IMPORTANT & RARE ART
Auction 6:00pm Tuesday 08 April 2025
Inside cover:
Lot 43
GOTTFRIED LINDAUER
Miriam Partridge
Illustrated cover:
Lot 39
GRAHAME SYDNEY
Brass Monkey Hill, 2003
IMPORTANT & RARE ART
08.04.25
AUCTION
6pm Tuesday 8 April
International Art Centre
202 Parnell Rd, Parnell, Auckland
VIEWING
Wednesday 2 April 9am - 5.30pm
Thursday 3 April 9am - 5.30pm
Friday 4 April 9am - 5pm
Saturday 5 April 10am - 4pm
Sunday 6 April 11am - 4pm
Monday 7 April 9am - 5.30pm
Tuesday 8 April 9am - 5.30pm
LOCATION/ENQUIRIES
International Art Centre 202 Parnell Road Auckland New Zealand Telephone +64 9 379 4010 / 0800 800 322 E: auctions@artcntr.co.nz www.internationalartcentre.co.nz
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Luke Davies | luke@artcntr.co.nz
Grace Harris | grace@artcntr.co.nz
Directors Richard Thomson & Frances Davies 202 Parnell Road Auckland New Zealand
Lot 39 (Detail)
GRAHAME SYDNEY
Brass Monkey Hill, 2003
EVENT IN CONVERSATION
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Sir Grahame Sydney & Cameron Officer
IMPORTANT & RARE ART
2024 HIGHLIGHTS
CHARLES F GOLDIE
Thoughts of a Tohunga: Wharekauri Tahuna a Chieftain of the Tūhoe Tribe, 1938
Oil on canvas 76.5 x 61.2
Realised: $3,759,525 New Artist & National Record
DON BINNEY
Swoop of the Kotare
Acrylic on Steinbach 109 x 71.5
Realised: $848,470
RUSSELL STUART CLARK
Manihera’s Family c.1950 - 51
Oil on canvas 69.2 x 74.6
Realised: $127,338
RATA LOVELL-SMITH
Sheffield, Canterbury Railway Station
Oil on canvas on board 35 x 45
Realised: $21,829
*Prices include buyer’s premium
LOUISE HENDERSON
Narrow Street, Hereford, 1952
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BUYERS PREMIUM
18.5% plus GST
1 PAULDIBBLE(1943-2023)
LongHorizonStudy2(2022)
CastBronze,edition1/10+A/P
29x31cm
Signed&editionedonbase
$5,000-10,000
PROVENANCE
PrivateCollection,Auckland
2 PAULDIBBLE(1943-2023)
SmallCombModel,2005
CastBronze,editionof10+ A/P33x22.5cm
Signedonbase
$8,000-12,000
PROVENANCE
PrivateCollection,Auckland
3
BARRY LETT (1940 - 2017)
Watchdog
Bronze, edition 1/10 29.5 x 18.5 cm
Signed, editioned & dated 2002 on underside
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
4 FIONA PARDINGTON (b. 1961)
TAONGA HOROMATAI/VIRTUE
(Tui Prosthemadera n. novaeseelandiae (No.Av. 9783) Canterbury Museum, G. R. Grey 1845) 2004
Photographic print 45.5 x 57.5 cm
$10,000 - 15,000
PROVENANCE
Private Collection, Napier
5 LOUISE HENDERSON (1902 - 94)
Untitled
Oil, pencil and watercolour on paper 39 x 31.5 cm
Accompanied by certificate of authenticity
$4,000 - 6,000
PROVENANCE
From the Dame Louise Henderson Estate
The funds received from the sale of this work will be used to support the Dame Louise Henderson Trust fund, which supports young New Zealand Artists
6 LOUISE HENDERSON (1902 - 94)
Low Sailors Dive, 1979
Acrylic and ink on paper 31.5 x 36.5 cm
Signed, inscribed & dated 1970
$6,000 - 8,000
PROVENANCE
From the Dame Louise Henderson Estate
The funds received from the sale of this work will be used to support the Dame Louise Henderson Trust fund, which supports young New Zealand Artists
7 TOSS WOOLLASTON (1910 - 98)
Untitled, Portrait
Watercolour 33.5 x 25 cm
Signed & dated ‘54 lower left
$4,000 - 6,000
PROVENANCE
Private Collection
Acquired from Peter McLeavey Gallery, Wellington
EXHIBITED
Peter McLeavey Gallery, Wellington
Original exhibition label affixed verso
8 KARL MAUGHAN (b. 1964)
April 1993
Oil on canvas 45.5 x 56 cm
Signed, inscribed & dated 1993 verso
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
9
COLIN MCCAHON (1919 - 87)
Anne
Graphite on paper 44.5 x 34 cm
Signed & dated ‘42 top left
$14,000 - 20,000
PROVENANCE
Private Collection, Auckland
Anne McCahon (née Hamblett), c.1940s. Photographer unknown, Box-022-010, Uare Taoka o Hākena Hocken Collections, University of Otago
This striking graphite drawing by Colin McCahon of his wife Anne is dated 1942, the year of their marriage. Anne, aged 27, and Colin, aged 23, were married in Dunedin in September 1942 by Anne’s father, Canon Hamblett, an Anglican minister. They met at the Dunedin School of Art 5 years earlier in 1937 when Colin was barely out of high school, while Anne was one of the senior and most promising students. Soon after their wedding, the young couple moved to Pangatotara in the Motueka Valley about 60kms north west of Nelson, where they worked on a tobacco farm until the birth of their first child in 1943.
It is likely that this drawing was made at Pangatotara. It belongs with a cluster of portraits of Anne McCahon made at that time (1942-43) in various media, including gouache, graphite, charcoal, oils and pen and ink, all clearly reflecting a period of domestic intimacy. Woman on riverbank (oil, 1943) shows Anne sitting beside a river; the others are interiors, probably drawn or painted at night by lamplight in their cottage at Pangatotara. Anne (1942-43, gouache and charcoal, Aratoi), shows her sitting with her elbows on a table, cupping her chin in her hands. Two drawings, Seated Woman and Anne (the present work) both dated 1942 depict her in profile gazing downwards. In Seated Woman she is clearly reading a book; in Anne her hands are either obscured or unfinished but could be holding a book or handwork of some kind. Both Colin and Anne were keen readers and letters from that time often refer to books they were reading in the evenings.
In the graphite drawing, Anne, the emphasis is strongly linear and geometric with the focus on the outlines of head, upper body and clothing. Particularly noticeable is a pattern of strong vertical lines. The emphatic vertical of the hair-parting is almost continuous with the line formed by her left sleeve, and this is repeated in the fall of her hair and the vertical lines of her garment. The triangular form of the nose is picked up in other triangular shapes created by bent arms in conjunction with the fabric of her jacket. The roundness of the head contrasts the pervasive angularity.
