Fine & Applied Arts

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NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART

W E LLI N GTO N V I E W I N G SCH E DU LE Friday 19th November 9am - 4pm Sunday 21st November 12noon - 3pm Monday 22nd November 9am - 4pm Tuesday 23rd November 9am - 4pm Wednesday 24th November 9am - 4pm

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NE W ZE AL AND & INTERNATIONAL FINE ART PART ONE / E VENING SALE Wednesday 24 November 2021 6pm start Lot 1 - 70

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Gretchen Albrecht (b 1943) Geodesy lithograph, limited edition 18/30 signed and dated ‘Albrecht 99’ (lower right) 60 x 79cm $2,500 - $4,500 P ROV EN A N C E Private collection, Wellington

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Ralph Hotere (1931-2013) Grey lithograph, limited edition 7/18 signed 'Hotere' (lower right); inscribed with title and dated 1998 (lower left) 56 x 62cm 1

$4,500 - $6,500 L IT ERAT U R E Peter Vangioni & Jillian Cassidy, Hotere empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch Art Gallery 2005) p. 107. fig. 96

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Gordon Walters (1919-95) Genealogy III (1971) 2020 screenprint on archival paper, limited edition 37/100 Walters Estate blindstamp (lower left); paper label to reverse 106 x 80.5cm (sheet) $6,000 - $10,000

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Night Window, Carey’s Bay

Grackle, Veracruz

screenprint, edition of 60

silkscreen print, limited edition 15/100

signed, inscribed with title and dated 1995

inscribed with title, signed and dated ‘Don

within print

Binney 1970’ (lower right)

138 x 73.5cm

64 x 46cm

$4,000 - $7,000

$4,000 - $6,000

P RO VENANCE

PR O VE N AN C E

Private collection, Wellington

Private collection, Wellington

Ralph Hotere (1931-2013)

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Don Binney (1940-2012)

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Robin White (b 1946) Beginner’s Guide to Gilbertese - I am doing

P R OV E N A N C E

the washing’, ‘The canoe is in the baraka’,

purchased by the current owner from Peter

‘Michael is sleeping on the bed’, ‘The name

McLeavey Gallery, Wellington

of this girl is Florence’ and ‘The Maneaba’

Private collection, Wellington

set of five woodblock prints all signed and dated ‘Robin White 1983’ (lower right) and inscribed with titles (lower left) 14 x 19.5cm each (plate) $6,000 - $10,000

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Anne Noble (b 1954) Manuka in Flower four silver gelatin prints title inscribed on original Anne Noble: States of Grace, Dunedin Public Art Gallery Touring Exhibition label affixed verso 26 x 40cm each; 53 x 83cm overall $3,000 - $6,000 P ROV EN A N C E Purchased from New Work Studio, Wellington, 1994 Private collection, Wellington 8

Peter Peryer (1941-2018)

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Tulips, St Bathans (2007) C-type photographic print, limited edition 1/15 58 x 78cm $3,000 - $6,000 P ROV EN A N C E purchased McNamara Gallery, Whanganui 2008 Sale, Dunbar Sloane, Wellington, 8 August 2018 (lot 5) Private collection, Wellington 9

Fiona Pardington (b 1961) Rerenga/ Fugitive. Tieke/ South Island Saddleback. From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, limited edition 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $6,000 - $12,000 8

P ROV EN A N C E Corporate Collection, Auckland Sale, Dunbar Sloane Ltd, Wellington, 22 November 2016 (lot 23) Private collection, Wellington

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Untitled (Hybrid Creatures)

Monument

999 / European Union

two Indian Ink drawings

oil on panel

acrylic and oilstick on paper

both signed ‘W D Hammond’ (lower right)

signed with initials ‘TdL’ (upper right),

inscribed with title, signed and dated

18.5 x 20.5cm; 18 x 21.5cm (framed as one)

inscribed with title and dated 2002

‘ROBINSON 1996)

$3,000 - $6,000

(upper left)

104 x 73 cm

23.5 x 37cm

$12,000 - $18,000

William (Bill) Hammond (1947-2021)

P RO VENANCE

Tony De Lautour (b 1965)

Peter Robinson (b 1966)

$4,000 - $8,000

Private Estate, Wellington

P R OV E N A N C E PR O VE N AN C E

Private collection, Wairarapa

purchased Hamish McKay Gallery, Wellington Private collection, Wellington

EXH IBIT E D Wellington, Peter McLeavey Gallery ‘Home and Away: 24 Recent Paintings by Peter Robinson’, 12 Nov – 31 Nov 1996

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Michael Smither (b 1939)

PR O VE N AN C E

Nude in Blue

purchased at One Man Exhibition, John

oil on board

Leech Gallery 1971 (original gallery label to

signed with initials and dated ‘MDS 71’

reverse)

(lower left); inscribed with title on original

Private collection, Manawatu

gallery label to reverse 43 x 30cm $8,000 - $16,000

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Michael Smither (b 1939) Untitled (Rita Angus Memorial) oil on shaped board signed with initials and dated ‘MDS 70’ to reverse 45.5 x 45.5cm $8,000 - $16,000 P ROV EN A N C E Private collection, Manawatu

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Terry Stringer (b 1946) Truth Cast bronze, mirror with articulated parts, limited edition 3/20 incised with signature and dated ‘Terry Stringer/2002’ lower right of base) 25cm height, 16cm width, 5.5cm depth $4,000 - $8,000 P R OV E N A N C E purchased Janne Land Gallery, Wellington Private collection, Wellington

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Terry Stringer (b 1946) Table with Glass patinated cast bronze sculpture, limited edition 2/3 inscribed with signature, dated and numbered ‘TERRY STRINGER ‘87 #139’ with monogram (lower right of table cloth); lemon inscribed with initials, dated and numbered ‘TS ‘86 #139’ & wine glass inscribed with initials, dated and numbered ‘TS ‘87 #139 2/5’ 90cm height, 45cm width; 20cm depth (maximum) $20,000 - $30,000 P R OV E N A N C E Estate Collection, Wellington

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Ann Robinson (b 1944) Pair Twisted Flax Pods gaffer lead crystal glass in kowhai yellow with umber stems etched signature ‘A. Robinson 2006 NZ’ to stem 116cm, 117cm lengths $30,000 - $40,000 Provenance commissioned from the artist Private Estate, Wellington

‘Twisted flax pods inspired by the flax seedpods that grow around my home at Karekare. I have made paired flax pods with changing emphasis on 17 different occassions. I find the process of reworking a piece can lead in unexpected directions, It requires feeling around inside one’s self for the solution, for the image that satisfies and expresses half-understood feelings. At first, as with Twisted Flax Pods #6 #7, from 2003, the pods were twins, individuals lying together in a harmonious relationship, like a pair resting after some strenuous encounter – peaceful, spent.

Over the following years I have frequently focused on seedpods as a metaphor for fertility, symbolising the promise of an abundant future. This sentimentality for the natureal world is perhaps a longing for an old connection to a fecund world, a world of spirit and place that we have lost today.

Lately, balance and counterbalance have become an increasing focus.’

Ann Robinson p. 35

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Séraphine Pick (b 1964) Don’t Tell Me I’m The One Who’s Got to Change oil on canvas signed and dated ‘Séraphine Pick 2000’ (lower right) 1136.5 x 167cm $40,000 - $60,000 P RO VENANCE purchased from Hamish McKay Gallery, Wellington Private collection, Wellington LIT ERATURE Felicity Milburn & Lara Strongman, Séraphine Pick (Christchurch Art Gallery 2009) p. 85. (colour illustration) EX H IBI TED Wellington, Hamish McKay Gallery, Earthly Possessions Séraphine Pick, December 2000 Christchurch Art Gallery, Séraphine Pick: Tell Me More, 23 July - 22 November 2009 Wellington, City Art Gallery, Séraphine Pick: Tell Me More, 20 February - 16 May 2010

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Robert Ellis (b 1929) Motorway/City oil on board signed and dated ‘Robert Ellis 1970’ (lower left); inscribed ‘Robert Ellis 1970/ ‘Motorway/ City’ Well. Ex. No. 8 to reverse 90 x 90cm $40,000 - $60,000 P RO VENANCE purchased by the current owner from Peter McLeavey Gallery, Wellington Private collection, Hawkes Bay Motorway/City was produced as part of a series of paintings heralded as one of the most sustained creative efforts in New Zealand art. Robert Ellis first came to New Zealand in 1957 as a Senior Lecturer at Elam, where he was later appointed Head of Painting and awarded a personal chair of Fine Arts. It was Peter Smith, art educationalist, who commented that “in the New Zealand climate of weekend painters” the arrival of a painter with a manifestly professional approach to painting was of enormous value to New Zealand.

Ellis is recognised as one of the few artists to represent New Zealand cities in confronting ways. He painted cityscapes when we had only just begun to think of ourself as an urban country. Ellis has described painting as “largely an intuitive subjective process, based on personally acquired and assimilated experiences, nurtured and shaped by the sensual, emotional and intellectual aspects of one’s being.” Perhaps it was his particular experience as an English expat, arriving in New Zealand in time to watch it transform, as much as it could muster, into a replica of where he had come from, that gave him the nerve to portray the cities in a daring rather than revering way.

It was after purchasing his first car that Ellis became fascinated with how the roads of New Zealand both blocked and freed movement throughout the land.

The Motorways series grew from pen and watercolour studies of Spanish towns surrounded by hills with rivers winding through them. His paintings do not consciously depict a particular city but are a

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synthesis of cityscapes focusing on the urban landscape and interpreting it in highly stylised and abstracted way. As Rothko and Hotere did, Ellis grasps at colours for their symbolic power, using black and red to function in terms of emotion and association rather than representation. In this case the cracks in the burnt earth revealing red underneath could be looked at as a representation of a kind of hell or perhaps it is red for warning. We can feel Ellis’ concern for preserving what remains untouched and unreachable in the distant hills; space for living, breathing, seeing and being seen.

The sky sits across the top of the painting like a feeling of ease in your forehead. A gap for light to float in the breeze. Beneath the bar of sky there are mountains. They lie in union with the clouds and sky, the peace is theirs alone. We can only see them from across the heart attack of roads. Critics applauded Ellis' technical handling of smearing, layering, cutting and applying oil paint straight from the tube all the while delivering a clarified vision of these roads. As delicate as lines in a frowning face they convey waves of conflicting emotion. Intensity and speed has become stagnant. In a search for shortcuts this city has short circuited itself.

Having spent his compulsory military years training in the RAF aerial survey division it is not surprising to see that his landscapes are viewed as if from above. Mixing accurate observational drawing with his own improvisational flair Motorway/City contrasts early European art, which was largely topographical in focus and intent on

measuring and recording land. When not concerned with measuring, English painters traditionally portrayed New Zealand as a quaint wilderness, perfectly picturesque, if not for their unpopulated hills and skies, then for their dozy towns with thin columns of chimney smoke and quiet roads.

They had strong overtones of isolation showing remote landscapes which you could vanish in or hamlets which required constant work to remain a viable place of survival. In either case these depictions showed NZ as being far away from the main centres of western civilisation.

Motorway/City instead shows a clump of intensely populated roads and buildings, which when seen from such a distance could almost be empty and derelict. Ellis himself said of his works that they could be open to interpretation “in different ways depending on the ‘cultural equipment’ of the viewer”.

His later works acquired words and symbols connected to his wife’s, Elizabeth Aroha Ellis, iwi. His continual gravitation towards and connection to Māoritanga in his later works add a deeper richness to the interpretations we can make of the Motorway series. In this painting in particular you can see the beginnings of an undertaking exploring what it means to be a tauiwi or Pākehā New Zealander, standing between land and sky.

Maeve Hughes

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Philip Trusttum (b 1940) Backyard with Trees and Houses oil on board signed with initials and dated ‘PST 74’ (lower left); inscribed with title 122 x 90cm $18,000 - $36,000 Provenance purchased directly from the artist’s studio, Berry Street, St Albans, Christchurch Sale, Dunbar Sloane Ltd, Wellington, 27 November 1994 (lot 62) Front Cover Illustration (catalogued as ‘Red Berries’) Private Estate, Wellington Philip Trusttum has a robust and healthy history of nearly seven decades of painting to his name. There is a vibrancy inherent in his works made accessible to any viewer by their brightness and contrast of colour.

Trusttum first began painting in 1955 when he was fifteen years old. He worked in the packing rooms of the Hays Department Store and took home the wooden packing cases as canvases.

In 1961 Trusttum enrolled at the University of Canterbury School of Fine Arts where he was taught by the pioneering Rudolf Gopas.

Trusttum was shy of Gopas so would paint at home until he had thirty odd works finished before bringing them into the studio for critique. Gopas, a refugee from Lithuania, is credited as a key catalyst of expressionism emerging in New Zealand in the last third of the 20th century. While Gopas’ own work creates claustrophobic worlds swarming with emotion it was his astute teaching of artists such as Philip Clairmont, Tony Fomison and, the man of the hour: Philip Trusttum that has been credited as essential to the emergence and acceptance of expressionist art in New Zealand. It was Gopas who alerted Trusttum to his own uncanny and inimitable intuition for colour. Trusttum has always had a penchant for thick, brightly coloured paint.

Gopas also set the young Trusttum onto the scent of artists such as Paul Klee, Pablo Picasso and Max Beckmann, all of whom had a lasting influence on Trusttum’s painting.

