Select, December 2023 by Webb's Auction House

Modern, Contemporary & Historical Art

11.12.2023

0682 Auction Catalogue December 2023

Select

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Webb’s Valuations

Established in 1976, Webb’s has a long and rich history of valuing New Zealand’s finest art and luxury collectibles. Valuations have been a care aspect of our business from the beginning, and over the decades Webb’s has successfully completed valuations for countless astute collectors and public institutions. Webb’s has a range of departments, and the specialist experience to value all manner of objects. Webb’s departments include Art, Decorative and Asian Arts, Fine Wines & Whiskies, Fine Jewels, Watches & Luxury Accessories, and Collectors’ Cars, Motorcycles & Automobilia. Collectors, institutions and insurers trust Webb's valuations because we are independent and highly experienced. Get in touch with our Valuations Specialist to arrange an assessment of your collection.

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We are now inviting final entries for Pencil Case Painters, a curated live auction that will take place in February 2024. The catalogue will present work by six highly regarded New Zealand artists: Shane Cotton, Bill Hammond, Séraphine Pick, Tony de Lautour, Saskia Leek and Peter Robinson. As a group these artists are referred to as the ‘pencil case painters’ — a moniker which captures the doodle-like qualities of works created by this group in the early 1990s while at Ilam School of Fine Arts. If you have works by any of these artists that you are looking to bring to market, this bespoke catalogue offers a unique opportunity. Please get in touch with our specialists for an obligation-free appraisal.

Séraphine Pick, untitled (detail), 1995, est $4,000 — $5,000

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Contents

Foreword 14 Programme 16 Plates 17 Terms & Conditions

Index of Artists

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Foreword

Mark Hutchins-Pond, Senior Specialist, Art

Kia ora koutou, nau mai here mai; greetings and welcome to our December Select catalogue, presenting our final collection of artworks for 2023. What a year it has been! Webb’s has continually raised the bar by achieving new sale records for many outstanding artworks by our country’s most significant artists.

▲ Mark Hutchins-Pond, Senior Specialist, Art

Webb’s Art Department is proud to present another collection of high-quality artworks for auction this December. As you will see, our carefully selected offering is wonderfully varied in style and medium, providing something to stimulate, excite, and delight every aesthetic taste and budget, for all admirers and collectors of New Zealand art.

For serious collectors of works by Aotearoa’s most established artists, we are delighted to present three outstanding paintings by the Grand Dame of Antipodean Modernism: Gretchen Albrecht. These works eloquently represent Albrecht’s three most recognized and celebrated series: her monumental stained canvas abstractions from the 1970, and her iconic shaped canvas hemispheres and ovals of subsequent decades. All these works are chromatically vivid and in immaculate condition. Another superb offering comes in the form of the mesmerising reflective work Towards Aramoana by Ralph Hōtere. 14

For collectors seeking accessibly priced artworks by well-known New Zealand artists, we offer a tempting selection of fine prints by Gordon Walters, Pat Hanly, Tony Fomison, Bill Hammond and Don Binney. New Zealand photography is celebrated in exemplary works by Marti Friedlander, Ans Westra, Harvey Benge, and Laurence Aberhart; while collectors of New Zealand sculpture are well catered for with bronzes by Terry Stringer, a ceramic by Bronwynne Cornish and a rare reclining figure sculpture by Russell Clark. But it is not only works by well-established artist’s that we present for your pleasure. We also shine a spotlight on emerging painter, Christine Pataialli, and are delighted to include a recent work by Ayesha Green whose unique fusions of folk art, contemporary cool, and revision of historical narratives are gaining increasing attention.

The catalogue will launch at our Mount Eden gallery on Tuesday 5 December with a talk by art historian Victoria Munn, who will ‘play favourites’ and discuss some of her personal highlights. The works will then be on view every day up until the live auction on Monday 11 December. If you are unable to attend the Auckland viewing in person, we are happy to show you works through video call or supply an in-depth condition report. We hope you enjoy Webb’s final art offering of 2023, and would like to take this opportunity to thank you for your ongoing support. We wish you and your whānau all the best for the festive season and the New Year ahead.

12 Ayesha Green, In the Extension of My Feet EST $1,500 — $3,000

Programme Auckland Launch Event

Playing Favourites with Victoria Munn

Tuesday 5

December

6pm — 8pm

Join us at the launch event for our final art auction of 2023. To celebrate the occasion, Victoria Munn will be discussing her personal highlights from the catalogue. Victoria is a PhD candidate in art history at the University of Auckland, where her research is focused on beauty culture in early modern England, Italy, France and beyond. Please RSVP to registrar@webbs.co.nz

Viewing Wednesday 6 — Friday 8

December

10am — 5pm

Saturday 9 — Sunday 10

December

10am — 4pm

December

10am — 5pm

December

6.30pm

Viewing on Request Monday 11

Auction Monday 11

Plates

136 Lots

Specialist Enquires

Condition Reports

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610

Georgina Brett Cataloguer, Art cataloguer@webbs.co.nz +64 27 929 5609

Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

Hannah Owen Registrar, Art registrar@webbs.co.nz +64 9 529 5609

1 Peter Stichbury, Glister 2008 screenprint on paper, 26/100 signed and dated 340 × 290mm EST $3,000 — $6,000

3 Don Binney, Mill Creek, Rakiura 2011 screenprint on paper, 8/25 signed, dated and title inscribed 810 × 520mm EST $5,000 — $8,000

2 Karl Maughan, Plume screenprint on paper, edition of 50 signed and title inscribed 970 × 770mm EST $3,500 — $5,500

4 Tony Fomison, Fart - Forward - Found 1986 lithograph on paper, 22/23 signed, dated and title inscribed 465 × 650mm EST $1,000 — $2,000

5 Dick Lyne, Pit Sawing Kauri Log 2011 acrylic on board signed, dated and title inscribed 590 × 750mm EST $2,500 — $5,000

6 Dick Lyne, Mt Ngauruhoe 1950 1956 acrylic on board signed, dated and title inscribed 280 × 430mm EST $3,000 — $6,000

7 Bill Hammond, Bone Eagle A 2007 lithograph on paper, 9/25 signed, dated and title inscribed 135 × 185mm EST $3,000 — $6,000

8 Bill Hammond, Bone Eagle B 2007 lithograph on paper, 9/25 signed, dated and title inscribed 135 × 185mm EST $3,000 — $6,000

9 Bill Hammond, Bone Eagle C 2007 lithograph on paper, 9/25 signed, dated and title inscribed 135 × 185mm EST $3,000 — $6,000

10 Richard Killeen, Dragonfly Book 2020 laser print on paper signed, dated and title inscribed 315 × 297mm EST $1,800 — $2,600

11 Richard Killeen, House Dog 2020 laser print on paper signed, dated and title inscribed 315 × 297mm EST $1,800 — $2,600

12 Ayesha Green, In the Extension of My Feet screenprint on paper, 10/20 630 × 620mm EST $1,500 — $3,000

Ayesha Green

In the Extension of My Feet

Ayesha Green (Kāi Tahu, Ngāti Kahungunu) is one of Aotearoa’s most sought-after contemporary artists, working with a distinctive pictorial style that engages with complex ideas of representation, identity, colonialism and power.

