Works from Artists’ Estates & Collectable Art
Tuesday 21 February 2017
Conditions of Sale & 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 4pm Friday 24 February 2017 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 until full payment is made.
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 37344 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
16.5% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 18.98% including GST
Artists’ Estates & Collectable Art
Auction 6:30pm Tuesday 21 February
Viewing Times
Wednesday 15 February 10:00am - 5:30pm
Thursday 16 February 10:00am - 5:30pm
Friday 17 February 10:00am - 5:00pm
Saturday 18 February 11:00am - 3:00pm
Sunday 19 February 11:00am - 4:00pm
Monday 20 February 9:00am - 5:30pm
Tuesday 21 February 9:00am - 2:00pm
Absentee Bidding
Absentee Bid Form - page 103 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz
Conditions of Sale - inside front cover
Email bidding instructions info@fineartauction.co.nz
Bid via website www.fineartauction.co.nz
Artist Estates Consign Today
International Art Centre’s decades of experience in the auction arena have been underpinned by the consistent delivery of excellent results for our clients, and over the years we have distinguished ourselves as the trusted, go-to institution for the handling of artist estate sales. Notable artist estates which have in the past been entrusted to International Art Centre include such prominent names as Ida Carey, Douglas Badcock, Gabrielle Hope, William James Reed & John Weeks. Acting with discretion, care and the affordance of specialist expertise, we provide an end-to-end service which guarantees ease of process for the vendor.
The delivery of a bespoke marketing approach which will ensure all works, regardless of value, are presented to their best advantage and achieve their full market potential, are part of the service.
For a confidential, obligation-free discussion around our handling of artist estates, and the services International Art Centre offer. Contact:
Richard Thomson +64 9 379 4010 richard@artcntr.co.nz Mob. 0274 751071
Illustrated left: Ruth D Brown 1905 - 2002
Gabrielle Hope 1916 - 1962
John Weeks 1886 - 1967
Charles F Goldie sold $1,175,000 + bp April 2016
The first painting to fetch over $1million at auction in New Zealand
Alan Ingham sold $28,000 + bp November 2016 (New auciton record)
Important & Rare
Consign Today - April 2017
International Art Centre’s Important & Rare auctions are the proven, pre-eminent sale category for major works offered through the New Zealand art market. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw International Art Centre realise five of New Zealand’s top ten auction prices.
2015 saw new records set with the two top prices in Auckland achieved at our Important and Rare auctions. With the addition of $1.377 million April 2016 sale International Art Centre achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.
Contact Richard Thomson richard@artcntr.co.nz
M 0274 751 071or +64 9 379 4010
BULLMORE Cuban Crisis, 1962
Oil on canvas 76 x 100
Estimate 25,000 - 35,000
EDWARD
Gabrielle Hope 1916 -
1962
Works from the artist’s Estate Collection
Gabrielle Hope was born in Lower Hutt, she attended Auckland’s Diocesan School for Girls and studied at Elam School of Fine arts. The mother of two children, she lived in Whitford, Waiheke Island and in 1950 purchased a home in Tohunga Crescent, Parnell. Gabrielle’s wide circle of friends included fellow artists Helen Brown, Jan Nigro, Louise Henderson, Robert Nettleton Field, Eric Lee Johnson, Colin & Anne McCahon and Lincoln Lee.
Her subject matter extensively encompasses still lifes, landscapes, figures, animals and portraits. The influence of Picasso, and an admiration of Frances Hodgkins is reflected in Hope’s work as is her fascination with western and eastern occult philosophies and symbolism. From 1946 she exhibited with the Auckland and Hamilton Society of Arts and the Auckland City Art Gallery in 1955/56.
From today’s perspective Gabrielle Hope’s work is more vital and modern than ever. There is an uncompromised bravery of brushstroke, a quality of perception leaving no doubt that she was a woman artist ahead of her time.
The artist’s early death at just forty six years of age cut short a career of already considerable achievement.
A copy of the publication Gabrielle Hope 19161962 Lyric Watercolours, Linda Tyler, published by Gus Fisher Gallery, 2008, available with each lot sold.
Gabrielle, On the beach, Hawera, c. 1945
Gabrielle painting at Lake Taupo, 1962
1 GABRIELLE HOPE
City Scape from Trafalgar Street, Onehunga
Watercolour 57 x 39
Signed & dated 1962
800 - 1,500
Provenance:
Artist’s Estate Collection
2 GABRIELLE HOPE
Winged VW over Waitemata
Watercolour 58 x 90
2,500 - 3,500
Provenance:
Artist’s Estate Collection
3 GABRIELLE HOPE
Waitahanui River, Taupo
Watercolour 37 x 55 1,500 - 2,500
Provenance: Artist’s Estate Collection
4 GABRIELLE HOPE
Seagull and Fish Skeleton, Waiheke island Gouache on paper 43 x 51
Signed 800 - 1,200
Provenance:
Artist’s Estate Collection
5 GABRIELLE HOPE
Watchman’s Rock , Karekare
Watercolour 45 x 58
Artist’s Estate Certificate affxedverso 1,500 - 2,500
Provenance:
Artist’s Estate Collection
Ruth Dorothy Browne 1905 - 2002
The Forgotten Antipodean - works from the Artist’s Estate
Ruth Browne is the matriarch of a rich artistic lineage. Her son is Wellington-based artist Michael Browne, and her grandson is Auckland artist Matthew. Ruth Browne’s love of painting and drawing became well established in her childhood when, on the family farm in North Canterbury, she saw a woman sitting on a hill near their house, ‘doing something’, which, upon investigation, turned out to be painting. Ruth decided this too would be her vocation.
Ruth attended Canterbury College of Art, winning two major prizes along with the CCSA Sketch Club’s self-portrait competition in which Rita Angus was also a finalist.
During the 1920s and 1930s, a period in which New Zealand women artists flourished, Ruth Browne aligned herself with Olivia Spencer Bower and Mary Hogg. She travelled to England to study at the Slade School of Fine Art, completing her certificate in one year rather than the usual three. From there Ruth made extended painting trips through the English countryside and to Italy. After her return to New Zealand in 1933 she continued to explore landscape painting but, by the early 1960’s, had begun to develop a level of abstraction that culminated in her final, poured abstract works. She was one of few women artists of her time able to support herself financially through painting sales and to pursue her career with professional purpose.
Ruth was artistically progressive and brave. Her early abstractions were playful then quickly moved to more atmospheric work employing a limited palette. Possibly influenced by Jackson Pollock’s paintings, Ruth broke free from old restraints and began to use paint with more abandon. There is a sense of intuitive spontaneity and daring quickness, still drawing on organic form and a closeness to nature that always inspired her to paint.