Trusttum has always been open to the many and varied influences available to him as a painter. His approach to painting never loses a curiosity to push the boundaries of what he can show and how he can show it. Since his art school days Trusttum has included house paint, PVA, sand, dung and coal dust amongst his standard art materials. In 2011 he estimated himself to have done at least four thousand drawings, exemplifying the free and easy approach he takes to art making. Trusttum has said: ‘you find something you like and you paint it’ epitomising the simple truth that art can be a labour of love.

As well as the influences given to him by Gopas, Trusttum has readily absorbed the guidance of art and artists from all parts of the world. Medieval manuscripts, Australian Aboriginal art, African patterning are just some of the influences he adopts. These are abundantly clear to see in Backyard with Trees and Houses. The patterns and colour combinations serve to provide a decorative surface that breaks up and ultimately reveals form. This work in particular also carries the influence of Matisse’s red rooms.

With no clear horizon line we feel that we have been given the viewpoint of any aspect of the garden. We could just as easily be a child running through the tall grass, a bee in the wind, or even another flower observing its surroundings. There is a musicality and a humming to the leaves as they rustle together with an alacrity of depth. The thick application of paint brings a frivolity to the colour, it's very layering creates movement

in the light that catches on it. The corners of the house and chimney in the distance act less as symbols of home and instead as sensations of colour, adding to the richness of the garden's beauty.

In (Interior/Exterior) Garden Series you can more clearly see the strains of a van Gogh influence shining through. Though form is still loose and flows with broad sweeps of colour, the objects are more contained within themselves and create a busy world to be in. From inside this room we can see a larger room outside, the room of the world. The world doesn’t feel open and airy but rather full and brimming, the air itself clustered with colour. There is a slight quickening of intensity of movement outside, indicating there is some peace to be found indoors.

The interior flowers bring the outer world in, while the thin panes on the window do more to highlight and bring indoors the outside. Amongst all this clamour and Joie de vivre the smooth panels of the dresser and the floor provide a calming feeling, like coming indoors after a day in the wind and sun.

Trusttum’s trusty gardens series started in the mid 1970s and made his reputation as a painter. To this day his garden paintings remain among the most sought-after of his works. Trusttum has observed that he has been able to ‘Live like a peasant and think like a king’ these paintings personify that sentiment, finding richness in ever the present exquisiteness of one’s own garden.

Maeve Hughes

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Philip Trusttum (b 1940) (Interior/Exterior) Garden Series oil on board signed with initials ‘PST ‘72’ (upper right) 143 x 96cm $18,000 - $36,000

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Philip Trusttum (b 1940) Study for (Interior/Exterior) Garden Series oil on canvas board signed with initials ‘PST’ (lower right) 25 x 17.5cm $3,000 - $6,000 P RO VENANCE purchased Webb’s, Auckland, 24 February 2004 (lot 81) Private collection, Wairarapa

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Frances Mary Hodgkins (1869-1947) Arrangement of Jugs (1938) lithograph, published by Contemporary Lithographs Ltd., London signed ‘Frances Hodgkins’ (lower right) 40 x 56.5cm $10,000 - $20,000 P RO VENANCE Private collection, Wellington REFE RENCE The Complete Frances Hodgkins Website Cat no. FH1124 (https://completefranceshodgkins.com/objects/26511/arrangement-of-jugs) Arrangement of jugs is Frances Hodgkins’ only surviving print. Commissioned by Contemporary Lithographs Ltd, the 1938 series included artists such as Vanessa Bell, Duncan Grant and John Piper. The latter gave Hodgkins technical assistance in what was a new medium for her, and the result was so successful that Piper judged it the best of the group. The objects are simplified; their forms outlined as silhouettes, and they appear to float in space, freed from the confines of the table.

Frances Hodgkins - Leitmotif, 2005

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Frances Hodgkins (1869-1947) Pleasure Boat (1932) watercolour and gouache on paper signed ‘Frances Hodgkins’ (lower right) original ‘Queen Elizabeth II Arts Council of New Zealand’ Frances Hodgkins Centenary Exhibition 1969’ and ‘New Zealand Mission to the United Nations’ labels affixed to reverse 52.5 x 41.5cm $160,000 - $260,000

P RO VENANCE

E X HI B I TE D

L IT ERAT U R E

Private Collection, South Africa.

London, Lefevre Gallery, New Watercolour

Frances Hodgkins 1869-1947: A Centenary

Redfern Gallery, London, England.

Drawings, October 1933 - November 1933

Exhibition, Queen Elizabeth II Arts

Collection of Frank and Lyn Corner,

Wellington, Kirkcaldie & Stains Ltd, Frances

Council of New Zealand, Auckland, 1969

Wellington, New Zealand, purchased from

Hodgkins, Works from Private Collections:

p. 77 (illustrated)

the Redfern Gallery, 1956.

An Exhibition Held to Celebrate the

E H McCormick, Portrait of Frances

Sale, Art+Object, Auckland, “The Collection

Opening of the New Store and Gallery,

Hodgkins, Auckland University Press,

of Frank and Lyn Corner,” 18 March 2018

1 August 1989 - 21 August 1989

Auckland, 1981, p. 116 (illustrated)

(lot 66)

Wellington, Te Papa Tongarewa, Museum

Iain Buchanan, Michael Dunn, Elizabeth

of New Zealand, Frances Hodgkins, 19

Eastmond, Frances Hodgkins: Paintings and

September 1993 - 30 January 1994

Drawings, Auckland University Press,

Waikato, Waikato Museum of Art History,

Auckland, 1994| p. 140 (illustrated)

Frances Hodgkins: Later Works, 5 August

Janet Bayly, Frances Hodgkins: Kapiti

1997 - 28 September 1997

Treasures, Mahara Gallery, Waikanae, 2010,

Waikanae, Mahara Gallery, Frances

p. 32 (colour illustration fig 20)

Hodgkins: Kapiti Treasures, 28 February -

https://completefranceshodgkins.com

2 May 2010

FH0994

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In a letter to Dorothy Selby in August 1932

eye further into the image as well as tying

Frances Hodgkins described Bridgnorth in

it together structurally. Hodgkins wry sense

Shropshire as ‘my old love…’. 1. And the

of humour is evident in that it is almost im-

town with its gardens and boating facilities

possible not to discern a human face in the

on the River Severn proved to be a very

section of the boat shed facing the

productive spot for her.

viewer. This almost comical, storybook element, carefully controlled by Hodgkins,

This particular work is just one of the

together with the clouds above the bridge

memorable compositions from the several

suggest the inspiration of the work of the

produced there that summer, including the

contemporary French artist Raoul Dufy (1877

controversial, Pleasure Garden now in the

– 1953). There are gentle tensions in the

collection of the Christchurch Art Gallery.

implied movement of the moored craft in

Pleasure Boat is notable for the dominant

the lower right and how the ‘face’ tends to

blue colouring which formed accents and

draw the floating shed back towards the

featured in so many of her paintings. In this

viewer. Even in the quiet of the evening the

case Hodgkins has flooded the whole image

water of the river is certainly not static.

with this colour creating the atmosphere of a twilight summer evening when the river

This work readily displays the great gifts and

can be enjoyed without the bustle of people

sharp eye Hodgkins had for picture making.

and traffic which would have been a feature

Mining the elements of the simple scene into

of the month of August. The overall blue is

a complex interweaving of colours, shapes

complemented and intensified by the

and forms. Making them endlessly rich and

touches of yellow on the front and lower

interesting. A very worthwhile acquisition for

sections of the boat shed and the top

any public or private collection.

section of the structure on the left.

Tony Mackle The River Severn divides Bridgnorth into the High town on the right and Low town on

1. Gill, Linda (ed) Letters of Frances Hodgkins. No 446 To

the left. Hodgkins has depicted the higher

Dorothy Selby c. 14 August 1932. p. 454; AUP 1994.

part of the town with the steeple of St Mary’s church predominant on the hill. The boat shed which forms the central motif is just off centre and focuses key compositional elements of the work. The curved roof of the shed suggests a jaunty sailors cap such as might have been worn by the boatman hiring and managing the boats. The curve of the boat shed roof is echoed in the curves of the bridge linking the two parts of the town in the background. These devices lead the

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Frances Hodgkins (1869-1947) KIA-ORA (Maori Girl with Baby) watercolour on carte postale signed with initials and dated ‘FH 04’ (right) and inscribed “KIA-ORA’ (lower left); inscribed ‘Mr & Mrs Garstin/ with kind thoughts and all best wishes from/ Frances Hodgkins’ to reverse 14 x 9.5cm $8,000 - $16,000 P ROV EN A N C E Private collection, United Kingdom We are grateful to Mary Kisler & Tony Mackle for their assistance in cataloguing this work.

Please note that the present work is included in the digital catalogue raisonne on the artist.

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Isabel Field (nee Hodgkins) (1867-1950) Still Life with Asiatic Lilies & Fan watercolour on paper initialled I.J.H. (lower right) 50.5 x 34cm $10,000 - $20,000

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P ROV EN A N C E Private collection, Wellington Note: A work of a similar nature and date is held in the collection of the Alexander Turnbull Library

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Adele Younghusband (1878-1969) Magnolia oil on board signed and dated ‘Adele Younghusband/ 1954’ (lower right) 53 x 35cm $8,000 - $14,000 P RO VENANCE Collection of the Artist's Granddaughter Private collection, Wellington

“I never met her, but in my imagination she looms large, for she represents something important. Like Robin Hyde and Eileen Duggan she was greatly gifted. She tried to make a go of it here. She tried so hard.

During a fairly short creative life she produced a number of images which, to me, give her immortality. They have a power, strength and vigour which mark them as icons of her time, of our land in the 1930s and 1940s. People will look at them in 200 years time and will know (as when they read Mason and Fairburn) what it was like here, then.”

– Peter McLeavey on Adele Younghusband, Wellington, 1983.

Adele Younghusband stands a brave and bold figure in New Zealand art history and, as is the wont of all great artists, the shadow she casts has only grown larger the longer she has been gone. A divorcee with bobbed hair (and the first woman in Northland to single it!) Younghusband was a quiet but determined mover and shaker of modernism in New Zealand in the early to mid 20th century. Her style evolved enormously throughout her career which spanned fifty years and ended with her death, on her 91st birthday, 3rd April 1969.

Fearless to try new things, Younghusband built a complex body of work dabbling in styles ranging from realism, to cubism, to symbolist surrealism. Her subject matter also evolved greatly; beginning with landscapes and flower studies then branching out to angels around the earth, Māori wāhine and mythology and surrealist dreamscapes.

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Though her aunt, Fanny Osborne, was a well known painter of New Zealand flora and despite her talents being recognised early on, Adele found no familial encouragement to pursue a career in art. Her parents reluctantly afforded her an apprenticeship in photography, putting hers in good stead to be breadwinner for herself and her three children later on in life. While working as a successful portrait photographer in 1921 Younghusband helped to set up the Whangarei Art and Literary Society and subsequently became the secretary. Already a member of the Auckland Society of Arts, Younghusband went on to convene the inaugural meeting of the Waikato Society of Arts, as well as founding the Phoenix Group and the Studio Art Group. It seems that founding societies was a hobby of Younghusband’s or perhaps she simply had a yearning to be in communion with people as similarly concerned with the arts as she was.

Although always bringing an artist's perspective to her photography and consistently keeping up a drawing and painting practise on the side, it wasn’t until she reached her forties that Younghusband made a commitment to painting. This commitment was strengthened yet again by a move to Australia where she exhibited in Sydney and studied under George Bell in Melbourne. It was in 1937 that Younghusband’s interest in abstract art took the reins and galloped her out of the frames of the ordinary and into the extraordinary.

She said of her initial encounter with abstraction: “it took me a good three months to discover what it was faintly about. Then I began to see my way and a whole world was unfolded”. Once she had been turned onto it surrealism lit her up and became an ongoing source of fascination to her practise. After returning to New Zealand she was eager to teach it but found New Zealanders ‘too sane to accept it’. Though teasing the edges of it she never fully ventured into pure painterly abstraction.

Allowing landscapes, portraiture, still lifes and mythological figures to flow through. Her long term associate and artist, Arthur Hipwell wrote in 1941 of her works: “Abstractions revert to objective details assembled in strange sequences and startling juxtapositions. Objects become symbols

telling a story, conveying a mood or expounding a philosophy…” creating a “search for subjective reality as opposed to objective realism.”

Nowhere is this subjective reality more apparent than in The Scientist (lot 28).

A meeting of a goat’s skull, a frog, a saw and a man with a white goatee. While the saw, the skull and the man are all translucent in places, the frog sits opaquely in the foreground. Peering up and looking deeply into the man's eyes, the intensity of his stare is enough to make us wonder which, in this topsy turvy world, is the scientist? The longer you look at this scene the less likely it seems to suddenly make an objective kind of sense and yet, the longer you look at it still the more subjective sense gradually trickles from it.

In Magnolia (lot 27) and Abstract with Shells and Coral (lot 29), Younghusband has found the consistent truth present in the shapes of all living things. The yonic forms of shell and coral interprets an intensely feminine experience of nature. The curve and rise of the abstract forms take on an almost psychedelic sway in their willingness to become something, or someone, else. In Magnolia the flowers are clearly represented for what they are. The black vase that holds them stands out like a missing chess piece and shines oddly against the matt background. It floats miraculously tethered to the table. The folds of curtains behind it are shaded with such depth they take on a feeling of aliveness, reminiscent of Magritte’s lovers kissing through the cloth.

