important paintings and contemporary art, modern design and antiques

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New Zealand’sPremier Auction House18 Manukau RoadPO Box 99 251Newmarket, Auckland 1149New ZealandP +649 524 6804F +649 524 7048 [email protected]


Important Paintings & Contemporary Art

Interiors:Modern Design

Antiques & Decorative Arts

27-29 March 2012


Important Paintings & Contemporary Art 16Tuesday 27 March – 6:30pm

Interiors

Modern Design 88Thursday 29 March – 6:00pm

Antiques & Decorative Arts 106Thursday 29 March – 7:00pm

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

on all items in the Important Paintings Contemporary Art sale, and a buyer’s

premium of 15% will be charged on all items in the Antiques & Modern Design sales.

GST (15%) is payable on the buyer’s premium.

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VIEWING FROM THURS 22 MARCH 9:00AM

EVENING PREVIEWThursday 22 March 5:30pm – 7:30pm

Please join us to view the suite of sales and enjoy a

glass of Peregrine wine.

COVER: LOT 25 RICHARD KILLEEN City Living (detail)$25,000 - $35,000

LEFT: LOT 9 LAURENCE ABERHART Angel Over Whangapa Harbour, Northland, 6 May 1982

$4,000 - $6,000

INSIDE BACK COVER: LOT 23 ANDREW MCLEOD Untitled (Camowhaiwhai) (detail)$9,000 - $12,000

BACK COVER: LOT 59 RONNIE VAN HOUTMephitis (detail)$10,000 - $15,000

Introduction

Webb’s March suite of sales promises to appeal with significant offerings presented in all key areas of collecting. March is traditionally an important month of sales and Webb’s is pleased to be offering Important Paintings and Contemporary Art, Modern Design, Tribal and Oceanic Arts, Fine and Rare Wine, and Antiques between 26 and 29 March. Following these sales, the month will conclude with a sale of Classic and Vintage Motorcycles and Cars to be held on 31 March.

Included in the first sale of Important Paintings and Contemporary Art for 2012 will be a landmark offering of three major works by the New Zealand modernist Philip Clairmont. This presentation will comprise Innocence Threatened, a large-scale diptych on jute canvas painted in 1970, an interior still life on jute dated 1981 and a self-portrait entitled Homage to Vincent painted on found board. In addition to this, Webb’s is pleased to be presenting an early female portrait by Charles F Goldie, the sitter characterised by an elated expression. These modern and historical works will be accompanied by a comprehensive survey of contemporary practice which includes works by Bill Hammond, Shane Cotton, Peter Robinson, Michael Parekowhai, Peter Stichbury, Fiona Pardington, Andrew McLeod, Hye Rim

Lee, Ben Cauchi and Reuben Paterson.This year will see the debut of Webb’s

partnership with Mr. Bigglesworthy to present stand-alone sales of interior design. With a particular focus on the post-World War II era through to the 1970s, this well-referenced offering of mid-century design will comprise a predominantly international selection. Key pieces from this sale include a Grant Featherston R160 Rocking Chair, 1956, a Douglas Snelling Armchair and Footstool, 1949, and an Archie Shine ‘Hamilton’ sideboard designed by Robert Heritage, 1957.

The first sale of Oceanic and African Art for 2012 will once again be presented in a stand-alone catalogue and will see several significant collections offered to the market. A key consignment to this sale is a rare pou tokomanawa attributed to Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai. Alongside this piece, the sale will include two important cloaks, an historically important tekoteko, a lifetime collection of Oceanic fish-hooks, a quality selection of Melanesian and Polynesian tribal artworks and two international collections of African art.

Webb’s sale of Fine and Rare Wine will present a selection of well-cellared premium wines, whisky and champagne: offering the finest-quality auction sales available to the market.

An auction of Decorative Arts and Antiques comprises a range of rare collector pieces and opulent interior furnishing. A butler’s tray weighing over 5kg is the highlight of a fine selection of sterling silver. The sale also includes five pieces by Austrian-born British studio potter, Lucie Rie. These small pieces include bowls, a cup and saucer, and plates and demonstrate Rie’s Scandinavian modernist aesthetic with its elegant flowing forms with sgraffito decoration and textured glazes.

Featuring a number of forgotten motorcycle collections and superb vintage automobiles, Webb’s March Classic and Vintage Motorcycle and Car auction is sure to attract the true enthusiast. Two significant barn-find collections of motorcycles will give the market the opportunity to acquire rare and valuable project machines.

We look forward to seeing you as you come to view these sales during the weeks ahead.

Highlights

A. An emerald-cut diamond of 5.07 ct Realised $165,800

B. Fiona Pardington Wiriwiri, Tremble .Realised $8,400

C. Paul Dibble Geometric Figure 1. Realised $10,500

D. Rueben Paterson Black and White T.V. Realised $4,000

E. Grahame Sydney On the Sea Ice. Realised $4,700

F. Dick Frizzell Silver Surfer. Realised $2,200

The market for Chinese ceramics and antiques continues to boom, with prices for rare and unusual items fetching well above their estimates. This trend is seen at auctions globally, as all things in classic Chinese taste are in huge demand and Chinese buyers look to source and repatriate items dispersed to the West during the Cultural Revolution. In London, imperial ceramics of Emperor Daoguang’s reigning period (1820 – 1850) are priced at roughly ten times the amounts for which they were selling around 2002.The response, last month, to what is believed to be a Jiajing Period

(1522 – 1566) underglaze blue-and-white banquet bowl is confirmation that local collectors are also on the lookout for special Chinese pieces. After keen and protracted bidding, the bowl was eventually purchased by a collector for the sum of $29,000. Acquired by the vendor’s father who had lived in China during the 1950s, the bowl had been in the same family for over 50 years.With a diameter of 480mm, the scale of this piece makes it a large and rare domestic example. Whilst it is wonderful to see a piece of this scale intact, it carries a significant flaw where the base was cracked during firing.

A Chinese banquet bowl achieves $29,000


Last month, Webb’s A2 fine art sale demonstrated firm demand in the middle range of the market with new collectors participating enthusiastically. Whilst collectors continue to seek out the very best on offer at the top end, over the last 12 months the A2 sales have also performed well with strong demand for the quality of works presented. Webb’s February A2 sale saw a large turnout of buyers set to compete and this resulted in a sale total of over $340,000. This total rests at twice that of the sale at the same time last year and signals a demand for works in the $5,000 to $20,000 range. Entries are now invited for the next auction in this category to be held on 29 May.

On the following day, an emerald-cut diamond of 5.07 ct and rare white (G), clarity VS2, received keen competition from several bidders who were impressed with the quality of this superb stone. It achieved $165,800, demonstrating that discerning collectors continue to engage with the very best on offer. Entries are now invited for the next sale of jewellery to be held on 2 May.

February Highlights

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Valuation ServicesSPECIALIST VALUERS OF FINE ART AND ANTIQUES, WEBB’S PROVIDE VALUATIONS TO PUBLIC INSTITUTIONS, CORPORATE AND PRIVATE COLLECTIONS INCLUDING:

CONTACT: Brian Wood | [email protected] | +64 9 529 5609 | +64 21 486 948

TE PAPA TONGAREWA, MUSEUM OF NEW ZEALAND; THE TAONGA MAORI, PACIFIC, HISTORY, ETHNOGRAPHIC COLLECTIONS, HISTORICAL AND CONTEMPORARY PHOTOGRAPHY COLLECTIONS, THE TE AKA MATUA RESEARCH LIBRARY · AUCKLAND ART GALLERY AUCKLAND CITY LIBRARY · TE AWAMUTU MUSEUM · THE POMPALLIER DIOCESAN CENTRE NORTH SHORE CITY COUNCIL · HOCKEN LIBRARY COLLECTIONS · SARJEANT GALLERY WHANGANUI ROTORUA DISTRICT COUNCIL · ROTORUA CHARITABLE ENERGY TRUST · DUNEDIN PUBLIC ART GALLERY · THE UNIVERSITY OF AUCKLAND ·· WELLINGTON CITY COUNCIL AUCKLAND WAR MEMORIAL MUSEUM · LAKE TAUPO MUSEUM AND ART GALLERY · ELMS MISSION STATION AUCKLAND CITY COUNCIL · THE MACKELVIE COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · UNIVERSITY OF OTAGO · HUKA LODGE · MANUKAU INSTITUTE OF TECHNOLOGY · SOUTH WAIKATO DISTRICT COUNCIL · NORTHLAND REGIONAL COUNCIL BURIED VILLAGE ROTORUA · THE SIR EDMUND HILLARY COLLECTION AT AUCKLAND WAR MEMORIAL MUSEUM · ARCHIVES NEW ZEALAND · HISTORIC PLACES TRUST · MUSEUM OF TRANSPORT AND TECHNOLOGY · WEST COAST DISTRICT MUSEUM RUSSELL MUSEUM · WHANGAREI ART MUSEUM DILWORTH TRUST · NEW ZEALAND PORTRAIT GALLERY


When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste

of Central Otago, you also directly contribute towards the survival and recovery of

our New Zealand’s endemic Falcons and Saddlebacks.

Peregrine is a major sponsor of both the New Zealand Wingspan Trust and

the Fiordland Conservation Trust, who are fully committed to the protection

and survival of these rare and unique birds. We think this is something worth

savouring. To order our wines and to find out more information on these projects

– visit our website or call into our cellar door.

www.peregrinewines.co.nzPeregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown

Ron EnglishExhibition 10 - 24 May

was featured prominently in the documentary Super Size Me and on album covers such as The Dandy Warhols’ Welcome to the Monkey House and Chris Brown’s F.A.M.E., and in the permanent collections of Whitney Museum, New York, Everhart Museum, Pennsylvania, Mauermuseum, Berlin and Museum of Contemporary Art, Paris.

Webb’s is pleased to announce Australasia’s first exhibition by Ron English. Widely considered to be one of the forefathers of modern street art, English first rose to prominence with his ‘liberated’ billboards of the 1980s where commercial billboards were illegally altered so that they broadcast political messages. Notably, English’s unique imagery

Fine & Rare WineMonday 26 March

BethunesRare BooksWednesday 21 March

Webb's is delighted to be involved in History Under The Hammer, a series currently screening on PRIME TV, Sundays at 7.00pm. In this series, the history of New Zealand is illuminated through the story of objects and art works as they are followed through their sale at auction. Thanks to Greenstone Pictures, PRIME TV and NZ On Air.

Bethunes at Webb’s is proud to be offering the C L Thomas Collection of rare books and related materials. In addition to a profusion of New Zealand classics, the C L Thomas Collection features an important group of items relating to notable pioneer William Colenso, including books and pamphlets, manuscript diaries and papers, a collecting tin and a handsome botanical microscope.

The sale will feature a superb selection of rare New Zealand wines alongside Bordeaux, vintage Champagne, and other excellent wines, ports and spirits.

Two Sessions: New Zealand & Australian Wines - 4.30pm Old World Wines - 6.30pm

History Under The HammerPrime TV 7.00pm Sundays

TONY FOMISON

"Aramoana" (The Threat of Otakau Peninsula)

Achieved $45,000 and featured in this series


Classic Motorcycles & Cars Of The Day

SATURDAY 31 MARCH

Contact Neil Campbell [email protected]

021 875 966 | 09 529 5607

Featuring a number of forgotten motorcycle collections, Webb’s March event is sure to attract the true enthusiast. Two significant barn find collections will give the market the

opportunity to acquire rare and valuable project machines. Also included is a range of rare English and American motor vehicles.

BethunesRare BooksWednesday 21 March

Oceanic & African ArtsWEDNESDAY 28 MARCHCATALOGUE NOW ONLINE

Contact Jeff [email protected]+64 21 503 251

Webb’s March Oceanic and African Art auction will present taonga Māori, Pacific artefacts and artworks from Oceanic cultures alongside a superb selection of African art and artefacts. Included are several significant international collections of toanga Maori recently repatriated to Aotearoa. Webb’s is particularly pleased to present to New Zealand collectors and institutions an opportunity to acquire the most historically important pou tokomanawa (carved centre post) to have been presented publicly in recent memory. Attributed to master carver Anaha Te Rahui (1822 – 1913) of Ngāti Tarawhai, this male form stands at an impressive 1,210mm high.

A further key consignment to this sale is an extensive collection of Māori and Oceanic fish-hooks, including early examples from the Kenneth Athol Webster Collection. Kenneth Webster (1906 – 1967) was an early collector and dealer of manuscripts, fine art and ethnographic artefacts associated with Oceanic peoples.

In addition, the auction includes important feather cloaks including a fine kahu huruhuru. Introduced in the second half of the 19th century, the kahu huruhuru employed geometric motifs and celebrated the prestigious nature of the Polynesian cloak with the use of the feathers of high-status bird species such as the kererā, kakariki, kākā and tui.

Two international collections of African art comprising fine selections of ceremonial masks together with a quality offering of Melanesian and Polynesian tribal artworks present an excellent opportunity for collectors to acquire in these specialist art fields.

Important Poutokomanawa carved by Anaha Te Rahui (1822-1913) $50,000 – $70,000


TUES 27 MARCH 6:30PM

VIEWING

Thursday 22nd March 9.00am – 5.30pm

Friday 23rd March 9.00am – 5.30pm

Saturday 24th March 11.00am – 3.00pm

Sunday 25th March 11.00am – 3.00pm

Monday 26th March 9.00am – 5.30pm

LIMITED VIEWING ON SALE DAY

BUYER’S PREMIUM

A buyer’s premium of 12.5% will be charged on all

items in the Important Paintings and Contemporary Art

section of this sale. GST (15%) is payable on the buyer’s

premium only.

IMPORTANT PAINTINGS &

CONTEMPORARY ART

EVENING VIEWING

22nd March 5.30 – 7.00pm

22

RICHARD KILLEEN

People Passing

$20,000 - $30,000

1Bill HammondUntitledpencil on paper signed W. Hammond, dated 9/78 and inscribed plucked from skip in pencil lower right 315mm x 218mm $2,000 - $3,000

2Peter SticHBuryGlisterglicee print on Ilford Gallerie gold silk archival paper signed P. Stichbury, dated ‘08 and inscribed 63/100 in pencil lower edge265mm x 225mm

$2,000 - $3,000

3SHane cottonTuacrylic on canvas signed S. Cotton, dated 2000 and inscribed TU in brushpoint lower right; signed S. W. Cotton, dated 2000 and inscribed TU in marker pen lower edge verso 200mm x 200mm

$4,000 - $8,000

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4ricHard KilleenLanguage is Not Neutralacrylic on paper signed Killeen, dated 7.84 and inscribed Language is not neutral in brushpoint lower right 760mm x 570mm $6,000 - $7,000

5Julian daSHPerMatauri 2acrylic on paper 745mm x 555mm

$4,000 - $6,000

6ricHard KilleenUntitledgouache on paper, 1969 signed Killeen and dated 6/2/69 in pencil lower right 200mm x 400mm

$3,000 - $4,000

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7Ben caucHiEctoplasmunique ambrotype signed Ben Cauchi, dated 2004 and inscribed “Ectoplasm” ambrotype in pencil verso 230mm x 185mm

$3,000 - $4,000

8rueBen PaterSonCrackglitter on canvas signed Rueben Paterson, dated 2007 and inscribed Crack and Beecroft Auction in pastel verso 760mm x 760mm

PROVENANCE Purchased by the current owner from the Beecroft Charity Auction, 2007.

