webb's important paintings and contemporary art july 2012

IMPORTANT WORKS OF ART 1

IMPORTANT PAINTINGS &

CONTEMPORARY ART

TUESDAY 31 JULY 2012, 6.30PM

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

www.webbs.co.nz

2

Webb’s 2012 winter season of Important Paintings and

Contemporary Art will present the market with significant

and rarely available contemporary, modern and historical

New Zealand practice. Webb’s is pleased to announce that

the sale includes an important single-vendor collection: the

estate of the late Sylvia and Peter Siddell. Reflecting on two

lives spent immersed in New Zealand art, the Siddell family

collection is a compelling survey of modern New Zealand

practice by artists such as Colin McCahon, Robin White,

Milan Mrkusich and Richard Killeen which they assembled

throughout their lifetimes. The family has also agreed to

release a work by each of Peter and Sylvia.

The contemporary section is anchored by a large-scale work

by Bill Hammond which is to be offered to the secondary

market for the first time. At the Flood, which belongs to

the Ancestral series, sees Hammond cast his focus back

to his visit to the remote Auckland Islands which inspired

his creation of avian creatures. Referencing the biblical

deluge intended to rid the world of human sin, At the Flood

presents the viewer with a lush, green world untouched by

the human hand, inhabited by a genus of creatures that has

been allowed to evolve in complete isolation. Notably, the

work was realised on a three-panelled kauri altarpiece that

Hammond has painted on both its inside and outside planes

– allowing it to present as a fully resolved work in both its

open and closed states. Complementing this seminal work

from Hammond’s mid-career period are works by practising

New Zealand artists such as Kushana Bush, John Ward

Knox, Tony de Latour, Max Gimblett, Gretchen Albrecht and

Elizabeth Thomson.

We will once again offer the market an in-depth, well-

referenced selection of modernist New Zealand painting.

The Veil of Saint Veronica, commenced by Tony Fomison

on Good Friday 1973 and completed over the Easter

weekend, belongs to a small but highly important and

extremely rare body of works in which the artist depicted

Jesus Christ. Colin McCahon’s The Lark’s Song, from

the Siddell family collection, was painted in 1969 and

recites a poem by Matire Kereama of the same title (in the

same year, McCahon painted another work based on this

poem on a pair of wooden doors which is now held in the

collection at Auckland Art Gallery). The works from this

period are highly important documents that informed the

text works made in the last years of the artist’s life. Another

significant period of McCahon’s practice is represented by

the offering of an untitled oil on unstretched jute canvas

from McCahon’s series of Northland paintings, to which the

well-known Northland Panels (held in the collection of the

Te Papa Tongarewa) belong. This series of work was painted

directly after McCahon’s return from an extensive research

INTRODUCTION

2


trip to the United States. Prior to this international travel,

McCahon’s approach took its lead from European modernism

whereas, after his return, the influence of mid-century

American expressionism caused a distinct and lasting shift

in his working methods. Further works by New Zealand

modernists Rita Angus, Don Binney, Pat Hanly, Louise

Henderson, Philip Clairmont, Jeffrey Harris and Ralph

Hotere are also included.

The offering of a number of notable works by Charles Goldie

and Frances Hodgkins will comprise a comprehensive and

highly focused suite of historical New Zealand paintings.

Two important portraits by Charles Goldie are included

and each exemplifies a distinct and notable period in the

artist’s career. No Koora Te Cigaretti, painted in 1915, is

a portrait of Mihipeka Wairama of the Tuhourangi iwi; she

is a sitter whom Goldie revisited and depicted a number of

times throughout his career. The geographical boundaries

of Tuhourangi’s traditional region are centred on Lake

Tarawera and, whilst the eruption of 1886 largely displaced

the iwi, its survivors – such as Mihipeka Wairama and Kapi

Kapi – received an enduring level of focus from Goldie.

Ngatirea (Day Dreams), Natarua Hangapa – Arawa Tribe

pictures a sitter who descends from the Maori settlers who

sailed to New Zealand on the great Arawa waka. The work

is an excellent example of Goldie’s later career work, which

saw the artist return to the romantic approach that he

successfully honed at the Académie Julian in Paris during

the 1880s where he used loose brushwork and richer tones.

The four works by Frances Hodgkins that are included,

comprising figurative and landscape painting, were all

completed prior to 1922 during the artist’s residence in

Europe. This was a pivotal period in Hodgkin’s career as it

saw the artist evolve as a talented lyrical watercolourist,

laying the foundation for the fauvist abstraction of her

later career.

Following this sale of Important Paintings and Contemporary

Art are three specialist auctions: Militaria on Wednesday 1

August, Antiques and Decorative Arts on Thursday 2 August

and Modern Design on 7 August 2012, all of which are

catalogued in a stand-alone, accompanying publication.

Looking further forward, Webb’s is currently seeking entries

for our final sales of the calendar year. Our next sale in the

A2 category will be held on 25 September and the

next sale of Important Paintings and Contemporary Art on

27 November. We encourage you to contact Webb’s for a

free, no-obligation appraisal or for advice about current

market dynamics.

SOPHIE COUPLAND

IN FOCUS 3

COVER: LOT 33 MICHAEL PAREKOWHAI

Driving Mr. Albert

rabbit, polyurethane, two-pot automotive paint

1635mm x 255mm x 255mm

$20,000 - $30,000

INSIDE FRONT COVER: LOT 30 BILL HAMMOND

At the Flood

acrylic on board, three-panel altarpiece

construction

$180,000 - $220,000

4

A. Allen Maddox Self Portrait achieved $28,600B. Important Whale-tooth Rei Puta achieved $55,100C. Charles Goldie Maori Woman with Moko achieved $160,000D. Peter Siddell Western Balcony achieved $100,100E. Large Chinese Blue and White Rice Bowl achieved $29,300F. Emerald-cut diamond of 5.07ct and rare white (G), clarity VS2 achieved $165,800

G. Falcon Chair and Footstool achieved $4,700H. Pat Hanly “Golden Age” 3 with White Butterfly achieved $137,250I. Philip Clairmont In Homage to Vincent (Self Portrait) achieved $24,600J. Bill Hammond Boulder Bay Birds achieved $49,300 K. Don Binney Two Aspects of Tokatoka achieved $134,400L. A Pair of Oriental Hardwood Carved Armchairs achieved $28,100

HIGHLIGHTS

A

B

C

D

E

F

G

H

I

J

K

L


M. Colin McCahon A Poem of Kaipara Flat 16 achieved $103,000N. Ralph Hotere The Wind I burnished steel in original Roger Hicken frame, achieved $97,200O. Colin McCahon Kaipara Flat With a Blue Sky achieved $91,500P. Early Siebe Gorman Twelve Bolt Dive Helmet achieved $7,000Q. Michael Parekowhai, Bosom of Abraham achieved $7,400R. Milo Baughman black leather armchairs (pair) achieved $3,100S. Fabergé Lapis Lazuli and Yellow Gold Box, Workmaster Henrik Wigstrom, achieved $87,750

T. Toss Woollaston Lyttlelton Harbour achieved $30,900U. 1974 Jaguar Mk III E Type V17 Roadster achieved $123,000V. Len Castle Yellow Sulphur Bowl achieved $6,900W. Archie Shine Hamilton Sideboard by Robert Heritage achieved $5,200X. Richard Killeen City Living achieved $38,900Y. An Early Colonial Taxidermy Case of New Zealand Birds achieved $14,100

All prices listed are inclusive of buyer’s premium and gst, rounded to the nearest $100.

M

N

O

P

Q

R

S

T

VU

W

X

Y

6

Crane Brothers / Full page advert WEBBS magazine

crane-brothers.com


MODERN DESIGN07.08.2012, 6.00PM

CATALOGUE NOW AVAILABLE VIEW ONLINE

Webb’s and Mr. Bigglesworthy are pleased to announce a sale featuring organic and minimalist Scandinavian design, armchairs and sideboards from leading English furniture manufacturers G-Plan, as well as one of the most recognised armchairs in the world, Charles Eames’ 670 Armchair and Ottoman by Herman Miller alongside pieces by Charlotte Perriand, Mies van der Rohe, Florence Knoll, Peter Hvidt, Arne Jacobsen, Grant Featherston and Michael Payne. Mid-century modern has continued to be enduringly popular with this market, establishing itself as one of the key areas in contemporary collecting.

CONTACT

Josh Williams

E: [email protected]

P: 021 073 6545

Black Leather Eames 670 Armchair and Ottoman

by Herman Miller with cherrywood veneer.

$5,000 - $7,000

8

JEWELSWEDNESDAY 29 AUGUST

CONSIGN NOWEntries invited, closing Wednesday 25 July. Contact Christopher Devereaux to make an appointment for an obligation-free appraisal. Ring set with a 19.38ct emerald in platinum

with 4.65ct of fine quality diamonds

$90,000 - $120,000.

Necklace set with a 9.98ct emerald and

15.5ct of diamonds in 18ct white gold

$70,000 - $80,000

CONTACT

Christopher Devereaux


P: 09 529 5606

10

By Zora Bell Boyd

From the curious to the contemporary, this is your chance to acquire something entirely unique for that impossible person in your life.

COMING SOON: IMPROBABLE GIFTS FOR IMPOSSIBLE PEOPLE #2

Courtesy Gow Langsford Gallery

MAX GIMBLETT for

12

ANTIQUES & DECORATIVE ARTS

02.08.2012, 6:00PM

CATALOGUE NOW AVAILABLE VIEW ONLINE

Presenting Royal Worcester and rare Royal Doulton and Wedgwood porcelain, Georgian and Victorian silver, antique furniture including superb European marquetry furniture, exceptional chandeliers and other lighting, antique Chinese and Japanese porcelain, jade, ivory and scrolls, Persian rugs, 20th-century German tin-plate toys, a collection of vintage ladies' handbags, a Georgian Intaglio collection and an 1893 New Zealand Rugby Union cap.

CONTACT

James Hogan


P: 021 510 477

A Fine Georgian Sterling

Silver Coffee Pot

$2,000 - $2,500


Auckland 547a Parnell Road, Parnell 1052 | Tel +64 9 358 3771Arrowtown 18 Buckingham Street, Arrowtown 9302 | Tel +64 3 442 0128 Email [email protected] | www.cavitco.com

“I desIgn each pIece wIth the eye of a sculptor.”

thomas pheasant

4246M Webbs Thomas Advert.indd 3 12/07/12 12:00 PM

14

WELLINGTON FINE ART

SPECIALIST SERVICES

STUDIO CERAMICS

Contact: Brian Wood


P: 021 486948

Three Len Castle Gourds

blue glazed stoneware

impressed LC mark underside

$3,000 - $6,000 each

SCULPTURE 11.2012 CONSIGN NOW

New Zealand Historical and Contemporary Studio Ceramics, including works by Len Castle, Mirek Smisek, Barry Brickell, Yvonne Rust, Ann Verdcourt, John Parker, Estelle Martin, Jim Cooper and others.


Webb’s is very pleased to announce the appointment of Carey Young as the head of Webb’s fine art services in Wellington. Carey comes to the role with 10 years' experience with a leading dealer gallery and is available to undertake current market appraisals, commentary on current market trends and valuations for insurance and other purposes. Works will also be available privately to Wellington clients, outside of the auction calendar. Complete packing, freight and logistic services will be provided to Wellington clients.

WELLINGTON FINE ART

SPECIALIST SERVICES

CONTACT


P: 021 368 348

CLASSIC MOTORCYCLES AND CARS OF THE DAY

10.2012 CONSIGN NOW

1968 Norton P11 Ranger

$15,000 - $20,000

CONTACT

Neil Campbell


18

FINE & RARE WINE

06.08.2012CONTACT

Simon Ward


P: 09 529 5600

Louis XIII Cognac de Rémy Martin

“A century in a bottle” - one of a series of

cognacs bottled for a 1938 royal banquet at

the opulent Château de Versailles that King

George VI and Queen Elizabeth attended.

