Don Binney Sold at Auction Prices

b. 1940 - d. 2012

Donald Hall Binney, OBE (24 March 1940 – 14 September 2012), was a New Zealand painter, best known for his paintings of birds.

Born and raised in Auckland, Binney was educated in Parnell, Auckland, taking classes with John Weeks and R B Sibson, who became his good friend and guide to the field of ornithology. From 1958 to 1961, he studied at Elam School of Fine Arts in Auckland, gaining a Diploma of Fine Arts. Binney's tutors included Ida Eisa, James Turkington, Robert Ellis and Robin Wood. In 1963, he held his first solo exhibition at Ikon Gallery, Auckland and began teaching at Mount Roskill Grammar School, where he taught until 1966.

In birdwatching, Binney said he discovered a passage into the landscape and the opportunity to develop a personal relationship with it.

Binney described himself as a figurative painter concerned with the psychic metaphor of the environment. Working in oil, acrylic, charcoal, ink and carbon pencil, many of his works depict the west coast of Auckland and Northland, containing sea, sky, native birds, still life and occasionally, figures.

Binney was appointed an Officer of the Order of the British Empire, for services to art, in the 1995 Queen's Birthday Honours. Binney died of a heart attack while in hospital in Auckland for an unrelated illness on 14 September 2012, at the age of 72, and was survived by his second wife Philippa and daughter Mary. His first wife was the historian Judith Binney.

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      • DONALD BINNEY (New Zealander, 1940-2012) Te Henga 1971 oil on board
        Mar. 21, 2023

