Important Paintings and Contemporary Art, Modern Design and Antiques

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Important Paintings and Contemporary Art, Modern Design and Antiques








  • New ZealandsPremier Auction House18 Manukau RoadPO Box 99 251Newmarket, Auckland 1149New ZealandP +649 524 6804F +649 524 7048


    Important Paintings & Contemporary Art

    Interiors:Modern Design

    Antiques & Decorative Arts

    27-29 March 2012


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


    Modern Design 88Thursday 29 March 6:00pm

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

    BUYERS PREMIUMA buyers premium of 12.5% will be charged

    on all items in the Important Paintings Contemporary Art sale, and a buyers

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

    GST (15%) is payable on the buyers premium.



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

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

    glass of Peregrine wine.

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

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

    $4,000 - $6,000

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

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

  • Introduction

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

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

    Lee, Ben Cauchi and Reuben Paterson.This year will see the debut of Webbs

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

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

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

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

    motorcycle collections and superb vintage automobiles, Webbs March Classic and Vintage Motorcycle and Car auction is sure to attract the true enthusiast. Two significant barn-find collections of motorcycles will give the market the opportunity to acquire rare and valuable project machines. We look forward to seeing you as you

    come to view these sales during the weeks ahead.


  • Highlights

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

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

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

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

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

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

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

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

    A Chinese banquet bowl achieves $29,000


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

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

    February Highlights



    C D

    E F


    CONTACT: Brian Wood | | +64 9 529 5609 | +64 21 486 948



    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 Zealands 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.

    Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown

  • Ron EnglishExhibition 10 - 24 May

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

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


  • Fine & Rare WineMonday 26 March

    BethunesRare BooksWednesday 21 March

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

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

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

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

    History Under The HammerPrime TV 7.00pm Sundays


    "Aramoana" (The Threat of Otakau Peninsula)

    Achieved $45,000 and featured in this series


    Classic Motorcycles & Cars Of The Day


    Contact Neil Campbell

    021 875 966 | 09 529 5607

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

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

    BethunesRare BooksWednesday 21 March


    Contact Jeff 21 503 251

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

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

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

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

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



    TUES 27 MARCH 6:30PM


    Thursday 22nd March 9.00am 5.30pm

    Friday 23rd March 9.00am 5.30pm

    Saturday 24th March 11.00am 3.00pm

    Sunday 25th March 11.00am 3.00pm

    Monday 26th March 9.00am 5.30pm



    A buyers premium of 12.5% will be charged on all

    items in the Important Paintings and Contemporary Art

    section of this sale. GST (15%) is payable on the buyers

    premium only.




    22nd March 5.30 7.00pm



    People Passing

    $20,000 - $30,000

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

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

    $2,000 - $3,000

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

    $4,000 - $8,000





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

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

    $4,000 - $6,000

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

    $3,000 - $4,000

    4 5


  • 7 8



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

    $3,000 - $4,000

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

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

    $6,000 - $8,000

    11ronnie Van HoutUndeadpegasus print 290mm x 385mm

    $1,800 - $2,600

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

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

    $4,000 - $6,000

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

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

    $2,500 - $3,500



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

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

    $7,000 - $10,000

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

    $7,000 - $9,000

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

    $7,000 - $9,000

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

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

    410mm x 530mm

    $7,000 - $10,000




    13 14

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

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

    $20,000 - $25,000


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

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

    $7,000 - $9,000

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

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


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

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

    $18,000 - $25,000

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

    $12,000 - $18,000

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

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

    $8,000 - $10,000

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

    $9,000 - $12,000


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

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

    $20,000 - $30,000

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

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

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

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

    1Pound, Francis, Stories we tell ourselves: The

    Paintings of Richard Killeen, David Bateman and

    Auckland Art Gallery, Toi O Tamaki: Auckland,

    1999. p. 18.



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

    $9,000 - $12,000

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

    $45,000 - $65,000

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

    EXHIBITED Ivan Anthony Gallery, 2004.

