Fine & Applied Art

Fine & Applied Arts 4 & 5 D ECEM B ER 2019

Cover Detail Lot 29 Ivon Hitchens CBE (British 1893-1979) Conservatory oil on canvas 51 x 83.5cm $80,000 - $140,000

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART We d n e s d ay 4 D e ce m b e r 2019, 6 p m Pa r t O n e - Eve ni n g S al e L ot s 1 - 75

T h u r s d ay 5 D e ce m b e r 2019, 12n o o n Pa r t Tw o - Day S al e L ot s 2 0 0 - 36 0

T h u r s d ay 5 D e ce m b e r 2019, 4 p m Pa r t T h r e e - St u d i o C e r a mi c s & A p p li e d A r t s L ot s 4 0 0 - 478 Dunbar Sloane Ltd 7 Maginnit y Street We l l i n g t o n C B D w w w. d u n b a r s l o a n e . c o m

V i ew i n g Sc h e d u l e Opening Preview: Thursday 28 November, 5pm – 6.30pm Friday 29 November, 9am – 5pm Sunday 1 December, 12noon – 3pm Monday 2 December, 9am – 5pm Tuesday 3 December, 9am – 5pm Wednesday 4 December, 9am – 4pm Enquiries Helena Walker, Director Fine Arts +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz PO Box 224, Wellington 6140

Part One New Zealand & International Fine Art

Wednesday 4 December 2019 6pm start Lot 1 - 75

Ivy G Fife (1905 -1976) We are delighted to present this collection of over 30 works by mid-century Cantabrian Ivy G Fife (1905-76). The collection is directly descended from the artist and her late husband Alan Forrester’s Estate. Fife’s work is seldom seen in the open market with only 20 works previously being recorded as sold through public auction. We hope this selection goes someway to establishing her position in both the auction market and the New Zealand art scene.

Ivy Fife was artistically gifted from a young age. Growing up in the Christchurch suburb of Fendalton, she began her education at Elmwood Primary School, where her ability was first recognised. She laterlly attended Christchurch Girls’ High School. Whilst her parents weren’t artistic, they encouraged her abilities and she regularly spent weekends attending exhibitions with her father and was known to skip Sunday School in order to study the permanent collection of the Canterbury Society of Arts. Her mother’s cousin, Winifred Ritchie, had attended Art School in Christchurch under the tutelage of R Herdman-Smith and this was a formative influence on Fife.

In 1920 Fife enrolled at the Canterbury College School of Fine Arts. To gain entry, she had to draw an antique head - her drawing was of a level that she was admitted directly into the advanced class. Lecturers included notable Canterbury artists Cecil Kelly, F A Shurrock, Richard Wallwork and Archibald Nicoll. After graduation in 1931 her association with the school continued as a part time lecturer. This role became permanent in 1934, with particular responsibility for landscape painting, one of the favoured forms and which she devoted much of her own practice to, however she lectured in a wide variety of disciplines from modelling to metalwork, showing both her natural skill and adaptability.

Fife’s integral role in the art infrastructure of Christchurch was cemented in 1954 when she was appointed as a member of the Robert McDougall Art Advisory Committee, advising the City Council on purchases and acquisitions for the Robert McDougall Art Gallery. She held this role until 1957 along with her contemporaries Bill Sutton and Russell Clark. She was also a member and Council Member of the Canterbury Society of Arts from 1949 to 1966.

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As a student she sent works to regional Art Societies as well as to Canada and the Wembley Exhibition. One of the earliest references to her work was a review of the 1941 annual exhibition at the Academy of Fine Arts, where a local critic selected her “as one of the few artists who had striven to actually say something” along with fellow artists A. Lois White and Russell Clark. She continued to exhibit at regional societies including Christchurch, Dunedin, Invercargill and Nelson.

Arguably the high point of her exhibition history was her inclusion in Auckland Art Gallery director Peter Tomory’s exhibition ‘Eight New Zealand Painters’ 1958. The exhibition toured cities and towns throughout the country and provided public exposure to all the contemporary artists involved Rita Angus, John Holmwood, Milan Mrkusich, William Sutton, Sydney Thompson, Dennis Knight Turner & Michael Nicholson. This was a major event and important recognition of Fife’s work. Due to her close association with the Canterbury Region, she was regarded primarily as a regional painter and this went some distance to challenging this perception and widening her audience north of Nelson where it was previously rarely seen.

As an artist, Fife’s oeuvre was wide, as were the mediums she employed. She worked in but was not limited to gouache, oils, watercolours, ink and wash, pencil and print mediums. She also spun, wove and potted. Her tutor Archibald Nicoll once remarked of her abilities “she could paint anything”. Whilst portraiture was her favoured mode, landscape came a close second and was reflective of life in the Canterbury region.

She was particularly interested in the rhythmical line found in nature, in mountains for their clarity of form. She was not so interested in painting the bush on said hills because “…it conceals their form, but things in the bush such as stones, tree roots, lichens, (are) of great interest and I have painted these things many times”. Such subjects were depicted with a great concern for harmony in tone and colour. Fife like so many of her contemporaries found it difficult fitting man into the landscape which resulted in often stark loneliness and isolation.

Comparisons can be made with her more famous and influencing contemporaries Russell Clark and Bill Sutton. In 1959 due to ill health, Fife’s work was forced in a new direction.

Her confinement at home, resulted in the quest for new, domestic subject matter, resulting in the iconic Sunflower Series. To quote Brian Muir in the exhibition catalogue for her only stand-alone exhibition held at the Robert McDougall Gallery in 1977, the year after her passing “These pictures, mostly painted with a palette knife, radiate warmth and sunshine, and give to her last major series of paintings a brilliant splash of colour and excitement…There is a boldness and a strength about the sunflower series that quite obscures the rapidly failing physical strength of the painter.”

1 Ivy Fife (1905-76) Painting (Blue Sunflower 1962) oil on board signed ‘I. G. FIFE’ (lower right) 118 x 88cm $3,000 - $6,000

'Concern for and interest in pattern - the patterns created by solid forms or by effects of light and shadow, stayed with her always and kept re-appearing as they did in 'Painting (Blue Sunflower)'..., where natural forms almost disappear into pure geometric shapes.'

Exhibited Christchurch, Canterbury Society of the Arts, 1962 Christchurch, The Robert McDougall Art Gallery, Ivy Fife Retrospective Exhibition 1938-1976, 16 February - 18 March 1977, no. 60. (catalogue illustration)

Brian Muir 'Analysis of the Exhibition' Ivy Fife Retrospective Exhibition 1938-1976 (1978) p. 10.

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2 Ivy Fife (1905-76) Untitled (Abstract) oil on board 60 x 51cm $2,000 - $4,000

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3 Ivy Fife (1905-76) Untitled (Snow Clad Path, Arthur’s Pass) oil on board signed and dated ‘I. G. Fife ‘53’ (lower right) 46 x 36cm $2,000 - $4,000

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4 Ivy Fife (1905-76) Cust (1960) oil on board signed ‘IVY G. FIFE’ (lower left) 55 x 120cm $3,500 - $5,000

'Cust', of 1960, shows the use of flat palette knife and scratch technique which gives an interesting overall textural effect that is another dimension to what would otherwise be limiting variety of forms.'

Brian Muir 'Analysis of the Exhibition' Ivy Fife Retrospective Exhibition 1938-1976 (1978) p. 10.

Exhibited Christchurch, The Robert McDougall Art Gallery, Ivy Fife Retrospective Exhibition 1938-1976, 16 February - 18 March 1977, no. 54. (cat illus)

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5 Ivy Fife (1905-76) Sunflower oil on board 40 x 39cm $1,750 - $3,000

6 Ivy Fife (1905-76) Painting (Abstract) oil on board signed and dated ‘I. G. FIFE/ 1964’ (lower right); signed and inscribed with title to reverse 97 x 48cm $1,500 - $2,500

7 Ivy Fife (1905-76) Mr Duggan’s Barn, Yaldhurst oil on board 39 x 51cm $2,000 - $4,000

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This work is a study for ‘Barn’, 1960, oil on board, 59 x 74cm, exhibited at Canterbury Society of Arts, 1960 & Ivy Fife Retrospective Exhibition, 1977 no 52.

8 Ivy Fife (1905-76) Old House watercolour and Indian ink on paper signed and dated ‘55 (lower left)’; inscribed with title on original backing board affixed to reverse 40.5 x 57cm $1,000 - $2,000 Exhibited Christchurch, The Group, 1956 Otago, 1957 Auckland, 1957 Wellington, New Zealand Academy of Fine Arts, 1958 Nelson, Suter Art Society, 1958 Christchurch, The Robert McDougall Art Gallery, Ivy Fife Retrospective Exhibition 1938-1976, 16 February - 18 March 1977 no. 28.

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9 Ivy Fife (1905-76) Engine in Shed (KB 968) watercolour & Indian ink on paper signed ‘I. G. FIFE’ (lower left) 42.5 x 33cm $1,750 - $3,000

10 Ivy Fife (1905-76) Backyards No. 2. monoprint signed ‘I. G. Fife’ (lower right); signed & inscribed with title on original backing board attached to reverse 54 x 41.5cm $1,000 - $2,000 Exhibited Christchurch, The Robert McDougall Art Gallery, Ivy Fife Retrospective Exhibition 1938-1976, 16 February - 18 March 1977, no. 41.

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11 Ivy Fife (1905-76) Untitled (Little River Landscape) oil on canvas board signed ‘I. FIFE’ (lower right) 48 x 42cm $2,000 - $4,000

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12 Ivy Fife (1905-76) Frog Rock, Weka Pass gouache on paper signed ‘I. G. FIFE’ (lower left) 34 x 39cm $1,500 - $3,000

13 Ivy Fife (1905-76) Old West Coast Road watercolour signed ‘I. G. FIFE’ (lower left) 33 x 39cm $1,000 - $2,000

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14 Bill Hammond (b 1947) Untitled (2006) lithograph, limited edition 89/100 signed and dated ‘W. D. Hammond/2006’ (lower right) 58 x 41.5cm $4,500 - $7,000

15 Shane Cotton (b 1964) Half Cast silkscreen print with hand applied acrylic, no 14 of 25 signed and dated ‘Shane Cotton 2010’ and inscribed with title (lower right) 122 x 122cm $5,000 - $8,000 Provenance with Hamish McKay Gallery, Wellington Private collection, Wellington

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16 Gretchen Albrecht (b 1943) Response lithograph, limited edition 43/45 signed and dated ‘Albrecht 82’ (lower right) and inscribed with title (lower centre) 49 x 69cm (sheet) $2,500 - $4,500 Provenance Private collection, Canterbury

17 Robin White (b 1946) Olympia, Maketu silkscreen, limited edition 21/35 signed and dated ‘ROBIN WHITE JUNE ‘73’ (lower right) and inscribed with title (lower left) 39 x 50cm $5,500 - $7,000 Provenance with Ferner Galleries, Auckland c. 2000 Private collection, Bay of Plenty 15

Illustrated: Alister Taylor, Robin White New Zealand Painter (Martinborough 1981) p. 53. (colour illustration), p. 102.

