings,

but implies the need for a re-consideration, a “correction” of the assumptions made

within a New Zealand context of their genealogy. The paintings appear, at least

superficially to share something of the compositional form of Bambury’s vertical

tau cross diptychs. The form of the tau cross had long been implied in Bambury’s

more symmetrical cross forms where he often inferred a separation of one arm of

the cross, scribing or delineating it along one axis. This was and is consistent with

his approach to geometry - one that wilfully destabilises so called pure form, and in

doing so refutes the fundamentalist position such formalism aspires to.

That McCahon’s own work had been offered up to its New Zealand audience as a

function of a blend of geographical and spiritual determinism raised questions for

Bambury particularly as he re-established himself in New Zealand after four years’

living and working in France as the inaugural Moet & Chandon fellow.

In Europe, Bambury had encountered the paintings of renowned Swiss painter

Helmut Federle, an artist who shared something of McCahon’s own reflective spirit.

Federle can be seen as drawing on a history of Northern European painting - a

symbolic tradition rooted in the landscape but unlike McCahon’s harsh southern

light, Federle’s vision is diffused through a “last light of day” romanticism. Federle

too had taken the form that was present in McCahon but his resource was the initial

of his first name ‘H’ turned on its side: a prosaic decision, perhaps, but one that has

given rise to a long series of paintings called Basics on Composition. Curiously the

self -referential nature of the gesture of using his own initial speaks to McCahon’s

arguably self referential I AM.

Bambury therefore finds himself in a situation between gently distorted mirrors,

recognising both forms but determined to work this significant space between them.

This notion became the subject of a significant project at the inaugural exhibition in

the McCahon room of the Auckland art Gallery Toi o Tamaki in 1997. An exhibiton

curated by both the artist and William McAloon titled: The McCahon Room:

Necessary Correction: Colin McCahon, Stephen Bambury, Helmut Federle, explored

Bambury’s Necessary Correction paintings through the “local” lens of McCahon and

the distant end of the looking glass in Helmut Federle.

One aspect that sets Bambury aside is the particularity of his material language.

Oil and acrylic paint, and for that matter canvas, are replaced by resin and graphite

on aluminium. Despite the common aspects of language that these three artists

seemed to share, their dialects differ remarkably and the closer one looks the

greater the nuances become. What does become apparent is the degree to

which the mythology of McCahon as a virgin birth in the isolated antipodes looks

less tenable despite the will of local historians. And for Bambury, it once again

demonstrates the breadth of his awareness and the complexity of implications

in negotiating a practice within New Zealand’s borders. This is something which,

perhaps more than any other painter working in New Zealand, he has met head-on.

The Necessary Correction paintings embrace the conceptual questioning and the

wondrous material adventure that has defined his practice. Increasingly Bambury’s

work is finding its audience beyond New Zealand’s shores. This in itself is a

‘necessary correction’. EMMA FOX

IN FOCUS 53

26 DON BINNEY Tui acrylic on paper signed and dated 2003 410mm x 290mm $30,000 - $40,000

27 ANN ROBINSON Puka Vase 45% cast lead crystal signed and dated 2001 and inscribed 1/1 635mm x 170mm diameter $28,000 - $38,000

54

28 VIRGINIA KING Limpet - Coracle macrocarpa, bronze, acrylic and oil stain signed and dated 1997 2800mm x 1800mm x 500mm Provenance: Collection of Air New Zealand Illustrated: Liz Caughey, Virginia King Sculptor,

David Bateman Publishing, 2005 p. 4 $20,000 - $30,000

VIRGINIA KING

Limpet-Coracle (1997), one of the most significant of Virginia King’s

works from the mid-1990s, was inspired by a marine biologist’s

discovery that the simple limpet moves daily around the rock

pool on the rising tide to feed, returning to exactly the same

position from which it came. For King, this was reminiscent of New

Zealanders’ penchant for almost ritualistic travelling abroad, only to

return to the fires of home.

King has made three large macrocarpa limpets, each with a cast

bronze, hand-beaten and patinaed inlay on the back. This was the

first, created as a commission for the First Class Departure Lounge

at Auckland International Airport and now being offered for sale

with all proceeds going to charity. The second work, Limpet-Shrine,

won the Jane Campion Memory Award for Site Specific Sculpture

at Sculpture by the Sea, Bondi, in 1998 and was subsequently

purchased by the Singapore Tourism Bureau, from the curated

exhibition Singapore ’99. The third limpet is in the permanent

collection of Pacific Art at the Hawaii State Art Museum.

Chronologically, Limpet-Coracle sits between King’s early work that

teased out her ongoing fascination with language – some multi-

pieced and often displayed floating on water, others freestanding

and reminiscent of book leaves – and her later stainless-steel

works, which were monumental in scale and often commissioned

for public places. As with many of her early works, Limpet-Coracle

is best displayed suspended to allow the play of light on its surface,

and of shadow behind.

This impressive and beautiful work demonstrates many of the

signature characteristics of King’s oeuvre: its inspiration lies in

nature (the limpet); it is constructed of panels of finely crafted,

perforated components reminiscent of nature’s repetition of

pattern, and neatly ‘stitched’ together to form a whole, using oval

‘biscuits’ on the back to clamp the joined segments and emphasise

her method of construction; the work enlarges a tiny life form

to a grand scale to emphasise its complexity, vulnerability and

ecological importance; and, like many of King’s works from the

mid-1990s, it accentuates ‘the spaces between’, drawing attention

to the space-shapes within and around line or material, which allow

us to read words or images, rather than to the defining edges.

From other sculptures in a similar vein, King has reused the

‘discarded’ (subtracted) pieces to create new works, joining them

using wire, copper, rope or string, to create a different statement

‘by addition’, and to ensure minimal wastage of her valued natural

material. Most of King’s works during this period were made from

salvaged materials such as swamp kauri, macrocarpa, stone and

even printers’ blocks. Others were transient sculptures created to

be eroded by the forces of nature, such as her Piha sand sculpture

which diminished with each tide. King is also well known for Sliver in

Broadway, Newmarket, her collaborative public bridge commissions,

Rewarewa Creek and Aramarama Millennium Bridge, and her

permanent earth sculpture at Brick Bay near Warkworth. The latter,

most easily viewed on Google Earth, was created within rather

than from nature, a triumph of sensitive collaboration. For more

information on Virginia’s work, visit: www.virginiakingsculptor.com.

LIZ CAUGHEY

IN FOCUS 55

IN FOCUS 57

29 GEOFF THORNLEY Construction #13 oil on board signed and dated 1980 verso 1330mm x 1040mm $12,000 - $18,000

30 RICHARD KILLEEN Pitch (Blue) alkyd on twenty aluminium pieces title inscribed, signed and dated March 1981 2500mm x 2500mm approximately Provenance: Private Collection, Sydney. Purchased: Webb’s September 1986. Formerly in

the collection of Denis Cohn, gallerist $45,000 - $55,000

58

31 BILL HAMMOND All Along the Heaphy Highway acrylic on canvas title inscribed, signed and dated 1998 1070mm x 1455mm Illustrated: Jennifer Hay, Bill Hammond, Jingle

Jangle Morning, Christchuch Art Gallery Te Puna O Waiwhetu, 2007, p.138

$230,000 - $270,000

BILL HAMMOND

All Along the Heaphy Highway immediately summons up scenarios

we think we know well – classic set pieces from films, Renaissance

paintings and theatre – but, the more we study this grandly

compelling painting, the more odd and unsettling it becomes.

The painting’s highly charged atmosphere suggests the classic

tension of an ambush about to happen at the same time as it relays

the bustling and preening of a royal court, settling itself in, ready

to conduct the weighty business of state as the world looks on.

Think of von Tempsky and William Strutt’s ambush paintings of the

New Zealand Wars, and then think of Mantegna’s frescoes of the

Gonzaga family and retinue.

The lofty vantage point of the gathered bird people on the right-

hand side of the painting indicates supreme tactical advantage,

as any travelers on the road below are seen and anticipated with

predatory delight a long time before they actually reach the

shadowed grove, through which they must pass. The way the

poses of the watchers move between high seriousness and comic

exaggeration, puts me in mind of the TV advertisement in which

a manic group of giggling, sneering possums kidnaps a car from

hapless youths hypnotised by a boxed pizza glowing on the roadway

like a piece of alien technology. The TV ad plays on all the sci-fi and

horror films we have seen about nocturnal abductions in forests and

encountering the uncanny and insane inhabitants of lost highways.

Hammond has done a great deal to seek out and populate the dark

forest of myth in the New Zealand psyche. One easily thinks of: the

shaggy medieval forests of Altdorfer; the archaic English and damp

Northern European forests that Tolkien recreated in Mirkwood and

Fangorn as homes of goblins, orcs, elves and ents; Shakespeare’s

woods in which magical transformations of appearance and identity

frequently occur; or the cruel magic of Robert Holdstock’s Mythago

Wood in which the fears and desires of the collective unconscious

are projected as real phantoms.

It is not hard to understand why Peter Jackson has said that

Bill Hammond is his favourite New Zealand artist. And how wrong

Hammond has shown the 1940s’ critic A R D Fairburn to be in his

declaration that, “there is no golden mist in the air, no Merlin in

our woods”. For starters, what did Fairburn think had happened to

the spirit inhabitants of the woods about which Maori mythology

told stories? Hammond’s populous spirit world is, on one level,

an indirect acknowledgement of the uncanny return of this

repressed mythology. In the early part of the 20th century, the

Arts and Crafts architect Chapman-Taylor made a number of

cutely romantic photographs of gauzily clad nymphets prancing

amongst the ferns and kauris, in a deliberate attempt to graft an

English, Arthurian and Elven fantasy onto the local bush. Another

confused but telling attempt to depict the invisible mythic world

close at hand can be seen in Trevor Lloyd’s surreal 1925 painting

Death of a Moa. Lloyd’s gathering of gossipy birds is spied on by

supposedly Maori wood sprites, the patupaiarehe. Less overtly

mythical is a strange 1886 painting by Kennett Watkins,

The Home of the Cormorants, Waitakere Ranges, in which pied

cormorants perch silently on a network of spindly branches.

Chapman-Taylor and Lloyd’s sylvan fantasies, and Watkins’

eerie image are all quirky ancestors of Hammond’s uncanny

avian communities.

The cleverly handled sense of big-scale drama in All Along

the Heaphy Highway provides an understructure for a medley of

exquisite colouristic and calligraphic effects which ripple across

the work. Hammond is very able to match the intricate and delicate

to the coarse and sketchy. The birds in the light are tattooed with

musical notations, city high-rises, cars and copperplate script

inventories of land surveys and sales. In the dark mesh of detail

on the left-hand side of the image, bird, horse and ghoul figures

appear and fade away amidst a sticky tracery of branches, foliage

and dripping paint. Small flecks of dark pigment and ambiguous

brush marks float on a saturated emerald ground, sometimes

morphing into bodies or sprays of leaves, or just remaining as

suggestive stains. ALLAN SMITH

IN FOCUS 59

60

OPPOSITE PAGE:33 EVELYN PAGE Wellington Harbour from Mount Cook oil on canvasboard signed 465mm x 385mm $18,000 - $28,000

32 DORIS LUSK Night Drive Port Hills oil on canvasboard signed and dated 1959 580mm x 1020mm Exhibited: Contemporary New Zealand Painting

and Sculpture, Auckland Art Gallery, April 1960 $35,000 - $45,000

Evelyn Page is most likely to have been painted this scene from Wright Street,

looking down towards Hargreaves Street in the Wellington suburb of Mount Cook.

Chronologically, it would have been painted around the 1950s when the artist’s family

was settling in Waikanae. Architectural features both small and significant are instantly

recognisable and can still be seen today. The three-car garage at the road junction still

exists, as does the carillon of the National War Memorial. The large building with the

green roof was, of course, the former National Gallery and Museum in Buckle Street and

behind it sits the Old Technical College. At the harbour’s edge sits the Odlin Building

and, beyond the bay, the Hutt Valley shimmers in the distance. Remarkably unchanged,

the city shows its vintage with the introduction of the Austin 7 parked in the road

and the above-ground telegraph poles. The three ships in the harbour are tankers or

possibly passenger ferries, signalling a vibrant, working city. EMMA FOX

IN FOCUS 61

62

34 BILL HAMMOND Modern Day acrylic on linen title inscribed, signed and dated 1991 700mm x 1000mm $50,000 - $70,000

Set within a commercial business area of skyscrapers and dark alleys,

Bill Hammond’s Modern Day features a selection of buildings with

human features working on computers or tills, drinking martinis,

talking on cellphones, dancing or pushing supermarket trolleys. The

painting is characteristic of Hammond’s works of the 1990s, which

sought to comment on the rise of consumerism, materialism and

crime together with the depersonalising effect of technological

advances.

The work is completed in a quirky style, reminiscent of 1980s comic

strips and cartoons, and all forms are sketched in a cursory manner.

Hammond tempers his paucity of line with areas of thickly brushed

colour and a wealth of intricate details. A mob of building-people

are seen marching in a patch of black through the business district,

their features bland and uniform while calligraphic marks reminiscent

of city graffiti decorate the drainpipes. Continuing in the style of

comics, circles of magnification are provided, giving insight to the

internal goings-on in some of the buildings, where speeches are

made and transactions completed.

