Auction 77 works from the Fletcher Trust Collection

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Auction Venue 6:30pm Wednesday 10 September Scarborough Gallery, International Art Centre Lower Ground Level 272 Parnell Road, Auckland

Viewing Times Wednesday

3 September

9:00am - 5:30pm

Thursday

4 September

9:00am - 5:30pm

*Friday

5 September

9:00am - 5:00pm

Saturday

6 September

11:00am - 4:00pm

Sunday

7 September

11:00am - 4:00pm

Monday

8 September

9:00am - 5:30pm

Tuesday

9 September

9:00am - 5:30pm

Wednesday

10 September

9:00am - 1:30pm

* Preview lecture see page 9

Absentee Bids Absentee Bidding Form - page 113 Fax to (09) 307 3421 Email bidding instructions info@fineartauction.co.nz Bid via website www.fineartauction.co.nz

Illustrated front cover: Lot 20 Illustrated previous pages: Lot 14

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

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Contemporary & Modern Art

Billy Apple $7,620

Brent Wong $52,700 Miranda Parkes $6,155

Mike Petre $17,000

Len Castle $9,380

Peter Siddell $170,000

Consign Today International Art Centre invites consignments for Contemporary & Modern Art - October 2014 Contact Richard Thomson +64 9 379 4010 M 0274 751 071 E richard@artcntr.co.nz Toll Free 0800 800 322 www.fineartauction.co.nz Paul Dibble $12,890

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz 4

Important, Early & Rare New Zealand’s premier auction category for Important 19th & 20th Century Paintings

Charles F Goldie $573,000

Evelyn Page $198,150

Charles F Goldie $732,800

Consign Today International Art Centre invites consignments for Important, Early & Rare - November 2014 Contact Richard Thomson +64 9 379 4010 M 0274 751 071 E richard@artcntr.co.nz Toll Free 0800 800 322 www.fineartauction.co.nz Colin McCahon $334,000

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz 5

Lot 19 6detail

Selected works from the Fletcher Trust Collection 6:30pm Wednesday 10 September 2014 The Fletcher Collection was begun in 1962 by Sir

The Collection inherited by the Fletcher Trust had

James Fletcher II and his friend and colleague

been amassed under a mandate to acquire the

George Fraser. Four watercolours by JBC Hoyte

finest works by New Zealand artists. In many cases

were purchased, reputedly for ÂŁ300 and hung in the

this involved purchasing paintings that represented

boardroom of Fletcher Holdings at Penrose, replacing

the high points of periods in the work of our major

photographs of race horses. With the continued

artists. As a result multiple holdings of work by some

acquisition of paintings, many from New Zealand’s

artists was both important and inevitable.

colonial past, an interesting and diverse collection was gradually assembled.

The founders, Sir James Fletcher II and George Fraser, always resolutely maintained that the Collection

In 1967, the company relocated to the present Fletcher

operated primarily for the benefit of staff. Their aim

House, where increased wall space prompted the

was always to have as few works as possible in

decision to commence collecting contemporary

storage.

New Zealand paintings. The Collection increased with the 1981 merger of Fletcher Holdings and Challenge

For a variety of reasons along with a change in

Corporation. In Wellington, Challenge Corporation

staff numbers, the rise of the interactive office and

had maintained its own smaller collection since 1965.

increased use of open-planned spaces, there are

For ten years following the merger, the two collections

fewer walls in Fletcher related office buildings and,

functioned in Auckland and Wellington respectively.

as a consequence, less hanging space for paintings.

In 1991 they were consolidated as a single collection

The Trust has resolved that, rather than hold these fine

in Auckland.

art works in storage, the time has come to reduce the size of the Collection.

During the 1990s the Fletcher Challenge Collection continued to grow while many other corporate

The Trust has decided to offer for sale by auction

art collections were being dismantled. With the

seventy seven selected works from the Collection.

2001 dissolution of Fletcher Challenge Limited, sole

We welcome your interest in this sale.

responsibility and ownership of the Collection passed to the Fletcher Trust. Works from the Collection remained on the walls of the Fletcher Building offices at Penrose.

Lot 37 detail

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Lot 22 8

Invitation PREVIEW LECTURE BY DR ANGELA MACKIE OF THE CATHEDRAL LECTURES Please join us for morning tea as Dr Angela Mackie discusses key works from the catalogue 10:30am - 11:30am Friday 5 September 2014 R.S.V.P. Luke Davies luke@artcntr.co.nz Tel. 09 379 4010

Lot 17 RAYMOND MCINTYRE Self Portrait

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 9

Auction commences 6:30pm All measurements in millimetres

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IAN SCOTT 1945 - 2013

Lattice Drawing no. 67

Acrylic on paper 340 x 340

Signed, inscribed & dated 1982 verso

Estimate $2,000 - 3,000

Provenance:

Fletcher Trust Collection

2

IAN SCOTT

1945 - 2013

Lattice Drawing no. 72

Acrylic on paper 340 x 340

Signed, inscribed & dated 1982 verso

Estimate $2,000 - 3,000

Provenance:

10

Fletcher Trust Collection

11

3

PATRICIA FRANCE 1911 - 1995

The Jug & Flowers

Gouache on paper 440 x 380

Signed

Inscribed verso

Estimate $4,000 - 6,000

Provenance:

Fletcher Trust Collection

Reference:

12

p. 157 Painting Out the Past

The Life and Art of Patricia France, Richard Donald

Longacre Press 2008

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4

DORIS LUSK 1916 - 1990

Onekaka

Watercolour 400 x 620

Signed & dated 1977

Estimate $4,000 - 6,000

Provenance:

14

Fletcher Trust Collection

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DORIS LUSK 1916 - 1990

Kaikoura Coast

Watercolour 525 x 715

Signed & dated 1983

Estimate $4,000 - 6,000

Provenance:

Purchased from Louise Beale Gallery,

Wellington 22/12/1983. Label affixed verso

Fletcher Trust Collection

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6

OLIVIA SPENCER BOWER 1905 - 1982

Near Mahurangi

Watercolour 380 x 535

Signed

Estimate $3,000 - 4,000

Provenance:

16

Fletcher Trust Collection

7

OLIVIA SPENCER BOWER 1905 - 1982

Karekare

Watercolour 390 x 520

Signed

Estimate $3,000 - 4,000

Provenance:

Fletcher Trust Collection

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8

JAN NIGRO 1920 - 2012

Abandoned Mine IV

Oil on board 800 x 1210

Signed & dated 1964

Estimate $3,000 - 5,000

Provenance:

Fletcher Trust Collection

Illustrated p. 81 Apple for the Teacher, by

Jan Nigro, David Bateman 1996

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9

RUDOLF GOPAS 1913 - 1983

Wharves

Tempera on board 460 x 600

Signed & dated 1950

Estimate $5,000 - 7,000

Provenance:

Fletcher Trust Collection

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10

MAUD WINIFRED SHERWOOD 1880 - 1956

St Paul de Vence, France

Watercolour 480 x 550

Signed

Estimate $4,000 - 6,000

Provenance:

