Portraits can reveal soul of the artist

The portrait is, in a sense, the soul of art. Whether it's the knowing self-esteem or cold revelation of the self-portrait, or the fresh way of looking at the familiar that marks the work of the greatest portrait painters, it has a special place in the art world.

One of the best detective stories, Josephine Tey's The Daughter of Time, starts with the protagonist looking at a 15th-century depiction of a man and being impressed with its aura of strength, sensitivity and integrity.

When he is told that it is Richard III, Shakespeare's arch-villain, he starts a historical investigation into whether Richard killed the little princes in the Tower and committed the other atrocious crimes with which he had been charged. For his admirably argued conclusions, read the book.

Some memorable portraits were included in the International Art Centre's sale, and in Webb's successful photography-only sale earlier.

One linked two historic names in New Zealand history, a portrait by artist/soldier/adventurer Gustavus von Tempsky of British general Duncan Cameron, sent here in the 1860s to sort out the Maori.

For some years he was not successful, although history has perhaps been rather unkind to him, accepting at face value his Maori title of "the lame seagull".

His tiny portrait shows a red-coated, bemedalled, rather bemused man. Take away the grey mutton-chops and the underlying face is humane, even benign.

It was expected to sell for between $8000 and $12,000. In the end, after spirited bidding between a determined former military man and an even more determined Turnbull Library on the phone from Wellington, it went for $14,500.

Another portrait, a tiny oil of the familiar Charles Goldie subject Kapi Kapi, who survived the Tarawera eruption to live to 102, went for $90,000.

But one of the best paintings on show, Alan Pearson's stark, full-length portrait of Anthony Stones, surprisingly failed to attract a bid.

Webb's photography sale attracted a good crowd and some spirited bidding, realising close to $200,000. There will certainly be more of these, and the market can only be expected to grow.

While prices were strong across the board, interest in historical works was high.

Again, portraits proved attractive. A Marti Friedlander picture of Philip Clairmont, and Robin Morrison's portrait of Robin White by Harbour Cone in Dunedin, both fetched $2400. A Friedlander of Tony Fomison went for $3800.

There weren't many portraits in Webb's main sale, but a bold female face by Peter Stichbury went for $10,000 - a good price for this artist. A full set of the 12 Barry Lett Gallery screenprints also made $10,000.

So to next year, and just to confuse things, the International Art Centre has put its buyers' premium at 12 per cent. Take in GST, and it adds 13.5 per cent to the hammer price.

Webb's and Dunbar Sloane have premiums of 12.5 per cent, adding 14.06 per cent. Cordy's has kept its premium at 10 per cent (11.25 per cent, with GST).