Fine & Applied Art • Maori, Oceanic & African Arts

FINE & APPLIED ARTS OCEANIC ARTS 2 1 & 2 2 A P RI L 2 0 2 1

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART We d n e s d ay 21 A p r i l 2021 - 6 p m s t a r t Pa r t O n e - Eve ni n g S al e L ot 1 - 72

T h u r s d ay 22 A p r i l 2021 - 12n oo n s t a r t Pa r t Tw o - Day S al e & A p p li e d A r t s L ot 10 0 - 241

T h u r s d ay 22 A p r i l 2021 - 4 p m s t a r t St u d i o C e r a mi c s & A p p li e d A r t s L ot 3 0 0 - 3 8 0

M AORI, OCE ANIC & AFRIC AN ARTS T h u r s d ay 22 A p r i l 2021 - 6 p m s t a r t L ot 1 - 116

94 Featherston Street, Wellington CBD PO Box 224, Wellington 6140 +64 4 472 1367 / info@dunbarsloane.co.nz

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART W E LLI N GTO N V I E W I N G SCH E DU LE Friday 16th April 9am - 4pm Sunday 18th April 12noon - 3pm

L O CAT I O N 94 Featherston Street, Wellington CBD PO Box 224, Wellington 6140

Monday 19th April 9am - 4pm Tuesday 20th April 9am - 4pm Wednesday 21st April 9am - 4pm Note: Lot 30: C F Goldie will be on display in conjunction with Auckland Artefact Viewing (schedule below)

E N Q U I RI E S Helena Walker Director Fine Arts +64 4 472 1367 / art@dunbarsloane.co.nz

M AORI, OCE ANIC & AFRIC AN ARTS AUCK L A N D V I E W I N G SCH E DU LE Saturday 10th April 11am - 4pm

W E LLI N GTO N V I E W I N G SCH E DU LE Friday 16th April 9am - 4pm

Sunday 11th April 11am - 4pm

Sunday 18th April 12noon - 3pm

Monday 12th April 9am - 4pm

Monday 19th April 9am - 4pm Tuesday 20th April 9am - 4pm

L O C AT I O N 375 Parnell Road, Parnell, Auckland 1052 EN QU I RI E S James Parkinson

Wednesday 21st April 9am - 4pm E N Q U I RI E S Dunbar M Sloane 021 473 998 / auckland@dunbarsloane.co.nz

022 0288 541 / james@dunbarsloane.co.nz

LI V E B I DD I N G Please note we now offer our own live online bidding service. For instruction see our website: www.dunbarsloane.co.nz Online registrations and absentee bids must be made at least 2 hours before the auction commences, or 24 hours if you are an International client

BU Y E RS PR E M I UM Each lot is subject to 18% + GST buyers premium

NE W ZE AL AND & INTERNATIONAL FINE ART PART ONE / E VENING SALE

Wednesday 21 April 2021 6pm start Lot 1 - 72

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1 Don Binney (1940-2012) Pacific Frigate Bird screenprint from the Barry Lett Gallery Multiple series, 1970 55 x 45cm $5,000 - $8,000

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2 Bill Hammond (1947-2021) Singer Songwriter I lithograph, edition of 100 signed, inscribed with title and dated 2001 within plate 68 x 82cm $6,500 - $8,500

3 Bill Hammond (1947-2021) Singer Songwriter III lithograph, edition of 100 signed, inscribed with title and dated 2001 within plate 68 x 82cm $6,500 - $8,500

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4 Bill Hammond (1947-2021) Seamless, Gutless, Spotless, Useless (2006) lithograph, limited edition 83/100 signed & dated ‘W D Hammond 2006’ (lower right) 57 x 42cm $7,000 - $10,000

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5 Richard Killeen (b 1946) Black Collection silkscreen, limited edition 38/50 signed & dated ‘Killeen 1979’ (lower right); inscribed with title (lower centre) 61 x 41cm $3,000 - $6,000

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6 Robin White (b 1946) Michael at Allan’s Beach silkscreen, limited edition 33/45 signed, inscribed with title and dated ‘R. WHITE 10/75’ (upper left) 51 x 30cm $6,000 - $10,000

7 Billy Apple (b 1935) Paying Tribute #5 (McLaren M8A-2) (2008) screenprint (edition of 7) artist blindstamp (lower left) 98 x 66cm $3,000 - $6,000

L I TE R ATU R E Robin White New Zealand Painter (Martinborough 1981) p. 55. no. 176.

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8 Gordon Walters (1919-95) Painting No. 7. (2016) screenprint, edition of 100 Walters Estate blindstamp (lower left); inscribed with title (lower centre) 51 x 38.5cm $5,000 - $8,000

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9 Gordon Walters (1919-95) Kura, 1982 screenprint, printer’s proof, edition of 150 75 x 56cm (sheet) $8,000 - $14,000

10 Gordon Walters (1919-95) Untitled (1978), 2018 screenprint on archival paper, edition of 100 Walters Estate blindstamp (lower left) 105.5 x 80.5cm (sheet) $6,000 - $10,000

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11 Colin McCahon (1919-87) Puketutu Manukau (1957) lithograph on paper (four panels) (ed of 100) inscribed Puketutu/Manukau/ed. 100/ Published by Peter Webb./ High St./ Auckland/3 lithographs, 1957./by Colin McCahon on plate (first panel) 20.5 x 25.5cm each $6,000 - $12,000

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PR O VE N AN C E Private Collection, Wellington L I TE R ATU RE Gordon H Brown, Colin McCahon: Artist (Wellington 1984) p. 66 Marja Bloem & Martin Browne, A Question of Faith (Amsterdam 2002) p. 186 Peter Simpson, Colin McCahon: The Titirangi Years 1953 to 1959 (Auckland 2007) p. 124

12 Colin McCahon (1919-87) 15 Drawings - December ‘51 to May ‘52 25 lithographs on paper, published by the Hocken Library (1976) 26 x 20cm, 15 graphic images framed with cover, back cover and text pages loose $6,000 - $12,000 L IT ERAT U R E Peter Simpson, Colin McCahon There is Only One Direction Vol. 1 1919-1959 (Auckland 2019) p. 174, 175. (colour illustration) Colin McCahon Database (www.mccahon.co.nz) cm001655

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13 Ralph Hotere (1931-2013) Keep NZ Out of Iraq lithograph, limited edition 37/40 signed & dated ‘Hotere ‘03’ (lower right) 56 x 76cm $6,000 - $12,000 P RO VENANCE Purchased Papergraphica, Christchurch, May 2003 Private collection, Wellington LIT ERATURE Peter Vangioni & Jillian Cassidy, Hotere, empty of shadows and making a shadow (Christchurch 2005) fig. 118. p. 127.

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14 Ralph Hotere (1931-2013) Bill Manhire “Aubade” lithograph, limited edition 14/20 signed & dated ‘Hotere ‘99’ (lower right), inscribed with title (lower left) 56.5 x 64cm $5,000 - $10,000 PR O VE N AN C E Purchased Janne Land Gallery, December 2000 Private collection, Welllington L I TE R ATU RE Peter Vangioni & Jillian Cassidy, Hotere, empty of shadows and making a shadow (Christchurch 2005) fig. 97. p. 108.

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15 Ralph Hotere (1931-2013) Night Window, Carey’s Bay reproduction print signed, inscribed with title and dated 1995 within print 138 x 73.5cm $4,000 - $7,000 When the original of this art work was purchased by the Dunedin Public Art Gallery Society, the artist allowed 65 true to size reproductions of the painting to be made and sold to assist with the raising of funds for the original acquisition.

16 Max Gimblett (b 1935) Untitled sumi ink & gold leaf on paper signed & dated 2007 (lower left) 28 x 21cm $3,500 - $5,000 P R OV E N A N C E Private collection, Canterbury

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17 Keith Haring (1958-1990) Pop Shop I (Best Buddies) screenprint, limited edition 28/200 (with 20 additional APs) signed ‘K. Haring 87’ (lower right); certificate of authenticity from HamiltonSelway Fine Art, West Hollywood, California 28 x 37cm (within frame) $30,000 - $40,000 P RO VENANCE purchased by the current vendor from Hamilton-Selway Gallery, Los Angeles c. 2005 Private collection, Wellington

Keith Haring’s art and life typified youthful exuberance and fearlessness.

While seemingly playful and transparent, Haring dealt with weighty subjects such as death, sex and war, enabling subtle and multiple interpretations.

Throughout his tragically brief career, Haring refined a visual language of symbols, which he called icons, the origins of which began with his trademark linear style scrawled in white chalk on the black unused advertising spaces in subway stations. Haring developed and disseminated these icons far and wide, in his vibrant and dynamic style, from public murals and paintings to t-shirts and Swatch watches. His art bridged high and low, erasing the distinctions between rarefied art, political activism and popular culture.

Pop Shop I is part of a suite of four screen prints on paper created by Haring in 1987.

Each are available in editions of 200. ”Here’s the philosophy behind the Pop Shop: I wanted to continue the same sort of communication as with the subway drawings.

I wanted to attract the same wide range of people and I wanted it to be a place where, yes, not only collectors could come, but also kids from the Bronx….. was still an art statement.” - Keith Haring

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18 John Drawbridge (1930-2005) South Coast - Rain watercolour and pastel on paper signed and dated ‘John Drawbridge June 1989’ (lower right); signed, inscribed with title and dated on original The Willeston Gallery, Wellington label to reverse 76 x 58cm $4,500 - $7,500 P RO VENANCE Private collection, Auckland

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19 Jake Walker (b 1971) House and Landscape oil on linen mounted on plywood with glazed stoneware frame signed with artist’s initials, inscribed with title and dated 2016 to reverse 33 x 56cm overall $3,000 - $5,000 E X HI B I TE D Wellington, Hamish McKay Gallery, Jake Walker, The Suggested Things, 26 August - 10 September 2016

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20 Arie Hellendoorn (b 1980) Submerged acrylic on linen signed, inscribed with title & dated ‘Arie Hellendoorn 2015’ to reverse 38 x 40.5cm $2,500 - $4,000

21 Emily Hartley-Skudder (b 1988) Dining with Citrus and Lobster oil on canvas signed, inscribed with titled and dated 2013 to reverse 56 x 84cm $2,600 - $4,000

EX H IBI TED Wellington, {Suite Gallery}, Arie Hellendoorn, Body Electric, 3 September - 26 September 2015

E X HI B I TE D Wellington, {Suite Gallery}, New Works, 28 November - 8 December 2013

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22 Ans Westra (b 1936) Mongrel Mob Convention, Porirua 1982 silver gelatin print signed ‘Ans W’ (lower right) 28 x 28cm $7,000 - $10,000 LIT ERATURE Luit Bieringa (ed.) Handboek Ans Westra Photographs (Wellington 2004) p. 177 pl. 8.3

A copy of this edition is housed in the collection of Te Papa Tongarewa (reg 0.042753); the negatives of this series are all housed at Alexander Turnbull Library, Wellington (AW-2409)

23 Heather Straka (b 1972) Fate oil on canvas board signed, inscribed with title and dated ‘Fate/ H A Straka/ 2004 to reverse 65.6 x 51.8cm $6,000 - $12,000 P ROV EN A N C E purchased Milford Galleries, Dunedin Private collection, Canterbury E XH IBIT ED Dunedin, Heather Straka The First Fleet, Milford Galleries, 28 August - 16 September 2004

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24 Michael Parekowhai (b 1968) Jeff Cooper (The Beverly Hills Gun Club) taxidermy sparrow & powder-coated aluminium 119.5cm length $10,000 - $20,000 P R OV E N A N C E purchased Jonathan Smart Gallery, Christchurch Private collection, Canterbury EXH IBIT E D Christchurch, The Beverley Hills Gun Club, Jonathan Smart Gallery, July 2000 26

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25 Michael Parekowhai (b 1968) Ed Brown (The Beverly Hills Gun Club 2000) type C photograph, edition of 10 44 x 54cm $8,000 - $16,000 P ROV EN A N C E purchased Jonathan Smart Gallery, Christchurch Private collection, Canterbury E XH IBIT ED Christchurch, The Beverley Hills Gun Club, Jonathan Smart Gallery, July 2000

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26 Joanna Braithwaite (b 1962) Dog’s Life oil on canvas signed, inscribed with title and dated 2001 to reverse stretcher 112 x 112cm $12,000 - $20,000 EX H IBI TED Wellington, New Zealand Portrait Gallery, Joanna Braithwaite: Significant Others, 2 June - 7 August 2011

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27 Joanna Braithwaite (b 1962) Cover Your Ass oil on canvas signed, inscribed with title and dated 2013 to reverse stretcher 107 x 92cm $10,000 - $16,000 E XH IBIT ED Wellington, Bowen Galleries, Trigger, 3 September -12 October 2013 as ‘Undercover’

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28 Shane Cotton (b 1964) I haere mai / kei te tatiokerau enohoana oil on canvas signed and dated ‘COTTON ‘96’ (lower left) 23 x 30.5cm $12,500 - $20,000 P RO VENANCE purchased Hamish McKay Gallery, Wellington c.1996 Private collection, Wellington

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29 John Walsh (b 1954) Waka Huia; Rangi, Papa & Their Children oil on canvas, signed, inscribed with title and dated 2002 to the reverse 140 x 196cm $18,000 - $26,000

P ROV EN A N C E originally purchased from John Leech Gallery, 2002 Private collection, Auckland E XH IBIT ED Auckland, John Leech Gallery, ‘Orokohanga / Genesis’ 2002

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30 Charles Frederick Goldie OBE (1870-1947) Sad Memories Ngaheke (An Arawa Chieftainess) oil on canvas signed and dated ‘C. F. Goldie 1916’ (lower right); inscribed “Sad Memories”, Ngaheke (An Arawa Chieftainess) by C. F. Goldie, price 15.15.0’ to reverse 25.5 x 20.5cm $400,000 - $500,000 P RO VENANCE Auckland Society of Arts Exhibition, 1917 Sale, Cordy’s, Auckland, 7 May 1971, lot 51 ($4,000) Private collection, North Island EX H IBI TED Auckland Society of Arts Exhibition Catalogue 1917 Dominion, 19 May 1972 H P Newrick, NZ Art Auction Records, 19691972 (Wellington 1973), p. 171. plate 24 (B/W) Alister Taylor & Jan Glen, C. F. Goldie (18701974) His Life & Painting (Martinborough 1977) p. 241 (B/W) Condition report available on request

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Particularly within the context of New Zealand’s art history Goldie’s portraits of Maori have been both celebrated and condemned in equal measure: Adored and coveted by collectors, ignored or dismissed by critics as being formulaic or demeaning of their subjects. The averted gaze, the downcast eyes have become the leitmotif of Goldie’s visual message, collectively nurturing and supporting the attitude prevailing at the time this work was painted – that Maori was a dying race.

The demeanour of Arawa Chieftainess Ngaheke in her portrait displays several of these characteristics. But there are certain other notable features which make the work unique amongst the other Goldie portraits of this period. It is very much purely head and shoulders format on a small sized canvas, perhaps painted from a photograph at the request of another member of her whanau.

Personal adornment such as greenstone earrings, hei tikis or cloaks are notably absent. In the preceding year of 1915 Goldie had painted a larger format profile portrait of Pirira Te Kahukura (Ngaheke) entitled The widow displaying all of these items. These tend to draw the viewer’s attention to Goldie’s technical abilities and deflect from the emotions of the sitter. This much smaller portrait emphasises the emotions and thoughts which Ngaheke might be experiencing. The hand supporting the head, a traditional sign of melancholy, conveys an attitude of resignation which reinforces the overall portrayal of her despondency. Culturally the downcast eyes or averted gaze could also be shielding her wairua/spirit from the intrusion

of imagery of any kind. Her downcast eyes create uncertainty between deep meditation or actual sleep. The muted coolness of the green background almost merges with the pattern of the familiar checked blanket over Ngaheke’s shoulders so that her face and head are brought forward and fill the canvas more significantly. The pipe bowl is empty suggestive of an inner emptiness.

Conscious of the nineteenth century history of Maori/ European contact with its wars, land sales and confiscations and her own more immediate personal loss this particular portrait of Chieftainess Ngaheke transcends ethnic or sociological considerations. The Goldie ‘formula’ combined with his meticulous technique greatly benefits from the limited size of the canvas to convey in simple and direct terms a very human study of sadness.

