Important, Early & Rare
6:30pm Wednesday 22 July 2015
Important, Early & Rare
6:30pm Wednesday 22 July 2015
Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz
Auction Contacts
Richard Thomson
Ph: +64 9 379 4010
richard@artcntr.co.nz
Mobile: 027 4751 071
Frances Davies
Ph: +64 9 379 4010 fran@artcntr.co.nz
Auction assistants and administration
Luke Davies
Ph: +64 9 379 4010
luke@artcntr.co.nz
James Watkins
Ph: +64 9 366 6045 james@artcntr.co.nz
www.fineartauction.co.nz info@internationalartcentre.co.nz
Skype: fineartauction
Auction Venue
Car Parking
Parking During Viewing Days:
Available on site during weekend viewing, Saturday 18 & Sunday 19 July. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.
Parking During Auction:
Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.
Location map
International Art Centre, Scarborough Gallery Lower Ground Level, 272 Parnell Road, Auckland.
On Evening of Sale:
Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.
2 Important, Early & Rare 6:30pm Wednesday 22 July 2015
Important, Early & Rare
6:30pm Wednesday 22 July 2015
Viewing times
Thursday 16 July 9:00am - 5:30pm
Friday 17 July 9:00am - 5:00pm
Saturday 18 July 11:00am - 4:00pm
Sunday 19 July 11:00am - 4:00pm
Monday 20 July 9:00am - 5:30pm
Tuesday 21 July 9:00am - 5:30pm
Wednesday 22 July 9:00am - 1:00pm
Other times by appointment
Eillen Mayo sold for $55,690 July 2014
Colin McCahon sold for $334,000 April 2014
Michael Smither sold for $86,785 September 2014
J B C Hoyte sold for $33,100 September 2014
Philip Clairmont sold for $41,037 September 2014
2014 HIGHLIGHTS
In 2014, 50% of the top 10 prices at auction were achieved by International Art Centre
For the second consecutive year International Art Centre achieved the highest price for a painting sold at auction. In 2013 C F Goldie’s Kawhena fetch a record $732,000 and in 2014 his A Noble Relic of a Noble Race made $416,000. Additionally International Art Centre achieved over $1.3million in auction sales of C F Goldie paintings in 2014.
2014 was a year of continuing success with International Art Centre achieving 50% of the top ten prices at auction and around $7million in total turnover. Highlights included September’s outstanding sale of works from the Fletcher Trust Collection. Seventy five of the seventy seven works offered have now sold. Raymond McIntyre’s Self Portrait fetched a record $103,000 and was one of three works by this artist sold in our 2014 sales. March saw his Untitled Lady in a Black Hat (Phyllis Cavendish) and Bois de Boulogne fetch $55,000 and $31,600 respectively. Another artist whose original works rarely appear at auction is Dame Eileen Mayo whose Sea Holly achieved a record $55,600. This memorable work was purchased by the Ilene and Laurence Dakin Bequest as a gift to Auckland Art Gallery. A further notable institutional acquisition was Felix Kelly’s The Kiln which fetched $14,070. Two works by Philip Clairmont attracted competitive bidding during the year, Still Life With Jug and Paint Brushes made $41,037 and Country Carnivore Carnival fetched $51,590.
Celebrating forty four years in Parnell, an exceptional sale rate, the attainment of numerous record prices including five of the top ten prices for auction sales in 2014, International Art Centre remain clear market leaders. We look forward to more exciting offerings throughout 2015 with continued success and commitment to the New Zealand art market. Should you be considering selling artworks we welcome your confidential, no obligation inquiry.
Prices quoted include buyers premium
C F Goldie sold for $416,000 October 2014
Other significant C F Goldie Prices achieved in 2014
Atama Paparangi
The Weariness of the Aged
No Koora te Cigaretti
$352,900 - April 2014
$257,950 - October 2014
$205,180 - October 2014
The Barry Pilcher Collection
OF CONTEMPORARY NEW ZEALAND PAINTING, SCULPTURE & PHOTOGRAPHY Held 27 May 2015
Barry Pilcher’s eclectic and kaleidoscopic collection of Contemporary New Zealand painting, sculpture and photography sold well at International Art Centre’s single owner, May sale. The collection, acquired over fifteen years, attracted wide-spread interest and spirited bidding resulting in six new auction records including $21,690 for artist Heather Straka together with an 85% clearance rate. Pictured are some auction highlights from that
Karl Maughan fetched $12,070
Prices quoted includes buyer’s premium.
Heather Straka fetched $21,690
Mark Rayner fetched $820
Bill Hammond fetched $4,920
Judy Millar fetched $8,780
Sara Hughes fetched $5,275
Gavin Hurley fetched $7,325
Ans Westra fetched $6,210
Sara Hughes fetched $7,035
Harry Watson fetched $4,390
Kushana Bush fetched $5,570
Sam Mitchell fetched $3,985
International Art Centre held two Contemporary Art Auctions in MayThe Barry Pilcher Collection 27 May and Contemporary & Modern Art 7 May - sales totalled around $600,000 with an average 77% sold across the two sales. Consignments are now invited for August & October 2015 Contemporary & Modern Art auctions.
Price quoted include buyers premium
MAX GIMBLETT fetched $18,760
ROBERT ELLIS fetched $26,380
MARY MCINTYRE fetched $5,860
COLIN WHEELER fetched $7,620
Next Auction 12 August
ENTRIES CLOSE 15 JULY
GREER TWISS Definition 6
Vacuum print 21.5 x 21.5cm
Contemporary & Modern Art: 12 August
Toll Free 0800 800 322 or +64 9 3794010
Richard Thomson richard@artcntr.co.nz
Luke Davies luke@artcntr.co.nz www.fineartauction.co.nz
SARA HUGHES Buy, Sell, Trade 2
Acrylic on paper 76 x 55cm
Contemporary & Modern Art: 12 August
Behind the Twisted Wire NEW ZEALAND ARTISTS IN WORLD
BEHIND THE TWISTED WIRE
WAR I
A new publication by Jennifer Haworth
Behind the Twisted Wire is a companion publication to Jennifer Haworth’s The Art of War: New Zealand war artists in the field 19391945, which has sold around 3,000 copies.
It tells the story of New Zealand artists who served in World War I. The two commissioned war artists, Wellingtonian Nugent Welch and ex-pat New Zealander George Butler, produced nearly 130 paintings of the Western Front. These are now in the National War Art collection in Wellington and most are reproduced in this book.
Also included are the paintings Horace Moore-Jones completed on Gallipoli and the story of his painting Simpson and his donkey.
The book presents the work of soldier-artists such as Arthur Lloyd, George Woolley, John Weeks, Archibald Nicoll, Francis McCracken, Robert Johnson, James Turkington, William Penlington W.H. Gummer and Walter Bowring who painted the home front. Through the work of these artists the book tells the story of how New Zealand artists responded to the war.
Jennifer Haworth is well known as both a writer of fiction and nonfiction. She has published three novels to date. The most recent is The Undone Years which tells the story of a New Zealand artist in Paris at the time of the Peace Treaties in 1919. Her fourth novel, No Victors, is based on the New Zealand experience in Italy in World War II and how their stories affected the attitudes of their children.
Order from Wily Publications www.wily.co.nz; jjhaworth@xtra.co.nz or all good bookshops. Pre-publication sales price from Wily $40.00 plus postage. RRP $49.99
JENNIFER HAWORTH
New Zealand artists in World War I
MIKE NORRIS
Sculptures
New subjects Spring 2015
Kingfisher #3
Bronze edition of 12 34 x 20 cm
$5,500
Auction
6:30pm Wednesday 22 July
* Payment may not be made during sale
* Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm
* If attending sale, please register for bidding number at viewing
* Viewing Times p. 3
* Absentee Bidding Form p. 93
* Conditions of Sale p. 95
12 Important, Early & Rare 6:30pm Wednesday 22 July 2015
1911 - 1995
Mysterious Grace
Oil on board 20.5 x 21.5
Signed
ESTIMATE
$3,000 - 5,000
2
PATRICIA FRANCE
1911 - 1995
Sudden in a Shaft of Sunlight - T S Eliot
Oil on board 33 x 43.5
Signed
ESTIMATE
$3,000 - 5,000
1 PATRICIA FRANCE
3 DOUGLAS MACDIARMID
b. 1922
La Dance
Oil on canvas 60 x 81
Signed and dated 1962
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, France
4 EUAN MCLEOD
b. 1956
Untitled - Figure in a Landscape
Oil on board 54 x 75.5
Signed & dated 8/91
ESTIMATE
$3,500 - 4,500
PROVENANCE
Private Collection, Canterbury
Acquired by the present owner 1991
5 PHILIP CLAIRMONT
1949 - 1984
Vincent Viki Vivisector - Double sided Oil on unstretched canvas 101.5 x 93
Signed, inscribed & dated 1973
ESTIMATE
$20,000 - 30,000
PROVENANCE
Private Collection, Marlborough
Purchased by the current owner from Janne Land Gallery 1981
Working away in his paint-encrusted studio with Jimi Hendrix’s guitar cranked up to full noise, often going days without sleep, Clairmont was the archetypal tortured expressionist. A 1981 documentary explored his chaotic Mt Eden bohemian abode, a house populated by the found objects and abandoned furniture that would inspire his dense, hallucinatory images. At one point the camera fixes on a single lino print that reads Art is my life. One would eventually consume the other — three years after the film was aired, Clairmont tragically took his own life at the age of 34. His work is usually classed as expressionist or neo-expressionism, using vivid colour and distorted forms, often with domestic interiors as subject matter. Clairmont’s early works tend to be focussed and detailed where as works produced in his final decade had a tendency to be looser and less intense. His practice was informed by the works of Vincent van Gogh and Francis Bacon, and he was influenced by his close friendships with artists Tony Fomison and Allen Maddox.
6 MARK CROSS
b. 1955
Approaching Cyan Oil on canvas 61 x 76
Signed
ESTIMATE
$8,000 - 12,000
7 MARK CROSS
b. 1955
Surge Oil on canvas 54.5 x 68
Signed
ESTIMATE
$6,000 - 8,000
8 KEES BRUIN
b. 1954
Cave Rock at Night Oil on canvas 80 x 120
Signed & dated 1985
ESTIMATE
$20,000 - 30,000
9 DON BINNEY
1940 - 2012
Otago Coast
Oil on board 61 x 53
Signed & dated 1964
Inscribed verso
ESTIMATE
$25,000 - 35,000
PROVENANCE
Purchased in Dunedin, 1964, by the current Auckland owner.
10 DALE FRANK
Australian b. 1959
Untitled 2006
Varnish on linen 121 x 159
Signed & dated 2006 verso
ESTIMATE
$20,000 - 25,000
PROVENANCE
Private Colelction, Wellington
18 Important, Early & Rare 6:30pm Wednesday 22 July 2015
11 MAX GIMBLETT
b. 1935
Dionysus
Acrylic, polymer, pearlescent pigments, oil gilded white gold and shellac on canvas, 152.5 x 152.5
Signed, inscribed & dated 1988-89
ESTIMATE
$65,000 - 75,000
PROVENANCE
Private Collection, Wellington
Purchased from Page Blackie Gallery, Wellington 2005
ILLUSTRATED
p. 74 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002
How was a particular painting made? Do we really want to know? Of course we do. To explain how a painting was painted seems to solve a mystery, penetrate a secret, establish a cause for the work’s tantalising effects. Explanation puts anxious viewers on more equal terms with the work, so it won’t lord it over them so much; it enables us to evade its unseemly advances. Take Dionysos, 1988/89, for example. Is that the form of a goat I see? Once we have the painting’s secret, we are satisfied that this is all we need to know. But there may be no satisfactory answer as to how it was done. It is not that the artist won’t explain, but rather that he can’t. He wasn’t watching, or if he was, there was nothing he could or would do. He had faith. So I am going to tell you that having blocked out the four square elements on the quatrefoil, Gimblett began to prance around the stretcher which lay with its back on the floor, dripping ultramarine, Pollock-fashion, into pearlescent whites that he had previously poured, pooled and panned on and across its surface. What a potent, not to say stupefying procedure it turned out to be, for the paint gave off a vapour you could see as well as smell. Was that a genie he saw taking shape in the ether?
For the next five to six hours the painting keep changing, moving further and further away from any readable relation to acts of its making. The painter had decided to intervene as little as possible; he became a bystander. Or a bysitter, now and then gently coaxing it along with the insertion here and there underneath the stretcher of a small cardboard wedge. The embodiment of a wild blue purpose was about to absorb the white firmament of his quatrefoil. The more closely he followed the transmutations, the more he was gripped by his abandonment. Of the painting? Of himself? Where, then, is Dionysos? What has become of him? These queries are reminders of the growing number of Gimblett’s paintings whose surfaces are not gesturally produced. ‘Gestures’ are already not only marks made by the brush, registering the tactile; to stretch their meaning to cover spillage, gilding and polishing is to suppress not only the action of the materials themselves, but the significance of the variety of agencies such extensions give rise to.
Text: p. 38-39 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002
The Terry & Moira Wood Collection
For the past twenty years Terry and Moira Wood have enjoyed the delights of their peaceful, seven acre Hobsonville property. A home built for entertaining, enlivened by their dogs and a lovingly acquired collection of New Zealand art. The Wood’s decision to move to a smaller apartment in the heart of Hobsonville sees an offering of selected works in both this, and our Contemporary & Modern sale of 12 August.
An artist himself, Terry has long been a member of the Hobsonville Art Society. For five years he sat on the board of Titirangi’s Lopdell House where Moira spent seven years in an administration role. The couple’s involvement with Lopdell House opened the door to friendships with many fellow artists. Between 1988 and 2001 four well-chosen works by Peter Siddell were purchased. Siddell’s Lopdell House masterpiece has a back story of friendship and personal associations. Over time, numerous other works were acquired by artists such as Garth Tapper, Felix Kelly, Stanley Palmer and Sylvia Siddell along with three romantic classics by 19th Century New Zealand painter James Peele. The Wood’s will retain some smaller pieces, particularly those by the Waitakare artists they continue to support.
12 PETER SIDDELL
1935 - 2011
Lopdell House
Oil on canvas 90 x 120
Signed & dated 1996
ESTIMATE
$50,000 - 80,000
PROVENANCE
Terry & Moira Wood Collection
Purchased directly from the artist, 1996
EXHIBITED
Lopdell House 10th Anniversary Exhibition, Titirangi 1996
Peter Siddell’s idyllic painting of Lopdell House, presents a seductively tranquil, enduring scene where everything appears in place. But is this really true? Have a closer look, go outside and see if you can spot the differences. History can be kind or cruel depending on the memories and interpretations of the narrator. And artists, like good story tellers and illusionists, are deft at employing their brushes like wands to portray the world as they wish. So whatever happens to Lopdell House in the future, we’ll always have this vision of Titirangi to remember. Text from Lopdell House exhibition card.
The 1929 building was originally built as a hotel for day trippers from Auckland and was known as the ‘pub with no beer’ as it was never granted a liquor licence. In 1986 it became a public gallery known as Lopdell House Gallery. It is now the home of Te Uru Waitakare Contemporary Gallery.
Dear Terry,
Thanks for your letter. I’ve been hoping that the painting still looked OK and fitted well into your home. I was very pleased to see how good it looked at Lopdell House. Thanks also for that most enjoyable evening. Sylvia and I really enjoyed ourselves but left rather abruptly without saying farewell as I was suddenly stricken with the first symptoms of what turned out to be a dose of flu. Please give out best wishes to Moira. Regards Peter Siddell. 4 December 1996 - from a hand written letter affxedverso.
13 FELIX KELLY
1914 - 1994
First Act of Duel of Angels (Old Vic.1962)
Oil on board 28 x 38
Signed
Arthur Jeffress Gallery label affxedverso.
ESTIMATE
$10,000 - 12,000
PROVENANCE
Terry & Moira Wood Collection
Purchased from International Art Centre, 2014
EXHIBITED
London in the Country and other Paintings by Felix Kelly, Arthur Jeffress Gallery, November 1962, Catalogue no. 23
14 PETER SIDDELL
1935 - 2011
Villa
Oil on board 45 x 60
Signed & dated 1988
ESTIMATE
$25,000 - 35,000
PROVENANCE
Terry & Moira Wood Collection
Purchased from Webb’s auction 14/10/1993
Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.
Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Siddell passed away in 2011.
The Terry & Moira Wood Collection
15 PETER SIDDELL
1935 - 2011
Foundation for the Blind Building Oil on board 60 x 90
Signed & dated 1988
Inscribed verso
ESTIMATE
$35,000 - 45,000
PROVENANCE
Terry & Moira Wood Collection
Purchased from International Art Centre, 1990
EXHIBITED
Peter Siddell Paintings 1970 - 2010, Lopdell House, Titirangi 30 June 2011 - 21 August 2011
In typical Siddell fashion the artist creates a composition drawing upon natural and man-made New Zealand landmarks. In this work Parnell’s Jubilee building nestles against a ‘Siddellised’ Mount Eden with full foliaged trees at its base. The Jubilee Building, takes it name from New Zealand’s 1890 Jubilee celebrations. Following these celebrations a sum of £155 remained in the Mayor’s fund raising account. Prominent businessman and philanthropist, John Abbott was successful in having this money allocated towards the building of a home and teaching institute for the blind.
Today, the 1907 building designed by Edward Bartley holds a category 1 status on the Historic Places register. It is notable for its steep gable ends, arcade verandah and use of Oamaru stone. In 1995 the Jubilee building was redeveloped by the Auckland City Council to re-house the Parnell Library and Community Centre. This is a work of legacy, not only for the artist, but for one of Auckland’s most recognisable historical buildings.
The Terry & Moira Wood Collection
I avoid the illusion of movement and deliberately present a still image. Anything that works against this is excluded, which is why I don’t include peeling paint, street signs, power lines, washing hanging on clotheslines, cars or people engaged in activities. These details would contribute a narrative interest that would disturb the still atmosphere of remembered times and places that I am trying to create. I suppose I could be classified as an imaginary realist.
The Art of Peter Siddell, Godwit, 2011
The Terry & Moira Wood Collection
16 GLENDA RANDERSON
b. 1949
Enchantment
Oil on linen on board 40 x 55
Signed
ESTIMATE
$2,500 - 3,500
PROVENANCE
Terry & Moira Wood Collection
Purchased from Lopdell House
17 PETER SIDDELL
1935 - 2011
Golden Bay
Oil on canvas 63 x 88.4
Signed & dated 2001
Inscribed verso
ESTIMATE
$25,000 - 35,000
PROVENANCE
Terry & Moira Wood Collection
Purchased from Artis Gallery, Auckland 2011
ILLUSTRATED
p. 226 The Art of Peter Siddell, Godwit, 2011
EXHIBITED
Peter Siddell :Landscape touring exhibition 2002 - 2004
Dunedin Public Art Gallery, Southland Museum & Art Gallery
The Forrester Gallery, Oamaru, Christchurch Art Gallery, Te Manawa Palmerston North, Hawkes Bay Museum, City Gallery, Wellington, Rotorua Museum of Art & History.
From the Takaka Hill in the silence of a still clear morning in early winter, the whole of Golden Bay was spread out before us.
Peter Siddell, The Art of Peter Siddell, Godwit, 2011
Peter Siddell with Golden Bay, 2002
The Terry & Moira Wood Collection
18 GARTH TAPPER
1927 - 1999
Bar Scene
Oil on board 30 x 40
Signed & dated 1974
ESTIMATE
$4,000 - 6,000
19 GARTH TAPPER
1927 - 1999
Sancho!
Oil on board 40 x 55
Signed & dated 1979
ESTIMATE
$4,000 - 6,000
PROVENANCE
Terry & Moira Wood Collection
20 STANLEY PALMER
1927 - 1999
Karamea
Oil on linen 124 x 150
Signed & dated 2004
ESTIMATE
$15,000 - 20,000
PROVENANCE
Terry & Moira Wood Collection
Purchased from Anna Bibby Gallery, Auckland 2004
EXHIBITED
STANLEY PALMER Anna Bibby Gallery, Auckland
7 September - 2 October 2004
ILLUSTRATED
New Zealand Herald, 15/09/2004
James Peele was the son of a pioneer settler, born in Geelong, Australia 1847. He came to New Zealand in 1865 where he established a long banking career with the Bank of New Zealand. As manager of the Rangiora branch he designed and saw built the structure that still stands there today. He eventually took up painting as a profession and moved to Melbourne, Victoria, where he followed a course of teaching and painting. Some of his works have been secured by the Canterbury Society of Arts and are hung in the permanent gallery.
Peele died in Christchurch in 1905 after a sudden stroke at the age of 59. On his death the Christchurch press wrote Peele was widely known in art circles and well respected - his pictures were distributed the world over and he never had any diffcultysellingthemtotouristsanddistinguishedvisitors
Peele’s works are held in public collections throughout New Zealand as well as a number of leading Australian institutions.
All three works from the Terry & Moira Wood collection are in excellent condition and are well presented.
21 JAMES PEELE
1847 - 1905
Mt Cook Oil on canvas 60 x 90
Signed & dated 1900
$6,000 - 8,000
22 JAMES PEELE
1847 - 1905
Dusky Sound Oil on canvas 60 x 100
Signed & dated 1900
ESTIMATE
$4,000 - 6,000
23 JAMES PEELE
1847 - 1905
Otira Gorge Oil on canvas 60 x 90
Signed & dated 1899 ESTIMATE
$4,000 - 6,000
The Terry & Moira Wood Collection
1941 - 2011
Summer Night
Oil on canvas 60 x 90
Signed & dated 2000
Inscribed on label affxedverso
ESTIMATE
$4,000 - 6,000
PROVENANCE
Terry & Moira Wood Collection
Purchased directly from the artist, 2000
24 SYLVIA SIDDELL
The Terry & Moira Wood Collection
27 FELIX KELLY
1914 - 1994
Manor House, Woodhall, Essex
Oil on board 30 x 30
Signed
ESTIMATE
25 PEGGY SPICER
1908 - 1984
Nelson Street
Watercolour 26 x 30
Signed
ESTIMATE
$800 - 1,200
PROVENANCE
Terry & Moira Wood Collection
Purchased from International Art Centre
Peggy Spicer The Estate Collection, 1991
26 PEGGY SPICER
1908 - 1984
Onehunga
Watercolour 22 x 25
Signed
ESTIMATE
$800 - 1,200
PROVENANCE
Terry & Moira Wood Collection
Purchased from International Art Centre
Peggy Spicer The Estate Collection, 1991
$4,000 - 6,000
28 FELIX KELLY
1914 - 1994
Kiosks, Agra, India
Gouache on board 7 x 10
ESTIMATE
$2,500 - 3,500
29 FELIX KELLY
1914 - 1994
Fishing Boats ( Russia )
Oil on board 42.5 x 55
Signed & dated 1971
ESTIMATE
$15,000 - 20,000
EXHIBITED
Felix Kelly: Recent Paintings of Russia 19 October - 6 November 1971, Arthur Tooth & Sons, London Cat. no. 3, label affxedverso
REFERENCE
p. 277 Fix - The Art and Life of Felix Kelly, Donald Bassett, Darrow Press 2010
Felix Kelly is one of New Zealand's most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper's Bazaar. In the 1950s and 60s he was acknowledged as one of England's top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.
Kelly's ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly's paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who's Who or De Brett's. In late career, his knowledge of architecture led to involvement in
house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.
Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America's Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brushwork, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland's West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.
Felix Kelly has to be one of New Zealand's most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke's Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett's book Fix; The Art and Life of Felix Kelly, was published in 2013.
30 FRANCES HODGKINS
1869 - 1947
Monastery Steps, 1934-35
Oil on canvas 58.4 x 70.2
Signed
ESTIMATE
$250,000 - 350,000
PROVENANCE
Ex estate of Mr Ian L. Philips esq., London, UK
Private Collection, Auckland
The bay of Ibiza is dominated by the ancient fort of Dalt Vila, its huge stone ramparts zigzagging up the hill loom over Sa Penya, the name given to the oldest part of the town. When Frances Hodgkins came to Ibiza at the very end of 1932 the town had already begun to sprawl across the bay. She stayed at the newly opened Hotel Balear, and although she initially complained about the cold and choice of food, gradually the town and its inhabitants captured her imagination. While on the island she produced a series of watercolours which are lyrical both in their colouring and delineation of the bold architectural forms visible at every turn. No doubt she also did drawings, although many of these are now lost.
It was only after she returned to England in the middle of 1933 that she started working on a number of oil paintings that coalesced what she had observed. First exhibited at the Leicester Galleries in London in 1935, Monastery Steps produces an immediate reaction when shown to Ibizans. They immediately point to the blue building and say, ‘That’s the monastery’ (not the cathedral). It nestles behind a line of houses which drop away precipitously on the left, and is approached by a broad set of stone steps. But the right hand part of the painting is drawn from a vantage point on the opposite side of Dalt Vila, and shows the winding path (now a sealed road) that leads up from Puig des Molins (Hill of the Windmills) whose bulky forms dominate the skyline to the east.
The work accentuates blocks of colour, carefully considered curves and individual architectural forms, tied together by a series of strong verticals. At first the broad paths and block-like buildings catch our attention, followed by the strong verticals that bind the picture together. A pine tree soars up in front of the monastery wall, its pointed tip creating a secondary cross beside the crucifix on the highest point of the monastery. Hodgkins has thought very carefully about how she wants colour to work in this painting, for in reality it is the monastery that is ochre-coloured, while the left hand building is painted the blinding white used for most traditional buildings. The rich emerald green is a colour entirely of her own imagination. Therefore, while Monastery Steps refers to places that Hodgkins has observed first hand, the final painting is a terrific demonstration of how an artist transforms the literal into a creative refinement that is entirely her own.
MARY KISLER
31 EVELYN PAGE
1899 - 1988
Salzburg
Oil on board 46 x 70
Signed
ESTIMATE
$50,000 - 70,000
PROVENANCE
Estate of Evelyn & Frederick Page, Wellington.
When Evelyn Page turned sixty-six Charles Brasch had written How meaningless years are when active and alert in mind. The painter had made her only application to the Queen Elizabeth 11 Arts Council for a travel grant and was given one hundred pounds. She was planning her final journey to Europe. She had particularly wanted to see a large Bonnard exhibition at Burlington House, but arrived only in time for its last day. 'Donnanl' she wrote, 'has done everything that I would have given almost anything to do.' Sadly, she also missed out on her prime purpose to experience the teaching of Oscar Kokoschka; he had retired to Switzerland and left others to take over his summer 'School of Seeing'. She arrived at the school, set up in the Castle Art Academy in Salzburg, also a little late.
A huge class of young people from all over the world was already at work. She felt conspicuously white-headed. After a few days, the German professor who posed the model, glanced at her work and dismissively commented 'schmalz' - too sweet. She persisted with the unfamiliar, but requisite,medium of watercolour and found after a few days that the young crowded around to look at her work, and to talk. Of the school, she said, What I learned al Salzburg was l let the subject impress as simply as possible.
When it was over, Evelyn was too tired to join her family on a planned trip to Prague and Leningrad. She stayed instead to paint *Salzburg and then met Frederick for the Festival at Aix-en-Provence. Text: Evelyn Page Seven Decades, Janet Paul and Neil Roberts, Robert Allen & Unwin publishers 1986
*Salzburg 1967 was acquired by the late Janet Paul of Wellington who was a co-writer of Evelyn Page Seven Decades. The present larger work Salzburg returned to New Zealand with Evelyn and Frederick Page and hung in their own collection until Evelyn’s death in 1988. It comes from the collection of the artist’s family, Wellington.
Evelyn Margaret Polson was born in Christchurch on 23 April 1899. Eve, as she was known, early showed talent and formidable concentration when reading or painting, and enjoyed piano lessons. She was enrolled, aged 15, at the Canterbury College School of Art at a time when it was possible to combine the study of art with a general secondary education. Eve soon passed from elementary drawing and painting to advanced study in the life class taken by Richard Wallwork and in drawing from the antique with Leonard Booth. Cecil Kelly, who taught still life and landscape painting, may have been the strongest influence on her early work. She gained first-class awards in the School of Art examinations and special prizes for landscape painting.
In 1936 Evelyn Page travelled to Europe where she was very impressed by the French Post Impressionists and the portraits in the Tate Gallery, and she subsequently painted many portraits of often well known literary personalities. After her marriage to pianist Frederick Page in 1938, the artist went to live at Governor’s Bay in Canterbury, and after a further trip to Europe in 1950, settled in Wellington where she commenced a series of cityscapes; subject matter not often depicted by artists of the era.
As her career developed, Page found affnitiesintheworkofAustrianborn Oscar Kokoshka and French impressionists - Pierre Bonnard and Édouard Vuillard. In the period 1965-67 she joined the Kokoschka Summer School of Salzburg.
In 1986, two years before her death, the Robert McDougall Art Gallery curated and toured Evelyn Page: Seven Decades. The exhibition recognised a painter with an extraordinary zest and independence of spirit, whose lifetime’s response to human character and very individual use of rich colour communicates her vivid reverence and joyful celebration of life.
32 RAYMOND MCINTYRE
1879 - 1933
Untitled Farm Scene
Watercolour 15 x 11
Signed
ESTIMATE
$15,000 - 20,000
PROVENANCE
Estate of Evelyn & Frederick Page, Wellington. Evelyn Page inherited the painting from her sister who was at art school in Christchurch with Raymond McIntyre
33 EVELYN PAGE 1899 - 1988
The Harbour and the Civic Block Oil on board 28 x 41
Signed
Inscribed verso
ESTIMATE
$15,000 - 20,000
HORACE MOORE-JONES
1868 - 1922
Simpson and His Donkey
Watercolour 102.5 x 75
Signed & dated 1915
PROVENANCE
Collection of the Commerce Club, Auckland
EXHIBITED Scars on the Heart, Auckland Museum
Sapper Horace Moore-Jones
34 HORACE MOORE-JONES
1867 - 1922
Simpson and His Donkey Watercolour 102.5 x 75
Signed & dated 1915
ESTIMATE
$300,000 - 500,000
PROVENANCE
Collection of the Commerce Club, Auckland
This is the most significant watercolour of ‘Simpson’ and his donkey ever to have been presented at auction. This version of the painting was bought from Horace Moore-Jones’ widow in 1926 for £300 by the Commercial Travellers’ Association of Auckland. It hung in their club rooms in Remuera before it was loaned to the Auckland War Memorial Museum. There it quickly became an important part of their Scars on the Heart exhibition. The painting has long been a popular icon representing the suffering of the soldiers and the humble, selfless service of those who helped others on Gallipoli. Now, just on 100 year later, when we understand the futility and botched military planning that created this disaster, the painting has become an even more important symbol of the compassion men showed for their wounded comrades.
Moore-Jones painted this picture not on Gallipoli but from a photograph he was given when he spoke about the work of the stretcher bearers in Dunedin in 1917. When he told the story of the legendary Simpson who used a donkey to carry the wounded from steep gullies, he said he was sorry not to have a painting or photograph of him.
After the talk Mr G F Jackson approached him and said he had such a photograph – that his brother, who was serving on Gallipoli, had sent it to him. Before he left Dunedin Moore-Jones painted a small watercolour of the photo, which he gave to the family and it is probably this version that is now in the Aigantighe Art Gallery in Timaru.
Moore-Jones believed that he was painting the legendary Simpson, already a folk-hero in Australia. Those who knew the truth, even Dick Henderson, did nothing to contradict this belief. It was not until the 1930s that some of the West Australian soldiers who had served with Simpson said the man in the painting was not their ‘cobber’.
Finally Sergeant Jackson, the soldier who had taken the original photograph wrote to Major J L Treloar, director of the Australian War Memorial Museum explaining why he had not said who the subject of the painting was:
What good would come out of it? In the first place the whole value of the lesson learnt by thousands of children from the noble example of Simpson would have been lost. The value of that painting in Auckland would have depreciated to a matter of a few pounds. The illustration in the offcialwar history would have been regarded as a fake….What harm?
The Australians were annoyed that the man they had believed to be Simpson was not that person, but a New Zealander. Even today the version of this painting in the Australian War Memorial Museum is called The Man with the Donkey.
Moore-Jones recreated the scene from the photograph. The stretcher bearer remains the man in the picture – a compassionate, stoic individual who with a Christ-like resolution brings comfort to the injured. The wounded soldier with his head thrown back becomes a symbol of every soldier’s suffering and of the chance to live that people like Simpson gave him. Just as important is the small shaggy donkey about the size of a Newfoundland dog who so nobly carried the wounded. The three of them suggest a Renaissance painting of the Holy Family. The path, above a deep ravine, is the amazingly narrow line between death and life which all soldiers faced on Gallipoli.
This painting is the most important Moore-Jones ever auctioned. It is one of the bigger studies of Simpson and it is very similar to the version in the Australian National War Memorial Museum. When Moore-Jones painted it in Auckland, it was one of the two versions that was sent to Britain to be reproduced as a print. The two were sent on separate ships in case one was torpedoed on the voyage. Hundreds of copies were made and they were widely displayed in Australia and New Zealand. It was this which reinforced the importance of Simpson and his Donkey – the symbol of the compassionate man who brought help to so many amidst the slaughter.
JENNIFER HAWORTH: Author of Behind the Twisted War - A Study of New Zealand Artists in World War I & The Art of War - New Zealand War Artists in the Field 1939 - 1945. Wily Publications
35 SERGEANT JAMES GARDINER JACKSON
The Donk
Original photograph 30 x 22
Inscription on mount
ESTIMATE
$10,000 - 20,000
PROVENANCE
Collection of the Commerce Club, Auckland
Stretcher Bearer Dick Henderson with his donkey on Gallipoli
This is the original photograph of Dick Henderson, a member of the New Zealand Medical Corps, and his donkey. Until he was recognised as the man with the donkey in the Simpson painting, he was almost forgotten by New Zealanders. Yet he had a distinguished military career. He survived Gallipoli and went on to serve in France. He was decorated for gallantry when, at the Somme, he repeatedly rescued wounded soldiers under heavy gun fire. He was finally gassed at Passchendaele in October 1917 and was invalided home. This gassing was to affect his eyesight and he retired from teaching in the early 1930s when he was going blind. He was regarded as a quiet achiever who never made a fuss.
This photograph which also belonged to the Commercial Travellers Association is inscribed as follows:
This is the original photo from which the painting ‘Murphy and the Donk’ or Simpson and Murphy the Donk’ was painted by Sapper Moore-Jones. Original painting held by Commercial Travellers Association Auck. The photo was given to the Auckland Commercial Travellers Association by James Jackson of Dunedin who took the original photo.
36 SERGEANT JAMES GARDINER JACKSON
‘Man with a Donkey’ 1915
A reproduction photograph bearing bearing the original pen signed signature of Pte. Richard Alexander ‘Dick Henderson with the inscription ‘Yours Sincerely’. Includes a NZMC badge affxedtotopleftofimage
ESTIMATE
$1,000 - 3,000
PROVENANCE
Gifted to present owners father from Dick Henderson
37 JOHN WEEKS
1886 - 1965
Soldiers in a Supply Tunnel Watercolour 11 x 15
ESTIMATE
$800 - 1,200
PROVENANCE
Artists’ Estate Collection
38 SHIRREFFS MCINTYRE
d. 1919
The Western Front Ink on paper 25 x 30
Signed & dated 1919
ESTIMATE
$2,000 - 3,000
PROVENANCE
Private Collection, Auckland
Current owner inherited from father’s Estate. Owners father served in World War 1 on the Western Front with Shirreffs McIntyre.
Shirreffs McIntrye returned from the war but died in Auckland on 30 December 1919. His military papers say that he died after discharge of wounds inflicted or disease which was contracted while he was on active service.
39 HORACE MOORE-JONES
1867 - 1922
A postcard from Horace Moore Jones Ink over printed postcard 12.5 x 14
Signed & inscribed
ESTIMATE
$800 - 1,200
PROVENANCE
Given to the current owners late father at a Horace Moore-Jones exhibition in New Plymouth circa 1917-18.
Inscription reads: Just out of Hospital and better fed, Sapper H Moore - Jones 4/26A
Includes a small drawing of the artist himself at easel with the inscription ‘As Known on Gallipoli!
40 JOHN WEEKS
1886 - 1965
War Ruins
Watercolour 23 x 18.5
ESTIMATE
$800 - 1,200
41 THOMAS ARTHUR MCCORMACK
1883 - 1973
Warship Entering Harbour with Bridge Construction Beyond
Watercolour 22 x 28
Signed
ESTIMATE
$1,000 - 1,500
42
CLARENCE RICHARD FENN
Dawn
Watercolour 26 x 22
Signed & dated 1917
ESTIMATE
$1,000 - 2,000
PROVENANCE
Collection of the Fenn Family, Auckland, since 1917
This lot also includes Fenn’s steel soldiers chest with the following:
Soldier’s ‘Small Book’
Artist’s discharge papers.
Censored wartime letters.
Personal paper, photos and documents from World War 1.
Three old coins.
A sketchbook made by the artist’s son Richard Fenn commencing May 1st 1915 when he was just 13 years of age.
43 CHARLES FREDERICK GOLDIE
1870 - 1947
Past and Present
Oil on canvas 24.5 x 34.5
Signed & dated 1939
ESTIMATE
$170,000 - 220,000
PROVENANCE
Private Collection, Queensland
REFERENCE
p. 28 C F Goldie His Life & Painting, Alister Taylor and Jan Glen 1977
Goldie’s portraits are typically head and shoulder compositions or halflength figures seated against a background. The subjects often exude a sense of melancholy. The backgrounds are usually dark with little detail, which makes Past and Present exceptional, both for its detail and for the number of subjects within the painting. In Past and Present we see the richly decorated backdrop of Ohinemutu Marae.
The informal gathering of whanau are watched over by their ancestors immortalised by the wall carvings. Goldie suggests notions of past and present with three generations, a crouching elder smoking her pipe, a pensive mother with yellow head scarf and her husband with work boots placed behind him. Their children are engaged in a game of cards or tōrere, a maori board game. The past is alluded through objects within the scene, woven flax mats and a kete or basket. The work portrays cultural assimilation. Both smoking and cards were pastimes introduced to New Zealand by the early settlers. The subjects also wear European dress.
The artist’s training and exposure to neoclassical art during his years in Paris are evident in Past and Present. Here, Goldie exchanges classical narrative for regional Maori history. Late nineteenth century neoclassical painters such as French artist Jacques Louis David depicted classical Greek bas-relief in their art, Goldie chooses the Maori carvings as his reference. The mother is given prominence by her central position and yellow head scarf. This maternal figure is the bridge between past and present. Her tilted head suggests she is contemplating the future of Maori culture. The grandmother sits away from the group, her more assertive stance suggests she’s quietly confident with her Maori ways. The children appear to hold the key for the survival of their culture.
44 A LOIS WHITE
1903 - 1984
Weeping Women, 1939
Oil on board 49.5 x 39
SIgned
Inscribed verso
Auckland City Art Gallery Label affxedverso
ESTIMATE
$40,000 - 60,000
PROVENANCE
Private Collection, Waikato
Private Collection, Canterbury
EXHIBITED
By the Waters of Babylon, The Art of A Lois White
Auckland City Art Gallery 1994-95
Anna Lois White was born in Mount Albert, Auckland on 2 November 1903, the youngest of four children. Her father was an architect and both parents were devout Methodists. While her family and close friends called her ‘Anna’, she always signed her works ‘A. Lois White’, and was known in the art world as Lois (pronounced ‘Loyce’). An outstanding scholar, singer, swimmer and artist at secondary school, White enrolled at Elam School of Art in 1923. Most of her years there were under the direction of Archie Fisher, who early on recognised her talent and fostered it. After graduating in 1927, White obtained part-time teaching positions at Elam and Takapuna Grammar School, and in 1934 she began working at Elam full-time. She occupied a number of positions at the University until her retirement in 1963. Regarded by many during the 1950s and 60s as little more than a fashionable political commentator of the 1930s who failed to live up to her early promise, White’s work was rediscovered in the 1970s, and she is now recognised as one of New Zealand’s most distinctive and individual artists of the 20th Century.
Lois White was gradually alienated from her peers, and her themesreligious, political, sexual - were often lost on contemporary audiences. She was marginalised by the art world and took early retirement from her lecturer's position at Elam when criticism from both students and younger staff with new ideas became unbearable. It was not until one or two of her early works appeared in books and retrospective exhibitions in the 1970s that her importance as a New Zealand artist was finally recognised. While the majority of her works are in oil, she also produced a large number of drawings, and, when there was a shortage of materials during the War years, developed a new medium in varnished watercolour.
In October 1977, at the age of 74, White had her first solo exhibition with Wellington art dealer Peter McLeavey. Interest in her work continued until after her death in 1984, culminating in the Auckland City Art Gallery's major retrospective exhibition By the Waters of Babylon. Weeping Women was included in the retrospective and bears the original Auckland City Art Gallery label verso
45 DORIS CLARE ZINKEISEN
Scottish 1898 - 1991
A Princess from the Antipodes - Maori Princess of Rotorua Oil on canvas 45 x 40
Signed
ESTIMATE
$30,000 - 40,000
PROVENANCE
Private Collection UK
Private Collection Canterbury
Doris Zinkeisen was a Scottish theatrical stage and costume designer, painter, commercial artist and writer. She was best known for her work in theatrical design. Zinkeisen’s realist style made her popular as a portraitist and she became a well-known society painter in London. The subject matter of her paintings, society portraiture, equestrian portraiture and scenes from the parks of London and Paris reflect the lifestyle of the upper class at the time.
In spring 1945 Zinkeisen volunteered her services as a war artist to the northwest Europe commission of the Joint War Organisation of the British Red Cross and Order of St John as it moved into newly liberated Europe.
She recorded the commission’s activities supporting post-war relief, and the rehabilitation and repatriation of prisoners of war and civilian internees. She was stationed in Brussels at the commission’s headquarters, which had been the German headquarters during the occupation. She trained at the Royal Academy Schools and exhibited in London, Paris and the United States. She had also helped to nurse blitz casualties in London during the war.
She also worked in other media as an illustrator and commercial artist including producing advertising posters for several British railway companies, and the London Underground. In 1935 Doris and her sister Anna were commissioned by John Brown and Co Shipbuilders of Clydebank to paint the murals in the Verandah Grill restaurant aboard the ocean liner RMS Queen Mary. Their work can still be seen on the ship, now permanently moored in Long Beach, California.
A Princess from the Antipodes - Maori Princess of Rotorua is understood to be one of only two New Zealand works painted on an excursion to the Antipodes in the 1950s.
ESTIMATE
$10,000 - 15,000
Signed & dated 1869
46 JOHN BARR CLARKE HOYTE 1835 - 1913
Thames Goldfields on the Thames River, Grahamstown, New Zealand, by Moonlight Watercolour 31.5 x 44.7
47 CHARLES BLOMFIELD
1848 - 1926
The Three Kauri’s, Waitakare Oil on canvas 47 x 39
Signed & dated 1877
ESTIMATE
$14,000 - 18,000
Watercolour 28 x 38 Signed
$8,000 - 12,000
48 MARGARET OLROG STODDART
Signed
ESTIMATE
$18,000 - 25,000
49 JOHN BARR CLARKE HOYTE
1835 - 1913
The Pink & White Terraces, Rotomahana
Watercolour 35 x 57.5
50 HORACE MOORE-JONES 1867 - 1922
Auckland Harbour Oil on canvas 19 x 40
Signed
ESTIMATE
$2,000 - 3,000
51 NUGENT WELCH 1881 - 1970
The Dark Headlands Oil on canvas 45 x 66
Signed
ESTIMATE
$4,000 - 6,000
52 EDWARD FRISTROM 1864 - 1950
Sydney Heads Oil on board 16 x 35
Signed
ESTIMATE
$2,000 - 3,000
53 PETER MCINTYRE 1910 - 1995
Rangitikei River Oil on canvas 50 x 60
Signed
ESTIMATE
$12,000 - 16,000
FOUR RARE WATERCOLOURS BY SIR WILLIAM FOX FROM THE WILKIE FAMILY COLLECTION
54 SIR WILLIAM FOX
1812 - 1893
Egmont
Watercolour 22 x 28
ESTIMATE
$5,000 - 8,000
PROVENANCE
Wilkie Family Collection
The Wilkie Collection of watercolours by Sir William Fox was deposited on loan to the Alexander Turnbull Library in 1964 by Mr & Mrs J C Wilkie. The collection consisted of some three hundred and fifty paintings of which one hundred featured historic New Zealand subject matter.
55 SIR WILLIAM FOX
1812 - 1893
Horseshoe Fall, Niagara, 1852 from Goat Island
Watercolour on two sheets of paper 34 x 46.5
ESTIMATE
$3,000 - 5,000
PROVENANCE
Wilkie Family Collection
The Wilkie’s lived and farmed at Ohingaiti, not far from Westoe, Sir William and Sarah Fox’s station in the Rangitikei.
55
54
56 SIR WILLIAM FOX
1812 - 1893
Yosemite Falls
Watercolour 35 x 25
ESTIMATE
$2,000 - 3,000
PROVENANCE
Wilkie Family Collection
57 SIR WILLIAM FOX
1812 - 1893
North Dome, Washington Column
Watercolour 35 x 25
Inscribed
ESTIMATE
$2,000 - 3,000
PROVENANCE
Wilkie Family Collection
William Fox arrived in Wellington in 1842 and become editor of New Zealand Gazette and Britannia Spectator, before be appointed Resident Agent at Nelson for the New Zealand Company in 1843. He subsequently played a leading part in politics and held OffceofPremieronfouroccasions.He was knighted in 1879. In his early years in New Zealand Fox carried out much exploration in the Wairarapa and in the South Island.
Fox’s greatest contribution to New Zealand history after the struggle for self-government in the 1850s was his work in Taranaki in the early 1880s as a member of the West Coast Commission, which consisted of Francis Dillon Bell and himself. A third commissioner, Hone Mohi Tawhai, declined to serve when he heard that his colleagues were to be Fox and Bell. No doubt he questioned the propriety of their appointments. The commission was charged with the duty of inquiring into the numerous promises and engagements allegedly made by successive government offcialstotheTaranakiMaori,
and into all the disputed land claims in that province.
Fox Glacier was named to commemorate Fox’s visit to the region as Prime Minister of New Zealand in 1872. The Wairarapa town of Foxton, founded in 1885, was also named after him.
William and Sarah Fox left New Zealand for England in 1852 and spent several months travelling through Canada, the United States and Cuba on their return. Fox documented this trip in an impressive series of watercolours.
Horseshoe Fall, Niagara, 1852 from Goat Island, Yosemite Falls & North Dome, Washington Column are watercolours executed on those travels and are on the market for the first time since then.
In his later years Fox continued to undertake considerable physical exercise, climbing Mount Taranaki in 1892, aged 80. He died in Auckland in 1893.
58 CHARLES DECIMUS BARRAUD 1822 - 1897
Estate of Dr Elizabeth Brosnan, Auckland 59
View of Tapuaenuku, The Highest Point of the Kaikoura’s looking up the Valley of the Clarence, Province of Marlborough
Watercolour 53 x 38.5
Signed & dated 1866
ESTIMATE
$7,000 - 10,000
PROVENANCE
59 JOHN GULLY 1819 - 1888
Southern Alps off Hokitika, West Coast, New Zealand
Watercolour 25.5 x 60
Signed & inscribed
ESTIMATE
$5,000 - 8,000
60 VERA CUMMINGS
1891 - 1949
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
19.5
Private Collection, Canterbury
61 VERA CUMMINGS
1891 - 1949
Herarata Tumaere
Oil on canvas 30 x 24
Signed
ESTIMATE
$7,000 - 10,000
PROVENANCE
Private Collection, Canterbury
Atama Paparangi
Oil on canvas 24 x
62 FRANK WRIGHT 1860 - 1923
Mt Sefton
Watercolour 98 x 66 Signed
ESTIMATE
$8,000 - 12,000
63 FRANK WRIGHT 1860 - 1923
Waikato River
Watercolour 43 x 60
Signed
ESTIMATE
$4,000 - 6,000
64 WALTER WRIGHT 1866 - 1933 Early Morning, Princess Wharf Oil on canvas 60 x 90 Signed & dated 1913
ESTIMATE
$8,000 - 12,000
Signed & dated 1988
ESTIMATE
$10,000 - 14,000
65 MICHAEL SMITHER b. 1939 Cloud Oil on board 74 x 93
67 RALPH HOTERE
1931 - 2013
Pine a Tree
from ‘Pine’ a Poem by Bill Manhire
Watercolour 58.5 x 38.5
Signed, inscribed & dated 11/1/1972
ESTIMATE
$8,000 - 12,000
1931 - 2013
Pine Asleep & Asleep & Spreading Your Arms, from ‘Pine’ a Poem by Bill Manhire
Watercolour 58.5 x 38.5
Signed, inscribed & dated Gt Barrier 5/73
ESTIMATE
$8,000 - 12,000
66 RALPH HOTERE
1827 - 1918
Marlborough Oil on board 30 x 35
Signed & dated 1894
ESTIMATE
$2,000 - 3,000
Samuel Coleridge Charles Farr was a topographical artist but most notably Canterbury Province’s first architect. He intended to emigrate from England to Auckland, but significant shipping problems aboard the Monarch en route to Auckland in 1850 saw him land at Akaroa instead. He soon settled in Christchurch and designed Akaroa’s first church, designed New Zealand’s first iron verandahs, and he started Sunday schools in Canterbury. Papers Past reveals his marriage was the first celebrated in Canterbury. As a leading member of the Acclimatisation Society, he was responsible for introducing fish to many of Canterbury’s lakes and rivers. He was also instrumental in introducing the bumblebee to New Zealand. His most notable building was Cranmer Court, the former Normal School, Christchurch. The building was recently demolished after it suffered structural damage following the 2011 earthquake. Farr’s paintings rarely appear at auction as most are held by Institutional collections.
This collection of four oil paintings have been held in a private collection in the United Kingdom since the early 1900s and have never before been offered for sale.
69 SAMUEL COLERIDGE FARR
1827 - 1918
Untitled Landscape - near Akaroa Oil on board 23 x 31
Signed & dated 1897
ESTIMATE
$1,000 - 2,000
68
SAMUEL COLERIDGE FARR
70 SAMUEL COLERIDGE FARR 1827 - 1918
Lake Swyncombe, 80 Miles North of Christchurch, NZ Oil on board 25 x 35.5
Signed & dated 1892. Inscribed on original label affxedverso
ESTIMATE
$1,000 - 2,000
71 SAMUEL COLERIDGE FARR 1827 - 1918
Untitled Landscape with Lady and Boat Oil on board 13 x 24
ESTIMATE
$500 - 800
72 JOHN HOLMWOOD 1910 - 1987
Teddy Boys at the Milkbar Oil on board 90 x 60
Signed & dated 1964
ESTIMATE
$3,000 - 5,000
73 SYDNEY LOUGH THOMPSON 1877 - 1973
Brittany Oil on board 18 x 26
Signed
ESTIMATE
$2,000 - 3,000
1905 - 1976
Canterbury Landscape Oil on board 32 x 40
Signed ESTIMATE
$2,500 - 3,500
1905 - 1976
Rural Scene, Geraldine
Signed
ESTIMATE
$1,500 - 2,500
75 IVY G FIFE
Watercolour 40 x 35
74 IVY G FIFE
76 WALTER ARMINGER BOWRING
1874 - 1925
Woman in Pink Oil on canvas 92 x 72
Signed ESTIMATE
$3,000 - 5,000
78 Important, Early & Rare 6:30pm Wednesday 22 July 2015
77 JAMES MCLACHLAN NAIRN 1859 - 1904
Central North Island Landscape Oil on canvas 23 x 32
Signed
ESTIMATE
$2,000 - 3,000
78 JOHN MACINTOSH MADDEN 1856 - 1923
Whitby Harbour Oil on canvas 90 x 140
Signed
ESTIMATE
$7,000 - 10,000
PROVENANCE
Private Collection, Christchurch
Purchased from H Fisher & Sons, Christchurch by the current owners grandfather 1909. Same family collection since then.
79 CHARLES BLOMFIELD 1848 - 1926
Whangarei Falls Oil on canvas 59 x 38
ESTIMATE
$2,500 - 3,500
80 ERNEST BUCKMASTER 1897 - 1968
Red Hut Pool, Tongariro River Oil on canvas 86 x 121 Signed
ESTIMATE
$4,000 - 6,000
81 MARGARET OLROG STODDART
1865 - 1934
Kaikoura Coast
Watercolour 25 x 35
Signed
ESTIMATE
$2,500 - 3,500
82 ALFRED ERNEST BAXTER
1878 - 1936
Jacobs River, South Westland
Watercolour 23 x 38
Signed & dated 1916
ESTIMATE
$500 - 1,000
83 WILLIAM MATTHEW HODGKINS
1839 - 1898
On the Upper Taieri
Watercolour 30 x 45
Signed & inscribed
ESTIMATE
$1500 - 2,500
84
1891 - 1949
Signed verso
ESTIMATE
$3,500 - 4,500
PROVENANCE
Private Collection, Auckland
85 VERA CUMMINGS
1891 - 1949
Maori Girl Oil on canvas 22 x 17
Signed verso
ESTIMATE
$3,500 - 4,500
PROVENANCE
Private Collection, Auckland
VERA CUMMINGS
Maori Girl with Tiki Oil on canvas 22 x 17
86 PETER BEADLE
b. 1933
Gold Coach & Escort, Frankton Flats, Remarkables
Oil on board 60 x 90
Signed
ESTIMATE
$4,000 - 6,000
PROVENANCE
Ex Collection of the late Sir Harcourt Caughey
87 DOUGLAS BADCOCK
1922 - 2009
Afternoon Light, Lindis River
Watercolour 27.5 x 37.5
Signed
ESTIMATE
$1,800 - 2,500
PROVENANCE
Private collection Canterbury
Purchased directly from the artist by current owner
88 A AUSTEN DEANS
1915 - 2011
Mt Wall, Cragieburn Range
Watercolour 37 x 57
Signed & dated 1997
ESTIMATE
$5,500 - 7,500
PROVENANCE
Private collection Canterbury
Purchased directly from the artist by current owner
Painted as a demonstration for True Colour, a feature article in International Artist magazine, issue 5, February/March 1999
ESTIMATE
p. 140 Capturing Mountains The Life and Art of Austen Deans
Nathalie Brown, Wily Publications 2010
90 CHARLES BLOMFIELD
1848 - 1926
Mt Egmont from the Waterworks
Oil on board 28 x 46
Inscribed verso
$1,500 - 2,500
89 M MOUNT PASSON
19th Century New Zealand
Mt Cecil and Walter Peaks
Watercolour 33 x 59
Signed
ESTIMATE
$800 - 1,200
91 WILLIAM GEORGE BAKER
1864 - 1929
Waiau Creek, Waikato
Oil on canvas 60 x 90
Signed & inscribed
ESTIMATE
$1,500 - 2,500
92 ALBERT EDWARD ALDIS
1869 - 1921
On the Old Mahurangi Road near Puhoi Oil on canvas 25 x 45
Signed & dated 1887
ESTIMATE
$2,500 - 3,500
93 CHARLES BLOMFIELD 1848 - 1926
Waimana Gorge Oil on board 30 x 44
Signed & dated 1913
ESTIMATE
$2,500 - 3,500
94 KENNETT WATKINS 1847 - 1933
Puriri Forest
Watercolour 22.5 x 33
Signed & dated 1908
$800 - 1,500
95 PRO HART
Australian 1928 - 2006
The Prospectors, 1995 Oil on board 60 x 60
Signed
ESTIMATE
$5,000 - 8,000
PROVENANCE
Private Collection, Otago
Purchased at Wagner Art Gallery, Hong Kong by the current owner 1996. Label affxedverso
EXHIBITED
Pro Hart MBE Exhibition, Wagner Art Gallery, Hong Kong, 1996
96 MYLES BIRKETT FOSTER
British 1825 - 1899 Spring, near Withey Watercolour 22 x 31
Signed
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland
97
EDWARD WILLIAM PAYTON
1859 - 1944
At Rotorua
Watercolour 25 x 36
Signed
Inscribed verso
ESTIMATE
$800 - 1,200
98 EDWARD WILLIAM PAYTON
1859 - 1944
Tulip Trees, Rotorua Public Gardens
Watercolour 25 x 37
Signed
Inscribed verso ESTIMATE
$800 - 1,200
99
EDWARD WILLIAM PAYTON
1859 - 1944
The Shore, Lake Rotorua
Watercolour 26 x 18
Signed & dated 1904
ESTIMATE
$300 - 500
100 EDWARD WILLIAM PAYTON 1859 - 1944
Rotorua Stream
Watercolour 38 x 29
Signed
ESTIMATE
$200 - 400
101 BURTON BROS 1866 - 1914
Takapuna Beach Albumen print 32 x 42
Inscribed ESTIMATE
$400 - 600
102 BURTON BROS 1866 - 1914
Auckland from the Albert Park Albumen print 31 x 43
Inscribed
$400 - 600
103 BURTON BROS 1866 - 1914
Auckland Harbour from Mt Eden Albumen print 14 x 22
Inscribed
ESTIMATE
$200 - 400
Thank you End of Sale 103
LATE ENTRY
104 RAYMOND MCINTYRE
1879 - 1933
Street in Saint-Valery c. 1913
Oil on panel 29.2 x 20
Signed
ESTIMATE
$40,000 - 50,000
PROVENANCE
Private Collection, Auckland
First time on the market. Owners Aunt purchased the work in Adelaide, circa 1950
ILLUSTRATED
Illustrated p.50 Raymond McIntyre
A New Zealand Painter, Heinmann Publishers 1984
HENRYK SZYDLOWSKI
EXHIBITION 20-31 AUGUST 2015
Farmers of the White Flower Oil on canvas 60 x 75cm
Subscription include: 4 Important, Early & Rare catalogues 4 Contemporary & Collectable catalogues
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92 Important, Early & Rare 6:30pm Wednesday 22 July 2015
Important, Early & Rare Wednesday 22 July 2015
I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.
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Recent Prices Realised
Important, Early & Rare 25 March 2015, Contemporary & Modern Art 7 May 2015 & The Barry Pilcher Collection 7 May 2015 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium
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ESTIMATES
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