        DONALD BINNEY (New Zealander, 1940-2012) Te Henga 1971 oil on board

        Est: $50,000 - $70,000

        DONALD BINNEY (New Zealander, 1940-2012) Te Henga 1971 oil on board signed, titled and dated lower right: DON BINNEY/ TE HENGA 1971 73.5 x 54cm PROVENANCE: Acquired in Auckland, c.1970 Private collection, Sydney Thence by descent EXHIBITIONS: (Possibly) Earth/Earth, Barry Lett Galleries, Auckland, 19 - 30 April 1971 OTHER NOTES: RELATED WORKS: Donald Binney, Te Henga 1970, oil on canvas, 80.5 x 53.2cm, Art+Object, Auckland, 24 November 2022, lot 70, sold NZD$84,000 Donald Binney, Te Henga, Easter 1970, charcoal on paper, 35 x 26cm, Leonard Joel, Melbourne, 27 February 2011, lot 177 Two sentinels stand assuredly in the midst of the Waitakere, reaching up into the salt-soaked air above. The subtle light sweeping in from carefully crafted contours draws the viewer's eye in a sweeping motion then delicately rests upon the two central figures. The strong dark outline of the two pine trees and the canopy beneath are filled with generous brushstrokes full of colour. As the dense foreground gives way to a harmonious backdrop of land and sky the overall composition reaches an apex of elegant simplicity. This here is Binney's genius - he draws you into the landscape to experience it for yourself and once you do, it is impossible to turn away from it. Te Henga from 1971 is a reverent depiction of the New Zealand landscape and captures an area with which Donald (Don) Binney was intimately acquainted. Te Henga, also known as Bethells Beach on Auckland's west coast, was a favourite painting ground for Binney. Having access to a cabin by the late 1950s, his many summers there informed his painting for decades. He carried with him in his mind this unique seascape, which he referenced in his work even when travelling overseas (1). In a career spanning more than 40 years Binney's iconic landscapes and birds have become almost symbolic of New Zealand's artistic identity, forming part of a lineage of landscape painting within the country's history which has come to be closely associated with its national identity. Much like the art history of Australia, early European painting in New Zealand was dominated by landscapes painted in a conservative English style. The earliest painters were mostly 'amateurs' and their main aim was not to produce works of art but to record information about places. The styles and formulas they employed had little to do with the reality and individuality of the New Zealand environment. By the early 20th century, spurred by the arrival of several influential professional painters from Europe, greater freedom of travel, access to art magazines and books and touring exhibitions, New Zealand began to develop a more distinctive national identity. This new style of painting, sometimes referred to as Regionalism, called for painters to pay greater attention to local subjects. Artists began to approach the landscape with a diversity of styles and interests dealing with themes such as isolation, loneliness and the celebration of rural life (2). Binney's work in the second half of the century was an evolution of these trends, his appreciation of his native land developed and his adoption of new techniques and styles were refined into his own unique visual language. As Binney remarked when referring to his early work of the 1960s and 70s - it was "high-minded, optimistic, non-materialistic, and capable of making an artist feel participant to an emerging national identity"(3). Binney's appreciation for his native land is ever-present in his artistic output, no less so in the present lot through his careful and considered painterly approach. Yet his work is also imbued with a sense of melancholy for the changes that have occurred in the environment he so loyally devoted his time to. R. B. Sibson was the schoolmaster at King's College who later became a good friend and guide to Binney in the field of ornithology. Sibson was the first to encourage Binney to notice the cuckoos signalling summer's coming and in birdwatching Binney "found a way to enter the landscape and know it as an environment" (4). Binney's interests in ornithology and the environment found a pathway into conservation and activism. Living through some of New Zealand's most environmentally-challenged decades, Binney made continuing efforts - often against huge odds - to save remaining and globally unique native flora and fauna, and in particular birdlife. As Binney himself said "conservation, spirituality and art usually conjoin in societies living indigenous to natural habitat… The role of any artist - in the fullest definition - can aid other specialist initiatives in habitat recovery, not just as a recorder but also as a celebrant" . In this manner Binney leaves for us not only his legacy of exceptional artistic talent in representing the New Zealand landscape but also his passion for ecology and the environment. As such, we are also left with the knowledge that these two subjects, the art of landscape painting and environmentalism, must be entwined. Madeleine Norton Associate Head of Decorative Arts & Art, Sydney (1) Binney, D., 1989, Don Binney: 1959-1989: A Survey, TeTuhi, 19 August-17 September 1989, [exhibition catalogue], Auckland, p.2 (2)'Beginnings', URL: https://nzhistory.govt.nz/culture/nz-painting-history/beginnings, (Ministry for Culture and Heritage), updated 30-Nov-2018 (3) Binney, D., 1989, Don Binney: 1959-1989: A Survey, TeTuhi, 19 August-17 September 1989, [exhibition catalogue], Auckland, p.2 (4) Ibid.