The frenetic energy of the piece is heightened by the jumbled

collection of fractured viewpoints, which in turn capture and emanate

the claustrophobic feel of a concrete jungle. Indeed, Robert Leonard

sums up this period of Hammond’s work: “Wired, paranoid, hyped-

up, his paintings (of the late 1980s) were junky, punky and dystopian

– juiced up with sadistic speed-freak cartoon-violence. They offered

no pastoral idyll or redemptive promised land, but a deregulated

incubator-world super-heated with information.” JEMMA FIELD

IN FOCUS 63

35 GRAHAME SYDNEY Homestead with Mt Ida oil on linen signed and dated 2004; title inscribed, signed and

dated c2004 Cambrian Valley, Otago, NZ verso 650mm x 1010mm Provenance: Private Collection, Christchurch $70,000 - $85,000

Grahame Sydney is renowned as a landscape artist of uncommon

proficiency and his vision of his environment is matched only by

his uncompromising skill and technique. In his hand, landscape

elements evoke emotion in the viewer with their turbulent skies,

lonely plains and eloquent hills: exacting representations of our

natural world.

From his home and studio in Central Otago, Sydney returns

again and again to the breathtaking vistas that surround him:

the Southern Alps, Maniototo, and Mt Ida, empty but for a hint

of occupancy. A building, a telephone pole, a letterbox, standing

in for the absent human dweller, are depictions of the sublime, of

man’s insignificance in the face of nature. A tumbledown dwelling

against a backdrop of ancient alps is unchanged and untouched by

the temporary presence of man. Winter in Central Otago, seemingly

devoid of colour, presents extraordinary displays of light and shade,

extremes of weather and terrain. In this work, Sydney has chosen to

depict an old homestead, abandoned amongst the blinding snow

and under a crisp, clear-blue sky. EMMA FOX

64

36 MICHAEL SMITHER Doralto Road in the Moonlight oil on board title inscribed, signed and dated ‘69 verso 720mm x 700mm $50,000 - $70,000

Doralto Road in Frankleigh Park, New Plymouth, is the site of Michael

Smither’s childhood home. Mary, Smither’s mother, is backlit at the

front door of her home, waving out to Kirby Wright, a long-time

friend of the artist. This nocturnal scene depicts a busy evening of

people living their lives and, like much of Smither’s most celebrated

work from the 1970s, is loosely a ‘domestic’ painting, a poignant

depiction of a particular time and place. Typical of Smither’s interest

in ‘the extraordinariness of the ordinary’ and his keen eye for the

minute details of daily life, this work offers an exaggerated Realism.

The varied sources of light, both natural and man-made, include

street lights, vehicle headlights and the moon, and bring a high-

keyed emotional tenor to the subject matter.

Kirby has pulled into the driveway in his Volkswagen beetle: he was

a young man, who was about to sell up all of his worldly possesions,

give away his dog and move to join his fiancé Margaret abroad. He

was poised on the brink of breaking free of the small town life while

Smither, by contrast, stayed on and produced some of the most

recognisable images of domestic life in New Zealand’s art history.

EMMA FOX

IN FOCUS 65

37 MARTI FRIEDLANDER Ralph Hotere - 1978 gelatin silver print Illustrated: Kriselle Baker and Vincent O’Sullivan,

Hotere, Ron Sang Publications 2008, p.1 (detail) 500mm x 400mm $5,000 - $7,000

Marti Friedlander’s photography career spans over 50 years, during

which time she has photographed people and places both known

and unknown. At times it is the event that is important, at others the

place. But it is her portraits of artists, writers, politicians, and kuia

that tell us most about the people of our country. An often intimate

look at a person unknown to us, except perhaps by reputation. In

an age of tawdry celebrity, her dignified observations of subjects

are by way of contrast, up close and personal. The closeness of the

subject to the photographer, and hence to us the viewer, forces us

into a confrontation with them. They demand our attention, by the

simple fact of having been recorded, and of the sensitivity with which

the shot has been composed. In this photograph, we have one artist

recording another, one of a series of images of a relationship and its

mutual respect developing over many years.

As a subject, Hotere remains a mystery to most, preferring his art,

rather than himself, to do the talking. But to those who know him,

it is said he is a deeply charismatic man, with enormous presence

and charm. Even here, he evades our glance, looking to a point

somewhere behind the photographer. We are free to study him, his

confident stance and elusive gaze, but he reveals little. EMMA FOX

66

38 BILL HAMMOND Playing the Drums acrylic on copper title inscribed, signed and dated 1988 705mm x 300mm $25,000 - $35,000

39 RALPH HOTERE Drawing for a Tin Roof Painting pastel, acrylic and pencil on paper title inscribed, signed and dated ‘85-’86 and

inscribed Music Faculty, University Auckland, Port Chalmers

980mm x 640mm $20,000 - $30,000

IN FOCUS 67

68

PAT HANLY

Despite Patrick Hanly’s sly dictum – “do no early works” – we are

fortunate to have these four Fire Series artworks that are now to be

auctioned. Hanly, notoriously, destroyed paintings that he regarded

as unsuccessful so these works could well have had the artist’s

approval. All four works were acquired by the late Robin Howard,

possibly from Gallery One in London, and remained in his care for

five decades. It is art-historically important that these Hanly creations

are now safely here in Aotearoa.

The late ’50s and early ’60s in London were times of intense artistic

ferment which somehow grew and survived within an atmosphere

of extreme anxiety about the Cold War. Hanly’s Fire Series was

agonisingly concerned with the threat of annihilation by nuclear

attack, yet an equally important theme in the paintings was the

possibility of escape to an island paradise.

Escape from Destruction (lot 40), is indisputably from the Fire Series.

Hanly began creating this thematically related series of more than 20

paintings in London towards the end of 1959. He completed the series

some time in 1960. Particular images reoccur in this series of paintings.

Fire and dark destruction are vividly contrasted with the positive,

nurturing and creative symbols such as the feminine roundness of the

paradise-escape islands, the austere and contemplative female profile,

and the child-like houses within the green serenity of the tree of life.

And, as so often occurs in these works, here in the upper left of the

painting is the many-sailed escape vessel. The white border around the

yacht echoes, significantly, not just a cloud shape but the outline of the

iconic woman’s hair.

Hope of Paradise (lot 42), a significant early work by Hanly, provides

a valuable addition to our understanding of the Fire Series as a

40 PAT HANLY Escape From Destruction oil on board signed, title inscribed; signed and dated 1960 and inscribed A.274 verso,

original Gallery One label and original James Bourlett and Sons Ltd Liverpool, exhibition label affixed verso, inscribed John Moore’s Exhibition 1959 and; inscribed The painting. Destruction of a city. Dark heat and fire orange (text obscured) everywhere, the sensual twisting of a lost symbol (text obscured) through the debri (sic), in a lone building stands for a moment (text obscured) plunging down above which the tired white dove (text obscured) ...lessly a shadow portrait of man is framed in a molten (text obscured) and to the left a rich fertile green tree symbol is surrounded by a singular white and insulating line. April 10 - 1960 in artist’s hand on label affixed verso

1200mm x 1200mm Provenance: By descent from Robin Howard. Robin Howard was an early

patron of Gallery One, London Exhibited: Gallery One; Contemporary Painting and Sculpture, 16 North Audley

Street, Grosvenor Square, London WI, Hyde Park, 1960. $40,000 - $50,000

whole. The jutting, brown-and-ochre landform in the lower left of

this picture contrasts powerfully with the sharply defined building-

shapes in red and blue whose roofs segue into the sails of the escape

vessel. To this viewer, the escape ‘barge’ has a more positive feel

than does the offer of sanctuary within the yellow-brown promontory.

The whole upper area of the painting suggests a stormy blue-green

seascape and half-perceived images appear to be trying to rise from

beneath this turbulent surface.

Destruction (lot 43), the most compositionally accomplished of

these repatriated works, provides interesting paradoxes. The word

‘bomb’ is enclosed in an egg-shaped form yet Hanly’s oval shapes

are most often positive images. The atomic weapon is a destructive,

descending force. Everything to the right of the painting is aspiring

upwards while leaning away from the coming blast of the weapon.

And yet, in spite of these tensions, there is hope expressed in

the swift upward momentum, driven by light, in the two circular

‘escaping’ forms.

A pure and simple Fire Series painting, Fire above the City (lot 41)

offers little hope of an escape to any paradise island. The three

triangular-roofed houses at the bottom of the painting are bathed in

red light and there is no hint that the roofs could stand in as sails. The

two upper shapes, floating on an ochre background, are suggestive

of ‘islands’ but they are pigmented in red and the larger form, upper

right, carries a symbol, I believe, for a half-destroyed building. When

Hanly shared accommodation with Bill Culbert in Kensington Gore, the

neighbouring house stood derelict: it had lost its back wall in the blitz.

This building may well be the source for this emblem.

RUSSELL HALEY

IN FOCUS 69

IN FOCUS 71

42 PAT HANLY Hope of Paradise oil on board signed and dated ‘60; title inscribed, signed and

dated 1960, and inscribed A.249 verso, original Gallery One label affixed verso

610mm x 800mm Provenance: By descent from Robin Howard. Robin

Howard was an early patron of Gallery One, London Exhibited: Gallery One; Contemporary Painting and

Sculpture, 16 North Audley Street, Grosvenor Square, London WI, Hyde Park, 1960.

$30,000 - $40,000

41 PAT HANLY Fire Above the City oil on board signed and dated ‘60; title inscribed, signed twice and dated

‘60 and inscribed A.236 verso, original Gallery One label affixed verso

700mm x 610mm Provenance: By descent from Robin Howard. Robin Howard

was an early patron of Gallery One, London Exhibited: Gallery One; Contemporary Painting and Sculpture,

16 North Audley Street, Grosvenor Square, London WI, Hyde Park, 1960.

$30,000 - $40,000

72

43 PAT HANLY Destruction oil on board signed and dated ‘60; title inscribed, signed and dated 1960, and

inscribed A.246 verso, original Gallery One label affixed verso 570mm x 460mm Provenance: By descent from Robin Howard. Robin Howard was an

early patron of Gallery One, London Exhibited: Gallery One; Contemporary Painting and Sculpture, 16 North

Audley Street, Grosvenor Square, London WI, Hyde Park, 1960. $20,000 - $30,000

IN FOCUS 73

44 GRAHAME SYDNEY Catherine Sleeping oil on linen signed and dated 1987, signed and dated 1987

and inscribed Dunedin NZ 1987 585mm x 715mm llustrated: Grahame Sydney, The Art of Grahame

Sydney, Longacre Press, 2000 p.137 $55,000 - $65,000

74

45 STAR GOSSAGE Rangi-Marie Peace Mother and Child acrylic on board title inscribed, signed and dated June 2004 verso 1200mm x 1200mm Illustrated; Lisa Reihana, Maps of Memories, The

Art of Star Gossage, Art New Zealand, Autumn 2006, Issue 118 p.42

$12,000 - $18,000

STAR GOSSAGE

Portraits of mothers and children are part of a Western art historical

canon that goes back centuries, beginning with depictions of the Virgin

Mary and baby Jesus. The images became so familiar, so iconic, that,

despite the individuality of the subject, they became symbolic of all or

every woman. Rangi-Marie Peace, Mother and Child is in fact an intensely

personal and intimate depiction of the artist and her daughter Grace,

born in 2004. This is a painting of enormous serenity and calm, and

Damian Skinner has said of her work that: “All of Gossage’s figures have

a quality of passive expectancy. They are waiting: languid in some cases,

stoic in others, weary in some. The paintings offer a kind of pregnant

moment, an expanded pause. This quality is an invitation to get involved,

to take part in the construction of narrative. Who are these people?

Where are they? What are they waiting for?”¹

Mythical and ethereal, the mother cradles her swaddled baby in a

protective embrace, eyes half closed in part exhaustion, part ecstasy.

As an artist, Gossage maintains a strong spiritual connection to her

environment, which she also expresses through film and writing. “She

resides on a headland above Pakiri Beach; it is a place resonating with

personal myth and a landscape that is rich in history. This gorgeous

stretch of the Northern East Coast is suffused with white sands, blue sea

and native bush. Pakiri is emblematic of Gossage’s psychic landscape –

the site and subject of her work.”²

A graduate with a Diploma of Fine Art, she majored in Computer Art and

Film from the Otago Polytechnic School of Fine Arts, Dunedin. Her work

was included in Taiawhio, a groundbreaking exhibition of contemporary

Maori Art, and the companion publication, Taiawhio – Conversations

with Contemporary Maori Artists (2002). In 2006, Moana and Rangi-Marie

Peace were exhibited together; and Moana is now in the permanent

collection of Te Papa Tongarewa. EMMA FOX.

¹ Damien Skinner, Ao: New Paintings by Star Gossage, Paul Nache Gallery, 2009.

² Lisa Reihana, ‘A Close Engagement, the Art of Star Gossage’, Art New Zealand,

Autumn 2006, Issue 118, p. 42.