Landscapes McCahon was drawing and painting at this time, such as Road through bush (1942) or the many studies of the hills near Pangatotara (especially Crusader), show the influence of Cézanne, as mediated by Toss Woollaston. Drawings of figures such as Anne were subject to the same constructive influences. The reappearance of this strong drawing in the marketplace over 80 years after it was made is a noteworthy event.
PETER SIMPSON
10
LOUISE HENDERSON (1902 - 94)
Narrow Street, Hereford, 1952
Oil on board 30 x 36 cm
$15,000 - 25,000
PROVENANCE
Collection of Brenda Gamble
thence by descent
This painting was executed soon after Henderson arrived in England in early 1952. In a letter to John Weeks she describes how buildings fascinated her as fine things to sketch. She was attracted, in particular, to the profile of the house with its segments and pillars, finding these forms subtly abstract.
11
GRETCHEN ALBRECHT (b. 1943)
Golden Winged Skyfall, 1971/73
Gouache & watercolour on paper 43.5 x 30 cm
Signed & dated 1971/73 lower right
$15,000 - 25,000
PROVENANCE
Private Collection, Auckland
12 PAT HANLY (1932 - 2004)
INRI
Oil alkyd on panel 61 x 61 cm
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
13 TERRY STRINGER (b. 1946)
Figure with Light
Bronze with light 154 x 13 cm
Foundry stamp & dated 86
$7,000 - 10,000
PROVENANCE
Private Collection, Auckland
Untitled Cubist Figure
Bronze on wood base, unique 72.5 x 12 cm
Signed & dated 1978
$3,000 - 5,000
PROVENANCE
Private Collection, Australia
Greymouth
Oil on board 45.5 x 51 cm
Signed & dated 1950
$20,000 - 30,000
PROVENANCE
Private Collection, Auckland
14 ALAN INGHAM (1920 - 94)
15 TOSS WOOLLASTON (1910 - 98)
16
Off to School
Oil on board 39 x 59.5 cm
Signed & dated ‘79 upper right
$12,000 - 16,000
PROVENANCE
Private Collection, Auckland
Marking Time
Oil on canvas 106 x 91.9 cm
Signed, inscribed & dated 2013/14 verso
$10,000 - 15,000
PROVENANCE
Private Collection, Waikanae
Acquired from Milford Gallery, Dunedin
TREVOR MOFFITT (1936 - 2006)
17 JOANNA BRAITHWAITE (b. 1962)
1961)
Rangitikei River
Oil on panel 51 x 40.7 cm
Signed & dated 2021
$4,500 - 6,500
PROVENANCE
Private Collection, Waikanae
Acquired from PAGE Gallery, Wellington
19 DON BINNEY (1940 - 2012)
Takahe III, 1971
Charcoal, graphite & pastel on paper
76.5 x 100 cm
Signed, inscribed Takahe III, 1971 lower right
$25,000 - 35,000
PROVENANCE
Private Collection, Auckland
Acquired from Gow Langsford Gallery, Auckland
18 MICHAEL HIGHT (b.
20 FIONA PARDINGTON (b. 1961)
Broken Hearted Heitiki From The Burnet Collection
Whanganui Museum, 2008
Toned silver bromide fibre based print, edition 1/5 58 x 48.5 cm
Signed, inscribed & dated 2008 verso
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
21 FIONA PARDINGTON (b. 1961)
Matiu’s Huia Feather, 2023
Inkjet print on Hahnemühle paper, edition 7/10 framed in black box moulding with AR70 nonreflective museum glass 149 x 176 cm
Signed
$20,000 - 30,000
PROVENANCE
Private Collection, Auckland
Light Bed Smoke In Room Oil on canvas 56 x 76 cm
Signed, dated and inscribed verso, Light Bed Smoke/ In Room I’/ Euan Macleod/ 2005
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
Acquired from Lawson~Menzies (now trading as Menzies), Quarterly Fine Art Auction, Sydney, 19/05/2011, Lot No. 87
22 EUAN MACLEOD (b. 1956)
Motorbike, From Corrugated Life Series
Corrugated iron sculpture 119 x 248 cm
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
Acquired from RKS Art c.1987
ILLUSTRATED
DH Binney, In or Upon: Iron: Part One, Art New Zealand 41, Summer 1986/87, p.61
23 JEFF THOMSON (b. 1957)
PROVENANCE
Private collection, Hamilton
Signed, inscribed & dated 14/7/2001
$20,000 - 30,000
24 DICK FRIZZELL (b. 1943)
Railway Crossing Oil on canvas 75 x 75 cm
PROVENANCE
Private Collection, Auckland
Acquired directly from the artist, 2007
Signed & dated 14/02/2007
$35,000 - 45,000
25 KARL MAUGHAN (b. 1964)
Kimbolton Oil on canvas 152 x 152 cm
$35,000 - 45,000
PROVENANCE
Private Collection, Auckland
Acquired from 12 Gallery, Auckland
Signed & dated 2003
$80,000 - 120,000
PROVENANCE
Private Collection, Auckland
Acquired from Gow Langsford Gallery, Auckland
26 BILLY APPLE (1935 - 2021)
Race Track
Ink on canvas 137 x 84 cm
27 SHANE COTTON (b. 1963) Blue Sigat Oil on canvas 200 x 80 cm
28
RAYMOND CHING (b. 1939)
Flotilla!
Oil on panel 98 x 114 cm
Signed & dated 1993
$80,000 - 110,000
PROVENANCE
Purchased from Everard Read Gallery, Johannesburg, c.1996
Private Collection, Napier
ILLUSTRATED
Voice from the Wilderness by Raymond HarrisChing, Saint Publishing, 1994, p.69,60,71 & 72
Through the weeks that I have worked, on and off, on the drawing for this painting, a lot of different species were drawn in, taken out, moved up or over or down, fitted in front of this bird or behind that one, until the great raft of birds that I wanted to see would finally float past.
The completed drawings shows something of the struggle, stuck and glued together as it is from as many sheets of paper, but finally with the chosen birds doing what I wanted of them. I wanted to see if I could make the body of beautiful birds just float by, occupying the whole picture as they pass. It seemed important that this be an unrelated group - a gathering of species, exactly and precisely rendered certainly - but with no scientific connection and no ordinary reason to be together.
The Black Voted Penguin is from waters off southern Africa, the King Penguin from Antarctica, the Tufted Duck, Eiders and Mallards from Europe, the Ruddy Duck and Wood Duck from North America, the South American Black-Necked Swan, the Mandarin from Asia and lastly the Black Swan and Dusky Moorhen from Australia. There was a Great-Crested Grebe above the top-right Mallard, but only the splash remains, as it dives to escape the snapping attentions of the swan.
