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FI NE & A PP L I E D ART AUC T I ON 6 & 7 SEPTEMBER 2017


N E W ZE A L A N D & I NTE RN ATION A L FI N E & A PPLI E D A RT 6 & 7 September 2017 • WELLINGTON PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 6 September 6pm Lot 1 - 79 PART TWO • DAY SALE NEW ZEALAND & INTERNATIONAL FINE ART Thursday 7 September 12 noon Lot 183 - 374 PART THREE STUDIO POTTERY & APPLIED ART Thursday 7 September 4pm Lot 400 - 464 WELLINGTON VIEWING Thursday 31 August 5pm - 7pm Opening Preview Friday 1 September 9am – 5pm Sunday 3 September 12noon – 3pm Monday 4 September 9am – 5pm Tuesday 5 September 9am - 5pm Wednesday 6 September 9am - 4pm LOCATION/ENQUIRIES 7 Maginnity Street • PO Box 224, Wellington 6140 Helena Walker, Director of Art Ph (04) 472 1367 • Fax (04) 475 7389 helena@dunbarsloane.co.nz • www.dunbarsloane.com BUYERS PREMIUM There is a buyers premium of 17% + GST (19.55%) added to the hammer price ABSENTEE BIDDING If you are unable to attend the auction you may submit an absentee bid (form at reverse or online www.dunbarsloane.com) Telephone bidding can be arranged on lots over $500 in value. Note we assume you have recieved a condition report or inspected the item prior to bidding. To register for this service, contact our office. Telephone lines are limited and are procured on a first registered basis. We accept no responsibility if for any reason we are unable to contact you, and for this reason encourage clients to leave a covering bid for such a circumstance. ILLUSTRATIONS Front cover: Lot 31 Evelyn Page (1899-1993) Portrait of Dr Diana Mason [1953] Est $30,000 - 40,000 Facing Page: Lot 21 Charles Tole (1903-91) Summer Cottages (East Coast Bays) Est $8,000 - 14,000 Inside Rear Cover: Lot 28 Allen Maddox (1948-2000) Head [1995] Est $7,000 - 12,000


PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 6 September 2017 6pm start Lot 1 - 79


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1 C o l i n M c C a h on (1 9 1 9 -8 7 ) 15 Drawings: December ‘51 to May ‘52 artist’s book of 24 lithographic leaves, published for the Hocken Library in 1976 signed and dated 1952 and inscribed ‘for Charles Brasch from Colin McCahon’ within plate 27.5 x 20.6 cm $2,000 - 4,000 PROVENANCE Private collection, Wellington

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2 Ral p h H ot e r e ( 19 3 1 -2 0 1 3 ) From ‘Pine’ a Poem by Bill Manhire woodblock and ink on paper signed and inscribed ‘Hotere 74/ from ‘Pine’ a Poem by Bill Manhire’ (lower right) 56 x 42.5cm $4,000 - 7,000 PROVENANCE Private collection, Manawatu

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3 R a lp h Hot ere ( 1931- 2013) ‘Dawn/ Water Poem’ Bill Manhire silkscreen, Xerox, collage print, limited edition 23/50 signed and dated ‘Hotere ‘72’ (lower right) 35.5 x 22cm $2,000 - 4,000 PROVENANCE Private collection, New Plymouth

In 1974 Ralph Hotere produced his PINE work on the Royal Columbian hand-press at the University of Otago. The sequence was prompted by Bill Manhire’s postcard text, sent each week from London in the early 70s.

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4 Edwa rd Alexa nder Wa dswo rt h R A ( Brit ish 1889- 1949) Camouflaged ship in drydock for Painting woodcut on thin laid paper inscribed ‘for sigmund. Edward’ (upper right) plate: 21 x 19.4cm; sheet: 24.8 x 19.7cm, unframed $2,000 - 4,000 PROVENANCE by descent from the vendor’s aunt whom was an artist, South Coast of England Private collection, Auckland The present print would seem to be a one-off impression printed separately from the 1918 edition on Japanese tissue. The impression would have been made between 1918-1927 when Wadsworth destroyed all of his blocks. As a result no posthumous reprints exist. The inscription ‘for sigmund’ may well refer to Sigmund Gestetner. Gestetner’s father invented a type of duplicating machine.