Ruth Browne is represented in private and public collections in New Zealand including Te Papa Tongarewa Ruth in her Eastborne Studio, 1960
6
RUTH BROWNE
Maori’s, 1950
Oil on linen 45 x 52
Signed
1,500 - 2,500
7
RUTH BROWNE
Pohangina Valley, 1960
Oil on linen 72 x 82
Signed
2,500 - 3,500
8
RUTH BROWNE
Listening In, 1968
Oil on board 40 x 74
Signed
1,500 - 2,500
9 RUTH BROWNE
Mangaweka, 1955
Oil on linen 85 x 100
Signed
2,500 - 3,500
10
11
RUTH BROWNE
Dorset Cottages, 1980
Oil on linen 45 x 55
Signed
1,200 - 1,400
RUTH BROWNE
Abstract, c.1958
Oil on board 80 x 100
Signed
2,500 - 3,500
12 RUTH BROWNE
Blue Abstract, 1960
Oil on linen 92 x 102
Signed
2,500 - 3,500
Kase Jackson 1926 - 2002
Works from the Artist’s Estate
One of New Zealand’s first abstract expressionist painters, Kase Jackson participated as an invited artist in the Auckland City Art Gallery Festival Exhibition Unit Two and Object & Image, the 1964 group show alongside works by artist friends Colin McCahon, Louise Henderson and Milan Mrkusich.
When Jackson showed his works in the United States of America in the mid to late 1960s a work was acquired for the permanent collection of the Windsor Portrait Gallery. He also has works in the Auckland Art Gallery permanent collection as well as the collection of the Bishop of Aotearoa.
Rangitoto - Bimbo Jug Gouache on paper 70 x 51
Kase photographed by friend Colin McCahon, Hokianga, c. 1958
Signed, inscribed & dated 1987
800 - 1,200
13 KASE JACKSON
Mixed media on board 74 x 60
Signed & dated 1987
800 - 1,200
Untitled Oil on board 76 x 105
Signed & dated 1957
1,500 - 2,500
15 KASE JACKSON
14 KASE JACKSON
Pines August, Craigavon
Gaston de Vel 1924 - 2010
Works from the artist’s Estate Collection
Belgium born De Vel spent his student years at the Academie Royal des Beaux Arts, Brussels, which he attended at age 17 from 1941 to 1945. I was taught to paint directly from life, so I could learn to visualise things as an artist in colour, just like the Impressionists. Now these lessons are in my blood, a part of me.
One of his most influential tutors was Alfred Bastien, a friend of Claude Monet and John Singer Sargent. Gaston believes he was one of the last painters to have been taught in the classical and impressionistic fashion by a tutor directly involved with some of the leading artists of that movement. In 1960 he arrived in New Zealand from the Belgium Congo with nothing but peace and safety - it was worth losing everything just for that, Gaston said in an interview with the Auckland Star.
He was awarded the Kelliher Art Prize in 1968. The 1980s saw several sellout exhibitions in Auckland and at Lewis Paape Gallery, Lower Hutt. Gaston’s work is part of the permanent collection of Dunedin Public Art Gallery.
& dated 1973
1,000 - 1,500
Gaston at his easel, India, 1998
16 GASTON DE VEL Nude Oil on canvas 50 x 40 Signed
Signed & dated 2000
1,500 - 2,500
17 GASTON DE VEL
Baubigny Village, Burgundy
Oil on canvas 37.5 x 45
Signed & dated 2000
1,500 - 2,500
18 GASTON DE VEL
Baubigny Village, Burgundy
Oil on canvas 37.5 x 45
19 GASTON DE VEL
Monument Valley, Utah, USA
Oil on canvas 46 x 55
Signed & dated 1990
1,000 - 1,500
20 GASTON DE VEL
Jonquils
Oil on canvas 41 x 51
Signed & dated 1968
1,000 - 1,500
21 GASTON DE VEL
Hokianga
Oil on canvas 37.5 x 45
Signed & dated 1987
1,000 - 1,500
22 GASTON DE VEL
Venice
Watercolour 30 x 39.5
Signed & dated 1996
800 - 1,200
23 GASTON DE VEL
Public Library Building, Christchurch
Oil on canvas 37.5 x 45
Signed & dated 1989
1,000 - 1,500
24 GASTON DE VEL
Paris
Watercolour 30 x 39.5
Signed & dated 1996
800 - 1,200
Ida Harriet Carey 1891 - 1982
Works from the artist’s Estate Collection
The works of popular Waikato artist and teacher Ida Carey have received increased market attention over the past few years. During the 1920s whilst based in Sydney, Ida studied with Italian artist Anthony Dattilo Rubbo (1870 - 1955). Best known as a portrait painter, in the 1960s she began a series featuring Maori women with Moko. A versatile artist, Ida was also a competent painter of interiors, landscapes, still life and a series of ballet scenes.
She was a founding member of the Waikato Society of Arts, becoming President in 1934. She succeeded fellow artist Ivy Copeland (1895 - 1961) as a lecturer at Auckland College of Education and taught art in several Hamilton schools. Represented: Christchurch Art Gallery, Rotorua Museum, Waikato Museum. A collection of her paintings are on permanent exhibition at Puke Ariki, New Plymouth.
Ida Carey in her Firth Street, Hamilton studio, c. 1971
25 IDA H CAREY Mrs Ngati Te Harewa Watson, New Plymouth, Age 89 Oil on board 58 x 50 1,000 - 1,500
26 IDA H CAREY Maori Lady with Moko Oil on board 62 x 47
1,000 - 1,500
27 IDA H CAREY Nicotina Oil on board 60 x 45
1,000 - 2,000
Inscribed verso 2,000 - 3,000
28 IDA H CAREY Smoko, East Coast Oil on board 45 x 58
An Elder Statesman
Oil on board 60 x 50
800 - 1,200
Ruby and Family, Te Puke - 1973
Oil on board 59 x 60
Inscribed verso 2,500 - 3,500
29 IDA H CAREY
30 IDA H CAREY
Ida Carey c. 1971 nfs
John Weeks 1886 - 1965
Works from the artist’s Estate Collection
John Weeks was born in Devonshire, England. His family sailed to New Zealand in 1892, arriving when he was aged 6. His parents ran a dairy farm for several years near Te Awamutu, before settling in rural Northcote, Auckland where the family home was to remain. Weeks soon embarked on part-time classes at Elam Art School from 1907-1909 while working as a signwriter. In the years prior to World War I, Weeks visited England with his family, sketched through New South Wales, and took classes at Sydney Technical College. He returned home in 1915 and later enlisted with the New Zealand Medical Corps in early 1917.