        Leonard Joel
      • DON BINNEY Lake Omapere
        Aug. 09, 2021

        DON BINNEY Lake Omapere

        Est: $80,000 - $120,000

        Don Binney Lake Omapere 1963–64 oil on board signed DON BINNEY, dated 63-64 and inscribed 'LAKE OMAPERE' in brushpoint lower right 550 x 725mm   PROVENANCE Private collection, Auckland. Acquired from Hayah Gallery, Auckland, 1964.   EXHIBITIONS Hayah Gallery, Auckland, 1964.   Don Binney – Lake Omapere Essay by ELIZABETH NEWTON-JACKSON   Don Binney is celebrated in the history of New Zealand art for having created accessible and personal artworks for almost fifty years. There is a reliable harmony that exists in his paintings. Each contain the familiar elements of land and sky, tied together with a skilful application of fluid line and bold pigment.   Binney’s thematic and stylistic consistency has led to the celebration of his artwork as distinctly representative of Aotearoa. Conversely, this consistency has resulted in an occasional reconfiguration of Binney as an artist rehashing old ideas. “Ah, Binney - yeah, he cleaned up a few birds in the early 'sixties, and he's still doing the same thing now”, was the artist’s own reference to this dismissal of his work.¹ Binney’s acknowledgement of this “cavalier disbelief” in his continued relevance proves the intentionality of the focus within his work.²   Binney has described this as “tinkering” with and “refining” his style rather than routinely employing recycled formats.³ Without doubt technically capable of altering his approach, the artist instead remained steadfast to his enduring style. This evidences a faithful dedication rather than a careless idleness. Through his practiced simplicity, Binney has been unyielding in his creation of adroitly cohesive and evocative natural environments.   Lake Omapere, 1963-64 is an early example of Binney’s dexterous approach to the natural world. Although he paints with a degree of stylistic abstraction, the artist retains specificity in his subject. Residing within the Kaikohe-Bay of Islands volcanic field, Lake Omapere is vast, but not deep. The artist has rendered a cross section, with an omniscient view, ascribing himself the ability to see beyond land, beyond water. Illustrating a layer of earth below the shallow lake, Binney addresses the characteristics of the locale with keen accuracy.   In the carefully delineated strata of Binney’s painted environment is a reference to the geological. Passages of thick lather and discernible brush stroke alternate with sections of smooth texture and homogenous shade. Even the dark earth is subtly striated with distinction between gloss and matte, black and yellow. Green bleeds into red, and black bleeds into yellow on the ridges of the undulating hills. The visual simplicity of Binney’s approach has resulted in his understated execution of a complex, layered view.   Binney has illustrated an impossible perspective by bringing the viewer below the lake. However, in the curved framing of land and water, is a suggestion of a distinctly human vantage point. Binney has credited “years of looking through binoculars” with his focused visual perspectives.⁴ The distinct contours of this work are reminiscent of the view through rounded binocular lenses. While Binney’s binoculars have generally facilitated his acute ornithological interest, this painting is distinct for its lack of bird life. Instead, Binney’s clear, bright horizon houses a warm-toned orb, likely representative of a low, evening sun. Its golden tone radiates heat. Curved in harmony with the land, the sun presses persistently downward toward the earth. Horizon, water, and land elegantly coexist.   By attentively depicting both the seen and unseen, Binney has constructed an enticing and authentic account of the natural world.   1 Sheridan Keith, “A Conversation with Don Binney,” Art New Zealand, 1983. 2 Ibid. 3 Ibid. 4 “Benevolent by-product,” Ingenio Magazine, 2011

        Webb’s – Specialist Auctioneers
      • DON BINNEY The Rocks at Whatipu
        Aug. 09, 2021

        DON BINNEY The Rocks at Whatipu

        Est: $10,000 - $15,000

        Don Binney The Rocks at Whatipu 1985 coloured pencil on paper signed DHB and dated '85 in coloured pencil lower left 255 x 380mm   PROVENANCE Private collection, Auckland. Acquired from Important, Early and Rare, Lot 4, International Art Centre, 29 March 2021.

        Webb’s – Specialist Auctioneers
      • DON BINNEY George VI / Tokatoka
        Nov. 23, 2020

        DON BINNEY George VI / Tokatoka

        Est: $18,000 - $26,000

        Don Binney George VI / Tokatoka 1984 oil on board signed DON BINNEY and dated 1984 in brushpoint upper right 605 x 810mm PROVENANCE Private collection, Auckland.

        Webb’s – Specialist Auctioneers
      • DON BINNEY Te Henga
        Nov. 23, 2020