IN FOCUS 75

76

46 PAUL HARTIGAN Warp ink on acrylic title inscribed and signed verso 2020mm x 2000mm Exhibited: Paul Hartigan, Flat Out, Artis Gallery

27 Oct - 21 Nov, 1998 $8,000 - $12,000

IN FOCUS 77

47 DICK FRIZZELL Greener Pastures oil on linen title inscribed, signed and dated 1/6/98 605mm x 605mm $20,000 - $30,000

78

48 TOM KREISLER Untitled (Exorcise Series) acrylic on canvas 1070mm x 1435mm $6,000 - $8,000

IN FOCUS 79

49 GEOFF THORNLEY Untitled (Dyad) acrylic on board signed verso 970mm x 715mm $10,000 - $15,000

50 NEIL DAWSON Beam (Silver Fern) brushed steel, halogen light fitting, 3/6 title inscribed, signed and dated 2007 on crate lid 1495mm x 295mm diameter $10,000 - $15,000

80

51 RALPH HOTERE Port Chalmers brolite lacquer on board title inscribed, signed and dated ‘73 verso 600mm x 590mm $40,000 - $60,000

IN FOCUS 81

52 DON BINNEY Lion Rock with King George III oil on board signed and dated 1984 580mm x 640mm $18,000 - $25,000

Don Binney is most often associated with landscape paintings in which bird forms play a dominant

role, often rendered in a scale much larger than life. But Binney has experimented with other forms

and ideas, some involving still life elements in a landscape setting, others, as in this example,

bringing together an effigy of a British monarch and a famous New Zealand landscape feature,

Lion Rock at Piha Beach. This painting in fact belongs to a series, which depicts Queen Victoria

and King Edward VII among others set against the landscape in silhouette. Here the effigy with

its connotations of empire and colonisation sets uneasily upon the land, unlike the bird forms that

relate and have a sense of kinship. Whereas the birds appear to fly and inhabit the land, the effigies

are symbols of power that shadow the country with their influence but clearly belong elsewhere.

In each case the effigies relate to a period of the discovery and occupation of New Zealand by the

British. George III reigned at the earliest phase in the late 18th century, the time of Captain Cook.

PROF MICHAEL DUNN

82

53 JOHN WALSH Hemi Happens Upon a Gathering of Manaia acrylic on board title inscribed, signed and dated 2002 verso 710mm x 1185mm $12,000 - $18,000

54 PAT HANLY Hard Birth Mother and Bouquet mixed media on paper title inscribed, signed and dated ‘94 760mm x 1000mm $12,000 - $18,000

IN FOCUS 83

55 IAN SCOTT Lattice PVA on canvas signed and dated May ‘77 verso 1524mm x 1524mm $6,000 - $8,000

56 ROBERT ELLIS Motorway oil on board signed and dated 1963 900mm x 1200mm $20,000 - $30,000

84

57 BILL HAMMOND I Thought Maybe You’d Understand “Ramones” acrylic on board title inscribed, signed and dated 1985; signed and

dated 1989 verso 155mm x 1075mm $30,000 - $40,000

58 COLIN MCCAHON Kurow Hill charcoal on paper title inscribed, signed and dated 1972 215mm x 280mm $15,000 - $20,000

IN FOCUS 85

59 JULIA MORISON My Desire From Gobsmack and Flabbergast mixed media on two aluminium panels title inscribed, signed and dated ‘05 verso 600mm x 600mm, 600mm x 200mm Illustrated: Justin Paton, Julia Morison, a loop around a

loop, Christchurch Art Gallery Te Puna o Waiwhetu and Dunedin Public Art Gallery, 2007 p.171

$6,000 - $8,000

86

60 PAT HANLY New Bouquet acrylic on wooden assemblage title inscribed, signed and dated ‘92 verso 900mm x 700mm $8,000 - $12,000

61 PAUL DIBBLE Lone Man Walking bronze signed and dated 2006 720mm x 570mm x 180mm $10,000 - $15,000

IN FOCUS 87

62 NEIL DAWSON Jive aluminium with custom box, 21/35 title inscribed, signed and dated 2002; title

inscribed; signed and dated 2003 on box 380mm diameter $5,000 - $7,000

63 GREER TWISS Shadow bronze and steel stamped and dated ‘72 940mm x 440mm x 145mm $4,000 - $6,000

64 ANDREW DRUMMOND Untitled copper and bronze 1500mm x 430mm x 120mm Note: Andrew Drummond’s work is currently the

subject of a major retrospective Observation/Action/ Reflection, Christchurch Art Gallery Te Puna o Waiwhetu, 14 May - 15 September 2010 $7,000 - $9,000

88

67 RALPH HOTERE Winter Solstice Carey’s Bay gold leaf and acrylic on glass title inscribed, signed and dated ‘93; inscribed

Judy, Happy Birthday, Love Ralph, 20/11/93 215mm x 175mm $10,000 - $15,000

65 TERRY STRINGER Jug and Bowl painted bronze, 1/3 stamped with artist’s monogram and signed

and dated ‘86 470mm x 280mm x 95mm $5,000 - $7,000

66 PETER PERYER Edward Bullmore’s Launch gelatin silver print 410mm x 275mm Illustrated: Gregory Burke and Peter

Weiermair, Second Nature: Peter Peryer Photographer, City Gallery, Wellington 1995, p.123

$4,000 - $6,000

IN FOCUS 89

68 MICHAEL HARRISON Bear acrylic on paper signed 295mm x 210mm $2,000 - $3,000

69 RUDI GOPAS Portrait of a Woman in Head Scarf oil on canvas board signed and dated ‘56 $6,000 - $8,000

70 FRANCES HODGKINS Portrait of May Kenyon watercolour signed and dated ‘96; inscribed May verso 197mm x 145mm Note: May Kenyon was a close friend, fellow

painter and model of Frances Hodgkins. $15,000 - $25,000

IN FOCUS 91

74 PAUL HARTIGAN Favourite Fish enamel on board title inscribed, signed and dated 1990 360mm x 1185mm Exhibited; New Works, Lesley Kreisler Gallery,

New Plymouth, 1990 $10,000 - $15,000

72 JOHN WALSH Untitled oil on board signed and dated 2004 verso 890mm x 1190mm $10,000 - $15,000

73 RICHARD KILLEEN Shoso-In oil on board signed and dated 1973 verso 1220mmx x 610mm $10,000 - $15,000

71 KARL MAUGHAN Colyton (May) oil on canvas title inscribed, signed and dated

May 2008 verso 900mm x 1200mm $15,000 - $20,000

92

77 WILLIAM SUTTON Otago watercolour signed and dated ‘85 365mm x 500mm $5,000 - $7,000

75 GARTH TAPPER 2:30pm oil on board signed and dated ‘77; title inscribed and signed

verso 575mm x 580mm $7,000 - $9,000

76 GEOFF THORNLEY Untitled mixed media on paper title inscribed, signed and dated 1973 on

typewritten label affixed verso 890mm x 685mm $4,000 - $6,000

78 TRISTAN L. JULES LACROIX French Hunting Scene oil on canvas signed and dated 1897 640mm x 1000mm $10,000 - $15,000

IN FOCUS 93

IN FOCUS 95

79 DOROTHY NAPANGARDI Salt on Mina Mina acrylic on canvas 1470mm x 970mm Provenance: Accompanied by a Certificate of

Authenticity from Ochre Art Online Contemporary Indigenous Art

$9,000 - $15,000

80 LILY KELLY NAPANGARDI Sand Hills acrylic on linen 1800mm x 1200mm Provenance: Accompanied by a Certificate of

Authenticity from Tomo’s Aboriginal Art Pty Ltd, Alice Springs

$5,000 - $7,000

81 EMILY KAME KNGWARREYE Of My Country synthetic polymer paint on canvas signed verso 1210mm x 910mm Provenance: Commissioned by Delmore

Gallery in February 1993. $15,000 - $20,000

96

82 KATHLEEN PETYARRE Thorny Devil Lizard acrylic on canvas 910mm x 910mm Provenance: Accompanied by a Certificate of

Authenticity from the U.I Aboriginal Art Gallery $3,500 - $5,500

84 LILY KELLY NAPANGARDI Dreaming Tali acrylic on canvas 1220mm x 700mm Provenance: Accompanied by a Certificate

of Authenticity from Central Aboriginal Artists, Alice Springs

$1,000 - $2,000

85 JOSIE PETRICK KEMARRE Bush Seed acrylic on canvas 1510mm x 900mm Provenance: Accompanied by a

Certificate of Authenticity from Central Aboriginal Artists, Alice Springs

$1,500 - $2,500

86 ABIE LOY KEMARRE Woman’s Dreaming acrylic on canvas 1200mm x 490mm Provenance: Accompanied by a Certificate

of Authenticity from B.L.Cowley Pty Ltd $1,500 - $2,500

83 ABIE LOY KEMARRE Bush Hen Dreaming acrylic on canvas 1220mm x 1380mm Provenance: Accompanied by a Certificate of

Authenticity from Central Aboriginal Artists, Alice Springs

$3,000 - $5,000

83

82

IN FOCUS 97

84

85

86

98

A1A2

A3

A4

A5

A6A7

A8

A9

PLATE A

IN FOCUS 99

FINE & AFFORDABLE

JEWELLERY & WATCHES

Day 2, Wed 4 Aug 2010

Two sessions – 2:00pm & 6:00pm

Lots 100 – 300 Fine Jewellery & Watches Lots 1000 – 1200 Affordable & Estate Jewellery

VIEWINGThu 29 July 9:00am – 7:30pmFri 30 July 9:00am – 5:15pmSat 31 July 11:00am – 3:00pmSun 1 Aug 11:00am – 3:00pmMon 2 Aug 9:00am – 5:15pmTue 3 Aug 9:00am – 5:15pmWed 4 Aug 9:00am – 12:30pm (sharp)

BUYER’S PREMIUMA buyer’s premium of 12.5% will be charged on all

items in this Jewellery & Watches sale. GST (12.5%) is payable on the buyer’s premium only.

NO DELIVERY OF ITEMS PURCHASED CAN BE

GIVEN DURING THE SALE SESSIONS.

INCLUDING OVER 80 ITEMS BEING SOLD WITHOUT RESERVE ON BEHALF OF THE OFFICIAL ASSIGNEE

FINE JEWELLERY & WATCHES 99

100

Jewellery & Watches

2pm Lots 1000 – 1200Affordable and estate jewellery, gold chains and pocket watches

6pm Lots 100 – 300A splendid offering of magnificent and fine jewellery, accoutrements, valuable pocket and wrist watches

A catalogue for both sections will be available free of charge at viewings and will be available online from 29 July. The catalogue will provide an inventory style list for the ‘Affordable’ 2pm session and full descriptions for the 6pm session.

Both sections include seized items to be sold without reserve on behalf of the official assignee.

IN FOCUS 101

B1

B2

B3

B4

B5

B6

B7

B9

B12

B13B11

B10

B8

PLATE B

102

PLATE A A1 Magnificent ring set with a 5.11ct cushion-cut diamond $50,000-$70,000A2 Pair of very good ruby and diamond earrings $10,000-$20,000A3 Particularly good ruby & diamond cluster ring $15,000-$20,000A4 Art Deco period diamond & sapphire bow brooch $4,750-$5,750A5 Splendid fancy pink and white diamond marquise cluster ring $55,000-$60,000A6 Exceptional necklace of sapphires and over 26ct of diamonds $47,500-$57,500A7 Fancy yellow and white diamond drop earrings $5,000-$6,000A8 Fancy yellow and white diamond triple cluster ring $10,000-$14,000A9 Magnificent emerald of 7.48 ct set in a ring with diamonds $35,000-$45,000

PLATE B B1 Marquise outline diamond cluster ring $3,000-$4,000B2 Cushion-oval diamond cluster dress ring , total 3.37ct $4,000-$5,000B3 Pendant set with an 11.93ct emerald and diamonds $9,500-$10,500B4 Aquamarine & diamond pendant $1,600-$2,000B5 Three row diamond cluster line bracelet, over 6ct total $9,500-$10,500B6 Bracelet set with 12.98ct of baguette & round brilliant diamonds $17,500-$20,000B7 Leopard mask ring, black enamel, green enamel & diamonds $2,850-$3,850B8 Splendid necklace set with over 25ct of diamonds $28,000-$38,000B9 Cocktail ring set with diamonds $5,000-$7,000B10 I.W.C. Titanium “Mercedes AMG” automatic wristwatch $5,500-$6,500B11 Diamond Rivière necklace total 12.61ct $16,000-$20,000B12 Diamond pendant $4,000-$6,000B13 Bangle of diamond circlet clusters $3,750-$4,250