Adele Younghusband was a spearhead of interwar New Zealand artmaking.

Born amid the ‘morass of victorianism’ (1) she lived her life in bloom. An exhibition of her work in 1941 attracted a record gathering for an artist at that time. Unafraid to try whatever medium or meaning that took her interest, she produced a compelling visual legacy offering a unique insight into New Zealand identity.

Maeve Hughes 1. Roland Hipkins, Art in New Zealand, No.22 Dec. 1933 (page 67)

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Adele Younghusband (1878-1969) The Scientist oil tempera on board signed and dated ‘Adele Younghusband/ 1951’ (lower left); inscribed with title and signed to reverse 55.5 x 42.5cm $20,000 - $30,000 P RO VENANCE Sale, Art+Object, Auckland, 22 November 2011 (lot 25) Private collection, Wellington EX H IBI TED Phoenix Group Exhibition: Five Contemporary Painters, Auckland Art Gallery, September-October 1952.

Cursive Line - Adele Younghusband, Whangarei Art Museum, Te Manawa Toi, 16 August - 30 November 2008.

ILLU S TRATED Cursive Line - Adele Younghusband, Whangarei Art Museum, Te Manawa Toi, exhibition catalogue, p. 19.

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29

Adele Younghusband (1878-1969) Abstract with Shells & Coral oil and graphite on wooden panel signed and dated ‘Adele Younghusband/ 1954’ (lower right) 24 x 32.5cm $2,000 - $4,000 P ROV EN A N C E Collection of the Artist's Granddaughter Private collection, Wellington

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Adele Younghusband (1878-1969) Gum Trees 29

colour linocut signed and dated ‘Adele Younghusband 1937’ (lower right) and inscribed “Gum Trees” 3-6 (lower left) 27 x 18.5cm (plate) $1,000 - $2,000 P ROV EN A N C E Collection of the Artist's Granddaughter Private collection, Wellington Note: An edition of this print is housed in the collection of Art Gallery of New South Wales, Accession number 139.1976

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John Weeks (1888-1965) The Enraged Bull oil on ply panel original John Leech Gallery Certificate of Authenticity affixed to reverse 30 x 39cm $4,000 - $8,000 Provenance Private collection, Manawatu

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32

Doris Lusk (1916-90) Mountains at Lake Wakatipu, Central Otago oil on canvas board signed, inscribed with title, no. 30. and dated ‘Jan 1967’ to reverse 66 x 89cm $10,000 - $20,000

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33

Leo Vernon Bensemann (1912-86) Mount Grey

Sale, Webb’s, Auckland, 29 June 2005

oil on canvas board signed and dated ‘Leo Bensemann 64’ (lower right) 43 x 63cm $30,000 - $45,000

P ROV EN A N C E (lot 439) Private collection, Christchurch L IT ERAT U R E Caroline Otto, Leo Bensemann Landscapes & Studies (Nelson 2006) p. 35.

E XH IBIT ED Christchurch, Group Show, 1964 (NFS)

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34

Rata D B Lovell-Smith (1894-1969) Arthurs Pass oil on canvas board signed ‘RATA LOVELL-SMITH’ (lower right) 31.5 x 43cm $10,000 - $20,000

PR O VE N AN C E Sale, Watson’s Auctioneers, Christchurch, 30 March 2010 (lot 152b) Private collection, Christchurch E X HI B I TED Canterbury Society of Arts, March 1936

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35

Evelyn Page (1899-93) Arthurs Pass oil on canvas board signed ‘E Polson’ (lower right) 35 x 47cm $20,000 - $35,000 P ROV EN A N C E Sale, Watson’s Auctioneers, Christchurch, 27 November 2007 (lot 136) Private collection, Christchurch

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36

John Elder Moultray (1865-1922) Attack on the British Camp at Nukumaru by Hautiaus-Maori War, 1865 oil on canvas laid down on board signed and dated ‘J Elder Moultray 1907’ (lower left) 75.5 x 126 cm $20,000 - $30,000 P RO VENANCE Sale, Leonard Joel, Australian Paintings, Melbourne, 07 November 1984 (lot 190) Private collection, Wellington

'The battle of Nukumaru was fought during

Conlin (or Caulin) and Private Patrick

Lieutenant-General Duncan Cameron’s west

Connelly (or Connolly), both of the 2nd

coast campaign of early 1865. Governor

Battalion, 18th Foot Regiment. Lieutenant

George Grey instructed Cameron to first

Thomas Johnson (or Johnstone) of the 40th

occupy Crown land at Waitōtara, then

Regiment was one of those who fell ‘mortally

engage with hostile Māori further north. By

wounded’. For his actions, Shaw was

late January, a large British force was camped

awarded the last of the 14 Victoria Crosses

at Alexander’s Farm near Kai Iwi, 15 km

won by imperial servicemen during the New

north-west of Whanganui.

Zealand Wars.

On the morning of 24 January, 1000 troops

The next day – 25 January – up to 600 Māori

marched north along the coast towards the

crept towards the British position under

Waitōtara River. The force comprised men

cover of flax and fern. At 2 pm. they charged.

of the Royal Artillery and Royal Engineers,

Two outlying British defensive

the 18th and 50th Regiments, and cavalry.

positions were overrun, with many men killed

Although Cameron was in attendance, the

by pātītī (tomahawk). British cavalry and

force was under the operational command of

infantry entered the fray, with hand-to-hand

Major-General Richard Waddy.

fighting north and west of the camp. The

Late that afternoon the British force made

attackers were finally driven off by rounds

camp near Lake Paetaia. The site, about 15

from two 6-pounder Armstrong guns.

km north-west of Kai Iwi and 3 km south-

Thirteen British troops were killed and 32

east of present-day Waitōtara, was close to

wounded that day. The British found 10

the Māori settlement of Nukumaru, which

Māori dead after the engagement, but a

appeared to be abandoned.

later account by a Māori veteran of the battle

Waddy set up defensive posts around

suggested that 23 Māori were killed. Almost

the camp. While moving to their allotted

all the bodies recovered – British and Māori –

position, 80 men of the 18th Regiment

were buried on the battlefield.

under Captain Hugh Shaw were fired on

The British force reached the Waingongoro

from Nukumaru. As the British advanced, the

River – nearly 100 km north-west of

Māori fell back to an established defensive

Whanganui – on 31 March. It advanced no

position. Shaw ordered a withdrawal, but

further and, despite having engaged the

returned close to Māori lines with a small

enemy at Nukumaru and Te Ngaio (13

party to recover a wounded man. Exchanges

March), it was regarded by many in political

of gunfire continued late into the night.

and military circles as a failure.'

Four troops were killed in action or died of wounds received during these skirmishes.

https://nzhistory.govt.nz/media/photo/nukuma-

The dead included Lance-Corporal Patrick

ru-nz-wars-memorial-whanganui

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37

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37

Petrus Van der Velden (1837-1913)

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Petrus Van der Velden (1837-1913)

Interior of a Marken Cottage c.1874

Children of Marken c 1871

gouache on paper

oil on board

signed ‘P van der Velden’ (lower left/centre)

signed ‘P van der Velden’ (lower left)

64 x 48cm

22 x 39cm

$15,000 - $25,000

$12,500 - $25,000

PR O VE N AN C E

P R OV E N A N C E

Private Collection, Glasgow

Sale, International Art Centre, Auckland,

with Tinakori Gallery, Wellington

31 March 1989 (lot 44)

Private collection, Wellington

Private collection, Wellington

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John Gibb (1831-1909) Ready for the Tow, Lyttelton Harbour oil on board signed and dated ‘JOHN GIBB 1893’ (lower left) 79.5 x 124cm $18,000 - $30,000 P ROV EN A N C E with Tinakori Gallery, Wellington Private collection, Wellington

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Charles Nathaniel Worsley (1862-1923) European Harbour Scene watercolour signed ‘C N Worsley’ (lower left) 73 x 49cm $5,000 - $8,000 P ROV EN A N C E Private collection, Wellington

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John Barr Clarke Hoyte (1835-1913) Te Tarata (The White Terraces) watercolour heightened with white 40

signed and dated ‘J.C. Hoyte 1873’ (lower right) 37 x 64.5cm $14,000 - $20,000 P ROV EN A N C E Private collection, Australia This work has been in long term storage at the Auckland City Art Gallery

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Peter McIntyre (1910-95) Sunrise in Kakariki watercolour and ink on paper signed ‘PETER MCINTYRE’ (lower right) 53 x 70cm $12,000 - $18,000 P RO VENANCE purchased by the current owner Thornton Art Gallery, Hamilton c. 1970 Private collection, Taranaki

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Peter McIntyre (1910-95) Rangitikei River oil on board signed ‘PETER MCINTYRE’ (lower right) 61 x 67cm $25,000 - $40,000 Provenance Private collection, Wellington

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44

Peter McIntyre (1910-95) Lake Tutira oil on canvas signed ‘PETER MCINTYRE’ (lower right); signed and inscribed with title to reverse 41 x 50.5cm (unframed) $6,000 - $12,000 P RO VENANCE Private collection, United Kingdom

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Peter McIntyre (1910-95) Lion of Venice, Piazza San Marco watercolour signed ‘PETER MCINTYRE’ (lower right) 52 x 72cm $8,000 - $14,000 Provenance purchased by the current owner Thornton Art Gallery, Hamilton c. 1970 Private collection, Taranaki

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46

Sydney Lough Thompson (1877-1973) Burning Seaweed Concarneau oil on canvas signed ‘S L Thompson’ (lower left) 50 x 61.5cm (unframed) $5,000 - $10,000 P R OV E N A N C E Private collection, United Kingdom

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Sydney Lough Thompson (1877-1973) Les Toits de Rochefort-en-Terre oil on board signed ‘S L Thompson’ (lower left) 44.5 x 36cm $4,000 - $8,000 P R OV E N A N C E

46

Private collection, United Kingdom

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Evelyn Page (1899-93) Point of Departure for Old Wellington Tug [August 1973] oil on board signed ‘E PAGE’ (lower right) 31 x 48.5cm $16,000 - $26,000 P R OV E N A N C E Sale, Dunbar Sloane Ltd, Wellington, 06/09/2017, Lot No. 32 Private collection, Wellington L IT E R AT U RE Janet Paul and Neil Roberts, Evelyn Page, Seven Decades (Christchurch 1986) p. 99

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Jan Nigro (1920-2012) Picnic oil on board signed ‘JAN NIGRO’ (lower right); inscribed with title on John Leech Gallery label affixed to reverse 50 x 73cm $3,000 - $6,000 P R OV E N A N C E purchased from ‘The Pioneers’, John Leech Gallery, March 1965 Private collection, Manawatu

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Michael Smither (b 1939) Sails in the Rain oil and mixed media on board signed ‘MD Smither’ (lower left); inscribed with title on John Leech paper label affixed to reverse 51.5 x 80.5cm together with abstract floral study to reverse $4,000 - $8,000 P R OV E N A N C E purchased Solo Exhibition, John Leech Gallery, Auckland, June 1965 Private collection, Manawatu

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Eric Lee Johnson (1908-93) Figure on Blue (1965) acrylic on board signed ‘Lee-Johnson’ (lower right); original ‘Waikato Society of Arts $85’ handwritten label to reverse 98 x 37cm $3,500 - $6,000 P RO VENANCE Collection of Dr Neville Hogg Sale, Webb’s, Auckland, 12 August 1993 (lot 213) Sale, The Noel & Margaret Dick Collection, Dunbar Sloane Ltd, Wellington, June 2019 (lot 54) Private collection, Wellington EX H IBI TED Christchurch, Pan Pacific Arts Festival, ‘100 New Zealand Painters’ March 1968, cat. no. 18.

Auckland, ASA Gallery, ‘Lee-Johnson Exhibition’, August 4-15 1969

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Trevor Moffitt (1936-2006) Miner Contemplating oil on board signed ‘Moffitt’ (lower right); signed and inscribed with title with original Auckland Art Gallery exhibition to reverse 59 x 86.5cm $20,000 - $30,000 P RO VENANCE Private collection, Australia EXH IBI TED New Zealand Painting 1966, Auckland Art Gallery, December 1966, cat. no. 27. (original exhibition label to reverse) Note: this work has been painted over a work from the McKenzie Series, see overpainted signature upper right

Born in Gore in 1936, Trevor Moffitt is arguably one of New Zealand’s most notable narrative painters & respected regional artists. During the 1950s he attended the University of Canterbury School of Fine Art, despite his father’s opposition. Here he was taught by noted Canterbury artists including W A. Sutton and Russell Clark who, searched for a particularly New Zealand style. Moffitt’s interest has always been with the places and stories unique to this country, a celebration of ordinary working New Zealanders and folklore.

In 1962 he began his first major series, Gold Miners, based on his early childhood experience of miners in Waikaia, a gold mining town in Southland, where he spent his early childhood. The series was a deliberate attempt to place a figure in the New Zealand landscape…

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‘…little or nothing had been down [in this genre] and if there were figures and landscape painting back at the turn of the century they tended to be microscopic sort of figures whereas I tried [a] balance between the landscape and the person [of] about 50:50’ 1.

Drawing on his family stories from his grandfather’s experience in the goldfields, he depicted the everyday realities of daily life – the human spectrum. The works were painted in a bold, direct expressionistic style employing a muted colour palette.

Simplicity was key and he used his trademark technique of thickly applied impasto paint and solid tonally modelled forms to convey the messages in his paintings.