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18 Gordon Walters (1919-95) Untitled (1978) screenprint on archival paper, edition 9/100, 2018 indented with Walters Estate chopmark; title and edition number inscribed on Starkwhite label affixed to reverse 105.5 x 80.5 cm $6,000 - $8,000

19 Colin McCahon (1919-87) Tomorrow will be the same but not as this silkscreen print, limited edition 86/100 McCahon House chop mark to paper margin 115 x 69.5cm $6,000 - $8,000 This limited edition print was released by the McCahon House Trust in 2019 to mark the centenary of Colin McCahon's birth. The original work is held in the collection of Christchurch Art Gallery Te Puna o WaiwhetĹŤ (69/142) and reproduced courtesy of the McCahon Research and Publication Trust.

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20 Bill Hammond Eleven Etchings, 1981 book of eleven etchings, limited edition 10/15 bound in cream calfskin in a case signed and inscribed ‘ELEVEN ETCHINGS/ 1981/ WD Hammond’ to title page; etchings entitled within print: Let’s Dance; Previous Life 4; Staying Alive; Previous Life 3; Rockaway Beach; 3 Famous Sleepers; The Way Things Are’ 38 x 39.5cm each $15,000 - $20,000 Provenance Private collection, Central Otago

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21 Fiona Pardington (b 1961) Still Life with Lemons and Seaweed (2011), Metaphysical Landscapes pigment inks on hahnemuhle photo rag paper, limited edition 2/10 41 x 54cm $5,000 - $8,000 Provenance with McNamara Gallery, Whanganui ‘Fiona Pardington in Conversation’ 11-31 May 2012 Exhibited Waikanae, Mahara Gallery ‘Natural World’ December 2012 - 27 January 2013

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22 Marti Friedlander (1928-2016) Ralph Hotere & Bill Culbert with Blackwater (1999) silver gelatin print signed ‘Marti Friedlander’ to matt, photographers label affixed to reverse 20 x 13.8cm $4,000 - $6,000

23 Marti Friedlander (1928-2016) ‘Garden of Remembrance’ Jewish Museum, Berlin silver gelatin print signed (lower right) and inscribed with title and dated 2003 (lower left) on matt 18.8 x 28.5cm $4,000 - $6,000

Provenance gifted to the present owner by the artist Private collection, Wellington

Provenance gifted to the present owner by the artist Private collection, Wellington

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24 Paul Dibble (b 1943) Long Horizon Study cast patinated bronze, single edition 28cm height, 48cm length, 11cm depth $5,000 - $8,000 Provenance purchased Gow Langsford Gallery, Auckland March 2017 Private collection, Wellington

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25 Paul Dibble (b 1943) Light over Lincoln Church cast bronze, limited edition 2/3 inscribed with signature to base 51.5cm height, 41cm width, 24cm depth $6,000 - $10,000 Provenance with Fisher Galleries, Christchurch 2008 Private estate, Wellington

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26 Louise Henderson (1902-94) Untitled (Garden Series) oil on board signed and dated ‘Louise Henderson ‘72’ (lower right) 80 x 120cm $7,500 - $12,500 Provenance Private collection, Auckland

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27 William Alexander (Bill) Sutton (1917-2000) Anchors and Cloud watercolour and ink on paper signed and dated ‘W A SUTTON ‘52’ (lower right); signed and inscribed with title to original backing paper 32 x 40.5cm $7,500 - $12,500 Provenance Vendor’s father was a friend of the artist Private collection, Central Otago

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28 William Alexander (Bill) Sutton (1917-2000) Bone and Shadow oil on canvas signed and dated ‘W. A. SUTTON ‘49’ (lower right) 50 x 60cm $30,000 - $50,000

Provenance Vendor’s father was a friend of the artist Private collection, Central Otago Exhibited Lower Hutt, The Dowse Art Gallery, W A Sutton Retrospective 1917-71, 28 Nov 1972 - 11 February 1973, no 11. (catalogue illustration) Reference Ivy Fife Retrospective Exhibition 19381976 Catalogue (Christchurch 1977) p. 8-9.

W A Sutton Retrospective 1917-1971 Exhibtion Catalogue p. 7, 11, 12, 15.

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29 Ivon Hitchens CBE (British 1893-1979) Conservatory oil on canvas signed ‘Hitchens’ (lower left) inscribed on hand written label affixed to stretcher ‘IVON HITCHENS/ Greenleaves, Lavington Common, Petworth, Sussex/ Conservatory’; Ernest Brown & Phillips Ltd, The Leicester Galleries, Leicester Square, London paper label affixed to reverse 51 x 83.5cm $80,000 - $140,000

Provenance purchased by Amber Blanco White (nee Reeves), June 1954, Leicester Galleries for £105. The painting hung in Amber’s Hampstead Heath House, Downshire Hill.

By descent to White and her partner author H G Well’s great-grandaughter Private collection, Auckland Exhibited London, Leicester Galleries, June 1954 Exhibition No 990. Paintings from 19401952 by Ivon Hitchens, cat. no. 12.

British painter Ivon Hitchens (1893–1979) was a true pioneer of the abstracted vision of landscape. His portrayal of the English countryside would form one of the key concepts of British Modernism in the 20thCentury, leaving a lasting impression on both the work of his peers and contemporaries, and beyond, to contemporary landscape painters of today.

Sydney Ivon Hitchens was the only child of artist Alfred Hitchens & Ethel Margaret Seth-Smith, a talented amateur artist. Hitchens attended Bedales School, Hampshire from 1903 until acute appendicitis cut short his schooling and he was sent to visit maternal relations on recuperative voyage to New Zealand 1909-10. On his return Hitchens’ formal art education began at St John’s Wood School of Art, London 1911 and continued at the Royal Academy Schools from 1912-16. He returned to the RA Schools between 1918-19, following two years’ service in hospital supply during the First World War. After graduating from the RA, Hitchens moved into a studio at 169 Adelaide Road, Hampstead

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in 1919 and later became part of a circle of avant-garde British artists including Barbara Hepworth, Henry Moore, Paul Nash and Ben Nicholson living in Hampstead in the 1930s. He was a founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s.

Hitchens was elected a member of the London Artists’ Association in 1929 and of the London Group in 1931. The artist exhibited with the Leicester Galleries, London where he had ten one-man exhibitions from 1940 until 1960, when he moved to the Waddington Galleries.

Hitchens, his wife Mary Cranford Coates and their only child, John were driven out of London by the war in 1940. They moved to a caravan at Greenleaves, Lavington Common near Petworth, Sussex. For the next forty years the artist rarely ventured from his home, which became a place of study and constant source of inspiration.

The West Sussex landscape became all pervasive in his work, an obsession.

His decision to paint the physical world was a radical choice and gave him an unparalleled freedom to pursue his vision. For Hitchens the surrounding woods, the ponds he created to reflect his surrounds, the conservatory of flowers were the essential conditions within which he could paint. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel .

His approach to painting is enormously indebted to Cezanne’s insistence on conveying the underlying structure of his

motif. The viewer is always aware of the structure of the subject matter and how all components fit together. Hitchens’ painting style can be described as highly selective, with economical brushstrokes, long sweeping lines of paint and a delicate balance between light and shade, substance and void. To quote the artist: "I am really only interested in the structure of the three-dimensional canvas – the visual structure...It’s really converting the current distance of reality, near and far and half-way, into two dimensions so that only as your eye travels around the passage, the two dimensional passage, dark to light and light to dark, warm to cool, cool to warm or broad up to narrow – as it travels along those things – so it suddenly subconsciously finds that it’s doing something in depth as well."

Conservatory is a sublime example of Hitchen’s highly distinctive style. The painting was exhibited with The Leicester Galleries, June 1954 and purchased by Amber Blanco White (nee Reeves 18871981), the New Zealand born, British raised feminist writer and scholar. Blanco White was infamously the partner of prominent British writer Herbert George (H G) Wells (1866 – 1946), with whom she bore a daughter Anna-Jane in 1909.

Anna-Jane did not discover H G Wells was her father until she was 18 and was brought up believing Amber’s husband George Rivers Blanco White was her father. This work was passed by descent to Anna Jane's granddaughter, Anna Jane Kirsten Davis whom is the current vendor. Further biographical notes on the remarkable life of Amber Blanco White are available on request.

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30 Evelyn Page (1899-1988) Portrait of Edith Campion 1983 oil on canvas board signed ‘E. Page’ (lower right); inscribed ‘Lively Conversation at Luncheon/ oil/ Evelyn Page/ N.F.S./ Jan 1983’ to reverse board 75 x 59.5cm together with a graphite sketch of the same subject, signed and dated 1985 (lower right) $70,000 - $100,000

Provenance commissioned by Edith & Richard Campion who were friends of Evelyn & Sebastian Page by descent Private collection, Australia Illustration/Reference Janet Paul and Neil Roberts, Evelyn Page Seven Decades (Robert McDougall Art Gallery 1986) pl. 27 (colour illustration), p. 51., 92.

Exhibited Evelyn Page Seven Decades Touring Exhibition, cat no. 67., 4 December 1986‚ 25 January 1987 Christchurch & Nationally 1987 - 1988

This joyous, colourful, light filled portrait is not only a portrait of the noted actor and writer Edith Campion but a portrait of this accomplished and dynamic New Zealand artist. An indicator of her warm and ebullient personality. The setting is characteristic for a number of Page’s informal portraits of friends and family.

The subject seated at a table with a background of a garden setting viewed through windows or open doors, surrounded by a clutter of still life objects which indicate the progress or remains of a meal. These objects are also treated as sources of colour and light which envelopes the subject and gives the image an organic unity. There is an echo of the seventeenth century European cornucopia, presented in a distinctively twentieth century palette and style. Academically trained at Canterbury College School of Art, where she was a recognised talent, sound draughtsmanship underlies all her work indicated by the fine preparatory drawing of Campion which accompanies this portrait. Page combined her drawing with a Post Impressionist palette and use of colour, informed by the work of such European artists as Andre Derain, Matthew Smith and Henri Matisse. A high keyed palette with pure unmodulated colour applied in generous brushstrokes became her trademark.

Edith Campion co-founded the New Zealand Players with her husband Richard Campion. Through their work they laid the foundations of professional theatre in New Zealand during the nineteen fifties. Edith was one of the many artists, writers and musicians who formed the circle of friends of Eve and her scholar and musician husband Frederick. This portrait is a prime example of the many notable New Zealanders and close friends whose portrait Page painted.

These include John Beaglehole, Sir Walter Nash, Sir Alexander Turner and Denis Glover.

Tony Mackle

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31 Adele Younghusband (1878-1969) Female Nudes Amongst Grapevines watercolour on paper signed and dated ‘A YOUNGHUSBAND/ 1939’ (upper right) 49 x 48.5cm $8,000 - $12,000 Provenance Sale, Cordy's, Auckland, 23 July 2019 (lot 649), owned by former associate of the Rutland Group Private collection, Australia

Adela Mary Roche was born in Te Awamutu on 3 April 1878. She is the niece of botanic artist Fanny Osborne.

Her artistic talent was evident from an early age, and against the wishes of her family she insisted on learning photography. After working as a photographic retoucher in Hamilton she spent some time in Gisborne, where she met and later married Frank Younghusband, a grocer. Adele continued to paint and draw, and in 1909 she became a member of the Auckland Society of Arts.In 1919, Younghusband began running a photographic studio in Whangarei, and establishing herself as a successful portrait photographer.

