Important, Early & Rare NZ Art 22 July 2015 by International Art Centre

Important, Early & Rare 6:30pm Wednesday 22 July 2015

Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071

Car Parking

Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Auction assistants and administration Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz

Location map

www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction

Auction Venue

International Art Centre, Scarborough Gallery Lower Ground Level, 272 Parnell Road, Auckland. On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.

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Parking During Viewing Days: Available on site during weekend viewing, Saturday 18 & Sunday 19 July. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.

Important, Early & Rare 6:30pm Wednesday 22 July 2015

Viewing times Thursday

16 July

9:00am - 5:30pm

Friday

17 July

9:00am - 5:00pm

Saturday

18 July

11:00am - 4:00pm

Sunday

19 July

11:00am - 4:00pm

Monday

20 July

9:00am - 5:30pm

Tuesday

21 July

9:00am - 5:30pm

Wednesday

22 July

9:00am - 1:00pm

Other times by appointment

272 PARNELL RD, AUCKLAND, PO BOX 37 344 AUCKLAND 1151 NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

J B C Hoyte sold for $33,100 September 2014

Eillen Mayo sold for $55,690 July 2014

Colin McCahon sold for $334,000 April 2014

Michael Smither sold for $86,785 September 2014

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Philip Clairmont sold for $41,037 September 2014

2014 HIGHLIGHTS In 2014, 50% of the top 10 prices at auction were achieved by International Art Centre For the second consecutive year International Art Centre achieved the highest price for a painting sold at auction. In 2013 C F Goldie’s Kawhena fetch a record $732,000 and in 2014 his A Noble Relic of a Noble Race made $416,000. Additionally International Art Centre achieved over $1.3million in auction sales of C F Goldie paintings in 2014. 2014 was a year of continuing success with International Art Centre achieving 50% of the top ten prices at auction and around $7million in total turnover. Highlights included September’s outstanding sale of works from the Fletcher Trust Collection. Seventy five of the seventy seven works offered have now sold. Raymond McIntyre’s Self Portrait fetched a record $103,000 and was one of three works by this artist sold in our 2014 sales. March saw his Untitled Lady in a Black Hat (Phyllis Cavendish) and Bois de Boulogne fetch $55,000 and $31,600 respectively. Another artist whose original works rarely appear at auction is Dame Eileen Mayo whose Sea Holly achieved a record $55,600. This memorable work was purchased by the Ilene and Laurence Dakin Bequest as a gift to Auckland Art Gallery. A further notable institutional acquisition was Felix Kelly’s The Kiln which fetched $14,070. Two works by Philip Clairmont attracted competitive bidding during the year, Still Life With Jug and Paint Brushes made $41,037 and Country Carnivore Carnival fetched $51,590. C F Goldie sold for $416,000 October 2014

Celebrating forty four years in Parnell, an exceptional sale rate, the attainment of numerous record prices including five of the top ten prices for auction sales in 2014, International Art Centre remain clear market leaders. We look forward to more exciting offerings throughout 2015 with continued success and commitment to the New Zealand art market. Should you be considering selling artworks we welcome your confidential, no obligation inquiry.

Other significant C F Goldie Prices achieved in 2014

The Weariness of the Aged

$257,950 - October 2014

Prices quoted include buyers premium

No Koora te Cigaretti

$205,180 - October 2014

Atama Paparangi

$352,900 - April 2014

The Barry Pilcher Collection

OF CONTEMPORARY NEW ZEALAND PAINTING, SCULPTURE & PHOTOGRAPHY Held 27 May 2015

Karl Maughan fetched $12,070

Heather Straka fetched $21,690

Barry Pilcher’s eclectic and kaleidoscopic collection of Contemporary New Zealand painting, sculpture and photography sold well at International Art Centre’s single owner, May sale. The collection, acquired over fifteen years, attracted wide-spread interest and spirited bidding resulting in six new auction records including $21,690 for artist Heather Straka together with an 85% clearance rate. Pictured are some auction highlights from that sale.

Judy Millar fetched $8,780

Prices quoted includes buyer’s premium. Mark Rayner fetched $820

Sara Hughes fetched $5,275

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Bill Hammond fetched $4,920

Sara Hughes fetched $7,035

Sam Mitchell fetched $3,985

Gavin Hurley fetched $7,325

Ans Westra fetched $6,210

Harry Watson fetched $4,390

Kushana Bush fetched $5,570

Contemporary & Modern Art Held 7 May 2015

MAX GIMBLETT fetched $18,760

MARY MCINTYRE fetched $5,860 ROBERT ELLIS fetched $26,380

International Art Centre held two Contemporary Art Auctions in May The Barry Pilcher Collection 27 May and Contemporary & Modern Art 7 May - sales totalled around $600,000 with an average 77% sold across the two sales. Consignments are now invited for August & October 2015 Contemporary & Modern Art auctions. Price quoted include buyers premium COLIN WHEELER fetched $7,620 272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz

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Next Auction 12 August ENTRIES CLOSE 15 JULY

GREER TWISS Definition 6 Vacuum print 21.5 x 21.5cm Contemporary & Modern Art: 12 August

Consign Today Toll Free 0800 800 322 or +64 9 3794010 Richard Thomson richard@artcntr.co.nz Luke Davies luke@artcntr.co.nz www.fineartauction.co.nz

SARA HUGHES Buy, Sell, Trade 2 Acrylic on paper 76 x 55cm Contemporary & Modern Art: 12 August

Behind the Twisted Wire NEW ZEALAND ARTISTS IN WORLD WAR I

BEHIND THE TWISTED WIRE _______________________________ New Zealand artists in World War I

A new publication by Jennifer Haworth Behind the Twisted Wire is a companion publication to Jennifer Haworthâ&#x20AC;&#x2122;s The Art of War: New Zealand war artists in the field 19391945, which has sold around 3,000 copies. It tells the story of New Zealand artists who served in World War I. The two commissioned war artists, Wellingtonian Nugent Welch and ex-pat New Zealander George Butler, produced nearly 130 paintings of the Western Front. These are now in the National War Art collection in Wellington and most are reproduced in this book. Also included are the paintings Horace Moore-Jones completed on Gallipoli and the story of his painting Simpson and his donkey. The book presents the work of soldier-artists such as Arthur Lloyd, George Woolley, John Weeks, Archibald Nicoll, Francis McCracken, Robert Johnson, James Turkington, William Penlington W.H. Gummer and Walter Bowring who painted the home front. Through the work of these artists the book tells the story of how New Zealand artists responded to the war.

JENNIFER HAWORTH

Jennifer Haworth is well known as both a writer of fiction and nonfiction. She has published three novels to date. The most recent is The Undone Years which tells the story of a New Zealand artist in Paris at the time of the Peace Treaties in 1919. Her fourth novel, No Victors, is based on the New Zealand experience in Italy in World War II and how their stories affected the attitudes of their children.

Order from Wily Publications www.wily.co.nz; jjhaworth@xtra.co.nz or all good bookshops. Pre-publication sales price from Wily $40.00 plus postage. RRP $49.99

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MIKE NORRIS Sculptures New subjects Spring 2015

Kingfisher #3 Bronze edition of 12 34 x 20 cm $5,500

Auction 6:30pm Wednesday 22 July *

Payment may not be made during sale

Works purchased may be uplifted at

close of sale or day after 10.00am - 5.00pm

If attending sale, please register for bidding number at viewing

Viewing Times p. 3

Absentee Bidding Form p. 93

Conditions of Sale p. 95

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PATRICIA FRANCE

ESTIMATE $3,000 - 5,000

1911 - 1995 Mysterious Grace Oil on board 20.5 x 21.5 Signed

1911 - 1995 Sudden in a Shaft of Sunlight - T S Eliot Oil on board 33 x 43.5 Signed

b. 1922 La Dance Oil on canvas 60 x 81 Signed and dated 1962 ESTIMATE $4,000 - 6,000

PROVENANCE Private Collection, France

EUAN MCLEOD

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DOUGLAS MACDIARMID

b. 1956 Untitled - Figure in a Landscape Oil on board 54 x 75.5 Signed & dated 8/91 ESTIMATE $3,500 - 4,500 PROVENANCE Private Collection, Canterbury Acquired by the present owner 1991

PHILIP CLAIRMONT

1949 - 1984 Vincent Viki Vivisector - Double sided Oil on unstretched canvas 101.5 x 93 Signed, inscribed & dated 1973 ESTIMATE $20,000 - 30,000 PROVENANCE Private Collection, Marlborough Purchased by the current owner from Janne Land Gallery 1981

Working away in his paint-encrusted studio with Jimi Hendrix’s guitar cranked up to full noise, often going days without sleep, Clairmont was the archetypal tortured expressionist. A 1981 documentary explored his chaotic Mt Eden bohemian abode, a house populated by the found objects and abandoned furniture that would inspire his dense, hallucinatory images. At one point the camera fixes on a single lino print that reads Art is my life. One would eventually consume the other — three years after the film was aired, Clairmont tragically took his own life at the age of 34. His work is usually classed as expressionist or neo-expressionism, using vivid colour and distorted forms, often with domestic interiors as subject matter. Clairmont’s early works tend to be focussed and detailed where as works produced in his final decade had a tendency to be looser and less intense. His practice was informed by the works of Vincent van Gogh and Francis Bacon, and he was influenced by his close friendships with artists Tony Fomison and Allen Maddox.

