May 2016 Modern & Contemporary Art

Modern & Contemporary Art Tuesday 24 May 2016

Conditions of Sale & A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final.

The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the

whole or any part of the purchase price.

The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

Each lot shall be paid for and removed at the buyers expense by no later than 4pm Friday 27 May 2016 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected or paid for whilst auction is in progress.

SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES Estimates are provided for each entry and act as a guide only.

They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include our buyers premium.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security.

Absentee bids can also be left via our website to registered members. International Art Centre website www.fineartauction. co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid.

Our staff will gladly supply you with a condition report on any lot.

TELEPHONE BIDS Telephone bidding available to subscribers. There is no charge for this service.

PAYMENT FACILITIES Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises until full payment is made.

Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit. Quote the Lot number(s) Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted.

FREIGHT & PACKING International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost.

Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area.

OTHER ENQUIRIES +64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots.

Total buyers premium is 17.25% including GST

Modern & Contemporary Art 6:30pm Tuesday 24 May 2016

EX T R AO R D I N A RY A R T F O R E X T R AO R D I N A RY P E O P LE 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz

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Auction Date & Venue 6:30pm Tuesday 24 May 2016 Scarborough Gallery, International Art Centre Lower Ground Level 272 Parnell Road, Auckland

Viewing Times Wednesday

18 May

9:00am - 5:30pm

Thursday

19 May

9:00am - 5:30pm

Friday

20 May

9:00am - 5:00pm

Saturday

21 May

11:00am - 4:00pm

Sunday

22 May

11:00am - 4:00pm

Monday

23 May

9:00am - 5:30pm

Tuesday

24 May

9:00am - 1pm ( Auction 6:30pm)

Lot 29 Heather Straka

Absentee Bidding Absentee Bid Form - page 96 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz Conditions of Sale - inside front cover Bid via website www.fineartauction.co.nz Front cover:

Illustration left: Back cover:

Lot 26 SĂŠraphine Pick Lot 22 Andrew McCleod Lot 27 Max Gimblett

Directors: Richard Thomson, Frances Davies & Grahame Chote 272 PARNELL ROAD, AUCKLAND PO BOX 37 344 AUCKLAND 1151 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

Lot 60 Patricia France

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6 April Important & Rare highlights

Going Going Goldie!

$1.377 million incl. bp

Surpassing the previous record $732,800 achieved at our November 2013 auction

C F Goldie fetched $1,175,000 plus buyers premium International Art Centre’s 6 April Important & Rare auction achieved a record result with the highest price ever paid for a painting at auction in New Zealand.

International Art Centre already held that position when C F Goldie’s Kawhena, painted in 1892, was auctioned in 2013. This was Goldie’s first Maori portrait and fetched $732,800.

and via internet and telephone. Over a period of ten minutes, with mounting excitement, the bid climbed from $600,000 to $1,175,000. History was made and applause resounded, as a bidder in the rooms secured Goldie’s final portrait. A pencil drawing by Goldie also fetched a record when it sold for a hammer price of $80,000.

Last month, Goldie’s 1941 portrait Wharekauri Tahuna aged 102 made a spectacular $1,175,000 under hammer, with premium, $1,377,000. The first painting to exceed $1million dollars in a New Zealand auction room.

A small oil by Don Binney sold for $92,500 against an estimate of $50,000 – 75,000 while two small Colin McCahons sold at the top of their estimates, reaching $62,500 and $34,000. This landmark auction saw around $2.5million in sales under hammer. We now invite consignments for our August Important & Rare auction.

Intense media and public interest throughout the viewing resulted in spirited bidding both in the room

J B C Hoyte fetched $57,500

Don Binney fetched $92,500

Peter McIntyre fetched $23,500

Judy Millar fetched $8,750

Colin McCahon fetched $62,500

W A Sutton fetched $8.250 C F Goldie fetched $80,000

Rita Angus fetched $7.200

Above are hammer prices exclusive of buyers premium

Colin McCahon fetched $34,000 5

Paul Coney Commissions

Lavender Garden Oil on two canvas panels 100 x 300 cm

Parnell Garden - A recent six panel commission

272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 366 6045 www.internationalartcentre.co.nz Commisisons accepted fran@artcntr.co.nz

Announcing a Unique Auction 14 JULY 2016

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In our 47 years of trade we have never seen anything like it . . .

Save the date

Can you keep a secret . . .

We can, be sure to be on our electronic mailing list for this landmark auction www.fineartauction.co.nz

info@internationalartcentre.co.nz 7

International Art Centre’s Important & Rare auctions are the proven, preeminent sale category for major works offered through the New Zealand art market. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw International Art Centre realise five of New Zealand’s top ten auction prices.

The following year saw new records set with the two top prices in Auckland achieved at our Important and Rare auctions. With the addition of record prices paid in April’s recent sale International Art Centre has now achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Be part of the excitement - Consign Today Richard Thomson richard@artcntr.co.nz 0274 751 071 Toll Free 0800 800 322 or +64 9 379 4010

Important & Rare

AUGUST 2016

JOHN BARR CLARKE HOYTE Pink Terraces, Rotomahana fetched $57,500 plus premium April 2016

On April 6, Charles Goldie’s magnificent 1941 portrait of Wharekauri Tahuna was sold by International Art Centre for $1.3m, making it the most expensive work of art to have been sold at auction in New Zealand.

The energy and national excitement generated by this record sale is still palpable and will forever be an important milestone in New Zealand’s art historical narrative. Experience Equals Results.

