Fine & Applied Arts

Fine & Applied Arts 14 & 1 5 Nov em ber 2018

New Zealand & International Fine & Applied Art 14 & 15 NOV EMBER 2018 W ELLINGTON Part One – Evening Sale

New Zealand & International Fine Art Wednesday 14 November 6pm Lot 1 – 64 Part Two – Day Sale

New Zealand & International Fine Art Thursday 15 November 12noon Lot 200 – 372 Part Three

Studio Pottery & Applied Art Thursday 15 November 4pm Lot 400 – 485

Absentee Bidding

Wellington Viewing

If you are unable to attend the auction you may submit an absentee bid (form at reverse or online www.dunbarsloane.com) Telephone bidding can be arranged on lots over $500 in value. Note we assume you have recieved a condition report or inspected the item prior to bidding. To register for this service, contact our office. Telephone lines are limited and are procured on a first registered basis. We accept no responsibility if for any reason we are unable to contact you, and for this reason encourage clients to leave a covering bid.

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Tuesday 13 November 9am – 5pm

There is a buyers premium of 17% + GST (19.55%) added to the hammer price.

Illustrations Front cover: Lot 26 Frances Hodgkins Breton Mother & Child Est $60,000 - 80,000 Inside front cover: Lot 25 Don Binney Saddleback Est $175,000 - 250,000 Facing: Lot 23 Colin McCahon Waterfall Est $120,000 - 180,000 Part One: Lot 35 Toss Woollaston Moonlight Est $25,000 - 30,000 Inside back cover: Lot 24 Colin McCahon Te Ua and Te Whiti seen as necessary protection Est $120,000 - 180,000

Thursday 8 November 5pm – 6.30pm Friday 9 November 9am – 5pm Sunday 11 November 12noon – 3pm Monday 12 November 9am – 5pm Wednesday 14 November 9am – 4pm Location/Enquiries 7 Maginnity Street, Wellington CBD PO Box 224, Wellington 6140 Helena Walker, Director of Art P +64 4 472 1367 F +64 475 7389 E art@dunbarsloane.co.nz www.dunbarsloane.com

Part One New Zealand & International Fine Art

Wednesday 14 November 2018 6pm start Lot 1 - 64

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1 Gretchen Albrecht (b 1943) Response lithograph, AP (edition of 45) signed and dated ‘Albrecht 82’ (lower right) and inscribed with title (lower centre) 49 x 69cm $2,000 - 4,000

2 Richard Killeen (b 1946) Strontium 90 acrylic on paper signed & dated ‘Killeen 11.3.79’ (lower) and inscribed with title (lower left) 36 x 26cm $2,000 - 4,000

Provenance Corporate collection, Wellington

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Provenance Private collection, Wellington

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3 Gordon Walters (1919-95) Painting No. 7 colour screenprint, edition of 100 (2016) title inscribed, Walters Estate blindstamp (lower left) 54 x 38cm $3,500 - 6,000

4 Bill Hammond (b 1947) Untitled [2006] lithograph, limited edition 31/100 signed and dated ‘W. D.Hammond/2006’ (lower right) 57 x 42cm $4,000 - 6,500

Provenance Private collection, Wellington

Provenance Private collection, Wellington

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5 Robin White (b 1946) Hokianga Sandhills silkscreen, limited edition 1/50 signed and dated ‘ROBIN WHITE MARCH 1977’ and inscribed with title (lower left) 65 x 53.5cm $5,000 - 8,000

6 Robin White (b 1946) White Oystercatcher and Harbour Cone silkscreen print, limited edition 50/50 signed and dated ‘R. White June ‘77’ (lower right), inscribed with title (lower left) 62 x 37cm $7,000 - 10,000

Provenance Private collection, Wellington

Provenance Private collection, Bay of Plenty

Literature Alister Taylor, Robin White New Zealand Painter (Martinborough 1981) p. 112. no. 193 & cover illustration (detail)

Literature Alister Taylor, Robin White New Zealand Painter (Martinborough 1981) p. 113. no. 119.

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7 Elizabeth Thomson (b 1955) Lepidoptera patina, casein & oil-based pigment on three cast bronze moths etched initials and dated ‘ET/ 91/ NZ’ to underside of wings, each numbered Q95, N48, N70 13cm, 12cm, 8cm lengths $9,000 - 14,000 Provenance acquired directly from the artist, 1995 Original personal letter from the artist available including photo with display advice Private collection, Wellington

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8 Terry Stringer (b 1946) Portrait of Bronzino bronze with patina and wax, limited edition 1/4 etched signature and dated 2010 to lower rim 28cm height, 12cm width maximum $4,000 - 7,000 Provenance with Mark Hutchins Gallery, Wellington 2011 Private collection, Wellington

9 Roger Mortimer (b 1956) Mahia ink, charcoal and acrylic lacquer on canvas signed with initials and dated ‘RJM/ MMXV’ (lower right) 91 x 101cm $7,000 - 12,000 Provenance with Bartley & Company Art, Wellington, Te Waha , May 2015 Private collection, Wellington

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Te Waha, the title of Mortimer’s exhibition from which this work was purchased, translates as mouth, entrance or gate. These paintings tempt us into their metaphorical territory to be the translator and map reader. Despite the strange and often surreal juxtaposition of ancient imagery, the final image is universal and most importantly timeless.

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10 Ralph Hotere (1931-2013) El Toro lithograph, limited edition 14/25 signed, inscribed with title and dated ‘Hotere 88’ (lower right) 55.5 x 45cm, unframed $3,000 - 5,000

11 Ralph Hotere (1931-2013) Song of Solomon - Cilla McQueen lithograph, limited edition 2/18 signed and dated ‘Hotere Feb ‘91’ (lower right) 75 x 53cm, unframed $3,000 - 5,000

Literature Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow (Christchurch 2005), fig. 21.

Literature Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow (Christchurch 2005), fig. 43.

12 John Pule (b 1962) Deep [1993] oil on canvas 181 x 136cm $7,500 - 12,500 Provenance Corporate Collection, Wellington 14

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13 Simon Morris (b 1963) Division No 3. acrylic and pencil on four aluminium panels all signed, inscribed with title and dated 2004 to reverse 30 x 30cm per panel; 60 x 60cm overall installation $2,000 - 4,000 Provenance Corporate Collection, Wellington

14 James Cousins (b 1965) Gorge oil and vinyl on canvas signed, incribed with title and dated 2002 to reverse stretcher 143 x 155cm $3,000 - 6,000 Provenance with Starkwhite Gallery, Auckland 2007 Corporate collection, Wellington 15 James Cousins (b 1965) Green, Red, Blue, White diptych, oil on canvas signed, inscribed with title and dated 2007 to reverse of each panel 95 x 70cm each; 95 x 140cm overall $4,000 - 7,000 Provenance with Gow Langsford Gallery, Auckland 2008 Corporate collection, Wellington

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16 Louise Henderson (1902-94) Clouds I oil on board signed and dated ‘Louise Henderson/ 1965’ (upper right); signed, inscribed with title to reverse 89.5 x 59.5cm $3,000 - 6,000

17 Robert Ellis (b 1929) Motorway watercolour,indian ink and charcoal on paper signed and dated ‘Robert Ellis 1968’ (lower right) 74 x 55cm $4,000 - 7,000

Provenance Private collection, Bay of Plenty

Provenance Private collection, Bay of Plenty

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18 Dennis Knight Turner (1924-2011) Rooftops and Mountain Cone oil on board signed and dated ‘Turner ‘63’ (lower left) 120 x 120cm $10,000 - 20,000 Provenance Private collection, Bay of Plenty Exhibited Wanganui, Sarjeant Gallery, ‘Here There Here, Selected Works 1943-1993’ cat no. 73. (original exhibition label affixed to reverse)

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19 Jan Nigro (1920-2012) Pioneers’ Series [1964] oil and mixed media on board signed ‘JAN NIGRO’ (lower right) 80 x 121cm $5,000 - 8,000 Provenance Private collection, North Island Literature Jan Nigro, Apple for the Teacher (Auckland 1996) p. 78 (colour illustration)

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20 Charles Tole (1903-88) Industrial Landscape oil on board signed and dated ‘CHARLES TOLE ‘70’ (lower left) 50 x 59cm $20,000 - 30,000 Provenance Sale, International Art Centre, Auckland, 29 April 1991 (lot 27) Private collection, Bay of Plenty

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21 John Drawbridge (1930-2005) Sea Cloud watercolour on paper signed and dated ‘John Drawbridge August 1983’ (lower left) 75 x 57cm $5,000 - 8,000 Provenance Corporate Collection, Wellington

22 Brent Wong (b 1945) North-eastern Pacific acrylic on board signed and dated ‘B. Wong ‘72’ (lower left); signed, inscribed with title and dated to reverse 51 x 89cm $25,000 - 35,000 Provenance Private collection, Bay of Plenty

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23 Colin McCahon (1919-1987) Waterfall oil on hardboard signed and dated ‘McCahon ‘4 ‘64 (lower left); John Leech Gallery paper label dated 18 Nov 77 to reverse 77.5 x 47.6cm $120,000 - 180,000

Provenance Private collection, Bay of Plenty Reference Colin McCahon database cm000885 Note: During this period, McCahon was experimenting with a number of commercial oil and water-based paints.

In some cases, he mixed these with artists’ oil colours. The exact nature of the medium can be difficult to determine.

Colin McCahon (1919-1987) is New Zealand’s most influential twentieth century artist. He redefined painting here by developing an aesthetic that represented a New Zealand identity. In the early years of his career he reimagined religious scenes in the New Zealand landscape, but then went on to paint the landscape as a religious scene with dramatic contrasts in light and dark.

His aesthetic is raw and unrefined and based on a signature palette of colours— an ochre, a green created by mixing black and yellow together, as well as black and white. He became interested in Maori subjects as well as painting text as image and combinations of the two.

He modelled what it was to be a full time artist and was hugely prolific. His influence both in painting style and subject was experienced by subsequent generations of artists in New Zealand.

Sadly during his lifetime he was not well understood or appreciated.

In 1958 he made a trip to the United States where he encountered a number of paintings by the Abstract Expressionists. When he returned to painting in Aotearoa, his own work became increasingly abstract. In 1959 McCahon was working at the Auckland Art Gallery when a number of William Hodges paintings were on display in an exhibition called Captain Cook: His Artists and Draughtsmen. Hodges accompanied Cook on his second voyage to the Pacific and he is known for the sketches and paintings he made of Table Bay, Tahiti, Easter Island, Dusky Sound and the Antarctic.

Included in this exhibition were three Hodges paintings of waterfalls in Dusky Sound. McCahon writes “The waterfalls started flowing in 1964 and there were hundreds of them…Hodges and I eventually realised we were friends over

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the years and got talking about his painting. He was dead and I was about the same. We conversed through paint (about Naples yellow to start with) — and in 1964 I painted my first waterfall.”1 The Waterfall paintings became increasingly abstract but this particular work was painted at the beginning of the series and is still evocative of nature— especially the Fairy Falls in the Waitakere Ranges. The dark greens of the bush are peppered with yellow highlights against which the white cascade of the waterfall mists with spray as it hits the pool beneath it. The flowing water captured with his signature paintwork is almost palpable. It’s McCahon in his powers, treading the fine line between the language of the New Zealand landscape that he was forging and an interest in international developments in abstraction.