Centrally positioned and extending the length of the picture plane, Green’s figure dominates In the Extension of My Feet. Extending from her feet, as if they are growing from her body, are two flowering branches of poroporo and koromiko. Many of the works Green’s screenprint on paper, shown in the Dunedin exhibition In the Extension of My Feet, include botanical imagery, as exemplifies the artist’s unique Green explores the personification visual language, with her flattened of natural forms as embraced by figure positioned front-on to both Victorian society and te ao the picture plane, and her body Māori. Of course, nature is also rendered in bold blocks of raffiaassociated with womanhood and coloured flesh. The print is drawn femininity, and in Māori mythology from a painting of the same title, Papatūānuku, the Earth Mother, is which was exhibited in Green’s regarded as the source of all life. solo exhibition Wrapped up in Here, as branches sprout from Clouds at the Dunedin Public Art Green’s feet, the interrelationship Gallery in 2020. The exhibition between human life, plant life engaged with romantic ideas and the earth are emphasised. of the sublime embraced by Victorian society, co-opting visual formats and historical sources in Green’s graphic, almost cartoonlike style. This is a distinct part of Green’s modus operandi. Many of her works subvert historical images – medieval or Renaissance depictions of Madonna and Child, or the portraits of Elizabeth I, for example – by situating them in a decidedly contemporary context, exploring and challenging ideas about personal and collective identity.

13 Tony Fomison, Angel of Death 1986 lithograph on paper, 7/12 signed, dated and title inscribed 320 × 350mm EST $2,800 — $3,500

14 Tony Fomison, Tarawera Eruption 1986 lithograph on paper, 1/13 signed, dated and title inscribed 390 × 390mm EST $2,000 — $3,000

16 Don Binney, untitled charcoal and pastel on paper 270 × 372mm EST $4,000 — $8,000 15 Juliet Peters, untitled ink on paper signed 170 × 170mm EST $2,000 — $4,000

17 Don Binney, untitled c2003 graphite on paper 285 × 210mm EST $3,500 — $5,000

18 E Mervyn Taylor, Hinemoa woodcut on paper, edition of 40 signed and title inscribed 115 × 75mm EST $2,000 — $3,000

19 Julian Dashper, Warkworth acrylic on canvas 1180 × 900mm EST $3,000 — $6,000

20 Chris Heaphy, Peace 2007 acrylic on canvas 1900 × 1450mm EST $12,000 — $18,000

21 Gordon Walters, Maho 1972 screenprint on paper, 47/50 signed and title inscribed 380 × 230mm EST $5,000 — $8,000

22 Richard Killeen, Repetition Triangle Wasp 2020 UV inkjet print on plywood signed and dated 550 × 550mm EST $4,000 — $8,000

Richard Killeen & Gordon Walters

Printed Language

Although of different artistic generations, both Richard Killeen and Gordon Walters occupy an important role in New Zealand’s art history, each artist producing his own distinct visual language. Printmaking plays an important role in both artists’ oeuvres, reflected in two works offered by Webb’s this December: Killeen’s Repetition Triangle Wasp and Walters’ Maho. Maho, for example, exemplifies Walters’ use of printmaking in his working process, using the medium to experiment with composition and colour. In 1973, the artist withdrew from sale a large canvas, also titled Maho, and instead gifted it to his wife, Margaret Orbell. Now in the Museum of New Zealand Te Papa Tongarewa collection, this canvas has a clear relationship to the screenprint titled Maho produced the year earlier, with the same pared-back design interlocking two koru forms. Unlike the red and black palette used in the early screenprint, the final painting employs the black and white combination found in much of Walters’ work. Of the final painting, Orbell explained that the title “conveys something of the stillness and calm which this painting communicates.”1 Walters’ inscription on the 1972 screenprint demonstrates that, before he settled on the final composition, he had a concept for the work in mind.

▲ Margaret Orbell to Sue Crockford, 1

October 2003, Gordon Walters object file, 2004-0015-1, Museum of New Zealand Te Papa Tongarewa.

Like that of Gordon Walters, Richard Killeen’s artistic output embraces geometric forms, and Repetition Triangle Wasp shares the flatness and clean lines of Walters’ Maho. There are, however, distinct differences in the production of Maho and Repetition Triangle Wasp, which highlight the time passed between their conception. Whereas Walters’ working process saw him painstakingly forming his shapes with a compass and ruler, Killeen’s output has been completely digital since 2003. Notably, Killeen has also experimented with medium in his printmaking, using various supports such as cardboard, aluminium and – as in the case of Repetition Triangle Wasp – plywood. Also exemplified here is Killeen’s inclusion of entomological imagery, which has consistently appeared in his output since the 1970s. 27

Andy Leleisi‘uao

No 1

At first glance, Andy Leleisi‘uao’s work can appear completely unearthly and unfamiliar, but a second look reveals a visual world deeply reflective of humanity. In No 1, conjoined faces reveal themselves as the composition’s dominant forms, inside and around which a dynamic scene of beastly figures and cryptic imagery unfolds. Born to Sāmoan parents, Andy Leleisi‘uao grew up in the suburb of Māngere, in Tāmaki Makaurau. His early work was influenced by comic strips, and the concept of a narrative unfolding before the viewer remains evident in works such as No 1. The eye darts around the canvas, with the delicately balanced imagery indulging, but not overwhelming, the viewer. Much of it is unfamiliar, and not all forms will resonate, but the eye instinctively lands on that which intrigues us, encouraging us to look again, and to look closer. Among the strange zoomorphic creatures, we find silhouettes of human forms: hands, faces, torsos. The silhouette motif appears in much of Leleisi‘uao’s work. By way of explanation, the artist states, “With the silhouette works, there is no vanity. Every figure is unique but treated the same. The silhouettes are judged on their movements and not what they look like.”1 Indeed, the pared-back silhouettes, and the largely greyscale colour palette, mean the human forms that populate No 1 lack race or gender. Because they don’t represent any particular group, we can all see ourselves in Leleisi‘uao’s work. Given humanity is so intrinsic to his compositions, it is unsurprising that his artistic practice is deeply informed by his personhood. “I don’t need a studio, to be seen at art openings or be told I’m a good artist,” he explains. “I just need to know I’m a good son and father and the rest will follow.”2 Although many of Leleisi‘uao’s forms are rendered in a rich, shadow-puppet black, much of the imagery ▲ Lucinda Bennett, “Artist Profile: is also surrounded by a black haze, which the artist Andy Leleisi‘uao,” Art Edit, 23 February 2023, https://artedit.com. customarily achieves by rubbing the surface with his au/artist-profile-andy-leleisiuao/ fingers. This imbues his forms with an energy that ▲ “About the Artist: Andy Leleisi‘uao,” The Contemporary Pacific 24, no. 1 (Spring 2012): vii. suggests a living scene, rather than a static image. 1

23 Andy Leleisi'uao, No 1 acrylic on canvas signed 1010 × 980mm EST $15,000 — $20,000

24 Don Binney, Grackle 1970 screenprint on paper, 4/100 signed, dated and title inscribed 620 × 455mm EST $3,500 — $5,500

