Important Early & Rare Catalogue

Important,Early& Rare 6:30pm Thursday 10th November 2011

Celebrating Forty Fabulous Years 1971 - 2011

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

Important,Early& Rare 6:30pm Thursday 10th November 2011 Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Parnell, Auckland

Viewing Times

Page 3

Index

Page 122

Conditions of Sale

Page 124

Absentee Bid Form

Page 123

Cover Illustration:

Lot 50

Inside Front Cover:

Lot 53

Inside Back Cover:

Lot 48

Back Cover:

Lot 1

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272 Parnell Road Auckland New Zealand Ph +64 9 379 4010 www.fineartauction.co.nz T H E O N LY A U CT I O N E E R S O F P I CT U R E S E X C L U S IV E LY 1

Auction Contacts Richard Thomson Frances Davies Ph: 09 379 4002 Ph: 09 379 4010 richard@artcntr.co.nz fran@artcntr.co.nz Mobile: 027 4751 071 Mobile: 027 4936 360 Auction administration Luke Davies Ph: 09 379 4010 luke@artcntr.co.nz

James Watkins Ph: 09 366 6045 james@artcntr.co.nz

Trish Young www.fineartauction.co.nz Ph: 09 366 6045 Skype: fineartauction trish@artcntr.co.nz info@internationalartcentre.co.nz

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

On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort and viewing pleasure our street level gallery remains open until sale completion.

Car Parking Location map

Works purchased may be uplifted at close of sale or Friday 11th November 9.30am - 5.00pm.

Payment may not be made during sale.

Parking During Viewing Days: Available on site during weekend viewings, Saturday 5th & Sunday 6th November. Use Scarborough Lane entrance beneath our main gallery.

During other viewing times on site parking is available on request.

Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale.

Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Viewing Times International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland Thursday

3rd November

9:00am - 5:30pm

Friday

4th November

9:00am - 5:00pm

Lecture & Morning Tea

4th November

10:30am - 11:15am

Saturday

5th November

11:00am - 4:00pm

Sunday

6th November

11:00am - 4:00pm

Monday

7th November

9:00am - 5:30pm

Tuesday

8th November

9:00am - 5:30pm

Wed

9th November

9:00am - 5:00pm

10th November

9:00am - 1:00pm

Thursday

(Auction 6:30pm)

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C F Goldie Forty Winks, 1939 Oil on canvas 44 x 38 cm Sold $573,000

C F Goldie Ahinata Te Rangitautini, 1909 Oil on panel 20 x 14.5 cm Sold $331,000

C F Goldie Hori Pokai, 1933 Oil on canvas 40.9 x 35.7 cm Sold $454,000

Golden Goldie’s Top Ten Goldie prices at International Art Centre since 2008

Goldie in his Shortland Street Studio

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Forty Winks

$573,000

November 2010

Hori Pokai

$454,000

March 2008

Ahinata Te Rangitautini

$331,000

October 2008

Harieta Huirua

$325,000

October 2008

The Aristocrat

$287,000

July 2009

Atama Paparangi

$285,000

October 2009

Tumai Tawhiti

$268,000

October 2008

A Centenarian

$222,000

July 2010

Time Tells

$188,000

October 2010

Kapi Kapi

$175,000

March 2010

Prices quoted include buyers premium

Important, Early & Rare Thursday 10th November 2011

Peter McIntyre Sold $46,800 - July

July & August sales

at a glance

Colin McCahon Sold $125,800 - July

Frances Hodgkins Sold $46,800 - July

Prices quoted include buyers premium.