But throughout his career McCahon was also attracted to spiritual symbolism and metaphor. He wanted his paintings to mean something and his imagery often references metaphysical ideas. In the Waterfall series, the waterfall serves the visual purpose of dramatically bringing light to the darkness of the landscape in what Ron O’Reilly described as “a sort of symbolic handwriting”.2 McCahon himself described the waterfall as “…a constant flow of light and because of perceiving the power of light with uninterrupted force we are born into the Pure land.”3 Mary-Jane Duffy 1. Quoted in http://fletchercollection.org.nz/artworks/ july-waterfall/ 2. Ibid.

3. Ibid

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24 Colin McCahon (1919-1987) Te Ua and Te Whiti seen as necessary protection synthetic polymer paint on paper supported by board signed, dated and inscribed with title ‘Te Ua & Te Whiti seen as Necessary Protection/ Colin McCahon May 1972 Muriwai’ (upper right) 72.5 x 108.8cm $120,000 - 180,000

Provenance Private collection, Bay of Plenty Exhibited [possibly] Auckland, Auckland Society of Arts Gallery, Invited Artists’ Exhibition, Sept 1972, as ‘Te Ua and Te Whiti (no 2.)’

Wellington, City Gallery, Parihaka: The Art of Passive Resistance, 2001 Reference Colin McCahon database cm000883

During his lifetime Colin McCahon (1919-1987) challenged contemporary viewers in many ways. His technical approach to painting was raw and unrefined and with it he hoped to echo the rawness of both the landscape and the history of Aotearoa. The subjects of his paintings at times also challenged viewers to consider an alternative narrative about Aotearoa than the one taught in schools and promoted by successive governments.

In 1972 The Dowse Museum’s young curator James Mack invited McCahon to contribute to an exhibition he was curating about Parihaka. As Paula Savage says in the catalogue published in connection with the later exhibition Parihaka: The Art of Passive Resistance in 2001, ‘Parihaka is paradoxically one of the most shameful episodes, and one of the most enduring stories in New Zealand’s colonial history… Under the charismatic leadership of Te Whiti and Tohu, Parihaka, a self-sufficient community became a refuge and a haven for thousands of Maori dispossessed and made homeless by land confiscations throughout New Zealand…’1 Te Whiti o Rongomai and Tohu Kakahi advocated peaceful means to resist the land confiscations as well as using innovative legal tactics to test the legality of the confiscations. But on 5 November 1881, the village was invaded by settler militia on the instructions of Native Affairs Minister, John Bryce. Tohu and Te Whiti and hundreds of their followers were arrested and transported to prisons in the South Island where many died.

It is unclear how much McCahon knew about the Parihaka story before Mack’s project, but he threw himself into the research and reported that he had completed ‘about 8 30 x 20 [inches] things on Te Ua and Te Whiti… Some of my best work in years.’2 Te Ua Haumene was founder of the Pai Marire movement which also came out of Taranaki and flourished in the 1860s in opposition to land sales.

McCahon brings the two leaders together in this work and represents them as monumental rock forms facing each other across a narrow space. The title is significant—Te Ua and Te Whiti seen as Necessary Protection—and no doubt alludes to the importance of these two visionary men in leading their communities with integrity and vision in the face of the onslaught of European colonisation.

This work was shown in the City Gallery’s Parihaka: the art of passive resistance in 2001, thirty years after James Mack’s first exhibition on Parihaka at The Dowse.3 It was shown alongside three other works which all come at the same subject from slightly different angles. Its restrained colour palette, paint application, ambiguous spatiality and borderline abstraction show McCahon testing his ideas about how to represent these two great leaders. And in the end, he settles on the idea of them as two immoveable natural phenomena bathed in sunlight.

Mary-Jane Duffy 1 In Parihaka: the art of passive resistance, City Gallery Wellington and Victoria University Press (2001), p10.

2 In Parihaka: the art of passive resistance, p132.

3 Ko Taranaki Maunga snake ki te Mohio—Taranaki saw it all. The exhibition also toured to Waikato and New Plymouth.

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25 Don Binney (1940-2012) Saddleback oil on canvas signed and dated ‘DON BINNEY 1971’ (lower left) 75 x 99cm $175,000 - 250,000

Provenance Sale, International Art Centre, Auckland, 29 April 1991 (lot 18) Private collection, Bay of Plenty

Don Binney (1940-2012) was a fervent painter of the New Zealand landscape especially Auckland’s west coast and Northland. In her book New Zealand Art – A Modern Perspective, Elva Bett described him as a pivotal artist ‘of unusual sensitivity and insight, with an acute awareness of the land, its wildlife and its wonder.’ He is best known for his paintings of native New Zealand birds but also birds he observed on trips overseas. He adopted a highly stylised approach to painting influenced by the techniques of Pop art. His works, often large scale, are bathed in a bright clear light that sharply defines the landscape and its contents. His compositions are structured with the repetition of forms that create visual patterns and seem to organise the landscape.

Binney was also an influential teacher.

Like many artists of his era, he trained as a secondary school teacher. He taught art at Mount Roskill Grammar in the 1960s, and began working at Elam Art School in 1974 where he taught till his retirement in 1998.

Early in his career he was part of a wave of artists who identified themselves as New Zealand Modernists. His paintings are some of the most recognisable in New Zealand’s twentieth century canon.

While still at high school, Binney was introduced to ornithology by Richard Sibson, one of the pioneers of birdwatching in New Zealand 1 and this interest together with conservation concerns informed his practice throughout his career. This work, Saddleback, was painted in 1971. The saddleback is a blackbird-sized bird with an orange-tan saddle-shape on its back and a similar coloured wattle. It has a unique chattering call. From the 1900s the saddleback population in the North Island went into serious decline due to

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the introduction of stoats and ship rats. A native population remained only on Hen Island to the north of Auckland. In 1964 the Department of Conservation translocated and established a population of the birds on Whatupuke Island. This process has continued so that now there are populations on thirteen off-shore islands as far south as Kapiti Island. Populations also exist in bird sanctuaries throughout the North Island.

The form of the saddleback fills the picture frame from edge to edge. Tips of harakeke or long grass form a rhythmic pattern of spiky triangles along the bottom edge of the painting beneath the bird, and the shaggy New Zealand bush is recognisable on the right hand side. A moody-looking sea on the left balances the composition. The grey tones of the landscape and dark colours of the bird lead the viewer’s eye to the saddleback’s red wattle. It is difficult not to read sadness and distress into the tear shape and blood colour of the wattle.

Binney was a serious conservationist and the tone of the painting and scale of the bird suggest he painted this work to highlight the endangered saddleback— to bring it to viewers’ attention so that we would see it and love it and want to protect it the way he did.

Mary-Jane Duffy

1 From https://teara.govt.nz/en/biographies/5s16/ sibson-richard-broadley

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26 Frances Hodgkins (1869-1947) Breton Mother and Child c.1922 gouache and black crayon on paper signed ‘Frances Hodgkins’ (lower right) 38 x 34cm $60,000 - 80,000

Provenance Manchester High School for Girls, Rusholme, Manchester, United Kingdom Sale, Dunbar Sloane Ltd, 28 November 1994 (lot 34) Private collection, Wellington Exhibited London, Pyms Gallery (original label to reverse) Literature Arthur Howell, Frances Hodkins, Four Vital Years (London 1951) p.107.

Frances Hodgkins went up to Manchester from October - November 1922 from Buford to give summer demonstration lessons - the school was where Jane Saunders and Hannah Ritchie were teaching. As she wrote to her mother: MS85/40_6 [Embossed] Studio, St Lawrence’s Street Burford Sept 20th [1922] My dearest Mother ... I go to Manchester next month & am invited for a week to Bristol to hold a short session there & give lectures & demonstrations to about 10 people at 1 guinea a head. Once I have some money in hand again my spirits will rise.

One gets so dejected when business is bad...

This work is one of four works that she painted for Manchester High School for Girls. It is not know if she gifted the work or they purchased it.

We would like to thank Mary Kisler for her assistance in cataloguing this work.

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27 Frances Hodgkins (1869-1947) Untitled [Venetian Canal] watercolour signed with initials ‘FH’ (lower centre/ right) 26.5 x 17cm $8,000 - 14,000 Provenance Sale, Forno’s Auctioneers, Dunedin with Milford House, Dunedin, 1992 Corporate collection, Wellington We would like to thank Mary Kisler for her assistance in cataloguing this work.

28 Isabel Jane Field [nee Hodgkins] (1867-1950) Still Life with Brown Jug, Berries and Daisies watercolour signed and dated ‘I. Hodgkins 88’ (lower left) 36 x 23cm $3,000 - 6,000

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Provenance Private collection, Canterbury Sale, Webb’s, Auckland, 30 August 1995 (lot 24) with Tinakori Gallery, Wellington Private collection, Wellington

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29 Thomas Arthur McCormack (1883-1973) The Red Vase watercolour and indian ink on buff paper signed ‘T. A. McCormack’ (lower left); inscribed with title to reverse 40 x 25.5cm $3,000 - 6,000 Provenance with Ngaio Fine Arts, Wellington 2015 Private collection, Wellington

30 John Weeks (1888-1965) Three Nudes gouache on paper signed ‘JOHN WEEKS’ (lower right) 41 x 52cm $8,000 - 16,000 Provenance Ex Melvin & Oroya Day Collection, Eastbourne, Wellington Sale, Art+Object, 07 April 2016 (lot 48) Private collection, Wellington

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A similar composition ‘Nude Composition with Goats’ was sold by Dunbar Sloane Ltd for $35,000 + premium at The Sir Ivor Richardson Art Collection, Wellington, 22 March 2006 (lot 138)

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31 Melvin (Pat) Day (1923-2016) The Side Show oil on board signed & dated ‘Day ‘51’ (lower left); inscribed ‘The Side Show by Pat Day’ to reverse 44 x 39cm $3,000 - 6,000

32 Helen Stewart (1900-83) Still Life I [The White Jug] oil on board 51 x 41cm $3,000 - 6,000

Provenance Private collection, Australia

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Provenance Private collection, Wellington

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33 Helen Stewart (1900-83) Portrait of Treania Smith Director, Macquarie Galleries, Sydney oil on board signed ‘Helen Stewart’ (upper left); inscribed ‘Lady with flower in hair and dog on lap’ to reverse 65 x 49.5cm $5,000 - 10,000 Provenance Ex Artist’s Estate (ref no 78) with Ferner Galleries, 2000 Private collection, Wellington Exhibited Ferner Galleries, Gateways of Harmony : Helen Stewart, 1900-1983 : a centennial tribute, June-July 2000

Illustrated Art New Zealand 96, Spring 2000, p. 104 (colour illustration)

Stewart held her first exhibition with Macquarie Galleries in 1934, where Kenneth Wilkinson commented:

Treania Helen Lindsay Smith (1901-1990) jointly ran the Macquarie Galleries, Sydney with Lucy Howell Swanton (1901-1981). In 1938 Smith and Swanton formed a partnership and acquired the Macquarie Galleries. Already Sydney’s foremost commercial gallery for contemporary art, it remained so under their direction. They exhibited all the leading Sydney artists of the time, including a number of women - Grace Cossington Smith, Grace Crowley, Margaret Preston, Jean Bellette, Margaret Olley and of course the artist of this portrait, Helen Stewart.

‘Because they are different from what is being done in Australia, these portraits will probably excite disapproval, and in some quarters perhaps, derision; but there is no doubt about their quality.