EXTRAORDINARY ART FOR EXTRAORDINARY PEOPLE 9

CHARLES FREDERICK GOLDIE AND THE VALUE OF THE SECONDARY MARKET On April 6, Charles Goldie’s magnificent 1941 portrait of Wharekauri Tahuna was sold by International Art Centre for $1.3m, making it the most expensive work of art to ever have been sold at auction in New Zealand. The energy and national excitement generated by this record-breaking sale is still palpable and will forever be an important milestone in New Zealand’s art historical narrative.

From a market-based perspective, it is obvious that the sale of Wharekauri Tahuna is testament to New Zealand’s burgeoning art market potential. More significantly, however, it represents the maturation of our collective national relationship with Charles Frederick Goldie, and speaks to the inherent value of Goldie’s art as a mainstay of our cultural currency.

In considering the various factors which have culminated in such a robust market appetite for Goldie’s paintings, the role of the secondary (auction) market as arbiters of taste and value is paramount. International Art Centre is proud to have played a long-standing role as the leading secondary market vendor for Goldies, and as the single major influence in the Goldie market to date. Since 1971, International Art Centre have spearheaded growth in the market with a number of record-breaking Goldie sales. The success of the current market is in many ways the product of this unique and productive relationship which has linked International Art Centre's boundary-pushing sales with the artist’s work over the last 45 years. Extrapolating some of the highlights of these sales over the decades will offer insight into the machinations and motivations of this market: Going back to the 1980s, it is interesting to note that despite the overall economic strength and market stability of this era (prior to 1987), prices attained for Goldie's work at auction were not in accordance with the corresponding climate of financial buoyancy. This can be linked to the political and reputational discord being experienced by Goldie’s work at the time. For the market to evolve from this point, a certain academic endurance and culturallydisclaiming acceptance needed to crystallise.

Further evidence of the Goldie market’s ability to rebut the economic climate can be found in International Art Centre's 2008 sale of the magnificent 1933 portrait of Hori Pokai. This realised a record price of $454,000, well in excess of its $240,000 - $280,000 estimate, and standing in glorious defiance of the imminent economic downturn: a testament in its own right to the bullishness of the art market. The painting, also known as Sleep ‘tis a Gentle Thing, is an iconic work, and its wholehearted reception by the buying public affirmed the increasingly unshakeable nature of Goldie’s market.

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In considering the 'value' of art, there is a tendency to indulge the notion that art historical truth and reputation are qualities which exist independently of time, place and market fluctuations, and that the financial value of works by major artists - such as Goldie - is derived from this higher academic authority. However, it would be inaccurate to presume that the market appetite for Goldie’s works has been informed by, and followed the trajectory of, his academic reputation.

Rather than responding in a delayed manner to the art historical or institutional climate, the market for Goldie’s work in fact grew as a result of, and in the context of, a process of collaborative exchange between vendor and institution. The fluidity of this market / institutional relationship is perfectly exemplified in the 1992 sale by International Art Centre of two important Goldie works, Darby and Joan and The Widow, to the National Art Gallery for the sum of $900,000 plus GST. Not only did the sale serve to affirm Goldie’s commercial worth, but it also amplified his institutional presence and recognition, solidifying the visibility of his position in the New Zealand art historical canon. In this sense, and particularly with consideration to the Goldie market, it is important to realise that the relationship between market value and 'inherent' artistic value is dynamic, and the two are inextricable.

Two years after the sale of Hori Pokai, in 2010, the scene was once again set at International Art Centre as a record price of $573,000 was achieved for the sale of Forty Winks. This sale is of particular interest insofar as it offers an important point of consideration regarding the value of provenance. The portrait is a splendid work, exhibiting the very finest aspects of Goldie’s technical expertise, and is the only known work to have been painted of the sitter Rutene Te Uamairangi. The large scale and superb technical detail of the work magnificently showcase qualities highly sought-after in Goldie’s work. Furthermore, the work came from the collection of Dame Kiri Te Kanawa, affording it a significant additional aspect of cultural value, the elusive aura of its provenance drawing both on the celebrity status and authoritative cultural endorsement implied by the fact of its previous owner.

One further interesting aspect of the cultural-economic phenomenon which constitutes the market for Goldie’s work relates to the buying public’s unwavering commitment to the totality of the artist’s oeuvre. An increase in demand and more profound appreciation of Goldie’s work in recent years has prompted a dedicated approach to the acquisition of his paintings in a manner which extends far beyond a tokenistic mode of acquisition, or trophy collecting. This all-encompassing rigour and enthusiasm for the artist’s work has been evidenced by two key sales in particular. In 2012, International Art Centre's momentous sale of Goldie’s 1892 Kawhena achieved what was, at the time, another record price of $732,800. It is important to note that this work, Goldie’s first portrait of a Maori kaumatua, had never before been presented to the market, and did not carry the same degree of celebrity as, say, Forty Winks. Moreover, the highly-polished formal attributes of Kawhena are representative of Goldie’s early technique, and do not necessarily align closely with those most readily-identifiable and classically sought-after aspects of his work. The work is exquisite, and the fact that the market responded so eagerly to a previously unknown, arguably untraditional painting of Goldie’s demonstrates a genuine desire to celebrate the complexity and diversity of his artistic output, rather than just perfunctorily engaging with his trademark style.

This brings us back to the most recent sale of Wharekauri Tahuna, which stands in circular witness to the sale of Kawhena, book-ending Goldie’s career as the last-known portrait to have been completed, and once again setting a record for the artist. Notably, this was accompanied in the same sale by an outstanding Goldie drawing which achieved an exceptional hammer price of $80,000 against an estimate of $15,000 - $25,000. Looking ahead from the point of this watershed moment in the New Zealand art market history, the sale of Wharekauri Tahuna will without a doubt pave the way for the market to continue to flourish and break bold new territory in years to come.