That these birds wouldn’t naturally be together doesn’t mean they can’t be or won’t ever be - we change the balance of our world, not always for the better. I felt the things would work best only if each of the birds was so convincingly painted that you would have to believe they were here, together, and that because they were so very beautiful, you would want to believe it. At nearly four feet square, the panel allows for the birds to be shown not life size, but large enough to make their presence strongly felt.
RAYMOND CHING (Voice from the Wilderness)
29 RAYMOND CHING (b. 1939)
Gold Rush
Oil on board 90 x 105 cm
Signed, inscribed & dated 2005
$50,000 - 75,000
INSCRIBED
Yellow birds are first to leave the Ark together with numbered inscriptions of each bird / animal within the painting
PROVENANCE
Private Collection, Napier
EXHIBITED
Ray Ching Ark, ARTIS Gallery, Auckland, 4 - 29 April 2007
ILLUSTRATED
Ray Ching Ark, ARTIS Gallery, Auckland, 2007, Front cover & p.13
Signed & dated 1993
$20,000 - 30,000
PROVENANCE
Private Collection, Auckland
EXHIBITED
Ray Ching Paintings, Jonathan Grant Galleries, Auckland, 14 November - 7 December 2000
ILLUSTRATED
Ray Ching Paintings, Jonathan Grant Galleries, Auckland, plate.10
30 RAYMOND CHING (b. 1939)
Youth Oil on panel 41 x 29 cm
Oil on composite board 110 x 125 cm
Signed & dated 2005
$35,000 - 45,000
PROVENANCE
Private Collection, Auckland
EXHIBITED
Ray Ching Ark, ARTIS Gallery, Auckland, 4 - 29 April 2007
ILLUSTRATED
Ray Ching Ark, ARTIS Gallery, Auckland, 2007, p.23
31 RAYMOND CHING (b. 1939)
Labels
32
JOHN WALSH (b. 1954) Wharewaka
Oil on canvas 123 x 182 cm
Signed & dated 2017 verso
$40,000 - 60,000
PROVENANCE
Private Collection, Auckland
EXHIBITED
John Walsh, Gow Langsford Gallery, Auckland, 18 October - 11 November 2017
33 JOHN BLACKBURN (British 1932 - 2022)
Prescription Series, Triptych
Oil & mixed media on canvas on board
150 x 300 cm
Signed & dated 2021 on artist label affixed verso
$30,000 - 40,000
PROVENANCE
Private Collection, Auckland
Acquired from ARTIS Gallery, Auckland
Born in Luton, England John Blackburn studied at Thanet and Maidenhead Art Schools. After a period of National Service he spent 7 years in New Zealand and the Pacific Islands where he developed his trademark idiom of indigo blue and black forms set against a white background.
Blackburn developed his distinctive style in New Zealand from around 1955, until his return to the United Kingdom in 1961. In 1959 a number of his works were shown in Auckland’s short lived Circle Gallery. It was around this time that Blackburn met Les Harvey, the Parnell entrepreneur, who was to become a life-long friend and benefactor. Later that year Blackburn was included in the Auckland City Art Gallery’s exhibition Paintings, one of a dozen local artists including Robert Ellis, Hamish Keith and Tim Garrity.
In 1962 Blackburn with his wife and three children, returned to England, where the influential collector and gallery owner Jim Ede saw his one-man show in London’s Woodstock Gallery. Impressed by what he saw, Ede offered Blackburn a place in his Kettle’s Yard Gallery in Cambridge among artists such as Peter Lanyon (1918 – 1964), William Scott (1913 – 1989) and Roger Hilton (1911–1975).
Blackburn’s lyrical abstract paintings of simple, reduced strong forms in limited pure, unmixed colours are exhibited at Osborne Samuel Gallery in Mayfair, London and Lemon Street Gallery Truro, Cornwall, England.
EMILY KNGWARREYE
(Aboriginal Australian 1910 - 96)
Wildflower Dreaming
Synthetic polymer paint on linen 122.5 x 122.5 cm
Catalogue Number DCCOU/679. 27501/4 verso
$35,000 - 55,000
PROVENANCE
Private Collection, Australia
Acquired from DACOU Aboriginal Gallery, Adelaide, Australia
Private Collection, Auckland
Renowned Australian artist Emily Kame Kngwarreye created compelling, powerful works which reflected her extraordinary life as a senior Anmatyerre woman from the Utopia region of Australia.
Kngwarreye was in her late 70s when she began painting in earnest. For the next 8 years until her death, she painted over 3,000 canvases – roughly one per day – creating timeless art that encapsulated the wisdom, experience and authority she gained throughout her life.
Unlike most desert painters at the time, Kngwarreye did not use stylized representations of animal tracks or concentric circles in her designs. Instead, she employed richly layered brushstrokes or dabs throughout her abstract compositions.
Centred on imagery from her homeland, Kngwarreye often portrayed root systems and life cycles of plants. Her work is characterised by a wide range of colour and saturated dabs of paint that reveal visual patterns and configurations when viewed at a distance. Her free handling of paint using various implements, keen sense of color and dynamic compositions earned her international fame.
An indomitable force, Kngwarreye saw her artistic production as a civic responsibility and believed her work would help protect her country from mining. She continued to create art until the end of her life.
35 A. LOIS WHITE (1903 - 84)
Night Zephyr, 1941
Oil on board 50 x 40 cm
Signed lower left: A. Lois White
$80,000 - 120,000
PROVENANCE
Private Collection, Auckland
EXHIBITED
No.148 Summer Exhibition, Auckland Society of Arts, Auckland, 1941
Revisiting Modernism Group Exhibition, Gow Langsford Gallery, Auckland, 2023
REFERENCE
Auckland Star Review, Volume LXXII, Issue 112, 14 May 1941, Page 12
This sensuous and mysterious work, painted in the dark tones of a nocturne, evokes the Neo-Classical style of French academicism. Created and exhibited during World War II when there was a shortage of artists’ materials, it inaugurates Lois White’s interest in painting female allegories which she often presented as varnished watercolours. These escapist compositions, created for her own enjoyment, were exhibited alongside her serious commentaries on political events, which were larger in size, and priced accordingly.
While Zephyrus, a Greek god and personification of the West wind, is always depicted as male, Lois White’s composition is dominated by a dreaming female. Her inspiration may have come from the poem of the same name, by Russian Romantic Alexander Pushkin (1799-1837) where the night zephyr stirs the air, and streams through the ether while humanity sleeps. Over forty musical settings of the text of the Pushkin poem are known, and as an acclaimed soprano, Lois White may have been familiar with the sheet music of a composition for voice and piano.
