Important & Rare Art by International Art Centre

Important & Rare Art WITH works from the chunn family collection

7:00pm Tuesday 14 AUGUST 2018

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Important & Rare Art WITH works from the chunn family collection

7:00pm Tuesday 14 AUGUST 2018

Conditions of Sale p.135 Absentee Bid Form p.131 Index p.136

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

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Viewing exhibition times

AUCTION SPECIALISTS

International Art Centre, 202 Parnell Road, Auckland

Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mob 0274 751071

Tuesday

7 August

10.00am - 5:30pm

Wednesday

8 August

9:00am - 5:30pm

Thursday

9 August

9:00am - 5:30pm

Friday

10 August

10:00am - 5:30pm

Saturday

11 August

10:00am - 4:00pm

Sunday

12 August

11:00am - 4:00pm

Monday

13 August

9:00am - 5:30pm

Tuesday

14 August

9:00am - 3:00pm

Frances Davies Ph +64 9 366 6045 fran@artcntr.co.nz Mob 0274 936360 Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz

Please join us for pre-auction refreshments from 6:00pm on evening of sale

Location and car parking Parking During Viewing:

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202 Parnell Road, Auckland Telephone + 64 9 379 4010 www.internationalartcentre.co.nz

ANNOUNCING A FORTHCOMING AUCTION

Drawn from Experience THE ESTATE OF RON STENBERG 1919 - 2017 CATALOGUING NOW: AUCTION SPRING 2018

King Country Landscape 35.5 x 46cm For further information about this auction: www.internationalartcentre.co.nz or follow us on Facebook and Instagram #internationalartcentre

To assist in our ongoing research, we invite you to share any information you may have relating to the artist Luke Davies luke@artcntr.co.nz Maggie Skelton maggie@artcntr.co.nz

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IMPORTANT & RARE ART AUCTION: NOVEMBER 2018 ENTRIES INVITED NOW

Arthur Merric Bloomfield Boyd fetched $285,540 April 2018

Confidential no obligation appraisals Richard Thomson richard@artcntr.co.nz T +64 9 379 4010 M 0274 751 071 Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand

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Charles Frederick Goldie Tamati Pehiriri Chieftain of the Rarawa Tribe Sold for $922,000 - Important & Rare April 2018 The single highest price for an artwork at auction this year

MODERN & CONTEMPORARY ART AUCTION: OCTOBER 2018 RECENT RECORD PRICES PAID FOR CONTEMPORARY ART

Karl Maughan $98,000 Auction record April 2018

Heather Straka $40,450 - Auction record May 2018

Nigel Brown $28,550 - Auction record April 2018

ENTRIES INVITED NOW Richard Thomson richard@artcntr.co.nz ph +64 9 379 4010 mob 0274 751 071

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Gordon Walters $17,250 - Auction record for Kura Screenprint - June 2018

Maggie Skelton maggie@artcntr.co.nz Toll Free 0800 800 322

DON BINNEY

Swoop of the Kotare, Waimanu Screenprint, edition 108/175, 66 x 48 Signed, inscribed & dated 1980 $6,000 - 10,000

PETER SIDDELL

House and Inlet Acrylic on paper 22.5 x 32.5 Signed & dated 1986 $7,000 - 10,000

Provenance: Purchased from International Art Centre, 1990

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LEN CASTLE

Large Crater Lake Bowl Glazed ceramic 54 x 54 Impressed initials on base $6,000 - 9,000

BILL HAMMOND

Singer Songwriter I Lithograph, edition of 100, 69 x 84 Signed, inscribed & dated 2001 $2,500 - 3,500

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MERVYN WILLIAMS

Transit (Blue) Acrylic on canvas 127 x 108 Signed, inscribed & dated 2004 verso $10,000 - 15,000

MAX GIMBLETT

Cast Linen, ink, gesso, red bole clay, polyurethane, water gilded 23 3/4 kt Swiss gold on wood panel 25.2 x 51 Signed, inscribed & dated 2001 verso $12,000 - 18,000

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MAX GIMBLETT

Untitled, 1985 Sumi ink on paper 126 x 85 Signed & dated 1985 Original Gow Langsford Gallery label affixed verso $4,000 - 6,000

MAX GIMBLETT

Choice, 2000 Gesso, polyurethane, Swiss gold, wood panel 38 x 38 Signed, inscribed & dated 2000 verso $9,000 - 13,000

WORKS FROM THE CHUNN FAMILY COLLECTION, AUCKLAND LOTS 9 - 17 In My Life Art to me is everything. The art of cooking, the art of music, the art of writing, the art of speech and of listening, the art of the moving picture. All art has meaning. All art matters. Human beings making art is the salt and pepper to our lives and some of the most moving art, the best seasoning I’ve ever tasted has been the art of the New Zealand painter and their paintings. I feel lucky to have been born when I was. And that’s not just because of The Beatles (well, not quite). From the middle of the twentieth century the artists of this country have done us proud. They are the Paint Blacks. My father Jerry had a natural eye. He always bought an image, never just a name. He was blessed that way and I was blessed to have been brought up in his house. A house of many colours. I was also blessed with having been brought up on my mother’s cooking. Doubly blessed. My first memory of pictures in our family home were classic ‘cover versions’. Van Gogh’s Cafe Terrace At Night by the front door, his Almond Blossom in the hallway. Michelangelo’s Madonna with Child above the green telephone by the kitchen door and, of course a heavy gold framed mirror hanging over the fireplace. A young boy notices these things. But soon enough along came the burnt orange motorway landscapes of Robert Ellis (from the air he had been an RAF pilot), the vigorously slurped paint of Toss Woollaston as he splashed the rivers and mountains onto the canvases to capture the Wild West Coast of Jerry’s upbringing.

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Dear Von was no slouch either. It was her eye that caught Dick Frizzell’s Fabricant Société Anonyme Énigme and pinned it up onto the glossy white painted brickwork of the kitchen wall. Pre-vogue. International. Stunning! Of all the works that hung around the family’s eyes and ears over the years Jacqueline Fahey’s Luncheon on the Grass got the lions’ share of the visitors’ comments. That and Michael Illingworth’s A Calvary for Jim. Mind you, an awful lot of those visitors were teenage boys and girls so no surprise there. I will never forget one afternoon in 1972, sitting among these wonderful pictures in the gallery like living room of the middle terrace house at the top Parnell Road as my brother Michael, with four friends, tried out their new band on me. Split Enz was born. I was the one single audient to their very first performance. Just those paintings and me. As Black Adder might have said, I’ve still got the preliminary sketch right here in my head. There amongst all the beautiful paintings in my life. Geoffrey Chunn

TOSS WOOLLASTON

Moana, 1964 Oil on board 66 x 90 Signed & dated 1964 $25,000 - 35,000

Provenance: Von and Jerry Chunn Collection Purchased directly from Toss Woollaston by Jerry Chunn, mid 1960s

JACQUELINE FAHEY

Luncheon on the Grass Oil on canvas 122 x 166 Signed & dated 1981 - 82 $35,000 - 45,000

Provenance: Von and Jerry Chunn Collection Purchased directly from Jacqueline Fahey, 1982 Exhibited: Jacqueline Fahey: Where My Eye Leads 4 March - 23 April 2017 Te Uru Waitakere Contemporary Gallery

Jacqueline Fahey: Say Something! 22 November 2017 - 11 March 2018 Christchurch Art Gallery Te Puna o Waiwhetū

Illustrated: p. 52 - 53 Say Something! Jacqueline Fahey, Felicity Milburn 2017, Christchurch Art Gallery Te Puna o Waiwhetu