5 Gret ch en Albrech t ( b 1943) Red Piha lithograph, limited edition 18/25 signed and dated ‘Albrecht 99’ (lower right) 43 x 58cm $2,000 - 3,500 PROVENANCE Private collection, Marlborough

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6 Pat Ha nly ( 1932- 2004) Panama Woman lithograph, P4, limited edition of 38 signed and dated ‘Hanly 87’ lower right 77 x 61 cm $2,500 - 4,000 PROVENANCE Private Estate, Wellington

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7 Ro bin Wh it e ( b 1946) Porirua Landscape II Houses with Bare Hill silkscreen, A/P signed and dated ‘Robin White August ‘70 (lower right), inscribed with title (lower left) 42.5 x 30cm (plate) $3,000 - 5,000 PROVENANCE Private collection, Wellington

8 Ro bin Wh it e ( b 1946) Paremata Landscape pencil on paper signed and dated ‘R. White. 69.’ (lower right) 25 x 20cm $1,750 - 2,750 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 83, #50 EXHIBITED Moller’s Annual Group Show, Auckland 1970 no 51 7

9 Ro bin Wh it e ( b 1946) Sandhills, Raglan watercolour signed and dated ‘ROBIN WHITE. 69’ (lower/centre right) 34 x 24cm $10,000 - 15,000 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 86, either no 63-65 EXHIBITED Moller’s Annual Group Show, Auckland 1970

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10 Rita A n g u s ( 1 9 0 8 -7 0 ) Portrait of Sue Sleeping graphite on paper signed and dated ‘Rita Angus/ 52’ (lower right); signed on original paper label to reverse 21 x 17.5cm $2,500 - 4,500 PROVENANCE vendor is a direct descendant of the artist Private collection, Hawkes Bay

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11 R ita Angus ( 1908- 70) Berries and Orange Leaves watercolour signed ‘Rita Angus’ (lower right) 16 x 11.5cm $3,000 - 6,000 PROVENANCE vendor is a direct descendant of the artist Private collection, Hawkes Bay


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12 R i ta A n g u s (1 9 0 8 -7 0 ) Floral Study - NZ Clematis watercolour signed and dated ‘Rita Cook/42’ (lower left) 8 x 10cm $5,000 - 8,000 PROVENANCE vendor is a direct descendant of the artist Private collection, Hawkes Bay

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13 Do rot h y K at e R i c h m on d (1 8 6 1 -1 9 3 5 ) Still Life with Tulips watercolour signed and dated ‘D. K. Richmond 1920’ (lower left) 54 x 49cm $2,000 - 4,000 14 Do rot h y K at e R i c h m on d (1 8 6 1 -1 9 3 5 ) Filleting Fish, York Bay watercolour signed and dated ‘D. K. Richmond 1922’ (lower left) 24 x 34.5cm $4,000 - 6,000 PROVENANCE The Hursthouse Collection, Eastbourne ILLUSTRATED Ann Patterson, Stories of York Bay, A Community Effort (1983), rear cover

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15 Do rot h y Kat e R ich mo nd ( 1861- 1935) York Bay with children on board the good ship Gwladys watercolour signed and dated ‘D. K. Richmond 1927’ (lower right) 38 x 56cm $4,000 - 6,000 PROVENANCE The Hursthouse Collection, Eastbourne The ‘Gwladys’, a 14ft clinker-built boat is one of the most identifiable vessel’s in York Bay from this period.


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16 M au d S h e rwo o d (1 8 8 0 -1 9 5 6 ) The Guide Limis watercolour signed ‘Maud Sherwood’ (lower right); inscribed with title on original J R Hamerton label to reverse 65 x 49cm $1,750 - 3,000 PROVENANCE Private Estate, Wellington

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17 Maud Sh erwo o d ( 1880- 1956) Still Life with Fruit watercolour signed ‘Maud Sherwood’ (lower right) 36.5 x 41.5cm $1,750 - 3,000 PROVENANCE Private Estate, Wellington


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18 M au d S h e rwo o d (1 8 8 0 -1 9 5 6 ) Martigues, France watercolour signed ‘Maud Sherwood’ (lower right); inscribed with title on original J R Hamerton label to reverse 55 x 42cm $2,500 - 4,000 PROVENANCE Private Estate, Wellington EXHIBITED possibly Sydney, The Macquarie Galleries, Exhibition of Watercolours by Maud Sherwood, 1933 no 16