$6,000 - $8,000

11ronnie Van HoutUndeadpegasus print 290mm x 385mm

$1,800 - $2,600

9laurence aBerHartAngel Over Whangapa Harbour, Northland, 6 May 1982gelatin silver print inscribed Angel over Whangape Harbour, Northland and dated 5 May 1982 in pencil lower left; signed L. Aberhart and dated 1982 1983 in pencil lower right175mm x 242mm

ILLUSTRATED Aberhart, Victoria University Press, 2007, pl.31.

$4,000 - $6,000

10laurence aBerHartWatertank, Orepuki, Southland, May 1981gelatin silver print signed L. Aberhart and dated 1981 in pencil lower right 215mm x 275mm

ILLUSTRATED Aberhart, Victoria University Press, 2007, pl.31.

$2,500 - $3,500

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13Fiona PardingtonHuia Loversgelatin silver print, within the edition of 5

signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso 410mm x 530mm

$7,000 - $10,000

14micHael PareKowHaiBosom of Abrahamscreenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm

$7,000 - $9,000

15micHael PareKowHaiBosom of Abrahamscreenprinted vinyl on fluorescent light fitting 1300mm x 220mm x 45mm

$7,000 - $9,000

12Fiona PardingtonHuia Love Trianglegelatin silver print, within the edition of 5

signed Fiona Pardington, dated 2006 and inscribed from an edition of 5 in pencil verso

410mm x 530mm

$7,000 - $10,000

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16ann roBinSonSpiral Vase ( Four Sections)45% lead crystal 1/1 signed Robinson, dated 2001 and inscribed 1/1 and NZ on underside620mm x 145mm

REFERENCE Accompanied by the original purchase receipt from F.H.E Gallery, 2001. Accompanied by a certificate of authenticity from the artist, dating the work 16.02.2001; colours used as pink, purple and clear; reissued 7.3.2012.

$20,000 - $25,000


17Jim SPeerSDavid Hamiltonvinyl, acrylic and fluorescent light 1998 960mm x 865mm x 240mm

EXHIBITED for a cleaner world, Jensen Gallery, Auckland, 1998.

$7,000 - $9,000

David Hamilton is part of an ongoing series of works that examine the formal potential of materials – fluorescent light and plastic – whose primary applications are utilitarian in nature. Speers’ approach does not revolve around simply making mundane materials attractive. Rather, he amplifies the specific qualities of these materials that make them garish. The plasticity of the Perspex allows it to be folded to form hard lines and its latent transparency, as well as that of the adhesive vinyl, is layered to create a deliberate muddying of colours. The fluorescent light fixtures too, which spill sideways to form rectangular bars of light rather than circular halos, are strategically placed at angles to leave projected markings that resemble a photographed motion blur

The title of the work, David Hamilton, references the photographer who, in the 1990s, achieved both acclaim and revile for his photographs depicting children. Heavily romanticised in their staging and colouration in these works, the subjects were described in settings and poses that could be construed as intimate or sexualised. Speers’ work was originally included in a solo exhibition entitled for a cleaner world, referencing both the plastics from which David Hamilton is constituted – plastic is a material that, once formed, can never be broken down – and the moral dogma that has surrounded David Hamilton’s photographs. If anything is suggested by the glowing harmonics of David Hamilton, it is that, even though the mechanics of the world can sometimes be cruel and destructive, they can, at times, also carry a perverse and unexplained beauty. CHARLES NINOW


18PHiliP clairmontIn Homage to Vincent (Self Portrait)oil on board inscribed In Homage to Vincent in brushpoint lower left 740mm x 520mm

PROVENANCE Gifted from the artist and passed by descent to the current owners.

$18,000 - $25,000

19allen maddoxThe Problem with Darth Vadar, Lozenge 9oil on canvas signed am, dated ‘97 and inscribed The Problem with Darth Vadar. Lozenge 9 in brushpoint verso 910mm x 910mm

$12,000 - $18,000

20Hye rim leeCandylandC-type print, custom made frame with two pot automative paint finish 700mm x 700mm

EXHIBITED Starkwhite, Auckland, Candyland, 5 December 2006 - 12 January 2007.

$8,000 - $10,000

21andrew mcleodHouse and Studiopigmented archival inkjet print, 1/2 signed Andrew in pencil lower right and inscribed 1/2 in pencil lower left1320mm x 1000mm

$9,000 - $12,000

22ricHard KilleenPeople Passingoil on hardboard signed with initials RK and dated 9/69 in brushpoint lower left; inscribed with catalogue number 505 verso in black pen and artist’s exhibition label affixed verso 670mm x 670mm

EXHIBITEDPeter McLeavey Gallery, Dead Man, Dead Woman, 29 March - 23 April 1994.

$20,000 - $30,000

Despite Killeen’s palette, which is stylistically aware and finely nuanced in its selection, and also the elegant and informal manner in which he has depicted human form, People Passing is, in actuality, the artist at his most austere. What appears on the surface to be a simple musing on the idiosyncrasies of suburban life is, in reality, a reflection on the propensity of modernity – or, more specifically, the concepts of profit, wealth and private property – to estrange humanity from the natural world. Killeen’s intent is not to condemn these taxonomic structures but rather to shed light on the manner in which they have influenced the formation of New Zealand’s national identity. In his monograph on the artist, Francis Pound suggested that, historically, if there were a nationalist ethos that pervaded New Zealand’s cultural production then it was simply because commoditisation of the landscape was practised en masse. From Sharpe’s rolling vistas where humans are seen wading gently in the shallows of a vast natural resource, to Angus’ rippling hills, warmed and distorted by memory, to Binney’s crystalline horizons, the landscape has developed a spiritual mien in New Zealand’s art: a presence from which all else grows. Pound stated categorically that, in his view, “the Nationalist artist was an urban person who painted the rural for other urban persons”.1

As such, built from flat, horizontal bands of colour that describe a sterile, chlorinated interior, People Passing intentionally positions itself as a stark contrast to this canon. With their bouffant hairstyles and their A-line, sleeveless shift dresses which consist of only minimal, essentialist tailoring, the women in this scene appear as both idyllic forms and as robotic and unfeeling. And, on the left, unfolding toward the viewer, the men appear almost peacock-like. Wearing their textiles of exotic hue, they sparkle as

vestiges of a time gone by. They are proud beacons of humankind’s mastery over the natural world. So then, if the jagged profile of the Te Henga coastline presents some form of universal truth, then surely this scene must represent its antithesis? Spotless in its execution but also with fine details smoothed away to give the forms depicted here a sense of plasticity; this scene is surely a falsehood or fabrication.

The truth is, however, that having been painted in 1969, People Passing is remarkably of its time. The space-age ‘look’ of the attire and even the colour scheme of the interior are adroitly ‘on trend’. And thus, what Killeen has done here is effectively a reversal of the nationalist model whereby, instead of allowing for escapism, he has presented the viewer with a mirror of their present-day suburban reality. By doing so, he is seeking to draw attention to the fact that the majority of New Zealanders no longer live in rural settings and that, consequently, the nation’s self-image is out of step with reality. The nation’s disposition is described skilfully by the man positioned front row and almost centre who, despite his dapper costuming, has a remarkably human face. Standing still and sombre in a field of movement, he has the air of a stranger who has suddenly looked around to find himself in unfamiliar territory. Faced with making a decision about which direction to take, he must either walk in the direction in which all of the other people are going, or else he must walk backwards in an effort to find what he thought were his roots. CHARLES NINOW

1Pound, Francis, Stories we tell ourselves: The

Paintings of Richard Killeen, David Bateman and

Auckland Art Gallery, Toi O Tamaki: Auckland,

1999. p. 18.


23andrew mcleodUntitled (Camowhaiwhai)acrylic, pencil and letraset on paper signed A. McLeod and dated ‘99 in pencil lower left 1200mm x 900mm

$9,000 - $12,000

24Bill HammondBoulder Bay Birdsacrylic on canvas signed W.D. Hammond, dated 2002 and inscribed Boulder Bay Birds in brushpoint lower right 400mm x 600mm

$45,000 - $65,000

25ricHard KilleenCity Livingpigment ink, turps based acrylic resin varnish on canvas signed Killeen and inscribed City Living in brushpoint lower right; inscribed Richard Killeen, Cat no. B734, City Living, 2004, Pigment Ink, turps based acrylic resin varnish on canvas on original artist’s label attached verso 1520mm x 1015mm

EXHIBITED Ivan Anthony Gallery, 2004.

$25,000 - $35,000

Killeen’s large-scale canvas, City Living, 2004, is a dizzying and humorous representation of past and present icons, which parodies modern culture: frozen in time and preserved for antiquity within the frame of a glass jar.

Marking a shift from Killeen’s hallmark assemblages, City Living recalls his earlier realist period of the ’60s and ’70s, using skills mastered during his formative years working with his father as a signwriter. The painting features stylistically polished and rendered surfaces, which omit any trace of the artist’s hand in testament to his early recordings “[my] identity must not be the cause and must not be present”.1 Each element within the painting is formally constructed and sharply outlined with a precision acquired through a process of collating computer-generated images, which are stored, coloured and rearranged.

Rejecting conventional notions of self-portraiture or autobiographical references, the painting’s subject matter speaks of a common culture living in transnational suburbia. Yet drawing from the artist’s oeuvre of repeated signs and symbols, we see glimpses which reveal intimate traces of the artist’s own history, identity and fascination with travel and archival artefacts.

Symbols of ethnology, anthropology, technology, paleontology, zoology, botany and prehistory are swept up in chaotic array across the canvas, interrupting the seemingly sublime order of the nostalgic domestic surrounds. Amidst the array, a man sips his wine as he watches TV. Behind loom city walls, factories, aircrafts and skyscrapers, painted against a brightly patterned background, which impede the tranquility of the suburban setting. Men’s faces peer over and through the city walls. In the foreground a woman is depicted with floral motifs on her back, as if to raise questions of gender and domesticity.

Other recurring emblems from Killeen’s vast iconography, such as Pacific and Celtic motifs, Roman busts, tools, native birds, insects and plant life contain their own references, as well as being touchstones of the artist’s inner being. The frog on a man’s forehead, which has featured consistently throughout his work, first emerging in his painting Frog Shooter (1976), may be in homage to his late grandfather, who used the term to refer to a ‘dodgy-looking’ character.2

Yet, by condensing the images within a glass jar, like insects in a bottle or museum display case, Killeen intercepts such notions with a sense of wit and irony, casting a sense of trivia to everyday consumption and modern ritual. Like his cut-out works, which follow in the Byzantine tradition of landscape painting, depicting isolated shapes against a blank background, Killeen’s use of the glass jar as a framing device, forces the assortment of contents into a cut-out frame against the white canvas. The painting illustrates an extension of the artist’s exploration into the disruption of hierarchies of order and display, whilst also raising questions about institutional methods of textualisation and the presentation of culturally specific artefacts. In this way, the jar becomes a museum-like metaphor showcasing this modern medley of city life. EMILY GARDENER

1Richard Killeen, The Green Notebook, 1969, p.44 2Richard Killeen and Francis Pound, Stories We

Tell Ourselves: The Paintings of Richard Killeen

[published on the occasion of the Exhibition Stories

We Tell Ourselves: The Paintings of Richard Killeen,

Auckland Art Gallery Toi o Tamaki (9 September –

5 December 1999)], Auckland, New Zealand, David

Bateman, 1999, p.38

26micHael SmitHerMoonlight Wave About To Invade Rock Pooloil on board signed M.D. Smither and dated ‘69 in brushpoint lower left; signed M. D. Smither, inscribed moonlight wave about to invade rock pool and $250 in marker pen verso 1200mm x 900mm

$70,000 - $90,000

Painted at the end of the 1960s, Michael Smither’s Moonlight wave about to invade rock pool comes from one of the artist’s most iconic series of work. Throughout the 1960s and 1970s, these works cemented Smither’s artistic reputation and he came to be known primarily as a painter of pools and rocks. The rock pool paintings all feature a simplified composition consisting only of patches of water, clusters of smooth, rounded rocks in various configurations and occasionally, an indication of sea life. It is probable that like the majority of Smither’s rock pool paintings, Moonlight wave about to invade rock pool, is based on an amalgamation of several different views, experiences and drawings that the artist completed in Taranaki from 1965 onwards.

By dispensing with extraneous details and focusing on a relatively simple composition, Smither draws attention to the painterly treatment of forms. Characteristic of Smither’s early work is the use of an extreme close-up view that allows for the viewer to be looking down on the scene and up at the breaking wave simultaneously. The gathering of rocks that frame the bottom edge of Moonlight wave about to invade rock pool, provide a solid compositional base, anchoring the painting against the crashing movement of the sea. Adding to the solidity of the foreground is the smooth, settled brushwork, which etches out uniformly polished rocks and a glassy pool of water, which gives way to a flurry of visible strokes that mark out the impending wave. This variance in technique works to underline the contrast between the

concrete permanence of the rocks and the perpetual motion of the sea. The painterly treatment of the wave imbues it with immediacy that speaks of the raw energy and power of the ocean in its ability to disrupt, change and overwhelm all that lies in its path. In doing so, Smither inserts an air of fragility into the work, as the glassy calm of the water in the foreground is poised on the brink of disappearance.

In addition to the formal strength of Moonlight wave about to invade rock pool and Smither’s reductive approach, the piece is also highly symbolic. While water is traditionally associated with the Virgin Mary, with purity and cleansing while rocks are often used as a metaphor for the steadfastness of Christ. In the present painting then, rather than being overwhelmed by water, the rocks can be seen to be renewed and purified by its continual ebb and flow. Sitting motionless in the water, the rocks are attended to by their own seamless shadows that are akin to inverted haloes.

The nuanced array of blue tonalities used in Moonlight wave about to invade rock pool, adds to the overall tranquility of the painting as shades of sapphire, indigo and navy make an appearance alongside darker shadowed areas, the bubbling white foam of the rushing wave and the ribbon of grey of ocean in the distance. The bold reductive approach seen in Moonlight wave about to invade rock pool, speaks of Smither’s confident familiarity with the Taranaki coastline, which allowed him to craft convincing scenes from a scattering of formalist elements.JEMMA FIELD

27allen maddoxSelf Portraitoil and metallic pigments on canvas signed am, dated 1995 and inscribed Self Portrait in brushpoint verso1205mm x 1205mm

$25,000 - $35,000

28gretcHen alBrecHtMeditation (with Blue Bar)acrylic on canvas signed Albrecht, dated ‘96 and inscribed Meditation (with blue bar) in brushpoint on stretcher verso 730mm x 1205mm

PROVENANCE

Purchased by the current owner from Sweet Louise, The Louise Perkins Foundation art auction, 2005.