20

Fletcher Trust Collection

11

MAUD WINIFRED SHERWOOD 1880 - 1956

Variegated Tulips

Watercolour 547 x 455

Signed

Estimate $4,000 - 6,000

Provenance:

Fletcher Trust Collection 21

12

WILFRED STANLEY WALLIS 1891 - 1957

Sails, Abstraction

Oil on board 500 x 380

Estimate $4,000 - 6,000

Provenance:

Ex Wallis Family Collection, Rotorua

Purchased from John Leech Gallery,

Auckland c. 1985

Fletcher Trust Collection

W.S. Wallis was born in Christchurch and educated at

appointed superintendent of the then King George

Christchurch Boys’ High School. After graduating with

Hospital, Rotorua.

a degree in Medicine from the University of Otago in 1914 he went overseas in 1915 as a medical officer,

After a period in private practice, Wallis returned to

serving in Egypt and later in England. He came

work in the Queen Elizabeth Hospital during World War

back to New Zealand as Chief Medical Officer of

II, attending to wounded returned servicemen. He was

Hospital Transport, Maunganui and was subsequently

awarded an O.B.E. in 1948 for his services to medicine.

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13

EVELYN PAGE 1899 - 1988

View of St Paul’s, London

Oil on canvas 595 x 600

Signed

Estimate $15,000 - 25,000

Provenance:

Fletcher Trust Collection

In 1950 Evelyn Page travelled by ship to England with

piano music of Douglas Lilburn, a former student of

her husband Frederick, who was on sabbatical from

the great English composer. View of St Paul’s, London

the music department of Victoria University. While

is one of a number of oils which convey the bustle,

in London Page spent some time looking at the oil

movement and colour of the city of London which so

sketches of Constable which are held in the Victoria

attracted the artist. This work is an authentic record of

and Albert Museum. She saw an exhibition of works

blustery, grey English winter weather. Page revelled in

by Matthew Smith and introduced herself to him; she

the ‘clear, strong colours waiting to be put on canvas‘

and her husband visited Ivon Hitchens and bought a

when they returned to Wellington. There is subliminal

painting from him. At this time she also painted Ralph

reference to the well known photograph taken during

Vaughan Williams, while her husband played the

the blitz of the smoke surrounding St Paul’s.

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14

JOHN HOLMWOOD 1910 - 1987

Derelict

Oil on board 560 x 760

Signed & dated 1951

Inscribed on artist’s label affixed verso

Estimate $15,000 - 25,000

Provenance:

26

Purchased from Webb’s Auction, July 1987

Fletcher Trust Collection

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15

SYDNEY LOUGH THOMPSON 1877 - 1973

Autumn Evening – Concarneau, Brittany

Oil on canvas 460 x 525

Signed

Estimate $18,000 - 25,000

Provenance:

28

Fletcher Trust Collection

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16

RHONA HASZARD 1901 - 1931

Still Life: Magnolias

Oil on board 420 x 325

Signed

Estimate $15,000 - 20,000

Provenance:

Purchased from John Leech Gallery, Auckland 1985

Fletcher Trust Collection

Exhibited:

Daily Express, Young Artist’s Exhibition,

original label affixed verso

Rhona Haszard, An Experimental Expatriate ,

Hocken Library Touring Exhibition 2002

Illustrated:

p. 59 Rhona Haszard, An Experimental Expatriate

New Zealand Artist Joanne Drayton,

Canterbury University Press, 2002

Born in Thames on the Coromandel Peninsula in 1901,

She worked as an artist on the Channel Island of

Haszard studied at Canterbury College School of

Sark, France, Alexandria and London. She dressed

Art and worked with fellow students Ngaio Marsh,

eccentrically, recommended Radclyffe Hall’s lesbian

Evelyn Page, Rata Lovell-Smith and Olivia Spencer

novel The Well of Loneliness, spoke positively of de

Bower. She was taught by Archibald Nicoll, the newly

facto relationships and advocated vegetarianism

appointed head of the school. A successful future

and unprocessed food. Most significantly, she

seemed assured by her marriage in 1922 to teacher

wanted to paint innovatively and professionally.

and fellow student Ronald McKenzie. However in 1925 she abandoned her marriage and headed to France

Her life was cut short at the age of thirty when she fell

with ex-British army officer and artist Leslie Greener.

from a four-storey tower at Victoria College, Alexandria

They settled in Paris and studied at the Academy

in 1931, the night after her last exhibition opened.

Julian. Her brighter, Post-Impressionist style rapidly brought international recognition, and in London she participated in a number of significant exhibitions.

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17

RAYMOND MCINTYRE 1879 - 1933

Self Portrait

Oil on canvas 61 x 51

Estimate $40,000 - 60,000

Provenance:

McIntyre family collection, London

Purchased from John Leech Gallery, Auckland circa 1990

Fletcher Trust Collection

Raymond McIntyre was an emigre New Zealand artist

did not always endear him to the art establishment.

whose departure was an enormous loss to painting

Consequently, in 1909 at the age of thirty, he left

in this country. Born in Christchurch he studied with

for England where he began an intensive period of

Petrus van der Velden and attended evening classes

study with such noted artists as Walter Sickert and

organised by the Canterbury College School of Art.

William Nicholson.

In 1905 he joined a sketch club where he met Sydney Lough Thompson who had recently returned from

His diverse work included street scenes, a subject he

four years study in Europe. From 1906 -1908 McIntyre

shared with the Camden Town Group, and from 1920

shared a studio in Cathedral Square with Leonard

he began to paint rivers and parks. McIntyre was

Booth who described him as an enthusiastic disciple

also a talented musician, writer, printmaker, theatre

of Whistler. In 1906 -1907 McIntyre was able to observe

and music critic. For some years he was art critic

for himself the new techniques of impressionism when

for the Architectural Review. He was a practising

twenty works by English Art Club members were

Christian Scientist since 1907 and in 1933 refused an

shown at the New Zealand International Exhibition

operation for a hernia. The resulting infection caused

in Christchurch.

his death which could have been prevented if he had permitted medical treatment.