‘Most people truly thought the Gold Miners were a joke. They had no eyes. “Why is he painted with no eyes?” “simple – the lust for gold blinds you.” 2.

While individual works were sold, the series was not show as a whole until late 1965.

Miners were exhibited at The Group Show in November 1963.

1. Our People, Our Century screened TV One, 2000 2. Interview Trevor Moffitt, Chris Ronayne, Trevor Moffitt a biography (2006) p.59.

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Melvin (Pat) Day (1923-2016) Initium oil and encaustic on canvas signed and dated ‘Day ‘82’ (lower right) 122 x 152cm $10,000 - $20,000 P RO VENANCE purchased directly from the artist, 1984 Private collection, Wellington

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Painted plien-air in the early 1990s, this vivid

Melvin (Pat) Day (1923-2016)

Wellington harbour-scapes. Because of this,

study in oil on paper remained amongst the

it was never intended for sale so was never

Across the Harbour from Seatoun

artist’s studio possessions until his death. The

signed. However, the Trustees of Day’s

oil over gesso ground on sized cotton paper

site of this image is just a short stroll along

estate have testified to its authenticity and

56.5 x 76cm

Seatoun’s foreshore from Day’s home in

signed a certificate confirming this which is

$10,000 - $16,000

Pinelands Avenue. He painted many different

attached to the reverse of the work .

versions from this view point throughout the P RO VENANCE

90s, all of which were worked up into larger

Originally in the collection of the artist’s wife,

scale in his studio. This plien-air study was

late Oroya Day, passed on to the Oroya &

frequently used as a reference when he was

Melvin Day Charitable Trust

setting the colour key for larger works, and became his most reliable aide in maintaining chromatic consistency within his

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Dick Frizzell (b 1943)

Jeff Thomson (b 1957) / After C F Goldie

Job Done!

Hook Line & Sinker VI

‘The Corrugations Etched Upon The Visage

screenprint, A/P

oil pastel, red conte, watercolour wash on

Of A Nobleman’ Kamariera Te Hau-Takiri

signed & dated ‘16 (centre right)

paper

Wharepapa, Nga Puhi’

79 x 118cm

signed inscribed with title and dated

screenprint & paint on corrugated iron and

$4,000 - $7,000

‘Frizzell/ 5/12/12’ (lower right)

sheet metal

56 x 75cm

signed ‘After C F Goldie/ JG Thomson/2014’

$4,000 - $8,000

(centre left)

Dick Frizzell (b 1943)

This work is comprised of six images entitled (L to R): Scrap; Stop; Tears; Off to Work; Reflections; Small Kiss

120 x 103cm $5,000 - $8,000

PR O VE N AN C E purchased Janne Land Gallery, Wellington, April 1993

P ROV EN A N C E

Private Estate, Wellington

commissioned directly from the artist, 2014 Private collection, Auckland

E X HI B I TE D Wellington, Janne Land Gallery, Dick Frizzell ‘Hook, Line and Sinker’ March - April 1993

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58 (detail)

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Michel Tuffery (b 1966) Equestrian Exercise with Mai and Cook at Vaitepiha Bay oil on canvas, four panels signed and dated ‘M Tuffery 07’ (lower left, first panel) 25.5 x 25cm per panel, 25.5 x 100cm overall $6,000 - $10,000 P RO VENANCE purchased ‘First Contact’ Pataka Museum, Porirua, 2007 Private collection, Wairarapa 78

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John Walsh (b 1954) Kupe and His Companion Survey the Planet Tukurua (Sirius) oil on panel signed and dated ‘J. Walsh ‘99’ and inscribed with title to reverse 39 x 38cm $6,000 - $10,000 P ROV EN A N C E Sale, International Art Centre, Auckland, 01/07/2008 (lot 3) Private collection, Wellington

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Untitled

Ko Hikurangi te maunga, Ko Waiapu te awa,

watercolour on paper

Ko Ngāti Porou te iwi, Ko Apriana Ngata te

signed & dated ‘Robyn Kahukiwa ‘71’ (lower

tipuna

right)

oil and collage on canvas, diptych

37 x 55cm

signed and dated ‘94 Robyn Kahukiwa’

$4,000 - $7,000

(lower right of left hand panel)

Robyn Kahukiwa (b 1938)

Robyn F Kahukiwa (b 1940)

151 x 100cm each panel; 152 x 200cm P RO VENANCE

overall

Private collection, Australia

$20,000 - $30,000

EX H IBI TED

PR O VE N AN C E

Wellington, Red Cottage Gallery, 1971

purchased Dunbar Sloane Ltd, Wellington,

This work was exhibited in the artist’s first

27 August 2003 (lot 42)

ever solo exhibition.

Private collection, Wairarapa

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Allen Maddox (1948-2000) X 23 oil on canvas signed with initials, inscribed with title and dated ‘1/76 AM’ to reverse 166 x 80.5cm $4,000 - $8,000 P ROV EN A N C E Private collection, Wellington

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Ralph Hotere (1931-2013) Winter Solstice Careys Bay pastel on paper signed and dated ‘Hotere/ July ‘91 (lower right); inscribed with title (lower left) 64 x 50cm $20,000 - $30,000 P ROV EN A N C E Private collection, South Island

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Edmonds Exercise II

Masculine Masculine

acrylic on board

oil on paper

signed ‘Nigel Brown’ (lower centre)

signed with initials, inscribed with title and

49.5 x 29cm

dated ‘N.B 79’ (lower right)

$4,500 - $8,000

46 x 38cm

Nigel Brown (b 1949)

Nigel Brown (b 1949)

$2,000 - $4,000 P RO VENANCE purchased Brooker Gallery, Wellington,

PR O VE N AN C E

November 1989

Private collection, Wellington

Private Estate, Wellington

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“We are All Winners”

“Here I Give Thanks for Small Black Dogs”

oil on board

(Indistinct Ways Version)

signed and dated ‘2002. N. BROWN’ (lower

acrylic on canvas

centre); signed, inscribed with title and dated

signed and dated ‘NIGEL BROWN 2002’

2002 to reverse

(lower centre); signed, inscribed with title and

78.5 x 58.5cm

dated 2002 with inscription ‘Dedicated to

$6,000 - $12,000

George the Dog’ to reverse

Nigel Brown (b 1949)

Nigel Brown (b 1949)

81 x 60cm PR O VE N AN C E

$6,000 - $12,000

Private collection, Manawatu P ROV EN A N C E Private collection, Manawatu

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Alan Pearson (1929-2019) Lyttelton Landscape (1975) oil on board 71 x 45cm $3,500 - $6,000 P ROV EN A N C E Sale, Dunbar Sloane Ltd, 21 July 2010 (lot 67) Private collection, Wellington

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Stanley Palmer (b 1936) Motutapere oil on linen laid down on board signed and dated ‘S.PALMER. 01’ (lower right( 30 x 73cm $6,000 - $10,000 Provenance Sale, Dunbar Sloane Ltd, Auckland, 15 May 2007 (lot 905) Private collection, Christchurch

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John Drawbridge (1930-2005) View of the Bay watercolour on paper signed and dated ‘John Drawbridge May 1986’ (lower right)

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original Willeston Gallery & Galerie Legard paper labels to reverse 58 x 75cm $6,000 - $10,000 Provenance Private collection, Australia

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NE W ZE AL AND & INTERNATIONAL FINE ARTS PART T WO / DAY SALE Thursday 25 November 2021 12 noon start Lot 100 - 237

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103

Sam Cairncross (1913-76) 100 Sam Cairncross (1913-76) View of Wellington Harbour from Wadestown oil on board signed ‘Sam Cairncross’ (lower right) 49.5 x 74cm $3,000 - $6,000

102 Sam Cairncross (1913-76) The Old Tree oil on card signed & dated ‘Sam 71’ (lower right); signed, inscribed with title & dated to reverse 50 x 62cm $1,250 - $2,500

101 Sam Cairncross (1913-76) Paremata Harbour oil on board signed & dated ‘Sam Cairncross 1962’ (lower right) 50 x 62cm $1,000 - $2,000

PR O VE N A N C E Estate of Robert Williamson, Christchurch

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103 Sam Cairncross (1913-76) Trees oil on board signed ‘Sam’ (lower right); signed & inscribed with title to reverse 37 x 17cm $800 - $1,600 P R OV E N A N C E Estate of Robert Williamson, Christchurch

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104 Sam Cairnrcross (1913-76) The Beef oil on board signed & dated ‘Sam ‘59’ (lower right)’; signed, inscribed with title to reverse 180 x 88.5cm $2,500 - $5,000 P ROV EN A N C E Estate of Robert Williamson, Christchurch 105 Sam Cairnrcross (1913-76) Hula Hoops oil on board signed, inscribed with title ‘Hoola Hoops’ & dated 1958 to reverse 38.5 x 52cm $3,000 - $6,000 P ROV EN A N C E Estate of Robert Williamson, Christchurch 106 Sam Cairncross (1913-76) Untitled (Autumn Landscape) oil on card signed & dated indistinctly ‘Sam’ (lower right) 24 x 29cm $600 - $1,200 107 Sam Cairncross (1913-76) Tulips oil on board signed ‘Sam C/ 58’ (lower right); signed, inscribed with title & dated to reverse 44 x 35cm $800 - $1,600 P ROV EN A N C E Estate of Robert Williamson, Christchurch

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108 Pat Hanly (1932-2004) Escape from Fire screenprint, ltd ed 5/30 signed and dated ‘Hanly ‘84’ (lower right) 56.5 x 76cm (unframed) $1,750 - $3,000

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109 Gordon Crook (1921-2011) The Boating Pond, Marine Series screenprint, ltd ed 1/10 in original shaped frame designed by Ron Barber signed with initials & dated ‘GC’93 (lower right), inscribed with title (lower left) with original label to reverse 94 x 109 cm (including frame) $1,750 - $3,000

110 Dick Frizzell (b 1943) Black Still Life II monoprint, 1 of 1 signed & dated 30/1/90 (lower right) 53 x 64cm $3,000 - $6,000 111 Gavin Chilcott (b 1950) Opiated Wine Jars & Heart Pot lithograph, ltd ed 28/50 signed & dated 1989 (lower right) 55.5 x 75cm $500 - $800

113

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114

112 Richard Killeen (b 1946) How do we learn? screenprint, ltd ed 13/50 signed & dated 1992 (centre) 42 x 29cm $1,000 - $2,000 113 Richard Killeen (b 1946) How do we learn? screenprint, ltd ed 20/50 signed & dated 1992 (centre) 42 x 29cm $1,000 - $2,000

115

114 Colin McCahon (1919-87) James K Baxter Festival 1973. University Memorial Theatre May 25 to 2 June Four Plays lithograph title inscribed and dated Wellington 1973 within the plate 39 x 55cm $750 - $1,250

115 William (Bill) Hammond (1947-2021) Fish Finder 5 etching, ltd ed 20/30 signed & dated 2004 (lower right); inscribed ‘Fish Finer 5’ (lower left) 29.5 x 20cm $2,000 - $4,000

FINE AR T

95

116

117

120 118

119

116 Michael Smither (b 1939) Alfred Road Bridge screenprint, ltd ed 32/50 signed with initials and dated 2014 (lower right) 48 x 64cm $2,000 - $3,500 117 Michael Smither (b 1939) Stony River screenprint, ltd ed 17/72 signed with initials & dated 2011 (lower right) 58 x 81cm $1,750 - $3,000

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118 Michael Smither (b 1939) Blue Flipper screenprint, ltd ed 40/50 signed with initials & dated 2013 (lower right) 68 x 50cm $1,750 - $3,000 119 Michael Smither (b 1939) Oranges in Seagrass Basket screenprint, ltd ed 9/56 signed with initials and dated 2010 (lower right) 62 x 46cm $1,000 - $2,000

120 Michael Smither (b 1939) Two Blue & White Teacups screenprint, ltd ed 42/80 signed with initials and dated ‘07 (lower right) 54 x 43cm $1,000 - $2,000

121

122

123

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121 Michael Smither (b 1939) Taranaki & Pouakai Range With Clouds screenprint, ltd ed 16/80 signed with initials & dated ‘18 (lower right) 54 x 75cm $1,750 - $3,000

123 Michael Smither (b 1939) Coral Head with Fish screenprint, ltd ed 28/50 signed with initials & dated 2013 (lower right) 40 x 46cm $1,000 - $2,000

124 Michael Smither (b 1939) The Old Ferry Boat screenprint, ltd ed 41/51 signed with initials and dated 2016 (lower left) 54 x 72cm $2,000 - $4,000

122 Michael Smither (b 1939) Chris Cricket Meets Buzzy Bee screenprint, ltd ed 65/65 signed with initials and dated 2011 (lower right) 73 x 54.5cm $1,750 - $3,000

FINE AR T

97

126

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127

128

125 Rudolf Boelee (b 1940) The Epitome of Glamour 2 acrylic, screenprint & lacquer on board signed and dated ‘10 with artist’s stamp to reverse 60 x 60cm $1,000 - $2,000 126 Rudolf Boelee (b 1940) Vanitas triptych, acrylic, screenprint & lacquer on board signed and dated ‘94 to reverse 29.5 x 89cm $800 - $1,400 98

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127 Sunday B. Morning after Andy Warhol (American) Marilyn Monroe (11.31) screenprint on museum board, published by Sunday B. Morning certificate of authenticity & dated 2018 to reverse 91 x 91cm $1,250 - $2,500