$15,000 - $20,000

29louiSe HenderSonPalestinian Woman Seated in Jerusalemcharcoal and pastel on paper 720mm x 880mm

PROVENANCEOriginal John Leech Gallery label affixed verso

$4,500 - $6,500

30FranceS HodgKinSOld Mill at Ibizawatercolour on paper signed Frances Hodgkins in graphite lower right; inscribed “Old Mill Ibiza” watercolour by Frances Hodgkins in type on exhibition label affixed verso; Ernst Brown and Phillips, Ltd, The Leicester Galleries label affixed verso; James Bourlet and Sons Ltd, Fine Art Packers, Frame Makers label affixed verso. 390mm x 540mm

PROVENANCELikely to have been acquired by Myfanwy Piper (1911 - 1997), British art critic and wife of the artist John Piper (1903 - 1992) who is thought to have purchased it directly from the artist. The work was then sold through The Leicester Gallery, London and purchased by Charles Brasch in the late 1930s. Brasch, a New Zealand poet, literary editor and arts patron was the founding editor of the literary journal Landfall. Brasch gifted 448 paintings and drawings to the Hocken Collections, Dunedin either during his lifetime or after his death. Charles Brasch gifted this work to Rodney Kennedy (1909 - 1989) a friend and a passionate advocate of what has become the modern canon of New Zealand art. Rodney Kennedy made a bequest of a further 177 works to the Hocken Collections in 1989. This work was gifted by Kennedy to his godson, the current owner.

$35,000 - $45,000

In 1932, after an extended period of time spent painting and exhibiting in England, Hodgkins escaped the bleak qualities of the British winter to sojourn on the nearby island of Ibiza. Upon her arrival, Hodgkins was struck by the “clear ivory light”1 that graced the landscape. Furthermore, she was enamoured with the auspicious quality

of the flora and the flat, uncomplicated nature of the architecture which she said gave a “blind restful feeling of immense space”. 2 Almost immediately, the new setting signalled a change in the artist’s work. Up until Ibiza, working from her Cromwell studio, the artist had been developing her seminal series of works in which still life compositions were painted into landscapes; yet here she reverted to a seemingly ‘simplified’ approach where she reacted to only what existed in the physical environ directly before her. And while well-defined brushstrokes and poolings of colour – holding their own material weight in spite of their representational function – had already begun to emerge, in the works painted in Ibiza, we see the artist fully explore the lyrical potential of the painted line.

In Old Mill, Ibiza, we are presented with a landscape which, while sparsely covered, is rich with ripe vegetation. For the most part, the individual silhouettes of the flora remain uninterrupted which allows them to maintain their own individual sense of objecthood. To the artist’s eye, the singularity of the trees, shrubs and falling leaves was made more profound by the flat blanket of light that swept over them, heightening their colouration and amplifying the contrast between object and open space. On the right-hand side of the image, perched up on top of a hill, is an old mill house. The building is of an elongated form and its roof appears skewed and off-centre, suggesting that the viewer is gazing at the building from some oblique vantage. Its irregularities aside, the graduated rooftop helps to provide the work with some context as it includes the detailing traditionally seen in colonial Spanish architecture. Furthermore, in the same method as can be seen in her works of the late 1930s and early 1940s where Hodgkins painted agricultural buildings and equipment, the mill house has a reticent narrative function, calling on the

viewer to consider the fact that this land was actively inhabited by a population.

Hodgkins began her career depicting the people around her with tapestries of lush flowing strokes, capturing their likeness with a knowing ease that would bring her first acclaim. Yet here, when she was 63, her scenery looks more like an assemblage of cut-outs than a translation of a three-dimensional plane. The objects are pictured like ‘ducks in a row’, and the artist’s aim was to allow the viewer to examine and compare the formal qualities of each in relation to the others. What was of foremost importance here was each object’s shape and physical appearance rather than its symbolic potential. Expunged of content, these objects were reduced to a language of raw visual matter and treated in the same way that a studio painter of a modernist ilk might treat a still life composition. And while such an approach might not raise an eyebrow today, at the time, it was revolutionary.

This offering of Old Mill, Ibiza presents a rare opportunity to acquire a work that can be traced back to a direct transaction with the artist; it has, since then, passed through an astounding but small and exclusive group of hands. Resting at one time or another in the ownership of British artist John Piper and his wife, art critic Myfanwy Piper, the esteemed founding editor of the literary journal Landfall, Charles Brasch, and then Rodney Kennedy, artist, writer, philanthropist and key figure amongst Otago’s avant-garde of 1930s (which also included, among others, Sir Tosswill Woollaston and Colin McCahon), this work has developed a rich provenance in which New Zealand’s cultural history is extensively referenced.CHARLES NINOW

1McCormick, E H, Portrait of Frances Hodgkins,

Auckland University Press and Oxford University

Press: Auckland, 1981. p. 117. 2Ibid.

31colin mccaHonA Poem of Kaipara Flat 16watercolour on steinbach paper signed McCahon, dated ‘71 and inscribed A Poem of Kaipara Flat 16 in pencil lower left and right 1075mm x 660mm

REFERENCEColin McCahon database reference number #cm000269.

$90,000 - $120,000

Built on the familiar scaffold of a single horizontal line weighted to the bottom half of the picture plane, A Poem of Kaipara Flat 16 belongs to an extended series of works that all consisted of the same compositional format. It was after he commenced work at his Muriwai studio in 1968 that McCahon first began experimenting with the formal and symbolic potential of the horizon line. His enquiry was initiated with works that consisted of two solid blocks of colour; the lower was green and the upper was a faint yellow. As the research continued, McCahon’s approach to mark-making loosened and his use of colour became less prescribed by the physical properties of the landscape before him; green and gentle lemon yellow gave way to brilliant reds, blues, purples and blacks belting a disquieting harmony out from the page.

After receiving Professor Charles Cotton’s book Geomorphology of New Zealand as a wedding gift in 1942, McCahon became increasingly engaged in painting landscapes that paid attention to the structure of the land forms. This can be evidenced first in his early Otago Peninsula works and can be seen to continue through to the works of the Kaipara series. McCahon’s interest in the subterranean was sustained by the fact that, to him, the ulterior mechanics of the landscape had allegorical significance. Rather than simply constituting an explanation of the way in which land mass was formed, Geomorphology of New Zealand presented an all-encompassing power that was capable of moving the earth beneath his feet. While in A Poem of Kaipara Flat 16, the colour and markings

that flank the horizon line from above and below describe naturally occurring phenomenon such as sunlight, clouds, dirt and grass, their colouration also renders them as other-worldly. The burning red penetrating through the clouds and the swirling red and yellow brushwork of the foreground show divine light both bearing down from above and surging through the land beneath.

Due to the fact that the Kaipara series, to which A Poem of Kaipara Flat 16 belongs, follows a common idiom that was repeated by the artist during 1971, the concentration of tone and colour used in each work varies greatly and, in an almost diaristic fashion, holds up a mirror to McCahon’s personal disposition at the time of its painting. It is well known that McCahon was a religious man, yet perhaps it is even better known that he had moments of doubt. The heavy weight of the clouds in the sky, with their dark, purple depths, has an ominous, foreboding quality and, in one sense, this landscape appears cold and inhospitable while, in another, absolution appears to be looming. Thus, it is difficult to say whether or not this was the work of McCahon the believer or of the McCahon who had momentarily turned away. However, the true significance of works such as A Poem of Kaipara Flat 16 lies not in their ability to give an insight into the artist’s psyche but, rather, in their ability to structure a dialogue around the forces of the universe, both physical and metaphysical, that can be understood through the scope of any belief system. CHARLES NINOW

32PHiliP clairmontInocence (sic) Threatenedoil on two jute canvas sections, affixed to a stretched canvas signed Clairmont, dated 1970 in brushpoint lower left and inscribed Inocence Threatened in brushpoint lower right 1450mm x 1395mm

REFERENCE This painting can be seen hanging above the artist’s bed in the documentary for the Profiles series on Clairmont.Clairmont was photographed sitting in front of it by Brian Staff for Spleen 4.

$40,000 - $50,000

Shortly before painting Inocence Threatened, Clairmont had seen Ingmar Bergman’s only horror movie, Hour of the Wolf, 1968. Filmed in stark black and white, it deals with an artist in crisis, Johan, and his pregnant wife Alma who have gone to a depopulated island where he paints outdoors alone. Johan is haunted by events from his past and, at times, appears surrounded by an array of figures whose faces we see in a rapid succession of images. Bergman mixes visions and reality so that we become disoriented and unsure of which is which, as happens in Clairmont’s painting. At the ‘hour of the wolf’, shortly before dawn, Johan tells Alma of painful memories. Perhaps he hopes that his family life will erase the past and create a happier environment. In Clairmont’s painting, his family is represented in the right panel, while he appears in a partial self-portrait on the left. He had recently married his first wife Viki and their only child Melissa had just been born. As in Bergman’s film, there is a contemplation of the role of the artist whose creative life is about to be changed by his new family. This is a time of joy in fatherhood but also of challenge because of the needs of his creative life as an artist.

Inocence Threatened is a diptych made of two pieces of canvas, mounted with a division between them. The left panel is much narrower than is the right and shows half a self-portrait of Clairmont bisected down the centre of the face. It is as if the image has been cut or torn in half. This appears to have been a deliberate choice of format to perhaps show him caught between two roles: that of father and that of artist. His face is seen frontally with eye, nose and teeth easily decipherable. In fact, it can be compared with the self-portrait on the catalogue for Clairmont’s solo show at Several Arts, Christchurch, 1970, where Inocence Threatened was first exhibited. The catalogue image is complete but has

the face divided vertically into light and dark sides. Undoubtedly this symbolises the outer and inner aspects of the artist, his visible and hidden sides, rather as the two parts of the diptych do on an enlarged scale. Clairmont’s image continues on the right panel but is overlaid with fragments of other faces – eyes, teeth and ears can be found. Martin Edmond has discovered the head of Clairmont’s baby in the central form which is enclosed by a large, white, bird-like head and beak. Birds appear as disturbing psychic forces in Bergman’s film, too, which is more to do with the subconscious than with the visible. The title of the painting Inocence Threatened would seem to refer to his newborn child and the forces in the world, not all benign, that might beset her young life.

Influences on Clairmont can be traced to the expressionist taste of his main mentor at the Canterbury Art School, Rudi Gopas, an outsider in conservative Christchurch, who was disturbed by his own memories from his past experiences in World War II and refugee camps. This was reinforced by Clairmont’s friendship with Tony Fomison who had recently been in Europe and returned addicted to drugs and experimenting to see how they could heighten artistic creativity. He was to write an article on ‘Head Art’ advocating this practice. The highlighting, blinding auras, acidic colours, fragmentation and vertigo-like swirling forms found in Clairmont’s work of this time relate to the psychedelic art popular on 1960s’ pop music album covers. The music of Jimi Hendrix, in particular, was an accompaniment to Clairmont’s painting practice. When first shown at his solo show, this and related works caused a sensation. Inocence Threatened, painted while Clairmont was just 21 and still at art school, has an astonishing impact even today with its vitality undiminished by time. MICHAEL DUNN


33SHane cottonUntitledacrylic on paper

signed S.W.C., dated ‘95 and inscribed 2. At 3 Atrium LIFT WALL 2 in brushpoint lower centre, signed Shane W. Cotton and dated ‘95 in pencil lower right760mm x 460mm

REFERENCEThis work is a study for the 1995 Sky Tower Casino, Auckland installation.

$12,000 - $15,000

34Paul diBBleBody Architecturecast bronze, 3/3

signed Paul Dibble NZ and dated 206, 3/3 incised to base 640mm (height)

PROVENANCEPurchased by the current owner from Black Barn Gallery, Hawkes Bay, 2006.

$10,000 - $15,000

35cHarleS goldieMāori Woman with Mokooil on board signed and dated 1910 in brushpoint lower right 190mm x 144mm

PROVENANCEPurchased from a Bethune’s auction, Wellington, 5 July 1967, 545gs

ILLUSTRATED Charles F Goldie, His Life and Paintings, Alister Taylor & Jan Glen, Alister Taylor Publishing 1977, p. 213. Evening Post, June 1967. The Dominion, 6 July 1967.

$150,000 - $200,000

Painted in 1910, Charles Frederick Goldie’s Māori Woman with Moko is an outstanding example of the technical brilliance, a culturally significant subject and the high level of detail which have been cause for Goldie’s enduring status as one of New Zealand’s most celebrated 20th-century artists. Although the sitter’s identity remains something of a mystery, the cloak, greenstone jewellery and moko that decorate the sitter’s lips and chin testify to the distinguished standing of the kuia (elderly woman). The excellent artistic quality of Goldie’s Māori Woman with Moko further secures the painting as a treasured art piece in its own right. It is worth noting too that, as with many of his more-favoured models, Goldie had painted a portrait of the same sitter the year before; in that work, she likewise appears with her face crinkled into an open smile.

Goldie’s portraits, with few exceptions, were not commissioned and he took it upon himself to choose his sitters. He usually worked from photographs; a photograph would have been an invaluable resource in allowing him to study, at close proximity, the intricacies of individual faces and ta moko. This practice would have gone some way in enabling him to produce paintings of the startling verisimilitude for which he is renowned. The level of animated emotion seen in this bust-length portrait of an elderly woman is unusual in Goldie’s oeuvre. The majority of the artist’s portraits display subjects in varying states of sombre contemplation often with long, drawn faces that are shown staring out of the canvases, unseeing, into the middle distance. This, of course, was one of Goldie’s prime techniques for instilling a noble sentimentality into his works and

communicating to the viewer the tragic yet imminent extinction of this noble, indigenous race of New Zealand. As has often been said since, this was of course a fabrication on Goldie’s behalf, that was born out of his Western-European art training and his social attitudes. Despite Goldie’s erroneous beliefs, however, his meticulous approach to recording what he thought were the vestiges of a ‘noble race’ has provided an invaluable historical record; Goldie preserved in paint the Māori traditions of dress, jewellery and ta moko at the turn of the 20th century.

While there was a multitude of different cloaks that were woven and worn by Māori in the early 1900s, the cloak seen in Goldie’s Māori Woman with Moko is that of the korowai, which is a type regularly seen in Goldie’s portraits. Elegantly woven from the prepared fibres of the New Zealand flax (muka), they featured a fine covering of muka tassels (hukahuka). The tiki pendant nestled into the folds of her cloak and her two kuru (greenstone earrings) indicate that the kuia depicted in Māori Woman with Moko, is clearly one of high rank. The open, smiling mouth and crinkled eyes increase the accessibility of the work and imbue the kuia with something of an endearing and light-hearted frankness. The details in the background of the painting are subtly treated, ensuring that the main focus is the sitter. Goldie deftly transcribes the individual features of the kuia: short, greying halo of hair, eyebrow remnants, honoured passages of ink and the prized pieces of greenstone, and he indelibly traces each of the many wrinkles that are etched into her well-worn face. JEMMA FIELD


36PHiliP clairmontUntitled (Still Life)oil on hessian signed PCT and dated ‘81 in brushpoint lower left 940mm x 1650mm

PROVENANCE Purchased by the current owner from Janne Land Gallery, Wellington, 1981.

REFERENCE The show in which this work was exhibited is referenced in The Resurrection of Philip Clairmont, Martin Edmond, Auckland University Press, 1999. pp.168-169.

$35,000 - $45,000

38Bill HammondStudy for Buller’s Tableclothgraphite and ink wash on paper signed W.D.H and dated 1994 in pencil lower left 565mm x 740mm

PROVENANCEPurchased by present owner from Peter McLeavey Gallery, Wellington.

