May2017modernandcontemporaryart

Modern & Contemporary Art Tuesday 16 May 2017

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 19 May 2017 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 16.5% Buyers premium plus GST on premium applies to all lots.

Total buyers premium is 18.98% including GST Front cover: Lot 18 Don Binney Back cover: Lot 45 Nigel Brown Inside back cover: Lot 14 Paul Dibble (detail)

Modern & Contemporary Art 6:30pm Tuesday 16 May

202 PARNELL RD, AUCKLAND, NZ TEL +64 9 379 4010 www.fineartauction.co.nz

RAY CHING Flotilla!

Fetched a new auction record of $100,000 Results are hammer price which attract buyers premium

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4 April 2017 Important & Rare Highlights

GOTTFRIED LINDAUER Attributed Fetched $60,000

FELIX KELLY The Kilns Fetched $11,000

BUCK NIN Banner Moon - Land Protest Fetched $30,000

PETER MCINTYRE Blue Skin Bay Fetched $26,000

PIERA MCARTHUR A Little Night Music Fetched $11,000 (Auction record)

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The Sally Hunt Collection July 2017 Sally Hunt’s Nelson residence is home to a large and varied art collection comprising hundreds of pieces by New Zealand and International artists. Sally Hunt is a passionate supporter of the arts community in Nelson, and previously in the United States. She is currently Patron of The Suter Art Gallery, Te Aratoi o Whakatu.

Sally and her late husband Robert, initiated the gallery’s successful education program and she actively sponsors their acquisitions program. Sally is involved in local art initiatives, including the Arthouse Installation Project which offers an opportunity for emerging artists to design, create and exhibit their work.

Further details of this single owner collection will be made available soon. www.fineartauction.co.nz

Jane Evans Under the Pergola, 1984 Gouache on paper 74 x 105 cm

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Important & Rare AUGUST 2017 Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand. These auctions take place three times annually. As we approach our 50th year in business, experience continues to equal results. 2014 saw Important & Rare auctions 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. With the addition of the record $1.377 million paid for a C F Goldie in April’s 2016 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Consign Today Contact: Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz

CHARLES BLOMFIELD Tourist’s Visiting the Pink Terraces, Rotomahana, 1905 Oil on canvas 72 x 102 cm Estimate: $80,000 - 120,0000

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Viewing Times Wednesday

10 May

10:00am - 5:30pm

Thursday

11 May

9:00am - 5:30pm

Friday

12 May

10:00am - 5:00pm

Saturday

13 May

11:00am - 4:00pm

Sunday

14 May

11:00am - 4:00pm

Monday

15 May

9:00am - 5:30pm

Tuesday

16 May

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

Parking During Viewing:

Allocated carparks located directly behind International Art Centre

Parking During Auction:

Upper and lower carparks at rear of International Art Centre Further parking at St John’s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre

Absentee Bidding Absentee Bid Form - page 111 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz Conditions of Sale - inside front cover Bid via website www.fineartauction.co.nz

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1 Mervyn Williams Fanfare

Acrylic on canvas 80.4 x 80.4

Signed, inscribed

& dated 2002 verso

$7,000 - 10,000

2 Stephen Bambury

China IV

23 carat gold and resin on two

aluminium panels mounted on board 17 x 35

Signed & dated 2002 verso

$4,500 - 6,500

Provenance:

Private Collection, Auckland

Provenance:

Private Collection

Purchased from Jensen Gallery, 2002

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John Reynolds Burning Bush VII Mixed media on paper 50 x 64 Signed, inscribed & dated 1992 $1,500 - 2,500

Provenance:

Purchased from Sue Crockford

Gallery, 1992 by current owner

4 John Reynolds

After the Bachelor

Apparatus I, V, VII and VIII

The Procession of the Kings

Jet of Blood

The Mirror Turn Lamp Warrior

Mixed media drawings on four black

boards 68 x 68 (overall)

Each panel signed, Inscribed & dated 1989

$3,000 - 5,000 Provenance:

Purchased from Sue Crockford

Gallery, 1989 by current owner 12

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Billy Apple The Given as an Art-Political Statement, 1979 - 80 Set four prints - various sizes Two 30 x 21, 42 x 30, 59 x 42.5 $2,000 - 3,000

These print-based ephemera speak to Billy Apple’s complex relationship with the “art institution” on the whole – galleries, museums and publications.

Indeed, an acute self-awareness of his own presence within the art world has always been a point of overt exploration and celebration within the artist’s work. This selection of prints commemorates two iconic moments from the artist’s history: the REVEALED/CONCEALED site-specific exhibition which was held at Auckland Art Gallery, and his 1979 ALTERATIONS exhibition which explored the relationship between art and exhibition space at a number of sites including the Govett-Brewster Gallery.

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Peter Siddell Blue Glass Digital print, edition 1/10, 37 x 27 Signed & dated 2010 $1,000 - 1,500

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Peter Siddell Six O’Clock Screenprint, edition 87/90, 41 x 34 Signed & dated 1985 $1,000 - 1,500

8 Peter Siddell Window

Screenprint, edition

86/150, 58 x 45

Signed & dated 1982

$1,000 - 1,500

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Gail Heffern Icon - Hard Cash 4 Metal, paper, board 37.5 x 61 Signed, inscribed & dated 1990 verso $800 - 1,200

Provenance:

Private Collection since 1990

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Kevin Capon Barrett’s Lagoon, 2013, C - Type Chromogenic Print, edition of 8, 120 x 150 Signed & dated 2013 verso $2,000 - 3,000

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11 Michael Dell

Arrangement with Objects

Acrylic on canvas board 30 x 30 Signed

$2,000 - 3,000

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Kim Pieters The Gathering, 1997 Mixed media on board 14.5 x 15 Signed & inscribed verso $700 - 1,000

Provenance:

Purchased at Salamander Galleries, 2000

13 Mervyn Williams Samurai

Acrylic on canvas 113 x 63

Signed, inscribed

& dated 2000 verso

$8,000 - 12,000 Provenance:

Private Collection, Auckland

Illustrated:

p. 224 Mervyn Williams,

From Modernism to the Digital Age

Edward Hanfling, Ron Sang

Publications 2014 12 16

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Paul Dibble Pacific Throne 1 Bronze, edition of 7, 40 x 38 Signed & dated 1990 on base $6,000 - 8,000

Provenance:

Private Collection since 1990

This is the maquette for the

monumental sculpture Pacific Monarch situated outside the

Manawatu Art Gallery, Palmerston North.

The sculpture is Dibble’s first

completed public commission

unveiled in 1992.