        DON BINNEY Te Henga

        Est: $85,000 - $125,000

        Don Binney Te Henga 1967 oil on canvas signed DON BINNEY, dated 1967 and inscribed TE HENGA in brushpoint lower left; inscribed Grove,Te Henga/N.F.S in ink verso 835 x 745mm PROVENANCE Private collection, Auckland. Passed by bequest; collection of Dr Ross Dreadon. Don Binney - Te Henga Essay by RACHEL KLEINSMAN There is an exquisite serenity to Don Binney's 1967 depiction of the West Auckland coastline near Te Henga, which, in its striking simplicity, articulates a powerful ode to a part of the country which Binney held dear. The plein air style in which Binney has executed his paintings since the late 1960s fills this work with a sense of freshness, immediacy and serene majesty. The landscape appears to multiply in an almost primal, cellular manner from the bottom right-hand of the canvas; Binney has applied a topographical dedication to charting the territory with which he was so intimately engaged. This is further emphasised by the stark and enduringly brilliant simplicity and lightness of both sea and sky. In this way, we, as viewers, come to engage purely and exclusively with the landscape as the artist perceived it and spiritually received it. There is something interesting to be gleaned through understanding Binney's approach to modernism which, at one point, was actually considered to be somewhat outdated. For just as Binney sought to engage with the formal aesthetic of a pared-back, stylised modernism and interpret the New Zealand landscape in this very unique and identifiable way, he was also rejecting the high-minded philosophical and formal concerns of modernism in favour of preserving a deeply intimate relationship with the landscape. More than anything, what is striking in this encounter with Binney's landscape depiction is the pure, untouched nature which he has captured. Here is a landscape unmarred by industrialisation, deforestation and human presence. This certainly resonates when considering Binney's own political and environmental concerns, which were central to his work at the time. The tradition of modern New Zealand art is interwoven with that precious relationship which we, in our collective national identity, treasure in oneness with the whenua, or land. Possessing a distinctive identity and artistic raison d'être from the outset of his career, Binney's instantly recognisable and iconic visual language instilled his impressive oeuvre with a common thread of life, richness and vivacity. Needless to say, the immediate association one draws with Binney's work is to his magnificent depiction of birds. In any work of art, the omission of a trademark stylistic feature, subject matter or particular visual narrative considered synonymous with an artist (in Don Binney's case, the depiction of New Zealand birds) calls into question the associations which we, as viewers, would usually take for granted. As such, through our own awareness of this avian omission, the landscape is thus transformed and Te Henga compels a much more profound engagement with the artist's oeuvre. Where, in any of Binney's emblematic bird paintings, the landscape would traditionally serve as a presence to focalise and frame a majestic bird form, in this case it has been presented in, of and for itself. The implied bird sanctuary has, therefore, become one of direct and impressionable intimacy for the viewer: a mirror reflecting the charm and importance which this part of the land held for Binney.

        Webb’s – Specialist Auctioneers
      • DON BINNEY (1940 - 2012) Te Henga
        May. 19, 2020

        DON BINNEY (1940 - 2012) Te Henga

        Est: $6,000 - $8,000

        DON BINNEY (New Zealand 1940 - 2012) Te Henga, Charcoal on paper, Signed & dated 3 Aug 1966, 39 x 31cm

        International Art Centre
      • DON BINNEY (New Zealand 1940 - 2012) Kaiaraka Kaku, Great Barrier
        May. 19, 2020

        DON BINNEY (New Zealand 1940 - 2012) Kaiaraka Kaku, Great Barrier

        Est: $10,000 - $15,000

        DON BINNEY (1940 - 2012) Kaiaraka Kaku, Great Barrier, Screenprint, edition of 150, Signed, inscribed Kaiaraka Kaku, Great Barrier & dated 1982, 68 x 42cm

        International Art Centre
      • DON BINNEY, Abbey Hedge, Walsingham, Lithograph, edition of 30,
        Feb. 26, 2020

        DON BINNEY, Abbey Hedge, Walsingham, Lithograph, edition of 30,

        Est: $800 - $1,200

        Signed, inscribed Abbey Hedge, Walsingham & dated 1999

        International Art Centre
      • DON BINNEY - Mad Tui Over Homestead, Te Henga
        Oct. 23, 2019

        DON BINNEY - Mad Tui Over Homestead, Te Henga

        Est: $50,000 - $75,000

        Acrylic and oil stick laminate on arches paper - Signed & dated 2009

        International Art Centre
      • DON BINNEY - Pipiwharauroa over Te Henga
        Oct. 23, 2019