It was not until her 40s, under the influence of George Woolley, that Younghusband made a serious commitment to painting. In August 1934, with Ida Carey, she convened the inaugural meeting of the Waikato Society of Arts in Hamilton. She became its secretary and represented it on the Association of New Zealand Art Societies. In 1937 she travelled to Australia, exhibiting successfully in Sydney and studying under George Bell in Melbourne, where her interest in abstract art gained momentum and direction.

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In 1940 she returned to teach in Hamilton. She held a successful exhibition in Auckland in 1941, and settled there permanently several years later. She founded the Phoenix Group in 1952 and the Studio Art Group in 1957, and continued to work and exhibit until the mid 1960s. In 1964 she and Ida Carey were made life members of the Waikato Society of Arts. Adele also retained her links to Northland and donated a collection of her work to the city of Whangarei.

Adele Younghusband was a versatile artist, adept at design and composition.

She expressed her fascination for the abstract using a variety of media, including charcoal, linocuts, oil, pastel, pen and ink. Variously described as derivative, stylised or art deco, her work was highly subjective, often depicting everyday life – her neighbourhood, landscapes, people at work and play, flowers – as well as broader themes such as Maori mythology, religion, peace and war. She was always ready to discuss and explain abstract art, and was described as a pioneer of surrealism in New Zealand.

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32 Rhona Haszard (1901-31) Sentinels oil on board signed ‘Rhona McKenzie’ (lower right); inscribed with title to reverse 36 x 40cm $6,000 - $10,000 Provenance Private collection, Auckland

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Rhona Haszard’s life was remarkable in terms of its unconventional nature and most importantly her contribution to the foundations of the development of modernism in New Zealand. After spending her first two decades moving around the South Island, Rhona Haszard eventually settled in Christchurch in 1919 where she enrolled at the Canterbury College of Art. For Haszard and many of her female contemporaries, art offered the chance to be free of society’s acceptable constructs and establish a career. Fellow students included Evelyn Page, Rata Lovell-Smith and Olivia Spencer Bower, all of whom favoured a plein air approach to painting. It was at the Canterbury College Haszard met lecturer Ronald McKenzie, to whom she was briefly married before meeting and eventually remarrying fellow artist and British tutor Leslie Greener. Due to the

social scandal surrounding them and their mutual desire to advance their careers Greener and Haszard left New Zealand for Europe in early 1926. The artist continued to develop her interest in landscapes, now including seascapes, a preoccupation which continued throughout her career. Her swift success was confirmed with her selection at the 1927 Paris Salon, a rare achievement for a New Zealand artist. In 1928 Greener was appointed to the teaching staff at Victoria College, Alexandria. Egypt provided Haszard with a myriad of new motifs. During this period in Egypt Haszard was forced to return to London in order to seek treatment for debilitating back pain. While in London she studied the art of printmaking, which was experiencing a modern revival in Britain, under the tutelage of Claude Flight. This promising

career tragically ended in 1931 when Haszard fell to her death while sketching from a tower at Victoria College. In her short career Haszard established an impressive exhibition and critical profile in Britain, France and Egypt. Her post-impressionist style while not avant garde was well received at conventional but prestigious establishments. She was also unusually well received in New Zealand where she planned to return once her career was established and subsequently continued throughout her career to exhibit throughout the country’s main artistic centres.

Due to the brevity of her career and the destruction of a large quantity of Haszard’s work owned by Greener in 1967, her work is extremely scarce in private collections, assigning an even greater value to these works in the Collection.

33 Sydney Lough Thompson (1877-1973) Arbre en Fleurs St Jeannet oil on canvas signed ‘S L Thompson’ (lower right) 46 x 61cm $6,000 - $10,000 Provenance Private collection, France

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34 Sydney Lough Thompson (1877-1973) Notre Dame de Brusc oil on canvas signed ‘S L Thompson’ (lower right) 46 x 55cm $4,000 - $7,000 Provenance Private collection, France

35 Sydney Lough Thompson (1877-1973) Mosque at Nabeul, Tunisia oil on canvas signed ‘S. L. Thompson’ (lower right); inscribed with title to reverse 39 x 46.5cm $3,000 - $5,000 Provenance Ex collection of D L Thompson, Auckland Sale, Dunbar Sloane Ltd, 21 October 1987 (lot 63) Private collection, Wellington

36 Sydney Lough Thompson (1877-1973) At the Fair, Concarneau oil on board signed ‘S. L. Thompson’ (lower right) 37 x 45cm $5,000 - $8,000 Provenance Sale, Dunbar Sloane Ltd, 30 October 1985 (lot 19) Private collection, Wellington

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37 Doris Lusk (1916-90) Village on the River's Edge watercolour on paper signed ‘D. Lusk’ (lower right) 24 x 33.5cm $2,000 - $4,000 Provenance with Ferner’s Gallery c1996 Private collection, Marlborough

38 Margaret O Stoddart (1865-1934) Sumner Beach watercolour heightened with white on paper signed ‘M. O. Stoddart’ (lower left) 23.5 x 33cm $2,500 - $4,000

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Provenance Private collection, Hawkes Bay

39 Margaret O Stoddart (1865-1934) Kaikoura Coast watercolour on paper signed ‘M. O. Stoddart’ (lower left) 24 x 34.5cm $2,500 - $4,000 Provenance Private collection, Hawkes Bay 38

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40 Frances Hodgkins (1869-1947) Untitled (The Orange Sail, possibly Chioggia) c 1906 watercolour on paper 12.5 x 17.5cm $7,500 - $12,500 Provenance The Hursthouse Collection, York Bay, Wellington

The Hursthouse, Atkinson & Richmond families began their friendship before James Crowe Richmond arrived in New Zealand, 1850. Richmond’s aunt Helen was married to John Hursthouse, and had previously worked with John Staines Atkinson in the United Kingdom. The families remained close, settling in York Bay, Wellington.

This work is to be added to the Frances Hodgkins online database.

We would like to thank Mary Kisler & Tony Mackle for their assistance cataloguing this work.

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41 Sing Tai (Harry) Wong (b 1943) Yellow Yantra acrylic under perspex stencilled 'WONG SING TAI 70' to reverse 182 x 103cm $2,000 – 4,000 Provenance commissioned for the Victoria University Students Association 1970

42 Pat Hanly (1932-2004) Pure Painting enamel on board signed and dated ‘Hanly 76’ (lower right) and inscribed with title (lower centre right), bears original artist label and inscribed with title and date to reverse 74 x 74cm $20,000 - $30,000 Provenance Sale, International Art Centre, Auckland 30 October 2006 (lot 40) Private collection, Auckland

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43 Jeff Thomson Map of Aotearoa / New Zealand screenprinted corrugated iron signed and dated 'J G Thomson 2003' (lower) 181 x 70cm overall $4,000 - $6,000 Provenance with Bowen Galleries, 2003 Private collection, Kapiti Coast

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44 Jeff Thomson (b 1957) Map of Aotearoa / New Zealand three double layered and cut corrugated pieces signed and dated ‘J G Thomson 2018’ to reverse 140 x 40cm overall $4,000 - $6,000 Provenance Private collection, Auckland

45 Jeff Thomson (b 1957) Cow Letterbox hand painted corrugated iron 54cm height, 20cm width, 44cm depth $2,000 - $3,500 Provenance Private collection, Wellington

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46 Jeff Thomson (b 1957) Ostrich Letterbox hand painted corrugated iron on wooden base 210cm height, 85cm width, 100cm depth $2,500 - $4,000 Provenance Private collection, Wellington

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47 Jeff Thomson (b 1957) Wash, Wake and Reflections (2006) screen printed steel in three sections signed & dated 2006 (lower) 130 x 250cm overall $2,000 - $4,000 The work was commissioned as a celebration of the maritime environment of the Viaduct basin.

Provenance Corporate collection, Wellington

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48 Don Binney (1940-2012) Motutapu Takahe Release III screenprint, limited edition of 80 signed and dated 2012 (within print); inscribed with title (lower centre) 54 x 72cm $2,500 - $4,500

49 Don Binney (1940-2012) Hauturu from Campbells Bay II coloured pencil on paper signed and dated ‘DON BINNEY APRIL 2004’ (lower right) 14.8 x 21cm $6,000 - $10,000

Provenance Private collection, Christchurch

Provenance Private collection, North Island

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50 Richard McWhannell (b 1952) Self Portrait oil on canvas laid down on board signed and dated ‘R McWhannell 1994’ and inscribed with title to reverse 90 x 61cm $3,750 - $5,000

51 Terry Stringer (b 1946) Fingers Face Folds cast bronze, limited edition 3/3 incised with signature and dated 2008 (lower) 31cm height $2,500 - $4,500

Provenance Private collection, Canterbury

Provenance Private collection, Wellington

Literature Gregory O’Brien, Lands & Deeds, Profiles of Contemporary New Zealand Painters (Godwit Publishing Ltd 1996) p. 144 (colour illustration)

52 Terry Stringer (b 1946) A. Lois White cast bronze on wooden base, limited edition 6/12 incised with signature and dated ‘Terry Stringer ‘78’ (right side of base) 22cm height (bronze only) $5,000 - $7,000 Provenance purchased Webbs’ Auction, c1980 Private collection, Bay of Plenty

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53 Melvin Day (1923-2016) Still Life with Lemons oil on canvas signed and dated ‘Day 89’ (lower right) 26 x 30.5cm $2,500 - $4,000 Provenance purchased directly from the artist c1989 Private collection, Wellington

54 Peter McIntyre (1910-95) Gladioli oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 59.5 x 49.5cm $6,000 - $10,000

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55 Peter McIntyre (1910-95) Rangitikei River oil on canvas signed 'PETER MCINTYRE' (lower centre/ right) 49 x 59cm $16,000 - $24,000 Provenance Private collection, Wellington

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56 Peter McIntyre (1910-95) Aratiatia Rapids watercolour on paper signed 'PETER MCINTYRE' (lower right) 46 x 60cm $10,000 - $20,000 Provenance Private collection, Wellington 57 Peter McIntyre (1910-95) Wellington Harbour watercolour and ink on paper signed ‘PETER MCINTYRE’ (lower right) 54 x 74cm $8,000 - $12,000 Provenance Private collection, Wellington

58 Peter McIntyre (1910-95) Crete Composing of four composite scenes including Maadi Camp 1940, with the citadel in the distance; Plane wreckage; Parachute stuck in tree & A dressing station near Maleme Indian ink on paper signed ‘Peter McIntyre’ in pencil (lower right) 51 x 45cm $10,000 - $20,000 Provenance Private collection, Wellington Literature/Reference Peter McIntyre: War Artist (Reed 1981) p. 67, 68 & inside back cover

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59 Sam Cairncross (1913-76) Perrett’s Corner, Duke of Edinburgh Pub oil on board signed and dated ‘60 (lower right) 40 x 49cm $3,000 - $5,000 Provenance Sale, Dunbar Sloane, Wellington, 15 November 2006 (lot 1) Private collection, Wellington

60 Sam Cairncross (1913-76) Manners Street oil on board signed and dated ‘59 (lower right); signed, inscribed with title and dated ‘60 to reverse 38 x 47cm $3,000 - $5,000

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Provenance Sale, Dunbar Sloane, Wellington, 15 August 2007 (lot 46) Private collection, Wellington