Some of the eaux-de-vie blended to form this

particular cognac would date back to the

middle of the 19th century.


IMPORTANT NEW ZEALAND

FURNITURE04.09.2012

CONSIGN NOW

CONTACT

Neil Campbell


P: 021 875 966

Anton Seuffert, The Burton Cabinet,

1870. An exquisite Louis XV

revival escritoire or ‘bonheur du

jour’ cabinet, composed of New

Zealand native timbers, with

elaborate carved and marquetry

decoration.

$300,000 - $350,000

20

OCEANIC & AFRICAN ART

04.09.2012 CONSIGN NOW

CONTACT

Jeff Hobbs


P: 021 503 251

Finely Carved Waka Huia (detail)

$10,000 - $15,000

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


338

EVENING PREVIEW Thursday 26 July 5:30pm – 7:30pm

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the Important Paintings and Contemporary Art sale. GST (15%) is payable on the buyer’s premium.

Please join us to view the suite of sales and enjoy a glass of wine thanks to Peregrine Wines, Central Otago.

TUESDAY 31 JULY 2012, 6:30 PM

IMPORTANT PAINTINGS & CONTEMPORARY ART

CHARLES FREDERICK GOLDIE

No Koora te Cigaretti, A Portrait of

Mihipeka Wairama, Tuhourangi

oil on canvas

Estimate $170,000 - $200,000

35

Viewing

Thursday 26 July 9.00am – 7.30pm

Friday 27 July 9.00am – 5.30pm

Saturday 28 July 11.00am – 3.00pm

Sunday 29 July 11.00am – 3.00pm

Monday 30 July 9.00am – 5.30pm

Tuesday 31 July 9.00am – 12.00pm

LIMITED VIEWING ON SALE DAY

24

KUSHANA BUSH

Modern Semaphore, Full Continental

Expression

gouache and pencil on paper signed Kushana Bush, dated 2009 and inscribed Kushana Bush, Modern Semaphore, ‘Full continental extension’, Gouache and pencil on paper in pencil middle verso; Brett McDowell Gallery label affixed to backing board verso 1000mm x 700mm

Estimate $4,000 - $6,000

1


TONY DE LAUTOUR

Heads, Numbers, Mountains

oil on canvas signed Tony de Lautour, dated 2000 and inscribed Heads, Numbers, Mountains in brushpoint upper edge 700mm x 500mm

Estimate $4,000 - $5,000

2JOHN WARD KNOX

Untitled - Study Of Hands

oil on calico signed John Ward Knox, dated 2010 in pencil upper edge verso 500mm x 300mm

Estimate $2,500 - $3,500

3

26

65

4


TONY DE LAUTOUR

NZ Co

oil on unstretched canvas signed Tony de Lautour, dated 1998 (indistinct) and inscribed NZ Co in brushpoint lower right 1050mm x 2140mm

ILLUSTRATEDNew Zealand Listener, 19 September 1998, Mightier Than the Sword by Tessa Laird

Estimate $18,000 - $24,000

4

PETER STICHBURY

Untitled (Girl in a Coat)

graphite on paper signed P. Stichbury and dated 2003 in graphite lower left; Temple Gallery label affixed verso 560mm x 420mm

PROVENANCEPrivate collection, Auckland. Purchased by the present owner from Temple Gallery, Dunedin.

Estimate $4,000 - $6,000

5

TERRY STRINGER

The Wrestlers

patinated, cast bronze sculpture, ed 2/3 signed Terry Stringer, dated 2008 and inscribed 2/3 lower edge height 750mm

Estimate $8,000 - $12,000

6

TERRY STRINGER

Elevation

pair of patinated bronze bookends signed Terry Stringer and dated 1999 lower edge 120mm x 120mm x 15mm (each)

Estimate $2,000 - $3,000

7

PETER STICHBURY

Glister

giclee print, 25/100 signed P. Stichbury and dated 08 in pencil lower right 265mm x 230mm

Estimate $2,500 - $3,500

8

8

7

28

COLIN MCCAHON

Puketutu Manukau

suite of four lithographs, edition of 100 one signed Colin McCahon, dated 1957, and inscribed Puketutu Manukau, 3 lithographs and ed. 100, Published by Peter Webb, High St., Auckland in lithograph facsimile; one signed C McC and dated 57 in lithograph facsimile lower right; one dated ‘57 and inscribed Puketutu from my boat and ed. 100 in lithograph facsimile lower left 215mm x 265mm (each)

REFERENCEColin McCahon database reference number CM001346.

Estimate $7,000 - $12,000

9


ALLEN MADDOX

Untitled (2000)

oil on canvas signed AM and dated 2.00 in marker pen verso910mm x 915mm

Estimate $15,000 - $20,000

10

30

ALLEN MADDOX

Untitled

oil on canvas circa 1976, Warwick Henderson Gallery label affixed verso 565mm x 565mm

Estimate $5,000 - $8,000

11

STEPHEN BAMBURY

Letters to Paul VIII

resin and graphite on wood panel signed S Bambury, dated 2001 and inscribed Fix: ¢ screws from top 50 & 500 and Letters To Paul (VIII), Stephen Bambury ©, resin and graphite on panel in marker pen verso; Jensen gallery label affixed verso 590mm x 590mm

Estimate $12,000 - $18,000

12

COLIN MCCAHON

In My Own Village

charcoal on paper signed McCahon, dated ‘71 and inscribed Caselberg in charcoal lower right; inscribed IN MY OWN / in my own village / VILLAGE I think there / I think there are / are / MORE Scarecrows / more scarecrows left / LEFT / THAN OTHER PEOPLE / than other people / my very bone ends / Burn in charcoal; inscribed Heat waves to heaven / Rising from the hearts / heat waves from heavens / rising from the Ruined hearts of three thousand homes / In my own village / I think there are more scarcrows left than other people / In my own village / In my OWN VILLAGE in charcoal and graphite verso 355mm x 270mm

NOTEThe text, by John Caselberg, is one of several haiku-like poems written in response to McCahon’s request for a suitable text for the second Gate series.


Estimate $18,000 - $25,000

13

32

ELIZABETH THOMSON

Ariel

hand-painted cast zinc on spray-coated panel 1100mm x 1100mm

Estimate $12,000 - $18,000

14


MAX GIMBLETT

Feast

two pot resin, gold leaf and graphite on quatrefoil shaped plywood signed © Max Gimblett, dated 2002/03, and inscribed “Feast” in marker pen middle verso635mm x 635mm

Estimate $12,000 - $18,000

15

34

WORKS FROM THE COLLECTION OF PETER AND SYLVIA SIDDELL

16

18

17

19


JAN NIGRO

Peter and Sylvia Siddell

coloured pencil on paper signed Jan Nigro, dated ‘85 in pencil lower right; and inscribed Peter and Sylvia Siddell in pencil lower left 760mm x 560mm

PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

Estimate $1,500 - $2,500

16

SYLVIA SIDDELL

Sinbad Enters Underground River

acrylic on canvas signed Sylvia Siddell and dated ‘09 in brushpoint lower right 1000mm x 750mm


Estimate $3,000 - $5,000

19

ROBERT ELLIS

Maungawhau/Mt Eden

mixed media on paper signed Robert Ellis, dated 2000, and inscribed Maungawhau/Mt Eden in ink lower left; certificate of valuation by Jane Sanders affixed verso 570mm x 500mm


EXHIBITED Recent Works on Paper - Greer Twiss and Robert Ellis, Twiss Studio, Auckland, May 2000.

Estimate $2,000 - $3,000

18

MILAN MRKUSICH

Four Elements in Combination (Crimson),

from the Elements Series

oil and graphite on board signed Mrkusich and dated ‘66 in brushpoint lower right; signed Milan Mrkusich, dated 1966, and inscribed Four Elements in Combination (Crimson) in crayon verso; inscribed A.S.C.M. benefit auction in pencil verso; original Barry Lett Galleries Ltd. invoice, dated 31-5-68, affixed verso 285mm x 510mm


Estimate $10,000 - $15,000

20

RICHARD KILLEEN

Combination

ink on paper signed Killeen and dated 20.10.75 in pencil lower right; Data Gallery label affixed verso 685mm x 350mm


Estimate $1,000 - $2,000

17

20

36

ROBIN WHITE

Porirua Harbour I

oil on canvas signed Robin White and dated ‘70 in brushpoint lower right; signed Robin White and inscribed Porirua Harbour I in marker pen upper edge verso; inscribed Porirua Harbour I in marker pen middle verso 765mm x 610mm


Estimate $60,000 - $80,000

21

Robin White’s sleight-of-hand utterance, “What I paint

depends on where I am”,¹ in an article that she wrote for

an early issue of Art New Zealand, is perhaps the most-

conclusive and well-rounded summation of her practice

to ever be published. For, while her paintings are able to

effortlessly function as a distilled commentary about the

nation’s civic and social climate at the time in which they

were made, the focus of her practice was always dictated

by her immediate environment: the places and people that

she understood best. White’s landscape painting of the

1970s often conformed to a universal convention. Generally

presenting a supple, unpopulated hinterland nestled between

the foreshore and mountainous terrain, these images carry

with them an implicit criticism of modern New Zealand’s

taming of the landscape through ongoing urban sprawl.

Porirua 1 is a view across the shorelines of the Porirua

Harbour, as seen from the suburb of Elsdon. This was the

location of Mana College, the first school where White taught

after graduating from teachers’ college in 1968. Robin

White attended art school with the support of a Ministry of

Education studentship, which bonded her to teaching work

in return for covering her tuition fees and providing her with

a living stipend. While White has presented the viewer with

a landscape devoid of any human habitation, the landforms

that she has chosen to include carry with them an implicit

narrative that delves deep into the history of the region.

Porirua was originally planned as a satellite city of Wellington

in the 1940s that was to consist mainly of state housing, but

industrial development in the region led to an accelerated

growth in population and the eventual reclamation of a tract

of land on the southern tip of the Harbour. Porirua 1 appears

as a double-format image where two separate compositions

are sandwiched one on top of the other. However, those

familiar with the topography of the area will recognise that

the two distinctive strips of land – Whitirea Park reserve

in the foreground and the distinctive hill shoreline of

Plimmerton behind – would have been ideally observed

from the corner of Wineera Drive, at the edge of the

reclaimed land.

It was during her first year in Porirua that White learned to

stretch canvas and working on this new substrate immediately

changed the way in which she painted. The soft, absorbent

surface of the canvas dampened her approach to laying

down paint. It was also around this time that White began

to pay specific and careful attention to the way in which her

images were assembled or, in her words, “the feeling for the

structure of painting, the idea of contrast, how a painting’s

put together”.² White’s three-year tenure at Mana College

was a formative period in her career that saw her construct

images that relied more on their own internal logic than on

a desire to recreate a particular vantage. In Porirua 1, there

is a form of foreshortening at play whereby the expanses of

sea between the landforms are extended and reshaped so

that they are able to be present within the image. Further,

subtly crafted shading has been applied to the very lip of

the landforms so they recede into space in a manner that

is not governed by the rules of perspective. Porirua 1 is

an exemplary embodiment of White’s new image-making

strategies which positioned her, along with Don Binney, at the

forefront of a second wave of modern painting that emerged

in the 1970s and sought to update the themes propagated by

regionalist New Zealand painting in the 1930s.

CHARLES NINOW

¹ White, Robin. “Art and conservation are synonymous”, Art New Zealand Spring

1977, p.40.

² Taylor, Alistair. “Perspective: Robin White talks to Alister Taylor”, in Alister

Taylor and Deborah Coddington (ed.), Robin White: New Zealand Painter

(Martinborough: Alister Taylor, 1981), p.10.