A champion swimmer, White excelled at depicting the female form in motion, and often photographed and drew women at the beach. Her iconic Bathers (1949) shows a pair of young women with long hair in revealing swimming costumes, cavorting with seagulls and fish in the shallows. As in all academic art, these are ideal rather than real women. Te Papa has over 600 pencil drawings and sketches archived of her predominantly female nudes.
Lois White was well-versed in the icons of art history such as William-Adolphe Bouguereau’s The Birth of Venus (1879) which turns up the temperature from Botticelli’s neo-Platonic erotic frigidity (c.1485). Bouguereau’s goddess of love stands in perfect contrapposto with her weight on her right leg as she lifts long locks of curly red hair off her neck, slowly coming to consciousness, but eyes still closed. While only a threequarter figure, the pose of White’s form evokes this earlier masterpiece of academicism. Unlike Bouguereau’s rosy, pink Venus, White gives her female flesh a greenish tinge, making it seem etiolated like a plant kept in the dark for too long. The long auburn tresses take on a life of their own, curling into koru shapes which echo the tentacle-like forms representing the movement of the wind. Three cartoonish five-pointed stars whizz by as this dreamer is lifted into the night sky.
Called the best painter in New Zealand by Archibald Fisher (1896-1959), the principal of the Elam School of Art where she studied and worked first as a part-time tutor and then as a full-time lecturer for 34 years, White’s work also found acclaim with critics. When it was exhibited at the Auckland Society of Arts Annual Exhibition at the Auckland Art Gallery in 1941, Arthur Hipwell chose White’s work from amongst the 350 exhibitors for comment in the Auckland Star. Remarking that her contribution was a notable one, he praised her lively, creative imagination and strong, rhythmic designs, judging Night Zephyr (priced at 10 guineas) and Thunderstorm to be equally successful.
The 1940s were the most productive decade of Lois White’s career. As well as producing murals and political allegories related to the war, she explored the potential of the female nude to be idealised and thereby act as a cipher for concepts open to the viewer’s interpretation. This work belongs to a group of sinuous female bodies shown in rhythmic movement as representations of the elements and atmospheric forces: fire, wind, rain and wild waves.
LINDA TYLER
36
EVELYN PAGE (1899 - 1988)
Still Life with Green Bottle, c. 1970
Oil on board 57.5 x 42 cm
$45,000 - 65,000
PROVENANCE
Private Collection, Auckland
Acquired from Webb’s, Important New Zealand
Paintings, Auckland, 10/11/1994
Evelyn Page’s life was one of extraordinary zest and independence of spirit. Qualities clearly evident in a body of work created over seven decades. The work illustrated here is a fine example of the artist’s talents and joie de vivre.
Page began her training as an artist at the Canterbury School of Art in 1915 at the time of Raymond McIntyre and Owen Merton. In spite of early formalist training she soon adopted the style her painting is so well known and loved for today; the atmospheric effects of light with freshly applied and increasingly vibrant colour, in the manner of Cézanne and Bonnard although it was not until the 1930s that she first visited Paris and saw original works by the French PostImpressionists.
Having been heavily influenced by French masters such as Matisse and Degas, Page adapted the impressionistic language and deployed an assured deftness of brushstroke to convey rich and lively collisions of colour in her work. She developed a succinct and recognisable painted language that was uniquely her own.
Page’s affinity for finding rhythm in composition and colour gives many of her works a deep visual musicality. Throughout her long career as an artist she continued to paint in the style she developed, following her singular interpretation of visual experiences, regardless of any changes in fashion.
After the 1960s as she became increasingly interested in depicting objects from her everyday domestic life and she painted many still lifes, either reflecting her life in the orchard garden at Waikanae or interiors from her home in Hobson Street, Wellington. These paintings, luscious in surface and colour but usually simple in design, convey her joy of life and the pleasure she took in the visual beauty of nature.
37 FRANCES HODGKINS (1869 - 1947)
St. Ives c.1915
Watercolour 66.5 x 66.8 cm
Signed lower right
$150,000 - 250,000
PROVENANCE
Formerly Art Gallery of South Australia Adelaide [01614], Elder Bequest 1955
Private Collection, Auckland
Private Collection, Auckland
Acquired from International Art Centre, Important & Rare Art, Auckland, 16/11/2021, Lot No. 40
EXHIBITION
Anthony Hordern’s Fine Art Gallery, Sydney, October 1918 (no. 33) as Low Tide, St Ives
Frances Hodgkins, Museum of New Zealand Te Papa Tongarewa, 19 Sep 1993 - 30 Jan 1994
CATALOGUE NUMBER
FH0580- https://completefranceshodgkins.com
Forced to flee France in 1914 when war broke out, Frances Hodgkins eschewed London as too expensive (and too dangerous) and retreated to St Ives in Cornwall, and the comfort of familiar older faces such as fellow artists and supporters Moffat Lindner and his wife Augusta, known affectionately as Gussie.
Hodgkins had first visited Cornwall in 1902, drawn there by the longstanding artists’ community based around Penzance and Newlyn. Painting conditions were like those found in Brittany, which had been favoured by the Impressionists, where they could paint en plein air, capturing the constantly changing play of light on the water, and the activities of the fishing communities. Fishing boats in both communities favoured the red sails recorded in Hodgkins’ own European watercolours between 1902 and 1914.
Hodgkins and Dorothy Kate Richmond had returned from the Italian Riviera full of their experiences, and once settled in Penzance they braved the foul weather to make the brief journey to St Ives on 24th February 1902 to attend the local artists’ open day. Hodgkins wrote a hilarious letter to her mother describing the experience. She was somewhat dismissive of the general standard, the exceptions being works by John Arnsby Brown & Julius Olsson (the latter had taught Augusta Lindner), although she was too late to view paintings by Louis Grier. She wrote, ‘It was great fun going round - the Studios were hidden in the queerest places. Down dark subterranean passages up chicken ladders - in old boat houses, up sail lofts - anywhere where they could get a white-washed wall & a top light’. [Letter to Isabel Field, 7 March 1902]
By the time they had battled their way to the Dutch artist Gijs Bosch Reitz’s display in the late afternoon, they were too exhausted to study his paintings, instead wolfing down the afternoon tea he had provided. Finally, they dashed to the Ocean Wave Studio, only to find that the proprietor was drunk, before making their exhausted, bedraggled way back to Penzance.
Things were not so lively when Hodgkins arrived in St Ives amid a ferocious winter blizzard at the end of 1914. With the help of Moffat Lindner she took over one of the Porthmeor studios and set to making it suitable for teaching, whitewashing the bright pink walls and decorating the space with knickknacks she picked up in the village. It’s large wall of windows overlooking the wild Atlantic seas provided the natural light essential for artists painting all year round.