Tony Mackle

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31 Ralph Hotere (1931-2013) Drawing for Ian Wedde’s Pathway to the Sea watercolour & Indian ink on paper signed, inscribed with title and dated ‘Hotere/ Port Chalmers/ ‘75’ (lower right) 56 x 76cm $12,000 - $20,000 P RO VENANCE originally purchased from Dawson’s Gallery, Dunedin Private collection, Auckland

Despite Ralph Hotere’s status as one of New Zealand’s pivotal twentieth Century artists - he leaves behind an oeuvre shrouded in mystery and subject academic conjecture.

Hotere’s reticence concerning the meaning and intention in his art has become an integral part of the artist’s legend. So too has the pointed outrage he could display in political, social and environmental matters.

Consequently, with Hotere’s drawings for Ian Wedde’s ‘Pathway to the Sea’, we are left with a rare body of work in which his intent is unmistakable.

In Hotere’s Drawing for Ian Wedde’s “Pathway to the Sea”, the watercolour background is stark and softly variegated - evocative of smog and oil-slicked water. Hotere’s archetypal thin bands of precisely uniform verticals divide the sheet. They provide an unequivocal visual tension, yet their sheen is seemingly at odds with ominous foreboding that envelopes the work as a whole. Perhaps they can be read as a ‘glimmer’ of hope retained by protestors and those within the Aramoana community. After all, the proposed smelter did not proceed.

Pathway to the Sea, written in 1974 (and now an iconic New Zealand literature work), is an environmental protest poem - Wedde’s retaliation to the proposed construction of an aluminium smelter in the South Island township Aramoana. Hotere’s subsequent drawings are a supportive outcry and declaration against the destruction of the landscape and environment.

Whatever the artist’s intent for his visual devices, elements of the work subtly combine in a show of what Vincent O’Sullivan aptly describes as Ralph Hotere’s ‘aesthetically refined fury’.1

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1. Vincent O’Sullivan, Ralph Hotere (Ron Sang Publications 2008)

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32 Milan Mrkusich (1925-2018) Construction on Grey (Small) acrylic polymer, graphite and crayon on hardboard signed and dated ‘Mrkusich ‘82’ on original paper label, inscribed with title to reverse 89.5 x 120cm $28,000 - $36,000 P RO VENANCE Sale, Dunbar Sloane Ltd, 8 August 2012 (lot 46) Private collection, Wellington

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33 Seraphine Pick (b 1964) Untitled oil on canvas signed and dated 'Seraphine Pick 2000-01' (lower right) 121 x 182.5cm $40,000 – 60,000 P RO VENANCE purchased Hamish McKay Gallery, Wellington Private collection, Wellington

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34 Seraphine Pick (b 1964) Easy Living watercolour on paper signed and dated ‘Seraphine Pick 2015’ (lower right) 75 x 56cm $7,000 - $12,000 EX H IBI TED Wellington, Hamish McKay Gallery, Easy Living, 7 August - 28 August, 2015

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35 Ann Robinson (b 1944) Spiral Vase cast lead crystal glass etched signature and dated 2001 N.Z. to base 63cm height, 17cm dia. (maximum) $14,000 - $18,000 PROVENANCE Private collection, Wellington

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36 Jacqueline Fahey (b 1929) Why are you doing this? oil on board signed and dated ‘FAHEY 98/ KRD’ (lower centre left) 109.5 x 58cm $20,000 - $30,000 P RO VENANCE purchased Judith Anderson Gallery, Auckland, 1999 EX H IBI TED Auckland, Judith Anderson Gallery, Jacqueline Fahey K’RD Paintings, 26 March 14 April 1999 (exhibition invite image) Wellington, Jacqueline Fahey Suburbanites, NZ Portrait Gallery, August - November 2019 LIT ERATURE T J MCNamara, ‘Road Works’, New Zealand Herald New Zealand Portrait Gallery, Jacqueline Fahey Suburbanites (2019) p. 35.

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37 Robyn Kahukiwa (b 1938) Invasion oil on linen signed and dated ‘Robyn Kahukiwa/ 2019’ (lower left); signed and inscribed with title to reverse 89 x 119cm $20,000 - $30,000 P RO VENANCE The Artist’s Personal Collection

E X HI B I TE D Gisborne, Tairāwhiti Museum, He Tirohanga ki Tai: Dismantling the Doctrine of Discovery, 8 December 1018 - 10 March 2019 Porirua, Pataka, A Bloody Encounter, 15 November - 8 December 2019

38 Robyn Kahukiwa (b 1938) Untitled watercolour on paper signed & dated ‘Robyn Kahukiwa ‘71’ (lower right) 37 x 55cm $6,500 - $12,500 P R OV E N A N C E Private collection, Australia EXH IBIT E D Wellington, Red Cottage Gallery, 1971 This work was exhibited in the artist’s first ever solo exhibition .

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39 Don Peebles (1922-2010) Untitled oil on canvas signed ‘PEEBLES 55’ (lower left) 89 x 74cm $3,000 - $6,000 P RO VENANCE Formerly the collection of well-known New Zealand potter, Helen Mason by descent Private collection, Wellington

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40 Buck Nin (1942-96) Dancing on the Flats acrylic on board signed and dated ‘NIN ‘91 (lower right); signed, inscribed with title and dated to reverse 79.5 x 55cm $3,000 - $6,000

P ROV EN A N C E Corporate collection, Wellington This work illustrated the ancestors of Aoraki.

The figures taken from rock drawings are dancing across the plains below Mt Cook.

Different ethnic groups are represented by the patterns and brightly coloured triangular forms.

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41 Robert Ellis (b 1929) Motorway/City No 18 oil on board signed and dated ‘Robert Ellis 1968’ (lower left); inscribed ‘No 18/ Motorway/City / 59 x 59cms . 1969 ‘Auckland Festival’ /Robert Ellis / P.O. 2175 Auckland N.Z.’ to reverse 59 x 59cm $8,000 - $16,000 P ROV EN A N C E Corporate collection, Wellington

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42 Tony de Lautour (b 1965) Frontline #18 oil on found painting on board signed, inscribed with title and dated ‘Tony de Lautour 1999’ to reverse 43 x 86cm overall $4,000 - $7,000 P RO VENANCE purchased Hamish McKay Gallery, Wellington c.1999 Privated collection, Wellington

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43 Melvin (Pat) Day (1923-2016) Northland Landscape oil and encaustic on canvas signed and dated ‘Day ‘62’ (lower right) 67.5 x 125cm $5,000 - $10,000 PR O VE N AN C E Private collection, Auckland

44 Melvin (Pat) Day (1923-2016) Vision of a Hermit I, Uccello Series oil and encaustic on canvas signed with and dated ‘Day ‘69’ (upper right); inscribed with title to reverse 62 x 62cm $2,000 - $4,000 P ROV EN A N C E purchased directly from the artist Private collection, Wellington

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45 Melvin (Pat) Day (1923-2016) Still Life with Newspaper oil on canvas signed and dated ‘Day 83’ (lower right) 118 x 150cm $4,000 - $7,000

46 Melvin (Pat) Day (1923-2016) Makara oil and encaustic on canvas signed ‘Day ‘72’ (lower right) 166 x 122cm $5,000 - $10,000

P RO VENANCE Corporate collection, Wellington

PR O VE N AN C E purchased directly from the artist Private collection, Wellington

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47 Ralph Hotere (1931-2013) Aramoana acrylic, pastel and graphite on paper signed and dated ‘Port Chalmers/ Hotere/ ‘91’ (lower right) 74 x 105cm $12,000 - $18,000 P RO VENANCE given to the vendor’s mother by the artist in lieu of payment for legal services Private collection, Wellington

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detail of reverse

48 Neil Dawson (b 1948) Wave powder coated steel 64cm height, 44cm width, 6cm depth (maximum) $5,000 - $8,000

P ROV EN A N C E purchased Jonathan Smart Gallery, Christchurch Private collection, Canterbury

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49 Jeff Thomson (b 1957) Butterfly (2005) corrugated iron wall hanging sculpture incised with signature and dated 2005 to lower wings 98cm height, 98cm width, 15cm depth (maximum) $2,000 - $4,000 P RO VENANCE Private collection, Wellington

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50 Terry Stringer (b 1946) Fantasy Head of Shakespeare (2002) (Miranda & Ariel, The Tempest) cast bronze, limited edition 6/10 impressed with monogram (lower edge) 23cm height $2,000 - $4,000 PR O VE N AN C E purchased Janne Land Gallery, Wellington Private collection, Kapiti Coast

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51 Richard Lewer (b 1970) Pegboard Confessions (Bad Tempered) acrylic on pegboard, nine panels variously inscribed; signed to reverse $3,500 - $6,500 P RO VENANCE Private collection, Auckland

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E X HI B I TE D The Waikato Museum of Art and History Te Whare Taonga o Waikato I Must Learn to Like Myself: A recent survey of works by Richard Lewer’, 13 February, 15 August 2010 Australia, Melbourne, Monash University of Art, ‘Richard Lewer: Nobody Likes a Show Off’, 1 July, 5 September 2009

52 Peter Robinson (b 1966) Kitty Kat Klub Oilstick on paper] signed and dated 2002 (lower right) 119.5 x 89.3cm $10,000 - $16,000 P ROV EN A N C E purchased Peter McLeavey Gallery, Wellington Sale, Art + Object, Auckland, 28 November 2017 (lot 31)

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53 Allen Maddox (1948-2000) Behind the Bridge of The Nose III pastel on Steinbach paper, inscribed with title, signed with initials and dated ‘AM 9.10.77’ (lower centre) 101 x 57cm $6,000 - $12,000 P ROV EN A N C E Sale, The Collection of Frank & Lyn Corner, Wellington, Art+Object, 18 March 2018 (lot 102)

54 Jeffrey Harris (b 1949) Untitled (1989) oil pastel and graphite on paper signed and dated ‘J Harris 1989’ (lower right) 25 x 37.5cm $2,500 - $4,500 P ROV EN A N C E purchased {Suite}, Wellington c.2017 E XH IBIT ED Wellington, {Suite}, Jeffrey Harris, 11 October - 1 November 2017

55 Pat Hanly (1932-2004) Bride and Groom Again graphite on paper signed, inscribed with title and dated ‘Hanly 93’ (lower right) 47.5 x 74cm $2,500 - $4,000 P ROV EN A N C E purchased Portfolio Gallery, Auckland Private collection, Wellington

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56 John Weeks (1888-1965) The Bull tempera on paper signed ‘JOHN WEEKS’ (lower right) 40 x 51.5cm $5,000 - $8,000

57 John Weeks (1888-1965) Untitled (European Industrial Scene) oil on canvas Weeks O’Connor Estate stamp to the reverse 86 x 84cm $4,000 - $7,000

58 John Weeks (1888-1965) Untitled (Moroccan Landscape) tempera on board Weeks O’Connor Estate stamp to the reverse 62.5 x 85.5cm $3,000 - $6,000

P RO VENANCE This & the following two lots are from The Estate of V L Mayclair.

Ms Mayclair inherited this work from Mr John O’Connor. John’s mother (Hilda O’Connor) was John Weeks’ partner.

PR O VE N AN C E The Estate of V L Mayclair.

P ROV EN A N C E The Estate of V L Mayclair.

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59 John Weeks (1888-1965) Orange Facade, Corsica (1928) pastel on paper signed ‘J. Weeks’ (lower left); certificate of authenticity no. 3738 attached to reverse 45 x 57cm $5,000 - $8,000 P ROV EN A N C E Sale, Dunbar Sloane Ltd, 29 September 1999 (lot 20) Private collection, Wellington

60 John Weeks (1888-1965) The Old Iron Tank oil on board certificate of authenticity from Artist’s Estate no. 121 & Weeks O’Connor stamp to reverse 40 x 50cm $2,000 - $4,000

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P ROV EN A N C E The Estate of V L Mayclair.

61 Charles Tole (1903-91) Earthworks (1976) pastel, graphite and acrylic on paper signed ‘CHARLES TOLE’ (lower right) 15 x 19.5cm $3,000 - $6,000 P ROV EN A N C E Collection of Hans & Martha Lackmann, Wellington purchased from the above by the current owner Private collection, Wellington

62 Mountford Tosswill (Toss) Woollaston (1910-98) From Spooners Range (1960) ink on paper signed ‘Woollaston’ (lower right) 25.5 x 36.5cm $2,200 - $4,000

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63 Peter McIntyre (1910-95) The Manaburn Dam, Central Otago watercolour and ink on paper signed ‘PETER MCINTYRE’ (lower right); inscribed with title on original typed label affixed to reverse 52 x 74cm $6,000 - $10,000 P RO VENANCE originally purchased by the vendor's grandparents, Otago Private collection, Auckland

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64 Peter McIntyre (1910-95) NZ Infantry in the final advance graphite on paper signed ‘PETER McINTRE’ (lower right) 45 x 59cm $12,000 - $20,000 PR O VE N A N C E Private collection, Wellington

L IT E R AT U RE Peter McIntyre: War Artist (Wellington 1981) frontis page (b/w illus) This work is a study for: Peter McIntyre, New Zealand Infantry in the final advance, oil (Peter McIntyre: War Artist, p. 207 colour illustration)

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65 Frank Barnes (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 99 cm $7,500 - $12,500

66 John Gibb (1831-1909) S.S. Hawea Entering Dusky Sound in a Squall 26th Dec. 1877 oil on canvas signed and dated ‘J. Gibb 1878’ (lower left); inscribed with title and signed to reverse stretcher 52 x 88cm $6,000 - $12,000

67 John Gibb (1831-1909) The Bealey River, West Coast Road N.Z oil on canvas signed and dated ‘J. Gibb 1890; (lower left); inscribed with title and dated to stretcher with original J W Gibb Picture Framers label to the reverse 29.5 x 45cm $4,000 - $7,000

P RO VENANCE Private collection, Auckland

PR O VE N AN C E purchased by the vendor’s mother from Osborne Fine Arts, Wellington Private collection, Wellington

P ROV EN A N C E purchased by the vendor’s mother from Osborne Fine Arts, Wellington Private collection, Wellington

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68 Girolamo Pieri Ballati Nerli (1860-1926) Faust et Marguerite oil on canvas board signed (lower right) 48 x 95cm $5,000 - $8,000

69 Margaret Olrog Stoddart (1865-1934) Still Life with Roses watercolour on paper signed ‘M. O. Stoddart’ (lower left) 38 x 52cm $6,000 - $12,000

70 Margaret Olrog Stoddart (1865-1934) Children and Dunes, Sumner Beach watercolour on paper signed ‘M. O. Stoddart’ (lower right) 24.5 x 34.5cm $3,000 - $6,000

P RO VENANCE The Steven Powell collection.