        DON BINNEY - Pipiwharauroa over Te Henga

        Est: $450,000 - $650,000

        Oil on canvas - Signed & dated 1974 As a boy, Don Binney looked forward to hearing the shining cuckoo, or pipiwharauroa. He heard it for the first time in Kohimarama, its song heralding the beginning of spring. As the Maori proverb says, ka tangi te wharauroa, ko nga karere a Mahuru - if the shining cuckoo cries, it is the messenger of spring. Binney reportedly never lost touch with the joy of this bird’s song. Spring represents hope; newness in life and nature. This feeling is perfectly aligned to the glorious, soaring beauty of the shining cuckoo in the foreground of this painting. Pipiwharauroa over Te Henga represents the pinnacle of Binney’s contribution to New Zealand art. Produced during his most technically successful period, it is one of the most important of his oeuvre. The combination of its superb quality, large scale, and pristine condition make it the most significant Binney to have ever been presented to auction. Te Henga/Bethell’s Beach was one of Binney’s favourite spots, and features in many of his works. It is named after the henga, or upturned form of the waka, which resembles the contours of the coast when looking from sea. In this painting, the land has been sharply detailed to convey the light and impression of each topographical contour. The size of the work reflects Binney’s confidence in his own technique. Here, the slight technical aberrations that were present in the less certain, experimental forms of some of his 1960s bird paintings (more often than not, imperfections resulting from problematic paint application) are long gone. By 1974, he had firmly resolved them, and had also been painting Te Henga for over twelve years. Pipiwharauroa over Te Henga greatest technical triumphs is its textural contrast. Binney’s application of a smooth, matte-like finish to portray the bluish grey expanses of sea and sky are flat and serene, mirror-like in appearance. They cast the glossy impasto of the pipiwharauroa, and the green of the hills into sharp relief. This contrast is sublime, so that the painting appears not uniformly polished, but inimitably finessed. Don Binney is New Zealand’s unsurpassed artistornithologist. Over the course of his career he painted birds, works conveying strong messages of conservation and environmentalism. He also completed a number of other works featuring the pipiwharauroa in particular – depicting it mating, in “madness”, in advent, in late summer, and with kereru. According to Maori mythology, it was this bird’s migratory flight which inspired the journey of Maori to New Zealand. Although the pipiwharauroa is a harbinger of spring and this symbolism is apt, this work does not need to be interpreted in a seasonally specific way – in the foreground, vividly detailed and blooming red, there is a pohutukawa tree. With the presence of New Zealand’s Christmas tree, this painting becomes more than a spring birdsong of hope and joy; it is a national anthem.

        International Art Centre
      • DON BINNEY - Remuera Jug V
        Oct. 23, 2019

        DON BINNEY - Remuera Jug V

        Est: $12,000 - $16,000

        Mixed media on paper - Signed & dated 1993 The centrepiece of this painting is a vivid white jug, decorated with a European inspired floral design. Set on the grass, it is crisply framed by the surrounding hills. By applying a uniformly sharp focus to this composition, Binney has instilled a sense of hyperrealism in the work. Although famous for his bird paintings, Binney’s range was diverse and included landscapes, figures, and still life paintings. In the case of Remuera Jug, however, he hasn’t fully detached from his favourite subject. Looking closely, the vase’s stylised blue leaves give way to a neat illusion: the form of an elegant swooping bird.