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MICHAEL PAREKOWHAI Spaceman Cigarettes Screenprint, 19/70 80 x 50 Signed, inscribed & dated 2011 2,000 - 3,000

DON BINNEY Swoop of the Kotare, Waimanu Screenprint, edition 7/175 66 x 48 Signed, inscribed & dated 1980 4,000 - 6,000

3 BILL HAMMOND Picnic

Screenprint, edition of 30, 54 x 68

Signed, inscribed & dated 2007

4,000 - 6,000 Provenance:

Private Collection, Auckland

Purchased from Peter McLeavey Gallery

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PETER SIDDELL One Tree Hill Oil on board 36 x 39 Signed & dated 5/1970 2,000 - 4,000

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DON BINNEY Motutapu Takahe Release III Screenprint, edition 14/80 43 x 60 Signed, inscribed & dated 2012 2,000 - 3,000

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YVONNE WESTRA Releasing the Shutter #3 Photograph 20 x 30 Signed, inscribed and dated 2003 400 - 600

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MICHEL TUFFREY Povi Fa Series 1 Steel sculpture with tin cans 34 x 53 Signed & dated 2004 5,000 - 8,000

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MICHEL TUFFREY Cooks Transator Tupia Acrylic on tin plate 9 x 48.5 Signed & dated 2004 1,000 - 2,000

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9 ISRAEL TANGAROA BIRCH

Kei a Te Po the Timatatanga O Te Waiata

tanga mai o te atua - It was in the

night that the gods sung the world into existenceÂ

Acrylic on paper 24 x 98

Signed & dated 2008

1,800 - 2,500

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JENNY DOLEZEL That Lift Home Oil pastel on paper 27 x 76 Signed, inscribed & dated 1987 3,500 - 4,500

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FRAN DIBBLE Untitled Mixed media collage 17 x 12 Signed & dated 2007 650 - 850

13 ROHAN WEALLEANS Untitled

Mixed media sculpture 95 x 85

2,500 - 3,500 11

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SAFFRONN TE RATANA L.L.P.BLK 1 2001 - Diptych Mixed media on two boards 62 x 120 Signed, inscribed & dated July 2001 verso 2,000 - 3,000

Exhibited:

Purangiaho: Seeing Clearly, Auckland Art

Gallery September - November 2001 17

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HELEN BROWN Hauraki Gulf Oil on canvas 51 x 76 Signed & dated 1975 5,000 - 8,000

15 MICHAEL HIGHT Hyde

Oil on canvas 40.8 x 50.8

Signed, inscribed & dated 2006

4,500 - 5,500 16 KARL MAUGHAN Takaro

Oil on canvas 102.5 x 102

Signed, inscribed & dated 2015 verso

11,000 - 13,000 18

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LORENCE TAUREREWA Wogengroupe 1 Graphite on rice paper, 63.5 x 50.8 Signed, inscribed & dated 2013 1,500 - 2,000

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QUENTIN MACFARLANE Studio Sketch - Northland Coast Oil on canvas 58 x 47.5 Signed Inscribed & dated 1981 verso 1,800 - 2,500

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MARY MCINTYRE Death and the Maiden Oil on 100 wooden panels 150 x 150 Signed, inscribed & dated 2002 15,000 - 20,000

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20 DON BINNEY Cornfield

Oil on paper 17.5 x 29

Signed & dated 1996

14,000 - 18,000

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KARL MAUGHAN Monet’s Garden Oil on canvas 200 x 160 Signed & dated 1995 verso 25,000 - 35,000

Provenance:

Private Collection, NSW

Acquired by present owner 1995

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ANDREW MCCLEOD Miracle of Fishes, 2003 Pigmented inkjet print, edition of 3, 142 x 106 9,000 - 12,000

Provenance:

Purchased in 2003 Peter McLeavey Gallery

by current owner

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COLIN MCCAHON Near Craigieburn no. 4 Synthetic polymer paint on board 29.2 x 29.6 Signed & dated 1969 Inscribed verso 30,000 - 40,000

Provenance:

Private Collection since 1995 Webb’s, Fine New Zealand Paintings &

Foreign Paintings, Drawings and Prints, Auckland, 22/11/1995

Colin McCahon database no. cm000349 Near Craigieburn no. 4 belongs to a series of works by McCahon where he sought to depict the Cantabrian landscape through expressions of textured, painterly dynamicity.

Contained within a modest square form, this work possesses a powerful, meditative potency.

The yellowed hues of the landforms imbue the painting with an almost ethereal sense of sepiatoned timelessness, while at the same time offering something of a geographically non-specific, sublime abstraction. Thus, the painting’s form, colour and painted texture bear witness to a certain universal truth as interpreted by McCahon.

McCahon’s depictions of the distinctive northwest region of Canterbury, Craigieburn, represent an interesting moment in his artistic production.

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These works were accomplished in 1969 - having recently transformed an industrial shed in Muriwai into his studio, McCahon was at this time immersed in a complex, intersemiotic exploration of his spirituality and artistic identity. This included the articulation of a number of his key ideas and philosophical explorations through a large series of text-based religious works. Near Craigieburn no. 4 is an accomplished work which offers a glimpse into the artist’s spiritual relationship and dialogue with the landscape at this seminal point in his career.