They express a splendidly decisive, individual, and penetrating vision. The colour in them is a delight. In design, they reflect the finest achievement of contemporary activity abroad’

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34 Doris Lusk (1916-90) Rocks at Mikonui, Kaikoura Coast oil on board signed and dated ‘D. Lusk/ 1968’ (lower right); inscribed with title to reverse 40 x 89cm $16,000 - 24,000

35 Mountford Tosswill (Toss) Woollaston (1910-98) Moonlight, Kaiteriteri oil on board signed ‘Woollaston’ (lower centre left) 90 x 89.5cm $25,000 - 30,000

Provenance Sale, International Art Centre, Auckland, 29 September 1997 (lot 59) Private collection, Bay of Plenty

Provenance purchased directly from the artist, 1974 Private collection, Marlborough This work is the view from Woollaston’s home on Kaiteriteri Road at night under a full moon.

The owner purchased the work directly from the artist’s studio onsite.

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36 Mountford Tosswill (Toss) Woollaston (1910-98) Study of Woman Seated [Possibly Rodney Kennedy’s Mother] watercolour signed ‘Woollaston’ (lower left) 41 x 29cm $2,000 - 4,000

37 Doris Lusk (1916-90) Taranaki Coast No 2. watercolour and ink on paper signed and dated ‘D. Lusk 1977’ (lower right); inscribed with title to reverse 28 x 42 cm $2,000 - 4,000

Provenance Sale, International Art Centre, Auckland, 14 October 2008 (lot 12) The Rex Wooffindin Estate, Hawkes Bay

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Provenance Private collection, Wellington

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38 Rita Angus (1908-70) Gum Tree Study c1960 watercolour on paper with certificate of provenance 25.3 x 17.6cm $4,000 - 7,000 Provenance Estate of Rita Angus with Page Blackie Gallery, Wellington 2016 Private collection, Wellington

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39 Sydney Lough Thompson (1877-1973) Market Day, Brittany oil on board bears signature and dated ‘13’ (lower left) 44 x 53cm $12,000 - 18,000 Provenance Sale, International Art Centre, Auckland,18 November 2010 (lot 68) The Rex Wooffindin Estate, Hawkes Bay

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40 Sydney Lough Thompson (1877-1973) Almond Tree in Bloom near St Jeannet, Southern France oil on canvas signed ‘S.L. Thompson’ (lower left); inscribed with title to stretcher/reverse 51 x 61cm $12,500 - 17,500 Provenance purchased directly from the artist’s studio Private collection, Canterbury

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41 Ebenezer Wake Cook (British 1843-1926) View of the Waiau River entering Lake Manapouri oil on canvas signed & dated 1872 (lower right) 81 x 122cm $20,000 - 30,000

Provenance Sale, Leonard Joel, Australian Paintings, Melbourne, 5 November 1980 (lot 233) Private collection, Australia Exhibited Sydney, New South Wales Academy of Arts, 1872 London, The Victoria Court, London International Exhibition 1873 London, Burlington Gallery, Exhibition of Australian, New Zealand and Canadian Oil Paintings and Watercolour Drawings, 1886

Born in Essex, England in 1844, Ebenezer Wake Cook emigrated to Victoria, in 1852. He began his career in the photographic studio of G.W. Perry where he worked as an assistant, painting miniatures and portraits in oils. His dedication to this work in his early years equipped him with highly technical drawing skills that translated to his landscape works for which he became well known. Cook also received instruction from the Russian/Swiss artist, Nicholas Chevalier (1828-1902). Chevalier has also recently settled in Australia and the pair worked on a series of drawings commissioned by the Duke of Edinburgh together in 1867-68. Cook and Chevalier’s lifelong friend, Eugene von Guerard (1811-1901) was often in their company.

In 1870, Cook became one of the first pupils to enrol in the newly formed National Gallery of Victoria School of Design in Melbourne, as well as a foundation member of the Victorian Academy of Arts, where he exhibited Australian and New Zealand landscapes.

In 1883 Wake Cook travelled back to England in order to pursue a full time career as a painter. His large oil painting View of the Waiau River entering Lake Manapouri was to be shown in the Victoria Court at that years London International Exhibition and this may have been a factor in the move.

In London, his work was included in an exhibition Summer Exhibition of High Class Pictures at the Burlington Gallery alongside other Australian and Canadian artists. The Times described the exhibition, ‘An interesting collection of paintings by Australian, New Zealand and Canadian artists was opened yesterday at the ‘Burlington Gallery,’ 27 Old Bond Street. The principal artists are Messrs Strutt, Hern, Chevalier, Wake

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Cook, Roper, and Gully, for the Australian and New Zealand scenes, and Messrs.

Winter and Poncy for Canadian.’

Wake Cook showed seventeen Australian and New Zealand subjects including as Hauling Timber, Wild Victoria, Picnic in Ferntree and the present work View of The Waiau River entering Lake Manapouri, was exhibited in 1886.. He regularly sent his paintings of Switzerland, Venice and English countryside to the Victorian Academy of Arts for exhibition, some of these paintings later appearing for sale on the secondary market.

His depictions of Australian and New Zealand landscapes are rare and seldom appear at auction. His works are included in the collections of the Art Gallery of New South Wales, Sydney; the National Gallery of Victoria, Melbourne and the Art Gallery of South Australia, Adelaide.

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42 John Gully (1819-88) Sunset over the Southern Sounds watercolour on paper bears pencil inscription ‘JOHN GULLY’ (centre right) 30 x 44cm $3,000 - 5,000 Provenance Ex Mrs J E F Vogel Estate, Wellington Private collection, Marlborough

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43 Vera Cummings (1891-1949) Sophia Hinerangi (Guide Sophia) oil on canvas signed ‘V. Cummings’ (centre right) 50 x 40cm $10,000 - 20,000 Provenance with John Leech Gallery, Auckland (original paper label affixed to reverse) by descent Private collection, Wairarapapa

Born in Thames in 1891, Vera (Veronica) Cummings parents were pioneer settlers of Scottish and Irish descent.

At the age of eleven she was awarded a scholarship to attend Elam School of Fine Arts, one of the youngest pupils to ever attend the school. It was here that she became a pupil of C F Goldie. Uniquely she was considered his only pupil to reproduce the colour of Maori skin as Goldie painted.

After graduating from Elam, Cummings painted alongside Goldie, often sharing the same models., elderly Maori who lived in the Maori hostel near Parnell.

Cummings also lived in Parnell near Judges Bay for nearly 60 years, where she died in 1949.

Her studies of Maoris were in great demand from overseas buyers.

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44 Alfred Walsh (1859-1916) A Valley in the Seaward Kaikouras watercolour signed (lower right) 44 x 63.5cm $6,000 - 10,000 Provenance Private collection, Australia A similar composition by the artist was illustrated on the cover of the catalogue for The National Centennial Exhibition of New Zealand Art, ed. A H McLintock, Department of Internal Affairs 1940 (see illustration left)

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Alfred Walsh was born in Victoria, Australia. He came to New Zealand as a child and settled in Dunedin. He studied at the School of Art, Dunedin and achieved a considerable reputation as an artist by the age of 27. He taught painting at the Christchurch School of Art and was a member of the Council of the Canterbury Arts Society for ten years.

He left Christchurch in 1912 and died in Tauranga 1916, aged 57. After resigning from teaching Walsh devoted his life to painting. His output was limited and he worked almost entirely in watercolour.

His work was praised by his contemporaries for its purity and clarity of colour.

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45 Charles Nathaniel Worsley (1862-1923) Lambton Quay, Wellington watercolour signed ‘C.N. Worsley’ (lower left) 42 x 28cm $6,000 - 10,000 Provenance The Hursthouse Collection, York Bay, Wellington Private collection, Australia

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46 Charles Nathaniel Worsley (1862-1923) Entrance Gate to Avila, Spain watercolour signed ‘C.N. Worsley’ (lower left); inscribed with title to reverse 73 x 49cm $4,000 - 6,000

Born in Devon, C N Worsley received his early art training in London. From 1888 he regularly exhibited at the Royal Society of British Artists and the Royal Academy. In 1897 Worsley settled in New Zealand, where he continued to travel around the country. He also frequently travelled to Europe where he died in Brescia, Italy in 1923.

Provenance Private collection, Auckland (50 years) Sale, Cordy’s, Auckland 22 August 2017 Private collection, Australia

He liked to depict ordinary people engaged in everyday tasks but also, in New Zealand, he undertook painting excursions which resulted in works which were grandiose in scale. Lots 45 & 46 represent his love of the townscape and the people involved.

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47 Margaret Stoddart (1865-1934) Gathering Bluebells, Hagley Park watercolour signed ‘M. O. Stoddart’ (lower left) 30 x 41.5cm $5,000 - 8,000 Provenance Sale, International Art Centre, Auckland, 9 November 2000 (lot 50) The Rex Wooffindin Estate, Hawkes Bay

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48 Maud Sherwood (1880-1956) In Volendam, Netherlands goauche on paper signed ‘M. W. SHERWOOD’ (lower left) 26 x 34cm $2,000 - 4,000 Provenance Collection of Jan McAllum on loan to The Robert McDougall Art Gallery, Christchurch 1984 Sale, International Art Centre, Auckland, 28 August 2010 (lot 39) The Rex Wooffindin Estate, Hawkes Bay

49 John Weeks (1888-1965) The Green Trader Loading Barrels, Nice c1927 pastel and graphite on paper signed ‘JOHN WEEKS’ (lower left) 48 x 58cm $3,000 - 5,000 Provenance Ex Artist’s Estate with Tinakori Gallery, Wellington Private collection, Wellington

Exhibited Nelson, Suter Art Gallery, Collector’s Exhibition 1981

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50 Tom Esplin (1915-2005) Galata Mosque, Istanbul oil on board signed ‘Esplin’ (lower left); inscribed with title to original label affixed to reverse 28 x 43cm $5,000 - 8,000 Provenance The Rex Wooffindin Estate, Hawkes Bay

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51 Tom Esplin (1915-2005) European Townscape oil on board signed ‘Esplin’ (lower left) 22.5 x 36cm $2,500 - 4,000 Provenance Private collection, Auckland

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52 Peter McIntyre (1910-95) Lindis Pass, Central Otago oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 71 x 98cm $25,000 - 35,000 Provenance with John Leech Gallery, Auckland (original gallery label affixed to reverse) Private collection, Marlborough

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53 Trevor Moffitt (1936-2006) MacKenzie Mustering Sheep oil on board signed and dated ‘Moffitt 66’ (lower right); inscribed no 8 to reverse 82 x 82cm $16,000 - 24,000 Provenance The James & Helen McNeish Estate, Wellington

54 Trevor Moffitt (1936-2006) “Are you tired or something?” oil on board signed and dated ‘75 (upper right) 60 x 60cm $6,000 - 10,000 Provenance The James & Helen McNeish Estate, Wellington

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In 1964 while doing research for his 'Gold Miner' series, Trevor Moffitt became immersed in the story of New Zealand folk hero and drover James Mackenzie. The Southern folk legend, stole 1000 sheep to help Scottish settlers, who having spent what little money they had on land, found it impossible to acquire stock. When the English settlers in Canterbury refused to sell, Mackenzie took matters into his own hands.

Legend has it that in late February 1855 a young shepherd working on The Levels Station, South Canterbury was sent out to look for horses. When he returned he said that he had been unable to find the horses but had seen a man camped in the upper Waitaki Valley. Nearby were a pack bullock, and a dog that appeared to be minding a large flock of grazing sheep.