128 Sunday B. Morning after Andy Warhol (American) Marilyn Monroe (11.29) silkscreen print on museum board, published

by Sunday B. Morning certificate of authenticity affixed to reverse 91 x 91cm $1,250 - $2,500

129

131

129 After Jeff Koons/ Editions Studio Balloon Dog (Purple) cold cast resin, limited edition 144/999, number engraved under the foot of the dog with original box and certificate of authenticity 30 x 30 x 12cm (large size) $3,000 - $5,000

130

132

130 After Jeff Koons/ Editions Studio Rabbit (Black) zinc alloy, limited edition 63/500 with certificate of authenticity, in numbered fitted original box 106 x 28cm (maximum dimensions) $4,500 - $6,500

132 Takashi Murakami (b 1962) Mr. Dob Figure (gold version) vinyl multiple, 2016, from the edition of 250, with the original box, published by Complexcon, Long Beach, California 23.5 x 2.75cm $5,000 - $8,000

131 After Jeff Koons/ Editions Studio Rabbit (Silver) zinc alloy, limited edition 69/500 with certificate of authenticity, in numbered fitted original box 106 x 28cm (maximum dimensions) $4,500 - $6,500

FINE AR T

99

136 133

134

135

133 Olivia Spencer-Bower (1905-82) Ponui Mahurangi watercolour signed (lower right) 37 x 48cm $2,000 - $4,000 Provenance purchased Brooke Gifford Gallery, Christchurch c.1970 (original paper label to reverse)

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134 Olivia Spencer-Bower (1905-82) Still Life with Daffodils & Fruit watercolour signed (lower left) 34 x 44.5cm $2,000 - $4,000 135 Olivia Spencer Bower (1905-82) Olivia’s Garden watercolour 75 x 55cm $1,000 - $2,000

136 Gwen Knight (1888-1974) Pukeiti oil on canvas signed (lower left) 34 x 45cm $1,600 - $2,600

137

138

139

140

141

137 A Austen Deans (1915-2011) Misty Mountain watercolour signed & dated 2008 (lower right) 29 x 41cm $1,200 - $2,400

139 Evelyn Page (1899-1988) The Old Medlar Tree c1927 etching signed (lower left) 13.5 x 18.5cm $600 - $1,200

138 Margaret Stoddart (1865-1934) Coastal Landscape watercolour signed (lower left) 25 x 34.5cm $2,000 - $3,500

140 Evelyn Page (1899-93) Preliminary Sketch Portrait of Tim Williams graphite on paper signed ‘E Page’ (lower left); signed, inscribed with title and dated 1979 to reverse 42 x 32.5cm $1,000 - $2,000

141 Mountford Tosswill (Toss) Woollaston (1910-98) Female Nude Indian ink on paper signed & dated ‘Woollaston 13/6/92’ (lower right) 41.5 x 33.5cm $800 - $1,600

FINE AR T

101

142

144

143

145

142 Samuel John Lamorna Birch (1869-1955) Autumnal Farm Scene oil on board signed (lower right) 26.5 x 35cm $1,000 - $2,000 143 Samuel John Lamorna Birch (1869-1955) Honey Moon Island watercolour, gouache & ink on paper signed (lower left); signed, inscribed with title on original paper label to reverse 29.5 x 34cm $750 - $1,500

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144 Vera Whiteman (1873-1952) The Hunt watercolour signed (lower right) 23 x 30.5cm together with associated graphite sketch by the same hand, 25 x 30cm (2) $750 - $1,500

145 Sydney Lough Thompson (1877-1973) Horse & Stables gouache on paper signed (lower left) 36 x 54cm $3,500 - $6,000

146

149

147

150

148

146 William Menzies Gibb (1859-1931) The Hillside, Little Akaloa oil on board signed (lower right); signed & inscribed with title on original exhibition label from J W Gibb, Christchurch 31 x 39.5cm $800 - $1,400 147 William Menzies Gibb (1859-1931) Grazing Cattle Banks Peninsula oil on board signed (lower right) 24 x 33.5cm $600 - $1,200

148 Joseph Alfred Heginbotham (1860?–1951) Red Rocks oil on canvas board signed (lower left) 24 x 37cm $350 - $700

150 George O’Brien (1821-88) Surveyor’s Camp, Mt Aspiring watercolour heightened with white on paper signed & dated ‘Geo. OBrien 1886’ (lower left) 42 x 60cm $1,250 - $2,500

149 Laurence William Wilson (1850-1912) Luxmore Range from the Mavora River watercolour signed & dated 1903 (lower left) 36 x 53.5cm $800 - $1,600

FINE AR T

103

151

152

153b

153

153a

151 John Gibb (1831-1909) Entrance to Milford Sound oil on canvas signed & dated 1878 (?) (lower left) 30 x 44cm $2,000 - $3,000 152 Laurence William Wilson (1850-1912) Mt Pembroke, Milford Sound oil on canvas signed, inscribed with title & dated indistinctly (lower left) 40 x 61cm $2,000 - $3,500

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153 Robert Field Procter (1879-1931) The White Trader Venice oil on canvas signed (lower right); inscribed with title to reverse 50 x 64cm $2,000 - $4,000

153a Gaston de Vel (1924-2010) Man Made Forest No 1 NZ oil on canvas signed & dated ‘69 (lower left) 80 x 65.5cm $600 - $1,200 153b Ion Brown (b 1942) Last Light, Iron Pot, Hawkes Bay oil on board signed (lower right); inscribed with title and dated 1983 to reverse 34.5 x 44cm $1,000 - $2,000

154

155

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154 Mary Elizabeth R. Tripe (1867-1939) Portrait of a Dutch Child oil on canvas signed with initials and dated ‘MERT ‘13’ (lower right) 34 x 23.5cm $3,000 - $6,000 P RO VENANCE purchased Tinakori Gallery, September 1992 Private collection, Wellington EX H IBI TED Wellington, Tinakori Gallery ‘An Exhibition of Fine New Zealand Paintings and Drawings’ September 1992 (catalogue cover illustration)

155 George Goodman (C19th British) Still Life with bird’s nest, butterfly, wild primulus, and other flowers oil on panel signed ‘George Goodman’ (lower right) 19 x 27cm $3,000 - $6,000

156 Alice Whyte (1880-1952) Still Life with Pink & White Blooms oil on canvas laid down on board signed and dated ‘Alice Fallwell 1904’ (lower right) 42.5 x 78cm $2,000 - $3,000 157 Alice Whyte (1880-1952) Still Life with Red Hot Pokers oil on board signed (lower right) 51 x 41cm $1,800 - $3,000

FINE AR T

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159

160

158 D B G Goodwin (c1988-2012) South of Te Kuiti oil on canvas signed and dated 1995 (lower right) 30 x 175cm $800 - $1,600

159 Stephen Howard Alongside Rail Tracks egg tempera on board 59 x 98cm $2,000 - $4,000

160 Stephen Howard Stock Yards Hagley Park acrylic on canvas board signed (lower right) 59 x 74cm $2,000 - $4,000 P R OV E N A N C E commissioned directly from the artist c 2005

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161

163

162

161 Stephen Howard Evening Light Maniototo acrylic on board signed, inscribed with title & dated 1987 to reverse 59 x 88.5cm $1,200 - $2,400

164

162 Lois McIvor (1930-2017) The Land oil on board signed and dated ‘69 (lower right) 83 x 80cm $2,000 - $3,500

164 Eion Stevens (1952 - 2021) Prospect oil on canvas board signed & dated 12/96 to reverse 52.5 x 40cm $1,000 - $2,000

163 Terry Stringer (b 1946) Head Study oil on board signed & dated ‘TERRY STRINGER ‘79’ (lower right); inscribed with title to reverse 42 x 34cm $1,500 - $3,000

FINE AR T

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166a

165

167

166

168

165 Euan Macleod (b 1956) Geoff, Arundel, Street Glebe (1986) oil on primed paper 76 x 63cm $2,000 - $4,000 P RO VENANCE purchased Bowen Galleries, Wellington

166 Garth Tapper (1927-99) Sunday Afternoon, Muriwai oil on board signed and dated ‘86 (lower right); signed and inscribed ‘Sunday Afternoon’ to reverse 28 x 39cm with figural study to reverse $1,750 - $3,000 166a Allen Maddox (1948-2000) Blue watercolour on paper signed with initials, inscribed with title and dated 22.7.76 (lower centre) 93 x 99cm $800 - $1,600

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167 Joanna Braithwaite (b 1962) Beastly Series oil on canvas signed & dated ‘02 to reverse 20 x 23.5cm $1,000 - $2,000 168 Ruth Watson (b 1962) QT acrylic and gesso on hardboard, diptych inscribed with title and dated 1992 on original paper label to reverse of each panel 40 x 40cm each panel $1,000 - $2,000

169

170

171

172

169 Simon Ogden (b 1956) Leftovers six panels, found lino, wallpaper with gold leaf on board all signed with initials and dated 2011 to reverse 20.5 x 15.5cm each panel $600 - $1,200

170 Kim Meek (b 1966) Nogizaka giclee print, ltd ed 1/3 signed, inscribed with title and dated 2011 to reverse 99 x 99cm $1,500 - $3,000

172 Kim Meek (b 1966) Takebashi giclee print, ltd ed 1/3 signed, inscribed with title and dated 2011 to reverse 99 x 99cm $1,500 - $3,000

171 Kim Meek (b 1966) Shibuya giclee print, ltd ed 1/3 signed, inscribed with title and dated 2011 to reverse 99 x 99cm $1,500 - $3,000

FINE AR T

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176

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177

173 Glenda Randerson (b 1949) Rag Doll oil on canvas signed & dated ‘94 (lower right) 49.5 x 64.5cm $3,000 - $6,000

175 John Bevan Ford (1930-2005) Heron (Under the Trees) felt tip pen & pastel on paper signed with initials (lower right) 67 x 48cm $1,500 - $2,500

174 Geoff Dixon (b 1954) Bird of the Forest/ Cassaway in Space mixed media on board signed & dated 22/5/1 to reverse 62 x 40cm $1,000 - $2,000

176 John Bevan Ford (1930-2005) Pacific Hoop (The Rim Series) felt tip pen on paper signed (lower right); signed & inscribed with title to reverse 56 x 74cm with letter from the artist $1,000 - $2,000

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177 Emily Karaka (b 1952) Nga Puti Puti mixed media on board 59 x 89cm $2,500 - $4,000

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182

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181

178 Darcy Nicholas (b 1945) Warrior Mountain - Tongariro oil on canvas signed & dated ‘04 (lower right); original artist’s label to revers 20 x 20cm $1,000 - $2,000 179 Darcy Nicholas (b 1945) The Mountain Pihanga oil on canvas signed & dated ‘02 (lower right); original artist’s label to revers 20 x 20cm $1,000 - $2,000

180 Alan Taylor (1933-2016) Taupiri Mountain, King Flag 1864 acrylic on board signed (lower left) 56.5 x 52.5cm $1,000 - $2,000

182 Sheyne Tuffery (b 1970) Untitled (Forgotten Icons) acrylic and oilstick on incised board signed & dated ‘06 (lower right) 79.5 x 79.5cm $800 - $1,600

181 Alan Taylor (1933-2016) Maungapohatu screenprint, ltd ed 13/30 signed (lower right) 70 x 54cm $600 - $1,000

FINE AR T

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183

186

183 John Drawbridge (1930-2005) Large Wave drypoint etching, ltd ed 50/100 signed & dated 1986 (lower right) 74 x 51.5cm $800 - $1,600 184 John Drawbridge (1930-2005) Two Women mezzotint, limited edition 20/50 signed & dated 1995 (lower right) 18 x 20.5cm $600 - $1,200

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184

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187

185 Gordon Walters (1919-95) Tama Poster screenprinted poster 79 x 58cm $600 - $1,200 186 John Pule (b 1962) Oceania woodblock & etching, ltd ed 17/100 signed & dated 2007 (lower right) 21 x 15cm $350 - $700

188

187 Grahame Sydney (b 1948) 1st Etching (Self Portrait) etching, A/P signed (lower right) & dated 1975 (lower left) 12 x 10cm (plate) $600 - $1,200 188 Grahame Sydney (b 1948) Rozzie, Sunning etching, ltd ed 3/20 signed ‘Sydney’ (lower right); dated 23.3.76 within plate 10 x 11.5cm (plate) $750 - $1,250

189

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194 192

189 Juliet Peter (1915-2009) Wind Demons Easterly lithograph, ltd ed 7/18 signed & dated ‘75 (lower right) 49 x 37.5cm together with similar lithograph ‘Wind Demons -Westerly’ ltd ed 8/18 by the same hand (2) $600 - $1,200 190 Stanley Palmer (b 1936) Headland, Island and Clouds - Leigh bamboo engraving, lted ed 13/50 signed & dated 1977 (lower right) 59.5 x 76.5cm (unframed) $400 - $800

193

191 Roy Cowan (1918-2006) Caritas lithograph, ltd ed 2/6 signed with initials, inscribed with title and dated ‘79 (lower right) 48.5 x 68cm (unframed) $750 - $1,250 192 Barry Cleavin (b 1939) Jeanette Looking etching, ltd ed 5/40 signed & dated 1977 (lower right) 41 x 60cm (unframed) $300 - $600

193 Barry Cleavin (b 1939) Somnolence etching, AP signed & dated 1966 (lower right) 39.5 x 60cm (unframed) $300 - $600 194 Barry Cleavin (b 1939) Specimen 3 (Koplick) etching, ltd ed 9/30 signed & dated 1969 (lower right) 45 x 64cm (unframed) $300 - $600