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BILL HAMMOND Wishbone Ash, Cornwall Rd Cave 2 Oil on canvas 110 x 85 Signed, inscribed & dated 2011 130,000 - 160,000

Provenance:

Private Collection Wellington

Purchased from Peter McLeavey Gallery Painted in Lyttleton in 2011, Wishbone Ash, Cornwall Rd Cave 2 depicts Hammond’s interpretation of Canterbury after the earthquakes. Land has receded and a new day dawns full of optimism and promise of the new.

Note the luminosity of the yellow-skirted birds with their elegant, graceful bodies Blowin’ Free just like the Wishbone Ash classic itself.

The joyful, powerful and exquisitely euphoric.

Wishbone Ash, Cornwall Rd Cave 2 is strikingly presented in it’s artist selected antique gilt frame.

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MAX GIMBLETT Both Light Gesso, acrylic and vinyl polymers,iridescent gold fine, epoxy, acqua size, swiss gold leaf on canvas 204 x 204 Signed, inscribed & dated 2009 verso 70,000 - 90,000

Provenance:

Private Collection, Wellington

Purchased Page Blackie Gallery, Wellington

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26 SÉRAPHINE PICK Sevens

Oil on linen 200 x 165

Signed & dated 2013

55,000 - 70,000 Provenance:

Private Collection

Purchased Station Gallery, Melbourne Exhibited:

Séraphine Pick: White Noise,

The Dowse 27 June 2015 – 17 January 2016 Wellington based Séraphine Pick is a painter of national significance, one of the most successful artists of her generation. Over the last two decades Pick has become well known for her lyrical painting, in which she explores subject matter such as dreams, memory and psychology that dip in and out of everyday life.

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Sevens

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MAX GIMBLETT Fra Angelico - The Golden Rule Gesso, red clay, gold leaf on wood panel 101.5 x 101.5 Signed, inscribed & dated 2007 verso 50,000 - 60,000

Provenance:

Purchased Page Blackie Gallery, Wellington

Private Collection, Wellington

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PAUL DIBBLE Huia Feather, 2001 Unique bronze sculpture, 260 x 55 x 55 Signed on base 60,000 - 80,000

Provenance:

Private Collection, Auckland

Exhibited:

The Calici Smile, Bowen Galleries,

Wellington 2001

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29 HEATHER STRAKA Playdate

Oil on cotton coated board 88 x 60

Signed & dated 2012

10,000 - 14,000 Provenance:

Private Collection, Wellington

Purchased from exhibition Playdate,

Page Blackie Gallery, Wellington, 2012

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30 TOSSWILL WOOLLASTON

Bayleys Hill, Taranaki

Oil on board 60 x 75 Signed

20,000 - 30,000 Provenance:

Private Collection, Otago

Purchased from Fine New Zealand Paintings

auction, International Art Centre, July 2003 40

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RALPH HOTERE Drawing for Ian Weddes “Pathway to the Sea” Watercolour 56 x 76 Signed, inscribed & dated 1974 20,000 - 26,000

Provenance:

Private Collection, Otago

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LATE ENTRY 31A

RALPH HOTERE Black Painting Brolite lacquer on hardboard 121.5 x 60.5 Signed, inscribed & dated Dunedin1969 verso 35,000 - 45,000

Provenance:

Private Collection, Auckland

Robert McDougall Art Gallery label affixed verso

Canterbury Society of Arts label affixed verso

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DICK FRIZZELL Red Sea Oil on canvas 150 x 185 Signed, inscribed & 11/8/2007 24,000 - 28,000

Provenance:

Private Collection, Auckland

Purchased by current owner 2007 who hung it in their New

York apartment 2007 - 2010 and later San Francisco

2010 - 2015

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ANDY LELEISI’UAO Choirs of Plytadis Part II Acrylic on linen 76.4 x 60.8 Signed & dated 2013 3,800 - 4,800

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TERRY STRINGER Untitled - Fruit Tree Cast bronze, edition of 5, 35 x 20.5 Signed & dated 1983 2,500 - 3,500

35 TERRY STRINGER Table

Bronze 103 x 40 x 28

Signed & dated 1983

17,500 - 22,500

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36 TERESA H R LANE

Men @ Work, Sea of Men

Gesso & acrylic ink on reclaimed ply

wood 117 x 119 Signed

Inscribed & dated 2015 verso

1,800 - 2,200 Provenance

Cover of Concrete Magazine

Volume 58, no. 1, 2015

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MICHAEL DELL Large Cluster Acrylic on linen 80 x 80 Signed, inscribed & dated 2005 verso 5,000 - 6,000

38 MICHAEL HIGHT Kurow

Oil on canvas 105 x 162

Signed, inscribed & dated 2-IV-01

15,000 - 20,000 Provenance:

Private Collection Wellington

Purchased from Janne Land Gallery, Wellington 2001

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HENRYK SZYDLOWSKI The Frogs Concert Oil on canvas 30 x 41 Signed & dated 1989 Inscribed verso 1,500 - 2,500

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HENRYK SZYDLOWSKI The Birds Concert at Night Oil on canvas 38 x 36 Signed & dated 1989 Inscribed verso 1,500 - 2,500

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GRETCHEN ALBRECHT Sunset over Wakatipu Acrylic on canvas 170 x 170 Signed & dated 1972 14,000 - 18,000

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42 ZENA ELLIOTT

Transit, 2014

Acrylic & spray paint on

marine ply 102.1 x 102 Signed

4,500 - 6,000

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CHARLOTTE HANDY In this Hour Oil & acrylic on canvas 79 x 79 Signed & dated 2010 4,000 - 5,000

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GRETCHEN ALBRECHT Heart 80’ Acrylic on paper 80 x 60 Signed, inscribed & dated 1980 8,000 - 12,000

Provenance:

Private Collection, Dunedin since 1980

Purchased Abernathy’s Galleries, Dunedin

Heart 80’ is a unique, rare and symbolic of

Albrecht’s move from Quadrants into Curves and Hemispheres. Heart 80’ embraces

both the curve and quarter sphere and

precursor of the Hemisphere.

