Important, Early & Rare April 10 catalogue by International Art Centre

Important, Early & Rare

6:30pm Thursday 10 April 2014

Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz

Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071

Car Parking

Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Auction assistants and administration Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz

Location map

www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction

Auction Venue

International Art Centre, Scarborough Gallery Lower Ground Level, 272 Parnell Road, Auckland. On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.

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Parking During Viewing Days: Available on site during weekend viewing, Saturday 5 & Sunday 6 April. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.

Important, Early & Rare 6:30pm Thursday 10 April 2014

Viewing times Thursday

3 April

9:00am - 5:30pm

Friday

4 April

9:00am - 5:00pm

Saturday

5 April

11:00am - 4:00pm

Sunday

6 April

11:00am - 4:00pm

Monday

7 April

9:00am - 5:30pm

Tuesday

8 April

9:00am - 5:30pm

Wednesday

9 April

9:00am - 5:30pm

Thursday

10 April

9:00am - 1:30pm

Other times by appointment

272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz 3

Ralph Hotere $36,340

Edward Fristrom $10,550

John Gully $60,050

J Keulemans $23,450

Peter Siddell $170,000

Ralph Hotere $38,880

C F Goldie $189,350

Frances Hodgkins $38,100

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Olivia Spencer Bower $9,380

Robert Ellis $12,600

Felix Kelly $18,170

Gordon Walters $37,500

Raymond Ching $53,900

A F Nicoll $6,900

Ralph Hotere $43,900

Alvin Pankhurst $55,100

Len Castle $9,380

Michael Smither $31,650

Important, Early & Rare

2013 HIGHLIGHTS Peter McIntyre $25,200

Trevor Moffitt $11,100

C F Goldie $234,500

Mike Petre $16,415

Karl Maughan $31,650

Evelyn Page $18,760

Charles Frederick Goldie Kawhena Sold $732,800 November 2013

Record price achieved for painting at auction in New Zealand

Buck Nin 19,900

Jane Evans $19,900

Roy Good $4,570

Simon McIntyre $4,220

Ruben Patterson $11,725

Elizabeth Rees $9,380

Ralph Hotere $183,000

Recent Contemporary Art sales

Peter Siddell $19,340

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Pamela Wolfe $15,240

J S Parker $7,030

Forthcoming auction announcement

Modern & Contemporary Art

22 MAY 2014

Andre Hemer Art World (Hitting Las Vegas with a Two Inch Brush), 2007 (triptych) Acrylic on canvas 191 x 572

Consign Today

Toll Free 0800 800 322 or +64 9 3794010 Richard Thomson richard@artcntr.co.nz

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010

www.fineartauction.co.nz

Forthcoming auction announcement

Collectable Art

GABRIELLE HOPE ESTATE

JUNE 2014

JOHN WEEKS ESTATE

GASTON DE VEL ESTATE

19TH & 20TH CENTURY PAINTINGS, ESTATES & AFFORDABLE ART

Consign Today

Toll Free 0800 800 322 or +64 9 3794010 Luke Davies luke@artcntr.co.nz

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010

www.fineartauction.co.nz

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You are invited to attend and learn more about key works in this catalogue

Art Lecture Morning 4 April Preview Lecture and Morning Tea 10:30am - 11:30am Friday 4 April Dr Angela Mackie of the Cathedral Lectures will discuss key works in this catalogue

CHARLES F GOLDIE Sold $234,500

ALVIN PANKHURST Sold $56,090

Please RSVP Luke Davies 09 379 4010 luke@artcntr.co.nz Auction Record

Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010

www.fineartauction.co.nz

PAMELA WOLFE Sold $16,700 Auction Record

RALPH HOTERE Sold $36,340

JANE EVANS Sold $19,930 Auction Record

LAWRENCE LEITCH

Twilight City - Auckland

Acrylic on board 80 x 160cm

Enquiries Email fran@ar tcntr.co.nz

272 PARNELL ROAD AUCKL AND NEW ZEAL AND PH 09 379 4010 FAX 09 366 6045 www.internationalar tcentre.co.nz

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Contemporary & Collectable Held 27 February 2014 A large crowd of competitive bidders were present at the auction while staff attended to a record number of telephone and absentee bids. Nearly 80% of this 206 Lot sale sold under hammer with many commenting that this was the best catalogue to date in the Contemporary & Collectable sale category. Full results - page 100. Prices include buyers premium.

Douglas Badcock $5,860

Tim Wilson $23,450

Max Gimblett $4,100

Peter Beadle $12,300

Karl Maughan $13,480

M Smither $10,550 Roy Good $3,510

Len Castle $1,407 Jane Evans $8,790

Mary McIntyre $2,110

Peter Siddell $9,380

Peter Siddell $7,620

Auction 10 April Thursday 6:30pm Payment may not be made during sale Works purchased may be uplifted at

close of sale or day after 10.00am - 5.00pm If attending sale, please register for bidding number at viewing Viewing Times p. 3 Conditions of Sale p. 102 Absentee Bidding Form p. 99

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TOSSWILL WOOLLASTON

PROVENANCE Private Collection, Auckland

PROVENANCE Private Collection, Wellington

1910 - 1998 Near Takaha Watercolour 26 x 35 Signed ESTIMATE $3,500 - 5,500

1910 - 1998 McFedrie’s Farm Watercolour 26 x 35 Signed ESTIMATE $3,500 - 5,500

DON BINNEY

FELIX KELLY

ESTIMATE $9,000 - 13,000

ESTIMATE $800 - 1,200

ILLUSTRATED Art New Zealand, Winter 1983 A Conversation with Don Binney

OLIVIA SPENCER BOWER

1940 - 2012 Tikinui Northwood I Pencil and crayon on paper 55 x 75 Signed & dated Nov - Dec 1979

1905 - 1982 Castle Hill Area, Canterbury Watercolour 31.5 x 39 Signed ESTIMATE $2,000 - 3,000

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1914 - 1994 Crystal Palace Oil on card 10.5 x 15.5 Signed

TOSSWILL WOOLLASTON

1910 - 1998 Standing Nude Watercolour 45 x 31 Signed & dated ESTIMATE $4,000 - 6,000

JOHN TOLE

1890 - 1967 Still Life Oil on board 34.5 x 30 Signed ESTIMATE $2,500 - 3,500

MICHAEL STEVENSON

WILLIAM ALEXANDER (BILL) SUTTON

b. 1964 Wise Men Oil on board 60 x 90 Signed & dated 1990 ESTIMATE $6,000 - 8,000

ALLEN MADDOX

1948 - 2000 Untitled Oil on board 115 x 91 ESTIMATE $8,000 - 12,000

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1917 - 2000 Hills Behind Picton Oil on board 30 x 35 Signed & dated 1943 Inscribed verso ESTIMATE $4,000 - 6,000

PROVENANCE Private Collection, Wellington

LLOYD FREDERIC REES

PROVENANCE Collection of the late Jessie Hocking, friend of artist Private Collection, Waikato

Australian 1895 - 1988 Moreton Bay Fig Tree, Milton Road, Brisbane Pen and ink on paper 16 x 20 Signed & dated 1921 ESTIMATE $6,000 - 8,000

Lloyd Rees was born in Brisbane and attended Brisbane Technical College in 1910, where he received his first formal instruction in art. In 1913 he took a job as a junior artist in the Queensland Printing Office. Rees began full time studies at the Brisbane Technical College from 1915 and was there until 1918. Subject matter at the time included everyday Brisbane life, landscapes, architecture, portraits and studies after sculpture. His parentsâ&#x20AC;&#x2122; house Samford was in Park Road, Milton close to where Moreton Bay Fig Tree, Milton Road was drawn. The family moved to Sydney in 1922.

