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Important,Early& Rare 6:30pm Wednesday 30th March 2011

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N LY A U CT I O N E E R S O F P I CT U R E S E X C L U S IV E LY Celebrating Forty Fabulous Years 1971 - 2011 1


Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz

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Important,Early& Rare 6:30pm Wednesday 30th March 2011 Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Parnell, Auckland

Lot 28

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

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N LY A U CT I O N E E R S O F P I CT U R E S E X C L U S IV E LY Celebrating Forty Fabulous Years 1971 - 2011

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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

International Art Centre, 272 Parnell Road, Auckland

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

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Auction Venue

Viewing Times

Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Auckland.

International Art Centre’s 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 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.

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

Monday

28th March

9:00am - 5:00pm

Tuesday

29th March

9:00am - 5:00pm

Wednesday

30th March

9:00am - 12noon

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. Scarborough Gallery Auction Room

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1997

1989

1971

Forty Fabulous Years of Auctioning Art 1971 - 2011

Visit www.internationalartcentre.co.nz to view our 40th Anniversary album 2000

2006

2005

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2008


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

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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

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N LY A U CT I O N E E R S O F P I CT U R E S E X C L U S IV E LY Celebrating Forty Fabulous Years 1971 - 2011

Lot 4 PETER SIDDELL

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Charles Blomfield $42,000 July

Felix Kelly $18,300 November

John Weeks $8,000 March 20

Vera Cummings $12,000 March

Alfred Sharpe $57,000 March Karl Maughan $19,750 December

Sam Stuart $33,750 November Dick Frizzell $18,250 July

Douglas Badcock $6,150 July Artist Unknown $20,500 November

Peter McIntyre $20,500 July

Peter Siddell $22,800 November

Prices quoted include premium rounded to the nearest $100

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Kees Bruin $22,800 July

Michael Hight $20,500 December

A A Deans $9,200 August


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

Lucien Pissarro $62,750 July

Charles Frederick Goldie $573,000 November

Charles Blomfield $11,400 July

Charles Decimus Barraud $51,300 July

Charles Frederick Goldie $222,500 July

Frances Hodgkins $70,700 March

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PETER SIDDELL 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

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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

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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

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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


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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

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KARL MAUGHAN b. 1964 Naseby Street Oil on canvas 107 x 122 Signed 14,000 - 16,000


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PETER SIDDELL b. 1935 Cypress Trees Oil on board 60 x 39.5 Signed & dated 1982 15,000 - 20,000

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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

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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 d rowning, 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

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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.

Soy yo que pide, que quiere. Él que por ti cruje y suspira.

Am I she asks, he wants. He cracks it for you and sighs.

Soy yo que vive y que muere. Que todo lo da por un solo beso.

Am I living and dies. That gives everything by a kiss.

Soy él que sufre, él que no duerme y sueña. Él pronuncia tu nombre al viento.

I am he who suffers, he who never sleeps and dream. He pronounces your name in the wind.

Una y tantas veces llamándote, queriéndote cuando estás cerca, cuando estás lejos.

One and many times calling you, loving you when you are near, when you’re away.

Soy él que flota en tu mar, en tus aguas. Sumergido en ti, mecido en silencios.

I am he that floats in your sea in your water. Dipped in you, rocked in silence.

Poem by Pedro Vegara Meersohn affixed verso

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NIGEL BROWN b. 1949 Luck and Me Acrylic on board 78 x 58.5 Signed, inscribed & dated 2004 9,000 - 12,000

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NIGEL BROWN What Are Yah? Acrylic on board 78 x 57.8 Signed, inscribed & dated 2004 9,000 - 12,000

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MICHAEL HIGHT b. 1961 Kopua - Hawkes Bay Oil on canvas 66.1 x 182.7 Signed & dated 2005 19,000 - 24,000

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MILAN MRKUSICH b. 1925 Achromatic Dark with Red Mixed media on paper 53 x 42 Signed & dated 1982 15,000 - 20,000


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ROBERT ELLIS b. 1929 The City Passed By Oil on hardboard 91.5 x 76 Signed & dated 1965 9,000 - 12,000

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IAN SCOTT b. 1945 Small Lattice No. 345 Acrylic on canvas 90.5 x 90.5 Signed & inscribed verso 4,500 - 6,500

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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.