61 Colin Wheeler (1919-2012) Street at Arrowtown oil on canvas laid down on board signed ‘COLIN C. WHEELER’ (lower left); inscribed with title on original paper label to reverse 59 x 46cm $4,000 - $7,000 Provenance Purchased directly from the artist by Mae Brodie, Opera Singer by descent to current owner, Central Otago 60

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62 Colin Wheeler (1919-2012) Cow Byre at Weston, North Otago oil on board signed and dated 1984 (lower left); inscribed with title on original label affixed to reverse 41.5 x 58cm $4,000 - $7,000

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63 Trevor Moffitt (1936-2006) Coastliner, No 10., South Canterbury Series oil on board signed and dated ‘Moffitt ‘02’ (lower right); inscribed with title and dated ‘02 to reverse 74 x 121cm $6,000 - $10,000 Provenance Private collection, Canterbury

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64 Doris Lusk (1916-90) Rocks at Mikonui, Kaikoura Coast oil on board signed and dated ‘D. Lusk/ 1968’ (lower right); inscribed with title to reverse 40 x 89cm $7,500 - $12,500 Provenance Sale, International Art Centre, Auckland, 29 September 1997 (lot 59) Private collection, Bay of Plenty

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65 Girolamo Pieri Ballati Nerli (1860-1926) The Funeral Procession oil on board signed ‘Nerli’ (lower right) 19.2 x 26.5cm $8,000 - $12,000

Nerli was known as a daring and radical artist in both Australia and New Zealand in the late 19th century. In New Zealand he was active for a mere five years, mainly in Dunedin but also further north in Auckland. At the time his paintings were seen as very modern, experimental and linked to impressionism. But unlike many Impressionists, one thinks of Claude Monet, he favoured a subdued palette with blacks and greys in the ascendant as in Funeral Procession. His use of black and grey in a reductive palette recalls the works of James McNeil Whistler made in London and also lesser known Italian Impressionists like Giovanni Boldini and Gisueppe di Nittis. In fact, his brushwork with dashes and dots of paint seems more Italian than French. This is not surprising seeing that he had studied in Florence and knew about the Italian Impressionists called the Macchiaioli – the patch makers. While he painted portraits and landscapes he also did figure compositions like The Funeral Procession that look back to European prototypes. There was a demand for these paintings in Australia and New Zealand which local artists could not meet.

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The Funeral Procession is an exciting and freely painted work which shows mourners walking in a group across the sands of a wind-swept beach in darkness. They hold torches in their hands and clutch their flowing dark garments as protection against the cold.

Night is setting in and the clouds behind the figures are black and threatening. Symbolically we can interpret the elements as being in sympathy with the bearers of the open casket. Lit by a flash of light, the corpse is propped up on view in a white lined coffin. Open casket funerals were not held in English countries so we must assume a Mediterranean setting or an imaginary one. The waves of the sea imply a fishing community such as those found in France and Italy. Drowning and loss of life at sea were common at that period.

The corpse is being carried to consecrated ground for burial. Such a scene has a sublime dimension that affects us because of its sombre subject matter. It gives emotional charge through empathy with the mourners.

There were several paintings of funeral processions to be found in New Zealand galleries. A notable one is The Dutch Funeral by Petrus Van der Velden in the Christchurch Art Gallery. Exhibited while Nerli was in Dunedin, it shows mourners trudging through the snow pulling a coffin on a sledge. Of Such is the Kingdom of Heaven, 1891, by Frank Bramley in the Auckland Art Gallery depicts the funeral procession of a girl in a seaside town. Both are large and impressive works. It seems likely that Nerli was familiar with this kind of imagery and invented his work thinking of an Italian precedent. We do not know whether he exhibited the painting in New Zealand or Australia because it does not occur in exhibition listings. However, it is a powerful work comparable with his Bacchanalian Orgy paintings with their agitated figures.

Professor Michael Dunn

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66 Charles Edward Dixon (British, 1872-1934) Beating out of Hamble, Southampton; Off Calshot, Southampton Water watercolour heightened with white on paper both signed, inscribed with title and dated ‘Charles Dixon ‘08’ (lower left) and ‘Charles Dixon 1913 (lower left) 12 x 37.5cm; 12 x 36.5cm (2) $3,500 - $5,000 Provenance with Robert Perera Fine Arts, UK Private collection, Wellington

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67 Montague Dawson RMSA, FRSA (British 1890-1973) The Racing Six watercolour heightened with white on paper signed ‘MONTAGUE DAWSON’ (lower left); inscribed with title on original W. B. Simpson, Glasgow paper label to reverse 44 x 67cm $16,000 - $24,000 Provenance Private collection, Auckland

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68 Charles Nathaniel Worsley (1862-1923) Lambton Quay, Wellington watercolour signed ‘C.N. Worsley’ (lower left) 42 x 28cm $4,000 - $6,000

69 John Barr Clarke Hoyte (1835-1913) From Dunedin Eastwards towards Harbour Entrance watercolour signed ‘J.C.H.’ (lower left) 21 x 43cm $3,000 - $6,000 Provenance This and the following two works are from the Estate of Irvine & Margaret Major, Nelson Irvine Major was born in Christchurch and served in the Middle East and Italy during the Second World War. From 1949 he lived in Nelson where he was an active member of the Suter Arts Society, exhibiting regularly and holding various offices. As the art master at Nelson College he counted Laurence Aberhart and Philip Clairmont among his pupils.

His work is held in the public collections of Christchurch Art Gallery, The Suter Art Gallery and Te Papa Tongarewa.

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70 John Barr Clarke Hoyte (1835-1913) Hole in the Rock watercolour signed ‘J.C.Hoyte’ (lower left) 18 x 39.5cm $3,000 - $6,000

71 John Barr Clarke Hoyte (1835-1913) Coastal Landscape with Ruin watercolour heightened with white signed ‘J.C.H.’ (lower left) 13.5 x 31cm $2,000 - $4,000

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72 John Paine (Australian 1834-1915) Photographic Album comprising of 49 albumen prints of domestic architecture, landscapes etc of Sydney, NSW, Brisbane, Queensland and Melbourne, Victoria compiled in tooled morocco album 42 x 32cm overall $2,000 - $4,000 Provenance Private collection, Wellington

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73 Raymond Ching (b 1939) Black Oystercatcher (Haematopus unicolour) 1979 graphite on paper signed ‘Raymond Ching’ and inscribed with title (lower centre) 48 x 35cm $2,000 - $4,000 Completely black oystercatcher’s are found only on Stewart Island. The species has remained endemic due to its sedentary lifestyle and lack of migration keeping all populations within the same island habitat.

74 Horatio Gordon Robley (1840-1930) Study of Chief Tomika Te Mutu from the Ngaiterangi Tribe monochrome watercolour and wash signed with initials 8.3 x 13cm together with two other watercolour and wash studies, one bearing initials and the other signed, 8.3 x 13cm, 13 x 8.3cm (3) $2,000 - $3,000 Provenance Sale, Webb’s, Auckland, 27 June 2002 (lot 10 & 11) Private collection, Gisborne

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75 Robyn Kahukiwa (b 1940) Blue Mother & Child watercolour and ink on paper signed and dated ‘Robyn F. Kahukiwa ‘73’ (lower right) 50 x 34cm $2,500 - $4,000 Provenance Private collection, South Island

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Part Two - Day Sale New Zealand & International Fine Art

Thursday 5 December 2019 12 noon start Lot 200 - 360

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200 Ivy Fife (1905-76) Snow, Porters Pass gouache 35 x 39cm $750 - $1,250 Provenance Lots 200 - 213 are descended from the Estate of the artist, Ivy G. Fife 201 Ivy Fife (1905-76) Flax in Malvern Hills watercolour signed ‘I. G. FIFE’ (lower left) 44 x 35cm $750 - $1,250 66

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202 Ivy Fife (1905-76) Peg-Leg Creek, Westland watercolour signed ‘I. G. FIFE’ (lower left) 39 x 34cm $750 - $1,250 Exhibited Wellington, New Zealand Academy of Fine Arts, 1950 Christchurch, Canterbury Society of Arts, 1951 Christchurch, The Robert McDougall Art Gallery, Ivy Fife Retrospective Exhibition 1938-1976, 16 February - 18 March 1977 no. 13.

203 Ivy Fife (1905-76) Mt Robert, Nelson Lakes watercolour signed ‘I. G. FIFE’ (lower right) 46 x 55cm $750 - $1,250

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204 Ivy Fife (1905-76) Untitled (View over Rooftops) watercolour signed ‘I. G. FIFE’ (lower left) 34 x 39cm $750 - $1,250

205 Ivy Fife (1905-76) Porters Pass watercolour signed ‘I. G. FIFE’ (lower right) 35 x 39cm $600 - $1,000

206 Ivy Fife (1905-67) Landscape, Waddington watercolour signed ‘I.G.Fife’ (lower right) 22 x 32cm together with two other watercolour landscapes, one signed, 32 x 22cm each (3) $1,000 - $2,000

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207 Ivy Fife (1905-76) Plum Blossom (1973) oil on board 61 x 39.5cm with study of feather to reverse together with other oil on board study ‘On the way to Porters Pass’, 39 x 47cm both unframed $500 - $800

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208 Ivy Fife (1905-76) Redhead oil on board signed ‘I. G. FIFE’ (lower left) 54.5 x 44cm together with Blossom Tree study by the same hand to reverse, unframed $500 - $800

209 Ivy Fife (1905-76) Selection of six watercolours including Scandinavian Ship, Lyttelton with Dredge Bucket watercolour 54 x 44cm together with Snow on Torlesse, Building at Airport, Mountain, Sunflower study etc, variously signed, of sizes, all unframed (6 $300 - $600

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210 Ivy Fyfe (1905-76) Selection of six works including Town at Night gouache on cardboard signed ‘I.G.FIFE’ (lower right) and inscribed with title to reverse 40 x 65cm together with five various watercolours including Lake near Craigieburn; Snow Scene, Porters Pass; Stones; Weka Pass & other landscape, variously signed, of sizes, all unframed (6) $500 - $800

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211 Ivy Fife (1905-76) Tulips oil on board 53 x 28cm $300 - $600

213 Ivy Fife (1905-76) Folio of loose drawings, sketches, watercolours (30+) $300 - $600

212 Ivy Fife (1905-76) The Garden by the Sea woodblock signed ‘I. G. Fife’ (lower right); inscribed with title (lower left) 12.5 x 10.5cm together with another coloured woodblock by the same hand, signed (lower right) 15.5 x 11.5cm (2) $500 - $800

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214 Grahame Sydney (b 1948) Mai-mai, Kane’s Pond lithograph, ltd ed 47/50 signed (lower right) & dated April 2010 (lower left) 45 x 66cm $1,250 - $2,500

216 Grahame Sydney (b 1948) Back Side etching, ltd ed 4/25 signed (lower right) & dated March 1982 (lower left) 21.5 x 28.5cm (plate) $1,000 - $2,000

215 Grahame Sydney (b 1948) Night Station lithograph, ltd 38/50 signed & dated ‘Feb 2007’ (lower left) 47 x 58.5cm $1,250 - $2,500

217 John Drawbridge (1930-2005) Metropolis No. 2 drypoint engraving, ltd ed 6/30 signed & dated 1973 (lower right) & inscribed with title (lower left) 36 x 56cm $750 - $1,250