ROLAND WAKELIN

ESTIMATE $2,500 - 3,500

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1897 - 1971 Landscape Patterson, NSW Oil on board 34 x 44 Signed & dated 1945 Inscribed verso

A LOIS WHITE

1903 - 1984 Study for Temptation Pencil drawing 25.5 x 20 Signed ESTIMATE $2,500 - 3,500

A LOIS WHITE

1903 - 1984 Study for Leda and the Swan Pencil drawing 43 x 35 Artistâ&#x20AC;&#x2122;s Estate label affixed verso ESTIMATE $2,500 - 3,500

GARTH TAPPER

PROVENANCE Private Collection, Otago since 1994

1927 - 1999 The Corner Bar, 5:30pm Oil on board 44.5 x 50 Signed Inscribed verso ESTIMATE $8,000 - 12,000

REFERENCE During the years that the family was becoming established, Tapper was laying the foundations for his base; a place from which to develop his art, mature his style, and paint. With authority, he began recording the social history of his era. It had been a slow beginning, for very few works had been completed since returning from England. The genesis was in a large garage behind his home in Kelston, but it is only in retrospect that the extent of the watershed can be gauged. What marked this divide was his series depicting the conviviality of the ‘pub’: Five O’Clock.

GARTH TAPPER

1927 - 1999 Autumn Oil on board 45 x 64 Signed & dated 1965 Inscribed verso ESTIMATE $4,000 - 6,000

Tapper graduated from Elam in 1951, painting until his death in 1999. Much of his art, particularly the figurative work, documents human interactions in the everyday life of New Zealanders. Tapper masterfully captures those moments in time. I am not an innovator. I am not a creative painter. I am a recorder... [my work] is a translation... an observation... a realisation of things in the universe... Tapper said. He was a social realist, an artist who was interested in the details of social life, or the way people interact with each other.

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Public bars were male strongholds and the series of paintings relating to this social custom portrayed the chaotic, convivial ‘swill’ which characterised many New Zealand pubs of the period. Since the First World War all bars closed at 6 pm. Five to six o’clock became an hour of urgency, some would have said a necessity. Six o’clock closing encouraged patrons to consume as much alcohol as they could as quickly as possible. Few amenities were offered, apart from those needed to swallow large quantities of liquor. In 1967 every electorate voted overwhelmingly in a referendum for extended drinking hours to 10 pm. It is not the pub per se which Tapper paints, but the life within the pub. The people who jostle and lounge, joke and mill around the public bar. This is what attracts him. To him, a pub scene looks beautiful through paint. The tone, colour and drabness offer tremendous scope. It is not a crude drink factory; it is an environment he finds intimate and soothing and a place from which to observe his fellow drinkers. I just want to paint these people at that particular moment in their lives he says. Text: Garth Tapper New Zealand Painter, William Tapper and Elva Bett, Tapper Art 1998

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STANLEY PALMER

b. 1936 Road - Te Paki Oil on linen 160.3 x 100 Signed & dated 2009 ESTIMATE $17,000 - 20,000

JAN NIGRO

1920 - 2012 The Money Lenders Mixed media on paper 75 x 53 Signed & dated 1983 ESTIMATE $2,500 - 3,500

GRETCHEN ALBRECHT

b. 1943 Rosa Concorde Oil an acrylic on canvas 94 x 183 Signed, inscribed & dated 2010 verso ESTIMATE $24,000 - 28,000

COLIN MCCAHON

1919 - 1987 A Landscape (1959) Enamel paint on board 122 x 60.9 Signed, inscribed & dated 9/1/1959 ESTIMATE $200,000 - 300,000 PROVENANCE Private Collection, Auckland Private Collection, Christchurch, acquired directly from the artist, 1959 Colin McCahon online catalogue cm001102

EXHIBITED An Exhibition of paintings by Colin McCahon October, 1959 Gallery 91, Christchurch ILLUSTRATED p. 59 Colin McCahon The Titirangi Years, 1953-1959 Peter Simpson, Auckland University Press 2007 A Landscape (1959) belongs to a distinct group of McCahon paintings dating from December 1958 and January 1959. About a dozen such works were shown as part of Recent Paintings at Gallery 91 in Christchurch, October 1959. The best-known of the group is Cross (Auckland Art Gallery) dated 8.1.59, one day prior to A Landscape, dated 9.1.59. All these works were painted during a remarkable spurt of creative energy which followed McCahon’s career-changing, four-month visit to the USA in 1958. Among those whose work stood out, as reported in letters home, were old masters from El Greco to Mondrian, and the new school of abstract expressionists whose work was then just entering American museums such as Pollock, Rothko and Diebenkorn. Once assimilated, this experience radically changed McCahon’s practice, affecting its scale (much larger), materials (unstretched canvas, hardboard, commercial house paints), and method of applying paint (less meticulous, more gestural). The group to which A Landscape belongs was painted in solpah – an enamel roof paint– on hardboard. Most hover ambiguously between abstraction and realism, and were restricted in colour. John Caselberg wrote to Charles Brasch (March 1959): ‘These paintings are stark, like all his work; but they are so delicately painted. Mostly black & white; but with many variations on this, & many traces of delicate colour. His artistic vision is so fierce & sharp: so unlike anything else in N.Z….’ A Landscape is tall and slender with stacked horizontal bands of light and dark which may represent landscape features. The most striking feature is a dark curved column dividing the top-most rectangle. Its exact significance is uncertain but, read as landscape, it could be a water-spout, rising from a dark ocean. Whatever precisely it signifies it adds a dynamic vertical element to the banded horizontals of this sombre and majestic painting from McCahon’s annus mirabilis. PETER SIMPSON

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RAYMOND CHING

b. 1939 Don Forrest 1975 Oil on panel 35 x 28 Signed ESTIMATE $8,000 - 12,000

PROVENANCE Private Collection, Auckland Purchased from International Art Centre, 1979

EXHIBITED Raymond Ching Recent Paintings & Drawings International Art Centre 1979

ILLUSTRATED p. 48-49 Raymond Ching Recent Paintings & Drawings Published by International Art Centre & Folio prints 1979

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LOUISE HENDERSON 1902 - 1994 Untitled Abstract Oil on board 59 x 72 Signed & dated 1963 ESTIMATE $8,000 - 12,000

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TERRY STRINGER b. 1946 Table with Fruit Bronze 95 x 50 Signed & dated 1987 Includes Art Works Foundry monogram ESTIMATE $20,000 - 30,000 PROVENANCE Gow Langsford Gallery, 1987

RALPH HOTERE

1931 - 2013 Winter Solstice 1 Lithograph on paper, edition of 18, 75 x 57 Signed, inscribed & dated 1996 ESTIMATE $4,500 - 6,500

RALPH HOTERE

1931 - 2013 Black Painting II from Maladay - A Poem by Bill Manhire Oil and acrylic on canvas 178 x 71.5 Signed, inscribed Melody 28 times & dated Dunedin1970 verso ESTIMATE $40,000 - 60,000

SIR PETER SIDDELL

1935 - 2011 Pathway to Hilltop & Houses Oil on board 136 x 98 Signed & dated 1974

ESTIMATE

$60,000 - 80,000 Sir Peter Siddell has long been recognized as one of New Zealand's leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972, completing Pathway to Hilltop & Houses two years later. Siddell's realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell's paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award. In 1990 Siddell was made a Companion of the Queenâ&#x20AC;&#x2122;s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Sir Peter passed away in 2011.