$18,000 - $25,000

37Paul diBBleLinked Stories From the Gardencast bronze signed Paul Dibble, dated 2001 and inscribed N.Z incised on base480mm x 580mm x 120mm

$12,000 - $18,000

39colin mccaHonMountain Landscapewatercolour on paper circa 1958 300mm x 240mm

PROVENANCEFormerly in the collection of Dr John Owens of Palmerston North who received the painting from

Colin McCahon in return for hospitality when the artist conducted a summer school in Whangarei in 1958. Dr Owens was the Northland tutor for Adult Education. This work relates closely to the cover illustration for The Inlaid Eye by Dr Eric McCormick.

$20,000 - $30,000


40len caStleYellow Sulphar Bowlglazed earthenware signed with artist’s stamp on underside 455mm diameter

$3,500 - $5,500

41len caStleLarge Blue Shallow Bowlglazed earthenware signed L.C. and dated 2009 incised on underside 525mm diameter

$2,500 - $3,500

42len caStleYellow Sulphar Bowlglazed earthenware signed with artist’s stamp on underside 520mm diameter

$2,500 - $3,500

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43Jude raeLostacrylic on canvas 1990 1700mm x 1200mm

EXHIBITEDJonathan Jensen Gallery, Christchurch, 1990.

$30,000 - $40,000

Painted in 1990, Lost is one of a series of paintings of cloth that Jude Rae completed throughout the 1990s. These works are unified in their use of extreme cropping so that only a close-up view of a segment of drapery is shown. This technique has a somewhat disorientating and puzzling effect on the viewer who is left to wonder at the nature of the fabric they are viewing: is it a curtain or a tablecloth or a bed-sheet or a piece of linen? Testament to Rae’s painterly skill is her ability to create an interesting visual feast from a potentially mundane subject – fabric folds. As seen in Lost, Rae’s expertise in capturing the effects of light falling across drapery serves to animate the painting through its rippling declivities.

As with all of Rae’s paintings, Lost possesses poise and tranquility, but her cloth paintings are not merely ornamental objects. Rich in personal, cultural, symbolic and art-historical inferences, these works are suggestive of curtains, shrouds, veils, dust sheets and bandages. Consequently, the cloth paintings conjure memories, thoughts and feelings connected to major events such as death, healing, recuperation and marriage. On a personal note, the artist has stated that these works evoke memories of the sheets on her parents’ bed and her mother’s rustling skirts. Within the art-historical canon, they are linked to the struggle of artists to realistically depict the folds of drapery on a flat surface; this skill was finally mastered in the Renaissance. Thus, Rae’s cloth works are associated with

the painted fabrics that graced historical paintings such as canopies of state, tapestries, ceremonial robes and religious mantles.

In Rae’s Lost, the loosely brushed pigment provides a dry, scumbled effect and creates the impression of the viewer being shown the loose weave of material which, in reality, is actually a painted artifice. In doing so, Rae plays with the ability of the master painter to foil the human eye and to craft illusions. Unlike many of Rae’s paintings, however, the inherent realism is tempered by the use of lettering, which cements the physicality of the painted board by drawing attention to the two-dimensional reality of the painting. From a distance, the words are barely perceptible and coalesce into a filigreed pattern that marches across the painting in a central band. Up closer, though, it is apparent that running the expanse of the canvas are nine lines of stenciled text comprising repetitions of the word ‘Lost’, which is spelt out in capital letters and separated by way of unobtrusive forward strokes.

Stamped across the board, the repetition of the word ‘Lost’ becomes something of a mantra or prayer. Who or what is lost is left up to the viewer – whether it is something of a metaphysical musing, a personal remembrance of the artist as a small child lost amongst the folds of her mother’s skirt, or perhaps it is a literal observation as the viewer is drawn in and lost among the rhythmic undulations of Rae’s painted cloth. JEMMA FIELD

44ralPH HotereBlack Painting No. 8brolite lacquer on two boards with timber construct inscribed 8 in crayon verso

PROVENANCE Gifted or acquired by a friend of the artist from the Frances Hodgkins Fellow Exhibition, Otago Museum, Dunedin, in November 1969. The work hung at the Globe Theatre, Dunedin and then at the owner’s homes until his passing in 2007 when it was deposited with the Eastern Southland Gallery, Gore. Passed by descent to the present owners.

EXHIBITED Frances Hodgkins Fellow Exhibition, Otago Museum,Dunedin 9 - 22 November 1969

$180,000 - $200,000

Completed in 1969, Ralph Hotere’s Black Painting No. 8 presents the viewer with a strikingly clean and lucid composition. The silken ebon ground is bisected by a thin piece of timber and, within each compartment, a series of pencil-thin radiating circles of colour is seen. The two circles constitute seven concentric rings which are etched out in each of the seven colours of the spectrum: red, orange, yellow, green, blue, indigo and violet. Shadowless, the circles lie neatly encased within the structural bounds of the frame. While the top circle radiates out from light into dark and encompasses a barely perceptible horizontal line, the lower circle is mapped out in the reverse colour order and embraces a vertical stripe. Through this measured alliance of opposites, Hotere successfully activates the panels.

The use of all seven colours of the spectrum in Black Painting No. 8, allows the work to be seen in some respects as a culmination of Hotere’s preceding seven brolite lacquered Black Paintings. Each one of these paintings featured a lustrously dark ground upon which a central cruciform was traced in one of the seven colours of the spectrum. Brought together in Black Painting No. 8, the seven rainbow colours of the spectrum combine to produce white light, which offers a metaphysical counter to the gleaming piceous plane on which they lie.

The time-honoured and richly symbolic dichotomy of light and dark is a thread that runs through much of Hotere’s work. In the Black Paintings, it is notable that Hotere paints the glossy black sheet before he applies the ribbons

of colour so that, in effect, light is seen to be piercing a starless firmament. The notion of light penetrating and illuminating the darkness is evocative of both the Māori and the Christian stories of Creation, the birth of the Universe and the beginnings of mankind. So too is the circle, which is a traditional symbol of new life, new beginnings and often also of God and/or the Universe. As such, Hotere’s Black Painting No. 8, formally and chromatically, bears witness to an artistic exploration of existentialist truths, mysticism, absolutism and iconography that had been present in the artist’s upbringing and later education.

Whatever the possible implications and meanings of Hotere’s choice of shape and palette, however, in terms of pure aesthetics, Black Painting No. 39 is undeniably enchanting with its flawless lustre and meticulous execution. Testifying to its own material existence, the glossy finish of Hotere’s Black Painting No. 8 produces a reflective surface that is animated by its surroundings and the presence of the spectator, both of which can be glimpsed fleetingly within the painting. The magnetism of Black Painting No. 8 has much to do with this pared-back nature. The dominant blanket of raven blackness that is finely pricked by threads of colour imparts to the painting a sober and meditative quietude. This, indeed, is Hotere at his best: effortlessly manipulating and teasing out the myriad possibilities of blackness – its hidden depths, its seductive potential and its nuanced tonalities. JEMMA FIELD

45FranciS mccracKenA Summer Picnicoil on canvas signed F. Mcracken and dated 1910 in brushpoint lower left 900mm x 700mm

$12,000 - $18,000


46Sydney lougH tHomPSonBoats in Portoil on board signed S.L. Thompson in brushpoint lower left 345mm x 450mm

$15,000 - $20,000

47colonel roBert Henry wynyardPrinces St.1849watercolour and ink on paper inscribed Princes St. and dated 1849 in ink lower edge 180mm x 220mm

PROVENANCE

Formerly in the collection of the Wynyard family.

$25,000 - $35,000

Shortland Street in Emily Place. At that time, Shortland Street led up a steep hill to St Paul’s and connected Princes and Queen Streets. The church was positioned on the hill above Point Britomart on what was, in the 1840s, the highest point of land. It was, as such, an important landmark both in the town and from the harbour. It was demolished in 1885 with Point Britomart as part of the reclamation being undertaken at that time.

Princes Street was a prestigious street in the township. It was close to the main administrative and military buildings and included commercial buildings as well as the residences of key military figures. The first building visible on the left in the drawing is Woods Royal Hotel. By 1849, it was being leased and occupied by Major-General Pitt, then Commander of the Military Forces in New Zealand and Wynyard’s commanding officer. Next door was the double-storeyed Royal Masonic Hotel and, next to the hotel, was the Union Bank of Australia. Going down the road on the right and in the buildings closest to the church were residences occupied by other officers.

Beyond the buildings and the landscape, the drawing seeks to portray something of the nature of the township at this time. Pictured in the foreground are a military officer and his lady. This reflects the greater military presence in Auckland from the later 1840s; the city was in the process of being fortified to counter the growing threat of Māori resistance. Māori – sitting and standing in the centre foreground – are also clearly visible. While the Auckland isthmus was sparsely populated by Māori up to the late 1830s, during the 1840s, a huge influx of Māori entered the town to be close to the Governor and the Europeans and their trade. The European population in Auckland was, in fact, dwarfed throughout the 1840s by the Māori population living with

Wynyard was a key figure in the early history of Auckland and the colony. The contribution he made is reflected in the Auckland landmarks that bear his name – Wynyard Pier (now demolished), Wynyard Street and, most recently, Wynyard Quarter.

Wynyard arrived in Auckland in 1846 as Lieutenant-Colonel of the 58th Regiment and was immediately dispatched to the Bay of Islands to assist the British forces fighting in the so-called ‘War in the North’. From 1847 to 1858, he lived in Auckland at Official Bay and occupied a number of important military and official positions. From 1851 to 1858, he was Commander of the Military Forces in New Zealand. In 1851, he was also appointed Lieutenant-Governor of New Ulster (the North Island) and, in the following year, he became Superintendent of the newly-created Auckland Province. From 1853 to 1854, Wynyard was Acting Governor of the colony as a whole.

Wynyard lived on the corner of Jermyn Street (later Anzac Ave) and Emily Place. He documented his time in Auckland by drawing and painting watercolours of the views and places around him; this drawing is one of his works.

The centrepiece of the drawing is St Paul’s Church which sat at the foot of Princes Street and at the top of

and around them, though the drawing offers little sense of this (and maybe deliberately so).

Of particular interest in the drawing is Wynyard’s inclusion of what appears to be the British flag flying at Point Britomart (to the right of the church). Other drawings of Princes Street from around the time do not include the flagstaff and it is not clear whether it would even have been visible from the vantage point of Wynyard’s drawing.

In including it, Wynyard may simply have been seeking to add interest to his drawing. He was, however, a military man and key Crown official, and the British flag was one of the greatest symbols of the Crown which he represented and for which he fought. Also, two years previously, he had played a commanding role in the ‘War in the North’ begun by Hone Heke’s chopping down of the flagstaff at Russell. By including the flagstaff in this drawing, Wynyard gave his picture a more political overtone; while two peoples made up the township and colony he depicted, they were to be governed by a British God and British Queen alone. The town itself appears dominated by British people, culture and architecture. The reality of Auckland (and the colony as a whole) in the 1840s was quite different: Māori dominated both numerically and militarily, while the battle to decide whose authority was supreme was still far from over.

In this sense, the picture is more than a simple record of the landscape and architecture of the time. It is a reflection of the intentions and expectations of the many British officers and officials of the time who, like Wynyard, were then seeking to assert British control and dominance.

48ralPH HotereSong of Solomonmixed media on fourteen sheets of paper each individual sheet signed with initials R.H and C.M.Q in pencil lower edge; signed Hotere and McQueen and inscribed Song of Solomon and numbered No. xx of 14 in marker pen verso630mm x 490mm each, 1324mm x 3675mm overall

$95,000 - $150,000

Created in response to the 1991 Gulf War, this is a haunting multi-panel painting full of paradoxes. It operates like an antiphonal project, a choral work built on statement and response, between monochromatic chord structures and printed text and between opposing levels of textual content. Wedged into 14 panels the painting unfolds through an alternation of thick bands or blocks of sprayed black paint with glaring white-paper blanks. The tragic grandeur of the work’s major tonal progression is modulated by a host of bleedings, scuffs, speckles, arcs of silver dots, and scripted annotations. The improvisational diversity of these playful surface effects appears to go against the painting’s overridingly bitter and melancholy pall.

A staccato string of words, ‘cut out’ one might guess, from military reports and press releases covering the Gulf War, run like two through-lines in the top and bottom sequence of panels. The word strings act as fixed horizon lines amidst a plurality of graphic levels that jump and drop in syncopated order. The plain-text or ‘courier’ font of the printed words holds the communications technology of earlier wars with their typewritten despatches from the front together with the plain-text of contemporary data screens and email systems. This is Cilla McQueen’s text at work in the Hotere matrix. McQueen’s lexical collage functions like a reality principle to Hotere’s broodingly romantic graphic and painterly rhetoric. It is as


if, through breaks in battlefield smoke or post-war toxic haze, and shown up by detonations and muzzle flashes on the skyline, McQueen’s chains of words tear through the aesthetic dazzle of the military sublime. Photographs and videos that we followed on CNN at the time seduced us with their telemetric and optical wizadry. Tracer bullet tattoos of white across night-vision green, slow exfoliations of black and grey from destroyed buildings and bridges became familiar imagery in the living room.

The asyntactical repetition of McQueen’s words, following one another randomly and dumbly mimics the kind of psychic shutdown that can act as one form of defense against unmanageable trauma. Perhaps McQueen and Hotere,

in a sense, have responded to Adorno’s rhetorical question, “Can there be poetry after Auschwitz?” What sort of art and poetry can accompany our contemporary and all too extensive knowledge of war and atrocities? Perhaps only something that works through a sort of affectless enumeration, a machinic refusal to play with delectations of word choice and tonal chromatics. This is the sort of protection from trauma that Freud alluded to in his discussion of ‘the compulsion to repeat’. The McQueen vocabulary which cites ‘main gambit box airburst shift communications schrapnel [sic] jam chamber’ and ‘smart blood break count bodybag holymilk operations kill strategy factory reprisal’ is answered in a dreamlike manner by

Hotere’s handwritten fragments from the Song of Songs, the ancient Hebrew text of seduction and lament for an elusive lover who approaches in the night. The lover calls, “Arise my love, my fair one and come away”, “For lo, the winter is past and the rain is over and gone”. The work therefore talks to itself, and thus becomes many works in one, but whether its borrowing of the new testament stations of the cross format or the old testament poetry of desire and lament provide the work with the confidence of redemptive purpose amid desolation has deliberately been left unresolved. ALLAN SMITH

49JoHn walSHHauiti Recieves Wateroil on board signed J. Walsh, dated 2002 and inscribed Hauiti Recieves Water in pencil lower right verso 1230mm x 1230mm

$16,000 - $22,000

50don BinneyRainbow Dogoil on board signed Don Binney, dated Jan 1964 and inscribed Otago in brushpoint lower right910mm x 565mm

$30,000 - $40,000

51ralPH HotereThe Wind Iburnished steel in original Roger Hicken frame inscribed When We Touch Forests enter our bodies, The dark wind shakes the branch, The dark branch shakes the wind; signed For Annie from Ralph, dated ‘85 and inscribed L-V in oil pastel verso760mm x 675mm

REFERENCE Text is by Bill Manhire, from a poem titled The Wind I.

$90,000 - $120,000

Ralph Hotere’s Baby Iron series summons motifs and imagery seen elsewhere in his practice, such as the large central cross of the Zero and Black Window paintings or the repeated markings that follow the gestural sway of the arm that first became prominent his Aramoana works; the most important element of the series is the substrate on which they were executed. Completed between 1983 and 1984 on both smooth and corrugated steel, this series differed from others created during this period due to its distinct lack of emphatic political content. Using the words of his long-time friend and collaborator Bill Manhire as their impetus, Hotere’s Baby Iron works instead explored the interplay between the form of the letters and the poetic qualities of the drawn line.