MARK CROSS

KEES BRUIN

b. 1955 Approaching Cyan Oil on canvas 61 x 76 Signed ESTIMATE $8,000 - 12,000

b. 1955 Surge Oil on canvas 54.5 x 68 Signed ESTIMATE $6,000 - 8,000

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b. 1954 Cave Rock at Night Oil on canvas 80 x 120 Signed & dated 1985 ESTIMATE $20,000 - 30,000

1940 - 2012 Otago Coast Oil on board 61 x 53 Signed & dated 1964 Inscribed verso ESTIMATE $25,000 - 35,000

PROVENANCE Purchased in Dunedin, 1964, by the current Auckland owner.

DALE FRANK

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DON BINNEY

Australian b. 1959 Untitled 2006 Varnish on linen 121 x 159 Signed & dated 2006 verso ESTIMATE $20,000 - 25,000 PROVENANCE Private Colelction, Wellington

MAX GIMBLETT

PROVENANCE Private Collection, Wellington Purchased from Page Blackie Gallery, Wellington 2005

b. 1935 Dionysus Acrylic, polymer, pearlescent pigments, oil gilded white gold and shellac on canvas, 152.5 x 152.5 Signed, inscribed & dated 1988-89 ESTIMATE $65,000 - 75,000

ILLUSTRATED p. 74 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002

How was a particular painting made? Do we really want to know? Of course we do. To explain how a painting was painted seems to solve a mystery, penetrate a secret, establish a cause for the work’s tantalising effects. Explanation puts anxious viewers on more equal terms with the work, so it won’t lord it over them so much; it enables us to evade its unseemly advances. Take Dionysos, 1988/89, for example. Is that the form of a goat I see? Once we have the painting’s secret, we are satisfied that this is all we need to know. But there may be no satisfactory answer as to how it was done. It is not that the artist won’t explain, but rather that he can’t. He wasn’t watching, or if he was, there was nothing he could or would do. He had faith. So I am going to tell you that having blocked out the four square elements on the quatrefoil, Gimblett began to prance around the stretcher which lay with its back on the floor, dripping ultramarine, Pollock-fashion, into pearlescent whites that he had previously poured, pooled and panned on and across its surface. What a potent, not to say stupefying procedure it turned out to be, for the paint gave off a vapour you could see as well as smell. Was that a genie he saw taking shape in the ether?

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For the next five to six hours the painting keep changing, moving further and further away from any readable relation to acts of its making. The painter had decided to intervene as little as possible; he became a bystander. Or a bysitter, now and then gently coaxing it along with the insertion here and there underneath the stretcher of a small cardboard wedge. The embodiment of a wild blue purpose was about to absorb the white firmament of his quatrefoil. The more closely he followed the transmutations, the more he was gripped by his abandonment. Of the painting? Of himself? Where, then, is Dionysos? What has become of him? These queries are reminders of the growing number of Gimblett’s paintings whose surfaces are not gesturally produced. ‘Gestures’ are already not only marks made by the brush, registering the tactile; to stretch their meaning to cover spillage, gilding and polishing is to suppress not only the action of the materials themselves, but the significance of the variety of agencies such extensions give rise to. Text: p. 38-39 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002

The Terry & Moira Wood Collection 12

PETER SIDDELL

PROVENANCE Terry & Moira Wood Collection Purchased directly from the artist, 1996

EXHIBITED Lopdell House 10th Anniversary Exhibition, Titirangi 1996

For the past twenty years Terry and Moira Wood have enjoyed the delights of their peaceful, seven acre Hobsonville property. A home built for entertaining, enlivened by their dogs and a lovingly acquired collection of New Zealand art. The Wood’s decision to move to a smaller apartment in the heart of Hobsonville sees an offering of selected works in both this, and our Contemporary & Modern sale of 12 August. An artist himself, Terry has long been a member of the Hobsonville Art Society. For five years he sat on the board of Titirangi’s Lopdell House where Moira spent seven years in an administration role. The couple’s involvement with Lopdell House opened the door to friendships with many fellow artists. Between 1988 and 2001 four well-chosen works by Peter Siddell were purchased. Siddell’s Lopdell House masterpiece has a back story of friendship and personal associations. Over time, numerous other works were acquired by artists such as Garth Tapper, Felix Kelly, Stanley Palmer and Sylvia Siddell along with three romantic classics by 19th Century New Zealand painter James Peele. The Wood’s will retain some smaller pieces, particularly those by the Waitakare artists they continue to support.

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1935 - 2011 Lopdell House Oil on canvas 90 x 120 Signed & dated 1996 ESTIMATE $50,000 - 80,000

Peter Siddell’s idyllic painting of Lopdell House, presents a seductively tranquil, enduring scene where everything appears in place. But is this really true? Have a closer look, go outside and see if you can spot the differences. History can be kind or cruel depending on the memories and interpretations of the narrator. And artists, like good story tellers and illusionists, are deft at employing their brushes like wands to portray the world as they wish. So whatever happens to Lopdell House in the future, we’ll always have this vision of Titirangi to remember. Text from Lopdell House exhibition card. The 1929 building was originally built as a hotel for day trippers from Auckland and was known as the ‘pub with no beer’ as it was never granted a liquor licence. In 1986 it became a public gallery known as Lopdell House Gallery. It is now the home of Te Uru Waitakare Contemporary Gallery. Dear Terry, Thanks for your letter. I’ve been hoping that the painting still looked OK and fitted well into your home. I was very pleased to see how good it looked at Lopdell House. Thanks also for that most enjoyable evening. Sylvia and I really enjoyed ourselves but left rather abruptly without saying farewell as I was suddenly stricken with the first symptoms of what turned out to be a dose of flu. Please give out best wishes to Moira. Regards Peter Siddell. 4 December 1996 - from a hand written letter affixed verso.

PETER SIDDELL

PROVENANCE Terry & Moira Wood Collection Purchased from Webb’s auction 14/10/1993

1935 - 2011 Villa Oil on board 45 x 60 Signed & dated 1988 ESTIMATE $25,000 - 35,000

Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.

FELIX KELLY

PROVENANCE Terry & Moira Wood Collection Purchased from International Art Centre, 2014

EXHIBITED London in the Country and other Paintings by Felix Kelly, Arthur Jeffress Gallery, November 1962, Catalogue no. 23

1914 - 1994 First Act of Duel of Angels (Old Vic.1962) Oil on board 28 x 38 Signed Arthur Jeffress Gallery label affixed verso. ESTIMATE $10,000 - 12,000

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Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Siddell passed away in 2011.

The Terry & Moira Wood Collection

PETER SIDDELL

PROVENANCE Terry & Moira Wood Collection Purchased from International Art Centre, 1990

EXHIBITED Peter Siddell Paintings 1970 - 2010, Lopdell House, Titirangi 30 June 2011 - 21 August 2011

1935 - 2011 Foundation for the Blind Building Oil on board 60 x 90 Signed & dated 1988 Inscribed verso ESTIMATE $35,000 - 45,000

In typical Siddell fashion the artist creates a composition drawing upon natural and man-made New Zealand landmarks. In this work Parnell’s Jubilee building nestles against a ‘Siddellised’ Mount Eden with full foliaged trees at its base. The Jubilee Building, takes it name from New Zealand’s 1890 Jubilee celebrations. Following these celebrations a sum of £155 remained in the Mayor’s fund raising account. Prominent businessman and philanthropist, John Abbott was successful in having this money allocated towards the building of a home and teaching institute for the blind. Today, the 1907 building designed by Edward Bartley holds a category 1 status on the Historic Places register. It is notable for its steep gable ends, arcade verandah and use of Oamaru stone. In 1995 the Jubilee building was redeveloped by the Auckland City Council to re-house the Parnell Library and Community Centre. This is a work of legacy, not only for the artist, but for one of Auckland’s most recognisable historical buildings.