EVELYN PAGE

ESTIMATE $55,000 - 85,000

1899 - 1988 Still Life with Jug and Apples, circa 1968 Oil on canvas 68 x 44 Signed

PROVENANCE Collection of the family of the artist Evelyn Page began her training as an artist at the Canterbury School of Art in 1915 at the time of Raymond McIntyre and Owen Merton. In spite of early formalist training she soon adopted the style her painting is so well known and loved for today; the atmospheric effects of light with freshly applied and increasingly vibrant colour, in the manner of Cézanne and Bonnard although it was not until the 1930s that she first visited Paris and saw original works by the French Post - Impressionists. Throughout her long career as an artist she continued to paint in the style she developed during her time in Christchurch, following her singular interpretation of visual experiences, regardless of any changes in fashion. “Over seven decades as an instinctive representational painter Evelyn Page developed her palette as much as she gave human interest to her subject matter. Her treatment of colour has given her a place as one of New Zealand’s foremost colourists”Janet Paul and Neil Roberts. p. 57 Evelyn Page Seven Decades catalogue, The Robert McDougall Art Gallery 1986. After the 1960s as she became increasingly interested in depicting objects from her everyday domestic life and she painted many still lifes, either reflecting her life in the orchard garden at Waikanae or interiors from her home in Hobson Street, Wellington. These paintings, luscious in surface and colour but usually simple in design, convey her joy of life and the pleasure she took in the visual beauty of nature. Still Life with Jug and Apples is a true celebration of her enjoyment and use of colour and light. Larger than many of her still lifes, she has included objects that were a necessary part of her everyday domestic life - the silkscreened blue wall paper she purchased in London for her dining room, the antique side table and highly polished breakfast table which reflects the rich colours of the luscious looking fruit she has painted.

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BRENT WONG

ESTIMATE 40,000 - 60,000

b. 1945 Untitled 1974 (Landscape With House and Mountains) Acrylic on board 51.8 x 73.8 cm Signed & dated 1974

PROVENANCE Private Collection,Wellington Brent Wong burst onto the local art scene in the early 1970s as a young man with original imagery, an impressive technical mastery and a refreshingly surrealist take on New Zealand land and sky. “Untitled 1974” is an important bridge between the artist’s early influences and later directions; and it reveals the artist moving, as we know through hindsight, from architectural claustrophobia to hopeful light and energy. However, this painting is not yet the artist’s future; and the artist still to free himself from the psychological confinement of the early years. He is casting about for help though, and “Untitled” shows where he was looking, with the strongest influence in the painting coming from the work of American artist Andrew Wyeth. It is especially reminiscent of Wyeth’s painting “Christina’s World” of 1948 with its well-known figure of a girl seated or crawling in a dry grassy paddock and looking back into the landscape towards her distant farmhouse and its few outbuildings. The Christina of Wyeth’s painting, in real life Anna Christina Olson (1893-1968) who had a degenerative muscular disorder, is shown relatively unfettered by her illness, at home in her wider world. In Wong’s painting the empty, blank-windowed house occupies the place of the girl in the foreground; but unlike the girl, it sits there entirely alone. Wong, perhaps seeing the world through the lens of his own confining illness, turns the rural scene into one of isolation and entrapment. Under Wong’s hand, we understand that the open space of landscape may be as much threat as solace. It is precisely this ability to create an unresolved tension between comfort and menace that distinguishes Wong from his peers. Looking at the building in “Untitled”, it is so ubiquitous of New Zealand’s rural communities and city neighbourhoods; it could have come from any number of small towns known by the Otaki-born artist. Equally it could be a faithful copy from 1970s Vivien Street near his Wellington flat. The landscape also shares a familiar generality. Painted in the studio from memory it is classic Wong: dry as a bone; spare and emptied of people; and highly suggestive of those wide open spaces in New Zealand where isolation can be thrilling and heart-breaking in equal measure. We don’t need to know where this is; Wong’s finesse is to show us a place we all already know and then imbue it with mystery. ROB GARRETT

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ROBIN WHITE

b. 1946 Summer, Lincoln Watercolour 62 x 44 Signed, inscribed & dated 1973

ESTIMATE $25,000 - 35,000

PROVENANCE Lot 8, International Art Centre, July 1998 Private Collection, Wellington

Dame Robin White, born 1946 in Te Puke, Bay of Plenty is a graduate and alumna of Elam School of Fine Arts which she attended in the late 1960s. Colin McCahon was one of her mentors and Canterbury painter, Rita Angus another key influence. Of Maori and Pakeha descent Robin White has been one of this country’s most prominent painters and printmakers since the 1970s. In 1982 she moved with her family to Kiribati (formerly Gilbert Islands) to work with the Ba’Hai community. White set up a studio there returning to New Zealand in 1999. In 2002 a survey show, Island Life: Robin White in New Zealand and Kiribati, toured New Zealand. White is represented in the collections of all major public New Zealand art galleries and in galleries across Australia. This work, Summer, Lincoln is an original 1973 watercolour, created the same year as the familiar and iconic screen print Red Barn, Lincoln. ... when I’m contemplating this land, I am conscious of what I feel to be the Creator’s hand. The beauty of it all, the infinite variety, what a miracle it is. These are the things that really move me and I hope that some of this respect for the land comes through in my paintings. Robin White

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RAYMOND MCINTYRE

PROVENANCE Private Collection, Wellington

1879 - 1933 Bois de Boulogne Oil on cardboard 33.7 x 24.7 Signed & dated 1920 Auckland City Art Gallery exhibition label affixed verso ESTIMATE $25,000 - 35,000

EXHIBITED Auckland City Art Gallery, Raymond McIntyre Restrospective Exhibition 1984 - 1985, cat. no. 25

ILLUSTRATED p. 62 Raymond McIntyre A New Zealand Painter Heinemann Publishers, Auckland City Art Gallery

Born in Christchurch in 1879, McIntyre studied under Alfred Walsh and Robert Herdman-Smith. He shared a studio with Sydney Lough Thompson and Leonard Booth, exhibiting with the Canterbury Society of Arts from 1899 to 1910. Arriving in London in 1909 he actively pursued his studies and career. Walter Sickert and William Nicholson were two of his tutors and the works of Cézanne, Matisse and Modigliani his influences. Over the next decade he exhibited at London’s leading Goupil Gallery Salon and in 1921 with Paul Signac, M.L.Pissarro and Lemaitre. His subject matter included portraits, still lifes and from late 1920 he began to paint rivers and parks. McIntyre made at least two trips to France. Between 1911 and 1915 he developed his paintings of women’s heads and by then was well established in London’s artistic community. His work was accepted for exhibition at the Royal Academy of Arts in 1924. McIntyre stopped exhibiting in 1926 and died in London in 1933. A gifted expatriate artist with scant regard for worldly success, McIntyre attracted little attention in New Zealand during his lifetime. His work was shown at the National Centennial Exhibition of New Zealand Art in 1940 but it was not until seventy years after his death that he received recognition and acclaim in the land of his birth. In 1962 Colin McCahon helped organise an exhibition at the Auckland City Art Gallery, Six New Zealand Expatriates which included twelve McIntyre paintings and in 1984 Auckland Art Gallery curated a retrospective of his work. McIntyre’s art reflected contemporary British trends and the influence of French turn-of-the century artists such as Vuillard. He is represented all major New Zealand galleries.