Powell notably offered board to many artists of the time in Christchurch by descent Private collection, Canterbury

PR O VE N A N C E by descent Private collection, South Island

P R OV E N A N C E by descent Private collection, South Island

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71 Owen Merton (1887-1931) Scheveningen watercolour on paper signed, inscribed with title and dated ‘Scheveningen Owen Merton 1904’ (lower centre) 48 x 54.5cm $4,000 - $7,000 P RO VENANCE Private collection, Wellington

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72 Charles Decimus Barraud (1822-97) Coromandel Harbour watercolour heightened with white, signed ‘C. D. Barraud’ and dated indistinctly (lower left) 42.5 x 75cm $10,000 - $20,000 P ROV EN A N C E Private collection, Wellington

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NE W ZE AL AND & INTERNATIONAL FINE ARTS PART T WO / DAY SALE Thursday 22 April 2021 12 noon start Lot 100 - 241

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100 Don Binney (1940-2012) Ngataringa Returns (c. 2004) photolithographic reproduction signed & dated 2002 within plate 58 x 43cm $2,500 - $4,000 EX H IBI TED Picton, Diversion Gallery, Flight Path, September - October 2018

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101 Michael Smither (b 1939) Alfred Road Bridge screenprint, ltd ed 23/50 signed with initials & dated 2014 (lower right) 49 x 64.5cm $2,000 - $3,500 102 Michael Smither (b 1939) Rocks, Tractor & Mountain screenprint, ltd ed 70/80 signed with initials & dated 2012 (lower right) 49 x 63cm $2,000 - $3,500

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103 Michael Smither (b 1939) Stony River screenprint, ltd ed 50/72 signed with initials & dated 2011 (lower right) 58 x 81cm $1,600 - $3,000 104 Michael Smither (b 1939) The Old Ferry Boat screenprint, ltd ed 40/51 signed with initials & dated 2016 (lower left) 54 x 72cm $2,000 - $3,000

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105 Michael Smither (b 1939) Coral Head with Fish screenprint, ltd ed 37/50 signed with initials & dated 2013 (lower right) 40 x 47cm $1,600 - $3,000

107 Bill Hammond (1947-2021) Bone Eagle C etching, P. P. (ltd ed of 25) signed & dated ‘W D Hammond 2007’ (lower right); inscribed with title (lower left) 37 x 28cm (sheet) $1,600 - $3,000

106 Michael Smither (b 1939) Blue Flipper screenprint, ltd ed 18/50 signed with initials & dated 2013 (lower right) 68 x 50cm $1,600 - $3,000

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108 Judy Millar (b 1957) Flip (Pink) digital screenprint, ltd ed 8/10 signed & dated 2013 (lower right) 55.5 x 76cm $1,000 - $2,000

110 Kushana Bush (b 1983) Alabaster Man etching & aquatint, ltd ed 20/20 signed & dated 2014 (lower right) 33.5 x 23.5cm (plate) $1,200 - $2,200

109 Simon Morris (b 1963) Turn acrylic on aluminium panel signed, inscribed with title & dated 1996 on original label to reverse 20 x 20cm $1,600 - $3,000

111 Samuel Harrison (b 1985) Turned Woman woodcut on paper, A/P (ed of 7) signed (lower right) 100 x 69cm $2,200 - $3,200

Provenance purchased Bartley Nees Gallery, Wellington c.1996

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112 Liz Maw (b 1966) Lady Kathryn and I giclee on paper, ltd ed 5/10 signed (lower left); inscribed with title and dated 2011 (lower centre) 81 x 60cm $1,800 - $3,000

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113 Sunday B. Morning after Andy Warhol (American, 1928-87) Marilyn Monroe (11.23) silkscreen print, published by Sunday B. Morning certificate of authenticity to reverse 91 x 91cm $1,600 - $3,000

114 Sunday B. Morning after Andy Warhol (American, 1928-87) Diamond Dust Marilyn silkscreen print, published by Sunday B. Morning, ltd ed of 2,500 numbered & stamped to reverse “published

by Sunday B. Morning” and “fill in your own signature.” with certificate of authenticity affixed to reverse 91 x 91cm $1,800 - $3,000

115 Sunday B. Morning after Andy Warhol (American, 1928-87) Mona Lisa #5 - Double Black on Vellum silkscreen print, ltd ed P/P 8/2500, published

by Sunday B. Morning certificate of authenticity to reverse 62 x 86cm $1,600 - $3,000 116 Pablo Picasso (Spanish 1881-1973) Picasso et la gravure contemporaine - Mairie de Vallauris, 8 Juillet - 25 Septembre 1966 serigraph silkscreen poster, ltd ed of 1300 66 x 39cm $800 - $1,400

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117 Rudolf Boelee (b 1940) Crown Lynn Modernist Vase Triptych acrylic, screenprint & lacquer on board artist’s stamp to reverse of each panel 30.5 x 30.5cm per panel, 30.5 x 91.5cm overall $800 - $1,400

119 Dick Frizzell (b 1943) Mickey to Tiki (Reversed) screenprint, ltd ed 468/500 signed & dated ‘12 (lower right) 69 x 99cm $1,400 - $2,000 120

118 Rudolf Boelee (b 1940) Mr. GE Free Triptych acrylic, screenprint & lacquer on board artist’s stamp to reverse of each panel 31 x 26cm per panel, 31 x 78cm overall $800 - $1,400

Dick Frizzell (b 1943) Ochre Tiki screenprint, P. P. signed & dated 2006 (lower right) 67 x 55cm $1,200 - $1,800

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121 Dick Frizzell (b 1943) Triple Moderne Manaia lithograph, AP signed and dated ‘92 (lower right) 49 x 39.5cm $600 - $1,000 122 Max Gimblett (b 1935) Untitled (Skull) unique screenprint with foils on paper impressed mark (lower left) 55 x 35.5cm $1,800 - $3,000

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123 Don Binney (1940-2012) Beyond Wainamu (Te Henga) photolithographic multiple, limited reissue, signed & dated 2003 (lower right) 51 x 71.5cm $800 - $1,400

125 John Drawbridge (1930-2005) Girl at Window drypoint etching, ltd ed 6/50 signed & dated 1968 (lower left) 64 x 37cm $800 - $1,400

127 Graham Sydney (b 1948) Camellias etching, ltd ed 7/25 signed (lower right) 13 x 22cm $600 - $1,000

124 Scott McFarlane (b 1966) Untitled (Talking Head) ink on sheet of music signed & dated 2001 (lower right) 33 x 23.5cm $800 - $1,400

126 Grahame Sydney (b 1948) Robin White (Asleep) etching, ltd ed 7/25 signed (lower right) & dated November 1983 (lower left) 24.5 x 23.5m (plate) $1,400 - $2,400

128 Marilynn Webb (1937) Cloud Landscape I drypoint etching, ltd ed 5/10 signed and dated ‘73 (lower right) 55 x 74cm $400 - $800

EX H IBI TED Wellingtom, Christopher Moore Gallery, Talking Heads, 2001

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129 John Walsh (b 1954) Escape Artist oil on board signed, inscribed with title & dated 2014 to reverse 24 x 31cm $1,600 - $3,000 130 Chris Heaphy (b 1965) Dirt I acrylic on found fabric attached to canvas signed & dated ‘93-94’ to reverse 77 x 70cm $600 - $1,200

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131 Catherine Manchester (b 1957) Long Distance Traveller oil on canvas signed and dated 2006 (lower right) 51 x 101cm $800 - $1,400 132 Peter Robinson (b 1966) Apparitions encaustic & mixed media on paper 61 x 87cm $1,000 - $2,000

133 Robin White (b 1946) Southland Monkey Puzzle silkscreen, ltd ed 28/35 signed, inscribed with title and dated ‘R. WHITE JUNE ‘73’ (lower left) 40 x 52cm $2,000 - $3,500 L IT ERAT U R E Robin White New Zealand Painter (Martinborough 1981) p. 103. no. 149.

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134 E Mervyn Taylor (1906-64) Maui Fleeing from Mahuika colour linocut, ed of 24 signed (lower right); inscribed with title (lower left) 33 x 25.5cm $1,600 - $3,000 135 Robyn Kahukiwa (b 1940) Wai Tangi lithograph, ltd ed 10/50 signed & dated 1990 (lower right) 72.5 x 51cm $500 - $800

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136 Paratene (Para) Matchitt (b 1933) Taumatakahawai lithograph, ltd ed 10/50 signed & dated 2/4/90 (lower right) 70 x 51cm $500 - $800

138 Michel Tuffery (b 1966) Laumei, Paa, Ula Sami, Sava’e, Pena, Pea woodblock on handmade paper, ltd ed 9/25 signed & dated ‘88 (lower right) 81 x 61cm $600 - $1,000

137 Michel Tuffery (b 1966) Fa - Samoa - Matai woodblock on handmade paper, ltd ed 19/25 signed & dated ‘88 (lower right) 83 x 61cm $600 - $1,000

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Russell Clark (1905 - 1966) The following seven lots are from the collection of the artist's widow,Mrs Rosalie Clark (now Archer). Lots 141 - 145 are sourced from sketch books from when the artist was an Official War artist, stationed in the Pacific 1944-45 and later years.

139 Russell Clark (1905-66) Drawing for King & Helmet Head Sculptures c 1960 watercolour, pastel & crayon on paper certificate of authenticity attached to reverse 31 x 37cm $1,000 - $2,000

140 Russell Clark (1905-66) Drawing for King Figure Sculpture c 1960 watercolour & crayon on paper certificate of authenticity attached to reverse 34 x 18cm together with Drawing for King Figure Sculpture c 1960 watercolour, certificate of authenticity attached to reverse 39 x 16.5cm (2) $1,600 - $2,600 Note: Circa 1960, Russell Clark made several studies which were concepts for his King Figure Sculpture’s. Three of these sculptures were exhibited ‘Russell Clark Paintings / Sculpture / Drawings’ Durham Street Art Gallery, June 1964 (instillation images available). The metallised plaster version was purchased by Dunedin Public Art Gallery.

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141 Russell Clark (1905-66) Sketch Album / Pacific Islands August 1944 (including New Caledonia, Fiji, Savo Island, Guadalcanal) graphite, watercolour & ink studies, deconstructed sketch album of 69 leaves with front & back covers inscribed to cover ‘SKETCH BLOCK 2. / B. 1944 Aug - / PACIFIC ISLANDS’; variously inscribed with titles 20.5 x 13cm $4,000 - $7,000

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142 Russell Clark (1905-66) Untitled (The Mess Tent) c.1943-44 graphite & watercolour on paper signed ‘R Clark’ to reverse 38 x 25cm $750 - $1,250 143 Russell Clark (1905-66) Untitled (NZ Soldiers in Combat) c.1943-44 graphite on paper signed ‘R Clark’ to reverse 38 x 25cm $750 - $1,250

144 Russell Clark (1905-66) Untitled (NZ Soldiers in Combat) c.1943-44 graphite & watercolour on paper signed ‘R Clark’ to reverse 25 x 38cm $750 - $1,250

145 Russell Clark (1905-66) No 1. S.V. Guadalcanal (Solomon Islands) c.1943-44 graphite on paper inscribed with title (centre & lower right); signed ‘R Clark’ to reverse 25 x 38cm $750 - $1,250 Note: Watercolour ISU Guadalcanal, of a similar composition to the upper study is housed in the collection of the NZ War Archives (NCWA 332a)

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146 Gwen Knight (1888-1974) Manakau Harbour gouache on hardboard signed (lower right) 48 x 62cm $3,000 - $5,000

148 Sam Cairncross (1913-76) Untitled (Harbour Landscape) pastel on paper signed (lower right) 21.5 x 34.5cm $750 - $1,250

147 Gwen Knight (1888-1974) Boat Harbour oil on board signed (lower right) 35.5 x 45.5cm $750 - $1,250

149 Sam Cairncross (1913-76) Flowers oil on board signed & dated ‘Sam ‘51’ (lower right); inscribed with title to reverse 34 x 22.5cm $500 - $800

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150 Sam Cairncross (1913-76) Peppers oil on board signed & dated ‘Sam 73’ (lower right); inscribed with title to reverse 30 x 39cm $600 - $1,000 151 Peter McIntyre (1910-95) The Rio di Cannaregio and the Bridge of the Obelisks watercolour signed (lower right) 52 x 71cm $4,000 - $7,000

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155 Bill (William James) Reed (1908-96) Puketapu Hill Monument with Tree Stumps watercolour signed (lower left) 35.5 x 56cm $1,200 - $1,800

152 Peter McIntyre (1910-95) Wellington Railway Station Indian ink on paper signed (lower right) 27 x 33cm $1,600 - $2,600

153 Peter McIntyre (1910-95) West Coast Bush ink on paper signed (lower right) 38 x 32cm $1,000 - $2,000

P RO VENANCE purchased McGregor Wright Gallery, Paraparaumu 2011

L I TE R ATU R E Peter McIntyre, Peter McIntyre’s New Zealand (Reed, Auckland 1964) plate 41 .

154 Doris Lusk (1916-1990) Waterfall near Queenstown watercolour signed & dated 1970 (lower right), inscribed with title to reverse 54.5 x 36cm $800 - $1,600

LIT ER ATURE Peter McIntyre’s Wellington (Wellington 1975) (B/W illustration) - a copy to be sold with painting

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156 Margaret Olrog Stoddart (1865-1934) The Christchurch Gardens (Christ’s College) watercolour on paper signed (lower left) 24 x 35cm $3,000 - $5,000 157 Margaret Olrog Stoddart (1865-1934) Italian Village Scene watercolour on paper signed (lower left) 32.5 x 25cm $2,000 - $3,500

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158 Sydney Lough Thompson (1877-1973) Crossing Bridge, Concarneau oil on board signed (lower left) 31 x 38cm $2,500 - $4,000

160 Francis McCracken (1879-1959) Spanish Landscape oil on canvas signed (lower right) 44 x 54cm $2,000 - $4,000

159 Sydney Lough Thompson (1877-1973) Horse & Stables gouache on paper signed (lower left) 36 x 54cm $3,000 - $5,000

161 William Pratt (Scottish 1855-1936) Evening at Staithes oil on canvas signed & dated 1909 (lower right) 45 x 60cm $1,500 - $3,000

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162 Charles Decimus Barraud (1822-1897) Coastal Scene watercolour on paper signed ‘C D B’, dated 1889 & inscribed with title indistinctly (lower right) 22.5 x 32.5cm $1,800 - $2,600 163 Laurence W Wilson (1850-1912) Walter’s Peak, Lake Wakatipu watercolour on paper signed (lower left) 23 x 29.5cm $800 - $1,400

164 Thomas Peerless (1858-1896) White Terraces watercolour on paper signed (lower left) 36.5 x 54cm $500 - $800

166 William Menzies Gibb (1859-1931) Untitled (Coastal Landscape) watercolour on paper signed (lower left) 23 x 34.5cm $500 - $800

165 Charles Nathaniel Worsley (1862-1923) Mt Sefton watercolour on paper signed (lower left) 33 x 48.5cm $500 - $800

167 Richard Aldworth Oliver (1811-89) Wangaru-Ru, East Coast, Monk Island watercolour certificate of authenticity from Madeline McClintock, descendant of the artist dated 1985 affixed to reverse 36.5 x 25cm $1,200 - $2,400

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168 William Binzer (c. 1850-1920) Pink Terrace - Rotomahana N.Z. oil on board signed & inscribed with title (lower right) 61 x 89cm $1,000 - $2,000

170 William George Baker (1864-1929) Lake Manapouri oil on canvas signed & entitled (lower right) 60 x 90cm $1,000 - $2,000

169 John Douglas Perrett (1859-1937) Untitled (South Island Lake & Mountain Scene) oil on canvas signed (lower right) 60.5 x 96cm $800 - $1,400

171 R P Moore (1882-1948) Manuka Point hand-coloured photograph 21.5 x 95.5cm $600 - $1,200

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172 Frank A Coxhead (1851-c1919) New Zealand Scenery leather bound album consisting of 40 predominately South Island scenes including Milford Sound, Dunedin, West Coast, Arrowtown, Christchurch etc majority of images entitled and bearing photographers initials 21 x 27.5cm overall album $1,500 - $2,500

173 Set of Fifty Original Boxed Coloured Photographic Slides c.1920-30 including forty labelled & numbered from ‘New Zealand South’, remaining ten various World 8 x 8cm each slide, 44 x 10 x 11cm wooden case $400 - $800

174 Charles Frederick Goldie (1870-1947) A Good Joke chromolithograph signed & dated 1905 within plate 37 x 30cm $1,500 - $3,000

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John Weeks (1888-1965) The following 22 lots are from the Estate of V L Mayclair. Mrs Mayclair inherited these artworks from Mr John O’Connor. John’s mother (Hilda O’Connor) was John Weeks’ partner.

