Modern & Contemporary Art
Including sculpture & photography
25 May 2016 Consign Today
Richard Thomson Luke Davies
Ph: +64 9 379 4010 Ph: +64 9 379 4010
richard@artcntr.co.nz luke@artcntr.co.nz
Mobile: 027 4751 071 Toll Free 0800 800 322
Paratene Matchitt
Murara Ana Te Ao
Screenprint, 35 x 50cm
below left: Jeff Thompson Spiral sculpture
Corrugated steel 33 x 52cm
below right: Virginia King Link
Bronze sculpture, edition of 10
1 PETER
1935 - 2011 Bell Tower
Oil on board 40 x 61
Signed & dated 1972
ESTIMATE
$4,000 - 6,000 3
b. 1949 Jump Cats Oil on canvas 50 x 40 Signed, inscribed & dated 2000
$7,000 - 10,000 2 NIGEL
$5,000 - 7,000
b. 1957
Untitled
Acrylic on aluminium 90 x 80.5 Signed & dated 2002 verso
ESTIMATE
SIDDELL
JUDY MILLAR
BROWN
Signed
ESTIMATE
$8,000 - 12,000
Signed & inscribed verso
ESTIMATE
$4,000 - 6,000
4 PETER SIDDELL
1935 - 2011
Black Glass
Oil on board 74 x 57
5 JOANNA BRAITHWAITE b. 1962
Buoy Oil on canvas 137 x 122
1927 - 1999
Prof’s Wife, 1965
Oil on board 28 x 23
Signed
ESTIMATE
$2,500 - 3,500
PROVENANCE
Private Collection, Wellington
b. 1964
Hokowhitu
Oil on linen 101.7 x 101.7
Signed & inscribed verso
ESTIMATE
$11,000 - 13,000
7 KARL MAUGHAN
6 GARTH TAPPER
8 ANN ROBINSON
b. 1944
Spiral Vase
Cast lead crystal vase 63 x 16
Signed & dated 2001
ESTIMATE
$12,000 - 16,000
PROVENANCE
Private Collection, Auckland
Purchased 2001 by current owner
9 KUSHANA BUSH
b. 1983
Bedroom Scene 4 Lurking Tensions 2 :
A Shared Lie is A Lie Halved
Acrylic, chalk, gouache, pencil on board 59 x 59
Signed, inscribed & dated 2005 verso
ESTIMATE
$4,500 - 6,500
PROVENANCE
Private Collection, Dunedin
10 ANS WESTRA
b. 1936
Fern
Archival inkjet print 90 x 90
Signed & inscribed verso
ESTIMATE
$3,000 - 5,000
11 LAYLA WALTER
b. 1975
Keulemans’ Tui
Cast glass, unique, 38 x 20
Signed on base
ESTIMATE
$6,000 - 8,000
PROVENANCE
Private Collection, Auckland
Purchased 2001 by current owner
b. 1940
Te Tui Me Te Wahine
Oil & alkyd resin on canvas 101 x 152
Signed
ESTIMATE
$5,000 - 7,000
PROVENANCE
Warwick Henderosn Gallery label affxedverso
b. 1929
The Artist Listens to the Recital Oil on canvas 137 x 176
Signed & dated 1997
ESTIMATE
$5,000 - 7,000
ESTIMATE
Purchased directly from the artist, 1997
12 ROBYN KAHUKIWA
13 PIERA MCARTHUR
14 DARCY NICHOLAS
b. 1945
Rongoueroa
Oil on canvas 188 x 67
Signed, dated 1985
ESTIMATE
$5,000 - 10,000
15 TOM MUTCH
b. 1951
Trust, 1996
Oil on board 110 x 88
Signed
ESTIMATE
$3,000 - 5,000
Trust
As children we trust
We trust in life
Love is passed from parent to child, child to parent
TOM MUTCH
16 JOHN WEEKS
1886 - 1965
Canal Scene - Light & Shade Study
Oil on timber panel 26 x 36
Weeks O’Connor Stamp verso
$2,500 - 3,500
1886 - 1965
Temple Ruins
Oil on card 25 x 35
Weeks O’Connor Stamp vero
ESTIMATE
$2,500 - 3,500
1886 - 1965
Weeks O’Connor inscribed in pen verso
ESTIMATE
$2,000 - 3,000
17 JOHN WEEKS
18 JOHN WEEKS
Hillside Monastery Oil on board 25 x 35
19
b. 1951
All Things Equal
Oil on canvas 152 x 122
Signed & dated 2005
ESTIMATE
$4,000 - 6,000
SUPERBIRD sings his own song. A song of seeds and eggs trees grass and water. Stop listen. Are you not sick of your own jack hammer orchestra smashing the earth peace. Stop, listen to the universe. It’s a much sweeter sound
TOM MUTCH
b. 1972
Window
Oil on linen 40.5 x 40.5
Signed & dated 2006 verso
ESTIMATE
$3,000 - 5,000
TOM MUTCH
20 EMILY WOLFE
21 MICHAEL SMITHER
b.
1939
The Yellow Boat - Okahu Bay Oil on board 100 x 81
Signed & dated 1998
Inscribed verso
ESTIMATE
$22,000 - 28,000
PROVENANCE
Private Collection, Auckland Purchased from Upstairs Gallery, Whitianga, 1998
22 GARTH TAPPER
1927 - 1999
The Preacher Oil on board 55 x 58
Signed & dated 1979
ESTIMATE
$7,000 - 10,000
PROVENANCE
Purchased directly from the artist by current owner, 1980
23 TREVOR MOFFITT
1936 - 2006
Accredited
Human Condition Series II
Oil on board 60 x 60
Signed & dated 1995
Inscribed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Purchased from Warwick Henderson Gallery by current owner, 1995
24 RAYMOND CHING
b. 1939
The Fifth Fairy Watercolour 36 x 50
Signed, inscribed & dated 1969
ESTIMATE
$8,000 - 12,000
25 RALPH HOTERE 1931 - 2013
12-XII-87 Black Rainbow at Matauri Bay
Dye on silk size 90 x 90
Signed, inscribed & dated12-XII-87
ESTIMATE
$27,500 - 35,000
26 SYDNEY LOUGH THOMPSON 1877 - 1973
Market at Douarnenez Oil on board 31 x 40
Signed
Note: Another study of the same market verso. inscribed
Presented in original artist’s frame
ESTIMATE
$8,000 - 12,000
PROVENANCE
Purchased directly from the artist by George R Chance, photographer, Dunedin 1946. George R Chance Estate, Dunedin
27 PETER MCINTYRE 1910 - 1995
The Shotover - Central Otago Oil on board 73 x 87
Signed
ESTIMATE
$25,000 - 35,000
PROVENANCE
Estate of The Rt Hon Sir Owen Woodhouse ONZ, KBE, DSC
Purchased at One Man Exhibition, John Leech Gallery, Auckland 1964
Study of Douarnenez Market verso
28 WILLIAM ALEXANDER (BILL) SUTTON
1917 - 2000
Nearing the Lake Oil on board 90 x 120 Signed & dated 1966
ESTIMATE
$25,000 - 35,000
PROVENANCE
Collection of the late Courtney & Doreen Shearer, Christchurch
EXHIBITED
Paintings by W A Sutton Library at the School of Engineering, University of Canterbury, December 1968 - February 1969
Nearing the Lake is a fine example of Bill Sutton’s work. Executed prior to the artist’s formal forays into abstraction in the 1970s, this is a rare example of Sutton’s painting wherein the spirit of regional painting is married with a raw, abstracted treatment of the landscape.