PLATE C C1 Pair of hoop earrings set with 4.89ct of diamonds $5,250-$6,250C2 Diamond cluster ring matching C13 $1,500-$1,800C3 Solitaire 1.2ct old cut diamond ring $3,750-$4,750C4 Solitaire 1.87ct fine white early European cut diamond ring $8,500-$9,500C5 Omega Speedmaster auto wristwatch with diamond bezel $4,250-$5,250C6 Pair of tiered diamond cluster earrings $2,750-$3,250C7 Diamond cluster ring matching C6 $2,000-$2,750C8 Diamond pendant $2,500-$3,000C9 Necklace & detachable pendant set with diamonds $9,500-$12,500C10 Tennis style diamond line bracelet, 4.74ct $6,500-$7,500C11 Line bracelet of pear shaped diamond clusters total 5.40 ct $5,750-$6,750C12 Fine diamond Rivière necklace total 10.00ct, D-F ,VVS-IF $20,000-$25,000C13 Bracelet of circular diamond clusters, 12.9 ct, matching C2 $14,000-$18,000C14 Omega Speedmaster triple date auto wristwatch $3,800-$4,800

Key to illustrations

IN FOCUS 103

C5C1

C2

C3

C4

C9

C8

C6

C7

C12

C13

C14

C11

C10

PLATE C

104

PLATE D

D1 Bangle set with diamond clusters $4,000-$5,000D2 Bangle channel set with Princess cut diamonds $4,500-$5,500D3 Champagne & white diamond drop earrings, total over 8ct $9,000-$12,000D4 Russian wedding ring set with diamonds $2,500-$3,000D5 Bracelet of fancy coloured sapphires and diamonds $5,500-$7,500D6 Diamond necklace total 11.54ct $12,500-$15,000D7 Diamond bracelet, total 4.96ct, matching D6 $5,500-$6,500D8 Pair of Chinoiserie geometric diamond earrings $3,000-$4,000D9 Ring matching D8 $1,650-$1,850D10 Patek Philippe, Gentleman’s 18ct gold manual wristwatch $6,000-$8,000D11 Fancy coloured sapphire & diamond necklace $4,700-$5,700D12 Parker gold plated fountain pen $200-$400D13 Omega S/S and gold Constellation auto wristwatch $3,500-$4,000

PLATE E E1 Pair of Creole diamond earrings, 2.51ct total $3,500-$4,500E2 Diamond ring matching E1 , 1.67ct $2,250-$2,750E3 I.W.C. , Gentleman’s 18ct gold wristwatch $4,500-$5,500E4 Mesh bracelet set with fancy coloured sapphires $4,750-$5,750E5 Exquisite pendant of fancy pink, fancy yellow & white diamonds $15,000-$16,000E6 Necklace of fancy yellow & white diamonds , total over 17 ct $25,000-$35,000E7 Marquise shape diamond cluster ring $3,000-$3,500E8 Ring set with baguette & brilliant cut diamonds $3,750-$4,750E9 Rolex, Gent’s 18ct Oyster perpetual Day Date, lapis & diamond face $12,000-$18,000E10 Bracelet set with emeralds and diamonds $2,850-$3,250E11 Pair of diamond earstuds, heart outline $2,000-$2,500E12 Necklace of golden South Seas cultured pearls $5,500-$6,500

IN FOCUS 105FINE JEWELLERY & WATCHES

D1

D2

D3

D4 D5

D8

D9

D10

D11

D12

D13

D7

D6

PLATE D

106

E1

E2

E3

E4

E5

E6

E12

E11E10

E8

E7

E9

E6

PLATE E

IN FOCUS 107

VALUATIONS

Independent reports and valuations for many of the items will be available at viewings or can be faxed or emailed on request from 29 July.

COLLECTION OF ITEMS

There will be no delivery of items purchased while the sales are in progress. Items purchased will be available for collection only once cleared funds have been received.

PAYMENT

Please refer to the conditions of business. Payment must be made within seven days of the sale. We accept payment by cash, EFTPOS (please be aware of limits on transactions to protect your account), direct credit and cashier’s cheque (bank cheque). Personal cheques will be accepted, but without exception subject to clearance before delivery of goods can be made. Credit cards are accepted only with all charges to the buyer.

ABSENTEE BIDS

Telephone bids will not be accepted for the ‘Affordable’ section of the sale.

For the Fine Jewellery & Watches section telephone bids will be accepted for items with an estimate over $500.

Written instructions to bid, on the absentee bid form, are welcomed for all sections of the sale.

IN FOCUS 109

Day 3, Thu 5 Aug 2010 – 6:00pmLots 300 – 336 Equestrian Lots 337 – 395 Miscellaneous Lots 396 – 480 Ceramics & Glass Lots 481 – 518 Sterling Silver & Silver PlateLots 519 – 574 Furniture & Rugs

ANTIQUES & MODERN DESIGN

PLEASE NOTEAbsentee and phone bids must be registered before 12:00pm on Thursday 5 August 2010.

A buyer’s premium of 15% will be charged on all items in this Antiques & Modern Design sale. GST

(12.5%) is payable on the buyer’s premium only.

This sale will be preceded by an uncatalogued Collectables sale at 4:00pm.

Both sales are fully illustrated online at webbs.co.nz.

VIEWING

Thu 29 July 9:00am – 7:30pmFri 30 July 9:00am – 5:00pmSat 31 July 11:00am – 3:00pmSun 1 Aug 11:00am – 3:00pmMon 2 Aug 9:00am – 5:30pmTue 3 Aug 9:00am – 5:30pmWed 4 Aug 9:00am – 5:30pmThu 5 Aug 9:00am – 12:00pm

OPPOSITE PAGE: LOT 370A PAIR OF DOUBLE-BARRELLED

SPORTING GUNS BY WILLIAM EVANS $28,000 - $35,000

ANTIQUES & MODERN DESIGN 109

110

301 A SILVER MOUNTED HOOF OF THE HORSE SOULT $200 - $300 See illustration page 113

302 A GOOD BROWN LEATHER SADDLE FORMERLY OWNED BY RODEO PERSONALITY GARY MCPHEE

made by Charlie Leach, Rotorua. Stamped McPhee. L630. $600 - $800

303 A BLACK LEATHER SADDLE with embossed floral designs and white decorative stitching. L640. $600 - $800

304 A SET OF JOCKEY SCALES IN CAST IRON by Herring & Son, Chertsey, England. Named Auckland Racing Club and

dated 1884. Meshed metal chair to one side and weight platform to the other. Note: some painted restoration.

$2,000 - $3,000 See illustration page 112

305 A SET OF JOCKEY SCALES IN CAST IRON by W & T Avery Ltd. Class 2 scale, with jockey seat in strap metal. Note:

weight platform absent. $400 - $600

306 AN EDWARDIAN OAK SMOKERS STAND WITH TWO HORSESHOE-SHAPED SHELVES

H960. $350 - $500

307 A QUIRKY EQUESTRIAN CARVING in the form of a hoof supporting four horse heads of different sizes. Note:

some damage. H390. $150 - $200

308 A FRAMED MID 20TH CENTURY POSTER FOR THE MELBOURNE CUP BY SHATTOCK

H860 W660. $200 - $300

309 THREE PICTURES OF RACE MEETINGS being overpainted 19th century engravings. Note: faults. H660 W1180. $200 - $300

310 A GILT FRAMED COLOURED LITHOGRAPH DEPICTING A RACE MEETING

with plaque inscribed Grand Prix. H760 W1180. $200 - $300

311 A 19TH CENTURY COLOURED STEEL ENGRAVING DEPICTING ORMONDE AND JOCKEY

Note: some faults. H740 W890. $100 - $200

300 A HORSE HEAD REPUTEDLY OF SOULT MOUNTED ON EBONISED WOODEN SHIELD

$500 - $700 See illustration page 113

312

322

304

IN FOCUS 111

312 A LARGE OIL ON CANVAS DEPICTING HORSE AND JOCKEY IN A LANDSCAPE

the original oak frame with copper plaque named El Gallo. Note: minor faults. H970 W1280.


313 AN OAK FRAMED PHOTOGRAPH DEPICTING MASTER SOULT WITH HANDLER

H550 W640. $150 - $250

314 AN UNFRAMED OIL ON CANVAS DEPICTING WAIRIKI by Cameron Johnson, dated 1907. Note: some faults. H510 W920. $300 - $500

315 A LARGE COLOURED LITHOGRAPH DEPICTING VARIOUS JOCKEYS by Trodell & Co, Melbourne. In original frame. H910 W690. $300 - $400 See illustration page 113

316 AN OAK FRAMED OIL ON CANVAS DEPICTING MUSKET by R Wilkinson. H500 W580. $200 - $300

317 A FRAMED MONOCHROME PRINT COMMEMORATING THE HORSE CARBINE

by Crown Studios, Auckland. H540 W640. $80 - $150

318 AN OAK FRAMED PICTURE OF SIX GENTLEMEN AT RANDWICK RACECOURSE

dated September 1921. H360 W660. $100 - $180 See illustration page 113

319 A HAND-COLOURED PHOTOGRAPHIC PRINT DEPICTING CARDIGAN BAY

H500 W600. $100 - $150

320 A FRAMED 19TH CENTURY COLOURED ENGRAVING DEPICTING GALOPIN WITH JOCKEY

Note: some faults. H720 W880. $200 - $300

321 A PAIR OF ORNATELY FRAMED HORSE PORTRAITS DEPICTING KINDERGARTEN AND WOTAN

being one hand-coloured photograph and one lithograph. H620 W740. $200 - $300

322 AN ORNATELY FRAMED HAND-COLOURED STEEL ENGRAVING DEPICTING KISBER AND JOCKEY

dated July 1876. H630 W790. $300 - $400 See illustration page 112

301

315

300

318

367

112

324 A FRAMED COLONIAL PHOTOGRAPH DEPICTING HORSE AND FOAL H540 W600. $50 - $100

325 AN OAK FRAMED PHOTOGRAPH DEPICTING YELLOW AND BLACK WITH JOCKEY

H470 W580. $80 - $120

326 A FRAMED 19TH CENTURY HAND-COLOURED STEEL ENGRAVING DEPICTING STOCKWELL

dated 1852. Note: some faults. H520 W620. $100 - $150

327 AN OAK FRAMED PHOTOGRAPH DEPICTING DESERT GOLD AND JOCKEY

by A Jones, Auckland 1916. H620 W740. $100 - $150

328 A HORSE RACING OVAL PLAQUE ON TIN DEPICTING FRENCH JOE IN ACTION

dated 1956. H360. $50 - $100

329 AN UNSIGNED OIL ON CANVAS DEPICTING CASTER THOROUGHBRED SIRE

dated September 1893. H550 W650. $300 - $400

330 A FRAMED COLOUR LITHOGRAPH DEPICTING JOCKEY GEORGE FORDHAM

dated 24 May 1884. H640 W460. $80 - $150

331 AN OAK FRAMED EARLY 20TH CENTURY PHOTOGRAPH DEPICTING SCION WITH JOCKEY

H590 W730. $100 - $150

332 A FRAMED COLOUR LITHOGRAPH DEPICTING CARBINE by A D Willis, Wanganui. H580 W700. $80 - $150

333 AN OAK FRAMED ADVERTISING PRINT DEPICTING HORSES INCLUDING CARBINE

H390 W480. $50 - $100

334 AN OAK FRAMED PHOTOGRAPH DEPICTING PADDINGTON GREEN WITH JOCKEY

by A Jones, Auckland. H530 W640. $100 - $150

335 AN OAK FRAMED PHOTOGRAPH DEPICTING PARISIAN DIAMOND WITH JOCKEY

by A Jones, Auckland. H540 W640. $100 - $150

336 A SET OF TEN MOUNTED EARLY 20TH CENTURY PHOTOGRAPHS DEPICTING FLEMINGTON RACECOURSE

Note: some faults. Images H230 W570. $1,000 - $1,500

323 A HAND-TINTED PHOTOGRAPH DEPICTING PHAR-LAP in oval plaster frame. Note: some faults. W600. $150 - $250

439

503 468 498 501 496 496

439433 438

IN FOCUS 113

345 AN INTERESTING ANTIQUE HAND-COLOURED MAP OF THE CITIES OF LONDON AND WESTMINSTER

by John Norden, dated 1610. H430 W550. $200 - $300

346 TWO 19TH CENTURY FRENCH PRINTS DEPICTING CHINESE DOMESTIC LIFE

together with two similar English prints. Framed in Hong Kong. H330 W400. $80 - $120

347 A SET OF SIX FRAMED JAPANESE TAISHO PERIOD WOODBLOCK PRINTS DEPICTING BIRDS AMONGST FOLIAGE

H350 W230. $600 - $800

348 A PAIR OF JAPANESE MEIJI PERIOD BRONZE VASES OF TAPERED FORM

each finely inlaid with long tailed cockerel in a plum tree. Signed on body and with seal mark. H180.

$1,250 - $1,500

349 A PAIR OF JAPANESE EARLY MEIJI PERIOD STANDARD CLOISONN» VASES OF TAPERED OVAL BALUSTER FORM

with floral and bird decoration on a blue ground. H150. $250 - $350

350 A JAPANESE LATE MEIJI PERIOD CLOISONNÉ VASE of tapered four-lobed shape with floral roundels on a black spiral ground.

H150. $200 - $300

351 AN EARLY 20TH CENTURY CHINESE CLOISONNÉ CIRCULAR BOWL profusely decorated with swirling dragons chasing flaming pearls on a

turquoise ground. Dia145. $100 - $200

337 A FRAMED EARLY 20TH CENTURY PENCIL SKETCH DEPICTING A YOUNG WOMAN BY FRANCIS MCCRACKEN

signed F McCracken and dated 1913. H600 W420. $400 - $500

338 A FRAMED 19TH CENTURY OIL ON BOARD PORTRAIT OF CHARLES DICKENS

signed with monogram and dated 1874 (four years after Dickens’s death). H290 W240.


