Webb's Important Paintings and Contemporary Art July 2012

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Webb's Important Paintings and Contemporary Art July 2012 catalogue



  • 2



    TUESDAY 31 JULY 2012, 6.30PM

    New ZealandsPremier Auction House18 Manukau RoadPO Box 99 251Newmarket, Auckland 1149New ZealandP +649 524 6804F +649 524 7048 auctions@webbs.co.nz


  • 2Webbs 2012 winter season of Important Paintings and

    Contemporary Art will present the market with significant

    and rarely available contemporary, modern and historical

    New Zealand practice. Webbs is pleased to announce that

    the sale includes an important single-vendor collection: the

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

    lives spent immersed in New Zealand art, the Siddell family

    collection is a compelling survey of modern New Zealand

    practice by artists such as Colin McCahon, Robin White,

    Milan Mrkusich and Richard Killeen which they assembled

    throughout their lifetimes. The family has also agreed to

    release a work by each of Peter and Sylvia.

    The contemporary section is anchored by a large-scale work

    by Bill Hammond which is to be offered to the secondary

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

    the Ancestral series, sees Hammond cast his focus back

    to his visit to the remote Auckland Islands which inspired

    his creation of avian creatures. Referencing the biblical

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

    presents the viewer with a lush, green world untouched by

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

    been allowed to evolve in complete isolation. Notably, the

    work was realised on a three-panelled kauri altarpiece that

    Hammond has painted on both its inside and outside planes

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

    open and closed states. Complementing this seminal work

    from Hammonds mid-career period are works by practising

    New Zealand artists such as Kushana Bush, John Ward

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

    Elizabeth Thomson.

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

    referenced selection of modernist New Zealand painting.

    The Veil of Saint Veronica, commenced by Tony Fomison

    on Good Friday 1973 and completed over the Easter

    weekend, belongs to a small but highly important and

    extremely rare body of works in which the artist depicted

    Jesus Christ. Colin McCahons The Larks Song, from

    the Siddell family collection, was painted in 1969 and

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

    same year, McCahon painted another work based on this

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

    collection at Auckland Art Gallery). The works from this

    period are highly important documents that informed the

    text works made in the last years of the artists life. Another

    significant period of McCahons practice is represented by

    the offering of an untitled oil on unstretched jute canvas

    from McCahons series of Northland paintings, to which the

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

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

    directly after McCahons return from an extensive research




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

    McCahons approach took its lead from European modernism

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

    American expressionism caused a distinct and lasting shift

    in his working methods. Further works by New Zealand

    modernists Rita Angus, Don Binney, Pat Hanly, Louise

    Henderson, Philip Clairmont, Jeffrey Harris and Ralph

    Hotere are also included.

    The offering of a number of notable works by Charles Goldie

    and Frances Hodgkins will comprise a comprehensive and

    highly focused suite of historical New Zealand paintings.

    Two important portraits by Charles Goldie are included

    and each exemplifies a distinct and notable period in the

    artists career. No Koora Te Cigaretti, painted in 1915, is

    a portrait of Mihipeka Wairama of the Tuhourangi iwi; she

    is a sitter whom Goldie revisited and depicted a number of

    times throughout his career. The geographical boundaries

    of Tuhourangis traditional region are centred on Lake

    Tarawera and, whilst the eruption of 1886 largely displaced

    the iwi, its survivors such as Mihipeka Wairama and Kapi

    Kapi received an enduring level of focus from Goldie.

    Ngatirea (Day Dreams), Natarua Hangapa Arawa Tribe

    pictures a sitter who descends from the Maori settlers who

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

    is an excellent example of Goldies later career work, which

    saw the artist return to the romantic approach that he

    successfully honed at the Acadmie Julian in Paris during

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

    The four works by Frances Hodgkins that are included,

    comprising figurative and landscape painting, were all

    completed prior to 1922 during the artists residence in

    Europe. This was a pivotal period in Hodgkins career as it

    saw the artist evolve as a talented lyrical watercolourist,

    laying the foundation for the fauvist abstraction of her

    later career.

    Following this sale of Important Paintings and Contemporary

    Art are three specialist auctions: Militaria on Wednesday 1

    August, Antiques and Decorative Arts on Thursday 2 August

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

    catalogued in a stand-alone, accompanying publication.

    Looking further forward, Webbs is currently seeking entries

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

    A2 category will be held on 25 September and the

    next sale of Important Paintings and Contemporary Art on

    27 November. We encourage you to contact Webbs for a

    free, no-obligation appraisal or for advice about current

    market dynamics.


    IN FOCUS 3


    Driving Mr. Albert

    rabbit, polyurethane, two-pot automotive paint

    1635mm x 255mm x 255mm

    $20,000 - $30,000


    At the Flood

    acrylic on board, three-panel altarpiece


    $180,000 - $220,000

  • 4A. Allen Maddox Self Portrait achieved $28,600B. Important Whale-tooth Rei Puta achieved $55,100C. Charles Goldie Maori Woman with Moko achieved $160,000D. Peter Siddell Western Balcony achieved $100,100E. Large Chinese Blue and White Rice Bowl achieved $29,300F. Emerald-cut diamond of 5.07ct and rare white (G), clarity VS2 achieved $165,800

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















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

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

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













  • 6Crane Brothers / Full page advert WEBBS magazine



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    Josh Williams

    E: jwilliams@webbs.co.nz

    P: 021 073 6545

    Black Leather Eames 670 Armchair and Ottoman

    by Herman Miller with cherrywood veneer.

    $5,000 - $7,000


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    Necklace set with a 9.98ct emerald and

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    E: cdevereaux@webbs.co.nz

    P: 09 529 5606

  • 10

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


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  • 12


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    James Hogan

    E: jhogan@webbs.co.nz

    P: 021 510 477

    A Fine Georgian Sterling

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  • 14




    Contact: Brian Wood

    E: bwood@webbs.co.nz

    P: 021 486948

    Three Len Castle Gourds

    blue glazed stoneware

    impressed LC mark underside

    $3,000 - $6,000 each


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


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




    E: cyoung@webbs.co.nz

    P: 021 368 348

  • 16


    10.2012 CONSIGN NOW

    1968 Norton P11 Ranger

    $15,000 - $20,000


    Neil Campbell

    E: ncampbell@webbs.co.nz

  • 18



    Simon Ward

    E: wine@webbs.co.nz

    P: 09 529 5600

    Louis XIII Cognac de Rmy Martin

    A century in a bottle - one of a series of

    cognacs bottled for a 1938 royal banquet at

    the opulent Chteau de Versailles that King

    George VI and Queen Elizabeth attended.

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

    particular cognac would date back to the

    middle of the 19th century.