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218 Ted Dutch (1928-2008) Ornithopter screenprint, ltd ed 17/20 signed & dated 1970 (lower right) 53.5 x 73cm $700 - $1,200 219 Michael Smither (b 1939) Island I, II & III screenprints, all Artist Proof all signed with initials & dated ‘73 (lower right) 51 x 40.5cm each (3) $1,250 - $2,500

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220 Michael Smither (b 1939) Alfred Road Bridge screenprint, ltd ed 15/50 signed with initials and dated 2014 (lower right) 48 x 65cm $1,600 - $2,600

222 Michael Smither (b 1939) Blue Flipper screenprint, ltd ed 3350 signed with initials & dated 2013 (lower right) 68 x 50cm $1,600 - $2,600

221 Michael Smither (b 1939) Stony River screenprint, ltd ed 37/72 signed with initials & dated 2011 (lower right) 54 x 78cm $1,600 - $2,600

223 Michael Smither (b 1939) Black Rocks at Night screenprint, ltd ed 4/100 signed with initials & dated ‘87 (lower right) 79.5 x 54cm $1,000 - $2,000

224 Michael Smither (b 1939) Sunbathers 1964 (2007) screenprint, ltd ed of 80 signed with initials (lower right) 73 x 53cm $750 - $1,250

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225 Liz Maw (b 1966) Aura giclee on paper, ltd ed 1/10 signed (lower left), inscribed with title & dated 2002 (lower centre) 73 x 60.5cm $1,600 - $2,600 226 Shane Cotton (b 1964) Untitled acrylic on paper signed with initials & dated 2015 (lower right) 21 x 14.5cm $1,500 - $2,500

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227 Andrew McLeod (b 1976) Camowhaiwhai oil, gouache & pencil on paper signed, inscribed with title & dated 2009 106 x 74.5cm $2,000 - $3,000

229 Sam Harrison (b 1985) Untitled (Reclining figure) watercolour signed & dated 2015 to reverse/lower right 106 x 74.5cm $1,500 - $2,500

228 Julia Holden Ghost for “Heads Road� Gallery 85 watercolour signed & dated 2018 to reverse 49 x 49cm $1,000 - $2,000

230 Denys Watkins (b 1945) Perfect Day acrylic on canvas signed, inscribed with title & dated 2017 to reverse 46 x 35cm $800 - $1,400

231 Glenn Busch (b 1948) Man with a Transistor Radio (1973) gelatin silver print 18 x 12cm $800 - $1,600 copy of this image is held in the collections of Te Papa Tongarewa, Auckland Art Gallery & Christchurch Art Gallery

232 Glenn Busch (b 1948) Untitled (c 1973-4) gelatin silver print 27 x 26.5cm $800 - $1,600

233 Peter Hannken (b 1958) John & his diner (1982) cibachrome print 50 x 40cm $300 - $600

234 Catherine Russ Matthew, Jimmy Janes Memorial Championships, Lower Hutt Town Hall, June 1999 lambda photographic print, ltd ed 1/5 144 x 109cm $500 - $800

235 Kaz Strankowski (b 1977) La Tourette Type C photograph 50.5 x 75.5cm $1,000 - $1,500 Prov: Ex Les & Milly Paris Collection

236 Andrew Beck (b 1987) Focus Point acrylic on glass and silver gelatin print in artist-made frame signed, inscribed with title & dated 2015 to reverse 66 x 51cm $1,600 - $2,400

237 Simon Morris (b 1963) Black Blue & Yellow Abstract (1998) diptych, acrylic on canvas 68 x 40cm overall $600 - $1,200

238 Jude Rae (b 1955) Untitled Triptych oil on canvas each signed & dated ‘91 to reverse 45 x 45cm each; 45 x 135cm overall $1,250 - $2,500

239 Jonathan Organ (b 1973) ph: ARMacy I & II vinyl & anodised aluminium, diptych signed & dated '99 to reverse 25 x 25cm each panel, 25 x 50cm overall $500 - $800

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240 Frank Gross (1908-63) View of Lake Hawea oil on board 38 x 47cm $1,000 - $2,000 Provenance Estate of Ivy Fife & Alan Forrester 241 Frank Gross (1908-63) Tram felt tip on paper signed (lower right) 44 x 57cm $750 - $1,250 Provenance Estate of Ivy Fife & Alan Forrester 74

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242 Frank Gross (1908-63) Harbour View, Elizabeth Bay felt tip on paper signed & dated ‘61 (lower right) 49 x 62cm $500 - $800 243 Frank Gross (1908-63) Cubist Still Life coloured pastel and felt tip on paper signed & dated ‘62 (lower right) 50 x 65cm $500 - $800

244 Frank Gross (1908-63) Lighthouse Road, Akaroa charcoal on paper laid down on board signed & inscribed with title to reverse 47 x 58cm $500 - $800

245 Frank Gross (1908-63) The Neighbours, Dunedin watercolour & ink on paper signed & dated 1952 (lower right) 28.5 x 36cm together with other similar work ‘Back Yard, King Street’ by the same hand (2) $500 - $800

246 Frank Gross (1908-63) Timber Mill, Central Otago watercolour & felt tip on paper signed & dated ‘59 (lower left) 51 x 60cm $500 - $800

247 Frank Gross (1908-63) Hanging out the Washing watercolour & ink on paper signed & dated 1950 (lower left) 28 x 33cm together with Dunedin Houses by the same hand (2) $400 - $700

248 Frank Gross (1908-63) Road to Waikeri, Central Otago watercolour on paper signed & dated 1947 (lower left); inscribed with title to reverse 33 x 37cm $300 - $600

249 Frank Gross (1908-63) Down Leith Valley, Dunedin watercolour & ink on paper signed & dated 1949 (lower left) 26 x 30.5cm together with other similar landscape, signed & dated ‘43 by the same hand (2) $500 - $800

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250 Thomas A McCormack (1883-1973) Apples (1971) watercolour & Indian ink on paper signed (lower right) 17 x 21.5cm $400 - $700

251 Thomas A McCormack (1883-1973) Portrait of the artists wife, Mabel (nee Craddock) at 83a Hill Street, Wellington watercolour signed & dated 1924 (lower left) 26.5 x 22.5cm $500 - $800

252 Toss Woollaston (1910-98) Landscape Indian ink & watercolour wash signed & dated ‘61 (lower right) 26.5 x 36cm $500 - $800

253 Toss Woollaston (1910-98) Patrick Lucas screenprint from the Barry Lett multiples 44 x 65cm $300 - $600

254 Railway Studios Better to miss your train than your K.P. Salt’ c.1930 colour lithographic poster, CHCH Press Co. 100 x 75cm $600 - $1,000

255 E Mervyn Taylor (1906-64) The Old Stable etching, limited edition 45 signed (lower right) 16 x 22.5cm $600 - $1,200

256 E Mervyn Taylor (1906-64) Palm Lily wood engraving, ed 40 signed (lower right) 11 x 7cm $400 - $700

257 E Mervyn Taylor (1906-64) Lacebark wood engraving, ed 30 signed (lower right) 6 x 9cm $300 - $600

258 E Mervyn Taylor (1906-64) Zebras colour linocut signed (lower right) 22 x 22cm $600 - $1,000

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259 Juliet Peter (1915-2009) Wellington Harbour lithograph, ltd ed 7/10 signed (lower right) 55 x 67cm $750 - $1,250

260 Juliet Peter (1915-2009) Circus, Night lithograph, ltd ed 4/25 signed (lower right); UNESCO exhibition catalogue label to reverse 47.5 x 62cm $400 - $700

261 Juliet Peter (1915-2009) Centaur lithograph, ltd ed 6/20 signed & dated ‘80 (lower right) 47 x 57cm $400 - $700

262 Roy Cowan (1918-2006) Still Life with Coffee and Teapots lithograph, ltd ed 4/6 signed with initials (lower right) 32 x 43.5cm $300 - $600

263 Clifton Pugh (Australian 1924-90) Portrait of Ray (c1986) etching, AP signed (lower left) 57 x 38cm $350 - $500

264 Robert Gibbings (Irish 1889-1958) The Retreat from Serbia colour woodblock signed & dated 1916 (lower right); inscribed with title (lower left) 19 x 19cm $500 - $800

265 Robert MacBryde (British 1913-66) Woman at a Table c1948 lithograph signed (lower right) 49 x 34cm $300 - $600

266 Robert MacBryde (British 1913-66) St Christopher lithograph, ed of 30 signed (lower right) 49 x 34cm $300 - $600

267 Ceri Richards (British 1903-71) Arrangement for a Piano lithograph, ltd ed 6/30 signed & dated ‘50 (lower right) 40 x 58cm $300 - $600

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268 Peter Beadle (b 1933) Southland Farm Scene oil on board signed (lower left) 30 x 59cm $800 - $1,400

269 Peter Beadle (b 1933) Burn Cottage, Cromwell oil on canvas board signed (lower right) 40 x 50cm $750 - $1,250

270 Peter Beadle (b 1933) The Old Cottage, Near Arrowtown oil on canvas board signed & dated ‘07 (lower left) 44 x 59cm $800 - $1,600

271 Ion Brown (b 942) Wakakura & Wellington Waterfront oil on canvas board signed (lower right) 29 x 40cm $500 - $800

272 Ion Brown (b 942) Baelena Bay, Wellington oil on board signed (lower right) 19.5 x 25cm $400 - $700

273 Raymond Madden Heathcote River oil on board signed (lower right) 39 x 49cm $300 - $600

274 John Crump (b 1943) Early Light on Pencarrow, Wellington Heads oil on canvas board signed (lower left) 53 x 74cm $500 - $800

275 John Crump (b 1943) Winter Fall Mt Sefton, Mt Cook National Park oil on board signed (lower left) 34.5 x 53cm $300 - $600

276 John Crump (b 1943) Early Autumn, Wairarapa oil on board signed & dated ‘68 (lower left) 60 x 75cm $400 - $700 Prov: Kelliher Prize Entry (original label to reverse)

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277 Tom Esplin (1915-2005) Nuremberg Tower oil on board signed (lower left) 32 x 43.5cm $2,000 - $3,000 278 John Badcock (b 1952) Rangitata River Flats oil on canvas board signed (lower right) 36 x 47cm $800 - $1,600

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279 Sam Cairncross (1913-76) Landscape near Auckland oil on board signed & dated ‘72; inscribed with title to reverse 31 x 56cm $1,250 - $1,750

281 Roy J Dickison (1923-2012) Five Past Ten, Dunedin oil on board signed (lower right); inscribed with title on original label to reverse 116 x 116cm $600 - $1,000

280 Ruth Cole (b 1961) Wellington oil on canvas signed & dated 1989 to reverse 175 x 193cm $600 - $1,000

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282 Olivia Spencer Bower (1905-82) Landscape with Aqueduct watercolour signed (lower right) 34 x 56cm $1,500 - $2,500

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283 Olivia Spencer Bower (1905-82) Lake Ohau - Branch of a Beech Tree (1976) watercolour signed (lower left) 70 x 54cm $750 - $1,250 284 Margaret O Stoddart (1865-1934) Landscape with Smoke Stack watercolour signed ‘M. O. Stoddart’ (lower left) 25.5 x 35.5cm $1,600 - $3,000