26 Pat Hanly, Hope Vessel and Heart 1986 lithograph on paper, proof 1 signed, dated and title inscribed 340 × 400mm EST $2,500 — $4,000

25 Paul Hartigan, Weights and Measures (Walters - a Tribute) 1992 sandpaper on mirror signed, dated and title inscribed 590 × 545mm EST $2,500 — $5,500

27 Max Gimblett, untitled watercolour and coloured pencil on book page, brass 340 × 500mm (widest points) EST $3,500 — $7,000

28 Gordon Walters, Genealogy III 1971. printed 2020 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 1085 × 800mm EST $8,000 — $10,000

29 Gordon Walters, Tiki II 1966. printed 2022 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 1055 × 805mm EST $5,000 — $8,000

30 Gordon Walters, Genealogy 5 1971. printed 2023 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 1060 × 970mm EST $6,000 — $10,000 31 Bill Hammond, untitled 2006 lithograph on paper, edition of 100 signed and dated 580 × 430mm EST $7,000 — $12,000

32 Michael Smither, Jesus Falls for the First Time acrylic and watercolour on paper 900 × 590mm EST $4,000 — $8,000

33 Michael Smither, Station of the Cross acrylic and watercolour on paper 910 × 580mm EST $4,000 — $8,000

34 Ralph Hōtere, Window in Spain 1978 watercolour and ink on paper signed, dated and title inscribed 310 × 240mm EST $9,000 — $14,000

35 Colin McCahon, Tomorrow Will Be the Same But Not as This screenprint on paper, 91/100 indented with McCahon House blindstamp 1160 × 790mm EST $13,000 — $16,000

36 Ans Westra, Ruatoria 1963. printed later archival print 390 × 390mm EST $2,200 — $3,200

37 Ans Westra, Ruatoria 1963. printed later archival print 390 × 390mm EST $2,200 — $3,200

38 Ans Westra, Ruatoria 1963. printed later archival print 390 × 390mm EST $2,200 — $3,200

39 Harvey Benge, 5th Avenue New York – October 1970 c1990 silver gelatin print, 1/1 signed and title inscribed 340 × 490mm EST $2,000 — $3,000

40 Ans Westra, Tikitiki, East Coast, 1963 1963 gelatin silver print signed, dated and title inscribed 340 × 330mm EST $2,500 — $5,000

41 Marti Friedlander, Ralph Hōtere gelatin silver print 480 × 400mm EST $4,000 — $8,000

Robert Ellis

Symbolism

Robert Ellis’ (1929–2021) biggest contribution to New Zealand art was surely his interweaving of fibres from European and Māori cultures. Although he was born in Northampton, England, Ellis travelled to Aotearoa in 1957 to take up a position at Elam School of Fine Arts. Eventually retiring as Emeritus Professor in 1994, Ellis had a profound influence on students at Elam over almost four decades of teaching. When Ellis married Elizabeth Aroha Mountain (Ngā Puhi, Ngāti Porou) in 1966, he became entwined with her Māori culture, and integrated his new personal connection and knowledge of Māoridom into his artistic practice, visually uniting Māori and Pākehā perspectives and visual forms. In particular, Ellis engaged with the concept of tūrangawaewae, and the relationship Māori have to the land. “I was a city dweller and here I was being introduced to a much more powerful and cohesive relationship to land,” Ellis later recalled. “Land is a consuming part of being Māori. It had history, connected to who lived there. Every hill had relevance.”1 These realisations came to greatly inform Ellis’ artistic practice, and are visualised in works such as Maungawhau Mt Eden. Written in the blue passage towards the top of the composition are the words ‘Te Ipu-a-Mataaho’. In Māori mythology, Mataaho is the guardian of the Earth’s secrets. He lived in the crater of Maungawhau (Mount Eden), which was therefore called Te Ipu-aMataaho (the bowl of Mataaho). Simultaneously, though, in the upper left corner of Maungawhau Mt Eden stands a trigonometrical point used for surveying, referring to the colonial use of Maungawhau as a site for land surveying in the mid-nineteenth century. Embracing their ambiguity and dependency on the viewer’s code of reference, Ellis was particularly fond of incorporating symbols into his compositions, as seen in both Maungawhau Mt Eden and Arepa Omeka. In works produced during the 1990s and 2000s, Ellis’ use of symbolism is especially ▲ Gail Bailey, “Recognition in developed, and his unique intermingling of Māori Symbols,” New Zealand Herald, 27 October 2004, https:// and Pākehā motifs constitutes a distinctive visual www.nzherald.co.nz/lifestyle/ recognition-in-symbols/ YJ6TM2YEOOXRQWD7XZGSBWYKUI/ language unlike any other in Aotearoa’s art history. 1

42 Robert Ellis, Arepa Omeka 1992 gouache, graphite and coloured pencil on paper signed and dated 400 × 730mm EST $4,500 — $7,000

43 Robert Ellis, Maungawhau Mt Eden 2002 acrylic and watercolour on paper signed, dated and title inscribed 1120 × 770mm EST $9,500 — $14,000

44 Russell Clark, untitled pigmented plaster 850 × 650 × 380mm (widest points) EST $30,000 — $50,000

45 Terry Stringer, Love 2001 bronze, 4/20 signed and dated 310 × 85 × 85mm (widest points) EST $6,000 — $10,000

46 Guy Ngan, untitled cast aluminium, nylon signed 55 × 55mm (widest points) EST $2,000 — $3,000

47 Guy Ngan, untitled cast aluminium, nylon signed 55 × 45mm (widest points) EST $2,000 — $3,000

48 Terry Stringer, Youth 1997 bronze, 1/3 signed, dated and title inscribed 310 × 130 × 140mm (widest points) EST $3,000 — $5,000

49 Bronwynne Cornish, untitled 2012 glazed cermamic signed and dated 350 × 170 × 170mm (widest points) EST $2,400 — $3,200

50 John Philemon Backhouse, Māori Chief c1890s oil on shell signed 110 × 100mm (widest points) EST $1,800 — $2,500

51 John Philemon Backhouse, The Pink Terrace Rotomahana c1890s oil on shell signed and title inscribed 200 × 190mm (widest points) EST $2,900 — $3,500

52 Vera Cummings, Guide Sophia oil on canvas signed 195 × 145mm EST $5,000 — $10,000

53 Thomas Darby Ryan, untitled oil on canvas 510 × 760mm EST $6,000 — $8,000

54 et al., untitled pastel on gelatin silver print 190 × 240mm EST $3,000 — $5,000

55 Laurence Aberhart, Midway Beach, Gisborne, 13 June 1986 gelatin silver print 195 × 235mm EST $4,000 — $8,000

56 Harvey Benge, Hotel Art Series 2004 2004 lightjet print on Full Crystal archive paper, 1/3 signed 390 × 580mm EST $2,000 — $3,000

57 Fiona Pardington, Tui Mountain [Whanganui Museum] 2008 toned silver bromide print, 3/5 signed, dated and title inscribed 585 × 455mm EST $8,000 — $16,000

58 Bill Hammond, Fish Finder 1 2003 lithograph on paper, 11/45 signed, dated and title inscribed 555 × 450mm EST $7,000 — $8,000