In Luncheon on the Grass, Jacqueline Fahey presents a feminist reimagining of the celebrated realist painting Le Déjeuner sur l’herbe. Manet’s scene is translated to a New Zealand picnic on the grass, set in the artist’s garden at Carrington. Subverting the power dynamic of the original, which is so unambiguously governed by the male gaze, Fahey has clothed her two young women resplendently and it is the men who are naked. The figure in the foreground stares out at the viewer, both inviting and exposing himself to our gaze. His garments are strewn across the grass along with the remains of the picnic: an empty can, biscuit tin and two bottles of champagne. Fahey invests this large scale canvas with a touch of the personal, as Manet’s 19th century dandies are now the artist’s daughter Augusta and her friend Lucy. Both these young women were preparing to start drama school in Wellington the following year, and in this scene they lean

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effortlessly into their theatrical selves. They are statuesque, posing. Everyone in this scene is an actor. Fahey’s work has been defined by the exploration of women’s stories since the 1950s. We know it by the subtleties of looks, intimate moments, domestic barbs and affections she captures: details mined with love and attentiveness. In Luncheon on the Grass, the two young women are pouting, loosely mirroring each other’s pose. Fahey holds us closely in their world which is enhanced by a fluid treatment of perspective and colour: the two female protagonists are boldly defined, while the men around them appear to fade into nature’s muted background.

Reference: Jacqueline Fahey, Before I Forget, Auckland University Press: 2012

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MICHAEL ILLINGWORTH

A Calvary for Jim Oil on canvas 41 x 31 Signed & dated 1970 Title inscribed verso A Calvary for Jim from Illingworth Puhoi and This painting to Jim Baxter Illingworth 70 $50,000 - 75,000

Provenance: Barry Lett Galleries Chunn Family Collection Meeting Baxter in 1958, Illingworth was filled with a sense of antagonism that flared into hostile argument. Perhaps it was religion that got them riled: Baxter had just become a Catholic. Despite his use of Christian iconography, Illingworth was an atheist, albeit one who believed that the role of the artist was to express the natural man: There is no god, but there should be an ideal, a purity to look to he wrote. Both painter and poet chafed against the restrictions of puritan New Zealand society and lampooned straitlaced conformity in their art. For Baxter, the crucifixion of Jesus Christ was a symbol of divine love for humanity. He laced his poem, Ballad of Calvary Street with irony: bloodred roses bloom on a trellis, ignored by a couple ‘clogged dumb by habit’, trapped in a loveless marriage in kiwi suburbia. A Calvary for Jim may be a portrait of the poet as a kind of seer, his brown eyes soulful, and his arm upraised like a prophet or preacher. Or it could be a depiction of the subject in Baxter’s poem, The Māori Jesus – minus his blue dungarees. The figure is rendered smooth and hairless, as if carved of wood, and the form is geometricized. Illingworth had a rationale for this: The shape of my heads I take from that which nature has drafted as the shape strongest for protection (seen in such as an egg). My bodies come from the pyramid. The head I make is often to act as a canopy against nuclear fallout. Time spent together in Dunedin, Baxter as Burns Fellow 1966-67 and Illingworth as the first Frances Hodgkins Fellow at the University of Otago in 1966,

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cemented their relationship as fellow travellers who believed in the power of politically and socially-engaged art to change the world. Jim Baxter said you are the warrior of our tribe Mike, and I was not old enough for that responsibility and he embarrassed me. Therefore I knew that one day he would be right. Both men had married Māori women and then sought to live bohemian lives in Catholic settlements. In 1968, Baxter went up the Whanganui River to Jerusalem where the Sisters of Compassion had their convent. By August 1969 he had adopted the Māori version of his name, Hemi, and founded a commune. Illingworth retreated to Puhoi (the Māori translates as slow water) an hour north of Auckland where Baxter visited him at Easter in 1969. The riverside town had coincidentally been built by real Bohemians from Germany on 29 June 1863 – 63 years to the day before Baxter’s birth in Dunedin. On its outskirts stands the roadside shrine or calvary depicting Christ on the cross which provided this painting with its motif. Illingworth described the subject of the crucifixion as the deepest known symbol of western man … therefore the hardest for the artist to work with and succeed in creating a new work of art. Having tackled Adam and Eve early in his career (and been censured for obscenity), A Calvary for Jim was an important cross on the way in Illingworth’s own development as a painter. Linda Tyler

DICK FRIZZELL

Fabricant Société Anonyme Énigme Enamel on canvas 70 x 52 Signed, inscribed & dated 1977 Inscribed E Pluribus Unum verso $15,000 - 25,000 Provenance: Chunn Family Collection Acquired from Barry Lett Galleries, 1977 Probably A-fish-ial Exhibition Illustrated: p. 45 Dick Frizzell - The Painter, Live Clean & Let Your Works be Seen Godwit 2009

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14 study verso

COLIN MCCAHON

Untitled Graphite on paper 26 x 21 Signed & dated 1940 $4,000 - 6,000 Provenance: Chunn Family Collection Purchased from John Leech Gallery circa 1992

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MICHAEL SMITHER

In the Shower - Nude Study verso Oil on board 71 x 45 $10,000 - 15,000

Provenance: Von and Jerry Chunn Collection Purchased directly from Michael Smither, c. 1965

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WORKS FROM THE CHUNN FAMILY COLLECTION, AUCKLAND LOTS 9 - 17

PETER STICHBURY

Untitled Acrylic on canvas 50 x 50 Signed, inscribed & dated 1998 verso $15,000 - 20,000 Provenance: Chunn Family Collection Acquired from an exhibiton titled Figurative Painting, 12 January â&#x20AC;&#x201C; 31 January 1998 Gow Langsford Gallery, Auckland

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PAT HANLY

Untitled (Girl Asleep) Pencil & crayon on card 17.2 x 22.5 Signed & dated 1964 $4,000 - 6,000

Provenance: Chunn Family Collection John Leech Gallery label affixed verso

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PAT HANLY

Jinger Girl Watercolour 54 x 53 Signed, inscribed & dated 1976 $10,000 - 15,000

Provenance: Von and Jerry Chunn Collection Illustrated: p. 265 Hanly, Gregory Oâ&#x20AC;&#x2122;Brien Ron Sang Publications, 2012

STEPHEN BAMBURY

Not Through The Logical Law of Dialectics Resin, graphite & pencil on two aluminium panels 50 x 100 Signed, inscribed & dated 2004 verso $24,000 - 32,000

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Provenance: Purchased from Gow Langsford Gallery Auckland, 2004 by current owner

PETER SIDDELL

Eastern Road Oil on canvas 30 x 61 Signed & dated 1988 Inscribed verso $20,000 - 30,000

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garth tapper

Preview Oil on hardboard 44 x 58.5 Signed & dated 1977 Inscribed verso $7,000 - 10,000 Provenance: Private Collection, Northland, originally purchased at One Man Exhibition, John Leech Gallery, 1977, acquired from that exhibition by current owner

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ROBERT ELLIS

City in the Evening Oil on board 122 x 122 Signed & dated 1966 Inscribed verso $20,000 - 30,000

Provenance: Terry McNamara Collection Private Collection, acquired directly from the above collection, early 1990s

STANLEY PALMER

Opounui - Matauri Oil on linen 80 x 200 Signed & dated 1996 $20,000 - 30,000

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DON BINNEY’S SHAG & VEHICULAR FERRY - A MODERN MASTERPIECE 23

don binney

Shag and Vehicular Ferry Oil on canvas 187 x 110 Signed & dated 1969 $350,000 - 450,000