339 A NAÏVE OIL ON CANVAS PORTRAIT OF RICHARD SEDDON unframed. Note: faults. H770 W570. $100 - $150

340 A GILT FRAMED 19TH CENTURY LITHOGRAPH OF W E GLADSTONE MP H860 W590. $200 - $300

341 A FRAMED OIL ON BOARD DEPICTING A SHEPHERD WITH FLOCK IN SNOW BY BAXTER MORGAN

H280 W440. $200 - $400

342 A 19TH CENTURY UNSIGNED OIL ON BOARD DEPICTING A LANDSCAPE WITH COWS AND CASTLE RUINS

H250 W380. $200 - $300

343 A LARGE GILT FRAMED WATERCOLOUR DEPICTING AN ENGLISH VILLAGE SCENE BY A SINCLAIR

circa 1900. H720 W990. $400 - $600

344 A FRAMED WATERCOLOUR COASTAL SCENE BY N WELSH Image H180 W250. $250 - $400

MISCELLANEOUS

370506

114

545

551 544

540

559

IN FOCUS 115

352 A GOOD PAIR OF 19TH CENTURY CHINESE CINNABAR LACQUER LIDDED BALUSTER VASES

each deeply carved, with a central panel of figures in a mountain landscape with trees. Leaf, scroll and lappet borders, with diaper pattern ground. Note: minor restoration. H300.

$3,500 - $5,000

353 A 20TH CENTURY CHINESE BRASS BALUSTER VASE WITH RELIEF ENCIRCLING DRAGONS

H180. $200 - $300

354 A FRAMED OLD CHINESE EMBROIDERED SILK PANEL with gilt, silver and coloured thread design of a dragon with phoenix and fo

dog. H660. $200 - $400

355 A FRAMED KIMONO OF SELF PATTERNED WHITE BROCADE DECORATED WITH CRANES

with obi sash embroidered with cranes, chrysanthemums and paulownia. H2230 W1480.

$800 - $1000

356 A GOOD 18TH/19TH CENTURY CHINESE WOODEN RUYI SCEPTRE deeply carved with symbols and bats and dragons amid clouds. L490. $700 - $900

357 AN ORIENTAL PICNIC BASKET with three woven cane sections, and carved and pierced handles. H640. $100 - $200

358 A VICTORIAN LACQUERED PAPIER-MÂCHÉ GLOVE BOX the lid decorated with Japanese figures in kimono dress. L300. $100 - $200

359 A SMALL CARVING OF A GOAT in speckled cream and black stone with brown highlights skillfully

incorporated. On wood stand. L90. $200 - $300

360 A CARVED IVORY FIGURE OF KWAN YIN STANDING WITH LEAF FAN H155. $200 - $300

361 AN AFRICAN CARVED IVORY HEAD H200. $400 - $600

362 A CARVED INDIAN ELEPHANT TUSK on carved tusk stand. L610. $600 - $800

363 A RECTANGULAR IVORY CIGARETTE CASE L80 W60. $100 - $200

364 A TAXIDERMY JUVENILE ALLIGATOR L330. $120 - $220



367 A WATER BUFFALO SKULL WITH LARGE HORNS H1020 W960. $800 - $1,000 See illustration page 113

368 A WATER BUFFALO SKULL WITH LARGE HORNS H810 W700. $800 - $1,000

369 A BROWN BEAR SKIN RUG WITH FULL HEAD in excellent condition. Recently restored. Felt base. L2200. $2,000 - $3,000

370 A FINE AND RARE PAIR OF ANTIQUE MATCHED ENGLISH DOUBLE-BARRELLED SPORTING GUNS

by William Evans, gunmakers to HRH Duke of Connaught KG, 63 Pall Mall, St James, London. Both guns with figured walnut stocks, and finely engraved lock covers, trigger guards and breech lock levers. With cleaning rods and tackle, all contained in a leather-bound oak case with straps and brass corners. Lid named in gilt The Hon Sir Ford North. Case L840 W340.

$28,000 - $35,000 See illustration page 110 & 115

371 FOUR OLD POCKET KNIVES with ivory and antler handles. $80 - $100

372 A VICTORIAN SILVER AND IVORY DESK SEAL with carved flowering bud handle and scroll chased decoration. Initials to

base. H85. $100 - $200

373 A GOOD LATE 19TH CENTURY FRENCH GILT BRASS DESK SEAL with a monkey in full relief sitting on a trunk. Signed Leon Hingre and

stamped Louchel. Vacant. H110. $100 - $200

566338

116

376 A SEVEN PIECE EDWARDIAN DRESSING TABLE SET IN IVORY comprising three hair brushes, two clothes brushes, a nail buffer and a

powder bowl. Applied silver initials. Circa 1910. Note: some faults. $100 - $200

377 A 19TH CENTURY PORTRAIT MINIATURE ON IVORY OF A YOUNG WOMAN

with a note verso identifying the subject as Lady Isabella Bridges, wife of Stephen Ponsonby Peacocke. L85.

$500 - $700

378 NINE BOOKS FROM THE PEACOCKE FAMILY COLLECTION including Colletta, ‘Storia del Reame di Napoli [etc]’, in two volumes, 1846,

Italian language, with signature of Captain Peacocke, Naples 1848. With Radcliffe, ‘The Romance of the Forest’, in two volumes, being Vols XLIII and XLIV of Barbauld’s ‘The British Novelists’, (Rivington et al), 1820, with bookplate of Rt Hon Lady Isabella Anne Brydges. Also Bigland, ‘Letters on the Study and Use of Ancient and Modern History’, (Longman et al), 1805, with signature of Raleigh Peacocke. Also Hemans, ‘Songs of the Affections [etc]’, (Blackwood), 1840, with signature of Ponsonby Peacocke, and with signature of Gerald Peacocke, Hawthorden NZ. Also Peacocke, ‘Rays from the Southern Cross’, (King), 1876. Also ‘New Zealand Army List’, 1864. And a title in German, with signature of S Ponsonby Peacocke, 25th Regt.

$150 - $250

379 AN OLD EMU EGG WITH CAMEO CARVED OVAL PANEL DEPICTING AN ADULT EMU IN A BUSH LANDSCAPE

L125. $100 - $200

380 A BRASS RUBBING FROM A 15TH CENTURY ENGLISH TOMB IN CONTEMPORARY FRAME

H1700 W700. $250 - $350 See illustration page 118

381 A BRASS RUBBING FROM A 15TH CENTURY ENGLISH TOMB IN CONTEMPORARY FRAME

H1470 W620. $250 - $350

382 A PAIR OF BRASS RUBBINGS FROM AN ENGLISH CHURCH IN CONTEMPORARY FRAMES

H2250 W400. $250 - $350

383 A HAND-PAINTED CREST the oak frame with plaque inscribed The Impaled Achievement of Sir Robert

Whitney of Whitney, Knight, and John Whitney of Calver Hill, Herefordshire. H1290 W980.

$250 - $350

384 AN OAK FRAMED CERTIFICATE FOR THE UNITED FIRE BRIGADES ASSOCIATION

being a coloured print. Dated 1911. H730 W580. $140 - $180

374 A GOOD SMALL BRONZE BUST DESK SEAL signed with monogram. Initials to base. H50. $50 - $100

375 THREE OLD VICTORIAN GOLD PLATED SEALS two with intaglio stone bases. $150 - $300

532

422

533

380

546

IN FOCUS 117

385 A FRAMED THEATRE POSTER for His Majesty’s Theatre, The King of Cadonia. By Syd Day, printer,

Melbourne. H1050 W390. $200 - $300

386 A FRAMED THEATRE POSTER for His Majesty’s Theatre, The Silver King. By Evening Post Theatrical and

General Show Printing House, Willis Street, Wellington. H1050 W390. $200 - $300

387 A GILT FRAMED COLOURED LITHOGRAPHIC PRINT OF CAPTAIN SCOTT RN dated 1914. Note: some faults. H750 W580. $200 - $300

388 A MAPLE FRAMED 20TH CENTURY ADVERTISING MIRROR FOR JAMAICA RUM FEATURING LORD NELSON

H1160 W900. $200 - $350

389 THREE VENETIAN SIRU BLOWN GLASS LANTERNS two as wall lights and one as a ceiling shade. Note: minor faults. H280. $400 - $600

390 A PAIR OF RETRO GERMAN LAMINATED WOOD BOOKENDS one with globe of the world mounted, the other with celestial globe. Note:

minor wear. H160. $200 - $300

391 A UNIQUE SMALL AND HEAVY PAUL MASON BRONZE BOWL the outside with deep green patina. The inside with mottled deep green

patina. H850 Dia105. $400 - $600

392 A LARGE JOHN CRICHTON MOSAIC TILE AND COPPER CHARGER Dia570. $500 - $800

393 AN OLD COIN-OPERATED SINGING BIRD AUTOMATON with cock, hen and chicks in a gilded cage. Note: needs restoration. H580. $1,000 - $2,000

394 A LATE 19TH CENTURY MUSIC BOX the hinged lid with distressed polychrome inlaid decoration. The works

stamped Ducommun-Girod. Complete with key. Needs restoration. H180 W480 D210.

$1,000 - $1,500

395 A SALT GLAZED CHIMNEY with Clark Ltd Auckland impressed. Note: minor faults. H660 Dia350. $500 - $700

521

528

523

531

526

429

118

410 A SMALL LEN CASTLE STONEWARE LIPPED BOWL with pink-grey glaze and lightly pitted well. Marked. L125. $100 - $150

411 A SMALL LEN CASTLE STONEWARE LIPPED BOWL with pink-grey glaze. Marked. L125. $100 - $150

412 AN IMPRESSIVE LEN CASTLE DEEP BOWL OF OVAL FORM with grey-white glaze. H155 W310. $500 - $700

413 A LEN CASTLE STONEWARE BOWL with shaped rim and crazed pink-grey glaze. Dia210. $250 - $300

414 A FINE LEN CASTLE STONEWARE BOWL with crazed pale grey internal glaze. Dia220. $250 - $300

415 A GOOD MIREK SMISEK STONEWARE WINE BOTTLE with thick blue salt glaze. Marked with sunflower monogram. Circa 1960s.

H260. $600 - $800

416 A STONEWARE BOTTLE VASE BY ROYCE MCGLASHEN the body with raised key and arch design. Signed and dated 1966. H190. $100 - $150

417 TWO JACK LAIRD STONEWARE VASES in brown and olive/mustard green glaze. H90 & 105. $50 - $100

418 A WARREN TIPPET BROWN GLAZE STONEWARE PLATE with stylised blue glaze decoration. Together with a brown glaze stoneware

bowl by Helen Mason. Dia185 & 150. $100 - $150

419 A SMALL WARREN TIPPET CREAM JUG with fluted decoration and grey glaze. H100. $100 - $150

420 A TALL KATHERINE SMYTH SQUASH VASE of oval baluster form, with ribbed and green painted decoration. Signed to

base. H265. $40 - $80

421 A GOOD CREAM GLAZE CROWN LYNN VASE WITH RIBBED DECORATION

by Ernest Shufflebotham. Blue marks on base. H240. $150 - $250

422 A JIM BEAM PAINTED POTTERY WHISKEY BOTTLE in the form of Te Rauparaha in naval dress and with face moko. H380. $250 - $350 See illustration page 118

423 A ROYAL DOULTON PORCELAIN MAORI ART RED AND BLACK PATTERN CUP WITH TWO SAUCERS AND PLATES

circa 1925. Note: small chip on cup. $350 - $500

424 AN UNUSUAL SET OF THREE BRIGHTLY PAINTED CARLETONWARE MY GOODNESS MY GUINNESS FLYING TOUCANS

L160 - 250. $200 - $400

407 A GOOD LARGE LEN CASTLE EARTHENWARE BOWL OF ROUNDED SQUARE FORM

with intense light blue glaze. Marked. W360. $1,000 - $1,500

408 A SMALL LEN CASTLE EARTHENWARE POURER with blue glazed interior and crackled light grey exterior. Marked. L95. $120 - $180

409 A LEN CASTLE EARTHENWARE SHALLOW BOWL with crackled rim and green glazed well. Dia130. $150 - $200

398 TWO MATCHING STONEWARE LIDDED STORAGE JARS BY PAUL MELSER

with olive brown glaze. Stamped seal marks and monogram. Circa 1960s. H115 & 145.