FINE AR T

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195

196

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198 200

CoBra GROUP PRINTS 195 Guillaume v. Beverloo Corneille (Dutch 1922-2010) Composition colour lithograph, ltd ed 60/100 signed & dated ‘73 (lower right) 54.5 x 45cm $400 - $800

197 Guillaume v. Beverloo Corneille (Dutch 1922-2010) Sans Titre colour lithograph, ltd ed 60/100 signed & dated ‘73 (lower right) 54.5 x 45cm $400 - $800

196 Guillaume v. Beverloo Corneille (Dutch 1922-2010) Ollintonatiuh colour lithograph, ltd ed 60/100 signed & dated ‘73 (lower right) 54.5 x 45cm $400 - $800

198 Guillaume v. Beverloo Corneille (Dutch 1922-2010) Printemps ou les amours definis colour lithograph, ltd ed 39/70 signed & dated ‘70 (lower right) 57 x 40cm $400 - $800

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199 Guillaume Le Roy (Dutch 1938-2008) Untitled (1972) etching, ltd ed 11/50 signed & dated 1972 (lower left) 49.5 x 58cm (unframed) $200 - $400 200 Lucebert (Dutch 1924-94) Macbeth & Lady Macbeth lithograph, ltd ed 4/50 signed & dated ‘73 (lower right) 42 x 51.5cm together with another Untitled lithograph ltd ed 4/50, 41.5 x 49.5cm (both unframed/mounted) (2) $400 - $800

202

201

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205

201 Co Westerik (Dutch 1924-2018) Untitled (1972) lithograph, ltd ed 208/300 signed & dated 1972 (lower centre) 67 x 81cm together with two other etchings ‘The Thrown Key’ (1971) ltd ed 25/60 & Untitled (1965) ltd ed 68/190, 65 x 50cm each (all unframed) (3) $300 - $600 202 Bashir Baraki (US/Australian 1943-98) Untitled screenprint signed (lower left) 26.5 x 34cm together with Edith Isaac-Rose (US) Untitled lithograph, ltd ed 1/10, 50.5 x 38cm (both unframed) (2) $200 - $400

203 Vladimir Suchanek (Czechoslovakian 1933-2021) The Visit (1977) coloured pencil & ink on paper signed & dated 1977 (lower left) 30 x 42cm $250 - $500 E X HI B I TE D International of Drawings, Christchurch, 1978

204 Jennie Cooke, Jill McIntosh & Jan White School of Fine Arts Canterbury Honours Submissions Exhibition Folio, 1980 all prints, ltd ed 12/30 54 x 37.5cm together with Jan White Frustration- in the style of Edvard Munch, lithograph, ltd ed 1/4, 56.5 x 38cm & associated Exhibition poster (unframed) (5) $250 - $450 205 Denys Watkins (b 1945) The Prowler etching & aquatint, ltd ed 6/30 signed (lower right) 75.5 x 62.5cm (unframed) $300 - $600

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Russell Clark (1905-66) 206 Russell Clark (1905-66) Sketch Block / Pacific Guadalcanal 1944 graphite, watercolour & ink studies, deconstructed sketch album of 41 leaves with front & back covers with some blank pages inscribed to cover ‘SKETCH BLOCK 3. / PACIFIC / GUADALCANAL/ 1944’ 20.5 x 13cm $4,000 - $8,000 P RO VENANCE The following six lots are from the artist’s personal collection

207 Russell Clark (1905-66) Foul weather, forebridge of a Royal NZ Navy Fairmile 408 (1944) graphite on paper 38 x 25cm $1,000 - $2,000 Note: This is a sketch of a watercolour by the same title held at the National Collection of War Art and Archives, Wellington (NCWA 035)

208 Russell Clark (1905-66) The Wheel House graphite on paper 38 x 25cm $1,000 - $2,000 209 Russell Clark (1905-66) Taking on fuel, Royal NZ Navy Fairmile 408, Torokina Bay, Bougainville (1944) graphite on paper 38 x 25cm $1,000 - $2,000 Note: This is a sketch of a watercolour by the same title held at the National Collection of War Art and Archives, Wellington (NCWA 036)

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211

207

208

212

209

210

213

210 Russell Clark (1905-66) Anti-Aircraft Guns graphite on paper inscribed with title (lower right) 38 x 25cm $1,000 - $2,000

212 Russell Clark (1905-66) Building a New Theatre, Guadalcanal (Field Maintenance Centre) ink on paper 24.5 x 36.5cm $1,500 - $2,500

211 Russell Clark (1905-66) Figurative Studies of Solider’s at Rest ink on paper 25 x 38cm $1,000 - $2,000

Note: This is a sketch of a watercolour by the same title held at the National Collection of War Art and Archives, Wellington (NCWA 130)

213 Russell Clark (1905-66) Untitled (Guadalcanal) ink & graphite on paper 34 x 24.5cm $1,500 - $2,500

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215

214

216

219

218

217

214 John Weeks (1888-1965) Landscape from Pigeon Hill, Howick oil on canvas Weeks O’Connor Estate stamp to the reverse 42 x 50cm $2,000 - $4,000 P RO VENANCE This and the following six lots are from The Estate of V L Mayclair.

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

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215 John Weeks (1888-1965) Parisian Street Scene oil on canvas Weeks O’Connor Estate stamp to the reverse 51 x 61cm $1,200 - $2,400 216 John Weeks (1888-1965) European Street Scene oil on board Weeks O’Connor stamp to reverse 51 x 40.5cm together with unfinished Female Portrait to reverse $1,200 - $2,400

217 John Weeks (1888-1965) Portrait of Gent with Cigarette oil on canvas signed ‘J. WEEKS’ (lower right) 32 x 28cm together with study of female nude to reverse $800 - $1,600 218 John Weeks (1888-1965) Boats in Moonlight coloured pastels on paper 51.5 x 56cm $800 - $1,600

220

221

222

223

219 John Weeks (1888-1965) Native Dying Vats watercolour & pencil on paper 20 x 29cm, mounted $500 - $1,000 220 Charles Frederick Goldie (1870-1947) A Good Joke chromolithograph signed & dated 1905 in plate 38.5 x 32cm (oval) $1,500 - $2,500

221 C Roper “A Samvan Maiden” watercolour signed (lower left) 29 x 49cm $1,000 - $2,000

223 R P Moore (1881-1948) Native Village Whakarewarewa, New Zealand handcoloured panoramic photograph, photographer’s stamp (lower right) 18 x 92cm $800 - $1,600

222 W G Baker (1864-1929) West Coast Porirua watercolour heightened with white signed & inscribed with title (lower left) 18 x 26.6cm $600 - $1,200

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227 224

225

228

229

226

224 Peter Beadle (1933-2021) Mt Madeline & Mt Tutoko, Pyke River Valley towards Lower Hollyford Valley oil on board signed ‘Peter Beadle’ (centre left); inscribed with title and dated 1977 to reverse 45 x 60cm $1,200 - $2,400 225 Peter Beadle (1933-2021) Southern Alps oil on board signed (lower right) 34 x 48cm $750 - $1,250

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226 Peter Beadle (1933-2021) Pioneer Cottage Queenstown oil on canvas board signed (lower left); signed, inscribed with title and dated 1984 to reverse 45.5 x 60.5cm $1,250 - $2,500

228 John Badcock (b 1952) Bored oil on board signed & dated ‘95 (upper right) 58 x 44cm $1,000 - $2,000

227 John Crump (b 1933) Road to the Matakituki Valley, Lake Wanaka oil on board signed (lower right); inscribed with title & dated Sept 1972 to reverse 34.5 x 44cm $600 - $1,200

229 Marcus King (1891-1983) Evening Ebb oil on board signed ‘Marcus King’ (lower left) 27 x 34cm $1,000 - $2,000

230

232

233

231

230 Marcus King (1891-1983) Landscape Kaikoura oil on canvas board signed (lower right) 47 x 68cm $2,000 - $4,000 231 E Mervyn Taylor (1906-64) Setting Off watercolour on paper signed & dated 1955 (lower right) certificate of authenticity to reverse 26 x 35.5cm $4,000 - $7,000

232 Tom Esplin (1915-2005) Saints Day, Cordoba, Spain oil on board signed ‘Esplin’ (lower left) 37 x 26cm $5,000 - $8,000 PR O VE N AN C E purchased McGregor Wrights Gallery, Wellington c.1990 Private collection, Wellington

233 Cedric Savage (1901-69) Appil oil on board signed (lower right) & inscribed with title on original labels to reverse 37 x 46cm $1,500 - $3,000

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234

235

234 Philip Clairmont (1949-84) Clairmont Art is My Wife, Closet Artists, 520 Queen Street, Aug 3 woodblock poster 52.5 x 42cm $600 - $1,200 235 Philip Clairmont (1949-84) Clairmont New Images, a variety of Media, Denis Cohn, 4 Aug to 22 Aug 1980 woodblock poster 53 x 42cm $600 - $1,200 236 Philip Clairmont (1949-84) Art is My Life, Mixed Mulch, Closet Artists Gallery, 520 Queen Street, May 19 woodblock poster 61 x 42cm $600 - $1,200

236

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237 Philip Clairmont (1949-84) Window & Vase acrylic, pastel and ink on paper inscribed with title and signed with initials 'PCT' (lower right) 88 x 65cm $2,000 - $4,000

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Part Three Studio Ceramics & Applied Art Thursday 25 November 2021 4pm start Lot 300 - 429

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301 Crown Lynn Large Black Swan Vase matt black, no. 170 to base, 21cm height, 30cm length, coloured small chip to base $800 - $1,400

302 Crown Lynn Medium Black Swan Vase gloss black, no. 247 to base, 15cm height, 18cm length $600 - $1,000

303 Crown Lynn Small Black Swan Vase matt black, crown mark & no. 154 to base, 9.5cm height, 15cm length $300 - $600

304 Crown Lynn Large White Swan Vase crown mark to base, impressed no. 170, 22cm height $400 - $800

305 Crown Lynn Posy Vase modelled as a lamb matt white glaze, no 213, 11cm height $100 - $200

306 O C Stephens Rectangular Float Vase & Pair of Mugs off-white exterior & teal interior, marks to base, trough 22cm length $100 - $200

307 Ernest Shufflebotham for Crown Lynn Large Hand Potted Vase tiki handpotted mark & incised no. 34 to base, 23cm height $600 - $1,200

308 Ernest Shufflebotham for Crown Lynn Medium Handpotted Vase tiki handpotted mark & incised no. 34 to base, 18.5cm height $300 - $600

309 Ernest Shufflebotham for Crown Lynn Small Handpotted Vase handpotted mark & incised no. 34 to base, 13cm height $200 - $400

310 Ernest Shufflebotham for Crown Lynn Large Hand Potted Vase handpotted mark & incised no. 23 to base, 23cm height $600 - $1,200

311 Ernest Shufflebotham for Crown Lynn Medium Hand Potted Vase tiki handpotted mark & incised no. 23 to base, 17.5cm height $300 - $600

312 Ernest Shufflebotham for Crown Lynn Small Hand Potted Vase handpotted mark & incised no. 23 to base, 12.5cm height $200 - $400

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313 Olive Jones Blue Vase with Small Navy Jug & Green Trough all with incised marks, vase 16cm height, jug 5.5cm height, trough 16.5cm length (3) $150 - $300

314 Frank Carpay for Crown Lynn Dessert Set consisting of large serving bowl with four dessert bowls, green & black band hand painted decoration, large bowl with tiki & Werk marks, no 8-10L to base, dessert bowls all with tiki marks, 22.5cm dia, 15cm dia. $500 - $1,000

315 Frank Carpay for Crown Lynn Footed Bowl hand painted bird motif, tiki & handwerk painted marks, H.11-2, 24.5 cm diameter (stained crazing) $200 - $400

316 Wenford Bridge (Michael Cardew) Wading Bird Oval Slab Dish hand painted with irregular rim, impressed Wenford Bridge mark, 36cm length $400 - $800

317 Lucie Rie Oil & Vinegar Pourers stoneware with manganese exterior, white interior with O & V marked to stoppers, each with impressed LR impressed marks, 15cm height (oil with rim chip) $500 - $1,000

318 Shoji Hamada Large Stoneware Vase with tetsue brushwork over nuka glaze, 22cm height $1,000 - $2,000 Provenance: Collection of John & Marguerite Scott; Sale, A + O, Auckland, 9th October 2014 (lot 387)

319 Temuka Topliss Period Art Deco Blue Vase mottled blue glaze modelled with Maori motif, incised ‘Temuka Ware’ to the base, 18cm height $250 - $500 Reference: Gail Lambert, Pottery in New Zealand (1985) (colour illustration)

320 R S Lovatt for Temuka Frilled Lidded Teapot adapted from the ‘Hot Point’ electric jug design, mottled brown gloss glaze, stamped mark to base, 18cm height $300 - $600 Reference: Lambert, Pottery in New Zealand (colour illustration)

321 New Zealand Potteries (Wellington) Teapot mottled brown gloss glaze, stamped mark to base, 12cm height $120 - $240

322 T N Lovatt for Temuka Teapot green gloss glaze with gold handpainted highlights, stamp mark to base, 15cm height. $150 - $300 C.1962-4 gilded examples for special Christmas gifts Reference: Lambert, Pottery in New Zealand (colour illustration) FINE AR T