Upon considering Nearing the Lake, the viewer is immediately confronted by the force and boldness of the delineated forms through which Sutton has composed a striking geometric synthesis of field, road and sky. There is a certain subtle beauty in what this minimalistic work implies: the amorphous fluidity of clouds breathe movement and wind onto the canvas’ atmosphere; the work’s titular promise of a lake seems to lie just beyond the horizon. All in all, this work is an elemental expression of the land, wherein perspective and reality have been flattened and reduced to attain a certain point of abstraction. In deliberately prioritising form and structure, Sutton has strengthened the force of his relationship with his local landscape, affording it an almost transcendental value.
It is important to note the significance of this painting within the context of Sutton’s oeuvre and stylistic development. Having been trained in a classical, academic style of painting and become respected as one of those artists spearheading regional landscape painting in New Zealand, Sutton’s works were traditionally representative of a certain conventionality of style. Nearing the Lake is unique in that it previews the artist’s shift to a more spiritual, abstracted relationship with the Cantabrian landscape, which he had come to view through fresh eyes following his return from London.
The Canterbury Society of Arts Gallery’s Group Show 66 (29 October – 13 November 1966) exhibited a number of significant works from members of the Christchurch Group including Rita Angus, Colin McCahon, Pat Hanly and Leo Bensemman. Towards the Lake was the second-highest valued work in this show. It was subsequently exhibited at the University of Canterbury as part of an exhibition of Sutton’s paintings, where it was acquired by the present owner.
29 SYDNEY LOUGH THOMPSON 1877 - 1973
Sail Boats, Concarneau Oil on canvas board 32 x 40
Signed
ESTIMATE
$5,000 - 8,000
30 SYDNEY LOUGH THOMPSON 1877 - 1973
Becalmed Oil on board 37 x 45
Signed
ESTIMATE
$5,000 - 8,000
31 WILLIAM ALEXANDER (BILL) SUTTON 1917 - 2000
The Bridge, Porter River Watercolour 48 x 64
Signed & dated 1945
Inscribed verso
ESTIMATE
$5,000 - 10,000
PROVENANCE
Canterbury Society of Arts
Private Collection, NSW
EXHIBITED
Sixty Fifth Annual Exhibition, cat no. 67
Canterbury Society of Arts
Facsimile copy affxedverso
33 PETER SIDDELL 1935 - 2011
White Villa Oil on board 30 x 46
SIgned & dated 1970
ESTIMATE
$2,000 - 4,000
34 DORIS LUSK 1916 - 1990
Under the Bridge, Clutha River, Central Otago Oil on linen 54 x 81
Signed & dated 1985
ESTIMATE
$6,000 - 10,000
32 HERBERT HARRY TORNQUIST 1897 - 1969
Farm on the Coromandel Oil on board 29.5 x 24.5
Signed
ESTIMATE
$800 - 1,200
PROVENANCE
Louise Beale Gallery, Wellington
Purchased from Centre of Contemporary Art Gallery (COCA), Christchurch, 13 September 2001
EXHIBITED
The Nelson Suter Art Society Spring Exhibition, Suter Art Gallery, Nelson, October 1985, Cat no.4
35 ROBIN WHITE
b. 1946
Red Barn Lincoln
Silkscreen print, edition of 40 46 x 31
Signed, inscribed & dated 1973
ESTIMATE
$2,000 - 3,000
36 PETER MCINTYRE
1910 - 1995
Whakapapa River
Watercolour and acrylic on paper 51.5 x 72
Signed Inscription verso reads The Distant Mountain is Ruapehu
ESTIMATE
$18,000 - 26,000
PROVENANCE
Garrick Tremain Collection, Queenstown Purchased from Anderson Park Gallery, Invercargill circa 1972. Peter McIntyre was guest speaker at an event and had two watercolours on show. Garrick Tremain purchased this present work.
The Whakapapa River originates at Whakapapa skifield on Mount Ruapehu, running down the western slopes of the mountain through Owhango before finally merging with the Whanganui River just east of Kakahi.
Peter McIntyre had a home at Kakahi overlooking the confluence of the Whanganui and Whakapapa rivers, and painted several landscapes of the Whakapapa River. Ironically after his death the Whakapapa River undermined the white pumice cliffs where his house was built and claimed the house as its own.
37 FATU FEU’U
b. 1946
KO’OĀ, Samoan Goddess, 2005-06
Acrylic and oil on macrocarpa wood with Samoan shell necklace attached to solid steel base 222 x 76
Signed & inscribed
ESTIMATE
$70,000 - 100,000
PROVENANCE
Collection of the artist
Fatu Akelei Feu’u, ONZM was born in Western Samoa. He arrived in New Zealand in 1966, at a time when the place and contribution of Pacific Islanders had yet to be comfortably established in the community. Fatu holds the honorary title of Father of Pacific Arts in New Zealand. In these early years he painted land and seascapes eventually embracing print making and creating large scale sculpture. Today his works encompass a wide range of media. Follow a solo exhibition in 1983 Fatu began referencing Polynesian influences and ‘fa’asmoa (traditional religious and cultural values) in his work. His art is about the spirit and soul of his people and is characterised by symbols of the Pacific - flowers, sea and in his carving, the adoption of traditional methods. Fatu has conducted workshops at Canterbury and Auckland Universities. His major works include the mural Tautai Matagofie in Auckland’s Aotea Centre and the Pathfinder mural in New York.
Feu’u’s work was included in two groundbreaking exhibitions of contemporary Pacific art: Te Moemoea no Iotefa, curated by Rangihiroa Panaho for the Sarjeant Art Gallery in 1990 and Bottled Ocean curated by Jim Viviaeare, which toured New Zealand in 1994 - 1995.