    Neil Campbell

    E: ncampbell@webbs.co.nz

    P: 021 875 966

    Anton Seuffert, The Burton Cabinet,

    1870. An exquisite Louis XV

    revival escritoire or bonheur du

    jour cabinet, composed of New

    Zealand native timbers, with

    elaborate carved and marquetry


    $300,000 - $350,000

  • 20


    04.09.2012 CONSIGN NOW


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    Finely Carved Waka Huia (detail)

    $10,000 - $15,000

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  • 22



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

    BUYERS PREMIUM A buyers premium of 15% will be charged on all items in the Important Paintings and Contemporary Art sale. GST (15%) is payable on the buyers premium.

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

    TUESDAY 31 JULY 2012, 6:30 PM



    No Koora te Cigaretti, A Portrait of

    Mihipeka Wairama, Tuhourangi

    oil on canvas

    Estimate $170,000 - $200,000



    Thursday 26 July 9.00am 7.30pm

    Friday 27 July 9.00am 5.30pm

    Saturday 28 July 11.00am 3.00pm

    Sunday 29 July 11.00am 3.00pm

    Monday 30 July 9.00am 5.30pm

    Tuesday 31 July 9.00am 12.00pm


  • 24


    Modern Semaphore, Full Continental


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

    Estimate $4,000 - $6,000




    Heads, Numbers, Mountains

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

    Estimate $4,000 - $5,000


    Untitled - Study Of Hands

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

    Estimate $2,500 - $3,500


  • 26





    NZ Co

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

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

    Estimate $18,000 - $24,000



    Untitled (Girl in a Coat)

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

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

    Estimate $4,000 - $6,000



    The Wrestlers

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

    Estimate $8,000 - $12,000




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

    Estimate $2,000 - $3,000




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

    Estimate $2,500 - $3,500




  • 28


    Puketutu Manukau

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

    REFERENCEColin McCahon database reference number CM001346.

    Estimate $7,000 - $12,000




    Untitled (2000)

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

    Estimate $15,000 - $20,000


  • 30



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

    Estimate $5,000 - $8,000



    Letters to Paul VIII

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

    Estimate $12,000 - $18,000



    In My Own Village

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

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

    REFERENCEColin McCahon database reference number CM001512.

    Estimate $18,000 - $25,000



  • 32



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

    Estimate $12,000 - $18,000





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

    Estimate $12,000 - $18,000


  • 34








    Peter and Sylvia Siddell

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $1,500 - $2,500



    Sinbad Enters Underground River

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $3,000 - $5,000



    Maungawhau/Mt Eden

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

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

    Estimate $2,000 - $3,000



    Four Elements in Combination (Crimson),

    from the Elements Series

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $10,000 - $15,000




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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $1,000 - $2,000



  • 36


    Porirua Harbour I

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $60,000 - $80,000


    Robin Whites sleight-of-hand utterance, What I paint

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

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

    conclusive and well-rounded summation of her practice

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

    effortlessly function as a distilled commentary about the

    nations civic and social climate at the time in which they

    were made, the focus of her practice was always dictated

    by her immediate environment: the places and people that

    she understood best. Whites landscape painting of the

    1970s often conformed to a universal convention. Generally

    presenting a supple, unpopulated hinterland nestled between

    the foreshore and mountainous terrain, these images carry

    with them an implicit criticism of modern New Zealands

    taming of the landscape through ongoing urban sprawl.

    Porirua 1 is a view across the shorelines of the Porirua

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

    location of Mana College, the first school where White taught

    after graduating from teachers college in 1968. Robin

    White attended art school with the support of a Ministry of

    Education studentship, which bonded her to teaching work

    in return for covering her tuition fees and providing her with

    a living stipend. While White has presented the viewer with

    a landscape devoid of any human habitation, the landforms

    that she has chosen to include carry with them an implicit

    narrative that delves deep into the history of the region.

    Porirua was originally planned as a satellite city of Wellington

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

    industrial development in the region led to an accelerated

    growth in population and the eventual reclamation of a tract

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

    as a double-format image where two separate compositions

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

    familiar with the topography of the area will recognise that

    the two distinctive strips of land Whitirea Park reserve

    in the foreground and the distinctive hill shoreline of

    Plimmerton behind would have been ideally observed

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

    reclaimed land.

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

    stretch canvas and working on this new substrate immediately

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

    surface of the canvas dampened her approach to laying

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

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

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

    structure of painting, the idea of contrast, how a paintings

    put together. Whites three-year tenure at Mana College

    was a formative period in her career that saw her construct

    images that relied more on their own internal logic than on

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

    is a form of foreshortening at play whereby the expanses of

    sea between the landforms are extended and reshaped so

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

    subtly crafted shading has been applied to the very lip of

    the landforms so they recede into space in a manner that

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

    an exemplary embodiment of Whites new image-making

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

    forefront of a second wave of modern painting that emerged

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

    regionalist New Zealand painting in the 1930s.


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

    1977, p.40.

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

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

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


  • 38


    Untitled (Evensong 2)

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $70,000 - $100,000


    Evensong has a religious meaning as an Anglican Church service

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

    fits the mood and time of day captured by Peter Siddells painting

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

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

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

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

    nearby encourages thoughts about the passing of time, the end

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

    last major paintings made by Siddell after he had been diagnosed

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

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

    in his earlier works, the reflective mood and elegiac message

    are distinctive to this canvas and a related second version with

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

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

    forms of the chapel and surrounding cypress trees were blocked

    in broadly before any detail was introduced.

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

    of the composition and important for its symbolic meanings:

    the presence of light in encompassing darkness is a comforting

    symbol of hope for those of Christian belief in the resurrection

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

    While Siddells paintings are noted for their emptiness of

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

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

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

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

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

    meaning is implied. Siddell creates a mood that is contemplative

    and almost sacred in feeling.

    As usual with Peter Siddell, although the painting appears

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

    did not exist in their present relationship. The funerary chapel

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

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

    meaning he wanted were more important than topographical

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

    water recalls Turner, an artist he admired for his atmospheric

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

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

    with nature for the hope that death will be followed cyclically

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

    painting a positive mood that counters its otherwise sombre tone.

    He suffuses the commonplace objects and setting with a palpable

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

    the work that casts our thoughts inwards and away from exterior

    appearances. Evensong is at once personal in its relevance to

    Peter Siddells own life but universal in its address to wider

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

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

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

    rare in his practice as a painter.



  • 40


    The Larks Song

    watercolour, pastel, and charcoal on paper


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

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

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

    a mai. Ka toko / te rangi. Kai ana

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

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

    rere. Ra runga ra / tope Kapeka. E hue

    kaurere turakina te / arero o te rangi Kotare

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

    in charcoal

    1500mm x 600mm

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

    Estimate $70,000 - $100,000


    The body of text works made by McCahon during 1969,

    throughout his first 12 months at his Muriwai studio, is

    an important forebear for both the artists environmentally

    focused Necessary Protection series and also the text

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

    career where he transcribed passages directly from the Old

    Testament. Prior to 1969, the artist had experimented briefly

    with Maori motifs, most notably with his Koru paintings

    of 1962, which were formal studies that reflected on the

    traditional koru form, and then again in 1965 with his

    studies for a proposed mural at Caltexs Auckland offices, in

    which the letterforms of the word Caltex were formed from

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

    Muriwai studio that McCahon engaged seriously with Maori

    subject matter. Gordon Brown explains that the genus of this

    development within McCahons practice was two pronged and

    drawn from his personal life. The first event of significance

    was his daughter Victoria, who was married to a Maori

    husband, giving birth to his grandson Matiu. The second

    event was his daughter Catherine bringing Matire Kereamas

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

    book that her poem, The Larks Song, was published.