In The Wind I, the presence of stainless steel serves a double purpose. On one hand, it is a medium chosen simply because its hard-wearing qualities allow it to withstand a particularly unforgiving approach to mark-making using tools such as a blowtorch and an angle grinder. On the other hand, its reflective, warped and beaten surface has a more symbolic function. Like the polished surfaces of Hotere’s Black Paintings, the stainless steel projects the viewer’s own face towards them. Rather than treat the viewer as spectator, The Wind I seeks to draw them into the work and shape their self-image with its content. Cilla McQueen, New Zealand poet and Hotere’s one-time partner, has likened the surface of the Baby Iron works to a “hall of mirrors” that “track inwards to yourself”.1

The Wind I shares the same title as the Bill Manhire poem which it quotes: the

words “when we touch forests enter our bodies, the dark wind shakes the branch, the dark branch shakes the wind”, speak of the way in which seemingly contradictory forces can mediate, shape and inform the way in which ‘each other’ is perceived. Constituting an almost ‘yin and yang’-type relationship, the words describe this interdependency using a succinct visual image. Like an abstract narrative, they also help to describe the painting’s utilitarian aims. In its everyday mode, stainless steel is used in heavy municipal applications; ever bright and difficult to tarnish, it acts almost as a buffer between human interactions. It is perhaps its observed potential to act as a common ground between opposing activities that cemented Hotere’s resolve to use the material.

Focusing on the relationship between the artist and his source material and, in turn, the relationship between the painter and the canvas (so to speak) and, in turn, the relationship between the viewer and the artwork, The Wind I is purely about the sharing of experience. The concept of aroha – literally translating to love but effectively referring to something, an essence perhaps, that is present in all human beings – is central to Hotere’s work. Elsewhere in his practice, aroha has been summoned using chant-like protest and references to death and grief and, here, aroha is present in the common understanding and experience of visceral, poetic devices. CHARLES NINOW

1McQueen, Cilla, Baby Iron. In Gregory O’Brien

(ed.), Hotere: Out of the Black Window, Godwit:

Auckland, 1997. p. 114.

52JeFFrey HarriSTimes Triangleoil on canvas signed J.Harris and dated November 1981 in brushpoint lower edge; signed Jeffrey Harris, dated November 1981 and inscribed ‘Times Triangle. oil/canvas upper edge verso 1360mm x 1500mm

EXHIBITEDBosshard Galleries, Dunedin, March 1982

PROVENANCE Purchased by the current owners from Bosshard Galleries, Dunedin, circa 1983.

$25,000 - $30,000

Painted in 1981, Times Triangle belongs to a group of striking canvases first shown at the Bosshard Galleries, Dunedin, the following year. Justin Paton included it in a list of ‘six remarkable works’ painted during that period, along with the well-known Family now in the Dunedin Public Art Gallery. Stylistically, it has links with Family, in the way the picture is built up of modelled and linear elements. For example, the linear approach is seen in the sketchy treatment of the male protagonists’ shirts and the modelled approach in the central figure of the girl, seemingly impaled and falling towards the water below. She shares this status with the two men’s faces, both looking towards the girl as if drawn magnetically to her. It is very much in keeping with the postmodernist approach of the period when varying styles were brought promiscuously together on the one canvas to show awareness of painterly conventions and to allow the artist freedom to flaunt them. Here, too, the abstract and the representational come together in a clash of idioms. The floating abstract shapes – red, orange, yellow and black – move around and between the representational figures in a restless display of energy. The extensive untouched areas of white canvas tell us we are looking at a flat surface, a tabula rasa, on which Harris can work his magic, turning lines and smudges of paint into bearers of meaning. Harris allows us to share his sense of being in charge, of being able to mix and match styles and conventions to suit his theme.

Undoubtedly, Times Triangle works well without any narrative meaning, but we

do not see it purely as an arrangement of lines, forms and colours. Instead, his figures cry out for interpretation. Who, we ask, is the girl wearing what looks like a leotard and ballet shoes? She resembles a gymnast,maybe appropriated by Harris from a magazine photograph – such photographs were ready sources of contemporary material which he collected at that time. In the context of the two men – polarised on different sides of the canvas, one either side of the central girl – and the word ‘triangle’ in the title, we can see her as a victim of jealousy and antagonism between two admirers. The two arrows shooting into the canvas from the viewer’s left might endorse that view – the darts of love become the weapons of frustrated desire. Whatever our interpretation, and it remains speculative because this is not an illustration, we know that the girl is the object of the male gaze – she is dead or in a deadly swoon, while the men are very much alive and awake, alert and looking at her.

As with other works of the period by Harris, Times Triangle is troubling pyschologically. Violence, overt or implicit, is never far from the surface and the relationship between men and women, though central to his concerns, is fraught with discord and tension. With this canvas and others of the early 1980s like Floating Woman, Harris moves beyond his earlier preoccupation with himself and his family to engage with a more anonymous and wide-ranging theatre of modern life. MICHAEL DUNN

53toSS woollaStonGreymouthoil on board signed Woollaston in brushpoint lower right verso (a copy of this signature is affixed verso as the canvas has been relaid onto archival board and is not visible) 460mm x 520mm

$20,000 - $25,000

54toSS wollaStonLyttleton Harbouroil on board signed Woollaston in brushpoint lower edge 950mm x 750mm

$20,000 - $30,000

55Peter SticHBuryUntitled graphite on paper

signed P Stichbury and dated ‘04 in graphite lower right

750mm x 565mm

$5,000 - $7,000


56Peter SticHBuryUntitled acrylic on board signed Peter Stichbury, dated 1995 and inscribed Acrylic, Untitled in pen upper left verso 1470mm x 1215mm

REFERENCE

After Michelangelo Merisi de Caravaggio’s, The Entombment of Christ 1602 - 1603.

$20,000 - $25,000


57don BinneyMexicoacrylic on canvas signed Don Binney, dated Marzo-Abril 1968, and inscribed Mexico D.F. in brushpoint lower right 2000mm x 1500mm

PROVENANCEPurchased by the current owner from Barry Lett Gallery, 1969. Private Collection, Canada.

$40,000 - $50,000

58don BinneyPole Line Te Hengaoil on board signed Don Binney and dated MM in brushpoint lower right 565mm x 750mm

$40,000 - $48,000


59ronnie Van HoutMephitissixteen black and white pegasus prints edition of 20 signed R. V. Hout, dated 1995 and inscribed Mephitis and 6/20 in marker pen lower edge verso 550mm x 365mm each

3365mm x 2570mm overall, variable

$10,000 - $15,000

62dicK FrizzellSmall Plane over an Oceanacrylic on canvas signed Frizzell and inscribed Small Plane Over an Ocean and dated 5/9/2002 incised lower right; original Gow Langsford gallery label affixed verso 1800mm x 1800mm

$25,000 - $35,000


63JoHn walSHTipi Haere IIoil on board signed J Walsh, dated 2003 and inscribed Tipi Haere in pencil lower left verso1230mm x 1230mm

$16,000 - $22,000

61JoHn walSHMotuhakeoil on board

signed J Walsh, inscribed Motuheke and dated 2005 in pencil verso; original exhibition label affixed verso 900mm x 1200mm

$18,000 - $22,000

62micHael HigHtBurkes Passoil on canvas

signed Hight and dated 05 in brushpoint lower right; inscribed Burkes Pass in brushpoint lower left 915mm x 1110mm

$18,000 - $22,000


64ralPH HotereLet Us Weep - For His is Not The Death of the Moonacrylic on paper signed Hotere, dated ‘72 and inscribed Let us weep - for his is not the death of the moon in brushpoint lower edge

$20,000 - $30,000

65FredericK rice StacKView Of The Auckland Harbour, New Zealand, Taken During The Regatta Of January 1862. (The Race of the Māori War Canoes).

View Of Auckland, New Zealand, From The Crater Of Mount Eden.

View Of Auckland, New Zealand From The Lake On The North Shore.

View Of The Firth Of The Thames, Waitamata, Tamaki, And Gulf of Hauraki, From The Howick Ranges.

View Of The Wairoa Creek (Pheasant Shooting On The Estate of Alexander Kennedy Esquire) On The Road Leading To The Wairoa Valley.

five hand-coloured lithographs title of each work inscribed in ink lower edge 185mm x 385mm each

ILLUSTRATED Ellis , E.M. & D.G.. Early Prints of New Zealand. Avon Fine Prints: Christchurch, 1978. Item reference numbers 624 – 628. p. 166-167

REFERENCE A suite of these lithographs is in the collection of Auckland Art Gallery, Toi O Tamaki.

$10,000 - $15,000

66Peter mcintyreOutback Still Life with Grass and Rocksoil on board,

c. 1968 610mm x 910mm

PROVENANCEOriginal John Leech Gallery label and Certificate of Authenticity affixed verso

$14,000 - $18,000

67FranceS HodgKinSThe Harbourwatercolour on paper signed F.H and dated 1901 in brushpoint lower right 200mm x 150mm

$10,000 - $15,000


68ralPH HotereWindow in Spainmixed media on paper signed Hotere, dated ‘78 and inscribed N.F.S, Window in Spain, Menorca and For S. x R. in marker pen verso305mm x 225mm

$12,000 - $15,000

69micHael HigHtCambriansoil on canvas singed Hight and dated 07 in brushpoint lower right and inscribed Cambrians in brushpoint lower left 610mm x 1520mm

$18,000 - $22,000

70JameS roBinSonI Dreamt I Was The Pacific Basinmixed media on canvas

signed J Robinson in marker pen upper right and lower left; signed James Robinson in brushpoint upper left and lower right, dated 2006 - 2012 in brush point lower right verso; signed James Robinson ‘06 and inscribed I worry about it, gave it power, let it breed fear. I wished for better dreams, decided to be a man, learnt love is all there is. Holding the door, breathing relief, in and out. ‘Winter Koputai’ (womb of the Ocean, Port Chalmers) in marker pen on stretcher verso; notes from the artist’s booklet affixed verso

1190mm x 1400mm

$6,000 - $10,000

71tony de lautourNew Worldmixed media on canvas

screenprint with hand painted acrylic signed Tony de Lautour, dated 2001 in brushpoint lower right and inscribed New World in brushpoint upper left1040mm x 1100mm

$5,500 - $7,500


73Simon KaanUntitled (triptych)oil on three stretched canvases 775mm x 530mm; 775mm x 1060mm; 775mm x 530mm (775mm x 2125mm overall) signed Kaan and dated 01 on right edge of centre canvas

PROVENANCE The central canvas purchased from the artist and the two outer works commisioned, 2001.

$9,000 - $12,000

72Jenny dolezelAt The End Of The Dayoil on canvas signed J. Dolezel, dated 2006 in brushpoint upper left and inscribed At the end of the day in brushpoint lower right; signed Jenny Dolezel, dated 2006 and inscribed At the end of the day in marker pen verso 840mm x 1120mm

$8,000 - $12,000

74tony laneUntitledoil, composition ornaments and gold leaf on gesso panel signed TL and dated 11.99 in brushpoint lower edge 520mm x 2020mm

$7,000 - $9,000

75JeFFrey HarriSUntitledpastel on paper signed Jeffrey Harris and dated 1988 in pencil upper left 1000mm x 1520mm

$4,500 - $6,500


76JeFFrey HarriSFor Judithconte on paper signed Jeffrey Harris, dated ‘79 and inscribed For Judith in ink upper edge620mm x 870mm

$3,000 - $4,000

77Peter SticHBuryUntitled - Portrait of Paul Hartiganoil on board signed Peter Stichbury and dated 1996 in pencil verso 497mm x 424mm x 95mm

$4,000 - $6,000

78rueBen PaterSonEcho Resoundingenamel and polyurethane varnish on di-bond aluminium signed, dated and inscribed Echo Resounding in white ink lower edge verso 1000mm x 1000mm

$10,000 - $15,000

Webb’s is pleased to introduce the Mr. Bigglesworthy Modern Design collection.

Dan and Emma of Mr. Bigglesworthy love the promise and potential of design. Their collection is a culmination of their passions, knowledge and shared love of modern design. The collection spans 30 years of design development in the Western world, from post-World War II up to the 1970s. It’s a story of modernist ideals told by designers who sought to break with tradition and unearth new possibilities. They utilised and pioneered constant changes in technology and encouraged new lifestyle developments.

The narrative begins with a set of early utilitarian chairs designed by Ernest Race, produced from scrap aluminium left over from the war. His design reflects the austerity and sombre tone of the post-war world mixed with a sense of optimism and a desire to move forward and towards the new. This is compared with, on the other end of the modernist spectrum, the exuberance and luxury from the 1970s, exhibited in pieces from designers such as Sigurd Resell and Robert Heritage. These designers opted for materials like chrome and rosewood, producing a wholly different aesthetic yet remaining strongly connected to the ideals of simplicity, form and function.


INTERIORSMODERN DESIGN

PLEASE NOTEALL LOTS ILLUSTRATED

ONLINE AT WEBBS.CO.NZ

Please register absentee and phone bids by 12:00pm on

Thursday 23 February.

THURS 29 MARCH 6:00PMEVENING PREVIEW

Thursday 22nd March 5.30 – 7.00pm

VIEWINGThursday 22nd March 9.00am – 5.30pm

Friday 23rd March 9.00am – 5.30pm

Saturday 24th March 11.00am – 3.00pm

Sunday 25th March 11.00am – 3.00pm

Monday 26th March 9.00am – 5.30pm

Tuesday 27th March 9.00am – 5.30pm

Wednesday 28th March 9.00am – 5.30pm

Thursday 29th March 9.00am – 12.00pm

BUYER’S PREMIUMA buyer’s premium of 15% will be charged on all

items in this Modern Design sale.

GST (15%) is payable on the buyer’s premium only.

MODERN DESIGN 89

100a grant Featherston r160 rocking chair$7,500 - $9,000

Grant Featherston with wife and design partner Mary stand at the pinnacle of modern Australian design. From humble beginnings as a self taught designer, Featherston worked with glass panels and lighting. On his return from serving in WWII, Featherston was inspired by the emerging post-war technologies, especially advances in plywood. This combined with a fascination with nature and its organic forms led to the creation of his seminal body of work - The Contour Series of 1951–55.The design for the contour chair came to Featherston while sitting on a tram, casually bending his tram ticket around with his hand. He noticed the shape which was formed by the two ends arched towards each other. That same curve from the ticket became the basis for the plywood shells of the Contour Range.The contour series has become one of the most innovative and iconic designs to emerge from Australia. The clean, sculptural lines and visually light appearance are thoroughly modern in design and intention. This R160 rocking chair with its tapered telescopic legs and figure hugging organic plywood shell is a very rare offering – one of less than 20 known to exist.


101two rare ernst Plischke architectural rimu chairs$7,500 - $9,000

Despite a working style that was obstinate, obsessive and uncompromising Ernst Plischke’s legacy is one of architectural innovation and excellence. In his home country of Austria he was a leading proponent in the modernist “Neues Bauen” (New Construction) movement before fleeing to New Zealand in 1939 as a refugee from Nazism.Plischke was not only a talented architect but also an accomplished writer and furniture designer. His legacy includes some of the most inspired public and private architectural works throughout New Zealand in the 1940s and 50s. From large scale projects such as Wellington’s first modern skyscraper, the glass-curtain fronted Massey House, to quaint churches such as St Mary’s chapel in Taihape, Plischke has left an enduring reminder of the international modern style.Since Plischke’s death in 1992, his reputation has continued to grow in both New Zealand and Austria. Of his early European designs, many are protected as landmark modernist buildings and his exceedingly rare furniture has become highly coveted internationally.