Feu’u was part of the major group exhibition Le Folauga: the past coming forward - Contemporary Pacific Art from Aotearoa, New Zealand at Auckland War Memorial Museum. Le Folauga later toured in Taiwan, the first exhibition of contemporary Pacific art from New Zealand to be shown in a major fine arts museum in Asia. Le Folauga opened at the Kaohsiung Museum of Fine Arts in Taiwan in December 2008 and ran until April 2009
KO’OĀ was commenced in 2005 taking nearly two years to complete. Carved from a single piece of macrocarpa, Fatu refers to this as his most important work. At over seven feet tall the female deity stands supreme.
According to Samoan mythologies KO’OĀ was a goddess of love and fertility and a sun worshiper. She was a descendant of the notable paramount family of the Sa Malieto of Sapapalii Savaii.
I carved out the internal organs to symbolise the destruction of Samoan culture by christianity and colonisation. They say the women were left with only the eyes to cry their tears.
But KO’OĀ will always rise up from the ashes like a phoenix to inspire all and give hope to her own people.
Since the arrrival of christianity the name KO’OĀ is today spelt with a T, thus TO’OĀ, and the aiga (family unit of Samoan society) still use this name on certain young women of substance.
FATU FEU’U
38 COLIN MCCAHON
1919 - 1987
Small Landscape, 1964
Oil on hardboard 54.4 x 42.5
Signed & dated May/June1964 verso
ESTIMATE
$40,000 - 60,000
PROVENANCE
Doug and Nane Green Collection, New Zealand until 1978
Gifted to ICI New Zealand Collection, ICI label affxedverso ICI Collection became Orica Collection, Australia Orica label affxied verso
Sotheby’s Australia, 26 August 2002, Lot 531
Deutscher~Menzies, Fine Australian & International Art, Sydney 13/03/2007
Savill Galleries, Sydney, NSW label affxedverso
REFERENCE
Colin McCahon online database cm001474
In Colin McCahon's 1964 Small Landscape, sublime rawness is borne by painterly abstraction. Though this may be a relatively modest-sized work, it immediately arrests the viewer's attention and compels a process of dynamic meditative dialogue and exchange. Herein, McCahon's mastery of the New Zealand landscape is beautifully exemplified. By virtue of the sheer force of his spiritual connection with the land, he has succeeded in articulating an impression of Northland. Speaking of his landscape paintings, McCahon described his intention as to “throw people into an involvement with the raw land, and also with raw paint ... like spitting on clay to open the blind man’s eyes”; these words certainly resonate when considering the present work.
Small Landscape comes from a deeply personal place for McCahon, and shows that he was capable of realising that which great American Abstract Expressionists such as Mark Rothko were striving for at this time, i.e. marrying something from within his deep subconscious to the land, through a selfaware process of psychic automatism. The internal struggle from which this sublime painting was created is perceptible in the work's three solid forms, which collectively offer something of an oxymoron: the clear delineation and forceful presence of the primal, pared-back landscape, which has been stripped of all extraneous detail to endure as a vibrant colour-field, seems on one-hand to be unshakeable in its permanence. At the same time, however,
the relationship between the land, sky and void is complicated, and there is a certain ambiguity in the attribution of an earthy pigment to the form which would otherwise been presumed to represent the sky. This compels the viewer to grapple with a shifting reality where tangible landforms and intangible abstractions collide. Further, almost instinctively, one becomes absorbed into the void piercing the centre of the canvas which, interrupting the flow of sky and land, draws comparison with Barnett Newman’s zip paintings. The importance of that void, the darkness, lies in what it does not represent; the associated idea of nothingness is one which instils the work with a creationist essentialism.
The 1960s represents a crucial period in New Zealand’s art historical development: the need for a modern visual identity and relevant artistic language was being keenly felt. Small Landscape is important in that it serves this end by communicating a language of universal creation, spirituality and transcendence in purely New Zealand terms. Where else are we able to encounter such unbridled grappling with the essence of our existence in a way that draws on our own familiar and precious landscape?
39 JOHN WEEKS 1886 - 1965
Red Shed Beneath Mountains - Atiamuri Oil on board 30 x 42
Signed
ESTIMATE
$4,000 - 6,000
40 JOHN WEEKS 1886 - 1965
Abstract Roof Tops Oil on board 26 x 32
ESTIMATE
$2,500 - 3,500
41 DON BINNEY
b. 1940 - 2012
Taumaiti 1 Oil on board 61 x 82
Signed & dated 1962
ESTIMATE
$25,000 - 35,000
PROVENANCE
Private Collection, USA. Purchased from Ikon Gallery, Auckland, 1963 by current owner
EXHIBITED
Don Binney - One Man Show, Ikon Gallery Auckland, October 15-27, 1963
42 COLIN MCCAHON
1919 - 1987
Waterfall
Oil on hardboard 21.2 x 21.4
Signed & dated 1964
ESTIMATE
$25,000 - 40,000
PROVENANCE
Ex Collection of Dr Ursula Hoff AO OBE, Melbourne. Australian scholar, academic, curator, writer, critic, and lecturer; Deputy Director of the National Gallery of Victoria, Melbourne (1968–1973); London Adviser of the Felton Bequest (1975–83); author of numerous books, catalogues, articles, reviews, and scholarly publications on art.
Sotheby’s, Australian & International Fine Art, Melbourne, 20/04/2010
Savill Galleries, NSW label affxedverso
EXHIBITED
Small Landscapes and Waterfalls
Eric Scholes Gallery, Rotorua, 1964
Small Landscapes and Waterfalls
Ikon Fine Arts, Auckland, 1964
REFERENCE
Colin McCahon online database cm001473
Light and timelessness. Face-to-face with Colin McCahon’s beautiful 1964
Waterfall painting, these two enduring qualities radiate and instil a sense of otherworldliness; one which contradicts the evasive and fleeting nature of water falling. There is a potency and ethereal gracefulness to this work which, when experienced firsthand, packs a powerful punch. Considering the work, the viewer’s eye is immediately drawn to the waterfall. Smooth and fluid brushstrokes guide its downwards trajectory, the form assumed resembling the primal ‘T’ of the Egyptian cross (this being a reoccurring visual device in a much of McCahon’s work) and subtle tonal variations illuminating the waterfall. Earthy, ochre tones give Waterfall a grittiness which challenges any idealised, traditionally picturesque qualities we may have otherwise been tempted to ascribe to, or expect from the depiction of a waterfall.