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MICHAEL HIGHT b. 1961 Gimmerburn Oil on canvas 51 x 101.4 Signed & dated 2006 9,000 - 11,000

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TREVOR MOFFITT 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


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TOSSWILL WOOLLASTON 1910 - 1998 Tasman Bay from Mahina Watercolour 30 x 42 Dated 1985 4,500 - 6,500

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TOSSWILL WOOLLASTON 1910 - 1998 Taramakau Oil on board 60 x 80.5 18,000 - 26,000


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JOHN WEEKS 1888 - 1965 Still Life with Roses Oil on board 36 x 38.5 Signed 2,500 - 3,500

Important, Early & Rare Wednesday 30th March 2011

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MAUD WINIFRED SHERWOOD 1880 - 1956 The Camping Ground at Dee Why, NSW Watercolour 44 x 54.5 Signed 6,000 - 10,000

Provenance: Maud Sherwood Family Collection


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THOMAS ARTHUR MCCORMACK 1883 - 1973 Still Life with Fruit Watercolour 55 x 37 Signed 1,000 - 2,000


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RUDI GOPAS 26 1917 - 1983 Portrait of Artist’s Daughter Watercolour 42 x 33 Certificate of Authenticity affixed verso 2,500 - 3,500 JOHN HOLMWOOD 1910 - 1987 Spring Evening Oil on board 95 x 61.5 Signed & dated 1974 3,000 - 5,000

DOROTHY KATE RICHMOND 1861 - 1935 Goldfish Study Gouache on paper 40.5 x 40.5 Signed 800 - 1,200 Provenance: Ex Belinda Hector Collection, (Richmond Family)

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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

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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.

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Louise Henderson with Les Deux Amies, November 1953

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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’.

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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. Lot 30 framed

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.

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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.

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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


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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 32

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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

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SAM STUART 1855 - 1920 Point Britomart and Commercial Bay Oil on board 25 x 43 Signed 11,000 - 16,000

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SAM STUART 1855 - 1920 Point Britomart from Official Bay, Auckland Oil on board 25 x 43 Signed 11,000 - 16,000

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MARGARET OLROG STODDART 1865 - 1934 White Daisies and Butterfly Watercolour 66 x 48.5 Signed & dated 1894 12,000 - 16,000

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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.


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ADAM EDWIN PROCTOR British 1864 - 1913 The Cottage Gardener Oil on canvas 75 x 50 Signed & dated 1902 10,000 - 15,000

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PETRUS VAN DER VELDEN 1837 - 1913 The Card Players Oil on canvas 70 x 94 25,000 - 35,000


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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.

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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

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Important, Early & Rare Wednesday 30th March 2011

Detail


55


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.

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

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56

Important, Early & Rare Wednesday 30th March 2011

Seventeen images of the Pink and White Terraces.


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42

PETER MCINTYRE 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.

42

There is a sparkle in Auckland that seems to come from its harbour and the blue beyond - Peter McIntyre 58

Important, Early & Rare Wednesday 30th March 2011


59


44

43

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VERA CUMMINGS 1891 - 1949 Maori Chief Oil on canvas 30 x 24.4 Signed 4,500 - 6,500

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Important, Early & Rare Wednesday 30th March 2011

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CHARLES BLOMFIELD 1848 - 1926 Hinemoa’s Pool, Mokoia Island, Lake Rotorua Oil on canvas 44 x 60 Signed & dated 1905 6,000 - 9,000

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VERA CUMMINGS 1891 - 1949 Harata Rewiri Tarapata Oil on canvas 29.5 x 24 Signed 3,000 - 4,000


45

46

CHARLES BLOMFIELD 1848 - 1926 Kauri Bush Oil on board 43 x 29 Signed. Inscribed verso 3,000 - 5,000

46

61


48

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

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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

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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

62

Important, Early & Rare Wednesday 30th March 2011


49

63


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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. 50

64

Important, Early & Rare Wednesday 30th March 2011


51

65


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.