    The poem is recited within the work and describes the

    gentle descent of native birds from the sky to their places

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

    twilight song that permeates their surroundings and speaks

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

    words of the The Larks Song form a soothing lullaby and,

    by McCahons hand, they flow with a graceful rhythm that

    denies the possibility that any turmoil could be buried

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

    on McCahons part to allow the words to function not as

    legible text but rather as repeated sound. In transcribing the

    poem, McCahon inserted breaks between words and altered

    and extended the words themselves in order to temper the

    cadence of the passage. Rather than simply overlay text

    onto image, McCahon gave the words a palpable, material

    presence that reverberates throughout the composition.

    Central to The Larks Song is McCahons recognition of

    the binding and vitally important relationship between the

    tangata whenua and the New Zealand landscape. While

    McCahon had dealt with the issue of New Zealands national

    identity throughout his career, notably in his religious works

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

    collection of Auckland Art Gallery), the subject was always

    approached through a pakeha frame of reference, using

    Christian references and depictions of Western objects

    and dwellings. By rendering the words of Kareama so that

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

    sky, McCahon presented them as an atmospheric force: an

    essential lifeblood to the New Zealand environment.

    The profound importance that McCahon placed on his

    discovery of Kareamas poem was compounded by the fact

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

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

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

    in the collection of Auckland Art Gallery. In this later

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

    Kareamas words: Can you hear me, St Francis? St Francis

    of Assisi was the patron saint of the environment and the

    addition of this sentence to the later work suggests his use

    of Kareamas text was motivated by environmental concerns.

    McCahon readily engaged with environmental issues within

    his Necessary Protection series, stating in a catalogue

    that accompanied his first exhibition of the series that the

    purpose of the showing was to draw attention to the many

    conservation issues facing this country. The Larks Song

    predates the Necessary Protection series by a number of

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

    artists concerns about industrial and residential development

    of New Zealands landscape. Further, the use of Karameas

    text showed that McCahon was not concerned just with the

    depletion of natural habitats but also with the alienation of

    the people of the land. Thus, The Larks Song embodies

    a significant shift in McCahons concept of New Zealands

    national identity, updated to reflect contemporary challenges

    facing New Zealand society.

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

    2 Ibid, p.164.


  • 42




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

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

    Estimate $12,000 - $18,000


    Bottle Creek, Paremata

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

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $4,000 - $6,000


    Faa Samoa/Faa Palagi

    mixed media print, artists proof signed Michel Tuffery, dated 90, and inscribed Faa Samoa/Faa Palagi in pencil lower edge1300mm x 610mm

    PROVENANCEFrom the collection of the late Peter and Sylvia Siddell.

    Estimate $1,800 - $2,500


  • 44


    Portrait of a Maori Girl

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

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

    Estimate $12,000 - $18,000




    Venetian Lagoon

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

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

    Estimate $35,000 - $45,000

  • 46


    The Veil of Saint Veronica - After An Old

    Engraving of a Relic at the Vatican

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

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

    Estimate $18,000 - $25,000


    There is no biblical reference either to Saint Veronica

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

    legend surrounding the inception and existence of the Veil is

    inextricably linked to the biblical retelling of the crucifixion

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

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

    to Calvary where he was crucified, he encountered Saint

    Veronica who reached forward and wiped the sweat from his

    face. Miraculously, after making contact with Jesus face,

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

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

    of Saint Veronica did not picture a negative imprint of his

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

    result only of divine intervention.

    As it is based on an artists impression of the Veil, Fomisons

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

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

    event itself and more on the myth and conjecture surrounding

    the artefacts continued existence. It is said that, until 1527,

    upon the Sack of Rome where mutinous troops bombarded

    the city, the Veil was held in the Old St Peters Basilica in

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

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

    in existence. Nonetheless, even though Pope Urban VIII

    banned the act of depicting the Veil in 1629 and supposedly

    destroyed all existing copies, there are now six copies in

    existence that are claimed to be either the original or direct

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

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

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

    seen in Fomisons rendering.

    Fomisons painting, The Veil of Saint Veronica after an

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

    stated to be a reproduction and it embodies a deliberate

    act to perpetuate a long tradition of replicating an image

    purported to be of divine provenance: a tradition that has

    seen refined conventions emerge from different geographic

    regions (while based on an engraving from the Vatican,

    Fomsions image conforms to the Spanish convention which

    excludes the crown of thorns and depicts Christ without

    facial injuries). Rather than demonstrate that Fomison held

    personal Christian beliefs, The Veil of Saint Veronica after

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

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

    Marxist adage that religion is the opium of the People.

    While Marxs theory relating to religion was fundamentally

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

    heart was the observation that religion was a human construct

    that provided society with a means of escapism.

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

    degree of authenticity, the image of the Veil has appeared

    throughout Western art production of the last six centuries,

    including in the practice of Fomisons contemporary

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

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

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

    basis in written history, was palpable evidence of the human

    belief that the challenges associated with survival on earth

    had some greater purpose.

    Charles Ninow

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

    Hegels Philosophy of Right. Unpublished during the writers lifetime.


  • 48


    At the Flood

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

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

    Estimate $180,000 - $220,000


    Hammonds At the Flood confounds and seduces viewers

    with an alchemical concoction that is partly Christian, partly

    weird science and mostly Pagan poetry. The title immediately

    alludes to the biblical deluge and Hammond has called

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

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

    paintings format has its origins in the Christian traditions of

    European art multi-panelled altarpieces in which the side

    panels were painted on both sides so that the painting could

    effectively be closed, increasing the sense of reverence for

    the contents when it was opened. Hammonds lavish use of

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

    and the shimmering, incandescent winged creatures he

    depicts might very well be angels.

    Except that theyre not. These bird figures plumb the depths

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

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

    Thoth. The heraldic profiles of Hammonds birds are instantly

    resonant with Egyptian dynastic art. But even Ancient

    Egyptian hybrid deities were plainly mens bodies with bird-

    headed masks, as were Hammonds earlier bird figures in

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

    however, Hammonds avian creations have become lithe and

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

    his primordial, painterly soup.

    Many of them eschew limbs altogether; their plump chests

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

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

    potential metamorphoses.