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The Terry & Moira Wood Collection

I avoid the illusion of movement and deliberately present a still image. Anything that works against this is excluded, which is why I don’t include peeling paint, street signs, power lines, washing hanging on clotheslines, cars or people engaged in activities. These details would contribute a narrative interest that would disturb the still atmosphere of remembered times and places that I am trying to create. I suppose I could be classified as an imaginary realist. The Art of Peter Siddell, Godwit, 2011

The Terry & Moira Wood Collection

GLENDA RANDERSON

ESTIMATE $2,500 - 3,500

PROVENANCE Terry & Moira Wood Collection Purchased from Lopdell House

PETER SIDDELL

ESTIMATE $25,000 - 35,000

PROVENANCE Terry & Moira Wood Collection Purchased from Artis Gallery, Auckland 2011

b. 1949 Enchantment Oil on linen on board 40 x 55 Signed

1935 - 2011 Golden Bay Oil on canvas 63 x 88.4 Signed & dated 2001 Inscribed verso

Peter Siddell with Golden Bay, 2002

ILLUSTRATED p. 226 The Art of Peter Siddell, Godwit, 2011

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EXHIBITED Peter Siddell :Landscape touring exhibition 2002 - 2004 Dunedin Public Art Gallery, Southland Museum & Art Gallery The Forrester Gallery, Oamaru, Christchurch Art Gallery, Te Manawa Palmerston North, Hawkes Bay Museum, City Gallery, Wellington, Rotorua Museum of Art & History.

From the Takaka Hill in the silence of a still clear morning in early winter, the whole of Golden Bay was spread out before us. Peter Siddell, The Art of Peter Siddell, Godwit, 2011

The Terry & Moira Wood Collection

STANLEY PALMER

PROVENANCE Terry & Moira Wood Collection Purchased from Anna Bibby Gallery, Auckland 2004

EXHIBITED STANLEY PALMER Anna Bibby Gallery, Auckland 7 September - 2 October 2004

ILLUSTRATED New Zealand Herald, 15/09/2004

GARTH TAPPER

1927 - 1999 Bar Scene Oil on board 30 x 40 Signed & dated 1974 ESTIMATE $4,000 - 6,000

GARTH TAPPER

1927 - 1999 Sancho! Oil on board 40 x 55 Signed & dated 1979 ESTIMATE $4,000 - 6,000

PROVENANCE Terry & Moira Wood Collection

1927 - 1999 Karamea Oil on linen 124 x 150 Signed & dated 2004 ESTIMATE $15,000 - 20,000

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21 James Peele was the son of a pioneer settler, born in Geelong, Australia 1847. He came to New Zealand in 1865 where he established a long banking career with the Bank of New Zealand. As manager of the Rangiora branch he designed and saw built the structure that still stands there today. He eventually took up painting as a profession and moved to Melbourne, Victoria, where he followed a course of teaching and painting. Some of his works have been secured by the Canterbury Society of Arts and are hung in the permanent gallery.

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Peele died in Christchurch in 1905 after a sudden stroke at the age of 59. On his death the Christchurch press wrote Peele was widely known in art circles and well respected - his pictures were distributed the world over and he never had any difficulty selling them to tourists and distinguished visitors Peeleâ&#x20AC;&#x2122;s works are held in public collections throughout New Zealand as well as a number of leading Australian institutions. All three works from the Terry & Moira Wood collection are in excellent condition and are well presented.

JAMES PEELE

1847 - 1905 Mt Cook Oil on canvas 60 x 90 Signed & dated 1900 ESTIMATE $6,000 - 8,000

1847 - 1905 Dusky Sound Oil on canvas 60 x 100 Signed & dated 1900 ESTIMATE $4,000 - 6,000

JAMES PEELE

1847 - 1905 Otira Gorge Oil on canvas 60 x 90 Signed & dated 1899 ESTIMATE $4,000 - 6,000

The Terry & Moira Wood Collection

The Terry & Moira Wood Collection 24

SYLVIA SIDDELL

ESTIMATE $4,000 - 6,000

PROVENANCE Terry & Moira Wood Collection Purchased directly from the artist, 2000

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1941 - 2011 Summer Night Oil on canvas 60 x 90 Signed & dated 2000 Inscribed on label affixed verso

PEGGY SPICER

1908 - 1984 Nelson Street Watercolour 26 x 30 Signed ESTIMATE $800 - 1,200

PROVENANCE Terry & Moira Wood Collection Purchased from International Art Centre Peggy Spicer The Estate Collection, 1991

PEGGY SPICER

1908 - 1984 Onehunga Watercolour 22 x 25 Signed ESTIMATE $800 - 1,200

PROVENANCE Terry & Moira Wood Collection Purchased from International Art Centre Peggy Spicer The Estate Collection, 1991

FELIX KELLY

1914 - 1994 Manor House, Woodhall, Essex Oil on board 30 x 30 Signed ESTIMATE $4,000 - 6,000

1914 - 1994 Kiosks, Agra, India Gouache on board 7 x 10 ESTIMATE $2,500 - 3,500

FELIX KELLY

1914 - 1994 Fishing Boats ( Russia ) Oil on board 42.5 x 55 Signed & dated 1971 ESTIMATE $15,000 - 20,000

EXHIBITED Felix Kelly: Recent Paintings of Russia 19 October - 6 November 1971, Arthur Tooth & Sons, London Cat. no. 3, label affixed verso

REFERENCE p. 277 Fix - The Art and Life of Felix Kelly, Donald Bassett, Darrow Press 2010

Felix Kelly is one of New Zealand's most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper's Bazaar. In the 1950s and 60s he was acknowledged as one of England's top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike. Kelly's ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly's paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who's Who or De Brett's. In late career, his knowledge of architecture led to involvement in

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house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America's Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brushwork, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland's West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work. Felix Kelly has to be one of New Zealand's most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke's Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett's book Fix; The Art and Life of Felix Kelly, was published in 2013.

FRANCES HODGKINS

PROVENANCE Ex estate of Mr Ian L. Philips esq., London, UK Private Collection, Auckland

1869 - 1947 Monastery Steps, 1934-35 Oil on canvas 58.4 x 70.2 Signed ESTIMATE $250,000 - 350,000

The bay of Ibiza is dominated by the ancient fort of Dalt Vila, its huge stone ramparts zigzagging up the hill loom over Sa Penya, the name given to the oldest part of the town. When Frances Hodgkins came to Ibiza at the very end of 1932 the town had already begun to sprawl across the bay. She stayed at the newly opened Hotel Balear, and although she initially complained about the cold and choice of food, gradually the town and its inhabitants captured her imagination. While on the island she produced a series of watercolours which are lyrical both in their colouring and delineation of the bold architectural forms visible at every turn. No doubt she also did drawings, although many of these are now lost. It was only after she returned to England in the middle of 1933 that she started working on a number of oil paintings that coalesced what she had observed. First exhibited at the Leicester Galleries in London in 1935, Monastery Steps produces an immediate reaction when shown to Ibizans. They immediately point to the blue building and say, ‘That’s the monastery’ (not the cathedral). It nestles behind a line of houses which drop away precipitously on the left, and is approached by a broad set of stone steps. But the right hand part of the painting is drawn from a vantage point on the opposite side of Dalt Vila, and shows the winding path (now a sealed road) that leads up from Puig des Molins (Hill of the Windmills) whose bulky forms dominate the skyline to the east.

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The work accentuates blocks of colour, carefully considered curves and individual architectural forms, tied together by a series of strong verticals. At first the broad paths and block-like buildings catch our attention, followed by the strong verticals that bind the picture together. A pine tree soars up in front of the monastery wall, its pointed tip creating a secondary cross beside the crucifix on the highest point of the monastery. Hodgkins has thought very carefully about how she wants colour to work in this painting, for in reality it is the monastery that is ochre-coloured, while the left hand building is painted the blinding white used for most traditional buildings. The rich emerald green is a colour entirely of her own imagination. Therefore, while Monastery Steps refers to places that Hodgkins has observed first hand, the final painting is a terrific demonstration of how an artist transforms the literal into a creative refinement that is entirely her own. MARY KISLER

EVELYN PAGE

PROVENANCE Estate of Evelyn & Frederick Page, Wellington.