59 Bill Hammond, Fish Finder 2 2003 lithograph on paper, 11/45 signed, dated and title inscribed 555 × 450mm EST $7,000 — $8,000

60 Bill Hammond, Fish Finder 3 2003 lithograph on paper, 11/45 signed, dated and title inscribed 555 × 450mm EST $7,000 — $8,000

Bill Hammond

Fish Finder 1, 2 and 3

Although Bill Hammond (1947–2021) is probably best known for his bird paintings – often on backdrops of emerald green, with drips of paint descending the canvas – from the 1980s printmaking constituted an important part of his artistic practice, too. In Fish Finder 1, 2 and 3, the zoomorphic imagery that has captivated viewers since Hammond introduced it into his visual vocabulary in 1993 plays a central role. Whereas Hammond’s paintings depict vast ethereal worlds inhabited by his avian forms, with an abundance of both familiar and unfamiliar imagery, in this exquisite set of prints there is no distracting from the unsettling figures. Hammond’s zoomorphic forms were first inspired by his 1989 trip to the Auckland Islands, a catalyst now deeply embedded in the artist’s mythology. Visiting remote sites such as Enderby Island, where populations of native species thrived, Hammond was struck by the sense of primordial order. For Hammond, the Auckland Islands evoked the landscape in Aotearoa prior to human intervention. Several years later, Hammond’s ‘bird-people’ began to populate his artworks, with their various combinations of bird heads, human limbs and wings. Although, by now, these bird-people are so familiar to art enthusiasts, their initial appearance must have beguiled viewers. Fish Finder 1 offers viewers the chance to more closely examine the nuances of these renowned forms. Note their sensitively modelled thighs and buttocks, their broad chests, and their numerous protruding heads. Developing these distinctive forms, Hammond engaged with concerns about native species’ endangerment and extinction, and he was especially interested in the impact of Victorian ornithologist Walter Buller. The silhouette of the human face in profile in Fish Finder 2 reminds viewers of humanity’s role in the destruction of avian paradises like Enderby Island. The botanical imagery contained within the forms of all three prints reminds us that native flora also needs protection.

61 Christina Pataialli, Morning Light 2019 house paint and acrylic on canvas 1200 × 1200mm EST $5,000 — $8,000

62 Christina Pataialli, Mt Roskill (Transported) 2020 house paint and acrylic on canvas 900 × 1200mm EST $4,000 — $6,000

Christina Pataialli

Honest Paintings

In her fourth year of study at Whitecliffe College of Arts and Design, Christina Pataialii introduced house paint into her work. As her father was a house painter, it was a medium with which Pataialii had an intimate familiarity, and part of her attraction to the medium was certainly its unique materiality, being notably opaque, and tending to flatten forms. But in both Morning Light and Mt Roskill (Transported), Pataialii unites house paint with acrylic, ‘low’ art with ‘high’. This encourages a tension or discussion between the two mediums, a negotiation that Pataialii is not in full control of. Noting the tensions and oppositions of her biracial identity (she is of Sāmoan and Pākehā descent) Pataialii does not shy away from embracing them in her work. Pataialii has described house paint as “honest”, and another part of the medium’s allure for her is its normally utilitarian function, and the idea of bringing this into the gallery. In Morning Light, she takes this idea further by using a drop cloth as her canvas. “I think it is interesting and destabilising to use house paint on drop cloth, wrap it around artist canvas and then put it in a gallery space and say, ‘This is painting’,” she explains. “I’m not taking the piss, I’m asking to be taken seriously.”1 In a sense, Pataialii does the same thing with her colour palette. For example, in her 2019 exhibition at Tim Melville Gallery titled On the Lam, the pastel hues were influenced by the colours of state houses in the central and western Auckland suburbs where Pataialii spent her childhood.

▲ Lucy Jackson, “Telling Truths,” 1

Art News New Zealand 184 (Winter 2019): 57.

In Home by Dark, a 2020 McLeavey Gallery exhibition that included Mt Roskill (Transported), colours from her childhood were once again brought into the gallery space. Conceived of during her Gasworks residency in London, the exhibition explored the artist’s early memories of dusk. The work constituted a significant development for Pataialii. Compared with Morning Light, the forms are notably tighter and more defined, with a strong geometrical element. However, the sense of tension remains: in the contrasting colours; in the intermediary status of dusk; and in the push and pull between representation and abstraction. 45

63 Don Peebles, Untitled 1981 acrylic on canvas signed, dated and title inscribed 490 × 590mm (widest points) EST $6,000 — $10,000

64 Simon Kaan, untitled 2004 oil on aluminium signed and dated 400 × 400mm (diameter) EST $9,000 — $12,000

65 Don Driver, Fibre Glass 1966 fibreglass on board signed and dated 920 × 1220mm EST $3,000 — $5,000

66 Allen Maddox, untitled acrylic on canvas 580 × 550mm EST $20,000 — $25,000

67 Dale Frank, Doomsday Dwarf Star Hr8210-1 2002 acrylic and varnish on canvas signed and dated 2000 × 2000mm EST $15,000 — $30,000

68 Tony de Lautour, Initial Inventory 1 2019 acrylic and oil on canvas signed, dated and title inscribed 1015 × 755mm EST $10,000 — $15,000

69 Andrew Beck, untitled gelatin silver print 1480 × 995mm EST $12,000 — $16,000

70 Max Gimblett, Collossus 2017 acrylic, resin and platinum leaf on canvas signed, dated and title inscribed 385 × 385mm (widest points) EST $15,000 — $20,000

71 Gretchen Albrecht, Pohutukawa – Stamen (Tumult) 2006 acrylic on canvas signed, dated and title inscribed 780 × 1490mm (widest points) EST $30,000 — $40,000

72 Gretchen Albrecht, Sea Region 1976 acrylic on canvas signed and dated 1500 × 1870mm EST $45,000 — $50,000

73 André Hemer, An Image Cast by the Sun #15 2019 acrylic and pigment on canvas signed, dated and title inscribed 230 × 160mm EST $2,500 — $4,500

74 Jeffrey Harris, untitled 1970 pastel on paper signed and dated 425 × 340mm EST $5,000 — $8,000

75 Louise Henderson, Parnell Ladies pastel on paper 440 × 441mm EST $3,000 — $6,000

76 Patricia France, Picnic in the Sand Dunes 1984 gouache on paper signed, dated and title inscribed 345 × 450mm EST $3,000 — $5,000

77 Colin McCahon, Bathers 1955 screenprint on paper 425 × 620mm EST $2,500 — $4,500

78 Richard McWhannell, Queen of the Night 2018 oil on canvas signed 300 × 450mm EST $4,500 — $6,000

79 Trevor Moffitt, Prepared Bait 1988 oil on board signed, dated and title inscribed 595 × 595mm EST $8,000 — $12,000

80 Roger Mortimer, The Murmuring of a River 2018 acrylic and gouache on board signed, dated and title inscribed 1100 × 1260mm EST $8,000 — $12,000

81 Roger Mortimer, Unuwhao 2018 acrylic and gouache on board signed, dated and title inscribed 1100 × 1260mm EST $8,000 — $12,000