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19 Oliv ia Sp encer Bow er ( 1905- 82) Amalfi, 1963 watercolour signed ‘OLIVIA SPENCER’ (lower right) 64 x 47 cm $2,000 - 4,000 PROVENANCE Ex Olivia Spencer Bower Collection, later given to the Spencer Bower Foundation to finance annual scholarships Sale, Dunbar Sloane, Auckland, 07/05/2003 (lot 20) Estate of Richard Riddiford, Martinborough

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20 R i c h a r d M cW h an n e l l (b 1 9 5 2 ) Early Morning, Bright Sky oil on linen laid down on board signed, inscribed with title and dated ‘2000-2001’ to reverse 27 x 47cm $3,000 - 6,000

21 Ch a rles To le ( 1903- 91) Summer Cottages (East Coast Bays) oil on board signed ‘CHARLES TOLE’ (lower left); inscribed with title and dated 1940 (approx) on typed paper label, cat no 271. 20 x 23.5cm $8,000 - 14,000 PROVENANCE Private collection, Wellington

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22 Eua n M ac l e o d (b 1 9 5 6 ) Elevated Figure oil on canvas signed, inscribed with title and dated 4/91 to reverse 135 x 182cm $12,000 - 18,000 PROVENANCE Sale, International Art Centre, Auckland, 07/11/2002 (lot 11) Private collection, Wairarapa

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23 Gav in Hurley ( b 1973) Subject for a portrait oil on board signed with initials, inscribed with title and dated 2000 to reverse 39.5 x 30cm $2,000 - 4,000 PROVENANCE Private collection, Wellington

24 Dick Frizzell ( b 1943) Limeworks - Paki Paki oil on board signed and dated ‘FRIZZELL 17/5/87’ and inscribed with title (lower right) 110 x 120cm $16,000 - 24,000 PROVENANCE Winner, Beecham Art Awards, 1988 Private collection, Wairarapa

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25 Mich a el Sm it h er ( b 1939) Rolling Hills, Nelson oil on board signed with initials and dated ‘MDS 86’ to reverse 32 x 25.5cm $3,000 - 5,000 PROVENANCE Private collection, Wellington

26 Ma ria nne Muggeridge ( b 1952) Terrace Tunnel, Middle Wellington oil and oil stick on Belgian linen signed, inscribed with title and dated 2002 to reverse 110 x 130cm $10,000 - 20,000 PROVENANCE purchased directly from the artist Private collection, New Plymouth

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This work was painted from the window of the artist’s studio, 216 Willis St from life.


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27 Ian Sc ot t ( 1 9 4 5 -2 0 1 3 ) Model Series No. 17 (Girl with Mondrian) acrylic on canvas signed, inscribed with title and dated February 2001 to the reverse 213 x 173cm $12,500 - 17,500 PROVENANCE Private collection, Wairarapa ILLUSTRATED Ian Scott, The Model Series Paintings 1996-2004, Ferner Galleries 2004, #3

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28 Allen Ma ddox ( 1948- 2000) Head oil on canvas signed AM, dated ‘95 and inscribed with title to reverse 91.5 x 91.5 cm $7,000 - 12,000 PROVENANCE Sale, International Art Centre, Auckland, 27 August 2009 (lot 4) Private collection, Otago


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29 G ret c h e n A l br ec h t (b 1 9 4 3 ) Cave acrylic on canvas signed and dated ‘Albrecht 76’ (lower right); inscribed with title, signed & dated on original label on the reverse 156.5 x 153cm $24,000 - 30,000 PROVENANCE purchased Elva Bett Gallery, Wellington, September 1978 (original purchase receipt available) Private collection, Wellington EXHIBITED BLG Exhibition, 1977, no 3 The present and original purchaser’s of this work recieved a copy of the following letter from the artist post purchase. An original copy of this letter is available on purchase.