Full results p. 121 and www.fineartauction.co.nz

Mike Petre Sold $20,500 - August

Evelyn Page Sold $193,800 - July

Toss Woollaston Sold $23,450 - August

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1971

1997

1987

Forty Fabulous Years of Auctioning Art 1971 - 2011

Visit www.internationalartcentre.co.nz to view our 40th Anniversary album 2000 2005

6 2006

Important,Early& Rare Thursday 10th November 2011 2008

2011

Invitation Preview Lecture & Morning Tea Friday 4th November 10:30am

Dr Angela Mackie of the Cathedral Lectures discusses key elements of selected works 10:45am - 11:15am This lecture is 20th Century NZ Artists Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz

RSVP Luke Davies luke@artcntr.co.nz Phone 09 379 4010

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PETER SIDDELL b. 1935 Harbour Morning Acrylic on board 40.5 x 30.5 Signed & dated 1986 12,000 - 18,000

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HILDA WISEMAN 1894 - 1982 One Tree Hill Woodblock 14 x 18 Signed & inscribed 800 - 1,200

Provenance:

Ida H Carey Estate Collection

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HARRY VYE MILLER 1907 - 1986 Sunlight and Shade, Otago Watercolour 21.5 x 30 Signed & dated 1954 800 - 1,200

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ROBERT NETTLETON FIELD 1899 - 1987 Mt Peel Oil on canvas 21 x 31 Signed on artist’s label verso 1,000 - 1,500

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PETER SIDDELL b. 1935 Mt Hobson Oil on panel 16 x 35 Signed & dated 1979 4,500 - 6,500

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MICHAEL HIGHT b. 1961 Lake Dunstan Oil on canvas 50.5 x 101.5 Signed & dated 2007 verso 9,000 - 11,000 6

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TOSS WOOLLASTON 1910 - 1998 Tutaranui Ink & felt pen on paper 25 x 36 Signed, inscribed & dated 1962 2,500 - 3,500

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COLIN MCCAHON 1919 - 1989 Landscape, 1949 Watercolour wash 19.3 x 25.2 Signed & dated 1949 8,000 - 12,000

Provenance:

Private Collection, Auckland

Record number cm001420 McCahon Database

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PHILIP CLAIRMONT 1949 - 1984 Victim Mixed media on paper 32 x 26.5 Signed, inscribed & dated 1973 1,500 - 2,500

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E MERVYN TAYLOR 1906 - 1964 Setting Off Watercolour 26 x 35.5 Signed & dated 1955 2,500 - 3,500

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PETER SIDDELL b. 1935 Governor’s Rock Karekare III Watercolour 26.5 x 26 Signed & dated 1985 3,000 - 4,000

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JOYCE CAMPBELL b. 1971 Ice Ghoul, 2006 Gelatin Silver fiber based print from Ambrotype Edition of 5 23 x 18 Inscribed & numbered verso 1,500 - 2,500

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EDWARD BULLMORE b. 1933 - 1978 Front View Mixed media on paper 52 x 72 800 - 1,200

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EDWARD BULLMORE b. 1933 - 1978 The Match Mixed media on paper 50 x 62 800 - 1,200

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ALAN PEARSON b. 1925 Sam Neill Pencil on paper 31.5 x 22 Signed, inscribed & dated 1984 1,600 - 2,200

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GRAHAME SYDNEY b. 1948 Study of ‘Black Couch’ Pencil on paper 49 x 39 Signed, inscribed & dated 26 May 1987 5,000 - 7,000

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MARTIN BALL b. 1952 Coffee Cups, White Terrace, after Valentine Oil on canvas 76 x 101.5 Signed, inscribed & dated 1995 verso 6,000 - 8,000

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GRETCHEN ALBRECHT b. 1943 Mango Slice Acrylic on canvas 143.5 x 187 Signed & dated 1974 18,000 - 24,000

Provenance:

Private Collection, Auckland.