The man turned out to be James Mackenzie. The station owners advertised a £100 reward for Mackenzie's apprehension. Mackenzie was eventually captured and imprisoned in Lyttleton Gaol. Here he made three unsuccessful attempts to escape, further adding to his

cult status. After he was released, he was placed on a boat to South America and to this day there is no reliable physical description of this remarkable character. It is therefore apt that Don Peebles once commented on Moffitt’s depiction ‘it doesn’t matter what Mackenzie actually looked like, this is what he is going to look like from now on’.

Such is true, given Sir James McNeish, owner of the current work, selected an image from this series to grace the cover of his historical novel, MacKenzie [1970].

The series is a tribute to the underdog and the outsider in colonial New Zealand.

It is considered among Moffitt’s best, and is remarkably small consisting of 13 oils, along with a selection of linocut print (see lots 258-260 also from The McNeish Collection). Due to this scarcity, they seldom are presented to the market, with only two other works being offered at auction in the last decade.

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55 Gary Waldrom (b 1954) Red Plateau V [You Are Here] oil on canvas signed, inscribed with title and dated 1995-6 to reverse stretcher 107 x 183cm $5,000 - 8,000 Provenance purchased directly from the artist Private collection, Wellington

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56 Robyn Kahukiwa (b 1938) Environmental Product gouache on paper signed and dated ‘Robyn Kahukiwa ‘75 (lower right); inscribed with title to reverse 53 x 74cm $6,000 - 10,000

When Robyn Kahukiwa painted Environment Product, she was a young mother, teaching art at Mana College in Porirua...Committed to social commentary and the reality of urban life of Maori communities, Kahukiwa’s painting throughout the 1970s, provided an immediate and powerful response to significant changes in the country’s social structure. The post-war era in New Zealand witnessed the migration of Maori to the city: ‘at the end of the war, three quarters of the Maori population still lived in the country... By the mid-1970s, three quarters of Maori population was urban, over a fifth living in Auckland.’

In Environmental Product, Kahukiwa’s perceptions of young Maori, distanced from the marae and their culture, anticipates the agenda of her work in the

1980s and 1990s, and her advocacy of Maori matauranga (knowledge) and the empowerment of Maori identity. In its social, cultural and political intentions, Environmental Product reveals the foundations and influences that shaped these later works. ‘Kahukiwa’s paintings [in the 1970s] seethe with a sense of displacement. The Maori she focussed on - factory workers, gang members, young mothers with young children wrestle with their marginal status...

Gaugin’s guiding hand is evident, but so is that of Nga Tamatoa, local Black Power.’ Environmental Product typifies her work from this period. It remains a confronting image and rare in its choice of subject at a time when international abstraction and an emerging postmodern irony was a predominant influence in New Zealand art.

Dr. Warren Feeney (abbreviated)

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57 Ian Scott (1945-2013) Aotearoa “The Promised Land” acrylic on canvas signed, inscribed with title and dated 1990 to reverse 69 x 89cm $4,000 - 7,000 Provenance Private collection, Hawkes Bay

58 Buck Nin (1942-96) Untitled [1971] acrylic and mixed media on board signed and dated ‘NIN 71’ (lower right) 86 x 42cm $2,000 - 4,000 Provenance Private collection, Bay of Plenty

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59 Pat Hanly (1932-2004) Love Plate T enamel on board signed and dated ‘Hanly 73’, inscribed with title, initials and dated 1973 to the reverse 44 x 44cm $5,000 - 8,000 Provenance The collection of Russell & Jean Haley.

Russell Haley is the author of the Pat Hanly biography Hanly: A New Zealand Artist Purchased by Russell and Jean from RKS Art Gallery in 1975 Private collection, Wellington

60 Pat Hanly (1932-2004) Bride and Groom again graphite on paper signed, inscribed with title and dated ‘Hanly 93’ (lower right) 47.5 x 74cm $4,000 - 7,000 Provenance with Portfolio Gallery, Auckland Private collection, Wellington

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61 Jeffrey Harris (b 1949) A Downpouring of Light oil on canvas signed & inscribed with title to reverse 30 x 40cm $2,000 - 4,000

62 Michael Smither (b 1939) Sunset, Taranaki Horizon polyvinyl acetate watercolour on paper signed with initials and dated ‘74 (lower right) 88 x 56cm $3,000 - 6,000

Provenance with Tinakori Gallery, Wellington, ‘Jeffrey Harris, The Portrait, The Double Portrait and Figure: 1970-1998’ Feb-March 1999 Private collection, Wellington

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Provenance Private collection, Kapiti Coast This work is accompanied by a letter of provenance from Michael Smither, 2009

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63 Douglas MacDiarmid (b 1922) Portugal II oil on canvas board signed and dated ‘MacDiarmid ‘65’ (lower left) 49 x 99cm $3,000 - 6,000 Provenance Private collection, Auckland

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64 Colin V Wheeler (1919-2012) Sligo Street, Cromwell oil on canvas board signed and dated ‘COLIN V. WHEELER 1960’ (lower right); bearing original artist’s label to reverse 48 x 57cm $4,000 - 7,000 Provenance Collection of Les Mc Cullough, a contemporary of Colin Wheeler’s. Les worked as an artist for the NZ Tourism and Publicity Department.

Private collection, Wairarapa

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Part Two - Day Sale New Zealand & International Fine Art

Thursday 15 November 2018 12 noon start Lot 200 - 372

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Art Works from The Rex Wooffindin Estate Hawkes Bay Lot 200 - 239

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The Rex Wooffindin Estate, Hawkes Bay

200 Peter Beadle (b 1933) Mount Cook & the Hooker Glacier oil on board signed (lower right) 49 x 74cm $1,250 - 2,500

201 Douglas Badcock (1922-2009) Old Four Wheeler, Kawarau Gorge, Central Otago oil on board signed & dated ‘60 (lower right) 39 x 49cm $1,000 - 2,000

202 Douglas Badcock (1922-2009) Frosty Morning, Speargrass Flat, near Arrowtown oil on board signed & dated ‘84 (lower right) 29.5 x 39.5cm $750 - 1,250

203 Douglas Badcock (1922-2009) Eglington Valley from The Bluffs oil on board signed & dated ‘64 (lower right) 39 x 49cm $1,000 - 2,000

204 Owen R Lee (1918-2003) Oat Stacks, Afternoon oil on board signed (lower right) 38 x 50cm $600 - 1,000

205 Peter Mardon (b 1937) Governor’s Bay [1975] oil on board signed (lower left) 55 x 75cm $400 - 800

206 Gaston De Vel (1924-2010) Franklin Mounts, Eglington Valley oil on canvas signed & dated ‘72 (lower right) 40 x 50cm $600 - 1,000

207 Gaston De Vel (1924-2010) Pont Neuf, Paris oil on canvas signed & dated ‘88 (lower left) 36.5 x 45cm $600 --1,000

208 Gaston De Vel (1924-2010) Baux Les Castellet, Provence oil on canvas signed & dated ‘00 (lower right) 37 x 35cm $600 - 1,000

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The Rex Wooffindin Estate, Hawkes Bay

209 George Charles Haité (British 1855-1924) The Hanging Gardens, Nice oil on board 15 x 23.5cm $750 - 1,250

210 George Charles Haité (British 1855-1924) The Gypsies Camp watercolour signed & inscribed with title to original label on reverse 30 x 51cm $1,000 - 2,000

211 Robert F Procter (1879-1931) Portrait of Young Woman with Basket, Florence oil on canvas signed (lower left) 82.5 x 70.5cm $1,500 - 3,000

212 Robert F Procter (1879-1931) Ships at Anchor oil on canvas signed & dated 1909 (lower left) 28 x 48cm $1,500 - 3,000

213 Robert Field Procter (1879-1931) Homeward Bound oil on board signed (lower left) 25 x 17cm $400 - 700

214 Margaret Hartley (fl. 1890-1920) Lady Reading Under Blossom Tree oil on canvas signed & dated 1911 (lower right) 55 x 75cm $1,000 - 2,000

215 Robert H Johnson (Australian 1890-1964) North Coast Beach oil on board signed (lower left); original label with ref no 2620 to reverse 29.5 x 37cm $1,000 - 2,000

216 Arthur L Crawford (Australian) Australian Outback oil on canvas signed & dated ‘98 (lower left) 29.5 x 54cm $500 - 800

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The Rex Wooffindin Estate, Hawkes Bay

217 Guy Huze (1912-97) Catching a Wave, Tahiti gouache on paper signed (lower left) 42 x 66cm $500 - 800

218 Guy Huze (1912-97) Outrigger Vessels, Bali gouache on paper signed (lower right) 48 x 62cm $500 - 800

219 Guy Huze (1912-97) Bora Bora gouache on paper signed & inscribed with title (lower right) 24 x 62cm $500 - 800

220 Guy Huze (1912-97) Tahiti gouache on paper signed (lower left) 32 x 51cm $400 - 700

221 Guy Huze (1912-97) Island Festival gouache on paper signed (lower right) 29 x 35cm $400 - 700

222 Albin Martin (1813-88) The Rainbow oil on card signed (lower left) 11.5 x 15cm $1,500 - 2,500

223 Maude Burge (1865-1957) Tunisian Market watercolour certificate of authenticity ex Burge Estate 32 x 39 cm $500 - 800

224 Attributed Maud Sherwood (1880-1956) Tunisian Market Scene watercolour & ink on paper 34.5 x 24 cm $750 - 1,250

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225 Douglas Badcock (1922-2009) Venice oil on board signed & dated ‘68 (lower right) 34 x 44.5cm $800 - 1,600

226 Gaston De Vel (1924-2010) Zocalo, La Cathedral, Mexico oil on canvas signed & dated ‘74 (lower right) 40 x 50cm $500 - 800

227 Gaston De Vel (1924-2010) Chapel in Antigua, Guatemala oil on canvas signed & dated ‘91 (lower left) 37 x 45cm $500 - 800

228 Jean-Gabriel Domergue (French 1889-1962) Une dame Elegante oil on panel signed (lower left) 22 x 16.5cm $1,500 - 2,500

229 Jane Evans (1946-2012) Portrait of Artist’s Friend watercolour on paper signed & dated 1973 (lower right) 56 x 36cm $2,000 - 4,000

230 Piera McArthur (b 1929) Bastille Day pastel on paper signed & dated ‘86 (lower right) 63 x 48cm $1,000 - 2,000

231 Barbara Blakemore-Fowler (1921-2004) Riverland Series acrylic on paper signed & dated 1993 (lower left) 38.5 x 56cm $400 - 700

232 Barbara Blakemore-Fowler (1921-2004) Down the Rivers of The Windfall Light, Tiraumea River watercolour & ink on paper signed (lower right) 48 x 33cm $400 - 700

233 Barbara Blakemore-Fowler (1921-2004) Beyond the Gardens oil on board signed (lower left) 40 x 49.5cm $400 - 700

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The Rex Wooffindin Estate, Hawkes Bay

234 John Bevan Ford (1930-2005) Awakairangi 8 acrylic on board signed & inscribed with title to reverse 79.5 x 121.5cm $1,750 - 3,000

235 Garth Tapper (1927-99) Lorraine, the Fish Girl oil on canvas signed & dated ‘99 (lower right) 87 x 70 cm $1,000 - 2,000