1899 - 1988 Salzburg Oil on board 46 x 70 Signed ESTIMATE $50,000 - 70,000

When Evelyn Page turned sixty-six Charles Brasch had written How meaningless years are when active and alert in mind. The painter had made her only application to the Queen Elizabeth 11 Arts Council for a travel grant and was given one hundred pounds. She was planning her final journey to Europe. She had particularly wanted to see a large Bonnard exhibition at Burlington House, but arrived only in time for its last day. 'Donnanl' she wrote, 'has done everything that I would have given almost anything to do.' Sadly, she also missed out on her prime purpose to experience the teaching of Oscar Kokoschka; he had retired to Switzerland and left others to take over his summer 'School of Seeing'. She arrived at the school, set up in the Castle Art Academy in Salzburg, also a little late. A huge class of young people from all over the world was already at work. She felt conspicuously white-headed. After a few days, the German professor who posed the model, glanced at her work and dismissively commented 'schmalz' - too sweet. She persisted with the unfamiliar, but requisite,medium of watercolour and found after a few days that the young crowded around to look at her work, and to talk. Of the school, she said, What I learned al Salzburg was l let the subject impress as simply as possible.

Evelyn Margaret Polson was born in Christchurch on 23 April 1899. Eve, as she was known, early showed talent and formidable concentration when reading or painting, and enjoyed piano lessons. She was enrolled, aged 15, at the Canterbury College School of Art at a time when it was possible to combine the study of art with a general secondary education. Eve soon passed from elementary drawing and painting to advanced study in the life class taken by Richard Wallwork and in drawing from the antique with Leonard Booth. Cecil Kelly, who taught still life and landscape painting, may have been the strongest influence on her early work. She gained first-class awards in the School of Art examinations and special prizes for landscape painting.

When it was over, Evelyn was too tired to join her family on a planned trip to Prague and Leningrad. She stayed instead to paint *Salzburg and then met Frederick for the Festival at Aix-en-Provence. Text: Evelyn Page Seven Decades, Janet Paul and Neil Roberts, Robert Allen & Unwin publishers 1986

As her career developed, Page found affinities in the work of Austrian born Oscar Kokoshka and French impressionists - Pierre Bonnard and Édouard Vuillard. In the period 1965-67 she joined the Kokoschka Summer School of Salzburg.

*Salzburg 1967 was acquired by the late Janet Paul of Wellington who was a co-writer of Evelyn Page Seven Decades. The present larger work Salzburg returned to New Zealand with Evelyn and Frederick Page and hung in their own collection until Evelyn’s death in 1988. It comes from the collection of the artist’s family, Wellington.

40 Important, Early & Rare 6:30pm Wednesday 22 July 2015

In 1936 Evelyn Page travelled to Europe where she was very impressed by the French Post Impressionists and the portraits in the Tate Gallery, and she subsequently painted many portraits of often well known literary personalities. After her marriage to pianist Frederick Page in 1938, the artist went to live at Governor’s Bay in Canterbury, and after a further trip to Europe in 1950, settled in Wellington where she commenced a series of cityscapes; subject matter not often depicted by artists of the era.

In 1986, two years before her death, the Robert McDougall Art Gallery curated and toured Evelyn Page: Seven Decades. The exhibition recognised a painter with an extraordinary zest and independence of spirit, whose lifetime’s response to human character and very individual use of rich colour communicates her vivid reverence and joyful celebration of life.

RAYMOND MCINTYRE

PROVENANCE Estate of Evelyn & Frederick Page, Wellington. Evelyn Page inherited the painting from her sister who was at art school in Christchurch with Raymond McIntyre

EVELYN PAGE

1879 - 1933 Untitled Farm Scene Watercolour 15 x 11 Signed ESTIMATE $15,000 - 20,000

1899 - 1988 The Harbour and the Civic Block Oil on board 28 x 41 Signed Inscribed verso ESTIMATE $15,000 - 20,000

42 Important, Early & Rare 6:30pm Wednesday 22 July 2015

HORACE MOORE-JONES 1868 - 1922 Simpson and His Donkey Watercolour 102.5 x 75 Signed & dated 1915 PROVENANCE Collection of the Commerce Club, Auckland EXHIBITED Scars on the Heart, Auckland Museum

Sapper Horace Moore-Jones

44 Important, Early & Rare 6:30pm Wednesday 22 July 2015

HORACE MOORE-JONES

ESTIMATE $300,000 - 500,000

PROVENANCE Collection of the Commerce Club, Auckland

1867 - 1922 Simpson and His Donkey Watercolour 102.5 x 75 Signed & dated 1915

This is the most significant watercolour of ‘Simpson’ and his donkey ever to have been presented at auction. This version of the painting was bought from Horace Moore-Jones’ widow in 1926 for £300 by the Commercial Travellers’ Association of Auckland. It hung in their club rooms in Remuera before it was loaned to the Auckland War Memorial Museum. There it quickly became an important part of their Scars on the Heart exhibition. The painting has long been a popular icon representing the suffering of the soldiers and the humble, selfless service of those who helped others on Gallipoli. Now, just on 100 year later, when we understand the futility and botched military planning that created this disaster, the painting has become an even more important symbol of the compassion men showed for their wounded comrades. Moore-Jones painted this picture not on Gallipoli but from a photograph he was given when he spoke about the work of the stretcher bearers in Dunedin in 1917. When he told the story of the legendary Simpson who used a donkey to carry the wounded from steep gullies, he said he was sorry not to have a painting or photograph of him. After the talk Mr G F Jackson approached him and said he had such a photograph – that his brother, who was serving on Gallipoli, had sent it to him. Before he left Dunedin Moore-Jones painted a small watercolour of the photo, which he gave to the family and it is probably this version that is now in the Aigantighe Art Gallery in Timaru. Moore-Jones believed that he was painting the legendary Simpson, already a folk-hero in Australia. Those who knew the truth, even Dick Henderson, did nothing to contradict this belief. It was not until the 1930s that some of the West Australian soldiers who had served with Simpson said the man in the painting was not their ‘cobber’. Finally Sergeant Jackson, the soldier who had taken the original photograph wrote to Major J L Treloar, director of the Australian War Memorial Museum explaining why he had not said who the subject of the painting was:

46 Important, Early & Rare 6:30pm Wednesday 22 July 2015

What good would come out of it? In the first place the whole value of the lesson learnt by thousands of children from the noble example of Simpson would have been lost. The value of that painting in Auckland would have depreciated to a matter of a few pounds. The illustration in the official war history would have been regarded as a fake….What harm? The Australians were annoyed that the man they had believed to be Simpson was not that person, but a New Zealander. Even today the version of this painting in the Australian War Memorial Museum is called The Man with the Donkey. Moore-Jones recreated the scene from the photograph. The stretcher bearer remains the man in the picture – a compassionate, stoic individual who with a Christ-like resolution brings comfort to the injured. The wounded soldier with his head thrown back becomes a symbol of every soldier’s suffering and of the chance to live that people like Simpson gave him. Just as important is the small shaggy donkey about the size of a Newfoundland dog who so nobly carried the wounded. The three of them suggest a Renaissance painting of the Holy Family. The path, above a deep ravine, is the amazingly narrow line between death and life which all soldiers faced on Gallipoli. This painting is the most important Moore-Jones ever auctioned. It is one of the bigger studies of Simpson and it is very similar to the version in the Australian National War Memorial Museum. When Moore-Jones painted it in Auckland, it was one of the two versions that was sent to Britain to be reproduced as a print. The two were sent on separate ships in case one was torpedoed on the voyage. Hundreds of copies were made and they were widely displayed in Australia and New Zealand. It was this which reinforced the importance of Simpson and his Donkey – the symbol of the compassionate man who brought help to so many amidst the slaughter. JENNIFER HAWORTH: Author of Behind the Twisted War - A Study of New Zealand Artists in World War I & The Art of War - New Zealand War Artists in the Field 1939 - 1945. Wily Publications

SERGEANT JAMES GARDINER JACKSON

ESTIMATE $10,000 - 20,000

PROVENANCE Collection of the Commerce Club, Auckland

The Donk Original photograph 30 x 22 Inscription on mount

Stretcher Bearer Dick Henderson with his donkey on Gallipoli This is the original photograph of Dick Henderson, a member of the New Zealand Medical Corps, and his donkey. Until he was recognised as the man with the donkey in the Simpson painting, he was almost forgotten by New Zealanders. Yet he had a distinguished military career. He survived Gallipoli and went on to serve in France. He was decorated for gallantry when, at the Somme, he repeatedly rescued wounded soldiers under heavy gun fire. He was finally gassed at Passchendaele in October 1917 and was invalided home. This gassing was to affect his eyesight and he retired from teaching in the early 1930s when he was going blind. He was regarded as a quiet achiever who never made a fuss. This photograph which also belonged to the Commercial Travellers Association is inscribed as follows: This is the original photo from which the painting ‘Murphy and the Donk’ or Simpson and Murphy the Donk’ was painted by Sapper Moore-Jones. Original painting held by Commercial Travellers Association Auck. The photo was given to the Auckland Commercial Travellers Association by James Jackson of Dunedin who took the original photo.