    Humans were conspicuous by their absence in Hammonds

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

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

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

    Perhaps that is the sacred secret the painting holds the

    evidence that our ancestors are equally implicated in this

    mythical-evolutionary tableau. The humanoids have enlarged

    heads, hinting at some sort of telepathic capability. Like

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

    are united by their vegetative tattoos. Each of the creatures

    is delicately adorned with a filigree of ferns, shoots and

    seed pods. Whether these emerald traceries are intrinsic to

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

    Hammonds viridian gene pool cuts and splices human, avian,

    hippocampus and plant matter. But this is not a hideous

    scene of monstrous deformity or mad science dreamed up

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

    genetic engineering. Hammonds world of changelings and

    chimeras is a wondrous utopia of meditative calm. Perhaps

    this unrelenting palette of green was inspired by the Emerald

    Tablet of Hermes Trismegistus, a legendary alchemical

    text which combined the esoteric knowledges of Egypt and

    Greece. Or perhaps Hammond is channelling Hildegard von

    Bingens notion of Viriditas, which equates moral truth with

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

    Hammond conjures a zone of unimaginable elegance and

    timelessness: certainly a space worthy of our reverence.



  • 50


  • 52


    Untitled (Three Figures)

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

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

    Estimate $35,000 - $45,000


    This study of three female figures was completed by Louise

    Henderson upon her return from Paris in 1953, where she

    had studied under the tutelage of Jean Metzinger, then in

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

    leading theorist of cubism and, together with Albert Gleizes,

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

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

    Having arrived slightly after the height of the original Paris

    School a group of influential modern painters who lived

    and practised in Paris during the 1940s Henderson was

    undoubtedly influenced also by the new approaches to

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

    practices of lyrical abstractionists such as Francis Picabia,

    Jean Ren Bazaine and Serge Poliakoff.

    The problem of distance and isolation has been much

    discussed in relation to the development of modern painting

    within New Zealand. While a distinct, modernist shift

    occurred in New Zealand in the decade prior to when Untitled

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

    Woollaston and Lusk were all informed by images in books

    a medium that does not allow the viewer to experience

    the scale and physicality of an artwork. Hendersons time in

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

    of the frame of reference that informed other New Zealand

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

    stands apart from the linear development of New Zealands

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

    influence of her mentor John Weeks, Henderson was driven to

    take up the brush in a more confident and academic manner

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

    paintings and drawings held at the Auckland City Art Gallery

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

    abstract art.

    The cubist movement began a revolution away from the

    traditional concept of the painting as a reflection of nature

    and questioned common techniques of the time to create an

    intelligent and diverse range of new painting ideals. These

    new concepts removed the need to render the image by the

    use of techniques to achieve a three-dimensional illusion

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

    image that would commend the two-dimensional qualities

    that already existed on a canvas surface. Abstraction

    would not have the same analytical impact with todays

    audience without an acknowledgement of this reformation

    of painting culture.

    The practices of other painters who had engaged with cubism

    in New Zealand during the 1950s such as Colin McCahon

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

    the analytic cubism propagated by earlier cubist works

    such as Marcel Duchamps Nude Descending a Staircase of

    1912, which aimed to recreate the scattered and disjointed

    experience of viewing objects and movement in real time.

    The strength of Hendersons practice is that her use of

    cubist principles makes her image more direct. Henderson is

    concerned more with the flat pictorial plane, subtly rendering

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

    novel approach to figuration, Untitled (Three Figures) exhibits

    a deeply intelligent, material sensitivity. The knowingly

    applied trapezoid shapes of orange, blue and chalky turquoise

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


  • 52


    Truth from the King Country, Load Bearing

    Structures 4

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

    Estimate $50,000 - $70,000


    In a manner that is reminiscent of Colin McCahons seminal

    early work On Building Bridges of 1952, which was made

    during the artists period of engagement with analytic cubism

    and presented a view of the Canterbury landscape seen

    through and obscured by the support struts of a metallic

    structure, Truth from the King Country: Load Bearing

    Structures 4 once again shapes our view of the landscape

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

    artists own making. The prominent black Tau form described

    in this image finds its origins in the Necessary Protection

    works which McCahon made while working from his studio in

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

    these works were born out of the artists concerns about

    the gradual gentrification and pollution of the west coast

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

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

    with soot and the sea becomes a slowly heaving rubbish

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

    relevance as McCahon shaped the discourse into a proposal

    that all human actions are part of a path towards spiritual

    enlightenment. The Tau form found its origins in the negative

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

    side of Muriwai Beach, as described by McCahons drawings

    of the area. McCahon imbued the form with a symbolic

    relevance the horizontal bar represented a divine entity and

    the vertical bar represented mans path through the physical

    world and it became a prominent feature of his practice

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

    early 1970s.

    Unlike the landscapes of McCahons earlier career, Truth

    from the King Country: Load Bearing Structures 4 was not

    a reaction to the artists immediate physical surroundings.

    Rather, this work saw McCahon engage with the written

    history of the geographical region pictured within the work.

    The King Country was named after the Maori King movement,

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

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

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

    ongoing conflict between Maori and Pakeha settlers until

    1867 when economic difficulties affecting the inhabitants of

    the King Country led to a peace agreement between the two


    The Truth from the King Country series was painted in the

    wake of the fallout that followed the passing into law of

    the Treaty of Waitangi Act of 1975, which established the

    Waitangi Tribunal. When the Tau motif was related to the

    ongoing conflict between the rival ideologies of Pakeha and

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

    poignant relevance. Yet, unlike the works that McCahon had

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

    Country series does not present the viewer with a situation of

    hopeless decline.

    In the years before he painted the Truth from the King

    Country series, McCahon had all but abandoned the Tau form

    and had primarily been making black and white paintings

    featuring words and linear imagery suspended in dark pools

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

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

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

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

    the King Country: Load Bearing Structures 4 reflects upon an

    ongoing conflict, the proposition that equilibrium will one day

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

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

    governing principles will eventually lead to a resolution.

    Charles Ninow

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


  • 54


    Driving Mr. Albert

    rabbit, polyurethane, two-pot automotive paint

    1635mm x 255mm x 255mm

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

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

    Estimate $20,000 - $30,000


    In a short, unpublished piece of prose written to accompany

    Michael Parekowhais exhibition Driving Mr. Albert in 2005,

    the artists sister Cushla Parekowhai explains that the title

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

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

    America with Einsteins Brain. The book tells the story of

    a road trip across America with the pathologist Thomas

    Stoltz Harvey, who performed the autopsy on Albert Einstein

    at Princeton University after his death in 1955 and who

    removed the brain of the subject without the permission

    of the family. Paterniti spent three months sectioning the

    brain to produce 12 sets of slides and then retained the

    remains which were kept floating in a Tupperware bowl of

    formaldehyde for over forty years.