Ex collection of Pakuranga Art Society

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KARL MAUGHAN b. 1964 Colyton, May Oil on canvas 90 x 120 Signed and dated 2008 verso 12,000 - 14,000

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MIKE PETRE b. 1964 Field Study 101 Oil on canvas 122 x 121.7 Signed & dated 2007 verso 8,000 - 12,000 20

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ROBERT ELLIS b. 1929 Te Rawhiti IX Oil on canvas 152.5 x 152.5 Signed & dated 1974 Inscribed verso 16,000 - 24,000

JENNY DOLEZEL b. 1964 On With the Show Oil on canvas 60 x 75 Signed, inscribed & dated 1996 9,000 - 12,000

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MAX GIMBLETT b. 1935 Brook of Gold for Maia Quaterfoil and acrylic on canvas 62.5 x 62.5 Signed, inscribed & dated 2004 verso 12,000 - 14,000

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MICHAEL SMITHER b. 1939 Red Chair, also known as Homage to Clairmont Oil on board 154.5 x 120 Signed, inscribed & dated 1977 verso 30,000 - 40,000

Provenance:

Illustrated p. 159 Michael Smither Painter,

Trish Gribben, Ron Sang Publications, 2004

Catalogued in the above publication

as Homage to Clairmont

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PARATENE MATCHITT b. 1933 Te Pakanga XXI - Takahuri Ana I Te Atea, 1974 Pen and ink on paper 48 x 66.8 3,500 - 4,500

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PARATENE MATCHITT Te Pakanga XXII - Ka Whakatika, Ka Whakatika Pen and ink on paper 48 x 66.8 3,500 - 4,500

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GORDON WALTERS 1919 - 1995 Untitled (Vertical Bars) , 1978 Acrylic on canvas 49.2 x 61.2 Signed & dated 1978 on stretcher verso 15,000 - 25,000

This Walters is unusual in that it combines an idea the artist first had in 1956, bought to life in a medium favoured he in 1978. Here we see the successful revisiting of influences from an earlier period. Perhaps the artist found it necessary to examine the pure abstraction of his 1950s work as a means of achieving a natural liberation from the 1970s Koru paintings.

Walters’ primary concern has always been with the relationship between a fairly restricted number of shapes which he has combined and recombined throughout his career. His treatment of the Maori koru motif represents the most well known example. In 1950 Walters viewed paintings by Mondrian and Theo van Doesburg at the Galerie Rene in Paris. During that time he saw works by Russian artists, Malevich and Vasarely along with those of Auguste Herbin. Looking at such paintings confirmed Walter’s desire to continue working in the spare, reductive style which naturally appealed to him.

Soon after his return to New Zealand Walters began experimenting with Polynesian and Melanesian abstract patterns. The spatial relationship of each work was planned by use of the papier colle technique. This involved a careful moving of individual elements in various combinations until the ideal was achieved. Only then did the artist make a painting on canvas.

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MICHAEL SMITHER b. 1939 Doralto Road in the Moonlight, 1969 Oil on board 72 x 70 Signed, inscribed & dated 1969 verso 35,000 - 45,000

Provenance:

Private Collection, Auckland

Illustrated p 25 Michael Smither Painter,

Trish Gribben, Ron Sang Publications, 2004

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There is Kirby Wright’s car backing out of our drive. The lights illuminating the flowering cherry tree and my mother stands to say goodbye in the doorway of 48 Doralto Road. The moon is up as usual and we’re on our way down town to drink weak coffee at Stellas, whose walls are covered in prints of dark ladies by Tretyakov. (Tretchikoff).

The ceiling is blue and has stars and we drink there as a group of young men nearly every night.

Text: Michael Smither p 24 Michael Smither Painter, Trish Gribben, Ron Sang Publications, 2004

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29 JOHN WEEKS

1886 - 1965 Washerwomen

Tempera on paper 32 x 36

Weeks O’Connor hand written verso

4,000 - 6,000

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LOUISE HENDERSON 1847 - 1945 Still Life with Teapot Oil on canvas 50 x 39.5 Signed 10,000 - 15,000 30

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ARCHIBALD FRANK NICOLL 1886 - 1953 Canterbury Farm Oil on board 34.5 x 50 Signed 3,000 - 5,000

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JOHN TOLE 1890 - 1967 The New School Oil on board 39 x 49 Signed 5,000 - 7,000