    $25,000 - $35,000

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

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

    self-portraiture or autobiographical references, the paintings subject matter speaks of a common culture living in transnational suburbia. Yet drawing from the artists oeuvre of repeated signs and symbols, we see glimpses which reveal intimate traces of the artists own history, identity and fascination with travel and archival artefacts.Symbols of ethnology, anthropology,

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

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

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

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

    Tell Ourselves: The Paintings of Richard Killeen

    [published on the occasion of the Exhibition Stories

    We Tell Ourselves: The Paintings of Richard Killeen,

    Auckland Art Gallery Toi o Tamaki (9 September

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

    Bateman, 1999, p.38


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

    $70,000 - $90,000

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

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

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

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

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


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

    $25,000 - $35,000

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


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

    $15,000 - $20,000

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

    PROVENANCEOriginal John Leech Gallery label affixed verso

    $4,500 - $6,500


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

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

    $35,000 - $45,000

    In 1932, after an extended period of time spent painting and exhibiting in England, Hodgkins escaped the bleak qualities of the British winter to sojourn on the nearby island of Ibiza. Upon her arrival, Hodgkins was struck by the clear ivory light1 that graced the landscape. Furthermore, she was enamoured with the auspicious quality

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

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

    viewer to consider the fact that this land was actively inhabited by a population.Hodgkins began her career depicting

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

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

    1McCormick, E H, Portrait of Frances Hodgkins,

    Auckland University Press and Oxford University

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


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

    REFERENCEColin McCahon database reference number #cm000269.

    $90,000 - $120,000

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

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

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

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


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

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

    $40,000 - $50,000

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

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

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

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



    33SHane cottonUntitledacrylic on paper

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

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

    $12,000 - $15,000

    34Paul diBBleBody Architecturecast bronze, 3/3

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

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

    $10,000 - $15,000

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

    PROVENANCEPurchased from a Bethunes auction, Wellington, 5 July 1967, 545gs

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

    $150,000 - $200,000

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

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

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

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



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

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

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

    $35,000 - $45,000

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

    PROVENANCEPurchased by present owner from Peter McLeavey Gallery, Wellington.

    $18,000 - $25,000

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

    $12,000 - $18,000

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

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

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

    $20,000 - $30,000


    40len caStleYellow Sulphar Bowlglazed earthenware signed with artists stamp on underside 455mm diameter

    $3,500 - $5,500

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

    $2,500 - $3,500

    42len caStleYellow Sulphar Bowlglazed earthenware signed with artists stamp on underside 520mm diameter

    $2,500 - $3,500

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  • 43Jude raeLostacrylic on canvas 1990 1700mm x 1200mm

    EXHIBITEDJonathan Jensen Gallery, Christchurch, 1990.

    $30,000 - $40,000

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

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

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

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

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


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

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

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

    $180,000 - $200,000

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

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

    symbolic dichotomy of light and dark is a thread that runs through much of Hoteres work. In the Black Paintings, it is notable that Hotere paints the glossy black sheet before he applies the ribbons

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

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


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

    $12,000 - $18,000


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

    $15,000 - $20,000

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


    Formerly in the collection of the Wynyard family.

    $25,000 - $35,000

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

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

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

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

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

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

    is St Pauls Church which sat at the foot of Princes Street and at the top of

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

    is Wynyards inclusion of what appears to be the British flag flying at Point Britomart (to the right of the church). Other drawings of Princes Street from around the time do not include the flagstaff and it is not clear whether it would even have been visible from the vantage point of Wynyards drawing. In including it, Wynyard may simply

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

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


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

    $95,000 - $150,000

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

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


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

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

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

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

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

    $16,000 - $22,000

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

    $30,000 - $40,000


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

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

    $90,000 - $120,000

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

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

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

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

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

    1McQueen, Cilla, Baby Iron. In Gregory OBrien

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

    Auckland, 1997. p. 114.


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

    EXHIBITEDBosshard Galleries, Dunedin, March 1982

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

    $25,000 - $30,000

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

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

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

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


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

    $20,000 - $25,000

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

    $20,000 - $30,000


  • 55Peter SticHBuryUntitled graphite on paper

    signed P Stichbury and dated 04 in graphite lower right

    750mm x 565mm

    $5,000 - $7,000


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


    After Michelangelo Merisi de Caravaggios, The Entombment of Christ 1602 - 1603.

    $20,000 - $25,000


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

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

    $40,000 - $50,000

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

    $40,000 - $48,000


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

    3365mm x 2570mm overall, variable

    $10,000 - $15,000

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

    $25,000 - $35,000


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

    $16,000 - $22,000

    61JoHn walSHMotuhakeoil on board

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

    $18,000 - $22,000

    62micHael HigHtBurkes Passoil on canvas

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

    $18,000 - $22,000


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

    $20,000 - $30,000

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

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

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

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

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

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

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

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

    $10,000 - $15,000

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

    c. 1968 610mm x 910mm

    PROVENANCEOriginal John Leech Gallery label and Certificate of Authenticity affixed verso

    $14,000 - $18,000

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

    $10,000 - $15,000


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

    $12,000 - $15,000

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

    $18,000 - $22,000

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

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

    1190mm x 1400mm

    $6,000 - $10,000

    71tony de lautourNew Worldmixed media on canvas

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

    $5,500 - $7,500


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

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

    $9,000 - $12,000

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

    $8,000 - $12,000

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

    $7,000 - $9,000

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

    $4,500 - $6,500


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

    $3,000 - $4,000

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

    $4,000 - $6,000

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

    $10,000 - $15,000

  • Webbs is pleased to introduce the Mr. Bigglesworthy Modern Design collection.