    Reading as though it has been plucked from the pages of

    a science fiction novel, a tale of such brazen disregard

    for medical ethics almost lacks any gravitas the true

    implications of such an act are beyond the comprehension of

    most. However, Cushla Parekowhai grounds Paternitis story

    in a local context by referencing the now-infamous Greenlane

    Heart Library, uncovered in 2002. Greenlane Hospital

    revealed that, since 1950, it had harvested and collected

    1,350 hearts for research purposes without the consent of

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

    were taken from infants and children, the majority of whom

    had died from congenital heart disease. Like Einsteins brain,

    these organs were collected for the purpose of scientific

    research, supposedly, for the greater good.

    In referencing these two cases of misconduct one American

    folklore and one local history Parekowhais intention was

    to perpetuate a discourse that was focused not on the events

    themselves but, rather, on the organisational structures that

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

    Mr. Albert is a dialogue about the tenuous relationship

    between the tangata whenua and nationalised health care:

    the tendency of bureaucratic process to impinge on the Maori

    insistence that the deceased be given up by the authorities

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

    Parekowhai offers this conflict between two tenets as a

    wide-reaching model for the way in which tangata whenua

    have been forced to adapt their customs in order to conform

    to an imposed system of governance.

    The body of works to which Driving Mr. Albert belongs

    was originally presented en masse in Parekowhais 2005

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

    Each confronted the viewer at eye level and each presented

    a taxidermied rabbit immortalised in a different pose. Some

    offered themselves to the viewer willingly, while others

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

    cast from the naturally balanced form of the radiata pine

    tree, a species introduced to New Zealand for commercial

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

    in his text in Parekowhais monograph, Justin Paton referred

    to these trunks as a colour-coded forest.

    Taxidermied rabbit hides have a broad-reaching presence

    within Parekowhais practice and appear in a number his

    key works The Barefoot Potter Boys Brigade (1999),

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

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

    continued presence emphasises the lack of value attached

    to the rabbit, a pest introduced to the New Zealand

    landscape somewhat earlier than was the radiata pine. In

    the greater taxonomic order that pertains to New Zealands

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

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

    coalesced into an arrangement that has irrevocably changed

    the nature of its existence.


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


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

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

    Publishing, 2007), p. VXV.


  • 56


    No Koora te Cigaretti, A Portrait of Mihipeka

    Wairama, Tuhourangi

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

    Estimate $170,000 - $200,000


    Mihipeka Wairama was a favourite model for Goldie between

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

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

    heavily lined but still handsome, her wonderful chin moko

    and her splendid head of hair made her an irresistible subject

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

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

    tragic events there in 1886 when the Pink and White Terraces

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

    she was living with other Tuhourangi people near Rotorua,

    displaced from her ancestral home and dependent for a

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

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

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

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

    dated 1912 and now in Adelaide, and the present example

    dated 1915. Their compositions are almost the same but the

    Adelaide version is unfinished in the corners of the canvas

    and may have been intended to be presented in an oval

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

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

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

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

    draped over a blouse with a scarf around her neck.

    The present work shows her facial features full frontal in

    sharp, meticulous detail. Her ear pendant of greenstone is

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

    and contrast it with her softer, textured skin. Conveying

    the tactile qualities of the subject matter and the contrasts

    between skin, hair, blanket and moko are critical to Goldies

    mission as a painter. In accordance with his French academic

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

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

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

    attention to lighting and modelling of the features. He uses

    a pronounced chiaroscuro that casts her right cheek and

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

    the white of the cigarette stands out against the shadowy skin

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

    virtuosity of a master in command of his craft.

    The title No Koora Te Cigaretti draws attention to her smoking

    and introduces an element of controversy. Loosely translated,

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

    prefer something stronger, namely tobacco in a pipe. The

    habit of smoking like that of drinking alcohol was introduced

    to Maori by the European settlers much to their disadvantage

    when they became addicted. Both men and women indulged

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

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

    in her addiction though the portrait is sympathetic rather

    than judgmental and her dignity is preserved. She is shown

    at a time of change when traditional Maori life and customs

    were threatened by European values and adjustments had

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

    vanishing way of life and tended to dwell on the nostalgic

    aspects of his subjects. This explains the reflective nature

    of Mihipekas expression with eyes half closed as if thinking

    about times past rather than about the present.



  • 58


    Sea Legs

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

    Estimate $65,000 - $85,000


    Painted in 1995, Bill Hammonds Sea Legs is a hauntingly

    beautiful example of the artists fascination with birdlife,

    which began to tentatively grace his paintings from the early

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

    an archipelago of the New Zealand sub-Antarctic islands with

    no permanent human inhabitants, the Auckland Islands are

    a safe haven for wildlife and an important breeding site for

    a number of endemic birds. Hammonds visit to the islands

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

    he has sought to populate ever since with a mythological race

    of ornithological creatures, the genesis of which is readily

    apparent in Sea Legs.

    Suggestive of brevity, fragility and the sheer beauty of the

    natural world, Sea Legs displays a masterful handling of

    watercolour and clearly illustrates Laurence Aberharts

    appellation of Hammond as the pre-eminent painter of

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

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

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

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

    tempered by an elegiac and meditative charm. Sea Legs is

    blanketed in fine striations of modulated colour that evoke

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

    rivulets of pigment dribble and run down the expanse of the

    painting. Dripping tendrils of paint are as much a hallmark

    of Hammonds artistic repertoire as are his bird creatures and

    can be seen running and weaving through the majority of his


    A starless, cloudy sky presides over the wet and windswept

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

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

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

    waves roll simultaneously in and rush out, their highly

    stylised forms and curling filigree crests conjuring the work

    of Japanese woodblock artists such as the revered Katsushika

    Hokusai. Reminiscent of sheets of corrugated iron, the frozen

    sea retreats on a sharp diagonal, drawing the spectator into

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

    weeping ribbons of silver.

    Signs of domesticity grace the foreground with the sea

    carrying in a small yet staunch bulldog and the beginnings

    of a russet-coloured velveteen chaise longue, which casually

    disappears off the edge of the paper, suggesting that more

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

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

    staring resolutely out to sea. Neatly circumscribed within an

    ornamental cabinet that is complete with an identification

    label, the shag faces off against an encroaching tide of

    human invasion and settlement. The bird remains aloof,

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

    covetable commodity that has been ostensibly purchased,

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

    commentary that is resonant with suggestion, allusion and

    possibility while offering it to the viewer in an enticing,

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

    three figurative elements of glass-caged bird, bulldog and

    chaise longue come together to weave a poetic narrative that

    eloquently speaks of a rich, personal experience, historical

    exploration and settlement, and the mythic possibilities of a

    hybridised ornithological race.


    Aberhart, Laurence, Welcome to Bills Bar, in Jennifer Hay (ed.), Bill

    Hammond: Jingle Jangle Morning (Christchurch Art Gallery, 2007), p.1215.