$50 - $80

399 A JULIET PETER STONEWARE VASE of rectangular trough shape, with cut out top and pale green/grey glaze.

Incised mark. Circa 1980s. L200. $150 - $200

400 TWO ROY COWAN STONEWARE COVERED BOWLS with blue and brown glaze decoration and speckled interior. Incised initial

marks. Dia120 & 135. $50 - $80

401 A LARGE BARRY BRICKELL LIDDED STORAGE JAR with green/brown half body glaze. H200. $100 - $150

402 A LEN CASTLE STONEWARE BOTTLE VASE with orange and white glaze. Marked to shoulder. H130. $180 - $250

403 A LEN CASTLE STONEWARE BOTTLE VASE with orange and white glaze. Marked to shoulder. H145. $180 - $250

404 A LEN CASTLE STONEWARE BOWL with cracked geothermal mud glaze. Marked. Dia200. $300 - $400

405 A LEN CASTLE STONEWARE BOWL with cracked geothermal mud glaze and brown rim. Marked. Dia185. $200 - $300

406 A LARGE LEN CASTLE STONEWARE BOWL with shaped rim and orange and white glaze. Marked. W300. $500 - $700

396 A LARGE BARRY BRICKELL STONEWARE SIDE-HANDLED TEAPOT WITH BROWN GLAZE

L230. $100 - $150

397 A DOREEN BLUMHARDT STONEWARE TEAPOT with green/grey glaze and body with faceted panels in blue and red. Cane

handle. Note: cracked lid restored. L170. $100 - $150

CERAMICS & GLASS

IN FOCUS 119

425 A CARLTONWARE BLEU ROYALE PORCELAIN VASE with painted and gilt oriental style decoration. H120. $100 - $200

426 A CARLTONWARE PORCELAIN CREAM JUG with painted and gilt decoration of two cranes beneath a tree on a pale lime

ground. H110. $100 - $200

427 A CARLTONWARE PORCELAIN DISH with painted kingfisher, leaves and flowers on a burgundy lustre ground.

Gilt edging. L215. $100 - $200

428 A STYLISH ART DECO DESIGN CROWN DEVON SERVING DISH with bright coloured flowers and motifs on a deep blue ground. Gilt edging.

L320. $150 - $300

429 A GOOD AND LARGE CROWN DEVON PORCELAIN VASE with stylish painted and gilt design of butterflies, leaves and trees on a

deep blue speckled ground. Printed mark. Circa 1930. H340. $600 - $800 See illustration page 119

430 A WALTER MOORCROFT POTTERY VASE with coloured African lilies on a pale green ground. Underglaze green mark

with initials. Circa 1950s. H165. $200 - $300

431 A LARGE WALTER MOORCROFT POTTERY BALUSTER-SHAPED VASE with coloured anemones on a variegated green ground. Impressed marks

with painted initials. Circa 1950s. Note: glaze bubble faults. H300. $300 - $400

432 A HAND-PAINTED CLARICE CLIFF CROCUS PATTERN FRUIT BOWL with Newport Pottery mark on base. Circa 1938. W225. $100 - $200

433 A LARGE BESWICK POTTERY STANDING FRUIT BOWL with pineapple base and leaf decoration. Green and yellow glaze.

Impressed mark. Circa 1930. H220. $200 - $400 See illustration page 114

434 A BESWICK POTTERY DESERT ISLAND JUG with relief palm tree and pastel blue glaze. Marked on base. Circa 1930.

H185. $100 - $200

435 A BESWICK POTTERY CREAM GLAZE CORNUCOPIA JUG VASE WITH PALM TREE MOTIF

circa 1940. H190. $100 - $200

436 A BESWICK POTTERY YELLOW LUSTREWARE BOWL circa 1930. L150. $100 - $200

437 A DECORATIVE POOLE POTTERY VASE with stylised flower and leaf painted design. Impressed Carter, Stabler &

Adams mark to base. H130. $100 - $200

438 A LARGE POOLE POTTERY FAT BODIED VASE with styish Art Deco design handles, and speckled celadon green glaze.

Impressed mark. Circa 1930. Note: small faults. H260. $300 - $400 See illustration page 114

439 A STYLISH PAIR OF POOLE POTTERY STUDIO ART DECO BOOKENDS with leaping deer and green monochrome glaze. H210. $200 - $300 See illustration page 114

440 A LARGE SYLVAC POTTERY PINEAPPLE-SHAPED VASE with raised design, painted in pastel pink and green. H250. $100 - $200

441 A STYLISH CROWN DUCAL WARE VASE WITH APPLE GREEN MONOCHROME GLAZE

with A G Richardson mark to base. Circa 1930s. H180. $100 - $200

442 A SUZIE COOPER FAT BODIED POTTERY JUG with incised leaf and landscape pattern under a monochrome mustard

yellow glaze. Signed on base. H175. $250 - $350

443 A SUZIE COOPER ORANGE GLAZE POTTERY MILK JUG WITH INCISED LEAF PATTERN

signed on base. H160. $150 - $300

444 A SUZIE COOPER MUSTARD GLAZE POTTERY BOWL WITH INCISED PATTERN

signed on base. Circa 1930. W130. $80 - $150

445 A SUZIE COOPER FAWN GLAZE POTTERY VASE WITH INCISED STYLISED SHELL AND WAVE PATTERN

signed on base. Circa 1930. H130. $150 - $300

446 A ROYAL DOULTON STONEWARE ASHTRAY WITH APPLIED RAISED LION DECORATION

W95. $100 - $200

447 A ROYAL DOULTON FAT BODIED STONEWARE VASE with six plain opaque green glaze panels and slip trailed pearl wave pattern

shoulders. Impressed mark with initials for Florence Barlow. Circa 1905. Note: lozenge kiln fault to one panel. H150.

$200 - $300

448 A ROYAL DOULTON STONEWARE VASE OF TAPERED FLARED FORM with mottled green/mustard glaze and raised blue rosette decoration.

Impressed mark, and initials E W. H190. $200 - $300

449 A SMALL ROYAL DOULTON BALUSTER-SHAPED STONEWARE VASE with mottled green glaze and raised rosette decoration. Impressed mark

with initials M W. $100 - $200

450 FIVE ST IVES STONEWARE BOWLS AND DISHES with impressed monogram marks. $80 - $120

120

462 TWO CHINESE MING PERIOD COUNTRY STYLE POTTERY BOWLS WITH UNDERGLAZE BLUE SCROLL AND CHARACTER DECORATION

W240. $100 - $150

463 A 19TH CENTURY CHINESE BROWN GLAZE POTTERY BOWL WITH UNDERGLAZE BLUE PAINTED INTERIOR

W270. $150 - $300

464 TWO SMALL CHINESE QIANLONG PERIOD PORCELAIN TEA BOWLS WITH BLUE AND ENAMEL DECORATION

$100 - $200

465 AN UNUSUAL LATE 19TH CENTURY CHINESE PAINTED POTTERY PLAQUE

with relief decoration. Central dragon with border of swirling dragons chasing pearls amid clouds. Two seal marks to base. W260.

$350 - $500

466 AN UNUSUAL CHINESE SUNG STYLE CELADON GLAZE CIRCULAR STAND DISH WITH THREE SHORT LEGS

W185. $700 - $800

467 SIX PIECES OF 19TH CENTURY CHINESE PORCELAIN all with polychrome enamel decorations. Largest Dia130. $100 - $200

468 A TALL JAPANESE MEIJI PERIOD SUMIDA GAWA POTTERY VASE with relief figure decoration. Blue grey dribble glaze. Signed lozenge mark.

Note: some paint glaze loss. H330. $200 - $300

469 AN EARLY 20TH CENTURY JAPANESE PORCELAIN BALUSTER-SHAPED VASE

with painted figures in a Mount Fujiyama landscape with trees. H300. $150 - $200

470 AN EARLY 20TH CENTURY JAPANESE TAISHO PERIOD BALUSTER-SHAPED SATSUMA POTTERY VASE

with two panels of painted figures in traditional costume between gilt peony on cobalt blue ground borders. Circa 1915. H370.

$200 - $300

471 A JAPANESE PORCELAIN STANDING FIGURE OF THE GODDESS KWANON

with underglaze blue floral pattern robe. H330. $150 - $250

472 A LALIQUE FRANCE SMALL CLEAR PIN DISH with frosted deer standing in centre. Signed on base. Dia100. $200 - $300

473 A GOOD PAIR OF LARGE VICTORIAN TWO-HANDLED GLASS OVERLAY URN VASES

each in simulated tortoiseshell marble and painted with enamel flowers and insects. Note: faulted. H350.

$250 - $300

474 A LARGE ITALIAN GILT DECORATED RED GLASS COMMEMORATIVE BOWL

with inscription ‘Venezia Rugby All Blacks New Zealand’. H190 W210. $400 - $600

475 A TALL HEXAGONAL MURANO SOMMERSO CUT AND POLISHED GLASS VASE

with two-tone blue internal decoration. Circa 1960s. Paper label intact. H230.

$180 - $250

476 A TALL RECTANGULAR MURANO SOMMERSO CUT AND POLISHED GLASS VASE

with gold and veridian green internal decoration. Circa 1960s. $250 - $300

453 A WELLER POTTERY VASE OF CYLINDRICAL FORM with relief tree decoration. Unmarked. Circa 1900. H210. $250 - $300

454 A MID 20TH CENTURY GERMAN SCHEURICH STUDIO POTTERY VASE with speckled mauve blue decoration. Marked on base. H260. $50 - $100

455 A 20TH CENTURY GERMAN SCHEURICH STUDIO POTTERY VASE with orange, green and brown glaze. Paper label. H200. $50 - $100

456 A 20TH CENTURY GERMAN SCHEURICH STUDIO POTTERY FAT BODIED VASE

in wibrant orange glaze, with raised turquoise borders. H195. $50 - $100

457 A 20TH CENTURY GERMAN SCHEURICH STUDIO BISCUIT POTTERY TALL VASE

of tapered form, with hand-painted berry and leaf pattern. Internal glaze. Papel label. H285.

$50 - $100

458 A SMALL ROYAL WORCESTER PORCELAIN CUP AND SAUCER painted with pheasant pattern. Gilt detail. Unsigned. Marked with star and

four dots. 1920. $300 - $400

459 A 19TH CENTURY EUROPEAN PORCELAIN CUP AND SAUCER with rich gilding and painted floral decoration. Circa 1870. Note: hairline

crack. H90. $50 - $100

460 A SMALL 19TH CENTURY CREAM WARE JUG WITH RELIEF FIGURE DECORATION DEPICTING SLAVE SCENES

H110. $150 - $300

461 A RARE 18TH CENTURY LIVERPOOL PEARLWARE PLATE with Chinese style underglaze blue decoration. Dia245. $1,000 - $1,400

451 A SMALL DAVID LEACH STONEWARE JUG with ribbed decoration and grey glaze. Impressed monogram mark. H80. $300 - $400

452 AN ENGLISH CYLINDRICAL STUDIO POTTERY VASE by Janet Leach (wife of Bernard). H270. $500 - $600

IN FOCUS 121

477 A TALL MURANO SOMMERSO CUT AND POLISHED GLASS VASE of tapered diamond-shaped form. With yellow and tan internal decoration.

Circa 1960s. H300. $250 - $300

478 A MURANO SOMMERSO CUT AND POLISHED GLASS VASE of squat geometric shape. The sides facet cut with triangles, diamonds and

pentagons. Internal decoration of cobalt blue with gold border. H100 W200. $250 - $300

479 A PINK MURANO SOMMERSO GLASS THICK RIM BOWL with aquamarine edge. Circa 1960s. W145. $100 - $150

480 A MURANO SOMMERSO GLASS BOWL with a heavy facet-cut body around an apple green centre. Circa 1960s.

W170. $100 - $150

481 AN OCTAGONAL-SIDED STERLING SILVER ROSE BOWL with pierced gallery border and circular foot, on black lacquered stand.

Birmingham 1910. H120. $150 - $220

482 A CASED STERLING SILVER HEXAGONAL-SHAPED CAKE/BREAD BOWL with pierced floral sides and shaped edge rim. Sheffield 1938. L300. $250 - $300

483 AN ORNATE VICTORIAN STERLING SILVER MUG with scroll handle and raised strapwork decoration. Maker Richard Hennell,

London 1863. H100. $350 - $450

484 A MINIATURE CHRISTENING TANKARD/MUG Note: rim dent. H40. $50 - $150

485 A PAIR OF GEORGIAN STYLE STERLING SILVER DECANTER COASTERS with pierced gallery borders and mahogany bases. Birmingham 1993. $200 - $300

486 A GOOD AND RARE GEORGE III STERLING SILVER TWO-HANDLED VESSEL

in the form of a half barrel. Maker Joseph Wilson, London 1818. L130. $400 - $600 See illustration page 114

487 A GOOD STERLING SILVER FISH SLICE with pierced and punched decoration. Maker Peter & William Bateman,

London 1806. Weight 140g. L300. $300 - $400

488 A CASED STERLING SILVER OLD ENGLISH PATTERN FORK AND SPOON SET

with bright cutting. Sheffield 1904. $100 - $200

489 A CASED SET OF SIX ART DECO STYLE STERLING SILVER COFFEE SPOONS

$50 - $100

490 TWO CASED SETS OF SIX SCANDINAVIAN GILT SILVER COFFEE SPOONS

by David Andersen, Oslo. Both sets with pale green enamel decoration. Marked S 925. Circa 1920.

$300 - $400

491 A CASED SET OF TWELVE SCANDINAVIAN GILT SILVER HORS D’OEUVRES FORKS

by David Andersen, Oslo. Pale green transparent enamel decoration. Marked S 925.