Albrecht was awarded the Frances

Hodgkins fellowship at the University

of Otago in 1981 50

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COLIN MCCAHON Canterbury Plains ContĂŠ crayon on paper 20 x 26 Signed, inscribed & dated 1948 8,000 - 12,000

Provenance:

Private Collection, Auckland

Colin McCahon database no. cm000481 Exhibited: An Exhibition of Paintings from July

1947 to August 1948 by Colin McCahon,

Dunedin Public Library Hall, September 1948 52

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RALPH HOTERE Wiremu Kingi Whiti to HapuronaRangiaohia 1861 Ink on paper 56 x 40 Signed, inscribed & dated 1972 18,000 - 25,000

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ROBERT ELLIS Hereturikoka / August Oil & acrylic on linen 101.5 x 71 Signed & dated 2005 15,000 - 20,000

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JUSTIN SUMMERTON Whareakeake from Purakanui Oil on canvas 102 x 152 Signed & dated 2016 6,000 - 8,000

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KEES BRUIN Cave Rock at Night Oil on canvas 80 x 120 Signed & dated 1985 15,000 - 20,000

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MIKE PETRE Landscape 139 Oil on canvas 130 x 160 Signed, inscribed & dated 2013 14,000 - 17,000 57

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SHANE COTTON Alpha / Omega Lithograph, edition 5/25 52.5 x 75 Signed, inscribed & dated 1998 1,000 - 1,500

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JAMES WATKINS Red Roof at Dusk Oil on canvas 24 x 49.5 Signed, dated 2005 2,000 - 2,500

53 SHANE COTTON Hopa

Lithograph, edition 5/25 52.5 x 75

Signed, inscribed & dated 1998

1,000 - 1,500 54 SHANE COTTON

Broken Water

Screenprint, edition of 40 x 50 Signed

1,200 - 1,400 55 ELIZABETH REES

View Eight - Momentum Series

Oil on canvas 137 x 137 Signed

Inscribed verso

4,000 - 6,000

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Provenance:

Private Collection, Wellington

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LUISE FONG Feral III Chinese ink, watercolour, gouache, synthetic flocking on canvas 61 x 92 Signed, inscribed & dated 1994 verso 2,500 - 3,500

57 GRETCHEN ALBRECHT Cascade

Mixed media collage, 140 x 240

Signed, inscribed & dated 1988

10,000- 20,000

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EION STEVENS Turning a Blind Eye Oil on board 36 x 55 Signed, dated 7/83 verso 800 - 1,200 61

59 PATRICIA FRANCE

A Difference of Opinion

Gouache 39 x 45 Signed

Inscribed & dated 1984 verso

3,000 - 5,000 Provenance:

Private Collection

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60 PATRICIA FRANCE

The Woman in the Pink Hat

Oil on board 48.5 x 38 Signed

6,000 - 8,000 Provenance:

Private Collection Illustrated:

Painting out the Past : The life and art of

Patricia France, Richard Donald

Longacre Press 2008

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EMILY KARAKA Ko Au Te Awa Oil on canvas 152 x 304 Signed & inscribed 8,000 - 12,000

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GARRY CURRIN Various Distances Apart III Oil on canvas 80.3 x 90 Signed, inscribed & dated 2010 8,000 - 10,000

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EMILY KARAKA Motutapu Waewaetapu Triptych Mixed media on canvas 152 x 304 Signed & inscribed 8,000 - 12,000

Exhibited

Manawhenua Fields of Stone,

Mangere Arts Centre, 2015

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RUSSELL JACKSON Cow. 1137 Oil on board 20 x 20 Signed & inscribed 800 - 1,200

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ROBYN KAHUKIWA Pare Kawakawa Oil & alkyd on canvas 46 x 60 Signed & dated 2011 800 - 1,200

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66 MARK OLSEN Olive

Oil on canvas 100 x 100 Signed

1,500 - 2,500 67 GARRY CURRIN Untitled

Oil on canvas on board 112 x 109

Signed & dated 1993

800 - 1,200 68

SARA HUGHES Runway, 2000 Oil on canvas 58 x 58 Signed, inscribed & dated 2000 verso 1,000 - 2,000

Provenance:

Made in Hong Kong,

George Fraser Gallery, Auckland, 2000 66

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69

70

PHILLIPA BLAIR Las Senderas Oil on canvas 152 x 100 Signed & dated 1994 2,500 - 3,500

70

PAMELA WOLFE Las Senderas Oil on canvas 152 x 100 Signed & dated 1994 2,500 - 3,500

Provenance:

Corporate Collection, Auckland

67

71

68

71

PHILPPA BLAIR Untitled Triptch Oil on three stretched canvas panels 91 x 183 1,500 - 3,000

74 VIRGINIA KING Link

Bronze sculpture on wooden base,

edition of 10, 40 x 40

2,000 - 3,000

72

JEFF THOMPSON Fern Motif Corrugated steel spiral 33 x 51 800 - 1,200

73

JEFF THOMPSON Ridge Line from Roofing Suite Screenprinted Corrugated Roof 21 x 31 Signed & dated 2003 400 - 600