38

PETER SIDDELL

Untitled (Evensong 2)

oil on canvas signed Peter Siddell and dated 2009 in brushpoint lower left 900mm x 1490mm


Estimate $70,000 - $100,000

22

Evensong has a religious meaning as an Anglican Church service

of prayers, psalms and canticles held in the evening. This label

fits the mood and time of day captured by Peter Siddell’s painting

and was probably given to it as a title after the work had evolved

and taken on its present appearance – for the work was on the

easel for some time in various stages of resolution. The image

of a small chapel by twilight with the sun setting over the water

nearby encourages thoughts about the passing of time, the end

of human life and its aftermath. Significantly, it was among the

last major paintings made by Siddell after he had been diagnosed

with a terminal illness and knew that his own life was coming to

an end. While the subject matter of a chapel near the sea occurs

in his earlier works, the reflective mood and elegiac message

are distinctive to this canvas and a related second version with

the same title. Even the detail for which he is famous has been

reduced to enhance the effect of fading light. Indeed the main

forms of the chapel and surrounding cypress trees were blocked

in broadly before any detail was introduced.

The lit window of the chapel in its Gothic elegance is a pivot

of the composition and important for its symbolic meanings:

the presence of light in encompassing darkness is a comforting

symbol of hope for those of Christian belief in the resurrection

and eternal life – especially in this context of a Gothic chapel.

While Siddell’s paintings are noted for their emptiness of

people and their silence, here we can imagine the sound of a

psalm being sung and its cadences drifting in the air across the

peaceful landscape. In the related version, a marble angel in the

graveyard points heavenwards as a sign of hope and is a motif

often found in funerary art. Although absent in this version, the

meaning is implied. Siddell creates a mood that is contemplative

and almost sacred in feeling.

As usual with Peter Siddell, although the painting appears

recognisable as a specific place, it is a composite of parts that

did not exist in their present relationship. The funerary chapel

was based on one in Waikumete Cemetery, distant from the coast,

but at home here in a new setting. For the artist, the effect and

meaning he wanted were more important than topographical

accuracy to a particular view. The setting sun reflected in the

water recalls Turner, an artist he admired for his atmospheric

effects and lighting. By calling attention to the end of the day

with its promise of renewal at dawn, Siddell draws an analogy

with nature for the hope that death will be followed cyclically

by new life. The predominance of warm hues tends to give the

painting a positive mood that counters its otherwise sombre tone.

He suffuses the commonplace objects and setting with a palpable

sense of melancholy and mystery. It is the reflective mood of

the work that casts our thoughts inwards and away from exterior

appearances. Evensong is at once personal in its relevance to

Peter Siddell’s own life but universal in its address to wider

issues that we must all confront of faith and hope in the face of

our mortality. The importance of the subject to him is indicated

by the fact that he returned to it more than once: something very

rare in his practice as a painter.

MICHAEL DUNN

40

COLIN MCCAHON

The Lark’s Song

watercolour, pastel, and charcoal on paper

inscribed

Ka tahi tii. ka rua tii. / Ka noho mai te patii te

patoo re. Ka rau na. / Ka noho te kiwi. Ka

poo he wai Tai tai / to pi to paa Ka hui

a mai. Ka toko / te rangi. Kai ana

te whetu. Te marama / i te rangi. I te

papa takina. E hui / tarere. Ko te tio e

rere. Ra runga ra / tope Kapeka. E hue

kaurere turakina te / arero o te rangi Kotare

wiwi wawa keke. Te / manu i tau noo / tuu e

in charcoal

1500mm x 600mm

PROVENANCEPurchased from Barry Lett Gallery, Auckland, 1972. From the collection of the late Sylvia and Peter Siddell.

Estimate $70,000 - $100,000

23

The body of text works made by McCahon during 1969,

throughout his first 12 months at his Muriwai studio, is

an important forebear for both the artist’s environmentally

focused Necessary Protection series and also the text

paintings that the artist would make in the last years of his

career where he transcribed passages directly from the Old

Testament. Prior to 1969, the artist had experimented briefly

with Maori motifs, most notably with his Koru paintings

of 1962, which were formal studies that reflected on the

traditional koru form, and then again in 1965 with his

studies for a proposed mural at Caltex’s Auckland offices, in

which the letterforms of the word ‘Caltex’ were formed from

stylised koru motifs. However, it was not until moving into his

Muriwai studio that McCahon engaged seriously with Maori

subject matter. Gordon Brown explains that the genus of this

development within McCahon’s practice was two pronged and

drawn from his personal life.¹ The first event of significance

was his daughter Victoria, who was married to a Maori

husband, giving birth to his grandson Matiu. The second

event was his daughter Catherine bringing Matire Kereama’s

book, The Tail of the Fish, to his attention. It was in this

book that her poem, The Lark’s Song, was published.

The poem is recited within the work and describes the

gentle descent of native birds from the sky to their places

of rest, where they will spend the evening. It describes their

twilight song that permeates their surroundings and speaks

of the stars looking out and the moon keeping watch. The

words of the The Lark’s Song form a soothing lullaby and,

by McCahon’s hand, they flow with a graceful rhythm that

denies the possibility that any turmoil could be buried

within their meaning. This is the result of a conscious effort

on McCahon’s part to allow the words to function not as

legible text but rather as repeated sound. In transcribing the

poem, McCahon inserted breaks between words and altered

and extended the words themselves in order to temper the

cadence of the passage. Rather than simply overlay text

onto image, McCahon gave the words a palpable, material

presence that reverberates throughout the composition.

Central to The Lark’s Song is McCahon’s recognition of

the binding and vitally important relationship between the

tangata whenua and the New Zealand landscape. While

McCahon had dealt with the issue of New Zealand’s national

identity throughout his career, notably in his religious works

of the late 1940s such as The Promised Land (held in the

collection of Auckland Art Gallery), the subject was always

approached through a pakeha frame of reference, using

Christian references and depictions of Western objects

and dwellings. By rendering the words of Kareama so that

they fade in and out of the soft, white cloud forms in the

sky, McCahon presented them as an atmospheric force: an

essential lifeblood to the New Zealand environment.

The profound importance that McCahon placed on his

discovery of Kareama’s poem was compounded by the fact

that, in the same year, the artist completed another larger

work based on the same poem, using two found doors as

a substrate. Sharing the same title, this work is now held

in the collection of Auckland Art Gallery. In this later

painting, McCahon chose to add one further line of text after

Kareama’s words: “Can you hear me, St Francis?” St Francis

of Assisi was the patron saint of the environment – and the

addition of this sentence to the later work suggests his use

of Kareama’s text was motivated by environmental concerns.

McCahon readily engaged with environmental issues within

his Necessary Protection series, stating in a catalogue

that accompanied his first exhibition of the series that the

purpose of the showing was to “draw attention to the many

conservation issues facing this country”.² The Lark’s Song

predates the Necessary Protection series by a number of

years and, thus, stands as an important early example of the

artist’s concerns about industrial and residential development

of New Zealand’s landscape. Further, the use of Karamea’s

text showed that McCahon was not concerned just with the

depletion of natural habitats but also with the alienation of

the ‘people of the land’. Thus, The Lark’s Song embodies

a significant shift in McCahon’s concept of New Zealand’s

national identity, updated to reflect contemporary challenges

facing New Zealand society.

CHARLES NINOW1 Brown, Gordon, H., Colin McCahon: Artist (Auckland: Reed, 1984), p.157.

2 Ibid, p.164.


RALPH HOTERE

Sangro

watercolour on paper signed Hotere, dated ‘78 and inscribed Avignon in pencil lower right455mm x 320mm

PROVENANCEProvenance: From the collection of the late Peter and Sylvia Siddell.

Estimate $12,000 - $18,000

24 ROBIN WHITE

Bottle Creek, Paremata

pencil on paper signed R. White, dated ‘69 and inscribed Bottle Creek, Paremata in pencil lower edge370mm x 250mm


Estimate $4,000 - $6,000

25 MICHEL TUFFERY

Fa’a Samoa/Fa’a Palagi

mixed media print, artist’s proof signed Michel Tuffery, dated ‘90, and inscribed Fa’a Samoa/Fa’a Palagi in pencil lower edge1300mm x 610mm


Estimate $1,800 - $2,500

26

44

RITA ANGUS

Portrait of a Maori Girl

watercolour on paper signed Rita Angus in brushpoint lower right310mm x 240mm

PROVENANCEPurchased by Joyce Tolfree from an exhibition, likely at Roy Parsons’ gallery and bookshop in Wellington during the 1950s. Gifted to the present owner.

Estimate $12,000 - $18,000

27


FRANCES HODGKINS

Venetian Lagoon

watercolour on paper signed Frances Hodgkins in brushpoint lower right; inscribed Venetian Lagoon (9) in pencil verso; inscribed in another hand Hodgkins, Frances Mary, Venetian Lagoon c. 1921, watercolour 41.9 x 45.8cm, Helen Stewart Collection (given to Louise Ryan (niece), probably Martigues (The Venice of France) where the artist stayed in 1921, Shown in the 1928 Annual Exhibition in pen on backing board425mm x 455mm

28 PROVENANCEFrom the collection of the artist, Helen Stewart, gifted to the artist’s neice Louise Ryan and passed by descent to the present owner. Helen Stewart and Frances Hodgkins exhibited works together at the 1928 Annual Exhibition where Stewart won a prize and spent the prize money on the acquisition of this work. Helen Stewart may have met Frances Hodgkins at the Acadamie Colarossi in Paris, as Helen studied there and was in London and Paris until 1928. Frances Hodgkins was one of the first female teachers at the Acadamie Colarossi.

Estimate $35,000 - $45,000

46

TONY FOMISON

The Veil of Saint Veronica - After An Old

Engraving of a Relic at the Vatican

oil on cotton stretched over card in found frame signed Tony Fomison, dated 7. 4. 73 - Good Friday 1973 and coloured in on 16. 5. 73, and inscribed The Veil of Saint Veronica ~ after an old engraving of a relic at the Vatican in brushpoint on frame; inscribed This frame is old fashioned telephone wall bracket / from the dining from of 10 Papanui Road (forgotten who) of / Papanui Rd, (pulled down last year). / Cloth stretched on photographer’s cards & / prepared…one heavy saturation coat Harns / gelatine (at 2 way between size) glue proportions; one / coat off white undercoat finally 2 coats of main / separation ( separg) … white. The black lamp (black) started 7.4.7… / Sepia finished on Easter Eve 20-21.4.73, Good Friday. / Glazed in on 16.5.73. Rose Madder in a little… / bit Mars brown mixed with a little Rose Madder in ink on label verso190mm x 140mm

PROVENANCEPainted over an Easter weekend 1973 in the presence of the current owner. Gifted by the artist to the present owner shortly thereafter.

Estimate $18,000 - $25,000

29

There is no biblical reference either to Saint Veronica

or, conversely, to the Veil of Saint Veronica; however, the

legend surrounding the inception and existence of the Veil is

inextricably linked to the biblical retelling of the crucifixion

of Jesus Christ. It is said that, while Jesus was making his

way along the Via Dolorosa (translated: ‘way of suffering’)

to Calvary where he was crucified, he encountered Saint

Veronica who reached forward and wiped the sweat from his

face. Miraculously, after making contact with Jesus’ face,

the cloth she used was found to bear his image. Unlike the

Shroud of Turin, which was discovered much later, the Veil

of Saint Veronica did not picture a negative imprint of his

face but, rather, a fully resolved image and thus could be the

result only of divine intervention.

As it is based on an artist’s impression of the Veil, Fomison’s

The Veil of Saint Veronica – after an engraving of a relic at

the Vatican, is focused less on the extraordinary nature of the

event itself and more on the myth and conjecture surrounding

the artefact’s continued existence. It is said that, until 1527,

upon the Sack of Rome where mutinous troops bombarded

the city, the Veil was held in the Old St Peter’s Basilica in

the Vatican. After this time, there is no common consensus

on where the Veil has been held or whether or not it is still

in existence. Nonetheless, even though Pope Urban VIII

banned the act of depicting the Veil in 1629 and supposedly

destroyed all existing copies, there are now six copies in

existence that are claimed to be either the original or direct

copies of the original. These are all from varying origins and

all bear the distinctive, three-pronged silhouette (outlining a

beard and long, hanging hair either side of the face) that is

seen in Fomison’s rendering.