82 Peter Siddell, untitled 1970 oil on board signed and dated 590 × 890mm EST $20,000 — $30,000

83 Don Binney, Paratutae 2006 coloured pencil on paper signed and dated 140 × 280mm EST $8,000 — $12,000

Gretchen Albrecht

Two Paintings

By now, over 40 years after they were first introduced into her artistic practice, Gretchen Albrecht’s hemispheres occupy an important place in Aotearoa’s art history. They are instantly recognised as Albrecht’s, and their introduction in 1981 constitutes an important moment in the development of both the artist, and twentieth-century New Zealand modernism. The year spent in Dunedin as Frances Hodgkins Fellow appears in many New Zealand artists’ biographies as an important, or even seminal one. Albrecht’s is no different, for it was during her 1981 fellowship that she introduced the semi-circular format to her practice. Albrecht has linked her interest in the format to her 1979 trip to Italy, where she encountered an abundance of architectural arches, with lunettes, niches or tympana filled with Renaissance paintings by the likes of Piero della Francesca. Although Albrecht’s earliest hemispheres were only the width of her arm span, their scale increased quickly. This new format clearly appealed to Albrecht, who realised it was a shape she could put her voice into. From the getgo, Albrecht’s hemispheres were created on the floor, where she was already working in the decade prior to create her large rectangular landscapes.

Like the hemisphere offered by Webb’s, many of Albrecht’s early examples are diptychs, uniting two contrasting colours. Early on, Albrecht’s hemispheres were physically composed of two stretched canvases eventually bolted together. Although she would later work with one hemispherical stretcher, this initial approach enabled her to work on the two quadrants separately, and results in a clean line dividing the two colours. Her builder father constructed all of Albrecht’s shaped stretchers until his death in 1996, when her brother took over the task.

84 Gretchen Albrecht, Black Cusp 1990 acrylic and watercolour on canvas and paper signed, dated and title inscribed 560 × 770mm EST $6,500 — $9,500

In using the hemisphere format, Albrecht successfully draws our attention to the edges of the composition, a more difficult feat in a standard rectangular canvas. The bold colours do not neatly approach or cover the edges of the composition, but tease them, oscillating forwards and backwards towards the Yves Klein blue adorning some edges of the hemisphere. Indeed, this sublime work also demonstrates Albrecht’s impressive skills as a colourist. The combination of shamrock green and deep maroon enables the two colours to heighten one another, and the way the concentric sweeps of acrylic seep into the canvas, built up in layers, means the colours are not uniform. They vary in depth and intensity, imbuing the work with a sense of energy. To associate Albrecht’s work with that of American abstract expressionist Helen Frankenthaler would be to fall into the trap – one that frustrates Albrecht and feminist art historians – of linking two women artists simply by virtue of their shared gender. One would be better off pointing to the colour-field artist Morris Louis, whose Veil paintings were exhibited at the Auckland City Art Gallery in 1971, and whom Albrecht cites as a greater influence. At the end of the 1980s, Albrecht continued her exploration of shapes, and introduced the oval to her repertoire. Works such as Black Cusp (1990) demonstrate Albrecht’s continued interest in movement and colour, but the gestural, painterly approach and curvature embodied by her early hemisphere paintings is interrupted by the straight-angled rectangular form laid over top. 58

85 Gretchen Albrecht, untitled 1984 acrylic on canvas signed and dated 1520 × 3050mm (widest points) EST $45,000 — $65,000

86 Gordon Walters, On the Diagonal 1979 gouache on paper signed, dated and title inscribed 290 × 380mm EST $40,000 — $60,000

Gordon Walters

On the Diagonal

Gordon Walters was one of the first New Zealand artists to pursue abstraction, creating distinctive geometric paintings from the early 1950s onward, during a period when, largely, the New Zealand public did not embrace abstract art. Over time, the artist distilled his abstractions into visually simple explorations of shape and colour. Undeniably, the clean minimalist geometry of Gordon Walters’ globoid koru motif instantly conjures up images of an fern frond. The koru (also referred as pītau) is for Māori and Pākehā an emblem of cultural and collective identity. For Māori, the koru represents something eternal, in a state of continuous movement. The unfurling spiral koru symbolises birth and creation, the closed inward coil is a symbol of return to the origins of life. Within the koru paintings Walters created, the symbol is read as representing bicultural politics and examining the national identity of Aotearoa. Walters’ rendering of Aotearoa’s native fauna is clearly informed by the canon of Western abstraction. From the 1960s, Walters’ distinctive koru design provided a rich resource for many paintings, prints and drawings. While the work in this catalogue from 1979 is formally minimal, its dynamic push–pull play of the koru scrolls, which derive from the kōwhaiwhai pattern, keep us engaged as our eye’s concentration shifts between dark and light tones of blue – in a way that has a conceptual connection to the unfurling and furling of a fern frond. However, it must be said that while Walters’ koru design is a seminal image within this country’s twentieth-century art canon, these works were only one facet of his artistic practice.

▲ Peter Brunt, “Debts and 1

Homages,” in Gordon Walters: New Vision, ed. Lucy Hammonds, Laurence Simmons and Julia Waite (Auckland Art Gallery Toi o Tāmaki and Dunedin Public Art Gallery, 2017), 120.

Peter Stichbury

Portraits

Peter Stichbury’s captivating portraits depict figures both real and imagined, exploring their psychological experiences and making observations about human consciousness. Although they were created 20 years apart, both Peter Macdonald, Scott Base, 1956 (1997) and Hella Hammid Remote Viewing an Elephant Skeleton in a Museum, 10:10am, 1983 (2017) exemplify key characteristics of Stichbury’s painted portraits, notably his single-figure compositions, an exaggerated realism and minute attention to detail. Comparing the two works also demonstrates Stichbury’s progress towards greater idealisation and refinement of his figures. His depiction of Peter Macdonald – who took part in the establishment of Scott Base on Ross Island, Antarctica, in 1956–57 – enhances the sitter’s greying hair, blemishes and facial wrinkles. Two decades later, Stichbury rendered Hella Hammid with flawless skin, symmetrical features and big, wide-set eyes, imparting on her a sense of agelessness.

Hella Hammid Remote Viewing an Elephant Skeleton in a Museum, 10:10am, 1983 was included in Stichbury’s 2017 solo exhibition High Strangeness at Gallery Baton in Seoul, South Korea. These works depicted witnesses of Unidentified Aerial Phenomena (UAP), exploring the psychological and physiological impact of their experiences. Stichbury’s artistic practice has engaged with these ideas since 2014. 62

87 Peter Stichbury, Peter Macdonald, Scott Base, 1956 1997 acrylic on canvas signed and dated 510 × 410mm EST $15,000 — $20,000

This work’s title, Hella Hammid Remote Viewing an Elephant Skeleton in a Museum, 10:10am, 1983, reveals Stichbury’s subject, the German American photographer Hella Hammid, and her backstory. Hammid, the subject of numerous paintings by Stichbury, was known for candid, empathetic photographs, especially of women and children. However, in the 1970s and 1980s Hammid was also the first civilian to participate in CIA-sponsored experiments at the Stanford Research Institute. These experiments explored the concept of ‘remote viewing’, or paranormal extrasensory perception, with Hammid drawing and sculpting images from her mind’s eye. Declassified documents and video footage of Hammid’s participation in these experiments survive, offering Stichbury insight into the process and surely enabling intense study of her physiological response. In the figure’s gaze, Stichbury masterfully creates the sense of Hammid looking inwards while in the process of remote viewing.