These were to be enormously influential in forming McIntyre’s modern style of painting, a factor which

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NIGEL RODERICK BROWN b. 1949

Walls of Fern for an Axeman

Oil on board 1210 x 772

Signed & dated 1980

Inscribed and dated Titirangi 1980 verso

Estimate $7,000 - 12,000

Provenance:

Barry Lett Galleries, Auckland

Fletcher Trust Collection

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GRETCHEN ALBRECHT b. 1943

Untitled

Watercolour 1110 x 740

Signed & dated 1974

Estimate $12,000 - 18,000

Provenance:

36

Barry Lett Galleries, Auckland

Fletcher Trust Collection

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20

PATRICK HANLY 1932 - 2004

Torso G

PVA, enamel & acrylic on board 580 x 550

Signed, inscribed & dated 1978

Estimate $35,000 - 45,000

Provenance:

Purchased from Barry Lett Galleries, 1978

Fletcher Trust Collection

Illustrated:

Art New Zealand, Winter 1978

Pat Hanly’s Torso G comes more than a decade

However, arriving at a painting such as Torso G was

after he returns from five years in Europe and marks

not plain sailing for Hanly. There were struggles: Gil

a time in his career when he said that everything, all

Hanly recounts how the artist laboured through

the strands he had been working on, were coming

periods when he felt blocked; being worried he

together. The painting holds within it the discoveries

was too influenced by what he was taught at art

and achievements of several preceding series: the

school; and a difficult “floundering around” period

coastal light of Figures in Light; the tenderness of

following his return to New Zealand when he could

Girls Asleep; the atomised forms and transparency

not really get his eye in after the sunless but otherwise

of Inside the Garden and Molecular; and finally the

frenetically stimulating years in the UK, Holland

mature balance between figure, ground, line and

and Italy. To compound these struggles, his habit

flat, intense colour of The Golden Age.

of destroying works he was not happy with (even buying them back to do so) is well-known. Probably,

Torso G was first shown at Auckland’s Barry Lett

and most importantly, it was ‘the darkness’ that

Galleries early in 1978 and reproduced in Art New

gave birth to this painting and others of its quality

Zealand in the same year. It is tempting to see the

from this period. ‘The darkness’ as Pat Hanly called

‘G’ in the upper left corner as referring to the artist’s

it, was a reductive technique that he devised trying

wife Gil; and perhaps the ‘T’ as Gil’s maiden name

to unlearn what he’d learnt at art school and to see

Taverner, or their daughter Tamsin’s initial, or standing

things afresh. He had a studio in Grafton where he

in for the ‘Torso’ of the title – or all three. Whichever,

blacked out the windows and worked entirely in the

Torso G is Pat Hanly at the top of his game, and

dark; turning on the light later to discover what he’d

evidence that, as his wife Gil Hanly says “he knew

done. This process was both productive and thrilling.

absolutely what he was doing”.

ROB GARRETT 38

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21

GORDON WALTERS 1919 - 1995

Untitled

Acrylic on canvas 490 x 610

Estimate $20,000 - 30,000

Provenance:

Fletcher Trust Collection

for the way it forms a Untitled is a remarkable work

His early career was punctuated by a brief but very

stylistic bridge between Walters’ earliest abstract

influential period living in London, Amsterdam and

works and the final fifteen years of his oeuvre while

Paris where he gained first-hand experience of

he took a break from his koru paintings. The work

Paul Klee, Victor Vasarley, Auguste Herbin, Giorgio

also gives us a clue as to the artist’s interest, not only

Morandi, Kazimir Malevich, Theo van Doesburg,

in European abstraction, but the lessons of Dadaism,

Joan Miró, Jean Arp and Piet Mondrian.

and especially of Jean Arp who compared the role of the artist to a plant bearing fruit.

Although by the 1970s he was working in acrylic on canvas, paintings from this period such as Untitled

Walters largely moved between New Zealand

started out as paper collages. Walters would cut out

and Australia throughout his career, working in

a variety of shapes of coloured paper and arrange

Wellington, Auckland, Sydney, Melbourne and

and re-arrange them on a larger sheet until he had

finally Christchurch.

arrived at the composition of forms that best suited him and from there he would commence painting.

40

This is a slow and deliberative process, but it is also

He was careful to explain however that his

open to spontaneous chance discoveries, and these

compositions were not the result of “the law of

two aspects give the artist great freedom to work

senselessness”: they were not, as people have

through numerous possibilities before settling on the

claimed, random.

most satisfying. Here, the lessons of Dadaism and especially of Jean Arp seem important, because

Take a look at the small black shape at the top

it was Arp who also developed both paintings and

right hand corner of Walters’ painting. Is this the

relief sculptures from experiments with paper collage.

result of the operation of the “laws of chance” in

“According to the laws of chance” Arp would drop

the moments when Walters is moving pieces of cut

cut paper shapes (and later torn pieces of paper)

paper around to develop the plan for his painting?

– like fruit from a plant – onto a plane ground and

It could be, but whether it is or not, it reveals the

then arrange his design based on the compositional

artist’s delight in creating surprising shifts and formal

juxtapositions suggested by where the paper pieces

juxtapositions that have a lasting resonance.

landed.

ROB GARRETT

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22

MILAN MRKUSICH b. 1925

Meta Grey - Light Series

Oil on canvas 1120 x 840

Signed, inscribed & dated 1970 verso

Estimate $45,000 - 65,000

Provenance:

Fletcher Trust Collection

Acquired directly from the artist, 1978

Exhibited:

Twenty Paintings 1969 - 1970, Barry Lett

Galleries, Auckland 6 - 16 July 1970

Illustrated:

p. 76 Mrkusich The Art of Transformation,

Alan Wright & Ed Hanfling

Auckland University Press, 2009

The Meta Grey series commenced in 1969, is a development from the Corner paintings in that each work is concerned with density of colour rather than with space. They were originally silent, sombre works dominated by the colour grey but later, as here, Mrkusich darkened the tonality to black and brightened the other colour groupings. These light coloured areas at the top act as a positive element while the greys or blacks below are the negative. A quotation from Susan Sontag’s essay Aesthetics of Silence may be useful: “ Traditional art invited a look. Art that is silent engenders the stare.

Silent art allows - at least in principle - no release

Barry Lett Galleries, Auckland July 1970

from attention because there has never been any

Meta Grey - Light Series hangs on right wall

soliciting of it. A stare is perhaps as far from history, as close to eternity, as contemporary art can go.“

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GRETCHEN ALBRECHT b. 1943

Snake Charmer

Acrylic on canvas 1500 x 1820

Signed & dated 1976

Inscribed verso

Estimate $15,000 - 20,000

Provenance:

Purchased by Fletcher Challenge Ltd

Bosshard Galleries, Dunedin, 1977

Fletcher Trust Collection

Exhibited:

Elva Bett Galleries, 1976

Bosshard Galleries, Dunedin, 1977, no. 15

Original label’s from both galleries affixed verso

Gretchen Albrecht’s signature arc sweeps across

It was a period where she secured her vision and

Snake Charmer with its curved lines suggesting the

reputation as a leading abstract painter in a manner

sway of the snake charmer’s body and mesmerising

similar to that of American artist Helen Frankenthaler

flute; and the arc that later became synonymous

who in the late 1960s evolved a form of abstraction

with her name is explicitly foreshadowed here with

with transparent bands of horizontal colour.

great confidence and grace.