  • 60


    Black Painting

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

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

    Estimate $80,000 - $120,000


    Like musical chords suspended in the silence of darkness, a

    lyrical mysticism exudes from the boards of Hoteres Black

    Painting series, which were to form the foundations of

    Hoteres artistic career. Black Painting (1969) is an exquisite

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

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

    in this sequence, which were painted with brolite lacquer on

    hardboard to eliminate any trace of brushwork, Hotere here

    rejects the luminous and reflective quality of the lacquer in

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

    circle of fine illuminated threads of colour glimmers against

    the black background. The all-encompassing scale of the

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

    Hoteres practice has frequently been compared with the

    hybrid Maori Catholic upbringing of the artist. Hotere was

    steeped in Catholic liturgy, theology, sacramentalism,

    mysticism and iconography, and Latin texts as a young boy

    and his works carry an intrinsic spiritual quality, which is

    redolent throughout his oeuvre. His early paintings from this

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

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

    the painting remains constant, resembling an altarpiece, or

    illuminated halo: the circle becoming a metaphor for God or

    the universe.

    During the 1960s, Hotere was greatly inspired by his

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

    for several months. Living near to the monastery, Hotere

    frequently visited the Dominican Chapel of the Rosary in

    Vence, whose ecclesiastical designs by Matisse were the

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

    Mitimiti. Formally, his black paintings are an inversion of

    Matisses chapel drawings, yet they share a similar sensory

    vibration, which fills their surrounds.

    Hoteres piece also reveals his ongoing affinity with nature.

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

    influenced by DArcy Wentworth Thompsons scientific

    studies on the form and patterning of nature, which were

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

    The repetition and patterning of fine lines, central to Black

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

    of a map. These lines resonate in his landscape drawings

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

    James K. Baxters Jerusalem Sonnets (1969).

    Yet, one cannot overlook the overtly aesthetic and formal

    properties of this canvas. The perfectly rendered surface,

    fine symmetry, repetition of line, geometry and extreme

    reductivism, place the work comfortably alongside minimalist

    masters of the 1960s and 70s. Hoteres Black Painting

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

    Barnett Newman and Kazimir Malevich. Later, these

    paintings became a catalyst for his exploration of paint and

    darkness as his practice moved towards qualities of abstract

    expressionism. His obsession with the monochrome, secures

    Hotere among the family of black painters described by

    Robert Motherwell: Manet, Goya, Matisse and Motherwell

    himself, as painters who employ a certain sardonic intensity,

    almost a perversity in their commitment to the sacramental

    centrality of this primary pigment.

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

    its own, transcending nature and religion through its sublime

    beauty and intellectual elegance.


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



  • 62


    Ngatirea (Day Dreams), Natarua Hangapa -

    Arawa Tribe

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

    Estimate $150,000 - $200,000


    distinctive kaka beak flowers. Further similarities are seen

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

    and accoutrements and it is notable that, presumably due to

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

    moko (chin tattoo).

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

    subject and her material taonga. She is shown wearing a

    korowai (cloak) that is decorated with fine black hukahuka

    (tassels) along with a pounamu tiki pendant and two

    whakakai pounamu (greenstone earrings). Although this

    issue has been repeatedly noted in discussions of Goldies

    paintings, it is still worth contextualising his work by

    recapitulating the prevailing Pakeha view at the turn of the

    20th century that New Zealands indigenous people were

    destined for extinction or assimilation. Despite evidence

    of Maori regeneration, these beliefs were still prevalent in

    1935 when the Auckland Star claimed that Goldies portraits

    of Maori men and women will be Old Masters and

    connoisseurs will fight for them when none of the race he

    perpetuates are here. While Goldies personal position on

    the matter remains unknown, his portraits of Maori sitters

    in varying states of solemn contemplation like Ngatirea

    (Daydreams) did serve to illustrate the contemporary opinion

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

    however, Goldies exacting approach to documenting what he

    likely thought were the last members of a noble race has

    bequeathed New Zealand invaluable taonga tuku iho (prized

    heirlooms) that serve to record the people,

    material appearances and attitudes of a specific time in

    this countrys past.


    Painted by Charles Frederick Goldie in 1938, Ngatirea

    (Daydreams), Natarua Hangapa Arawa Tribe is a prime

    example of the artists unparalleled ability to weave together

    historical fact with an elegance and integrity through his

    painstakingly mimetic technique. This combination of

    elements is to some extent responsible for earning Goldie

    a place as New Zealands most-celebrated and esteemed

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

    excellent example of Goldies late phase of works that

    were completed throughout the 1930s. Characterised by a

    thinner application of paint, a looser handling of the brush

    and comparatively richer tonalities, these works were a

    departure from the rigid compositions of his earlier career

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

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

    the approach that he had successfully honed at the Acadmie

    Julian in Paris during the 1890s.

    Executed in bust-length format, the present painting depicts

    a relatively young Maori woman positioned front on to the

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

    Loose hair cascades over her shoulders and is delicately

    pinned back by a cluster of scarlet kaka beak (Clianthus

    puniceus) flowers. Performing a purely decorative function in

    the portrait, the flowers of the kaka beak traditionally served

    a specific function for Maori. Containing a large amount of

    nectar, the flowers from the two endemic species of kaka

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

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

    majority of Goldies portraits of Mori woman depict them

    with unadorned hair, an earlier work from 1932 entitled

    Reverie Hinemoa, Te Arawa also depicts a young woman

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


  • 64


    Gains and Losses (Aequus)

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

    Estimate $30,000 - $40,000





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

    REFERENCE Colin McCahon database reference number cm001231

    Estimate $40,000 - $60,000


  • 66


    A View of Tasman Bay from Harleys Road

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

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

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

    Estimate $120,000 - $180,000


    The basis of Toss Woollastons approach to image-making can

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

    were not concerned with reproducing the physical appearance

    of his subject matter. Rather, Woollastons primary concern

    was always to transmute to the viewer the sensation of

    standing before his subject. Woollaston was unconcerned with

    carefully editing and selecting the content that is presented

    to the viewer as his works are about the imperfect experience

    of encountering physical objects in real, three-dimensional

    space. Woollastons maxim stood as a stark contrast to the

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

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

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

    entrenched in a colonialist obligation to depict the landscape

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

    own innate character.

    A View of Tasman Bay from Haleys Road is a mature work

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

    of the influences that drew Woollastons focus towards

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

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

    to painting that could be nurtured only in New Zealand

    a mode of pictorial representation that could be shaped

    only by the volcanic rock underbelly saddled beneath

    this particular landscapes green grass and tussock hills.

    Woollastons methodology was torn from the playbook of

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

    however, his use of colour represents a significant point of

    departure from these forebears. An important development in

    the practice of these modern masters was their willingness

    to choose pigments that unequivocally amplified the form

    and presence of their subject matter. However, the colours

    used by Woollaston were always firmly grounded in a study

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

    View of Tasman Bay from Haleys Road utilises extreme tonal

    variation between light and dark and, while Woollastons

    distribution of colour does accentuate the physical character

    of the landscape, the pigments that he chose have dusky

    undertones that speak directly to the New Zealand climate.