At first, Hodgkins suffered from the isolation, particularly having to eat alone each evening, and wrote to her mother recalling her happy time in Concarneau. ‘Why was I so prodigal last year, travelling about as tho’ I had endless resources. Still, I don’t regret it. It was the first time, absolutely the first time I felt happy & secure & sure of myself. I was in full flight & full of aspiration! The war has put much that might have been quite out of reach’. [Letter to Rachel Hodgkins from St Ives, February 25th 1915]
Magnificent in scale, Low Tide, St Ives demonstrates the immense skill in handling watercolour that Hodgkins had acquired during her years in France, its square format also seen in a number of her large oil paintings, such as The Edwardians (Auckland Art Gallery) and Loveday and Ann (Tate, London). Whether Hodgkins was able to source large sheets of watercolour paper in St Ives, or whether she had carried supplies with her from Paris, is unknown, although the latter is more likely as French paper was better quality.
Low Tide, St Ives must have been painted in the early part of 1915, for by June that year it was forbidden to paint out of doors in case you were a spy sending information regarding the coastline to the enemy. It shows the sweep of Wharf Road leading round the inner harbour. Only a single small craft is drawn up on the sand, as all the herring boats were currently at sea; once they returned the sand would have been invisible beneath a mass of hulls and masts.
Dominating the scene are billowing moisture-laden clouds rising above the village. Painted wet on wet, Hodgkins has left the white paper untouched in the palest areas, floating her pigments skilfully around these masses. She had perfected this technique during her time spent in France from 1808 to 1914. Wharf Rd and the shallow traces of water on sand are also painted wet on wet, unlike the buildings, where dry paper allowed a denser treatment of pigment. We can almost feel the moisture in the air.
Hodgkins animates some of the tight cluster of cottages, shops, inns, and ships chandlers that line Wharf Road with dabs and dashes of grey and black, a red wall adding warmth to the cooler tones. The buildings in the background are separated by a block of dark stone buildings clustered up the steep hill. Behind this line of buildings of the left runs Fore Street, which is mentioned by Hodgkins as her choice for walking, no doubt as the buildings gave some shelter from the elements, for storm waves regularly crash over Wharf Rd even today.
On the hill in the distance the tiny stone Chapel of St Nicholas, patron saint of children and sailors, stands in isolation against the sky. Also overlooking Porthmeor Beach, its wind-battered vantage point was a brief walk from Hodgkins’ studio. Eventually the cold of winter, and the vermin attracted to the herring sorting that took place under the building, proved too much for her, and she moved to Wharf Studio in the more sheltered environment of the inner harbour, to the right of this watercolour.
MARY KISLER
38 FRANCES HODGKINS (1869 - 1947)
Dutch Sailing Barges
Watercolour 68 x 45 cm
Signed and dated lower right
$40,000 - 60,000
PROVENANCE
Don Cornes Collection, Wellington
Private Collection, Christchurch
Private Collection, Auckland
Acquired from International Art Centre, Important & Rare, Auckland, 08/08/2017, Lot No. 44
CATALOGUE NUMBER
FH0471- https://completefranceshodgkins.com
Rosamond Marshall, Dorothy Kate Richmond and Frances Hodgkins in Rijsoord, Holland, 1903
Photographer unknown, E H McCormick Papers, E H McCormick Research Library, Auckland Art Gallery Toi o Tāmaki, gift of Linda Gill, 2015
39
GRAHAME SYDNEY (b. 1948)
Brass Monkey Hill, 2003
Oil on linen 71 x 101 cm
Signed lower left
$150,000 - 200,000
PROVENANCE
Private Collection, Australia
Dunedin born Grahame Sydney is acknowledged as one of New Zealand’s leading artists. In 1969 Sydney graduated Bachelor of Arts from the University of Otago. After a period of teaching and travelling overseas he returned to New Zealand and life as a full-time painter, being awarded the Frances Hodgkins Fellowship at the University of Otago in 1978. His works were exhibited in Sydney and London with a major retrospective, On The Road, touring New Zealand public art galleries from 2000 to 2002.
The subject of several subsequent major exhibitions, Sydney’s work is held in public institutions throughout New Zealand including the Museum of New Zealand Te Papa Tongarewa and both the Auckland and Dunedin Public Art galleries, along with private collections in New Zealand and offshore. A presentation of his work was made to the late Nelson Mandela by the New Zealand Government.
An intimate knowledge of the Central Otago and southern New Zealand landscape underscores the power of his paintings, as stated by art critic Keith Stewart: ‘you don’t just see the land here, you feel it’. Sir Grahame Sydney is also well known for his exceedingly fine printmaking, particularly figure studies. He has worked in a wide variety of media including egg tempera, watercolours, oils, lithography and etchings. Major publications on his work, including The Art of Grahame Sydney and Timeless Land, have won prominent book awards. In the, 2004 New Years Honours Sydney was made an Officer of the New Zealand Order of Merit for services to painting and then knighted in 2021 for services to the Arts.
I didn’t want to be anything else but a seventeenth-century Dutch painter. No one would teach me that in the art schools, so I thought it would be a waste of time. And I sure as hell didn’t want to spend a year doing ceramics. I just wanted to learn everything I could about what I thought was wonderful, Vermeer, say.
- Sir Grahame Sydney
40
GRAHAME SYDNEY (b. 1948)
The Edge of the Simpson Desert Oil on linen 101 x 152 cm
Signed & dated 1991 lower right
$100,000 - 150,000
PROVENANCE
Private Collection, Auckland
Acquired from Fine New Zealand and Foreign Paintings, Photography and Prints, Webb’s, Auckland, 14/12/1998, Lot 65
In 1990 I was invited to join the Headmaster and a party of senior teachers from Melbourne Grammar School on their annual four-wheel drive escape into the Australian Outback. This time they were venturing through Adelaide, up to Coober Pedy and then branching north-eastward through Oodnadatta, across the Simpson Desert to Birdsville, down the Birdsville Track on the western flank of the Flinders Ranges and home. It was a memorable few weeks, day after day crawling slowly through the endlessly repetitive, low-dune flatness of the desert, camping each night. But the monotony was relieved by two things. First, the entertaining company inside the vehicle: to pass the time of day as we trundled along each one of us, trusting the privacy of our big white Toyota, told their life stories - very much a modern Canterbury Tales confessional ( The Headmaster’s Story, The Headmaster’s Wife’s Story ) - and secondly, the extraordinary intensity of the sunsets in that dry, pristine atmosphere. I felt I was on another planet, and, easily ignoring the small caravan of vehicles, that I was witnessing exactly what human eyes would have seen 100,000 years ago.
I did four or five paintings from that experience. I loved the naturally heightened colour and the surreal, other-worldliness of that ageless landscape, and it stays with me still.
GRAHAME SYDNEY
CHARLES GOLDIE
Throughout his lifetime and beyond 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 became 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 artist William-Adolphe Bouguereau.