Fomison’s painting, The Veil of Saint Veronica – after an

engraving of a relic at the Vatican, is itself based on an image

stated to be a reproduction and it embodies a deliberate

act to perpetuate a long tradition of replicating an image

purported to be of divine provenance: a tradition that has

seen refined conventions emerge from different geographic

regions (while based on an engraving from the Vatican,

Fomsion’s image conforms to the Spanish convention which

excludes the crown of thorns and depicts Christ without

facial injuries). Rather than demonstrate that Fomison held

personal Christian beliefs, The Veil of Saint Veronica – after

an engraving of a relic at the Vatican sees the artist reflect

on the social function of religion, finding his footing in the

Marxist adage that religion is the ‘opium of the People’.¹

While Marx’s theory relating to religion was fundamentally

tied to a critique of the capitalist economic system, at its

heart was the observation that religion was a human construct

that provided society with a means of escapism.

Outside of the images of the Veil that claim to have some

degree of authenticity, the image of the Veil has appeared

throughout Western art production of the last six centuries,

including in the practice of Fomison’s contemporary

Colin McCahon, as a signifier for divine abilities of a higher

power. To Fomison, the pervasive presence of the image in

Western cultural production, in spite of the fact that it has no

basis in written history, was palpable evidence of the human

belief that the challenges associated with survival on earth

had some greater purpose.

Charles Ninow

¹ Marx, Karl (February 1844), “Introduction”. A Contribution to the Critique of

Hegel’s Philosophy of Right. Unpublished during the writer’s lifetime.

48

BILL HAMMOND

At the Flood

acrylic on board, three-panel altarpiece construction signed W. D. Hammond, dated 2004 and inscribed At the Flood in brushpoint central panel; signed W. D. Hammond and dated 2004 in brushpoint right panel verso; inscribed 26 Canterbury St, Lyttleton and Maimeri acrylic paint, Maimeri mat waterbased varnish (671), cedar frame, kauri ply, Maimeri gesso in marker pen central panel verso 990mm x 430mm (left and right panels); 990mm x 870mm (central panel); 990mm x 1730mm (overall)

PROVENANCEPurchased by the current owners from Ivan Anthony Gallery, Auckland, 2004.

Estimate $180,000 - $220,000

30

Hammond’s At the Flood confounds and seduces viewers

with an alchemical concoction that is partly Christian, partly

weird science and mostly Pagan poetry. The title immediately

alludes to the biblical deluge – and Hammond has called

forth a mossy, dripping world in which it has quite likely

been raining for forty days and forty nights. Likewise, the

painting’s format has its origins in the Christian traditions of

European art – multi-panelled altarpieces in which the side

panels were painted on both sides so that the painting could

effectively be closed, increasing the sense of reverence for

the contents when it was opened. Hammond’s lavish use of

gold binds him irrevocably to the world of icons and worship,

and the shimmering, incandescent winged creatures he

depicts might very well be angels.

Except that they’re not. These bird figures plumb the depths

of history – invoking the haughty, all-seeing eye of hawk-

headed Horus, or the long, elegant beak of ibis-headed

Thoth. The heraldic profiles of Hammond’s birds are instantly

resonant with Egyptian dynastic art. But even Ancient

Egyptian hybrid deities were plainly men’s bodies with bird-

headed masks, as were Hammond’s earlier bird figures in

paintings like Watching for Buller (1994). In At the Flood,

however, Hammond’s avian creations have become lithe and

fluid, with bodies that curl and twist like sea horses through

his primordial, painterly soup.

Many of them eschew limbs altogether; their plump chests

merely taper off into sinuous coils and, like tadpoles, they

could be creatures in a state of becoming, hinting at endless

potential metamorphoses.

Humans were conspicuous by their absence in Hammond’s

Buller paintings; birds were the only life forms in a land that

time forgot. But there are people of sorts in At the Flood,

although you have to open the front panels to see them.

Perhaps that is the sacred secret the painting holds – the

evidence that our ancestors are equally implicated in this

mythical-evolutionary tableau. The humanoids have enlarged

heads, hinting at some sort of telepathic capability. Like

the birds, they have golden profiles, and the two species

are united by their vegetative tattoos. Each of the creatures

is delicately adorned with a filigree of ferns, shoots and

seed pods. Whether these emerald traceries are intrinsic to

their being, or decorative additions, one can only guess. But

Hammond’s viridian gene pool cuts and splices human, avian,

hippocampus and plant matter. But this is not a hideous

scene of monstrous deformity or mad science dreamed up

by William Burroughs, nor is it a warning of the dangers of

genetic engineering. Hammond’s world of changelings and

chimeras is a wondrous utopia of meditative calm. Perhaps

this unrelenting palette of green was inspired by the Emerald

Tablet of Hermes Trismegistus, a legendary alchemical

text which combined the esoteric knowledges of Egypt and

Greece. Or perhaps Hammond is channelling Hildegard von

Bingen’s notion of Viriditas, which equates moral truth with

the colour green – the divine force of nature. Either way,

Hammond conjures a zone of unimaginable elegance and

timelessness: certainly a space worthy of our reverence.

TESSA LAIRD

52

LOUISE HENDERSON

Untitled (Three Figures)

oil on canvas inscribed Thomas Lücke in pencil upper left verso 855mm x 950mm

PROVENANCEGifted to the present owner by a friend of the artists, Thomas Lücke.

Estimate $35,000 - $45,000

31

This study of three female figures was completed by Louise

Henderson upon her return from Paris in 1953, where she

had studied under the tutelage of Jean Metzinger, then in

the final years of his life. Metzinger was acknowledged as a

leading theorist of cubism and, together with Albert Gleizes,

he co-wrote the first published treatise on cubist practice,

Du Cubisme, the first edition of which was printed in 1911.

Having arrived slightly after the height of the original ‘Paris

School’ – a group of influential modern painters who lived

and practised in Paris during the 1940s – Henderson was

undoubtedly influenced also by the new approaches to

figuration that emerged from Paris in the 1950s: notably, the

practices of lyrical abstractionists such as Francis Picabia,

Jean René Bazaine and Serge Poliakoff.

The problem of distance and isolation has been much

discussed in relation to the development of modern painting

within New Zealand. While a distinct, modernist shift

occurred in New Zealand in the decade prior to when Untitled

(Three Figures) was made, the early works of McCahon,

Woollaston and Lusk were all informed by images in books

– a medium that does not allow the viewer to experience

the scale and physicality of an artwork. Henderson’s time in

Paris was brief; however, it allowed the artist to step outside

of the frame of reference that informed other New Zealand

practitioners in the 1950s and thus, importantly, her work

stands apart from the linear development of New Zealand’s

art history. After her return from Paris, and under the

influence of her mentor John Weeks, Henderson was driven to

take up the brush in a more confident and academic manner

and began producing cubist-style works that led to a show of

paintings and drawings held at the Auckland City Art Gallery

in 1953 that would mark her as a figurehead of New Zealand

abstract art.

The cubist movement began a revolution away from the

traditional concept of the painting as a reflection of nature

and questioned common techniques of the time to create an

intelligent and diverse range of new painting ideals. These

new concepts removed the need to render the image by the

use of techniques to achieve a three-dimensional illusion

and, in their stead, inspired the practice of creating an

image that would commend the two-dimensional qualities

that already existed on a canvas surface. Abstraction

would not have the same analytical impact with today’s

audience without an acknowledgement of this reformation

of painting culture.

The practices of other painters who had engaged with cubism

in New Zealand during the 1950s – such as Colin McCahon

and, to a lesser extent, John Weeks – took their lead from

the analytic cubism propagated by earlier cubist works

such as Marcel Duchamp’s Nude Descending a Staircase of

1912, which aimed to recreate the scattered and disjointed

experience of viewing objects and movement in real time.

The strength of Henderson’s practice is that her use of

cubist principles makes her image more direct. Henderson is

concerned more with the flat pictorial plane, subtly rendering

areas to give the suggestion of form. Indeed, aside from its

novel approach to figuration, Untitled (Three Figures) exhibits

a deeply intelligent, material sensitivity. The knowingly

applied trapezoid shapes of orange, blue and chalky turquoise

speak of an artist who is intimately ‘at one’ with her craft.

52

COLIN MCCAHON

Truth from the King Country, Load Bearing

Structures 4

acrylic on board signed Colin McCahon, dated 78, and inscribed Truth from the King Country, (4) Load Bearing Structures in brushpoint middle verso195mm x 245mm

Estimate $50,000 - $70,000

32

In a manner that is reminiscent of Colin McCahon’s seminal

early work On Building Bridges of 1952, which was made

during the artist’s period of engagement with analytic cubism

and presented a view of the Canterbury landscape seen

through and obscured by the support struts of a metallic

structure, Truth from the King Country: Load Bearing

Structures 4 once again shapes our view of the landscape

with a man-made structure – in this case, a structure of the

artist’s own making. The prominent black Tau form described

in this image finds its origins in the Necessary Protection

works which McCahon made while working from his studio in

Muriwai in the early 1970s. Initially, as the title suggests,

these works were born out of the artist’s concerns about

the gradual gentrification and pollution of the west coast

landscape; he stated: “I am painting about what is still

there and what I can still see before the sky turns black

with soot and the sea becomes a slowly heaving rubbish

tip”.¹ The series would evolve to have a much-wider-reaching

relevance as McCahon shaped the discourse into a proposal

that all human actions are part of a path towards spiritual

enlightenment. The Tau form found its origins in the negative

space that was formed by the two cliff faces, one on either

side of Muriwai Beach, as described by McCahon’s drawings

of the area. McCahon imbued the form with a symbolic

relevance – the horizontal bar represented a divine entity and

the vertical bar represented man’s path through the physical

world – and it became a prominent feature of his practice

that he would use exclusively for a two-year period in the

early 1970s.

Unlike the landscapes of McCahon’s earlier career, Truth

from the King Country: Load Bearing Structures 4 was not

a reaction to the artist’s immediate physical surroundings.

Rather, this work saw McCahon engage with the written

history of the geographical region pictured within the work.

The King Country was named after the Maori King movement,

which took force in the mid-1800s and sought to establish

the region as a sovereign state, free from the control of the

British monarchy. As a result, the region was the site of

ongoing conflict between Maori and Pakeha settlers until

1867 when economic difficulties affecting the inhabitants of

the King Country led to a peace agreement between the two

parties.

The Truth from the King Country series was painted in the

wake of the fallout that followed the passing into law of

the Treaty of Waitangi Act of 1975, which established the

Waitangi Tribunal. When the Tau motif was related to the

ongoing conflict between the rival ideologies of Pakeha and

the tangata whenua, McCahon found that it had a new and

poignant relevance. Yet, unlike the works that McCahon had

painted at the start of the decade, the Truth from the King

Country series does not present the viewer with a situation of

hopeless decline.

In the years before he painted the Truth from the King

Country series, McCahon had all but abandoned the Tau form

and had primarily been making black and white paintings

featuring words and linear imagery suspended in dark pools

of negative space. In contrast to this dark shift, Truth from

the King Country: Load Bearing Structures 4, with its use of

burning orange-yellow, is a light at the end of a tenebrous

tunnel. It presents a sunrise over a horizon. While Truth from

the King Country: Load Bearing Structures 4 reflects upon an

ongoing conflict, the proposition that equilibrium will one day

be reached is what lies at its heart. In this work, McCahon

propagates his hope that a load-bearing structure – a set of

governing principles – will eventually lead to a resolution.