Provenance:

Ex. Collection of Charles Tole, Artist’s brother

Original artist’s label affixed verso reads: The New School

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JAN NIGRO b. 1920 Bathers Mixed media on paper 55 x 37.4 Signed & dated 1966 4,500 - 6,000

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JAN NIGRO b. 1920 The Dog Handlers Oil on canvas 97 x 114 Signed & dated 1965 5,000 - 8,000

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36 JOHN WEEKS

1886 - 1965 Horsemen

Tempera on paper 39.5 x 44

Signed

4,000 - 6,000

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LOUISE HENDERSON 1847 - 1945 Siamese Cat Oil on canvas 33 x 24.4 Signed & dated 1965 2,000 - 3,000

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37 PETER MCINTYRE

1910 - 1995

Kufra, Southeastern Libya

Watercolour 34.5 x 48

Signed, Inscribed To the memory of the LRDG (Long Range Desert Group)

8,000 - 12,000

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Provenance:

Ex Roy Cowan and Juliet Peter Collection

Provenance:

Estate of George R. Chance, Dunedin. George R. Chance

was a friend of Peter McIntyre and son of early New Zealand

photographer George Chance.

The Free French from Chad, together with the Long Range Desert Group, attacked and took Kufra. From Kufra the LRDG. commanders would essentially serve as the military commanders of a region approximately the size of northern Europe, a region which had not seen rain in 70 years.

This is a rare field study painted whilst the artist was in Kufra 19 - 30 April, 1941

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PETER MCINTYRE 1910 - 1995 Salonika Harbour Watercolour 34 x 47 Signed. Inscription verso reads “Painted in Salonika in 1945. Peter McIntyre.�

6,000 - 8,000

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PETER MCINTYRE 1910 - 1995 The King Country Oil on board 49.5 x 73.5 Signed 15,000 - 20,000

Illustrated Plate 12 McIntyre Country, New Zealand Landscapes by Peter McIntyre A H & A W Reed Ltd 1979 In the late afternoon sun the King Country lies at peace, but its history speaks of the strange cult of the Hau Hau and the days when it was the last stronghold of exclusive Maoridom.

Text: McIntyre Country, New Zealand Landscapes by Peter McIntyre A H & A W Reed Ltd 1979

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JOHN HOLMWOOD 1910 - 1987 Bride & Groom Oil on board 69 x 58.5 Signed 4,500 - 7,500

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JOHN HOLMWOOD 1910 - 1987 Westbury on Trym, Nocturne Oil on canvas 93 x 67 Signed & inscribed verso 4,500 - 7,500 41

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A LOIS WHITE 1903 - 1984 Self Portrait, c. 1953 Oil on cardboard 50 x 28 Signed 15,000 - 20,000

Illustrated: p. 101 By the Waters of Babylon, The Art of A. Lois White, Nicola Green, David Bateman, 1993

Exhibited: By the Waters of Babylon, The Art of A. Lois White Auckland City Art Gallery March - May 1994 Waikato Museum of Art & History July - August 1994 Dunedin Public Art Gallery October - November 1994 Te Papa Tongarewa December 1984 - January 1995 Hawke’s Bay Museum February - March 1995 Robert McDougall Art Gallery April - May 1995

At the time she made this painting Lois White felt under siege. The Elam School of Art where she had taught for many years and the Auckland Society of Arts where she regularly exhibited were both receiving adverse public criticism from the reforming director of the Auckland Art Gallery, Eric Westbrook. At Elam, Lois White continued to teach as she always had though her students were becoming increasingly impatient with both her traditional methods and aggressive manner. Few of them knew, let alone respected her earlier work, based, like her teaching, on a strong sense of design. Sometimes she would come to class only to find the room empty of students. In this self portrait she stands at her easel holding a palette and brush, wearing a traditional artist’s smock over her dress and looking not at the work in hand but directly outwards. Her expression is defiant. The portrait is a strong statement of identity.