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RAYMOND MCINTYRE

PROVENANCE Collection of the Artist’s relatives Private Collection, Wellington

1879 - 1933 Untitled Lady in a Black Hat (Phyllis Cavendish) Oil on canvas 60 x 50 Signed ESTIMATE 30,000 - 40,000

The following quotations are from a blog written by Ron Brownson about Phyllis Constance Cavendish and Raymond McIntyre. http://aucklandartgallery.blogspot.co.nz/2011/09/raymond-mcintyre-andphyllis-constance.html Ron Brownson in his Auckland Art Gallery Toi o Tamaki blog article about Phyllis Constance Cavendish and Raymond McIntyre states: ‘A renowned collaboration between a New Zealand artist and model occurred in London’s Cheyne Walk studio of Raymond McIntyre between 1912 and 1914. Born in Christchurch in 1879, he was one Petrus van der Velden’s most talented pupils. McIntyre felt Canterbury constricted his vocation. Arriving in England during February 1909, he never returned. He soon became a pupil of London painters William Nicholson, George Lambert and Walter Richard Sickert. McIntyre met 22-year actor Phyllis Constance Cavendish and she became the subject for over a dozen portraits in oil and watercolour. Writing to his father on 4/5/6 December 1912, he states, “I did the best work I have ever done so far, from her. I like to go outside the usual run of professional models, of which there are hundreds and hundreds in London – and get people of more normal type and who do not live in the atmosphere of studios all the time. It is more interesting to have a breath of the outside world come along with different interests and information to impart. These stage folk who I have had are very helpful to me in that way’. From Bassano’s photographic portraits of Phyllis Cavendish, it is clear that her head’s bone structure, long neck, full lips, dark eyebrows, wavy hair, and small defined nose are all conveyed in Raymond McIntyre’s portraits.

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PETER MCINTYRE

1910 - 1995 Evening Shadows, King Country Oil on board 53 x 75 Signed ESTIMATE 20,000 - 30,000

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PROVENANCE Private Collection, Auckland Purchased at McGregor Wrightâ&#x20AC;&#x2122;s Gallery, Wellington by current owner circa 1975 Original label fixed verso

EVELYN PAGE

1899 - 1988 Boat Harbour Wellington (Evans Bay) Oil on board 28 x 40 Signed & inscribed No. 4 Boat Harbour, Wellington verso ESTIMATE $8,000 - 12,000

PROVENANCE Private Collection, Wellington Purchased directly form the artist

AN UNPRECENDENTED OFFERING OF THREE WORKS CHARLES FREDERICK GOLDIE 1870 - 1947

In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today. New Zealand has every reason to be proud of him. Governor General Lord Bledisloe

Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979

Wiripine Ninia, Ngati Awa 1911 Atama Paparangi 1919 Hera Puna, Ngati Whanaunga 1933

CHARLES FREDERICK GOLDIE 1870 - 1947 A Noble Relic of A Noble Race - Atama Paparangi Oil on canvas 27 x 21.5 Signed & dated 1919

PROVENANCE Private Collection, Auckland

ESTIMATE $260,000 - 320,000

Atama Paparangi, a favoured subject of C.F. Goldie’s and Chief of the Rarawa Tribe, Atama lived at Mitimiti, Hokianga. At over six foot tall, with an intricate facial moko by the famous tattooist Huitara, he was a strikingly handsome figure. In the image below Goldie trims his friend’s whiskers in order to better show the details of his moko. Throughout the 1930s Goldie submitted portraits of Atama (often referred to as an aristocrat because of his noble bearing) to the Royal Academy, London and the Paris Salon. The artist and his subject met in 1901 during a royal visit by the Duke and Duchess of Cornwall. A warm friendship developed and in 1914 on completion of his portrait now housed in the collection of the Auckland Museum, Atama wrote a letter of tribute to his friend: To Mr Goldie The Painter of Portraits Auckland Ah Son! Greetings This letter is to thank you for my picture which arrived a few days ago. Great is the admiration of my tribe at the beauty of your work. Enough! I will now express my feelings towards you. ‘A voice from the skies makes music to the ear. It is that of a shining Breasted Cuckoo. The Harbinger of Spring. The trees of the Forest have bedecked themselves in their summer raiment. The sea is red with the blossoms of the Pohutukawa. The Clematis in the Forest Glade have burst into flower, creating vistas of beauty. The myriad graceful trees of the Woods augment the scene. They are like unto a bridal pair with their retinue, awaiting the guides who will lead them to the Perfect Happiness, which knows no end.’ Such are the feelings of my heart for you. Many are the wishes beautiful and good that I would wish you but words fail. The sum of the words of greeting, of love and of good fellowship as expressed in this phase:‘May Health and Prosperity attend you and all whom you love.’ Takahi Atama Paparangi

C F Goldie trims the whiskers of Atama Paparangi

As a young warrior Atama had fought against Hone Heke in 1830 at Kororāreka, Bay of Islands. In later life he embraced Christianity. After a long and eventful life Atama died at 100 years of age, immortalised by his friend C.F. Goldie.

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CHARLES FREDERICK GOLDIE

1870 - 1947 ‘As Rembrandt Would Have Painted the Maori’ Hera Puna, Ngati Whanaunga Oil on canvas on board 35.5 x 30.5 Signed & dated 1933 ESTIMATE $280,000 - 350,000

PROVENANCE John Leech Gallery, Auckland, 5 August 1947, £157.10s Purchased by current owners family from Webbs, 1984

ILLUSTRATED New Zealand Herald, 6 December, 1969

New Zealand Herald, September 21, 1983: Goldie Heading for $100,000 The article showing the painting with art dealer Peter Webb when the work was sold for a then record price at auction.

p. 266 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977

EXHIBITED John Leech Gallery, Auckland, August 1947

GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Catalogue no. 132

Evening Post, 24 July, 1974 The Dominion, 2 August 1974 Evening Post, 2 August 1974

Hera Pua was the brave wife of Hori Te Whanaunga and fought alongside her husband in the 1865 battle of Orakau in the Waikato. In this work Goldie draws upon sketches and photographs of the subject taken in his youth, creating a compelling portrait of a memorable subject.

48 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHARLES FREDERICK GOLDIE

1870 - 1947 Drowsy - Wiripine Ninia, Ngati Awa Oil on wood panel 19.1 x 14 Signed & dated 1911 ESTIMATE $180,000 - 250,000 PROVENANCE Private Collection, Nelson ILLUSTRATED p. 219 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977 EXHIBITED GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Catalogue no. 67 In this reflective portrait of Wiripine Ninia, C F Goldie conveys a mood of transition, not only in the life of the old Chieftainess, but of the times in which they both lived. Wiripine Ninia bears traditional moko and talisman greenstone earrings whilst draped in European clothing, emblems of two worlds. The close and sympathetic bond between artist and subject is evident in this work.