Charles Ninow

1 Brown, Gordon, H., Colin McCahon: Artist (Auckland: Reed, 1984), p.164.

54

MICHAEL PAREKOWHAI

Driving Mr. Albert

rabbit, polyurethane, two-pot automotive paint

1635mm x 255mm x 255mm

ILLUSTRATED Lett, Michael and Ryan Moore (ed.), Michael Parekowhai (Auckland: Michael Lett Publishing, 2007). p. 89, 163

EXHIBITEDPreviously on long term loan to Suter Art Gallery Te Aratoi o Whakatu, Nelson.

Estimate $20,000 - $30,000

33

In a short, unpublished piece of prose written to accompany

Michael Parekowhai’s exhibition Driving Mr. Albert in 2005,

the artist’s sister Cushla Parekowhai explains that the title

for the series of works was derived from the title of a novel

by Michael Paterniti called Driving Mr. Albert: A Trip across

America with Einstein’s Brain. The book tells the story of

a road trip across America with the pathologist Thomas

Stoltz Harvey, who performed the autopsy on Albert Einstein

at Princeton University after his death in 1955 and who

removed the brain of the subject without the permission

of the family. Paterniti spent three months sectioning the

brain to produce 12 sets of slides and then retained the

remains which were kept “floating in a Tupperware bowl of

formaldehyde for over forty years”.¹

Reading as though it has been plucked from the pages of

a science fiction novel, a tale of such brazen disregard

for medical ethics almost lacks any gravitas – the true

implications of such an act are beyond the comprehension of

most. However, Cushla Parekowhai grounds Paterniti’s story

in a local context by referencing the now-infamous Greenlane

Heart Library, uncovered in 2002. Greenlane Hospital

revealed that, since 1950, it had harvested and collected

1,350 hearts for research purposes without the consent of

the deceased patients or of their families. Most of the organs

were taken from infants and children, the majority of whom

had died from congenital heart disease. Like Einstein’s brain,

these organs were collected for the purpose of scientific

research, supposedly, for the greater good.

In referencing these two cases of misconduct – one American

folklore and one local history – Parekowhai’s intention was

to perpetuate a discourse that was focused not on the events

themselves but, rather, on the organisational structures that

allowed such events to take place. At the heart of Driving

Mr. Albert is a dialogue about the tenuous relationship

between the tangata whenua and nationalised health care:

the tendency of bureaucratic process to impinge on the Maori

insistence that “the deceased be given up by the authorities

intact and as quickly as possible”.² In Driving Mr. Albert,

Parekowhai offers this conflict between two tenets as a

wide-reaching model for the way in which tangata whenua

have been forced to adapt their customs in order to conform

to an imposed system of governance.

The body of works to which Driving Mr. Albert belongs

was originally presented en masse in Parekowhai’s 2005

exhibition of the same title. The works were of equal height.

Each confronted the viewer at eye level and each presented

a taxidermied rabbit immortalised in a different pose. Some

offered themselves to the viewer willingly, while others

cowered and faced the wall. The high-gloss pedestals were

cast from the naturally balanced form of the radiata pine

tree, a species introduced to New Zealand for commercial

uses. These pedestals were painted in an array of hues and,

in his text in Parekowhai’s monograph, Justin Paton referred

to these trunks as a “colour-coded” forest.³

Taxidermied rabbit hides have a broad-reaching presence

within Parekowhai’s practice and appear in a number his

key works – The Barefoot Potter Boys Brigade (1999),

Craig Keller (from The Beverly Hills Gun Club series, 2000)

and Roebuck Jones and the Cuniculus Kid (2001). Their

continued presence emphasises the lack of value attached

to the rabbit, a pest introduced to the New Zealand

landscape somewhat earlier than was the radiata pine. In

the greater taxonomic order that pertains to New Zealand’s

environment, the rabbit stands on the lowest rung and, in the

Driving Mr. Albert series, it plays the role of an underclass

coalesced into an arrangement that has irrevocably changed

the nature of its existence.

CHARLES NINOW

¹ Parekowhai, Cushla. Driving Mr. Albert (2005), unpublished.

² Ibid.

³ Paton, Justin. “The Big Ask: 20 questions about Michael Parekowhai” in

Michael Lett and Ryan Moore (eds.), Michael Parekowhai (Auckland: Michael Lett

Publishing, 2007), p. V–XV.

56


No Koora te Cigaretti, A Portrait of Mihipeka

Wairama, Tuhourangi

oil on canvas signed C. F. Goldie and dated 1915 in brushpoint lower left; signed C. F. Goldie and inscribed No Koora te Cigaretti, No. 1, Sale price £13.13.0 in ink on original artist’s label affixed verso 240mm x 190mm

Estimate $170,000 - $200,000

34

Mihipeka Wairama was a favourite model for Goldie between

1912 and 1915 when he was at the peak of his powers as

a portraitist of old-time Maori. Her striking facial features,

heavily lined but still handsome, her wonderful chin moko

and her splendid head of hair made her an irresistible subject

for him. Her colourful history as a survivor of the Tarawera

eruption linked her to the Buried Village of Te Wairoa and the

tragic events there in 1886 when the Pink and White Terraces

were destroyed. When he met her in 1908 at Whakarewarewa,

she was living with other Tuhourangi people near Rotorua,

displaced from her ancestral home and dependent for a

living on the tourist trade. Now a mature woman, a kuia,

with stories to tell of her early life and its tragic beginnings,

she was willing to sit for Goldie no doubt for a small fee.

He painted two versions of No Koora Te Cigaretti, the earlier

dated 1912 and now in Adelaide, and the present example

dated 1915. Their compositions are almost the same but the

Adelaide version is unfinished in the corners of the canvas

and may have been intended to be presented in an oval

frame. He also painted another fine portrait of her in near

profile, dated 1912 (private collection) without the cigarette.

All three paintings show her in head-and-shoulders format

set close to the picture frame and dressed in a woven blanket

draped over a blouse with a scarf around her neck.

The present work shows her facial features full frontal in

sharp, meticulous detail. Her ear pendant of greenstone is

painted with great care to bring out its hard, shiny surface

and contrast it with her softer, textured skin. Conveying

the tactile qualities of the subject matter and the contrasts

between skin, hair, blanket and moko are critical to Goldie’s

mission as a painter. In accordance with his French academic

training, he wants to make her appear real and for the work to

be a fully finished study, accurate in every detail. Everything

is resolved, nothing left to chance. There is also careful

attention to lighting and modelling of the features. He uses

a pronounced chiaroscuro that casts her right cheek and

shoulder into shadow where detail is reduced, but where, too,

the white of the cigarette stands out against the shadowy skin

behind it. Each touch of paint is placed carefully with the

virtuosity of a master in command of his craft.

The title No Koora Te Cigaretti draws attention to her smoking

and introduces an element of controversy. Loosely translated,

it means ‘cigarettes are no good’ in the sense that she would

prefer something stronger, namely tobacco in a pipe. The

habit of smoking like that of drinking alcohol was introduced

to Maori by the European settlers much to their disadvantage

when they became addicted. Both men and women indulged

at a time when it was rare for middle-class European women

to smoke or drink heavily. Goldie seems to see some humour

in her addiction though the portrait is sympathetic rather

than judgmental and her dignity is preserved. She is shown

at a time of change when traditional Maori life and customs

were threatened by European values and adjustments had

to be made. Goldie was well aware that he was recording a

vanishing way of life and tended to dwell on the nostalgic

aspects of his subjects. This explains the reflective nature

of Mihipeka’s expression with eyes half closed as if thinking

about times past rather than about the present.

MICHAEL DUNN

58

BILL HAMMOND

Sea Legs

watercolour on paper signed W. D. Hammond, dated 1995 and inscribed Sea Legs in brushpoint lower right900mm x 1220mm

Estimate $65,000 - $85,000

35

Painted in 1995, Bill Hammond’s Sea Legs is a hauntingly

beautiful example of the artist’s fascination with birdlife,

which began to tentatively grace his paintings from the early

’90s after a transformative trip to Enderby Island in 1989. As

an archipelago of the New Zealand sub-Antarctic islands with

no permanent human inhabitants, the Auckland Islands are

a safe haven for wildlife and an important breeding site for

a number of endemic birds. Hammond’s visit to the islands

was the catalyst for his searing vision of a ‘birdland’, which

he has sought to populate ever since with a mythological race

of ornithological creatures, the genesis of which is readily

apparent in Sea Legs.

Suggestive of brevity, fragility and the sheer beauty of the

natural world, Sea Legs displays a masterful handling of

watercolour and clearly illustrates Laurence Aberhart’s

appellation of Hammond as “the pre-eminent painter of

surface”. ¹ The paper has been stained with a series of dark

violets, inky blues and charcoal-grey hues that canvas the

work so that it virtually hums with a raw dynamism. In true

Hammond form, however, it is an energy that is intimately

tempered by an elegiac and meditative charm. Sea Legs is

blanketed in fine striations of modulated colour that evoke

divisions of sky, horizon line, land and sea, while thin

rivulets of pigment dribble and run down the expanse of the

painting. Dripping tendrils of paint are as much a hallmark

of Hammond’s artistic repertoire as are his bird creatures and

can be seen running and weaving through the majority of his

paintings.

A starless, cloudy sky presides over the wet and windswept

land of Sea Legs. Misty squalls buffet the terrain while the

sun struggles to pierce the cloud, carving a brief patch of

blanched sky in the middle distance. A series of five inverted

waves roll simultaneously in and rush out, their highly

stylised forms and curling filigree crests conjuring the work

of Japanese woodblock artists such as the revered Katsushika

Hokusai. Reminiscent of sheets of corrugated iron, the frozen

sea retreats on a sharp diagonal, drawing the spectator into

the centre of the painting where a dark, billowing sky is seen

weeping ribbons of silver.

Signs of domesticity grace the foreground with the sea

carrying in a small yet staunch bulldog and the beginnings

of a russet-coloured velveteen chaise longue, which casually

disappears off the edge of the paper, suggesting that more

domestic flotsam abounds. On the left of the painting, a

lone shag is seen perched atop a jagged piece of rock and

staring resolutely out to sea. Neatly circumscribed within an

ornamental cabinet that is complete with an identification

label, the shag faces off against an encroaching tide of

human invasion and settlement. The bird remains aloof,

protected and distant, and yet at the same time it is a

covetable commodity that has been ostensibly purchased,

owned and possessed. This is Hammond at his best, drawing

commentary that is resonant with suggestion, allusion and

possibility while offering it to the viewer in an enticing,

lyrical manner. Like the individual pieces of a puzzle, the

three figurative elements of glass-caged bird, bulldog and

chaise longue come together to weave a poetic narrative that

eloquently speaks of a rich, personal experience, historical

exploration and settlement, and the mythic possibilities of a

hybridised ornithological race.

JEMMA FIELD

¹ Aberhart, Laurence, “Welcome to Bill’s Bar”, in Jennifer Hay (ed.), Bill

Hammond: Jingle Jangle Morning (Christchurch Art Gallery, 2007), p.12–15.

60

RALPH HOTERE

Black Painting

acrylic on canvas signed Hotere, dated 69 and inscribed Black Painting in brushpoint verso; inscribed cat no. 30 and $150 in pencil on stretcher1115mm x 915mm

PROVENANCEPurchased by the current owners directly from the artist, circa 1974.

Estimate $80,000 - $120,000

36

Like musical chords suspended in the silence of darkness, a

lyrical mysticism exudes from the boards of Hotere’s Black

Painting series, which were to form the foundations of

Hotere’s artistic career. Black Painting (1969) is an exquisite

example from this series, on which the artist focused for two

years from 1968 to 1969. In contrast to the majority of works

in this sequence, which were painted with brolite lacquer on

hardboard to eliminate any trace of brushwork, Hotere here

rejects the luminous and reflective quality of the lacquer in

favour of a matt finish. Rendered in acrylic on canvas, the

circle of fine illuminated threads of colour glimmers against

the black background. The all-encompassing scale of the

painting, offers an altar-like quality to the piece.