Returning from Britain in late 1919, the artist entered a busy period exhibiting nationally and attracting attention and praise. He also taught signwriting and lettering classes alongside part-time study at Canterbury College School of Art, then under the directorship of Archibald Nicoll. In 1923 Weeks travelled to Edinburgh where he lodged with the artist Francis McCracken. He attended Edinburgh College of Art, and the Royal Scottish Academy of Painting where he took life classes. Weeks exhibited with the Academy, and in 1924 his paintings featured in the New Zealand display of the British Exhibition at Wembley. The following year Weeks left for Paris, enrolling in André Lhôte’s Académy Montparnasse in 1926. The School attracted many international students keen to learn Lhôte’s approach to art and
Cubism. At this time Weeks painted in a largely Post-Impressionist manner, his subjects often canals and street scenes. Weeks returned again to Lhôte’s Academy with enthusiasm in early 1929 after a long trip through: Algeria, Morocco, Tunisia via the South of France, Italy and Corsica. On his return to New Zealand he began teaching in1930 at Auckland’s Elam School of Art 1930, retiring in 1954.
A diverse and well-respected artist, he was widely regarded as the leading painter and teacher in Auckland in the 1930s and 1940s, and a significant figure in national art. Many artists, including Louise Henderson, sought his advice. Weeks lost around 200 works in a fire at Elam in early 1949. He continued to paint while teaching, caring for his father and managing the family property. In 1954 he took part in the Auckland Art Gallery’s Object and Image exhibition along with Louise Henderson, Colin McCahon, Milan Mrkusich, Ross Fraser and Michael Nicholson. A touring retrospective exhibition of Week’s work, beginning was held in 1955. Ronald O’Reilly, Christchurch City Librarian and art critic, deemed it … a magnificent and monumental show. Weeks received an O.B.E for his services to painting in 1958.
Kyla Mackenzie
John Weeks photographed by Herbert Tornquist, 1962
Algiers
Pastel on paper 30 x 14
Inscribed
800 - 1,200
Untitled Landscape Oil on board 24.4 x 34.7
Weeks O’Connor inscribed in pen verso
1,500 - 2,500
31 JOHN WEEKS
32 JOHN WEEKS
33 JOHN WEEKS Full Moon Watercolour 10.5 x 10
34 JOHN WEEKS An Archway Pastel on paper 32 x 17.5
- 1,200
JOHN WEEKS
In the Shade, Algiers
Pastel on paper 30 x 23
Signed & inscribed
800 - 1,200
JOHN WEEKS
Tlemcen, Algeria
Pastel on paper 30 x 23
Signed & inscribed
800 - 1,200
JOHN WEEKS
By the Seine, Paris c. 1926
Watercolour 21 x 29.5
Certificate of Authenticity from Artist’s
Estate affxedverso
800 - 1,500 38
JOHN WEEKS
Moulay Idriss
Pencil drawing on paper 24 x 30.5
Signed & inscribed
500 - 1,000
JOHN WEEKS
William James Reed 1908 - 1996
Born in Christchurch Reed attended the Canterbury College of Art in the 1930’s with fellow artists Archibald Nicoll, Richard Wallwork, Olivia Spencer Bower and Russell Clark. Reed had a highly original vision of the New Zealand landscape and his work differed vastly from that of his contemporaries. He saw the landscape as lush, productive and fertile and he portrayed it with strong colours and forms. Reed was strongly influenced by the works of his tutor, John Weeks, his friend and colleague Rita Angus and the British painter Paul Nash. His recognition of the ideological and spiritual crisis facing humanity in the 1930’s resulted in works such as Armageddon and Visitation now in the collection of the Reed Estate. These works have a prophetic quality, pre-dating the bombing of Guernica by some months.
Works from the artist’s Estate Collection 40
At the conclusion of his studies Reed worked for a firm producing pictorial advertising for the movies. Weekends were spent roaming the Port Hills and cycling the Canterbury Plains in search of subject matter. Apart from serving with the Field Ambulance Corp in the Pacific Zone from 1942-45, his life was spent entirely in Otago. Reed’s first solo exhibition was held at the Dunedin Public Art Gallery, his intense passion for the land and its coastline was spiritually as well as emotionally charged. From today’s perspective he is seen as one of the most adventurous members of the School of South Island Painters. Reed taught at the Dunedin School of Art for more than thirty years, a respected and popular tutor, he retired in 1973 continuing to paint till the end of his life. His work is held in major galleries throughout New Zealand.
WILLIAM JAMES REED
Maori Girls, Moraki Oil on board 45 x 43
Signed 2,500 - 3,500
Mixed media on board 47 x 34 Signed
1,000 - 2,000
Mixed media on board 63 x 44 Signed 1,000 - 2,000
41
WILLIAM JAMES REED Symbol for Easter 1995 AD
42 WILLIAM JAMES REED Crown of Thorns
43 WILLIAM JAMES REED
St Francis and the Birds Oil on board 63 x 53
Signed 1,500 - 2,500
Exhibited: William James Reed
The Religious paintings International Art Centre
2 - 13 April, 2004
Robert Browning Watson 1911 - 1980
Works from the Estate of M L Watson
Auckland born Robert Browning Watson was educated at Kings College and Wanganui Collegiate. He went on to gain an honours degree in law from Cambridge University. Watson served with the RNZAF, eventually becoming a stock broker in Wellington.
Painting was his true passion and he attended classes at Heatherley’s School of Fine Art, one of London’s oldest independent art schools and at a later time studied under leading Australian portrait painter, Sir William Dargie.
In his fifties, Watson travelled both worldwide and throughout New Zealand capturing his journeys on canvas. In 1966 he was placed third in the prestigious Kelliher Art Award, receiving first prize the following year. His work was presented in the Kelliher exhibitions from 1959 - 1968. R.B Watson was represented by McGregor Wright Gallery, he died in Wellington, 1980.