Following

a

decade

of

colour-field

paintings

Gretchen Albrecht was born in Auckland where

that explored stacked and layered chromatic

she continues to live and work. She studied at Elam

relationships, the hemispheres that emerged after

School of Fine Arts, the University of Auckland – where

Albrecht’s year away in the USA and Europe, and

later she was Teaching Fellow in Painting from 1972

during her Frances Hodgkins Fellowship in Dunedin

to1973 – and unlike many of her contemporaries who

from 1981 to 1982 were a shock for New Zealand

travelled immediately after art school, Albrecht did

audiences: shaped canvasses replaced the standard

not go overseas until after a decade of developing

rectilinear stretchers; bold solid colours replaced the

her practice. Snake Charmer comes from what the

watercolour-inspired washes and transparency; and

artist considered to be the emergence of her mature

strident contrasts replaced previously more subtle

style in the 1970s.

shifts of hue.

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All this, at the time, perhaps obscured the constancy

The hemispheres of the early 1980s owe much to the

of Albrecht’s gesture and the way the dimensions of

artist’s travels in 1979, but they also owe much to her

her works corresponded to the scale and expression

own painting that preceded them; and the power

of her body.

of Snake Charmer lies in its complete maturity as a painting as well as in the story it tells of a moment in

In Snake Charmer we can see the familiar wide

which the artist created a bridge to a new way of

sweep of her extended arm in the two red arcs

working.

which plunge from the centre up to the left and right corners; and in the three blue arcs that traverse

ROB GARRETT

the canvas from lower left to high on the right-hand edge. These are the same as those that come to define the hemispheres which first emerge in 1981.

It is the same body, the same painterly gesture; but the artist has shifted her expression dramatically and extended her vernacular.

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GRETCHEN ALBRECHT b. 1943

Duality

Oil, wax on paper 1100 x 695

Signed, inscribed & dated 1982

Estimate $7,000 - 10,000

Provenance:

Purchased from International Art Centre

Auction Paintings & Watercolours 20/10/1992

46

Fletcher Trust Collection

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25

STEPHEN BAMBURY b. 1951

Area Series - Red

Acrylic on canvas 1750 x 1750

Signed, inscribed & dated 1980 on

stretcher verso

Estimate $20,000 - 30,000

Provenance:

Benson & Hedges Art Award, 1980 - finalist

Fletcher Trust Collection

Illustrated p. 42 Stephen Bambury

Wynstan Curnow and William McAloon

Craig Potton Publishing 2000

Born in Christchurch, Stephen Bambury studied at

he established a studio in Auckland. He has exhibited

Elam School of Fine Arts graduating in 1975 with a

regularly and widely throughout New Zealand since

Dip.F.A. Hons. In 1979 he received a QEII Arts Council

1975. This work is one of the artist’s Block paintings

grant which he used to travel to North America. In

though unlike most of them, Area Series Red is not

1989 as the first Moet et Chandon Fellow he spent

constructed of two canvasses bolted together. Area

nine months in France. He returned to Paris in 1990,

Series Red was a finalist in the Benson and Hedges

remaining there until 1992. On return to New Zealand

Art award 1980.

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MICHAEL SMITHER b. 1939

Hills Of Tongaporutu

Oil on board 1210 x 1210

Signed

Estimate $45,000 - 55,000

Provenance:

Fletcher Trust Collection

Illustrated:

p. 72 Michael Smither Painter

Trish Gribben, Ron Sang Publications, 2004

Tongaporutu is a small pretty coastal settlement 67 kilometres north of New Plymouth at the mouth of the Mokau River lined with picturesque old-style family baches. Michael Smither, as we would expect, gives us a different vision of the place. The folksy charm of Smither’s rural landscapes and domestic scenes have long held the power to conjure warm feels of familiarity and humour. They are homely images. Smither is also the quiet master of New Zealand’s unhomely (unheimlich), creating ripples of something repressed or denied across the calm exterior of our everyday.

In Hills of Tongaporutu this is most evident in the way he has used the intensity of green to suggest a quite-literally saturated landscape that is slumping ever downwards towards river and sea, exposing the grey subsoil in over-grazed pastureland; and in my imagination the artist takes us into some uncanny undercurrent with the slits of grey which look much like the eye-slits of hooded subterranean creatures.

Hills of Tongaporutu comes in the middle of an incredibly productive two decades for the artist after he moved back to his home town of New Plymouth in 1962 to take up a role as husband, father and fulltime painter. Smither recalls: “It was prolific out

50

of necessity. The prices that one got for paintings in those days were between 12 guineas and … 30 guineas [… and] I had to have, on average, about three or four exhibitions a year of 20 or 30 paintings to meet our financial needs.”

This necessity for productivity did not however dull Smither’s eye, nor his passion for paintings that convey something deeper than intriguing forms and beguiling subjects. Perhaps there is a glimpse of what lies beneath the liquefying green of the hills of Tongaporutu in Smither’s story of the time he decided to walk around the coast from New Plymouth to Wanganui. It took nine days and in the end he couldn’t take anymore, not because he was tired, but because of what he saw and felt: “The Taranaki environment is so powerful that it’s hard to show that they have had an effect on it, but they have. The evidence of pollution was all the way along the coast. Just about everywhere you went, there were fences hanging over cliffs and waterfalls of dirty streams. It was just appalling. The most miserable bloody walk I’ve ever taken.”

ROB GARRETT

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27

RICHARD KILLEEN b. 1946

Filament, 1973

Oil and acrylic on canvas 1270 x 964

Signed on side of stretcher

Inscribed & dated 1973 verso

Artist Reference 45

Estimate $10,000 - 15,000

Provenance:

Purchased from Petar James Gallery,

Auckland 1973

Fletcher Trust Collection

This work is one of Killeen’s hard edged geometric

The whole of the surface becomes an object in itself,

abstractions made up of repeating forms. This pattern

there being no necessity for a hierarchy of objects

making quality of the work takes precedence over

within the aluminium frame.

the use of imagery or the necessity for a composition.

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28

PATRICK HANLY 1932 - 2004

New Order 28 Part II

Oil on board 980 x 855

Signed, inscribed & dated 1963

Estimate $25,000 - 35,000

Provenance:

Peter McCleavey Collection, Wellington

Fletcher Trust Collection

New Order 28 Part II (1963) is from a group of works

to, New Zealand’s growing contemporary art scene.

that Pat Hanly created in the period immediately

1962 also brought a shift in his aesthetic language.

following his return from five years working in London, Amsterdam and Florence. When he returned, he

Describing the first major body of work to emerge

was sceptical about staying in New Zealand, and

at that time as somewhat “therapeutic”, the artist

intended rather to work in Australia, but he was

noted in 1979 that the “New Order was trying to talk

surprised to find a very energetic and supportive

about the roughness of New Zealand, its newness

environment in Auckland “and a group of artists who

and crispness and those physical things. I hadn’t, until

showed total commitment”; and so he stayed.

that time, been an abstract or expressionist painter.