275 Konini Road, Titirangi, Auckland, 15th October, 1978 Dear .... I was delighted to get your letter expressing your pleasure with my painting ‘Cave’. It has long been one of my favourites and its good to hear it has gone to a loving home. Although I don’t consider it at all important that the owner know of the artist’s intention in a painting, (your own ‘reading’ of the imagery is what stirs your imagination and that is what counts); you might like to know that I based the painting of ‘Cave’ on a remembered experience of being inside a shallow cliffside cave out on the west coast here in Auckland and seeing the end of the day with the sun setting and marvellous cloud formations, looking out from the mouth of the cave. Of course the painting is not a direct translation of this fact, but an amalgam of the total experience of colour, sky, land, stone, grass etc, the time of day, the feeling of the situation - given shape and substance through the medium of paint. It all sounds a bit complex but I really found the process of painting Cave rather very direct and straight-forward. Best wishes to you both, Gretchen Albrecht

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30 Jame s Pat r i ck [ Pat ] H an ly (1 9 3 2 -2 0 0 4 ) Pacific Fire oil and enamel on board signed and dated ‘Hanly ‘86’ (lower right) and inscribed with title (upper right); original artist’s label and Vavasour Godkin Gallery label affixed to reverse 120 x 120cm $80,000 - 100,000 PROVENANCE Private collection, Wairarapa

The mid 1980s was a period of significant political, social and economic change in New Zealand. The declaration of the country as nuclear free in 1987 became a matter of national pride and collective agreement after a decade of social division. The notion of the South Pacific standing firm against its formidable allies, the Western nuclear powers took hold of the public’s imagination and escalated following the bombing of the Greenpeace vessel Rainbow Warrior and the death of Fernando Pereira on July 10 1985. It was against this political backdrop that Pat Hanly revisited his first major series, the Fire works produced in London in 1959 and 1960. The Fire This Time series executed between 1984 and 1986, has a direct and powerful message; one of National unity and freedom. From 1985 onwards the imagery and technique is freed from earlier constraints. Form is much more expressive and fluid. The treatment of colour is bold and asserts his reputation as one of New Zealand’s foremost colourists. A Pacifist, Pat Hanly’s expressions of dissent were not delivered solely via the medium of paint. He was active in the Peace Movement for many years, including as a founding member of VAANA (Visual Artists Against Nuclear Arms). He was well known for protesting from sailboats on Auckland Harbour. The stylised white form of a ship at the centre of Pacific Fire references this.

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31 Evely n Pag e ( 1 8 9 9 -1 9 9 3 ) Portrait of Dr Diana Mason [1953] oil on canvas on board signed ‘EVELYN PAGE’ (lower right); inscribed ‘Dr Diana Mason’ to reverse 54 x 43cm $30,000 - 40,000 PROVENANCE Estate of Diana & Bruce Mason, Wellington EXHIBITED Wellington, The National Art Gallery & New Zealand Academy of Fine Arts, Evelyn Page Retrospective Exhibition, 1970, no 43 Throughout her career, Evelyn Page has drawn and painted portraits, often of friends and acquantances, many of them well-known personalities and artists. Often vastly different in style and appearance, what unifies them is her sensitive response to the unique personalities of her subjects. This is true of this striking and powerful portrait of well-known Wellington personality and friend of the artist, Dr Diana Mason. Dr Diana Mason (1922-2007) was one of her generation’s eminent obstetricians and a well-known Wellington identity. She was awarded the Order of the British Empire (OBE) in 1977 for her services to obstetrics and particularly to single young mothers. The New Zealand Medical Journal (volume 120, number 1257) commented, “Dr Mason was a doctor when women interested in medicine were usually nurses.” The Journal further commented that she was “a flamboyant part of Wellington’s cultural life, guaranteed to stand out in a crowd at orchestra or theatre events, tall, proud and magnificently got up.” Dr Mason was married to Bruce Mason (1921-1982) who was a New Zealand playwright, actor, critic, and fiction writer. The pair met whilst studying at Victoria University College in 1939 and were close friends of Evelyn and her husband Frederick.

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32 Eve ly n Pag e ( 1 8 9 9 -1 9 9 3 ) Point of Departure for Old Wellington Tug [August 1973] oil on board signed ‘E PAGE’ (lower right) 31 x 48.5cm $15,000 - 25,000 PROVENANCE Private collection, Wellington LITERATURE Janet Paul & Neil Roberts, Evelyn Page, Seven Decades (Christchurch 1986) p. 99

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33 E v e ly n Pag e (1 8 9 9 -1 993) Courtney Place, older Wellington [1970] oil on board signed ‘E PAGE’ (lower right) 34.5 x 24cm $12,500 - 17,500 PROVENANCE Private collection, Wellington LITERATURE Janet Paul & Neil Roberts, Evelyn Page, Seven Decades (Christchurch 1986) p. 99