75

JUSTIN SUMMERTON Forget it Dick, The Recession Will Soon be Over Acrylic on paper 51 x 41 Signed & dated 2010 3,000 - 4,000

72

73

74

75

69

76 ROBERT WYNNE

Australian b. 1950 Untitled

Glass and sandstone sculpture 32 x 61 Signed

500 - 1,000

77

JANE EVANS Young Lovers in the Night Oil pastel, pastel, gouache and watercolour 60.5 x 40 Inscribed & dated 1998 verso 3,500 - 4,500

78 PETER MCINTYRE

Cable Car Lane, Wellington

Watercolour 72.5 x 53.5 Signed

10,000 - 15,000

Card affixed verso reads: With Best Wishes Peter McIntyre

Provenance:

Private Collection, Wellington Illustrated:

plate 12, Peter McIntyre’s, Wellington

A H & A W Reed, 1975 70

71

79 DOUGLAS BADCOCK Queenstown

Oil on board 47 x 60

Signed & dated 1953

8,000 - 12,000

72

80

DOUGLAS BADCOCK Lake Kirkpatrick and the Hills at Moke Oil on board 56 x 71 Signed & dated 1958 Inscribed verso 4,000 - 6,000

73

82

GAVIN CHILCOTT Caryatid and Flowers Mixed media on paper 56 x 76 Signed & dated 2002 1,500 - 2,500

81 81

MICHAEL SMITHER Hawkdun Range, Central Otago Acrylic on paper 24 x 98 Signed & dated 2008 1,800 - 2,500

83 DOUGLAS MACDIARMID Landscape

Oil on board 35.4 x 53

Signed & dated 1973

$2,000 - 3,000

84 QUENTIN MACFARLANE Untitled

Gouache on paper 49 x 72 Signed

2,000 - 3,000

85

REUBEN FRIEND Huaki Pouri - From the World of Darkness Acrylic on board 120 x 79 Signed, inscribed & dated 2005 verso 800 - 1,200

86

MICHAEL SMITHER Bell Bird Song Acrylic on canvas 51 x 51 Signed & dated 2008 verso 1,000 - 2,000

87

DICK FRIZZELL Another Big Kiss Screenprint, edition printers proof, 80 x 75 Signed & dated 2009 2,000 - 3,000

82

74

83

84

86

85

87

75

88 SHANE HANSEN Whanaungatanga

Oil on board 120 x 240

Signed & inscribed verso

1,000 - 1,500 Provenance:

Corporate Collection, Auckland 89 RUSSELL JACKSON

Invasion of the Frog People of Browns Island

Oil on board 120 x 120

Signed, inscribed & dated 1992

1,500 - 2,500 Provenance:

Corporate Collection, Auckland 90 ALISTAIR NISBET-SMITH Head

Oil on canvas 122 x 76

800 - 1,200 76

92

TED DUTCH War Machine Handmade screenprint, edition of 28, 38 x 52 Signed, inscribed & dated 1967 1,000 - 1,500

90 91

MATTHEW COUPER Planchette Gamble Oil on metal 18 x 13 Signed, inscribed & dated MMXIII 700 - 1,200

Exhibited:

The Artist As Peasant

Auckland Art Faiir 7 - 11 August 2013 77

93 DICK FRIZZELL Masterpiece

Screenprint, edition 23/80 56.5 x 76.5

Signed, inscribed & dated 2003

700 - 1,200 94

JOHN REYNOLDS Panton Chair Acrylic on Panton Chair Classic

by Vernon Panton 2010 1,200 - 1,800

95 RUDY WHITEHEAD LOPEZ Untitled

Oil on board 75 x 50

Signed & dated 2003

400 - 600 93

94

78

96

JANE GRAY Bach Series Oil on foamboard 120 x 87 Signed & inscribed 2,000 - 3,000

97

JANE GRAY Inner Beauty Oil on deer skull 80 x 48 600 - 1,000

98

TERRY STRINGER Nude Study Watercolour 56 x 32 Signed & dated 1980 1,000 - 1,500

99

CRISTINA POPOVICI Anima Chaise #1 Painted fibreglass chair 800 - 1,200

100 ALLEN MADDOX Untitled

Lithograph, edition 5/12 64 x 46

Signed & dated 1986

600 - 800

99

97 95 101

JANE GRAY Head in the Clouds Acrylic on PVC 100 x 100 Signed & inscribed 600 - 1,000

100

96

98

101

79

102

105

106 103

80

104

107

108

109

102

STANLEY PALMER The Three Boatman, Pipiotahi Bamboo engraving, edition of 100 41 x 65.5 Signed, inscribed & dated 1994 800 - 1,200

103

STANLEY PALMER Motu - Maraenui Bamboo engraving, edition of 100 42 x 60 Signed, inscribed & dated 1989 800 - 1,200

104

STANLEY PALMER Arrival - Western Viaduct Artist’s proof, edition of 100, 41.5 x 60.5 Signed, inscribed & dated 1988 800 - 1,200

105

STANLEY PALMER Antipodean Albatross Screenprint 56 x 76 Signed & dated 2012 800 - 1,200

106

MICHAEL SMITHER Beach and Clouds Screenprint, 1/16 25 x 39 Signed & dated 1977 800 - 1,200

107 NIGEL BROWN Aotearoa

Woodcut, edition 65 x 85 Signed

1,200 - 1,800 108

PARATENE MATCHITT Murara ana te ao Screenprint 38/50 35 x 50 Signed & dated 2011 650 - 850