48 Important, Early & Rare 6:30pm Wednesday 22 July 2015

SERGEANT JAMES GARDINER JACKSON

‘Man with a Donkey’ 1915 A reproduction photograph bearing bearing the original pen signed signature of Pte. Richard Alexander ‘Dick Henderson with the inscription ‘Yours Sincerely’. Includes a NZMC badge affixed to top left of image

ESTIMATE $1,000 - 3,000

PROVENANCE Gifted to present owners father from Dick Henderson

50 Important, Early & Rare 6:30pm Wednesday 22 July 2015

JOHN WEEKS

ESTIMATE $800 - 1,200

PROVENANCE Artists’ Estate Collection

1886 - 1965 Soldiers in a Supply Tunnel Watercolour 11 x 15

SHIRREFFS MCINTYRE

HORACE MOORE-JONES

ESTIMATE $2,000 - 3,000

ESTIMATE $800 - 1,200

PROVENANCE Private Collection, Auckland Current owner inherited from father’s Estate. Owners father served in World War 1 on the Western Front with Shirreffs McIntyre.

PROVENANCE Given to the current owners late father at a Horace Moore-Jones exhibition in New Plymouth circa 1917-18.

Inscription reads: Just out of Hospital and better fed, Sapper H Moore - Jones 4/26A Includes a small drawing of the artist himself at easel with the inscription ‘As Known on Gallipoli!

d. 1919 The Western Front Ink on paper 25 x 30 Signed & dated 1919

Shirreffs McIntrye returned from the war but died in Auckland on 30 December 1919. His military papers say that he died after discharge of wounds inflicted or disease which was contracted while he was on active service.

1867 - 1922 A postcard from Horace Moore Jones Ink over printed postcard 12.5 x 14 Signed & inscribed

JOHN WEEKS

ESTIMATE $800 - 1,200

THOMAS ARTHUR MCCORMACK

ESTIMATE $1,000 - 1,500

1886 - 1965 War Ruins Watercolour 23 x 18.5

1883 - 1973 Warship Entering Harbour with Bridge Construction Beyond Watercolour 22 x 28 Signed

52 Important, Early & Rare 6:30pm Wednesday 22 July 2015

CLARENCE RICHARD FENN

ESTIMATE $1,000 - 2,000

PROVENANCE Collection of the Fenn Family, Auckland, since 1917

This lot also includes Fenn’s steel soldiers chest with the following:

Soldier’s ‘Small Book’ Artist’s discharge papers. Censored wartime letters. Personal paper, photos and documents from World War 1. Three old coins. A sketchbook made by the artist’s son Richard Fenn commencing May 1st 1915 when he was just 13 years of age.

Dawn Watercolour 26 x 22 Signed & dated 1917

Goldie’s portraits are typically head and shoulder compositions or halflength figures seated against a background. The subjects often exude a sense of melancholy. The backgrounds are usually dark with little detail, which makes Past and Present exceptional, both for its detail and for the number of subjects within the painting. In Past and Present we see the richly decorated backdrop of Ohinemutu Marae. The informal gathering of whanau are watched over by their ancestors immortalised by the wall carvings. Goldie suggests notions of past and present with three generations, a crouching elder smoking her pipe, a pensive mother with yellow head scarf and her husband with work boots placed behind him. Their children are engaged in a game of cards or tōrere, a maori board game. The past is alluded through objects within the scene, woven flax mats and a kete or basket. The work portrays cultural assimilation. Both smoking and cards were pastimes introduced to New Zealand by the early settlers. The subjects also wear European dress.

CHARLES FREDERICK GOLDIE

ESTIMATE $170,000 - 220,000

PROVENANCE Private Collection, Queensland

REFERENCE p. 28 C F Goldie His Life & Painting, Alister Taylor and Jan Glen 1977

1870 - 1947 Past and Present Oil on canvas 24.5 x 34.5 Signed & dated 1939

54 Important, Early & Rare 6:30pm Wednesday 22 July 2015

The artist’s training and exposure to neoclassical art during his years in Paris are evident in Past and Present. Here, Goldie exchanges classical narrative for regional Maori history. Late nineteenth century neoclassical painters such as French artist Jacques Louis David depicted classical Greek bas-relief in their art, Goldie chooses the Maori carvings as his reference. The mother is given prominence by her central position and yellow head scarf. This maternal figure is the bridge between past and present. Her tilted head suggests she is contemplating the future of Maori culture. The grandmother sits away from the group, her more assertive stance suggests she’s quietly confident with her Maori ways. The children appear to hold the key for the survival of their culture.

A LOIS WHITE

1903 - 1984 Weeping Women, 1939 Oil on board 49.5 x 39 SIgned Inscribed verso Auckland City Art Gallery Label affixed verso ESTIMATE $40,000 - 60,000 PROVENANCE Private Collection, Waikato Private Collection, Canterbury EXHIBITED By the Waters of Babylon, The Art of A Lois White Auckland City Art Gallery 1994-95 Anna Lois White was born in Mount Albert, Auckland on 2 November 1903, the youngest of four children. Her father was an architect and both parents were devout Methodists. While her family and close friends called her ‘Anna’, she always signed her works ‘A. Lois White’, and was known in the art world as Lois (pronounced ‘Loyce’). An outstanding scholar, singer, swimmer and artist at secondary school, White enrolled at Elam School of Art in 1923. Most of her years there were under the direction of Archie Fisher, who early on recognised her talent and fostered it. After graduating in 1927, White obtained part-time teaching positions at Elam and Takapuna Grammar School, and in 1934 she began working at Elam full-time. She occupied a number of positions at the University until her retirement in 1963. Regarded by many during the 1950s and 60s as little more than a fashionable political commentator of the 1930s who failed to live up to her early promise, White’s work was rediscovered in the 1970s, and she is now recognised as one of New Zealand’s most distinctive and individual artists of the 20th Century.

56 Important, Early & Rare 6:30pm Wednesday 22 July 2015

Lois White was gradually alienated from her peers, and her themes religious, political, sexual - were often lost on contemporary audiences. She was marginalised by the art world and took early retirement from her lecturer's position at Elam when criticism from both students and younger staff with new ideas became unbearable. It was not until one or two of her early works appeared in books and retrospective exhibitions in the 1970s that her importance as a New Zealand artist was finally recognised. While the majority of her works are in oil, she also produced a large number of drawings, and, when there was a shortage of materials during the War years, developed a new medium in varnished watercolour. In October 1977, at the age of 74, White had her first solo exhibition with Wellington art dealer Peter McLeavey. Interest in her work continued until after her death in 1984, culminating in the Auckland City Art Gallery's major retrospective exhibition By the Waters of Babylon. Weeping Women was included in the retrospective and bears the original Auckland City Art Gallery label verso

DORIS CLARE ZINKEISEN

PROVENANCE Private Collection UK Private Collection Canterbury

Scottish 1898 - 1991 A Princess from the Antipodes - Maori Princess of Rotorua Oil on canvas 45 x 40 Signed ESTIMATE $30,000 - 40,000

Doris Zinkeisen was a Scottish theatrical stage and costume designer, painter, commercial artist and writer. She was best known for her work in theatrical design. Zinkeisen’s realist style made her popular as a portraitist and she became a well-known society painter in London. The subject matter of her paintings, society portraiture, equestrian portraiture and scenes from the parks of London and Paris reflect the lifestyle of the upper class at the time. In spring 1945 Zinkeisen volunteered her services as a war artist to the northwest Europe commission of the Joint War Organisation of the British Red Cross and Order of St John as it moved into newly liberated Europe. She recorded the commission’s activities supporting post-war relief, and the rehabilitation and repatriation of prisoners of war and civilian internees. She was stationed in Brussels at the commission’s headquarters, which had been the German headquarters during the occupation. She trained at the Royal Academy Schools and exhibited in London, Paris and the United States. She had also helped to nurse blitz casualties in London during the war.