236 Peter O’Hagan (1942-2013) A Short Drive to Hotel Du Lac, Lac Leman watercolour on paper signed (lower left) 49 x 59cm $600 - 1,000

237 Eric Lee Johnson (1908-93) 44 Princess Street, Onehunga; 8 Ireland Road, Panmure indian ink on paper both signed & dated ‘54 (lower right) 17 x 28cm each (2) $600 - 1,000

238 Grahame Sydney (b 1948) Table Study lithograph, ltd ed 21/50 signed (lower right) & dated August 1998 (lower left) 46 x 55cm $1,250 - 2,500

239 Grahame Sydney (b 1948) Sleeper lithograph, ltd ed 45/75 signed (lower right) & dated 1992 (lower left) 50 x 60cm $1,250 - 2,500

Private Vendors Continued 240 Grahame Sydney (b 1948) Joe 90’s Bed, Bendigo II graphite on paper signed & dated 4.3.82 (lower right) 38.5 x 56cm $1,750 - 3,000

241 Grahame Sydney (b 1948) Shearer’s Quarters Mt Pisa graphite on paper signed & dated ‘79 (lower right) 46 x 64.3cm $1,750 - 3,000

242 Jan Nigro (1920-2012) The Keeper [1969] graphite on paper 63 x 42cm Lit: Jan Nigro, Apple for the Teacher, p.105. (illus) $600 - 1,000

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243 Dick Frizzell (b 1943) Domestriad silkscreen print, ltd ed 25/30 signed & dated ‘77 (lower right) 45 x 46cm $1,000 - 2,000

244 Dick Frizzell (b 1943) The Prophet’s Gift screenprint, ltd ed 33/150 signed & dated ‘99 (lower right) 41.5 x 50cm $750 - 1,250

245 Robyn Kahukiwa (b 1940) Hongi lithograph, ltd ed 7/13 signed & dated ‘97 (lower right) 76 x 95cm $600 - 1,000

246 Nigel Brown (b 1949) Summer Garden handcoloured woodcut, ltd ed 11/40 signed & dated ‘93 (lower centre) 82 x 62cm $1,000 - 2,000

247 Nigel Brown (b 1949) Waitemata Wakas woodcut, green edition 1/15 signed & dated ‘92 (lower centre) 40 x 67cm $800 - 1,400

248 Allen Maddox (1948-2000) 3 & More lithograph, ltd ed 2/12 signed with intials & dated ‘83 (lower right) 38 x 30cm $500 - 800

249 John Drawbridge (1930-2005) The Music Lesson - (Vermeer) drypoint etching, AP (ed of 100) signed & dated 1983 (lower right) 29 x 18.5cm $600 - 1,000

250 Tanya Ashken (b 1939) Silver Seabird Shadows VI & VII embossed print, ltd ed 1/50 signed & dated 1990 (lower right) 76 x 58cm $400 - 700

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251 Rudolf Boelee (b 1940) Crown Lynn New Zealand No. 2. lithograph, limited edition 6/15 signed and dated ‘08 (lower right) 38 x 57 cm $300 - 600

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

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

254 John Pule (b 1962) Restless Spirit lithograph, ltd ed 7/20 signed and dated 2000 (lower right) 76 x 56cm $1,500 - 2,500

255 John Pule (b 1962) Migration lithograph, ltd ed 7/22 signed & dated ‘95 (lower right) 68 x 57cm $1,250 - 2,250

256 Bill Hammond (b 1947) Bone Eagle B lithograph, limited edition 16/25 signed and dated 2007’ (lower right); inscribed with title (lower left) 14 x 19.5cm $1,750 - 2,500

257 Richard Killeen (b 1946) Red dragons of NZ lithograph, ltd ed 12/24 signed & dated 1998 (lower right) 76 x 56cm $1,250 - 2,250

258 Trevor Moffitt (1936-2006) Mackenzie The Explorer woodblock, AP no 6. signed (lower right) 19 x 24cm Prov: James & Helen McNeish Estate $800 - 1,600

259 Trevor Moffitt (1936-2006) MacKenzie Asleep woodblock, AP signed (lower right) 17.5 x 23cm Prov: James & Helen McNeish Estate $800 - 1,600

260 Trevor Moffitt (1936-2006) MacKenzie Wounded woodblock, AP no 6. signed (lower right) 30 x 21.5cm Prov: James & Helen McNeish Estate $800 - 1,600

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261 Frank Gross (1908-63) Pastoral Landscape, South Island oil on board certificate of authenticity to reverse 44 x 49cm $500 - 1,000

262 Frank Gross (1908-63) Treescape oil on board certificate of authenticity to reverse 43 x 51cm $500 - 1,000

263 Frank Gross (1908-63) South Island Landscape with Poplars watercolour signed (lower right) 44 x 60cm $500 - 1,000

264 Frank Gross (1908-63) The Old Shop, end of Avon Memorial Lodge watercolour & charcoal on paper signed (lower right) 46 x 58cm $500 - 1,000

265 Frank Gross (1908-63) Castle Rock oil on board signed & dated ‘61 (lower right) 65 x 90cm $500 - 800

266 Frank Gross (1908-63) Family of Man oil & mixed media on board signed and dated ‘62 (lower left) 81 x 61cm $400 - 700

267 John Holmwood (1910-87) Taormina Church and Esplanade oil on board signed & dated ‘70 (upper left) 60 x 74.5cm $2,000 - 3,000

268 Geoffrey H Heath (b 1939) Marlborough Sounds oil on board signed & dated ‘69 (lower right) 70 x 96cm $400 - 800

269 Zoe Ireland (1912-57) Turokina oil on board signed (lower right) 45 x 57cm $300 - 600

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270 Louise Henderson (1902-94) Tropical Auckland watercolour on paper signed (lower left) 63 x 46cm $1,500 - 3,000

271 Gretchen Albrecht (b 1943) Figural Study watercolour signed (lower right) 53 x 36cm $750 - 1,250

272 Gretchen Albrecht (b 1943) Figural Study watercolour signed & dated ‘69 (lower right) 53 x 36cm $750 - 1,250

273 Mountford Tosswill (Toss) Woollaston (1910-98) Erua indian ink on paper letter of authenticity from Barry Lett Galleries 36 x 26.5cm Illus: M T Woollaston, Erua (1966) $1,000 - 2,000

274 A Lois White (1903-84) Seated Female Nude pastel & pencil on paper signed (lower right) 48 x 40.5cm Prov: Ex Estate of A. Lois White $1,000 - 2,000

275 Janet E Paul (1919-2004) The Garden gouache on paper signed (lower left) 61 x 42cm $500 - 800

276 Janet E Paul (1919-2004) Farm Landscape with Grazing Cow watercolour signed & dated ‘77 (lower right) 44 x 59cm $500 - 800

277 E Mervyn Taylor (1906-64) Spring, Near Taihape watercolour signed and inscribed with title to reverse 25 x 35cm $1,000 - 2,000

278 Gwen Knight (1888-1974) Golden Willow oil on board signed (lower left) 49 x 59cm $600 - 1,000

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279 Tim Wilson (b 1954) Alps Peering Through Southern Rata oil on linen signed & dated ‘86 (lower right) 59 x 90cm $1,750 - 3,000

280 W G Baker (1864-1929) Mangaroa Valley, Upper Hutt oil on canvas signed & inscribed with title (lower left) 57 x 87cm $1,500 - 2,500

281 W G Baker (1864-1929) Titahi Bay with Boat Shed watercolour heightened with white signed (lower right) 23 x 42cm $600 - 1,000

282 W G Baker (1864-1929) Titahi Bay watercolour heightened with white signed (lower right) 15 x 25cm $400 - 700

283 Owen Merton (1887-1931) St Ives, Cornwall watercolour signed with personal inscription & dated 1900 (lower left); 16 x 11cm Prov: The Hursthouse Collection, Wgtn $1,000 - 2,000

284 Petrus Van der Velden (1837-1913) Dutch Fishing Vessels graphite on paper signed with initials (lower left) 11.5 x 19.5cm $750 - 1,250

285 Petrus Van der Velden (1837-1913) Repose conte on paper 21 x 21cm Prov: by descent from Richmond/ Atkinson Family with letter of provenance $750 - 1,250

286 John Buckland Wright (1897-1954) Seated Female Nude indian ink on paper 13 x 9cm Prov: by descent from son of the artist $500 - 800

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287 William Matthew Hodgkins (1833-98) Waiouru Bush, Lower Taieri watercolour signed with initials (lower right); inscribed with title and signed on original label to reverse 25 x 23.5cm $1,500 - 2,500

288 James Crowe Richmond (1822-98) Extensive Nelson Rural Landscape watercolour initialed & dated 3rd April 1888 (lower right) 18.5 x 36cm Prov: The Hursthouse Estate, York Bay $1,250 - 2,500

289 James Crowe Richmond (1822-98) Glen Rosa, Isle of Arran, Scotland watercolour signed & dated Aug 1855 (lower right) 16 x 23.5cm together with another watercolour of Buller River attributed to the same hand (2) $400 - 700

290 Dorothy Kate Richmond (1861-1935) York Bay, Wellington watercolour signed & dated 1927 (lower right) 24.5 x 34.5cm $2,000 - 4,000

291 Esmond Atkinson (1888-1941) Baring Head - Afternoon, Wellington watercolour on paper signed with initials & dated ‘59 (lower left); original label affixed to reverse 47 x 64cm Prov: The Hursthouse Collection, York Bay $500 - 800

292 Christopher Aubrey (1830-1902) Diamond Lake watercolour signed & dated 1885 (lower right) 45.5 x 65.5cm $1,000 - 2,000

293 Charles H Howorth (1856-1945) Mt Cook & Tasman from the Liebig Range watercolour signed (lower right) 51 x 73cm $800 - 1,200

294 Blythe Fletcher (1890-1949) Fisherman, Sumner Estuary, Christchurch gouache signed (lower right) 41 x 60cm $300 - 600

295 William Menzies Gibb (1859-1931) Estuary at Sumner oil on canvas signed (lower left) 34 x 52cm $750 - 1,250

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296 Scott MacFarlane (b 1966) Portrait of a Friend oil & gesso on canvas signed with initials & dated ‘95 (lower left) 28 x 38cm $1,500 - 2,500

297 Patrick Pound (b 1962) Anatomy; Flora both mixed media collage on paper each signed & dated 2.91 (lower) 27 x 20cm each (2) $400 - 700

298 Michael Smither (b 1939) Poplars gouache on paper signed & dated ‘69 (lower right) 41 x 36cm Prov: James & Helen McNeish Estate $2,000 - 4,000

299 Julia Morison (b 1952) Amalgame 82 from Chapel of Hotel Dieu de Trous, France mixed media folding screen signed & dated ‘93 to reverse 31 x 54cm, overall $1,500 - 2,500

300 Julia Morison (b 1952) Whoopee at 80 Degrees acrylic, oil & varnish on board signed & dated 2001 to reverse 44 x 22cm $1,500 - 2,500

301 Julia Morison (b 1952) End to Begin Series, no. 65. oil on waxed canvas laid down on board signed & dated ‘94 to reverse 29 x 26cm together with End to Begin Series, no. 52, 10 x 10cm (2) $600 - 1,000

302 John S Parker (1944-2017) Poem 67; For the Siera Leone Dancers mixed media on paper signed & dated ‘86 (centre left) 224 x 134cm $1,000 - 2,000

