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
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
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)
Front cover: Lot 26 Séraphine Pick
Illustration left: Lot 22 Andrew McCleod
Back cover: 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
6 April Important & Rare highlights
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.
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.
Going Going Goldie!
$1.377 million incl. bp
Surpassing the previous record $732,800 achieved at our November 2013 auction
Intense media and public interest throughout the viewing resulted in spirited bidding both in the room 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.
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.
J B C Hoyte fetched $57,500
Don Binney fetched $92,500
Peter McIntyre fetched $23,500
Judy Millar fetched $8,750
W A Sutton fetched $8.250
Rita Angus fetched $7.200
Colin McCahon fetched $62,500
Colin McCahon fetched $34,000
C F Goldie fetched $80,000
Lavender Garden Oil on two canvas panels 100 x 300 cm
Parnell Garden - A recent six panel commission
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
Important & Rare
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
JOHN BARR CLARKE HOYTE Pink Terraces, Rotomahana fetched $57,500 plus premium April 2016
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 affrmedtheincreasinglyunshakeable nature of Goldie’s market.
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 affrmGoldie’scommercialworth,butit 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.
2 DON BINNEY
Swoop of the Kotare, Waimanu
Screenprint, edition 7/175 66 x 48
Signed, inscribed & dated 1980
4,000 - 6,000
1 MICHAEL PAREKOWHAI
Spaceman Cigarettes
Screenprint, 19/70 80 x 50
Signed, inscribed & dated 2011
2,000 - 3,000
Screenprint, edition of 30, 54 x 68
Signed, inscribed & dated 2007
4,000 - 6,000
Provenance:
Private Collection, Auckland
Purchased from Peter McLeavey Gallery
3 BILL HAMMOND
Picnic
4 PETER SIDDELL
One Tree Hill Oil on board 36 x 39
Signed & dated 5/1970
2,000 - 4,000
5 DON BINNEY
Motutapu Takahe Release III
Screenprint, edition 14/80 43 x 60
Signed, inscribed & dated 2012
2,000 - 3,000
6 YVONNE WESTRA
Releasing the Shutter #3
Photograph 20 x 30
Signed, inscribed and dated 2003
400 - 600
7 MICHEL TUFFREY
Povi Fa Series 1
Steel sculpture with tin cans 34 x 53
Signed & dated 2004
5,000 - 8,000
8 MICHEL TUFFREY
Cooks Transator Tupia
Acrylic on tin plate 9 x 48.5
Signed & dated 2004
1,000 - 2,000
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 existence
Acrylic on paper 24 x 98
Signed & dated 2008
1,800 - 2,500
10 JENNY DOLEZEL
That Lift Home Oil pastel on paper 27 x 76
Signed, inscribed & dated 1987
3,500 - 4,500
11 FRAN DIBBLE
Untitled
Mixed media collage 17 x 12
Signed & dated 2007
650 - 850
Untitled
Mixed media sculpture 95 x 85
2,500 - 3,500
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
12 SAFFRONN TE RATANA
13 ROHAN WEALLEANS
14
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
17 LORENCE TAUREREWA
Wogengroupe 1
Graphite on rice paper, 63.5 x 50.8
Signed, inscribed & dated 2013
1,500 - 2,000
18
QUENTIN MACFARLANE
Studio Sketch - Northland Coast Oil on canvas 58 x 47.5
Signed Inscribed & dated 1981 verso
1,800 - 2,500
19 MARY MCINTYRE
Death and the Maiden Oil on 100 wooden panels 150 x 150
Signed, inscribed & dated 2002
15,000 - 20,000
20
Cornfield
Oil on paper 17.5 x 29
Signed & dated 1996
14,000 - 18,000
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
21 KARL MAUGHAN
DON BINNEY
22 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
23 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.
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.
24 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.
25 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
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.