EDWARD BULLMORE

ESTIMATE $60,000 - 80,000

1933 - 1978 Hikurangi No. 5, 1963 Assemblage with mixed media on canvas 165 x 116 Signed & inscribed verso

Ted Bullmore’s story reads like the stuff of folklore and yet his place in popular accounts of New Zealand’s 20th century art history is somewhat obscure. He grew up in rural Southland; was a notable rugby player; is one of New Zealand’s earliest surrealist artists; gained significant recognition in the art scene of 1960s London alongside his better-known peers Pat Hanly and Ralph Hotere; and his work was collected by none other than film auteur Stanley Kubrick, with two of the shaped canvases turning up in the director’s notorious 1971 movie “A Clockwork Orange”. Attending the Canterbury School of Fine Arts during the early 1950s, Bullmore was studying alongside other midcentury modernists including Bill Culbert, Pat Hanly, Gil Hanly, Quentin MacFarlane and Trevor Moffitt. From there it was Auckland Teachers’ College and teaching in Tauranga for a few years before moving to Florence in 1959; and six months later London. For a decade it was in the highly charged avant-garde atmosphere of London that Bullmore’s career took off; and it was here too that the shaped canvasses emerged. Hikurangi No.5 is an excellent example of his highly innovative London phase. The work’s title reveals his abiding connection to New Zealand as home; for of course the “Hikurangi” series references the sacred mountain of Ngāti Porou; the first place to see the sun on mainland New Zealand; the first piece of land to be fished out of the sea by Māui with its peak the final resting place of Māui’s canoe, “Nukutaimemeha”. Yet the vigorous abstract assemblage form of Hikurangi No.5 also forcibly demonstrates how readily, in just a few short years, he had leapt well beyond New Zealand artistically. Along with his creative advances in Europe, came recognition. Perhaps the high point was being included in the revolutionary 1967 show “The Enchanted Domain: Surrealist Art” in Exeter, where his work was shown alongside Picasso, Miro and Dali. But two years later he returned to teach at Rotorua Boys’ High; and his last exhibition, just weeks before his untimely death in 1978 was at Barry Lett Gallery in Auckland. Perhaps the quiet legacy of New Zealand’s unsung surrealist extends all the way to Julian Dashper’s deconstructed canvasses in the 1990s. When he layered naked picture frames in “Chain Frame”; or laid canvas strips behind empty frames in “Here I was Given”, Bullmore had already trod a similar path. ROB GARRETT

52 Important, Early & Rare 6:30pm Thursday 10 April 2014

FRANCES HODGKINS

ESTIMATE 15,000 - 20,000

PETER MCINTYRE

PROVENANCE Private Collection, Auckland Purchased at John Leech Gallery, Auckland by current owner circa 1977 Original label fixed verso

1869 - 1947 Mediterranean Courtyard Watercolour 47 x 35 Signed

1910 - 1995 Evening Shadows, King Country Oil on board 53 x 75 Signed ESTIMATE 22,000 - 28,000

54 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHARLES BLOMFIELD

1848 - 1926 The Pink Terraces and The White Terraces, Rotomahana - a pair Oil on canvas 42 x 57 Signed & dated 1885 ESTIMATE $45,000 - 65,000

PROVENANCE F Egbert Holland by descent Inscription on label affxied verso reads: The Pink Terrace on Lake Rotomahana N.Z. Visited by me on January 23rd 1886. The Terraces were destroyed by the eruption of Mount Tarawera a big earthquake on June 10th 1886. This picture bought by me from the artist (C. Blomfield) himself in Auckland on April 24th 1886. F. Egbert Holland.

The following excerpts are from the diary of F Egbert Holland: Jan 22nd 1 886 Walked a little in the morning but found it too hot - made inquiries about special buggies and coaches to Taupo and Napier. Started in a private buggy for Wairoa, 11 miles; - undulating fern covered country at first, then bush, then we came out upon the Blue Lake the road passing close to it first and then close to the Green Lake - a narrow fern covered ridge separates the two, and the Blue Lake is 60 feet higher than the Green; soon after we reached Wairoa: - an extremely pretty drive. Jan 23rd 1886 Started at 7.45 to visit the Terraces; first we walked down to Lake Tarawera about a quarter of an hour; there we took a boat with four rowers, and Sophie for our guide, a Maori, and rowed across the lake to the end of the Te Ariki arm, about an eight mile row. Then we took off our boots and stockings and walked in slippers about 1 mile to the White Terraces. The first view of it is very striking. We walked to the top, a great part of the way being through the water, on account of which we had taken off our boots, as the water is supposed to destroy leather. Note: The remaining entry for January 23 extends over four pages. A photocopy of the complete entry is available to view.

56 Important, Early & Rare 6:30pm Thursday 10 April 2014

From the top the view looking down is very striking - the water in the pools is a bright milky light blue (opal coloured in places) and there is a certain amount of green growing on one of the terraces, so that the contrasts of colour are very great, and the foreground is such a striking contrast to the ordinary though pretty scenery beyond, which is fern covered hills. The colouring round Lake Tarawera both going and returning was perfect in the sunshine - the different tints of colour were innumerable - a beautiful pink haze over some of the more distant hills April 21st 1886 The Strutts came to lunch. In the afternoon B and I went to Charles Bloomfield’s (sic) studio to see his pictures of the Terraces, and did a little shopping on the way back April 22nd 1886 I went to Mr Bloomfield’s (sic) to try and see him about buying two pictures of the terraces, as he had been out the day before, he was out again. Then we went for a drive through the Ruimera (sic) Valley to the Three Kings which were three isolated hills; we went into the mouth of the cave at Three Kings, we had a good view of the Manuka (sic) harbour which is the harbour opening on to the West Coast. I tried again to see Mr Bloomfield (sic) but he was out. April 23th 1886 Good Friday April 24 1886 We paid up our passeges at the Union Office in the morning, for San Francisco. Then we drove up Mt Eden, and had a splendid view all round; it is an extinct volcano with a beautifully formed crater at the top, grown over with grass. We passed the Governor of New Zealand, Sir William Jervois, on the way down. In the afternoon I went again to Mr Bloomfield’s (sic) and found him at home, and bought two pictures, one of the white and one of the pink terrace, price £8.10.0 each, and he undertook to send them home. The pictures referred to in the diary entry have remained in the same family collection since 1886. They are now on the market for the first time and offered in original gilt frames. Larger images on following pages

The Pink Terrace - O-t큰-kapua-rangi (fountain of the clouded sky) Charles Blomfield has long been recognised as the most popular early New Zealand painter of the Pink and White Terraces. Both these paintings are exceedingly fine works and pre-date the Tarawera eruption. Blomfiled first saw the Terraces during a camping trip in December 1875, and commented that they were exceedingly beautiful and graceful. Returning in 1885 he spent six weeks documenting the Terraces and surrounding landscape in a series of oil paintings. It was reported that by September 1885 orders for paintings had been received and completed from throughout Europe, America, Australia and other places. Early on the morning of 10 June 1886, Mount Tarawera erupted, burying the terraces. Blomfield was heartbroken and decided to see the devastation for himself. He returned to the area in October and painted several scenes of the terrible destruction. A world away, fourteen of his Rotomahana paintings were on display in South Kensington, London at the Colonial and Indian Exhibition. This major exhibition strengthening the bonds of the the British Empire was opened by Queen Victoria and received 5.5 million visitors. Blomfield realised that the paintings he had made of the Terraces were a valuable record, and declined to sell them. He went on to paint and sell scale copies of these works. The prices soon trebled in value.

After 1886 Blomfield continued to travel throughout New Zealand painting pictures of mountains, rivers, lakes and cloud effects, but his greatest love remained the native bush, of which he wrote enthusiastically in his diary. Charles Blomfield died in Auckland in 1926. The Terraces were thought to be buried by the Tarawera eruption of June 1886. Separated by nearly a kilometre, the Pink Terraces were about two thirds of the way down the lake, sheltered from the harsh sun on the western shores, facing south-east. Their pink appearance was largely due to less exposure to sunlight, and therefore less bleaching. Tourists and locals bathed in the luke warm water on the lower level of the Pink Terraces. In February 2011 scientists using robotic underwater vehicles announced that they had found what they believe to be part of the Pink Terrace 60 metres under water in Lake Rotomahana. The White Terrace - Te Tarata (the tattooed rock) The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka Stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached white appearance. The White Terrace was the larger of the two formation, covering in excess of three hectares.