Provenance: Purchased from Barry Lett Galleries, 1969 Don Binney is often associated with paintings of soaring birds against defined horizons, framed by minimalistic beaches and coastlines. Birds as icons of our national past, present and future. Shag and Vehicular Ferry is wonderfully rare in that it can actually be attributed to a particular moment and place within New Zealand’s narrative. Looking out to Waitemata Harbour, the shag is shown perched on a wharf piling, hemmed in by the architecture of Devonport’s old vehicular ferry terminal. As viewers, we feel the momentary nature of this chosen resting place; there is something poised and fleeting in the bird’s elegant stance. Binney has painted this work with typical clarity and brightness, giving importance to both the creature and the surrounding infrastructure. From an architectural point of view, it is interesting to reflect on the painting’s place within the context of regionalist art in New Zealand in the

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late 1960s. Shag and Vehicular Ferry has a remarkable stylistic affinity with the work of Binney’s contemporary Robin White. In the stillness of this work, it seems that Binney’s aim was not to rail against industrialisation or overtly juxtapose the elements of old and new; nature and man-made in this work. At first glance, and particularly through its linearity and freshness of composition, the ferry terminal appears relatively untouched by age. It is only on closer examination that the painting’s light reveals metal glinting with rust, and yes, there is something of an eerie emptiness to the structure. An atmosphere in direct contrast to the powerful, life-filled, life force of Binney’s magnificently portrayed black and white shag.

The Vehicular Ferry Terminal Devonport c. 1959

When the Auckland Harbour Bridge opened in 1959, a number of Devonportâ&#x20AC;&#x2122;s ferry services were cancelled. Describing the childhood memory of the final vehicular ferry crossing from this point, one former passenger reflected on how often the queue for the car ferry would stretch from Victoria Wharf along King Edward Parade past

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the Masonic Hotel and almost to North Head. Cars could be stopped for up to fifteen minutes at a time before edging forward a few hundred metres. In 1969, exactly ten years after the service was stopped, the terminal remained in place like an empty memory, and this is what Binney looked to.

GORDON WALTERS

Untitled, 1979 Acrylic on paper 15 x 12.2 Signed & dated 1979 $25,000 - 35,000

Provenance: Private Collection, Auckland Purchased in 1980 Untitled, 1979 belongs to the high point of Gordon Walters’ practice, a period spanning 1965 to 1980. It reveals the synthesis of ideas which define the artist’s modernist style. The image is framed by the meticulous form of a koru which pushes dynamically back and forth against the picture plane, its cream colour a few shades off the crisp white most commonly associated with Walters’ koru paintings. Added to the fact that it does not have the frenetic energy of the artist’s geometrically repetitive paintings, Untitled, 1979 possesses a divergent calmness. In one respect, Walters’ treatment of the koru form relied on its de-contextualisation, which is something he insisted on. As he is often quoted as saying, it was a motif, used solely to demonstrate relations. At the same time, he did not treat the geometric koru with its spherical bulb and linear formation in a purely formal, or rational manner. It is the centrality of irrational ideas which give this work meaning – an idea explored by Luke Smythe in his essay Employing Reason Wisely: Gordon Walters and European Modernism. Walters invites the viewer to encounter the irrational, varying depths of a singular form and hard-edged linearity.

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By the late 1970s, the koru had become selfreferential in Walters’ work. Its function as a modernist device, plucked from the lexicon of New Zealand’s bicultural identity, imbued it with a sense of national artistic meaning. To look at the single koru in this painting, therefore, is to understand that it exists not only in singular conversation with itself, but with its painted ancestors; one manifestation of many possibilities. In dedicating himself to this form, Walters emphasised the breadth of its potential expression. With the passing of decades and the addition of new voices and perspectives, our modernist identity is being constantly re-examined, and it is no surprise that Walters’ work is at the forefront of this conversation. The comprehensive New Vision survey currently at Auckland Art Gallery offers the opportunity to consider the evolution of Walters’ practice afresh. We are reminded of the value of these works: not as an extension of European abstraction, nor an appropriation of indigenous form and meaning, but as a unique and vital forging of New Zealand modernism.

TWO EARLY & RARE WORKS BY THE LATE MILAN MRKUSICH 1925 - 2018

MILAN MRKUSICH

Composition with Yellow Circle, 1946 Acrylic on paper 38 x 56 Signed & dated 1946 $8,000 - 12,000

Provenance: Sir Ian Charles Athfield Collection until 1987 Current owner purchased directly from Ian Athfield c. 1987-88

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MILAN MRKUSICH

Composition with Three Shapes, 1946 Acrylic on paper 37 x 54.5 Signed & dated 1946 $8,000 - 12,000

Provenance: Sir Ian Charles Athfield Collection until 1987 Current owner purchased directly from Ian Athfield c. 1987-88

PAT HANLY

Lion Rock, Piha Enamel on board 91 x 91 Signed, inscribed & dated 1974 $60,000 - 80,000

Provenance: Purchased by current owner from RKS Art, 1974

Lion Rock, Piha is an exuberant example of the artist’s 1970s period of abstraction. Here, Hanly’s visceral treatment of paint is concentrated on the impressive rock formation which lies between Piha and North Piha beaches, while the sky and coastline are relegated to minor roles. At the time of painting this work, a decade had passed since the artist’s return to New Zealand from Europe. This time of reintegration had been vital for Hanly as he looked to develop a language of abstraction appropriate to the New Zealand landscape. In his own words, he was trying to talk about the roughness of New Zealand, its newness and crispness and those physical things. Discovering the physicality of abstract expressionism was key to this. We meet it in the spirited energy of this work, which he built up through thick impastoed layers of colour and spattered paint. There is boldness of texture, with bright colours forced together in an elemental and clashing union.

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Lion Rock is an icon of New Zealand scenery, and it is interesting to draw the lines between previous depictions of this landform and Hanly’s painting. Take, for example, the early 20th century work of the same name by Edward Fristrom. Here the form is clearly integrated with the land, linked in photographic likeness. Charles Tole’s Untitled (Landscape) of 1968 is a modern example which goes one step further in offering a cubist fragmentation of this scene. Considered alongside these artistic forebears, Hanly’s engagement with this volcanic landmass becomes even louder in its visual disruption. The work surpasses any act of reproductive observation to explore the essential qualities of the rock. Formed from a volcano which erupted 16 million years ago, Lion Rock’s Maori name is Te Piha, which translates as the bow wave and refers to the wave-like patterns of erosion on the rock face. This history of natural force and fiery explosion is captured in the joyous vibration of Hanly’s painting.

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, dustjacket 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 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 Brett’s. In late career, his

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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. 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 bigscale 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 paddlesteamers 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 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013.

FELIX KELLY

Lighthouse, Maine Oil on board 56 x 71 Signed & dated 1968 $25,000 - 35,000

Provenance: Private Collection Purchased from J.J. Mathias, Baron Ribeyre, Farrando Lemoine, 2010, France by current owner Exhibited: Maine to Mississippi , Romantic America: Paintings by Felix Kelly Arthur Tooth & Sons 22nd October - 9th November 1968 Reference: p. 276 The Art and Life of Felix Kelly, Donald Bassett 2008 Creative Educational Press

THREE WORKS BY CHARLES F GOLDIE 1870 - 1947 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 maternal 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 Māori. 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

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chiefs, tohunga and kaumātua. Goldie formed long-standing relationships with several Maori he met and painted around this period, including Wiremu Patara Te Tuhi and Te Aho-o-te-rangi 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.