    In A View of Tasman Bay from Haleys Road, a further point

    of departure from Woollastons modern roots can be found in

    the artists almost alchemic ability to present receding space

    without altering the measure of his brush strokes. A primary

    development that turn-of-the-century modernists enacted

    was an elevated awareness of the material quality of their

    paintings: a shift of focus from illusory effects to surface

    qualities. A View of Tasman Bay from Haleys Road sees

    Woollaston further develop these principles so that, while his

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

    presence, they are also a gateway into a world of the artists


    Perhaps the most-celebrated aspect of Woollastons painting

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

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

    View of Tasman Bay from Haleys Road, the artists gestural

    markings are draped across a sea of contours, almost

    suggesting that concealed beneath them is a seething

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

    geological forces that are hidden beneath the landscape, this

    blanket of paintwork serves to illustrate the thinly spread

    proportions of the life and vegetation that inhabit its surface.

    There is a reverent overture in this depiction of Woollastons

    own Nelson landscape: a personal recognition of the areas

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

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

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

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

    A View of Tasman Bay from Haleys Road is an embodiment of

    Woollastons lifelong relationship with the Tasman Bay area.



  • 68


  • 70


    After the Land Do You Look

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

    PROVENANCEGifted by the artist to the present owner, 1978.

    EXHIBITED Exhibited: Whangarei Art Gallery.

    Esimate $20,000 - $30,000



    The Seer

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

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

    Estimate $10,000 - $15,000



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

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

    EXHIBITED Whangarei Art Gallery.

    Estimate $40,000 - $60,000





  • 70


    Untitled (Landscape) from the

    Northland series

    oil on jute canvas 910mm x 580mm

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

    REFERENCEColin McCahon database reference number CM000461.

    Estimate $70,000 - $90,000


    Roughly divided into three horizontal segments that

    logically bear out foreground, middle distance and sky,

    Colin McCahons Northland from 1962 offers the viewer a

    snapshot of a landscape that has been coarsely hewed and

    pared back so that only the essential, unadorned structure

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

    reduced palette of yellow ochre, burnt hazel and sooty black

    and McCahon transcribes it by removing almost all sense of

    spatial recession so that the viewer travels vertically up the

    canvas rather than receding into an imagined space. In place

    of an illusionistic three-dimensionality, McCahon focuses on

    realising a clarified unity of space and form.

    The present painting belongs to McCahons second series

    of Northland paintings, which he began in late 1962 and

    continued throughout the subsequent year. Following

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

    formal sparseness and a notable internal rhythm that is

    communicated through a restricted palette of yellows and

    blacks. This is patently visible in Northland where the

    shadowy, swelling hill in the foreground blossoms to the

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

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

    paintings from 1958 for the most part feature a wider palette

    choice and a heightened sense of naturalism in the more

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

    the pivotal Northland Panels from 1958, the Northland

    paintings were part of McCahons attempt to convey

    something of the magic and rarity of the austere

    New Zealand landscape that he believed was endangered

    by the populations apathy.

    The key to the painterly vitality of Northland lies in

    McCahons controlled use of colour and pattern. A burnished

    sky bears witness to a brooding mass of lavender-tipped

    cloud that has been smudged across the canvas and now

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

    McCahons application of paint is thin and raked so that the

    distinctively thick weave of the jute canvas becomes visible

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

    The edges of the painting are tightly cropped so that the

    rising landscape forms of Northland appear to spill out and

    continue beyond the confines of the canvas. The simple and

    orderly structure of Northland produces an infinite stillness

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

    explicit serenity that is akin to the contemplation of spiritual


    As is the case with the majority of McCahons landscape

    paintings, Northland presents the viewer with a spiritual and

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

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

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

    landscape. As such, the painting bears a pensive religiosity

    and is an example of McCahons exploration of the symbolic

    potential of the landscape in his incessant quest to better

    understand the nature of faith and religious conviction.

    It also speaks of McCahons role as a prophetic visionary

    who was seeking a new and expressive visual language

    that would be able to communicate something of the

    fundamentals of belief and the poignancy of doubt to a wide

    and diverse audience.



  • 72


    Necessary Protection

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

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

    REFERENCE Colin McCahon Database Reference CM000339

    Estimate $28,000 - $32,000


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

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

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

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

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



  • 74


    Untitled (North Otago Landscape)

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

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

    Estimate $8,000 - $15,000




    Untitled (Kauri)

    charcoal transfer on paper 260mm x 200mm

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

    Estimate $8,000 - $15,000


  • 76


    City Bride

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

    Estimate $20,000 - $30,000




    Untitled (Girl in a 1920s Cloche Hat)

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

    Estimate $20,000 - $30,000


  • 78



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

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

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

    REFERENCEColin McCahon database reference number CM000511

    Estimate $60,000 - $75,000


    Executed in 1949, Colin McCahons Annunciation is a

    monochromatic masterpiece of concentrated energy, hallowed

    serenity and an overriding sense of repose. It was completed

    in charcoal on paper and the close proximity of the two

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

    directness that removes any possible barrier of distance,

    thereby heightening the immediacy of the scene. Narrated in

    The Gospel of Luke in the New Testament, The Annunciation

    is the event when the Archangel Gabriel was sent from

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

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

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

    of Christian art. In choosing to depict The Annunciation,

    McCahon established a direct dialogue with the great masters

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

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

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

    his painterly approach to religious themes and ideas. While

    Annunciation does not offer any direct quotations, the

    emotional and psychological intensity keenly harks back to

    the work of Titian while the stylised simplicity of the figures

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

    cloisonn style of Gauguin.

    The composition of McCahons Annunciation is powerful in

    its simplicity, with both the Virgin Mary and the Archangel

    Gabriel presented in extreme close-up and acutely cropped to

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

    circular framing device, crowning the two figures and creating

    a window through which the details of a distant landscape

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

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

    scurries overhead. The middle ground offers an expansive

    spread of pasture interrupted only by a copse of trees and

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

    framed by a fence. Against this rural backdrop, McCahon

    envisions the portentous moment of The Annunciation.

    During the late 1940s and early 1950s, one of McCahons

    primary aims was to reconfigure the events of the Bible

    in order to make them relevant to the everyday concerns

    of contemporary New Zealanders. The way in which he

    achieved this was by bringing biblical episodes closer in

    time and space and by transplanting them into a locale

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

    wide, sparse areas of the Nelson region are recognisable as

    the physical location of many of McCahons early religious

    paintings. In discussing this section of McCahons oeuvre,

    Gordon H. Brown notes that frequently the situation

    depicted shows one agent in an active role while the

    other is a passive recipient, which is clearly borne

    out in Annunciation. Here, McCahon casts Mary as the

    inactive, acquiescent character in the scene, showing her

    with eyes closed and head bowed in a manner of reverent

    contemplation. Her abeyance is balanced by the Archangel

    who adopts an animated role, staring resolutely ahead with

    eyes wide open and lips slightly parted as though in the

    middle of delivering Gods sacred proclamation. Capturing

    the sacrosanct figures of Mary and Gabriel in a prophetic

    moment, McCahons tightly controlled composition, his

    sincerity of approach and his stylistic rawness coalesce to

    produce a work of enduring originality and pertinence.