102a Sigurd resell Falcon chair and Footstool$2,500 - $3,500

Sigurd Resell is one of the few elite Norwegian designers responsible for putting the small country firmly on the map for international design. Resell’s career was kickstarted when his drawing for a furniture design competition was praised by master furniture maker Niels Vodder. In 1958 a prototype from the drawing, called the SR 600, won an award at the Copenhagen Cabinetmaker’s Guild Exhibition for craftsmen in Denmark.

Resell designed the chair that would define his career in 1971, the impressively named Falcon Chair. The iconic design showcased a striking hammock profile rendered in a chromed steel exoskeleton. The organic steel frame allowed both a lightness of form and an almost floating sitting experience that can only be described as exceedingly comfortable. By 1974 production of the steel frame was halted and replaced with a cost saving steam bent laminated wood frame.


103a douglas Snelling armchair and Footstool$800 - $1,000

104a Vintage danish Style SofaConverts to a bed. H780mm W1970mm D800mm$1,200 - $1,800

105a Set of Six danish dining chairs$1,200 - $1,800

103

104

105

107an archie Shine Hamilton Sideboard$2,800 - $3,500

robert Heritage archie Shine ‘Hamilton’ and ‘granville’ SideboardsRobert Heritage is one of the greatest British mid century designers. He is also the most awarded designer by the British Design Council. Heritage trained in art in his hometown of Birmingham then studied at the Royal College of Arts. In 1953 he set up a studio with his wife Dorothy, a textile designer.

1957 was a big year for Heritage, collaboration with high end London furniture manufacturer Archie Shine led to one of his most lauded designs – the ‘Hamilton’ range of furniture. The design won the revered British Design council award and created a highly successful business relationship that would last well into the 1970s.

Throughout his career Heritage collaborated with some of the biggest names in furniture and lighting both for British and foreign firms - Ernest Race, Gordon Russell and Concord to name just a few. His trademark style features clean lines combined with post war modernist sophistication – enduring designs in high end furniture.

106an archie Shine granville SideboardH770mm W2140mm D540mm$3,500 - $4,500


110a Philippe Starck Hoola Hoop chair$200 - $300

108Four g-Plan dining chairs$1,000 - $1,500

111a Philippe Starck Hoola Hoop chair$200 - $300

112two Vintage new zealand architect chairs$1,000 - $1,500

109a danish mahogany Planter$50 - $80

113an extensive cado teak wall unit$1,800 - $2,500

108109

110

111

112

116a west german Studio VaseH400mm$120 - $180


118a Jens risom SideboardH640mm W1990mm D 530mm$2,000 - $2,600

120a Herbert terry anglepoise lampMakers of the original anglepoise lamp.$300 - $500

119Four ernest race dining chairs$1,200 - $1,800

114an otto larsen dining tableD1340mm$400 - $600


114

118

119

115

117

116


125a Blue west german Studio VaseH300mm$30 - $60

124a red west german Studio VaseH300mm$50 - $80

122a gerrit rietveld draughting tableWith blue steel frame and green wooden height adjustable desk top.$1,200 - $1,800

123a gerrit rietveld draughting tableWith green steel frame and green wooden height adjustable desk top.$1,200 - $1,800

126Six arne Jacobsen ant chairs$1,000 - $1,500

120

124

121a Herbert terry anglepoise lampSimilar to above.$300 - $500

125

122

126

130a g-Plan coffee tableH400mm W1370mm D490mm$400 - $600

131an atomic Style Floor lampH650mm$400 - $500128

a Vintage ‘clean your teeth’ PosterH510mm W380mm$650 - $850

132a danish dansk teak BowlH115mm D300mm$80 - $120

129three Frank guille Bar Stools$450 - $600

127two garth chester chairs$500 - $750

127 128

129

130

131


139a mahogany Floor lampH1380mm $400 - $500

137a Backhouse coffee tableH450mm W1220mm D560mm$300 - $500

136a Frem rojle dining SuiteD1050mm$3,000 - $4,000

135a michael Payne expo chairWith Tawa teak veneer body$1,000 - $1,300

138a cappellini loop desk$1,200 - $1,800

135136

137

139

140a Plycraft green leather armchair$2,500 - $3,500

141a Vintage danish Figured rosewood Sideboardthe central tambour doors above two drawers and flanked by two cupboards on square sectioned legs. H1030 W2000 D470

$2,000 - $3,000

142a Vintage danish rosewood Sideboardwith four sliding doors above foor drawers on tapering legs. H1130 W2000 D455

$2,000 - $3,000

143a louis Poulsen Panthella table lampdesigned by Verner Panton. White acrylic body and shade. H540

$650 - $800

FROM OTHER VENDORS

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141


146a Vintage chrome coffee tableof over-lapping square section steel bands and glass top. Purchased in Wellington 1970’s. H340 W1120 D1120

$400 - $600

144a reproduction thor-larsen egg chairH.1400mm

$1,300 - $1,800

145a reproduction thor-larsen egg chairH.1400mm

$1,300 - $1,800

147an ib Kofod larsen walnut armchairwith original brown check wool fabric and adjustable seat.

$1,800 - $2,200144 145

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147

151a carltonware orbit coffee Setcomprising coffee pot with four mugs and saucers, jug and basin.

$150 - $250

152a german Studio Pottery Handled Vasewith charcoal and dribbled flambe glaze. H210

$100 - $150

153a murano Sommerso glass Vaseblue and yellow triple cased facet cut. H305

$80 - $120

154a Pair of iittala tall glass candlesticksby Timo Sarpaneva. With iceberg finish. H220

$100 - $150

155a Pair of iittala Short glass candlesticksby Timo Sarpaneva. With iceberg finish. H190

$100 - $150

156a murano Brown glass Vaseof cylindrical form with repeating bubble inclusions. H255 D175

$200 - $300

157an aseda glasbruk amber glass Bottle VaseH405$100 - $200

158a Kosta Boda Blue glass Bottle VaseH500

$200 - $300

159a nuutajarvi notso green art glass Vase$200 - $400

160three rare timo Sarpaneva Sun Balls for iittalawith fine internal thread. Two blue and one clear. Signed and with sticker. 1960.

$1,000 - $1,500

150a midwinter monaco coffee Setcomprising coffee pot, six cups and saucers, jug and basin.

$150 - $250

149a midwinter red domino coffee Setcomprising teapot, milk and sugar with four cups, saucers and plate.

$150 - $250

148a grant Featherston dining Suitewith four grey textured fabric dining chairs and extendable table. The tabletop with wear. L1200/1600 W835

$3,500 - $5,000

148


162a circular Brass and crystal chandelierthe central brass frame pierced with numerous layered spears of glass drops. H320 D500

$1,400 - $1,800

163an american lucite chandelierof squared octangular shape with alternating clear and frosted, interlinking drops. H500 W 350 D350

$1,000 - $1,50

165a george nelson white Vinyl lightshadeof globe form with ribbed sides. D500

$450 - $650

164a Pair of Kit Stewart turquoise tub chairs$1,500 - $2,000

164

150 151

167

167Four mid century english dining chairsin yellow vinyl upholstery and exposed wood legs.

$500 - $700

166an american lucite chandelierthe circular light with tiered alternating, clear and frosted triangular lucite drops. H300 - D500

$600 - $900

161an impressive italian crystal chandelierthe circular light with numerous tiered triangular crystal drops. H380 D500

$2,500 - $4,000

170a Pair of milo Baughman Black leather armchairswith shaped teak veneer backs. One chair with later castors. $2,500 - $3,500

171a milo Baughman Burr walnut tablewith shaped chrome legs. H480 W760 D760

$1,200 - $1,800

168a nest of three g-Plan occasional tablesthe largest with inset tile top. H510 W500 D500

$350 - $500

169a Vintage danish Hansen teak dining tablethe rectangular table with extendable leaves and glass top.

$1,200 - $1,800

170

172

173a Verner Panton Blue Flowerpot lampby Louis Poulsen with original box. D230

$500 - $700

172an oscar tusquets dining table for driadethe table structure and legs in Wenge with cherry wood borders. Table is extendable with drop side options and adjustable height. L1500 W1200 extended L2800

$6,000 - $7,000


177a mid century French coffee tablewith an iron base and signed hand decorated circular tile top. H430 D860

$600 $900

175three matching occasional Sidetableswith round white formica tops and three wood legs. H450 D400

$450 - $600

174an early david trubridge ‘glide’ rocking reclinerThe success of David Trubridge both locally and internationally now stand him as one of New Zealand’s design greats. His Pacific and nautical inspired designs, together with an environmental consciousness, mark his works as enduring classics. The glide recliner is more structurally sound than the Body Raft and rated by Sotheby’s at the Milan Furniture Fair as one of the best rocking chairs in the world. Designed in 2001 and constructed of steam bent ash and stainless steel screws, this early example was made in 2002 by David Trubridge. H800 L2300 W700

$8,000 - $10,000

176a watson Victor industrial new zealand Floor lampwith a chrome base and adjustabe spun aluminium shade. Circa 1940’s. H1350

$500 - $800

173174

177171


INTERIORSANTIQUES & DECORATIVE ARTS

PLEASE NOTEALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ

Please register absentee and phone bids by 12:00pm on Thursday 23 February.

THURS 29 MARCH 7:00PM

This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, fully illustrated

online at webbs.co.nz.

EVENING PREVIEW Thursday 22nd March 5.30 – 7.30pm

VIEWINGThursday 22nd March 9.00am – 5.30pmFriday 23rd March 9.00am – 5.30pmSaturday 24th March 11.00am – 3.00pmSunday 25th March 11.00am – 3.00pmMonday 26th March 9.00am – 5.30pmTuesday 27th March 9.00am – 5.30pmWednesday 28th March 9.00am – 5.30pmThursday 29th March 9.00am – 12.00pm

BUYER’S PREMIUM

A buyer’s premium of 15% will be charged on all items in this Antiques & Decorative Arts sale.

GST (15%) is payable on the buyer’s premium only.

322a mid Victorian Sterling Silver decanter Stand

$1,200 - $1,800

200an early Victorian child’s SamplerAnne Dent aged 10 1854’. H265 W280$150 - $250

201an early Victorian child’s SamplerAnne Dent aged 10 1855’. H435 W410$200 - $300

202a Hand Painted ivory miniatureof the Duchess of Devonshire?, Ormolu frame. H95$100 - $200

203a Hand Painted Porcelain miniatureof Christ with an angel. Gilt and silver frame. L115$100 - $200

204a Hand Painted ivory miniatureof Napoleon. Gilt brass mount. Signed Lago B. H130$100 - $200

205a tin Plate Jolly Joe money Boxtogether with a Eureka Tin safe money box. Circa 1930. H180$150 - $300

206a Victorian reducing glassin a gold plated lorgnette style frame. L68$80 - $120

207a Pair of antique turned Brass candlesticks H340$350 - $450

208a large 19th century copper Kettle H300$50 - $80

209Four 19th century cut crystal liqueur glassesscottish thistle shape and one other. $80 - $120

210a world war two 2nd model luftwaffe daggerwith dagger,aluminium mounts, scabbard and halyard. Small chip to the handle and light corrosion to the blade. $400 - $600

211a Victorian w. r. Pape double Barrelled ShotgunNot in working order, with condition issues. Circa 1860’s. $400 - $600

212a late Victorian rifle Bayonetstamped WD and VR. Wooden hilt with leather and steel sheath. L440$100 - $200

213a late Victorian rifle Bayonetstamped WD and VR. Leather hilt with leather and steel sheath. L615$100 - $200

214a Silver St. John Service medaliscribed and dated 1934. With three other medals. $100 - $200

215an early Victorian leather canon muzzle coverblack with painted coat of arms. H540$300 - $500see illustration p. 115

216a Victorian wilkinson officer’s Swordwith four bar guard and engraved blade. Metal scabbard. L990$300 - $500

217an antique Japanese wakazashi Swordmatching fuchi, kashira and rayskin grip with menuki , tsuba and kozuka. Rubbed lacquer saya. Blade needs attention. L640$400 - $800

218a 19th century French rifle Bayonetwith steel scabbard. Engraved and dated 1879. L660$100 - $200

219a Vintage Painted cork decoy duck L340$100 - $150

220a mounted deer Skulland twelve point antlers. $300 - $500

221a mounted deer Skulland ten point antlers. $300 - $500

222a mounted chamois Skull and Horns H330$150 - $200

223a taxidermy Beaveron a natural habitat mount. H334 L930$500 - $650

224a Vintage dutch cased Sextantin a mahogany case with fittings. NV. Observator - Rotterdam. W295600 - $800

225a 19th century Brass marine Barometermercury column with brass wall mount gimbal fitting. ‘Lisbon’. H930$300 - $500

226a Vintage Binnacle compasswith gimbal and side lamp. W260$250 - $400

227a 19th century cased dutch marine compassF.J. Joosten of Dordrecht. W250$250 - $400

228a Vintage cased engineer’s drafting SetE.O. Richter & Co. Some rust. W480$150 - $200

229a Vintage engineer’s Parallel rolling rule L485$50 - $80

MISCELLANEOUS


230an old dutch draught Horse yoke L1100$150 - $250

231a 19th century coach lamp H520$100 - $150

232an antique Brass oil lamp H270$50 - $80

233a ‘Flying dutchman’ Handpainted Pub SignThornby- on -Tees. The lower panel depicting ships at sea, restored. H1380 W1640$500 - $1,000

234a large wooden model Ship H560 W1860$300 - $400

235a Scratch Built model yacht H930$200 - $400

236a Pair of red cross Storage cases H420 W400 D615$150 - $300

237a Pair of red cross Storage cases H420 W400 D615$150 - $300

238a Pair of r.m.S. Queen mary canvas life Jacketsand certificate. $200 - $300

239a r.m.S. Queen mary Switchboardmounted on a wooden plinth, with a photo. L830$100 - $200

240a Pair of large Brass marine Boltson wooden bases with plaque ‘The R.M.S. Queen Mary’. AF. $100 - $200

241a chinese marine Port lampwith oil lamp and dhimney ‘Tung Woo’. H390$150 - $220

242a cased Pair of opera glassesin mother of pearl and gilt metal. $100 - $150

243an early 20th century French travel trunkwith original painted and printed decoration. H450 W980 D475$220 $300

244an antique turkish marble Headstonethe rectangular panel with carved inscription surmounted by a turban. Circa 1850.