CHARLES FREDERICK GOLDIE

Maori Woman Washing Clothes in a Warm Pool, Whakarewarewa Oil on panel 13 x 14.6 $140,000 - 180,000 Provenance: Private Collection, Auckland Ex Olive Goldie Collection Webbâ&#x20AC;&#x2122;s Fine Paintings & Jewellery, July 1985 Acquired from above by current owner

CHARLES FREDERICK GOLDIE

After A Hundred Years Kapi Kapi, An Arawa Chieftainess Oil on canvas 24.2 x 19.2 Signed & dated 1918 inscribed on original artist label affixed verso $180,000 - 260,000

Provenance: V E Donald Family Collection John Leech Gallery label affixed verso

Ahinata Te Rangituatini, also known as Kapi Kapi, of Rotorua (c.1800 -1902) was one of Goldie's favourite sitters and he painted her at least twenty two times. She was an Arawa Chieftainess, a member of the Tuhourangi tribe living at Whakarewarewa. The sister of the Arawa chief Haerehuka, Kapi Kapi survived the 1886 Tarawera eruption and witnessed the assault of Pukeroa Pa at Ohinemutu. On her shoulders were scars of wounds self-inflicted with pieces of obsidian as a sign of mourning. According to the historian and friend of Goldie, James Cowan, Kapi Kapi worked until the end of her long life, evidence, in his opinion, that the 'old-time Maori' were 'truly a Spartan race'. Kapi Kapi was renowned for her moko, which Goldie depicted in fine detail.

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A recently discovered work not included in the Goldie catalogue raisonnĂŠ On the market for the first time

According to Cowan, she was the only Maori woman painted by Goldie who had a rare spiral nostril tattoo. She died at the age of 102 after falling into a hot pool, it is said deliberately as was the custom among some of the aged Maori. Reproduced with the kind permission of Alister Taylor. C F Goldie: His Life & Painting and C F Goldie: Prints, Drawings & Criticism, Alister Taylor & Jan Glen, 1979

CHARLES FREDERICK GOLDIE

Head and Shoulders Portrait Study of a Man, c. 1897 Oil on canvas 36 x 39 Signed twice and inscribed Paris $60,000 - 80,000

Provenance: Private Collection, Auckland

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GOTTFRIED LINDAUER’S HEENI HIRINI - PREVIOUSLY KNOWN AS ANA RUPENE FROM THE LATE V E DONALD COLLECTION 32

GOTTFRIED LINDAUER

Heeni Hirini and Child [previously known as Ana Rupene) Oil on canvas 84.5 x 69 Signed & dated 1882 Dunedin Public Art Gallery label affixed verso $150,000 - 200,000 Provenance: Ex V E Donald Collection Exhibited: Face Value, Dunedin Public Art Gallery 1975 - Original exhibiton label affixed verso

Heeni Hirini, formerly Ana Rupene, was from Manaia, situated south of Coromandel township and located on the peninsula north of Thames. Her tribal affiliations were Ngati Maru, with links to Tainui in the Waikato. The child on her back is remembered by Hirini’s descendants to have lived to his late teens and possessed an ability to recite whakapapa. Hirini is buried at Parakau, Manaia, in an unmarked grave in the Anglican churchyard. Lindauer painted almost identical versions of the painting, possibly creating up to thirty images of the subject, some of which he shipped to Prague, New York and London. The painting of Heeni Hirini was awarded a gold medal by an international jurors committee; it was given to Henry Partridge, rather than to the artist. The media attention both abroad and at home intensified admiration for the portrait, spurring Lindauer to paint it repeatedly.

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The basis for Lindauer’s portraits of Heeni Hirini was a cabinet photograph by the Foy Brothers (James Foy, 1844-90, and Joseph Foy, c. 18471923), probably taken at their Thames studio. A consistent motif in all versions of this subject is the wisp of hair that extends from her crown. Hirini’s strong jawline is emphasised by her moko kauae and the light falling on her high cheekbones suggest a breaking smile. The same treatment is given to the child, with light shaping the scalp, nose and cheeks to impressive effect. The woven garment wrapped around the child was a conventional Maori way for mothers to carry their children securely. Text plate 29, Gottfried Lindauer’s New Zealand, The Maori Portaits, edited by Ngahiraka Mason and Zara Stanhope. Auckland Art Gallery 2017.

JOHN BARR CLARKE HOYTE

View of Auckland City and Harbour Watercolour 34 x 52 Signed & dated 1860 $30,000 - 40,000

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HAROLD BULLOCK WEBSTER

An Illustrated Diary of Harold Bullock Webster, 1883 Watercolour & ink, 150 pages 19 x 12 Signed on p. 149 $5,000 - 8,000

Harold Bullock Webster (1855 –1942) was a selftaught painter who worked in Canada, United Kingdom and New Zealand.

Webster was born in England and emigrated to Canada in his teens. He began an apprenticeship as a clerk for the Hudson’s Bay Company in 1874. He made many business trips to the Company’s posts in the western part of Canada, such as northern Alberta and British Columbia. By 1878 he managed the trading post at Fort Connelly on Bear Lake in northern British Columbia. In 1880 he returned to Britain then emigrated to New Zealand where he worked as a farmer’s agent. On behalf of his employer, Thomas Russell, he travelled to Waikato, the Bay of Plenty, East Coast and Wanganui. At the age of 83, he published in 1938 his Memories of Sport and Travel Fifty Years Ago: From the Hudson’s Bay Company to New Zealand.

He made many sketches during his lifetime, although he lacked formal training as an artist. While working at the Hudson’s Bay Company from 1874 to 1880, he created an album of approximately 93 colour sketches that portrayed social life, activities, customs, and dress in the Company’s posts, particularly near Stuart Lake and Fort McLeod. Several of his sketches show First Nations and Métis people, who participated in the Canadian fur trade. Some sketches were reproduced in The Graphic.

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HORACE MOORE-JONES A Bushman Watercolour 31.5 x 18 Signed & dated 1903 $8,000 - 12,000

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grahame sydney

Deborah Bay, Otago Harbour Oil on canvas 75 x 90 Signed & dated 1991 $60,000 - 80,000

Provenance: Lady Diana Isaac Collection until bequeathed to The Isaac Conservation and Wildlife Trust, 2012 Exhibited: Regions of the Heart: A Grahame Sydney Retrospective Dunedin Public Art Gallery, Dunedin October 1999 - February 2000

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PETER MCINTYRE

White Cliffs and the Rangitikei River Oil on board 61 x 78 Signed $38,000 - 48,000 Provenance: International Art Centre 1984 Private collection, Perth 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 papa 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 loggerâ&#x20AC;&#x2122;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 over-hanging 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. Peter McIntyreâ&#x20AC;&#x2122;s New Zealand, Peter McIntyre, A H & A W Reed, 1964

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DICK FRIZZELL

Red Haring I Oil on canvas 160 x 160 Signed & dated 6/2008 Inscribed verso & Gow Langsford Gallery label affixed verso $45,000 - 65,000

Illustrated: p. 260 Dick Frizzell - The Painter Live Clean & Let Your Works be Seen Godwit 2009

Frizzell’s Red Haring I is a gleeful example of pop art at its best. With cartoon eyes twinkling and thick red striations indicating vigorous movement, the tiki, with a maniacal smile, practically bursts from the canvas with enthusiasm. Following on from the infamous Tiki works and forming an integral part of the Red Haring series, this painting unites many of the characteristics considered quintessentially Frizzellian. Frizzell has returned to this series periodically since his 1992 Gow Langsford Tiki exhibition. Renowned for the controversy they aroused during their first showing, the works have long provided the artist a foundation from which to tackle a range of artistic influences and stylistic challenges. From Pablo Picasso and Georges Braque to Alexander Archipenko, Frizzell’s Tiki works most commonly reflect the style of the twentieth century’s cubists. However, in Red Haring I the artist selects a rather different master to mimic, drawing, in both style and title, from the work of pop artist Keith Haring. Haring, active in New York during the 1980s, employed canvas, wood, vinyl and inner city subway tunnels with equal pleasure in his work. He achieved global recognition for his cartoon and animation-style figures characterised by bright colours, bold delineation and vivacious characters.