Although Stichbury questions the validity of the majority of the UAP accounts, he also urges his viewers to suspend disbelief of mysteries and reported occurrences that might disagree with what he deems “our current consensus reality.” He ushers his viewers towards realising that the unknown is not necessarily unanswerable or impossible. “A successful painting can transport its audience,” Stichbury explains. “You set up a proposition, an externalised thought experiment for them to be drawn into, to wrestle with and perhaps untangle.”1

▲ Ingrid Cincala Gilbert, “Peter 1

Stichbury has Suspended Disbelief,” Cincala Art, 2022, https:// cincala.com/musingsinthestudio.

88 Peter Stichbury, Hella Hammid Remote Viewing an Elephant Skeleton in a Museum, 10:10am, 1983 2017 oil on linen signed, dated and title inscribed 600 × 500mm EST $50,000 — $70,000

Fiona Pardington

Portrait of a South Island Kokako, Extinct

Dr Fiona Pardington’s (Ngāi Tahu, In this work we see the Kāti Māmoe, Ngāti Kahungunu, ghostly figure of the South Clan Cameron of Erracht) Island kōkako emerging from hauntingly beautiful portraits and enigmatic darkness into a soft still-life compositions, encased glow. Although the image is of in their grand, hand-lacquered a taxidermied specimen, this black frames, are instantly lighting animates each feathery recognisable. It is no wonder detail of the bird’s ebony coat, in that Pardington has achieved a way that seems to breathe life extensive local and international back into the ancient now-extinct commercial success, and Portrait creature. There is a tenderness of a South Island Kokako, Extinct in Pardington’s portrayal of this is a compelling example of the majestic creature that is present work of one of Aotearoa’s foremost in all her imagery. The treatment contemporary photographers. of the South Island kōkako has a quality that is more similar to Pardington’s images frequently the manner of noble portraiture depict Māori taonga and than mere documentation of a museological objects, along with specimen for a still-life study. native wildlife. The artist delves Pardington has stated: “I’ve into museum collections to reveal personalised them, made portraits sacred objects stripped of their of them and just treated them colonial contexts of time and like they were individuals.”1 place, reviving and honouring them through her camera lens. Portrait of a South Island Her works are powerful; she Kokako, Extinct is a stunning skilfully balances conceptual example of Pardington’s iconic rigour and technical finesse, oeuvre. It is richly steeped in challenging preconceptions the nuances of her practice, of photography’s capacity for formally sophisticated artistic excellence beyond its and visually arresting. documentative qualities. ▲ “Solitary Female Huia, 2006. 1

Fiona Pardington, New Zealand, 1961–,” Art Gallery of New South Wales, accessed 23 July 2020, https://www.artgallery.nsw.gov. au/collection/works/177.2006/

89 Fiona Pardington, Portrait of a South Island Kokako, Extinct 2016/2021 inkjet print on Hahnemühle paper, edition of 10 signed 1090 × 1460mm EST $25,000 — $35,000

90 Jeff Thomson, untitled enamel on corrugated iron 950 × 350 × 360mm (widest points) EST $4,000 — $8,000

91 Ronnie van Hout, Hand with Baseball 2017 acrylic and polyurethane on Fibreglass; aluminium rod 400 × 240 × 130mm (widest points) EST $10,000 — $18,000

92 Shane Cotton, Uenuku Kuare 2011 acrylic on wooden baseball bat signed, dated and title inscribed 860 × 85 × 85mm (widest points) EST $14,000 — $22,000

93 Richard Killeen, Punctuation Space 2002 acrylic on powdercoated aluminium 1200 × 1200mm (overall; dimensions variable) EST $20,000 — $30,000

94 Banksy, CND Soldiers 2005 screenprint on paper, 93/350 700 × 500mm EST $28,000 — $42,000 NOTE

Accompanied by Pest Control Certificate of Authenticity.

Ralph Hōtere

Towards Aramoana

Towards Aramoana belongs to a group of works by Ralph Hōtere (1931–2013; Te Aupōuri, Te Rarawa) generally referred to as the Baby Iron series. Some works were framed using Hōtere’s iconic, recycled sash-window frames, while others were embellished with the equally iconic driftwood frames crafted by Hōtere’s friend and collaborator, Roger Hickin. A feature shared by these artworks, though, is their partial or complete composition from aluminium. The artist employed the material in various ways, distressing it with scratches, burnishing, or lines scorched with a blow-torch, and probing the physical limits and properties of the material. In this way, these works relate to Hōtere’s approach to painting that began in the mid-1970s, when he left his Song Cycle paintings on stretched canvas out in the rain.

to the local environment. Hōtere’s initial adoption of aluminium was clearly spurred by this campaign. When the protest was eventually successful, with the National Government halting the proposed construction in 1982 (for economic, rather than environmental reasons), Hōtere’s use of the material persisted. In the continued appearance of aluminium in his work, the artist’s consistent embrace of the poetics of opposition is visualised, and his dissenting voice reverberates through his oeuvre.

Generally speaking, Hōtere drastically altered his materials and surfaces, battering, beating and burning them until they appeared vastly different – often even unrecognisable – from the original materials. However, unlike other works of its kind, in the bottom half of the composition Awarded the Frances Hodgkins of Towards Aramoana Hōtere Fellowship residency in 1969, has left large swathes of the Hōtere permanently relocated aluminium untouched. He to the town of Port Chalmers, makes his artistic mark with an near Dunedin. Hōtere’s home effortless and unchoreographed and studio were therefore not far flurry of almost feather-like from the beachside township of mechanical burnishing, but Aramoana, where the construction leaves the rest of the surface of an aluminium smelter was unmarked. The burnished section proposed. From the mid-1970s, of metal contrasts with the sleek, the artist was heavily involved in reflective, unmarred parts of the the Save Aramoana campaign composition, and the effect is that opposed the proposal, citing akin to that of dropping a pebble the significant pollution it would into a still lake – a burst of energy bring, and the concerning threat disrupting the tranquil, mirror70

▲ Cilla McQueen, “Baby Iron,” 1

in Hōtere: Out of the Black Window, ed. Gregory O’Brien (Auckland: Godwit, 1997), 114.

like surface. Mirrors evoke a captivating sense of infinity: no matter which angle you view them from, there seems to be no end to the world inside, and they seem to extend infinitely. Cilla McQueen, New Zealand poet and one-time partner of Hōtere, likens the surface of the Baby Iron works to a “hall of mirrors” that “tracks inwards to yourself.”1 Certainly, the surface of Towards Aramoana, with its coexisting passages of damaged and untouched aluminium, might encourage internal reflection on the viewer’s part, but it is also deeply reflective of Hōtere’s practice and artistic voice.