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34 Fran c e s H o d gk i n s (1 8 6 9 -1 9 4 7 ) Barn in Provence watercolour heightened with white signed ‘ Frances Hodgkins’ (lower left) 34.5 x 46cm $25,000 - 35,000 PROVENANCE Sale, Dunbar Sloane, Wellington, 28/04/1999 (lot 53) The Richard Riddiford Estate, Martinborough In 1931 Hodgkins went to Martigues in February, and then on to St Tropez in April, where she remained until mid August. She spent quite a lot of time with Maude Burge who had a house there, and they were joined by Gwen Knight and Flora Scales for a time. The works produced during this period are all summer paintings, capturing the intense heat of the south, and as such Barn in Provence was most certainly produced during this period. Still Life in a Landscape was completed at a similar time, sharing a particular palette, with a focus on pinks and reds. There are also remarkable similarities to Red Earth c1931, auctioned at Christies, Modern Australian Pictures, London, 28/11/1991 (lot 35) in terms of subject matter, composition and palette. We would like to thank Mary Kisler for her assistance cataloguing this work

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35 F r a n c e s H od gk ins ( 1869- 1947) Pottery Market watercolour signed with initials (lower right); period paper label inscribed ‘Pottery Market’ attached to reverse 17.5 x 11.3cm $15,000 - 20,000 PROVENANCE Private collection, Wellington EXHIBITED London, Whitford & Hughes 17th July 1990 (cat no 1) This painting has previously been attributed as ‘Tangiers Pottery Market’. However more recent research questions this attribution. The central female’s hair style and uncovered head, as well as style of dress would strongly locate the work in Europe rather than Africa. We would like to thank Mary Kisler for her assistance cataloguing this work 40

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36 Dorot h y K at e R i c h m on d (1 8 6 1 -1 9 3 5 ) After the Milking, Early Morning oil on canvas signed and dated ‘D.K. Richmond 1930’ (lower left); signed, inscribed with title to reverse 59 x 59cm $15,000 - 20,000 PROVENANCE Ex Artist’s Family Collection with Ferner Galleries, Wellington Private collection, Wellington

EXHIBITED Canterbury Society of Arts, 1931 Long term loan, Waikato Museum 2002-06 Long term loan, Tauranga Art Gallery 2006-17 LITERATURE Art in New Zealand Vol III no 12, June 1931, p. 262 The National Business Review, 8 November 2002

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37 G iro l a m o P i e r i B a l l at i N e r l i (1 8 6 0 -1 9 2 6 ) Laughing Jackasses oil on board signed ‘GP Nerli’ (centre right) 34 x 60.5cm $15,000 - 25,000

38 Giro la mo Pieri B a llat i Nerli ( 1860- 1926 ) Organ Grinder with Monkey oil on canvas signed ‘GPB Nerli’ (lower right) 52.5 x 39cm $12,000 - 18,000

PROVENANCE Collection of the artist, 1888-83 Sale, Leonard Joel Ltd, Melbourne 1974 (lot 842) Sale, Dunbar Sloane Ltd, Wellington, 17 April 2013 (lot 90) Private collection, Wellington

PROVENANCE Arthur Collection, Wellington c.1952

EXHIBITED Art Society of New South Wales, Annual Exhibition 1888, no 124 (21 Pounds) Otago Art Society, 1948 Centennial Exhibition of Art in Otago (entitled as Amused), original paper exhibition label affixed to reverse LITERATURE Sydney Morning Herald, 18 September 1888 Financial Review, 4 June 1987, p. 32 (illustrated) Peter Entwistle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 108-110 fig 28 (illustrated) This work is based on sketches of the front row of Fuller’s Theatre, Sydney

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LITERATURE Peter Entwistle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 131, 142 fig 96 (illustrated)


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39 J os e p h G au t (1 8 6 0 -1 9 3 4 ) Portrait of Maori Chief - Possibly Take Take Rangitupu, Wanganui oil on canvas signed and dated ’J GAUT 1881’ (lower right) 85 x 66 cm $10,000 - 20,000 PROVENANCE Sale, Sotheby’s, Topographical Paintings, Drawings & Watercolours, London, 4 Novemer 1987 (lot 170)