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


  • 80


    Winter at Burkes Pass

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

    Estimate $45,000 - $65,000


    Painted in 2009, Grahame Sydneys Winter at Burkes Pass,

    takes the landscape of the Mackenzie Country in South

    Canterbury as its departure point. The important heritage site

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

    Two Thumbs and Rollesby Ranges, thereby allowing for easy

    access to the high tussock lands of the Mackenzie Basin.

    Under Sydneys brush, a segment of the region is translated

    into a two-dimensional ivory haven. Freshly fallen snow

    blankets the earth and the painting virtually bristles under

    the silence of the scene.

    From a distance, Sydneys Winter at Burkes Pass appears to

    be an almost barren wonderland of white and grey tonalities.

    United in their milky hues, sky and earth are nearly

    indistinguishable with the exception of the two rivulets of

    muted silver that run the expanse of the painting and serve

    to cleave the niveous landscape from a brooding, bloodless

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

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

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

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

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

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

    Sydneys supreme technical virtuosity. If one draws closer to

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

    elements reveal themselves, looming out of the picture plane

    and pitting the work with an internal narrative.

    Viewing the painting at a closer proximity, the spectator

    is welcomed into a finely detailed wintery world.

    Compositionally graceful, Winter at Burkes Pass is solidly

    anchored by a thick wooden post in the lower left foreground

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

    barbed wire. Radically foreshortened, the fence marches

    backwards into the painting where it carves out a sharp right

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

    edge of the painting in an amaranthine manner. A circular

    concrete water trough punctuates the far corner of the fenced

    paddock and the occasional brave stalk of grass can be seen

    breaking the snowy covering.

    It is characteristic of Sydney that Winter at Burkes Pass is

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

    his best works, the painting contains hints and traces of

    humanity, of civilisation, progress and ownership. Unobtrusive

    yet assertive, the wooden railing and rounded trough signal

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

    wilderness. The landscape is private and cultivated, and

    belongs to someone, and the painting pays a humble and

    subtle tribute to agriculture, industry, perseverance and the

    human desire for ownership. In conjunction with the works

    that Sydney completed following his trips to Ross Island,

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

    a testimony to his ability to transform a pallid and almost

    empty expanse of frozen landscape into an image of enduring

    visual interest. These images of alabaster lands punctuated

    by small and comparatively insignificant markers of humanity

    have become something of a hallmark of Sydneys style.



  • 82



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

    Estimate $3,000 - $5,000



    Halleys Comet at Silverdale

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

    Estimate $7,000 - $10,000



    Haamanao Raiatea Nui

    graphite and coloured pencil on paper signed Michel Tuffery and inscribed Haamanao Raiatea Nui in pencil lower edge750mm x 540mm

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

    Estimate $3,000 - $4,000







    Of His, Him #3

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

    Estimate $9,000 - $15,000



    Buddha Hand - National Museum, Gampeng

    Pet, Thailand 1970

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

    Estimate $5,000 - $7,000


  • 84


    Rue de lHorloge, Dinan, France

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

    Estimate $28,000 - $35,000




    Washer Women

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

    Estimate $25,000 - $35,000


  • 86


    Drawing for Requiem Series

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

    Estimate $20,000 - $30,000


    Space, Time Continuum

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

    Estimate $18,000 - $25,000




    Portrait of My Wife

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

    Estimate $8,000 - $12,000


    Double Portrait

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

    Estimate $8,000 - $12,000



    Untitled (Garden Painting)

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

    Estimate $22,000 - $30,000


  • 88


    Spiral Vase (Four Sections)

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

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

    Estimate $18,000 - $22,000



    Sulphur Bowl

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

    Estimate $5,000 - $8,000



    Crater Lake Bowl

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

    Estimate $5,000 - $8,000




    College Demolition

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

    REFERENCEDoris Lusks Demolition series carries an unsettling prescience, the works decrying Christchurchs partiality for demolition.

    Estimate $12,000 - $18,000



    Area of Quietness

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

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

    Estimate $8,000 - $12,000




    The Red Chair of China

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

    Estimate $25,000 - $35,000



    Tipi Haere II

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

    Estimate $16,000 - $22,000




    Lattice No. 153

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

    Estimate $12,000 - $18,000


  • 72 73




    Untitled (View of Wellington)

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

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

    Estimate $5,000 - $7,000



    Les Saintes Maries de la Mer

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

    Estimate $7,000 - $9,000




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

    Estimate $10,000 - $15,000



    White Island - Whakaari East

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

    Estimate $10,000 - $15,000



  • 96




    Chore Boy Painting

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

    Estimate $8,000 - $12,000




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

    Estimate $2,500 - $3,500




    No Sweat

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

    Estimate $10,000 - $15,000


  • 98


    Jerusalem, Jerusalem

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

    Estimate $18,000 - $25,000



    Ake Ake

    acrylic on canvas signed Feuu and dated 05 in brushpoint lower right 1830mm x 1210mm

    Estimate $8,000 - $12,000







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

    Estimate $900 - $1,800




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  • 100


    Albrecht, Gretchen 38

    Angus, Rita 27

    Bambury, Stephen 12

    Brake, Brian 55

    Bush, Kushana 1

    Castle, Len 65, 66

    Clairmont, Philip 69

    Dashper, Julian 52

    de Lautour, Tony 2, 4

    Ellis, Robert 18

    Feuu, Fatu 81

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

    Fristrom, Edward 72

    Frizzell, Dick 76, 79

    Gimblett, Max 15

    Goldie, Charles Frederick 34, 37

    Gopas, Rudolph 68

    Hammond, Bill 30, 35

    Hanly, Pat 48

    Harris, Jeffrey 62, 63

    Henderson, Louise 31

    Hodgkins, Frances 28, 49, 57, 58

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

    Killeen, Richard 17, 53

    Lusk, Doris 67

    Maddox, Allen 10, 11

    Maughan, Karl 61

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

    Mrkusich, Milan 20

    Nigro, Jan 16

    Palmer, Stanley 74

    Parekowhai, Michael 33

    Robinson, Ann 64

    Scott, Ian 71, 78

    Siddell, Peter 22

    Siddell, Sylvia 19

    Stichbury, Peter 5, 8

    Stringer, Terry 6, 7

    Sydney, Grahame 51

    Thomson, Elizabeth 14, 60

    Thornley, Geoff 56

    Tuffery, Michel 26, 54

    Walsh, John 70

    Ward Knox, John 3

    White, Robin 21, 25

    Woollaston, Toss 40


  • 102