95 Ralph Hōtere, Towards Aramoana enamel on burnished steel title inscribed 800 × 800mm EST $65,000 — $85,000

96 Stephen Bambury, Ghost (XV) 2005 chemical action and silver leaf on aluminium panel signed, dated and title inscribed 107 × 340mm EST $5,000 — $8,000

97 Neil Dawson, untitled acrylic on steel and mesh 900 × 1220mm EST $6,000 — $10,000

Stephen Bambury & Neil Dawson

Transforming Materials

Both Stephen Bambury and Neil Dawson have an interest in manipulating or transforming materials. Ghost (XV) demonstrates Bambury’s impressive understanding of the properties of aluminium, using chemical reaction to alter the properties and colour of the material, to which he has also applied silver leaf. Certainly, Bambury’s explorations of materiality challenge conventional ideas about what constitutes painting. Much of Neil Dawson’s body of work has also explored boundaries of his mediums, revealing a masterful understanding of materiality and its impact on the viewer.

▲ Neil Dawson in a recorded 1

conversation with Peter Leech, Christchurch, 11 February 1982. Quoted in Peter Leech, “Elusive Objects: Recent Work by Neil Dawson,” Art New Zealand 25 (Spring 1982).

▲ Ibid. 2

For example, the untitled Dawson work offered by Webb’s is made of steel and mesh with applied acrylic. The quality of the steel mesh – the fact that empty space is inherent in its form – appealed to Dawson, who was drawn to the fact that it is “half there and half isn’t there.”1 In this work, as in many others, Dawson’s use of mesh enables him to tease the viewer. On first look, the dimensions of the work are unclear: is the work two dimensional, as suggested by the flat layer of mesh? The circular staircase winding itself up the composition complicates this, though, and its solidity negates the transparency of the steel mesh that dominates the composition. Dawson creates illusions for his viewer, which encourage us to inspect the work for longer, our perspective oscillating between appearance and reality. Peter Leech has written that “the compelling force of [Dawson’s] work is that, despite its materiality, it somehow escapes the space which it occupies.”2 Certainly, this strength is on show here.

The staircase motif is included in a number of Dawson’s works, including a 1994 commission by the Museum of Contemporary Art in Sydney, Australia. In that instance, the circular staircase was suspended outside the gallery entrance, further complicating the viewer’s perspective. To a greater degree, recurring shapes play an important role in Bambury’s work, too. Ghost (XV) exemplifies his preoccupation with square and cross shapes; forms that have permeated his works for the last four decades.

98 Melvin Day, untitled 1959 gouache on paper signed and dated 235 × 460mm EST $1,800 — $3,000

99 Lorraine Rastorfer, Swathe 2023 acrylic on board signed, dated and title inscribed 800 × 1600mm EST $7,000 — $10,000

100 Louise Henderson, untitled (Forms Through Space) 1967 watercolour and gouache on paper signed, dated and title inscribed 380 × 555mm EST $7,500 — $9,500

101 Peter McIntyre, untitled oil on board signed 510 × 740mm EST $10,000 — $15,000

102 Peter McIntyre, Venice from the Lagoon with the Library on the Left and the Ducal Palace on the Right watercolour on paper signed 520 × 710mm EST $7,000 — $12,000

103 Peter McIntyre, untitled oil on board signed 600 × 470mm EST $15,000 — $20,000

104 E Mervyn Taylor, Mai screenprint on paper, edition of 300 400 × 330mm EST $1,500 — $3,000

105 James Watkins, untitled oil on canvas signed 990 × 990mm EST $5,000 — $8,000

106 Sydney Lough Thompson, untitled oil on canvas signed 500 × 600mm EST $5,000 — $10,000

107 Melvin Day, Roses acrylic on board signed 430 × 330mm EST $5,000 — $10,000

108 Sydney Lough Thompson, Market Siene, Concarneau Ville 1926 oil on canvas signed and dated 440 × 590mm EST $30,000 — $35,000

111 Nigel Brown, untitled 1989 oil on canvas on board signed and dated 820 × 80mm EST $4,000 — $8,000

109 Marie Le Lievre, Synthesis 2007 oil and varnish on canvas signed, dated and title inscribed 1200 × 1200mm EST $4,000 — $6,000

110 David Barker, Laetitia's Garden 2003 oil on board signed and dated 710 × 800mm EST $8,000 — $16,000

112 Simon McIntyre, untitled oil on canvas signed 1000 × 2000mm EST $3,000 — $6,000

113 Eve Disher, Restaurant 1960 gouache on paper signed and dated 555 × 380mm EST $5,000 — $8,000

115 Garth Tapper, Concrete oil on board signed 345 × 405mm EST $6,000 — $8,000

114 Nigel Brown, Nude with Cross Window 1982 oil on board signed and dated 760 × 560mm EST $5,000 — $8,000

116 Philip Clairmont, Portrait of Viki 1974 crayon and graphite on card signed, dated and title inscribed 610 × 540mm EST $5,000 — $9,000

117 John Tiger Shen, Barber Shop 2020 C-type print on cotton rag, edition of 3 400 × 500mm EST $1,200 — $1,800

118 John Tiger Shen, Table Top 2020 C-type print on cotton rag, edition of 3 400 × 500mm EST $1,200 — $1,800

John Tiger Shen, Yi Xie, Yi Yang, Xinli Deng & Ruben Pang

These two photographs by Chinese New Zealand artist John Tiger Shen explore the concept of taxiang (他乡) or ‘foreign land’. The term is used to describe a homesickness or nostalgia, or the feeling of longing for a home that never was. Shen’s works explore the complexity of a dual identity – the artist moved to Aotearoa New Zealand from China at age nine and, like many immigrants, found it difficult to truly identify with either culture. As the artist grew older, he engaged more with the Chinese community, and has witnessed the growth of this complicated diaspora over the past ten years. The images here document the lives of Chinese people who sacrificed their previous livelihoods to move to another country and find a new community.

Lots 119–122 are also by contemporary Chinese New Zealand artists: Yi Xie, Yi Yang and Xinli Deng. Both Yi Xie and Yi Yang completed their studies at the China Central Academy of Fine Arts, with Yi Xie focusing on oil painting and Yi Yang on sculpture. Xinli Deng has successfully exhibited in both China and Aotearoa New Zealand, and the painting featured here explores the spiritual artistic conception of the hermit, with the tiny figure sitting on the rock symbolising the hermit at a critical point just before a spiritual and physical breakthrough. The black mountains and white voids symbolise yin and yang, and a critical intersection that can happen at a breakthrough point in anyone’s life. Ruben Pang was born in Singapore and graduated from LASALLE College of the Arts, and has exhibited in Singapore, Switzerland and Italy. Pang explores an intuitive method of working and approaches his paintings with no preconceived notion of how they should look when they are complete. Intuition and curiosity are essential to this process, which often blurs the line between play and performance – fitting, as Pang is also a musician. As in Slow Burn, offered here, his paintings are visually swirling expressions of his psyche, reflecting on notions of transformation. 81