Having resisted that in Europe, I thought it was the

Pat Hanly was born in Palmerston North and died

only way to really try and talk about this place.”

in Auckland after a long illness. He was taught by Allan Leary in Palmerston North; by Bill Sutton in

The painting’s broad, rough markings and sharp

Christchurch, when in 1952 he began a three-year

curvilinear accents; and bold colours and tones

Diploma of Fine Arts course at Canterbury University

- black, blue, ochre, white and red – suggest

School of Fine Arts; and then in 1957 he travelled to

Auckland’s clay and sandy beaches, coastal clouds,

London, where he attended night classes at Chelsea

summer’s deep shadows and the vibrancy of the

School of Art.

edge of the Pacific. The plump bottom-like forms

Following his return to New Zealand in 1962 Hanly

in New Order 28 Part II also pre-figure elements of

became one of the major figures of, and contributors

the artist’s next series – Figures in Light – in which he

54

became fascinated with the visual intensity of figures

clearly on the cusp of that moment when Hanly is

in sunlight sitting and lying in the sun on the beaches.

finishing with adjusting to life back in New Zealand

With the view of an expatriate, he was sharply critical

and now has something potent to say about it.

of the social implications of a “nation sitting around on its bum doing nothing.� New Order 28 Part II is

ROB GARRETT

55

29

RICHARD KILLEEN b. 1946

Ace

Oil on board 1474 x 1220

Signed, inscribed

& dated February 1972 verso

Original artist’s label affixed verso

Estimate $8,000 - 12,000

Provenance:

Purchased from Petar james Gallery,

Auckland 1972

Fletcher Trust Collection

Killeen’s first paintings were of stereotyped suburban

works Killeen’s tendency to detach images from their

imagery close in spirit and intention to the work of the

surroundings in order to present them as signs rather

American Pop artists who brought imagery drawn

than representative facts can be seen.

from mass media into high art. Already in these

56

57

30

IAN SCOTT

31

IAN SCOTT

1945 - 2013

Lattice Drawing no. 32

Lattice no. 44

Acrylic on paper 770 x 560

Acrylic on canvas 1140 x 1140

Image size 120 x 120

Signed & dated March 1978 verso

Signed, inscribed & dated 1981 verso

Estimate $7,000 - 10,000

1945 - 2013

Estimate $1,000 - 1,500 Provenance:

Provenance:

58

Fletcher Trust Collection

Fletcher Trust Collection

REFERENCE: In 1978 Scott painted Lattice No. 44 and Lattice No.

All the elements - size, colour, tone and relationships

45. Other than the size of the canvas, the works are

of one colour to another were perfect in this

identical in colour and composition, Lattice No.

respect. There is no corner-to-corner diagonal and

45 won the Benson & Hedges Art Award in 1978

fewer, broader bands.

and features on p. 85 Ian Scott, Warwick Brown, Marsden Press 1997. It measures 1650 x 1650 and is

A thin delineating stripe has been introduced inside

in the collection of Dunedin Public Art Gallery.

the band edge. Colours are less intense than in some other Lattices and the elements sit tight inside

James Mollison, Director of the National Gallery of

the frame, with less feeling of run-off.

Australia and judge of the 1978 Benson & Hedges

p. 84 Ian Scott, Warwick Brown, Marsden Press 1997.

Art Award said he was looking for an artist who had set himself a task and achieved what he set out to do.

59

32

SIR MOUNTFORT TOSSWILL WOOLLASTON 1910 - 1998

Moon Over Pah Hill

Oil on board 895 x 595

Signed

Estimate $20,000 - 30,000

Provenance:

60

Fletcher Trust Collection

61

33

PHILIP CLAIRMONT 1949 - 1984

Still Life With Jug and Paint Brushes, 1977

Oil on jute 1400 x 930

Estimate $30,000 - 40,000

Provenance:

Ex Collection of Jeffrey Harris (Artist)

Fletcher Trust Collection

Still Life With Jug and Paint Brushes, created in the last decade of Clairmont’s short life embodies many key elements associated with his work. A pupil of Rudolf Gopas, Clairmont’s work was influenced by van Gogh, Francis Bacon and of course his contemporaries Allen Maddox and Tony Fomison.

His complex compositions appear spontaneous but there is more to them than meets the eye. Clairmont obsessively painted and repainted familiar objects.

This work was completed in his Waikanae garage studio. The photograph to the right shows the small table on which Clairmont arranged objects to be painted, along with mirrors which added drama and distortion to forms he captured on canvas.

62

63

34

RICHARD KILLEEN b. 1946

From Chance & Inevitability

Acrylic on Fabriano paper 770 x 550

Signed, inscribed & dated 1982

Estimate $4,000 - 6,000

Provenance:

Purchased from Peter McLeavey Gallery 1983

Fletcher Trust Collection

Exhibited:

64

Chance and Inevitability Auckland City

Art Gallery, Artist Project No.1. 1982

Chance and Inevitability Robert McDougall

Art Gallery 1982

Chance & Inevitability, Peter McCleavey

Gallery, Wellington 1983

65

Born in Hamilton, Melvin Day began formal art training

historian continuing to paint professionally. Two

at eleven years of age. He attended classes at Elam

retrospective exhibitions were held, one at the

School of Art under the tutelage of John Weeks, Lois

Dunedin Public Art Gallery in 1970 and at the

White and Ida Eise, becoming a full-time student in

Dowse Art Gallery, Lower Hutt the following year. A

1939 and graduating in 1942. Day spent the war

major survey exhibition, Full Circle was held at the

years in the New Zealand Army and then the Royal

Wellington City Art Gallery in 1984. A thoughtful and

New Zealand Air Force. Following this, he taught

scholarly painter, Day’s interest in various periods of

at Ngongataha and in 1954 extended his studies,

western art history is reflected in his work. He studied

gaining a Bachelor of Arts from Victoria University.

and utilised a wide variety of influences from the painters of the Italian Renaissance, to the modernist

From the 1950s onwards Day exhibited widely

works of Cezanne and Braque. In 2003 Day was

throughout New Zealand and in 1961 at the

awarded the CNZM for services to the arts. In 2004

Commonwealth Art Today exhibition in London.

a major survey exhibition Melvin Day - Continuum

Whilst based in London, during the early 1960s, he

was held at City Gallery, Wellington. In 2009, along

attended Professor Anthony Blunt’s lectures at the

with Nigel Brown and John Walsh, he travelled to

Courtauld Institute. Day became fascinated with the

Fiordland to paint the landscape which had inspired

geometric precision employed by Italian Renaissance

Cook’s artist, William Hodges. The journey was

painter, Paolo Uccello, a fascination which resulted in

documented Peta Carey’s film The Waterfall. Day’s

the creation of Day’s celebrated Uccello Series.

portrait of Donald McIntyre was gifted to the New Zealand Parliamentary Services in 2011.

In 1964 Day exhibited alongside Ralph Hotere, Edward Bullmore and Gordon Browne in the Young

Melvin Day’s works are found in many national and

Commonwealth Painters at Whitechapel Gallery,

international public and private collections including

London. For a time he taught in London before

Te Papa Tongarewa, The New Dowse, The Rototua

returning to New Zealand in 1968 and his appointment

Museum, the New Zealand Ministry of Foreign Affairs,

as director of the National Art Gallery of New

the Dunedin Public Art Gallery and the Auckland Art

Zealand. In 1978 he was appointed government art

Gallery.