303 Claudia Pond Eyley (b 1946) Waterlilies acrylic on canvas 164 x 94cm $600 - 1,000

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304 Michel Tuffery (b 1966) Tupaia’s Chart, Cook and Banks - Tupaia and Parkinson’s Paintbox [2004] diptych, acrylic on canvas both panels signed (lower) 28 x 71cm, overall $2,000 - 4,000

305 Star Gossage (b 1972) Falsehood puts on a mask. Nothing is hidden under the sun [Quote from Notebook of Leonardo Da Vinci] diptych, oil on canvas both panels signed and dated August 2008 to reverse 33 x 33cm per panel; 33 x 66cm overall $1,750 - 3,000

306 Claudia Pond Eyley (b 1964) Young Women Shield oil on canvas signed & dated 1983-4 (lower right) 88 x 73cm $750 - 1,250

307 Fatu Feu’u (b 1946) Untitled [1993] monoprint, three panels signed & dated ‘93 (lower right) 75 x 170cm $600 - 1,000

308 John Bevan Ford (1930-2005) Pukeko felt tip and coloured pencil on handmade paper signed (lower right) 80 x 58cm $1,750 - 3,000

309 Saffron Te Ratana (b 1975) T.K.T.K. oil on board, diptych signed & dated ‘01 to reverse 22 x 30cm $1,000 - 2,000

310 Kura Te Waru Rewiri (b 1950) Spaces within Spaces acrylic on board signed to reverse 89 x 119cm $1,000 - 2,000

311 Denys Watkins (b 1945) Before Science [1986] oil & pastel on paper 99 x 70cm $700 - 1,000

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312 Gordon Crook (1921–2011) Leo [2006] acrylic on adjoining canvas 92 x 92cm Prov: Mary Newton Gallery, Wellington $2,000 - 3,000

313 Gordon Crook (1921–2011) Iron Bird of Mars [2006] acrylic on adjoining canvas signed with initials & dated ‘06 to reverse 92 x 67cm Prov: Mary Newton Gallery, Wellington $2,000 - 3,000

314 Gordon Crook (1921-2011) Untitled tapestry mounted on recycled paper dated ‘77 (lower right) 88 x 50cm $750 - 1,250

315 Gavin Chilcott (b 1950) Ceramics, Cloud & Lake acrylic on paper signed & dated 1996 (lower right) 54.5 x 76cm $1,000 - 2,000

316 Tom Mutch (b 1951) Face the Music triptych, oil on board signed & dated 1985 to reverse of right hand panel 90 x 180cm overall $1,250 - 2,000

317 Piera McArthur (b 1929) Small Violinist I acrylic on canvas signed & dated ‘98 (lower right) 35.5 x 30cm $1,000 - 2,000

318 Eion Stevens (b 1952) Ballast oil on board signed & dated 12/94 to reverse 82 x 54cm $2,000 - 3,000

319 Eion Stevens (b 1952) Coastal Interior oil on board signed with initials (lower right) 109 x 77cm $1,250 - 2,000

320 Megan Campbell Night Time Tennis oil on canvas signed & dated ‘99 (lower right) 140 x 110cm $500 - 800

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321 Michael Smither (b 1939) Rocks, Tractor and Mountain screenprint, ltd ed 77/80 signed with initials & dated 2012 (lower right) 49 x 62.5cm $1,250 - 2,250

322 Michael Smither (b 1939) Coral Head with Fish screenprint, ltd ed 42/50 signed with initials & dated ‘13 (lower right) 40 x 46cm $1,000 - 2,000

323 Michael Smither (b 1939) The Blue Flipper screenprint, ltd ed 30/50 signed with initials & dated ‘13 (lower right) 68 x 50cm $1,200 - 1,800

324 Michael Smither (b 1939) Sarah with Baked Beans screenprint, ltd ed 74/80 signed with initials & dated ‘07 (lower right) 54 x 41cm $1,000 - 2,000

325 Michael Smither (b 1939) Egmont screenprint, no 90/449 signed with initials & dated ‘81 (lower right) 16 x 16cm $500 - 800

326 Michael Smither (b 1939) Back Beach screenprint, 1/28/75 - 124 signed with initials (lower right) 28 x 37.5cm $500 - 800

327 Denys Watkins (b 1945) Animal Crackers lithograph, ltd ed 13/21 signed (lower right) 52 x 56cm $300 - 600

328 Michel Tuffery (b 1966) Tafola Tasi - Aleipata lithograph, ltd ed 1/20 signed & dated ‘90 (lower right) 28.5 x 43cm $350 - 700

329 Marilynn Webb (b 1937) Rangitoto Special hand coloured etching, ltd ed 4/10 signed & dated ‘78 (lower right) 52 x 33cm $350 - 700

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330 E Mervyn Taylor (1906-64) Tipa releasing Mata [War Canoe 1947] wood engraving, ed 16 signed (lower right) 18 x 12.3cm (plate) $1,200 - 1800

331 E Mervyn Taylor (1906-64) Horse on Marae wood engraving, ed 6 signed (lower right) 8 x 12.3cm (plate) $1,000 - 1,600

332 E Mervyn Taylor (1906-64) Bird of Prey wood engraving, ed 12 signed (lower right) 18.3 x 12.5cm (plate) $1,000 - 1,600

333 Stanley Palmer (b 1936) Steep Hills, Goat Island bamboo engraving, ltd ed 43/60 signed & dated 1972 (lower right) 47 x 47cm $400 - 800

334 Stanley Palmer (b 1936) Late afternoon - Reotahi bamboo engraving, ltd ed 34/50 signed & dated 1989 (lower right) 42 x 62cm $400 - 700

335 Dennis Knight Turner (1924-2011) Maori Iconography watercolour on paper signed & dated 25.9.92 (lower right) 56 x 37cm $750 - 1,250

336 Dennis Knight Turner (1924-2011) Tortoise [1953] indian ink wash & watercolour on paper signed (lower right) 21 x 29cm $400 - 700

337 Dennis Knight Turner (1924-2011) Ram with Magpies indian ink on paper signed & dated Oct 1955 (lower left/ right) 23 x 35cm $400 - 700

338 Dennis Knight Turner (1924-2011) Mail Box watercolour &indian ink on paper signed & dated Oct 1955 (lower left) 23 x 35cm EXHIB: Here There Here, Sarjeant Gallery no. 24. $600 - 1,000

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339 T A McCormack (1883-1973) Riverbed & Willows watercolour signed (lower left) 37 x 55.5cm $750 - 1,250

340 T A McCormack (1883-1973) Parnassus watercolour signed (lower right) 37 x 55.5cm $750 - 1,250

341 Nugent Welch (1881-1970) The Wellington South Coast near Red Rocks with Orongorongo Ranges watercolour signed (lower right) 34 x 64 cm $1,000 - 2,000

342 Nugent Welch (1881-1970) The Anchorage, Island Bay, Wellington watercolour signed (lower left); inscribed with title to reverse 16.5 x 24cm $750 - 1,250

343 Nugent Welch (1881-1970) Shipping, Wellington Harbour watercolour signed (lower left) 16.5 x 24cm $500 - 800

344 Nugent Welch (1881-1970) Silverstream, Upper Hutt watercolour signed (lower left) 22 x 28cm $400 - 800

345 Marcus King (1891-1984) Te Aro Flat from the Hills oil on canvas board signed (lower right) 23 x 25cm $1,250 - 2.500

346 Marcus King (1891-1984) Afternoon Sky, Wellington oil on board signed (lower right) 29 x 38cm $800 -1,600

347 Frederick Price (fl. 1930-40s) Wellington Harbour from the Hills oil on canvas board signed 28.5 x 33.5 cm $300 - 600

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348 Cecil F Kelly (1879-1954) Near Ohau oil on board signed (lower right) 52 x 63cm $1,250 - 2,500

349 Cedric Savage (1901-69) Tarakohe Hills oil signed (lower right) 32 x 42cm $600 - 1,000

350 Cedric Savage (1901-69) Orford Farm, NSW oil on canvas board signed (lower left) 39 x 49cm $600 - 1,000

351 Robert Johnson (Australian 1890-1964) On the Farm oil on board signed (lower left) 44 x 54cm $800 - 1,600

352 Charles Arthur Wheeler (Australian 1881-1977) Landscape, 1909 oil on board signed (lower left) 19 x 24cm $800 - 1,600

353 Leonard Long (Australian 1911-2013) Rugged Coastline, South Westland oil on canvas board signed & dated ‘74 (lower right) 40 x 50cm $400 - 700

354 Claude Muncaster (1903-?)

Whakapapa River No 2, 1967 oil on board signed (lower right) 59.5 x 84.5cm $750 - 1,250

355 Maurice Middleditch Wainui Bay, Akaroa Harbour oil on board signed (lower right) 63 x 95cm $500 - 800

356 Michael Blow (b 1943) Evening Glow, Queenstown watercolour signed (lower right) 24 x 35cm $300 - 600

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357 Peter Beadle (b 1933) Yachts & Downtown Wellington oil on board signed (lower left) 60 x 90cm $1,000 - 2,000

358 Douglas Badcock (1929-2009) Humboldt Range, Glenorchy [1976] oil on board signed (lower left) 44.5 x 60cm $1,000 - 2,000

361 Brian Dahlberg (b 1944) Kapiti Coast oil on board signed (lower left) 64 x 99cm $600 - 1,000

360 Mark Cross (b 1955) Communique, King Country Section oil on board signed ‘M. R. Cross’ (lower right); inscribed with title & dated Oct ‘90 to reverse 22 x 86cm $2,000 - 3,500

362 Robert McDowell (b 1937) Akaroa Afternoon II oil on canvas signed & dated ‘88 to reverse 71 x 107cm $800 - 1,600

359 Peter Beadle (b 1933) Fiordland Coast [1981] oil on canvas signed (lower right) 39 x 49cm $1,000 - 2,000

363 Robert McDowell (b 1937) Taupo oil on canvas signed (lower right) 89 x 120cm $800 - 1,400

364 Michael Browne (b 1930) Dark Hill oil on board signed & dated ‘93 (lower right) 19 x 29cm $300- 600

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365 R B Watson (1911-80) Place du Tertre, Monmartre oil on canvas board signed (lower right) 30 x 39cm $600 - 1,000

366 R B Watson (1911-80) Flower Market (Madeleine) Paris oil on canvas board signed (lower right) 30 x 39cm $600 - 1,000

367 Helen Stewart (1900-83) Portrait of Woman in Blue oil on board signed (upper left) 64 x 49cm $1,500 - 3,000

368 Phillip J Waddington Harata Rewiri Tarapata [After C F Goldie] oil on canvas signed (upper left) 46 x 36cm $2,000 - 3,000

369 Ken Hunt Portrait of the Artist, After Sir Peter Paul Rubens oil on canvas 75 x 95cm $1,000 - 2,000

370 Garth Tapper (1927-99) Sketch of a Young Girl oil on board signed ‘Garth Tapper’ (lower right) 30 x 24cm Prov: purchased John Leech Gallery, Auckland, One Man Festival Exhibition, April 1970 (label affixed to reverse) $1,500 - 3,000

371 Georges Goursat (French 1863–1934) Belgian Soldiers ink & graphite on paper signed with initials ‘SEM’ (lower right) 32.5 x 22.5cm $600 - 1,000

372 Samuel Horatio Moreton (c1845-1921) Moreton’s Desktop watercolour & pastel on paper signed (lower centre) 51 x 83cm $600 - 1,000