58 Important, Early & Rare 6:30pm Thursday 10 April 2014

SIR PETER SIDDELL

1935 - 2011 A Portrait of Tony and Patsy Acrylic on canvas 120 x 130 Signed & dated 1978

ESTIMATE $120,000 - 140,000

PROVENANCE Acquired by present owners directly from the artist

ILLUSTRATED p. 92 - 95 The Art of Peter Siddell, Godwit Publishing 2010 EXHIBITED Contemporary New Zealand Realist Paintings, Auckland Art Gallery 1979 REFERENCE Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978, the same year A Portrait of Tony and Patsy was painted, he won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.

Through the window can be seen a suggestion of a painting by Don Binney, an artist Patsy and Tony admired. I also included my painting, Avril with Kauri Trees, which they already owned. The house is no longer there but Tony and Patsy still own the painting. SIR PETER SIDDELL p. 92 The Art of Peter Siddell, Godwit Publishing 2010

60 Important, Early & Rare 6:30pm Thursday 10 April 2014

Two Peter McIntyre paintings repatriated from the United Kingdom and on the market for the first time

PROVENANCE LOTS 42 & 43 Collection of the late John and Jill Dawes, Kent, United Kingdom Paintings acquired whilst the Dawes lived in New Zealand from 1957 to 1961. They had sailed to New Zealand onboard Rangitikei in the company of their good friend Lord Cobham, Govenor General of New Zealand from 1957-1963.

PETER MCINTYRE

1910 - 1995 Lake Hayes Oil on board 45.4 x 65 Signed JR Hamerton, Picture Framer and Art Dealer, Lambton Quay, Wellington, label affixed verso ESTIMATE 8,000 - 12,000

62 Important, Early & Rare 6:30pm Thursday 10 April 2014

PETER MCINTYRE

Peter McIntyre loved fly fishing and his frequent sojourns to Lake Taupo meant he often travelled through the central North Island, past the spectacular white cliffs and curving riverbed of the Rangitikei River. The area fascinated McIntyre. So much so, that the cliffs have become one of his most sought after and enduring subjects. In this work McIntyre captures the landscape through broad, confident paint strokes. A similar painting to this featured in a 1998 stamp issue.

1910 - 1995 The Rangitikei River Oil on board 49 x 59 Signed Inscribed verso ESTIMATE 12,000 - 18,000

46 44

64 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHARLES BLOMFIELD 1848 - 1926 Gillies Park, Judges Bay Oil on board 30 x 21.5 Signed & dated 1915 Inscribed verso ESTIMATE 8,000 - 12,000

CHARLES BLOMFIELD

1848 - 1926 Afternoon Stroll, Gillies Park, Parnell Oil on board 24 x 14 ESTIMATE 2,500 - 3,500

CHARLES BLOMFIELD

1848 - 1926 Sunlit Path, Gillies Park, Parnell Oil on board 25 x 15 ESTIMATE 2,500 - 3,500

ALFRED HENRY O’KEEFE

1858 - 1941 On the Banks of the Seine, Paris Oil on canvas 25.8 x 34 Signed & dated 1895 ESTIMATE $4,000 - 6,000

NUGENT WELCH

PETER MCINTYRE

PROVENANCE Artarmon Galleries (Artlovers) label affixed verso

“Out from Alice Springs in the heart of Australia we drove into the desert, into a vista of reds, ochres, and blacks-without-end, where the very hills were worn smooth and round, crouching like animals in the brooding silence”. Peter McIntyre

1881 - 1970 Sunshine & Seascape, Silverstream Watercolour 22 x 32 Signed ESTIMATE $800 - 1,200

1910 - 1995 Tanami Spring Tempera on board 60 x 75 Signed Inscribed verso ESTIMATE $8,000 - 12,000

66 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHARLES DECIMUS BARRAUD 1822 - 1897 Te Terata, Rotomahana Watercolour 24 x 34.5 Signed & dated 1879 ESTIMATE $7,000 - 10,000

68 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHRISTOPHER AUBREY

Circa 1830 - 1902 Lumsden, Southland Watercolour 34 x 65 Signed & dated 1882 ESTIMATE $10,000 - 15,000

Lying in a valley, the historic railway town of Lumsden is a major junction halfway along the north-south road from Queenstown to Invercargill, where it is crossed by the east-west road from Gore to Te Anau. Lumsden was once a major railway junction with lines departing to all four points of the compass. The Kingston Branch from Invercargill ran north-south through the town, while to the west was the Mossburn Branch and to the east was the Waimea Plains Railway that connected with the Main South Line in Gore. Aubrey was known for his early depictions of both North and South Island settlements. He often exchanged his works for lodgings.

ARCHIBALD FRANK NICOLL

ESTIMATE $2,500 - 3,500

ARCHIBALD FRANK NICOLL

ESTIMATE $2,500 - 3,500

DORIS LUSK

DOROTHY KATE RICHMOND

1886 - 1952 “The Oast House” Deans Bush Christchurch Oil on board 30 x 40 Signed

1886 - 1952 Caroline Bay, Timaru Oil on board 29 x 39 Signed

1916 - 1990 Lake Brunner IV Watercolour 29 x 41 Signed ESTIMATE $1,500 - 2,500

MINA ARNDT

1885 - 1926 Mother & Child Charcoal on paper 45 x 36 Signed ESTIMATE $2,000 -3,000

70 Important, Early & Rare 6:30pm Thursday 10 April 2014

1861 - 1935 Ruamahanga Watercolour 24 x 34 Signed & 1927 ESTIMATE $1,000 - 2,000

72 Important, Early & Rare 6:30pm Thursday 10 April 2014

PETER MCINTYRE

1910 - 1995 West Coast Near the Haast Oil on board 60 x 90 Signed ESTIMATE 8,000 - 12,000

PETER MCINTYRE

1910 - 1995 Coastal Scene Oil on canvas 140 x 104 Signed ESTIMATE 12,000 - 16,000

CEDRIC SAVAGE

1879 - 1933 Summer Kos Oil on board 36.5 x 48 ESTIMATE $800 - 1,400 PROVENANCE Private Collection, Wellington

EXHIBITED Cedric Savage Memorial Exhibition, November 1970 McGregor Wright’s, Wellington. Original exhibition label affixed verso

CEDRIC SAVAGE

1879 - 1933 Dusk Over Perdikia Oil on board 40 x 55 ESTIMATE $800 - 1,400 PROVENANCE Private Collection, Wellington

EXHIBITED Cedric Savage Memorial Exhibition, November 1970 McGregor Wright’s, Wellington. Original exhibition label affixed verso

74 Important, Early & Rare 6:30pm Thursday 10 April 2014

HERBERT TORNQUIST

1897 - 1969 John Weeks Photograph 19.5 x 14.5 Signed ESTIMATE $500 - 1,000

JOHN WEEKS

1886 - 1965 St Tropez Oil on canvas 50 x 60

ESTIMATE $6,000 - 8,000

76 Important, Early & Rare 6:30pm Thursday 10 April 2014

LAURENCE WILLIAM WILSON 1850 - 1912 Mt Pembroke Oil on canvas 40 x 60 Signed & inscribed ESTIMATE 5,000 - 8,000

LAURENCE WILLIAM WILSON

1850 - 1912 Hunter Mountains, Lake Manapouri Oil on canvas 89 x 184 Signed & inscribed ESTIMATE 10,000 - 15,000