109

PARATENE MATCHITT The Whawhai Totou Kutoa Mote Ora Screenprint 35 x 50 Signed & dated 2011 650 - 850

81

113

110

82

111

112

110

JANE EVANS The Pink Dress Watercolour 75 x 57 Signed & dated 1985 4,000 - 6,000

111 PIERA MCARTHUR

The Orchestra

Crayon on paper 49 x 71 Signed

1,200 - 1,600 112

JANE EVANS Lady with a Blue Hat Watercolour 60 x 36 Signed & dated 1988 3,000 - 5,000

113

PIERA MCARTHUR Repeated Curtain Calls Indian ink and watercolour 25 x 45 Signed & inscribed 800 - 1,200

114

PETER JAMES SMITH Shield of Orion Acrylic on paper on canvas 70 x 200 Signed, inscribed & dated 1997 3,500 - 4,500

115 SIMON EDWARDS

Urban Grain II, 2007

Oil on board 33.7 x 43.6 Signed

3,600 - 4,200

83

116

84

117

118

119

116

PIERA MCARTHUR Nudes at Play Mixed media on paper 54 x 72 Signed, inscribed & dated 1982 1,500 - 2,500

117 DICK FRIZZELL Open

Acrylic on paper 20.5 x 14

Signed & dated 1/4/2004

1,000 - 2,000 118 TED DUTCH Jazzmen

Handmade screenprint,

edition of 50, 43 x 57

Signed, inscribed & dated 2003

800 - 1,200

120

119 PRO HART Flowers

Oil on board 12 x 10 Signed

2,400 - 2,800 120

STANLEY PALMER Parengarenga Morning Bamboo engraving, 19/50, 40 x 72 Signed inscribed & dated 2004 800 - 1,200

121 RIDUAN TOMKINS Untitled

Acrylic on paper 31 x 32

1,800 - 2,200

121

Provenance:

Purchased directly from the artist by the

current owner 122 RIDUAN TOMKINS

Untitled (Blue / Green)

Lithograph, edition of 14 30.5 x 60.5 Signed

800 - 1,200 122

85

125 123

123

124 EILEEN MAYO Linodendrom

Woodblock print, edition 9/50 20 x 16.5

Signed & inscribed

800 - 1,200 125

86

124

EILEEN MAYO Musk Duck Woodblock print, edition 9/50 18 x 20 Signed & inscribed 800 - 1,200

126

PETER CRAMOND On the Land Pencil on paper 30 x 88 Signed & dated 2011 400 - 700

127 126

128 KENT BADDELEY Solitude of Must Oil on canvas 91 x 112 Signed, inscribed & dated 2005 verso 800 - 1,200

127 PATRICIA FRANCE

Upon Consideration

Oil on board 45 x 38 Signed

3,500 - 4,500

128 PATRICIA FRANCE

Sudden in a Shaft

of Sunlight

Oil on board 29 x 23 Signed

2,500 - 3,500

129 ROBIN WHITE

Remembering Childhood Nightmares

Woodblock print,

edition 29/30 65.5 x 50

Signed, inscribed & dated 1986

600 - 1,000

129

87

130 FRANK GROSS Fossills

Watercolour 60 x 50 Signed

800 - 1,200 131 PARATENE MATCHITT Huakina

Silkscreen print, edition of 20, 55.3 x 81

Signed, inscribed & dated 1986

1,500 - 2,000

130

132

ROSS RITCHIE Three - Barry Lett Gallery Multiple Screenprint 72 x 55 300 - 500

133

GORDON CROOK Morning Call Lithograph on stienback paper, edition 11/12, 110 x 72 Signed, inscribed & dated 1984 500 - 1,000

134

PETER JAMES SMITH Rain II Acrylic on paper on canvas 26 x 126 Signed, inscribed & dated 1997 2,000 - 3,000

135

MICHAEL SMITHER Breaking Waves Screenprint, edition, 66 x 48 Signed & dated 1970 800 - 1,200

136

ALAN TAYLOR Maungawhau Mt Eden Screenprint, edition 16/40, 72 x 55 Signed, Inscribed & dated 2006 400 - 600

137 ALAN TAYLOR Maungapohatu

Screenprint, edition 10/30, 76 x 52 Signed

400 - 600

88

131

138 JOS KIVITS

Still Life

Oil on panel 28 x 23 Signed

500 - 1,000

132

137 135

133

134

136

138

89

139

LOUISE HENDERSON For Your Pleasure Only - No. 3 Series Oil on board 75 x 106 Signed & dated 1984 Inscribed verso 4,000 - 6,000

140 LOUISE HENDERSON

Study for a Stained Glass Window, 1960

Watercolour, gouache and pencil on

paper 69 x 90 Signed

4,000 - 6,000

90

Believed to be the study for the stained glass window for Church of the Holy Cross, Henderson, Auckland

91

141 141 LOUISE HENDERSON

Abstract - Pink

Gouache on paper 70 x 86 Signed

1,000 - 1,500

92

142

LOUISE HENDERSON Portrait of Thomas Lucke - Artist’s husband Oil on board 91 x 61 Inscribed ‘Thomas Lucke’ verso 500 - 1,000

143

LOUISE HENDERSON Abstract Composition Oil on board 74.5 x 205 3,000 - 5,000

142 144

LOUISE HENDERSON Harbour Landscape Oil on jute on board 59.5 x 90 Signed & dated 1991 500 - 1,000