The significance of what Waterfall stands to represent in the wider scheme of McCahon’s artistic identity is twofold. Firstly, there is the close relationship and spiritual connection with New Zealand’s natural landscape - the Fairy Falls in the Waitakere Ranges inspired this painting and formed the basis
for McCahon’s pure process of artistic distillation in this instance. Secondly, the work’s abstracted formal qualities mark his connection to the global art movement, and unique take on the tradition of Abstract Expressionism. Following his trip to the United States in 1958, McCahon afforded a new and careful attention to the relationship between canvas, colour, and form, and ultimately came to re-evaluate the act of painting in and of itself. The impact of this approach is clearly perceivable in Waterfall: primal, elemental colours and forms have propelled the painted canvas into such a degree of abstraction that the originally conceived landscape is almost completely opaque, and the viewer is left in something of a spiritual no-man’s land.
McCahon’s Waterfall is a supreme exercise in abstraction, one which prompts us to re-examine our relationship with the land through transforming it into a work of Old Testament-style gravity and fortitude. These words of McCahon’s offer a poetic accompaniment by way of conclusion “Waterfalls fell and raged and became as still silent falls of light for a long time”.
43 DON BINNEY
b. 1940 - 2012
Tomtit, Cornwallis
Oil on canvas 42 x 30
Signed & dated MMVI
ESTIMATE
$50,000 - 75,000
PROVENANCE
Private Collection, Auckland
Don Binney is well known for his clean-edged modernist paintings of birds in the landscapes of New Zealand. In his search for subject, he is inspired by dramatic wilderness areas and environments, which he draws from to express both his passion for painting and his love of ornithology and nature. In an interview with Patricia Sarr and Tom Turner in 1977, Binney described his motivation for painting: I paint and draw because I’m thoroughly committed to and involved with environmental, natural stimuli - the landscape, the wild-life . . . you must approach the landscape or the bush with reverence.
44
1848 - 1926
Old
Oil on board 30.5 x 46
Signed Inscribed verso
ESTIMATE
$4,500 - 6,500
CHARLES BLOMFIELD
Maniaia, Whangarei Heads
LOT 45 CHARLES FREDERICK GOLDIE 1870 - 1947
THE FINAL PORTRAIT
A Noble Relic of a Noble Race
A Portrait of Te Wharekauri Tahuna, Ngati Manawa, 1941
ESTIMATE $800,000 - 1,200,000
45 CHARLES FREDERICK GOLDIE
1870 - 1947
A Noble Relic of a Noble Race
Wharekauri Tahuna Aged 102, Chieftain of the Arawa Tribe
Oil on canvas 48.7 x 43.6
Signed & dated 1941
Inscribed verso
To Olive from Charlie inscribed on stretcher verso
ESTIMATE
$800,000 - 1,200,000
PROVENANCE
Extended Goldie family collection 1941 - 2008
Private Collection, Auckland
ILLUSTRATED
p. 291 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Waiura Marlborough, 1977
Charles F Goldie’s first Maori portrait completed in 1892 of Kawhena was sold by International Art Centre in November 2013 for $732,800.
It is with great pleasure that we now offer the final painting by New Zealand’s most widely recognised artist.
In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today, and New Zealand has every reason to be proud of him
Governor General Lord Bledisloe
Reproduced with kind permission of Alister Taylor. C F Goldie: His Life & Painting and C F Goldie: Prints, Drawings & Criticism, Alister
1979
Taylor & Jan Glen,
Charles Goldie’s 1941 portrait of Wharekauri Tahuna is nothing short of an artistic tour de force. In executing this work, Goldie deployed the technical finesse which he had perfected over the course of an entire career to maximum effect, allowing him to powerfully express the likeness and mana of his sitter. Understood to be his final major work, this portrait heralds the closing of the final chapter in the artist’s magnificent oeuvre - an oeuvre very much at the heart of our national artistic history and identity.
The present work is a sensitive and reverent rendering of Wharekauri Tahuna, comprising careful yet spirited, visible brushstrokes. It has been composed with such precision as to avoid obfuscating the finer detail of the sitter’s visage, but is also expressive enough in its painted manner to enhance the effect of the work's ambient light interplay; illumination is derived from a strong singular light source coming from the left of the painting. This mastery of light and texture renders the portrait lifelike: from the resplendence of Wharekauri’s pounamu to the weave of his garment and tender realism of deep-etched lines in his 102-year old face.
Frontwards-facing and dominating the canvas, Wharekauri's strength and mana are asserted by the work's composition: instead of situating his subject neatly within the confines of the frame, Goldie has opted to create the effect that this is but a momentary framing, wherein some fleeting aspect of his subject has been captured. The enduring impression left on the viewer is of how impressive and majestic the aged Wharekauri, whose literal and metaphorical largesse extends well beyond the confines of the frame, is.
The strong visual impact of this cropped perspective is further enhanced by the ‘Goldie’ frame in which it is presented, a design originated by Goldie’s father.
Having been completed just a few years before the artist’s death in 1947, the portrait epitomises all the formal qualities characteristic of the later period of Goldie’s artistic production. This mature period in his work had been preceded by more than a decade of inactivity, during which time he moved to Sydney, was married and remained there for two years. Goldie’s eventual resumption of painting in the early 1930s (by which time he had returned to New Zealand) saw a radical shift in his expressive technique - the crisp luminosity and inclination to academic formalism which had defined his earlier works was replaced by a much freer treatment of the painted surface.
By 1941, when the present portrait was produced, Goldie’s increasingly experimental forays into a more dynamic use of oil paint had led him to fully master the subtleties of a new and eloquent visual language. This instilled his works with a deeper sense of gravitas and atmosphere, as can be encountered in this portrait of Wharekauri.
Wharekauri Tahuna was a tohunga, or priest, from Galatea and of Ngāi Tūhoe. Thought to have been the last man in the Ureweras to bear full-face moko, he was one of Goldie's favoured subjects and features in a number of notable works completed by the artist throughout his career. In 1933, Goldie completed a portrait of Wharekauri, now a prized painting in the collection of Te Papa Tongarewa. An earlier portrait had been completed in 1910, as well as a splendid 1914 work now residing in the collection of Auckland War Memorial Museum. These ultimately speak to the value which Goldie invested in his relationships with sitters: in undertaking these portraits, he was engaging in much more than a perfunctory transaction or process of ethnographic documentation, by actually becoming heavily invested in longstanding relationships. Considering this 1941 portrait of Wharekauri, therefore, the viewer is compelled to appreciate not only the culmination of a lifetime of artistic production, but also to sense the intimacy of a journey spanning decades between Wharekauri and Goldie.