119 Yi Xie, untitled 2015 acrylic on canvas signed and dated 800mm (diameter) EST $5,000 — $8,000

120 Yi Yang, Side A, Side B 2022 oil on canvas 1000 × 760mm EST $1,600 — $2,600

121 Xinli Deng, untitled 2020 acrylic on canvas signed and dated 1000 × 800mm EST $5,000 — $8,000

122 Ruben Pang, Slow Burn 2017 oil, acrylic and varnish on board signed and dated 510 × 405mm EST $12,000 — $16,000

123 Margaret Stoddart, untitled watercolour on paper signed 240 × 340mm EST $3,000 — $6,000

124 James Nairn, Pipitea Point 1859-1904 watercolour on paper 220 × 300mm EST $3,500 — $7,000

125 Margaret Stoddart, untitled watercolour on paper signed 210 × 350mm EST $2,500 — $5,000

126 Margaret Stoddart, untitled watercolour on paper 270 × 365mm EST $6,000 — $8,000

127 Adele Younghusband, Begonia Still Life 1963 pastel and gouache on paper signed and dated 450 × 330mm EST $10,000 — $15,000

128 Doris Lusk, Hawea Jan 1972 1972 watercolour on paper signed, dated and title inscribed 370 × 540mm EST $3,000 — $5,000

129 Leo Bensemann, untitled 1967 watercolour on paper signed and dated 310 × 470mm EST $4,500 — $6,500

130 Bryan Dahlberg, The Cornfield acrylic on canvas signed and title inscribed 690 × 390mm EST $2,500 — $5,000

131 Dick Lyne, Kauri 2006 oil on board signed, dated and title inscribed 290 × 150mm EST $1,250 — $1,400

133 Tom Mutch, We Even Scare Ourselves 1999 oil on hardboard signed and dated 780 × 1200mm EST $3,500 — $7,000

132 Colin Wheeler, The Hope River at Glen Wye (A Canterbury High Country Sheep Station) c1960 oil on canvasboard signed 800 × 600mm EST $5,000 — $8,000

134 Michael Smither, untitled oil on board 470 × 900mm EST $12,000 — $16,000

135 Philip Trusttum, Untitled (Tennis Series) 1994 acrylic on canvas signed and dated 1840 × 3520mm (overall) EST $7,000 — $12,000

136 Philip Trusttum, Mower VII 1986 acrylic on canvas signed, dated and title inscribed 2500 × 2070mm EST $6,000 — $10,000

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

1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold. “Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s). All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified. 2.

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paid for in full before it will be released to the purchaser or his/her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction. Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor. 3.3. Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

as agent for the Seller. The contract for the sale of the property is therefore made between the Seller and the Buyer. 3.

Before the Sale

3.1. Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below. The property is otherwise sold “AS IS” 3.2. Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material. Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue. An item bought “on Extension” must be

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing. 4.

At the Sale

4.1. Refusal of Admission Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid. 4.2. Registration Before Bidding Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration. 4.3. Bidding as a Principal When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment. 4.4. International Registrations All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement. This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made. 4.5. Absentee Bids Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the

convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted. 4.6. Telephone Bids Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices. 4.7. Online Bidding Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s. Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service. 4.8. Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. 4.9. Auctioneers Discretion The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps: Increment Dollar Range Amount $20 $0–$500 $50 $500–$1,000 $100 $1,000–$2,000 $200 $2,000–$5,000 $500 $5,000–$10,000 $1,000 $10,000–$20,000 $2,000 $20,000–$50,000

$5,000 $10,000 $20,000 $50,000

Terms & Conditions

$50,000 – $100,000 $100,000–$200,000 $200,000–$500,000 $500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid. 5.

rights or remedies (in addition to asserting any other rights or remedies available under the law) 5.6.1.

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

5.6.2.

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

After the Sale

5.1. Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable. 5.2. Payment and Passing of Title The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date. The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas. Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account. 5.3. Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer. At the fall of the hammer, insurance is the responsibility of the purchaser. 5.4. Packing, Handling and Shipping Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser. 5.5. Permits, Licences and Certificates Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington. 5.6. Remedies for Non-Payment If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following

5.6.3.

to cancel the sale.

5.6.4.

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

5.6.5.

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

5.6.6.

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

5.6.7.

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

5.6.8.

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

5.6.9.

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

Extent of Webb’s Liability

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

Limited Warranty

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

5.6.10. to take such other action as Webb’s deem necessary or appropriate. If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

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

it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction. the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party. The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller

nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits. The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased. 8.

Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law. 9.

The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it. 10.

Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated. 11.

Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices. 12.

Sale Results

Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz. 13.

Goods and Service Tax

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

Index of Artists

94 Pages

Aberhart, Laurence 41 Albrecht, Gretchen 49, 50, 57, 59

Ellis, Robert et al.

Backhouse, John Philemon 40 Banksy 69 Bambury, Stephen 72 Barker, David 78 Beck, Andrew 48 Benge, Harvey 35, 41 Bensemann, Leo 85 Binney, Don 18, 24, 30, 55 Brown, Nigel 78, 79

Fomison, Tony France, Patricia Frank, Dale Friedlander, Marti

Clairmont, Philip Clark, Russell Cornish, Bronwynne Cotton, Shane Cummings, Vera

79 38 39 68 40

D Dahlberg, Bryan Dashper, Julian Dawson, Neil Day, Melvin de Lautour, Tony Deng, Xinli Disher, Eve Driver, Don

86 25 72 74, 77 48 82 79 46

M 37 41

18, 24 51 47 35

G Gimblett, Max Green, Ayesha

Hammond, Bill Hanly, Pat Harris, Jeffrey Hartigan, Paul Heaphy, Chris Hemer, André Henderson, Louise Hōtere, Ralph

30, 49 22

Nairn, James Ngan, Guy

20, 42 30 51 30 25 50 52, 74 33, 71

46 21, 26, 69

78 28 85 19, 86

Pang, Ruben Pardington, Fiona Pataialli, Christina Peebles, Don Peters, Juliet

84 39

83 41, 67 44 46 24

R Rastorfer, Lorraine Ryan, Thomas Darby

74 40

S Shen, John Tiger Siddell, Peter Smither, Michael Stichbury, Peter Stoddart, Margaret Stringer, Terry

Tapper, Garth Taylor, E Mervyn Thompson, Sydney Lough Thomson, Jeff Trusttum, Philip

79 24, 76 77 68 87

V van Hout, Ronnie

L Le Lievre, Marie Leleisi'uao, Andy Lusk, Doris Lyne, Dick

47 18 33, 52 74, 75 78 52 52 53 86

K Kaan, Simon Killeen, Richard

Maddox, Allen Maughan, Karl McCahon, Colin McIntyre, Peter McIntyre, Simon McWhannell, Richard Moffitt, Trevor Mortimer, Roger Mutch, Tom

80 54 32, 86 18, 63, 65 84 38, 39

Walters, Gordon 26, 31, 32, 60 Watkins, James 76 Westra, Ans 34, 35 Wheeler, Colin 86 X Xie, Yi

Y Yang, Yi Younghusband, Adele

82 85

136 Lots 1

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

123

124

125

126

128

129

130

131

134

135

121

127

132

136

122

133

Really real ingredients will always taste better

Dick Lyne, Mt Ngauruhoe 1950

33a Normanby Rd Mount Eden Auckland 1024 23 Marion St Te Aro Wellington 6011 webbs.co.nz