$200 - $300

492 SIX OLD GEORGIAN AND VICTORIAN STERLING SILVER TEASPOONS of various styles and dates. 1800-1850. $50 - $100

493 THREE GEORGIAN STERLING SILVER FIDDLE PATTERN TABLE SPOONS with matching engraved crests. London 1806, 1819 & 1820. $200 - $300

494 A GEORGE IV STERLING SILVER FOLIATE HANDLED MILK AND SUGAR the lobed squat forms with fluting below decorated broad rims. Each vessel

standing on a petal-shaped foot. Gilding to the interior walls. Maker E B, London 1821.

$500 - $800

495 A GEORGIAN STERLING SILVER MILK JUG on four ball feet, with shaped facet sides, engraved borders and gadrooned

edge. Maker V S, London 1807. Weight 149g. H110. $300 - $400

496 A GEORGE III STERLING SILVER OVAL BOAT-SHAPED SUGAR BOWL with swing handle and gilt interior. On oval foot. Later raised decoration to

bowl. Maker Chas Aldridge, London 1795. L140. $400 - $500 See illustration page 114

497 A GEORGIAN STERLING SILVER TWO-HANDLED SUGAR LUMP BOWL on four ball feet, with gadrooned, reeded and bright cut border decoration.

London 1809. Weight 300g. W190. $300 - $500

498 A GEORGE III STERLING SILVER TEAPOT OF SQUAT CIRCULAR FORM with raised floral scroll decoration and ebony handle. Maker probably Alice

& George Burrows. Hallmarked London 1813. L260. $500 - $600 See illustration page 114

499 A GEORGE III STERLING SILVER OVAL TEAPOT with vertical ribbed decoration and fruitwood finial and handle. Maker

Thomas Langford, London 1786. L240. $500 - $600 See illustration page 114

500 A GEORGIAN STERLING SILVER TEAPOT TOGETHER WITH A MATCHING TRAY STAND

both with engraved borders and punched decoration. Maker John Moore. Weight 610g. H170.

$800 - $1,000

122

503 A GOOD SMALL GEORGE III STERLING SILVER CARD TRAY/WAITER the border with raised thistle, rose and scallop shell decoration. Crest.

Maker Joseph Wilson, London 1818. Dia165. $500 - $600 See illustration page 114

504 A PAIR OF STERLING SILVER COLUMN CANDLESTICKS of classical form with gadrooned borders and stepped base. Weighted.

Hallmarks for Sheffield 1912. H220. $400 - $500

505 A PAIR OF STERLING SILVER OCTAGONAL FACET CANDLESTICKS with raised leaf decoration and weighted bases. Maker George Unite. Circa

1880. Note: hallmarks rubbed. H180. $200 - $300

506 A LARGE AND VERY IMPRESSIVE GEORGE II STERLING SILVER LIDDED HOT WATER/TEA URN

the oval body with twisted scroll handles, flame finial on lid, and gadrooned borders. The base of shaped square form, with rope edge and pierced gallery border, and supported on four ball and claw feet. Ivory tap. Winged griffin crest. Maker Fras Butty and Nicks Dumee, London 1768. Note: small faults. H530.


507 A HEAVY STERLING SILVER NAPKIN RING Sheffield 1908. Weight 98g. $100 - $200

508 A CASED STERLING SILVER CONDIMENT SET comprising two open salts, two mustard pots and two pepper shakers.

Original spoons and blue glass liners. Hallmarked Birmingham 1914. $150 - $200

509 A PAIR OF STERLING SILVER OVAL-SHAPED OPEN SALTS WITH ORIGINAL BLUE GLASS LINERS

Chester 1927. L80. $100 - $200

510 A GOOD ART NOUVEAU UNMARKED STUDIO SILVER OPEN SALT OR MUSTARD POT

with green glass liner and spoon. The two-handled pot sits on a tray with shaped edge and very stylish raised decoration of buds and tendrils. W150.

$80 - $120

511 A FINE VICTORIAN STERLING SILVER OVAL-SHAPED WHISKEY FLASK with all over engraved decoration of floral scrolls with leaf border. Lioness

crest. Screw top. Maker H & T, Birmingham 1870. L120. $100 - $150

512 A PLAIN SQUARE-SHAPED STERLING SILVER CIGARETTE CASE WITH WOODEN INTERIOR

London 1917. L90 W80. $150 - $200

513 A EUROPEAN 800 SILVER RECTANGULAR TABLE SNUFF BOX the lid with raised sculptoress and bust decoration, leaf borders and gilt

interior. L80 W55. $250 - $350

514 A GOOD VICTORIAN STERLING SILVER SNUFF BOX with engine turned and reeeded decoration. Scroll thumb piece. Gilt interior.

Maker T Ely, London 1838. L63 W40. $400 - $500

515 SMALL STERLING SILVER PATCH BOX with scroll engraved lid. Birmingham 1913. L48 W36.$200 - $300

516 A SMALL STERLING SILVER PATCH BOX with engraved figures in garden on lid. Birmingham 1905. L52 W32. $100 - $150

517 A CASED PAIR OF VICTORIAN HINGED BELT CLIPS $100 - $200

518 A CUT CRYSTAL SMELLING SALTS BOTTLE WITH STERLING SILVER AND ENAMEL SCREW TOP

London 1928. H80. $100 - $150

519 A FRENCH ART DECO CHEVAL MIRROR ON OVAL PLINTH circa 1920s. H1800 W1120 D380. $3,500 - $5,500

520 A LARGE SETH THOMAS STARBURST CLOCK W550. $400 - $600

521 A PAIR OF PIERO FORNASETTI OBELISK TABLE LAMPS H900 W130 D90. $2,000 - $3,000 See illustration page 119

522 AN ERCOL WINDSOR RANGE COFFEE TABLE IN ELM by Lucien Ercolani. H360 W1040 D450. $500 - $700

523 A STYLISH WHITE LOW TABLE IN LACQUERED PLYWOOD based on a design by Gerrit Rietveld. H470 Dia900. $2,000 - $4,000 See illustration page 119

524 A TONY LANE LARGE RUG FROM LOOM DESIGN in virgin wool. 30 KPSI. L3000 W2500. $2,000 - $4,000

525 A POUL KJÆRHOLM PK 24 CHAISE LOUNGE IN STAINLESS STEEL AND WICKER

with leather headrest. Fritz Hansen (A/S) label with text Design: Poul Kjærholm, Made in Denmark 1995. H900 W610 D1550.

$5,000 - $8,000

502 A CASED VICTORIAN FOUR PIECE TEA AND COFFEE SERVICE OF FLUTED TWIST DESIGN

with three pieces in sterling silver and the coffee pot in silver plate. Maker Joseph Rodgers, Sheffield 1896.

$1,200 - $1,600

501 A GEORGE III STERLING SILVER COFFEE POT OF OVAL CYLINDRICAL FORM

with silver infuser ring, ebony scroll handle, engraved crest and acorn finial. Maker John Edwards, London 1799. H220.


FURNITURE & RUGS

IN FOCUS 123

526 AN R BELLO DIAS FOR NUBE BLACK MEMO CHAISE LOUNGE IN LEATHER AND STEEL

H600 W800 D1580. $1,000 - $1,500 See illustration page 119

527 A NUBE ORANGE ZIGGY CHAISE IN ITALIAN WOOL AND STAINLESS STEEL

H800 W700 D1800. $1,000 - $1,500

528 A SINTESI LEO SOFA UPHOLSTERED IN GREY FELT H750 W1300 D700. $800 - $1,000 See illustration page 119

529 AN ART DECO PERIOD SOFA IN OCHRE LEATHER with ebonised feet, and squared arms and back. H900 W1980 D750. $2,500 - $3,500

530 FOUR PETER TRAAG FOR EDRA WHITE MUMMY CHAIRS in bent beech, polyurethane and elastic ribbon. H880 W440 D410. $200 - $300

531 A PAIR OF CHAIRS IN THE STYLE OF CHARLES AND RAY EAMES in bent, welded and chromed steel wire. The seat shells on Eiffel Tower bases. Note: small fault. H800 W480 D480.


532 A PHILIPPE STARCK FOR KARTELL PURPLE POLYCARBONATE MR IMPOSSIBLE CHAIR

H835 W545 D500. $150 - $250 See illustration page 118

533 A RON ARAD FOR KARTELL FPE CHAIR IN POLYPROPYLENE AND STEEL H800 W380 D550. $400 - $800 See illustration page 118

534 A BLACK ANACONDA BOOKSHELF IN POWDER-COATED STEEL H2400 W900 D280. $600 - $800

535 A MINOTTI ITALIA MOCO COLLECTION HENRI IV CORNER SHELF IN STAINLESS STEEL

H1100 W500 D380. $200 - $300

536 A FRENCH RUSTIC WINE BOTTLE STAND H1530 W730. $300 - $500

537 A GOOD VICTORIAN TILT-TOP TABLE IN WALNUT the shaped top with quartered veneers and inlays. The birdcage base with

turned and carved decoration. H720 W1350 D1020. $1,200 - $1,800

538 A VICTORIAN WALNUT-FRAMED PARLOUR SUITE comprising chaise lounge, gentleman’s chair and lady’s chair. Carving to the

backs and cabriole legs. Buttoned blue upholstery. Porcelain casters. $1,800 - $2,500

539 A MID 19TH CENTURY MIRROR BACK CREDENZA IN WALNUT with satinwood inlays and marble top.H1780 W1500 D430. $2,000 - $3,000

540 AN IMPRESSIVE 19TH CENTURY BOULLE CREDENZA with shaped top. The front with panelled door flanked by two glazed and

panelled doors. Plinth base. Cut brass and scarlet tortoiseshell inlaid foliate decoration. Gilt metal mounts. Note: some faults. H1080 W1730 D440.


541 A VICTORIAN MIRROR BACK CREDENZA IN WALNUT with white marble top. The shaped front with three mirrored doors. H1770

W1470 D470. $800 - $1,200

542 A LATE VICTORIAN DISPLAY CABINET IN SHERATON REVIVAL STYLE on cabriole legs. The glazed bowfront with two doors above an open shelf.

The whole decorated with inlays and stringing in mahogany. H1860 W1235 D370.

$1,000 - $1,500

543 AN ANTIQUE PINE CORNER CUPBOARD WITH GLAZED DOOR H1000 W690. $300 - $500

544 AN IMPRESSIVE LATE 19TH CENTURY NEW ZEALAND BOOKCASE with four panelled sliding doors below four glazed sliding doors. Stepped

pediment and dentil cornice. H2260 W2550 D500. $3,000 - $5,000 See illustration page 116

545 A 19TH CENTURY BUREAU BOOKCASE IN MAHOGANY on ogee bracket feet. The base with six drawers. The upper section with

swan-necked pediment and astral glazed doors. The fitted interior with pigeon holes, small drawers, and central cupboards and secret drawers. H2390 W1160 D560.


546 A GOOD MID VICTORIAN CHIFFONIER IN MAHOGANY the doors with carved details. Shaped apron drawer. Upstand back with

single shelf and carved cresting. H1400 W1220 D460. $800 - $1,200 See illustration page 118

547 A 19TH CENTURY CONTINENTAL DRESSING TABLE with octagonal mirror, white marble top, and turned and reeded stretcher

base. Flame veneer to the mirror support and single drawer. Note: small faults to marble. H1280 W800 D430.

$1,000 - $1,500

548 A VICTORIAN SCOTCH CHEST IN OAK with turned feet and shaped apron. The six drawers flanked by turned and

reeded half pilasters. H1290 W1270 D560. $1,200 - $1,800

549 AN OAK COFFER the hinged lid above three carved panels and two carved drawers. H830

W1330 D500. $1,000 - $1,500

124

551 AN IMPRESSIVE ORIENTAL SHRINE the upper section with painted and embroidered panels below a roof

structure. The base incorporating cupboards and pull-out slide, and with character decoration. Circa 1930. H2530 W1400 D840.


552 A JAPANESE MEIJI PERIOD SHIBAYAMA DISPLAY CABINET the central shelf with pierced central section. Five cupboards with sliding

and hinged doors. Two drawers to base. Foliate and bird decoration. Note: some losses. H1420 W840 D240.

$400 - $800

553 A KOREAN ALTAR TABLE OF SIMPLE DESIGN with original finish. H250 W510 D340. $150 - $250

554 A 20TH CENTURY ORIENTAL STEP CHEST the central section with a cupboard above four drawers. The two flanking

stepped sections each with a cupboard and two drawers. Iron fittings. H850 W910 D450.

$1,000 - $1,500

555 AN EARLY 19TH CENTURY MAHOGANY FOLD OVER CARD TABLE on replaced tapering legs with spade feet. H750 W900 D440. $700 - $1,000

556 AN EARLY 19TH CENTURY CAMPAIGN TABLE IN MAHOGANY with carved supports, and carved and turned stretcher rail. The base circa

1830. The hinged top restored. H800 W1250 D610. $1,000 - $1,500

557 A LATE VICTORIAN PINE SETTLE WITH HIGH PANELLED BACK AND TWO LIFT-UP SEATS

H1720 W1540 D470. $500 - $700

558 A 19TH CENTURY DINING TABLE IN MAHOGANY raised on turned and reeded legs with brass casters. Later modified with

an optional central leg and four leaves extending to 2520mm. H740 W1170 D1140.