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15 David Armitage

Still Life with War Mask and Skipping Rope

Acrylic and dye on canvas 110 x 210

Signed & dated 1973 $4,500 - 6,500 Provenance:

Private Collection, Auckland

Purchased from Ferner Galleries, 2003

Exhibited:

Armitage Survey Exhibition

Dunedin Public Art Gallery, 1974

Original label affixed verso

Still Life with War Mask and Skipping Rope demonstrates the mastery of colour for which Armitage is known, its vibrant backdrop of red and orange afford the scene an almost irresistible eye-popping quality. Armitage has described his own fascination with memento mori and childhood passion for the work of Francisco Goya, a passion which is certainly reflected in this subject matter of choice. Inviting the viewer to partake of his unique tradition of still-life painting, Armitage has succeeded in striking a balance between the playful, absurd and grim. This work was exhibited as part of the Art New Zealand 1974 Commonwealth Games Exhibition in Christchurch.

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Robert Ellis City of Childhood Oil on board 91.5 x 76 Signed & dated 1965 Inscribed verso $12,000 - 16,000

Provenance:

Collection of Neville Price, Architect, Auckland

Purchased in Auckland 1971 - same era as his renown

Minnehaha Ave townhouse and West Plaza building projects Exhibited:

Eight New Zealand Artists, Commonwealth Institute Gallery,

London 25 February - 20 March 1965,

Original label affixed verso Robert Ellis’s City of Childhood formed part of an exhibition at the Commonwealth Institute Gallery in 1965, where it featured alongside works by McCahon, Hanly and other important names in New Zealand modernism. It belongs to the seminal City series of the mid-1960s in which Ellis applied his skill as an observation-based painter to the creation of aerialbased portraits of Auckland, documenting and Artist’s statement: I am thrilled to see this painting. I painted the work in Glenelg, a suburb of Adelaide, in a friend's garage in incredible heat. I hadn’t seen the painting since. The palette reflects the Adelaide environment, the intense temperatures and the sand. I also remember the flies.

I later asked Russell (Tass) Drysdale the well known Aussie painter how he coped with the numerous

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commenting on the city’s rapid transformation through the introduction of motorways. Thick, painterly incisions indicate the presence of complex roads and arterial routes whilst across the top of the painting, a band of earthy-red marks the uncomplicated and striking edge of contrast to this urban conversion.

insects and he said, ‘I don't worry, just mix them in with the paint!’ I showed nine oil paintings, about the same size, in the Rudy Komon Gallery, Sydney. I was always fond of that series and I’ve only seen one of them in a private collection since that time.

Robert Ellis, April 2017

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Friedensreich Stowasser Hundertwasser Good Morning City, Bleeding Town Screenprint in 18 colours, including 2 phosphorescent, with metallic imprints in 10 colours, overall edition 10,000.

This edition Series ff 78/200, 84 x 55 Signed, embossed, inscribed & dated 1971 $4,000 - 6,000

Provenance:

Collection of Neville Price, Architect, Auckland

Purchased in Auckland 1971 Hundertwasser’s revision of the Good Morning City edition, in the late summer of 1970 resulted in 10 more colour variants of 200 impressions each. Every run of 200 was again subdivided into four variants of 50 each, which brings Good Morning City - Bleeding Town to a total of 80 variants. For Hundertwasser this meant an enormous effort. Phosphorescent colours were again used. An ingenious device of rubber

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layers developed by Alberto della Vecchia and Lino Coin in the Studio Quattro allowed metal drops to be embossed. Convex shaped, they stand out in relief and undoubtedly led to a new kind of surface effect in serigraphy.

Hundertwasser: The Complete Graphic Work 1951-1986, Walter Koschatzky, 1986

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Don Binney Fox Glacier Bird (Kea) Acrylic and oilstick laminate on canvas 30 x 37.5 Signed & dated MMVI $45,000 - 65,000

Provenance: Private Collection, Auckland

Exhibited:

Don Binney, Beyond the Road

The Diversion Gallery, June - August 2007

Cat. no. 1

Illustrated in the exhibition catalogue

Don Binney is well known for his clean-edged modernist paintings of birds in the landscapes of New Zealand. In his search for subject he is inspired by dramatic wilderness areas and environments which he draws from to express both his passion for painting and his love of ornithology and nature. In an interview with Patricia Sarr and Tom Turner in 1977, Binney described his motivation for painting:

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I paint and draw because I'm thoroughly committed to and involved with environmental, natural stimuli the landscape, the wild-life . . . you must approach the landscape or the bush with reverence.

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Michael Smither Stakeout, 2013 Acrylic on 84 wood blocks 115 x 22 $3,500 - 5,500

Provenance:

Purchased from Artis Gallery, Auckland, 2013

Private Collection, Auckland

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Ian Scott Lattice No. 128 Acrylic on paper 30 x 30 Signed, inscribed & dated 1985 verso $1,000 - 2,000

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Michael Smither Motumahanga (Island) Oil on board 29.5 x 42.5 Signed, inscribed & dated 1983 verso $5,000 - 8,000

Provenance:

Private Collection since 1983

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Robyn Kahukiwa 2 Hina Supa Heroes Oil on canvas 214 x 121 Signed & dated 2014 $12,000 - 15,000

Provenance:

Collection of the Artist Exhibited:

Wahine me Wahine,

Warwick Henderson Gallery, April 2014

Waitangi Wahine,

New Zealand Touring exhibition

of Maori Women artists, April 2015 - April 2017

Museum of Waitangi, Northland

Tauranga Art Gallery, Tauranga

Tairawhiti Museum, Gisborne

Whangarei Art Museum

Hastings Art Gallery

Robyn Kahukiwa is one of New Zealand’s senior and foremost women painters. She was one of the artists included in the major exhibition Five Maori Painters, Auckland Art Gallery, February - June 2014.

Her paintings reflect social history and are vital and relevant. A skilled and experienced practitioner the artist paints without compromise and for this she makes no apology.

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I want to paint the reality of Maori life today... Kahukiwa stated in a recent interview with the Auckland Art Gallery.

My Maori Supa Heroes, Maui and Hina, represent Maori men and women who are fighting daily for Maori rights, both on the national scene and at the flax roots level. 2 Hina Supa Heroes 2014, is a homage to Maori women who have committed their lives to the ongoing struggle of Maori to reaffirm ourselves as Tangata Whenua of Aotearoa/New Zealand.

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23 Roy Good

Octagon Series - Two Cubes

Acrylic on canvas 75 x 75

Signed & dated 1976 verso

$5,000 - 7,000

Roy Good studied at Ilam School of Fine Arts in Christchurch from 1963 – 1965 before moving to Auckland. During the 1970s, he was one of a group of abstract artists which included Milan Mrkusich, Ian Scott, Geoff Thornley, Gordon Walters and Phillip O’Sullivan, who, encouraged by their far-sighted dealer Petar Vuletic, rejected more popular subjects and styles and aspired to the difficult standards of international modernism.