58 Important, Early & Rare 6:30pm Wednesday 22 July 2015

She also worked in other media as an illustrator and commercial artist including producing advertising posters for several British railway companies, and the London Underground. In 1935 Doris and her sister Anna were commissioned by John Brown and Co Shipbuilders of Clydebank to paint the murals in the Verandah Grill restaurant aboard the ocean liner RMS Queen Mary. Their work can still be seen on the ship, now permanently moored in Long Beach, California. A Princess from the Antipodes - Maori Princess of Rotorua is understood to be one of only two New Zealand works painted on an excursion to the Antipodes in the 1950s.

JOHN BARR CLARKE HOYTE

1835 - 1913 Thames Goldfields on the Thames River, Grahamstown, New Zealand, by Moonlight Watercolour 31.5 x 44.7 Signed & dated 1869

60 Important, Early & Rare 6:30pm Wednesday 22 July 2015

ESTIMATE $10,000 - 15,000

CHARLES BLOMFIELD

1848 - 1926 The Three Kauri’s, Waitakare Oil on canvas 47 x 39 Signed & dated 1877 ESTIMATE $14,000 - 18,000

MARGARET OLROG STODDART

1865 - 1934 Roses Watercolour 28 x 38 Signed ESTIMATE $8,000 - 12,000

62 Important, Early & Rare 6:30pm Wednesday 22 July 2015

JOHN BARR CLARKE HOYTE

1835 - 1913 The Pink & White Terraces, Rotomahana Watercolour 35 x 57.5 Signed ESTIMATE $18,000 - 25,000

HORACE MOORE-JONES

1867 - 1922 Auckland Harbour Oil on canvas 19 x 40 Signed ESTIMATE $2,000 - 3,000

NUGENT WELCH

EDWARD FRISTROM

PETER MCINTYRE

1881 - 1970 The Dark Headlands Oil on canvas 45 x 66 Signed ESTIMATE $4,000 - 6,000

1864 - 1950 Sydney Heads Oil on board 16 x 35 Signed ESTIMATE $2,000 - 3,000

1910 - 1995 Rangitikei River Oil on canvas 50 x 60 Signed ESTIMATE $12,000 - 16,000 51

64 Important, Early & Rare 6:30pm Wednesday 22 July 2015

55 54

FOUR RARE WATERCOLOURS BY SIR WILLIAM FOX FROM THE WILKIE FAMILY COLLECTION 54

SIR WILLIAM FOX

1812 - 1893 Egmont Watercolour 22 x 28 ESTIMATE $5,000 - 8,000

1812 - 1893 Horseshoe Fall, Niagara, 1852 from Goat Island Watercolour on two sheets of paper 34 x 46.5

PROVENANCE Wilkie Family Collection

The Wilkie Collection of watercolours by Sir William Fox was deposited on loan to the Alexander Turnbull Library in 1964 by Mr & Mrs J C Wilkie. The collection consisted of some three hundred and fifty paintings of which one hundred featured historic New Zealand subject matter.

66 Important, Early & Rare 6:30pm Wednesday 22 July 2015

ESTIMATE $3,000 - 5,000

The Wilkie’s lived and farmed at Ohingaiti, not far from Westoe, Sir William and Sarah Fox’s station in the Rangitikei.

SIR WILLIAM FOX

1812 - 1893 Yosemite Falls Watercolour 35 x 25 ESTIMATE $2,000 - 3,000

PROVENANCE Wilkie Family Collection

SIR WILLIAM FOX

1812 - 1893 North Dome, Washington Column Watercolour 35 x 25 Inscribed ESTIMATE $2,000 - 3,000 PROVENANCE Wilkie Family Collection 56 William Fox arrived in Wellington in 1842 and become editor of New Zealand Gazette and Britannia Spectator, before be appointed Resident Agent at Nelson for the New Zealand Company in 1843. He subsequently played a leading part in politics and held Office of Premier on four occasions. He was knighted in 1879. In his early years in New Zealand Fox carried out much exploration in the Wairarapa and in the South Island. Foxâ&#x20AC;&#x2122;s greatest contribution to New Zealand history after the struggle for self-government in the 1850s was his work in Taranaki in the early 1880s as a member of the West Coast Commission, which consisted of Francis Dillon Bell and himself. A third commissioner, Hone Mohi Tawhai, declined to serve when he heard that his colleagues were to be Fox and Bell. No doubt he questioned the propriety of their appointments. The commission was charged with the duty of inquiring into the numerous promises and engagements allegedly made by successive government officials to the Taranaki Maori,

57 and into all the disputed land claims in that province. Fox Glacier was named to commemorate Foxâ&#x20AC;&#x2122;s visit to the region as Prime Minister of New Zealand in 1872. The Wairarapa town of Foxton, founded in 1885, was also named after him. William and Sarah Fox left New Zealand for England in 1852 and spent several months travelling through Canada, the United States and Cuba on their return. Fox documented this trip in an impressive series of watercolours. Horseshoe Fall, Niagara, 1852 from Goat Island, Yosemite Falls & North Dome, Washington Column are watercolours executed on those travels and are on the market for the first time since then. In his later years Fox continued to undertake considerable physical exercise, climbing Mount Taranaki in 1892, aged 80. He died in Auckland in 1893.

CHARLES DECIMUS BARRAUD

ESTIMATE $7,000 - 10,000

PROVENANCE Estate of Dr Elizabeth Brosnan, Auckland

JOHN GULLY

ESTIMATE $5,000 - 8,000

68 Important, Early & Rare 6:30pm Wednesday 22 July 2015

1822 - 1897 View of Tapuaenuku, The Highest Point of the Kaikouraâ&#x20AC;&#x2122;s looking up the Valley of the Clarence, Province of Marlborough Watercolour 53 x 38.5 Signed & dated 1866

1819 - 1888 Southern Alps off Hokitika, West Coast, New Zealand Watercolour 25.5 x 60 Signed & inscribed

VERA CUMMINGS

1891 - 1949 Atama Paparangi Oil on canvas 24 x 19.5 Signed ESTIMATE $8,000 - 12,000

PROVENANCE Private Collection, Canterbury

VERA CUMMINGS

ESTIMATE $7,000 - 10,000

PROVENANCE Private Collection, Canterbury

1891 - 1949 Herarata Tumaere Oil on canvas 30 x 24 Signed

FRANK WRIGHT

1860 - 1923 Mt Sefton Watercolour 98 x 66 Signed ESTIMATE $8,000 - 12,000

70 Important, Early & Rare 6:30pm Wednesday 22 July 2015

FRANK WRIGHT

1860 - 1923 Waikato River Watercolour 43 x 60 Signed ESTIMATE $4,000 - 6,000

WALTER WRIGHT

1866 - 1933 Early Morning, Princess Wharf Oil on canvas 60 x 90 Signed & dated 1913 ESTIMATE $8,000 - 12,000

MICHAEL SMITHER

ESTIMATE $10,000 - 14,000

b. 1939 Cloud Oil on board 74 x 93 Signed & dated 1988

72 Important, Early & Rare 6:30pm Wednesday 22 July 2015

RALPH HOTERE

ESTIMATE $8,000 - 12,000

1931 - 2013 Pine a Tree from ‘Pine’ a Poem by Bill Manhire Watercolour 58.5 x 38.5 Signed, inscribed & dated 11/1/1972

1931 - 2013 Pine Asleep & Asleep & Spreading Your Arms, from ‘Pine’ a Poem by Bill Manhire Watercolour 58.5 x 38.5 Signed, inscribed & dated Gt Barrier 5/73

Samuel Coleridge Charles Farr was a topographical artist but most notably Canterbury Province’s first architect. He intended to emigrate from England to Auckland, but significant shipping problems aboard the Monarch en route to Auckland in 1850 saw him land at Akaroa instead. He soon settled in Christchurch and designed Akaroa’s first church, designed New Zealand’s first iron verandahs, and he started Sunday schools in Canterbury. Papers Past reveals his marriage was the first celebrated in Canterbury. As a leading member of the Acclimatisation Society, he was responsible for introducing fish to many of Canterbury’s lakes and rivers. He was also instrumental in introducing the bumblebee to New Zealand. His most notable building was Cranmer Court, the former Normal School, Christchurch. The building was recently demolished after it suffered structural damage following the 2011 earthquake. Farr’s paintings rarely appear at auction as most are held by Institutional collections. This collection of four oil paintings have been held in a private collection in the United Kingdom since the early 1900s and have never before been offered for sale.