44 R B WATSON
The Newsstand, Paris Oil on canvas board 24 x 19
Signed
400 - 600
45 R B WATSON
A Street in Wan Chai, Hong Kong Oil on canvas board 35 x 46
Signed
800 - 1,200
46 R B WATSON
Wan Chai, Hong Kong Oil on canvas board 35 x 46
Signed
800 - 1,200
47 R B WATSON
Life Class Oil on canvas board 35 x 43
Signed
500 - 1,000
48 R B WATSON
Summer Landscape, Norfolk Oil on canvas board 35 x 46
Signed
800 - 1,200
49 R B WATSON
Fog in the Forrest, Kaitoke Oil on canvas board 40 x 50
Signed
800 - 1,200
50 R B WATSON
Winter Landscape, Finland Oil on canvas board 33 x 45
Signed
800 - 1,200
800 - 1,200 52 R B
Thames Barges, Yamouth Oil on board 24 x 41
400 - 600
Bessie
on canvas board 26 x 21
300 - 500
54 R B WATSON
Cottage in the Hollow, Norfolk Oil on canvas board 20 x 25
300 - 500
55 R B
The Auction, Elazig, Turkey
on board 20 x 22 Signed
300 - 500
51 R B WATSON
Ladder Street, Hong Kong
on canvas board 30 x 40
WATSON
53 R B WATSON
WATSON
Cyril Whiteoak 1921 -2009
Watercolour
Landscapes
Ex Artist’s Estate Collection
Paintings and sketches by the late landscape artist Cyril Whiteoak are owned by collectors throughout the world. Whiteoak was a keen traveller but the bush and Manukau Harbour views from his Titirangi home studio also inspired his work.
Whiteoak spent 30 years teaching at The Auckland Society of Arts and travelled throughout New Zealand as a roving tutor, eventually winning a Bledisloe Award for services to the industry. He trained as an artist and gained high results in a City and Guilds of London Institute exam.
He was made a Freeman of City London for his efforts - a traditional English honour dating back to medieval times. He served in the Royal Air Force as a medical attendant during World War Two and spent time in Egypt where he covered hospital walls with murals.
56 CYRIL WHITEOAK
The Remarkables, Queenstown
Watercolour 35 x 51
Signed & dated 2000
300 - 500
57 CYRIL WHITEOAK
Flaxmill Bay
Watercolour 35 x 51
Signed, inscribed & dated 2000
300 - 500
Whiteoak came to New Zealand in the late 1950s after a brief stint in Australia with his only brother John. He enjoyed many painting trips to places like India, Afghanistan, Europe, China, America and Siberia.
Whiteoak was a member of West Auckland Historical Society and the learning network University of The Third Age. He won merit awards in the Kelliher Art Awards in 1965 and 1966.
Cyril, photographed in 2008
58 CYRIL WHITEOAK
Tukituki River, Hawkes Bay
Watercolour 35 x 51
Signed, inscribed & dated 2003
300 - 500
59 CYRIL WHITEOAK
Mill Bay, Mauganui
Watercolour 35 x 51
Signed
300 - 500
60 CYRIL WHITEOAK
Summer Shade, Estuary and Trees
Watercolour 35 x 51
Signed, inscribed & dated 1998
300 - 500
61
CYRIL WHITEOAK
Gate in Yorkshire
Watercolour 35 x 51
Signed & dated 1995
300 - 500
Peter Siddell 1935 - 2011
Sylvia Siddell 1941 - 2011
Works from the Estate Collection
In 1960 Peter Siddell married Sylvia, the couple lived in Auckland where their two daughters were born. From 1972 Siddell painted professionally, holding his first solo exhibition that same year.
Peter Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be of actual places, his paintings have a subjective component, and might be better described as magic realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, with the suggestion of events occurring outside the picture area. In this sense, his work can be compared to the metaphysical works of Giorgio de Chirico. Siddell is the second only New Zealand artist to be knighted: the first was Sir Toss Woollaston.
When Sylvia Siddell began her career in the 1970s, her art was shaped by the domestic and familiar. She incorporated family life into the process of artmaking as a means of balancing her roles as wife and mother with her activity as an artist. Among other women artists of her generation, Siddell elevated the banal and ordinary occurrences of domestic life to an appropriate and challenging subject for art. Her comments on domesticity contained references to her feelings and frustrations about the wider world continued to inform her work three decades on.
The Siddell’s in their studio, Woman’s Weekly, 1977
Screenprint, edition of 40, 20 x 15
Signed & dated 1982
500 - 1,000
Provenance: Artist’s Estate Collection
PETER SIDDELL Front Door
Screenprint, edition of 150, 57 x 44 cm
Signed, inscribed & dated 1982
800 - 1,200
Provenance:
Artist’s Estate Collection
Screenprint, edition of 75, 50 x 40
Signed & dated 1985
800 - 1,200
Provenance: Artist’s Estate Collection
63
PETER SIDDELL
Window
64
PETER SIDDELL
Trellis
65 SYLVIA SIDDELL
Just Looking Pastel on paper 55 x 45
Signed
400 - 600
Provenance:
Artist’s Family Collection
66 SYLVIA SIDDELL
Pitiable
Acrylic on board 30 x 22
Signed 250 - 350
Provenance:
Artist’s Family Collection
67 SYLVIA SIDDELL
Absolutely Fabulous
Acrylic on board 30 x 22
Signed
250 - 350
Provenance:
Artist’s Family Collection
68 SYLVIA SIDDELL