A brief meditation on the painting’s titular description of Wharekauri as A Noble Relic of a Noble Race is fitting by way of conclusion. Whilst aspects of Goldie’s enduring nostalgic attitude towards Maori are undeniably problematic, in this instance there exists a poetic and spiritual undercurrent: one which speaks of Goldie's struggle with his own physical decline, and echoes the fading passage of time. In this way, the final act of painting Wharekauri was an exercise in self-awareness and closure for Goldie, as he returned to paint one of his best-loved subjects towards the end of both Wharekauri's and his own life (a fact he would have been forced to deal with given his own poor health, a likely consequence of lead poisoning). With this in mind, the presentation of this exceptional portrait to the market is, to say the least, a rare and exciting occurrence.
46 JOHN BARR CLARKE HOYTE
1835 - 1913
Pink Terrace, Rotomahana
Watercolour 40 x 70
Signed & inscribed
ESTIMATE
$25,000 - 35,000
PROVENANCE
Benjamin Giles Collection, Sydney until 1987
By descent Jennifer Cahill, Sydney Private Collection, Sydney
Prior to the Tarawera eruption in the early hours of June 10, 1886, the Pink and White Terraces on the shores of Lake Rotomahana near Rotorua, were considered the eighth wonder of the natural world. They were formed over thousands of years from the geothermally-heated, silica-laden water of two large geysers which once cooled, crystallised into giant staircases and waterfalls. Visiting missionaries and European traders were stunned by the beauty of the Terraces and word soon spread attracting growing numbers of visitors. These magnificent natural structures became New Zealand’s earliest and most famous tourist attraction.
The Pink Terraces/ Otukapuarangi in Maori, translates to fountain of the clouded sky whilst the White Terraces/Te Tarata means the tattooed rock. The White Terraces were the larger formation, covering 3 hectares and descending 30 metres. The Pink Terraces were where people went to bathe on the lower levels as the temperature of the water was lukewarm. When Mount Tarawera erupted, Lake Rotomahana was buried, and the Terraces were thought to be lost forever. Paintings such as this, along with early black and white photographs, are visual reminders of a natural creation shrouded in mystery and illusion which lives on in our collective psyche.
J.C. Hoyte was born in England (probably London) on December 22, 1835, the son of Samuel Hoyte, a landowner. In 1860 he and his wife Rose, left England aboard the Egmont bound for Auckland. On arrival, Hoyte is thought to have worked as a customs clerk before embarking on a career as an art tutor, watercolourist and importer of artists’ supplies. He taught drawing and other subjects at the Church of England Grammar School between 1862 and the 1870s, and also at Wesley College in Queen Street and Auckland Grammar School. As his career as a painter developed he travelled extensively through New Zealand and began to play a prominent role in the Auckland art world. In 1869 Hoyte was one of the founders of the Auckland Society of Artists. He was also active in church affairs, serving for a time as vestryman at St Mary’s Church, Parnell. He was a member of the volunteer militia and lived in Scarborough Terrace, Parnell. In addition to his role in the art societies of Auckland and Dunedin in 1880 he was co-founder of the Art Society of New South Wales and a member of the Victorian Academy of Art.
This pristine watercolour is an excellent example of a work by J C Hoyte . An inscription and title to the lower right (rarely seen in a work by this artist) further enhances the offering.
Signed & dated 1908
ESTIMATE
$8,000 - 12,000
47 GEORGE EDMUND PRUDEN 1872 - 1957
Mitre Peak Milford Sound with Pheasant Shooter and Dogs
Oil on canvas 91 x 178
1957
Signed & dated 1908
ESTIMATE
$8,000 - 12,000
48 GEORGE EDMUND PRUDEN 1872 -
Bush Fire in the King Country Oil on canvas 91 x 178
49 EVELYN PAGE
1899 - 1988
Old Law Courts Wellington
Oil on canvas 49 x 60
Signed
ESTIMATE
$25,000 - 35,000
PROVENANCE
Estate of Evelyn Page
Evelyn Page was commissioned to undertake this painting of the Wellington Law Courts in 1970 – the very same year that her place in the New Zealand art historical canon was cemented with an important retrospective at Wellington’s National Art Gallery. That the commission for this work occurred at such a watershed moment in the artist’s career can be viewed as something of a metaphor: Page’s work was by this point widely celebrated and acknowledged for its modern vivacity and destabilisation of the mundane, tired ways of depicting New Zealand. The capital city’s old Law Courts, on the other hand, stood as a powerful symbol of those deeply ingrained pillars of judicial tradition and establishment in our country. As such, the act of revisiting this traditionalist subject matter through a new and exciting modernist lens was a powerful statement, and truly brought to light the emphatic change achieved by Page in unlocking the potential of a new modern visual language for New Zealand art.
When encountering this work, the viewer is immediately struck by what a brilliant expression of painterly expertise it is. Having been heavily influenced by French masters such as Matisse and Degas, Page has herein adapted this impressionistic language for a uniquely identifiable New Zealand context, and deployed an assured deftness of brushstroke to convey rich and lively collisions of colour. Daring to express colour and form in such a vibrant and confronting manner, Page has also executed perspectival flattening in a manner which contributes to a gracefully synthesised compositional construction: the buildings have been thrust to the forefront of the canvas; all surrounding trees, buildings, and people have been stacked on the same plane of this closely woven composition.
Old Law Courts Wellington adroitly demonstrates of all of the formal qualities which served Evelyn Page as a pioneer of New Zealand modernism, marking this emblematic painting as one of the most significant works by the artist to have been presented to the market in recent years.
50 FRANCES HODGKINS
1869 - 1947
Arrangement of Jugs, Lithograph 45.7 x 61
Signed
ESTIMATE
$10,000 - 15,000
PROVENANCE
Private Collection, Melbourne
Purchased by current owners grandparents from an exhibition titled Celebrated Contemporary English Artists, Leighton Gallery of Art, Melbourne, 1938
Arrangement of Jugs is a lively and buoyant still life and Hodgkins’ only surviving print. It was commissioned in 1936 by the London based publisher Contemporary Lithographs Ltd as part of a venture to supply a wider audience with quality and affordable original works of art. Arrangement of Jugs is from the suite of fifteen prints by different artists launched in 1938, one of which was purchased by the British Museum.
Although she had not worked with lithography before Hodgkins was praised at the time for her fresh and innovative use of the medium and she herself 'found it interesting and remunerative as a sideline to other works'.
(Kapiti Treasures, Janet Bayley (Edt.l, Mahara Gallery, 2010, p. 36)
Moving increasingly away from traditional modes of representation in her works, some objects in Arrangement of Jugs are pared back to their most essential formal elements or depicted through abstract bodies of colour. Essentially disregarding any hierarchy within the objects Hodgkins has employed several perspectives within a single composition giving the effect that some objects appear to float freely in space. The ethereal quality of the abstract forms combined with the objects depicted more literally adds dynamism and vivacity to the work.