SAMUEL COLERIDGE FARR

1827 - 1918 Marlborough Oil on board 30 x 35 Signed & dated 1894 ESTIMATE $2,000 - 3,000

74 Important, Early & Rare 6:30pm Wednesday 22 July 2015

SAMUEL COLERIDGE FARR

1827 - 1918 Untitled Landscape - near Akaroa Oil on board 23 x 31 Signed & dated 1897 ESTIMATE $1,000 - 2,000

70 69

SAMUEL COLERIDGE FARR

1827 - 1918 Lake Swyncombe, 80 Miles North of Christchurch, NZ Oil on board 25 x 35.5 Signed & dated 1892. Inscribed on original label affixed verso ESTIMATE $1,000 - 2,000

SAMUEL COLERIDGE FARR

1827 - 1918 Untitled Landscape with Lady and Boat Oil on board 13 x 24 ESTIMATE $500 - 800

JOHN HOLMWOOD

1910 - 1987 Teddy Boys at the Milkbar Oil on board 90 x 60 Signed & dated 1964 ESTIMATE $3,000 - 5,000

SYDNEY LOUGH THOMPSON

1877 - 1973 Brittany Oil on board 18 x 26 Signed ESTIMATE $2,000 - 3,000 72

76 Important, Early & Rare 6:30pm Wednesday 22 July 2015

IVY G FIFE

1905 - 1976 Canterbury Landscape Oil on board 32 x 40 Signed ESTIMATE $2,500 - 3,500

IVY G FIFE

1905 - 1976 Rural Scene, Geraldine Watercolour 40 x 35 Signed ESTIMATE $1,500 - 2,500

JAMES MCLACHLAN NAIRN

JOHN MACINTOSH MADDEN

PROVENANCE Private Collection, Christchurch Purchased from H Fisher & Sons, Christchurch by the current owners grandfather 1909. Same family collection since then.

1859 - 1904 Central North Island Landscape Oil on canvas 23 x 32 Signed ESTIMATE $2,000 - 3,000

WALTER ARMINGER BOWRING

1874 - 1925 Woman in Pink Oil on canvas 92 x 72 Signed ESTIMATE $3,000 - 5,000

78 Important, Early & Rare 6:30pm Wednesday 22 July 2015

1856 - 1923 Whitby Harbour Oil on canvas 90 x 140 Signed ESTIMATE $7,000 - 10,000

CHARLES BLOMFIELD 1848 - 1926 Whangarei Falls Oil on canvas 59 x 38 ESTIMATE $2,500 - 3,500

ERNEST BUCKMASTER

ESTIMATE $4,000 - 6,000

1897 - 1968 Red Hut Pool, Tongariro River Oil on canvas 86 x 121 Signed

80 Important, Early & Rare 6:30pm Wednesday 22 July 2015

83 81

MARGARET OLROG STODDART

ALFRED ERNEST BAXTER

1865 - 1934 Kaikoura Coast Watercolour 25 x 35 Signed ESTIMATE $2,500 - 3,500

82 Important, Early & Rare 6:30pm Wednesday 22 July 2015

1878 - 1936 Jacobs River, South Westland Watercolour 23 x 38 Signed & dated 1916 ESTIMATE $500 - 1,000

WILLIAM MATTHEW HODGKINS 1839 - 1898 On the Upper Taieri Watercolour 30 x 45 Signed & inscribed ESTIMATE $1500 - 2,500

VERA CUMMINGS

1891 - 1949 Maori Girl with Tiki Oil on canvas 22 x 17 Signed verso ESTIMATE $3,500 - 4,500

PROVENANCE Private Collection, Auckland

VERA CUMMINGS

1891 - 1949 Maori Girl Oil on canvas 22 x 17 Signed verso ESTIMATE $3,500 - 4,500 PROVENANCE Private Collection, Auckland

PETER BEADLE

ESTIMATE $4,000 - 6,000

PROVENANCE Ex Collection of the late Sir Harcourt Caughey

DOUGLAS BADCOCK

ESTIMATE $1,800 - 2,500

PROVENANCE Private collection Canterbury Purchased directly from the artist by current owner

A AUSTEN DEANS

ESTIMATE $5,500 - 7,500

b. 1933 Gold Coach & Escort, Frankton Flats, Remarkables Oil on board 60 x 90 Signed

1922 - 2009 Afternoon Light, Lindis River Watercolour 27.5 x 37.5 Signed

1915 - 2011 Mt Wall, Cragieburn Range Watercolour 37 x 57 Signed & dated 1997

PROVENANCE Private collection Canterbury Purchased directly from the artist by current owner Painted as a demonstration for True Colour, a feature article in International Artist magazine, issue 5, February/March 1999

84 Important, Early & Rare 6:30pm Wednesday 22 July 2015

ESTIMATE p. 140 Capturing Mountains The Life and Art of Austen Deans Nathalie Brown, Wily Publications 2010

M MOUNT PASSON

ESTIMATE $800 - 1,200

19th Century New Zealand Mt Cecil and Walter Peaks Watercolour 33 x 59 Signed

CHARLES BLOMFIELD

1848 - 1926 Mt Egmont from the Waterworks Oil on board 28 x 46 Inscribed verso ESTIMATE $1,500 - 2,500

86 Important, Early & Rare 6:30pm Wednesday 22 July 2015

WILLIAM GEORGE BAKER

1864 - 1929 Waiau Creek, Waikato Oil on canvas 60 x 90 Signed & inscribed ESTIMATE $1,500 - 2,500

ALBERT EDWARD ALDIS

1869 - 1921 On the Old Mahurangi Road near Puhoi Oil on canvas 25 x 45 Signed & dated 1887 ESTIMATE $2,500 - 3,500

CHARLES BLOMFIELD 1848 - 1926 Waimana Gorge Oil on board 30 x 44 Signed & dated 1913 ESTIMATE $2,500 - 3,500

KENNETT WATKINS

1847 - 1933 Puriri Forest Watercolour 22.5 x 33 Signed & dated 1908 ESTIMATE $800 - 1,500

PRO HART

MYLES BIRKETT FOSTER

PROVENANCE Private Collection, Otago Purchased at Wagner Art Gallery, Hong Kong by the current owner 1996. Label affixed verso

PROVENANCE Private Collection, Auckland

EXHIBITED Pro Hart MBE Exhibition, Wagner Art Gallery, Hong Kong, 1996

Australian 1928 - 2006 The Prospectors, 1995 Oil on board 60 x 60 Signed ESTIMATE $5,000 - 8,000

88 Important, Early & Rare 6:30pm Wednesday 22 July 2015

British 1825 - 1899 Spring, near Withey Watercolour 22 x 31 Signed ESTIMATE $3,000 - 5,000

EDWARD WILLIAM PAYTON

1859 - 1944 At Rotorua Watercolour 25 x 36 Signed Inscribed verso ESTIMATE $800 - 1,200

EDWARD WILLIAM PAYTON

1859 - 1944 Tulip Trees, Rotorua Public Gardens Watercolour 25 x 37 Signed Inscribed verso ESTIMATE $800 - 1,200

EDWARD WILLIAM PAYTON 1859 - 1944 The Shore, Lake Rotorua Watercolour 26 x 18 Signed & dated 1904 ESTIMATE $300 - 500

101

BURTON BROS

1866 - 1914 Takapuna Beach Albumen print 32 x 42 Inscribed ESTIMATE $400 - 600

102

BURTON BROS

1866 - 1914 Auckland from the Albert Park Albumen print 31 x 43 Inscribed ESTIMATE $400 - 600

100

103

BURTON BROS

Thank you End of Sale

1866 - 1914 Auckland Harbour from Mt Eden Albumen print 14 x 22 Inscribed ESTIMATE $200 - 400

EDWARD WILLIAM PAYTON

1859 - 1944 Rotorua Stream Watercolour 38 x 29 Signed ESTIMATE $200 - 400

101

102

103

LATE ENTRY 104

RAYMOND MCINTYRE

PROVENANCE Private Collection, Auckland First time on the market. Owners Aunt purchased the work in Adelaide, circa 1950

ILLUSTRATED Illustrated p.50 Raymond McIntyre A New Zealand Painter, Heinmann Publishers 1984

1879 - 1933 Street in Saint-Valery c. 1913 Oil on panel 29.2 x 20 Signed ESTIMATE $40,000 - 50,000