Hotere’s practice has frequently been compared with the

hybrid Maori Catholic upbringing of the artist. Hotere was

steeped in Catholic liturgy, theology, sacramentalism,

mysticism and iconography, and Latin texts as a young boy

and his works carry an intrinsic spiritual quality, which is

redolent throughout his oeuvre. His early paintings from this

series feature a recurring cross. In Black Painting (1969), we

see a departure from these linear works, yet the focal point of

the painting remains constant, resembling an altarpiece, or

illuminated halo: the circle becoming a metaphor for God or

the universe.

During the 1960s, Hotere was greatly inspired by his

travels to Europe and the South of France, where he resided

for several months. Living near to the monastery, Hotere

frequently visited the Dominican Chapel of the Rosary in

Vence, whose ecclesiastical designs by Matisse were the

antithesis of the stark, unadorned church of his home town,

Mitimiti. Formally, his black paintings are an inversion of

Matisse’s chapel drawings, yet they share a similar sensory

‘vibration’, which fills their surrounds.

Hotere’s piece also reveals his ongoing affinity with nature.

At this time, it was likely that Hotere would have been

influenced by D’Arcy Wentworth Thompson’s scientific

studies on the form and patterning of nature, which were

widely discussed by artists in London in the early 1960s.

The repetition and patterning of fine lines, central to Black

Painting (1969), echo the rhythm of the isobars or contours

of a map. These lines resonate in his landscape drawings

produced later the same year, which appeared on the cover of

James K. Baxter’s Jerusalem Sonnets (1969).

Yet, one cannot overlook the overtly aesthetic and formal

properties of this canvas. The perfectly rendered surface,

fine symmetry, repetition of line, geometry and extreme

reductivism, place the work comfortably alongside minimalist

masters of the 1960s and ’70s. Hotere’s Black Painting

series calls to mind works by Ad Reinhardt, Mark Rothko,

Barnett Newman and Kazimir Malevich. Later, these

paintings became a catalyst for his exploration of paint and

darkness as his practice moved towards qualities of abstract

expressionism. His obsession with the monochrome, secures

Hotere among the family of black painters described by

Robert Motherwell: Manet, Goya, Matisse and Motherwell

himself, as “painters who employ a certain sardonic intensity,

almost a perversity in their commitment to the sacramental

centrality of this primary pigment”.¹

Though minimalist, Black Painting (1969) speaks a poetry of

its own, transcending nature and religion through its sublime

beauty and intellectual elegance.

EMILY GARDINER

¹ Quoted in Eric Protter ed., Painters on Painting, Grosset & Dunlap, New York,

1963.

62


Ngatirea (Day Dreams), Natarua Hangapa -

Arawa Tribe

oil on canvas signed C. F. Goldie, inscribed N.Z., and dated 1938 in brushpoint upper left; original John Leech Gallery label affixed verso 300mm x 245mm

Estimate $150,000 - $200,000

37

distinctive kaka beak flowers. Further similarities are seen

between the two works in terms of format, pose, costume

and accoutrements and it is notable that, presumably due to

the youth of the two sitters, they have not yet received kauae

moko (chin tattoo).

The focus in Ngatirea (Daydreams) has been placed on the

subject and her material taonga. She is shown wearing a

korowai (cloak) that is decorated with fine black hukahuka

(tassels) along with a pounamu tiki pendant and two

whakakai pounamu (greenstone earrings). Although this

issue has been repeatedly noted in discussions of Goldie’s

paintings, it is still worth contextualising his work by

recapitulating the prevailing Pakeha view at the turn of the

20th century that New Zealand’s indigenous people were

destined for extinction or assimilation. Despite evidence

of Maori regeneration, these beliefs were still prevalent in

1935 when the Auckland Star claimed that Goldie’s portraits

“of Maori men and women will be ‘Old Masters’ – and

connoisseurs will fight for them… when none of the race he

perpetuates are here”. While Goldie’s personal position on

the matter remains unknown, his portraits of Maori sitters

in varying states of solemn contemplation like Ngatirea

(Daydreams) did serve to illustrate the contemporary opinion

that the Maori was an ill-fated race. Somewhat ironically,

however, Goldie’s exacting approach to documenting what he

likely thought were the last members of a ‘noble race’ has

bequeathed New Zealand invaluable taonga tuku iho (prized

heirlooms) that serve to record the people,

material appearances and attitudes of a specific time in

this country’s past.

JEMMA FIELD

Painted by Charles Frederick Goldie in 1938, Ngatirea

(Daydreams), Natarua Hangapa – Arawa Tribe is a prime

example of the artist’s unparalleled ability to weave together

historical fact with an elegance and integrity through his

painstakingly mimetic technique. This combination of

elements is to some extent responsible for earning Goldie

a place as New Zealand’s most-celebrated and esteemed

painter of the 20th century. Ngatirea (Daydreams) is an

excellent example of Goldie’s late phase of works that

were completed throughout the 1930s. Characterised by a

thinner application of paint, a looser handling of the brush

and comparatively richer tonalities, these works were a

departure from the rigid compositions of his earlier career

and each imbues the sitter with a romantic light. Thus, in

this later work, we see Goldie return to and further develop

the approach that he had successfully honed at the Académie

Julian in Paris during the 1890s.

Executed in bust-length format, the present painting depicts

a relatively young Maori woman positioned front on to the

viewer with her head inclined to the left and eyes downcast.

Loose hair cascades over her shoulders and is delicately

pinned back by a cluster of scarlet kaka beak (Clianthus

puniceus) flowers. Performing a purely decorative function in

the portrait, the flowers of the kaka beak traditionally served

a specific function for Maori. Containing a large amount of

nectar, the flowers from the two endemic species of kaka

beak were used to feed tui that were kept in cages in order

to attract other birds that could then be trapped. While the

majority of Goldie’s portraits of Māori woman depict them

with unadorned hair, an earlier work from 1932 entitled

Reverie – Hinemoa, Te Arawa also depicts a young woman

with untied long hair that is adorned by a bunch of the highly

64

GRETCHEN ALBRECHT

Gains and Losses (Aequus)

acrylic on canvas signed Albrecht and dated 98 in brushpoint verso, lower right; dated 98 and inscribed Gains and losses (aequus) in brushpoint on stretcher; inscribed gains and losses and dated 1998, Ref. No: 6A/10 98-12 in ink on original artist’s label affixed to stretcher verso 1360mm x 2375mm

Estimate $30,000 - $40,000

38


COLIN MCCAHON

Northland

ink wash on paper signed McCahon, dated April ‘59 and inscribed Northland in ink lower right620mm x 500mm

REFERENCE Colin McCahon database reference number cm001231

Estimate $40,000 - $60,000

39

66

TOSS WOOLLASTON

A View of Tasman Bay from Harley’s Road

oil on board signed Woollaston in brushpoint lower right; unfinished painting verso 1145mm x 2600mm

PROVENANCEPrivate collection, Auckland. Formerly in the collection of Hamish Keith.

ILLUSTRATEDGerald Barnett, Toss Woollaston, An Illustrated Biography National Art Gallery, 1991, p 105.

Estimate $120,000 - $180,000

40

The basis of Toss Woollaston’s approach to image-making can

be found in his career-long ambition to make paintings that

were not concerned with reproducing the physical appearance

of his subject matter. Rather, Woollaston’s primary concern

was always to transmute to the viewer the sensation of

standing before his subject. Woollaston was unconcerned with

carefully editing and selecting the content that is presented

to the viewer as his works are about the imperfect experience

of encountering physical objects in real, three-dimensional

space. Woollaston’s maxim stood as a stark contrast to the

canon of artistic practice in New Zealand which, up until his

arrival and that of McCahon (with whom he had socialised in

Nelson during the summers of the 1930s), had been firmly

entrenched in a colonialist obligation to depict the landscape

as a vast and idyllic resource rather than as an entity with its

own innate character.

A View of Tasman Bay from Haley’s Road is a mature work

that, while painted when the artist was aged 71, is redolent

of the influences that drew Woollaston’s focus towards

expressionist mark-making at the very outset of his career.

Yet, at the same time, the work also presents an approach

to painting that could be nurtured only in New Zealand –

a mode of pictorial representation that could be shaped

only by the volcanic rock underbelly saddled beneath

this particular landscape’s green grass and tussock hills.

Woollaston’s methodology was torn from the playbook of

turn-of-the century modernists like Cézanne and Kirchner;

however, his use of colour represents a significant point of

departure from these forebears. An important development in

the practice of these modern masters was their willingness

to choose pigments that unequivocally amplified the form

and presence of their subject matter. However, the colours

used by Woollaston were always firmly grounded in a study

of the light conditions that were specific to New Zealand. A

View of Tasman Bay from Haley’s Road utilises extreme tonal

variation between light and dark and, while Woollaston’s

distribution of colour does accentuate the physical character

of the landscape, the pigments that he chose have dusky

undertones that speak directly to the New Zealand climate.

In A View of Tasman Bay from Haley’s Road, a further point

of departure from Woollaston’s modern roots can be found in

the artist’s almost alchemic ability to present receding space

without altering the measure of his brush strokes. A primary

development that turn-of-the-century modernists enacted

was an elevated awareness of the material quality of their

paintings: a shift of focus from illusory effects to surface

qualities. A View of Tasman Bay from Haley’s Road sees

Woollaston further develop these principles so that, while his

strokes have their own ebb and flow and a thick, palpable

presence, they are also a gateway into a world of the artist’s

inception.

Perhaps the most-celebrated aspect of Woollaston’s painting

practice is the way in which the structure of the New Zealand

landscape always plays a prominent role in his works. In A

View of Tasman Bay from Haley’s Road, the artist’s gestural

markings are draped across a sea of contours, almost

suggesting that concealed beneath them is a seething

mass of unimaginable power. In relation to the much-larger

geological forces that are hidden beneath the landscape, this

blanket of paintwork serves to illustrate the thinly spread

proportions of the life and vegetation that inhabit its surface.

There is a reverent overture in this depiction of Woollaston’s

own Nelson landscape: a personal recognition of the area’s

undulating ability to inspire. While the artist was not born in

Nelson, he settled in the area in his early 20s. Further, while

he moved away from the area, he would later find his way

back and he would die in the nearby town of Upper Moutere.

A View of Tasman Bay from Haley’s Road is an embodiment of

Woollaston’s lifelong relationship with the Tasman Bay area.

CHARLES NINOW

70

TONY FOMISON

After the Land Do You Look

oil on canvas in artist-painted timber roundel, inscribed #207, “After the land do you look”, started 12.5.78, Finished the next month. Canvas I stretched on inside of a roundel picked up from fleamarket. Oils in graphite on papel label affixed verso diameter 230mm

PROVENANCEGifted by the artist to the present owner, 1978.

EXHIBITED Exhibited: Whangarei Art Gallery.

Esimate $20,000 - $30,000

41

TONY FOMISON

The Seer

oil on canvas on board in found frame (round metal plate) signed Fomison, inscribed The Seer, and dated 7.5.76 in brushpoint lower edge diameter 165mm

PROVENANCEPurchased by the current owner from Barry Lett Gallery 1976; original Barry Lett receipt affixed verso

Estimate $10,000 - $15,000

42 TONY FOMISON

Nightflight

oil on jute canvas on board in artist-made frame, signed Tony Fomison, dated 1980, and inscribed “Nightflight” in graphite middle verso660mm x 445mm

PROVENANCEAcquired by the present owner from the artist at his studio, 1980.

EXHIBITED Whangarei Art Gallery.

Estimate $40,000 - $60,000

43

41

42

70

COLIN MCCAHON

Untitled (Landscape) from the

Northland series

oil on jute canvas 910mm x 580mm

PROVENANCEGifted by the artist to the present owner, circa 1961. While a teenager, and despite a meagre wage, the owner had purchased an oil from the Titirangi series. Apparently much impressed, McCahon gave her this work.