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Part Three Studio Ceramics & Applied Art

Thursday 15 November 2018 4pm start Lot 400 - 485

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400 Barry Brickell candlestick, impressed mark, 21cm height $100 - 200

401 Barry Brickell wrythen moulded vase, impressed mark, 21.5cm height $150 - 300

402 Barry Brickell ovoid melon moulded vase, impressed mark, 24.5cm height $200 - 300

403 Barry Brickell water jug, impressed mark, 21cm height $150 - 250

404 Barry Brickell Fatso pouring bowl, impressed mark, 29cm dia $300 - 500

405 Barry Brickell two free form bowls, impressed marks, 13.5cm, 12cm dia $150 - 250

406 Barry Brickell fatso pouring bowl, impressed mark, 20cm dia $200 - 400

407 Barry Brickell two shallow & two deep bowls, impressed marks (2), 22cm, 18cm, 17cm dia $200 - 400

408 Bruce Martin lug handled vase, impressed marks, 19cm height $150 - 250

409 Estelle Martin lug handled long stem vase, impressed marks, 24.5cm height $150 - 250

410 Harry Davis, Crewenna Potteries ribbed bowl together with four ramekins, impressed marks, 26.5cm dia; 9.5cm dia $100 - 200

411 Harry Davis, Crewenna Potteries ale jug together with shallow bowl, impressed marks, 22.5cm height, 27cm dia (rim chip to bowl) $100 - 200

412 Helen Mason ribbed cylindrical vase, 21cm height $75 - 125

413 Helen Mason covered storage jar together with small casserole, impressed marks (minor rim chip and base hairline crack) $100 - 200

414 Mirek Smisek coffee pot, impressed mark, 21cm height (chip to spout) together with unidentified table bowl, 34cm dia (chip to foot) $75 - 150

415 Mirek Smisek slab sidded specimen vase, impressed mark, 18.5cm height $150 - 250

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416 Mirek Smisek deep bowl, impressed mark, 23.5cm dia together with two Len Castle small jars with cork lids $200 - 400

417 Mirek Smisek shaped & footed table bowl, unmarked, 30cm dia $150 - 300

418 Arie van Dyke large table bowl, 43.5cm dia $100 - 200

419 Keith Blight slab sided vase, impressed mark, 30.5cm height together with another faulted/repaired example (2) $100 - 200

420 Juliet Peter spherical vase, impressed mark, 34cm height $400 - 800

421 Doreen Blumhardt slab sided vase, impressed mark, 29cm height $200 - 400

422 Doreen Blumhardt platter/wall plaque, impressed mark with paper label, 34 x 35.5cm $200 - 400

423 Doreen Blumhardt slab platter, impressed mark with paper label, 35.5 x 36cm $200 - 400

424 Doreen Blumhardt footed slab platter, impressed mark, 25 x 26cm $150 - 300

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425 Doreen Blumhardt pair half height candlesticks with drip trays, impressed marks, 13cm height together with Juliet Peter woodpecker (all faults) $100 - 200

426 Graeme Storm ribbed ovoid vase c.1974, impressed mark with paper label, 34cm height $200 - 400

427 Graeme Storm teapot together with similar milk jug, impressed marks $100 - 200

428 Graeme Storm ovoid vase, impressed marks, 19cm height $100 - 200

429 Graeme Storm floor vase, impressed mark, 32cm height $100 - 200

430 Frank Carpay, Crown Lynn underglaze blue hand painted plate, tiki & handwerk painted marks, 23.5cm dia $300 - 600

431 Frank Carpay, Crown Lynn bowl with hand painted bird motif, tiki & handwerk painted marks, H.11-2, 24.5cm dia (stained crazing) $200 - 400

432 Mirek Smisek, Crown Lynn Bohemia Ware vase, incised mark to base, 13.5cm height (rim chipping to base) $400 - 700

433 Olive Jones spherical vase, incised mark, 12cm height $75 - 150

434 Crown Lynn, Titian Studio Hawaiian Tiki mug, impressed no 1110, 12cm height $100 - 200

435 Remued Pottery, Australia free form handled vase, incised mark, 14cm height together with another vase, 15cm height $100 - 200

436 Emily Bryce Carter, Australian small dish together with various Australian pottery animal figures including Koala pepper & salt (6) $75 - 150

437 Len Castle earthbook, impressed mark, 19cm height Prov: purchased directly from the artist $600 - 1,000

438 Len Castle book form, impressed mark, 19cm height $600 - 1,000

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439 Len Castle shallow dish with Theo Schoon style impressions, impressed mark, 43cm length $500 - 800

440 Len Castle shallow bowl, impressed mark, 27.5cm dia $300 - 600

441 Len Castle bowl, impressed mark, 35.5cm dia (chip to reverse rim) $150 - 300

442 Len Castle shallow rectangular platter, impressed mark, 39cm length $500 - 800

443 Len Castle hanging form, impressed mark, 31cm height (minor chipping to neck) $300 - 600

444 Len Castle celadon glaze specimen vase, impressed mark, 21cm height $400 - 600

445 Len Castle slab sided blossom vase in speckled dark grey glaze, impressed mark, 55cm height $7,000 - 12,000 Provenance Sale, Dunbar Sloane Ltd, 30 November 2000 (lot 802)

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446 Mirek Smisek massive salt glaze charger, impressed mark, 57cm dia.

Prov: purchased directly from the potter early 2000 $1,200 - 2,000

447 Lawrence Ewing large floor urn and cover c1975, rope lug handles, impressed mark, 60cm height $300 - 600

448 Roy Cowan large baluster floor vase, converted to lamp base, 74cm height $1,000 - 2,000

449 Llew Summers slip cast terracotta sculpture ‘Family Union’, impressed mark, 47cm (faults) $600 - 1,000

450 Doris Dutch platter with city relief, impressed mark & original paper label, 36.5cm length $125 - 250

451 James Greig two graduated ‘Sentinel’ vases, impressed marks, 39.5cm, 22cm heights (largest vase with base chip) $500 - 700

452 James Greig unfolding form bowl, impressed mark, 37cm length (repaired chip to rim) $300 - 600 453 James Greig projection series vase c1983, glazed with iron stain, 33.5cm height $1,500 - 2,500

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454 James Greig Transformation, from Transformation Series c1984/5 magnesia and ash glaze impressed mark to base 111cm height, 51cm width, 33cm depth $12,000 - 16,000

455 James Greig Projection Series Floor Vase c1982, feldspar and iron stain glaze, impressed mark 69cm height, 66cm width, 553cm depth Exhibited: Lower Hutt, The Dowse Art Museum, James Greig Defying Gravity, 2017 $8,000 - 12,000

From early in his career Greig created vessels based on land and plant forms, water and the human body. He cultivated an understanding of the physical qualities of clay by moulding and building sculptural forms. Exploring the dynamic nature of the medium, he melded slabs together to create almost impossible structures. Expressing his values through clay, he brought life and movement to inert objects.

Born in 1936, Greig began studying architecture in the late 1950s. He came across the work of potter Len Castle one afternoon when passing by a shop front.

Awestruck by how these works reminded him of water rushing around the Devonport ferry, Greig sought Castle out in order to learn from him. After periods working in Northland and the Manawatū, Greig and his family settled in the Wairarapa.

Greig commented in his personal notes that lot 455 was an important later work in the Projection series which signalled the development towards his final monumental Transformation series, stating ‘this series may seem to be moving from pottery (ceramics) to sculpture pure and simple’.

James Greig Defying Gravity catalogue

As an established potter, Greig took several opportunities to research, work and show in Japan, developing a particularly strong connection with the work of Kawai Kanjirō. By the 1980s he had become a well-known figure in the international ceramics world, and a New Zealand cultural ambassador in Japan.

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456 John Parker white slipped glaze ribbed ovoid vase, impressed mark, 32cm height $300 - 600

457 John Parker elongated flared rim specimen vase, impressed mark, 28cm height $150 - 250

458 John Parker bronze bowl, impressed mark, 21cm dia $150 - 300

459 Richard Parker winged vase, paper label, 13.5cm height $300 - 500

460 Richard Parker small lidded casserole together with four coasters Prov: the potter was the vendor’s tutor $150 - 300

461 Ann Verdcourt ‘Falling Icarus’ figure, 26cm length $350 - 650

462 John Roy dog, impressed & painted marks, 14cm height $150 - 300

463 Liyen Chong two bowls with applied ceramic decals, Untitled #96 & 14, NZ 2010, 27.5cm, 15cm dia. $200 - 400

464 Gavin Chilcott hand painted ashet, signed & dated 1994 to base, 49cm length $800 - 1,200

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465

466

467

468

469

470

465 Scott McFarlane four ceramic tiles: Darks and Lights and Mids and Whites #100a; Black Circle #513; Erua #97; Shadow #134A, all with painted initials to reverse, of sizes $400 - 700

466 Scott McFarlane three ceramic tiles: To Provoke is to Evoke #26A; Untitled #372 & #196, all with painted initials to reverse, of sizes $400 - 700

467 Scott McFarlane four ceramic tiles: Native Woman Portrait #288; Untitled #192, #195 & #505, all with painted initials to reverse, of sizes $400 - 700

468 Scott McFarlane three ceramic tiles: Spanish Dancer #264, Untitled #305, #119, all with painted initials to reverse, of sizes $400 - 700

469 Scott McFarlane three ceramic tiles: Untitled #208, #202, #343 all with painted initials to reverse, of sizes $400 - 700

470 Scott McFarlane three ceramic tiles: Shoe of the Week #30a, Untitled #120, #35, all with painted initials to reverse, of sizes $400 - 700

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471 Garry Nash large handblown vase, mottled on red ground, etched signature & dated 2000 to base, 48cm height Prov: purchased directly from the artist early 2000s $2,000- 3,000

472 Garry Nash flotsam opalino free blown glass frosted cobalt blue plate/bowl, etched signature & dated ‘94, 48cm dia. $500 - 800

473 Garry Nash opalino amethyst gold leaf vase, etched signature & dated ‘06, 24cm height $150 - 300

474 Peter Raos Amber Lily Vase, etched signature & dated 2006, 18cm height Purchased Peter Raos Gallery 2009 for $8,500 $1,000 - 2,000

475 Hoglund Glass encased stoppered bottle, etched mark, 17cm height $150 - 300

476 Jo Nuttall cast glass blue vessel, impressed marks, 50cm length (rim chip) $300 - 600

477 John Edgar Light Stone, greywacke & glass, 10cm length $250 - 450

478 John Edgar Light Stone, greywacke & glass, 10cm length $250 - 450

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479 Jenny Pattrick silver and paua shell head piece $1,000 - 2,000

480 Steph Lusted silver and rubber spike necklace $300 - 600

481 Jean Burgers silver, paua, wood & bone jewellery suite consisting of necklace, brooch & pendant earrings displayed on hand carved Oamaru stone Note: this is one of the jeweller’s earliest pieces $300 - 600

482 Ted Noten seven graduating moulded plastic ‘Miss Piggy Ring’ from Photospace Gallery 2012 exhibition ‘Wanna Swap Your Ring?’ $500 - 800

483 Kap Potham ‘Quietest’ hikurangi marble sculpture, paper label to base, 21cm height Prov: with Molesworth Gallery $300 - 600

484 Kap Potham ‘Seeker’ carrara marble sculpture, paper label to base, 17cm height Prov: with Molesworth Gallery $300 - 600