Roy Good’s abstract paintings are minimalist in form, but carry a painterly subtlety when viewed at close hand. Within panels of each work, the colours are intensely worked, although the surface is often pared back so that from a distance, it appears smooth. His use of colour creates planes which appear to advance and retreat against each other. Sometimes it is physical rather than illusion – he layers geometric forms so they literally project from the wall.

Good was subsequently part of the artist collective that established Gallery DATA in 1977 – a gallery devoted to abstract painting.

In 2007 a retrospective exhibition of paintings spanning forty years was held at the Lopdell House Gallery in West Auckland.

An enduring feature of Roy Good’s art is his use of shaped supports: multiple canvases or boards arranged to form a shape other than the conventional rectangle or, most often, a single canvas on a shaped stretcher. One of the first exponents of shaped canvases in New Zealand, a practice strongly associated with American abstraction of the 1960s, Good has employed shaped supports since the early 1970s.

In 2011 the Centre of Contemporary Art in Christchurch held its own retrospective exhibition, Triangles, Octagons and Lintels, which surveyed three seminal series of work from 1972 to 1974. The exhibition also included new works from 2003 to 2009 based on conceptual drawings from this earlier period.

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Glenda Randerson Bill Manhire, Wellington Oil on linen, ground Liquitex gesso 104 x 74 Signed & dated 1999. Inscribed verso $5,000 - 7,000

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Nigel Brown Mt Cook Acrylic on canvas board mounted on board 49 x 39 Signed, inscribed & dated 1993 $4,000 - 8,000

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Lara Ivanovic Morris Ute and Shearing Shed, Dubbo, NSW Oil on canvas 106 x 168 Signed, inscribed & dated 2004 verso $2,000 - 4,000

Provenance:

Private Collection, Auckland

Purchased from Harris Courtin Gallery,

Sydney 2004

Lara Ivanovic is a British-born artist who currently resides in New York.

In 1999 during a visit to Australia, Lara was inspired to paint a much-acclaimed series of abandoned, rusty vehicles in the outback.

These vehicles make soulful, lonely markers of time and the eerie, ghostly quality of the sunburnt landscape, Lara noted at the exhibition.

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Milan Mrkusich Painting Indigo, 1969 Oil on canvas 76 x 82 Signed, inscribed & dated 1969 verso $10,000 - 15,000

28 Max Gimblett Orbit

Gesso, polyurethane, acrylic and vinyl

polymers on canvas 90 x 90

Signed, inscribed & dated 2004 verso

$20,000 - 28,000

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Warren Viscoe Song of the Saddleback Painted wooden sculpture 36 x 34 $3,000 - 4,000

Provenance:

Purchased directly from the artist

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Mary McIntyre The Judgement of Paris - Triptych Oil on 3 panels 27 x 61 (overall) Signed & dated 2001 $3,000 - 4,000

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Pat Hanly Bride & Groom Stained glass and leadlight 50 x 62 Signed & dated 1992 $10,000 - 15,000

Provenance:

Purchased directly from the artist, 1992

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Pat Hanly Cyclop and Bouquet Oil on board 54 x 85 Signed & dated 1960 $25,000 - 35,000

Provenance:

Purchased from Christopher Taylor Fine Art, 1999

Dr Allan Godfrey Collection, Golden Bay

Illustrated:

p. 32 Hanly, Gregory O’Brien, Ron Sang Publications 2012

Cyclop and Bouquet is a superlative example from Hanly’s Fire Series: a collection created by the artist whilst living in London at the time of the Cold War. This painting possesses a wonderful energy, one borne of the unique language of poetic, lyrical surrealism which characterised this series, and technical finesse and passion with which Hanly manipulated colour. Art historical comparison has often been drawn between Hanly’s works of this period and Marc Chagall; this is certainly evident in the case of the present painting.

The work affords an alluringly abstract quality. Two seemingly disconnected elements have been married together and presented, without explanation, as an ideological fait accompli. The viewer is immediately compelled into an alternative, surrealist reality in which a narrative between the disfigured human visage which has earned the title of Cyclop and a so-called bouquet which, channelling the apocalyptic qualities of the series, recalls both the form of a burning bush and the hopeful symbol of the tree of life.

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Hanly was now, for the first time, using the motif of the yacht: this symbol of freedom, one of personal significance in relation to his own experience of the water, of being on the Auckland harbour, would become iconic and recurrent in much of his later work.

Hanly’s identity as a politically active artist is crucial to appreciating this work, for it lends extra significance to the impetus of his artistic remit. Cyclop and Bouquet, along with other works from this series, were created in response to the possible threat of nuclear war. Despite this, the work’s defining characteristic is the conveying of a hopeful alternative. This goes to the very heart of Hanly’s art. The yacht is a symbol of hope, of possible escape to a better reality. Through engaging mythological devices and imagery, we are presented with some alternative reality which reminds us of the possibility for human growth, escape and spiritual redefinition.

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Ralph Hotere Nineteen Ninety Lithograph, edition P.P., 74 x 54 Signed, inscribed & dated 1990 $3,800 - 5,200

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Ralph Hotere Signals III Oil on wood assemblage 59.5 x 59.5 Signed & dated 1964 $8,000 - 12,000

Provenance:

Private Collection, Sydney, NSW

Acquired directly from the artist by

the current owners family, 1964

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35 Ralph Hotere BIKO

Dyed silk banner 216.5 x 47.5

Signed & dated 1988

$8,000 - 12,000 Provenance:

Purchased from Judith Anderson Gallery,

Auckland, circa 1991

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Dyed silk banner 181 x 26.5

Signed, inscribed & dated 1988

$8,000 - 12,000

Hotere’s BIKO works embody the outwards looking socio-political agenda which underpinned the artist’s practice throughout his entire career. Steve Biko was a South African anti-apartheid activist who, following his imprisonment and torture, died at the hands of the Afrikaner police in 1977, an event which sparked international outrage. Hotere’s response to this tragic death is powerful: these works lay forth a simple, elegiac tribute in which Biko’s name is boldly and spiritedly delineated. The banner form of these works necessarily calls to mind the protest sign, a point of particular relevance given Hotere’s involvement in the anti-Springbok protests several years earlier.

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Ralph Hotere Woman RM Litho drawing on paper 36 x 26 Signed, inscribed & dated 11-8-90 $2,000 - 3,000

38 Ralph Hotere Black

Lithograph, edition 10/20, 77 x 56

Signed, inscribed & dated 1997

$2,000 - 4,000

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Ralph Hotere Nineteen Ninety Lithograph, edition P.P., 60 x 45 Signed, inscribed & dated 1990 $3,800 - 5,200

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Ralph Hotere Eclipse II Oil on paper with painted wooden surround 59.5 x 59.5 Signed, inscribed & dated 1964 verso $5,000 - 10,000

The interplay of cultural, political, spiritual and artistic concerns in Hotere’s body of work meant that at any given time in his career whilst certain ideas were coming to maturation, others were nascent. Eclipse II is one such example of this: as the artist was completing his acclaimed Sangro series, he was also seeking to evolve formalist concerns through works such as this.

The painting comprises a closely-rendered interplay between light, dark, form and line: elements which collaboratively evoke the work’s title. Contained within a painted wooden surround, the materials for this work are thought to have possibly been acquired by Hotere after having been discarded from a London television factory.

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Ian Scott Days in the Sun from New Zealand Paintings Series Acrylic & silkscreen ink on canvas 102.5 x 78.5 Signed & dated 2002 $5,000 - 7,000

Provenance:

Private Collection, Auckland

Purchased from Ferner Galleries, Auckland 2002 Ian Scott's New Zealand Paintings Series began in 1990 and was added to periodically over the ensuing two decades. The series was first and foremost a way of trying to make new-looking paintings. Usually, painters use unofficial "rules" of composition to make their paintings appear unified and therefore satisfying to the eye. They will make sure the various parts of the painting are evenly balanced or in proportion, and that everything seems to belong naturally to the whole. Scott felt that to follow such "rules" would mean to make pictures people were already familiar with - pictures that were "good" in an old-fashioned predictable way, lacking the potential to surprise the viewer or offer a genuinely new kind of experience.

Scott also felt that the contrasting colours and cultures of New Zealand could be a blueprint for what he was after. So he took hold of readily

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recognisable images that carried dissimilar values and associations - emblematic images of native bush and beaches, the difficult and awkward art of Colin McCahon, pressing them together in daring and eccentric combinations that dazzle the eye, provoke strong feelings and set up tantalising puzzles. This method also allowed Scott to choose and produce images to suit his own sensibility and style; dashing off virtuoso renderings of McCahon's paintings; mapping out boldly coloured squares, and printing onto them photographs of the West Auckland environment in which he grew up. These paintings are a remarkable synthesis of Scott's feeling for vibrant abstract forms and colours (evident in his celebrated Lattice paintings) with his lifetime love of the New Zealand landscape.

Ed Hanfling

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42 Jeff Thompson Pohutukawa

Screenprinted corrugated iron 56 x 54

Signed & dated 2003 verso

$600 - 1,000

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Jeff Thompson Beri Beri Screenprinted corrugated iron 68 x 45 Signed & dated 2005 verso $600 - 1,000

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44 Jeff Thompson Kowhai

Screenprinted corrugated iron 62 x 50

Signed & dated 2005 verso

$600 - 1,000

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Provenance Lots 42 - 44: Acquired directly from the artist 2003 - 2005

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Nigel Brown Joy, Happiness, Luck Acrylic on board 60 x 79 Signed, inscribed & dated 2005 Also dated 2004-05 verso $7,000 - 12,000

In this powerful work derived from the I Am series, Nigel Brown artfully stacks the words Joy, Happiness, Luck against a backdrop of Pahia Hill. Once again we see the influence of Colin McCahon, who taught Brown during the time he attended Elam School of Art (1968 - 1971). Painted whilst the artist was living at Cosy Nook, Southland the work was inspired by Chinese good luck tokens seen during a visit to the home of a friend.

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Allen Maddox Don’t...Migare, c.1976 Oil on canvas laid onto canvas 130 x 110 $18,000 - 24,000

Provenance:

Estate of Allen Maddox Allen Maddox is remembered as being one of New Zealand’s finest exponents of abstractexpressionism.

His work, spanning over three decades, investigates the tensions between structure and gesture, primarily utilising the motifs of grids and crosses.

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Dick Frizzell The Sailor Returns Oil on canvas 244.5 x 233.5 Signed, inscribed & dated 2007 $50,000 - 80,000

The iconic ‘maverick of parody’, artist Dick Frizzell has enjoyed a long and varied career. He is an artist who plays by his own rules. Known primarily for his pop art style and graphic edge, Frizzell continues to break trends in works that frequently blur the boundaries between high and low art. There is an on-going sense of irony and humour within Frizzell’s oeuvre as depicted in this playful yet provocative work.

The Sailor Returns is a parody of Pablo Picasso’s Les Demoiselles d’Avignon, which is often celebrated as the cornerstone of Modernism and the birth of Cubism. It depicts five women of Barcelona, and was a deliberate breaking away from the classical rendering of female nudes in high art. Frizzell’s work skillfully integrates properties of the Cubist aesthetic

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with his own language of object and colour, to construct a compelling composition celebrating the centenary of Les Demoiselles.

The earliest sketches of Picasso’s work feature two men inside the brothel: one a sailor and the other a medical student. Frizzell chooses to reintroduce the sailor giving him and the two central nudes comic book facial features reminiscent of his comic book Cubism of the 1970s. A major point of difference in The Sailor Returns is the introduction of Polynesian overtones, with the left-hand figure dressed in a lava-lava and Picasso’s African and Iberian masks replaced with a Maori tiki and a distinctly Polynesian mask.

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Damien Hirst Untitled Spin Painting Acrylic paint on paper 45.7 x 45.7 Signed & inscribed For Tom Damien Hirst $15,000 - 20,000

Provenance:

Gifted directly to present owner after working

with artist on a film set in London, 2010

Artist’s label Science,13 - 14 Welbeck Street,

London W1G 9XU affixed verso

Darbyshire Frames, London label affixed verso From 1995 Damien Hirst started a series of spin paintings. His finished pieces are circular in shape and mounted onto steel frames. This is a series of original works of art and screen prints. He was inspired by memories of the technique of spin painting which he saw as a child on the BBC’s Blue Peter. In the Guardian, August 2012, Hirst quotes “I grew up with Blue Peter. I got my idea for the spin paintings from an episode in the 1970s.” Hirst adds: “I never thought it was real art. I remember thinking: ‘That’s fun, whereas art is something more serious.’ And then as I got older, I started thinking about Van Gogh and all those painters, and cutting your ear off when you’re painting, and at that point I just thought:

‘Why does it have to be like that?’ I thought: ‘No, actually, the better art is the art made with the spin machine.’”

Damien Steven Hirst is an English artist, entrepreneur, and art collector. He is the most prominent member of the group known as the Young British Artists (or YBAs), who dominated the art scene in the UK during the 1990s. Hirst is internationally recognised and is reportedly the United Kingdom’s richest living artist, with his assets valued at £215m in the 2010 Sunday Times Rich List.

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49

Richard Killeen Stones & Clouds I Acrylic and mixed media on paper 29 x 38 Signed, dated June 14, 1991 $1,200 - 1,800

51

Richard Killeen A Bit of Backbone Oil and acrylic on canvas 170 x 80 Signed, inscribed and dated November 1973 on original artist’s studio label affixed verso $8,000 - 12,000

50

Richard Killeen Stones & Clouds II Acrylic and mixed media on paper 29 x 38 Signed, dated June 14, 1991 $1,200 - 1,800

Provenance:

Purchased from Petar James Gallery, Auckland,

circa 1974 by current owner.

The early 1970s represented a seminal time in Killeen’s artistic development and, more broadly, the crystallisation of our own national response to Abstract Expressionism and quest for abstraction. A Bit of Backbone belongs to the artist’s Comb series of 1973-74 which repeatedly drew on the motif of a Polynesian comb to create a beautifully minimalist,

56

cross-cultural abstract space. Killeen has realised something of a paradox: the image appears to float in an infinity of alternate, abstracted space, whilst at the same time existing in complete two-dimensional flatness. Herein, the clarity of the void which divides the mottled white teeth of the comb is therefore as significant as the stencilled shape itself.

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Two works on paper from the Allen Maddox Estate

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52 Allen Maddox

We Go in the Name of Christ

Oil on paper 50 x 32 Inscribed

$1,000 - 1,500

53 Allen Maddox

The Holy Communion

Oil on paper 50 x 32 Inscribed

$1,000 - 1,500

Provenance:

Allen Maddox estate no. aMAD832

Provenance:

Allen Maddox estate no. aMAD832

54

Ralph Hotere Matauri Bay Ink and dye on silk 91.4 x 91.4 Signed, inscribed & dated 12-XII-87 $16,000 - 22,000

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55 Max Gimblett Eagle

Leaves of gold, gesso, resin, gelatin, 23.75kt

rosanoble gold leaf / wood panel 85 x 84

Signed, inscribed & dated 2015 verso

$30,000 - 40,000 Provenance:

Private Collection, Auckland

Purchased from Gow Langsford Gallery, Auckland

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57 Pat Hanly

Bride & Groom Screenprint,

edition 32/50, 65 x 55

Signed, inscribed & dated 1990

$2,500 - 3,500

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62

Terry Stringer Jug and Bowl Bronze sculpture affixed to painted metal background, edition 1/3, 47 x 28 Signed & dated 1986 $4,000 - 6,000

58 Piera McArthur

Viewing the Latest Acquisition

Oil and acrylic on canvas 112 x 83 Signed

$4,000 - 6,000 Provenance:

Private Collection, Auckland

original label affixed verso

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59

Don Binney A Cape for Father Damien II Oil on board 118 x 62.5 cm Signed & dated 1993 $45,000 - 65,000

Provenance:

Private Collection, Wellington Exhibited:

Binney: Forty Years On, The Dowse, Lower Hutt 2003 - 2004 Illustrated:

p. 60 Don Binney: Nga Manu/Nga Motu - Birds/Islands,

Damian Skinner, Auckland University Press 2003

Don Binney: Seven Paintings - A video recording

directed by Roger Taberner, Auckland Art Gallery 2004

Painted after Binney's early 1990's sabbatical in Hawaii, A Cape for Father Damien II features the volcanic landform of Molokai with a depiction of Father Damien on the beach wearing his widebrimmed hat. In the sky above is a stylised image of a traditional feather cloak worn by Hawaiian chiefs.

Father Damien or Saint Damien of Molokai (1840 -1889) was a Roman Catholic priest from Belgium who ministered for sixteen years to lepers quarantined on the Hawaiian island of Molokai. In 2009 he was canonized by Pope Benedict XVI.

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The work features as a full colour plate in Damian Skinner's Don Binney: Nga Manu/Nga Motu - Birds/ Islands, Auckland University Press 2003. In Roger Taberner's documentary, Don Binney: Seven Paintings, the artist speaks about his seven favourite works.

Binney stands alongside A Cape for Father Damien II speaking passionately of the work. This DVD is included with lot.

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60 Dick Frizzell Eh!

Oil on board 60 x 60

Signed, inscribed & dated 10/7/1985

$5,000 - 8,000

61

Jeffrey Harris Portrait of an Artist Mixed media on paper 43.5 x 69.5 $1,500 - 2,500

62

Jeffrey Harris On the Beach Oil on canvas 57 x 80 Signed & dated 1975 $15,000 - 20,000

Provenance:

Private Collection, Wellington

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62

Despite the almost constant presence of the landscape in Jeffrey Harris’ work, particularly in earlier years, this has always been a subject of secondary importance to the expression of human relationships and emotion for the artist. It is his own experience of angst, tension and love that lie at the heart of Harris’

work, and many of his paintings therefore function as autobiographical snapshots of his life. This 1975 work was most likely created as a portrait of Harris, his wife Joanna and their baby daughter Imogen. Through a deft and symbolic handling of colour, On the Beach reveals this familial narrative unto the viewer.

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63

Doris Lusk Para-Para Estuary, Nelson Watercolour and acrylic on paper 47 x 63 Signed & dated 1965 $4,000 - 6,000

Provenance:

Private Collection, since 1965

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64

Louise Henderson Still Life with Goldfish Bowl Oil on board 60 x 75 Signed & dated 1994 $5,000 - 8,000

Provenance:

Purchased directly from the artist, 1994

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65 Evelyn Page

Old Law Courts, Wellington

Oil on canvas 49 x 60 cm Signed

$25,000 - 35,000 Provenance:

Estate of Evelyn Page Evelyn Page was commissioned to undertake this painting of the Wellington Law Courts in 1970 - the same year that her place in the New Zealand art historical canon was cemented with an important retrospective at Wellington's National Art Gallery.

That the commission for this work occurred at such a watershed moment in the artist's career can be viewed as something of a metaphor: Page's work was by this point widely celebrated and acknowledged for its modern vivacity and destabilisation of the mundane, tired ways of depicting New Zealand.

The capital city's old Law Courts, on the other hand, stood as a powerful symbol of those deeply ingrained pillars of judicial tradition and establishment in our country. As such, the act of revisiting this traditionalist subject matter through a new and exciting modernist lens was a powerful statement, and truly brought to light the emphatic change achieved by Page in unlocking the potential of a new modern visual language for New Zealand art.

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When encountering this work, the viewer is immediately struck by what a brilliant expression of painterly expertise it is. Having been heavily influenced by French masters such as Matisse and Degas, Page has adapted this impressionistic language for a uniquely identifiable New Zealand context, and deployed an assured deftness of brushstroke to convey rich and lively collisions of colour. Daring to express colour and form in such a vibrant and confronting manner, Page has also executed perspectival flattening in a manner which contributes to a gracefully synthesised compositional construction: the buildings have been thrust to the forefront of the canvas; all surrounding trees, buildings and people have been stacked on the same plane of this closely woven composition.

Old Law Courts Wellington embodies many of the formal qualities which served to secure Evelyn Page a place as a pioneer of New Zealand modernism.

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66

68

66

Colin McCahon North Otago Landscape Screenprint from the Barry Lett Multiples 56 x 76 Exhibited: Barry Lett Galleries, Auckland November 1968 $3,000 - 4,000

67 Darcy Nicholas

Daughter of the Heavens

Acrylic & gold foil on paper 32 x 28 Signed

$1,000 - 1,500 68 Shane Cotton Pararaiha

Lithograph on BKF Rives paper,

edition of 40, 56 x 76

Signed, inscribed & dated 2004

$1,000 - 2,000 69

67 72

Paratene Matchitt No 8 of 10 Guitars Suite Screenprint, edition 14/50, 130 x 80 Signed inscribed & dated 9/2016 $1,500 - 2,500

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69

70

71

Paratene Matchitt Me Whawhai Tatou Katoa Mo Te Ora Screenprint, edition 34/50, 35 x 45 Signed inscribed & dated 2011 $700 - 1,000

71

Paratene Matchitt Murara Ana Te Ao Kure He Ana Te Ao The World is Ablaze, The World is Folding / Wrinkling Screenprint, edition 34/50, 35 x 45 Signed inscribed & dated 2011 $700 - 1,000

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72

Richard Thompson Ancestral Code (No. 10) Acrylic on canvas 101.50 x 101.50 Signed, inscribed & dated 2006 verso $2,000 - 3,000

Provenance:

Gow Langsford Gallery

label affixed verso

72

73

Andre Hemer Things to do with Paint That Won’t Dry Acrylic on linen 20 x 20 cm Signed, inscribed & dated 2008 verso $500 - 1,000

74 David Bromley

Painting Faces

Oil on board 92 x 183 Signed

$2,750 - 4,000

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73 74

Joshua Robbins Hut in the Crown Range Oil on sculptured board 70 x 100 Signed & dated 2005 $2,500 - 3,500

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75 75

76

76

Grant Hanna Three White Coats and Un-ion Acrylic on board 47.5 x 87 Signed & dated 2002 $4,000 - 6,000

Provenance:

Purchased from Ferner Galleries, 2002

Gallery label affixed verso

76

77

Justin Summerton Late Summer II - Gisiele in St Clair Pool Oil on canvas 101 x 101 Signed & dated 2016 $5,000 - 7,000

77

77

80 78 78

Louise Henderson Untitled (Hour series) Oil on canvas 51 x 68.5 Signed, inscribed & dated 1965 certificate verso $1,500 - 2,500

79 Louise Henderson

Night - The Hour Series

Oil on board 82 x 62 Signed

$1,500 - 2,500 80

Michael Moore Blaketown Houses, West Coast Oil on canvas 46 x 91 Signed, inscribed & dated 4/9/95 verso $1,000 - 2,000

81 Paul Hartigan Warp

Pigment ink on vinyl 202 x 200

Signed & dated 1998 verso

$3,500 - 4,500 79 78

81 79

82 Helen Brown

Jetty, Lake Tarawera

Oil on board 54 x 74.5 Signed

$2,000 - 3,000

80

83

83 Paul Radford Almond

Acrylic on canvas 61 x 76.5 Signed

$1,000 - 2,000

84 A Lois White Decoration

Watercolour 17 x 8.5 Signed

$2,500 - 3,500

84

81

85

82

86

Works from Artaka Art Collective

87 85

Melvin Day Tasman Point V Oil on paper 97 x 68 Signed & dated 2005 $10,000 - 12,000

86

Nick Moon Backyard Bird Sanctuary, Huia 1 Oil, wax, feathers & pencil on board 83.5 x 84.5 Signed & dated 2006 $3,500 - 4,000

87

Max Gimblett Raintail Tender Monoprint, 96 x 73 Signed & dated 2008 $3,000 - 4,000

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88

Works from Artaka Art Collective

84

88

Austen Davies Three Chairs Oil on board 65 x 132 Signed & dated 2003 $5,000 - 6,000

89

Michel Tuffery Tangaroa’s Habit Acrylic on canvas 50 x 55 Signed & dated 2009 $5,000 - 6,000

90

Dean Raybould Golden Buoy, Golden Bye, Golden Beer Oil on three canvas panels 25 x 75 Signed & dated 2008 $2,200 - 2,800

91 Sally Burton Flow

Acrylic on geo-textile canvas 51 x 55

Signed & dated 2009

$3,500 - 4,500

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89 92

90

Frith Wilkinson With the Company of Ancients Oil on canvas 25 x 25 Signed & dated 2008 $1,200 - 1,500

92 85

94

Works from Artaka Art Collective

93 93 Robin Slow

I Te Poi

Acrylic, kokowai, soot & charcoal on

paper 32 x 50

Signed & dated 2004

$850 - 1,150

Exhibited:

Songs of the People, Stories of the Land, The Sutor, Nelson, 2006

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95

96

Works from Artaka Art Collective

94

Robin Slow I Te Poi Acrylic, kokowai, soot & charcoal and binder on paper 32 x 50 Signed & dated 2004 $850 - 1,150

Exhibited:

Songs of the People, Stories of the Land, The Sutor, Nelson, 2006 95

Grahame Sydney Myself Looking Back Lithograph, edtion 42/55, 89 x 70 Signed, inscribed & dated 2005 $2,400 - 2,800

96

David Ryan Listening to Rain Watercolour and Chinese Ink on Arches paper 27 x 143 Signed & dated 2011 $2,400 - 2,800

97

Jane Evans I Can’t Help it Chagall Lithograph, edition 33/50 52.5 x 37 Signed, inscribed & dated 1996 $600 - 800

97 87

98

99 88

100 98

Terry Stringer Untitled Female Portrait Screenprinted aluminium 20 x 29.5 Signed & dated 1983 $1,500 - 2,500

99

Martin Popperwell Study for Hey Stoopid Indian ink & watercolour 55 x 38 Signed & dated 06/03 $800 - 1,200

100

Dean Proudfoot Billy Holds up a Mirror to a New Zealand Landscape Oil on canvas 84 x 122 Signed & inscribed $1,500 - 2,000

101

Angus Collis Small Bird Bitumen on paper 52 x 95 Signed, inscribed dated 2007 $2,000 - 3,000

102

David Shennan Quatrieme Ciel Oil on fifteen canvas boards 47 x 103 Signed, inscribed & dated July 1998 verso $800 - 1,200

101

102 89

103 Vida Steinert

King Country Road

Watercolour 44 x 57 Signed

$1,000 - 2,000

103

104

Casey Moore Puriri Moth Fibre-based silver bromide print, edition 1/8, 95 x 136 Signed & dated 2013 $1,000 - 2,000

105

Casey Moore Giant Bush Dragonfly Fibre-based silver bromide print, edition 1/8, 95 x 136 Signed & dated 2013 $1,000 - 2,000

Provenance:

Private Collection, Auckland

Purchased from FHE Galleries

104

106

Mary McIntyre Life and Death in the Pohutukawa Forest 2 Mixed media on paper 55 x 75 Signed & dated 1999 $800 - 1,200

107

Mary McIntyre I Believe in Santa Claus Mixed media on paper 56 x 75 Signed & dated 7-1-86 $800 - 1,200

108 Ken Kendall

Man with Dog

Terracotta sculpture 45 x 23 Signed

$800 - 1,200 109

105 90

Grahame Cooper Before, During & After (Pregnancy) Three bronze sculptures 13 x 30 Signed & dated 2008 $1,000 - 2,000

106

107

109

108

110 Lady Mary Barker

The Bridge

Bronze sculpture of painted wooden

base 20 x 10 Signed

$800 - 1,200

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111 John Weeks

River Reflections

Oil on board 39 x 50 Signed

$2,500 - 3,500

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92

Jeffrey Harris Two Figures in a Landscape, 1969 Gouache and oil pastel on paper 70 x 105 $1,000 - 2,000

114

113 113

Luise Fong Onetangi, 1997 (Diptych) Acrylic, gouache, sand & Carborundum on canvas board 46 x 30 $800 - 1,200

114

Luise Fong Magenta Pulse Acrylic & PVA on canvas 45 x 45 Signed & dated 2004 verso $800 - 1,200

115

Neil Frazer Green Lip Mixed media on canvas 76 x 76 $1,500 - 2,500

115 93

116 116 Sarah Dolby

The Expectant Seamstress

Oil on linen 76 x 76 Signed

$3,000 - 5,000

118

Provenance:

Oedipus Rex Gallery label affixed verso

119 John Papas

Towards the Archipelago

Oil on board 116 x 118 Signed

$1,000 - 2,000

117

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John Papas Journey Down the Nile I Painted ceramic on panel 110 x 108 Signed & dated 1989 $1,000 - 2,000

John Papas Journey Down the Nile II Painted ceramic on panel 110 x 108 Signed & dated 1989 $1,000 - 2,000

120 Emily Karaka Whanau

Oil on Kauri panel 50 x 50 Signed

$1,800 - 2,600

117

119

118

120 95

121 Tom Esplin

The Cathedral in Castile

Oil on board 40 x 52 Signed

Inscribed on artist’s label affixed verso

$4,500 - 6,500

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122

124

Gavin Chilcott Basaltware & Self Synthetic Polymer on paper 55 x 75 Signed & dated 1989 $1,000 - 1,500

123

Gavin Chilcott Golden Drinking Horns and Landscape Synthetic Polymer on paper 55 x 75 Signed & dated 1990 $1,000 - 1,500

124

Keith Patterson Mediterranean Moon Mactorno I Mixed media collage on board 50 x 35 Signed & dated 1989 $500 - 1,000

125

Keith Patterson Pariri II Mixed media collage on board 50 x 35 Signed & dated 1989 $500 - 1,000

Provenance: 124 & 125 Purchased directly from the artist, 1989

125 97

Works from the collection of Niyaz Wilson, Former President of the Friends of Auckland Art Gallery 126 Phillipa Blair Untitled

Pastel on paper 150 x 59

Signed & dated 1998

$800 - 1,500 127

Toss Woollaston Patrick Lucas Screenprint from the Barry Lett Multiples 56 x 76 $600 - 1,000

128

Barry Cleavin Bell Bird Etching, edition A/P, 26 x 19 Signed, inscribed dated 1999 $200 - 400

129 Christine Boswijk Untitled

Glazed stoneware bowl 20 x 50

Signed label affixed to base

$800 - 1,200 Provenance:

Purchased from Ron Sang Collection 130

126 98

Terry Stringer Mother & Child Screenprinted three dimensional paper 25 x 25 Signed & dated 1974 $800 - 1,200

127 130

131

Robyn Kahukiwa My Tapu Head Lithograph, edition 45/47, 34 x 54 Signed, inscribed and dated 1990 $400 - 800

128

129

131 99

134

Michael Smither Gulls (12) Over Rocks Screenprint, edition 37/46, 62 x 54 Signed & dated 1982 $800 - 1,200

135 Michael Smither Egmont

Screenprint, edition, 30/100 50 x 74

Signed, dated 1980

$800 - 1,200

132 132 Michael Smither Egmont

Screenprint, edition, 294/449, 21 x 21

Signed & dated 1981

$500 - 1,000 133

Michael Smither Back Beach Screenprint, edition 71/90 47 x 82 Signed & dated 1980 $800 - 1,200

136

Michael Smither Taranaki Coast Screenprint, edition of 35, 66 x 56 Signed & dated 1981 $800 - 1,200

137

Michael Smither Three Gulls Screenprint, edition, 46/50 67 x 47 Signed & dated 1982 $800 - 1,200

138 Michael Smither Sunset

Screenprint, edition X, 37.5 x 49

Signed & inscribed X

$300 - 600 139 Michael Smither Boatshed

Screenprint, edition 76/80, 50 x 50

Signed & dated 2006

$500 - 1,000 140 Michael Smither Capsule

Screenprint, edition 1/25 85 x 53

Signed & dated 1972

$500 - 1,000

133 100

141 Michael Smither Untitled

Screenprint, edition 28/100, 56 x 38

Signed & dated 1986

$300 - 500

134 137

140

135 138

136

139

141 101

142 142 Michael Smither

Clouds over Egmont,

c. 1978

Mono screenprint 64 x 45 Unframed

$400 - 600 143 Michael Smither

Colour Chart Screenprint,

edition 43/70, 71 x 61

Signed & dated 1979 Unframed

$400 - 800 144 Michael Smither Rectangle Screenprint,

edition of 1/16 81 x 55

Signed & dated 1973 Unframed

$300 - 500

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143 145 Ian Scott Lattice Screenprint,

edition 52/65, 65 x 63

Signed, inscribed &

dated February 1979

$800 - 1,200 146 John Drawbridge

To Pat Lopdell Engraving,

Artist’s proof, 52 x 34

Signed & inscribed

$400 - 600 147 Fatu Feu’u

Mulata Auta Screenprint,

edition 26/45, 78 x 90 Signed

$800 - 1,200

144 148

Euan McCleod MK 3 Open-bite etching and aquatint 32 x 22 Signed & dated 2003 $300 - 600

149 Michael Smither Walnut

Screenprint, edition of

1/50 50 x 60

Signed & dated 1976

$200 - 400 150

Dick Frizzell Five Star Screenprint, edition 56/100, 70 x 100 Signed & dated 2015 $700 - 1,000

151 Stanley Palmer

Memories of Northland Lithograph,

edition A/P, 70 x 64

Signed & dated 1988

$500 - 1,000

150 147 145 152 Sarah Hughes

Love Letter Screenprint,

edition of 25 75 x 56.5

Signed, inscribed

& dated 2006

$800 - 1,200

151

148

146

149

152 103

153 Ewan McDougall

Reasons to Be Cheerful

Part IV

Oil on canvas 22 x 15 Signed

$1,000 - 1,500

154 Ewan McDougall

Reasons to Be Cheerful

Part V

Oil on canvas 22 x 15 Signed

$1,000 - 1,500 155 155 Emily Karaka

The Turning Tides

Mixed media on

canvas 101.5 x 51 Signed

$1,800 - 2,600

156 104

156

156

James K Baxter & Inge Dousberg Pine trees in the Key of F and a Rose in the Key of G Solar plate, etching and woodblock on Hahnemuhle paper, Edition 66/85, 38 x 29 $500 - 1,000

157 157

Carole Shepherd Identity Fragments - Pyramid & Sands Mixed media on paper 71 x 53 Signed, inscribed & dated 1981 $400 - 600

158

158 Des Robertshaw

Inside Out - Night Stations,

Art Deco Series

Acrylic on board 92 x 68 Signed

$2,000 - 3,000 159

David Boyd War Games Lithograph, edition 60/75, 59 x 77 Signed & inscribed $1,200 - 1,600

159 105

160

Tim Wilson Doubtful Sound Oil on canvas board 82 x 112 Signed & inscribed $3,000 - 5,000

161 Olivia Spencer Bower

The Remarkables

Watercolour 37.5 x 46.5 Signed

$2,500 - 3,500

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162 162

Jack Dale Menegenen Boab Tree Hill Ochre and oil on canvas 87 x 172 Signed verso $3,000 - 5,000

Provenance:

Private Collection, Auckland

Purchased by the current owner from exhibition Djunba Ceromonies - Jack Dale

Flinders Lane Gallery, Melbourne

25 August - 15 September 2001

163 Doreen Reid Nakamarra

Rock Wallaby Dreaming Wakulyarri

Oil on canvas 110 x 95 Signed

$800 - 1,200

163 107

164

166

162

164 Sophie Sanders Door

Acrylic on canvas 33 x 41

Signed, inscribed & dated 1990 verso

$700 - 1,100 165 Tim Wilson

George Sound

Oil on canvas board 77 x 52 Signed

$1,000 - 2,000 166 Peter O’Hagen

The Queen Mary’s Maiden Voyage

into Auckland

Gouache on paper 79 x 80 Signed

$1,500 - 3,000

165 108

109

110

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Index APPLE B................................................. 5 ARMITAGE D....................................... 15 BAMBURY S........................................... 2 BARKER LADY M............................... 110 BAXTER J K & I DOESBURG.............. 156 BINNEY D....................................... 18, 59 BLAIR P.............................................. 126 BOSWIJK C....................................... 129 BOWER O S....................................... 161 BOYD D............................................. 159 BROMLEY D........................................ 74 BROWN H............................................ 82 BROWN N..................................... 25, 45 BURTON S............................................ 91 CAPON K............................................ 10 CHILCOTT G.............................. 122, 123 CLEAVIN B........................................ 128 COLLIS A........................................... 101 COOPER G....................................... 109 COTTON S........................................... 68 DAVIES A............................................. 88 DAY M................................................. 85 DELL M................................................ 11 DIBBLE P ............................................. 14 DOLBY S............................................ 116 DRAW B J.......................................... 146 ELLIS R................................................. 16 ESPLIN T............................................. 121 EVANS J.............................................. 97 FEU’U F ............................................. 147 FONG L............................................. 114 FRAZER N.......................................... 115 FRIZZELL D..............................47, 60, 150 GIMBLET M.............................. 28, 55, 87 GOOD R............................................. 23

116

HANLY P.................................. 31, 32, 57 HANNA G........................................... 76 HARRIS J................................ 61, 62, 112 HARTIGAN P....................................... 81 HEFFERN G............................................ 9 HEMER A............................................. 73 HENDERSON L.................. 64, 78, 79, 80 HIRST D................................................ 48 HOTERE R......................... 33, 34, 35, 36, .....................................37, 38, 39, 40, 54 HUGHES S.......................................... 152 HUNDERTWASSER F S......................... 17 IVANOVIC L........................................ 26 KAHUKIWA R............................... 22, 131 KARAKA E................................. 120, 155 KENDALL K........................................ 108 KILLEEN R................................ 49, 50, 51 LUSK D................................................. 63 MADDOX A............................ 46, 52, 53 MATCHITT P............................. 69, 70, 71 MCARTHUR P...................................... 58 MCCAHON C..................................... 66 MCCLEOD E..................................... 148 MCDOUGALL E........................ 153, 154 MCINTYRE M...................... 30, 106, 107 MENEGENEN J D.............................. 162 MOON N............................................. 86 MOORE C................................. 104, 105 MRKUSICH M...................................... 27 NAKAMARRA D R............................ 163 NICHOLAS D ...................................... 67 O╒HAGAN P ..................................... 166 PAGE E................................................ 65 PALMER S.......................................... 151 PAPAS J..............................117, 118, 119

PATTERSON K............................ 124, 125 PIETERS K............................................. 12 POPPERWELL M.................................. 99 PROUDFOOT D................................. 100 RADFORD PL...................................... 83 RANDERSON G.................................. 24 RAYBOULD D...................................... 90 REYNOLDS J..................................... 3, 4 ROBBINS J........................................... 75 ROBERTSHAW D................................ 158 RYAN D............................................... 96 SANDERS S........................................ 164 SCOTT I................................. 20, 41, 145 SHENNAN D...................................... 102 SHEPHERD C..................................... 157 SIDDELL P.......................................6, 7, 8 SLOW R......................................... 93, 94 SMITHER M................... 19, 21, 132, 133, ..........................134, 135, 136, 137, 138, .......... 139, 140, 141, 142, 143, 144, 149 STEINERT V......................................... 103 STRINGER T............................ 56, 98, 130 SUMMERTON J.................................... 77 SYDNEY G........................................... 95 THOMPSON R..................................... 72 THOMPSON J.......................... 42, 43, 44 TUFFERY M........................................... 89 VISCOE W........................................... 29 WEEKS J............................................. 111 WHITE A L............................................ 84 WILKINSON F....................................... 92 WILLIAMS M.................................... 1, 13 WILSON T.................................. 160, 165 WOOLLASTON T............................... 127

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