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285 Attributed Margaret O Stoddart (1865-1934) Heathcote River, Christchurch watercolour bears signature (lower right) 24.5 x 34cm $1,000 - $2,000 286 Maude Burge (1865-1957) Afternoon Tea watercolour certificate of authenticity to reverse 32 x 40cm $750 - $1,250

287 Archibald Nicoll (1886-1952) Kaikoura watercolour signed (lower right) 25 x 34.5cm $600 - $1,200

288 Elizabeth Baird Frieberg (c1915-47) Tending the Fields, Banks Peninsula watercolour signed (lower left) 50 x 58cm $500 - $800

289 Cedric Savage (1901-69) Lunchtime in the Town Square watercolour signed (lower right) 44.5 x 54.5cm $800 - $1,400

290 C N Worsley (1862-1923) Picturesque English Farming Village watercolour signed (lower left) 74 x 55cm $800 - $1,600

291 C N Worsley (1862-1923) The Boat Harbour, Tremezzo, Italy watercolour signed (lower right) 25 x 34.5cm $500 - $800

292 C N Worsley (1862-1923) Smoko break beside the harbour watercolour signed (lower left) 30 x 45cm $500 - $800

293 C N Worsley (1862-1923) The Borromean Islands & Pallanza, Lago Maggiore watercolour signed (lower left) 28 x 71cm $600 - $1,000

294 C N Worsley (1862-1923) Market Place Bordighera watercolour signed (lower left) 15 x 21cm together with watercolour of Fanghetta, Roja Valley by the same hand to the reverse $300 - $600

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295 Dick Frizzell (b 1943) Side A, Side B screenprint, ltd ed 47/200 signed & dated 2009 (lower right) 44 x 65.5cm $1,000 - $2,000

296 Dick Frizzell (b 1943) It Takes All Sorts set of three ltd ed prints, 8/10 produced

by Momentum Gallery, Auckland 42 x 33cm each (3) $1,000 - $2,000

297 James Ross (b 1948) Red/Pink/Yellow (Interior) mixed media collage on paper signed & dated ‘08 (lower right) 25 x 24.5cm $600 - $1,000

298 Kushana Bush (b 1983) Alabaster Man etching & aquatint, ltd ed 18/20 signed & dated 2014 (lower right) 37 x 28.5cm $1,600 - $2,400

299 Denys Watkins (b 1945) Andalucia screenprint, ltd ed 11/101 signed (lower right) 60 x 78cm $300 - $600

300 Philip Clairmont (1949-84) New Work, Janne Land Gallery Oct 12th - 30th 1981 woodblock publicity poster 61 x 40cm $300 - $600

301 Nigel Brown (b 1949) Aladdin’s Aotearoa hand coloured woodblock, ltd ed 11/101 signed & dated ‘95 (lower centre) 58 x 82cm $800 - $1,400

302 Nigel Brown (b 1949) The Artist in the Studio hand-coloured woodblock, AP signed & dated ‘92 (lower centre) 67 x 48cm $800 - $1,400

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303

304

305

308

307

306

303 John Pule (b 1962) Restless Spirit VII lithograph, ltd ed 7/20 signed & dated 2000 (lower left) 76 x 56cm $1,250 - $2,500

305 John Pule (b 1962) Restless Spirit X lithograph, ltd ed 7/20 signed & dated 2000 (lower left) 76 x 56cm $1,250 - $2,500

307 Simon Kaan (b 1971) ‘Wok Art’ oil on wok signed & dated ‘04 to reverse 35.5cm dia. $800 - $1,600

304 John Pule (b 1962) Restless Spirit VIII lithograph, ltd ed 7/20 signed & dated 2000 (lower left) 76 x 56cm $1,250 - $2,500

306 Philip Trusttum (b 1940) Untitled (2004) acrylic on loose canvas signed & dated 01-04 to reverse 92.5 x 55cm $2,500 - $4,500

308 Euan Macleod (b 1956) Rain oil pastel on paper signed & dated 11/18 (lower right) 28 x 35.5cm $800 - $1,400

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309 Albert Ludovici Jnr (British 1852-1932) Tottenham Court Road, London oil on canvas signed (lower left) 31 x 45cm $800 - $1,600

310 Lionel Percy Smythe (British 1839-1918) Victorian Street Scene gouache on paper signed (lower right); original Spink & Son Ltd paper label to reverse 12.5 x 20cm $600 - $1,000

311 Charles Horwood (British 1908-1975) Band performing in London Park oil on board signature inscribed (lower right) 24 x 35cm $400 - $700

312 Charles Horwood (British 1908-1975) Day at the Beach oil on board signature inscribed (lower right) 18 x 28.5cm $300 - $600

313 Georges Hanna Sabbagh (Egyptian 1877-1951) Untitled (Landscape) oil on panel signed (lower left) 12 x 15cm $1,000 - $2,000 Prov: collection of the artist Khalaf Tayeh (Taie)

314 Mohamed Naghi (Egyptian, 1888-1956) Untitled (Landscape) oil on paper signed (lower left) 10 x 16cm $500 - $800 Prov: collection of the artist Khalaf Tayeh (Taie)

315 Maurice Francois Courant (French 1847-1926) Sailing Boats on Calm Waters oil on board signed & dated 1891 (lower left) 44 x 63cm $600 - $1,000

316 H W Kirkwood (1854-1925) Boats at Low Tide oil on board 13.5 x 28cm together with J D Perrett, Port Chalmers, oil, signed & dated ‘94 (lower right), 21 x 13cm (2) $500 - $800

317 Edgar Macleod Lovell-Smith (1875-1950) Cobb & Co Coach traversing the Alps gouache on paper signed & dated 1912 (lower right) 25 x 37.5cm $600 - $1,000

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318 W G Baker (1864-1929) Lake Manapouri oil on canvas signed & inscribed with title (lower left) 90 x 136cm $2,000 - $3,000 Exhibited/Illustrated Bob Maysmor, Pataka Museum, W G Baker (Porirua 2007) p. 60-61 (col illus)

319 W G Baker (1864-1929) Otira Gorge with Cobb & Co Coach oil on canvas laid down on board signed & inscribed with title (lower right) 41 x 57cm $1,500 - $2,500

320 Frank Barnes (1859-1941) W.S.S.L. Titanic oil on feather inscribed with title 22cm length $1,000 - $2,000

321 Attributed John Gully Black paint tin/box with ten internal compartments Prov: Vendor is daughter of Stewart Bell Maclennan, Director National Art Gallery, 1950s-60s. He purchased this paint tin which John Gully had allegedly used throughout his career. The owner went on to marry John Gully’s great, great, great grandson. As such Dorothy Maclennan decided to gift it to her daughter so it was returned to the Gully Family. $800 - $1,600

322 Henry Grant Lloyd (1829-1904) The Terraces, Rotomahana watercolour signed & dated 1881 (lower left) 44 x 60cm $800 - $1,400

323 Charles H Howorth (1856-1945) Aoraki, Mt Cook oil on canvas board signed (lower left) 44 x 29cm $600 - $1,000

324 Frederick M. Sedgwick (?-1922) Trees on Rivers Edge oil on canvas signed (lower left) 55 x 66cm $1,000 - $2,000

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325

326

327

328

325 R P Moore (1881-1948) Poi & Haka Dancers, Rotorua handcoloured panoramic photograph photographer’s stamp (lower right) 18 x 93cm $500 - $1,000

327 R P Moore (1881-1948) Looking Down Franz Josef Glacier handcoloured panoramic photograph photographer’s stamp (lower left) 21 x 92cm $500 - $1,000

326 R P Moore (1881-1948) Native Village Whakarewarewa, New Zealand handcoloured panoramic photograph photographer’s stamp (lower right) 18 x 93cm $500 - $1,000

328 R P Moore (1881-1948) Mitre Peak handcoloured panoramic photograph photographer’s stamp (lower left) 19 x 99cm $500 - $1,000

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329 Nugent Welch (1881-1970) Wellington Harbour watercolour 23 x 30cm $500 - $800

330 Allan Leary (b 1926) Boat in Slipway oil on canvas laid down on board signed & dated ‘46 (lower right) 39.5 x 49cm, unframed $300 - $600

331 R B Watson (1911-80) The Broken Willow, Motueka oil on canvas board signed (lower right) 50 x 60cm $500 - $800

332 R B Watson (1911-80) The Basin Honfleur oil on canvas board signed (lower right) 34 x 44cm $400 - $700

333 R B Watson (1911-80) The Basin Honfleur oil on canvas board signed (lower right) 19 x 24cm $300 - $600

334 R B Watson (1911-80) Quiet Morning, Chiggio oil on board signed (lower right) 39.5 x 49.5cm $500 - $800

335 R B Watson (1911-80) Left Bank, Paris Dusk oil on canvas board signed (lower left) 19.5 x 30cm $500 - $800

336 Gaston de Vel (1924-2010) Fishing Boats, San Francisco oil on canvas signed & dated ‘90 (lower left) 55 x 45cm $600 - $1,000

337 Gaston de Vel (1924-2010) Monmartre, Paris oil on canvas signed & dated ‘87 (lower right) 59 x 44cm $500 - $800

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338 Adrian Moerenhout (fl. 2000-) Wide View, Wairarapa oil on canvas laid on board signed & dated ‘04 (lower right) 98 x 118cm $750 - $1,250

339 Carole Hughes (fl. 1980-) Paris Blues acrylic on canvas signed (lower right) 138 x 78cm $400 - $700

340 Sue Schaare (b 1950) Inside my Ozone acrylic on canvas signed & dated ‘06 (lower left) 80.5 x 60cm $500 - $800

341 Philippa Blair (b 1945) Ventoso (windy) oil on canvas signed & dated 2005 to reverse 30.5 x 30.5cm $300 - $600

342 Philip Beadle (b 1959) Lemons oil on board signed & dated 2001 (lower right) 18 x 18cm together with similar oil ‘Apples II’ (2003), 13 x 22.5cm by the same hand (2) $600 - $1,000

343 Annie Baird (1932-99) From Parliament, New Court watercolour signed (centre) 57 x 76cm $400 - $700

344 Annie Baird (1932-99) From Wright’s Hill watercolour signed & dated ‘89 (lower right) 57 x 76cm $400 - $700

345 Glenda Roberts (1939-2014) Daisy & the Tractor gouache signed (lower right) 54 x 73cm $400 - $700

346 Glenda Roberts (1939-2014) De la Terrasse a Chez Nicole gouache signed & dated ‘05 (lower right) 53 x 69cm $400 - $700

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347 Suzanne Herschell (fl. 1970-) Cliffs oil on board signed (lower right) 77 x 57cm $400 - $700

348 Suzanne Herschell (fl. 1970-) Aoraki II oil on canvas signed & dated 2005 (lower right) 30.5 x 91cm $400 - $700

350 Rob McDowell (b 1937) Lewis Pass acrylic on canvas laid down on board signed & dated ‘90 (lower right) 59 x 89cm $750 - $1,250

351 Helen Lees Towards the Moon triptych, oil on canvas signed (lower right panel) 60.5 x 66cm per panel, 60.5 x 198cm overall $1,000 - $1,500

352 John W Scott (b 1945) Sonnet Series, Line 6 ‘My true account lest he returning chide' acrylic, gold leaf & foil on paper signed & dated 1985 (lower centre) 75 x 55.5cm $750 - $1,250