66

35

MELVIN DAY

36

MELVIN DAY

b. 1923

Huia

Still Life V

Oil on canvas 1370 x 2280

Oil on paper 570 x 770

Signed, inscribed & dated 1984

Signed & dated 1982

Estimate $7,000 - 12,000

Estimate $3,000 - 5,000

b. 1923

Provenance:

Provenance:

Purchased by Fletcher Challenge Ltd,

Wellington 1982

Fletcher Trust Collection

Fletcher Trust Collection

67

37

GEOFF THORNLEY b. 1941

Untitled No. 2

Mixed media 1100 x 1100

Signed, inscribed & dated 1978 verso

Estimate $8,000 - 12,000

Provenance:

Purchased from Petar James Gallery,

Auckland 1978

Fletcher Trust Collection

Untitled No. 2 marks a return to single frame painting

a debate between rival aesthetic methods. Thus

on canvas at the time the artist was involved with

Untitled No. 2 shares some of the qualities of

his Construction works. This is nothing unusual for

confinement and concreteness of the Constructions

Thornley who often indulged in what he calls side by

while also alluding back to the more purely painterly

side production as a means of resolving or extending

work of an earlier period.

68

69

38

GEOFF THORNLEY b. 1942

Untitled

Mixed media 890 x 790

Signed & dated 1977 verso

Estimate $8,000 - 12,000

Provenance:

Purchased from Petar James Gallery,

Auckland 1977

Fletcher Trust Collection

This is one of the last paintings produced by Thornley in

some of the early constructions except that in this

the period immediately before he began his work on

case the work is painted on a single canvas held

the Constructions which were to occupy him for the

within a frame. This is a transitional work in which the

next nine years. In its clear separation of two sharply

artist is moving towards a new style.

contrasted colours it bears a close resemblance to

70

71

39

RALPH HOTERE 1931 - 2013

Port Chalmers Painting No. 8 1972

Acrylic on canvas 1200 x 1200

Estimate $70,000 - 100,000

Provenance:

Collection of the artist

Purchased from John Leech Gallery, Auckland

November 1986

Fletcher Trust Collection

This work was in the collection of the artist until 1986 when Auckland dealer John Gow visited the artist at his home in Carey’s Bay. The artist released the work to be sold directly to the Fletcher Collection at the time.

72

73

40

GEOFF THORNLEY b. 1942

Geoff Thornley has been described by Michael Dunn as One of the most committed of the younger abstract painters working in New Zealand. He studied at Elam School of Art 1960-64 graduating

Stupa 21 (Tryptich)

Mixed media 1070 x 2160 overall

Each panel signed, inscribed

which demonstrated an interest in building up layers

& dated 1971 verso

of colour which was to be one of the hallmarks of his

Estimate $5,000 - 8,000

Provenance:

with a B.F.A. Initially his painting was figurative but by the early 1970s he had evolved an abstract style

art in later decades. This work is the most minimal of three Stupa triptychs, the other two being held in the collections of the Te Papa and the Govett Brewster Gallery, New Plymouth. The artist regards these works produced on a full sheet of Steinbach paper

Purchased from Barry Lett Galleries

( the largest available paper size ) as signatures

Auckland 1972

of my beginnings in which he treated the surface

Fletcher Trust Collection

as a vessel to be filled or as a void to be painted

Exhibited:

Paintings 1971-2, Barry Lett Galleries,

Auckland 1972

74

around using a pure watercolour technique. The title Stupa derives from a mound form found in Indian architecture, which was used to mark out the sacred site on which a temple was to be built. This mound dominates each of the three works.

41

GEOFF THORNLEY

Untitled ( crayon )

Provenance:

Crayon on paper 300 x 210

Purchased from Barry Lett Galleries

Signed & dated 1972

Auckland 1972

b. 1942

Fletcher Trust Collection

Estimate $1,500 - 2,500 Exhibited: Paintings 1971-2, Barry Lett Galleries, Auckland 1972 75

42

ROB MCCLEOD b. 1948

Aqua

Provenance:

Oil on board 1070 x 1110

Purchased from International Art Centre

Signed & dated 1982 verso

Auction Paintings & Watercolours

Estimate $5,000 - 7,000

20/10/1992

76

Fletcher Trust Collection

43

JOHN HURRELL b. 1950

Medium Mesh One

Provenance:

PVA on canvas 1380 x 1250

Fletcher Trust Collection

Signed & inscribed on stretcher verso

Estimate $4,000 - 6,000

77

44

ERIC LEE JOHNSON 1908 - 1993

Casualties

Watercolour 520 x 350

Signed

Estimate $4,000 - 6,000

Provenance:

Fletcher Trust Collection

In the 1930s and 1940s Eric Lee-Johnson was one

Eric Lee-Johnson’s painting Casualties not only tells us

of a number of artists including Christopher Perkins,

about his conservationist sympathies but also about

Russell Clark, Mervyn Taylor, John Holmwood and

his determination to be a modern painter, informed

Gordon Walters who revived the theme of the

about what was happening in the London art circles

destruction of our indigenous forests. They produced

he had recently been a part of. Lee-Johnson was

so many paintings on this theme that they received

also a noted photographer who made many studies

the not altogether flattering name, the Dead Tree

of twisted tree limbs and bark textures. Casualties

School. Although there can be no doubt of their

employs a very fluid watercolour style to depict

conservationist conviction, it is also significant that

slain trees as people engaged in a violent struggle.

they were influenced by English painters such as Paul

It is as though the living, moving trees are frozen in

Nash and Graham Sutherland whose interest in anti-

death. This anthropomorphism underlines the rape of

romanticism had led them to seek subjects which

the land theme. By the 1950s Eric Lee-Johnson had

deflated traditionally romantic notions. Instead of the

abandoned this theme for much softer and more

great oaks of Constable or the soft silver-grey foliage

obviously picturesque works depicting old houses

of the Norfolk School of watercolourists they painted

which were by then being demolished in our town

hard edged images of dead or burned trees, many

and cities.

of them sights imprinted on their minds in the battle ravaged landscapes of World War I.

78

79

45

ALFRED SHARPE 1836 - 1908

Taupiri Gorge From The Kupukupa

Coal Mines, 1876

Watercolour 430 x 610

Estimate $20,000 - 30,000

Provenance:

Fletcher Trust Collection

The scene is Taupiri Gorge from the Kupukupa Coal Mines showing the slate formation of the Hakarimata Range through which the Waikato River has forged a passage. The picture is excellently painted, and is a vast improvement on some of Mr Sharpe’s former productions. New Zealand Herald, 6 March 1876.