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

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





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

    Thursday 23 February.


    Thursday 22nd March 5.30 7.00pm

    VIEWINGThursday 22nd March 9.00am 5.30pm

    Friday 23rd March 9.00am 5.30pm

    Saturday 24th March 11.00am 3.00pm

    Sunday 25th March 11.00am 3.00pm

    Monday 26th March 9.00am 5.30pm

    Tuesday 27th March 9.00am 5.30pm

    Wednesday 28th March 9.00am 5.30pm

    Thursday 29th March 9.00am 12.00pm

    BUYERS PREMIUMA buyers premium of 15% will be charged on all

    items in this Modern Design sale.

    GST (15%) is payable on the buyers premium only.


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

    Grant Featherston with wife and design partner Mary stand at the pinnacle of modern Australian design. From humble beginnings as a self taught designer, Featherston worked with glass panels and lighting. On his return from serving in WWII, Featherston was inspired by the emerging post-war technologies, especially advances in plywood. This combined with a fascination with nature and its organic forms led to the creation of his seminal body of work - The Contour Series of 195155.The design for the contour chair came to Featherston while sitting on a tram, casually bending his tram ticket around with his hand. He noticed the shape which was formed by the two ends arched towards each other. That same curve from the ticket became the basis for the plywood shells of the Contour Range.The contour series has become one of the most innovative and iconic designs to emerge from Australia. The clean, sculptural lines and visually light appearance are thoroughly modern in design and intention. This R160 rocking chair with its tapered telescopic legs and figure hugging organic plywood shell is a very rare offering one of less than 20 known to exist.


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

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

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

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

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


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

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

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




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

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

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

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

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


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

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

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

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

    109a danish mahogany Planter$50 - $80

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





  • 116a west german Studio VaseH400mm$120 - $180

    117a west german Studio VaseH240mm$50 - $80

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

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

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

    114an otto larsen dining tableD1340mm$400 - $600

    115a west german Studio VaseH540mm$180 - $220








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

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

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

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

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



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




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

    131an atomic Style Floor lampH650mm$400 - $500128

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

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

    129three Frank guille Bar Stools$450 - $600

    127two garth chester chairs$500 - $750

    127 128





    139a mahogany Floor lampH1380mm $400 - $500

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

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

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

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




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

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

    $2,000 - $3,000

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

    $2,000 - $3,000

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

    $650 - $800





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

    $400 - $600

    144a reproduction thor-larsen egg chairH.1400mm

    $1,300 - $1,800

    145a reproduction thor-larsen egg chairH.1400mm

    $1,300 - $1,800

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

    $1,800 - $2,200144 145



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

    $150 - $250

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

    $100 - $150

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

    $80 - $120

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

    $100 - $150

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

    $100 - $150

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

    $200 - $300

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

    158a Kosta Boda Blue glass Bottle VaseH500

    $200 - $300

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

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

    $1,000 - $1,500

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

    $150 - $250

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

    $150 - $250

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

    $3,500 - $5,000



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

    $1,400 - $1,800

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

    $1,000 - $1,50

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

    $450 - $650

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


    150 151


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

    $500 - $700

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

    $600 - $900

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

    $2,500 - $4,000

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

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

    $1,200 - $1,800

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

    $350 - $500

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

    $1,200 - $1,800



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

    $500 - $700

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

    $6,000 - $7,000


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

    $600 $900

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

    $450 - $600

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

    $8,000 - $10,000

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

    $500 - $800






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

    THURS 29 MARCH 7:00PM

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

    online at

    EVENING PREVIEW Thursday 22nd March 5.30 7.30pm

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


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

    GST (15%) is payable on the buyers premium only.