175 John Weeks (1888-1965) Self Portrait oil on loose canvas 46 x 32cm $1,200 - $2,400 176 John Weeks (1888-1965) Untitled (European Street Scene) oil & tempera on board Weeks O’Connor Estate stamp to the reverse 63 x 75cm $1,800 - $3,600

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177 John Weeks (1888-1965) The Haunted House oil on canvas laid onto board signed (lower left), Weeks O’Connor Estate stamp to reverse 32 x 44.5cm $800 - $1,600

179 John Weeks (1888-1965) Strawberry Packing oil on card mounted to board signed ‘J. Weeks’ & dated 1917 (lower left), title inscribed to reverse 17 x 14.5cm $800 - $1,600

178 John Weeks (1888-1965) Untitled (Moroccan Street Scene with Donkey) tempera & oil on board Weeks O’Connor stamp to reverse 30 x 40cm with architectural scene to reverse $1,000 - $2,000

180 John Weeks (1888-1965) Untitled (Bustling Market at Night) oil on canvas 40 x 50cm $1,500 - $2,500

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181 John Weeks (1888-1965) Untitled (NZ Bush) oil & tempura on board 62 x 50cm together with figurative study to reverse $2,000 - $4,000

183 John Weeks (1888-1965) Untitled Abstract oil on canvas signed ‘J. Weeks’ (lower right) 15 x 11cm $600 - $1,200

182 John Weeks (1888-1965) Untitled (Floral Still Life) oil on canvas mounted on board with Weeks O’Connor Estate stamp to the reverse, with an industrial landscape by the same hand painted to the reverse 40 x 34cm $800 - $1,600

184 John Weeks (1888-1965) Untitled (Study of Cowherder) tempera on loose canvas a landscape study (tempera & oils) by the same hand to the reverse 32 x 43cm $800 - $1,600

185 John Weeks (1888-1965) Study for ‘The Bull’ tempera on paper signed ‘J. Weeks’ (lower left), inscribed ‘John O’Connor’ to the reverse 24 x 38cm together with another work by the same hand of the same size (2) $600 - $1,200 186 John Weeks (1888-1965) Untitled (European Canal) watercolour, tempera & oil on paper inscribed ‘John Weeks O’Connor’ to the reverse 47 x 64cm $600 - $1,200

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187 John Weeks (1888-1965) Study for Moonlight and Firelight, Dermnat pastel on paper 47 x 58cm, mounted $600 - $1,200 188 John Weeks (1888-1965) Untitled (European Moonlit City Scene) pastel on paper signed J. Weeks (lower right) 30.5 x 36cm $600 - $1,200

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189 John Weeks (1888-1965) Alger pastel on paper Weeks O’Connor Estate stamp (lower centre), title inscribed (lower left) 46 x 23cm together with another unframed pastel Architectural Scene by the same hand (2) $600 - $1,200

191 John Weeks (1888-1965) Untitled (European Street Scene) pastel on paper signed J. Weeks (lower right) 22.5 x 25cm with watercolour landscape to reverse & similar pastel study by the same hand, 32.5 x 25.5cm (2) $500 - $1,000

190 John Weeks (1888-1965) Untitled (European Landscape) pastel on paper 24.5 x 28cm together with a similar pastel study by the same hand, signed, 24 x 33cm (2) $500 - $1,000

192 John Weeks (1888-1965) Untitled (Seated Figures & Caravan) crayon on paper signed (lower right) 50 x 55cm together with two pastel studies of Peasant Women Laundering, 19.5 x 24.5cm each (3) (unframed/mounted) $500 - $1,000

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193 John Weeks (1888-1965) Untitled (European Industrial Scene) watercolour on paper with two small graphic studies by the same hand in watercolour & ink to the reverse 26 x 20cm (unframed) $500 - $1,000 194 John Weeks (1888-1965) Old Building Freemans Bay ink & watercolour on paper signed (lower right) 40 x 42cm together with another watercolour of The Strand, Russell, signed (lower right), 27 x 37.5cm by the same hand (2) (unframed) $800 - $1,400

195 John Weeks (1888-1965) Demnat conte on paper signed (lower right) & inscribed with title (lower) 21 x 27.5cm together with three other conte drawings Ouriki (2) & Tagendaft, 28.5 x 39cm each (4) (unframed) $400 - $800

196 John Weeks (1888-1965) Constantine, Ouriki, Demnat (2) coloured conte on paper three with Weeks O’Connor Estate stamp (to the face or reverse) 19.5 x 28cm (unframed) $400 - $800

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197 Marcus King (1891-1983) Alpine Village, Governor’s Bush oil on canvas board signed (lower right); signed & inscribed with title to reverse 49 x 59cm $1,250 - $2,500 198 Marcus King (1891-1983) Grey Weather (Okato - Taranaki) oil on board signed (lower right) 44cm x 54cm $1,000 - $2,000

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199 Ivy Fife (1905-76) Untitled (Coastal Landscape) oil on board signed (lower right) 36 x 45cm $1,000 - $2,000 200 R B Watson (1911-2002) Shotover River oil on canvas laid down on board signed ‘R. B. Watson’ (lower right) 49.5 x 59cm $800 - $1,600

201 R B Watson (1911-2002) Rua De Entre Campos Macau oil on canvas board signed (lower right), inscribed with title & dated ‘86 to the reverse 29 x 39cm $600 - $1,000

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204 Peter Beadle (1933-2021) Mt Anau & Clinton River, Start of the Milford Track, Fiordland oil on board signed (lower left); inscribed with title & dated 1972 to reverse 60 x 75cm $1,200 - $2,400

206 Peter Beadle (1933-2021) Abandoned Cart oil on board signed & dated ‘87 (lower right) 44.5 x 60cm $800 - $1,600

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202 Douglas Badcock (1922-2009) Hollyford River, Near Falls Creek oil on board signed & dated ‘66 (lower left) 47 x 59.5cm $1,200 - $2,400 203 Peter Beadle (1933-2021) Mt Exeter, Cathedral Peaks, Lake Manapouri, Fiordland oil on canvas board signed (lower left); inscribed with title (lower right) 59 x 90cm $2,000 - $4,000

205 Peter Beadle (1933-2021) Queenstown Bay with The Earnslaw, Walter Peak and Lake Wakatipu oil on board signed (lower left), title inscribed & dated 1997 to reverse 45 x 60cm $1,600 - $3,000

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207 Peter O’Hagan (1942-2013) Summer Sunset over the Lilyponds of Giverny watercolour, gouache & gum arabic on paper signed (lower right) 55 x 56cm $1,000 - $2,000 208 Peter O’Hagan (1942-2013) La Grande Dame for a Summer’s Evening, Manoir de Verzy watercolour, gouache & tinted gum arabic on paper signed (lower left) 69 x 75cm $1,000 - $2,000

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209 Peter O’Hagan (1942-2013) Glimpse through the Faux Trees, Verzy Champagne watercolour, gouache & tinted gum arabic on paper signed (lower left) 69 x 75cm $1,000 - $2,000 210 Peter O’Hagan (1942-2013) Champagne in the Garden of Manoir de Verzy watercolour, gouache & tinted gum arabic on paper signed (lower left) 69 x 75cm $1,000 - $2,000

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211 Jane Evans (1946-2012) Red Poppies watercolour on paper signed & dated ‘Jane Evans ‘96’ (lower right) 59 x 39cm $3,000 - $5,000

213 Jane Evans (1946-2012) Tahunanui Beach watercolour on paper signed & dated ‘79 (lower left) 36 x 57cm $2,000 - $4,000

212 Jane Evans (1946-2012) Larks in the Park watercolour on paper signed & dated ‘Dec ‘80’ (lower right) 57 x 39cm $2,000 - $4,000

214 John Coley (b 1935) Italian Townscape oil on linen signed ‘Coley ‘78’ (lower right) 70 x 90cm $600 - $1,200

215 Piera McArthur (b 1929) Reception Paris ink & pastel on paper signed (lower right), inscribed with title & dated ‘87 to reverse 56 x 41cm $1,000 - $2,000 216 Des Robertshaw (b 1957) Raffles acrylic on paper mounted to board signed (lower centre) 99.5 x 79.5cm $1,000 - $2,000

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217 Suzanne Herschell Geometric Landscape in Blue and Red oil on board, four panels each signed (lower right) 98 x 312cm (98 x 78cm per panel) $2,000 - $4,000

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218 Kura Te Waru-Rewiri (b 1950) Whanganui Te Awa (triptych) mixed media on board signed & inscribed with title to reverse centre panel 120.5 x 120.5cm, side panels 120.5 x 58cm $1,500 - $3,000

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219 Kura Te Waru-Rewiri (b 1950) Agony of Loss / Where the Pulse Beats acrylic on shaped denim mounted to board each panel signed & inscribed with title to reverse 28.5 x 16cm each (2) $300 - $600 220 Dean Buchanan (b 1952) Island Bay oil on hessian signed & dated ‘87 (lower left) 120 x 90cm $1,500 - $2,500

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221 Justin Summerton (b 1968) The Summer House oil on canvas signed & dated ‘13 (lower right) 61 x 76cm $1,000 - $2,000

223 Eion Stevens (b 1952) One Love (1st Version) oil on shaped board signed with initials & dated ‘06 to reverse 61 x 41cm maximum $1,000 - $2,000

222 Eion Stevens (b 1952) Boy acrylic on board signed, inscribed with title & dated 2012 to reverse 61 x 64cm $1,600 - $2,600

224 Gavin Chilcott (b 1950) Red Leaves + Blue Figure acrylic on canvas signed, inscribed with title and dated 2017 to reverse 76 x 61cm $1,000 - $2,000

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225 Juliet Peter (1915-2010) Drawing for print of Makara graphite, ink & charcoal on paper signed (lower right) 47.5 x 62cm with similar study to reverse $1,500 - $3,000 226 Michael Smither (b 1939) Thomas with Toys ballpoint and graphite on paper signed with initials & dated ‘67; inscribed with title to reverse 45 x 47.5cm $800 - $1,400

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227 Melvin (Pat) Day (1923-2016) Tihoi Landscape watercolour & ink on paper signed & dated ‘73 (lower left), with original Gallery 116 & Elva Bett labels to reverse 22 x 37cm $600 - $1,000 228 Nigel Brown (b 1949) Kiss the Wind lithograph, Artist Proof signed & dated ‘83 (lower centre) 48 x 33cm $800 - $1,600

229 Nigel Brown (b 1949) Letter to Christina upon the end of the World lithograph, ltd ed 4/15 signed, inscribed with title & dated 1983 below plate 34 x 46.5cm $800 - $1,400

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230 Stanley Palmer (b 1936) Low Tide - At the Bay 1984 II monoprint signed & dated 1984 (lower right) 60 x 84cm $800 - $1,400 231 Stanley Palmer (b 1936) Motu Maraenui bamboo engraving, ltd ed 56/100 signed & dated 1989 (lower right) 43 x 60cm $400 - $800

232 Robin Morrison (1944-93) Portrait of Robin White in Her Studio cibachrome photograph 27.5 x 40.5cm $2,000 - $3,500 This image was taken for the publication Alister Taylor, Robin White: New Zealand Painter, (Martinborough 1981) 233 Robin Morrison (1944-93) Untitled (Power Lines) cibachrome photograph 23.5 x 36cm $1,200 - $2,400

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234 Jeffrey Harris (b 1949) Portrait of an Artist mixed media / collage on paper signed & dated 5-1-1970 (upper centre) 43.5 x 69.5cm $1,500 - $2,500

236 Allen Maddox (1948-2000) Untitled (Single Cross) lithograph, ltd ed 4/15 signed with initials & dated ‘86 (lower centre( 56 x 44cm $600 - $1,000

235 Katy Corner (1956-2016) Hot House embroidery signed, inscribed with title and dated 2001 to reverse 25 x 25cm $800 - $1,400

237 Dick Frizzell (b 1943) The Answer screenprint, ltd ed 78/100 signed & dated ‘10 (lower right) 60 x 56cm $800 - $1,400

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237A Dick Frizzell (b 1943) Haka Lyric screenprint, A/P signed & dated '10 (lower right) 75 x 56cm $800 - $1,200

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238 Michael Smither (b 1939) Shape as Colour, Colour As Sound silkscreen print, ltd ed 54/55 signed with initials & dated ‘09 (lower right) 74 x 54cm $1,800 - $2,600

240 Michael Smither (b 1939) Untitled (Monster Series) screenprint, A/P signed with initials (lower right) 48 x 65.5cm $800 - $1,400

239 Michael Smither (b 1939) Snapper Rock, Reflected in Pools silkscreen print, ltd ed signed with initials (lower right) & inscribed 1/60/77-165 (lower left) 61.5 x 52.5cm $600 - $1,200

241 Michael Smither (b 1939) Untitled (Sea & Clouds) screenprint, A/P signed with initials (lower right) 62 x 44cm $800 - $1,400

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Part Three Studio Ceramics & Applied Art Thursday 22 April 4pm start Lot 300 - 380

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300 Mirek Smisek Wine Carafe with original cane stopper & handle, impressed mark, 32cm height $400 - $800

301 Mirek Smisek Flagon with original cane stopper, impressed mark, 24cm height $250 - $500

302 Mirek Smisek Jug impressed mark, 22cm height $200 - $400

303 Mirek Smisek Ovoid Vase impressed mark, 24.5cm height $200 - $400

304 Mirek Smisek Coffee Pot impressed mark, 23cm height (spout a/f) $100 - $200

305 Mirek Smisek Flagon impressed mark 21cm height $200 - $400

306 Mirek Smisek Turret-Form Money Box 27cm height $200 - $400

307 Mirek Smisek Candlestick impressed mark, 20.5cm $150 - $300

308 Mirek Smisek Footed Bowl impressed mark, 25.5cm dia. $200 - $400

309 Mirek Smisek Footed Bowl impressed mark, 20cm dia $150 - $300

310 Mirek Smisek Footed Table Bowl impressed mark, 30cm dia $150 - $300

311 Mirek Smisek Four Bowls each with impressed mark, 15cm dia. $200 - $400

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312 Mirek Smisek Salt & Pepper impressed marks, 12.5cm height $100 - $200

313 Mirek Smisek Six Goblets impressed marks to base, 12cm height $200 - $400

314 Mirek Smisek Four Goblets impressed marks to base, 10.5cm height $100 - $200

315 Mirek Smisek Five Various Mugs impressed marks, 9.5cm height $100 - $200

316 Mirek Smisek Four Yunomi impressed marks, largest 9.5cm height $150 - $300

317 Mirek Smisek Six Yunomi impressed marks, largest 9.5cm height $200 - $400

318 Mirek Smisek Deep Footed Bowl impressed mark, 16cm dia. $100 - $200

319 Mirek Smisek Footed Table Bowl late painted mark to base, 15cm dia $150 - $300

320 Mirek Smisek Deep Footed Bowl impressed mark, 16.5cm dia. $150 - $300

321 Mirek Smisek Two Footed Dishes relief patterns, impressed marks, 18.5cm, 11.5cm dia, $200 - $400

322 Peter Stichbury Ovoid Vase impressed mark, 16cm height together with footed bowl, impressed mark, 13cm dia. $100 - $200

323 Peter Stichbury Carafe with stopper, impressed mark, 27cm height $150 - $300

324 Barry Brickell Lidded Jar impressed mark, 21cm $300 - $500

325 Chester Nealie Hanging Patu Form impressed mark, 32cm high $200 - $400

326 Juliet Peter Oblong Footed Dish incised mark, 41cm length $300 - $600

327 Juliet Peter Small Dish incised mark, 18cm width $150 - $300

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328 Doreen Blumhardt Angular Floor Pot impressed mark, paper label to base reads ‘DB 71, 60s’, 58.5cm height $800 - $1,400

329 Doreen Blumhardt Large Blossom Vase impressed mark, paper label to base, 38cm height $750 - $1,250

330 Doreen Blumhardt Ovoid Vase impressed mark, original artists paper label dating to 1981 to base, 27cm height $500 - $700

331 Doreen Blumhardt Square Platter impressed mark, artists original paper label attached, 43.5cm width $350 - $700

332 Doreen Blumhardt Flattened Ovoid Vase impressed mark, 26cm height $200 - $400

333 Doreen Blumhardt Spearhead Vase impressed mark, 24cm height $300 - $600

334 Doreen Blumhardt Four Various Small Bowls variously sized & glazed, all marked (three impressed, one incised), 11.5cm, 10.5cm, 9cm & 8.5cm dia $200 - $400 108

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335 Doreen Blumhardt Footed Bowl with impressed mark, 18cm dia $100 - $200

336 Doreen Blumhardt Five Rock Impression Specimen Vases impressed marks, largest 10cm height $150 - $300

337 Doreen Blumhardt Four Rock Impression Specimen Vases impressed marks, largest 8.5cm height $100 - $200

338 Roy Cowan Floor Standing Vase of ovoid form, hand painted stoneware decorated with Wellington Panoramic Landscape of rocks, batches & seascape, c1980s 88cm height $5,000 - $8,000 Provenance Collection of Roy Cowan & Juliet Peter, Ngaio, Wellington The Roy & Juliet Cowan Collection, Dunbar Sloane Ltd, 30 September 1999, lot 559 Private collection, Wellington

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339 Roy Cowan Floor Standing Vase of elongated form, incised with long leaf repeating decoration, rich blue & green salt glaze c.1970 85cm height $3,500 - $6,000 Provenance Collection of Roy Cowan & Juliet Peter, Ngaio, Wellington The Roy & Juliet Cowan Collection, Dunbar Sloane Ltd, 30 September 1999, lot 552 Private collection, Wellington 340 Roy Cowan Floor Standing Vase of elongated form, incised with repeating geometric decoration, rich blue salt glaze paper label to base dated 1982, 70cm height $3,000 - $5,000