        International Art Centre
      • DON BINNEY - EII / Exocet
        Oct. 23, 2019

        DON BINNEY - EII / Exocet

        Est: $35,000 - $55,000

        Oil, enamel with collage elements on canvas - Signed & dated 1982 Since his first exhibition at Auckland’s Ikon Gallery in 1963, Binney maintained the integrity of his precise realist style. Typically his images include the flattened forms of native birds above rolling hills. Conservationist issues are often part of the subtext of much of his painting. Equally his work has often displayed a political conscience. EII | Exocet was painted in response to the Falklands War. In 1982 the new military government of Argentina committed an act of unprovoked aggression by invading the Falkland Islands. Diplomatic talks failed to resolve the issue and British Prime Minister Margaret Thatcher dispatched a military task force to attempt to return the Falklands to British rule. In May of that year the dispute intensified when the British Navy sunk the 185 metre Argentinean cruiser ARA General Belgrano resulting in a loss of over 300 lives, totalling just over half of Argentine military deaths in the war. Shortly afterwards the HMS Sheffield was hit by an Argentine Exocet missile sinking the Type 42 guided missile destroyer and resulting in the loss of forty British navy sailors. Within EII / Exocet the inverted head of the Queen is depicted in an upside down world from which a triangle of white light or perhaps reason, is shown pouring onto a sea of blue. Below this is a map of the Falkland Islands. It is an ambiguous image but one which nonetheless evokes the polarity of the two governments and the conflict that was a result of failed diplomacy.

        International Art Centre
      • Don Binney
        May. 09, 2013

        Don Binney

        Est: -

        Don Binney Swoop of the Kotare Waiwamu

        International Art Centre
      • Don Binney
        May. 09, 2013

        Don Binney

        Est: -

        Don Binney Mana Island

        International Art Centre
      • Don Binney
        May. 09, 2013

        Don Binney

        Est: -

        Don Binney Maungawhau

        International Art Centre
      • Don Binney Te Henga from Man's Head IV signed Don
        Mar. 27, 2013

        Don Binney Te Henga from Man's Head IV signed Don

        Est: $60,000 - $80,000

        Don Binney Te Henga from Man's Head IV signed Don Binney, dated 1972 and inscribed Te Henga from Man's Head IV, Te Henga in brushpoint lower right 1255mm x 1255mm

        Webb’s – Specialist Auctioneers
      • Don Binney Manunui, Otakamiro title inscribed,
        Feb. 26, 2013

        Don Binney Manunui, Otakamiro title inscribed,

        Est: $2,000 - $3,000

        Don Binney Manunui, Otakamiro title inscribed, signed and dated 2010 520mm x 380mm

        Webb’s – Specialist Auctioneers
      • Art Work by : Don Binney
        Nov. 22, 2012

        Art Work by : Don Binney

        Est: -

        Art Work by : Don Binney Mana Island

        International Art Centre
      • Art Work by : Don Binney
        Nov. 22, 2012

        Art Work by : Don Binney

        Est: -

        Art Work by : Don Binney Mana Island XV

        International Art Centre
      • Art Work by : Don Binney
        Nov. 22, 2012

        Art Work by : Don Binney

        Est: -

        Art Work by : Don Binney Maungaroa

        International Art Centre
      • Don Binney
        Jul. 26, 2012

        Don Binney

        Est: -

        Don Binney A Cape for father Damien II

        International Art Centre
      • Don Binney
        Jul. 26, 2012

        Don Binney

        Est: -

        Don Binney Aspect of Erangi

        International Art Centre
      • Don Binney
        Jul. 26, 2012

        Don Binney

        Est: -

        Don Binney Ahu Ahu Southward, Karekare Beach

        International Art Centre
      • Whatipu Don Binney
        Mar. 29, 2012

        Whatipu Don Binney

        Est: -

        Whatipu Don Binney

        International Art Centre
      • Don Binney - Pole Line Te Henga
        Mar. 27, 2012

        Don Binney - Pole Line Te Henga

        Est: $40,000 - $48,000

        Don Binney Pole Line Te Henga signed Don Binney and dated MM in brushpoint lower right 565mm x 750mm

        Webb’s – Specialist Auctioneers
      • Don Binney - Mexico
        Mar. 27, 2012

        Don Binney - Mexico

        Est: $40,000 - $50,000

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

        Webb’s – Specialist Auctioneers
      • Don Binney - Rainbow Dog
        Mar. 27, 2012

        Don Binney - Rainbow Dog

        Est: $30,000 - $40,000

        Don Binney Rainbow Dog signed Don Binney, dated Jan 1964 and inscribed Otago in brushpoint lower right 910mm x 565mm