$1,000 - $1,500

559 A VICTORIAN EXTENSION DINING TABLE IN WALNUT with turned and reeded legs. Original porcelain casters. H730 W2360

D1230. $1,500 - $2,500 See illustration page 116

560 A VICTORIAN LOO TABLE IN WALNUT oval-topped with quartered veneers. Turned and carved pedestal base.

Note: slight veneer damage. H730 W1430 D1120. $800 - $1,200

561 A SET OF EIGHT VICTORIAN DINING CHAIRS on turned and reeded legs and with overstuffed seats. The show-wood

backs with upholstered and buttoned panels. $800 - $1,000 See illustration page 116

562 A GOOD SET OF SIX VICTORIAN PERIOD BALLOONBACK CHAIRS IN WALNUT

with carved decoration and cabriole legs. Overstuffed seats. $600 - $1,000

563 A SET OF SIX VICTORIAN BALLOONBACK CHAIRS IN WALNUT with carved crested backrail and cabriole legs. $600 - $1,000

564 A VICTORIAN REVOLVING PIANO STOOL IN WALNUT WITH TURNED AND CARVED TRIPOD BASE

H470. $120 - $200

565 A 19TH CENTURY EUROPEAN MARQUETRY FRAME WITH BEVELLED MIRROR

Note: restoration. H710 W640. $500 - $800

566 A GOOD GEORGE III MAHOGANY-CASED BRACKET CLOCK with brass handle and edges, and on four brass feet. Silvered dial and finely

engraved back plate. The eight day double fusee movement strikes the hours with pull repeat. Original winding key. Signed J R Barbiers (Barber) Newark. H500.


567 AN AFGHAN HAND-KNOTTED THICK PILE CARPET IN BEIGE AND INDIGO

L2970 W2370. $1,200 - $1,500

568 A TURKISH HAND-KNOTTED RUG IN RED AND BLUE L2000 W990. $120 - $180

569 A TURKISH HAND-KNOTTED RUG WITH THREE CENTRAL MEDALLIONS ON A RED GROUND

L2070 W110. $200 - $300

570 A TURKISH HAND-KNOTTED RUG WITH CENTRAL MEDALLION ON BLUE AND FAWN GROUND

L2020 W1080. $100 - $200

571 A HAND-KNOTTED CARPET IN ROSE AND CREAM WITH BLUE HIGHLIGHTS

L2850 W2110. $1,000 - $1,200

572 A HAND-KNOTTED CARPET WITH BRIGHT MULTICOLOURED GEOMETRIC DESIGNS

L3200 W2580. $1,000 - $1,200 See illustration page 116

573 A HAND-KNOTTED RUNNER WITH CENTRAL FLORAL MOTIF ON A BLUE GROUND WITH RED BORDERS

L3470 W700. $250 - $350

574 A HAND-KNOTTED RUNNER WITH SEVEN MEDALLIONS ON A CREAM GROUND

L3900 W700. $250 - $350

550 A 19TH CENTURY FRENCH ARMOIRE IN OAK with two doors with nickel fittings, and two drawers with nickel handles to

the base. H2110 W1650 D640. $2,500 - $3,500

IN FOCUS 125

CONDITIONS OF SALE FOR BUYERS1. BIDDING. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted.2. RESERVES. All lots are sold subject to the right of the seller or her/his agent to impose a reserve.3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.4. BUYER’S PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% for the Important Works of Art and Fine Jewellery & Watches sales, and a buyer’s premium of 15% for the Antiques & Modern Design sale (unless otherwise stated), together with GST on such premiums.5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale.If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement.Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.9. LICENCES. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act.10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies:A. To issue proceeding against the purchaser for damages for breach of contract.B. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.

C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract.H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied.I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising.11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.12. ‘SUBJECT BIDS’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated.14. CONDITION OF ITEMS. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

126

A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGNPRICES REALISED SALE 312 (25 - 27 MAY 2010)

LOT $ LOT $ LOT $ LOT $ LOT $ LOT $

123456891013141516171819212223262728293233353839414244454649505155565758596063717273747576777879808182

919293979899100101106107108109110112113115118119120123124126127128129133134135136137140141142143144145146147148149150151152201202204205207208209211212216217218

219221224226227228229230231232233234236237239241242246247248249251252253254255257264282283286289291292A292B294296298300302306308310322326327400401402403404405406407408

409410411412413414415416419423424425426427428429430431432433434435436437438439440441442443444445446447449450451452453454457459460461462463464466467468469471472473474

475477478479480481483484485487488489490492493494495497501502506507508509510511513516517518519520521522523524525526527528529530531536538540542543544545547548549550555

556557558559560561562563564566567568569570571572574575576580586587588590592593594597598599610611612613614616617619620621622623624627628629630631632633634635636637638

600200014002000

650600

22502100

85011002800150016002600

900900850

1100640040001100680020001250220036001200

5002100120025004100460010003000300075002500240040003000

120003000

300350300

130015001250

85011001200

450500800

1000600

1300600

1800700500

2000900640

1600850

3000900

1600900700750

2200800700450400

3000600

200032006000

400400

3400600

35003000

500500800

300020002500

400500300325

60001300

4002500

35010009500

550430

16001500

850180040001800

250750

27501700700010001200

300950

4500600500500650600650

14502500560065001200350032502000600028001700

2400047500

18001800

2100016000

23001150120047001600460015001000500015001200

300200580600475180400

200700

7000240150

6080

200160590320320

701100

70120180

50310120120

50110420

80110100

9070

190230

90130120375

7080

210325250400

13002000

150200

70400180200

7020

180180500700

200380150160260

90150210200250375500190130110200230100280600100120

36005070

7505070

10080

120130120320140130170140100

80160160150

10001500

400100700130500340230200250

80

375100100100

90130175110460

9030

200250120100300

260015

325130

80859580

300100

130090

260150110200

80250475280300300

21005050

100600600

28005200130018001800

600600600600500600

IN FOCUS 127

LOT $ LOT $ LOT $ LOT $ LOT $LOT $

PRICES REALISED 312 (25 - 27 MAY 2010)A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGN

639640641642643644645646647648649650652653654655657658659660661662664666667668669670671672674

675676677679680681682686688689690691693695699700701702704705706711713714715717719721724729730

7347377381000100210031004100510061007100810091010101110131014101510161017101910201021102210231025102610271029103110321033

1036103810441048105210541060106110641067107010721073107510781079108010811083108410851086108810891090109110921094109610981099

1101110211031104110511061107110811091110111111131114111511161117111911201122112311241125112711291130113211341143114511471148

1149115011511152115511561157115811591160116111621163116411651166116711681169117011711172117411751176117711781179118011811182

800900900400700450450540300300600320200

802030

125500280

90120200350

175060

200625225200100400

7006250

80160400400500

2750700800

200025001600

5002300

300230012005200

140400550

7080

300410150

130017506100

550

575300

801240

708070

1800200625425100

20100500500750

9090

2604000

400200625300100

50300300375280

680900650400150250150225550200200150225375700600650150600150225100260380

1000400200140400150140

15010

750120

40150130

10175

10275130100600100140

7080

120305030

150180400150300250100275180

600340160

373050

100100

20425400300

30300382140

605040

150300

22.52040403070

640503020

BANK ACCOUNT DETAILS PAYMENT BY DEPOSITImportant: Fax this form to Webb’s: +64 9 524 7048 so payment can be confirmed and purchases released.

BUYER NAME BUYER NUMBER

SALE NUMBER Balance owing for purchase/s: NZ*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items efficiently.

BANK ACCOUNT DETAILSBank: WESTPAC 79 Queen Street, Auckland Name: PETER WEBB GALLERIES LTDAccount Number: 03-0104-0448184-03 For international deposits Swift Code: WPACNZ2W

Amount transferred (including freight if applicable): NZ

DATE TRANSFERRED SIGNED

CONFIDENTIALITY The information contained in this facsimile is legally privileged and/or confidential. If you are not the addressee listed below you are notified that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.

128

OCEANIC AND AFRICAN ARTSPRICES REALISED SALE 313 (17 JUN 2010)

LOT $ LOT $ LOT $ LOT $ LOT $ LOT $

134567891213141516171819202122232425262729313335363738394244464748495253575859606162636567686973747576

7779808283848586899091949699100101102103104105106107108112113114115117118119120121123124125126128132133134135136137138139141142145146147148154155156157

158160163164169170172177178183184185186188196197198202203204206207209212215216219220223224225226227228229230231232233234236237238239240241242243244245246247248249250

252254255256257258259260261262263264265266267268269270271272273274275276277278279280281282284288289296297299300305307308309310311312313314315316317318319320321322323

324325326327328330331332333334335336337338339340341342343344344A345347348349350351352353355358359360361363366368369370372373374375376377378379383385387388389390391393

394396397398400402404405408410411412413414417418422424425426427428429430432434435436437439443444446447452454457

3,5001,8002,600

8001,0001,300

750950600800650250900225400400300350350500250250400700300350375200200600200700225100700400600200700400

1,300700700650700900700700700700500700700700500

400400280950850850450450800400800

10,5002,700

14,00020,00028,00014,500

1,000300

9,0002,500

6502,300

300250650525425

2,650500600350500100250525400400100100500500

5,5007,0002,700

900600

3,800600

1,0003,400

50700180200

150100

1,700100150

501,500

500500

2,3001,9001,1001,500

4251,2002,000

4006,2001,250

100450300275500

5,0003,3003,900

2002,5001,050

500650700

7,5005,200

21,5001,8002,000

6002,1004,2003,500

600900600500550300600250700200500200250

300225325250400250200275350550200350

80250

2,100400850700

2,000550375350300350300300

2,4001,200

350500600

10,0002,2501,9008,2004,0006,5002,5001,0001,100

300450

1,7002,2001,9004,1002,2004,2006,0002,2505,500

800800150200

250100250200250

1,0501,0001,4002,1002,1003,200

200200250

7,0009,500

40,0007,300

25,00010,00030,000

5,0002,000

10,0003,600

10,5007,000

11,1002,350

10,0005,5007,0008,0004,0004,5001,0002,500

6002,800

2505,0001,9002,0003,3501,7001,8002,600

250900

2,5004,2501,600

4001,2001,200

3001,1002,3001,900

8006,5001,4006,000

100200400550100800200250

10,0004,200

11,0001,0002,0003,0007,5002,5004,0001,500

250300200

1,000300350500

2,500400300200

IN FOCUS 129

MR MRS MISS MS (PLEASE CIRCLE)

FIRST NAME SURNAME/COMPANY

HOME PHONE BUSINESS PHONE

MOBILE FACSIMILIE

POSTAL ADDRESS

CONTACT NAME

EMAIL ADDRESS

BIDDING SLIP

Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Works of Art and Fine Jewellery & Watches sales, a buyer’s premium of twelve and a half percent (12.5%) will be added to the hammer price and that GST is charged on the premium. I understand that in the case of a successful bid on items in the Antiques & Modern Design sale a buyer’s premium of fifteen percent (15%) will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

* Webb’s will do its utmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it from doing so.

ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.

SIGNED DATE

FOR ABSENTEE BIDDERS ON LOTS IN SALE 315

18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New ZealandPh: 09 524 6804 / Fax: 09 524 7048 | [email protected] / www.webbs.co.nz

LOT NO. CATALOGUE DESCRIPTION BID*

130

INDEX OF ARTISTS

Bambury, Stephen 25Binney, Don 18, 26, 52 Cotton, Shane 24 Dashper, Julian 9Dawson, Neil 50, 62Dibble, Paul 3, 61Drummond, Andrew 64 Ellis, Robert 15, 56 Friedlander, Marti 37Frizzell, Dick 47 Gopas, Rudi 69Gossage, Star 45 Hammond, Bill 31, 34, 38, 57Hanly, Pat 40, 41, 42, 43, 54, 60Harris, Jeffrey 20Harrison, Michael 68Hartigan, Paul 46, 74Hodgkins, Frances 70Holmwood, John 14Hotere, Ralph 19, 39, 51, 67 Illingworth, Michael 23 Kame Kngwarreye, Emily 81Kemarre, Josie Petrick 86Kemarre, Abie Loy 83, 85Killeen, Richard 1, 13, 21, 30, 73

King, Virginia 28Kreisler, Tom 48

Lacroix, Tristan L. Jules 78Lusk, Doris 32 Maddox, Allen 6Maughan, Karl 71McCahon, Colin 4, 58Morison, Julia 59 Napangardi, Dorothy 79Napangardi, Lily Kelly 80, 84 Page, Evelyn 33Parekowhai, Michael 11, 17Peryer, Peter 66Petyarre, Kathleen 82 Robinson, Ann 7, 27 Scott, Ian 55Smither, Michael 8, 16, 36Stringer, Terry 65Sutton, William 77Sydney, Grahame 35, 44 Tapper, Garth 2, 75Thornley, Geoff 22, 29, 49, 76Twiss, Greer 5, 63 Walsh, John 53, 72Walters, Gordon 10, 12

Webb's August catalogue

Documents

Transcript of Webb's August catalogue