353 Eion Stevens (b 1952) find it (2nd version) oil on canvas signed, inscribed with title & dated 12/88 to reverse 100 x 71.5cm $1,000 - $2,000

349 Alec MacDonald Terminus egg tempera on board signed & dated ‘99 (lower right) 89 x 65cm $1,000 - $2,000

354 Des Robertshaw (b 1955) The Vessels Series acrylic on board 77 x 94cm $1,000 - $2,000

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355

356

357

360 359

358

355 Louise Henderson (1902-94) (Untitled) Figural Study mixed media on paper signed (lower right) 37 x 27cm $1,000 - $2,000

357 Philip Trusttum (b 1940) Untitled mixed media on paper signed (lower centre) 62 x 63.5cm $750 - $1,250

359 John S Parker (1944-2017) Awatere Hill pastel on paper signed & dated ‘89 (lower right) 41.5 x 58cm $500 - $1,000

356 Victoria Gray Figures oil on board signed & dated ‘55 (lower right) 74.5 x 61cm $400 - $700

358 John S Parker (1944-2017) Red Journey acrylic on paper signed, inscribed with title & dated '86 (lower left) 150 x 120cm $1,500 - $2,500

360 Rudolf Gopas (1913-82) Central Otago Landscape watercolour on paper certificate of authenticity to reverse 48 x 62cm $750 - $1,250

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Part Three Studio Ceramics & Applied Art

Thursday 5 December 2019 4pm start Lot 400 - 478

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400 Mirek Smisek footed bowl with embossed geometric pattern to rim, 27cm dia. $150 - $250

401 Mirek Smisek five small matching bowls, impressed marks, 13cm dia. $100 - $200

402 Mirek Smisek five small matching dishes, impressed marks, 12.5cm dia. $100 - $200

403 Mirek Smisek set of eight soup bowls with handles, all with impressed marks, 13cm dia. $200 - $400

404 Mirek Smisek seven side plates, all with impressed marks, 19.5cm dia. $150 - $300

405 Mirek Smisek two plates, impressed marks, 27cm dia. $100 - $200

406 Mirek Smisek pair plates, impressed mark, 26.5cm dia. $100 - $200

407 Mirek Smisek pair of ashtrays, impressed marks, 15.5cm dia. each $100 - $200

408 Mirek Smisek lidded casserole, impressed mark, 29cm dia. $100 - $200

409 Mirek Smisek single handed flagon, impressed mark, 21cm height $100 - $200

410 Mirek Smisek small jug with other vase, both impressed marks, 14.5cm, 15cm heights $100 - $200

411 Mirek Smisek salt & pepper, impressed marks, 13cm height together with small bowl, impressed mark, 13.5cm dia. $100 - $200

412 Mirek Smisek small vase with goblet & cheese dome, all with impressed marks, 13cm height (vase) $100 - $200

413 Mirek Smisek cheese dome/ dish, impressed mark, 18cm dia. $75 - $150

414 Barry Brickell deep salt glaze ribbed bowl, impressed mark, 2cm dia. $200 - $300

415 Laurence Ewing cork stoppered bottle flask with rope handle, impressed mark, 24cm height $150 - $250

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416 Jack Laird large table bowl, incised signature, 47cm dia. $400 - $600

417 Jack Laird gourd/bottle vase, incised mark, 35cm height $100 - $200

418 Jack Laird large charger with scalloped rim and centre painted with gold carp, incised signature, 37cm dia. $200 - $300

419 Peter Collis large floor vase with flattened rim, 39cm height $250 - $400

420 Andrew Van Der Putten flagon with strap handle, impressed mark, 31cm height $200 - $300

421 Doreen Blumhardt fluted hanging planter with coral impressions to exterior, 37cm max dia. $300 - $600

422 Doreen Blumhardt large bowl with wide freeform impressed rim, impressed mark & paper label, 43cm dia. $300 - $600

423 Doreen Blumhardt square wall plaque/ platter, hand painted with floral motifs, 36 x 36cm (firing flaw) $300 - $500

424 Doreen Blumhardt slab sided quadrilateral dish, impressed mark & paper label, 33cm maximum length $300 - $600

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425 Doreen Blumhardt bowl with unglazed rim & central Japanese motif, impressed mark, 39cm dia. $300 - $500

426 Doreen Blumhardt bowl, impressed mark, 25cm dia. $100 - $200

427 Patti Meads ‘Centripetal Form’ 1996, impressed mark & paper labels to base, 34cm dia. $100 - $200

428 Flora Christeller crystalline glaze squat vase, signed & dated ‘87 to base, 12cm height $100 - $200

429 Graeme Storm specimen vase, 18cm height together with small dish, 11cm dia. & lidded pot, 5cm length, all with various impressed marks (3) $100 - $200

430 Rick Rudd handbuilt terracotta teapot in blue glaze, shape no 1, 23cm height $250 - $450

431 Rick Rudd handbuilt black terracotta teapot with metallic black & shiny glaze interior & lid, 23cm height $250 - $450

432 John Parker grooved bowl, matt cream glaze, impressed mark, 18.5cm dia. $100 - $200

433 Garry Nash iridescent vase, etched mark & dated ‘Nash ‘96’ to base, 21cm height $150 - $250

434 Garry Nash bowl, etched signature & dated ‘Nash ‘96’ to base, 25cm dia. $150 - $250

435 Luke Adams Pottery Ltd barrel jug, 16cm height $100 - $200

0436 Crown Lynn Sushi Platter, ‘The Legend of Maui’ designed by Dave Jenkin for Expo ‘70, printed mark to base, 30.5cm length $300 - $600 96

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437 Grace Seccombe (Australian) Two Koala Bookends, both with incised signatures and worn paper labels, 12cm height $500 - $800

438 Michael O'Brien, Wenford Bridge (British) beaker with tea cup & saucer, both with impressed Wenford Bridge & potter marks, 11cm height (beaker) $100 - $200

439 Michael Cardew (British) large earthenware flagon with slip glaze decoration, impressed MC and Winchcombe marks, 40cm height $1,000 - $1,500

440 Len Castle branch pot, slab built stoneware vase, impressed mark, 36cm height $3,000 - $5,000

441 Len Castle press moulded discoid vase with rope impressions, impressed mark, 33cm height $1,500 - $2,000

442 Len Castle hanging form, impressed mark, 54cm length $1,500 - $2,000

443 Len Castle stoneware rectangular platter with wax resist decoration, impressed mark, 31cm length $350 - $650

444 Len Castle stoneware rectangular Platter, impressed mark, 32cm length $300 - $600

445 Len Castle shallow bowl, impressed mark, 29cm dia. $400 - $600

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446 Len Castle specimen vase, impressed mark, 16cm height $300 - $600

449 Len Castle irregular square lidded box, impressed mark, 7cm (minute chip to rim) $100 - $200

450 Len Castle miniature bottle vase, embossed with Japanese character, impressed mark, 12cm height $100 - $200

453 Len Castle set of six small bowls, all with impressed marks c1980-90, 14.5cm dia. each $300 - $600

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447 Len Castle tapering sedge grass vase with impressed triangular decoration, impressed mark, 18cm height (minor chipping to rim) $200 - $400

448 Len Castle triple aperture vase, impressed mark, 12cm height $250 - $450

451 Len Castle two small pouring Bowls, impressed marks, 14.5cm 13cm dia. $200 - $400

454 Ruth Castle wall dish, dyed rattancore & palm tendril, 65cm dia. $300 - $600

452 Len Castle pouring bowl with ribbed external trim decoration, impressed mark, 13cm dia. $100 - $200

455 Ruth Castle dish/basket, dyed rattancore & palm tendril, 29cm dia. $200 - $400

456 James Greig Solid and Void Projection c1981-82 stoneware and ironstain 69cm height, 53cm width, 50cm depth $8,000 - 10,000 Exhibited Lower Hutt, Defying Gravity, Dowse Art Museum, 2017

457 James Greig Unfolding Form bowl, incised mark, 31.5cm max dia. $600 - $1,000

458 James Greig Unfolding Form ‘Eye’ Bowl, incised mark, 20cm length $300 - $600

459 James Greig Unfolding Form bowl, incised mark, 20.5cm maximum dia. $300 - $600

460 James Greig vase of organic form, incised mark, 12cm height $300 - $600

461 Carol Brent Wellington, Series One, eight ceramic tiles mounted on board, signed & dated ‘05, 118 x 63cm overall $600 - $1,200 Prov: Ex NZ Academy of Fine Arts, Wellington

462 Scott McFarlane three ceramics: Untitled #208, #202, #343 all painted with initials to reverse, of sizes $300 - $400

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463

464

465

466

467

468

463 Brendan Hartwell for Feltex Carpets New Zealand Ltd Map of New Zealand (1957), woollen souvenir rug, no 1 of Riccarton series, 138 x 69cm $750 - $1,250 464 Brendan Hartwell for Feltex Carpets New Zealand Ltd Taupo, woollen souvenir rug, no 3 of Riccarton series, 138 x 69cm $750 - $1,250

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465 Brendan Hartwell for Feltex Carpets New Zealand Ltd Mt Cook, woollen souvenir rug, no 2 of Riccarton series, 138 x 69cm $750 - $1,250 466 Brendan Hartwell for Feltex Carpets New Zealand Ltd Mt Cook, woollen souvenir rug, Harewood series design no 8971, original label to reverse, 138 x 69cm $750 - $1,250

467 Brendan Hartwell for Feltex Carpets New Zealand Ltd Queenstown, woollen souvenir rug, no 6 of Riccarton series with original label to reverse, 69 x 138cm $750 - $1,250 468 Michael Reed for Dilana Rugs Ltd ‘Homage to Saipo’ woollen floor rug, signed, inscribed with title & dated 2001 to reverse with original label, 1.5 x 2m $1,000 - $2,000

471

469

472

470

469 Kingsley Baird (b 1957) Great Women Explorers (1993) bronze 59cm height, 30cm height, 20.5cm height $2,000 - $3,000

470 Charlotte Fisher (b 1959) Red Head (1998) kauri & Australian hardwood 74.4 x 34.6 x 28.9cm $1,000 - $2,000

471 Morgan Jones (b 1934) Untitled (1966) carved kauri sculpture on stand, incised signature & dated ‘66 to base, 35cm height, 37cm width $400 - $700

Provenance This work is from a solo exhibition concerned with the centenary of women's suffrage. It was a maquette for a larger neon work of the same name measuring 175cm height

Provenance purchased Janne Land Gallery, Wellington ‘Charlotte Fisher’ 2001

472 Rik Land ‘Hoop Girl’, bronze ltd ed 2/9, 50cm height $1,000 - $2,000 Provenance purchased Fishers Fine Arts, Christchurch 2006

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473

474

475

476

473 Edgar Mansfield (1907-96) ‘Animism 55’, bronze sculpture, ltd ed 5/6, etched with monogram/initials, 12cm height $600 - $1,200

474 Tanya Ashken (b 1939) Chimpanzee (1995) bronze sculpture etched signature to foot 15cm height, 26cm length, 13cm width $600 - $1,000 Reference Cameron Drawbridge, Tanya Ashken (Wellington 2016) p. 130.