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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

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Important, Early & Rare Wednesday 30th March 2011

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


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53

CHRISTOPHER AUBREY 1830 - 1902 Eketahuna Watercolour 35 x 66 Signed & dated 1891 18,000 - 25,000

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1879 photo of Ohiro Farm, Brooklyn, Wellington WILLIAM GEORGE BAKER 1864 - 1929 Titahi Bay Watercolour 25 x 40 Signed & inscribed 2,500 - 3,500

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68

Important, Early & Rare Wednesday 30th March 2011

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WILLIAM GEORGE BAKER 1864 - 1929 Mt Cooper, Titahi Bay Watercolour 8.5 x 14 Signed 800 - 1,200

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WILLIAM GEORGE BAKER 1864 - 1929 Ohiro Farm, Brooklyn, Wellington Watercolour 38 x 49 Signed & dated 10.7.1884 4,000 - 6,000


56

69


57

57

70

Important, Early & Rare Wednesday 30th March 2011

RAYMOND CHING b. 1939 Kiwi and Weta Watercolour 52 x 38 Signed 15,000 - 25,000


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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

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71


59

59

72

Important, Early & Rare Wednesday 30th March 2011

EDWARD BULLMORE 1933 - 1978 Cuban Missile Crisis Oil on canvas 67 x 57 Signed & dated 1963 verso 24,000 - 32,000


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60

60

JOSEPH GAUT New Zealand 19th Century Ratima Te Rongo, Chief Wairarapa & Miroa the Captive Maiden - A Pair Oil on canvas 65 x 50 One signed & dated 1904. Both inscribed verso 8,000 - 12,000

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WILLIAM GEORGE BAKER 1864 - 1929 Lake Wakatipu Oil on canvas 32 x 47 Signed & inscribed 3,000 - 4,000

See framed image page 119

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ALFRED WILSON WALSH 1859 - 1916 Kaikoura Coast Watercolour 10 x 12.7 Signed & dated 1911 800 - 1,200

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CHARLES BLOMFIELD 1848 - 1926 Whanganui River with Ruapehu Beyond Oil on board 30 x 40 Signed & dated 1889 4,500 - 6,500

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62

74

Important, Early & Rare Wednesday 30th March 2011


63

75


64

76

Important, Early & Rare Wednesday 30th March 2011


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COLIN LOVELL-SMITH 1894 - 1961 Potts Road, Canterbury Oil on board 50 x 60 Signed 2,500 - 3,500

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RAYMOND CHING b. 1939 Goosander Pair Oil on board 49 x 82.8 Signed 15,000 - 20,000

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66

66

FRANCES HODGKINS 1869 - 1947 Quayside, Concarneau Watercolour 19 x 24 8,000 - 12,000

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Important, Early & Rare Wednesday 30th March 2011

67

PETER MCINTYRE 1910 - 1995 Late Summer Oil on board 60.8 x 90 Signed 12,000 - 15,000


67

79


68

68

PETER MCINTYRE 1910 - 1995 Merced River, California Oil on canvas 60 x 74.3 Signed 7,000 - 10,000

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Important, Early & Rare Wednesday 30th March 2011

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PETER MCINTYRE 1910 - 1995 Coastal Scene - Big Sur Oil on canvas 101.5 x 130.2 Signed 8,000 - 12,000


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81


70

71

82

Important, Early & Rare Wednesday 30th March 2011

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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

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JOHN WEEKS 1888 - 1965 Paris Mixed media on paper 21 x 30 2,500 - 3,500

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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


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83


00 73

74

84

Important, Early & Rare Wednesday 30th March 2011

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MINNIE FRANCES WHITE 1891 - 1983 Lake Wanaka Oil on canvas board 40.3 x 50.2 Signed 1,400 - 1,800

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JOHN WEEKS 1888 - 1965 King Country Oil on canvas 33 x 45 Signed 1,500 - 2,500

Weeks O’Connor studio stamp verso

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JOHN WEEKS 1888 - 1965 St Tropez Mixed media on paper 50 x 61 3,000 - 5,000