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323 Mirek Smisek Salt Glaze Ale Jug impressed mark, 24cm height $300 - $600

324 Mirek Smisek Salt Glaze Milk Jug & Matching Sugar Bowl (2) both with impressed marks, 14cm height, 11cm dia. $200 - $400

327 Mirek Smisek Large Charger with central sunflower decoration, impressed mark, 42cm dia. $400 - $800

330 Mirek Smisek Pedestal Bowl blue glaze with wax relief patterns, impressed mark, 14cm height, 18cm dia. $150 - $300

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325 Mirek Smisek Early Tankard incised with autumnal leaf decoration, incised with signature, 10.5cm height $100 - $200

328 Mirek Smisek Large Charger impressed mark, 40cm dia. $300 - $600

331 Mirek Smisek Pedestal Bowl salt glaze with ribbed exterior, impressed mark, 9.5cm height, 13.5cm dia. $100 - $200

326 Mirek Smisek Water Jug impressed mark, 17cm height $150 - $300

329 Mirek Smisek Large Plain Oxblood Charger impressed mark, 39cm dia. $300 - $600

332 Mirek Smisek Pair Small Footed Bowls impressed marks, 12cm dia. each $150 - $250

333 Mirek Smisek Three Various Celadon Glaze Footed Bowls all with scalloped rims & impressed marks, 13.5cm, 15cm, 10.5cm dia. $200 - $400

334 Mirek Smisek ‘Kapiti’ Branch Pot Te Horo c1980, cobalt & brown salt glaze, impressed mark & title inscribed with pen to base, 50cm height $4,000 - $8,000 PROVENANC E purchased by the current owner directly from Studio of the Artist, 1996 (with original receipt) Private collection, Wairarapa

336 Mirek Smisek Large Lidded Crock impressed mark, 45cm height $1,000 - $3,000

335 Mirek Smisek Large Branch Pot incised cross hatched decoration to the body, dark blue & brown glazes, impressed mark, 69cm height $4,000 - $8,000

337 Mirek Smisek Large Salt Glaze Floor Vase impressed mark (large radiating crack to body), 56cm height $500 - $1,000

FINE AR T

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338 Mirek Smisek Early Flagon with original stopper & rattan handle, incised early signature mark to base, 30cm height $300 - $600

339 Mirek Smisek Ovoid Specimen Vase impressed mark, 22cm height $150 - $300

340 Mirek Smisek Ovoid Specimen Vase impressed mark, 22cm height $150 - $300

341 Mirek Smisek Small Celadon Specimen Vase impressed mark, 14cm height $80 - $160

342 Mirek Smisek Celadon Glaze Bowl green underside & puce interior, impressed mark, 23cm dia $100 - $200

343 Pamella Annsouth Figured Vase impressed mark, 28cm height $150 - $300

344 Lawrence Ewing Bottle Carafe with original handle & rope stopper, impressed mark, 22cm height $100 - $200

345 Barry Brickell Wine Bottle impressed mark, 22cm height $100 - $200

346 James Greig Turning Form Vase impressed mark & dated 1980 to base, 24cm height $1,000 - $2,000

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347 James Greig Turning Form Vase impressed mark, 14cm height $350 - $700

348 Jim Greig Landform Bowl incised mark to base, 21cm dia $500 - $1,000

349 Jim Greig Bottle Form Lamp Base four sided rough textured surface, 25cm height (excluding light fitting) $500 - $1,000

350 Jim Greig Cylindrical Vase with painted Japanese inspired decoration, impressed mark to base with original paper label, 17cm height $150 - $300

351 Darryl Frost Anagama Fired Stoneware Vase with small lug handle, 13cm height $150 - $300

352 Chester Nealie Wood Fired Stoneware Flagon salt celadon glaze with impressed shell marks, 20cm height $300 - $600

353 Chester Nealie Tall Anagama Bottle Vase with shell impressions, impressed mark, 39cm height $400 - $800

354 Barry Brickell Large Lidded Storage Crock rich brown salt glaze and green gloss glaze to the finial, 40cm height $400 - $800

355 Bruce Martin Floor Vase incised mark & dated ‘86 to base, 38cm height (chip to rim) $150 - $300

356 Doreen Blumhardt Large Planter two applied bands of beading with cross hatching between, 50cm dia., 37cm height $600 - $1,200

357 Paul Melsor Large Planter salt glaze with dribbled band, 34cm dia., 41cm height $300 - $600

358 Lynne & Mike Spencer Large Planter earthenware, 44cm dia., 33cm height (slight chipping to base rim) $200 - $400

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359 Anneke Borren Compressed Circular Vase with Turned Wooden Lid painted mark to base, 14cm height $150 - $300

360 Anneke Borren Hand-Painted Orb 12cm height $100 - $200

361 Anneke Borren Black Flattened Orb Bowl painted mark to base, 15cm dia. $100 - $200

362 Anneke Borren Half Lobed Circular Bowl & Lidded Cube (2) painted marks, 13cm height, 9cm height respectively $150 - $300

363 John Parker Burgundy Grooved Vessel impressed marks, 25cm height $150 - $300

364 John Parker Bronze Vessel impressed marks, 20cm height $150 - $300

365 John Parker Volcanic Bottle c.

2015 35cm height $150 - $300

366 John Parker Triple Gourd Matt White Vessel impressed mark, 21cm height $150 - $300

367 John Parker Matt White Bowl impressed mark, 26.5cm dia. $100 - $200

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368 Rick Rudd Earthenware Teapot shaped no 3, 30cm length $300 - $600

369 Rick Rudd Earthenware Teapot shape no 13, 25cm length $250 - $450

Estate Property of a Wellington Gentleman

370

371

370 Raewyn Atkinson (b 1955) Gifts of Civilization coil vessel red earthenware clay slip, scraffito, transfer print & oxide signed & dated ‘03 to base with original paper label 19cm height, 44cm length, 27cm width $4,000 - $6,000 P RO VENANCE purchased from Avid, Wellington ‘Gifts of Civilization’ is the term used by Captain Cook to describe the contact between Europeans and the native peoples his expeditions encountered. Hawai’ian history from the arrival of Captain James Cook with his exchange rates and his sailor’s diseases, to the annexation of Hawaii by US businessmen, provides rich imagery for the vessels in this exhibition. This includes the influence of the Freemasons, the power of

372

the U.S dollar, the promotion of Hawai’i as a tourist destination, the proliferation of white stretch limos, and photographs celebrating the ‘melting pot’ of races.

This series was inspired during and following a month long residency at the University of Manoa, Hawai’i in 2002. The traditional Hawai’ian bowl, the Poi vessel, used for food and religious ceremony, provided the inspiration for the form.

371 Raewyn Atkinson (b 1955) Landform red earthenware clay slip signed to paper label affixed to base 41cm height, 49cm width $1,800 - $3,000

P R OV E N A N C E purchased from Avid, Wellington exhibited Memories of the Mainland, 1997 This was a series of work inspired by travels through Colin McCahon's Te Wai Pounamu landscapes.

372 John Parker (b 1947) Lattice Bowl 12 2006 paperclay 50cm dia. 20cm height $800 - $1,600 P R OV E N A N C E purchased Milford Galleries, Dunedin

FINE AR T

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Estate Property of a Wellington Gentleman

373 Christine Thacker The Binary Stars in Waiheke Parables eight handpainted glazed terracotta plaques each signed & dated 2005 to reverse 16cm dia. each $1,600 - $3,000

374 Emma Camden (b 1966) Longitudinal Vessel aqua cast glass signed and dated ‘02 NZ to base 55cm length, 16.5cm height, 18cm width $4,000 - $6,000

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Estate Property of a Wellington Gentleman

375 Chris Charteris (b 1966) Wholeness 2002 Coromandel (Kuaotunu) basalt 35.5cm height, 28cm width, 9cm depth $3,000 - $5,000

377 John Edgar (1950–2021) Lightstone c. 2005 stone with three inset glass bands 14cm length $500 - $1,000

376 Paul Mason (b 1943) Seed #2 carrara marble 24cm height, 25cm width, 13cm width $2,500 - $3,500

378 Mike Deavoll The Passage carved stone sculpture on shaped greenstone base 32cm height, 27cm length, 11cm depth (maximum) $1,500 - $3,000

379 David Hegglun Autumn Leaf marble 65cm length $500 - $1,000

FINE AR T

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380 Guilielma Dowrick 'Sacred Waters' Ceramic Platter in high gloss lime glaze, incised mark to base, 30cm dia. $150 - $300

381 Graham Ambrose Large Porcelain Sunglaze Charger impressed mark, 46.5cm dia. together with orb vase (2) $400 - $800

382 Steven Scholefield (Rocket Pottery) Two Chargers both decorated with a repeating grid of impressed stamps after Theo Schoon, impressed marks & dated 2001 to base, 34.5cm dia. each $150 - $300

383 John Roy Three Earthenware Rabbits painted marks to bases, 15cm length each $300 - $600

384 Aaron Scythe Six Various Hand-painted Ceramic Pieces including Sake Bottle, 15cm height, tri-footed mug, yunomi, other tea cup with two small dishes, all variously marked $200 - $400

385 Katherine Smyth Tall Earthware Jug matt off-white glaze, impressed mark, 38cm height $600 - $800

386 Katherine Smyth Set of Four Sea-green Chow Bowls impressed signatures to base, 19cm dia. (one with small chip to rim) $120 - $240

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387 Richard Stratton Pair of Mugs painted ‘Stratton Ware NZ’ mark to base, 8cm height $80 - $160

388 Graeme Storm Squat Circular Vase impressed mark to base, 18cm height $250 - $500

389 Garry Nash Iridescent Ovoid Vase unmarked, 24cm height $350 - $650

390 Sue Hawker Too Much is Never Enough (2011) pate de verre glass 48cm height, 26cm dia. $4,500 - $6,500 P RO VENANCE the following four lots were purchased Milford Galleries, Queenstown Private collection, Wellington The ‘Connexions’ series is inspired by the Connexions Lonely Hearts column in the NZ Herald newspaper hence ---Ginga: Hot, sugar coated babe seeks cool, classy male. Must have s.o.h.

Adam: Healthy, rampant male seeks nature loving female.

391 Sue Hawker Connexions: Ginga (2010) pate de verre glass 44cm height, 21cm dia. $4,000 - $6,000 392 Sue Hawker Connexions: Adam (2010) pate de verre glass 43.2cm height, 21.5cm dia. $4,000 - $6,000

390

391

392

393

393 Sue Hawker Tosser (2010) pate de verre glass 34cm height, 24cm dia. $4,000 - $6,000 ‘Tosser’ is an apple that has MANY connotations but here’s what Sue has to say: “it is probably a girl thing as a couple of my female mates got the title pretty quickly.

Sometimes when you are given a bouquet of flowers that is not quite enough - a sorry must accompany them - otherwise they might be thrown to the ground. Or maybe it was just a tosser who gave them to you and they are still hurled to the ground. Yeah, I know I have an unfathomable mind!”

FINE AR T

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394 Lawrence Ewing Large Decorative Charger unmarked, 36.5cm dia. $250 - $450

395 Doreen Blumhardt Square Platter impressed mark, artists original paper label attached, 43.5cm width $600 - $1,000

396 Doreen Blumhardt Large Charger impressed mark & paper label to base, 43cm dia. $350 - $700

397 Doreen Blumhardt Square Footed Platter impressed mark, 34.5cm width $250 - $500

398 Doreen Blumhardt - Slab Built Vase with poured glaze decoration, paper label to base, 42cm height $800 - $1,400

399 Doreen Blumhardt Cylindrical Vase paper label to base, 31cm height $150 - $300

400 Len Castle Unique Stoneware Mosaic Dish green crackled surface over a blue glaze, incised initials to the base, 35cm dia. $500 - $1,000 Provenance:Collection of Graham Ambrose; Sale, A + O, Auckland, 5 March 2014

401 Len Castle Large Rectangular Platter c1980s, tenmoku glaze with green/blue ash over glaze with impressions to well, impressed mark, 42cm length $400 - $800

402 Len Castle Rectangular Shallow Dish impressed mark, 30cm length $400 - $800

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403 Len Castle Large Tenmoku Jun Glaze Bowl c1980s, impressed mark, 41cm dia. (multiple hairline cracks to glaze) $300 - $600

404 Len Castle Tenmoku Jun Glaze Bowl c1980s, impressed mark, 29cm dia. $400 - $800

405 Len Castle Jun Bowl c1980s, impressed mark, 25cm dia. $300 - $600 Provenance: Ex Simon Manchester Collection

406 Len Castle Tenmoku Glaze Bowl c.1980s, with lilac crackle glaze to well, impressed mark, 34.5cm dia. $400 - $800

407 Len Castle Large Stoneware Bowl c.1970s, wax resist quince blossom decoration, impressed mark, 35cm dia $750 - $1,250 Provenance: Ex Simon Manchester Collection

408 Len Castle Bowl impressed mark, 34.5cm dia. (chip to rim) $150 - $300

409 Len Castle Small Wax Resist Bowl c. 1970s, impressed mark, 16.5cm $250 - $500 Provenance: Ex Simon Manchester Collection

410 Len Castle Small Bowl on small footed base, impressed mark, 15.5cm dia. $200 - $400

411 Len Castle Shino Glaze Deep Bowl c1970s, impressed mark, 28cm dia $400 - $800 Provenance: Ex Simon Manchester Collection

FINE AR T

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412 Len Castle Discoid Hanging Form c1980s, iron oxide, impressed mark, 33cm length $1,000 - $2,000

415 Len Castle Avian Bowl turquoise internal glaze, impressed mark, 23.5cm dia. $600 - $1,200

417 Len Castle Lidded Crock impressed mark, 32cm overall height $300 - $600

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413 Len Castle Discoid Hanging Form c1980s, iron oxide, 31.5cm length $1,000 - $2,000

414 Len Castle Hanging Form c.1990s, oxide washed stoneware with glazed blue interior, impressed mark, 20cm length $800 - $1,600 Provenance: Purchased directly from Len Castle’s Personal Collection

416 Len Castle Avian Bowl ash well, impressed mark, 20cm length $500 - $1,000

418 Len Castle Heavily Textured Ash Glaze Jug c1970s, impressed mark, 25.5cm height $250 - $500

419 Len Castle Double Necked Orb Vase c1980s, oxide washed stoneware, impressed mark, 16cm height $500 - $1,000

420 Len Castle Earthbook c1998, impressed mark, 33cm length $1,250 - $2,500 This is one of the first earthbooks made, this example has an impression of the potters hand/fist on the rear.