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40 J ose p h G au t (1 8 6 0 -1 9 3 4 ) Portrait of Maori Chieftainess oil on canvas signed and dated ‘J GAUT 1881’ (lower right) 85 x 66 cm $10,000 - 20,000 PROVENANCE Sale, Sotheby’s, Topographical Paintings, Drawings & Watercolours, London, 4 November1987 (lot 170)

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41 Bu rto n B ros. D u n e d i n Old Photographs of New Zealand composed of 50 albumen prints, all bearing titles bound blue cloth, green spine with gilt enrichments to cover 22 x 29cm overall album $2,000 - 3,000 PROVENANCE Private collection, Canterbury

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42 John G u l ly ( 1 8 1 8 -1 8 8 8 ) Bell Block, Redoubt, Taranaki c1862 watercolour 17 x 25cm $5,000 - 8,000 PROVENANCE given by the artist to Captain Everett then by descent Private collection, Wellington The rough sketch of this watercolour is in the collection of the New Plymouth Museum

43 Fra nk B a rnes ( 1859- 1941) H.M.S. New Zealand, Passing Pencarrow on her first visit to Wellington N.Z. April 1913 oil on board signed and dated ‘FRANK BARNES/ 1913’ (lower right); inscribed with title (lower centre/lower left) 61 x 99cm $2,000 - 4,000 PROVENANCE Private collection, Wellington

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44 Jo hn B a rr C l a rk e H oy t e (1 8 3 5 -1 9 1 3 ) Mitre Peak and Lion Rock watercolour signed 60 x 44 cm $8,000 - 14,000

46 Jo h n B a rr Cla rke Hoy t e ( 1835- 1913) Otira Gorge watercolour heightened with white signed with initials ‘JCH’ (lower right) 41 x 64cm $10,000 - 20,000

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 28 April 1998 (lot 46) Private collection, Wellington

PROVENANCE Private collection, Wellington

45 Jo hn B a rr C l a rk e H oy t e (1 8 3 5 -1 9 1 3 ) Sheardown, Milford Track c1882 watercolour heightened with white signed with initials ‘J.C.H’ (lower left) 57 x 42cm $4,000 - 7,000 PROVENANCE Private collection, Wellington

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47 Ch a rles D B a rraud ( 1822- 97) Lake Mavora watercolour heightened with white signed and dated ‘C. D. Barraud/ 72’ (lower left) 35 x 52cm $4,000 - 7,000 PROVENANCE Private collection, Wellington


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48 S y d n e y L ou g h T h o mp so n ( 1877- 1973) Fishing Boats, Concarneau oil on canvas signed ‘S. L. Thompson’ (lower right) 38.5 x 48cm $6,000 - 10,000 PROVENANCE purchased McGregor Wright’s, Wellington Estate of Beverley Shore Bennett 50

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49 Sydn e y L o u g h T h om p son (1 8 7 7 -1 9 7 3 ) The Hapuka, Kaikouras oil on board signed ‘S L Thompson’ (lower left); inscribed with title to reverse and on original paper label; bears original H Fisher & Sons paper label to reverse 37.5 x 44cm $7,500 - 12,500

50 Sy dney Lo ugh Th o mp so n ( 1877- 1973) Almond Tree Bloom, St Jeannet, Southern France oil on canvas signed ‘S L Thompson’ (lower right); signed and inscribed with title to reverse stretcher; inscribed ‘Almond Blossom (or Cherry) Grasse, Sth France’ to reverse stretcher in the hand of George Chance 60.5 x 73.5cm $12,500 - 17,500

PROVENANCE purchased by the well-known photographer George Chance, late 1940s - early 1950s, Fisher’s Fine Art by direct descent to the photographer’s Grandson

PROVENANCE purchased by the well-known photographer George Chance, late 1940s - early 1950s, Fisher’s Fine Art by direct descent to the photographer’s Grandson

George Chance had a large collection of Sydney Lough Thompson’s work, amassing over 30 works in his personal collection over his lifetime

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51 Sy dney Lo ugh Th o mp so n ( 1877- 197 3) Wellington Harbour oil on canvas board signed ‘S L Thompson’ (lower right) 31 x 41.5cm $8,000 - 12,000 PROVENANCE with Fishers Fine Art, Christchurch Private collection, Auckland 51

52 Paul Olds ( 1922- 76) Small Farm, North Canterbury oil on board signed and dated ‘Paul Olds ‘40 (lower right); with paper label bearing title and inscription attached to reverse 30 x 36cm $2,000 - 4,000 PROVENANCE with H Fisher & Sons, Christchurch with Artides Gallery, Wellington with Jonathan Grant Galleries, 1989 Private collection, Kapiti Coast