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341 Roy Cowan Floor Vase handpainted with sunflower motifs, impressed mark & paper label dated 1982, 37cm height $1,000 - $2,000

342 Unknown Potter Large Lidded Crock salt glaze with combed frieze, 57cm height $200 - $400

343 Graeme Storm Floor Vase impressed mark, 63.5cm height (slight loss to rim) $200 - $200

344 Keith Blight Celestial Vase impressed mark, 31cm height $150 - $300

345 Keith Blight Pyramid Form impressed mark, 39cm length (slight point chip) $150 - $300

346 Keith Blight Impressionist Wall Plaque ceramic tile arrangement mounted on board, signed to reverse, 40 x 48.5cm max. $150 - $300

347 Marilyn Wiseman Platter mark to base, 45cm width $300 - $500

348 Anneke Borren Lidded Floating Pot the turned wooden lid custom made by Denis Newton, painted mark, 32cm dia. $300 - $600

349 Scott McFarlane Five Tiles all signed to reverse & no. 149, 199E, 297, 436, 305, of sizes $300 - $600

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350 Manos Nathan Ipu Manaia Parirau (winged Manaia vessel) signature incised to base, 56.5cm height $2,000 - $3,000

351 Paul Laird Floor Pot spherical body with ribbed neck handles, incised mark, 59cm height $300 - $600

352 Richard Parker Squared Vase glazed earthenware, artists paper label to base, 36.5cm height $1,000 - $2,000

353 John Parker Graduated Pair Flared Agate Bowls impressed mark to base, 29cm, 19cm dia. $200 - $400

354 John Parker Two Bottle Vases impressed marks, 19cm, 10cm dia $150 - $300

355 Katherine Smyth Feijoa & Other Juglet hand-built earthenware, both etched signature & title to base, 17cm, 12cm heights $150 - $300

356 Richard Parker Small Tunnel Kiln Vase artists paper label to base, 14cm height $200 - $400

357 Chester Nealie Gourd Form Vase chrome & cobalt wash, impressed mark, 12cm height $300 - $450

358 Grant Hudson Vase mark incised to base, 24.5cm height $100 - $200

359 Jack Laird Plate ‘Lady Godiva’ impressed signature, 28cm dia. $100 - $200

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360 Takeichi Kawai (Japanese 1908-1989) Slab Sided Bottle Vase underglaze blue & red floral decoration, 17cm height $750 - $1,250

361 Len Castle Discoid Vase textured rope impressions, 44cm height $1,200 - $2,000

362 Len Castle Shallow Bowl blue glaze, impressed mark, 35cm dia $1,000 - $1,600

363 Len Castle Double Hanging Form impressed mark, 30cm width $600 - $1,200

364 Len Castle Hanging Form cobalt blue glazed interior, impressed mark, 51cm length $600 - $1,200

365 Len Castle Hanging Form impressed mark, 34cm width (edge chip) $400 - $800

366 Len Castle Hanging Vase deeply impressed barnacles, impressed mark, 12.5cm dia. $250 - $500

367 Len Castle Brush Pot impressed mark, 16.5cm height $300 - $600

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368 Crown Lynn Wharetana Ware ‘Moko’ bookends dark green glaze, impressed model 1019 to base, 14cm height (edge chips to one) $2,500 - $3,500 The Crown Wharetana range of ceramic ware was designed by Harry Hargreaves who emigrated to New Zealand in 1924. He worked at Crown Lynn from 1943 until his death in the 1960s. The range began production around 1947 and assimilated Maori designs in a contemporary manner.

369 Crown Lynn Swan no 170, printed tiki mark, 24cm height $300 - $600

368

370 Probable Milton c1880 Pair Mantel Vases relief florals on ceramic hail (faults), 33cm height each $300 - $600 371 No Lot 372 Feltex Carpets NZ Ltd Riccarton Carpets Queenstown, New Zealand Souvenir Rug no. 6.

69 x 137cm complete with original plastic packaging, certificate of authenticity & Harewood label to reverse $3,000 - $5,000 373 Feltex Carpets NZ Ltd Riccarton Carpets The Auckland Harbour Bridge, New Zealand Souvenir Rug no. 5., 137 x 69cm complete with original plastic packaging, certificate of authenticity & Harewood label to reverse $3,000 - $5,000

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374 Feltex Carpets NZ Ltd Riccarton Carpets Mt Egmont, New Zealand Souvenir Rug no. 4., 137 x 69cm complete with original plastic packaging and certificate of authenticity $3,000 - $5,000 374 373

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375 Kate Wells (b 1961) Golden Geese (Blue/Green) Dilana rug, limited edition 6/20 signed & inscribed with title to underside, crafted by Ralph W. on original label to reverse 200 x 150cm $3,500 - $5,000

376 Kate Wells (b 1961) Short Sheep III (Rust) Dilana Rug, limited edition 2/20 signed, inscribed with title to reverse, crafted be Ralph W. for Dilana Rugs on original label to reverse 235 x 80cm $3,500 - $5,000

P RO VENANCE Purchased from Dilana Rugs, Christchurch, December 2001 Sale, The Collection of Frank & Lyn Corner, Wellington, Art+Object, 18 March 2018 (lot 101)

PR O VE N AN C E Purchased from Dilana Rugs, Christchurch in December 2001 Sale, The Frank & Lyn Corner Collection, Wellington, Art + Object, 18 March 2018 (lot 100)

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377 John Middleditch (1906-87) Stallion bronze sculpture impressed mark & dated Sept ‘75 no. 525 50cm height, 46.5cm length $3,000 - $5,000 378 Theo Janssen Abstract Bronze Sculptural Form on wooden plinth base 58.5cm width $1,500 - $2,500

380

379 Theo Janssen Warlord 3 bronze on wooden base signed to base, signed & inscribed with title to base 39cm height overall (potential damage to tip) $800 - $1,600

380 Vicky Savage Untitled, bronze sculptures larger with etched initials ‘V.S A/P’, smaller ‘V.S ltd ed 1/25’, 40cm height, 17cm height $600 - $1,200

PR O VE N AN C E purchased by the vendor’s father c1970 directly from the artist

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MAORI, OCE ANIC & AFRIC AN ART

Thursday 22 April 6pm start Lot 1 - 116

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1 Samuel Carnell (Napier) Portrait of a Maori woman in a korowai Carte de visite albumen print mounted on photographer’s card.

102 x 62mm $100-$300

2 Samuel Carnell (Napier) Portrait of Hami Te Hauerangi Carte de visite albumen print mounted on a photographer’s card.

102 x 62mm $100-$300

3 Portrait of an Aboriginal Women Carte de visite albumen print mounted on a photographer’s card.

102 x 62mm $100 - $200

4 Samuel Carnell (Napier) Portrait of a Maori chief wearing a korowai (cloak) Carte de visite albumen print mounted on a photographer’s card.

100 x 62mm $100-$300

5 Samuel Carnell (Napier) Portrait of a Maori Chief with huia feathers in his hair and wearing a korowai Carte de visite Albumen print mounted on a photographer’s card.

100 x 62 mm $100-$300

6 Thomas Edward Price (Masterton) Portrait of a Maori women wearing a korowai and holding a patu (hand club) Carte de visite albumen print mounted on a photographer’s card.

100 x 62 mm $100-$300

7 Thomas Edward Price Portrait of a Maori woman wearing a korowai holding a kotiate paraoa (whalebone hand club) Carte de visite albumen print mounted on photographer’s card.

102 x 62mm $100-$300

8 Samuel Carnell (Napier) Portrait of a Maori woman Carte de visite albumen print mounted on photographer’s card.

102 x 62mm $100-$300

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9 Thomas Edward Price Group of Maori figures in front of a wharenui tipuna (meeting house) Carte de visite albumen print mounted on photographer’s card.

102 x 62mm $100-$300

10 Thomas Edward Price Group portrait of Maori men Carte de visite albumen print mounted on photographer’s card.

102 x 62mm $100-$300

13 Allan Baldwin Maori Kuia with Ta moko A rare black and white portrait photo, circa 1966 Provenance: Hastings’s photographer Allan Baldwin spent his life creating precious taonga, photographing over 1000 Maori kuia with Ta moko. Most of the work was not printed in this large size format. In 2012 his life’s work was documented in the award-winning film Alan Baldwin In Frame.

46 x 36cm $600-$1200

11 Anson Brothers (Hobart) Portrait of an Aboriginal man and two women. Carte de visite albumen print mounted on a photographer’s card. Inscribed on the verso ‘Natives of Tasmania’.

100 x 62mm $100-$300

14 Robert Percy Moore Maori Pa, Rotorua, New Zealand Panoramic black and white photograph, title inscribed and with photographer’s label lower right.

19 x 93cm $1000-$2000

12 Tene Waitere carving a Poupou (wall panel) Glass plate negative, inscribed Maori carver at work.

90 x 90mm $100-$200

15 A swamp Recovered Ko (Digging Implement) Showing considerable wear.

183cm length $50-$100

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16 An Important 19th Century Pounamu Hei-Tiki from the Collection of Charles Frederick Goldie Light green inanga type variety with tilted head and lightly delineated hands placed on the thighs. The circular eyes with applied red sealing wax. Pierced through the head for suspension. Signed on the back C F Goldie and inscribed in faint white script with the name Ngaheke. Ngaheke Perira Te Kahikura was a Te Arawa Chieftainess that Goldie painted in 1915.

Complete with supporting documentation.

Provenance: Sold by Dunbar Sloane Wellington in 1974 8.5cm length, 6cm width. Y 17776 $3000-$5000

17 Pounamu Hei-Tiki A finely carved 20th century example. Kawakawa variety pounamu with a titled head and pointed chin.

The shoulders tilt diagonally with one broad strongly delineated three figured hand on the chest and a lightly delineated hand on the thigh.

12cm length. 7cm width $2500-$3500

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18 Ngati Tarawhai Gourd Shaped Ipu (Spouted Bowl) Finely carved, the underside with a wheku head with inset paua shell eyes framed by intersecting pakura (spiral) designs and rauponga (notched ridging lines and grooves) The bowl rim inset with paua shell discs. The spout carved with a wheku head and with further rauponga detailing. Some damage evident to the spout section.

29cm length. 16cm width $6000-$8000

19 Rare 19th Century Tuki (Mouthpiece for a Calabash) The tapering cylindrical form decorated with lineal rauponga and with a pair of well carved outward facing ancestral figures, each with three finger hands placed on the abdomen.

14cm x 20cm. Y 20988 $3000-$5000

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20 Ngati Tarawhai Table Coaster Circular form, carved with four wheku heads with paua shell eyes and fine rauponga decoration.

20cm diameter. Y number pending $500-$1000 21 Rare Chatham Islands Morori Patu Okewa (Hand Club) Abstracted avian form, carved from Rekohu schist. Probably used historically for ceremonies or the hunting of seals as the Morori embraced a pacifist culture that avoided all forms of warfare. A similar example is held in the collection of the Museum of New Zealand Te Papa Tongarewa.

40cm length. Y number pending $3000-$5000

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22 Wooden Patu (Hand Club) An early 20th century example with thin oval blade tapering to the grip section.

31cm Length $500-$800

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23 Large and impressive 19th Century Mere Pounamu. (Greenstone Hand Club) Beautifully crafted from kahurangi nephrite.

The blade tapering to the grip section with a countersunk suspension hole terminating in five deeply cut graduating grooves.

Provenance: Arthur Beau Palmer collection.

46cm Length. Y number pending $10,000- $20,000

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24 Fine and Unusual 19th Century Hoe (Paddle) Classic form with long cylindrical shaft terminating in a carved figure with wheku face and with folded legs clasped by his arms with pakura (spiral) decoration. The back of the blade with faint inscription ‘Meti Kin’.

192cm length $4000-$8000

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25 Wooden Whakawae (door jamb) section The 18th century architectural piece carved with three conjoined ancestral figures with naturalistic bodies and wheku faces on an intricately carved and pierced support.

Remnants of a barely legible old collection label to one side.

68cm length 9cm width. Y10517 $4000-$8000

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26 Taiaha (Fighting Staff) Late 19th century example with tapering slender shaft and undecorated tongue and head section, split to one side.

160cm length. Y number pending $350-$700

27 Nguru (Nose Flute) Light brown color with two holes to the front and three to the reverse of the body. Wheku head carved in relief to one end.

15cm length. Y number pending $350-$500

28 Matau (Iron Shark Hook) 19th century, with a single barb.

130mm length. Y number pending $1000- $1500

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29 An Unusual Pounamu Anulet Teardrop shape with carved notching to each side and with two countersunk suspension holes and lashing groove to the top.

8cm length. Y 16131 $800- $1500

30 Large Toki (Adze Blade) Quadrangular shaped, hammer pecked to the sides and tanged end section.

29cm length. Y number pending $800-$1600

31 Ngati Tarawhai Table Bowl Decorated with a continuous band of wheku heads with protruding tongues framed by rauponga. The circular foot with conforming carved decoration.

18cm diameter. 15cm height Y number pending $1200-$1800

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32 Patoromu Tamatea An Historically Important Kumete Whakairo (Carved Lidded Presentation Bowl) The large and impressive kumete carved with two figures each modelled in a crouching position holding the bowl in their outstretched arms and supporting it on their legs with their chins resting on the bowl rim. Each figure with four fingered hands and naturally rendered face decorated with ta moko.

The bodies of each extensively carved with rauponga (notched ridges and parallel grooves) and pikorauru (spiral) designs. The bowl is extensively carved with a fine design of rauponga conforming with the design on the figures. Each side of the bowl is carved with an ancestral figure rendered in low relief with a wheku head and protruding tongue. The carved lid with two outward facing relief carved figures with splayed legs held in their three fingered hands. The head of each carved in wheku form with protruding tongue. Each figure decorated with rauponga and with pikorauru designs to the shoulder above the main lid section which is decorated with further rauponga patterning. Superb overall colour and with rich patination to the head of each crouching figure.

Provenance: Gifted by the chiefs of the Te Arawa tribe to Robert Graham M.P in 1878 in acknowledgment for his work in settling peace over a land dispute between the chiefs Te Pokiha of Ngati Pikiao and Petera Te Pukuatua of Ngati Whakaue: Retained in the Graham family collection from 1878-2009.

Sold by Dunbar Sloane Auckland in November 2009 Private collection Auckland.

42cm width, 30cm height. Y14036 $80,000-$120,000

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This important kumete whakairo is one of three large and historically significant figure supported bowls that were carved between 1865 to 1885 by the master carver Patoromu Tamatea. It was presented to the member of Parliament, Robert Graham in 1878 along with three other Taonga for his assistance in resolving a major land dispute between two Te Arawa chiefs in Maketu in the Bay of Plenty.

Patoromu Tamatea of Ngati Tamateatutahi hapu, Ngati Pikiao, Rotorua has long been recognised as an important carver and community leader from the Te Arawa region. Patoromu is known to have carved waka (canoes) and tekoteko (carved gable figures) alongside smaller items such as weapons,tokotoko (ceremonial walking sticks) and heru (combs). The Museum of New Zealand, Te Papa Tongarewa and The Auckland War Memorial Museum, both hold collections of his pieces. His most significant work and most important contribution to the history of carving from the Te Arawa region though is in regard to his carving of large figure supported bowls, with which he is credited as being one of the innovators1. His work in creating these large and impressive kumete whakairo predates all other known completely carved figure supported bowls produced by Ngati Tarawhai and Ngati Pikiao carvers2. These large and superbly carved pieces are a development of the traditional carved whakahuia and kumete and represent an important and creative response to the increased demand for Maori carvings from Europeans during the second half of the 19th century.

Kumete whakairo of this size and scale were carved by Tamatea as presentation pieces or were commissioned by important wealthy patrons.

As noted, this is one of three that are known. One of the other kumete is held in the collection of the Auckland War Memorial Museum. That example was commissioned by Sir George Grey during his tenure as Governor of New Zealand. It was not completed until after Grey left New Zealand. It eventually passed into the hands of Captain Gilbert Mair and was deposited in the Auckland Museum as part of the Gilbert Mair collection. During his visit to Auckland in 1895, the artist Paul Gauguin visited the Auckland Museum. The kumete made a lasting impression on Gauguin. He made sketches of it and then subsequently incorporated depictions of it into two of his paintings, Te Rerioa (1897) and Still Life with Mangoes (1901).