The simplified outlines of objects and bold areas of colour in Arrangement of Jugs are typical of Hodgkins' approach to colour and form in the mid to late 1930s and relate strongly to two known watercolours of almost identical titles, Still Life (c.1937) and Arrangement of Jugs (c.1937) suggesting that they may have been working drawings for this lithograph.
ILLUSTRATED:
Frances Hodgkins: Kapiti Treasures, Janet Bayley (Edt.), Mahara Gallery, 2010. p. 33
Frances Hodgkins: Paintings and Drawings, lain Buchanan, Elizabeth Eastmond and Michael Dunn, Auckland University Press, 1994. p.151
Portrait of Frances Hodgkins, E.H McCormick, Auckland University Press and Oxford University Press, 1981. p.123
51 FRANCES HODGKINS
1869 - 1947
Untitled
Watercolour 25 x 36
Signed & dated 1913
ESTIMATE
$25,000 - 40,000
PROVENANCE
Estate Collection, Wellington
Purchased from Max Beere, Lewis Paape Gallery
52 MARGARET OLROG STODDART
1865 - 1934
Otira Gorge
Watercolour 46 x 43
Signed
ESTIMATE
$8,000 - 12,000
53 MARGARET OLROG STODDART
1865 - 1934
Roses
Watercolour 42 x 55
Signed
ESTIMATE
$12,000 - 16,000
54 MARGARET OLROG STODDART
1865 - 1934
Approaching Storm Watercolour 25 x 35
Signed
ESTIMATE
$3,000 - 5,000
55 MARGARET OLROG STODDART
1865 - 1934
Blossom, Diamond Harbour Watercolour 24 x 34
Signed
ESTIMATE
$4,000 - 6,000
56 MARGARET OLROG STODDART
1865 - 1934
The White House, Cashmere Hills Watercolour 28 x 36
Signed
Inscribed on original artist’s label affxedverso
ESTIMATE
$8,000 - 12,000
PROVENANCE
Purchased by current owners mother from an exhibition at the Academy of Fine Arts, Christchurch, 1935
Signed
ESTIMATE
$8,000 - 12,000
57 JOHN BARR CLARKE HOYTE
1835 - 1913
Judges Bay, Auckland
Watercolour 24 x 45
1835 - 1913
Lake Waikaremoana
Watercolour 44 x 66
Signed & dated 1874
ESTIMATE
$20,000 - 30,000
Two years prior to Hoyte completing this magnificent watercolour Maori resistance leader Te Kooti visited Lake Waikaremoana. Government forces had made an exploratory expedition into the lake area earlier in 1869. Military redoubts were established in the area in the 1870s, but by then Te Kooti had moved on. This watercolour depicts the government military camp in the foreground and Maori villages across the other side of the lake.
58 JOHN BARR CLARKE HOYTE
59 CORA WILDING
1888 - 1982
Spanish Man
Watercolour
Signed & dated 1923
ESTIMATE
$2,000 - 3,000
PROVENANCE
Estate of Inness Elliott, sculptor of the Tekapo Sheep Dog
60
60 ROBERT ELLIS b. 1929
Cityscape
Acrylic on board 55 x 73
Signed & dated 1995
ESTIMATE
$2,500 - 3,500
61 PETER MCINTYRE
1910 - 1995
Lindis Pass
Oil on board 59 x 79.5
Signed
ESTIMATE
$15,000 - 20,000
PROVENANCE
Purchased at One Man Exhibition, John Leech Gallery, Auckland, 1964, by current owner. Original gallery label affxedverso
62 RITA COOK NEE’ ANGUS
1908 - 1970
Landscape Near Amberley
Watercolour 30.6 x 41.1
Signed & dated 1934
ESTIMATE
$14,000 - 18,000
PROVENANCE
Ex Collection of Sir & Lady Ivor Richardson, Wellington
63 WILLIAM ALEXANDER (BILL) SUTTON
1917 - 2000
The Dome
Watercolour 37 x 54
Signed & dated 1982
ESTIMATE
$4,000 - 6,000
64 PETER MCINTYRE
1910 - 1995
Ruapehu from the Desert Road
Oil on board 49.5 x 74
Signed
ESTIMATE
$12,000 - 16,000
65 CHARLES BLOMFIELD
1848 - 1926
Waihaha River, Lake Taupo
Oil on canvas 74.5 x 49
Signed & dated 1888
ESTIMATE
$4,000 - 6,000
66 CHARLES FREDERICK GOLDIE
1870 - 1947
Anaha
Pencil drawing 18 x 11
Signed, inscribed To Olive from Charlie & dated December 1931
ESTIMATE
$15,000 - 25,000
67 RITA ANGUS
1908 - 1970
Mangonui Harbour Watercolour 28 x 38
Signed & dated 1954
ESTIMATE
$20,000 - 26,000
PROVENANCE
Ex Collection of Sir & Lady Ivor Richardson, Wellington
Rita Angus visited friends Roy and Joyce Milligan at Mangonui, Northland during the winter 1953 and again in December. By October 1954 she was living in a cottage there and working on landscapes of the surrounding area. Paintings produced at this time, including Mangonui, Northland were exhibited with The Group. When plans to purchase the cottage fell through the artist returned to Wellington in April of 1955.