75

85


76

77

76

86

THOMAS REGINALD ATTWOOD 1865 - 1926 Milford Sound Oil on canvas 74.5 x 59 Signed 2,500 - 3,500

Important, Early & Rare Wednesday 30th March 2011

HENRY WILLIAM KIRKWOOD 1845 - 1925 Hollyford Valley Oil on canvas 60 x 90 Signed 3,000 - 5,000


77

87


79

78

88

Important, Early & Rare Wednesday 30th March 2011


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JAMES PEELE 1846 - 1905 Gathering Wildflowers Oil on canvas 88.5 x 58 Signed 4,000 - 6,000

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JOHN BARR CLARKE HOYTE 1835 - 1913 Mountain Scene, Southland Watercolour 55 x 40 Signed 8,000 - 12,000

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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 80

89


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.

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90

Important, Early & Rare Wednesday 30th March 2011

TOM ESPLIN 1915 - 2005 Chioggia, Venice Oil on board 26 x 38 Signed 5,500 - 7,500


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91


83

84

92

Important, Early & Rare Wednesday 30th March 2011

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JOHN ELDER MOUltRAY 1865 - 1922 Kinloch, Queenstown Oil on board 20 x 29 Signed 2,500 - 3,500

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WILLIAM MATTHEW HODGKINS 1833 - 1898 Otira Valley Watercolour 23.8 x 30 Signed 4,000 - 6,000

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MARGARET OLROG STODDART 1865 - 1934 Fluers Hut, St Ives, Cornwall Watercolour 25 x 35 Signed 7,000 - 9,000


85

93


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

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.

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DOUGLAS BADCOCK 1922 - 2009 Motapu Peak, Wanaka Oil on board 44.5 x 60 Signed & dated 1985 4,500 - 6,500

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.

Provenance: Estate of Douglas Badcock

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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

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Important, Early & Rare Wednesday 30th March 2011


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95


88

89

96

Important, Early & Rare Wednesday 30th March 2011

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DOUGLAS BADCOCK 1922 - 2009 Windblown Autumn Hawera Oil on board 40 x 65 Signed 1,400 - 1,800

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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


90

97


91 92

91

VERA CUMMINGS 1891 - 1949 Harata Rewiri Tarapata - In Maori Cloak Oil on canvas 24 x 19 Signed 2,000 - 3,000

98

Important, Early & Rare Wednesday 30th March 2011

92

VERA CUMMINGS 1891 - 1949 Patara Te Tuhi Oil on canvas 19 x 14 Signed 2,500 - 3,500


93

93

TOM ESPLIN 1915 - 2005 Mediterranean Port Oil on canvas 29 x 65.5 Signed 7,000 - 9,000

99


94

94

100

CEDRIC SAVAGE 1901 - 1969 Rural Scene, Otago Oil on board 33 x 43 Signed 1,500 - 2,500

Important, Early & Rare Wednesday 30th March 2011

95

A AUSTEN DEANS b. 1915 Distant Mt Somers Watercolour 47 x 63 Signed & dated 1992 6,000 - 8,000


95

101


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

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97

102

Important, Early & Rare Wednesday 30th March 2011


98

103


99

104

Important, Early & Rare Wednesday 30th March 2011


99

A AUSTEN DEANS b. 1915 Early Summer, Peel Forest Watercolour 36 x 54 Signed & dated 1955 2,500 - 3,500

100

LIZZIE MAY-WATSON 19th Century Cupid & Flora Oil on canvas 79 x 48 Signed 3,000 - 5,000 100

105


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

101

102

106

Important, Early & Rare Wednesday 30th March 2011


103

105

104

106

107


108 107

107

GEORGE WILLIAM CARRINGTON 1855 - 1940 Manukau Harbour Oil on board 14 x 24.5 Signed 800 - 1,400

109

108

Important, Early & Rare Wednesday 30th March 2011

108

GEORGE WILLIAM 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


110

111

HENRY WILLIAM KIRKWOOD 1854 - 1925 A Rift in the Clouds Oil on board 14 x 22 Signed 800 - 1,500

112

112

HENRY WILLIAM KIRKWOOD 1854 - 1925 Nancy Sound Oil on board 22.5 x 14 Signed 800 - 1,500