In 1898, fully informed in the French academic style, Goldie returned to New Zealand and began collaborating with his former tutor Louis John Steele. The two worked on a number of paintings including Arrival of the Māori in New Zealand, a large scale historically-themed painting after Gericault’s Raft of the Medusa. Before long, the relationship deteriorated, likely caused by tensions around the former student’s growing success. Goldie went on to open his own studio, quickly establishing 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 Māori and persuaded them to sit for portraits. Atama Paparangi, a favoured subject of C F Goldie’s and Chief of the Te Rarawa Tribe, Atama lived at Mitimiti, Hokianga. At over six foot tall, with an intricate facial moko by the famous tattooist Huitara, he was a strikingly handsome figure. The artist and his subject met in 1901 during a royal visit by the Duke and Duchess of Cornwall. A warm friendship developed and in 1914 Goldie completed a portrait of Atama Paparangi, now housed in the collection of the Auckland War Memorial Museum
Goldie’s works from this point forward strongly reflect the European tradition in which he was trained, and possess a stunning power and visual clarity. On the one hand, his remarkable dedication to realism belies an ethnographic interest, at the same time he was also striving to capture the mana of his sitters who included chiefs, tohunga and kaumatua. Goldie formed long-standing relationships with several Māori he met and painted around this period, including Wiremu Pātara Te Tuhi and Te Aho-o-te-rangi Wharepu (Ngāti Mahuta), Ina te Papatahi (Ngāpuhi), and Wharekauri Tahuna (Ngāti 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 these 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 was married at age 50 to 35-yearold old Olive Cooper. Marriage in Sydney circumvented the Goldie family disapproval of the relationship between Auckland’s most 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 returned to painting 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, which he had so strictly adhered to in the past.
Goldie died in Auckland in 1947, his exquisite, spirituallycharged, often unsettling and ever powerful portraits of Māori having made an unsurpassed contribution to the history of art in New Zealand.
41
CHARLES
FREDERICK GOLDIE (1870 - 1947)
A Rangatira of High Lineage, Takahi Atama Paparangi
Oil on canvas 46 x 41 cm
Signed & dated 1934 top left
$1,500,000 - 2,500,000
PROVENANCE
Purchased directly from the artist in 1934 Private Collection, Wellington Private Collection, Auckland
ILLUSTRATED
Alister Taylor and Jan Glen, C.F Goldie (1870 –1940): His Life and Painting, Martinborough, 1977, p.272
42
CHARLES FREDERICK GOLDIE (1870 - 1947)
In Doubt, Ina Te Papatahi, Orakei Pah, 1913
Oil on canvas 20.5 x 15 cm
Signed & dated 1913 top right
$400,000 - 600,000
PROVENANCE
Private Collection, Auckland
Ina te Papatahi was the niece of prominent Ngāpuhi rangatira (chiefs) Eruera Maihi Patuone and Tāmati Waka Nene, both signatories of the 1840 Treaty of Waitangi. She lived at the Waipapa Māori hostel in Mechanics Bay, Auckland, not far from Charles Goldie’s Hobson Street studio.
Ina te Papatahi regularly sat for Goldie and his students –among them Maud Burge – in the most bohemian studio south of the line. Goldie’s studio, draped with Persian rugs and crammed with paintings, palms, chairs and bric-à-brac, became an important meeting place. A journalist described it as the most artistic studio south of the line. Goldie maintained a demanding painting schedule and exhibited new works every year until 1919.
Goldie would complete numerous portraits of Ina te Papatahi and she was later remembered by Goldie’s friend, the writer and historian James Cowan, for her very likeable nature, keen sense of humour and the great interest [she took] in the painting of her portrait
43
GOTTFRIED LINDAUER (1839 - 1926)
Miriam Partridge Oil on canvas 64.5 x 51 cm
$100,000 - 150,000
PROVENANCE
From the Collection of Henry & Miriam Partridge by descent. Acquired directly from the artist
EXHIBITED
The Māori Portraits: Gottfried Lindauer’s New Zealand, Auckland Art Gallery Toi o Tāmaki 22 October 2016 - 9 February 2017
The sitter for this portrait, Miriam Antoinette Partridge (18531931), was the first of two daughters born to Thomas Odlum (1806-1863) and his second wife, Elizabeth Grace Odlum (neé Piper) (1814-1890) who came to Auckland in 1847. Born in 1853, Miriam Antoinette Odlum was the penultimate child of her parents’ union. She was followed the next year by another daughter, Lucette Letitia Odlum.
In November 1868, Miriam met 20-year-old Henry Edward Partridge in Auckland. He had arrived from England to work the Otago goldfields in 1867, and after suffering serious frostbite, travelled south to Thames. Henry and Elizabeth married on 2 August 1870, and the groom brought his new bride to the house that he had built on the Moanataiari Creek near Thames. While living there, he met James Mackay, the government’s agent in the Waikato, and accompanied him to Māori settlements, as his enthusiasm for Māori culture developed. At the age of 18, in 1871, Miriam had her first child, a daughter. Two years later, Henry moved the family to Auckland where he opened a successful tobacconist’s shop (which also sold sporting goods) at 204 Queen Street. Miriam and Henry were to have eight more children, two of whom died in infancy.
In Auckland, Henry Partridge met Gottfried Lindauer, who had arrived in the city in 1875. He commissioned the artist to make many portraits of famous Māori subjects over the next thirty years. Lindauer had studied at the Academy of Fine Arts in Vienna, and after mandatory service in the Austrian army, attended the 1873 World’s Fair in Vienna. There he saw Māori weaving, carving and moko on display and decided to emigrate to New Zealand. He was technically adept and innovative: research has shown that to paint many of his New Zealand oil portraits, he projected a photographic image onto the canvas using an epidiascope, tracing around the outlines in pencil. In this way, he achieved a speaking likeness, using oil colour to fill in the contours and bring the pencil lines to
life. His skills enabled him to capture the creamy texture of Miriam’s porcelain complexion, and her direct gaze.
By 1890, Mr and Mrs H.E. Partridge were living in Aropiri (which means to cling, or be attached), a grand, two-anda-half storey, 16 roomed house at 50 Grafton Road, where their portraits by Lindauer were displayed side by side. The painting of Henry (which has not been found) may have been half-length to match his wife, and perhaps facing to the right so that they could be hung as a pair. Lindauer’s portrait shows Miriam as a handsome young woman in her late twenties or early thirties, soberly dressed, and with a serious demeanour. She is beautifully groomed, with a black velvet jacket buttoned over a high-collared gown. Matching gold brooch and earrings indicates the family’s prosperity. Her last child, Colleen Joan Conradine Mary Partridge, was born in 1894, when Miriam was 41. Miriam advertised for household help periodically in the newspapers between 1906 and 1916 and had a nanny since she is recorded travelling to and from Dunedin, Australia and Wellington with her husband. The grand house was the centre of her life and the setting for social events. When her youngest daughter married in 1916, the wedding took place at Aropiri, as did Henry and Miriam’s diamond wedding celebration in 1930.