245an early 19th centruy writing Slopewith brass detailing. Contents include compass, matchbox holder, flask etc. H400 W425 D550$400 - $600

246a 19th century Papiermache Snuff Boxwith butterfly and floral decoration. L75$80 - $120

247a 19th century French Papiermache Snuff Boxwith inlaid pewter decoration. L90$80 - $120

248a Victorian oval Horn Snuff Boxwith silver engraved panel. L76$100 - $150see illustration p. 115

249a Victorian oak tantaluswith three square cut crystal decanters. One stopper with chip. H320$200 - $350

250a Victorian oak tantaluscombined cigar and whiskey casywith gothic brass mounts. H260$300 - $400

251a lalique green ormeaux Vasethe round vase in the form of relief leaves, pinched neck and flared lip. Signed to base. R. Lalique, France. Hairline crack to body. H160$1,200 - $1,800

252a Small galle Squat glass Vaseoverlay tendril leaf pattern, red on amber. Signed. W90$800 - $1,200

253a Quality French Brass Figural mantel clockthe clock features an Elizabethan romantic seated on a rocky outcrop and a rectangular sectioned Rococo decorated base. The clock with white enamel face and roman numerals.Silk suspension works. Circa 1840. H425 W305$1,800 - $2,200

254a walnut and ebonised wood wall clockwith ornate pediment and white enamel dial. H1180 W600$400 - $600

255a decorative Polished Brass table lamptwin lights with triple caduceus columns around an urn. H680$200 - $300

256a decorative table lampwith twin candle lights on a bird branch around a centre column. H410$100 - $200

266Six Facet glass Soda Siphonsin an old wooden crate. $150 - $250

267Seven Facet and etched glass Soda Siphonsfive Ballins Bros. $150 - $250

268Six etched glass Soda SiphonsAlexander & Co. $150 - $250

269a carved maori Folk art Box W190 D190$100 - $150

270a Burr Kauri and rewarewa gavelwith a mottled Kauri octagonal base. L210$120 - $180

271a carved maori Folk art waka Huiawith gecko lid and manaia handles. L380$150 - $250

272a carved maori Folk art Box W140$100 - $150

273a carved maori Folk art inkstanddepicting a tiki mask with paua shell eyes. Circa 1940’s. W220$250 - $350

274a Set of maori Folk art Bellows L530$120 - $180

275a crown lynn legends Plate W285$250 - $450

276a temuka Brown glaze teapotof hexagonal form. T.N. Lovatt. H220$400 - $600

277a minton Pottery “the mecca” Foot warmer H350$150 - $200

278an o.c. Stephens Hors d’oeuvre traywith seven green dishes on a circular kauri base. Signed. D360$250 - $350

279an o.c. Stephens yellow lidded Boxsigned. W122$100 - $150

280a daniel Steenstra Painted crown lynn Vasethe baluster with painted branch and leaf design on a white ground. H250$1,200 - $1,500see illustration p. 111

281a len castle Stoneware Serving Bowlwith blue night sky monochrome glaze and impressed key border. W400$1,000 - $1,500

282a large len castle Stonewarewith brown wax resist glaze. Impressed mark. W410$1,500 - $2,000

283a John Parker Stoneware Bowlwide flared form with speckled green and ochre glaze. W255$200 - $400

284a denis o’conner Stoneware Bowlwith variegated red and green glaze. Impressed mark. D200$250 - $400

285a mirek Smisek iron glaze Vasewith a fat body and ribbed decoration. H280$100 - $200

257a Swiss gilt Brass Bedside clockwith a painted miniature ivory panel of windmills and children. ‘Le Beau - Moulin’ L100$600 - $800

258a Pair of South east asian garden Statues H700$300 - $500

259a Pair of French long yellow Silk curtainswith green bird, harp and urn motifs. L3500$300 - $500

260a French green Silk curtainwith woven neo-classical motifs. L2600 W1200$100 - $200

261a Quantity of French Silk Fabricincluding a bed cover. $100 - $200

262an edwardian woven Shawlwith embroidered silver thread floral pattern and border. W1800$80 - $120

263a decorative gypsy mirroretched and painted in original velvet and oak frame. H870 W560$250 - $350

264Four decorative cupboard doorsfaced with various book spines. H520 W440$250 - $400

265a Small iron Bound oak Barrelex Lion Breweries. H385$80 - $120

CERAMICS


300

301302

378

492 493

297 298

384

280

308 309

307

383

286a Juliet Peter Stoneware Platteriron glaze on four bar feet. Initialled. W270$80 - $120

287a Juliet Peter Stoneware Platterspeckled iron glaze on long bar feet. Initialled. W480$180 - $220

288a large wedgwood Keith murray green Vasethe tapered and turned shoulder vase with green matt satin glaze. H290$1,200 - $1,800

289a large wedgwood Keith murray cream Vasethe tapered and turned shoulder vase with green matt cream glaze. H285$1,000 - $1,500

290a mingay Blue Shoulder VaseKeith Murray style. H275$250 - $350

291a mingay red Shoulder VaseKeith Murray style. H275$250 - $350

292a Poole Pottery Hand Painted Vasethe fat body decorated with fern fronds. Signed. H175$200 - $300

293a Sue Fraser ‘Spirited Horse’ ceramic Figurethe horse of contemporary stylised ancient Chinese form with green and blue glaze. H240 W300$1,000 - $1,500

294a Briglin Figure of Sir laurence olivierdesigned and made by Sarah Parkinson for Briglin.No.12. H315$350 - $500

295a Briglin Figure of Sir John gielgudsame as above. No.86. H320$350 - $500

296a Briglin Figure of margot Fonteynsame as above. No.21. Faulted. H295$80 - $120

297a lucie rie Stoneware Bowlof eliptical form and satin black manganese glaze. Impressed mark. W150$1,000 - $1,500see illustration p. 111

298a lucie rie Stoneware cup and Saucerwith manganese glaze and scraffito linework. Impressed mark. W140$2,200 - $2,800see illustration p. 111

299a lucie rie Stoneware Platewith grey glaze and brown rim. Small edge nibble. Unmarked. D135$200 - $400

300a lucie rie Stoneware Pourerwith side handle and lemon glaze interior. Minor rim repair. W155$800 - $1,200see illustration p. 111

301a lucie rie Stoneware Pourerwith side handle, grey glaze and manganese rim. Impressed mark. W160$1,000 - $1,500see illustration p. 111

302a lucie rie Stoneware Beakerof cylindrical form with grey glaze and manganese rim. Impressed mark. H110$600 - $900see illustration p. 111

303a carol murphy ceramic Sculpted Headthe elongated head bisque fired on a square plinth. H230$150 - $250

304a Part royal doulton tango coffee Setfour coffe cans, six saucers, sugar bowl and cream jug. $150 - $200

305a Victorian green Floral transfer ashet W530$100 - $150

306a collingwood tea Setconsisting of eight cup, saucer and plates. Floral swg and gilt border decoration. $100 - $200

307a william moorcroft two Handled Fruit Bowlon stand with boldly painted Persian design.Signed and impressed marks. D285$400 - $600see illustration p. 111

308a william moorcroft cauldron Vasewith Eventide pattern. Blue signature, circa 1925. H80$800 - $1,000 see illustration p. 111

309a walter moorcroft Squat Vasewith Anemone pattern, stamped marks. H85$100 - $200see illustration p. 111

310a walter moorcroft Squat Vasewith Hibiscus pattern,impressed marks. W115$100 - $200

311a moorcroft Pottery Pendantwith Hibiscus Pattern. L75$50 - $100

312a Pair of royal worcester urn Vasesthe fat bodies with fern and racken painted pattern on a cream and lemon ground. Circa 1895. H300$600 - $800


332a Set of three Silver Plate oval meat disheswith removeable handles and beaded edges. C1900. W350$350 - $450

333a Fine early Victorian Sterling Silver Butler’s traywith handles and wide scroll, shell and leaf borders around an engraved centre. Leopard crest. Robinson, Edkins & Ashton. Birmingham 1839. 5.2kg. W770$6,000 - $8,000see illustration p. 115

334a Pair of Victorian Sheffield Plate candleabraswith three branches and gadrooned borders. H430$400 - $600

335a Pair of georgian Sheffield Plate coasterspierced leaf gallery and turned wood bases. D140$200 - $300

336Seven georgian Sterling Silver table Forksfiddle pattern, Eley & Fearn, London 1817. 500g. $300 - $500

337a george iii Sterling Silver coffee Potof baluster form on a beaded circular foot. Chased floral wreath decoration to the body. Charles Wright, London 1775. $2,500 - $2,800

314a large imperial amphora Vasepainted and incised pelican pattern. H440$120 - $180

315a Black mark Belleek milk Jug grape leaf pattern, rope twist handle. H160$150 - $250

316a derby young girl Figurine H110$50 - $100

317Pair of 19th c meissen dancing Figuresin dancing pose on a gilded scroll base. Blue crossed swords mark. AF. H160$250 - $400

31819th century european Porcelain girl Figurewith a bird box. Blue crown mark H110$50 - $80

319Pair of 19th c european Porcelain Figuresof girl with basket and boy with staff. Blue crown mark. H165$300 - $400

320a large delft chargerwith painted underglaze blue Frans Haals copy of a female portrait. D400$300 - $400

321a Fine gentleman’s tooled leather dressing casean assortment of sterling silver topped bottles, boxes and dishes. The lift out tray reveals cut-throat razors and a circular silver box. Frans Douglas, London 1847 - 1851. With hand written letters to Lord Glengall etc. $2,000 - $3,000see illustration p. 115

322a mid Victorian Sterling Silver decanter Standwith tricorn base and floral scroll decoration around a centre carry handle. Together with three later cut crystal decanters. W.R. Smiley London 1855. $1,200 - $1,800see illustration p. 106

323a william iV Sterling Silver Snuff Boxrectangular with scroll edging and engine turned decoration. Gilt interior. Lawrence & Co.Birmingham 1836. L68$250 - $400see illustration p. 115

324a george iV Sterling Silver Viniagrette Boxwith pierced cover and gilt interior. Birmingham 1836. L3500$200 - $350see illustration p. 115

325a george iii Sterling Silver oval Vinagrettewith gilt interior and hair locket cover. London 1801 L32$200 - $350see illustration p. 115

326a Sterling Silver and oval crystal claret Jugsilver neck and handle, London 1906. H200$300 - $500

327a Fine george ii Sterling Silver milk Jugwith a hollow hoop handle and bird beak spout. London 1731. 522g. $800 - $1,000see illustration p. 115

328a Sterling Silver circular teapotbakelite handle and finial. Mappin and Webb 1921. L230$400 - $600

329a george ii Sterling Silver coffee Pot.of tapered baluster shape with scroll and shell spout, acorn finial and later ebony handle. London 1757. Repaired. H260$1,800 - $2,200see illustration p. 115

330Four georgian Sterling Silver Saltsboat shape with relief swag and reeded decoration on an oval base. Original blue glass liners. L125. LONDON 1809$1,000 - $1,400see illustration p. 115

331a Sterling Silver two Handled Porringer BowlLondon 1904. W180$250 - $400

313a Pair of royal dux courting Figuresin 18th century dress, biscuit fired and pink glaze. Marked to base. H460$700 - $900

SILVER

338eight Sterling Silver Fiddle Pattern dessert Forks1814 - 1847, 380g. $250 - $350

339two georgian Sterling Silver dessert Spoonsold English pattern. J. Fountain, London 1807. $80 - $120

340an arts and crafts Sterling Silver Spoonwith hammered bowl and castle knopp. Circa 1900. $50 - $80

341a rare georgian Sterling Silver cream Jugwith acorn shaped body and scroll handle on three hoof feet.Gilt interior. London circa 1750. $500 - $800

342a Victorian Sterling Silver cupwith flared mouth and scroll handles on a circular foot. Gilt interior, London 1842. W125$500 - $800

343a georgian Sterling Silver toddy ladlewith cauldron bowl and turned wood handle. Newcastle circa 1760. L310$500 - $700see illustration p. 115

344three Sterling Silver table Spoonsold English Pattern. $120 - $180

345a Sterling Silver table matchbox Holderrectangular on ball feet. Birmingham 1914. L60$80 - $120

346a Sterling Silver Bonbon dishwith pierced bowl on a circular foot. London 1904. W180$80 - $120

347a Sterling Silver Sweetmeat Bowlwith pierced oval body, gadrooned edge and scroll ends. Birminghma 1903. L270$200 - $350

348a Victorian Silver Plate decanter Standtriple form , mirror top. Elkington. W260$100 - $200

349a Sterling Silver mounted glass Stamp moistenerBirmingham 1913. One roller broken. $80 - $120

350a Pair of chinese Silver disheseach inset with a silver dollar coin. W85$80 - $120

351a chinese carved Soapstone Seala crouching foo dog sits atop a column with engraved character and floral decoration. H90$400 - $600

352a Vintage chinese red Silk Jacketwith embroidered dragon decoration. $300 - $500

353a Vintage chinese Blue Silk Jacketwith silver thread floral decorartion. $200 - $400

354a chinese Black lacquer Shou xing Figureconverted into a table lamp. H660$150 - $300

355chinese carved and gilded temple Paneldepicting fighting warriors in a landscape of trees and temples. H660$100 - $200

356chinese carved and gilded temple Paneldepicting fighting warriors in a landscape. H860 W400$150 - $250

357a 19th century chinese embroidered wall Hangingwith five Kylin playing in a floral and cloud landscape. L2500 H530$300 - $500

358a Pair of chinese cloisonne Baluster Vaseswith dragon and cloud decoration on a black ground. H260$150 - $300

359a carved ivory tuskwith a carved centre panel of a dragon amidst clouds. $300 - $500

360a chinese carved wood Sage Figurewith whisk beads and large hat. Inlaid eyes and teeth. H400$80 - $120

361a long chinese Paper and Silk Scrollwith painteed poem, calligraphy, goddess and courtly figures. L4000$100 - $200

362a chinese double gourd Vasewith painted polychrome enamel goddess figures in clouds above court figures and signed poem. H335$100 - $200

363a Pair of chinese carved wood Sage Figuressmiling with large hats and cloaks. H150$100 - $200

364a chinese Brass lidded incense Burnerwith relief dragon and cloud decoration and pierced lid with a Foo dog. H300$150 - $300

365a chinese Bronze lidded incense Burnerwith inlaid champleve enamel decoration. Surmounted by a kirin. H270$200 - $300

ORIENTAL


333

248

324325

323

329321215

330 327

343

366a late 19th century Japanese imari Bowlwith four painted fan panels of birds and shishi with mon and leaf tendril border. D240$150 - $300

367a late 19th century Japanese imari Plateoctagonal with floral panels in the imari pattern. W230$80 - $120

368a late 19th century Kutani Bottle Vasewith painted floral and bird fan panels. H250$100 - $200

369a late 19th century Kutani Bottle dishwith shishi and floral decoration. Diaper pattern and gilt border. D120$100 - $200

370a Pair of Japanese Fukugawa Sake cupswith painted and gilt Buddhist symbol decoration. H45$100 - $150

371a Pair of Japanese imari Sake Bottleswith painted enamel decoration in the traditional manner. H145$80 - $120

372a late 19th century Japanese imari chargerwith six section fan panels decorated in the traditional palette. D345$300 - $500

373a 19th century Japanese Platewith blue and brown birds in a plum tree. D210$100 - $150

374a Small meiji Japanese Satsuma Bowlwith gilt, painted figure and brocade decoration. Sterling base, 1907. W60$80 - $120

375a Pair of Japanese Silver Baluster Vaseswith lion mask ring handles. Dents. Circ 1900. H170$150 - $300

376a large chinese carved Shou xing Figurecarrying peach and staff on a plinth. H600$150 - $300

377a chinese cloisonne Kwan yin Figurestanding with intricately decorated robes. The head carved and painted ivory. H290$300 - $500