111

109


113

113

JOHN DOUGLAS PERRETT 1859 - 1937 Takapuna Beach from Rangitoto Oil on canvas 20 x 29 Signed 1,000 - 2,000

118

WALTER WRIGHT 1866 - 1933 Freemans Bay, Auckland, c. 1900 Oil on board 19 x 31 Signed 800 - 1,200

114

HENRY WILLIAM KIRKWOOD 1854 - 1925 Calm Seas Watercolour 21 x 12.5 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

115

ALBERT EDWARD ALDIS 1869 - 1921 Auckland Harbour from Titirangi Oil on canvas 20 x 38 Signed 1,500 - 2,000

120

HENRY WILLIAM KIRKWOOD 1854 - 1925 Ruamahanga River, Wairarapa Oil on board 14.4 x 24.3 Signed 800 - 1,200

116

JAMES CROWE RICHMOND 1822 - 1898 St Michael’s Mount, Cornwall Watercolour 24 x 41.5 Signed & dated 1887 800 - 1,200

121

ALBERT EDWARD ALDIS 1869 - 1921 Clevedon Oil on board 24 x 29.5 Signed 800 - 1,200

117

JOHN DOUGLAS PERRETT 1859 - 1937 Rangitoto Oil on board 15 x 19 Signed 800 - 1,200

Celebrating Forty Fabulous Years 1971 - 2011 114

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Important, Early & Rare Wednesday 30th March 2011


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Thank You End of Sale Next Auction Contemporary & Collectable Art 5th May 2011

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Max Gimblett

Jenny Dolezel

CONTEMPORARY & Collectable Art

Allen Maddox

Auction: 6:00pm Thursday 5th May Joshua Robbins

Dick Frizzell

112

Important, Early & Rare Wednesday 30th March 2011 Eileen Mayo

Ian Scott

Mervyn Williams


CONTEMPORARY & Collectable Art Auction: 6:00pm Thursday 5th May

Entries Close 4th April Viewing commences Friday 29th April Catalogue online from 21st April www.fineartauction.co.nz

Mike Petre

T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y

272 Parnell Road Auckland Tel +64 9 379 4010

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MIKE NORRIS latest release

Kookaburra Only 12 available Pre-order now 0800 800 322 Visa / Mastercard / bank deposit

View Mike Norris full range of bronze sculptures www.internationalartcentre.co.nz

Bronze edition of 12 worldwide release $6,800 each View and purchase from

43 x 25cm 114

Important, Early & Rare Wednesday 30th March 2011

272 Parnell Road Auckland Tel +64 9 379 4010 www.intrernationalartcentre.co.nz


Albert Park Fountain Oil on canvas 122 x 173cm

Paul Coney -Contemporary Elegance 272 Parnell Road Auckland Tel +64 9 366 6045 www.internationalartcentre.co.nz E XT R A O R D I N A RY A RT F O R E XT R A O R D I N A RY P E O P L E 115


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Absentee Bid Form Important, Early & Rare Art Auction Wednesday 30th March 2011 Please bid on my behalf for the following lots up to the price recorded below. Bids are to be executed as cheaply as is permitted by other bids or reserves, if any, and subject to Conditions of Sale printed in this catalogue.

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Bid $NZ excluding buyers premium

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/ 2011

International Art Centre offers this service to clients unable to attend sale. International Art Centre is not responsible for error or failure to execute bids.

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Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151 before 3pm 30th March

116

Important, Early & Rare Wednesday 30th March 2011

272 PARNELL ROAD AUCKLAND NEW ZEALAND PH 09 379 4010 www.fineartauction.co.nz


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272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N LY A U CT I O N E E R S O F P I CT U R E S E X C L U S IV E LY Celebrating Forty Fabulous Years 1971 - 2011 117


Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm Wednesday 30th March 2011. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not accepted.

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No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction.

FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises.

SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include our buyers premium.

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OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 12.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 14.38% including GST) www.fineartauction.co.nz


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Celebrating Forty Fabulous Years 1971 - 2011 272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz

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Important, Early & Rare NZ Art Auction