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It is easy to see how Haring’s aesthetic could appeal to Frizzell who has aligned himself with pop culture for the majority of his career, bringing much-loved personalities from his time in the advertising industry into his paintings and editions with relish. Frizzell has also often utilised cartoons and comic books as a source of inspiration, as seen in both his long-running Phantom series and in the From Mickey to Tiki edition. Like Frizzell, Haring saw no need to differentiate between commercial art and fine art, enthusiastically extracting inspiration from each. In typical Frizzell style, this work’s apparent simplicity in fact relies upon a carefully constructed composition. The tiki’s head, mouth, nose and eyes are painted with the same rounded smoothness, the shapes echoing and bouncing off one another, enhancing the work’s lively, playful impression with every curve. Frizzell replicates the bright acid yellow and vermillion used by Haring in some of his most iconic works. Conveying jubilation and energy, such colours are also important tools of the advertising trade through which an everyday commodity can be given renewed appeal and, ideally, fill consumers with the irresistible desire to buy now. This multifaceted work therefore not only recalls pop and graphic art but also becomes a wry caricature of the way in which the tiki, once principally a sacred symbol for Maori, has in many ways become a symbol of commercial tourism in New Zealand.

PETER SIDDELL

Pool Oil on board 164 x 111 Signed & dated 1980 Inscribed verso $80,000 - 120,000 Provenance: Private Collection, Auckland Purchased from International Art Centre 2007 by current owners

Full Image

Sir Peter Siddell (1935 - 2011) has long been recognized as one of New Zealand's leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen's Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour.

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Siddell's realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell's paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.

Detail

JOHN WEEKS

Arabs Bargaining Oil on board 36.5 x 47.5 Signed Weeks O’Connor stamp verso Certifcate of Authenticty signed by Alan Swinton and Hilda O’Connor affixed verso $8,000 - 10,000

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FRANCES HODGKINS

Still Life No. 3 Watercolour 45 x 44 Signed $30,000 - 40,000 Exhibited: Claridge Gallery, London, 1928

Provenance: Alix Strachey (née Sargant-Florence) and James Strachey, the brother of acclaimed British writer and critic Lytton Strachey (1880 - 1932) Collection of Simonette Strachey, then bequeathed to British owner Alix Strachey (1892 – 1973), née Sargant-Florence, was an American-born British psychoanalyst. She and her husband, translated the publication titled The Standard Edition of the Complete Psychological Works of Sigmund Freud into English.

PETER MCINTYRE

Ngauruhoe Oil on canvasboard 66 x 56 Signed Original McGregor Wright’s label affixed verso $15,000 - 25,000 Illustrated: plate 19, Peter McIntyre’s New Zealand, Peter McIntyre, A H & A W Reed, 1964 From the roof of my cottage in the King Country we can just see the top of Ngauruhoe riding white above the bush on a distant ridge. Sometimes a plume of its crater smoke marks the sky like a pencil smudge; in August even a glimpse of it means we can go skiing on nearby Ruapehu.

of the snow, but I do not recommend dallying on this spot. The wind has a knife-edge worthy of the Antarctic. Somehow living near a volcano lulls any fear of it; but that plume of smoke changing to an ominous billow can remind us that we are but very frail human beings.

Coming down from the ski slopes of Ruapehu the russets and ochres of the tussocks and the heather seem to blaze after the day-long white

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

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RAYMOND CHING

Provenance: Purchased by current owners family from International Art Centre, 1980

Provenance: Purchased by current owners family from exhibtion Paintings & Drawings, International Art Centre, 1977 Illustrated: p.69 Raymond Ching Recent Paintings & Drawings, Catalogue published for the exhibition of May 1977 at International Art Centre, Folio Prints, 1977 p.54 Ray Harris-Ching Masters of the Wild, Gulf Publishing, 1990

Banded Rail (Rallus philippensis), 1980 Watercolour 71 x 53 Signed $6,000 - 10,000

Illustrated: p.127 New Zealand Birds, An Artistâ&#x20AC;&#x2122;s Field Studies, Raymond Ching, Reed Methuen Publishers Ltd, 1986

RAYMOND CHING

Main House, 1976 Watercolour & gouache 71 x 55 Signed $15,000 - 20,000

Nothing squares up anymore on this old house, but it all holds together and forms part of a courtyard of ancient barns, around which flocks of doves add life and movement. Ray Harris-Ching, Master of the Wild, Gulf Publishing Company, 1990

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RUDI GOPAS

Old Wharf, Kaikoura Egg tempera on board 72 x 91 Signed & dated 1962 $8,000 - 12,000

Boats and harbours were a constant feature of Rudolf Gopas’s work, perhaps because the coastal landscapes of Kaikoura and Lyttelton Harbour were not unlike the Baltic coast and its fishing fleets, which he had known in his homeland. Gopas trained in Lithuania where he was influenced by German expressionism, a style that exaggerated and distorted line and colour to create an expressive effect. Gopas’s interest in abstraction is also evident in this work.

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Born in Lithuania, from 1945–49 Gopas and his wife, Natasha, lived in a refugee camp in Ehrwald, Austria, before coming to New Zealand. As well as painting, Gopas worked as a photo processor in Dunedin and Christchurch, where he began exhibiting with The Group. From 1959–77 he lectured in painting at the University of Canterbury School of Fine Arts, exerting a considerable influence on a generation of painters.

PHILIP TRUSTTUM

Totem Oil on board 70 x 91 Signed, inscribed & dated 1974 on label affixed verso $8,000 - 12,000

karl maughan

Hergest Croft Oil on linen 123 x 122 Signed, inscribed & dated 28/1/2007 verso $25,000 - 35,000

Provenance: Private Collection Auckland Purchased in 2007 by current owner

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JEFFREY HARRIS

Dead Souls Oil on canvas 150 x 90 Signed, inscribed & dated 1988 verso Deutscher Gertrude Street Gallery label affixed verso $14,000 - 18,000

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DON BINNEY

George VI / Tokatoka Oil on board 60 x 80.5 Signed & dated 1984 $20,000 - 30,000

Provenance: Purchased from International Art Centre, 1987 by current owner

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TOSS WOOLLASTON

Bayleyâ&#x20AC;&#x2122;s Hill, Taranaki Watercolour 30 x 38 Inscribed on label verso $5,000 - 7,000

ALBERT MARQUET

French 1875 -1947 Le Chevalet, 1944 Oil on canvas on board 21.2 x 12.7 Signed $45,000 - 65,000 Provenance: Private Collection, United Kingdom, ex Artist’s Estate Christies London, February 2004 Wolseley Fine Arts, London Ferner Galleries Private Collection, Olive Taylor by descent Illustrated: p. 366 Albert Marquet, L’Afrique du nord Catalogue de l’oeuvre peint Jean-Claude Martinet, Guy Wildenstein, Milan / Paris 2001 Catalogue no. l-497 Exhibited Albert Marquet (1875–1947) Paintings, watercolours and drawings 9 November - 17 December 2005 Wolseley Fine Arts, London