        Webb’s – Specialist Auctioneers
      • DON BINNEY Kotuku Puketotara Lithograph, edition
        Feb. 19, 2012

        DON BINNEY Kotuku Puketotara Lithograph, edition

        Est: -

        DON BINNEY Kotuku Puketotara Lithograph, edition of 75 Signed & inscribed

        International Art Centre
      • DON BINNEY Manunui, Okakamiro Screenprint, edition
        Feb. 19, 2012

        DON BINNEY Manunui, Okakamiro Screenprint, edition

        Est: -

        DON BINNEY Manunui, Okakamiro Screenprint, edition of 80 Signed & inscribed

        International Art Centre
      • DON BINNEY Mill Creek, Rakiura Screenprint,
        Feb. 19, 2012

        DON BINNEY Mill Creek, Rakiura Screenprint,

        Est: -

        DON BINNEY Mill Creek, Rakiura Screenprint, edition of 75 Signed & inscribed

        International Art Centre
      • Don Binney Te Henga signed Don Binney, dated '75
        Dec. 06, 2011

        Don Binney Te Henga signed Don Binney, dated '75

        Est: $7,000 - $9,000

        Don Binney Te Henga signed Don Binney, dated '75 and inscribed Te Henga in crayon upper right 550mm x 745mm

        Webb’s – Specialist Auctioneers
      • Don Binney Two Aspects of Tokatoka signed Don
        Dec. 06, 2011

        Don Binney Two Aspects of Tokatoka signed Don

        Est: $60,000 - $80,000

        Don Binney Two Aspects of Tokatoka signed Don Binney and dated 1979 in brushpoint upper right; inscribed Two Aspects of TokaToka in another hand on label affixed verso; inscribed NY/NW/29 N° 33. Don Binney. Aspects of Tokatoka in another hand on original Barry Lett Galleries label affixed verso 1465mm x 1100mm

        Webb’s – Specialist Auctioneers
      • Don Binney Queen Charlotte Seaward I Signed and
        Oct. 27, 2011

        Don Binney Queen Charlotte Seaward I Signed and

        Est: $6,500 - $7,000

        Don Binney Queen Charlotte Seaward I Signed and dated 2004 lower right 22cm x 34cm

        Webb’s – Specialist Auctioneers
      • 26 x 20 inch serigraph Grackle Veracruz signed Don
        Jun. 26, 2011

        26 x 20 inch serigraph Grackle Veracruz signed Don

        Est: -

        26 x 20 inch serigraph Grackle Veracruz signed Don Binney

        Merrill's Auctioneers & Appraisers
      • Don Binney
        Mar. 29, 2011

        Don Binney

        Est: $80,000 - $120,000

        Don Binney, Mexico D.F., title inscribed, signed and dated Marzo - Abril 1968

        Webb’s – Specialist Auctioneers
      • Don Binney
        Mar. 29, 2011

        Don Binney

        Est: $200,000 - $300,000

        Don Binney, Kotare Over Ratana Church, Te Kao, signed and dated 1963

        Webb’s – Specialist Auctioneers
      • Don Binney 'Kaiarara Kaka, Great Barrier',
        Mar. 22, 2011

        Don Binney 'Kaiarara Kaka, Great Barrier',

        Est: - $1,600

        Don Binney 'Kaiarara Kaka, Great Barrier', screenprint, title inscribed, signed and dated 1982, number 20 (partially obscured) of an edition of 150. 625 x 365. See back cover.