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53 Cecil Flet ch er Kelly ( 1879- 1954) View of Lyttleton Harbour oil on canvas signed ‘Cecil F Kelly’ (lower right) 70 x 90cm $2,500 - 4,000 PROVENANCE Private collection, Christchurch

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54 Cora W i l d i n g ( 1 8 8 8 -1 9 8 2 ) California - Fish Stallion Pier [1923] watercolour signed ‘C.H. Wilding’ (lower right) 31 x 47cm $2,000 - 4,000 PROVENANCE Collection of Canterbury Society of Arts (original label to reverse) with Ferner Galleries, Wellington Private collection, Wellington

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EXHIBITED Christchurch, Robert McDougall Art Gallery ‘A Canterbury Perspective’ 1990 cat no 139 (exhibition label to reverse)

55 Wil l i a m ( B i l l ) S u t ton (1 9 1 7 -2 0 0 0 ) Lake Coleridge Country II watercolour signed ‘W. A. Sutton’ (lower right) 30 x 52 cm $3,500 - 6,000 PROVENANCE Sale, International Art Centre, Auckland, 30/06/1997 (lot 64) Sale, Webb’s, Auckland, 25/5/10 (lot 65) Private collection, Otago

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56 Pete r M cIn t y r e (1 9 1 0 -9 5 ) The Rangitikei River charcoal & conte on paper signed ‘PETER MCINTYRE’ (lower right) 44.5 x 59.5cm $2,000 - 4,000 PROVENANCE Private Estate, Wellington

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57 Pete r M cIn t y r e (1 9 1 0 -9 5 ) The Wellington Cenotaph watercolour and indian ink signed ‘PETER MCINTYRE’ (lower right) 58.5 x 52.5cm $8,000 - 12,000 PROVENANCE Private collection, Australia

58 Pet er McI nt y re ( 1910- 95) Wellington Harbour watercolour signed ‘PETER MCINTYRE’ (lower right) 53 x 72cm $6,000 - 10,000 PROVENANCE Private collection, Wellington 59 Pet er McI nt y re ( 1910- 95) Early Morning from St Mark’s Square watercolour signed ‘PETER MCINTYRE’ (lower right) 52 x 71cm $6,000 - 10,000 PROVENANCE with McGregor Wright’s Gallery (original paper label to reverse) Estate of Richard Riddiford, Martinborough

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60 Pete r M cIn t y r e (1 9 1 0 -9 5 ) Trees in Winter oil on canvas laid down on board signed ‘PETER MCINTYRE’ (lower right) and inscribed with title and reference no 2. to reverse 51 x 69cm $5,000 - 8,000 PROVENANCE with McGregor Wright’s, Wellington Private collection, Wellington

61 G iro l a m o P i e r i B a l l at i N e r l i (1 8 6 0 -1 9 2 6 ) Fiji oil on card signed ‘Nerli’ (lower right) 21 x 34 cm $3,000 - 6,000 PROVENANCE The late Mrs E. E. McMillan MP, Highgate, Dunedin LITERATURE Peter Entwistle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 140, fig 116 (illustrated) as ‘Untitled Landscape with cabin, figures and banana trees c1894’

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62 Giro la mo Pieri B a llat i Nerli ( 1860- 1926 ) Lady with a Veil c.1895 oil on card signed with monogram (lower right) 32 x 22cm $2,000 - 4,000 PROVENANCE Mr Harry Nixon, a journalist, Christchurch by gift to Mrs Olive Williams, late 1950s by descent to the present owner Private collection, Wellington LITERATURE Peter Entwistle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 155, fig 123 (illustrated)

63 Mina Arndt ( 1885- 1926) The Cornish Sisters oil on canvas 61 x 47cm $4,000 - 7,000 PROVENANCE inherited from the artist’s stepmother Private collection, Wellington


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64 Jo h a n Ado lp h Rust ( Dut ch , 1828- 1915) Vessels in Dutch Port oil on board signed ‘J. A. Rust’ (lower right) 29 x 39.5cm $2,000 - 4,000 PROVENANCE inherited from the current owner’s mother-in-law, who originally purchased the work circa 1900 Private collection, Southland