Mrs H.E. Partridge is recorded as supporting the war effort during World War One. Her production of 20 pairs of knitted socks for the Auckland contingent was praised in the New Zealand Herald and she also donated 7 leather waistcoats to the winter campaign in 1915. Mentions in the social pages of the newspaper give an indication of her lifestyle and suggest a preference for wearing green, perhaps in recognition of her Irish heritage. She hosted a farewell tea for a Mrs Boyle and her daughter when they set sail for a trip to the United States and at the Empire Ball for the Victoria league in 1929, wore a dress of sedge green velvet. At the opening of an exhibition at the Auckland Society of Arts in the Kitchener Street Hall the same year, her dress was again green, embossed in gold chenille. At the Empire Ball the following year she wore sage green georgette and silver.
Miriam Antoinette Partridge died on 23 May 1931, aged 78, having led a quiet, retiring life and been in failing health for some months according to her obituary. She left an estate (which included British Tobacco and Bank of New South Wales shares) valued at £23,330-3-11, equivalent to over $3 million today. Four months later, her husband Henry Edward Partridge also died, aged 83.
LINDA TYLER
PETRUS VAN SCHENDEL
(Netherlands 1806 - 1870)
The Evening Market Oil on board 64.5 x 50 cm
Signed lower right
$40,000 - 60,000
PROVENANCE
Private Collection, Auckland
Acquired from Christie’s, 19th Century Art, 18 April 2000, Amsterdam, Netherlands
Petrus van Schendel was a Dutch-Belgian genre painter in the Romantic style who specialized in nighttime scenes, lit by lamps or candles.
Van Schendel studied at the Academy of Antwerp under the tutelage of Jan van Bree. Blending the romantic with the neo-classical, he specialised in nocturnal Dutch market scenes where he explored the subtle and theatrical effects of candle and lamplight on the human face and body. This led to him being known as “Monsieur Chandelle”.
Van Schendel made a name as a portrait painter and moved frequently, living in Breda (1828-29), Amsterdam (1830-32), Rotterdam (1832-38), and The Hague (1838-45). He was a regular participant in the Exhibition of Living Masters and the various Triennial Salons of Antwerp, Brussels and Ghent. In 1834, he was named a member of the Royal Academy of Fine Arts in Amsterdam.
In 1845 Van Schendel settled permanently in Brussels. He won several medals at expositions in Paris and London during the late 1840s. Some of his works were bought by King Leopold I of Belgium. He also published books on perspective and facial expression. Van Schendel masterful depiction of artificial light sources such as candles and torches, but also the glow of the moon, lends his paintings an unmistakable atmosphere.
Descent from the Cross Oil on canvas 43 x 66.5 cm
Signed, inscribed & dated 1920 lower right
$25,000 - 35,000
PROVENANCE
Private Collection, Auckland
45 CHARLES FREDERICK GOLDIE (1870 - 1947)
Untitled, Interior
Oil on canvas 21.5 x 29.5 cm
Signed indistinctly lower left
$2,000 - 3,000
PROVENANCE
Private Collection, Auckland
LOUIS JOHN STEELE (Britain 1842 -1918)
NICHOLAS CHEVALIER
Lake Manapouri, South Island, New Zealand
NICHOLAS CHEVALIER (1828 - 1902)
Lake Manapouri, South Island, New Zealand
Watercolour on paper 43 x 65 cm
Signed and dated 1880
$25,000 - 35,000
48
JOHN BARR CLARK HOYTE (1835 - 1913)
Whangaroa Harbour, Northland
Watercolour 34 x 61 cm
Signed & dated 1873
$15,000 - 20,000 49
JOHN BARR CLARK HOYTE (1835 - 1913)
Whangarei Harbour
Watercolour 27.5 x 37.5 cm
Signed
$8,000 - 12,000
50 JOHN GULLY (1819 - 88)
Golden Bay, Nelson
Watercolour 44.5 x 73.5 cm
Signed & dated 1880
$20,000 - 30,000
51 JOHN GULLY (1819 - 88)
Mt. Tapuaenuku, Awatere Valley, Kaikoura Range
Watercolour 44 x 73 cm
Signed & dated 1868
$20,000 - 30,000
(Scottish
The Gothic Gazebo, Pam’s Hill Watercolour, accompanied by preparatory conté sketch 25 x 37 cm
Signed lower left
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland
52 SIR WILLIAM RUSSELL FLINT R.A.
1880-1969)
View From Studio, Hart Street, Edinburgh
Oil on canvas 70 x 75 cm
Signed lower right
$9,000 - 12,000
PROVENANCE Private Collection, Auckland
53 FRANCIS MCCRACKEN (1879 - 1959)
54 GIROLAMO NERLI (Italian 1860 - 1926)
Olovenezia - Leghorn - (Italy)
Watercolour 33 x 24 cm
Signed, titled and inscribed lower left
$5,000 - 10,000
PROVENANCE
Private Collection, Queenstown
55 OWEN MERTON (1887 - 1931)
The White Schooner
Watercolour 25 x 34.5 cm
Signed & dated 1909 lower left
$5,000 - 10,000
PROVENANCE
Private Collection, Auckland
PROVENANCE
Private Collection, Auckland
Signed lower right
$7,000 - 10,000
56 SYDNEY LOUGH THOMPSON (1877 - 1973)
At the Bealey Oil on canvas 50 x 60 cm
Signed lower left
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
Acquired from International Art Centre, Fine New Zealand & European Art, Auckland, 29/07/2004, Lot No. 82
57 SYDNEY LOUGH THOMPSON (1877 - 1973)
Notre Dame du Brusc Oil on canvas 37.5 x 45 cm
Spring, 2012
Oil on canvas 90 x 170 cm
Signed verso
$10,000 - 15,000
PROVENANCE
Private Collection, Auckland
Acquired from ARTIS Gallery, Auckland
EXHIBITED
ARTIS Gallery, Auckland
58 PAMELA WOLFE (b. 1950)
59 RALPH HOTERE (1931 - 2013)
Winter Solstice
Oil pastel on paper 35.5 x 24.4 cm
Signed inscribed & dated 7-’91
$15,000 - 20,000
PROVENANCE
Private Collection, Auckland