421 Len Castle Earthbook impressed mark, 17cm length (some minor chipping to ‘page edges’) $500 - $1,000

423 Len Castle Conical Fossil Form c. 2000, impressed mark, 24cm dia. (minor chip to rim) $1,250 - $2,500 This lot comes with two of the actual fossils, provided by the artist that the work is based on.

422 Len Castle Earthbook impressed mark, 16.5cm length $500 - $1,000

424 Len Castle Fossil Form impressed mark, 19.5cm length $1,000 - $2,000

FINE AR T

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425 Hannah Kidd (b 1979) Peach-faced Lovebirds (2015) corrugated iron, steel rod & enamel paint 31cm height, 57cm length, 29cm depth $2,000 - $4,000 P R OV E N A N C E purchased Christchurch, approx c.2015 Private collection, Wellington

426 Jeff Thomson (b 1957) Native Bouquet screenprint on corrugated iron signed and dated ‘J G Thomson 2012’ to reverse 60cm height, 28cm width, 8cm depth $1,500 - $3,000 P R OV E N A N C E purchased Bowen Galleries, Wellington Private collection, Wellington

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427 Barbara Taylor Bronze Bust of Gilbert cast bronze, AP 1 of 1 inscribed with signature & dated 1991 to reverse 42cm height $1,500 - $2,500

428 Russell Clark (1905-66) Stylised Standing Figure pigmented plaster sculpture on wooden base 25cm height overall $750 - $1,500

429 Feltex Carpets NZ Ltd, Riccarton Carpets Queenstown, New Zealand Souvenir Rug no. 6 69 x 137cm $1,750 - $3,000

FINE AR T

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ALPHABETICAL INDEX PART ONE

A Albrecht, Gretchen 1 B Bensemann, Leo V 33 Binney, Don 5 Brown, Nigel 64 - 67 D Day, Melvin (Pat) 53, 54 De Lautour, Tony 11 Drawbridge, John 70 E Ellis, Robert 19 F Field, Isabel 26 Frizzell, Dick 55, 56 G Gibb, John 39 H Hammond, Bill 10 Hotere, Ralph 2, 4, 63 Hodgkins, Frances 23 - 25 Hoyte, John Barr Clarke 41 J Johnson, Eric Lee 51 K Kahukiwa, Robyn 60, 61

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D UN B AR S L O A NE

L Lovell-Smith, Rata D B 34 Lusk, Doris 32 M McIntyre, Peter 42 – 45 Maddox, Allen 62 Moffitt, Trevor 52 Moultray, John Elder 36 N Nigro, Jan 49 Noble, Anne 7 P Page, Evelyn 35, 48 Palmer, Stanley 69 Pardington, Fiona 9 Pearson, Alan 68 Peryer, Peter 8 Pick, Seraphine 18 R Robinson, Ann 17 Robinson, Peter 12 S Smither, Michael 13, 14, 50 Stringer, Terry 15, 16 T Thompson, Sydney Lough 46, 47 Thomson, Jeff 57 Trusttum, Philip 20 - 22 Tuffery, Michael 58 V Van der Velden, Petrus 37, 38

W Walsh, John 59 Walters, Gordon 3 Weeks, John 31 White, Robin 6 Worsley, Charles Nathaniel 40 Y Younghusband, Adele 27 - 30 PART TWO B Badcock, John 228 Baker, W G 222 Baraki, Bashir 202 Beadle, Peter 224 - 226 Boelee, Rudolf 125, 126 Birch, Samuel J Lamorna 142, 143 Bower, Olivia Spencer 133 - 135 Braithwaite, Joanna 167 Brown, Ion 153b C Cairncross, Sam 100 - 107 Chilcott, Gavin 111 Clairmont, Philip 234 - 236 Clark, Russell 206 - 213 Cleavin, Barry 192 – 194 Cooke, Jennie 204 Corneille, G V Beverloo 195 199 Cowan, Roy 191 Crook, Gordon 109 Crump, John 227

D Deans, A Austen 137 De Vel, Gaston 153a Dixon, Geoff 174 Drawbridge, John 183, 184 E Esplin, Tom 232 F Ford, John Bevan 175, 176 Frizzell, Dick 110 G Gibb, John 151 Gibb, William M 146, 147 Goldie, Charles Frederick 220 Goodman, George 155 Goodwin, D B G 158 H Hammond, William 115 Hanly, Pat 108 Heginbotham, Joseph A 148 Howard, Stephen 159 – 161 I Isaac- Rose, Edith 202 K Karaka, Emily 177 Killeen, Richard 112, 113 King, Marcus 229, 230 Knight, Gwen 136 Koons, Jeff 129 - 131 L Lucebert 200

M Macleod, Euan 165 McCahon, Colin 114 McIntosh, Jill 204 McIvor, Lois 162 Maddox, Allen 166a Meek, Kim 170 - 172 Moore, R P 223 Murakami, Takashi 132 N Nicholas, Darcy 178, 179 O Ogden, Simon 169 O’Brien, George 150 P Page, Evelyn 139, 140 Palmer, Stanley 190 Peter, Juliet 189 Procter, Robert Field 153 Pule, John 186 R Randerson, Glenda 173 Roper, C 221 S Savage, Cedric 233 Smither, Michael 116–124 Stevens, Eion 164 Stoddart, Margaret 138 Stringer, Terry 163 Suchanek, Vladimir 203 Sydney, Grahame 187, 188

T Tapper, Garth 166 Taylor, Alan 180, 181 Taylor, E Mervyn 231 Thompson, Sydney L 145 Tripe, Mary Elizabeth 154 Tuffery, Sheyne 182 W Walters, Gordon 185 Warhol, Andy 127, 128 Watkins, Denys 205 Watson, Ruth 168 Weeks, John 214 - 219 Westerik, Co 201 White, Jan 204 Whiteman, Vera 144 Whyte, Alice 156, 157 Wilson, Laurence W 149, 152 Woollaston, Toss 141

C Camden, Emma 374 Cardew, Michael 316 Carpay, Frank 314, 315 Castle, Len 400–424 Charteris, Chris 375 Clark, Russell 428 Crown Lynn 301–305, 307–312, 314, 315

M Martin, Bruce 355 Mason, Paul 376 Melsor, Paul 357

D Deavoll, Mike 378 Dowrick, Guilielma 380

P Parker, John 363–367, 372

E Edgar, John 377 Ewing, Laurence 344, 394 F Feltex Carpets 429

APPLIED ART

G Greig, Jim 346–350

A Ambrose, Graham 381 Annsouth, Pamella 343 Atkinson, Raewyn 370, 371

H Hamada, Shoji 318 Hawker, Sue 390–393 Hegglun, David 379

B Blumhardt, Doreen 356, 395–399 Borren, Anneke 359–362 Brickell, Barry 345, 354

J Jones, Olive 313 K Kidd, Hannah 425

N Nash, Garry 389 Nealie, Chester 351–353 NZ Potteries 321

R Rie, Lucie 317 Roy, John 383 Rudd, Rick 368, 369 S Scholefield, Steven 382 Scythe, Aaron 384 Shufflebotham, Ernest 307–312 Smisek, Mirek 323–342 Smyth, Katherine 385, 386 Spencer, Lynne & Mike 358 Stevens, O C 306 Storm, Graeme 388 Stratton, Richard 387 T Taylor, Barbara 427 Temuka 319, 320, 322 Thacker, Christine 373 Thomson, Jeff 426

FINE AR T

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RECENT ART HIGHLIGHTS

OVER $5 MILLION GROSSED LAST YEAR & 95% OF LOTS SOLD

3

1

4

2 5

146

D UN B AR S L O A NE

6

7

8

9

11

12

10

13

Illustrated: 1 Charles Frederick Goldie The Diplomatist. Kamaka, a chieftain of the Ngatimaniopoto tribe, oil on canvas - $530,000 2 Colin McCahon, Singing woman on pink ground, oil on board - $400,000 3 Michael Parekowhai Jeff Cooper (The Beverly Hills Gun Club), taxidermy sparrow & powder-coated aluminium - $27,800 4 Heather Straka The Gatekeeper oil on canvas board - $50,700 - NZ Auction Record 5 Fiona Pardington Portrait of a Female Kiwi / Apteryx Haasti c-type print - $55,000 6 Rita Angus Mount Stewart Waiau North Canterbury oil on canvas - $325,000 7 Colin McCahon Truth from the King Country Load Bearing Structures, oil on canvas - $96,500 8 Frances Hodgkins Corfe Castle gouache on paper - $169,000 9 Robert Ellis Motorway/City No 18, oil on board - $51,900 10 Karl Maughan White Daisies, oil on canvas - $41,000 11 Buck Nin Dancing on the Flats, acrylic on board - $24,100 12 Manos Nathan Ipu Manaia Parirau $10,250 13 Gordon Walters Koru, ink on paper - $113,500 * Rounded to the nearest hundred including buyers premium + GST

FINE AR T

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RECENT FINE JEWELLERY HIGHLIGHTS

OVER $2.2 MILLION GROSSED LAST YEAR & 90% OF LOTS SOLD

1

2

3

4

5

6

8 7

9 8

11 9

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D UN B AR S L O A NE

10

12

11

13

14

15

16

17

18

19

20

Illustrated: 1 14ct White Gold Tanzanite & Diamond Necklace - $27,750 2 18ct White Gold 1123stone Diamond Pendant Necklace - $27,500 3 Pair 18ct White

Gold & Diamond Pendant Earrings - $3,800 4 18ct White Gold & Platinum Eleven Stone Emerald & Diamond Cluster Ring - $27,700 5 18ct 35stone Sapphire and Diamond Cluster Ring - $27,700 6 18ct White Gold 53stone Emerald & Diamond Cluster Ring - $6,450 7 Modern Gold and Diamond Fancy Bangle - $8,450 8 Five Strand Uniform and Graduated Cultured Pearl Necklace - $9,600 9 Art Deco All Platinum 242 Stone Diamond Bracelet - $48,280

10 Fancy 14ct 437stone Diamond Necklace - $10,863 11 18ct Tiki Pendant on Chain - $5,700 12 James King (NZ) Late C19th Silver Gilt Brooch - $55,522 13 Elsie Reeve (NZ 1885-1927) S/S Moonstone and Enamel Pendant - $19,312 14 Edith Morris (NZ 1895-1965) S/S and Single Green Tourmaline

Brooch - $10,259 15 NZ Kiwi Beak Brooch - $16,900 16 Early C19th Rolled Gold Emerald Locket - $7,845 17 Art Deco Platinum & Diamond Dress Clip - $19,300 18 Andrew Grima Design 18ct Tourmaline & Diamond Brooch - $5,900 19 Victorian Grand Tour 18ct Mosaic Bracelet - $ 7,840 20 18ct Mounted Five Sovereign Bracelet - $7,700 * Rounded to the nearest hundred and include buyers premium + GST

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CONDITIONS OF SALE

1.

5.

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

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

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

3.

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

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

4.

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

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

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

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D UN B AR S L O A NE

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

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

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

6.

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

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

7.

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

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

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

BUYERS GUIDE If you have not bought from Dunbar Sloane before, please read the following notes.

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

BEFORE AUCTION

2. Absentee Bidding

AFTER 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.

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.

Payment

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

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

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

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

THE AUCTION

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

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

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

Due to the Anti Money Laundering Act we no longer accept cash or cheques for purchases of $10,000 or over. Bank details as follows: Dunbar Sloane Ltd 06 0501 0524945 00 Swift Code ANZBNZ22 Please include details of sale date and lot numbers with all payments.

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

Collection of Purchases Property purchased can be collected as soon as full payment has been received. Any items not collected within seven days of the auction may be subject to a storage fee. Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care.

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

Packaging and Transportation

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

Buying at Auction

You are able to bid using the following four methods: 1. Bidding in the Room

BUYERS PREMIUM

To bid at the auction you will need to register for a bidding number at the front desk either during the viewing or prior to the auction.

Please bid clearly and promptly using your bidding number.

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

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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ABSENTEE BIDDING FORM

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

Type of Auction

Auction Date

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

Full name Address Phone

Email

SIGNED

Lot Number

DATE

Title / Description (use block letters)

Maximum Bid Price (excluding premium)

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

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

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

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

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

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Dunbar Sloane Ltd 94 F e a t h e r s t o n S t r e e t 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