The other kumete from this historically important group is held in The Collection of Museum of New Zealand, Te Papa Tongarewa. It was presented to Tamihana Te Rauparaha, son of the famous Ngati Toa warrior chief Te Rauparaha who today is remembered for popularising the haka3.

Like the piece offered here for sale and the kumete whakairo held in the Auckland museum collection, the style of carving is distinctively the work of Patoromu Tamatea. It features robustly carved crouching figures, fine and superbly carved rauponga (carving pattern of alternating ridges and grooves) and relief carved figures on the lid. The rauponga detailing on these kumete is particularly interesting as it tightly carved and formally rendered. Also incorporated in the rauponga is a design feature of continuous sinuous shaped linking haehae grooves. This is unique to the work of Tamatea4. With these pieces Tamatea is experimenting with and adapting both traditional forms and styles of traditional carving.

As with the kumete in the collection of The Museum of New Zealand, the piece in this catalogue was carved for presentation, specifically for presentation to Robert Graham5. Robert Graham arrived in New Zealand from Scotland at the age of 22. In his political career he was a member of both the House of Representatives and the Auckland Council and Superintendent of Auckland. Graham was sympathetic to Maori causes and was aware of the impact of colonisation on the Maori people 6. He also spoke fluent Maori and was a friend of the Te Arawa Maori and referred to as Ropata Karema.

In June 1878, a land dispute had arisen in Maketu in the Bay of Plenty between two chiefs, Te PokihaTaranui of Ngati Pikiao and Petera Te Pukuatua of Ngati Whakaue. The dispute was serious and there was a strong possibility of it erupting into warfare. To avert this, Robert Graham was asked to intervene. He travelled on horseback for three days from Auckland to Pukemarie Pa at Maketu and persuaded the chiefs to postpone their fighting until he was able to negotiate with the government on their behalf. This he was able to successfully do.

Subsequently, the Minister for Native Affairs met with the chiefs and was

able to resolve their land issues. In December, the chiefs of the Te Arawa region gifted 1500 acres of land to Graham in appreciation for his intervention and assistance in averting war. This gift of land was later disallowed by the government.

Along with the land gift a presentation of taonga was also made to Robert Graham and his family. It included ‘two beautifully carved paddles and two handsome Maori carvings’7. This kumete was one of those carvings along with a carved chalice by Anaha Te Rahui which the Graham family referred to as the ‘Peace Chalice’ or ‘Peace bowl’ in reference to the peace deal that was brokered by Robert Graham. The peace chalice is now held in the collection of Te Papa Tongarewa. The two pieces were photographed together by Josiah Martin around 1890. That photograph is held in the Auckland Museum collection and has been reproduced in this catalogue. This kumete was also drawn in pencil by Richard Reverend Lashley, sometime after the presentation to Robert Graham in 1878. That sketch is now held in the collection of the British Museum, along with Richard Reverend Lashley’s notes and writing on Maori art.

It is interesting to note that the presentation to Robert Graham included these two carvings from two different carvers from two different iwi within the Te Arawa region. The peace chalice carved by Anaha Te Rahui from Ngati Tarawhai and the kumete whakairo by Patoromu Tamatea from Ngati Pikiao. Roger Neich has written about the important connections between the carvers of these iwi8. The fact that two different carvers from two different iwi were chosen to carve pieces for this historically significant presentation to Robert Graham speaks to the importance of these connections. At some unknown point in time the kumete, the peace chalice and the two paddles were separated and the only piece that was retained by the Graham family was this kumete. It was eventually offered for sale in 2009 after being held in the Graham family collection for over one hundred and thirty years.

This kumete whakairo and the two similar carved examples held in the Auckland War Memorial Museum and Te Papa Tongarewa collection are among the most important and historically significant pieces that were carved in the Te Arawa region in the later part of the 19th century.

They are all associated with important historical events or people. These kumete are among the first carved Maori figure supported bowls of this scale that were made and, in this regard, Patoromu was an innovator, responding to the increased European demand for carved Maori art by adapting traditional forms, particularly the whakahuia form. The carving on these pieces is also innovative and adaptive, particularly the rauponga designs which cover the surface of these pieces. The rauponga detail on this kumete is beautifully rendered and formalised and incorporates Tamatea’s unique continuous sinuous shaped grooves. It brings to mind the much later work of artists such as Gordon Walters with his use and interpretation of rauponga in his paintings9. In this regard this kumete can be seen as part of the narrative between traditional carved Maori art and later 20th century Maori design inspired modernism.

James Parkinson Roger Neich, Carved Histories, Rotorua Ngati Tarawhai Woodcarving, Auckland University Press. P. 246 Neich. P.246 Museum of New Zealand, Te Papa Tongarewa. Collections online, Kumete (carved lidded presentation bowl) https://collections.tepapa.govt.nz/object/130276 4 Neich. P.248 5 Museum of New Zealand, Te Papa Tongarewa. Collections online, Peace Chalice https://collections.tepapa.govt. nz/object/524866 6 Museum of New Zealand, Te Papa Tongarewa. Collections online, Peace Chalice https://collections.tepapa.govt. nz/object/524866 7 Museum of New Zealand, Te Papa Tongarewa. Collections online, Peace Chalice https://collections.tepapa.govt. nz/object/524866 8 Neich. P.86 9 Christchurch Art Gallery Te Puna O Waiwhetu. Gordon Walters, Rauponga https://christchurchartgallery.org.nz/ collection/84-16/gordon-walters/rauponga 1 2 3

Image: Josiah Martiin. (Display of carved lidded Kumete and figure). Auckland War Memorial Museum Tamaki Paenga Hira. PH1958-1-15408

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33 Ngati Tarawhai Carved Mirror Frame Modelled in the form of a pare and whakawae, the lintels and supports which frame the windows of wharenui (meeting houses) The pare centered by a figure with hands placed to his abdomen flanked by outward facing manaia figures with three fingered hands above a frieze decorated with pikorauru (spirals) and rauponga. The whakawae with two ancestral figures each surmounting the other with their hands placed on their abdomens and with inset paua disc eyes. The lower section shelf decorated with a tauira (scrolling spiral) design and with further rauponga decoration.

The original recessed mirror with a beveled edge.

This carved mirror frame is similar to another example carved by Tene Waitere that was exhibited alongside other Ngati Tarawhai carvings in the 1906 International Exhibition in Christchurch. That mirror is now held in the collection of the Museum of New Zealand Te Papa Tongarewa and is currently on display in the exhibition Turangawaewae: Art and New Zealand.

73 x 53cm Y 10884 $12,000- $20,000

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34 Tene Waitere A large and Important Carved Poupou (Carved Ancestral Panel) The standing male ancestral figure with naturalistic face and body and incised ta moko and rauponga and pikorauru (spiral) carving to shoulders. The abdomen carved with a wheku head. The legs with kowhaiwhai designs and with further rauponga carving. The figure surmounts a wheku head with rauponga carved detailing conforming to that on the main figure.

Provenance: This important poupou is one of the eight panels carved by Tene Waitere for the geyser observation rotunda at Whakarewarewa. It was carved in 1903 and remained in situ until the fibre roof of the structure caught fire. The rotunda was then dismantled, and the eight ancestral panels were offered for sale.

This poupou along with three other poupou from the rotunda were purchased by Reginald Smith. In 1931 Reginald Smith purchased the land at Te Wairoa and working with local iwi, began excavations on the site, soon after opening the Buried Village. This piece remained on display at the Buried Village throughout its history until it was sold by the Smith family in 2012. Three of the poupou remain in the Buried Village Collection and another two of the carved boards from the rotunda are held in the Museum of New Zealand Te Papa Tongarewa collection.

The observation rotunda and details pertaining to it are referenced and illustrated in Carved Histories: Rotorua Ngati Tarawhai Woodcarving by Roger Neich. P.220 and P.221.

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One of the most striking of all the artworks in the National Collection housed at Te Papa Tongarewa is by the Ngāti Tarawhai carver artist Tene Waitere (1853 – 1931).

Commissioned by Augustus Hamilton (director Colonial, later Dominion Museum, 1903-13) in the late 1890s the Tā Moko panel is amongst the most radical of the cross-cultural whakairo/carving that emerged after the 1860s in Aotearoa. This corpus of carving, much of it created by a group of Ngāti Tarawhai and related carvers - Wero Tāroi, Anaha Te Rahui and Neke Kapua being other notable figures - can be described as radical on two counts. First, that many of these smaller, portable items were created outside the traditional iwi based commissioning structure – in other words such carving was not created to be housed within an ancestral house or whare tupuna, and second, many of these carved bowls, fireplace surrounds and sculptural figures afforded the carvers some freedom of expression and latitude to engage with imagery that reflects the changing reality of Aotearoa from the 1860s. In simple terms, these carvers, of which Tene was amongst the most prolific, began to experiment with sculptural forms and modes of depiction that were European in origin. Within carved meeting houses such as Rangitihi (late 1860s), Te Tiki a Tamamutu (late 1870s) and Houmaitawhiti (1875) we see figures sporting boots or top hats. We encounter free standing carved ‘statues’ such as the striking Umukaria by Wero Tāroi (1880) that stood at the village of Te Wairoa prior to the eruption of Mount Tarawera in 1886.

The driver of much of this cross-cultural exchange was the burgeoning tourism industry in and around Rotorua, with the key attraction prior to their destruction being the famed Pink and White Terraces.

The combination of significant carved house building by iwi in the Rotorua, Tarawera and Rotoiti areas and the new European patrons building hotels and other tourism attractions provided ample scope for Ngāti Tarawhai, Ngāti Whakaue and Ngāti Pikiao carvers to demonstrate their myriad skills across all forms of whakairo.

New and interesting forms, some hybrid in nature, emerged in response to this developing market. Carvers such as Waitere were adept at moving between traditional Māori commissions and the more commercial aspects of the tourism markets. It has been said that some of the finest carving of this period was for the tourism marketplace. The smaller scale of the chalices, kumete, figural bowls or presentation items enabled the carvers to ‘go to town’ without the more pressing demands of larger scale building projects associated with whare tūpuna.

The Tā Moko panel is a case in point. It is in such work that we can see Waitere at his most experimental in form and precise in his carving. Similarly, the eight hybrid poupou figures that adorned the striking observation rotunda at Whakarewarewa in Rotorua (1903) occupy this fertile cross-cultural space, within which Tene incorporated traditional carved forms such as wheku heads with more naturalistic or ‘European’ modes of presentation. There are two similar figures in the Te Papa collection, one of which clearly depicts a female figure with naturalistic breasts. The Te Papa male figure grasps a mere in a similarly realistic manner. At over 2.5 metres these ‘poupou’ figures perform a very different role to those located within a whare tupuna. These figures and the subsequent waharoa for the Whakarewarewa model Pā stood on Māori whenua but were designed for a cross-cultural audience, both Māori and Pākehā. The alacrity with which Tene combines these conceptual drivers and the seamless manner in which the demarcation lines are blurred make Waitere one of the more significant operators in this contested or shared space. These examples emerged some sixty years before Theo Schoon and Gordon Walters initial efforts to synthesis indigenous forms such as kowhaiwhai and the koru with Modernist and Bauhaus design principles.

It can also be argued that these carver artists were more integrated within the arts discourse over one hundred years ago than they are today. A case in point is the current exhibition Ngā Tai whakarongorua - Encounters in Toi Art currently on display at Te Papa.

There on the central wall within a frieze of colonial era highlights

by Goldie and Lindauer is located a carved mirror frame by Tene Waitere, not dissimilar to the example in this catalogue. Consisting of a re-imagining of the entrance carving of a whare whakairo, being the whakawae and pare forms, such carved mirrors enabled, at a smaller and portable scale, the viewer to engage at close proximity with the skill and idiomatic structures of master carving. In the Te Papa exhibition, notwithstanding the wealth of portraits of Māori subjects, the Tene Waitere carved mirror is the only example of an autograph work by a Māori artist.

Tene Waitere’s career spanned almost sixty years, from his early collaborative works with his master Wero Tāroi such as Te Tiki a Tamamutu and Hinemihi o te Ao Tawhito around 1880 to later showpiece whare whakairo such as Rauru ( 1897, in the collection of the Hamburgisches Museum für Völkerkunde, Hamburg) and later houses such as Hinemihi carved for his granddaughter guide Rangi in 1927. Waitere also carved numerous carved pieces for European patrons, for hotels, private collectors and Museum commissioners such as Hamilton.

In some of these pieces such as those naturalistic figures within Rauru or the poupou figures carved for the observation rotunda at whakarewarewa, we can see Waitere exploring Māori subject matter with a European influence. This writer has been told that Tene would have seen early illustrations of European masters, most likely via figures like Hamilton or early hoteliers including Charles Nelson proprietor of the Geyser Hotel in Rotorua. The enigmatic smile and posture of Leonardo’s Mona Lisa is one example that is said to have caught his attention.

Recent curatorial presentations within our public museums are beginning to re-evaluate these early iterations of cross-cultural image making by carvers artists including Tene, Wero and Anaha Te Rahui.

The examples illustrated on these pages provide telling evidence of the invention of the Ngāti Tarawhai carving tradition and Tene’s fertile practice in the service of his artistic whakapapa as well as how elegantly he depicted the reality of his changing world in these precious taonga.

Hamish Coney Hamish Coney is the author (in collaboration with Mark Adams, Dr. Keri Anne Wikitera, Jim Schuster and Lyonel Grant) of the recently published Hinemihi: Te Hokinga – The Return (Rim Books, 2020) which examines the journey of the carved house Hinemihi o Te Ao Tawhito – by Wero Tāroi and Tene Waitere.

James McDonald Tene Waitere with carved panels representing Hinemoa and Tutanekai from Te Wharepuni a Maui, 1905 black and white gelatin glass negative, circa 1897-1904 (detail) Museum of New Zealand Te Papa Tongarewa MU000523/001/0500

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35 A Rare Pre-European Northland Papahou (Treasure Box) Stone tool carved. Robustly decorated to the underside of the box with two female figures, each in an opposing flexed stance with wheku form heads protruding from each end of the box. The heads are pieced to enable suspension. Each figure is carved with pikorauru (spiral) designs at the shoulders and the knees and have three fingered hands clasped to their abdomens. The walls of the box feature rauponga and pikorauru designs along with a single wheku head. The lid sits in a rebated top and is carved with an unusual hoe (paddle) motif along with further rauponga and pikorauru spirals conforming with the sides of the box.

Provenance: Miet Collection. Purchased by Andrew Meit from Sotheby’s UK (Lot 110, 11th July 1972) and repatriated to New Zealand. Purchased from the Miet collection auction at Dunbar Sloane in Wellington in 1985. Sold by Art and Object in 2007.

For a papahou of similar style collected in the Far North by Captain Cook see: Taonga Maori in the British Museum by Roger Neich, Mick Pendergrast and Dorota C Starzecka; Te Papa Press, 2010. Page 196, colour plate 10.

58 x 16cm Y6630 $25,000 - $40,000

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The papahou or wakahuia was a treasure box of a Maori chief or family group. It was designed to be used as a sacred container for small treasured items of adornment which are the mark of chiefly status or high rank. Whale bone and wooden heru (combs) worn as head ornaments by chiefs, feathers such as the white tipped tail fathers of the huia and the long tail feathers of the red-tailed tropicbird, hei-tiki, pekapeka, kapeu (ear pendants) and other pounamu items were all retained in papahou and whakahuia.

Papahou, as distinct from wakahuia, are usually flat and regular in form rather than oval.

Papahou typically come from the Taranaki, North Auckland and the Northland regions of the North Island and are typically stone tool carved. These carved boxes did not make the transition to the age of steel tool carving1. As Roger Neich has noted, the style of this type of box probably declined due to early epidemics which impacted on the carvers from the northern regions and to the impact of the destructive musket raids of the 1820s2. Additionally, the carved underside decoration which features so prominently on these boxes was not well suited to display after the adoption of flat tables and

other items of English furniture3. The wakahuia was more easily adapted and came to feature flat bottoms with figural supports and so this form developed throughout the later part of the 19th century.

Papahou were typically suspended on flax cords from the rafters of a whare tipuna (ancestral house) to keep their sacred contents safe. As these boxes were suspended, the most significant carving features on the underside, as is the case with this piece. They also typically feature pierced projecting heads which enable the box to be suspended. On this piece the main body of the two female figures features significantly on the underside of the box and their heads, carved in wheku form, protrude from each end.