68
RITA ANGUS
1908 - 1970
Joy Watson, Friend of Artist Oil on board 45 x 39
Signed & dated 1953
ESTIMATE
$2,000 - 4,000
PROVENANCE
Same family collection since painted
1880 - 1956
Brittany Market
Signed
ESTIMATE
$5,000 - 8,000
1880 - 1956
Market
ESTIMATE
$2,500 - 3,500
1880 - 1956
$2,500 - 3,500
69
MAUD SHERWOOD
Watercolour 45 x 53
70 MAUD SHERWOOD
Scene, Naples
Watercolour 25 x 30.5
71 MAUD SHERWOOD
Fruit Stall, Brittany
Watercolour 28 x 28.5
72 PETER MCINTYRE 1910 - 1995
Boy and Great Dane Oil on canvas 60 x 50
Signed
ESTIMATE
$8,000 - 12,000
73 JOHN BARR CLARKE HOYTE 1835 - 1913
Russell
Watercolour 29 x 42
Signed
ESTIMATE
$8,000 - 12,000
1830 - 1902
The Mirror Lakes, Fiordland
Watercolour 46 x 63
Signed & dated 1885
ESTIMATE
$10,000 - 15,000
1835 - 1913
Watercolour 48 x 69
Signed
ESTIMATE
$15,000 - 20,000
75 JOHN BARR CLARKE HOYTE
Coromandel
74 CHRISTOPHER AUBREY
76 A AUSTIN DEANS
1915 - 2011
Rangitata River Bed
Watercolour 35 x 25
Signed
ESTIMATE
$2,000 - 3,000
PROVENANCE
Collection of the late Courtney & Doreen Shearer, Christchurch
77 MAUD SHERWOOD
1880 - 1956
Tuscan Hills
Watercolour 42 x 48
Signed
ESTIMATE
$2,000 - 3,000
1915 - 2011
Lake and Lyell Glacier
Watercolour 75 x 95
Signed & dated 1962
ESTIMATE
$6,500 - 8,500
PROVENANCE
Collection of the late Courtney & Doreen Shearer, Christchurch
78 A AUSTIN DEANS
79 TIM WILSON
b. 1954
Haast River Diptych, 2000
Oil on two stretched linen panels 61 x 242
Signed & dated 1999 - 2000
ESTIMATE
$25,000 - 35,000
PROVENANCE
Purchased from Fisher Fine Arts, Christchurch, 2000, label affxedverso
81
1835 - 1913
Lake Wanaka
Watercolour 32 x 62
Signed
ESTIMATE
$8,000 - 12,000
1835 - 1913
Mt Egmont
Watercolour 24 x 38
ESTIMATE
$2,000 - 4,000
80 JOHN BARR CLARKE HOYTE
JOHN BARR CLARKE HOYTE
1835 - 1913
Watercolour 41 x 66
Signed & dated 1874
ESTIMATE
$20,000 -30,000
82 JOHN BARR CLARKE HOYTE
Otira Valley
83 FRANK WRIGHT
1860 - 1923
Cattle by a Stream
Watercolour 50 x 67
Signed & dated 1917
ESTIMATE
$4,000 - 6,000
84 DOROTHY KATE RICHMOND
1861 - 1935
Rangitoto from Takapuna
Watercolour 25 x 35
Signed & dated 1924
Inscribed on original backing paper verso
ESTIMATE
$2,500 - 3,500
85 CAPTAIN WILLIAM HANDCOCK
New Zealand/British 19th Century
Settlers Overlooking Otago Harbour
Watercolour 36 x 55
Signed
ESTIMATE
$3,000 - 5,000
86 ALFRED WILSON WALSH
1859 - 1916
Mt Cook
Watercolour 22 x 29
Signed & dated 1890
ESTIMATE
$800 - 1,200
87 CHARLES DECIMUS BARRAUD
1822 - 1897
Waterfall at Waihi, South End of Taupo
Watercolour 25 x 18
Inscribed
ESTIMATE
$5,000 - 8,000
PROVENANCE
Purchased from McArthur & Co Auctions, Auckland 1985
Original label affxedverso
LAURENCE
1850 - 1912
Wet Jacket Arm Oil on canvas 52 x 75
Signed & dated 1896
ESTIMATE
$4,000 - 6,000
89 JAMES PEELE 1847 - 1905
Dusky Sound Oil on board 30 x 44
Signed & dated 1897
ESTIMATE
$1,000 - 1,500
88
WILLIAM WILSON
Signed & dated 1903
ESTIMATE
$5,000 - 10,000
90 WILLIAM MENZIES GIBB
1859 - 1931
Auckland Harbour
Oil on canvas 45 x 76.5
91 SYDNEY LOUGH THOMPSON 1877 - 1973
Wellington Harbour, 1936 Oil on board 38 x 45
Signed
ESTIMATE
$7,000 - 10,000
PROVENANCE
Private Collection, Christchurch
EXHIBITED
Sydney Lough Thompson - At Home and Abroad
Robert McDougall Art Gallery 1990, label affxedverso
ILLUSTRATED
Sydney Lough Thompson At Home and Abroad, Julie King, Robert McDougall Art Gallery 1990
92 SYDNEY LOUGH THOMPSON 1877 - 1973
Spring, Canterbury Farm Gouache on paper 35 x 50
Signed
ESTIMATE
$3,000 - 5,000
93 DOUGLAS BADCOCK 1922 - 2009
Nelson Harbour Oil on board 45 x 60
Signed
Inscribed & dated 1975 verso
ESTIMATE
$8,000 - 12,000
94 DOROTHY KATE RICHMOND
1861 - 1935
Homestead
Watercolour 27 x 37
Signed & dated 1928
ESTIMATE
$2,000 - 3,000
95 PETRUS VAN DER VELDEN
1837 - 1913
Cottage Interior
Oil on board 27 x 34.5
Inscribed verso
ESTIMATE
$1,500 - 3,000
PROVENANCE
p. 41 Petrus van der Velden, A Catalogue Raisonné image number 1.2.2.40
The Petrus van der Velden Art Collection label affxedverso
$8,000 - 12,000 96
1922 - 2009
Looking South, California Coast
Oil on board 30 x 40
Signed Inscribed ESTIMATE
$2,400 - 2,800
1877 - 1973
Watercolour 73.7 x 124.5
Bay
Signed
ESTIMATE
97
CHARLES NATHANIEL WORSLEY
Cattle Grazing in Coastal
DOUGLAS BADCOCK
1859 - 1937
Lake
Signed
ESTIMATE
$4,000 - 6,000
99 CHARLES
1848 - 1926
Lake
35
Signed & dated 1888
ESTIMATE
$2,500 - 3,500
98 JOHN DOUGLAS PERRETT
Manapouri Oil on canvas 60 x 90
BLOMFIELD
Wakatipu Oil on canvas 19 x
100 ALBERT EDWARD ALDIS
ERNEST WILLIAM CHRISTMAS
102 JOHN PHILEMON BACKHOUSE 1845 - 1908
North Shore, Auckland Oil on board 10 x 16
Artist’s studio stamp verso
ESTIMATE
$1,500 - 2,500
103 HENRY WILLIAM KIRKWOOD 1854 - 1925
Smith Sound Oil on canvas 60 x 90
Signed & inscribed
ESTIMATE
$4,000 - 6,000
104 HENRY WILLIAM KIRKWOOD 1854 - 1925
Lake Te Anau Oil on board 28 x 63
Signed
ESTIMATE
$1,500 - 2,500
105 HENRY WILLIAM KIRKWOOD 1854 - 1925
George Sound Oil on board 59 x 44
Signed
ESTIMATE