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JAN ERNST ABRAHAM VOLSCHENK

South African 1853 -1936 A Road Thro the Veld & The Veld - A Pair Oil on canvas 18.5 x 13 Signed & dated 1910 $1,000 - 2,000

88 Important & Rare Art 14 AUGUST 2018

JACOB HENRIK PIERNEEF

South African 1886 -1957 Landscape with Willow Trees Oil on canvas 33.5 x 49.5 Signed & dated 1925 $50,000 - 70,000

Provenance: Ex Collection of Myles Bourke, author of He Koppie on a Plain, Standard Press, Cape Town 1951 Two works by Pierneef are illustrated in this publication Gifted to owners father by half sister in South Africa 1979 Family emigrated to New Zealand 1996 with artwork

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IVY GRACE FIFE

Girl Reading Oil on board 42 x 37 Signed $3,000 - 5,000

ADELE YOUNGHUSBAND

Pines on a Hilltop Oil on canvas board 44 x 41.5 Signed & dated 1962 $7,000 - 10,000

Provenance: Collection of Sir Ivan & Lady Richardson, purchased by current owner, 2006

MICHAEL STEVENSON

The Soldier Watches On Oil on board 88 x 69 Signed, inscribed & dated 12 September 1988 $5,000 - 8,000

Provenance: Ex Ray Hughes Collection, Sydney

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MICHAEL STEVENSON

Childrens Playground Oil on board 76 x 84 Signed, inscribed & dated 3rd October 1988 verso $3,000 - 5,000

Provenance: Ex Ray Hughes Collection, Sydney

DICK FRIZZELL

Kitchen Painting - Detail (Can Opener) Enamel on board 73 x 54 Signed, inscribed & dated 13/10/80 Gow Langsford Gallery & Ferner Gallery labels affixed verso $8,000 - 12,000

Illustrated: p. 102 Dick Frizzell - The Painter Live Clean & Let Your Works be Seen, Godwit 2009

tom esplin

DOUGLAS BADCOCK

Hamlet in Brittany Oil on board 28 x 40 Signed $4,000 - 6,000

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Winter Near Arrowtown Oil on board 45 x 60 Signed & dated 1985 Inscribed verso $3,000 - 5,000

VERA CUMMINGS

H Rarata Tumaere Oil on canvas 29.5 x 24.5 Signed $8,000 - 12,000

CHARLES DECIMUS BARRAUD Lake Taupo with Tongariro and Ruapehu Beyond Watercolour 30 x 40 Signed & dated 1875 $7,000 - 10,000

Margaret Stoddart exhibited widely during nine years away: in 1898 with the Royal Birmingham Society of Artists, in 1899 with the Royal Institute of Painters in Watercolour, London and from 1899 to 1900 with the Royal Society of British Artists, London. Although it was mainly landscapes that she exhibited in England, her flower paintings were accepted at the Salon of the Société des

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MARGARET OLROG STODDART A Capri Garden Watercolour 35 x 25 Signed & dated 1905 $7,000 - 10,000

Illustrated: p. 79 Flowers Into Landscape Margaret Stoddart 1865 - 1934 Julie King, Haszard Press, 1997 Artistes Francais in 1902-04. From 1905 to 1906 she exhibited in Paris with the more progressive Société Nationale des Beaux-Arts. Before leaving London in 1906, she gained acceptance at the Royal Academy with A Capri Garden, painted in 1905 in her more colourful style.

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grACE BUTLER

Arthurs Pass from Wardens Hill Oil on canvasboard 36 x 43.5 Signed Inscribed verso $2,500 - 3,500

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SYDNEY LOUGH THOMPSON

An October Morning, Concarneau, Brittany Oil on canvasboard 37 x 44.5 Signed Inscribed verso $10,000 - 15,000

HISTORIC WATERCOLOURS FROM THE LATE ARTHUR THOMAS PYCROFT LOTS 66 - 70 Arthur Pycroft (1875 -1971) was an early naturalist, scholar, historian and conservationist. He attended the Church of England Grammar School, Parnell where his father was headmaster from 1883 to 1886. During this time the family lived in the headmaster’s residence, now Kinder House. Young Pycroft also attended Auckland Grammar School. In 1896 he joined the Auckland Institute, a society established to encourage the study of literature and science along with the establishment of a museum and library. A member of the Institute for over 75 years, Pycroft became President in 1935. Throughout his professional life, Pycroft was well respected, collaborating with the colony’s leading scientists and naturalists of the day. He enthusiastically corresponded with Sir Walter Buller regarding Buller’s rediscovery of the Little Black Shag and other species later introduced in Buller’s 1905 supplement. The compilation of information of native wildlife had seen him spend six weeks on the Hen and Chicken Islands during the summer of 1903-04. In 1928 he explored Little Barrier Island, visiting the Kermadecs with Guthrie Smith in 1929 and in 1932 travelled on an expedition to Melanesia. Arthur Pycroft was given recognition for his long service to ornithology when Sir Robert Falla named a newly discovered species of petrel (Pterodroma pycrofti) after him. It was during the expedition he had organised to Hen Island that the birds had been discovered.

JOHN BARR CLARKE HOYTE

Judges Bay, Parnell Watercolour 37 x 66 Signed $10,000 - 15,000

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A member of the Moa Searching Committee, Pycroft sought evidence that Moas had been hunted by the Polynesian invaders. This quest took him from Doubtless Bay to the limestone caves of the King Country and Waikaremoana where he was able to prove that a large pelican had once lived in New Zealand. Another great interest of his lay in Auckland and Far North regions whose history and development he studied closely for more than eight decades, an enthusiasm reflected in the rarities in his collection. All in all, Pycroft was a fascinating character, a man of intellect whose wide and varied interests embraced the world of natural history and art.

THOMAS WARNER

Taurarua Watercolour 26 x 38.5 $4,000 - 6,000 Provenance: EX Collection of Sir William Martin, First Chief Justice of New Zealand, appointed 1842

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JOHN GULLY

The Great Tasman Glacier & Mt Cook Watercolour 46.5 x 66 Signed & dated 1865 $5,000 - 10.000

JOHN GULLY

Mount Egmont & Middle Range, Taranaki, New Zealand Watercolour 32.5 x 52 Signed $2,500 - 3,500

JOHN GULLY

The Kaikouras & the Valley of the Awatere, Province of Marlborough, New Zealand Watercolour 33.5 x 52 Signed $1,000 - 2,000

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ARTIST UNKNOWN

Ngatimara (Ngati Maru) Tribe Hauraki Gulf 1847 Watercolour 22 x 18 Inscribed & dated 1847 $5,000 - 10,000

alfred wilson walsh Auckland Harbour Watercolour 30 x 40 Signed & dated 1911 Inscribed verso $2,500 - 3,500

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MARGARET OLROG STODDART Primroses and Catkins Watercolour 56 x 38 Signed & dated 27/9/1896 $4,000 - 6,000

ALICE F WHYTE

Roses in Blue Vase Watercolour 48 x 69.5 Signed & dated 11/1/1919 $2,500 - 3,500

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CHARLES BLOMFIELD

Flour Mill, Waitakare’s Oil on canvas 51 x 79 Signed $3,000 - 5,000

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CHARLES BLOMFIELD

Tāne Mahuta Oil on canvas 62 x 46.5 $7,000 - 10,000

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OLIVIA SPENCER BOWER

Shotover River Watercolour 36 x 52 Signed $4,000 - 6,000

Provenance: Purchased from International Art Centre 1986 by current owner

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PETER MCINTYRE

Woman of Hong Kong Oil on canvas 53 x 43 Signed $6,000 - 8,000

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ROY GOOD

Notched Series - Small #3 Acrylic on panel 49 x 49 Signed, inscribed & dated 2006 verso $3,000 - 4,000