PETER SHAW

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RAYMOND CHING b. 1939 Bill Double Pencil on paper 38.1 x 38.1 Signed, inscribed & dated 1979 1,500 - 2,500

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RAYMOND CHING b. 1939 Kiwi Study Pencil on paper 48.3 x 36.5 Signed, inscribed & dated 8/3/1987 2,000 - 3,000

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JOHN WEEKS 1886 - 1965 Two Nudes Oil on canvas 64 x 44 Signed 8,000 - 12,000

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RATA LOVELL-SMITH 1894 - 1969 Mount Grey, Amberley Oil on board 30.5 x 45 Signed 3,000 - 4,000

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RATA LOVELL-SMITH 1894 - 1969 Headwaters of the Waimakariri Oil on canvas 71 x 91 Signed & dated 1942 26,000 - 30,000

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GRAHAME SYDNEY b. 1948 Above Murdering Beach Watercolour 55 x 76 Signed & dated 1986 25,000 - 35,000

Provenance:

Private Collection, Auckland since 1986

Grahame Sydney is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydney’s work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill.

Sydney's contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydney's paintings have been inspirational with their ability to evoke a sense of wonder and kinship.

From childhood drawings of Disney characters in the 1950s, through to the large majestic landscapes of Otago forty years onward, Grahame Sydney's passion for painting has never diminished. He has worked in oils, watercolour, tempera, etchings and lithographs. Following his first solo exhibition at the Moray Gallery in 1972, he spent a period overseas in the United Kingdom and Europe before returning to Dunedin in 1974 to begin life as a full-time artist. Those years have witnessed an impressive and substantial body of work, and an extensive exhibition history.

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Sydney is a clever magician who plies his craft with great skill and subtlety, making paintings that are seemingly simple, but their plain reality tenders deeper emotions than simple recognition. You don't just see the land here, you feel it ... These hills, these skies give us a voice that is unique, a voice that is evoked by the art of Grahame Sydney. It is the voice of us all.

Keith Stewart.

It seems to me that the essentials of landscape are seen with the heart.

There’s a lot of feeling in his work, but it’s not up front, it’s not indulgent, it’s not demanding of emotion - but there’s a lot of emotional tension there in the paintings.

Owen Marshall.

This work Above Murdering Beach, 1986 is an original watercolour - a preliminary work for Grahame Sydney’s oil on linen Above Murdering Beach painted in 1987.

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DORIS LUSK 1916 - 1990 Onawe Peninsula - Akaroa Harbour Oil on canvas on board 49 x 65 Signed & dated 1968 12,000 - 16,000

Doris Lusk was born in Dunedin, the youngest daughter of an architect, Thomas Younger Lusk. Drawing and painting were major interests during her childhood spent in a rural area bordering the Waikato River just outside Hamilton.

With the advent of the Great Depression the family returned to Dunedin.

Doris Lusk attended Otago Girls' High School and enrolled herself in the art school of King Edward Technical College in order to pursue her ambition of becoming a painter. Here she met Anne Hamblett ( later to marry Colin McCahon ) and was taught by Charlton Edgar and R.N. Field. Another influence was the English painter Russell Clark at that time employed as a commercial artist by the printing and publishing firm, John McIndoe. Lusk attended his life drawing classes and was an active participant in the lively art scene which grew up around this romantic figure. At the time Otago Art Society conservatism was a force to be reckoned with. Lusk removed her work in protest from an Art Society show whose selectors had rejected one of Colin McCahon's large Otago Peninsula landscapes ostensibly because it was inadequately framed. Eventually a group of these younger artists and their sympathisers packed the Society's Annual General meeting, voted out the old council and put in a more open minded one. Lusk's life long addiction to landscape painting was developed through the teaching of Charlton Edgar.