485 Jeff Thomson letterbox mounted with speed camera, mixed media, 67 x 47 x 20cm $500 - 800

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Alphabetical Index

PART ONE A Albrecht, Gretchen 1 Angus, Rita 38 B Binney, Don 25 C Cook, Ebenezer Wake 41 Cousins, James 14, 15 Cummings, Vera 43 D Day, Melvin 31 Drawbridge, John 21 E Ellis, Robert 17 Esplin, Tom 50, 51 F Field, Isabel Jane 28 G Gully, John 42 H Hammond, Bill 4 Hanly, Pat 59, 60 Harris, Jeffrey 61 Henderson, Louise 16 Hodgkins, Frances 26, 27 Hotere, Ralph 10, 11 K Kahukiwa, Robyn 56 Killeen, Richard 2 L Lusk, Doris 34, 37 M MacDiarmid, Douglas 63 McCahon, Colin 23, 24 McCormack, Thomas Arthur 29 McIntyre, Peter 52 Moffitt, Trevor 53, 54 Morris, Simon 13 Mortimer, Roger 9

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N Nigro, Jan 19 Nin, Buck 58 P Pule, John 12 S Scott, Ian 57 Sherwood, Maud 48 Smither, Michael 62 Stewart, Helen 32, 33 Stoddart, Margaret 47 Stringer, Terry 8 T Thompson, Sydney Lough 39, 40 Thomson, Elizabeth 7 Tole, Charles 20 Turner, Dennis Knight 18 W Waldrom, Gary 55 Walsh, Alfred 44 Walters, Gordon 3 Weeks, John 30, 49 Wheeler, Colin V 64 White, Robin 5, 6 Wong, Brent 22 Woollaston, Toss 35, 36 Worsley, Charles N 45, 46

PART TWO A Albrecht, Gretchen 271, 272 Ashken, Tanya 250 Atkinson, Esmond 291 Aubrey, Christopher 292 B Badcock, Douglas 201 – 203, 225, 358 Baker, W G 280 - 282 Beadle, Peter 200, 357, 359 Blakemore-Fowler, Barbara 231 – 233 Blow, Michael 356 Boelee, Rudolf 251 Brown, Nigel 246, 247 Browne, Michael 364 Burge, Mauge 223

C Campbell, Megan 320 Chilcott, Gavin 315 Crawford, Arthur L 216 Crook, Gordon 312 – 314 Cross, Mark 360 D Dahlberg, Brian 361 de Vel, Gaston 206 – 208, 226, 227 Domerque, Jean-Gabriel 228 Drawbridge, John 249 E Evans, Jane 229 Eyley, Claudia Pond 303, 306 F Feu’u, Fatu 307 Fletcher, Blythe 294 Ford, John Bevan 234, 308 Frizzell, Dick 243, 244 G Gibb, William Menzies 295 Gossage, Star 305 Goursat, Georges 371 Gross, Frank 261 - 266 H Haite, George 209 – 210 Hammond, Bill 256 Hartley, Margaret 214 Heath, Geoffrey H 268 Henderson, Louise 270 Hodgkins, William Matthew 287 Holmwood, John 267 Howorth, Charles H 293 Hunt, Ken 370 Huze, Guy 217 – 221 I Ireland, Zoe 269 J Johnson, Eric Lee 237 Johnson, Robert 351 K Kahukiwa, Robyn 245 Kelly, Cecil F 348 Killeen, Richard 257 King, Marcus 345, 346 Knight, Gwen 278

L Lee, Owen R 204 Long, Leonard 353 Mc MacFarlane, Scott 296 McArthur, Piera 230, 317 McCormack, T A 339, 340 McDowell, Robert 362, 363 M Maddox, Allen 248 Mardon, Peter 205 Martin, Albin 222 Merton, Owen 283 Middleditch, Maurice 355 Moffitt, Trevor 258 – 260 Moreton, Samuel H 372 Morison, Julia 299 - 301 Muncaster, Claude 354 Mutch, Tom 316 N Nigro, Jan 242 O O’Hagan, Peter 236 P Palmer, Stanley 333, 334 Parker, John S 302 Paul, Janet 275, 276 Pound, Patrick 297 Price, Frederick 347 Procter, Robert F 211 - 213 Pule, John 252 - 255 R Rewiri, Kura Te Waru 310 Richmond, D K 290 Richmond, James Crowe 288, 289 S Savage, Cedric 349, 350 Sherwood, Maud 224 Smither, Michael 298, 321 - 326 Stevens, Eion 318, 319 Stewart, Helen 367 Sydney, Grahame 238 - 241

T Tapper, Garth 235, 368 Taylor, E Mervyn 277, 330, 331 - 332 Te Ratana, Saffron 309 Tuffery, Michel 304, 328 Turner, Dennis Knight 335 - 338 V Van der Velden, Petrus 284, 285 W Waddington, Phillip John 369 Watkins, Denys 311, 327 Watson, R B 365, 366 Webb, Marilynn 329 Welch, Nugent 341 – 344 Wheeler, Charles Arthur 352 Wilson, Tim 279 Wright, John Buckland 286 White, A Lois 274 Woollaston, Toss 274

PART THREE B Blight, Keith 419 Blumhardt, Doreen 421 - 425 Brickell, Barry 400 – 407 Burgers, Jean 481 C Carpay, Frank 430, 431 Castle, Len 437 - 445 Carter, Emily Bryce 436 Chilcott, Gavin 464 Chong, Liyen 463 Cowan, Roy 448 Crown Lynn 430, 431, 434 D Davis, Harry 410, 411 Dutch, Doris 450

H Hoglund Glass 475 J Jones, Olive 433 L Lusted, Steph 480 M McFarlane, Scott 465 – 470 Martin, Bruce 408 Martin, Estelle 409 Mason, Helen 412, 413 N Nash, Garry 471 – 473 Norton, Ted 482 Nuttall, Jo 476 P Parker, John 456 - 458 Parker, Richard 459, 460 Pattrick, Jenny 479 Peter, Juliet 420, 425 Potham, Kap 483, 484 R Raos, Peter 474 Remued Pottery 435 Roy, John 462 S Smisek, Mirek 414 – 417, 432, 446 Storm, Graeme 427 - 429 Summers, Llew 449 T Thomson, Jeff 485 V Van Dyke, Arie 418 Verdcourt, Ann 461

E Edgar, John 477, 478 Ewing, Lawrence 447 G Greig, James 451 - 455

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Recent Art Highlights

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Illustrated: 1 Gordon Walters Untitled [Koru] work on paper - $95,600 2 Ann Robinson Ice Bowl - achieved $28,700 3 John Drawbridge Two Circles 1969 - $38,300 (NZ Auction Record) 4 Dorrit Foster Black Wings colour linocut - $53,800 5 Ralph Hotere Untitled [1973-4] - $131,500 6 James Greig Sculptural Form - $4,200 7 Don Binney Dotterel Rising, Te Henga - $496,100 8 Rita Angus, A Woman Sketching AD 1965 - $430,400 9 Gottried Lindauer Chief Renata Kawepo • $227,100 10 C F Goldie Ena Te Papatahi • $364,600 11 C F Goldie Tamehana [1900] - $322,800 12 Toss Woollaston Tasman Bay from Takaka Hill - $59,800 13 Grahame Sydney Silverton - $113,600 14 Colin McCahon Titarangi - $141,100 15 Robert Bereny Lady Reading - $155,400 16 Robin White Florence with Harbour Cone ltd ed print - $17,900 17 Evelyn Page Portrait of Dr Diana Mason - $62,100 Note: Figures rounded to the nearest hundred and include buyers premium + GST

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Conditions of Sale

1.

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

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

3.

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

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

4.

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

The Buyer may be required to pay down forthwith the whole or any part of the Purchase Money, and if he/she fails to do so,the Lot may at the Auctioneers absolute discretion be put up again and resold. he Buyer shall pay to Dunbar Sloane T Ltd a premium of 17% on the hammer price together with GST at the standard rate on the premium, and agrees that Dunbar Sloane, when acting as agent for the Seller, may also receive commission from the Seller.

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

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

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

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

6.

Not withstanding any other terms of these conditions, if within 7 days after the sale Dunbar Sloane Ltd have received from the Buyer of any Lot notice in writing that in his view the Lot is deliberate forgery and within 9 days after such notification, the Buyer returns the same to Dunbar Sloane Ltd in the same condition as at the time of sale and satisfies Dunbar Sloane Ltd had considered in the light of the entry in the Catalogue the Lot is a deliberate forgery then the sale of the Lot will be rescinded and the purchase price of the same refunded.

7.

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

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

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

ENTRIES CURRENTLY INVITED

NZ & International Fine Arts March 2019 Enquiries Helena Walker +64 4 472 1367 art@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 dunbar.akl@xtra.co.nz

FINAL ENTRIES INVITED

Affordable Art January 2019

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

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

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

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

This sale is subject to the conditions of business printed in this catalogue and to the reserves.

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

Pre-Sale Estimates The estimated prices printed below the catalogue descriptions are in New Zealand dollars and are the approximate prices expected to be realised, excluding buyers premium.

They are not definitive, they are prepared well in advance of the sale and they are subject to revision.

Condition reports Dunbar Sloane Ltd will provide a verbal condition report if you would like an opinion on any particular lot prior to purchasing. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

The auction R E GISTRATION 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.

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

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

However, this can vary.

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

Telephone Bidding If you are unable to attend the auction, you can elect to bid by telephone (subject to availability). Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to a minimum lot estimate of $1,000 or greater. Please note that the auctioneer determines the increments in bidding, not the telephone bidder. We accept no responsibility if for whatever reason we are unable to contact you and as such recommend leaving a covering bid.

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

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

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

Collection of Purchases Property purchased can be collected as soon as full payment has been received.

Any items not collected within seven days of the auction may be subject to a storage and fee. Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care.

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

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

Packaging and Transportation We advise buyers to arrange transport and insurance with their preferred provider/s. We accept no responsibility for loss or damage in transit. For smaller items able to be couriered, Dunbar Sloane Ltd can pack and courier for a fee.

This is to be paid before the goods leave our premises. We pack with care, however we take no responsibility for damage once your goods leave our premises. It is up to the buyer to arrange insurance to cover any damage or loss in transit.

ENTRIES CURRENTLY INVITED

Antique & Decorative Arts March 2019

Enquiries Anthony Gallagher +64 4 472 1367 antique@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 dunbar.akl@xtra.co.nz

ENTRIES CURRENTLY INVITED

Fine & Estate Jewellery January & March 2019

Enquiries Bettina Frith +64 4 472 1367 info@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 dunbar.akl@xtra.co.nz

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ENTRIES CLOSED

Toy & Dolls 5 December 2018

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

ENTRIES CURRENTLY INVITED

Antiquarian Books Early 2019

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

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Absentee Bidding Form

7 Maginnity Street, Wellington PO Box 224, Wellington 6140, New Zealand P+64 4 472 1367 F+64 475 7389 Einfo@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)

Overseas bidders must complete this section Please also 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 may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. Please provide your credit card details. Alternative methods of payment can be arranged if successful, however we still require this information. NOTE Individual bids registered by overseas bidders must be over $500 in individual value.

Cardholder Name Card Number Expiry Date

VISA

AMEX

Mastercard (Please tick one)

Cardholder Signature

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. Alternative bids can be placed by using the word 'OR' between Lot Numbers. Buyers are reminded that there is a 17% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

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