James Parkinson Roger Neich, Dorota C Starecka and Mick Pendergrast: Taonga Maori in the British Museum. Te Papa Press,2010. p.43 Neich. p.43 3 Neich. P.43 1

2

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36 Thomas Derby Ryan A Maori Swing Watercolour signed and dated 1912.

Title inscribed on the original oak frame.

97 x 63cm Provenance: From the collection of the Buried Village Te Wairoa, Rotorua.

Exhibited at the Rotorua Museum.

Exhibition label affixed verso. $12,000- $18,000

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37 A late 19th Century Flax Korowai (Cloak) The muka kaupapa (foundation) crafted with double pair twining, decorated with black hukahuaka thrums. The decorative boarder woven in yellow, black, red, and blue wool. Framed and mounted in a display case.

125 x 140cm. Y number pending $12,000-$18,000

38 An Early 20th Century Korowai (Cloak) Decorated with green wool thrums on a woven candlewick ground. The decorative border woven with red and green wool. Framed and mounted in a display case.

113 x 126cm. Y number pending $6000-$8000

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42

43

52

53 / 54 / 55

40 Korere (Feeding Funnel) The front carved with a figure in relief with wheku head with hands placed on thighs, the reverse with a smaller conforming figure. The base of the spout with an avian form head.

The surface carved with wheku heads and rauponga and pakura decoration.

14cm length $1500-$2000

41 Taiaha (Fighting Staff) A 20th century example carved in the Ngati Tarawhai style with rauponga decoration. Together with a tokotoko (walking stick) and three wahaika (hand clubs). $200-$400

57 39 Tokotoko (Ceremonial Walking Stick) Tapering cylindrical form carved with a carved wheku head and rauponga decoration.

93cm length $100-$200 42 Carved Wooden Bust of a Maori Chief 21cm x 19cm $100-$200 45 Grinding Stone and Anchor stone (Punga) The grinding stone of light creamy coloured sandstone with two grinding runs, one on each side. Broken and reglued at the centre section. Y 08961. The anchor stone probably a natural stone used to anchor nets.

The greywacke stone of tear drop shape with discolouration to the centre section.

Unregistered.

35cm width $100-$400

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43 Patu Muka (Flax Pounder) With overall pecked finish 25cm length. Y number pending. $200-$400 46 Taniko Band Muka kaupapa (foundation) with triangular designs and geometric patterning in back and neutral colouration.

76cm length $200-$300

44 Kahu Huruhuru (Feather Cloak) Candlewick and cotton with applied native pigeon and hen feathers.

93 x 113cm. Y 16750 $400-$800

47 Bird Bone Toggle 8.5cm length Y 15771 $100-$200

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62

48 Kete Houhere (Lacebark Bag) A rare kete woven entirely from lacebark, the fringed sides and the aho (weft) coloured purple.

17.5 x 20cm. Y20369 $300-$500

49 Pounamu Kuru (Pendant) Rectangular form, perforation to the centre drilled from both sides 2cm x 2.5cm. Y16168 $100-$200

51 Toki (adze) Greywacke stone, hammer dressing to the reduced poll section.

22cm length. Y 13441 $200-$400

52 A Large Colonial Kauri Gum Bust of a Maori chief Carved with ta moko and with a korowai draped over his shoulders 35 x 30 cm $3500-$5000

54 Manatunga wool travel rug Decorated in a tukutuku panel design in black, red, yellow, and white. Original Manatunga Roslyn label attached.

153 x 130cm $400-$800

55 Te Ariki wool travel rug Decoratedin a tukutuku panel design in orange, white, brown and russet. Original Te Ariki Onehunga Woollen Mills label attached.

153 x 130cm $400-$800

57 Samuel Charles Brees Plain of the Ruamahunga Opening Into Palisander Bay Near Wellington Lithographic print Samuel Charles Brees was the chief surveyor for the New Zealand Company. Another example of this lithograph is held in the collection of the Alexander Turnbull Library.

31 x 145cm $400-$800

58 A Taxidermy New Zealand Bittern (Kaoriki) Late 19th century. The bird set amongst foliage in a glazed colonial display case.

65 x 42cm $1000-$2000

60 Whalebone Hei-Tiki Carved with a tilted head with inset paua shell eyes and with hands placed to thighs. $500-$1000

61 Toki (Adze Blade) Quadrangular shape, argillite stone, chipped to the blade section.

Length 19cm. Y number pending $40-$80

50 Pounamu Kuru (Pendant) $200-$300 53 Te Ariki Wool Travel Rug Decorated in a tukutuku panel design in green, brown, and white. Original Te Ariki Onehunga Woollen Mills label attached. 153 x 130cm $400-$800 56 A Dominion Museum Education Service Maori Tattooing Box The presentation cabinet fitted to the interior with a replica mahoe (wooden mallet) uhi (chisel) and pigment pot, together with a cast tattooed mask, a copy of the cast mask made in Rotorua in 1853 for Sir George Grey of the tattooed warrior Tapu Te Whanoa of the Ngatiwakaue Hapu of the Arawa Tribe 45 x 55 x 18cm $1000-$2000 59 A Cigar and Tobacco Box Modeled as a Wharenui (Dwelling) The house front carved with maihi, amo tekoteko, koruru and paepae. The lid lifting to reveal a painted tahuhu and heke painted wiith kowhaiwhai decoration. The interior with a small fitted cigar box and tobacco container with wheku head.

42 x 30 x 30cm $1000-$2000 62 A Unique Jane Brenkley Wine Table

Made of kauri, the circular top supported on a bobbin turned central support framed by three turned supports on scroll feet with acanthus leaf carving. The top carved and painted with New Zealand native flowers including pohutukawa, puawhananga (bush clematis) kaka beak (clianthus) karaka, kowhai and titoki on a pokerwork ground.

Signed Jane Brenkley and dated 1940.

55cm diameter

$2500-$4000 MAORI, OCEANIC & AFRICAN AR T

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63 A Rare and Important New Zealand Colonial ‘Moa’ Day Bed The 19th century bed of scrolling form.

The totara frame carved with a moa bird head and feathers and with scrolling koru decoration. The legs carved in the form of the legs of a moa with the claws clasping a ball foot. Upholstered in a deep button black.

Leather upholstery.

240cm length 68cm width $10,000-$18,000

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64 A New Zealand Maori Design Runner Carpet The all-wool pile rug with a tukutuku style pattern in dark brown, light brown, black and russet tones.

Circa 1960.

3 metres x 70cm $800-$1600

65 Rare Tattersfield Maori Legend Rug All wool pile, the central field with a tukutuku panel inspired design, framed by a boarder depicting figures with Wheku heads with pakati (spiral) designs to the four corners. Original Tattersfield label affixed to the underside.

130 x 68cm $2000-$3000

66 Rare Tattersfield Maori Legend Rug All wool pile, decorated in a tukutuku panel inspired design in black, blue red and salmon colours. Some small losses to the fringe. Original Tattersfield label affixed to the underside.

130 x 68cm $2000-$3000

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67 Fijian Neck Rest 19th century, flattened rectangular slightly curved top, raised on triangulated feet with attached sennit cord binding.

46cm Length $400-$800

69 Fijian Priest’s Ritual Oil Dish (Dari Ni Waiwai Ni Bete) Early 19th century, classical spade form, raised on three tapering feet, repair to one foot.

47 x 37cm $2000-$4000

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68 Tongan Neck Rest (Kali Hahapo) Fine 19th century example of elegant arching form. Carved from a single piece of wood with wedge shaped feet, the top inlaid with geometrically shaped cut pearl shell.

46cm length $1800-$2800

70 A large Samoan Tapa Cloth (Siapo Tasina) 19th century. Decorated with a geometric design and characteristic over-painted dark brown alternating circles.

160 x 160cm $1000-$2000

71 A large and Impressive Malekula Island Grade Ceremony Figure (Temes nevimbure) The over modelled tree fern figure painted in orange and black pigment with cylindrical eyes and extended nose.

1940 x 420mm $1000- $2000

72 A Fine Fijian Tapa Cloth Early 19th century example decorated with complex geometric patterns in alternating bands of black, white and brown.

86 x 127cm $800-$1600

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77

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73 A Marshall Islands Stick Navigational Chart Square shape with applied cowrie shells.

40 x 40cm $100-$200

74 A Coconut Shell basket Collected by Reverend Williams. $50-$100

75 Two Aboriginal Boomerangs and a Digging Stick $100-$200

77 Two Aboriginal Boomerangs One a fighting boomerang with rich brown patina and finely incised lines across the surface.

78cm and 64cm length $150-$300

78 An Aboriginal Club, Boomerang, and Carved Board The club with bulbous head and incised grip to the shaft and grip section. $200-$300

76 Gilbert and Ellis Island Coconut Wood Club Pierced at the handle and with attached sennit cord.

79cm length $100-$200 79 A large Solomon Islands Canoe Model The interior carved with a bonito shark modelled in high relief. Inlaid extensively with nautilus shell.

94cm length $200-$400

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80 Trobriand Island Pigment Pot and a Sepik River Pigment Pot $50-$150

81 A Solomon Islands Ceremonial Offering Bowl The blackened oblong bowl carved with a figure in relief with outstretched arms to each side. The underside carved with a mask in low relief. Traces of white pigment across the surface of the bowl.

45cm length $200-$400

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86

87

85

88

82 Two Papua New Guinea Sepik River Region Bowls Blackened wood of oval shape with carved handles to each end with geometric carved decoration. $200-$400

83 Micronesian Hardwood Food Bowl Early 19th century example with a scalloped rim raised on a circular foot.

23cm diameter $200-$400

85 Papua New Guinea Sepik River Region Bowl 19th century of stylised avian form raised on four cylindrical feet. Together with a dance rattle made from seed husks strung on woven plant fibre. $200-$40

86 Fijian Kava Bowl The hardwood circular bowl with incised pattern to the border and with pierced stylised turtle head lug to one side, raised on three tapering cylindrical legs.

46cm diameter $400-$800

84 A large Solomon Island’s Feast Platter Blackened wood of flattened oval shape with a single lug handle.

100 x 41cm $200-$400 87 Two Fijian Rain Wood Food Bowls Each inlaid with pearl shell decoration. $100-$200 88 A Fijian Tapa Cloth 19th century example decorated with geometric designs in alternating bands of black and white. Framed and mounted in a display case.

72 x 200cm $3000-$4000 MAORI, OCEANIC & AFRICAN AR T

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89 Papua New Guinea Ceremonial Sepik River Region Figure With circular eyes and long distended nose held in his two clasped hands. The headdress carved with central dog totem flanked by two low relief carved masks, extensively embellished with cassowary bird feathers.

140cm height, 42cm wide $1000-$2000

90 A Pair of Coconut Wood Paddles Each with leaf shaped blade and slender cylindrical shaft.

168cm length $200-$400

91 A Papua New Guinea Abelam Yam Mask 31 x 22cm $150-$400

92 Solomon Island Golden Lipped Pearl Shell Pendant Crescent shape with an attached carved tortoiseshell frigate bird held on a cut red shell necklace. $200-$400 95 A Fijian Throwing Club (Ula Drisia) Late 19th century. The short club with natural burl root head. The grip incised with a tavatava (zigzag) pattern.

41cm length $200-$400 146 D UN B AR S L O A NE

93 Fijian Root Stock War Club (Vunikau) The large heavy club with cylindrical shaft with incised zig-zag grip, the head with projecting nubs formed from the rootstock of a tree.

110cm length $750-$1200 96 A 19th Century Fijian Sperm Whale Tooth (Tabua) With a plaited sennit fibre suspension cord. $400-$800

94 Fijian Gunstock War Club (Gatawaka) Late 19th century. The head surmounted by a medial ridge and with sennit fibre running the length of the cylindrical shaft, rich brown patina.

74cm length $500-800 97 Fijian Pearl Shell Pendant together with a boar’s tusk pendant Each held on sennit cord. $100-$200 98 Aboriginal Boomerang $50-$100

99 Tongan Tapa Cloth Section 160 x 180cm $50-$150

102 A large Trobriand Islands Feast Bowl Coconut wood decorated with incised spirals and geometric designs to the outer boarder.

80 x 45cm $250-$400 105 A Solomon Island Frigate Bird Carved with a fish in its mouth, raised on a rectangular section base, extensively inlaid with cut shell decoration.

36cm length $100-$200

100 A Collection of Four Pacific Island Clubs $100-$200 103 Two Trobriand Island Bowls One carved in the form of a fish and the other with pierced incised boarder inlaid with pearl shell. $200-$400

106 Two Papua New Guinea Boars Tusk Pendants and a Cowrie Shell Necklace $150-$300

101 Papua New Guinea Sepik River Food Bowl Oval shape, together with another bowl, a spatula and a carved gourd. $100-$200 104 Two Solomon Island Lime containers Each inlaid with shell decoration, one carved with two opposing heads the other with two outward facing figures. $150-$300 107 Papua New Guinea Black Stone Adze $50-$100

108 Solomon Islands War Club Hardwood, with pronounced median ridge.

Half wrapped in woven rattan, losses to the rattan. $100-$200

91

92

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AFRIC AN ART

110 Gobon Kwele Mask The stylised face with pierced almond shaped eyes and small slit mouth, highlighted in white painted pigment.

37 x 24cm $300-$500

109 A Decorative Nigeran Mask The oval face with pieced almond shaped eyes, painted in red and white pigment.

31 x 20cm $300-$500

111 An African Ivory Congo figure Modelled seated with a bead necklace holding the head of a snake 8cm height. $200-$400

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112 A Kenyan Turkana Tribe Head Rest 18cm height 25cm width $200-$400

113 An African Neck Rest The rectangular top supported on two figures carved with linked arms.

Together with an African comb with figural female handle. $100-$200

114 A Collection of Black and White African Photographic Prints Various sizes formats, thirty-six in total. $200-$400

115 A Bronze Benin Archers Cuff Decorated with a Benin figure in low relief.

20cm length $100-$200

116 Four Congo Passport Masks One carved from wood with protruding nose, the other three carved from Buffalo bone. $100-$200

Maori, Oceanic and African Art July 2021

Illustrated A Fine Pre European Carved Waihaka (Hand Club) Est $25,000 - $35,000 Enquiries Dunbar Sloane (09) 377 5820 auckland@dunbarsloane.co.nz James Parkinson 022 0288 541 james@dunbarsloane.co.nz

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ALPHABETICAL INDEX PART ONE A Apple, Billy 7 B Barnes, Frank 65 Barraud, Charles Decimus 72 Binney, Don 1 Braithwaite, Joanna 26-27 C Cotton, Shane 28 D Dawson, Neil 48 Day, Melvin 43-46 de Lautour, Tony 42 Drawbridge, John 18 E Ellis, Robert 41 G Gibb, John 66-67 Gimblett, Max 16 Goldie, Charles Frederick 30

H Hanly, Pat 55 Hammond, Bill 2-4 Haring, Keith 17 Harris, Jeffrey 54 Hartley-Skudder, Emily 21 Hellendoorn, Arie 20 Hotere, Ralph 13-15, 31, 47

R Robinson, Ann 35 Robinson, Peter 51-52

K Kahukiwa, Robyn 37-38 Killen, Richard 5

T Thomson, Jeff 49 Tole, Charles 61

L Lewer, Richard 51

W Walters, Gordon 8-10 Walker, Jake 19 Walsh, John 29 Weeks, John 57-60 Westra, Ans 22 Woollaston, Tosswill 62 White, Robin 6

M Maddox, Allen 53 McCahon, Colin 11-12 McIntyre, Peter 63-64 Merton, Owen 71 Mrkusich, Milan 32 N Nerli, Girolamo Pieri Ballati 47 Nin, Buck 40 P Parekowhai, Michael 24-25 Peebles, Don 39 Pick, Seraphine 33-34

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S Stoddart, Margaret 69-70 Straka, Heather 23 Stringer, Terry 50

PART TWO B Badcock, Douglas 202 Barraud, Charles 162 Binney, Don 100, 123 Binzer, William 168 Baker, W G 170 Beadle, Peter 203 - 206 Boolee, Rudolf 117, 118 Brown, Nigel 228, 229 Buchanan, Dean 220 Bush, Kushana 110 C Cairncross, Sam 148 - 150 Chilcott, Gavin 224 Clark, Russell 139 -145 Coley, John 214 Corner, Katy 235 Coxhead, Frank A 172 D Day, Melvin 227 Drawbridge, John 125 E Evans, Jane 211 - 213 F Fife, Ivy 199 Frizzell, Dick 119-121, 237, 237a