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Her early Central Otago landscapes in high keyed colour show his influence. Doris Lusk spent three years as a commercial artist and taught art at a number of girls' schools. In 1941, as Mrs Doris Holland, she moved to Christchurch eventually becoming the mother of a boy and two girls. In 1943 she joined the progressive Canterbury painters - The Group - exhibiting in their Ballantyne's show for that year and many times thereafter. Summer holidays at Duvauchelle, Banks Peninsula led to many paintings of that area; others included the State Hydro series at Waikaremoana; from the mid 1960s the artist began a long series of paintings at Onekaka, Nelson with its black fractured wharf cutting into the surf. In 1947 Doris Lusk became a tutor in pottery and later in painting; in 1967 she was appointed lecturer at the Canterbury School of Fine Arts.

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FRANCES HODGKINS 1869 - 1947 Sur La Plage Watercolour 30 x 31 Signed 55,000 - 70,000

Provenance:

Private Collection, Auckland

In true classical manner, the body language of the figures and their summarily depicted facial expressions in Frances Hodgkins’ watercolour Sur la Plage indicate the inner workings of the soul of four women.

Three women are grouped together. The female in the dark clothes dominates the conversation. She leans forward into the personal space of the woman on the left who turns her head away and clasps her hands behind her back. A cavernous mouth, formed by the two sided triangle of the large dark hat and the collar of the equally dark costume, barks at the lady in white.

The female on the right of this group of three inclines her head but keeps her own counsel. Is she amused as she listens to the dictatorial tone of her neighbour whose older age is indicated by a dark line down the cheek of her face of slightly sagging flesh? Three women are summarily indicated, their three hats mimicking the curves of the red umbrella and lead our eye, just as the line of the beach chair does, to a fourth buxom figure of calligraphic lines and fluid green and blue. Hodgkins indicates the presence of water by suggesting these colours in other objects, a painterly transposed epithet.

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The dark colour of the jacket recalls Manet, the only Impressionist to make extensive use of black, yet the work is also reminiscent of a similar work

by Monet, The Beach at Trouville, where the form of the chair links the two figures. In Hodgkins’ work, the criss-cross of the chairs as well as their parallel forms serve as a framing device below the women while the umbrella fulfills the same role above, a kind of group hat from which only the unhappy women on the left is excluded.

Loose brushwork indicating form does not lessen the clarity of what the viewer sees nor the clarity of the colour; wet on wet creates feeling of heat, the use of bright colours, perhaps gleaned from her years studying in New Zealand with Nerli, together with the calligraphic lines and shallow pictorial space, place this work firmly in the Post-Impressionist world.

ANGELA MACKIE

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CHARLES FREDERICK GOLDIE 1870 - 1947 Ngaheke, a Chieftainess of the Tutea Taoi Hapu at the Tangi.

The Chief is Dead, His Widow Mourns.

Oil on canvas 27.4 x 22.3 Signed, inscribed Best wishes to Mrs E B Gunson & dated 1936 190,000 - 240,000

Provenance:

Private Collection, Dunedin since 1972

Illustrated: p. 276 C. F. Goldie His Life & Painting, Alister Taylor & Jan Glen Alister Taylor publishing 1977

NZ Herald, 24 June, 1972

‘In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today, and New Zealand has every reason to be proud of him’ Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979

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LOUIS JOHN STEELE 1843 - 1918 Tepine Te Mamaku (100 years old) Tawhata, King Country, N.Z. Watercolour 3.6 x 3.6 Signed & inscribed verso 1,200 - 1,800 Illustrated actual size

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53 ALBIN MARTIN

1813 - 1888 Paihia

Watercolour 20 x 28

15,000 - 25,000 Provenance:

Colenso Family Descent Acquired by William Colenso (1811 - 1899), a friend of Albin Martin in the 1860s. The work has been held by the family ever since. William Colenso is the great-great-grandfather of the present owner. Colenso was elected to the New Zealand General Assembly of 1861 in Auckland.