ROY GOOD

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Eight Squares Notched - Small 600 Acrylic on panel 60 x 60 Signed, inscribed & dated 2013 verso $3,000 - 4,000

PIERA MCARTHUR

No. 13 Bishop Levitating Oil on canvas 182 x 152 Signed & dated 2005 $12,000 - 15,000

Provenance: Private Collection Purchased from SOCA, original gallery label affixed verso

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ALVIN PANKHURST

I Remember, 1980 Oil on board 82.5 x 63 Signed & dated 1980 $12,000 - 16,000

Provenance: Private Collection, purchased directly from the artist

STEVE HARRIS

Sofa Oil on board 33 x 53.5 Signed $2,500 - 3,500

ALLEN MADDOX

Behind the Bridge of the Nose VII Pastel on paper 109 x 71.5 Signed, inscribed & dated 10/10/77 $2,500 - 3,500

Illustrated: p. 124 New Zealand Art and Modern Perspective, Elva Bett Reed Methuen, 1986 I Remember references the artistâ&#x20AC;&#x2122;s mother in which Alvin stated at the time: A flower painting done for my mother who is in hospital and has been there for the last five years. She can no longer hear, see or speak Alvin Pankhurst revives nostelgia yet paints unsentimental reminders of times past. His old master paintings give a new meaning to technical skill in this era of speed. His paintings of the over-elaborate details of Victoriana are modern day vanitas, for there is the same pronkstilleven (a Dutch term meaning ostentatious display) of still lifes in which objects were used to symbolise death and the transience and the vanity of earthly achievements and pleasures. When presented with a Pankhurst vanitas we read it in much the same way as the Dutch burghers read their Bibles, searching for confirmation of forgiveness, and we read into the Pankhurst painting what is not there. It becomes a visual documentation of objects half-remembered in a stultifying memory sequence - a surreal/unreal consciousness of the passing of time. Elva Bett NZ Art and Modern Perspective, Reed Methuen, 1986

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115

HYE RIM LEE

Toki’s, Black & White Type C print mounted with perspex 50 x 50 $3,500 - 5,500

HYE RIM LEE

PETER SIDDELL

DAVID BROMLEY

Dragon’s Tale, Black, 2010 Type C print mounted with perspex 50 x 50 Gow Langsford Gallery label affixed verso $3,500 - 5,500

Glass Lace Digital print, edition 6/20, 35.5 x 26.5 Signed, inscribed & dated 2009 $1,750 - 2,250

Belinda Mixed media on canvas 152 x 122 Signed $11,000 - 15,000

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117

GARTH TAPPER

MAUD SHERWOOD

JOHN LOXTON

CHARLES DECIMUS BARRAUD

Untitled Landscape Oil on board 28 x 38 Signed $2,500 - 3,500

Still Life Watercolour 31.5 x 36.5 Signed $1,200 - 1,800

Thames Backwater Oil on canvasboard 34 x 44 Signed $800 - 1,200

The Rangitikei River Watercolour 24 x 33 Signed & dated 1861 $2,500 - 3,500

JAMES FRASeR SCOTT

GEORGE N TURNER

ELEANOR KATE SPERRY

GEORGE Oâ&#x20AC;&#x2122;BRIEN

The Bathers Oil on canvasboard 25 x 33.5 Signed $1,000 - 2,000

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After the Picnic, Otarama, NZ Oil on canvas 45 x 64 Signed & inscribed $1,000 - 2,000

Lake Rotorua Watercolour 21 x 35 Signed & dated 1888 $1,000 - 2,000

Cosmos Peaks, Wakatipu Watercolour 29.5 x 45 Signed & inscribed $3,000 - 5,000

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JEFFREY HARRIS

Woman Sitting at a Table Acrylic & oil pastel on paper 43 x 67 Signed & dated 31-1-70 $2,000 - 4,000

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CHARLES NATHANIEL WORSLEY

The Borromean Islands: Lago Maggiore Watercolour 28 x 72 Signed $1,400 - 1,800

00 121

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Gabryel Harrison

Four Seasons

Exhibition from 16 August

Aubade Oil on canvas 90 x 120cm Exhibiiton enquiries fran@artcntr.co.nz 202 Parnell Road, Auckland, New Zealand Tel + 64 9 366 6045 www.internationalartcentre.co.nz

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Charles F Goldie $17,250 ( Record for a Goldie print) Gordon Walters $17,250 ( Auction record )

HIGHLIGHTS FROM 20 JUNE COLLECTABLE ART AUCTION

David Bromley $13,680

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William Powell Frith $8,560

Douglas Badcock $5,450 Colin McCahon $9,510

Ernest Buckmaster $6,540

Jane Evans $6,840

Jae Hoon Lee $7,130

H G Robley $2,855

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MODERN & CONTEMPORARY ART

Gretchen Albrecht $38,070

Alexander Calder $4,160

Michael Hight $17,840

Heather Straka $40,450 - New auction record

Trevor Moffitt $11,890

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Michael Smither $11,890

HIGHLIGHTS from may: AN AUCKLAND COLLECTION

Robert Ellis $17,840

Miranda Parkes $6,840

John Madden $6,540 - New auction record

Jeffrey Harris $19,030

Len Castle $4,990

Allen Maddox $10,700

Michael Smither $7,430

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establishment of mid-century modernism through

achieved. With the addition of the record $1.377

to the cutting edge of our national contemporary

million paid for a C F Goldie in April’s 2016 sale,

art discourse, this is an acclaimed and significant

International Art Centre achieved the three

event in the auction calendar. Our new state-of-

highest art auction prices in New Zealand’s

the-art premises will ensure contemporary art is

history. Due to an appreciative, and greatly

now exhibited and auctioned in a dynamic and

valued clientele of nationwide and international

appropriate environment.

buyers and sellers we look forward to breaking new ground.

Consign Now

Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz

128 Important & Rare Art 14 AUGUST 2018

Consign Now

Maggie Skelton Ph +64 9 379 4010 E. maggie@artcntr.co.nz

IN PARNELL SINCE 1971

Always consigning / Always cataloguing

Artists’ Estates & Collectable Art

Single Owner Auctions

The buzz generated by our Artists’ Estates &

From time to time, the secondary market is

Collectable Art auctions reflects the popularity of

fortunate enough to be exposed to one of

this sale: an event at which seasoned connoisseurs

those rare collections which transcends the

and budding collectors alike converge to

value of its individual works of art, and stands

appreciate one of the most eclectic and diverse

to represent something iconic in its entirety. Our

offerings available to the market. Because this

team is well-versed in the process of offering

auction specifically caters to the more affordable

single-owner collections for sale, and take pride

end of the market - generally presenting works

in the process of curating a single-owner sale

valued at $5,000 and less, this is an exciting

when the opportunity arises. We offer a targeted

opportunity to unearth some real treasures.

marketing campaign and maximise the use

Artists’ Estates & Collectable Art auctions offer

of both electronic and print-based collateral

a number lower-priced works from highly-sought

to effectively showcase such collections to

after artists in print and edition form, as well as

maximum effect. The strong networks we have

quality works from artists whose presence on the

established

secondary market is just beginning to crystallise.

reflected in some of the private collections

locally

and

internationally

are

which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art, The Sally Hunt Collection, Wendy Phazaryn & the late Bruce Dahl Collection and a selection of

Consign Now

works from the Fletcher Trust Collection.

Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz

Expertise Experience Results

129

Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium Collectable Art 20 June 2018 1 4500 2 1500 3 3500 4 4500 5 3000 6 5750 7 2400 8 325 9 1400 10 250 11 1100 12 1800 13 600 14 1800 15 3200 16 1000 17 750 18 1500 19 4000 21 3400 22 7500 23 1250 25 1200 26 9000 27 14500 28 1500 29 4600 30 1300 31 4600 32 6000 33 3250 34 2750 35 800 36 1200 38 650 40 2600 41 700 42 800 43 2000 44 5500 45 3000 46 800 48 5500 49 2000 50 500 51 1250 52 800 53 1800 54 750 55 1200 56 3600 57 500 58 1100 59 9750 61 8000 63 900 64 400 65 1600 66 2250 67 11500 68 1800 69 1500 70 3500 71 1500 72 1000

73 1600 74 750 75 600 76 4100 77 2300 78 1500 79 2000 80 400 81 750 82 400 83 750 85 700 89 600 90 2100 91 425 92 1000 93 1000 94 1550 96 1900 97 3000 98 1000 99 2000 100 5750 103 800 106 2400 108 1000 109 1000 110 1000 113 300 114 1500 115 1500 116 2200 117 500 118 1100 120 1500 122 850 123 100 124 250 125 800 127 2400 128 190 129 600 131 270 132 1400 133 1400 134 2200 135 300 136 300 137 700 139 1200 140 1400 142 3400 144 250 145 300 146 1000 147 14500 148 1200 150 1100 151 1750 152 1600 153 600 154 600 155 600 156 750 157 1100 158 650 159 7200 160 750

130 Important & Rare Art 14 AUGUST 2018

161 3100 162 2000 163 1100 164 600 166 400 167 1100 168 500 170 200 172 500 174 250 175 300 177 600 179 1350 180 850 181 400 182 950 183 800 185 100 186 1400 187 2600 188 1000 189 400 190 300 191 1200 192 1400 194 750 196 900 197 1600 198 300 200 600 201 500 202 200 204 100 205 400 206 400 207 400 An Auckland Collection with Modern & Contemporary Art 15 May 1 5750 2 4950 3 2500 5 4500 6 4500 7 6250 9 6200 10 1600 11 3300 15 1500 16 15000 17 2100 18 3700 20 9000 21 2000 23 300 24 15000 25 2000 26 1550 28 7000 30 4200 31 1200 32 5000 33 1100 37 2700

41 500 42 5200 43 1200 44 3000 45 3000 46 800 47 4700 48 3000 52 1050 53 1300 54 525 55 6000 56 4500 57 16000 59 5500 64 1700 65 400 67 500 68 725 69 150 70 900 72 950 73 500 74 600 76 300 77 1200 78 1300 79 1050 80 400 81 625 82 200 83 2200 84 2500 85 3200 86 5750 87 10000 88 32000 89 4500 90 17000 92 34000 93 5500 94 7100 98 2700 99 2700 103 4750 104 525 106 3000 107 2000 111 6500 112 2000 113 3500 114 1600 115 5250 116 10000 118 2500 119 3100 120 1700 121 2100 122 2200 129 4300 130 2000 131 9000 132 5000 133 2000 135 2300 136 2000 137 1600 138 3700

139 1500 140 1800 141 750 142 325 143 4000 144 600 145 600 146 600 147 2500 148 350 Treasures from the Dame Kiri Te Kanawa Collection with Important & Rare Art 10 April 1 6250 2 6500 3 775000 4 500000 6 105000 7 240000 8 42500 9 95000 11 35000 12 255000 13 44000 14 46000 15 95000 16 64000 17 101000 18 142000 19 190000 21 82500 24 24000 25 16000 30 18000 32 39500 33 4500 34 1800 36 5000 37 19500 38 9500 40 15000 41 8200 42 18000 43 3000 45 19500 46 5500 47 7000 49 12000 50 12500 52 12250 54 15750 55 9000 56 8000 57 4100 58 4200 59 11750 60 13000 61 9500 62 4500 63 3500 64 14750 65 2000 66 3000 67 2100 68 9500 69 500

www.fineartauction.co.nz

Absentee Bid Form - IMPORTANT & RARE ART 7:00pm Tuesday 14 August 2018

â&#x153;&#x192;

I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. 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 Bidding Number Name Address Email

Telephone

Lot Number

Signature

Artist

Max. Bid $NZ excluding buyers premium

...........................................................................................

/ 2018

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

â&#x153;&#x192;

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

131

132 Important & Rare Art 14 AUGUST 2018

133

134 Important & Rare Art 14 AUGUST 2018

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 16 August 2018 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 16.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 18.98% including GST)

135

Index BADCOCK D................................................... 60

MCARTHUR P................................................... 81

BAMBURY S...................................................... 18

MCCAHON C.................................................. 13

BARRAUD C D........................................... 62, 92

MCINTYRE P......................................... 37, 42, 78

BINNEY D................................................ 1, 23, 49

MOORE JONES H............................................ 35

BLOMFIELD C............................................. 75, 76

MRKUSICH M............................................. 25, 26

BROMLEY D..................................................... 88

Oâ&#x20AC;&#x2122;BRIEN G....................................................... 96

BUTLER G.......................................................... 64

PALMER S......................................................... 22

CASTLE L ........................................................... 3

PANKHURST A.................................................. 84

CHING R.................................................... 43, 44

PIERNEEF J H.................................................... 53

CUMMINGS V ................................................. 61

SCOTT J ........................................................... 93

ELLIS R.............................................................. 21

SHERWOOD M................................................ 90

ESPLIN T............................................................ 59

SIDDELL P......................................... 2, 19, 39, 86

FAHEY J............................................................ 10

SMITHER M....................................................... 14

FIFE I G............................................................. 54

SPENCER BOWER O....................................... 77

FRIZZELL D............................................ 12, 38, 58

SPERRY E K....................................................... 95

GIMBLETT M............................................... 6, 7, 8

STEVENSON M .......................................... 56, 57

GOLDIE C F......................................... 29, 30, 31

STICHBURY P.................................................... 15

GOOD R.................................................... 79, 80

STODDART M O......................................... 63, 73

GOPAS R.......................................................... 45

SYDNEY G........................................................ 36

GULLY J ............................................... 68, 69, 70

TAPPER G................................................... 20, 89

HAMMOND B L................................................. 4

THOMPSON S L................................................ 65

HANLY P............................................... 16, 17, 27

TRUSTTUM P...................................................... 46

HARRIS J..................................................... 48, 97

TURNER G........................................................ 94

HARRIS S........................................................... 82

UNKNOWN ARTIST........................................... 71

HENDERSON L................................................. 49

VOLSCHENK J E A........................................... 52

HODGKINS F.................................................... 41

WALSH A W..................................................... 72

HOYTE J B C............................................... 33, 66

WALTERS G...................................................... 24

ILLINGWORTH M.............................................. 11

WARNER T........................................................ 67

KELLY F.............................................................. 28

WEBSTER H B.................................................... 34

LEE HYE R................................................... 85, 87

WEEKS J............................................................ 40

LINDAUER G..................................................... 32

WHYTE A ......................................................... 74

LOXTON J......................................................... 91

WILLIAMS M....................................................... 5

MADDOX A..................................................... 83

WOOLLASTON T.......................................... 9, 50

MARQUET A..................................................... 51

WORSLEY C N.................................................. 98

MAUGHAN K................................................... 47

YOUNGHUSBAND A........................................ 55

136 Important & Rare Art 14 AUGUST 2018

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