145 LOUISE HENDERSON

Peacock Design No.4

Watercolour, gouache and pencil on

paper 69 x 90 Signed

400 - 600

143

144

145

93

146

147

146

LOUISE HENDERSON Harbour Landscape Oil on canvas 60 x 90 Inscribed ‘Thomas Lucke’ verso 500 - 1,000

151 WILLIAM JAMES REED

Maori Girl, Otago

Oil on board 39.5 x 49.5 Signed

800 - 1,200

155

ALVIN PANKHURST Drawing For Last Stand Pencil on paper 19 x 36 Signed & dated 2012 500 - 1,000

147

LOUISE HENDERSON Untitled Abstract Landscape Oil on canvas 60 x 90 Inscribed ‘Thomas Lucke’ verso 500 - 1,000

152

156

ALVIN PANKHURST Drawing For Lost Luggage Pencil on paper 38 x 59 Signed & dated 2010 800 - 1,200

148 GEOFF WILLIAMS

Still Life

Pencil on paper 16 x 20 Signed

700 - 1,100 149 MARK CROSS

Waioneke Mangroves

Pencil on paper 41 x 55 Signed

800 - 1,200 150 DOUGLAS BADCOCK

Near South Westport

Oil on canvas 30 x 39 Signed

1000 - 2,000

94

STANLEY PALMER From Newmarket Monotype 71 x 69.5 Signed, inscribed & dated 1987 800 - 1,200

157 AUSTIN DAVIES 153 PETER SIDDELL

Of Woman and War Window

Acrylic on panel 18 x 21

Screenprint, edition of 150, Signed & dated 1996

57 x 44

300 - 500

Signed, inscribed & dated 1982 158 DAVID BARKER

800 - 1,200 Cones

Acrylic on board 31 x 27 154 TIM WILSON

Signed & dated 2010

Lake Te Anau Evening

800 - 1200

Oil on canvas board 30 x 40 Signed

2,000 - 3,000

155

148

152

156

149

157 150

151

153

154

158

95

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96

Index ALBRECHT G....................... 41, 44, 57 BADCOCK D.................... 79, 80, 150 BADDELEY K.................................. 126 BARKER D...................................... 158 BINNEY D................................. 2, 5, 20 BIRCH ISRAEL T................................. 9 BLAIR P...................................... 69, 71 BROWN N..................................... 107 BROWN H........................................ 14 BRUIN K........................................... 49 CHILCOTT G.................................... 82 COTTON S........................... 51, 53, 54 COUPER M...................................... 91 CRAMOND P................................ 125 CROOK G..................................... 133 CROSS M...................................... 149 CURRIN G................................. 62, 67 DAVIES A....................................... 157 DELL M............................................ 37 DIBBLE P.......................................... 28 DIBBLE F.......................................... 11 DOLEZEL J....................................... 10 DUTCH T.................................. 92, 118 EDWARDS S................................... 115 ELLIOTT Z.......................................... 42 ELLIS R............................................. 47 EVANS J...........................77, 110, 112 FONG L........................................... 56 FRANCE P..................59, 60, 127, 128 FRIEND R......................................... 85 FRIZZELL D....................32, 87, 93, 117 GIMBLETT M.............................. 25, 27 GRAY J...............................96, 97, 101

GROSS F........................................ 130 HAMMOND B............................. 3, 24 HANDY C........................................ 43 HANSEN S....................................... 88 HART P.......................................... 119 HENDERSON L............. 139, 140, 142, .............. 141, 143, 144, 145, 146, 147 HIGHT M 15, ................................... 38 HOTERE R.................................. 31, 46 HUGHES S........................................ 68 JACKSON R ............................. 64, 89 KAHUKIWA R................................... 65 KARAKA E................................. 61, 63 KING V............................................ 74 KIVITS J.......................................... 138 LANE TERESA H R............................ 36 LELEISI’UAO A................................. 33 MACDIARMID D............................. 83 MACFARLANE Q...................... 18, 84 MADDOX A.................................. 100 MATCHITT P................... 108, 109, 131 MAUGHAN K............................ 16, 21 MAYO E................................. 123, 124 MCARTHUR P................ 111, 113, 116 MCCAHON C........................... 23, 45 MCCLEOD A.................................. 22 MCINTYRE M.................................. 19 MCINTYRE P.................................... 78 NISBET-SMITH A............................... 90 OLSEN M......................................... 66 PALMER S............................. 102, 103, .............................. 104, 105, 120, 152 PANKHURST A....................... 155, 156

PAREKOWHAI M............................... 1 PETRE M.......................................... 50 PICK S.............................................. 26 POPOVICI C................................... 99 REED W J....................................... 151 REES E.............................................. 55 REYNOLDS J................................... 94 RITCHIE R....................................... 132 SIDDELL P.................................. 4, 153 SMITH PETER J....................... 114, 134 SMITHER M................ 81, 86, 106, 135 STEVENS E....................................... 58 STRAKA H........................................ 29 STRINGER T.......................... 34, 35, 98 SUMMERTON J.......................... 48, 75 SZYDLOWSKI H.......................... 39, 40 TAUREREWA L................................. 17 TAYLOR A.............................. 136, 137 TE RATANA S................................... 12 THOMPSON J............................ 72, 73 TOMKINS R............................ 121, 122 TUFFEREY M....................................7, 8 WATKINS J....................................... 52 WEALLEANS R................................. 13 WESTRA Y.......................................... 6 WHITE R......................................... 129 WHITEHEAD LOPEZ R...................... 95 WILLIAMS G.................................. 148 WILSON T...................................... 154 WOLFE P......................................... 70 WOOLLASTON T............................. 30 WYNNE R........................................ 76

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