IVY M COPELAND

JAN NIGRO

ESTIMATE $3,000 - 5,000

1888 - 1961 Untitled Landscape Oil on board 41 x 52 Signed ESTIMATE $1,500 - 2,500

1920 - 2012 Bowl of Roses, 1948 Oil on board 28 x 42.5 Signed Inscribed verso

78 Important, Early & Rare 6:30pm Thursday 10 April 2014

JOHN WEEKS

ESTIMATE $7,000 - 10,000

RAYMOND CHING

1886 - 1965 Le Canal Saint Maurice Oil on board 43 x 53 Certificate of Authenticity from Artistâ&#x20AC;&#x2122;s Estate affixed verso

b. 1939 Barn Owl Watercolour 72 x 54 Signed ESTIMATE $15,000 - 20,000

VERA CUMMINGS

JOHN BARR CLARKE HOYTE

1891 - 1949 Harata Rewiri Tarapata Oil on canvas 34 x 39 ESTIMATE $4,000 - 6,000

1835 - 1919 Blueskin Bay, near Dunedin Watercolour 38 x 30 Signed ESTIMATE $6,000 - 8,000

80 Important, Early & Rare 6:30pm Thursday 10 April 2014

CORA WILDING

WILLIAM GEORGE BAKER

1888 - 1982 Pueblo Indians, Taos, New Mexico Watercolour 29 x 42 Signed ESTIMATE $1,800 - 2,500

1864 - 1929 Porirua Bay Watercolour 35 x 54 Signed & inscribed ESTIMATE $1,500 - 2,500

WILLIAM MENZIES GIBB 1859 - 1937 Sail & Steam Watercolour 32 x 70 Signed & dated 1904 ESTIMATE $1,500 - 2,500

A AUSTEN DEANS

1915 - 2011 Spring Weather, Peel Forest Watercolour 52 x 67 Signed & dated 1997 ESTIMATE $2,500 - 3,500

PROVENANCE Proceeds of this lot to go to Make-A-Wish New Zealand www.facebook.com/makeawishnewzealand

CEDRIC SAVAGE

1901 - 1969 Spanish Village with Sunflowers Watercolour 63 x 49 Signed ESTIMATE $2,500 - 3,500

82 Important, Early & Rare 6:30pm Thursday 10 April 2014

PETER MCINTYRE

1910 - 1995 Waiwera Watercolour 54 x 72 Signed ESTIMATE $12,000 - 16,000

DOUGLAS BADCOCK

1922 - 2009 Shotover River, Queenstown Oil on board 70 x 92 Signed ESTIMATE $4,000 - 6,000

Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the Queen of England's collection and King of Thailand's collection. Douglas was a Kelliher Art Award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award. Badcock held his first exhibition in Wellington in 1960, selling out within two days. A review at the time described him as 'a realistic painter and absolutely sincere with a natural talent and a high technical standard ... A master of the New Zealand landscape, he paints New Zealand as he sees it'.

84 Important, Early & Rare 6:30pm Thursday 10 April 2014

DOUGLAS BADCOCK

1922 - 2009 Above the Rapids Oil on board 55 x 76 Signed ESTIMATE $4,000 - 6,000

Badcock produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji. In a Listener article in 2004, Mr Badcock said: I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I'm painting I let the subject reveal itself. Picasso said I don't seek, I find. And finding is a revelation - intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there's no vision, if we don't see beauty in nature any more, then we're nowhere. Badcock died in 2009.

DOUGLAS BADCOCK

1922 - 2009 Evening at Papatowai Inlet Oil on board 40 x 50 Signed & dated 1963 ESTIMATE $2,000 - 3,000

1922 - 2009 Early Autumn, from Green to Gold Kawarau Gorge, Wakatipu District Oil on board 35 x 47 Signed & dated 1975 ESTIMATE $2,000 - 3,000

86 Important, Early & Rare 6:30pm Thursday 10 April 2014

TOM ESPLIN

1915 - 2005 Vaucluse, France Oil on board 41 x 44 Signed ESTIMATE $4,000 - 6,000

VERA CUMMINGS

1891 - 1949 ‘Maria’ Maori Maiden Oil on canvas 26 x 20.5 Signed ESTIMATE $4,000 - 6,000

88 Important, Early & Rare 6:30pm Thursday 10 April 2014

WILLIAM GEORGE BAKER

1864 - 1929 Lake Te Anau Oil on canvas 59 x 90 Signed ESTIMATE $4,000 - 6,000

JOHN DOUGLAS PERRETT

1859 - 1937 A September Morning Oil on canvas 34 x 50 Signed & dated 1894 ESTIMATE $6,000 - 8,000

EDWARD MCLEOD

1881 - 1973 Union Company Steamer & Manukau Bar ~ A Pair Oil on canvas 45 x 71 ESTIMATE $1,500 - 2,000

90 Important, Early & Rare 6:30pm Thursday 10 April 2014

CHARLES WILLIAM FOSTER

HENRY FREER RAWSON

1840 - 1920 Orua Bay Oil on board 43 x 84 Signed, inscribed & dated 1906 ESTIMATE $1,000 - 1,500

1839 - 1879 Mt Egmont Watercolour 30 x 49 Signed & dated 1876 ESTIMATE $1,000 - 2,000

WILLIAM BINZER

German working 1870 - 1900 The Pink Terrace, Rotomahana Oil on board 45 x 63 ESTIMATE $1,000 - 1,500

MAY MCCLELLAN

19th Century White Terraces Oil on board 52 x 69.5 Signed ESTIMATE $1,000 - 1,500

92 Important, Early & Rare 6:30pm Thursday 10 April 2014

HARRY VYE MILLER

1907 - 1986 Evening Glow, Lawrence Watercolour 27 x 19.5 Signed & dated 1945. Inscribed verso ESTIMATE $500 - 800

JOHN LOXTON

1903 - 1969 The Covered Wagon Watercolour 24 x 37 Signed ESTIMATE $1,800 - 2,500

ARTIST UNKNOWN

VERA WHITEMAN

FELIX KELLY

WILLIAM MENZIES GIBB

Thank you - End of Sale

Xmas Eve at the Front, 1916 Oil on canvas 62 x 81 Signed illegibly Inscribed & dated 1916 verso ESTIMATE $2,000 - 5,000

1914 - 1994 Grantham House Ink drawing on paper 18 x 27 ESTIMATE $800 - 1,200 PROVENANCE Patridge Fine Arts Ltd, London Gallery label affixed verso

1873 - 1952 Draft Horses Oil on canvas 34 x 54 Signed ESTIMATE $3,000 - 5,000 1859 - 1937 Egmont Watercolour 48 x 31 Signed ESTIMATE $800 - 1,200

J Keulemans watercolour

Paul Dibble bronze

Vincenzo Coronelli map

Marcus King travel poster

Edwin Harris painting

Rare, unique and interesting artworks, such as the ones shown here, are adding interest to the sale room and selling well at auction. Talk to us today about selling that unusual or unique piece. Richard Thomson E. richard@artcntr.co.nz M. 0274 751 071 Anton Seuffert book stand

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Experience Equals Results L J Steele circular watercolour

J M Whistler engraving

Roy Good diptych

Trevor Lloyd etching

Len Castle bowl

94 Important, Early & Rare 6:30pm Thursday 10 April 2014

Colin McCahon print

Colin M

Felix Kelly painting

Len Castle branch pot

Pat Hanly lithograph

Early Maori photo

E Mervyn Taylor linocut

Peter Oxborough sculpture

Freda Simmonds

Gordon Walters scre

Robin White screenprint

McCahon booklet

eenprint

Josiah Martin photograph

Len Castle bowl

Pink Terrace geological specimen

Paul John Beadle bronze John Philemon Backhouse

Jospeph Gaut painting

Use our free online appraisal at www.internationalartcentre.co.nz Goldie in studio photograph