475 Peter Oxborough Bronze Sculpure, entitled ‘Te Haupa Dory’, etched mark, 27cm length $300 - $600 476 (b 1968) Louise Purvis Neighbour (2012) electroplated steel, painted stainless steel nuts & bolts, 31cm height, 53cm length, 11cm depth $400 - $600 Provenance Bowen Galleries, Shelter, March 2012

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477

477 Christine Cathie Wave Form, cast glass, olive colourway, 47cm height, 37cm length $2,500 - $3,500 478 Dominic Burrell Metropolis found glass objects, eight towers of sizes $800 - $1,600

478

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Alphabetical Index

PART ONE A Albrecht, Gretchen 16 B Binney, Don 49 C Cairncross, Sam 59, 60 Ching, Raymond 74 Cotton, Shane 15 D Dawson, Montague 67 Day, Melvin 53 Dibble, Paul 25 Dixon, Charles Edward 66

R Robley, Horatio Gordon 73 S Stoddart, Margaret 38, 39 Stringer, Terry 51, 52 Sutton, William Alexander 27, 28 T Thomson, Jeff 43-47 Thompson, Sydney Lough 33-36 W Walters, Gordon 18 Wheeler, Colin 61, 62 White, Robin 17 Wong, Sing Tai (Harry) 41 Worsley, Charles Nathaniel 68

F Fife, Ivy 1-13 Friedlander, Marti 22, 23

Y Younghusband, Adele 31

H Hammond, Bill 14, 20 Hanly, Pat 42 Haszard, Rhona 32 Henderson, Louise 26 Hitchens, Ivon 29 Hodgkins, Frances 40 Hoyte, John Barr Clarke 69-71

PART TWO

K Kahukiwa, Robyn 75 L Lusk, Doris 37, 64 M McCahon, Colin 19 McIntyre, Peter 54-58 McWhannell, Richard 50 Moffitt, Trevor 63 N Nerli, Girolamo P B 65 P Page, Evelyn 30 Paine, John 72 Pardington, Fiona 21

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B Badcock, John 278 Baird, Annie 343, 344 Baker, W G 318, 319 Barnes, Frank 321 Beadle, Peter 268-270, 342 Beck, Andrew 236 Blair, Philippa 341 Bower, Olivia Spencer 282, 283 Brown, Ion 271, 272 Brown, Nigel 301, 302 Burge, Maude 286 Busch, Glenn 231, 232 Bush, Kushana 298 C Cairncross, Sam 279 Clairmont, Philip 300 Cole, Ruth 280 Cotton, Shane 226 Courant, Maurce F A 315 Cowan, Roy 262 Crump, John 274-276

D de Vel, Gaston 336, 337 Dickison, Roy J 281 Drawbridge, John 217 Dutch, Ted 218 E Esplin, Tom 277 F Fife, Ivy 200-213 Frieberg, Elizabeth Baird 288 Frizzell, Dick 295, 296 G Gibbings, Robert 264 Gopas, Rudolf 360 Gray, Vic 356 Gross, Frank 240-249 Gully, John 320 H Hannken, Peter 233 Harrison, Sam 229 Henderson, Louise 355 Herschell, Suzanne 347, 348 Holden, Julia 228 Horwood, Charles 311, 312 Howorth, Charles H 323 Hughes, Carole 339 K Kaan, Simon 307 Kirkwood, H W 316 L Leary, Allan 330 Lees, Helen 351 Lloyd, Henry Grant 322 Lovell-Smith, Edgar Macleod 317 Ludovici, Albert Jnr 309 Mc MacBryde, Robert 265, 266 MacDonald, Alec 349 Macleod, Euan 308 McCormack, T A 250, 251 McDowell, Rob 350 McLeod, Andrew 227

M Madden, Raymond 273 Maw, Liz 225 Moerenhout, Adrian 338 Moore, R P 325-328 Morris, Simon 237 N Naghi Mohamed 314 Nicoll, Archibald 287 O Organ, Jonathan 239 P Parker, John S 359 Peter, Juliet 259-261 Pugh, Clifton 263 Pule, John 303-305 R Rae, Jude 238 Railway Studios 254 Richards, Ceri 267 Roberts, Glenda 345, 346 Robertshaw, Des 354 Ross, James 297 Russ, Catherine 234 S Sabbagh, Georges Hanna 313 Savage, Cedric 289 Schaare, Sue 340 Scott, John W 352 Sedgwick, Frederick M 324 Smither, Michael 219-224 Smythe, Lionel Percy 310 Stevens, Eion 353 Stoddart, Margaret O 284, 285 Strankowski, Kaz 235 Sydney, Grahame 214-216 T Taylor, E Mervyn 255-258 Trusttum, Philip 306, 357 W Watkins, Denys 230, 299 Watson, R B 331-335 Welch, Nugent 329 Wollaston, Toss 252, 253 Worsley, C N 290-294

PART THREE A Adams Pottery Ltd, Luke 435 Ashken, Tanya 474 B Baird, Kingsley 469 Blumhardt, Doreen 421-426 Brent, Carol 461 Brickell, Barry 414 Burrell, Dominic 477 C Cardew, Michael 439 Castle, Len 440-453 Castle, Ruth 454, 455 Cathie, Christine 478 Christeller, Flora 428 Collis, Peter 419 Crown Lynn 436

O O’Brien, Michael, Wenford Bridge 438 Oxborough, Peter 475 P Parker, John 432 Purvis, Louise 476 R Rudd, Rick 430, 431 S Seccombe, Grace 437 Smisek, Mirek 400-413 Storm, Graeme 429 V Van Der Putten, Andrew 420

D Dilana Rugs Ltd 468 E Ewing, Laurence 415 F Feltex Carpets 463-467 Fisher, Charlotte 470 G Greig, James 456-460 J Jones, Morgan 471 L Laird, Jack 416-418 Land, Rik 472 M McFarlane, Scott 462 Mansfield, Edgar 473 Meads, Patti 427 N Nash, Garry 433, 434

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The Noel & Margaret Dick Art Collection Highlights

99% SOLD BY LOT & 136% SOLD BY VALUE 13 NEW AUCTION RECORDS ACHIEVED

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Illustrated: 1 Colin McCahon Kauri - $107,600 2 Rita Angus Evening - $161,400 - New Artist Record for work on paper 3 Toss Woollaston The dead Christ after Bellini- $113,600 4 Ralph Hotere Pipiwhararuroa, Story of the Shining Cuckoo - $101,600 5 Colin McCahon North Otago Landscape 3 - $717,300

6 Louise Henderson Cubist Still Life - $34,700 7 Melvin Day Somes Island, Wellington Harbour- $58,600 - New Artist Record 8 Toss Woollaston Bayley’s Hill $62,200 9 Charles Tole Hawea - $39,400 10 A Lois White Winter’s Approach - $33,500 11 E Mervyn Taylor Hine - $10,200 - New Artist Record 12 John Tole Viaduct, Central Plateau - $45,400 - New Artist Record

* Rounded to the nearest hundred ncluding buyers premium + GST

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Recent Fine Jewellery Highlights

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Illustrated: 1 Mikimoto cultured pearls - $12,000 2 Presentation Medallion Albert Chain - $9,500 3 18ct Two Stone Diamond Ring - $33,000 4 18ct Emerald &

Diamond Ring - $15,650 5 Platinum Solitaire Diamond Ring - $23,300 6 18ct 13stone Burmese Ruby & Diamond Cluster Ring - $60,000 7 Tiffany & Co Platinum

Solitaire Diamond ring - $38,000 8 Unmounted Aquamarine Gem Stone - $18,000 9 NZ 9ct Single Large Cairngorm snap bangle - $8,900 10 9ct Mounted Dog

Claw Brooch with inscriptiion from Scotts Expedition - $10,000 11 NZ 15ct Greenstone Panel Bracelet - $10,700 12 Platinum 152stone Diamond Fancy Bracelet - $26,000 13 Early C20th Gold Amethyst & Diamond Brooch - $3,000 14 Art Deco Period 18ct White Gold 53stone Emerald & Diamond Brooch - $8,600 15 Victorian S/S and 15ct Diamond Brooch - $2,600 16 Cartier Duck Brooch - $7,400 17 18ct White Gold Diamond Hinged Snap Bangle - $13,000 18 Early C20th Liberty of London 18ct, Platinum Opal and Diamond Pendant $39,400 19 NZ 15ct 15stone Garnet & Moonstone Pendant - $27,000 20 Victorian Gold Renaissance Revival Pendant - $6500 * Rounded to the nearest hundred and include buyers premium + GST

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SINGLE VENDOR COLLECTION

The Simon Manchester Collection 29 January 2020

To include artworks, posters, religious iconography, mid century furniture, kiwiana collectables.

Also to feature leather bags & belts from Simon's iconic Cuba Street leather shop, EX 23.

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

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ENTRIES CURRENTLY INVITED ENTRIES CURRENTLY INVITED

Affordable & Applied Art 30 January 2020

Enquiries Helena Walker +64 4 472 1367 art@dunbarsloane.co.nz

ENTRIES CURRENTLY INVITED ENTRIES CURRENTLY INVITED

Affordable & Costume Jewellery

30 January 2020

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

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ENTRIES CURRENTLY INVITED

Antique & Decorative Arts

ENTRIES CURRENTLY INVITED

March 2020

Enquiries Anthony Gallgher Bettina Frith +64 4 472 1367 antiques@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

ENTRIES CURRENTLY INVITED ENTRIES CURRENTLY INVITED

Estate & Fine Jewellery

March 2019

Enquiries Bettina Frith +64 4 472 1367 reception@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED

New Zealand & International Fine & Applied Arts April 2020

Enquiries Helena Walker +64 4 472 1367 art@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED ENTRIES CURRENTLY INVITED

Maori, Pacific & African Artefacts

Autumn 2020

Enquiries Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

Antiquarian Book & Maps

ENTRIES CURRENTLY INVITED

Militaria Autumn 2020

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

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Buyers Guide If you have not bought from Dunbar Sloane before, please read the following notes. They are set out in the order you are likely to come across them in the process of buying at auction.

Staff will be pleased to answer any questions you may have.

Before the auction 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.

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. 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 REGISTRATION 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.

B UY I N G AT T H E A U C T I O N Please bid clearly and promptly using your bidding number. When you successfully purchase a lot the auctioneer will ask you for your number, and this will show on your invoice.

AP P ROX IM AT E S E L L I N G R AT E Auctions are generally conducted at the rate of about 100 lots per hour.

However, this can vary.

AB SEN TE E BI D D I N G 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.

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.

Buyers Premium The buyer shall pay to Dunbar Sloane Ltd a premium of 17% of the hammer price plus GST on the premium only–effectively adding 19.55% to the hammer price.

After the auction PAY M E N T Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque or eftpos.

Alternatively payment can be made by telegraphic transfer direct to our bank: (Please add $25NZ to cover New Zealand bank charges) ANZ 06 0501 0524945 00 Swift Code ANZBNZ22 Dunbar Sloane Ltd Please include details of sale date and lot numbers with all payments.

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.

Purchases are insured for a period of 48 hours after the auction day.

Items must be paid for straight away and a second account for courier/freight charges will follow approximately 6 days later when we have had time to confirm 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.

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Conditions of Sale

1.

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.

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. he Buyer shall pay to Dunbar Sloane T Ltd a premium of 17% 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.

5. 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.

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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. If 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).

Absentee Bidding Form

7 Maginnity 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 17% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

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