Sevens
27 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
28 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
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
Bayleys Hill,
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
30
TOSSWILL WOOLLASTON
Taranaki
Drawing for Ian Weddes “Pathway to the Sea”
Watercolour 56 x 76
Signed, inscribed & dated 1974
20,000 - 26,000
Provenance: Private Collection, Otago
RALPH HOTERE
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 affxedverso
Canterbury Society of Arts label affxedverso
32 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
Choirs of Plytadis Part II
Acrylic on linen 76.4 x 60.8
Signed & dated 2013
3,800 - 4,800
Untitled - Fruit Tree
Cast bronze, edition of 5, 35 x 20.5
Signed & dated 1983
2,500 - 3,500
34
TERRY STRINGER
33 ANDY LELEISI’UAO
35 TERRY STRINGER
Table
Bronze 103 x 40 x 28
Signed & dated 1983
17,500 - 22,500
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
37 MICHAEL DELL
Large Cluster
Acrylic on linen 80 x 80
Signed, inscribed & dated 2005 verso
5,000 - 6,000
36
TERESA H R LANE
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
38
MICHAEL HIGHT
Kurow
39 HENRYK SZYDLOWSKI
The Frogs Concert Oil on canvas 30 x 41
Signed & dated 1989
Inscribed verso 1,500 - 2,500
40 HENRYK SZYDLOWSKI
The Birds Concert at Night Oil on canvas 38 x 36
Signed & dated 1989
Inscribed verso 1,500 - 2,500
41 GRETCHEN ALBRECHT
Sunset over Wakatipu
Acrylic on canvas 170 x 170
Signed & dated 1972
14,000 - 18,000
42 ZENA ELLIOTT
Transit, 2014
Acrylic & spray paint on marine ply 102.1 x 102
Signed 4,500 - 6,000
43 CHARLOTTE HANDY
In this Hour
Oil & acrylic on canvas 79 x 79
Signed & dated 2010
4,000 - 5,000
44 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
Canterbury Plains
Conté 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
Wiremu Kingi Whiti to HapuronaRangiaohia 1861
Ink on paper 56 x 40
Signed, inscribed & dated 1972
18,000 - 25,000
45 COLIN MCCAHON
46 RALPH HOTERE
71
Signed & dated 2005
15,000 - 20,000
Whareakeake from Purakanui
Oil on canvas 102 x 152
Signed & dated 2016
6,000 - 8,000
47 ROBERT ELLIS
Hereturikoka / August Oil & acrylic on linen 101.5 x
48 JUSTIN SUMMERTON
Signed & dated 1985
15,000 - 20,000
49 KEES BRUIN
Cave Rock at Night Oil on canvas 80 x 120
Landscape 139 Oil on canvas 130 x 160
Signed, inscribed & dated 2013 14,000 - 17,000
50 MIKE PETRE
51
52
SHANE COTTON
Alpha / Omega
Lithograph, edition 5/25 52.5 x 75
Signed, inscribed & dated 1998 1,000 - 1,500
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
Provenance:
Private Collection, Wellington
Chinese ink, watercolour, gouache, synthetic flocking on canvas 61 x 92
Signed, inscribed & dated 1994 verso 2,500 - 3,500
56 LUISE FONG Feral III
Cascade
Mixed media collage, 140 x 240
Signed, inscribed & dated 1988
10,000- 20,000
Turning a Blind Eye Oil on board 36 x 55
Signed, dated 7/83 verso
800 - 1,200
57 GRETCHEN ALBRECHT
58 EION STEVENS
59
PATRICIA FRANCE
A Difference of Opinion
Gouache 39 x 45
Signed
Inscribed & dated 1984 verso 3,000 - 5,000
Provenance: Private Collection
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
61 EMILY KARAKA
Ko Au Te Awa
Oil on canvas 152 x 304
Signed & inscribed 8,000 - 12,000
62 GARRY CURRIN
Various Distances Apart III
Oil on canvas 80.3 x 90
Signed, inscribed & dated 2010
8,000 - 10,000
63 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
Oil on board 20 x 20
Signed & inscribed
800 - 1,200
Oil & alkyd on canvas 46 x 60
Signed & dated 2011
800 - 1,200
65
ROBYN KAHUKIWA
Pare Kawakawa
64 RUSSELL JACKSON Cow. 1137
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
Signed & dated 1994
Signed & dated 1994
2,500 - 3,500
Provenance: Corporate Collection, Auckland
69 PHILLIPA BLAIR
Las Senderas Oil on canvas 152 x 100
2,500 - 3,500
70 PAMELA WOLFE Las Senderas Oil on canvas 152 x 100
74
Untitled Triptch Oil on three stretched canvas panels 91 x 183 1,500 - 3,000
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
Bronze sculpture on wooden base, edition of 10, 40 x 40 2,000 - 3,000
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
71 PHILPPA BLAIR
72 JEFF THOMPSON Fern Motif
VIRGINIA KING Link
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 affxedversoreads: With Best Wishes Peter McIntyre
Provenance: Private Collection, Wellington
Illustrated: plate 12, Peter McIntyre’s, Wellington
A H & A W Reed, 1975
Queenstown Oil on board 47 x 60
Signed & dated 1953
8,000 - 12,000
DOUGLAS BADCOCK
Lake Kirkpatrick and the Hills at Moke Oil on board 56 x 71
Signed & dated 1958
Inscribed verso 4,000 - 6,000
80 DOUGLAS BADCOCK
81
MICHAEL SMITHER
Hawkdun Range, Central Otago
Acrylic on paper 24 x 98
Signed & dated 2008
1,800 - 2,500
82 GAVIN CHILCOTT
Caryatid and Flowers
Mixed media on paper 56 x 76
Signed & dated 2002
1,500 - 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
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
War Machine
Handmade screenprint, edition of 28, 38 x 52
Signed, inscribed & dated 1967 1,000 - 1,500
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
91 MATTHEW COUPER
90
92 TED DUTCH
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
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
101 JANE GRAY
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
113
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
118
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
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
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
120
121
123
EILEEN MAYO
Musk Duck
Woodblock print, edition 9/50 18 x 20
Signed & inscribed
800 - 1,200
124
EILEEN MAYO
Linodendrom
Woodblock print, edition 9/50 20 x 16.5
Signed & inscribed
800 - 1,200
125 PETER CRAMOND On the Land
Pencil on paper 30 x 88
Signed & dated 2011
400 - 700
126 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
129
Sudden in a Shaft of Sunlight
Oil on board 29 x 23
Signed 2,500 - 3,500
Remembering Childhood Nightmares Woodblock print, edition 29/30 65.5 x 50
Signed, inscribed & dated 1986
600 - 1,000
128 PATRICIA FRANCE
ROBIN WHITE
127
128
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
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
138 JOS KIVITS
Still Life
Oil on panel 28 x 23
Signed
500 - 1,000
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
Believed to be the study for the stained glass window for Church of the Holy Cross, Henderson, Auckland
Abstract - Pink
Gouache on paper 70 x 86
Signed 1,000 - 1,500 142
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
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
LOUISE HENDERSON
Maori Girl, Otago
Signed, inscribed & dated
Window Screenprint, edition of 150, 57 x
Signed, inscribed & dated
Drawing For Last Stand
Pencil on paper 19 x 36
Signed & dated 2012
500 - 1,000
156 ALVIN PANKHURST
Drawing For Lost Luggage
Pencil on paper 38 x 59
Signed & dated 2010
800 - 1,200 157 AUSTIN DAVIES
Of Woman and War
Acrylic on panel 18 x 21
Signed & dated 1996
300 - 500
Lake
Acrylic on board 31 x 27
Signed & dated 2010
800 - 1200
Absentee Bid Form
Modern & Contemporary Art Tuesday 24 May 2016
Alternatively, register then bid online www.fineartauction.co.nz
I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.
Registration Bidding Number
Name
Address
Telephone Home
Lot Number Bid $NZ (excl. premium) Artist and Title
Signature........................................................ / / 2016
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. Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151, before 2pm 24 May
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
Index
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