Tender
Acrylic on board 30 x 22
Signed
250 - 350
Provenance:
Artist’s Family Collection
69 PETER SIDDELL
Pah Homestead
Oil on board 38 x 45
Signed & dated 1974
8,000 - 12,000
Provenance
Private Collection, Auckland since 1974
70 PETER SIDDELL
Red Roof Church
Oil on board 50 x 40
Signed & dated 1971
4,500 - 6,500
Provenance
Private Collection, Auckland since 1971
Oil on paper 98 x 98
Signed
800 - 1,200
Old Cart and Barn, Gibbston, Otago
Oil on board 35 x 47
Signed & dated 1976
1,000 - 2,000
Mt Tutoko, Fiordland
Oil on velvet 88 x 67
Signed
800 - 1,200
Oil on board 60 x 98
Signed & dated 1970
800 - 2,000
72 CHRISTINE SMITH Cups
73 DOUGLAS BADCOCK
74 PETER SIDDELL
71 CHARLES MCPHEE
Mareva
Old Stock Route, North East Victoria Oil on board 69.5 x 76.5
Signed
2,000 - 3,000
Signed
500 - 1,000
BRIAN HALLIDAY
Mt Maude, Wanaka Oil on board 29 x 39.5
75 JOHN LOXTON
77 NINA CHALMERS
A Portfolio of the Artist’s watercolours from New Zealand and Asian travels
Approximately eighty unframed watercolours of various sizes
Some signed & inscribed 1,000 - 2,000
Provenance: Ex Artist’s Family Collection
78 MICHELLE BRYANT
Instinct & Orientation
Oil on board with carving 97 x 97
Signed, inscribed & dated 2011
1,000 - 1,500
Provenance:
Purchased from Smyth Galleries, Auckland, 2013
Landscapes
Oil on twelve canvas panels 94 x 124
Signed & dated 1985
800 - 1,500
80
River and Cliffs Composition Oil on twelve canvas panels 94 x 124
Signed & dated 1986
800 - 1,500
SIMON PAYTON Urban
SIMON PAYTON
81 BRIAN HALLIDAY
Mt Sefton
Oil on board 59 x 75
Signed
800 - 1,200
82 TIM WILSON
Manapouri
Oil on canvas 45 x 60
Signed & dated 1995
3,000 - 4,000
83 RICHARD BYRNES
Untitled
Unique wooden sculpture 62 x 63
800 - 1200
84 MARTI FRIEDLANDER Attributed
Kelmarna Gardens, Grey Lynn Silver gelatin print 37.5 x 25
Signed, inscribed & dated 2007
800 - 1,200
85 IAN SCOTT
Te Aroha
Watercolour 35 x 53.5
Signed
500 - 1,000
86 BRONWYN CORNISH
Anubis
Bronze sculpture with applied Enamel paint 41 x 10
Signed & dated 2008
800 - 1,200
87 PHILIPPA BLAIR NEE HUTCHINSON
Long Letter from Space Poem series
Dye and acrylic on canvas with crayon edges 200 x 90
Signed & dated 1978
1,800 - 2,500
Provenance:
Purchased from Elva Bett, Wellington 1979
88 BILL HAMMOND
Give Me a Beat
Felt tip pen and ink on paper 18 x 21
Signed, inscribed & dated 7/80
500 - 1,000
89 STANLEY PALMER
The Ranges from Glen Eden Bamboo engraving, edition 17/50, 52 x 71
Signed & dated 1967
800 - 1,200
Works
from
the Collection of Neil Vincent McGough, Trombonist, Conductor and ex Chairman of the Northern Regional Arts Council
90
Swoop of the Kotare, Waimanu
Screenprint
edition 96/175, 66 x 48
Signed, inscribed & dated 1980
6,000 - 10,000
92
Hikurangi,
Bamboo engraving
edition 31/60, 37 x 58
Signed, inscribed & dated 1978
400 - 600
Leigh
Bamboo engraving, edition 7/60, 45 x 66
Signed, inscribed & dated 1976
400 - 600
DON BINNEY
91 STANLEY PALMER
Ruatoria
STANLEY PALMER
93 PAT HANLY
Love Scene B
Screenprint, edition 25/26, 48.5 x 63.5
Signed, inscribed & dated 1968
1,000 - 1,500
Provenance:
Purchased Auckland, 1968
94 PAT HANLY
In the Garden
Screenprint, edition 7/32, 49 x 56
Signed, inscribed & dated 1968
1,000 - 1,500
Provenance:
Purchased Auckland, 1968
This is the actual signed screenprint exhibited at Barry Lett Galleries, 1968. The artist applied the watercolour droplets making each print unqiue. The same image was later used to create a Barry Lett Multiple.
95 PAT HANLY
Torso: Adventurer
Etching, edtion 17/30, 66 x 48
Signed, inscribed & dated 1978
800 - 1,200
Screenprint, edition 2/12, 63.5 x 48.5 Signed, inscribed & dated 1965
500 - 1,000
The King Goes Hunting
Screenprint, edition 2/28 35 x 60.2
Signed, inscribed & dated 1965
500 - 1,000
96 TED DUTCH Guardian II
97 TED DUTCH
Works from a Private Estate Collection, Tauranga Lots 98 - 102
98 ERIC LEE JOHNSON
Hokianga
Ink on paper 24 x 36
Signed
400 - 600
99 JOHN DOUGLAS PERRETT
Venice
Pastel on paper 22 x 43
200 - 300
100 DAVID SHENNAN
Still Life, Flowers
Oil on canvas 60 x 50
Signed, inscribed & dated 1988 verso
1,000 - 2,000
101 DAVID SHENNAN
Grafton Bridge
Gouache on linen 31 x 26
Signed, inscribed & dated 1988 verso
400 - 600
Provenance:
Isobel Thom Jutta Giggenbach and Charlotte Fisher Cemetary Bridge Series, Brooker Gallery, Wellington, 1988
102 DAVID SHENNAN
River’s Edge, Port Waikato
(Fragments for a History of the Human Landscape)
Oil on board 28 x 46
Signed, inscribed & dated 1988 verso
400 - 600
David Shennan was born in Scotland in 1965. He emigrated to New Zealand in 1974 and studied at the Elam School of Fine Arts University of Auckland 1989 - 1990 gaining a Master of Fine Arts, (First Class Honours). Major influences in these early works may be likened to artist friends, Tony Fomison & Philip Clairmont.
As a painter, I am always in search of an ‘allusive’ image. Appearing one way on the surface and then in time, shifting completely into something else.
David Shennan, 2016
Works from the Estate of John Barr 1887 - 1971
Director & Gallery Librarian,
Auckland Art Gallery 1913 - 1952
Lots 103 - 107
103 GORDON MINHINNICK
After the Loan Collection (Picture by William Roberts)
Ink drawing on paper 31 x 26
Signed, inscribed & dated 1934
350 - 450
104 BESSIE CHRISTIE Attributed
Hill and Tree Study
Oil on board 27.5 x 45
800 - 1,200
105 BESSIE CHRISTIE
View through the Trees Oil on board 38 x 52
Signed
2,000 - 3,000
106 ALLAN SWINTON
Bush Hut
Watercolour 41 x 35
Signed & dated 1945
300 - 500
107 JOHN GOODCHILD
Australian 1898 - 1980 A Glimpse
Engraving, edition 8/9, 30.5 x 23
Signed 200 - 400
Together with 2 other engravings
Provenance: John Barr Estate
107
108 MICHEL TUFFERY
Matagi Povi (Northern Bull)
Acrylic on tapa 50 x 115
Signed & dated 2004
3,000 - 4,000
Provenance:
Purchased from Salamander Gallery, Christchurch by current owner 2004
109 DES ROBERTSHAW
From the Rock Pacific Series
Acrylic on board 95 x 65
Signed
1,500 - 2,500
Eels with Trap Lake Hawdon #1
Oil and acrylic on paper 49 x 32
Signed, inscribed dated 2007
500 - 1,000
Eels with Trap Lake Hawdon #2
Oil and acrylic on paper 49 x 32
Signed, inscribed dated 2007
500 - 1,000
112 BING
Eels with Trap Lake Hawdon #3
Oil and acrylic on paper 49 x 32
Signed, inscribed dated 2007
500 - 1,000
Oil on board 22 x 39
Signed & dated 1976
1,400 - 1,800
110 BING DAWE
111 BING DAWE
DAWE
113
MICHAEL SMITHER Branches
110
111
112
113
Charcoal on paper 48 x 39
Signed & dated 1983
500 - 1,000
Lithograph, edition 21/30 42 x 29
Signed & dated 2002
750 - 1,250
115 JOHN PULE
The Sun is Happy - From the Love Poems
114
MICHAEL SMITHER
Tom Mutch playing Guitar
115
Signed
2,500 - 3,500
Signed & dated 1993
800 - 1,200
116 TOM ESPLIN
A Greek Village Oil on board 49.5 x 37.2
117 JAN NIGRO
Seated Nude II Pastel on paper 79 x 60
117
Gloxinia
Watercolour 33.5 x 33.5
Signed
800 - 1,500
119 MARCUS HOLLY FORD 1914 - 1989
Aldeburgh Seascape Oil on board 50 x 75
Signed
200 - 400
Portrait of U W Goodman, Lawyer, Dunedin Oil on canvas 55 x 45
Signed
1,000 - 2,000
118 MAUD SHERWOOD
120 JAMES FRASER SCOTT
120
Oil on canvas 66 x 80
Signed
1,000 - 3,000
121 JAMES FRASER SCOTT
Saint-Malo, Brittany
122 RUTH
Mt Eden Oil on board 55 x 75
Signed
400 - 600
123 CEDRIC SAVAGE
West Harbour, Fair Havens, Crete
Watercolour 58 x 75
Signed
800 - 1,200
Earth Pots
Acrylic on canvas 87 x 98
Signed
3,500 - 4,500
COLE
124 STEVE HARRIS
125 GRETCHEN ALRRECHT
Coral Reef
Lithograph, edition 10/30, 43.5 x 50
Signed, inscribed & dated 2000
1,750 - 2,250
126 PAUL CONEY
Daffodils
Watercolour 60 x 63
Signed 1,000 - 2,000
127 JOS KIVITS
Still Life Oil on canvas 100 x 75
Signed 1,000 - 2,000
128 PETER BEADLE
Thule Paterson
Inlet Stewart Island Oil on canvas
board 30.5 x 40.6
Signed
500 - 1,000
129
LAURENCE WILLIAM WILSON
Circular Cove, Lake Manapouri
Pastel on paper 29 x 48
Signed & dated 1899
800 - 1,200
130
JOHN DOUGLAS PERRETT
Evening of a Grey Day, Lake Te Anau
Oil on canvas 45 x 75
Signed 1,000 - 1,500
131
THOMAS REGINALD ATTWOOD
Smith Sound Oil on board 35 x 55
Signed
800 - 1,200
132
JOHN MCINTOSH MADDEN
Nelson Landscape
Watercolour 25 x 35
Signed
400 - 600
133
JOHN KINDER
Dr. Dalliston’s. Mahurangi
Watercolour 24.5 x 34.5
Inscribed & dated 1856
1,000 - 3,000
134
JOHN MCINTOSH MADDEN
Shipping Scene
Oil on board 44.5 x 28.5
Signed
800 - 1,200
135
JOHN MCINTOSH MADDEN
Patersons Inlet, Stewart Island
Oil on board 20 x 36
Signed
300 - 500
Pioneers Hut Oil on board 34 x 49 Signed & dated 1896 1,000 - 1,500
136 JOHN MCINTOSH MADDEN
137 MABEL HILL
Merton College, Oxford
Watercolour 25.5 x 37
Signed & dated 1935
400 - 600
138 DOUGLAS BADCOCK
Young Poplars, Lake Wakatipu
Watercolour 25.5 x 34
Signed
800 - 1,200
139 MABEL HILL
Brighton, Taieri
Watercolour 39 x 38
Signed & dated 1918
800 - 1,200
140 PETER BEADLE
Mountain Daisies at Homer Tunnel
Oil on canvas board 29 x 39
Signed
500 - 1,000
141 PHILIP HOLMES
Tawhana
Oil on board 30 x 20
Signed
1,500 - 2,500
142 WILLIAM ALLEN BOLLARD
The Clan Alpine in Papeete
Watercolour 19 x 35
Signed
400 - 600
143 DICK FRIZZELL
Table/Wine
Screenprint, edition 6/100, 60 x 50
Signed, inscribed & dated 2002
600 - 1,000
144 RICHARD KILLEEN
Wine Attachments
Screenprint, edition 85/100, 56 x 75.5
Signed, inscribed & dated 2002
800 - 1,200
145 DENYS WATKINS Kaki
Screenprint, edition 56.5 x 75
Signed, inscribed & dated 2007
450 - 650
146 DENYS WATKINS Kaka
Screenprint, edition 15/35, 56.5 x 75
Signed, inscribed & dated 2007
450 - 650
147 DENYS WATKINS Pateke
Screenprint, edition 56.5 x 75
Signed, inscribed & dated 2007
450 - 650
148 GRAHAME SYDNEY
Riverbank
Lithograph, edition 30/75, 52 x 82
Signed, inscribed & dated 1992
1,000 - 1,400
149 LEONARD MITCHELL
Lake Wanaka Oil on board 29.5 x 39.5
Signed & dated 1960
500 1,000
150 WILLIAM HENRY RAWORTH
Homeward Bound
Watercolour 35 x 61
Signed & dated 1899
800 - 1,200
151
CHARLES NATHANIEL WORSLEY
Hilltop Village-Europe
Watercolour 34 x 24.5
Signed
500 - 1,000
152 TOSS WOOLLASTON
Three Portrait Studies Ink on paper 34.5 x 26.5
Signed & dated 1960
800 - 1,200
Together with a copy of publication Woollaston, Erua, limited edition 881/1000
Blackwood and Janet Paul, 1966
153
MARCUS KING
Mitre Peak Oil on board 12 x 16
200 - 400
Provenance:
Gift to owner on her 15th birthday, 1953
154
155
KIRKWOOD
Dusky Sound
Oil on board 15 x 22
Signed
800 - 1,200
Figure Study
Mixed media on Paper
33.5 x 32.5
Signed & dated 1977
400 - 600
156
A Life Story
Oil on canvas 111 x 71
Signed & dated 2000
900 - 1,500
HENRY WILLIAM
GARTH TAPPER
ANNA HOLLINGS
157 PETER O’HAGAN
Lunch on the Terrace at the Hotel Splendido, Portofino
Mixed media on board 44.5 x 50
Signed
800 - 1,200
158 JONATHAN WHITE
Barrier Peak from Robb Stream, Fiordland
Oil on canvas 65 x 85
Signed
500 - 1,000
159 PEGGY SPICER
Houses in Symonds Street
Watercolour 30 x 45
Signed
800 - 1,200
160 PETER BEADLE
Ski Huts, Coronet Peak, Wakatipu
Oil on canvas board
30 x 60
Signed
800 - 1,200
161 CEDRIC SAVAGE
In the Shade, Mediterranean
Watercolour 25 x 35
Signed & dated 1928
800 - 1,400
162 TED DUTCH
Grey Cat II
Screenprint, edition 5/30, 35 x 26
Signed & dated 1997
400 - 600
163 ELLA SPICER
View of Auckland
Watercolour 28 x 39
Signed
800 - 1,200
164 JOHN F BUCKLEY
Roses I
Alkyd resin on canvas 100 x 74
Signed & dated 1984
1,500 - 2,500
165 JOHN F BUCKLEY
Roses II
Alkyd resin on canvas 100 x 74
Signed & dated 1984
1,500 - 2,500
166
ARCHIBALD FRANK NICOLL
Dutch Village with Windmill Oil on board 35 x 45
Signed
1,000 - 2,000
167 MARK MCLEOD
Backpacker in Skipper’s Canyon
Oil on canvas 75 x 101
Signed, inscribed & dated 20 February 2003
1,000 - 1,500
168 BERNARD ARIS
The Dunedin at Sea Watercolour and gouache 51 x 72
Signed
800 - 1,500
169 WILLIAM JAMES REED
Mt Aspiring, Glendhu
Watercolour 37.5 x 54.5
Signed & dated 1969
800 - 1,200
170 PETER BEADLE
Wet Jacket Arm Dusky Sound
Oil on board 45.5 x 61
Signed
800 - 1,200
171 RUSSELL HOLLINGS
Rolling Hills, Pakiri
Oil on board 68 x 89
Signed & dated 1970
500 - 1,000
172 IRENE DENFORD
Hauraki Gulf Islands VI
Acrylic on canves 75 x 100
Signed & dated 1990 1,000 - 1,500
173 HENRY WILLIAM KIRKWOOD
Early Morning, Cattle Grazing Oil on board 23 x 47
Signed
800 - 1,500
174 MICHAEL SMITHER
Portrait of a Friend
Pencil drawing on paper 41 x 28
Signed & dated 2005
400 - 700
175 BLYTHE FLETCHER
Market Scene
Gouache on paper 58 x 75
Signed & dated 1929
500 - 1,000
176 THOMAS ARTHUR MCCORMACK
Hutt River
Watercolour 30 x 47
Signed
1,000 - 1,500
177 EDWARD BULLMORE
Life study Mother and Child London
Graphite on paper 60 x 43
2,000 - 3,000
178 PETER BEADLE
Mt Cook and Tasman from the Clearwater West Coast Oil on canvas board 29 x 39
Signed
500 - 1,000
179 ASTON GREATHEAD
Mt Cook, Lake Pukakai Oil on board 38 x 55
Signed
300 - 500
180 ROBERT ELLIS
Tiheru
Mixed media collage on paper 77 x 58
Signed & dated 1980
1,000 - 2,000
181 ALISON RYDE
Ferry Building
Mixed media 52 x 71
Signed
500 - 1,000
182 P MORATH
Russell, Bay of Islands Oil on board 52 x 74
Signed
800 - 1,500
183 PHILIP HOLMES
Chief with Moko Oil on board 24 x 17
Signed
800 - 1,200
184 PETER BEADLE
Stone Cottage, Arrowtown Oil on canvas board 29 x 39
Signed
500 - 1,000
185 JACQUELINE HICK
Australian 1919 - 2004
Golden Boys Oil on board 121 x 90.5
Signed
1,500 - 2,500
Provenance:
Purchased from The Johnstone Gallery, Brisbane by current owners father
186 RAYMOND BEAL
American 1867 - 1951
Bridge, USA Oil on board 29 x 39
Signed
400 - 600
187 Y BALA YESSEY
Reclining Nude Oil on canvas 44 x 54
Signed
400 - 1,000
188 ALAN E WOLTON
South African b. 1954
Roggebaai Cape Oil on board 75 x 111
Signed & dated 1962
800 - 1,200
186
189 UAB SANASEN
Thailand 1935 - 2010
Still Life, Fruit Oil on canvas 40 x 50
Signed
500 - 1,000
190 SAMUEL JOHN LAMORNA BIRCH
British 1869 - 1955
Cornwall
Watercolour 18 x 25
Signed
250 - 350
191 LOUISE HENDERSON
Untitled
Watercolour 42 x 61
Signed
700 - 1,100
192 JAMES R DUNCAN
Arrowtown
Watercolour 36 x 53
Signed
400 - 600
193 LOUIS BOROS
Arok
Oil on board 71 x 59
400 - 600
194 J C VEITCH
Venice
Oil on board 29 x 46
Signed
400 - 600
195 FATU FEU’U
Masiofo
Screenprint, edition of 29 52 x 72
Signed & inscribed
450 - 650
196 SAM CAIRNCROSS
Wanganui Falls
Oil on board 49.5 x 37
Signed
500 - 1,000
197 ISOBEL MCBEATH
Finca At Can Puig, Mallorca, Spain
Oil on board 28 x 38
Signed Belmac
150 - 250
198 PETER J WALLERS
Highfield Park
Oil on board 62 x 96
Signed
500 - 1,000
199 SUE SCHAARE
Jazz Basics
Acrylic on canvas 80 x 80
Signed
500 - 1,000
450 - 650
200 LOUISE HENDERSON Bush Lean to Pencil on paper 30 x 27
201 WILLIAM MENZIES GIBB
Hyde Park
Watercolour 17 x 26
Signed
400 - 600
202 ROY DALGARNO
The Bathers
Graphite and pastel on paper 54 x 71
Signed
750 - 1,250
203
KATHLEEN SALMOND
Primroses
Oil on board 27 x 29.5
200 - 400
204 PAMELA WOLFE
Takahe at Hobson Bay
Screenprint, edition 9/48, 62 x 46
Signed
200 - 400
205 IAN KINGSTONE
Moonlight Serenade
Oil on canvas 122 x 91
Signed & inscribed
800 - 1,200
206
ELIZABETH BAILEY
As I Walked Past He Sang Me His Song
Watercolour 78 x 55
Signed & inscribed
300 - 500
207 DICK FRIZZELL
Special Edition
Screenprint 121/150 45 x 58
Signed, inscribed & dated 2013
300 - 500
208
DOUGLAS BADCOCK
Mt Cook
Watercolour 14 x 19
Signed
250 - 450
PHILIP HOLMES
210 ROY J DICKISON
Land forms Tokorahi (North Otago)
Oil on board 48 x 78
Signed
600 - 1,000
211 CHARLES DECIMUS
BARRAUD
Scraps from my Sketchbook
Lithograph 43 x 31
Inscirbed
150 - 250
212 CYRIL WHITEOAK
Manukau Harbour
Watercolour 36 x 54
Signed & dated 1958
200 - 400
213 JOS KIVITS
Still Life
Watercolour 42 x 61
Signed
600 - 800
214 ASTON GREATHEAD
Mt Cook, Tasman Valley
Oil on board 44 x 57
Signed
400 - 600
215 JOHN PAPAS
Image 20
Oil on board 29 x 24.2
Signed
200 - 400
216 JOHN CASTLE
Indonesia
Watercolour 48 x 62
Signed
500 - 1,000
217 PETER J WALLERS
Sunset, Coromandel Oil on board 19 x 24
Signed
150 - 250
218 SAFFRON TE RATANA
Tiki 6.2
Mixed media on paper 8 x 9
Signed
150 - 250
219 CHRISTINE KING
Cafe Societies & Berry Nice - A pair
Two watercolours 36 x 26 & 53 x 72
Signed Inscribed & dated 1993
500 - 1,000
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Artists’ Estates & Collectable Art - Tuesday 21 February 2017
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101
$20,000
works by
available February 2017
Paul Coney
Italian Garden
Oil on canvas (Diptych)
x 244 cm
New
Paul Coney
ALBRECHT G .................................... 125
ARIS B ............................................... 168
ATTWOOD T R .................................. 131
BADCOCK D ..................... 73, 138, 208
BAILEY E ........................................... 206
BARRAUD C D ................................. 211
BEADLE P 128, 140, 160, 170, 178, 184
BEAL R .............................................. 186
BINNEY D............................................ 90
BIRCH S J L 190
BLAIR NEE H P ................................... 87
BOLLARD W A ................................. 142
BOROS L........................................... 193
BROWNE R D .......... 6, 7, 8, 9, 10, 11, 12
BRYANT M .......................................... 78
BUCKLEY J F ............................. 164, 165
BULLMORE E .................................... 177
BYRNES R 83
CAIRNCROSS S................................ 196
CAREY I ...................... 25, 26, 28, 29, 30
CARRINGTON G W 135
CASTLE J .......................................... 216
CHALMERS N ..................................... 77
CHRISTIE B ........................................ 105
CHRISTIE ATTRIBUTED B .................... 104
COLE R ............................................. 122
CONEY P .......................................... 126
CORNISH B......................................... 86
DALGARNO R .................................. 202
DAWE B ............................ 110, 111, 112
DE VEL G..........................16, 17, 18, 19, 20, 21, 22, 23, 24
DENFORD I ....................................... 172
DICKISON R J .................................. 210
DUNCAN J R .................................... 192
DUTCH TED............................96, 97, 162
ELLIS R .............................................. 180
ESPLIN T ............................................ 116
FEU’U F ............................................. 195
FLETCHER B ...................................... 175
FORD M H ........................................ 119
Index
FRIEDLANDER ATTRIBUTED M ............ 84
FRIZZELL D ................................ 143, 207
GOODCHILD J C ............................ 107
GREATHEAD A ......................... 179, 214
HALLIDAY B .................................. 76, 81
HAMMOND B .................................... 88
HANLY P 93, 94, 95
HARRIS S........................................... 124
HENDERSON L ......................... 191, 200
HICK J 185
HILL M........................................137, 139
HOLLINGS R ..................................... 171
HOLLINGS A .................................... 156
HOLMES P ........................ 141, 183, 209
HOPE G ............................... 1, 2, 3, 4, 5,
JACKSON K............................ 13, 14, 15
KILLEEN R.......................................... 144
KINDER J 133
KING M ............................................ 153
KING C ............................................. 219
KINGSTONE I 205
KIRKWOOD H W ...................... 154, 173
KIVITS J ......................................127, 213
LEE J E ................................................ 98
LOXTON J ........................................... 75
MADDEN J M................... 132, 134, 136
MCBEATH I ....................................... 197
MCCORMACK T A .......................... 176
MCLEOD M...................................... 167
McPHEE C ......................................... 71
MENZIES G W .................................. 201
MINHINNICK G 103
MITCHELL L ....................................... 149
MORATH P ....................................... 182
NICOLL A F ...................................... 166
NIGRO J ........................................... 117
O’HAGAN P ..................................... 157
PALMER S ............................... 89, 91, 92
PAPAS J ............................................ 215
PAYTON S ..................................... 79, 80
PERRETT J D ................................ 99, 130
PULE J ............................................... 115
RAWORTH W H ................................ 150
REED W J.................. 40, 41, 42, 43, 169
ROBERTS D ....................................... 109
RYDE A ............................................. 181
SALMOND K .................................... 203
SANASEN U 189
SAVAGE C................................ 123, 161
SCHAARE S ...................................... 199
SCOTT I 85
SCOTT J F ................................. 120, 121
SHENNAN D .................... 100, 101, 102, SHERWOOD M ................................ 118
SIDDELL P ................... 62, 63, 64, 69, 70
SIDDELL S ..........................65, 66, 67, 68
SMITH C .............................................. 72
SMITHER M ....................... 113, 114, 174
SPICER P 159
SPICER E ........................................... 163
SWINTON A ...................................... 106
SYDNEY G 148
TAPPER G ......................................... 155
TE RATANA S .................................... 218
TUFFERY M........................................ 108
VEITCH J C ....................................... 194
WALLERS P J ............................ 198, 217
WATKINS D ....................... 146, 145, 147
WATSON R B ........44, 45, 46, 47, 48, 49, .............................. 50, 51, 52, 53, 54, 55
WEEKS J..................... 31, 32, 33, 34, 35, ...........................................36, 37, 38, 39 WHITE J 158
WHITEOAK C..........................56, 57, 58, ........................................ 59, 60, 61, 212
WILSON T ........................................... 82
WILSON L W ..................................... 129
WOLFE P........................................... 204
WOLTON A E .................................... 188
WOOLLASTON T .............................. 152
WORSLEY C N .................................. 151
YESSEY Y B........................................ 187