Estimate $70,000 - $90,000

44

Roughly divided into three horizontal segments that

logically bear out foreground, middle distance and sky,

Colin McCahon’s Northland from 1962 offers the viewer a

snapshot of a landscape that has been coarsely hewed and

pared back so that only the essential, unadorned structure

of the scene remains. The landscape vista is executed in a

reduced palette of yellow ochre, burnt hazel and sooty black

and McCahon transcribes it by removing almost all sense of

spatial recession so that the viewer travels vertically up the

canvas rather than receding into an imagined space. In place

of an illusionistic three-dimensionality, McCahon focuses on

realising a clarified unity of space and form.

The present painting belongs to McCahon’s second series

of Northland paintings, which he began in late 1962 and

continued throughout the subsequent year. Following

on from the Elias and Gate series, these works feature a

formal sparseness and a notable internal rhythm that is

communicated through a restricted palette of yellows and

blacks. This is patently visible in Northland where the

shadowy, swelling hill in the foreground blossoms to the

right in a motion that is countered by a steep jump in the

horizon line on the left. By comparison, the earlier Northland

paintings from 1958 for the most part feature a wider palette

choice and a heightened sense of naturalism in the more

pronounced use of local colour. In the same manner as were

the pivotal Northland Panels from 1958, the Northland

paintings were part of McCahon’s attempt to convey

something of the magic and rarity of the austere

New Zealand landscape that he believed was endangered

by the population’s apathy.

The key to the painterly vitality of Northland lies in

McCahon’s controlled use of colour and pattern. A burnished

sky bears witness to a brooding mass of lavender-tipped

cloud that has been smudged across the canvas and now

hangs obstinately in the centre of the painting. In places,

McCahon’s application of paint is thin and raked so that the

distinctively thick weave of the jute canvas becomes visible

to the human eye and adds a textural dimension to the work.

The edges of the painting are tightly cropped so that the

rising landscape forms of Northland appear to spill out and

continue beyond the confines of the canvas. The simple and

orderly structure of Northland produces an infinite stillness

so that the work comes to exude a measured poise and an

explicit serenity that is akin to the contemplation of spiritual

benevolence.

As is the case with the majority of McCahon’s landscape

paintings, Northland presents the viewer with a spiritual and

metaphysical journey. It calls for the viewer to walk over the

rolling hills, to watch the sun seep below the horizon line

and to bear witness to the mystical power of the New Zealand

landscape. As such, the painting bears a pensive religiosity

and is an example of McCahon’s exploration of the symbolic

potential of the landscape in his incessant quest to better

understand the nature of faith and religious conviction.

It also speaks of McCahon’s role as a prophetic visionary

who was seeking a new and expressive visual language

that would be able to communicate something of the

fundamentals of belief and the poignancy of doubt to a wide

and diverse audience.

JEMMA FIELD

72

COLIN MCCAHON

Necessary Protection

charcoal on paper signed McCahon, dated ‘71 and inscribed Necessary Protection in pencil lower edge460mm x 610mm

EXHIBITEDA significant number of Necessary Protection paintings and drawings were exhibited in McCahon’s 1971 exhibition, Necessary Protection, Barry Lett Galleries, Auckland, 1 - 12 November 1971. No catalogue accompanied the exhibition so it is not possible to determine exactly which works were shown on that occasion.

REFERENCE Colin McCahon Database Reference CM000339

Estimate $28,000 - $32,000

45

Necessary Protection, torn straight from the artist’s sketchbook, belongs to sprawling series of works defined by both a central conceptual framework and a common set of formal constraints. The works from this series are loosely based on both the sunset and the cliff formations that the artist observed at Muriwai Beach. The cliffs on either side of the beach are described by the two blocks of dark, negative space and the sunset is contained by the Tau shape in the centre of the image. Necessary Protection is not a reflection on one place in particular. Rather, in this work, the artist has sought to address the relationship between human beings and the earth beneath them.

In the catalogue for his 1971 Earth/Earth exhibition at Barry Lett Galleries in Auckland, McCahon told of a cliff section at Muriwai that had been put on the market: “just like everything else,” he lamented, “it was for sale.” Further, he speculated that if it were bought by someone who sought to develop the land, it would set in motion a vicious cycle that would only lead to further gentrification and the gradual pollution of the black-sand beach that he loved so dearly with “plasticised ‘sundae’ containers and ice-cream sticks and wrappings and plastic bags from the new season’s bikinis”. It feels slightly off-key to refer to any of McCahon’s work as protest pieces as he was not an artist who provided the viewer with straightforward readings that could be shouted out across the room. However, upon first glance, the full frontal weight of the cliff faces makes them appear almost as barricades, thrown up by the artist as if to say “stop!”

The Tau form and the landscape draw meaning from each other. In this early iteration of the series, the artist has purposefully

chosen not to define whether the sky has been framed by the landscape or, alternatively, whether the Tau form has been juxtaposed on top. Most readily, the Tau form presents itself as a divine entity. It appears almost like the mid-section of a crucifix and it is implied that, beyond the viewer’s narrow frame of reference, the form extends up into the heavens and down through the core of the earth. Further, it also serves as an illustration of an uphill path to enlightenment. Outside of Christian imagery, the symbol Tau, from the Greek alphabet, has other connotations of which the artist was well aware. In mathematical equations, Tau serves as a symbol for time and, when set into the picture plane with this charge, its infliction is altered considerably. In this light, we see a diorama of the future that McCahon predicts. Stripped of its character, the Tau has cut the landscape into a uniform mass.

Produced with only rudimentary materials and completed in the same setting in which it was commenced, Necessary Protection is a direct translation of the artist’s thought and feeling. The staple format – the divided landscape that inverts to a Tau – was used by the artist like a ready-made: a set of concerns and associations that could easily be inserted into a work simply by drawing the shape. Each time it was used, the treatment altered slightly and some new understanding was gained; thus McCahon repeated the Necessary Protection form exclusively for a period of two years. This series is responsible for the introduction of symbolic, hard-edged abstraction into the artist’s work.

CHARLES NINOW

74

COLIN MCCAHON

Untitled (North Otago Landscape)

charcoal transfer on paper signed CM and dated ‘61 in charcoal lower right 260mm x 200mm

PROVENANCEGifted to the present owner by a friend and colleague of the artist. Originally consigned to the present owner and stored within the same UNESCO envelope, addressed to CJ McCahon, that accompanies the following lot.

Estimate $8,000 - $15,000

46


COLIN MCCAHON

Untitled (Kauri)

charcoal transfer on paper 260mm x 200mm

PROVENANCEGifted to the present owner by a friend and colleague of the artist. Accompanied by a UNESCO envelope, addressed to C J McCahon, in which the work was originally consigned to the present owner and in which the work was stored.

Estimate $8,000 - $15,000

47

76

PAT HANLY

City Bride

enamel and timber construction on board signed Hanly, dated 90 and inscribed City Bride in brushpoint lower left1050mm x 840mm

Estimate $20,000 - $30,000

48


FRANCES HODGKINS

Untitled (Girl in a 1920s Cloche Hat)

watercolour on paper signed Frances Hodgkins in graphite lower right 440mm x 300mm

Estimate $20,000 - $30,000

49

78

COLIN MCCAHON

Annunciation

charcoal on paper on cardboard, signed McCahon 49 and inscribed Annunciation in charcoal upper centre; inscribed drawing Annunciation, Colin McCahon, 6gns verso; original Manawatu Art Gallery Travelling Exhibition label affixed to backing board inscribed Annunciation McCahon, Religious cat. no. 37 and inscribed carte 4 in red ink verso650mm x 520mm

PROVENANCEPurchased by the present owner from the Eric Scholes Gallery, Rotorua, 1964

EXHIBITEDColin McCahon and Toss Woollaston, Helen Hitchings gallery, Wellington, 30 July - 5 August 1949, 6 gns. Group Show 51, Canterbury Society of Arts Gallery, Durham Street, Christchurch, 15 - 26 October 1951, cat. no. 62, 6 gns. McCahon: ‘Religious’ works 1946-1952, Manawatu Art Gallery, 24 March-? April 1975, cat. no. 37.

REFERENCEColin McCahon database reference number CM000511

Estimate $60,000 - $75,000

50

Executed in 1949, Colin McCahon’s Annunciation is a

monochromatic masterpiece of concentrated energy, hallowed

serenity and an overriding sense of repose. It was completed

in charcoal on paper and the close proximity of the two

figures to each other and to the spectator, provides an honest

directness that removes any possible barrier of distance,

thereby heightening the immediacy of the scene. Narrated in

The Gospel of Luke in the New Testament, The Annunciation

is the event when the Archangel Gabriel was sent from

Heaven to tell the Virgin Mary that she was to be the mother

of Jesus, son of God. This pivotal biblical occasion has

come to be one of the most common subjects in the history

of Christian art. In choosing to depict The Annunciation,

McCahon established a direct dialogue with the great masters

of European art, paying homage to artists such as Duccio,

Giotto, Titian, Signorelli and Gauguin who, from the pages

of art books, had aided McCahon in his journey to clarify

his painterly approach to religious themes and ideas. While

Annunciation does not offer any direct quotations, the

emotional and psychological intensity keenly harks back to

the work of Titian while the stylised simplicity of the figures

is reminiscent of Giotto, and the strong use of line recalls the

cloisonné style of Gauguin.

The composition of McCahon’s Annunciation is powerful in

its simplicity, with both the Virgin Mary and the Archangel

Gabriel presented in extreme close-up and acutely cropped to

bust-length format. A roughly shaded area of charcoal forms a

circular framing device, crowning the two figures and creating

a window through which the details of a distant landscape

become apparent. A linear set of hills is seen rippling along

the horizon line, blanketed by a stream of brisk cloud that

scurries overhead. The middle ground offers an expansive

spread of pasture interrupted only by a copse of trees and

what is perhaps a milking shed or barn that has been neatly

framed by a fence. Against this rural backdrop, McCahon

envisions the portentous moment of The Annunciation.

During the late 1940s and early 1950s, one of McCahon’s

primary aims was to reconfigure the events of the Bible

in order to make them relevant to the everyday concerns

of contemporary New Zealanders. The way in which he

achieved this was by bringing biblical episodes closer in

time and space and by transplanting them into a locale

that was inherently New Zealand. Thus, the rolling hills and

wide, sparse areas of the Nelson region are recognisable as

the physical location of many of McCahon’s early religious

paintings. In discussing this section of McCahon’s oeuvre,

Gordon H. Brown notes that “frequently the situation

depicted shows one agent in an active role while the

other is a passive recipient”¹, which is clearly borne

out in Annunciation. Here, McCahon casts Mary as the

inactive, acquiescent character in the scene, showing her

with eyes closed and head bowed in a manner of reverent

contemplation. Her abeyance is balanced by the Archangel

who adopts an animated role, staring resolutely ahead with

eyes wide open and lips slightly parted as though in the

middle of delivering God’s sacred proclamation. Capturing

the sacrosanct figures of Mary and Gabriel in a prophetic

moment, McCahon’s tightly controlled composition, his

sincerity of approach and his stylistic rawness coalesce to

produce a work of enduring originality and pertinence.

JEMMA FIELD

¹ Brown, Gordon H., Colin McCahon: Artist (Auckland: Reed, 1984), p.37.

80

GRAHAME SYDNEY

Winter at Burke’s Pass

oil on linen signed Grahame Sydney and dated 2009 in brushpoint lower right; signed Grahame Sydney, dated © 2009, and inscribed “Winter at Burkes Pass”, oil on linen, Grahame Sydney, Cambrian Valley, Central Otago, NZ in marker pen lower right verso

Estimate $45,000 - $65,000

51

Painted in 2009, Grahame Sydney’s Winter at Burkes Pass,

takes the landscape of the Mackenzie Country in South

Canterbury as its departure point. The important heritage site

of Burkes Pass on the banks of the Opihi River divides the

Two Thumbs and Rollesby Ranges, thereby allowing for easy

access to the high tussock lands of the Mackenzie Basin.

Under Sydney’s brush, a segment of the region is translated

into a two-dimensional ivory haven. Freshly fallen snow

blankets the earth and the painting virtually bristles under

the silence of the scene.