378Five chinese export tea Bowls and Saucerswith underglaze blue willow pattern and gilt decoration. $200 - $400see illustration p. 111379Six Pieces of chinese export tablewarecoffee cup, tea bowl, three saucers and bowl. $150 - $250

380three chinese export tea Bowls and Saucerssimilar to above. $150 - $250

381Seven chinese export tea Bowls and Saucerssimilar to above. $200 - $400

382Six chinese Famille rose cups and SaucersAF. $100 - $200

383Six chinese Famille rose Plateswith flowers, butterfly and figures. One repaired. $500 - $700see illustration p. 111

384a chinese Famille rose Bowlof cartouche form, the centre with painted Mandarin court scene and an ornated border of flying bats. W270$400 - $600see illustration p. 111

385a chinese Famille rose Bowlwith painted court scene. Repaired. W275$100 - $200

386a 19th century Japanese Bronze Hibachiwith three shishi mask legs. W360$150 - $250

387a chinese yellow Silk embroidered Panelwith two juxtaposed three toed dragons. H570 W590$200 - $400

388a Pair of oriental carved Vase Standswith marble inset tops. H370$150 - $300see illustration p. 119

389a nest of Four chinese Hardwood tables H730$250 - $350see illustration p. 119

390an oriental Hardwood display cabinetcarved bamboo decoration. H1890 W650 D310$400 - $600see illustration p. 119

391an oriental Hardwood Standcarved with inset marble top. H820mm H660 D900$150 - $250See illustration p119

392anglo-Burmese revolving tableintricately carved with birds, elephants and plants on six sscroll legs. H580 D680$500 - $800see illustration p. 119


394a Hand Knotted runnerwith five central medallions in red, white and blue. L3870 W760$300 - $500

395a Sarook Hand Knotted rugwith central medallion and floral decoration L2110 W1320$400 - $600

396georgian Scottish mahogany longcase clockwith satinwood stringing and quartered pillars to the case. Some distress to the white dial. William Dun, Glasgow. H2040$1,800 - $2,200

397early Victorian Bow Front mahogany chestwith five cock beaded drawers and satinwood stringing. Supported on splayed feet. Replaced handles. H1025 W1000 D500$1,000 - $1,400

398an edwardian mahogany occasional tableoval with inlaid satinwood stringing. H750 W600$150 - $300

399a late georgian mahogany toilet mirroron a three drawer base, turned and reeded columns. W620$100 - $200

400a Victorian Flame mahogany chestof five drawers with turned handles and bun feet. H1190 W1230 D550$800 - $1,200

401a 19th century mahogany cheval mirrorwith carved supports and shaped base. H855 W880$200 - $350

402an early 19th century mahogany Kneehole deskraised on bracket feet, replacement hardware, BADA sticker. H800 W830 D520$2,800 - $3,500see illustration p. 121

403an 18th century oak cupboardwith one single drawer and lower cupboard framed by two panels. Replaced brass hardware and restoration. H840 W940 D390$500 - $700

404a 19th century english Spindleback chair$80 - $100

405an english elm windsor chair H1100$350 - $450

406an english elm windsor chair H1090$200 - $300

407a Victorian oak dining chair$100 - $150

408an antique cottonreel turned armchair H1050$400 - $600

409an early 20th century oak desk chairwith a spindle back. $200 - $300see illustration p. 121

410a large antique Pine dresserwith three drawers above three panelled cupboards. The later upper section with open shelves. H2050 W1870 D500$1,000 - $1,500

411a late 19th century twin Pedestal deskwith inset red leather top. H750 W1360 D730$1,200 - $1,500

412a Baluchi Hand Knotted rugin bright red and brown geometric pattern. L1450 W980$600 - $800

413a turkoman Hand Knotted rugin red and black repeating geometric pattern. L1600 W1240$1,700 - $2,200

414a Baluchi Hand Knotted rugin red and black repeating geometric pattern L1750 W1250$1,800 - $2,200

415an afghan Hand Knotted rugin red, blue and brown geometric patterns. L2700 W2050$1,800 - $2,200

416a Kashan Hand Knotted rugin intricate brown, blue and orange floral pattern. L2170 W1400$2,000 - $2,500

417a Fine turkish gold and Silk Prayer rugthe central pattern depicting birds in a tree within a floral border. Interwoven with golf thread. L800 W500$3,200 - $4,000

418a Birjand Hand Knotted rugin repeating red and blue diamond pattern. L1800 W1440$1,600 - $1,900

419a Victorian two drawer Hall tablewith ornate turned legs and stretcher, original glass handles. H790 W1060 D480$400 - $800

393a Hand Knotted runnerseven central medallions and floral border in reds, blues and greens. L3020 W710$300 - $500

FURNITURE & RUGS

431a French Provincial oak Side chair H820$100 - $200


433a Pair of French Style carved armchairswith gilt frames. H1140 W650 D670$500 - $700

434a French Style Pair of Bed endswith carved decoration and caned panels. H1310 W970$200 - $400

435a French Provincial Fruitwood dining tablesupported on four tapering square section legswith a small drawer to the frieze. H760 W2520 D910$3,500 - $5,000

436a Pair of French arched wrought iron gates H1450 W2240$600 - $900see illustration p. 118

437a Hand Knotted Baktriari rugwith stylised geometric floral decoration. L2000 W1390$400 - $600

420a late georgian mahogany Side tablewith a single frieze drawer. H730 W750 D450$500 - $800

421an antique mahogany Bachelor’s chestof four drawers with a brushing slide. On bracket feet with later hardware. H790 W860 D510$700 - $1,000

422an 18th century Style glazed display cabineton a turned stretcher base. The two doors with inlaid decoration. Requires restoration. H1610 W1570 D400$1,500 - $2,000

423a good 19th century Biedermeier Sewing tablein mahogany with tripod base, hexagonal column. Open well with fabric covered silks drawer. H740 W530 D410$800 - $1,200see illustration p. 121

424an early Victorian armchairwith scrolled arms on cabriole legs. Contemporary upholstery. $600 - $800

425a cast metal and Facet glass Basket chandelierwith women’s faces and floral swags. H820 D360$600 - $800

426a cast metal and Facet glass Basket chandelierwith women’s face detailing. H610 D360$400 - $600

427a Spanish Provincial glazed cupboardwith two interior shelves and iron hardware H1730 W1090 D370$600 - $800

428a large european cupboardwith central drawer. Constructed from heavy timbers. H1820 W1270 D580$600 - $900

429a French Provincial deskwith three frieze drawers on restrained cabriole legs. H750 W1290 D700$800 - $1,500see illustration p. 120


448

443

444


447an arts and crafts rimu Side table H775 W1720 D575$200 - $400

448Six original lippinott designed chairsex Auckland University. $1,000 - $1,500see illustration p. 118

449a Kauri arts and crafts display cabinetwith drawer to the base and pierced upstand back. H1750 W890 D380$600 - $900

450an english industrial Side tableconstructed from a rivetted metal water tank. H510 W680 D510$500 - $800

451an antique iron Studded coffer H290 W1030 D460$250 - $400

452a mid 19th century mahogany chest of drawersbowfront, on bracket feet with brass detailing and later ring handles. H1200 W1100 D570$1,000 - $1,500

453a Victorian walnut credenzawith mirrored doors, white marble top and carved mirrored back, inlaid decoration. H1780 W1520 D420$1,500 - $2,200

454a large cast garden classical maiden Statue H2250$400 - $600

455a French wrought iron chandelier H1100 D800$700 - 900

438a Hand Knotted rugwith intricate pattern in muted colours. L1700 W1250$200 - $400

439a Small Hand Knotted runnerwith eight diamond medalllions in red and indigo. L2700 W570$200 - $300

440a Small Hand Knotted runnerwith nine diamond medallions in red. L2840 W670$200 - $300

441an english oak court cupboardJacobean style with extensive carving and decorative ironwork. The whole raised on a platform base with turned and carved supports. H1770 W1970 D540$1,000 - $1,500

442an oak morris chair$300 - $600

443an arts and crafts corner coat Standwith six pegholes and umbrella stand. H1720$300 - $400see illustration p. 118

444an arts and crafts oak Settlewith a contemporary cushion. W1710 D620$300 -$500see illustration p. 118

445an arts and crafts Setteewith a shaped back and pierced decoration. H1130 D1350 D560$300 - $500

446an arts and crafts oak Sideboardwith upstand back and panelled detailing H1430 W1760 D500$500 - $800

392

391

390388

389

456an ornate mid 19th century walnut armchairwith button back and carved frame. $400 - $600

457a Fine 19th century mahogany tea tablethe tilt top with seven circular recesses amongst foliate carving. The turned tripod base with acanthus details above claw feet. Some faults. H700 D790$2,500 - $3,500

458a Victorian tripod Piano Stool $100 - $150

459a georgian Style carver chairwith pierced backsplat and cabriole legs. $150 - $200

460a Pair of late Victorian Parlour chairsnewly upholstered in check fabric. $400 - $600

461a Hand Knotted Pakistani runnerof eighteen diamonds on a red ground. L6280 W810$200 - $300

462a Hand Knotted runnerwith twelve central gulls on ared ground. L3360 W830$200 - $300

463a 19th century oak twin Pedestal deskon castors with inset top. H755 W1220 D580$650 - $800

464a large Stoneware garden Pot H780 D930$300 - $500

465large colonial Kauri crank dining tablewith turned legs on castors. H760 W2690 D1380$1,500 - $2,200

466a colonial Hall chairwith ornate carved and turned decoration and unusual inlaid detail to the seat. $200 - $300

467impressive Pair of cast iron garden urnscampagna style, one rim with a fault. H950 D740$600 - $800see illustration p. 120

468an unusual 20th century longcase clockwith carved heraldic and foliate decoration. H2270 W610$600 - $900see illustration p. 120

469a grey leather Study chaircirca 1940’s. $200 - $300

470a dutch Pastry tablewhite enamel top, painted base and single drawer. Circa 1920. H700 W1070 D640$400 - $500

471mid 19th c French gilt carved mirrorarch topped with carved foliate decoration. H1460 W1280$400 - $800

472a turkish Hand Knotted carpetwith geometric design on a cream ground. L3300 W2200$400 - $600

473an early 19th century oil on canvas dutch Portraitof a gentlewoman doing handwork, while reading. Gilt framed. H1040 W820$600 - $1000

474three Jon Jansen attributed dining chairswith teak frames and green vinyl seats. $450 - $600

475a retro circular Formica dining tablewith faux wood grain top and four rocket ship legs. D1230$500 - $800

476a greek Flokati rugwith repeating diamond pattern. L2230 W1660$200 - $400

477a new zealand Brown Vinyl armchairon a four star base. $150 - $220

478a retro adjustable Floor lampwith dark brown base and shade. Circa 1970’s. H1410$150 - $250

479a grant Featherston dining chairin original textured grey fabric. Slightly distressed condition. $200 - $300

468

429

467

436


484a rare Swedish itera Plastic Bikeonly in production from 1982 - 1985. $200 - $400

495watercolour of the Ship macQuarie - ‘a green’signed 1967. H240 W290$80 - $120

505an oil on canvas mountain Scene - maurice wilksErrisberg, Mount Connemara. H600 W700$500 - $800

480a midwinter zambezi Plate W250$30 - $50

481a midwinter gay gobbler Plate W280$30 - $50

482tibor reich denby tigoware coffee Pot H245$30 - $50

483a thomas ‘coup’ white dinnerware Setdesign by Constantin Grcic. Consisting of eight dinner, side,soup and cups. Two mugs and eight gourmet plates. $750 - $900

485a rare Swedish itera Plastic Bikeonly in production from 1982 - 1985. $200 - $400

486a louis Poulsen nyhavn Bollard lightsteel in white finish H1800 D600$750 - $900

487a louis Poulsen waterfront Bollard lightgrey aluminium. H1500 D270$650 - $800

488a louis Poulsen waterfront Bollard lightgrey aluminium. H1770 D270$650 - $800

489a louis Poulsen Hw Patina Pole lightcopper shade with frosted glass lamp. H600 D700$650 - $800

490a Pair of louis Poulsen white wall lightsin white finish. W485 D250$300 - $500

491a Pair of louis Poulsen white wall lightsin white finish. W485 D250$300 - $500

492gabriel dauchot Female Portrait with dogoil on canvas, unsigned. H785 W380$500 - $800see illustration p. 111

493a gabriel dauchot male Portraitoil on canvas, signed. H785 W380$500 - $800see illustration p. 111

494a trevor lloyd etching of Kaimatua Falls H310 W85$200 - $300

496an oil on canvas european landscape - ‘m. Hagedoorm’ H450 W540$100 - $200

497a Set of Six georgian Hunting Prints H500 W560$400 - $600

498an oil on Board european marine Scenesigned ‘C.W’. H165 W235$200 - $300

499an oil on canvas coastal Scenesigned ‘Leslie’ H320 W430$300 - $400

500raymond wilson Kingfisher watercoloursigned 1981. H375 W310$300 - $500

501a rodney Fumpston Screenprintsigned ‘Silver Pavillion’ 58/75. H380 W270$100 - $200

502a watercolour landscape - J.w. elsdon H470 W560$100 - $200

503a watercolour english manor - l.m. death H550 W650$100 - $200

504an oil on Board landscape - r. watsonSunshine and Frost’. H500 W600$500 - $800

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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 Paintings and Contemporary Art sale, and a buyer’s premium of 15% for the Antiques and modern design, (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.


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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 Paintings and Contemporary Art sale a buyer’s premium of 12.5% will be added to the hammer price and that gST is charged on the premium, and that in the case of a successful bid on items in the Antiques and modern design sales, a buyer’s premium of 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.

FOR AbSENTEE bIDDERS ON lOTS IN SAlE 332

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*

INDEX OF ARTISTS

Aberhart, laurence 9, 10

Albrecht, Gretchen 28

binney, Don 50, 57, 58

Castle, len 40, 41, 42

Cauchi, ben 7

Clairmont, Philip 18, 32, 36

Cotton, Shane 3, 33

Dashper, Julian 5

de lautour, Tony 71

Dibble, Paul 34, 37

Dolezel, Jenny 72

Frizzell, Dick 60

Goldie, Charles 35

Hammond, bill 1, 24, 38

Harris, Jeffrey 52, 75, 76

Henderson, louise 29

Hight, Michael 62

Hight, Michael 69

Hodgkins, Frances 30, 67

Hotere, Ralph 44, 68, 48, 51, 64

Kaan, Simon 73

Killeen, Richard 4, 6, 22, 25

lane, Tony 74

lee, Hye Rim 20

Maddox, Allen 19, 27

McCahon, Colin 31, 39

McCracken, Francis 45

McIntyre, Peter 66

Mcleod, Andrew 21, 23

Pardington, Fiona 12, 13

Parekowhai, Michael 14, 15

Paterson, Rueben 8, 78

Rae, Jude 43

Robinson, Ann 16

Robinson, James 70

Speers, Jim 17

Stack, Frederick Rice 65

Stichbury, Peter 2, 55, 56, 77

Thompson, Sydney lough 46

Van Hout, Ronnie 11, 59

Walsh, John 49, 61, 63

Wollaston, Toss 53, 54

Wynyard, Colonel Robert Henry 47

important paintings and contemporary art, modern design and antiques

Documents

sale of important paintings

important month of sales

african art

antiques modern design

suite of sales

sale of oceanic

sale of classic

pm interiorsmodern design