G Gibb, William Menzies 166 Gimblett, Max 122 Goldie, Charles F 174 H Hammond, Bill 107 Harris, Jeffrey 234 Harrison, Samuel 111 Heaphy, Chris 130 Herschell, Suzanne 217 K Kahukiwa, Robyn 135 King, Marcus 197, 198 Knight, Gwen 146, 147 L Lusk, Doris 154 M McArthur, Piera 215 McCracken, Francis 160 McFarlane, Scott 124 McIntyre, Peter 151 - 153 Maddox, Allen 236 Manchester, Catherine 131 Matchitt, Paratene 136 Maw, Liz 112 Millar, Judy 108 Moore, R P 171 Morris, Simon 109 Morrison, Robin 232, 233

O O’Hagan, Peter 207 - 210 Oliver, Richard Aldworth 167 P Palmer, Stanley 230, 231 Peerless Thomas 164 Perett, John Douglas 169 Peter, Juliet 225 Photographic NZ Historical Slides 173 Picasso poster 116 Pratt, William 161 R Reed Bill 155 Rewiri, Kura Te Waru 218, 219 Robertshaw, Des 216 Robinson, Peter 132 S Smither, Michael 101-106, 226, 238-241 Stevens, Eion 222, 223 Stoddart, Margaret 156, 157 Summerton, Justin 221 Sydney, Grahame 126, 127 T Taylor, E Mervyn 134 Thompson, Sydney Lough 158, 159 Tuffery, Michel 137, 138

W Watson, R B 200, 201 Walsh, John 129 Wilson, Laurence 163 Warhol, Andy After 113 - 115 Webb, Marilynn 128 Weeks, John 175 - 196 White, Robin 133 Worsley, Charles 165

K Kawai, Takeichi 360

APPLIED ARTS B Blight, Keith 344 - 346 Blumhardt, Doreen 328 - 337 Borren, Anneke 348 Brickell, Barry 324

N Nealie, Chester 325, 357

C Castle, Len 361 - 367 Cowan, Roy 338 - 341 Crown Lynn 368, 369

L Laird, Jack 359 Laird, Paul 351 M McFarlane, Scott 349 Milton 370

P Parker, John 353, 354 Parker, Richard 352, 356 Peter, Juliet 326, 327

F Feltex Rugs 372 - 374

S Savage, Vicky 380 Smisek, Mirek 300 - 321 Smyth, Katherine 355 Stichbury, Peter 322, 323 Storm, Graeme 343

H Hudson, Grant 358

U Unknown Potter 342

J Janssen, Theo 378, 379

W Wells, Kate 375, 376 Wiseman, Marilyn 347

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RECENT ART HIGHLIGHTS

2020 RESULTS - OVER 90% OF LOTS SOLD & OVER 130% BY VALUE

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Illustrated: 1 Seraphine Pick Surface Paradise, oil on linen - $58,000 2 Don Peebles, Relief Construction, enamel on wooden construction - $23,900 3 Paul Dibble Pacific Dancer, cast bronze - $86,600 4 Colin McCahon, Singing woman on pink ground, oil on board - $400,000 5 Colin McCahon North Otago Landscape 3, oil on board - $717,300 6 Melvin (Pat) Day Breaker Bay, Wellington Harbour, oil on canvas - $52,600 7 Colin McCahon Truth from the King Country Load Bearing Structures, oil on canvas - $96,500 8 Michael Illingworth Untitled, oil on board - $33,800 9 Fiona Pardington Portrait of Female Huia, c-type print - $56,200 10 Charles Tole Colour Pattern, oil on board - $25,300 11 Toss Woollaston Grey River, oil on board - $56,200 12 Max Gimblett Treasure, mixed media on board - $24,000 13 Gordon Walters Koru, ink on paper - $113,500 * Rounded to the nearest hundred including buyers premium + GST

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RECENT FINE JEWELLERY HIGHLIGHTS

CONSIGNMENTS INVITED

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Illustrated: 1 14ct White Gold Tanzanite & Diamond Necklace - $27,750 2 Bvlgari Bulgari Divas Dream Style 18ct White Gold Diamond Emerald Necklace - $7,300 3 Pair 18ct White Gold & Diamond Pendant Earrings - $3,800 4 18ct White Gold 19stone Sapphire & Diamond Cluster Ring - $11,000 5 All Platinum

Three Stone Emerald & Diamond Ring - $13,400 6 All Platinum Five Stone Diamond Ring - $22,700 7 18ct White Gold Solitaire Diamond Ring - $15,000 8 18ct White Gold 53stone Emerald & Diamond Cluster Ring - $6,500 9 Pair 14ct White Gold Sapphire & Diamond Pendant Earrings - $9,400

10 Victorian 18ct Essex Crystal Reverse Intaglio Brooch - $6,600 11 Pair 18ct & Platinum Diamond and Tanzanite Pendant Drop Earrings - $9,600

12 Art Deco Platinum & Diamond Dress Clip - $19,300 13 German 14ct Lapis Lazuli Neck Chain - $4,800 14 Victorian 18ct Floral Stem Spray Brooch -

$1,600 15 18ct Tiki Pendant on Chain - $5,700 16 Rolex Ladies All 18ct Gold Wrist Watch - $22,100 17 18ct Eleven Stone Emerald & Diamond Necklet with Matching Earrings - $30,500 18 Art Deco Platinum, Diamond & Sapphire Bracelet - $10,860 19 Victorian Grand Tour 18ct Mosaic Bracelet - $ 7,840 20 18ct Mounted Five Sovereign Bracelet - $7,700 * Rounded to the nearest hundred and include buyers premium + GST

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ENTRIES CURRENTLY INVITED

Affordable & Applied Art June 2021

Enquiries Piers Abbenes +64 4 472 1367 piers@dunbarsloane.co.nz Helena Walker +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED

New Zealand & International Fine & Applied Arts July 2021

Enquiries Helena Walker +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 / 021 473 998 auckland@dunbarsloane.co.nz

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CATALOGUE IN PRODUCTION

Fine Wine & Spirits 29 April 2021

Enquiries Bettina Frith +64 4 472 1367 info@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED

Fine & Estate Jewellery July 2021

Enquiries Bettina Frith +64 4 472 1367 jewellery@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED

Antique & Decorative Arts June 2021

ENTRIES CURRENTLY INVITED

Enquiries Anthony Gallagher +64 4 472 1367 0274 713 667 antiques@dunbarsloane.co.nz Bettina Frith +64 4 472 1367 info@dunbarsloane.co.nz

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SINGLE VENDOR AUCTION

Emporos Gallery Greytown Antiques & Interiors Late May 2021 A fabulous auction to include fine & interesting Period furnishing, interior decorations, light fittings, glassware, ceramics, framed art works, silver collected over the last 25 years

Enquiries Anthony Gallagher +64 4 472 1367 0274 713 667 antiques@dunbarsloane.co.nz

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CONDITIONS OF SALE

1.

5.

The highest Bidder is deemed to be the Buyer, and if during the Auction the Auctioneer considers that a dispute has arisen, the Lot in dispute shall be immediately put up again for sale.

ach Lot sold by the Seller thereof with E all faults and defects therein and with all errors of description and is to be taken and paid for whether genuine and authentic or not and no compensation shall be paid for the same.

2. he Auctioneer has the right to refuse T any bid and to advance the bidding at his absolute discretion.

3.

The Seller shall be entitled to place a reserve on any Lot and the Auctioneer shall have the right to bid on behalf of the Seller for any Lot on which a reserve has been placed.

Dunbar Sloane Ltd have the right to withdraw or divide any Lot or to combine any two or more Lots at their sole discretion.

4.

The Buyer shall forthwith upon the purchase give in his/her name and permanent address.

The Buyer may be required to pay down forthwith the whole or any part of the Purchase Money, and if he/she fails to do so,the Lot may at the Auctioneers absolute discretion be put up again and resold.

The Buyer shall pay to Dunbar Sloane Ltd a premium of 18% on the hammer price together with GST at the standard rate on the premium, and agrees that Dunbar Sloane, when acting as agent for the Seller, may also receive commission from the Seller.

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Dunbar Sloane Ltd act as agents only and neither they nor the Seller are responsible for any faults or defects in any Lot or the correctness of any statement as the authorship, origin, date, age, attribution, genuineness, provenance or condition of any Lot. ll statements in the Catalogues, A Advertisements or Brochures of forthcoming sales as to any of the matters specified in (b) above are statements of opinion, and are not to be relied upon as statements of representations of fact, and intending purchasers must satisfy themselves by inspection or otherwise as to all of the matters specified in (b) above, as to the physical description of any Lot, and as to whether or not any Lot has been repaired.

The Seller and Dunbar Sloane Ltd do not make or give, nor has any person in the employment of Dunbar Sloane Ltd any authority to make or give, any representation or warranty.

In any event neither the Seller nor Dunbar Sloane Ltd are responsible for any representation or warranty, or for any statement in the Catalogues, Advertisements or Brochures of forthcoming sales.

6.

Not withstanding any other terms of these conditions, if within 7 days after the sale Dunbar Sloane Ltd have received from the Buyer of any Lot notice in writing that in his view the Lot is deliberate forgery and within 9 days after such notification, the Buyer returns the same to Dunbar Sloane Ltd in the same condition as at the time of sale and

satisfies Dunbar Sloane Ltd had considered in the light of the entry in the Catalogue the Lot is a deliberate forgery then the sale of the Lot will be rescinded and the purchase price of the same refunded.

7.

To prevent inaccuracy in delivery, and inconvenience in settlement of Purchase, no Lot can be taken away during the times of sale, nor can any Lot be taken away unless it has been paid for in full.

All lots are to be paid for and taken away at the Buyer’s expense within two working days from the sale. Purchases, whilst in our care, will be insured for this period (subject to terms and conditions).

8. n failure of a Buyer to take away O and pay for any Lot in accordance with Condition 7, Dunbar Sloane Ltd reserves any other right or remedies. o resell the Lot or cause it to be resold T by public sale, any money paid in part payment being forfeited, any deficiency attending such resale after deducting all costs incurred in connection with the Lot to be made good by the defaulting Buyer, and any surplus to be the Seller's or: To store the Lot or cause it to be stored whether at their own premises or elsewhere at the sole expense of the Buyer, and to release the Lot only after payment in full of the purchase price together with interest there on of 5% above Bank minimum lending rate, the accrued cost of removal, storage and insurance (if any) and all other costs incurred in connection with the Lot. I f the Lot has been in store pursuant to (ii) for more than 6 months, to remove the Lot from store and to exercise the right set out in (i).

*National New Zealand Library

NEW ZEALAND’S MOST QUALIFIED AND EXPERIENCED VALUERS We are New Zealand’s most experienced, qualified and trusted Valuers providing advice and valuation services to New Zealand’s leading museums, public institutions and galleries as well as to private collectors and estates.

Dunbar Sloane has recently been commissioned to value the entire art collection of the Museum of New Zealand Te Papa Tongarewa and the entire collection of the National Library.

Our team of valuers cover all areas and have completed valuation mandates for:

• Te Papa Tongarewa • National Library • Sarjeant Gallery • The Canterbury Museum • The Auckland War Memorial Museum • The Rotorua Museum: Te Whare Taonga o te Arawa

• The Waikato Museum: The Whare Taonga o Waikato • Napier Museum and Library • Heritage New Zealand Pouhere Taonga

• Archive New Zealand • Parliamentary Services • Te Puni Kokiri: Ministry of Maori Development • Auckland City Council

• Kingitangi Taonga: Collections of the Maori King

• Wellington City Council

• Whakatane Museum

We undertake valuations for all purposes, insurance, market, financial reporting, post loss and relationship property division. For advice or to commission a valuation contact James Parkinson or Dunbar Sloane:

James Parkinson 0220 0288 541 james@dunbarsloane.co.nz

Dunbar Sloane (09) 377 5820 auckland@dunbarsloane.co.nz

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BUYERS GUIDE If you have not bought from Dunbar Sloane before, please read the following notes. Staff will be pleased to answer any questions you may have.

BEFORE AUCTION

2. Absentee Bidding

The terms and conditions under which the buyer acts at a sale are detailed at the back of this catalogue. We recommend that you read and understand these conditions of business before registering to bid at an auction. This sale is subject to the conditions of business printed in this catalogue and to the reserves.

If you are unable to attend the auction, Dunbar Sloane Ltd can bid on your behalf according to your written instructions. This is a free service for intended buyers. Please complete clearly the form at the back of this catalogue and submit it to Dunbar Sloane Ltd at least 24 hours before the sale to ensure it is safely received. Lots will be purchased for you as reasonably as possible, subject to other bids in the room and to reserves.

Viewing All lots are available for inspection prior to the sale. Although staff will endeavour to answer your enquiries, and give advice, the final decision to bid, is at your discretion and liability.

Pre-Sale Estimates The estimated prices printed below the catalogue descriptions are in New Zealand dollars and are the approximate prices expected to be realised, excluding buyers premium. They are not definitive, they are prepared well in advance of the sale and they are subject to revision.

Condition Reports Dunbar Sloane Ltd will provide a verbal condition report if you would like an opinion on any particular lot prior to purchasing.

These must be requested at least 24 hours before the commencement of auction. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

THE AUCTION Buying at Auction

You are able to bid using the following four methods: 1. Bidding in the Room To bid at the auction you will need to register for a bidding number at the front desk either during the viewing or prior to the auction.

Please bid clearly and promptly using your bidding number.

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3. Telephone Bidding If you are unable to attend the auction, you can elect to bid by telephone (subject to availability). Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to a minimum lot estimate of $500 or greater. Please note that the auctioneer determines the increments in bidding, not the telephone bidder. We accept no responsibility if for whatever reason we are unable to contact you and as such recommend leaving a covering bid.

4. Live Online Bidding We offer live online bidding on our website: www.dunbarsloane.co.nz Registering online does not automatically register to bid, and further identification maybe required, especially if you are an International client.

Selling Rate Fine Art auctions are generally conducted at the rate of about 60 lots per hour. However, this can vary.

AFTER THE AUCTION Payment BUYERS PREMIUM The buyer shall pay to Dunbar Sloane Ltd a premium of 18% of the hammer price plus GST on the premium only– effectively adding 20.70% to the hammer price.

Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque, eftpos or electronic transfer.

Due to the Anti Money Laundering Act we no longer accept cash or cheques for purchases of $10,000 or over. Bank details as follows: Dunbar Sloane Ltd 06 0501 0524945 0 Swift Code ANZBNZ22 Please include details of sale date and lot numbers with all payments.

International clients will need to add an additional $25NZD to cover bank transfer fees.

Collection of Purchases Property purchased can be collected as soon as full payment has been received. Any items not collected within seven days of the auction may be subject to a storage and fee.

Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care.

Items must be paid for straight away and a second account for courier/freight charges will follow as soon as possible when we have confirmed courier charges.

Packaging and Transportation We advise buyers to arrange transport and insurance with their preferred provider/s. We accept no responsibility for loss or damage in transit. For smaller items able to be couriered, Dunbar Sloane Ltd can pack and courier for a fee. This is to be paid before the goods leave our premises. We pack with care, however we take no responsibility for damage once your goods leave our premises.

It is up to the buyer to arrange insurance to cover any damage or loss in transit.

ABSENTEE BIDDING FORM

94 Featherston Street, Wellington PO Box 224, Wellington 6140, New Zealand P +64 4 472 1367 F +64 475 7389 E info@dunbarsloane.co.nz

Type of Auction

Auction Date

Please bid on my behalf at the above sale for the following lots. These bids are to be executed as low as permitted by other bids or reserves. I agree to comply with the Conditions of Sale as printed in the Catalogue.

Full name Address Phone

Email

SIGNED

Lot Number

DATE

Title / Description (use block letters)

Maximum Bid Price (excluding premium)

International Bidders Are required to provide photographic proof of ID – passport or drivers licence together with proof of address – utility bill, bank or credit card statement etc. Failure to provide this will result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference.

NOTE Individual bids registered by overseas bidders must be over $500 in individual value.

Please double check your bids and read terms below Please submit your bid as early as possible. In the event of identical bids, the earliest will take precedence.

'Buy' bids are not accepted. The limit you leave should be the amount to which you would bid if you were to attend the Sale.

Buyers are reminded that there is a 18% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

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