65 Geo rg e Weat h erill ( Brit ish , 1810- 90) Runswick, In Whitby Harbour, At Sea South of Whitby watercolour heightened with white signed “G Weatherill’ (lower left) 17 x 20cm $3,000 - 6,000

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PROVENANCE Private collection, Canterbury

66 Alessa ndro La Vo lp e ( Ita lia n 1820- 87) Bay of Naples oil on canvas signed and dated ‘A. La Volpe’ 85’ (lower right) 71 x 134cm $10,000 - 15,000

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PROVENANCE Sale, Leonard Joel, Melbourne (vintage label to reverse) Private collection, Wellington

67 Dav id Ja mes ( Brit ish 1853- 1904) In St Ives Bay oil on canvas signed and dated ‘D. James 92’ (lower right); signed, inscribed with title and dated to reverse 29 x 48.5cm $2,000 - 3,000

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68 Arth u r B oy d (Aust r a l i a n 1 9 2 0 -9 9 ) Cows and Pulpit Rock collograph, limited edition 54/70 signed and dated ‘Arthur Boyd/ ‘97’ (lower right), inscribed with title (lower centre) 68 x 78cm (plate) $2,000 - 4,000 PROVENANCE Private collection, Manawatu

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69 Jeffrey Ha rris ( b 1949) Artist plein air gouache on paper 42 x 68cm $3,000 - 5,000


70 Brian S h i e l d s [ ( B r a aq] (Brit i s h , 1 9 5 1 - 1 9 9 7 ) The Four Seasons oil on board all signed ‘braaq ‘ANN’, (three lower left; one lower right) 12.5 x 15cm each (4) $5,000 - 8,000 PROVENANCE Private collection, Auckland

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71 To ny La ne ( b 1949) Twenty Six Bottles oil, aluminium leaf and composition ornaments on board signed with initials (lower left) & dated 11.03 (lower right) 35 x 240cm $4,000 - 7,000 PROVENANCE Estate of Richard Riddiford, Martinborough

72 To ny La ne ( b 1949) Wounded oil and gold leaf on gesso panel in handmade frame signed with initials (lower right) and dated ‘3.99’ (lower left); signed, inscribed with title and dated 1999 to reverse 80 x 84cm $3,000 - 5,000 72

73 To ny La ne ( b 1949) Profile Heads acrylic on two sheets of paper 65 x 96cm $3,000 - 5,000

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74 Tim Wilso n ( b 1954) Manapouri oil on Belgian linen signed, inscribed with title and dated ‘04 to certificate of authenticity to reverse 60 x 120cm $12,000 - 16,000 PROVENANCE with Fisher’s Fine Art, Christchurch Private collection, Waikato

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75 Jane E va n s ( 1 9 4 6 -2 0 1 2 ) Lilies Yellow and Orange gouache on paper signed and dated ‘Jane Evans ‘92’ (lower left); inscribed with title to reverse 59 x 39cm $3,000 - 5,000 PROVENANCE Private collection, Wellington

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76 Jo h n Draw bridge ( 1930- 2005) Rooftops watercolour signed and dated ‘John Drawbridge Sept 1983’ (lower centre) 74 x 57cm $4,000 - 6,000 PROVENANCE Private collection, Hawkes Bay


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77 Dou g l a s M acDi a rm i d (b 1 9 2 2 ) ‘Lucidity is the closest wound to the sun’ / ‘La Lucidite est la Blessure la Plus Proche de Soleil’ Rene Char oil on canvas signed and dated ‘2006/ MacDiarmid’ (lower right) 116 x 89cm $2,000 - 3,000 PROVENANCE Private collection, Kapiti Coast

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78 Geo ff Willia ms ( b 1966) Tamarillos in an Anchor Milk Tin oil on board signed ‘GEOFF WILLIAMS’ (lower right) 55 x 38cm $3,000 - 6,000 PROVENANCE with Fisher’s Fine Arts, Christchurch Private collection, Canterbury

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79 C HA R LES B LO M F IELD (1 8 4 8 -1 926) Pair of Views of Wellington Harbour from The Hutt Road both oil on board one signed ‘CHARLES BLOMFIELD’ (lower left); the other (lower right) 15.5 x 30cm $6,000 - 10,000 PROVENANCE Private collection, Marlborough

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Fine Art Auction - Part One  

Dunbar Sloane Wellington 6 September 2017

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