        John Cordy Limited
      • Don Binney (New Zealander, born 1940) Te Henga, Easter 1970 charcoal
        Feb. 27, 2011

        Don Binney (New Zealander, born 1940) Te Henga, Easter 1970 charcoal

        Est: $2,000 - $3,000

        Don Binney (New Zealander, born 1940) Te Henga, Easter 1970 charcoal signed and dated 'Don Binney 1970' titled lower right 35 x 26cm

        Leonard Joel
      • DON BINNEY 'Nude Study' Charcoal on paper 45 x 28,
        Sep. 22, 2010

        DON BINNEY 'Nude Study' Charcoal on paper 45 x 28,

        Est: -

        DON BINNEY 'Nude Study' Charcoal on paper 45 x 28, Signed & dated 1979

        International Art Centre
      • Don Binney Te Henga charcoal on steinbach paper
        Sep. 22, 2008

        Don Binney Te Henga charcoal on steinbach paper

        Est: $8,000 - $10,000

        Don Binney Te Henga charcoal on steinbach paper title inscribed, signed and dated June-Aug 1976 700mm x 1080mm

        Webb’s – Specialist Auctioneers
      • Don Binney Kaiarara Kaka - Great Barrier
        Feb. 19, 2008

        Don Binney Kaiarara Kaka - Great Barrier

        Est: $2,000 - $3,000

        Don Binney Kaiarara Kaka - Great Barrier screenprint 625 x 370mm

        Webb’s – Specialist Auctioneers
      • Don Binney Pacific Frigate Bird (from the Barry
        Feb. 19, 2008

        Don Binney Pacific Frigate Bird (from the Barry

        Est: $2,000 - $3,000

        Don Binney Pacific Frigate Bird (from the Barry Lett Multiple Series) screenprint 555 x 455mm

        Webb’s – Specialist Auctioneers
      • Don Binney Kotare Wainamu Drawing charcoal and
        Dec. 04, 2007

        Don Binney Kotare Wainamu Drawing charcoal and

        Est: $20,000 - $30,000

        Don Binney Kotare Wainamu Drawing charcoal and graphite on paper signed 795mm x 550mm

        Webb’s – Specialist Auctioneers
      • Don Binney Frigate Bird from the Barry Lett Multiple series screenprint 555 x 455mm E1 500.00-2 000.00
        Aug. 09, 2005

        Don Binney Frigate Bird from the Barry Lett Multiple series screenprint 555 x 455mm E1 500.00-2 000.00

        Est: -

        Don Binney Frigate Bird from the Barry Lett Multiple series screenprint 555 x 455mm E1 500.00-2 000.00

        Webb’s – Specialist Auctioneers
      • Edward VII Kaiarara - Don Binney Lithograph 46 x 63 Edition 20/40 Signed, dated 1984
        Jul. 21, 2005

        Edward VII Kaiarara - Don Binney Lithograph 46 x 63 Edition 20/40 Signed, dated 1984

        Est: $1,000 - $1,500

        Edward VII Kaiarara - Don Binney Lithograph 46 x 63 Edition 20/40 Signed, dated 1984

        International Art Centre
      • Whatipu - Don Binney Charcoal on paper 41 x 58 Signed, dated 2002
        Jul. 21, 2005

        Whatipu - Don Binney Charcoal on paper 41 x 58 Signed, dated 2002

        Est: $5,000 - $7,000

        Whatipu - Don Binney Charcoal on paper 41 x 58 Signed, dated 2002

        International Art Centre
      • DON BINNEY Pacific Frigate Bird screenprint from the Barry Lett Gallery Multiples series 760 x 560mm E1800.00-2500.00
        Dec. 07, 2004

        DON BINNEY Pacific Frigate Bird screenprint from the Barry Lett Gallery Multiples series 760 x 560mm E1800.00-2500.00

        Est: -

        DON BINNEY Pacific Frigate Bird screenprint from the Barry Lett Gallery Multiples series 760 x 560mm E1800.00-2500.00

        Webb’s – Specialist Auctioneers
      • Abbey Hedge, Walsingham-Don Binney Screenprint 19/30 41 x 50 Signed, dated 1999
        Dec. 07, 2003

        Abbey Hedge, Walsingham-Don Binney Screenprint 19/30 41 x 50 Signed, dated 1999

        Est: $1,000 - $1,500

        Abbey Hedge, Walsingham-Don Binney Screenprint 19/30 41 x 50 Signed, dated 1999

        International Art Centre
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