From a distance, Sydney’s Winter at Burkes Pass appears to

be an almost barren wonderland of white and grey tonalities.

United in their milky hues, sky and earth are nearly

indistinguishable with the exception of the two rivulets of

muted silver that run the expanse of the painting and serve

to cleave the niveous landscape from a brooding, bloodless

sky. Nestled in the snowy haze, this nebulous grey patch is

perhaps a run of pine trees but, then again, it is maybe a

rocky outcrop or a series of rolling hills or even, possibly,

a band of houses. Comprising, ostensibly, an expanse of

bleached ground, a leaden, chalky sky and a murky smudge

in the middle distance, Winter at Burkes Pass is evidence of

Sydney’s supreme technical virtuosity. If one draws closer to

Winter at Burkes Pass, however, a number of small, mimetic

elements reveal themselves, looming out of the picture plane

and pitting the work with an internal narrative.

Viewing the painting at a closer proximity, the spectator

is welcomed into a finely detailed wintery world.

Compositionally graceful, Winter at Burkes Pass is solidly

anchored by a thick wooden post in the lower left foreground

that gives way to a series of wooden palings and strings of

barbed wire. Radically foreshortened, the fence marches

backwards into the painting where it carves out a sharp right

angle, turning to shadow the horizon line until it trails off the

edge of the painting in an amaranthine manner. A circular

concrete water trough punctuates the far corner of the fenced

paddock and the occasional brave stalk of grass can be seen

breaking the snowy covering.

It is characteristic of Sydney that Winter at Burkes Pass is

devoid of any human presence. However, as with most of

his best works, the painting contains hints and traces of

humanity, of civilisation, progress and ownership. Unobtrusive

yet assertive, the wooden railing and rounded trough signal

that this is a maintained property and not a bleak, desolate

wilderness. The landscape is private and cultivated, and

belongs to someone, and the painting pays a humble and

subtle tribute to agriculture, industry, perseverance and the

human desire for ownership. In conjunction with the works

that Sydney completed following his trips to Ross Island,

Antarctica, in 2003 and 2006, Winter at Burkes Pass is

a testimony to his ability to transform a pallid and almost

empty expanse of frozen landscape into an image of enduring

visual interest. These images of alabaster lands punctuated

by small and comparatively insignificant markers of humanity

have become something of a hallmark of Sydney’s style.

JEMMA FIELD

82

RICHARD KILLEEN

East-West

watercolour on paper signed Killeen, dated 26.2.80 and inscribed East-West in pencil lower edge570mm x 390mm

Estimate $3,000 - $5,000

53

JULIAN DASHPER

Halley’s Comet at Silverdale

oil on paper signed Julian Dashper, dated 1986 and inscribed Halleys Comet at Silverdale in pencil upper edge verso 1200mm x 790mm

Estimate $7,000 - $10,000

52

MICHEL TUFFERY

Ha’amana’o Raiatea Nui

graphite and coloured pencil on paper signed Michel Tuffery and inscribed Ha’amana’o Raiatea Nui in pencil lower edge750mm x 540mm

NOTEOne of five works produced whilst the artist was in the Solomon Islands to teach the local artists how to make woodblock prints.

Estimate $3,000 - $4,000

54

52

54

53


GEOFF THORNLEY

Of His, Him #3

string, modelling compound, and oil on linen, signed Thornley in brushpoint verso; signed Thornley, dated 6.95 and inscribed Of His, Him. #3 in stencil verso2190mm x 760mm

Estimate $9,000 - $15,000

56

BRIAN BRAKE

Buddha Hand - National Museum, Gampeng

Pet, Thailand 1970

chromogenic colour print impressed signature stamp lower right 620mm x 470mm

Estimate $5,000 - $7,000

55

84

FRANCES HODGKINS

Rue de l’Horloge, Dinan, France

pencil and watercolour on paper signed FH and dated 1902 in brushpoint lower right; inscribed Rue de l’Horloge, Dinan, £7-7-, Frances Hodgkins in pencil verso370mm x 270mm

Estimate $28,000 - $35,000

57


FRANCES HODGKINS

Washer Women

pencil and watercolour on paper signed FMH in brushpoint lower right340mm x 255mm

Estimate $25,000 - $35,000

58

86

RALPH HOTERE

Drawing for Requiem Series

ink and watercolour on paper signed Hotere, dated ‘74 and inscribed Drawing for Requiem series in ink upper right500mm x 700mm

Estimate $20,000 - $30,000

59 ELIZABETH THOMSON

Space, Time Continuum

hand-painted cast zinc on spray-coated panel signed Elizabeth Thomson, dated 2003 and inscribed Space, time Continuum in pencil upper right verso 610mm x 2300mm

Estimate $18,000 - $25,000

60


JEFFREY HARRIS

Portrait of My Wife

oil on board signed Jeffrey Harris, dated 1971 and inscribed Portrait of my wife [Joanna Paul] in pencil verso 410mm x 430mm

Estimate $8,000 - $12,000

62JEFFREY HARRIS

Double Portrait

oil on board signed J. Harris and dated 1974 in brushpoint lower right; signed Jeffrey Harris and dated 1974 in pen verso; inscribed Double Portrait in pencil verso 415mm x 455mm

Estimate $8,000 - $12,000

63

KARL MAUGHAN

Untitled (Garden Painting)

oil on canvas signed with artists signature and dated 23/10/89 in oil pastel upper left verso 1210mm x 1990mm

Estimate $22,000 - $30,000

61

88

ANN ROBINSON

Spiral Vase (Four Sections)

45% lead crystal, 1/1 signed A Robinson, dated 2001 and inscribed 1/1 and NZ on underside

PROVENANCEAccompanied 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 are pink, purple and clear; reissued 7.3.2012.

Estimate $18,000 - $22,000

64

LEN CASTLE

Sulphur Bowl

stoneware, matt black exterior, yellow cracquelure interior glaze, impressed LC mark undersidediameter 415mm, height 150mm

Estimate $5,000 - $8,000

66

LEN CASTLE

Crater Lake Bowl

earthenware, matt black exterior, grey hand-modelled rim, blue alkaline interior glaze, impressed LC mark undersidediameter 540mm, height 130mm

Estimate $5,000 - $8,000

65


DORIS LUSK

College Demolition

acrylic on canvas signed D. Lusk and dated ‘81 in brushpoint lower edge 855mm x 630mm

REFERENCEDoris Lusk’s Demolition series carries an unsettling prescience, the works decrying Christchurch’s partiality for demolition.

Estimate $12,000 - $18,000

67

RUDOLPH GOPAS

Area of Quietness

oil on jute canvas on board inscribed Auckland Art Gallery in brushpoint verso; Auckland Art Gallery exhibition label affixed verso 910mm x 1080mm

EXHIBITED Contemporary New Zealand Paintings, Auckland City Art Gallery, Auckland, 1964; The Group Show, Durham Street Art Gallery, Christchurch, 31 October - 15 November 1964.

Estimate $8,000 - $12,000

68


PHILIP CLAIRMONT

The Red Chair of China

oil and acrylic on canvas signed P. Clairmont and dated 1976 in brushpoint lower edge; inscribed The Red Chair - of China in brushpoint upper edge1240mm x 1240mm

Estimate $25,000 - $35,000

69

JOHN WALSH

Tipi Haere II

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

Estimate $16,000 - $22,000

70


IAN SCOTT

Lattice No. 153

acrylic on canvas signed Ian Scott and dated ‘87 in pencil upper right verso; signed Ian Scott, dated April, 1987 and inscribed 411, 72” x 72”, Lattice No. 153 in marker pen on stretcher verso; Ferner Galleries certificate of authenticity affixed verso 1830mm x 1830mm

Estimate $12,000 - $18,000

71

72 73

74


EDWARD FRISTROM

Untitled (View of Wellington)

oil on board signed Edward Fristrom in brushpoint lower left350mm x 240mm

PROVENANCEA gift from the artist and passed by descent to the present owner

Estimate $5,000 - $7,000

72

RALPH HOTERE

Les Saintes Maries de la Mer

watercolour, graphite, oilstick and gold leaf on paper signed Hotere, dated ‘78, and inscribed Les Saintes Maries de la Mer in ink lower edge375mm x 275mm

Estimate $7,000 - $9,000

73

RALPH HOTERE

Pine

watercolour and woodblock print on paper signed Hotere, dated ‘71, inscribed from Pine a poem by Bill Manhire lower right; letterpress printed Printed on the royal Columbian hand-press, Bibliography Room, University of Otago lower left 540mm x 340mm

Estimate $10,000 - $15,000

75

STANLEY PALMER

White Island - Whakaari East

oil on canvas on board signed S. Palmer and dated 2000 in brushpoint lower right 605mm x 1155mm

Estimate $10,000 - $15,000

74

75

96

76

77

DICK FRIZZELL

Chore Boy Painting

oil on canvas signed Frizzell, dated 17/11/98, and inscribed Chore Boy Painting in brushpoint lower right610mm x 610mm

Estimate $8,000 - $12,000

76

TONY DE LAUTOUR

Mystic

acrylic on paper signed and dated 2008 in pencil verso 640mm x 900mm

Estimate $2,500 - $3,500

77


DICK FRIZZELL

No Sweat

oil on canvas signed Frizzell, dated 18/5/98, and inscribed No Sweat in brushpoint lower right755mm x 610mm

Estimate $10,000 - $15,000

78

98

RALPH HOTERE

Jerusalem, Jerusalem

oil, acrylic, collage and lithographic imprint on paper signed Hotere and dated 2004 in pencil lower right; Temple Gallery label affixed verso 570mm x 760mm

Estimate $18,000 - $25,000

80

FATU FEU’U

Ake Ake

acrylic on canvas signed Feu’u and dated 05 in brushpoint lower right 1830mm x 1210mm

Estimate $8,000 - $12,000

81

79

80

78

IAN SCOTT

Lattice

watercolour dated September 1984 and inscribed Lattice drawing no 109 in pencil verso 340mm x 340mm

Estimate $900 - $1,800

79


CONDITIONS OF SALE FOR BUYERS

1. 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, (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.

100

INDEX OF ARTISTS

Albrecht, Gretchen 38

Angus, Rita 27

Bambury, Stephen 12

Brake, Brian 55

Bush, Kushana 1

Castle, Len 65, 66

Clairmont, Philip 69

Dashper, Julian 52

de Lautour, Tony 2, 4

Ellis, Robert 18

Feu’u, Fatu 81

Fomison, Tony 29, 41, 42, 43, 77

Fristrom, Edward 72

Frizzell, Dick 76, 79

Gimblett, Max 15

Goldie, Charles Frederick 34, 37

Gopas, Rudolph 68

Hammond, Bill 30, 35

Hanly, Pat 48

Harris, Jeffrey 62, 63

Henderson, Louise 31

Hodgkins, Frances 28, 49, 57, 58

Hotere, Ralph 24, 36, 59, 73, 75, 80

Killeen, Richard 17, 53

Lusk, Doris 67

Maddox, Allen 10, 11

Maughan, Karl 61

McCahon, Colin 44, 45, 9, 13, 23, 32, 39, 46, 47, 50

Mrkusich, Milan 20

Nigro, Jan 16

Palmer, Stanley 74

Parekowhai, Michael 33

Robinson, Ann 64

Scott, Ian 71, 78

Siddell, Peter 22

Siddell, Sylvia 19

Stichbury, Peter 5, 8

Stringer, Terry 6, 7

Sydney, Grahame 51

Thomson, Elizabeth 14, 60

Thornley, Geoff 56

Tuffery, Michel 26, 54

Walsh, John 70

Ward Knox, John 3

White, Robin 21, 25

Woollaston, Toss 40

webb's important paintings and contemporary art july 2012

Documents

new zealand artists

series of work

new zealandp

seminal work

largescale work

siddell family collection

colin mccahons

important documents