90 Important, Early & Rare 6:30pm Wednesday 22 July 2015

H E N R Y K

S Z Y D L O W S K I

Farmers of the White Flower Oil on canvas 60 x 75cm

E X H I B I T I O N

2 0 - 3 1

A U G U S T

2 0 1 5

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92 Important, Early & Rare 6:30pm Wednesday 22 July 2015

Absentee Bid Form Important, Early & Rare Wednesday 22 July 2015

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272 PARNELL ROAD AUCKL AND NEW ZEAL AND PH 09 379 4010 www.finear tauction.co.nz

Recent Prices Realised

Important, Early & Rare 25 March 2015, Contemporary & Modern Art 7 May 2015 & The Barry Pilcher Collection 7 May 2015 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium Important, Early & Rare - 25 March 2015 Lot Result 1 $10,250 2 $6,500 4 $11,000 5 $2,000 6 $10,000 7 $15,500 8 $12,000 9 $7,250 10 $7,000 12 $3,000 14 $16,000 15 $45,000 16 $45,000 18 $11,500 20 $1,250 22 $35,000 23 $27,500 24 $12,000 27 $4,000 28 $5,000 29 $2,800 30 $14,000 35 $26,000 38 $135,000 39 $4,500 44 $9,500 45 $220,000 46 $5,000 47 $500 48 $1,050 49 $14,000 50 $1,200 51 $2,000 52 $2,500 53 $2,300 54 $2,000 55 $1,600 56 $3,200 57 $5,000 58 $7,700 59 $34,000 60 $3,000

61 $13,500 62 $2,600 63 $1,200 64 $28,000 65 $10,000 67 $3,000 68 $1,000 69 $5,250 70 $10,750 72 $4,250 74 $3,400 76 $13,500 77 $6,000 78 $16,000 80 $1,800 82 $14,000 86 $15,000 88 $700 89 $2,000 90 $1,600 91 $9,000 92 $4,000 93 $11,000 95 $5,100 96 $1,750 97 $2,500 98 $7,500 99 $1,000 101 $9,000 103 $3,500 104 $3,000 105 $3,500 107 $700 111 $1,800 112 $6,000 114 $4,500 115 $1,500 116 $1,750 118 $650 119 $9,500 120 $800 122 $27,500 124 $2,100 128 $3,400 129 $1,200 131 $1,800

132 $2,500 133 $500 134 $250 135 $350 136 $500 137 $400 138 $150 Contemporary & Modern Art - 7 May Lot Result 1 $2,100 2 $1,200 3 $3,500 4 $3,750 6 $1,500 7 $3,000 8 $1,500 9 $4,250 11 $4,500 12 $4,500 13 $1,300 14 $3,000 15 $350 18 $5,600 21 $7,000 22 $16,000 28 $22,500 30 $2,200 32 $6,500 33 $700 35 $2,200 36 $7,000 37 $5,000 39 $6,500 40 $2,700 41 $5,500 43 $450 44 $2,600 45 $4,200 46 $5,500 48 $2,750 49 $1,800 50 $3,000 54 $1,600

94 Important, Early & Rare 6:30pm Wednesday 22 July 2015

55 $500 56 $2,300 58 $1,050 59 $900 60 $600 61 $6,500 62 $3,200 65 $3,750 66 $8,000 67 $4,250 68 $3,750 69 $2,200 70 $3,250 71 $1,600 72 $3,000 73 $3,000 74 $1,400 75 $425 76 $650 77 $600 79 $1,200 80 $750 81 $850 82 $950 83 $500 84 $3,500 85 $800 86 $1,300 87 $200 88 $200 89 $900 90 $2,100 91 $3,000 92 $800 93 $750 94 $300 95 $900 96 $300 97 $400 98 $750 99 $675 100 $2,000 101 $300 102 $2,600 103 $500 106 $2,600

107 $750 108 $1,200 109 $200 110 $1,450 111 $2,250 112 $2,600 113 $400 114 $650 115 $600 116 $500 117 $260 118 $1,000 120 $650 121 $1,200 122 $1,500 123 $50 124 $400 125 $300 126 $575 127 $2,100 The Barry Pilcher Collection - 27 May 1 $4,750 2 $3,400 3 $1,200 4 $3,700 5 $3,750 6 $900 7 $10,300 8 $3,500 9 $5,000 10 $7,350 11 $700 12 $400 13 $3,000 14 $2,000 15 $2,200 16 $2,400 17 $2,200 18 $18,500 19 $800 20 $8,000 21 $2,100 22 $8,000

23 $4,000 24 $4,500 25 $4,500 26 $6,000 27 $1,500 28 $4,250 29 $1,600 30 $600 31 $550 32 $1,000 33 $1,600 34 $1,600 35 $1,800 36 $800 37 $1,600 38 $1,200 39 $4,200 40 $2,100 41 $6,250 42 $3,500 43 $6,500 44 $500 45 $7,000 46 $3,750 47 $6,500 48 $1,800 50 $4,200 52 $900 53 $6,200 54 $5,000 55 $1,300 56 $2,500 57 $1,000 59 $1,350 60 $2,000 61 $1,450 62 $700 63 $4,250 64 $1,250 65 $750 66 $2,000 67 $1,300 69 $2,000 70 $5,300 71 $1,000 72 $1,200

73 $800 75 $625 77 $500 78 $1,000 79 $800 83 $510 84 $800 86 $950 87 $3,350 88 $1,750 89 $3,825 90 $2,000 92 $500 93 $3,600 97 $1,200 98 $500 99 $500 100 $1,300 101 $500 102 $1,600 104 $800 106 $600 107 $300 108 $1,000 109 $460 110 $700 111 $300 113 $250 114 $260 115 $260 116 $300 118 $325 120 $660 121 $325 122 $75 123 $250 124 $350 125 $200 127 $650 128 $130 129 $450 130 $440 132 $275 133 $130 134 $900 135 $50

Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 24 July 2015 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not accepted. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 17.25% including GST) www.fineartauction.co.nz

Index BADCOCK D.............................................................87

FRANK D....................................................................10

NAIRN J M.................................................................77

BAKER W G................................................................91

FRISTROM E................................................................52

PAGE E................................................................. 31, 33

BARRAUD C D...........................................................58

GARDINER J J............................................................36

PALMER S...................................................................20

BAXTER A E ...............................................................82

GIMBLETT M...............................................................11

PASSON M M.............................................................89

BEADLE P...................................................................86

GOLDIE C F...............................................................43

PAYTON E W.......................................... 97, 98, 99, 100

BINNEY D......................................................................9

GULLY J......................................................................59

PEELE J........................................................... 21, 22, 23

BIRKETT F M................................................................96

HART P.......................................................................95

RANDERSON G.........................................................16

BLOMFIELD C........................................... 47, 79, 90, 93

HODGKINS F .............................................................30

SIDDELL P.................................................12, 14, 15, 17

BOWRING W A..........................................................76

HODGKINS W M........................................................83

SIDDELL S...................................................................24

BROTHERS B............................................. 101, 102, 103

HOLMWOOD J..........................................................72

SMITHER M.................................................................65

BRUIN K........................................................................8

HOTERE R.............................................................66, 67

SPICER P...............................................................25, 26

BUCKMASTER E..........................................................80

HOYTE J B C.........................................................46, 49

STODDART M O...................................................48, 81

CLAIRMONT P.............................................................5

JACKSON J................................................................35

TAPPER G.............................................................18, 19

CROSS M.................................................................6, 7

KELLY F...................................................... 13, 27, 28, 29

THOMPSON S L..........................................................73

CUMMINGS V.......................................... 60, 61, 84, 85

MACDIARMID D..........................................................3

WATKINS K..................................................................94

DEANS A A................................................................88

MADDEN J M............................................................78

WEEKS J................................................................ 37, 40

EDWARD A A.............................................................92

MCCORMACK T A....................................................41

WELCH N....................................................................51

FARR S C..................................................68, 69, 70, 71

MCINTYRE P...............................................................53

WHITE A L...................................................................44

FENN C R...................................................................42

MCINTYRE S...............................................................38

WRIGHT F.............................................................62, 63

FIFE I G ................................................................74, 75

MCINTYRE RA............................................................32

WRIGHT W.................................................................64

FOX SIR W................................................54, 55, 56, 57

MCLEOD E...................................................................4

ZINKEISEN D C...........................................................45

FRANCE P................................................................ 1, 2

MOORE-JONES H..........................................34, 39, 50

96 Important, Early & Rare 6:30pm Wednesday 22 July 2015

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz

THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY