IMPORTANT & RARE ART AUCTION 9 APRIL 2019

Important & Rare Art

Auction 7:00pm Tuesday 9 April 2019

Lot 34 Alfred Sharpe

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Lot 25 Max Gimblett

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Important & Rare Art 7:00pm Tuesday 9 April 2019 at 202 Parnell Road Auckland

AUCTION contacts Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mobile 0274 751071 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz Viewing times p. 5 Conditions of Sale p. 139 Absentee bids p. 135 Telephone bid form p. 135 Internet bidding via liveauctioneers.com Auction streams live on Facebook Front cover illustration: Lot 48 Back cover illustration: Lot 10 lllustrated left: Lot 25

202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz

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Lot 29 Mervyn Williams

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Important & Rare Art 7:00pm Tuesday 9 April 2019 at 202 Parnell Road Auckland

Viewing exhibition times International Art Centre, 202 Parnell Road, Auckland Wednesday

3 April

9:00am - 5:30pm

Thursday

4 April

9:00am - 5:30pm

Friday

5 April

10:00am - 5:30pm

Saturday

6 April

10:00am - 4:00pm

Sunday

7 April

11:00am - 4:00pm

Monday

8 April

9:00am - 5:30pm

Tuesday

9 April

9:00am - 3:00pm

Auction commences 7:00pm Tuesday 9 April Please join us for pre-auction refreshments from 6:00pm on evening of sale

Parking During Viewing: Allocated carparks located directly behind International Art Centre

Parking During Auction: Upper and lower carparks at rear of International Art Centre Further parking at St John’s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre

202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz

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E U RO P E A N

JOURNEYS

ASTONISHING ART

A TRAILBLAZING NEW ZEALAND WOMAN

SAT 4 MAY — SUN 1 SEP 2019 a t auckland art gallery toi o tāmaki

BECOME A MEMBER TO ENJOY FREE U NLIMITED ENTRY

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7 Frances Hodgkins Wings over Water (detail) 1931–1932 Leeds Art Gallery, Leeds Museums and Galleries, gift from the Contemporary Art Society, 1940

IMPORTANT & RARE ART Peter McLeavey and Don Binney with Mapua crossing Cuba Street - Dominion, 23 September 1971

Auction: August 2019

TOSS WOOLLASTON Mapua, 1971 Realised *$168,900 April 2018

ENTRIES INVITED NOW

Confidential no obligation appraisals Richard Thomson richard@artcntr.co.nz Phone +64 9 379 4010 Mob. 0274 751 071

Important & Rare Art auctions are our proven, pre-eminent sale category for major works of art offered for sale in New Zealand

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ENTRIES INVITED NOW DON BINNEY Shag and Vehicular Ferry Realised *$416,000 August 2018

CHARLES FREDERICK GOLDIE Te Hei A Chieftainess of the Ngati Raukawa Tribe * price includes buyers premium Sold for $594,000 - Important & Rare Art April 2018 From the Dame Kiri Te Kanawa Collection

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HIGHLIGHTS FROM FEBRUARY 2019

MODERN & CONTEMPORARY ART

Brendan McGorry realised $7,207 - new auction record

Bill Hammond lithograph realised $7,808

Ralph Hotere realised $5,405

Jack Trolove realised $11,530 - new auction record * Prices include buyers 10 Important & Rare Art premium 9 April 2019

Full results www.fineartauction.co.nz

Don Binney multiple realised $4,925

MODERN & CONTEMPORARY ART AUCTION: may 2019 / CONSIGN NOW International Art Centre is currently accepting entries for May’s Modern & Contemporary Art Auction Works will span the vital period from mid-century modernism through to the cutting-edge of today’s Contemporary art in New Zealand.

This sale category is an increasingly significant event in our auction calendar.

ENTRIES INVITED NOW Contact Richard Thomson richard@artcntr.co.nz Phone +64 9 379 4010 Mob. 0274 751 071 Maggie Skelton maggie@artcntr.co.nz

ROY GOOD Optical Diamonds - Tapestry, 2014 (detail) Acrylic on canvas 116.6 x 191

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HIGHLIGHTS FROM FEBRUARY 2019

COLLECTABLE ART

Peter Beadle realised $3,840 Douglas Badcock realised $2,160

Don Hill realised $1,920 Ross Lee realised $3,360

Algeron Newton realised $9,009

Mark Cross realised $9,009 * Prices include buyers premium Full results www.fineartauction.co.nz

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COLLECTABLE ART AUCTION: JUNE 2019 / CONSIGn now

CEDRIC SAVAGE Fiji (detail) Oil on board 24 x 28.5cm To consign contact: Maggie Skelton maggie@artcntr.co.nz Luke Davies luke@artcntr.co.nz Phone +64 9 379 4010

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JOHN COBURN

Australian 1925 - 2006 Creature

Gouache on paper 57 x 76.5 Signed

Signed, inscribed Paris & dated 1971 verso

$4,000 - 6,000

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IAN SCOTT Drawing No. 13 Acrylic on paper 50 x 50 Signed, inscribed & dated 1981 verso $3,000 - 5,000

PETER SIDDELL Porch Oil on board 52 x 38.5 Signed & dated 1975 $8,000 - 12,000

Provenance:

Purchased directly from artist, 1975 2

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ANN ROBINSON Pedestal Bowl, 1989 Blue pate de verre cast glass 14 x 36 $7,000 - 10,000

Provenance:

Purchased directly from

artist in 1989

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TERRY STRINGER Do Be You Cast bronze, edition 19/20, 12 x 6.5 Signed, inscribed & dated 2018 $800 - 1,400

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ANN ROBINSON Vase of Flowers 6 hand blown glass sculptured flowers in a clear glass vase 38 x 34 $4,000 - 6,000

e mervyn taylor Petunia & Tom Linocut, edition of 55, 41 x 28 Signed & inscribed $1,500 - 2,500

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ALLEN MADDOX

Untitled

Watercolour and acrylic on paper 75 x 55 Signed

$4,000 - 6,000

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PETER PERYER New Zealand 15.3.1991 Gelatin silver print 42.7 x 27.8 Signed & inscribed $5,500 - 7,000

Exhibited:

Peter Peryer, Gow Langsford Gallery,

Auckland, 1992

Paradise Now?: Contemporary Art

from the Pacific, Asia Society Museum,

New York, 2004

New Zealand Photography Collected,

Te Papa Tongarewa,

Wellington, 2015 - 2016 9

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A PRIVATE COLLECTION OF WORKs BY PETER STICHBURY LOTS 10 - 13 10

PETER STICHBURY

Anna Paquin, 2004 Acrylic on linen 60 x 50 Signed & dated 2004 verso $40,000 - 60,000

Provenance:

Illustrated cover Pavement, Issue

66, Summer 2004/05

Painting & issue launched at Starkwhite, 2004

p. 53 The Alumni: Peter Stichbury,

Te Tuhi Centre for the Arts, 2010

Exhibited:

The Alumni: Peter Stichbury,

Te Tuhi Centre for the Arts

12 July – 21 September 2008

Dunedin Public Art Gallery

29 November – 22 February 2009

This lot is to be sold with: A copy of Pavement magazine Summer 2004/05 issue #66 An A2 poster of the cover A copy of The Alumni: Peter Stichbury, Te Tuhi Centre for the Arts, 2010

Once upon a time, Peter Stichbury had his studio in the same High Street office building as Pavement magazine. They admired each other’s work, with a number of early Stichbury subjects drawn from the pages of Pavement. This led to a decision to collaborate on a painting for the cover. The issue was chosen – Pavement’s second Special Local Talent Issue. The subject agreed upon: Academy Award winning star of The Piano, Anna Paquin.

A photo shoot by acclaimed expatriate photographer Regan Cameron was arranged with Paquin in New York City.

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Pavement magazine cover, issue 66

Based on these images, Stichbury produced a beautiful acrylic on linen portrait of the elusive yet enduring actress. Stichbury himself features in the pages of the aforementioned Pavement issue. He is pictured holding his cat in front of a blank canvas, shortly before commencing work on the Paquin portrait. This is that painting. A one-of-a-kind Stichbury, never before offered for sale. It comes with the accoutrements of collaboration: the Summer 2004/05 issue of Pavement and an A2 poster of the cover, along with a book featuring the Anna Paquin painting and a discussion of the artwork.

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Akin to a modern Steptoe, Peter Stichbury plunders identities and ideas from magazines, the internet, popular culture and his childhood to develop a body of work that explores, interprets and reflects the nature of identity. Contrary to common opinion, Stichbury’s stunning paintings, art prints and sketches of gorgeous waifs and nerdy yet strangely cool boys or professors aren’t merely the musings of an artist obsessed with surface aesthetics.

Whilst fascinated by appearances, his interest cuts deeper and a little darker. Stitchbury’s talent lies in making beautiful people look interesting and interesting people look beautiful. And it’s proving

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lucrative, at least for the collectors. Furthermore, the American market is sitting up and taking notice, a fact reinforced by several appearances of his work at the influential annual ArtLA fair and the burgeoning fanfare enjoyed through his NYC dealer, to the point where new works are rarely available in his home country these days. It’s gratifying that collectors who supported the work early on can benefit from their investment, Stichbury, who graduated from Elam School of Fine Art in 1997, the same year he won the James Wallace Art Award, reflected a decade ago.

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PETER STICHBURY

Glister, 2008

Giclee print on Ilford Gallerie gold

paper 27 x 23,

edition 26/100

Signed & dated 2008

$3,500 - 5,000

Provenance: Private Collection

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PETER STICHBURY

Penny Pickard, 2005 Pencil on Schoeller Durex paper 29 x 20.5 Signed, inscribed & dated 2005 $4,000 - 6,000

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Provenance:

Private Collection

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PETER STICHBURY

P.P. (Penny Pickard), 2005 Pencil on paper 47 x 37 Signed, inscribed & dated 2005 $5,000 - 7,000

Provenance:

Produced by Stichbury for Pavement

magazine t-shirt 2005

(edition of 100 t-shirts printed in

blue, grey or white)

This lot to be sold with: Blue ‘Penny for Pavement’ by Peter Stichbury t-shirt (size M)

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ELIZABETH THOMSON Study for Consuegra, 2008 Patinated bronze and oil paint on white board 60 x 122 Signed, inscribed & dated 2008 verso $8,000 - 12,000

Sir Peter Siddell’s paintings breathe the suburbs of Auckland. Siddell was born in Auckland in 1935 and attended Mount Albert Grammar. He initially worked as an electrician and then a teacher but after his 1972 sellout solo exhibition at Moller’s Gallery in Auckland he took up painting full time.

He went on to become one of New Zealand’s most admired painters with works in most public and corporate collections.

In 1978 he won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.

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PETER SIDDELL King Edward Parade, Devonport Oil on canvas 52.5 x 42 Signed & dated 1990 $30,000 - 40,000

Provenance:

Private Collection, Auckland

Purchased directly from artist, 1992

In 1991 Siddell received a Queens Service Order (QSO). He was made a Distinguished Companion of the New Zealand Order of Merit for services to art in 2008, an honour that was redesignated as Knight Companion of the Order in 2009.

A 290 page book The Art of Peter Siddell by Peter Siddell was published in 2011.

Siddell passed away in October 2011 in Auckland.

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PAT HANLY Inside the Garden No. 29 Watercolour & pastel on paper 53.7 x 53 Signed, inscribed & dated 1968 $8,000 - 12,000

Provenance:

Private Collection

Current owner acquired directly from artist

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JOHN WALSH Migrating Koru Oil on board 75 x 112 Signed, inscribed & dated 2005 verso $15,000 - 18,000

Provenance:

Purchased from exhibition titled

John Walsh, John Leech Gallery, 2005

Original label affixed verso

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RALPH HOTERE Love Poem, Warren Dibble ‘69 Watercolour 70 x 50 Signed, inscribed & dated 1972 $10,000 - 20,000

Provenance:

Private Collection, since 1972

Acquired directly from artist

Let me live, on your wrist Hood me with a habit Spun of your love And I shall fly No Hawk but an Icarus To the darkness inside your sun Warren Dibble

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RALPH HOTERE Your Absence, Bill Manhire, 1972 Watercolour 70 x 50 Signed & inscribed $10,000 - 20,000

Provenance:

Private Collection, since 1972

Acquired directly from artist

Your absence is a hurt I would bring to no one: It is a place for entertaining friends and waiting I shall always ask you in Bill Manhire

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RALPH HOTERE Black Rainbow Oil stick on paper 65 x 50 Signed, inscribed Port Chalmers & dated 1991 $15,000 - 20,000

Hotere’s Black Rainbow series was originally conceived in the 1980s: these paintings comprised a didactic and elementally mournful response to the bombing of the Rainbow Warrior.

Several years later, in the early 1990s, Hotere renewed his engagement with the subject of the Rainbow Warrior and produced this newer version of Black Rainbow. Into that icon of hope and protest, the artist once again poured the black stickiness of pigmented tar, draining the rainbow of all life. But most strikingly, the return to form this time involved an infusion of colour into which he has added blue, brown, red and gold.

Through Black Rainbow, we are able to encounter the raw spirit of the artist as activist and protestor.

Perhaps as a result of the circumspection offered by time, the work has been conceived through a more abstract lens than those earlier works. Religious imagery such as the dove and Sacred Heart have been replaced by more subtle deployments of geometric form: take the golden rectangle which brushes the upper-right edge of the canvas. This is the Rainbow Warrior itself, now a ghost ship, buoyed along by a neat red horizon of blood.

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RALPH HOTERE Queenstown Watercolour and ink on paper, 37 x 55 Signed, inscribed Hills Across Frankton Arm from McQueen’s Place & dated May, 1975 $8,000 - 12,000

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JAN NIGRO

Children of the Pioneers

Tempera on paper 50 x 30 Signed

$3,000 - 5,000 Provenance:

Private Collection, Wellington Exhibited:

The Pioneers, Jan Nigro Solo Exhibition

John Leech Gallery, Auckland, 1965

On Journey’s, Jan Nigro

Tinakori Gallery, Wellington, 1993

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BUCK NIN

Untitled

Acrylic on canvas 185 x 139 Signed

$25,000 - 35,000 Provenance:

Buck Nin Estate Collection 22

Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori Art. Dr Buck Nin's work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.

Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style

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of painting, his teaching, and his willingness to work with people from all walks of life. Buck was a larger than life person not only because of his physical size but also because of his considerable intellect, his energy, his powerful and often large paintings and his commitment to the development of art and its people.

The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, spread across a minimalist landscape, like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth Papatuanuku.

History will show him as one of Maoridom's and subsequently New Zealand's great contemporary artists...

Friend and fellow artist, Darcy Nicholas

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GARTH TAPPER Reunion of the Bohemians, Puhoi Rauner & Tolhopf Oil on canvas 72.5 x 98 Signed & dated 1986 $15,000 - 20,000

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MAX GIMBLETT The Bite of the Golden Snake Gesso, acrylic & vinyl polymers, epoxy, oil size, lemon gold leaf, clear acrylic overcoat on canvas 63.5 x 63.5 Signed, inscribed & dated 2011 verso $18,000 - 26,000

Exhibited: Word of God, Max Gimblett - The Sound of One Hand, September - November, 2011 The Andy Warhol Museum, Pittsburgh, PA, USA

Provenance:

Private Collection, Northland

Andy Warhol Museum,

Pittsburgh, PA, USA, label affixed verso

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MAX GIMBLETT Nugget Acrylic polymer, 23.5 k gold & copper on canvas 54 x 54 Signed, inscribed & dated 1988 verso $10,000 - 15,000

Provenance:

Purchased 1997, Gow Langsford Gallery

Original gallery label affixed verso

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MICHAEL SMITHER Blue Mast II (Okahu Bay) Oil on board 120 x 62 Signed & dated 1998 $18,000 - 25,000

Provenance:

Purchased, John Leech Gallery,

Auckland 1998

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NEIL DAWSON Sphere, Cone, Cylinder, 1999 Painted steel sculpture 100 x 210 $50,000 - 75,000

Neil Dawson b. 1948 is a prominent New Zealand sculptor of international standing. His work emphatically echos aspects of this nation’s sociocultural environments and, literally, elevate these in spatial celebrations that are at once accessible and challenging.

His best known works are large-scale civic pieces crafted from aluminium and stainless steel, often made using a lattice of natural forms which between them form a geometric whole. Dawson attended the University of Canterbury (1966–1969) where he studied under Russ Williams, Tom Taylor and Eric Doudney. He gained a Diploma of Fine Arts and then spent a year at teachers’ college. This was followed, with the help of a Queen Elisabeth II Arts Council grant, by a Graduate Diploma in Sculpture from the Victorian College of the Arts, Melbourne, in 1973.

On his return, Dawson taught drawing and design at Christchurch Polytechnic from 1975 to 1983.

Dawson’s best-known pieces include The Chalice, a large inverted cone in Cathedral Square, Christchurch, and Ferns, a sphere created from metal fern leaves which hangs above Wellington’s Civic Square.[4] Major overseas commissions include Globe, for the Pompidou Centre in Paris, and Canopy, for Brisbane’s Queensland Art Gallery.[3] Dawson’s smaller works often use illusion and such optical patterns as moiré to achieve their effects. Many of these works are wall-hangings, though stand-alone pieces using such everyday patterned items as the forms of playing cards and willow pattern crockery are also among Dawson’s works.

Dawson has worked as a full-time sculptor since the late 1980s. In 2003, he was awarded the Arts Foundation of New Zealand Arts Laureate.

Dr. Michael Dunn, Emeritus Professor at the University of Auckland and a former head of Elam School of Fine Arts, describes Dawson in his book New Zealand Sculpture : A History: Dawson’s sculpture is individual, unique and easy to recognise. In fact his sculptures flout convention in their lightness of feel, their transparency and their escape from the conventions of earthbound pedestalbased display.

Dawson’s epic sculpture Fanfare was first suspended from the Sydney Harbour Bridge to welcome the 2005 year. The sculpture is made up of 350 reflective pinwheels arranged in a sphere. Sydney’s Lord Mayor, Clover Moore, subsequently presented the sculpture to the Christchurch City Council as a gift. After a long time in storage, it was eventually decided to install Fanfare next to State Highway 1 just south of the Waimakariri River Bridge to welcome visitors coming to the city from the north. Fanfare was officially unveiled on 10 June 2015 by mayor Lianne Dalziel and Dawson. Dalziel, with reference to Fanfare’s first installation in Sydney and to the destructive Christchurch earthquakes, said at the ceremony: Today feels like it’s come home and it’s really going to be a big statement about what our city is and what it’s going to become.

Dawson was more humble and described his artwork as basically just a ball with some propellers on it.

Sphere, Cone, Cylinder, 1999 is one of the most ambitious of the artist’s practice to appear on the secondary market. Each piece is individually painted on the inside - Sphere - blue, Cone - gold, and Cylinder - red. The laser-cut, steel sculpture appears to defy gravity and the weightiness of the medium. It poses ever-shifting perspectives as each co-opts the space and light in and around it, playing visual tricks with shadow, perspective, and volume. The fine detailing is drawn from sources as diverse as porcelain patterns, building materials and flora and fauna.

It has been held in private ownership since 1999.

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MERVYN WILLIAMS Integration One Acrylic on canvas 132 x 112 Signed, inscribed & dated 1998 verso $6,000 - 9,000

NEIL DAWSON Wall/Ball, 1985 Wire & plastic sculpture 82 x 46.5 Signed, inscribed & dated 1985 on lid of artist made travel case $8,000 - 12,000

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JOHN EDGAR

Flying Cross, 1997

Three granite & marble sheets 56 x 99

Signed artist’s certificate affixed verso

$7,000 - 10,000

Provenance:

Private Collection, Auckland

Exhibited:

John Edgar: Lie of the Land

Touring Exhibition 1998 - 1999

Auckland Museum

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DICK FRIZZELL Backyard Painting, 1981 Oil on hardboard 90 x 65.5 Signed & dated 2/2/81 $10,000 - 15,000

Provenance:

Gow Langsford Gallery, Auckland

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MAX GIMBLETT The Stillness of the Self Gesso, acrylic and vinyl polymers, fluorescent on canvas 63.5 x 63.5 Signed, inscribed & dated 2012 verso $15,000 - 20,000

Provenance:

Nadene Milne Gallery label affixed verso

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ALFRED SHARPE Auckland Domain Watercolour 44 x 63 Signed & dated 1877 $40,000 - 60,000

Provenance:

Commissioned by the late

Thomas Bannatyne Gillies in 1877,

held in the same family collection since In this historical watercolour of a 19th Century Auckland Domain both artist, Alfred Sharpe and patron, Thomas Bannatyne Gillies were united in their affection and vested interest relating to Auckland’s oldest park and its surrounds.

Scottish born Thomas Bannatyne Gillies (1828 -1889) settled in Otago in 1854. An articled solicitor who had practiced law in Manchester, Gillies tried his hand at farming in Warepa, only to return the profession he was better suited to. Turning his talents to politics he was elected to the House of Representatives. In 1865 Gillies moved to Auckland and was elected to the House of Representatives for Auckland City East.

At one time he held the post of Superintendent of Auckland and in 1875 succeeded Sir George Arney as Judge of the Supreme Court for the Northern District.

Beyond his public career, Gillies was a man of wide and varied interests. In 1868, with Professor Hutton and J. C. Crawford, he founded the Auckland Institute, later donating £500 towards purchasing the site for Auckland Museum. Around 1866 Gillies was overseeing the construction of a palatial home, Rocklands Hall situated at 187 Gillies Avenue (named after him). Set in what was then open farmland, Rocklands Hall was once a centre for hunting on horseback. The major addition of a ballroom was made in 1889 and Gillies imported many exotic trees and plants for the gardens. Today the ‘grand old dame’ designed by architect John Currie (1849 - 1919) is a student hostel.

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In commissioning Alfred Sharpe (1836 - 1908) to paint Auckland Domain, Gillies exhibited sound judgement. By the 1870’s Sharpe was acknowledged as one of he colony’s leading artists. In 1858 he had emigrated from England, arriving in Auckland where he eventually settled. During the 1870s Alfred Sharpe exhibited large-scale watercolours with the newly founded Auckland Society of Artists and at venues in Wellington, Sydney and Melbourne.

The Auckland Domain was a familiar and favoured subject of the artist and in March 1877 an article in the Star newspaper reports: Mr Alfred Sharpe has added a beautiful and highly-finished picture of the ‘picnic ground in the Domain’ …… the picture does the artist great credit …’ Writing to a Melbourne based colleague in October 1878 Sharpe says: I have been fully occupied during my spare time since our last exhibition, last November - 1877 - in painting to orders.

In the Gillies commission we see Sharpe at his distinctive best, the viewer partakes of a timeless Victorian scene set in what was destined to become one of Auckland most important landmarks. This is a historical work of consequence.

Reference: The Art of Alfred Sharpe - Roger Blackley Auckland City Art Gallery / Bateman 1992

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It was Morris’s incredibly close contact with his subject and deep understanding of their design that enabled him to paint flowers as if they were people – with a mood and personality.

Lawrence Hendra, art historian, Director at Philip Mould & Company, and specialist on the Antiques Roadshow

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CEDRIC MORRIS

British 1889 - 1982 Flowers in a Blue Vase Oil on canvas 44.5 x 61 Signed & dated 1942 $170,000 - 260,000

Provenance: Clement Butson Esq, purchased from The Leicester Galleries, London Above named on original purchase label affixed verso Ernest Brown & Phillips label affixed verso Purchased from Abbott and Holder, London, c. 1968, by New Zealand owner

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Cedric Morris was a painter of the natural world and one of the twentieth century’s most original British artists. Born in South Wales, he was the son of George Lockwood Morris (later Sir George Lockwood Morris, 8th Baronet) and Wilhelmina (née Cory). The Morris family rose to prominence in Swansea in the mid-18th century through their success in the copper smelting business.

collected and loved to paint, all co-existed under the one roof. In 1928 Morris represented Britain at the Venice Biennale. Later that year, a major solo exhibition of his work was held by prominent London dealers, Arthur Tooth & Sons. The show was a resounding success and a complete sellout. Morris’s position as a leading British painter of the day was firmly established.

In 1909 at 19 years of age, after failing examinations to join the army, Morris travelled to Port Nelson Canada, returning to Wales in 1910. He enrolled at the Royal Academy of Music, London but by 1914 was following his true passion and studying art at the Académie Delécluse in Montparnasse. Paris was an incredibly exciting place for a young artist to be, but all of this changed with the outbreak of war. Morris returned to London where he worked in the Remount Service which trained horses to serve on the front line. At an Armistice Day party in 1918 Morris met his life-long partner, Arthur Lett-Haines (1894–1978), known as Lett. In 1919 they moved to Newlyn in Cornwall, retaining a London base by sub-leasing New Zealand expatriate artist, Frances Hodgkin’s studio in Kensington. In that year Morris painted a watercolour portrait of Frances Hodgkins and a long friendship ensued which lasted until her death. Morris’s 1928 oil portrait of Frances Hodgkins hangs in the Auckland City Art Gallery, and hers of him, Man with a Macaw 1930, hangs in the Towner Art Gallery, Eastbourne.

By 1930 a yearning for the countryside and a quieter life saw Morris and Lett leave London to live at Pound Farm in Suffolk. It was here that Morris painted some of his most important still-life works. Of this time, former student, Joan Warbuton recalls a visit to the studio: to go in their quietly when Cedric was painting the favourite of all his flowers, Irises, was a revelation. In 1937 Morris and Lett opened the East Anglian School of Painting and Drawing, the summer school based in Dedham, Essex adopted a rather unique approach in that it set out to reassure and encourage, rather than criticise its students. Lucien Freud was one of many great artists who attended classes held by Cedric Morris. In 1939 the school building was destroyed by fire suspected to have been started accidentally by Freud who was smoking inside the building. By the mid 1940s Morris and Lett had not only set up home at Benton End, Suffolk but had also re-established the school there.

It was in Newlyn that Morris began painting in oils, the media suited him well and his method of applying paint quickly and confidently to the canvas caused great excitement among his fellow artists. Morris and Lett remained in Newlyn until late 1920 when they moved to Paris. At this time Paris was one of Europe’s most artistically vibrant cities. Its cafes and bars were the meeting points and melting pots of great artistic creativity. Morris and Lett counted amongst their friends luminaries such as Marcel Duchamp, Peggy Guggenheim and Man Ray. During this time Morris and Lett, along with their friends, travelled extensively throughout Europe as well as Algeria and Tunisia, painting all the while.

After seven years in Paris the couple embraced a new life chapter, setting up a home and studio in London’s Great Ormond Street. As in the past, their home was a base not only for work, but many joyful social gatherings. The subject matter for Morris’ paintings, whether it be animals or the plants and flowers he

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Since before the war, Morris had been gaining prominence within the gardening world as a breeder of irises and collector of exotic plants, and from the late-1940s onwards, during the winter months when the school was closed, Morris would disappear abroad hunting for new plant specimens. As well as rare plants, Morris would also return with souvenirs such as plant pots and ancient pottery, as well as more practical mementos such as vegetable seeds which later in the year provided Lett with the exotic ingredients for his famously delicious dinners.

By the 1960s during the winter months when the school closed its doors, Morris continued to travel and paint as he had done all his life. Lett chose to stay at home, while Morris explored venues such as St Helena, Libya, Tunisia and Cyprus. In the early 1970s his eyesight began to fail and one of his last trips abroad was to Portugal in late 1973. Lett passed away in 1978 and four years later Cedric Morris died at 92 years of age

Reference: Cedric Morris: Beyond the Garden Wall, Philip Mould Ltd, England, 2018, published for the exhibition of 18 April - 22 July 2018 Cedric Morris, Tate Gallery, The Hillingdon Press, Uxbridge, Middlesex, 1984, published for the exhibition of 28 March - 13 May 1984 Cedric Morris: Artist Plantsman, Andrew Lambirth, Garden Museum, London, 2018

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FRANCES HODGKINS Flowering Cactus, 1933 Gouache on paper 40 x 51.3 Signed & inscribed $40,000 - 60,000

Provenance:

Ex Collection of Art Patron,

Lady Charlotte Bonham-Carter

Originally purchased from Lefevre Gallery

November 1933

Exhibition Catalogue No. 11.

Ex Collection Sir Ivor & Lady Richardson,

purchased from Gillian Jason Gallery,

London 11 October, 1991

Private Collection, Wellington, purchased from Sir Ivor & Lady Richardson Art Collection, Dunbar Sloane,

22 March 2006

Reference:

p. 100 Arthur Howell Frances Hodgkins:

Four Vital Years

Salisbury Square, London 1951

Acquisition: Gillian Jason Gallery,

London 11/10/91

Frances Hodgkins was a widely travelled artist. In the winter of 1932-33 at 63 years old, she visited Ibiza.

Her reputation as an international artist was of course well-established by this time and the year before, she had established relationships with two prominent dealer galleries in London where she was living and painting on a full-time basis.

Staying at the Hotel Balear, Ibiza with a view of the sea, the brightness of Mediterranean light was magnified.

The flowering cactus, which is the subject of this work, exudes a raw, slow heat which seems to bleed out, modulating the spines of the plant. The directness of the gouache medium allows for the relationship between artist and colour to be translated directly to the viewer.

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This period of time in the Balearic Islands was more than an artistic reprieve for Hodgkins. The dry, bright essentialism of the Mediterranean instilled new perspective into her work, having effected a dramatic change in environment. Hodgkins revisited certain themes from her earlier work with a fresh intensity, creating works which hint towards abstraction of form, and of such excellence that many consider the gouaches from this time to be amongst her finest work.

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TWO WORKS BY CHARLES FREDERICK GOLDIE 1870 - 1947

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CHARLES FREDERICK GOLDIE The Aristocrat Te Kamaka, Ngati Maniapoto Tribe, Aged 90 Years Oil on canvas 26.5 x 21.8 Signed & dated NSW 1921 $300,000 - 400,000 Inscription in artist’s hand on stretcher verso reads: Fought at Pukerangiora ‘An Aristocrat’ A noted Chieftain of the Ngatimakata Tribe, Aged 90 Years

Provenance:

Ex collection of F R Strange, Sydney, Australia

Sold by private sale to a Wellington

collector, August 1974

Private Collection, Auckland Exhibited:

Goldie, The Exhibition,

Auckland Art Gallery, 1999, curated by

Roger Blackley

Goldie’s inscription reads Ngatimakata Tribe, however it is now known that Te Kamaka was from the Ngati Maniapoto Tribe, King Country.

Te Kamaka fought in the historical battle of Pukerangiora on the shores of the Waitara River, Taranaki. It is understood that on arrival at Pukerangiora, the Ngati Maniapoto tribe embarked on a siege of such savagery that the land ran red with blood and Pukerangiora was forever changed.

Goldie painted at least four other portraits of Te Kamaka. They are catalogued in C F Goldie, His Life & Painting Alister Taylor & Jan Glen, Martinborough 1977, as follows: Te Kamaka, 1916, Private Collection The Diplomatist, Te Kamaka - a chieftain of the Ngati Maniapoto, Tribe, King Country, 1918, Private Collection The Whitening Snows of a Venerable End - Te Kamaka, 1918 An Aristocrat, Te Kamaka, 1921

References/ Publications: F. R. Strange Catalogue, July 1974

Illustrated:

p. 261 C F Goldie, His Life & Painting

Alister Taylor & Jan Glen,

Martinborough 1977

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Through his lifetime and legacy, Charles Frederick Goldie greatly influenced our nation’s artistic and cultural consciousness. Born in Auckland on 20 October 1870, one of eight children from the marriage of Maria Partington and David Goldie, he was named after his material grandfather, Charles Frederick Partington, builder of the landmark Auckland windmill.

In 1883 the young Goldie was enrolled at Auckland Grammar School. His youthful artistic talents shone, and it was not long before he was winning prizes at the Auckland Society of Arts. On leaving school, Louis John Steele become his mentor and tutor. Two of the young artist’s still life paintings so impressed Sir George Grey, that he convinced David Goldie to allow his 22 year old son to attend the Académie Julian in Paris. Goldie spent over four years at the Académie Julian tutored by leading lights of the Paris Salon such as William-Adolphe Bouguereau.

In 1898, fully informed in the French academic style, the artist returned to New Zealand and began collaborating with his former tutor Louis John Steele.

The two worked on a number of paintings including The Arrival of the Maoris in New Zealand, a large scale history painting after Gericault’s Raft of the Medusa.

Before long, however, the relationship deteriorated likely caused by tensions around the former student’s growing success. Goldie went on to open his own studio and establish himself as a successful portraitist of Maori.

A visit to Rotorua in 1901 was the first of several field trips during which the artist was introduced to local Maori and persuaded them to sit for portraits.

Goldie’s works from this point forward strongly reflect the European tradition in which he was trained, and possess a stunning power and visual clarity. On the one hand, his remarkable dedication to realism belies an ethnographic interest. At the same time, he was also striving to capture the mana of his sitters who included chiefs, tohunga and kaumatua.

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Goldie formed long-standing relationships with several Maori he met and painted around this period, including Wiremu Patara Te Tuhi and Te Aho-o-terangi Wharepu (Ngati Mahuta), Ina te Papatahi (Nga Puhi), and Wharekauri Tahuna (Ngati Manawa).

Over the next two decades, Goldie gained national and international acclaim and steady demand formed a strong market for his portraits, a number of which would later be exhibited at the Royal Academy of Arts in London and the Paris Salon throughout the 1930s.

In 1920 the artist moved to Sydney, where despite original plans to continue on to Paris, he was married, at age fifty to thirty five year old Olive Cooper. Marriage in Sydney circumvented Goldie family disapproval of the relationship between Auckland’s famous artist and the milliner from Karangahape Road. After two years in Sydney, apparently disillusioned with his work at this time and suffering from health problems Charles and Olive returned to New Zealand.

Goldie’s return to Auckland in 1924, ultimately represented a moment of artistic reckoning. Goldie received encouragement to resume painting from Governor General Lord Bledisloe. Devoting himself once again to his work, he began to apply a more liberal, impressionistic approach to the realisation of his portraits and repainted a number of his former subjects. Works from this later period are distinguished by their soft luminescence, offering a rhythmic departure and disconnection from the rigours of formalism to which he had so strictly adhered in the past.

Goldie died in Auckland in 1947, his exquisite, spiritually-charged, often unsettling and ever powerful portraits of Maori having made an unsurpassed contribution to the history of art in New Zealand.

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CHARLES FREDERICK GOLDIE Wharekauri Tahuna A Chieftain of the Arawa Tribe Oil on canvas 47 x 41.5 Signed & dated 1938 Inscribed verso $500,000 - 750,000

Provenance:

Olive Goldie Collection - Artist’s Wife

Lot 115, Webb’s Fine Paintings & Jewellery,

July 1985, illustrated p. 54

Private Collection, Auckland

Reference:

p. 120,121, 141

C F Goldie, His Life & Painting

Alister Taylor & Jan Glen,

Martinborough 1977

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Whakakauri Tahuna Photographer Unknown

Goldie’s portraits of Maori are celebrated for their ability to realistically capture the mana and likeness of his sitters. This immortalised image of Wharekauri Tahuna, chief and tohunga of the Ngati-Manawa tribe, with full facial moko and greenstone adornments of his high status, does indeed embody both the mana of Wharekauri Tahuna and the skill of C F Goldie.

It is though that the two met in 1901, when Goldie visited Rotorua and asked local Maori to sit for him for the first time. Goldie painted a number of portraits of Wharekauri Tahuna over the course of his career and notably, this kaumatua was the subject of what is believed to have been the artist’s last ever portrait, completed in 1941. Though it was not unusual for Goldie to paint multiple portraits of individuals with whom he had maintained good relationships, the significance of his connection and friendship with Wharekauri as one which bookended his artistic journey with Maori must not be understated.

The 7 foot tall Wharekauri was a mightily impressive warrior and an inspiring subject for Goldie. He was one of the 1,600 warriors who made the full fighting strength of the Te Arawa against Te Tumu pa, the Ngai-te-Rangi stronghold on the coastal sandhills between Tauranga and Maketu. In later life he became a recluse living in the Kai Mokopuna range.

He was bought back to Murupara Pa to die at age 102. Whakakauri Tahuna’s ancestral connection ties with Te Arawa, the Ngaiti Manawa tribal canoe which sailed across the Pacific arriving in New Zealand c.

1530.

When two Goldie paintings depicting Wharekauri and Atama Paparangi were accepted for the Paris Salon in 1935, the works (and, by association, his sitters) aroused great interest. Newspaper reviews meditated on the character of Wharekauri including his tohunga status. Wharekauri and Atama were described as the finest natives of which he has any records and Wharekauri (with the exception of one other subject) as the most fully tattooed Maori Goldie has ever painted.

The history of Te Arawa waka and Wharekauri’s iwi, the replication and dissemination of his identity nationally and internationally, and the artist’s decision to repeatedly draw artistic life from photographs of this last of the tohungas all inform this magnificent painting. Depicted in profile with his eyes downcast, the work untethers Wharekauri from any single moment in time to establish him within the collective consciousness of Aotearoa and his descendants.

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RAYMOND MCINTYRE Cremorne Wharf Oil on board 30 x 21 Inscribed on original backing board verso $20,000 - 30,000

Provenance:

Acquired directly from the artist

Major Frederick Charnley, MC,

Indian Army, RWF, RA, RE

who lived in Chelsea, London at the time

when McIntyre was painting there.

Charnley family collection, UK

Raymond McIntyre c. 1909 Photographer Unknown

Raymond McIntyre arrived in London in 1909 and soon after set out to investigate art schools with the intention of furthering his studies. This was his primary reason for coming to London. In London has all the confidence and informal character of en plein air sketching which the Barbizon school and then the impressionists - for whom working in natural light became particularly important - had made so influential from the mid-19th century.

Following the direction of Les Nabis (1888-1896), who had in turn built upon the example of CĂŠzanne

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and the encouragement of Gauguin, McIntyre arrived at the point where linear perspective and modelling almost disappear; and a flattened, decorative surface of grid-lines and colour planes emerges.

McIntyre left New Zealand to immerse himself in the influence and stimulus of European art and he would have probably, modestly, admitted that his work became, to use his own words, more interesting viewed from the standpoint of modern artistic developments in Europe as a result.

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RAYMOND MCINTYRE Street Scene, London Oil on panel 30 x 21 $20,000 - 30,000

Provenance:

Acquired directly from the artist

Major Frederick Charnley, MC,

Indian Army, RWF, RA, RE

who lived in Chelsea, London at the time

when McIntyre was painting there.

Charnley family collection, Europe Raymond McIntyre (1879 - 1933) was an emigre New Zealand artist whose departure was an enormous loss to painting in this country. Born in Christchurch he studied with Petrus van der Velden and attended evening classes organised by the Canterbury College School of Art. In 1905 he joined a sketch club where he met Sydney Lough Thompson who had recently returned from four years study in Europe. From 1906 -1908 McIntyre shared a studio in Cathedral Square with Leonard Booth who described him as an enthusiastic disciple of Whistler.

In 1906 -1907 McIntyre was able to observe for himself the new techniques of impressionism when twenty works by English Art Club members were shown at the New Zealand International Exhibition in Christchurch.

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These were to be enormously influential in forming McIntyre's modern style of painting, a factor which did not always endear him to the art establishment in New Zealand. Consequently, in 1909 at the age of thirty, he left for England where he began an intensive period of study with such noted artists as Walter Sickert and William Nicholson.

Diverse work included street scenes, a subject he shared with the Camden Town Group, and from 1920 he began to paint rivers and parks. McIntyre was also a talented musician, writer, printmaker, theatre and music critic. For some years he was art critic for Architectural Review. He was a Christian Scientist from 1907 and in 1933 refused an operation for a hernia. The resulting infection caused his death which could have been prevented if he had permitted medical treatment.

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41

JOHN BARR CLARKE HOYTE

An Auckland Panorama

Watercolour 38 x 52.5 Signed

$30,000 - 40,000 Provenance:

Collection of an Auckland Doctor until 1989

It is believed the work was acquired by the above

from the Logan homestead, Cornwall Park by

the Doctor’s father

Same family collection by descent

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JOHN BARR CLARKE HOYTE

Walter Peak

Watercolour 38 x 52.5 Signed

$12,000 - 18,000 Provenance:

Collection of an Auckland Doctor until 1989

It is believed the work was acquired by the above

from the Logan homestead, Cornwall Park by

the Doctor’s father

Same family collection by descent

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43 NORMAN LINDSAY

Australian 1925 - 2006

Cards and Women, 1926

Etching, edition 16/45, 23 x 24.5 Signed

$2,000 - 3,000 Provenance:

Private Collection, acquired directly

from the artist 1926 by the family

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DORRIT BLACK Australian 1891 - 1951 Air Travel: Coconut Palms Linocut on Oriental wove paper, edition 3/50, 27 x 17 Signed & inscribed $20,000 - 30,000

Provenance:

Collection of the artist’s friend

Private Collection, Hawkes Bay

by descent from above collection,

mid 1990s by current owner Illustrated:

p. 165 Dorrit Black: Unseen Forces,

Tracey Lock-Weir

Art Gallery of South Australia, 2014 This work is the second in a series of four linocuts Dorrit Black produced from her Air Travel series.

The Air Travel series shows Black’s emotional response to the land. Inspired by an aircraft trip to North Queensland soon after the Second World War, she records the contrasting organic and ordered formations of the natural world vividly apparent from the air: two depict pristine landforms.

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(free-form coastal mud flats and mountain ranges), and two are ordered agricultural landscapes (manmade palm and pineapple plantations). Dorrit initially studied printmaking under Claude Flight at London’s Grosvenor School of Art, alongside fellow print-maker Ethel Spowers. By the late 1940’s, however Dorrit had developed her own experimental technique, using a mixture of rolled colour and brushed on, rather like the Japanese, but against the advice of Flight.

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Maurits Cornelis Escher (1898-1972) is one of the world’s most famous, internationally recognised graphic artists. He is best known for his so-called impossible constructions, such as Ascending and Descending, Relativity and Transformation. One of his most iconic and collectable images is Dag en Nacht - Day And Night, 1938.

During his lifetime Escher made 448 mathematically inspired woodcuts, lithographs and mezzotints and over 2,000 original drawings and sketches. Escher also illustrated books, designed tapestries, postage stamps and murals. Born in Leeuwarden, the Netherlands he was the fourth and youngest son of a civil engineer.

The family moved to Arnhem and after failing his high school exams Escher was enrolled in the School for Architecture and Decorative Arts in Haarlem. In his first week of attendance the young Escher informed his father that he would rather study graphic art than architecture. On viewing his drawings and linoleum cuts resident graphic tutor, Samuel Jessurun de Mesquita supported and encouraged Escher in this decision.

Following his graduation from the School of Decorative Arts Escher travelled extensively throughout Italy. It was here that he met Jetta Umiker whom he married in 1924. The young couple settled in Rome, remaining there until 1935. The years spent studying, travelling and working in Italy yielded a wealth of inspiration and many of the sketches and studies made at this time supplied material for later woodcuts, lithographs and wood engravings.

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The background in the lithograph Waterfall stems from Escher’s Italian period, as do the trees reflected in the woodcut entitled Puddle. These same trees appear in his 1932 woodcut, Pineta of Calvi. Escher’s lifelong fascination with the regular Division of the Plane was initially ignited during his first visit in 1922 to the Alhambra, a fourteen century Moorish castle in Granada, Spain. Later, during the years spent in Switzerland and throughout the Second World War, Escher completed 62 of his total 137 Regular Division Drawings.

Working in a many mediums throughout his life, Escher possessed a mind of limitless creative capacity, juggling reality and illusion. He viewed the world and created intriguing works of art from his own very unique perspective.

Institutional collections of original works by M C Escher are the Escher Museum in The Hague, National Gallery of Art, Washington DC, National Gallery of Canada, Ottawa, Israel Museum, Jerusalem and Huis ten Bosch in Nagasaki, Japan.

An international retrospective exhibition Escher X Nendo | Between Two Worlds, is currently on show at NGV International, Melbourne, Australia

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MAURITS CORNELIS ESCHER Dag en Nacht - Day And Night, 1938 Woodcut, 39 x 66.6 Signed in pencil Inscribed in pencil Dag en Nacht $20,000 - 30,000

Provenance:

Collection of the late

A.M.E. van Dishoeck by descent

Van Dishoeck was a Dutch publisher and a friend and colleague of Escher. Together they published Maurits Cornelis Escher (1898-1972) - Ex Libris van A.M.E. van Dishoeck - 1943. On a visit to New Zealand van Dishoeck gifted this woodcut to his daughter Christina. It hung in her farm home for 55 years. Christina’s daughter who lives in New Zealand, along with other family members, has decided the time has come to pass on the work to new hands and those that will appreciate it.

The new owner will be able to make contact with the family for further details on its remarkable provenance.

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Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and fellow New Zealander Frances Hodgkins.

He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, windblasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De

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Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales.

His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s and 70s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Kelly completed paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.

Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 20089. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013.

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FELIX KELLY Washington Moody House Oil on board 66 x 81 Signed & dated 1977 $15,000 - 20,000 Original Kennedy Galleries, Inc. label affixed verso

Provenance:

Commissioned by the late Jack Warner,

Gulf States Paper Corporation Collection

Private Collection, Alabama, USA

The Moody-Warner House was built around 1822

by Alabama merchant Davis Scott as his Tuscaloosa home.

The house had a series of owners until it became the home of the Washington Moodys. Moody was the grandson of the founder of the First National Bank.

The house was restored in 1977 by art collector Jack Warner and eventually became a museum named in honour of Jack Warner's mother, Mildred Grace Westervelt Warner (1893-1974).

The museum closed and the house was put up for sale in 2003.

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FELIX KELLY Washington Moody House in Decay Oil on board 55.8 x 71.2 Signed & dated 1977 $8,000 - 12,000 Original Kennedy Galleries, Inc. label affixed verso

Provenance:

Commissioned by the late Jack Warner,

Gulf States Paper Corporation Collection

Private Collection, Alabama, USA

American architect, philanthropist and art collector Jack Westervelt Warner was born in Illinois in 1917.

The family moved to Tuscaloosa, Alabama when his grandfather Herbert E. Westervelt consolidated Alabama’s first modern pulp and paper mill in 1929.

For nearly 50 years Jack Warner presided over Gulf States Paper Corporation, creating a quality leader in the American paper industry. He expanded operations from a single product and a single plant, creating a large, diversified company with operations in timber, lumber, wood pulp, paperboard, moulded wood products and folding cartons spread across five states. Along the way, the company garnered environmental protection awards from the National Wildlife Federation, the American Paper Institute and the Environmental Protection Agency.

Jonathan ‘Jack’ Westervelt Warner created one of the premiere collections of American art in the world today. As the third generation CEO of his family company, Gulf States Paper Corporation, Jack began collecting in the 1950’s with his first Audubon prints.

Over 400 masterpieces eventually found their way into his collection. Masterpiece paintings, furniture, sculptures and decorative arts from the late 1700’s to the early 1900’s attested to his discerning eye for quality.

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A veteran of WWII and an expert horseman, Jack’s collection expresses his passion for life and his passion for America.

Warner’s own artistic creativity is on display in the permanently unfinished four acre garden surrounding his nearby home on the shores of North River Lake, Whispering Cliffs. He designs it continuously, and has a crew working on it daily. The many waterfalls and planted dead trees suggest it is his own personal Hudson River landscape painting.

In walking through the garden in March one is impressed by the fact that it is as he describes it: an all season garden. He believes one can find God in a leaf, a flower and a landscape. Warner was well known for his generous philanthropy to many causes including the University of Alabama as well as Auburn University, Culver Military Academy, Washington and Lee University, the First Presbyterian Church, the United Way and the City of Tuscaloosa, where he built community swimming pools and provided programs for many underprivileged children to receive swimming and water safety lessons as well as art and history education at his Westervelt Warner Museum of American Art.

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GIROLAMO PIERI BALLATI NERLI

The Springtime of Life, 1890

Oil on canvas 39 x 26.5 Signed

$25,000 - 35,000 Provenance:

Private Collection, Auckland since c. 1960

This version of The Springtime of Life has

never before been offered for public sale.

Another version of this painting is

illustrated p. 102 Nerli - An Exhibition

of Paintings & Drawings,

Peter Entwisle, Michael Dunn

& Roger Collins,

Dunedin Public Art Gallery, 1988 and

p. 57 Nerli - An Italian Painter in the

South Pacific, Michael Dunn,

Auckland University Press, 2005

Engraving after In Transgression, published as the frontispiece of The Centennial Magazine Vol. 2, June 1890

Nerli painted a number of variations on this composition while he was in Australia and New Zealand. He first exhibited the subject in Sydney in 1887 with the title In Transgression, which suggests the immoral dimension of the behaviour of the peasant couple. The young man is making advances to the girl, who is neglecting the turkeys entrusted to her care. Her smiling face tells us that she is responsive to her lover’s words and is not about to reject his ardent grasp of her arm. She is evidently being led astray.

Such subjects were common in European painting of the late nineteenth century and Nerli undoubtedly sourced the composition in Italy before he left for the antipodes in 1885. There was a demand for Italian peasant subjects in New Zealand and Australia because they seemed exotic and picturesque. The painting is pitched in a high key and conveys well the heat of a hot Mediterranean day with bright sunshine, blue skies and the dust of the road between the toes of

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the carefree barefoot lovers. The turkeys can be seen as symbolising carnal desire unrestrained by higher moral values and considerations. The slightly risqué subject-matter would have been more acceptable from Signor Nerli, as he called himself, than from local painters, who rarely if ever attempted a work of this sort. As an Italian and a Catholic he would have been seen as not quite respectable in a Scottish settlement like Dunedin with its strong Protestant religious heritage. Nerli exhibited a painting of this title at the Otago Art Society’s annual exhibition in 1894, which may have been this work or another version of the same subject. He sometimes exhibited the same works at different venues years after he had first painted them.

Text: p. 56 Nerli - An Italian Painter in the South Pacific, Michael Dunn, Auckland University Press, 2005

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COLIN MCCAHON Northland, 1959 Brush, ink on paper 63.6 x 50.7 Signed, inscribed Northland & dated 1959 $40,000 - 60,000

Provenance:

Private Collection, Auckland

McCahon database record number cm000193

Exhibited: 1959 Colin McCahon. Recent Paintings, November 1958 - August 1959 Gallery 91, Christchurch 6/10/1959 - 18/10/1959

This work on paper from McCahon’s Northland Series precedes art historical explanation. Partly, this is because it is so instantly recognisable in both subject matter and style - Northland, 59 captures the essence of McCahon’s deeply spiritual relationship with the land. It expresses the purity of that point of convergence between sky and landmass.

McCahon’s use of an ink on paper medium lends immediacy to this work: a raw aesthetic smudginess to the conception of Northland geography which

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the artist knew intimately. And directly his ability to transcend our human condition, and express something of Aotearoa’s unique identity - not in a nationalistic sense, but through a more broadly existential lens.

The richness and evolution of New Zealand’s art tradition is built on a foundation of intermediary dialogue and exchange. At the very heart of this is the path forged by Colin McCahon.

MAX GIMBLETT Choice, 2000 Gesso, polyurethane, Swiss gold, wood panel 38 x 38 Signed, inscribed & dated 2000 verso $7,000 - 10,000

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STANLEY PALMER Waikaro - Okiwi Oil on canvas 72 x 136 Signed & dated 2003 $15,000 - 20,000

Provenance:

Exhibited Stanley Palmer’s, Islands

Janne Land Gallery, 2003

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HELEN BROWN

Bon Accord Harbour, Kawau Island

Oil on board 59 x 74 Signed

$3,000 - 5,000 Provenance:

One Man Exhibition, Held at the John

Leech Gallery, 14th November to

1st December 1967

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FRANCES ELLIS

The Window Still Life

Gouache and watercolour

on paper 48 x 35 Signed

$4,000 - 7,000

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Provenance:

Tinakori Gallery, Wellington

Private Collection, Wellington

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54

54

Provenance:

Private Collection since c. 1954

Passed down by descent

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DAME LUCIE RIE & HANS COPER Viennese / British 1902 - 1995 German 1920 - 1981 Pouring Vessel Glazed stoneware 7.2 x 11 x 14 Monogrammed by both artists on base $1,500 - 2,500

Provenance:

Private Collection since c. 1954

Passed down by descent

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DAME LUCIE RIE & HANS COPER Viennese / British 1902 - 1995 German 1920 - 1981 Two Cups with Matching Saucers & Coffee Pot Glazed stoneware 6.8 x 8 (cups) 14.5 diameter (saucers) 17 x 8 x 16 (coffee pot) Monogrammed by both artists on base of cups. Lucie Rie monogram on base of Coffee Pot $3,500 - 5,500

LUCIE RIE & HANS COPER Viennese / British 1902 - 1995 German 1920 - 1981 Two Sgraffito Cups with Matching Saucers Stoneware 7 x 8 x 10 (cups) 14 diameter (saucers) Monogrammed by both artists on base of cups $1,500 - 2,500

Provenance:

Private Collection since c. 1954

Passed down by descent

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FRANCIS BACON Irish 1909 - 1992 Triptych, 1972

Three lithographs on Arches paper,

edition 91/190, 89.8 x 62.9 each

overall 89.8 188.7

Image size 65.4 x 48.4 each

Each signed & numbered

$40,000 - 60,000

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GERHARD RICHTER German b. 1932 Heiner Friedrich (nach einem Foto von Brigid Polk) Offset lithograph on lightweight chromo card, edition of 250, 39 x 29.5 Signed in pencil, dated 1970 with artists stamp verso $3,000 - 5,000

Provenance:

Purchased from Coskun Fine Art London Francis Bacon was a larger-than-life figure during his lifetime, and remains so. Famous for his controversial depictions of papal subjects and bullfights, often in the form of triptychs. Bacon’s work signified the blinding dawn of a new modern era. His signature blurred portraits weren’t murky enough to stave off his reputation as highly contentious - his paintings were provocations in the eyes of many. However, as Bacon often said, You can’t be more horrific than life itself. Bacon challenged the conventions of modern art with his triptychs which brutalized formalist truths. This is particularly evident in Three Studies for Figures at the Base of a Crucifixion, which Bacon debuted in London in 1944, and Three Studies of Lucian Freud, which became famous when it set the record for most expensive work of art at auction at the time it sold in 2013.

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RAYMOND CHING

Ruppells Griffon Vulture

Watercolour 60 x 45 Signed

$15,000 - 20,000 Provenance:

Private Collection, Northland

International Art Centre, 1998

Original label affixed verso Illustrated:

p. 161 Studies & Sketches of a Bird Painter,

Paintings drawings and text by Raymond

Ching, Lansdowne Editions,

Melbourne, 1981 Ruppell’s Griffon Vulture Gyps rueppelli is a native of Africa. A large bird, its size and impressive threat display enable it to compete successfully for carrion with most other predators. Considerable numbers of these birds may gather around a carcass, fighting and jostling for position. Such a group, on occasion, can devour a quite large animal in little more than an hour. After feeding heavily, the birds sometimes experience difficulty in rising from the ground.

The species is gregarious and, in addition to feeding socially, may roost and nest communally. The nest is a flimsy construction of sticks, arranged on a rocky cliff, within which a single white egg is laid.

(Exceptionally, there may be two.) The chick spends over three months in the nest.

Text: Studies & Sketches of a Bird Painter, Paintings, drawings and text by Raymond Ching, Lansdowne Editions, Melbourne, 1981 Ruppell’s Griffon Vulture’s can fly as high as 36,000 feet, the highest of any bird and the same as a passenger airline.

87

60

DOROTHY KATE RICHMOND A Street in Brittany Oil on canvas 31.5 x 30 Signed & dated 1901 $10,000 - 15,000

In 1901 Dorothy Kate Richmond (1861-1935) travelled to Europe for the second time to further her education. In the same year Frances Hodgkins (18691947) travelled to Europe for the first time where she met with Richmond. 'The two women attended art classes with Norman Garstin in Normandy. They became close friends and travelled together not only in England, but also in France, Belgium and Holland

88 Important & Rare Art 9 April 2019

before returning to New Zealand in December 1903. p. 22 New Zealand Women Artists, Anne Kirker, Reed Methuen Publishers, 1986 In a letter home, Frances Hodgkins describes Richmond as the dearest woman with the most beautiful face and expression. I am a lucky beggar to have her as a travelling companion.

61

FLORA SCALES

A Days Work

Oil on board 41 x 63 Signed

$8,000 - 12,000 Provenance

Private Collection, Auckland

Private Collection, Bay of Plenty

Purchased by the above collection from

Modern, Contemporary & Collectable Art

International Art Centre, December, 2011

Exhibited:

Flora Scales Retrospective

Suter Gallery, Nelson,

17 November 2018 27 January 2019 Helen Flora Scales was born in Lower Hutt 1887. She attended the Canterbury College School of Art and exhibited at the Academy of Fine Arts in 1906. In 1908 Scales left for England to attend Calderon’s School

of Animal Painting. A work from this period, Cattle Mustering in New Zealand was hung at the Royal Academy Summer Exhibition of 1911. Returning to New Zealand Scales joined the Academy Studio Club in 1914. By 1928 the artist was studying in Paris at the Académie de la Grande Chaumière and then Munich’s Hans Hofmann School of Art where she was introduced Hofmann’s principles of modernism.

On her return to New Zealand in 1934 she passed on these principals to Toss Woollaston. Apart from Woollaston, W H Allen and Frederick Page, few in New Zealand understood the modernism featured in her work. In late 1935 Scales returned to paint in England and France. She attended lectures at the Académie Ranson and in 1959 the Heatherley School of Fine Art. During World War II she was interned for two years in France. In 1972 Flora Scales resettled in New Zealand, in 1975 a solo exhibition was arranged

by Colin McCahon at the Auckland City Art Gallery.

Scales died in 1985. Her papers and paintings are held at the Alexander Turnbull Library.

89

WORKS BY WILLIAM HENRY ALLEN FROM THE COLLECTION OF THE ARTIST’S DAUGHTER SHEILA William Henry Allen ((1894-1988) was one of a group of British art teachers recruited in the 1920s by William Sanderson La Trobe, the nation’s Superintendent of Technical Education, whose intention it was to greatly improve the quality of art education in New Zealand.

W H Allen had attended London’s Royal College of Art from 1919 to 1923. His contemporaries there included Henry Moore and Barbara Hepworth; fellow students Roland Hopkins, Jenny Campbell and Robert Nettleton Field also immigrated to New Zealand and became lifelong friends.

The contribution of the La Trobe artists, particularly W H Allen and R N Field had an on-going and profound effect on the development of New Zealand art. Their teaching of early modernism opened the door to an avant-garde post-impressionist period in New Zealand’s art history. They influenced artists such as Toss Woollaston, Colin McCahon and Doris Lusk who embraced these new ideas, attitudes and techniques. Hocken Librarian Sharon Dell says the influence of W H Allen and his fellow La Trobe teachers produced landscapes and portraits in a style that was at first deeply unacceptable to painters and art societies in New Zealand - still entrenched in their Victorian style of art.

W H Allen taught in Dunedin and Nelson. He was President of the Suter Art Gallery Society, teaching Workers Education Association (WEA) classes and participating in the Canterbury Summer Schools which attracted artists Doris Lusk and Leo Bensemann to Nelson. Colin McCahon and Toss Woollaston also regularly spent their summers there.

90 Important & Rare Art 9 April 2019

After returning to England in the late 1930s, W H Allen’s art and reputation as a teacher were all but lost and until recently, little research done on his contribution to New Zealand art. Following the family’s return to England in 1946 W H Allen taught at the South West Essex School of Art, London, retiring in 1961.

In 2008 a significant collection of W H Allen’s work was repatriated from the United Kingdom and gifted to Dunedin’s Hocken Library. The Tui Rata Frowd bequest contained about 80 artworks including oil paintings and works on paper, and a large archival collection of letters, correspondence, photographs, catalogues and articles relating to William Allen. In 2015 the Hocken Library held a major exhibition, W H Allen & The La Trobe Effect. This exhibition shone a light on W H Allen’s contribution to the emergence of early regionalism in New Zealand. In addition to showcasing W H Allen’s practice the show included works by his La Trobe peers, several of Allen’s students and a sample of work by the early twentieth century British artists associated with the Camden Town Group whose post-impressionist style and subject matter inspired W H Allen, his peers and a swathe of this country’s regionalist painters.

International Art Centre sincerely thank the Robyn Notman and Sharon Dell of the Hocken Library for their assistance.

62

WILLIAM HENRY ALLEN

Bathers

Oil on canvas 36 x 48 Signed

$5,000 - 10,000 Provenance:

Sheila Allen Estate Collection

Sheila Allen (W H Allen’s daughter) was born in New Zealand in 1926. She lived in Dunedin until aged four, when she moved with her mother, father and Tui, back to England for a new role for her father. The family returned to New Zealand for a teaching role in Nelson when she was seven leaving again at age 20.

She had told the University of Otago her childhood in New Zealand was idyllic, yet she returned again to live out her years in the UK, eventually having a career as an artist herself, training to be a silversmith in her 70s. Sheila died in early 2018.

91

63

63

WILLIAM HENRY ALLEN

Preliminary study Oil on canvas board 30 x 40

A Sunday Afternoon

Oil on canvas 50 x 60 Signed

$5,000 - 10,000

Provenance:

Sheila Allen Estate Collection Preliminary study included with this lot

92 Important & Rare Art 9 April 2019

64

WILLIAM HENRY ALLEN

Landscape Village - Cotswold Farm

Oil on canvas 51 x 50 Signed

Original label affixed verso

$4,000 - 6,000 Provenance:

Sheila Allen Estate Collection

93

THREE WORKS FROM THE estate of LADY DIANA ISAAC CHRISTCHURCH LOTS 65 - 67 65

PETER MCINTYRE

Rangitikei River

Oil on board 50.5 x 72 Signed

$20,000 - 30,000 The Rangitikei River, it’s headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometers, making it one of the New Zealand’s longest rivers.

It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometers southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt. The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks.

Its sheer vertical paapa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities. The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all.

The river in the painting flows out of the bush, cutting deep into the white paapa clay to make cliffs that catch the sun and the moon all along its course.

Text: Peter McIntyre’s Pacific, A H & A W Reed 1966

94 Important & Rare Art 9 April 2019

Years ago I went far up the Rangitikei beyond Taihape to visit my friend David Russell, whose farm at that time was as far as you could drive up the river into the bush. The river is so deep between high paapa cliffs that down at the bottom where the river flows there is only a sort of twilight, even on a sunny day. Once I crossed the gorge at a wider place in the bush in a tray slung on a logger’s wire rope, and we sat in mid-air watching a large trout feed in the river

below where a patch of sun broke through the overhanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white.

Text: Peter McIntyre’s New Zealand, A H & A W Reed 1964

95

66

66

PETRUS VAN DER VELDEN

Sailing Barge Study

Oil on board 26 x 43 Signed

$3,000 - 5,000

67

SYDNEY LOUGH THOMPSON Waimakariri Near the Staircase Oil on canvas 72 x 53 Signed & dated 1938 $8,000 - 12,000

Provenance:

Lady Diana Isaac Collection until

bequeathed to The Isaac Conservation

and Wildlife Trust, 2012.

Provenance:

Lady Diana Isaac Collection until

bequeathed to The Isaac Conservation

and Wildlife Trust, 2012.

96 Important & Rare Art 9 April 2019

67

97

68

SYDNEY LOUGH THOMPSON

Market Day, Pont-Croix

Oil on canvas 50 x 63 Signed

Inscribed on stretcher verso

$16,000 - 22,000

98 Important & Rare Art 9 April 2019

69

PETER MCINTYRE

Arrowtown

Oil on board 52 x 74 Signed

Inscribed on John Leech Gallery

label affixed verso

$15,000 - 25,000 Provenance:

John Leech Gallery, Auckland

Private Collection, Auckland

99

70

70

DOUGLAS BADCOCK

Cold and Frosty, Hawea River

Oil on board 50 x 74.5 Signed

$10,000 - 15,000 Provenance:

Artist’s Estate Collection

100 Important & Rare Art 9 April 2019

71

DOUGLAS BADCOCK

Autumn Bannockburn, Central Otago

Oil on board 44.5 x 60 Signed

$10,000 - 15,000 Provenance:

Artist’s Estate Collection

Plate 9 p. 30 Douglas Badcock,

My Kind of Country,

Whitcoulls Publishers 1978

71

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.

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 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'. He 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: paint seas, skies, mountains. I paint the world I know, as it Douglas Badcock, plein-air painter, c. 1965

101

72

73

LEONARD MITCHELL Portrait of Artist’s Wife, Patricia Marion Nickalls Oil on canvas 50 x 39 Signed & dated 1955 $1,500 - 2,500

ANNA LOIS WHITE

Rooster Study Graphite on paper 51 x 34 Certificate of authenticity signed

by Allison Disbrowe, the artist’s niece $1,500 - 2,000

74

PETER MCINTYRE

72

Floating Market, Bangkok

Oil on canvas 71 x 60 Signed

$8,000 - 12,000 Illustrated:

Plate 38 Peter McIntyre’s Pacific

A H & A W Reed 1966

All through the waterways this procession, as in the painting, passes endlessly, graceful and swiftlychanging, with colours that charm, merge and clash, constantly exciting the senses. The Kodak shutters go click, clickety, click. A priest in a yellow robe, shaven head, with an alms-bowl and an aloof, withdrawn face; add a woman peddling fruit, and that is any street in Bangkok. In the early morning you will see the priests collecting their food for the day from devout housewives; then the heat comes down and Bangkok becomes a steam bath.

Peter McIntyre’s Pacific A H & A W Reed 1966 73

102 Important & Rare Art 9 April 2019

74

103

75

75

GARTH TAPPER Preview Oil on hardboard 44 x 58.5 Signed & dated 1977 $6,000 - 8,000

76

JAMES KAY Scottish 1858 - 1942 The Fishing Harbour Gouache and watercolour on paper 29.5 x 44.5 Signed; Original Jas. McClure & Son, Fine Art Dealers, Glasgow label affixed verso $2,000 - 3,000

77

76

104 Important & Rare Art 9 April 2019

DENNIS KNIGHT TURNER Standing Figure from the Hone Heke series Acrylic on board 121 x 90 Signed & dated 1962 $4,000 - 6,000

77

105

78

78

GARTH TAPPER

79

MICHAEL SMITHER

Waiting

Oil on board 48 x 56 Signed

$8,000 - 12,000

Untitled Landscape

Watercolour 51 x 63 Signed

$4,000 - 6,000 79

106 Important & Rare Art 9 April 2019

80

PETER MCINTYRE

Sydney Street Scene

Watercolour and ink on paper 52 x 70 Signed

Inscribed on original label affixed verso

$7,000 - 10,000

107

81

PETER MCINTYRE

The Ponte della Paglia & Ducal Palace

Watercolour 51 x 70.5 Signed

$8,000 - 12,000 Provenance:

McGregor Wright Gallery, Wellington, c. 1975

108 Important & Rare Art 9 April 2019

82

PETER MCINTYRE

Early Morning from St Marks Square

Watercolour 52.5 x 71 Signed

Inscribed on original McGregor Wright Gallery

label affixed verso

$8,000 - 12,000 Provenance:

McGregor Wright Gallery, Wellington, c. 1987

109

83

83

HENRYK SZYDLOWSKI Magic from the Imaginary Field Oil on canvas 75 x 80 Signed & dated 1998 $4,500 - 6,500

Provenance:

Private Collection, Northland

International Art Centre, 1998

Original label affixed verso

110 Important & Rare Art 9 April 2019

84

HENRYK SZYDLOWSKI Magic Table with Poppies and the Spirit of the Bed Oil on canvas 75 x 60 Signed & dated 1998 $4,500 - 6,500

Provenance:

Private Collection, Northland

International Art Centre, 1998

Original label affixed verso

84

111

85

85

THOMAS ARTHUR MCCORMACK Mabel Watercolour 23 x 27 Signed & dated 1924 $2,500 - 3,500

Provenance:

Private Collection, Wellington The portrait features McCormack’s wife Mabel nee Craddock. It was painted at their home, 83a Hill Street, Wellington in 1924

86

86

THOMAS ARTHUR MCCORMACK

Japanese Vase with Camelias

Watercolour 26 x 19 Signed

$800 - 1,200 Provenance:

Private Collection, Wellington

87

MAUD BURGE

Plums and Pansies

Watercolour 40 x 46 Signed

$2,000 - 3,000 Provenance:

Private Collection, Wellington 87

112 Important & Rare Art 9 April 2019

88

PETRUS VAN DER VELDEN Willem Van der Velden Son of the Artist Charcoal on paper 35.5 x 24.4 Signed & dated 1910 $3,000 - 6,000

Provenance:

Private Collection, Wellington

Exhibited: Robert McDougall Art Gallery, Christchurch 1963 Original Robert McDougall Art Gallery loan label affixed verso Illustrated: p. 193 Volume II, Petrus van Der Velden, A Catalogue RaisonnĂŠ T L Rodney Wilson, Chancery Chambers, 1979

113

89

JOHN HOLMWOOD

Old Man

Oil on board 80 x 60 Signed

Inscribed Old Man verso

$3,000 - 5,000 Provenance:

Ex Holmwood Family Collection

114 Important & Rare Art 9 April 2019

90

JOHN HOLMWOOD Silver Morning, St Mary’s Bay Oil on board 44.5 x 58 Signed & dated 1946 Inscribed verso $4,000 - 6,000

Provenance:

Holmwood Family Collection

115

91

91

JOHN BARR CLARKE HOYTE

Pelorus Sound

Watercolour 27 x 47 Signed

$3,000 - 5,000

92

116 Important & Rare Art 9 April 2019

92

JOHN BARR CLARKE HOYTE

Cecil Peak, Queenstown

Watercolour 30 x 47 Signed

$7,000 - 9,000

93

93

JOHN BARR CLARKE HOYTE

Otira Gorge

Watercolour 29 x 46 Signed

$7,000 - 9,000

94

CHARLES BLOMFIELD ATTRIBUTED Pink and White Terraces Oil on canvas 42 x 65 $7,000 - 10,000

94

117

95

95

PETER MCINTYRE

Sampans, Hong Kong

Watercolour 53 x 72 Signed

$6,000 - 8,000

96

RUDI GOPAS

Fishing Fleet from Queens Wharf, Wellington

Watercolour and ink on paper 46.5 x 60 Signed

$3,000 - 5,000

97

PETER SIDDELL Landscape, Karekare Oil on board 39 x 71 Signed & dated 1975 $3,000 - 5,000

Provenance:

Purchased directly from artist, 1975

118 Important & Rare Art 9 April 2019

96

97

119

98

98

98

LAURENCE WILLIAM WILSON

Isthmus Camp, Monument Arm, Manapouri

& Lake Mintaro, Clinton Valley - A pair

Watercolour 25.5 x 17.5

Signed, inscribed & dated 1891 & 1902

$3,000 - 5,000

99

99

120 Important & Rare Art 9 April 2019

JOHN WEEKS Pink and Blue Bouquet Oil on board 38 x 39 Signed verso Certificate of Authenticity affixed verso $2,000 - 3,000

102 100

100

101

101

CHARLES HEMUS

102

VERA CUMMINGS

Maori Woman Weaving Oil on board 39.5 x 31 Signed & dated 1916 $2,500 - 3,500

Maori Elder with Pipe and Moko

Oil on canvas 19.5 x 14.5 Signed

$6,000 - 8,000

CHARLES BLOMFIELD

103

Whanganui River Oil on board 25 x 45 Signed & dated 1903 $3,000 - 5,000

tom peerless Mt Egmont, Taranaki Watercolour 39 x 55 Signed & inscribed $1,000 - 2,000

103

121

106

104

TOM ESPLIN

105

TOM ESPLIN

106

GARTH TAPPER

Santorini Chapel, Greece

Oil on board 33 x 23 Signed

$4,500 - 6,500 104

Nessebar, Bulgaria

Oil on board 36 x 30 Signed

$2,500 - 3,500

Wiri

Oil on board 40 x 58 Signed

Inscribed verso

$1,000 - 2,000

105

122 Important & Rare Art 9 April 2019

107

107

ALBIN MARTIN

Sketch at East Tamaki Oil on panel 23.3 x 43 Signed & inscribed verso $4,000 - 6,000

108

PETER BEADLE

Kotuku - White Heron at Okarito

Oil on canvas board 80 x 65 Signed

$5,000 - 8,000 108

123

109

AUTOGRAPH BOOK OF Gallipoli Various watercolour illustrations including the Sinking of KMS Blucher The Beaching of the Albion, Gaba Tepe Signed & dated 1915 by various Military Personel with other historic events $800 - 1,200

Each page of this lot can be viewed as a

PDF on our website www.internationalartcentre.co.nz

109

109

109

109

109

110

JOHN PHILEMON BACKHOUSE

Coastal Scene with Artist at Easel

Oil on board 28 x 38.5 Signed

$1,000 - 2,000 110

124 Important & Rare Art 9 April 2019

111

111

LEN CASTLE

Yellow Sulphur Bowl Stoneware with yellow cracquelure interior glaze 51 x 12 Impressed initials on base $3,500 - 5,500

112

robert thorburn ross

Scottish 1816 - 1876

Children in a Farmyard

Oil on board 24 x 21 Signed

$800 - 1,200

112

113

ARCHIBALD FRANK NICOLL

A Moonlit Evening Near Cairo

Oil on canvas 63 x 75 Signed

$1,500 - 2,500

113

125

Important & Rare Art

Modern & Contemporary Art

Important & Rare auctions are the proven, pre-

Twice a year our Modern & Contemporary Art

eminent sale category for major works of art offered

auctions play an integral role in enabling market

for sale in New Zealand. These auctions take place

access to the most sought-after artists who have

three times annually. As we fast approach our 50th

defined New Zealand’s art narrative over the past

year in business, experience continues to equal

50-years. These sales never fail to present an exciting

results. 2014 saw Important & Rare auctions realise

offering of both painting and sculpture by a range of

five of New Zealand’s top ten auction prices. The

our modern and contemporary greats. Spanning that

following year saw new records set with the two top

vital period from the establishment of mid-century

prices in Auckland achieved. With the addition of the

modernism through to the cutting edge of our national

record $1.377 million paid for a C F Goldie in April’s

contemporary art discourse, this is an acclaimed and

2016 sale, International Art Centre achieved the three

significant event in the auction calendar. Our new

highest art auction prices in New Zealand’s history.

state-of-the-art premises will ensure contemporary

Due to an appreciative, and greatly valued clientele of

art is now exhibited and auctioned in a dynamic and

nationwide and international buyers and sellers we

appropriate environment.

look forward to breaking new ground.

ALWAYS CONSIG

ENTRIES INVITED 126 Important & Rare Art 9 April 2019

Artists’ Estates & Collectable Art

Single Owner Auctions

The buzz generated by our Artists’ Estates &

From time to time, the secondary market is fortunate

Collectable Art auctions reflects the popularity of this

enough to be exposed to one of those rare collections

sale: an event at which seasoned connoisseurs and

which transcends the value of its individual works of

budding collectors alike converge to appreciate one

art, and stands to represent something iconic in its

of the most eclectic and diverse offerings available to

entirety. Our team is well-versed in the process of

the market. Because this auction specifically caters

offering single-owner collections for sale, and take pride

to the more affordable end of the market - generally

in the process of curating a single-owner sale when

presenting works valued at $5,000 and less, this is an

the opportunity arises. We offer a targeted marketing

exciting opportunity to unearth some real treasures.

campaign and maximise the use of both electronic

Artists’ Estates & Collectable Art auctions offer a

and print-based collateral to effectively showcase such

number lower-priced works from highly-sought after

collections to maximum effect. The strong networks

artists in print and edition form, as well as quality

we have established locally and internationally are

works from artists whose presence on the secondary

reflected in some of the private collections which have

market is just beginning to crystallise.

been entrusted to us in recent years.

GNING

D NOW

CONTACT Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz Maggie Skelton Ph +64 9 379 4010 E. maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz www.fineartauction.co.nz 202 Parnell Road, Auckland

127

JA M E S WAT K I N S

CUBISM 11 - 20 April

128 Important & Rare Art 9 April 2019

EVELYN PAGE

Seated Nude, 1962 Evelyn Page’s Seated Nude, 1962, Oil on canvas 60 x 75cm, features Khura Skelton, partner of Poet and Publisher, Denis Glover. The work is illustrated in Selected Letters of Denis Glover, ed. Sarah Shieff, Otago University Press 2017.

It was in the collection of New Zealand writer, poet and educator, Sylvia Constance Ashton-Warner MBE until she died in Tauranga, 1984.

Contact: Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz

PRIVATE TREATY SALE 129

valuation SERVICES www.internationalartcentre.co.nz

International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection.

Lucien Pissarro (French 1863 - 1944) Landscape through Trees, Tilty Wood Sold by International Art Centre 2012

For valuation enquiries & quotes contact Maggie Skelton maggie@artcntr.co.nz

202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322

Dame Eileen Mayo Sea Holly Sold by International Art Centre 2014

Lot 60 Dorothy Kate Richmond

132 Important & Rare Art 9 April 2019

Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium

Important & Rare Art 14 August 2018 1 15000 2 20500 3 7250 4 8500 6 9500 9 25500 10 47000 11 76000 12 17500 13 3000 14 13500 15 15000 16 4000 17 9250 19 24000 22 24500 23 350000 25 7000 26 6000 28 36000 30 384000 32 199000 33 41000 34 7500 35 5500 36 86000 37 40000 38 40000 39 102000 41 32000 42 28500 43 6500 44 23000 45 8500 46 5500 47 40500 51 48000 52 1000 54 2300 56 4200 57 3000 58 8000 59 7750 60 3800 61 10250 62 9000 63 8500 64 2250 66 11000 67 9250 68 7500 69 2250 70 1100 72 1800 73 6250 74 2200 75 2000 76 11250 77 4000 78 6000

www.fineartauction.co.nz

79 2000 80 2500 82 2500 85 2000 86 2000 87 1750 89 2500 95 400 Modern & Contemporary Art 4 October 2018 1 1750 2 1000 3 7900 4 200 5 50 6 250 7 350 8 150 9 1900 10 4750 11 7200 12 3000 13 350 14 725 15 1100 16 200 17 480 18 1550 21 4000 22 9000 23 6750 24 7600 26 5000 28 4000 32 3250 33 8500 34 1600 35 750 36 1300 38 5000 42 1900 43 1250 44 1250 45 800 47 575 48 1600 50 3000 53 5500 54 5000 56 1500 57 1800 58 2250 61 2800 64 4500 66 650 67 300 68 500 70 2200 71 400 72 2000

73 2100 74 1650 75 2400 76 2100 77 2700 78 7000 80 1300 82 6600 83 9000 84 3500 85 7000 86 1800 87 4000 88 3400 89 6250 90 9250 91 3000 93 5500 95 4300 96 1800 99 5100 100 1000 103 2000 105 1750 106 600 107 1600 108 700 109 200 110 5500 112 2800 113 275 114 1300 115 375 116 350 117 350 118 3250 119 1050 120 200 121 300 122 2800 123 1900 124 2200 125 2000 126 2500 127 600 128 2200 130 500 132 300 133 200 134 1100 135 3000 136 1300 137 1100 138 2000 139 800 140 2300 141 4800 142 1400 144 1100 145 1100 147 4000 148 500 149 800 150 1400

151 1100 152 800 153 250 154 1200 155 200 156 2800 157 4400 158 2000 159 1600 160 600 161 900 162 400 163 200 164 300 166 1700 167 1000 168 1550 169 1500 170 1400 171 1700 173 1500 175 900 176 700 177 800 178 500 180 1600 Modern, Contemporary & Collectable Art 19 February 2019 1 4100 2 1950 3 1500 5 400 6 225 7 1300 9 600 10 1500 11 1100 13 700 16 6000 17 6500 19 9600 21 1100 23 400 24 600 25 500 26 1500 27 2200 30 2100 31 1750 32 750 33 1200 34 3400 36 1300 37 1050 38 17000 39 4200 40 350 41 650 42 3300 43 1000

47 1100 49 7500 51 8000 52 2000 53 2000 53 2000 57 1000 58 4350 59 4500 61 800 62 1200 64 1300 65 2000 66 1700 67 500 68 450 69 3000 70 7500 71 600 72 550 73 400 74 650 75 5250 76 1000 77 400 79 3000 80 3000 83 2000 85 1700 86 2800 87 750 88 900 89 2000 90 500 91 1700 92 550 93 2100 94 1600 95 1800 96 1300 97 3250 99 3200 100 1950 101 1500 102 425 103 1000 104 500 106 800 107 200 108 750 111 575 113 800 115 525 116 700 117 600 118 500 119 5750 120 1000 123 800 124 800 127 550 130 1500 132 950 133 500

135 500 136 500 137 1500 139 500 142 800 143 1800 145 550 146 800 148 300 149 1200 151 1800 154 300 155 700 159 400 160 600 161 500 162 400 163 800 164 450 165 650 166 400 167 500 168 500 169 800 170 600 171 900 172 675 173 500 174 200 175 500 176 250 178 400 180 750 181 600 182 500 183 1100 184 1700 185 600 186 800 188 500 189 1600 190 700 191 550 192 500 194 600 195 600 196 500 197 350 198 200 199 1200 200 325 203 1200 204 650 205 600 206 800 207 200 209 700 210 400 211 600 212 325 213 150

133

Index ALLEN W H...........................................62, 63, 64

MCINTYRE R..............................................39, 40

BACKHOUSE J P..............................................110

MCINTYRE P.................65, 69, 74, 80, 81, 82, 95

BACON F........................................................... 57

MITCHELL L..................................................... 72

BADCOCK D.................................................70, 71

MORRIS C......................................................... 35

BEADLE P........................................................ 108

NERLI G............................................................48

BLACK D............................................................44

NICOLL A F .....................................................113

BLOMFIELD C.................................................101

NIGRO J............................................................22

BLOMFIELD ATTRIBUTED ............................94

NIN B.................................................................23

BROWN H......................................................... 52

PALMER S..........................................................51

BURGE M.......................................................... 87

PEERLESS T ................................................... 103

CASTLE L......................................................... 111

PERYER P............................................................9

CHING R............................................................ 59

RICHMOND D K...............................................60

COBURN J............................................................1

RICHTER G.......................................................58

CUMMINGS V................................................. 102

RIE L & COPER H................................. 54, 55, 56

DAWSON N.................................................28, 30

ROBINSON A ................................................. 4, 6

EDGAR J............................................................ 31

ROSS R T..........................................................112

ELLIS F.............................................................. 53

SCALES F........................................................... 61

ESCHER M C..................................................... 45

SCOTT I............................................................... 2

ESPLIN T................................................. 104, 105

SHARPE A.........................................................34

FRIZZELL D......................................................32

SIDDELL P...............................................3, 15, 97

GIMBLETT M .................................25, 26, 33, 50

SMITHER M................................................ 27, 79

GOLDIE C F................................................. 37, 38

STICHBURY P................................... 10, 11, 12 ,13

GOPAS R............................................................96

STRINGER T....................................................... 5

HANLY P........................................................... 16

SZYDLOWSKI H.........................................83, 84

HEMUS C........................................................100

TAPPER G...................................... 24, 75, 78, 106

HODGKINS F....................................................36

TAYLOR E M....................................................... 7

HOLMWOOD J...........................................89, 90

THOMPSON S L..........................................67, 68

HOTERE R.......................................18, 19, 20, 21

THOMSON E..................................................... 14

HOYTE J B C..............................91, 92, 93, 41, 42

TURNER D K..................................................... 77

KAY J................................................................. 76

VAN DER VELDEN P..................................66, 88

KELLY F....................................................... 46, 47

WALSH J............................................................17

LINDSAY N .......................................................43

WEEKS J............................................................99

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

WHITE A L........................................................ 73

MARTIN A....................................................... 107

WILLIAMS M....................................................29

MCCAHON C.....................................................49

WILSON L W.....................................................98

MCCORMACK T A......................................85, 86

134 Important & Rare Art 9 April 2019

Absentee Bid Form - IMPORTANT & RARE ART 7:00pm Tuesday 9 APRIL 2019 I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below.

I understand my bids are to be executed at the lowest attainable price level.

All bids are subject to Conditions of Sale printed in this catalogue.

REGISTRATION NUMBER NAME ADDRESS EMAIL

TELEPHONE

LOT NUMBER

ARTIST NAME

MAXIMUM BID $NZ excluding buyers premium

Signature ...........................................................................................

/

/ 2019

International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids.

Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151 before 3pm day of sale

Alternatively, register then bid online www.fineartauction.co.nz

202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 Fax 09 307 3421 email info@internationalartcentre.co.nz www.fineartauction.co.nz

135

136 Important & Rare Art 9 April 2019

137

Lot 61 Flora Scales

138 Important & Rare Art 9 April 2019

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 Thursday 11 April 2019 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.

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: Bank instructions on invoice if paying by direct debit.

Quote the Lot number(s) purchased and Surname 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.

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. 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 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

139

Lot 41 John Barr Clarke Hoyte

140 Important & Rare Art 9 April 2019

202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz