Important,Early& Rare
6:30pm Wednesday 30th March 2011
Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Parnell, Auckland
Viewing Times Page 3
Index Page 114
Conditions of Sale Page 118
Absentee Bid Form Page 116
Cover Illustration: Lot 49
Inside Front Cover: Lot 30
Inside Back Cover: Lot 42
Back Cover: Lot 30
Celebrating Forty Fabulous Years 1971 - 2011
Location Map
Auction Contacts
Richard Thomson
Tel: 09 379 4002
Email: richard@artcntr.co.nz
Mobile: 027 4751 071
Frances Davies
Tel: 09 379 4010
Email: fran@artcntr.co.nz
Mobile: 027 4936 360
Auction administration
Jenny O’Warn
Tel: 09 379 4010
Email: jenny@artcntr.co.nz
Skype: fineartauction
Post sale freight requirements
James Watkins
Tel: 09 379 4010
Email: james@artcntr.co.nz
Other enquiries
Trish Young
Tel: 09 366 6045
Email trish@artcntr.co.nz
Works purchased may be uplifted at close of sale or Thursday 31st March 9.30am - 5.00pm
Payment may not be made during sale.
Celebrating Forty Fabulous Years 1971 - 2011
International Art Centre, 272 Parnell Road, Auckland
Auction Venue
Scarborough Gallery, International Art Centre, 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 and viewing pleasure our street level gallery remains open until sale completion.
Parnell
Choose Parnell as your evening destination. Many of Auckland’s finest restaurants are located within walking distance. Many Parnell restaurants provide parking on Parnell Road opposite Gibraltar Crescent entrance. Attend our auction then dine in Parnell.
Parking
Parking During Viewing Days:
Available on site during weekend viewings, Saturday 26th & Sunday 27th March. Use Scarborough Lane entrance beneath our main gallery. During other viewing times on site parking is 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 6pm. A secure two level pay and display carpark is located at 282 Parnell Road, 70 metres from gallery.
Viewing Times
International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland Wednesday 23rd March 9:00am - 5:00pm Thursday 24th March 9:00am - 5:00pm Friday 25th March 9:00am - 5:00pm Lecture & Morning Tea 25th March 10:30am - 11:15am Saturday 26th March 11:00am - 4:00pm Sunday 27th March 11:00am - 4:00pm
28th March 9:00am - 5:00pm Tuesday 29th March 9:00am - 5:00pm Wednesday 30th March 9:00am - 12noon
Scarborough Gallery Auction Room
Invitation
Preview Lecture & Morning Tea
Friday 25th March 10:30am
Dr Angela Mackie of the Cathedral Lectures discusses key elements of selected works 10:45am - 11:15am
RSVP Jenny O’Warn
jenny@artcntr.co.nz Phone 09 379 4010
Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz
Important,Early& Rare
Wednesday 30th March 2011
The art market has remained relatively stable over the past twelve months with auction room optimism translating to buoyant bidding for offerings of quality. Such was the case at International Art Centre’s November 2010 sale. Charles F Goldie’s Forty Winks surpassed the half million dollar mark, making headlines and achieving a new auction record with a final sale price of $573,000.
Our first catalogue of 2011 features a notably diverse collection of many outstanding works. Les Deux Amies, dated 1953 by Parisian born Dame Louise Henderson (1902 - 1995), is one of New Zealand’s cubist treasures. This celebrated work is on the market for only the second time since 1954. Further entries include Lily Pond, a major work by Peter Siddell while Grahame Sydney’s Summer Night, Ida Valley, provides a fine example of New Zealand realism. Colin McCahon is well represented with three works from the late Brenda Gamble collection. Gamble, a close friend and colleague of the artist, worked with McCahon at Auckland City Art Gallery. Interestingly, these works are joyous McCahons of brightly coloured flowers.
The demand for quality historical works continues. Christopher Aubrey’s 1891 view of Eketahuna and W G Baker’s early view of Brooklyn, Wellington are of particular interest. Two oil paintings of Auckland by Sam Stuart are welcome offerings along with an intriguing collection of photographs from New Zealand’s most important nineteenth century photographic studios, Dunedin based Burton Bros (1866 - 1914). Also of note is a major work by Marcus King (cover illustration), a dramatic 20th Century rendition of a historical arrival on the shores of New Zealand.
I have just returned from Christchurch and do not wish go to print without sending sincere wishes for happier times to our many Cantabrian friends and clients.
Richard Thomson - Director
Celebrating Forty Fabulous Years 1971 - 2011
Felix Kelly $18,300 November
Alfred Sharpe $57,000 March
Douglas Badcock $6,150 July
Peter McIntyre $20,500 July
Vera Cummings $12,000 March
Peter Siddell $22,800
Charles Blomfield $42,000 July
Karl Maughan $19,750 December
Kees Bruin $22,800
Dick Frizzell $18,250
Michael Hight $20,500
Sam Stuart $33,750 November
John Weeks $8,000 March
Artist Unknown $20,500 November
2010 Auctions at a glance
For three consecutive years, International Art Centre has led the market by achieving the highest price for a work of art sold at auction. In 2010, Dame Kiri Te Kanawa’s Charles F Goldie, Forty Winks sold for a hammer price of $501,000. This sale established a new auction record for Goldie whilst achieving the highest price paid at auction in fifteen years. A smaller work, by the same artist sold for $195,000 in the July sale. Last year International Art Centre held seven auctions. Interest in art as an investment continues to grow. Sale results from 2010 reflect a strong desire by buyers to acquire works of historic interest, along with quality 20th century paintings.
The popular Contemporary & Collectable auctions produced excellent results and is an exciting and welcoming arena for those new to the market. For more information visit www.fineartauction.co.nz
Charles Blomfield $11,400 July
Charles Frederick Goldie $573,000 November
Charles Frederick Goldie $222,500 July
Charles Decimus Barraud $51,300 July
Lucien Pissarro $62,750 July
Frances Hodgkins $70,700 March
b. 1935
Through the Hallway Oil on board 39 x 21
Signed & dated 1976
8,000 - 12,000
Provenance:
Private Collection, Auckland
Purchased by current owner, Barry Lett Gallery, 1976
1 PETER SIDDELL
2 BUCK NIN
1942 - 1996
Tuatara Landscape - The Fighting Tuataras of Putararu Over the Marae
Acrylic on board 124 x 100
Signed & dated 1990
Inscribed verso
8,000 - 12,000
Provenance: Private Collection, Auckland since 1990
Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati
Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori Art. Dr Buck Nin’s work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.
Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, and his willingness to work with people from all walks of life. Buck was a larger than life person not only because of his physical size but also because of his considerable intellect, his energy, his powerful and often large paintings and his commitment to the development of art and its people. The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, spread across a minimalist landscape, like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth Papatuanuku.
History will show him as one of Maoridom’s and subsequently New Zealand’s great contemporary artists...
Friend and fellow artist, Darcy Nicholas
3 NEIL DAWSON
b. 1948
Beam - Red Darts
Powder coated steel, halogen light fitting edition of 6
150 x 30
Signed & dated 1987
9,000 - 11,000
4 PETER SIDDELL
b. 1935
Lily Pond
Oil on canvas 65.5 x 83
Signed & dated 1987
35,000 - 45,000
Provenance:
Private Collection, Auckland
Purchased by current owner, International Art Centre, 1988
Illustrated p. 151 The Art of Peter Siddell Peter Siddell
Random House Publishing, 2011
In Mount Eden we had a lilypond which I could see from my studio, and the play of light on the water and leaves was a delight. However, when Emily announced that she was expecting our first grandchild my reaction was that we would have to cover the pond. Instead, we replaced it with a small fountain in which the water was well out of an infant’s reach. Peter Siddell
5 IAN SCOTT
b. 1945
Hills of Green
Acrylic on canvas 141 x 81
Signed, inscribed Keep NZ Green, McCahon ‘66 & dated October, 2002 verso
5,500 - 7,000
b. 1964
Naseby Street
Oil on canvas 107 x 122
Signed
14,000 - 16,000
6 KARL MAUGHAN
7 PETER SIDDELL
b. 1935
Cypress Trees
Oil on board 60 x 39.5
Signed & dated 1982
15,000 - 20,000
8 JOHN WALSH
b. 1954
Migrating Koru, 2003
Oil on board 120 x 158
Signed & dated 2003
23,000 - 28,000
Provenance:
Private Collection, Auckland
Exhibited, John Leech Gallery, 2003
9 GARTH TAPPER
1927 - 1999
The Llb’s
Oil on board 31.5 x 38.5
Signed. Inscribed verso 7,000 - 10,000
Following Tapper’s 1980 exhibition The Law and Its People his legal series has become increasingly popular and sought-after. The series commenced with a commission received from the Auckland Law Society commemorating its centennial year. The Llb’s, a stylish work, features four Auckland University law graduates in cap and gowns, about to make their mark on the world.
10 MARK CROSS b. 1955
Floating Poet Oil on board 64 x 100
Signed 10,000 - 15,000
The main cause of accidental death in the Pacific being drowning, this painting is in response to the trauma caused by a friend being lost at sea, then the relief of his being found wandering in the forest, and then the cautious levity of the overall circumstances of the event after normality returns. Mark Cross - notes affixed verso
Soy yo que pide, que quiere.
Él que por ti cruje y suspira.
Soy yo que vive y que muere. Que todo lo da por un solo beso.
Soy él que sufre, él que no duerme y sueña. Él pronuncia tu nombre al viento.
Una y tantas veces llamándote, queriéndote cuando estás cerca, cuando estás lejos.
Soy él que flota en tu mar, en tus aguas. Sumergido en ti, mecido en silencios.
Am I she asks, he wants. He cracks it for you and sighs.
Am I living and dies.
That gives everything by a kiss.
I am he who suffers, he who never sleeps and dream.
He pronounces your name in the wind.
One and many times calling you, loving you when you are near, when you’re away.
I am he that floats in your sea in your water. Dipped in you, rocked in silence.
Poem by Pedro Vegara Meersohn affixed verso
b. 1949
Luck and Me
Acrylic on board 78 x 58.5
Signed, inscribed & dated 2004
9,000 - 12,000
b. 1961
Kopua - Hawkes Bay
Oil on canvas 66.1 x 182.7
Signed & dated 2005
19,000 - 24,000
What Are Yah?
Acrylic on board 78 x 57.8
Signed, inscribed & dated 2004
9,000 - 12,000
13 MICHAEL HIGHT
11 NIGEL BROWN
12 NIGEL BROWN
b. 1925
Achromatic Dark with Red
Mixed media on paper 53 x 42
Signed & dated 1982
15,000 - 20,000
14 MILAN MRKUSICH
15 ROBERT ELLIS
b. 1929
The City Passed By Oil on hardboard 91.5 x 76
Signed & dated 1965
9,000 - 12,000
16 IAN SCOTT b. 1945
Small Lattice No. 345
Acrylic on canvas 90.5 x 90.5
Signed & inscribed verso
4,500 - 6,500
17 COLIN MCCAHON 1919 - 1987
Waterfall
PVA on board 30.2 x 30.3
Signed & dated Dec 1964
Inscribed & dated December 1964 verso
45,000 - 55,000
Reference: Colin McCahon Online
Catalogue www.mccahon.co.nz No. cm000175
Throughout the mid 1960s Colin McCahon experimented with numerous commercial oil and water-based paint. In some cases he mixed these with artists’ oil colours, making the exact nature of the medium difficult to determine.
Signed & dated 2006
9,000 - 11,000
1936 - 2006
Learning to Kill for the King, From the Father Series Oil on board 57 x 64
Signed & dated 1979
14,000 - 16,000
18
18 MICHAEL HIGHT
b. 1961
Gimmerburn
Oil on canvas 51 x 101.4
19 TREVOR MOFFITT
1910 - 1998
Watercolour
Dated 1985
4,500 - 6,500
1910 - 1998
Oil on board 60 x 80.5
18,000 - 26,000
20 TOSSWILL WOOLLASTON
Tasman Bay from Mahina
30 x 42
21 TOSSWILL WOOLLASTON
Taramakau
Signed
2,500 - 3,500
Signed
6,000
Provenance: Maud Sherwood Family Collection
23 MAUD WINIFRED SHERWOOD 1880 - 1956
The Camping Ground at Dee Why, NSW
Watercolour 44 x 54.5
- 10,000
22 JOHN WEEKS
1888 - 1965
Still Life with Roses
Oil on board 36 x 38.5
ARTHUR MCCORMACK
25 RUDI GOPAS
1917 - 1983
Portrait of Artist’s Daughter
Watercolour 42 x 33
Certificate of Authenticity affixed verso
2,500 - 3,500
27 JOHN HOLMWOOD 1910 - 1987
Spring Evening Oil on board 95 x 61.5
Signed & dated 1974
3,000 - 5,000 26
26
1861 - 1935
Goldfish Study
Gouache on paper 40.5 x 40.5
Signed
800 - 1,200
Provenance: Ex Belinda Hector Collection, (Richmond Family)
DOROTHY KATE RICHMOND
28 GRAHAME SYDNEY
b. 1948
Summer Night, Ida Valley Oil on linen 91.5 x 112
Signed & dated 1999
80,000 - 100,000
Provenance: Private Collection, Dunedin
Exhibited: Regions of the Heart - A Retrospective
Dunedin Public Art Gallery, November 1999 - February 2000
Illustrated: p. 129, plate 100, The Art of Grahame Sydney Grahame Sydney and Contributors, Longacre Press, 2000
28 Grahame Sydney is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydney’s work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill. Sydney's contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydney's paintings have been inspirational with their ability to evoke a sense of wonder and kinship.
From childhood drawings of Disney characters in the 1950s, through to the large majestic landscapes of Otago forty years onward, Grahame Sydney's passion for painting has never diminished. He has worked in oils, watercolour, tempera, etchings and lithographs. Following his first solo exhibition at the Moray Gallery in 1972, he spent a period overseas in the United Kingdom and Europe before returning to Dunedin in 1974 to begin life as a full-time artist. Those years have witnessed an impressive and substantial body of work, and an extensive exhibition history.
Sydney is a clever magician who plies his craft with great skill and subtlety, making paintings that are seemingly simple, but their plain reality tenders deeper emotions than simple recognition. You don't just see the land here, you feel it... These hills, these skies give us a voice that is unique, a voice that is evoked by the art of Grahame Sydney. It is the voice of us all. Keith Stewart.
It seems to me that the essentials of landscape are seen with the heart. There’s a lot of feeling in his work, but it’s not up front, it’s not indulgent, it’s not demanding of emotion - but there’s a lot of emotional tension there in the paintings. Owen Marshall.
29 LOUISE HENDERSON
1902 - 1994
Les Deux Amies (The Two Friends), 1953
Oil on canvas 74 x 56
Signed
75,000 - 100,000
Provenance: Private Collection, Auckland
Purchased by current owner, International Art Centre, 1998
Exhibited:
Louise Henderson: The Cubist Years 1946 - 1958
Auckland City Art Gallery, 29 August - 13 October, 1991
Loan collection, New Gallery, Auckland 1995 - 1998
Illustrated: p. 11, cat. no. 15,
Louise Henderson: The Cubist Years 1946 - 1958
Published on the occasion of the above exhibition
Auckland City Art Gallery, 1991
Reference: p. 2,11 & 37
Louise Henderson: The Cubist Years 1946 - 1958
In February 1954, Colin McCahon wrote of this work: ‘the two women become real to us through the building up of apparently unrelated planes to become the very being of the two friends, quite real people with real personality; that is, if we look at this picture not filled with our own ideas of what such people should look like, but as the scientist looks at the minute world in a drop of water, prepared to accept new aspects of reality, rather than turn away from discovery fearful that past theories may now be invalid’.
Louise Henderson with Les Deux Amies, November 1953
30 RHONA HASZARD
1901 - 1931
From My Studio Window, Sark, 1926
Watercolour 20 x 27.4
Signed & inscribed on original mount
12,000 - 16,000
Provenance: Collection of Shona McFarlane Estate
Rhona Haszard (1901–1931) was born in Thames, New Zealand, one of five children of a devoted mother, Alice, and a father who worked for the Lands and Survey Department, becoming a Commissioner of Crown Lands in 1910. As a result of her father’s job the family moved often and lived in Auckland, Christchurch, Hokitika and Invercargill.
At the age of 18, Rhona enrolled at the Canterbury College School of Art (now the School of Fine Arts, Canterbury University), joining a set of women artists including Ngaio Marsh, Evelyn Page (née Polson), Rata Lovell-Smith (née Bird) and Olivia Spencer Bower. She was taught amongst others by Archibald Nicoll, the newly appointed head of the school. Haszard was very bohemian. She dressed eccentrically, spoke positively of de facto relationships and advocated vegetarianism and unprocessed food.
In 1922 she married Ronald McKenzie a teacher and fellow student. However in 1925 she abandoned this apparently happy marriage to run off with an ex-British Army officer Leslie Greener. After being confronted with the disapproval of society the couple travelled to France in 1926. They settled in Paris and studied briefly at the Académie Julian. Haszard continued to paint landscapes and exhibited at the Paris Salon in 1927, London with the Royal Society of Women Artists and Cairo, as well as sending works to be exhibited in New Zealand.
The couple completed numerous painting trips to the Channel Islands, Cyprus and Greece. In 1927 Greener was employed by Victoria College, Alexandria, Egypt to teach art. In 1928 Haszard had a serious accident that left her with a back injury and she returned to London to seek medical treatment in 1929 and 1930. Sshe remained committed to painting and to the bohemian art and theatre circles. She returned to Alexandria in 1930. Haszard’s life ended suddenly when she fell from the four storey tower at Victoria College, Alexandria in 1931 the night after her last exhibition opened. She was thirty years old.
Lot 30 framed
31 COLIN MCCAHON
1919 - 1987
Flowers, 1967
Synthetic polymer paint on paper 74.1 x 54.5
Signed & inscribed The flowers I should have sent you, Colin & For Brenda
25,000 - 40,000
Provenance:
Collection of the late Brenda Gamble by descent
Illustrated: Front cover of Field of Flowers, Glenn Sylvester Poetic Justice Publishing, 2009
Record number cm000387
Colin McCahon online catalogue www.mccahon.co.nz
Colin McCahon as Colleague and Friend - Brenda Gamble, 1977
Thinking back to my impression of Colin McCahon as a colleague and friend, my mind’s eye immediately produced a memory image of the first meeting I had with him. It was a morning in the winter of 1953. I was working as secretary to the director of the Auckland City Art Gallery, Mr Eric Westbrook. A man came into the office and asked if he could see the director. A young, very thin, pale man, with dark eyes - worried eyes - a man who obviously had problems. It was Colin McCahon. He had arrived in Auckland the previous day to take up a job offered to him by the director while on a visit to Christchurch a short time earlier. Wintertime in Christchurch meant that there was not much work offering for gardeners; which was the job Colin was doing for a living at the time. No work meant no money to keep a wife and four healthy children, so what money he had he spent on transporting his family to Auckland to live. The staff at the Auckland City Art Gallery at that time consisted of the director, two office staff and the attendants. As it turned out, contrary to his expectations, there was no specific job waiting for Colin. The director had suggested that Colin should work at the Gallery but I think he did not expect Colin to take him at his word: anyway, not immediately. All that could be offered to him was a job as a cleaner! This he agreed to take and started immediately. Colin found a small summer bach - not nearly big enough, but at least cheap - in French Bay, one of the beautiful bush areas in Titirangi, and he, Anne and the four children settled in. He set about adding to the bach, which was built on a steep hillside among kauri trees, eventually making it into a delightful studio home.
Colin tackled the Gallery job with his usual integrity and soon became a tremendous asset, in that once his official 'duties' were done, he developed avenues of activities never before embarked on. As soon as the Auckland City Council decided that a professional curator was needed, Colin applied for the position and was selected from the other applicants and offered the post. He organised painting classes, encouraged individuals and groups to use the Gallery, and soon had poetry readings, music and drama as regular additions to the Gallery's programme. From the outset he made himself available to painters and sculptors who came to the Gallery seeking advice and practical help and was unstinting of his time and energy in every aspect of art and crafts: this, of course, as well as being responsible with the director for the selection of exhibitions, plus the hanging, packing and care of the temporary exhibitions and the permanent collections.
During all this time he somehow found time to paint and exhibit. Patronage and appreciation came mostly from the South Island where people such as Charles Brasch, Rodney Kennedy, Ron O'Reilly (to name a few collectors of New Zealand painting) and his old art school colleagues, were appreciative of some of the unique qualities of mind and spirit that manifested themselves in Colin's work. These friends, I am sure, sustained Colin at this difficult time because the reception his work received from the Auckland public was usually less than fair; in many cases it was hurtful and insulting.
.../ continued overleaf
32 COLIN MCCAHON
1919 - 1987
Flowers
Synthetic polymer paint on paper 74.2 x 54.5
Dated 1967
20,000 - 30,000
Provenance:
Collection of the late Brenda Gamble by descent
Record number cm000385
Colin McCahon online catalogue www.mccahon.co.nz
continued .../
Gallery visitors familiar with the predominantly nineteenth century European tradition of pretty scenery, galloping horses, ruminating cattle, leading-lady style women and literary based historical subjects were baffled and confused when confronted by Colin’s uncompromising, uniquely personal philosophy, his way of painting the New Zealand landscape with Christian theology placed in a New Zealand setting. Unfortunately, they certainly were not speechless, and this led to Colin being subjected to endless interrogations demanding him to ‘explain’ his work and why he chose to paint the way he did. Eventually, when it could no longer be disputed that Colin’s work was important, the adverse criticism died down and his work gained public acclaim and acceptance in the time-honoured tradition of all unique, visionary artists.
In 1964 Colin resigned from the Gallery staff to take up a post as lecturer at the Elam School of Fine Arts, University of Auckland. During the years I worked with Colin I enjoyed his stimulating company and I grew to admire his work and respect him for his quality of mind; a generous spirit, creative energy, loving sympathy and positive criticism - the qualities one seeks and hopes for in close friends but rarely finds embodied in one soul.
, . . .For these that you have given me, thanks indeed.
I share in these words by Charles Brasch, from his 1948 poem To Colin McCahon quoted in the Manawatu Art Gallery’s catalogue, McCahon: Religious Works 1946-1952. I saw this exhibition in 1975 at Barry Lett Galleries, Auckland. It was one of the most impressive exhibitions I have ever seen and experienced. Brenda Gamble, 1977
33 COLIN MCCAHON
1919 - 1987
Flowers
Synthetic polymer paint on paper 74.4 x 55
Signed & dated 1967
20,000 - 30,000
Provenance:
Collection of the late Brenda Gamble by descent
Record number cm000386
Colin McCahon online catalogue www.mccahon.co.nz
STUART
1855 - 1920
Point Britomart from Official Bay, Auckland
Oil on board 25 x 43
Signed
11,000 - 16,000
35 SAM STUART
36
MARGARET OLROG STODDART
1865 - 1934
White Daisies and Butterfly Watercolour 66 x 48.5
Signed & dated 1894
12,000 - 16,000
37 PETRUS VAN DER VELDEN
1837 - 1913
Winter’s Tale Oil on canvas 57 x 44
Signed
18,000 - 25,000
Please note:
This work is an oil painting of the same scene by Petrus van der Velden offered in our November 2010 auction. The work offered in November was pastel.
38 ADAM EDWIN PROCTOR
British 1864 - 1913
The Cottage Gardener Oil on canvas 75 x 50
Signed & dated 1902
10,000 - 15,000
39 PETRUS VAN
VELDEN 1837 - 1913
The Card Players Oil on canvas 70 x 94
25,000 - 35,000
DER
40 RAYMOND CHING
Song Thrush
Watercolour 66.5 x 50.5
Signed
20,000 - 30,000
Illustrated p. 19
Raymond Ching, The Bird Paintings with text by David Snow, A H Chisholm & M F Soper
William Collins Sons & Company Limited St James Palace, London 1978
The dapper Song Thrush with khaki brown back, cleanly spotted underparts and rather long pale legs, is a familiar bird of the wooded parts of Europe and western Asia. Yet the Song Thrush is not a typical member of its family or genus; its song, feeding habits and nest are all in some way unusual and striking. Evidently it was highly prized by the early settlers of Australia and New Zealand, for it was introduced into both countries in the 1860s. It spread all over New Zealand, but the hotter and drier conditions of Australia suited it less well and it is confined to a limited area around Melbourne.
Browning associated the month of May with the voice of “the wise thrush, who sings each song twice over”. In fact the Song Thrush often sings its phrases more than twice over - often three or four times. But no other thrush composes its song of such varied phrases so exactly repeated, some loud and clear and some almost whispered, some intricate and some simple, separated by gaps long enough to give the listener the impression that the bird is pausing to decide which phrase to utter next. Though May is a good month for thrush song, it can be heard for most of the year except late summer and early autumn. The song, like that of most other birds, is mainly a proclamation of ownership of territory. Many Song Thrushes remain attached to their territory all year round; but some migrate, especially from the colder parts of the range, and move south and southwest to the Mediterranean area and the Middle East.
A great eater of earthworms, like many other thrushes, the Song Thrush also exploits another source of animal food denied to its relatives. It has the instinctive ability to smash open snail shells, gripping them by the lip of the aperture and striking them sharply against a stone or some other hard surface. With access to an alternative and often abundant food, Song Thrushes are less affected than Blackbirds by prolonged droughts which cause earthworms to retreat deep into the soil; but in the modern world this unique behaviour is often dangerous, for roads make good “anvils” for snails found in adjacent hedges and many feeding thrushes are killed by cars.
Text: Raymond Ching, The Bird Paintings with text by David Snow, A H Chisholm & M F Soper William Collins Sons & Company Limited St James Palace, London 1978
41 BURTON BROTHERS DUNEDIN
1836 - 1880 (Walter John Burton, Founder)
Leather bound album containing 112 albumen prints most 14 x 19.5cm
Photograph album 31 x 27
Many include Burton Brothers logo and most have photo number and title inscribed 5,000 - 8,000
A rare opportunity to acquire over 100 images of early New Zealand fauna, landscape, cityscapes and inhabitants.
Highlights include:
Historic images of cities and towns, Dunedin, Napier, Queenstown, Clyde, Cromwell.
Seventeen images of the Pink and White Terraces.
Images of Early Maori life.
Views of Mt Cook region, including climbers step-cutting on the Tasman Glacier and a clear view of The Hermitage, Mt Cook.
Two images of Waitakere Falls near Auckland, together with Sutherland and Stirling Falls, Fiordland.
Landscape views of Milford Sound and other Fiordland and Otago landmarks.
Early railway and tunnel construction.
PDF of all images may be viewed and downloaded at www.fineartauction.co.nz
1910 - 1996
Devonport and the City, Circa 1977
Oil on board 66 x 87
Signed
24,000 - 28,000
Provenance:
Private Collection, Auckland
Purchased by current owner from an Exhibition Peter McIntyre, New Zealand Landscapes, John Leech Gallery, May 1992.
There is a sparkle in Auckland that seems to come from its harbour and the blue beyond - Peter McIntyre
42 PETER MCINTYRE
1891 - 1949
Maori Chief
- 6,500
1848 - 1926
Hinemoa’s Pool, Mokoia Island, Lake
Oil on canvas 44 x 60
Signed & dated 1905
6,000 - 9,000 45 VERA CUMMINGS
1891 - 1949
Harata Rewiri Tarapata Oil on canvas 29.5 x 24
Signed 3,000 - 4,000
44 CHARLES BLOMFIELD
Rotorua
VERA CUMMINGS
1848 - 1926
Kauri Bush
Oil on board 43 x 29
Signed. Inscribed verso
3,000 - 5,000
46 CHARLES BLOMFIELD
47
47 GEORGE CLARENDON BEALE
1856 - 1939
Detached Squadron
Watercolour 38 x 46
Signed 2,000 - 3,000
Inscription on matt board as follows:
HMS Tourmaline
HMS Inconstant - Flag Ship
HMS Bacchante
HMS Caryfort
HMS Cleopatra
48
48 JAMES COOK 1728 - 1779
Riviere Tamises et Baye Mercure, Nle Zéland from the French/ German edition of Cook’s first voyage Lithograph print published 1774, 30 x 45
Inscribed
500 - 700
49 MARCUS KING 1891 - 1977
The Arrival
Oil on canvas 121 x 181
Signed 12,000 - 16,000
Provenance: Hung in the collection of Waitomo Caves Hotel for over thirty years
50 CHARLES HEMUS
Circa 1850 - 1925
Ratahi Te Maia, Arawa Tribe
Oil on board 59 x 35
Inscribed & dated 1895
1,500 - 3,000
51 RITA ANGUS
1908 - 1970
Mangonui, Northland
Watercolour 28.8 x 35.8
Signed & dated 1953
18,000 - 26,000
Provenance:
Private Collection, Europe
This work is a similar composition to Mangonui, a watercolour from the collection of Museum of New Zealand Te Papa Tongarewa, illustrated page 143 Life & Vision, edited by William McAloon & Jill Trevelan, Te Papa Press, 2008.
Rita Angus visited friends Roy and Joyce Milligan at Mangonui, Northland during the winter 1953 and again in December. By October 1954 she was living in a cottage there and working on landscapes of the surrounding area. Paintings produced at this time, including Mangonui, Northland were exhibited with The Group. When plans to purchase the cottage fell through the artist returned to Wellington in April of 1955.
52
52 JOHN ARROWSMITH 1790 - 1873
Map of the Colony of New Zealand - 1844
Lithograph print published 1843, 63 x 50
Inscribed
1,000 - 1,500
Eketahuna, as a European settlement, owes its origins to Sir Julius Vogel's Immigration and Public Works Act of 1870 which initiated a new wave of colonisation. Some 7,500 new arrivals, the majority from Scandinavia, landed in New Zealand by the middle of 1873. Vogel's scheme was essentially to open up the hinterland of the country by the clearing of the bush, and the building of new roads, bridges and railways.
Those who first settled in Eketahuna were mostly Swedish. They arrived in Wellington on the 'Forfarshire' on 4th March 1873 and, after a brief period of rest at the immigration barracks, made their way over the Rimutakas to Kopuaranga north of Masterton, where a camp had been established by earlier Scandinavian arrivals. These were mostly Norwegian, Danish and some Germans. Living conditions in this temporary accommodation were crowded, primitive and unhygienic but there they had to stay since their promised new home at the Eketahuna Block, some 35 kilometres north, had not been surveyed.
It was in October 1873 that four of these hardy God-fearing Lutheran immigrants, Nis Lund and Anders Olsen, each with wife and child, Berndt Syversen with wife and three children and Anders Andersen without his wife who had remained behind at Kopuaranga as she was expecting a child, made their way to Waiwaka, three kilometres south of the present township. There they found a derelict surveyor's hut which they made weatherproof and which became their 'home' until the men had completed the stretch of road to the Eketahuna Block. They were joined by other Scandinavian helpers including Alex Jacobsen who found no spare room so he and his wife improvised accommodation in a hollow hinau log with a canvas sheet over one end. It at least kept the elements from them! The Jacobsen's daughter, Annie Louise, (later Mrs Hardingham) was the first white child born in Eketahuna - on 29th January 1875.
The settlers called their new home Mellemskov which means, 'Heart of the Forest' and maps of the 1870s give this name for the settlement. However, by the end of the seventies the name had reverted to the Maori one of Eketahuna which means, 'to run aground on a sandbank'; so named by the 'tangata whenua' to describe that location where their waka or canoes could travel no further up the Makakahi River, which bisects the township. Peter Best
Reproduced courtesy www.eketahunakiwicountry.co.nz
1830 - 1902
Watercolour 35 x 66
Signed & dated 1891
18,000 - 25,000
53 CHRISTOPHER AUBREY
Eketahuna
1864 - 1929
Titahi Bay
Watercolour 25 x 40
Signed & inscribed
2,500 - 3,500
55 WILLIAM GEORGE BAKER 1864 - 1929
Mt Cooper, Titahi Bay
Watercolour 8.5 x 14
Signed 800 - 1,200
56 WILLIAM GEORGE BAKER 1864 - 1929
Ohiro Farm, Brooklyn, Wellington
Watercolour 38 x 49
Signed & dated 10.7.1884
4,000 - 6,000
1879 photo of Ohiro Farm, Brooklyn, Wellington
WILLIAM GEORGE BAKER
b. 1939
Kiwi and Weta
Watercolour 52 x 38
Signed
15,000 - 25,000
57 RAYMOND CHING
58 RAYMOND CHING
b. 1939
Straw Necked Ibis
Oil on panel 53.3 x 38.1
Signed & dated 1981
15,000 - 20,000
Illustrated p. 178 Wild Portraits - Paintings & Drawings by Raymond Harris-Ching
Peter Hansard & Raymond Harris-Ching, Seto Publishing, Auckland 1988
The study with the pair of Straw-Necked Ibis, show Harris-Ching’s continuing interest in both the splendour and diversity of glossy plumage and reflect his quite obsessive curiosity with the surface of things. The artist’s dilemma remains the challenge of capturing the tenuous facets of light by means of solid and permanent strokes of paint.
Text: Wild Portraits - Paintings & Drawings by Raymond Harris-Ching, Peter Hansard, Seto Publishing, Auckland 1988
1933 - 1978
Signed & dated 1963 verso
24,000 - 32,000
59 EDWARD BULLMORE
Cuban Missile Crisis Oil on canvas 67 x 57
New Zealand 19th Century
50
One signed & dated 1904. Both inscribed verso
8,000 - 12,000
60 JOSEPH GAUT
Ratima Te Rongo, Chief Wairarapa & Miroa the Captive Maiden - A Pair
Oil on canvas 65 x
60
60
61 WILLIAM GEORGE BAKER
1864 - 1929
Lake Wakatipu
Oil on canvas 32 x 47
Signed & inscribed
3,000 - 4,000
See framed image page 119
62 ALFRED WILSON
1859 - 1916
Kaikoura Coast
Watercolour 10 x 12.7
Signed & dated 1911
800 - 1,200
63 CHARLES BLOMFIELD
1848 - 1926
Whanganui River with Ruapehu Beyond
Oil on board 30 x 40
Signed & dated 1889
4,500 - 6,500
WALSH
1894 - 1961
Potts Road, Canterbury
Oil on board 50 x 60
Signed
2,500 - 3,500
Signed
15,000 - 20,000
65 RAYMOND CHING
b. 1939
Goosander Pair
Oil on board 49 x 82.8
64 COLIN LOVELL-SMITH
1869 - 1947
8,000 - 12,000
1910 - 1995
Late Summer
Oil on board 60.8 x 90
Signed
12,000 - 15,000
66 FRANCES HODGKINS
Quayside, Concarneau
Watercolour 19 x 24
67 PETER MCINTYRE
7,000 - 10,000
1910 - 1995
130.2 Signed 8,000 - 12,000
68
68 PETER MCINTYRE 1910 - 1995
Merced River, California Oil on canvas 60 x 74.3 Signed
69 PETER MCINTYRE
x
70 JOHN WEEKS
1888 - 1965
Scottish Fishing Village
Mixed media on paper 30 x 41
Signed 2,000 - 3,000
Weeks O’Connor studio stamp verso
71 JOHN WEEKS 1888 - 1965
Paris
Mixed media on paper 21 x 30
2,500 - 3,500
72 JOHN WEEKS 1888 - 1965
Afternoon on the Seine, Paris
Oil on canvas 36 x 44.5
Signed 5,000 - 8,000
Weeks O’Connor studio stamp verso
73 MINNIE FRANCES WHITE 1891 - 1983
Lake Wanaka Oil on canvas board 40.3 x 50.2
Signed 1,400 - 1,800
74 JOHN WEEKS 1888 - 1965
King Country Oil on canvas 33 x 45
Signed 1,500 - 2,500
Weeks O’Connor studio stamp verso
75 JOHN WEEKS 1888 - 1965
St Tropez
Mixed media on paper 50 x 61
3,000 - 5,000
77
1865 - 1926
Milford Sound Oil on canvas 74.5 x 59
Signed 2,500 - 3,500
1845 - 1925
Hollyford Valley Oil on canvas 60 x 90
Signed
3,000 - 5,000
76 THOMAS REGINALD ATTWOOD
HENRY WILLIAM KIRKWOOD
78 JAMES PEELE
1846 - 1905
Gathering Wildflowers
Oil on canvas 88.5 x 58
Signed
4,000 - 6,000
79 JOHN BARR CLARKE HOYTE
1835 - 1913
Mountain Scene, Southland
Watercolour 55 x 40
Signed
8,000 - 12,000
80 WALTER ARMIGER BOWRING
1874 - 1931
Hioani Ngapuhi (Remuera)
Watercolour 20.5 x 14
Signed
2,000 - 3,500
Walter Armiger Bowring was born in Auckland in 1874. He illustrated New Zealand’s involvement in the South African War. He was an illustrator for the Christchurch Press and a painter in oil and watercolour of historical subjects and portraits. Bowring died in Sydney, NSW in 1931.
Archives New Zealand Documentation, National Collection of War Art
81 GIROLAMO
PIERI BALLATI NERLI
1860 - 1926
Neapolitan Peasant Woman
Oil on board 43 x 22
Signed 8,000 - 12,000
Nerli was born in Siena in 1860. His father was an Italian aristocrat, and perhaps it was from him that Girolamo inherited the style and flair for which he later became famous. The young Girolamo went to Florence to study art, and there he encountered a group of Italian artists called the Macchiaioli, who were reacting against the formal rules of art of the time. Inspired by them, he brought a distinctly different approach to painting, first to Australia, then to New Zealand.
Nerli was a flamboyant individual as well as an unconventional painter, and his three years in Dunedin helped to make the city the art centre of the country. He was elected to the council of the Otago Art Society, and in 1894 was one of a group of three artists who opened the Otago Art Academy. He was a charismatic teacher, and his private classes were so popular that the Dunedin School of Art and Design decided to employ him as a teacher of painting. It was clearly better to hire him than compete with him.
Nerli encouraged his students to look beyond the limitations of New Zealand art to the innovativeness of Europe. Among these students was Frances Hodgkins, who later became one of New Zealand’s most famous expatriate artists. In 1896, Nerli suddenly moved to Auckland where he opened a studio and exhibited his work. In 1898, he married Marie Cecilia Josephine Barron, and immediately after their marriage the couple sailed for Australia. They never returned to New Zealand, although from time to time Nerli sent back paintings for exhibition. Eventually, he went back to Europe with Marie. The last years of his life were a struggle with poverty as he tried to rebuild his declining reputation. He died in Italy in 1926.
82 TOM ESPLIN
1915 - 2005
Chioggia, Venice
Oil on board 26 x 38
Signed 5,500 - 7,500
83 JOHN ELDER MOULTRAY
1865 - 1922
Kinloch, Queenstown Oil on board 20 x 29
Signed 2,500 - 3,500
84 WILLIAM MATTHEW HODGKINS
1833 - 1898
Otira Valley Watercolour 23.8 x 30
Signed
4,000 - 6,000
85 MARGARET OLROG STODDART
1865 - 1934
Fluers Hut, St Ives, Cornwall Watercolour 25 x 35
Signed
7,000 - 9,000
86
Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the Royal collection s of both England and Thailand. Badcock was a Kelliher Art Award winner and several books have been published on his work. He gained second prize in the 1959 Kelliher Art Award and third prize in the 1962 award. Badcock died in 2009.
I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it.
When I'm painting I let the subject reveal itself. Picasso said `I don't seek, I find'. And finding is a revelation - intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there's no vision, if we don't see beauty in nature any more, then we're nowhere. Douglas Badcock, Listener, 2004
86 DOUGLAS BADCOCK
1922 - 2009
Backwater Midday, Bendigo, Lake Dunstan Oil on board 39 x 60
Signed & dated 1991
3,500 - 4,500
Provenance: Estate of Douglas Badcock
87 DOUGLAS BADCOCK
1922 - 2009
Motapu Peak, Wanaka Oil on board 44.5 x 60
Signed & dated 1985
4,500 - 6,500
Provenance: Estate of Douglas Badcock
88 DOUGLAS BADCOCK 1922 - 2009
Windblown Autumn Hawera Oil on board 40 x 65
Signed 1,400 - 1,800
89 DOUGLAS BADCOCK 1922 - 2009
Midsummer Heat, Lindis River, Ardgour Oil on board 40 x 65
Signed 1,400 - 1,800
90 JOHN BARR CLARKE HOYTE 1835 - 1913
Whangarei Harbour
Watercolour 28 x 37
Signed
8,000 - 12,000
1891 - 1949
1891 - 1949
92 VERA CUMMINGS
Patara Te Tuhi
Oil on canvas 19 x 14
3,500
91 VERA CUMMINGS
Harata Rewiri Tarapata - In Maori Cloak Oil on canvas 24 x 19
- 3,000
7,000 - 9,000
95 A AUSTEN DEANS b. 1915
Distant Mt Somers
x
CEDRIC SAVAGE
96 A AUSTEN DEANS
b. 1915
Reclining Nude Oil on board 22.5 x 44
Signed & dated 2005 1,500 - 2,500
97 A AUSTEN DEANS
b. 1915
Lake Wakatipu
Watercolour 38 x 55
Signed 2,500 - 3,500
98 A AUSTEN DEANS b. 1915
Rockscape with Mt Sibbald Oil on board 55.5 x 81
Signed 4,000 - 6,000
99 A AUSTEN DEANS
b. 1915
Early Summer, Peel Forest Watercolour 36 x 54
Signed & dated 1955
2,500 - 3,500
Signed
3,000 - 5,000
100
100 LIZZIE MAY-WATSON
19th Century
Cupid & Flora
Oil on canvas 79 x 48
101 HENRY WILLIAM KIRKWOOD 1854 - 1925
Sunset, George Sound
Oil on board 30.5 x 45.5
Signed 2,500 - 3,500
102 WILLIAM GEORGE BAKER 1864 - 1929
Near Greytown
Oil on board 29 x 44
Signed & inscribed 1,500 - 2,500
103 ALBERT EDWARD ALDIS 1869 - 1921
Waikato River
Oil on canvas 30 x 44.5
Signed
800 - 1,400
104 ALBERT EDWARD ALDIS 1869 - 1921
Lake Waikaremoana
Oil on canvas 30 x 44.5
Signed & dated 1896
800 - 1,400
105 SCHOOL OF JOHN GULLY
19th Century New Zealand
Mt Cook
Watercolour with irregular, rounded top corners 16.2 x 25
Signed with monogram lower right
800 - 1,200
106 SCHOOL OF JOHN GULLY
19th Century New Zealand
Volcanic Mountain - NZ
Watercolour with irregular, rounded top corners
16.2 x 25
800 - 1,200
1855 - 1940
Manukau Harbour
Oil on board 14 x 24.5
Signed
800 - 1,400
108 GEORGE
CARRINGTON 1855 - 1940
Near St Leonards, Otago
Oil on board 17 x 35.5
Signed
800 - 1,400
109 GRACE BUTLER 1870 - 1962
Otago Snow
Oil on canvas board 26 x 42
Signed
800 - 1,500
110 HENRY WILLIAM KIRKWOOD 1854 - 1925
Becalmed
Watercolour 14.2 x 22.4
Signed
800 - 1,200
107 GEORGE WILLIAM CARRINGTON
WILLIAM
1854 - 1925
A Rift in the Clouds Oil on board 14 x 22
Signed
800 - 1,500
1854 - 1925
Nancy Sound Oil on board 22.5 x 14
Signed
800 - 1,500
112 112 HENRY WILLIAM KIRKWOOD
111 HENRY WILLIAM KIRKWOOD
113 JOHN DOUGLAS PERRETT
1859 - 1937
Takapuna Beach from Rangitoto
Oil on canvas 20 x 29
Signed 1,000 - 2,000
114 HENRY WILLIAM KIRKWOOD
1854 - 1925
Calm Seas
Watercolour 21 x 12.5
Signed
800 - 1,200
115 ALBERT EDWARD ALDIS
1869 - 1921
Auckland Harbour from Titirangi
Oil on canvas 20 x 38
Signed 1,500 - 2,000
116 JAMES CROWE RICHMOND
1822 - 1898
St Michael’s Mount, Cornwall
Watercolour 24 x 41.5
Signed & dated 1887
800 - 1,200
117 JOHN DOUGLAS PERRETT
1859 - 1937
Rangitoto
Oil on board 15 x 19
Signed
800 - 1,200
118 WALTER WRIGHT
1866 - 1933
Freemans Bay, Auckland, c. 1900 Oil on board 19 x 31
Signed
800 - 1,200
119 ARTIST UNKNOWN
New Zealand 19th Century
Great Barrier Island Oil on canvas 19 x 31
Signed M.H.B., inscribed Great Barrier Island & dated 1906
800 - 1,200
120 HENRY WILLIAM KIRKWOOD
1854 - 1925
Ruamahanga River, Wairarapa Oil on board 14.4 x 24.3
Signed
800 - 1,200
121 ALBERT EDWARD ALDIS
1869 - 1921
Clevedon Oil on board 24 x 29.5
Signed
800 - 1,200
Celebrating Forty Fabulous Years 1971 - 2011
CONTEMPORARY & Collectable Art
Auction: 6:00pm Thursday 5th May
Max Gimblett
Dick Frizzell
Eileen Mayo
Jenny Dolezel
Ian Scott
Joshua Robbins
Allen Maddox
Mervyn Williams
Entries Close 4th April Viewing commences Friday 29th April Catalogue online from 21st April www.fineartauction.co.nz
Mike Petre
Important, Early & Rare Art Auction Wednesday 30th March 2011
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Private Treaty Sales - Please contact me when works by the following artists are available for sale by private treaty
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Celebrating Forty Fabulous Years 1971 - 2011
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