$1,500 - 2,500
106 JOHN PHILEMON BACKHOUSE 1845 - 1908
Maori Villages with Wakas - A Pair Oil on circular terracotta plates 16 x 16
ESTIMATE
$1,000 - 2,000
107 STYLE OF JOHN PHILEMON BACKHOUSE 1845 - 1908
Mt Egmont Oil on shell 13 x 15
Inscribed
ESTIMATE
$500 - 1,000
ESTIMATE
$500 - 1,000
ESTIMATE $500 - 1,000
108 STYLE OF JOHN PHILEMON
BACKHOUSE 1845 - 1908
Rotorua Oil on shell 15 x 17
Inscribed
109 STYLE OF JOHN PHILEMON
BACKHOUSE 1845 - 1908
Maori Village Oil on wooden spoon
1835 - 1913
Signed
ESTIMATE
$8,000 - 12,000
1915 - 2005
Signed
ESTIMATE
$3,000 - 5,000
110 JOHN BARR CLARKE HOYTE
Marlborough Sounds
Watercolour 29 x 50
111 TOM ESPLIN
Venetian Canal Oil on board 28 x 40
110
112 TOM ESPLIN
1915 - 2005
Harbour Near Genoa Oil on board 23.5 x 33.5
Signed
ESTIMATE
$3,000 - 5,000
113 CEDRIC SAVAGE 1901 - 1969
Sardine Boats, Perdika Oil on board 52 x 69
Signed
PROVENANCE
Purchased from Memorial Exhibition of Paintings by the Late Cedric Savage, McGregor Wright Gallery, Wellington, November 1970. Original gallery label affxedverso.Originalexhibitioncatalogueaffxedverso
ESTIMATE
$2,000 - 3,000
114 JOHN BARR CLARKE
1835 - 1913
Coastal Fishermen
Watercolour 35 x 26
Signed
ESTIMATE
$3,000 - 5,000
115 JOHN BARR CLARKE HOYTE
1835 - 1913
Fiordland
Watercolour 17 x 24
Signed
ESTIMATE
$1,500 - 2,500
HOYTE
1891 - 1949
ESTIMATE
$4,500 - 6,500
1891 - 1949
Signed
ESTIMATE
$4,500 - 6,500
117 VERA CUMMINGS
Weary With Age Oil on canvas 20 x 14.5
116 VERA CUMMINGS
Harata Rewiri Tarapata Oil on canvas 20 x 15
118
DESIDERIUS ORBAN
Australian 1884 -1986
Landscape with Houses Oil on board 55 x 78
Signed
ESTIMATE
$1,500 - 2,500
PROVENANCE
Estate of The Rt Hon Sir Owen Woodhouse ONZ, KBE, DSC
119
ALLAN THOMAS BERNALDO
Australian 1900 - 1988
The Hay Wagon
Watercolour 46 x 70
Signed
ESTIMATE
$1,750 - 2,500
PROVENANCE
Private Collection, Christchurch since 1960s
120
SIR WILLIAM RUSSELL FLINT
British 1880 - 1969
Girls in the Dunes
Watercolour 25 x 42
Signed
ESTIMATE
$6,000 - 8,000
121 DOUGLAS BADCOCK
1922 - 2009
Summer Evening, Lake Wanaka Oil on board 29 x 39
Signed
Inscribed & dated January 1987
ESTIMATE
$2,500 - 3,500
122 DOUGLAS BADCOCK
1922 - 2009
Ardgour, Tarras, Central Otago Oil on board 29 x 39
Signed
Inscribed & dated 1977 verso
ESTIMATE
$2,500 - 3,500
123 NINA CHALMERS
New Zealand 19th Century
A Collection of the artist’s watercolours - approximately 100. Views of Auckland, Takapuna, Tauranga, the Mahia Peninsula, loggers camp at Kopuawahara - various other topogrpahical subjects. Various Sizes
Together with: Three Cat studies by K Airini Vane, friend of the artist with an Australian bird study in watercolour by an unknown artist. Presented in the artist’s travel case
ESTIMATE
$1,000 - 2,000
PROVENANCE
Collection of the Artist’s Estate
Nina Chalmers was a friend of Captain Gilbert Mair, his wife Eleanor Kate Sperry and their artist, artist, K Airini Vane.
124 WILLIAM GEORGE BAKER
1864 - 1929
Near Taihape Oil on canvas 91 x 61
Signed & inscribed
ESTIMATE
$2,500 - 3,500
125 ERNEST WILLIAM CHRISTMAS 1863 - 1918
The Lilac Sunbonnet
Watercolour 16 x 15
Signed
ESTIMATE
$1,000 - 1,500
126 RATA LOVELL-SMITH 1894 - 1969
Bealey Valley Oil on board 40 x 50
Signed
ESTIMATE
$2,500 - 3,500
127 RATA LOVELL-SMITH 1894 - 1969
Mason River, Inland Kaikoura Route, 1946 Oil on board 33 x 43
Signed
ESTIMATE
$2,000 - 3,000
128 RATA LOVELL-SMITH 1894 - 1969
Lake Brunner, West Coast Oil on board 40 x 50
ESTIMATE
$2,000 - 3,000
129 GEORGE O’BRIEN 1821 - 1888
Otago Landscape
Watercolour 18 x 26.5
Signed & dated 1871
ESTIMATE
$1,000 - 2,000
126
130 WILLIAM GEORGE BAKER
1864 - 1929
Greenstone River, West Coast Oil on board 44 x 66
Signed & inscribed
ESTIMATE
$2,000 - 3,000
131 WILLIAM GEORGE BAKER 1864 - 1929
Makuri Gorge Oil on canvas 90 x 60
Signed
ESTIMATE
$2,000 - 3,000
132 JOHN TOLE
1890 - 1967
Bottles, Fruit & Flowers StilLife
Oil on board 30 x 36
Signed
ESTIMATE
$2,400 - 2,800
133 MAUD SHERWOOD
1880 - 1956
Roses and Hydranges
Oil on board 67 x 51
Signed
ESTIMATE
$2,000 - 4,000
134 ELLEN VON MEYERN
19th - 20th Century New Zealand
Maori Wahine with Baby ‘Ranga’Hawera
Watercolour 36 x 24
Signed & dated 1910
ESTIMATE
$700 - 1,000
135 LAWRENCE WILLIAM WILSON
1850 - 1912
Sunrise, Mary Peaks, George Sound Oil on canvas 39 x 54
Signed & inscribed
ESTIMATE
$1,000 - 2,000
PROVENANCE
George R Chance Estate, Dunedin
. Please charge my Visa /Mastercard find cheque enclosed
Expiry date ................/................. Signature .........................................................
Fax to +64 9 307 3421 or Post to International Art Centre PO Box 37344 Parnell Auckland 1151 Alternatively subscribe online www.fineartauction.co.nz or by calling Toll Free 0800 800 322 with credit card details
Subscription include: 4 Important, Early & Rare catalogues 4 Contemporary & Collectable catalogues 272 PARNELL ROAD AUCKLAND NEW ZEALAND PH+64 9 379 4010 www.fineartauction.co.nz