80

81

46

JOHN BARR CLARKE HOYTE 1835 - 1913

The White Terraces

Watercolour 320 x 640

Signed & dated 1873

Estimate $15,000 - 20,000

Provenance:

82

Fletcher Trust Collection

47

JOHN BARR CLARKE HOYTE 1835 - 1913

The Golden Crown Stamper Battery,

Towards the end of the last century Thames was

Gold Crown Street, Thames

the largest centre of population in New Zealand

Watercolour 375 x 545

Signed

Estimate $15,000 - 25,000

with 18,000 inhabitants and well over 100 hotels and 3 theatres. The population today stands at approximately 7,000 and now has only 4 hotels in the town centre.

Provenance:

Fletcher Trust Collection

83

48

JOHN KINDER 1819 - 1903

Hauraki, Hokianga

Kinder visited the Hokianga in December 1858

Watercolour 255 x 430

though he himself dated this painting 1857, in error.

Signed, inscribed & dated 1957

On this journey Kinder also visited and painted the

Estimate $5,000 - 8,000

Waima Wesleyan Mission and the small settlement of Horeke, once the site of ship building yards.

Provenance:

Fletcher Trust Collection

49

JOHN KINDER

1819 - 1903

Mt Kakaramea

Kinder visited the area now known as Tongariro

Watercolour 255 x 424

National park in January 1862. He made several

Signed, inscribed & dated 1862

Estimate $5,000 - 8,000

Provenance:

84

Fletcher Trust Collection

paintings of the central North Island mountains, all from the foot of Kakaramea (or Browntop, as it is popularly known). Tongariro and Ruapehu appear in the distance.

85

50

JOHN KINDER

51

JOHN GOULD

1819 - 1903

Waiau Sawmill, Coromandel

Notornis Or Takahe ( Notornis Mantelli)

Watercolour 235 x 380

Lithograph 552 x 718

Signed, inscribed & dated 1861

Inscribed

Estimate $5,000 - 8,000

1804 - 1881

Estimate $2,000 - 3,000

Provenance:

Provenance:

86

Fletcher Trust Collection

Fletcher Trust Collection

52

JOHN GOULD 1804 - 1881

Neomorpha Gouldii ( The Huia )

Lithograph 552 x 356

Inscribed

Estimate $2,000 - 3,000

Provenance:

Fletcher Trust Collection

87

88

53

DIANA THORNLEY

54

PAUL RADFORD

b. 1941

Chromatic

The Gardener

PVA on board 895 x 685

Acrylic on canvas 1200 x 1800

Signed verso

Signed

Estimate $1,000 - 1,500

b. 1957

Estimate $4,000 - 6,000

Provenance:

Provenance:

Fletcher Trust Collection

Fletcher Trust Collection

89

55

DENNIS KNIGHT TURNER 1924 - 2011

Goatshead Series No.100

Watercolour 520 x 340

Signed & dated 1957

Estimate $2,000 - 3,000

Provenance:

90

Fletcher Trust Collection

91

56

RICHARD THOMPSON

57

ROBERT ELLIS

b. 1965

Untitled, Battle Painting - Diptych

Rakaumangamanga, 22 Hurae

Enamel and paving paint on board

Oil on paper 1080 x 750

Larger panel 1130 x 1180

Signed, inscribed & dated 1981

Smaller panel 445 x 260

Estimate $5,000 - 7,000

b. 1929

Estimate $1,000 - 2,000 Provenance:

Provenance:

Purchased from RKS Art, Auckland 1982

Fletcher Trust Collection

Fletcher Trust Collection

Exhibited:

92

Rakaumangamanga, RKS Art

Auckland 14 - 26 June, 1982

93

58

PHILIP TRUSTTUM b. 1940

Sketch

Oil on board 1420 x 960

Signed & dated 1971

Estimate $4,000 - 8,000

Provenance:

94

New Vision Gallery, Auckland 1971

Fletcher Trust Collection

95

59

PHILIP TRUSTTUM b. 1940

Carrying

Provenance:

Oil on paper 750 x 550

Fletcher Trust Collection

Signed

96

Estimate $2,500 - 3,500

60

PHILIP TRUSTTUM b. 1940

Pushing

Provenance:

Oil on paper 750 x 550

Fletcher Trust Collection

Signed

Estimate $2,500 - 3,500 97

61

PHILIP TRUSTTUM b. 1940

Musical Notes

Oil on canvas 1115 x 1825

Inscribed

Estimate $5,000 - 7,000

Provenance:

98

Fletcher Trust Collection

62

JOHN WEEKS 1888 - 1965

Harlequin

Provenance:

Oil on board 450 x 320

Purchased from John Leech Gallery, Auckland

Signed

Ex Artist’s Estate Collection Fletcher Trust Collection

Estimate $3,000 - 5,000 99

63

NICHOLAS CHEVALIER 1828 - 1902

A Majestic Snow Covered Mountainscape

Watercolour 372 x 652

Signed & dated 1874

Estimate $5,000 - 10,000

Provenance:

100

Fletcher Trust Collection

64

PETRUS VAN DER VELDEN 1837 - 1913

Figure In Moonlight

Oil on canvas laid on board 720 x 1130

Estimate $4,000 - 8,000

Provenance:

Fletcher Trust Collection

101

65

KEITH PATTERSON 1925 - 1993

Still Life

Oil on board 545 x 725

Estimate $1,000 - 2,000

Provenance:

Ex Collection Vernon Brown, Architect

Fletcher Trust Collection

102

66

GRACE BUTLER 1886 - 1962

Canterbury Plains

Oil on board 475 x 680

Signed

Born Grace Cumming at Invercargill to Scottish immigrant parents she moved with her family to Norsewood and later, in 1903, to Gisborne. She attended Napier Art School until 1907 by which time she already worked on the staff. She also took private pupils in Gisborne. From 1910-14 she went to the Canterbury School of Art where she was taught by Sydney Lough Thompson, Cecil

Estimate $3,000 - 5,000

Provenance:

Fletcher Trust Collection

Kelly and Leonard Booth. In 1911 she married Guy Raphael Butler remaining until Christchurch until 1918 when she moved to Auckland. She and her husband bought a mountain shack at Arthur's Pass where Grace Butler would indulge in plein air painting, sometimes working even in snow when she was obliged to cover her easel and stand on heated stones. In 1925 she was again taught by Sydney Lough Thompson on one of his return trips from France. It was his post impressionist landscape style which formed the basis of her art. Grace Butler exhibited widely during her lifetime including at the Festival of Britain Exhibition of 1951. She died at Wellington.

103

Abstract Study verso

67

RUDOLF GOPAS 1913 - 1983

Fish And Unicorn - Abstract Study verso

Watercolour 215 x 400

Signed & dated 1952

Gopas was born in Lithuania, and had exhibited widely throughout Europe before arriving in New Zealand in 1949. He settled in Christchurch and gradually established himself as one of the most important immigrant painters. Gopas’ tendency towards

German

Expressionism

encountered

some criticism, partially because the style had not yet been accepted or fully explored by New

Estimate $1,500 - 3,000

Provenance:

Fletcher Trust Collection

Zealand artists. This initial opposition didn’t lessen the influence of the artist who has since been commended for providing what was to become an important stylistic force in New Zealand painting.