Acquired from Art+Object, Beyond the Lens: The Marti & Gerrard Friedlander Collection | Colin McCahon: An Auction Event, Auckland, 05/11/2019, Lot No. 16
60 RALPH HOTERE (1931 - 2013)
February May and the Birds of Ice. The Moon
Drowns in its Voices of Water. Poem - Bill Manhire
Watercolour 45 x 56 cm
Signed, inscribed & dated 1972
$15,000 - 20,000
PROVENANCE
Private Collection, Auckland
61 PAT HANLY (1932 - 2004)
Winter’s Day Rain
Watercolour & pastel on paper 51 x 51 cm
Signed, inscribed Winter’s Day Rain & dated 1974
$14,000 - 18,000
PROVENANCE
Private Collection, Australia
62 PIERA MCARTHUR (b. 1929)
Standing Bareback
Acrylic on canvas 111 x 76 cm
Signed & dated ‘03
$4,000 - 6,000
PROVENANCE
Private Collection, Auckland
Acquired from SOCA Gallery, Auckland
63 DAMIEN HIRST (British b. 1965)
H16-261, From the Great Expectations Series
Diasec-mounted Giclée print on aluminium composite panel 80 x 80 cm
Signed $6,000 - 8,000
PROVENANCE
Private Collection, Hamilton
64 MAX GIMBLETT (b. 1935)
Quatrefoil with Skull Silver
Unique screenprint with foils 70 x 50 cm
Signed & dated 2008
$2,000 - 3,000
PROVENANCE
Private Collection, Auckland
Acquired from Gow Langsford Gallery, Auckland
65 ANDREW MCLEOD (b. 1976)
Camowhaiwai
Acrylic and pencil on paper 82 x 113 cm
Signed & dated ‘99
$4,000 - 6,000
PROVENANCE
Private Collection, Auckland
Acquired from Ivan Anthony Gallery, Auckland
66 PETER MADDEN (b. 1966)
Come Together
Found images and perspex 103 x 103 cm
$10,000 - 15,000
PROVENANCE
Private Collection, Auckland
Acquired Ivan Anthony Gallery, Auckland
EXHIBITED
Come Together, Institute of Modern Art, Brisbane, 27 March – 29 May 2010
Zeroed: Peter Madden and Sam Sampson, June 13 – July 5 2008, Gus Fisher Gallery, Auckland
PROVENANCE
Private Collection, Havelock North
Acrylic on canvas 83 x 84.5 cm
Signed, inscribed & dated 1965 verso
$2,000 - 4,000
67 DON DRIVER (1930 - 2011)
Four Circles
PROVENANCE
Private Collection, Auckland
Signed
$6,000 - 8,000
EXHIBITED
Recent Paintings, ARTIS Gallery, Auckland 2012
68 ROY GOOD (b. 1945)
Dodecagon No.1
Acrylic on canvas on board 120 x 120 cm
PROVENANCE
Private Collection, Australia
69 PAUL BEADLE (1917-92)
Monkey Candle Holder
Bronze 21.5 x 10 cm
Artist Stamp on base
$2,500 - 3,500
Private Collection, Australia
70 PAUL BEADLE (1917-92)
Bowl
Bronze 17 x 12 cm
Artist Stamp on base
$2,500 - 3,500
PROVENANCE
For Sofia
Ink on paper 75 x 55 cm
Signed, inscribed & dated 1998 Chch
$4,000 - 6,000
PROVENANCE
Private Collection, Australia
From Burn My
In Heaven Ink on paper 56.5 x 75 cm
Signed, inscribed & dated 1998
$4,000 - 6,000
PROVENANCE
Private Collection, Australia
71 JOHN PULE (b. 1962)
72 JOHN PULE (b. 1962)
Head
PROVENANCE
Private Collection, Auckland
Acquired from Oedipus Rex Gallery, Auckland
Signed & dated May 2002 Pakiri verso
$4,000- 6,000
73 STAR GOSSAGE (b. 1973)
Cry Oil on board 29.5 x 40 cm
, Artist’s Proof 29 x 23.5 cm
Signed & inscribed
$1,500 - 2,500
PROVENANCE
Private Collection, Timaru
75
2006)
Woodblock, Artist’s Proof 17.5 x 25 cm
Signed & inscribed
$1,500 - 2,500
PROVENANCE
Private Collection, Timaru
74
TREVOR MOFFITT (1936 - 2006)
MacKenzie’s Flight to Lyttleton
Woodblock
TREVOR MOFFITT (1936 -
McKenzie Asleep
Screenprint, edition 30/50 33.5 x 21.5 cm
Signed & inscribed
$4,000 - 6,000
PROVENANCE
Private Collection, Auckland
76 GORDON WALTERS (1919 - 95)
Maho
PAUL DIBBLE
RAYMOND CHING
Flotilla!
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Doris Lusk, Mixed Flowers, c.1939
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Richard Thomson richard@artcntr.co.nz Mobile 0274 751 071
Grace Alty - gracealty@artcntr.co.nz
Luke Davies - luke@artcntr.co.nz
Grace Harris - grace@artcntr.co.nz
Miriam Partridge
Lot 42
CHARLES FREDERICK GOLDIE
In Doubt, Ina Te Papatahi, Orakei Pah, 1913
ABSENTEE BIDDING FORM IMPORTANT & RARE ART
6:00pm Tuesday 08 April 2025
I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. I understand my bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.
REGISTRATION NUMBER
We will allocate a bidding number if you don’t already have one
ADDRESS
TELEPHONE NAME
Signature / / 2025
I have read and understand the Conditions of Sale. International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids.
Email to info@internationalartcentre.co.nz before 3pm day of sale
Alternatively, visit our website www.internationalartcentre.co.nz and place absentee bids online or our bidding platform to participate in the auction live and remotely https://auctions.internationalartcentre.co.nz
ARTIST INDEX
A
ALBRECHT G 11
APPLE B 26
B
BEADLE P 69, 70
BINNEY D 19
BLACKBURN J 33
BRAITHWAITE J ................................ 17
C
CHEVALIER N 47
CHING R ....................... 28, 29, 30, 31
COTTON S 27
DIBBLE
FRIZZELL D ....................................... 24
G
GIMBLETT M 64
GOLDIE C F .........................41, 42, 45
GOOD R 68
GOSSAGE S 73
GULLY J 50, 51 H
HANLY P 12, 61
HENDERSON L 5, 6, 10
HIGHT M 18
HIRST D ............................................. 63
HODGKINS F 37, 38
HOTERE R 59, 60
HOYTE J B C 48, 49
PARDINGTON F 4, 20, 21
PULE J 71, 72
MCCAHON C .................................... 9
MCCRACKEN F 53
MCLEOD A 65 MERTON O ...................................... 55 MOFFITT T ............................16, 74, 75
STEELE L J 46
STRINGER T 13
SYDNEY G ................................. 39, 40
G P ........................................ 54
Inside back cover:
Lot 25
KARL MAUGHAN
Kimbolton
Back cover:
Lot 35
A. LOIS WHITE Night Zephyr, 1941