Trevor Moffitt painting

Charles Sillem Lidderdale

van der Velden photo

Maritime Painting by Frank Barnes

95 Hocken Library poster

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96 Important, Early & Rare 6:30pm Thursday 10 April 2014

Gabryel Harrison EXHIBITION FROM 15 MAY

Extravagant Ruby

Rose Arpeggio

Oil on canvas 64 x 86 cm

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Elizabetha Oil on canvas 90 x 80 cm

Enquiries Email fran@ar tcntr.co.nz + 64 9 366 6045 Adele Oil on canvas 110 x 60 cm

98 Important, Early & Rare 6:30pm Thursday 10 April 2014

Autumn Oil on canvas 110 x 60 cm

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Recent Prices Realised Contemporary & Collectable held 27 February 2014 & Important, Early & Rare held 20 November 2013 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium 27 February 2014 Contemporary & Collectable Art Lot Result 1 $3,000 2 $1,700 3 $9,000 4 $6,500 5 $850 8 $1,600 9 $525 10 $875 11 $1,600 15 $11,500 19 $12,000 22 $2,500 24 $3,000 25 $8,000 26 $1,200 30 $1,000 31 $1,850 32 $550 33 $850 34 $3,750 35 $2,600 37 $1,200 38 $1,800 39 $4,500 41 $2,800 42 $7,500 43 $500 44 $600 45 $550 46 $1,000 48 $2,600 49 $5,000

51 $550 52 $3,600 53 $1,500 54 $800 55 $750 56 $1,800 57 $750 59 $8,000 60 $2,500 61 $1,650 62 $1,200 63 $600 64 $2,500 65 $1,100 66 $700 68 $700 70 $1,050 71 $2,500 72 $500 73 $500 74 $5,000 75 $1,100 76 $700 78 $300 79 $500 80 $500 81 $2,200 82 $600 83 $650 84 $1,900 85 $2,000 86 $10,500 87 $500 88 $1,750 89 $7,500 90 $2,700

91 $900 92 $1,800 93 $800 96 $700 97 $700 98 $4,500 100 $2,500 101 $1,300 103 $1,250 104 $800 105 $1,450 106 $550 107 $250 108 $1,200 109 $600 110 $500 111 $850 112 $925 113 $550 114 $1,500 115 $1,450 116 $1,300 117 $4,250 118 $500 120 $20,000 121 $2,500 122 $400 124 $3,500 126 $2,600 127 $4,000 129 $800 130 $800 131 $1,300 132 $850 134 $3,000 135 $1,500

100 Important, Early & Rare 6:30pm Thursday 10 April 2014

136 $500 137 $400 138 $300 139 $950 140 $1,100 141 $1,300 144 $800 145 $800 149 $450 150 $750 151 $450 154 $850 155 $500 156 $650 157 $2,100 158 $400 159 $350 160 $3,500 161 $450 163 $300 164 $1,100 165 $1,300 166 $1,100 167 $420 168 $650 169 $900 170 $1,500 171 $2,400 172 $700 173 $1,600 174 $300 176 $280 178 $340 180 $650 181 $500 182 $200

184 $540 185 $640 186 $500 187 $180 188 $230 190 $1,100 192 $280 193 $400 195 $300 196 $300 197 $310 198 $450 200 $600 201 $1,000 204 $200 205 $200 206 $100 November 20 2013 Important, Early & Rare Lot Result 1 $4,500 2 $4,000 3 $4,800 4 $3,300 5 $8,000 7 $700 8 $5,500 10 $10,000 11 $1,200 12 $3,500 14 $800 16 $13,000 17 $5,250 18 $18,000

20 $1,400 21 $1,600 22 $3,400 23 $5,500 27 $21,500 28 $145,000 29 $10,500 30 $3,000 31 $2,000 32 $16,000 35 $65,000 36 $625,000 37 $10,000 38 $161,500 41 $25,000 42 $20,000 46 $17,000 48 $22,000 49 $5,900 50 $2,500 52 $775 53 $2,500 54 $9,000 58 $4,800 59 $5,100 60 $8,500 61 $1,300 62 $3,000 63 $5,000 64 $13,500 65 $7,000 66 $3,200 67 $3,000 68 $2,200 69 $1,200 70 $700

71 $1,000 73 $1,200 74 $600 75 $6,000 78 $2,000 79 $1,000 83 $9,500 84 $3,200 86 $3,800 87 $2,000 88 $1,300 89 $2,500 90 $1,000 91 $6,000 92 $800 95 $2,200 97 $4,700 98 $2,400 100 $1,800 101 $2,750 102 $6,500 103 $1,650 104 $600 105 $1,300 106 $2,800 107 $1,750 109 $800 110 $5,000 111 $3,750 114 $300 116 $3,000 117 $900 118 $1,700 120 $1,200

Index ALBRECHT G.............................................................19

HOYTE J B C..............................................................70

SIDDELL P............................................................26, 41

ARNDT M..................................................................52

KELLY F...................................................................5, 92

SPENCER BOWER O...................................................4

AUBREY C.................................................................51

LOXTON J.................................................................93

STEVENSON M............................................................9

BADCOCK D................................................77, 79, 80

LUSK D.......................................................................55

STRINGER T ...............................................................23

BAKER W G.........................................................72, 83

MADDOX A................................................................8

SUTTON W A.............................................................10

BARRAUD C D .........................................................50

MCCAHON C..........................................................20

TAPPER G............................................................15, 16

BINNEY D.....................................................................3

MCCLELLAN M.........................................................89

TOLE J.........................................................................7

BINZER W...................................................................88

MCINTYRE P....................32, 39, 42, 43, 49, 57, 58, 76

TORNQUIST H H........................................................61

BLOMFIELD C..........................................40, 44, 45 ,46

MCINTYRE R........................................................30, 31

UNKNOWN ARTIST....................................................91

BULLMORE E.............................................................37

MCLEOD E................................................................85

WAKELIN R................................................................12

CHING R.............................................................21, 68

MILLER H V................................................................90

WEEKS J .............................................................62, 67

COPELAND I M.........................................................65

NICOLL A F.........................................................53, 54

WELCH N..................................................................48

CUMMINGS V.....................................................69, 82

NIGRO J..............................................................18, 66

WHITE R.....................................................................29

DEANS A A...............................................................75

O’KEEFE A H.............................................................47

WHITE A L............................................................13, 14

ESPLIN T.....................................................................81

PAGE E................................................................27, 33

WHITEMAN V............................................................94

FOSTER C W..............................................................86

PALMER S..................................................................17

WILDING C...............................................................71

GIBB W M ...........................................................73, 95

PERRETT J D...............................................................84

WILSON L W........................................................63, 64

GOLDIE C F..................................................34, 35, 36

RAWSON H F.............................................................87

WONG B...................................................................28

HENDERSON L..........................................................22

REES L F.....................................................................11

WOOLLASTON T.................................................1, 2, 6

HODGKINS F.............................................................38

RICHMOND D K.......................................................56

HOTERE R............................................................24, 25

SAVAGE C.....................................................59, 60, 74

www.fineartauction.co.nz

101

Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 11 April 2014 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.

102 Important, Early & Rare 6:30pm Thursday 10 April 2014

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not accepted. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 17.25% including GST) www.fineartauction.co.nz

Notes

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