    322a mid Victorian Sterling Silver decanter Stand

    $1,200 - $1,800

  • 200an early Victorian childs SamplerAnne Dent aged 10 1854. H265 W280$150 - $250

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    229a Vintage engineers Parallel rolling rule L485$50 - $80



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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






    492 493

    297 298



    308 309



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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








    330 327


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

    407a Victorian oak dining chair$100 - $150

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

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

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

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

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

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

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

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

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

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

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

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

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


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

    432a French Provincial oak Side chair H820$100 - $200

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    430a French Provincial oak Side chair H820$100 - $200





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

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

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

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

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

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

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

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

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

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

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

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

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

    442an oak morris chair$300 - $600

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

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

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

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





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

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

    458a Victorian tripod Piano Stool $100 - $150

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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






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

    495watercolour of the Ship macQuarie - a greensigned 1967. H240 W290$80 - $120

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

    480a midwinter zambezi Plate W250$30 - $50

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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




  • CONDITIONS Of SALE fOR BUYERS1. Bidding. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. no person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted.2. ReSeRveS. All lots are sold subject to the right of the seller or her/his agent to impose a reserve.3. RegiSTRATion. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. it is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.4. BuyeRS PRemium. The purchaser accepts that in addition to the hammer or selling price Webbs will apply a buyers premium of 12.5% for the important Paintings and Contemporary Art sale, and a buyers premium of 15% for the Antiques and modern design, (unless otherwise stated), together with gST on such premiums.5. PAymenT. Payment for all items purchased is due on the day of sale immediately following completion of the sale.if full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank cheque or eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.6. LoTS SoLd AS vieWed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. neither Webbs 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. WeBBS 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 buyers expense immediately after the sale except where a cheque remains uncleared. if this is not done Webbs 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 Webbs a license under the appropriate Act.10. FAiLuRe To mAke PAymenT. if a purchaser fails either to pay for or take away any lot, Webbs 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 Webbs 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 Webbs 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 Webbs 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 Webbs or its vendor. Webbs 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 Webbs towards any money owing to Webbs 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 Webbs pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webbs 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 Webbs 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 Webbs prior to bidding.12. SuBjeCT BidS. Where the highest bid is below the reserve and the auctioneer declares a sale to be subject to vendors 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 Webbs 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. Webbs are pleased to provide intending buyers with condition reports on any lots.


    mR mRS miSS mS (PLeASe CiRCLe)

    FiRST nAme SuRnAme/ComPAny

    Home PHone BuSineSS PHone

    moBiLe FACSimiLie

    PoSTAL AddReSS

    ConTACT nAme

    emAiL AddReSS


    Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* i agree to comply with the Conditions of Sale as printed in the catalogue. i understand that in the case of a successful bid on items in the important Paintings and Contemporary Art sale a buyers premium of 12.5% will be added to the hammer price and that gST is charged on the premium, and that in the case of a successful bid on items in the Antiques and modern design sales, a buyers premium of 15% will be added to the hammer price and that gST is charged on the premium. on major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webbs carry out at no charge.

    * Webbs will do its utmost to carry out bidding instructions for absentee bidders. it will not be responsible however if circumstances prevent it from doing so.

    ARRAngemenTS FoR PAymenT: i agree to pay immediately on receipt of notice from Webbs of my successful bid. Payment will be by cash cheque or bank transfer. i will arrange for collection of my purchases or i agree to pay for packing and freight costs incurred by Webbs in having any purchases forwarded to me. in order to avoid delay in clearing purchases buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. if such arrangements are not made cheques will be cleared before purchases are delivered.


    18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New ZealandPh: 09 524 6804 / Fax: 09 524 7048 | /



    Aberhart, laurence 9, 10

    Albrecht, Gretchen 28

    binney, Don 50, 57, 58

    Castle, len 40, 41, 42

    Cauchi, ben 7

    Clairmont, Philip 18, 32, 36

    Cotton, Shane 3, 33

    Dashper, Julian 5

    de lautour, Tony 71

    Dibble, Paul 34, 37

    Dolezel, Jenny 72

    Frizzell, Dick 60

    Goldie, Charles 35

    Hammond, bill 1, 24, 38

    Harris, Jeffrey 52, 75, 76

    Henderson, louise 29

    Hight, Michael 62

    Hight, Michael 69

    Hodgkins, Frances 30, 67

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

    Kaan, Simon 73

    Killeen, Richard 4, 6, 22, 25

    lane, Tony 74

    lee, Hye Rim 20

    Maddox, Allen 19, 27

    McCahon, Colin 31, 39

    McCracken, Francis 45

    McIntyre, Peter 66

    Mcleod, Andrew 21, 23

    Pardington, Fiona 12, 13

    Parekowhai, Michael 14, 15

    Paterson, Rueben 8, 78

    Rae, Jude 43

    Robinson, Ann 16

    Robinson, James 70

    Speers, Jim 17

    Stack, Frederick Rice 65

    Stichbury, Peter 2, 55, 56, 77

    Thompson, Sydney lough 46

    Van Hout, Ronnie 11, 59

    Walsh, John 49, 61, 63

    Wollaston, Toss 53, 54

    Wynyard, Colonel Robert Henry 47



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