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CHARLES BLOMFIELD 1848 - 1926 The Sleeping Geyser, Rotomahana an Intermittent Geyser of Terahoparatarangi Oil on canvas 58 x 93.5 Signed & dated 1885 35,000 - 45,000

Charles Blomfield has long been recognised as the most popular early New Zealand painter of the Pink and White Terraces. Blomfield first saw the Terraces in December 1875 and made the comment that they were 'exceedingly beautiful and graceful'. Returning nearly ten years later, he spent six weeks painting this 'eighth wonder of the world'. Blomfield's paintings were sold from his Victoria Arcade studio in Queen Street.

Open daily, the studio was a popular destination for tourists. The Terraces were tragically destroyed by the Tarawera eruption of 1886. In response to public demand Blomfield continued to paint this favoured subject, immortalising the lost terraces in his paintings.

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RITA ANGUS 1908 - 1970 Plane Trees, Green Park, London Watercolour 33 x 51 Signed & dated 1951 15,000 - 25,000

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FRANCES HODGKINS 1869 - 1947 Bodinnick Cornwall Watercolour 44 x 35 Signed & inscribed 25,000 - 35,000

Provenance:

Private Collection, Auckland

Exhibited:

Exhibition of works by Frances Hodgkins

Leicester Galleries, London, 1941

Original Leicester Galleries label affixed verso

This work is presented in its original frame. It is offered for sale for the first time since 1941.

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CHRISTOPHER PERKINS 1891 - 1968 Portrait Of Annette Stiver Oil on canvas 83 x 72.5 Signed 25,000 - 35,000

Illustrated: p. 17 Art in New Zealand, September 1931

English artist Christopher Perkins spent the years 1929 to 1932 teaching at Wellington’s Technical College Art School. At the same time Mr Michael Stiver, a New York advertising executive, had come to the city to establish an office for J.Walter Thompson. This was the first international advertising agency to set up a New Zealand operation, Stiver being responsible for the General Motors account in this country. Perkins painted this portrait of Annette Stiver, formerly known as Portrait of Mrs Michael Stiver, in 1931.

In terms of painterly upward sweeping rhythm he seems to have taken his cue from the subject’s distinctively retroussé nose. The profusion of arum lilies that surrounds her is mysterious. Usually regarded as a symbol of purity here they may offer a clue to the notion that the sitter and his subject were close. This painting was exhibited at the seventh annual exhibition of the Contemporary Group at the Macquarie Gallery, Sydney in November 1932. Mr and Mrs Stiver had earlier moved to Sydney after car sales in New Zealand plummeted during the Depression. In 1967 the painting was reported to be in the subject’s own collection in New York. It was sold at auction in New Zealand in 1986.

PETER SHAW Christopher Perkins was born in England and studied at the Slade School of Art, London. During his period of study he visited Italy where he studied the work of the great Renaissance masters. He served in field artillery and camouflage units during World War I following which he settled first in East Anglia then at the French Mediterranean port of St Tropez. Here he devoted his attention to still life compositions as a means of perfecting his control of tone. Two years later he decided to concentrate on landscape paintings and moved to Sanary, Provence near Aix to be near the country made famous in Cezanne’s landscapes. It is said that on first reaching Aix, Perkins removed his shoes and walked barefoot straight to Cezanne’s house.

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Important,Early& Rare Thursday 10th November 2011

Returning to England, Perkins applied under the La Trobe Scheme for a job as an instructor at the Wellington Technical College Art School, arriving in New Zealand in March 1929 when he was disappointed at finding a transplanted piece of Victorian England rather than the Gauguinesque South Seas landscape he had imagined. He was disappointed too to find that Maori art was for the most part concealed in museums and little appreciated by the Europeans. His aim was the creation of a national art based upon popular appreciation. Like H. Linley Richardson he was also to paint pictures of Maori subjects and motifs. Perkins was to advocate a search for local subject matter and express a conviction that there was a particular clarity of light in New Zealand.