Michael Dunn has commented that: “Gopas did much to move the focus of painting away from its regionalist and realist fixation to a more expressive and subjective dimension”.

104

It

was

unfortunate

that

Gopas’

unorthodox

approach separated him so distinctly from his contemporary art circles that he was considered by some as insane. However, the artist used his position

68

RUDOLF GOPAS 1913 - 1983

The Remarkables, Queenstown

the traditional methods of formal art training which

Watercolour 390 x 520

he scorned openly. Philip Trusttum was among the

Signed

at the Canterbury School of Art to work against

pupils who were exposed to Gopas’ ideas at this time. This work displays features such as a disregard for spatial recession, bright colours applied loosely and with visible brushstrokes, strong outlining and non-naturalistic forms, which make for an expressionistic work, the kind of which was fairly

Estimate $2,000 - 3,000

Provenance:

Fletcher Trust Collection

radical for Christchurch in the 1950’s.

105

69

CHRISTINE MATHIESON

b. 1954

Moving In

Since graduating Bachelor of Fine Arts at Auckland

Pastel on paper 670 x 1000

University in 1981, Mathieson has been exhibiting

Signed & dated 1984

Estimate $1,000 - 1,500

most regularly, slowly developing her technique, based

on

the

pre

1965

European

abstract

movement, an offshoot of which became the New York Abstract Expressionist school.

Provenance:

Always striving to be more expressive than purely

Brooker Gallery, Wellington

decorative but still aiming to create a thing of

Fletcher Trust Collection

beauty before anything else.

106

70

CHRISTINE MATHIESON b. 1954

Busy Green

I also like to juxtapose colours so that they resonate

Pastel on paper 710 x 1010

off the surface, and for each colour to have a

Signed & dated 1984

Estimate $1,000 - 1,500

Provenance:

Brooker Gallery, Wellington

Fletcher Trust Collection

voice. Someone asked me once “Do your colours sing?� I was able to truthfully answer yes and have been a slave to that creed ever since, not only from the point of view of the resonance of each colour but from the way in which the paint is applied to the support structure. I try to show my life force in every stroke.

CHRISTINE MATHIESON

107

71

INGRID BANWELL b. 1957

Delicate Connections

Ingrid Banwell was born at Taupo. She was educated

Oil, enamel on customwood

at schools in Mexico City, Wellington and New York

and rope 1200 x 1500

Signed, inscribed & dated 1985 verso

Estimate $1,500 - 3,000

and graduated from Auckland University School of Fine Arts in 1981. In 1985 she was awarded a QEII Arts Council Travel Grant for study in the USA. Her painted wall constructions made in the mid 1980s experimented with the dividing line between painting and sculpture, the polarities of organic

Provenance:

and geometric constructions and the assimilation

of Oceanic with European art forms to express New

108

Fletcher Trust Collection

Zealand's multi-cultural influences.

72

NEIL FRAZER

73

KEGGIE CAREW

b. 1961

Leaf

Positive Futility Barrier

Oil on canvas 2325 x 3090

Oil on two canvas panels 600 x 720

Signed & dated 1989

Signed & inscribed

Estimate $2,000 - 5,000

Estimate $1,000 - 2,000

b. 1957

109

74

PAUL JACKSON b. 1950

Kete of Plenty

Oil on canvas 350 x 480

Estimate $1,000 - 1,500

Provenance:

Fletcher Trust Collection

75 GEORGE FREDERICK SWAINSON

1829 - 1870

Auckland Harbour from Bastion Rock

Watercolour 235 x 355

Signed, inscribed & dated 1/8/1851

Estimate $1,000 - 1,500

Provenance:

110

Fletcher Trust Collection

76

MAY SMITH

77

THOMAS ARTHUR MCCORMACK

1906 - 1988

Wanganui Island (Triptych)

Seascape

Watercolour 225 x 1335

Watercolour 200 x 245

1883 - 1973

Signed

Signed

Estimate $1,000 - 1,500

Estimate $1,000 - 1,500

Provenance:

Provenance:

Fletcher Trust Collection

Ex collection of Michael Smither

111

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Index ALBRECHT G....................................................... 19, 23, 24

MCCORMACK T A......................................................... 77

BAMBURY S..................................................................... 25

MCINTYRE R.................................................................... 17

BANWELL I....................................................................... 71

MCLEOD R...................................................................... 42

BROWN N R.................................................................... 18

MRKUISCH M.................................................................. 22

BUTLER G......................................................................... 66

NIGRO J............................................................................ 8

CAREW K........................................................................ 73

PAGE E............................................................................ 13

CHEVALIER N.................................................................. 63

PATTERSON K.................................................................. 65

CLAIRMONT P................................................................ 33

RADFORD P.................................................................... 54

DAY M....................................................................... 35, 36

SCOTT I............................................................... 1,2, 30, 31

ELLIS R............................................................................. 57

SHARPE A........................................................................ 45

FRANCE P ........................................................................ 3

SHERWOOD M W..................................................... 10, 11

FRAZER N........................................................................ 72

SMITH M.......................................................................... 76

GOPAS R...............................................................9, 67, 68,

SMITHER M...................................................................... 26

GOULD J................................................................... 51, 52

SPENCER B O ............................................................... 6, 7

HANLY P.................................................................... 20, 28

SWAINSON G F............................................................... 75

HASZARD R..................................................................... 16

THOMPSON R................................................................. 56

HOLMWOOD J............................................................... 14

THOMPSON S L............................................................... 15

HOTERE R........................................................................ 39

THORNLEY G..................................................37, 38, 40, 41

HOYTE J B C.............................................................. 46, 47

THORNLEY D................................................................... 53

HURRELL J....................................................................... 43

TRUSTTUM P .................................................. 58, 59, 60, 61

JACKSON P..................................................................... 74

TURNER D K..................................................................... 55

KILLEEN R.............................................................27, 29, 34

VAN DER VELDEN P....................................................... 64

KINDER J............................................................. 48, 49, 50

WALLIS W S..................................................................... 12

JOHNSON E L................................................................. 44

WALTERS G..................................................................... 21

LUSK D........................................................................... 5, 6

WEEKS J........................................................................... 62

MATHIESON C.......................................................... 69, 70

WOOLLASTON T............................................................. 32

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 114

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Conditions of Sale & A Guide to Buyers CONDITIONS OF SALE 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 4pm Friday 12 September 2014 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected or paid for whilst auction is in progress.

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 our buyers premium.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security.

Absentee bids can also be left via our website to registered members. International Art Centre 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. There is no charge for this service.

PAYMENT FACILITIES Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises.

Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit.

Quote the Lot number(s) 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’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted.

EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid issues with customs. This does not apply to non New Zealand works. For full details visit www. mch.govt.nz FREIGHT & PACKING International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost. Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area.

OTHER ENQUIRIES +64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 17.25% including GST

272 PARNELL ROAD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 116