In Art in New Zealand of June 1934 the writer and critic A.R.D. Fairburn was to give these views about the painter’s task in New Zealand their most authoritative expression: “There is no golden mist in the air, no Merlin in our woods, no soft warm colour to breed a school of painters from the stock of Turner, Crome, Cotman and Wilson Steer. Hard clear light reveals the bones, the sheer form of hills, trees, stones and scrub. We must draw rather than paint, even if we are using a brush, or we shall not be perfectly truthful “.

These controversial notions have been repeated or subjected to critical scrutiny ever since, most notably by Francis Pound in an essay called The Land, The Light and Nationalist Myth in NZ Art in Te Whenua, Te Iwi; The Land and The People. ed. Jock Phillips. Allen and Unwin/ Port Nicholson Press 1987 pp 48-60. Defeated by local painters’ reliance on English models and alienated because of his own fearless criticisms of the New Zealand art scene, Perkins was unable to achieve his desired aims here. By 1933 he had returned to England.

61

58

ALFRED HENRY O’KEEFE 1858 - 1941 Study of a Weary Traveller Oil on canvas on board 116 x 90 Signed & dated 1890 20,000 - 30,000

This painting won third prize in the Art Union Competition held after World War I to raise money for war widows.

After studying at Dunedin School of Art, O’Keefe joined his father in the family hotel business before going to Paris in 1894. This work is believed to be a scene from the O’Keefe family hotel. It has been held in the same family collection since the 1920s.

58

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Important,Early& Rare Thursday 10th November 2011

59

59

JOHN BARR CLARKE HOYTE 1835 - 1913 The White Terraces Watercolour 32 x 64 Signed 20,000 - 30,000

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60

JOHN GULLY 1819 - 1888 Otira Pass Watercolour 82 x 66.5 Signed & dated 1879 30,000 - 40,000

Provenance:

New South Wales Art Gallery purchased this watercolour from the Otago Art Society, 1879.

Original New South Wales Art Gallery label affixed verso. De-accessioned 1958.

Held in the same collection since.

Exhibited: Otago Art Society, 1879 Wairarapa Art Exhibition, Masterton, 1962, no. 126a, V E Donald Collection.

Reference: p. 135 ‘New Zealand’s Romantic Landscape Paintings’ by John Gully, Compiled and written by the artist’s great, great grandson John Sidney Gully, Millwood Press, Wellington, 1984 Reference no. G79/3

Gully immigrated to New Zealand from Bath in 1852 accompanied by his wife Jane and their three children. The family settled in Omata, Taranaki where they purchased the Omata Store in 1854. Sadly, lack of trade resulted in bankruptcy and the family's relocated to New Plymouth. Gully advertised his availability to paint views of properties for sending abroad and served as a volunteer during the Land Wars. He was invalided out of the army as the conditions were too severe for his constitution. In 1860 the Gully family left New Plymouth for the city of Nelson, purchasing a house in Trafalgar Street with a large orchard and garden. It was here that the artist spent the rest of his life. Gully was encouraged by the geologist Julius von Haast, who commissioned twelve watercolours of the mountains and glaciers of Canterbury. These watercolours were used to illustrate a lecture given by Haast at the Royal Geographical Society in London in 1864.

Gully became part-time drawing master at Nelson College. Later, through the assistance of politician and artist James Crowe Richmond, he was appointed full time draughtsman to the Nelson provincial survey office.

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Important,Early& Rare Thursday 10th November 2011

During his lifetime Gully enjoyed popularity and success as an artist, today he is regarded as one of New Zealand’s foremost landscape painters.

Working almost entirely in watercolour, Gully's field trips yielded a legacy of many finely worked sketch-books full of careful pencil studies and numerous quick-wash drawings both in colour and sepia. Large scale watercolours became immensely popular as centre-pieces at art society shows. Today only a few such works remain in private hands. Gully enjoyed recognition and success in his life time. All of Gully's watercolours submitted to the 1865 New Zealand Exhibition in Dunedin sold prior to the exhibition opening. He exhibited at the British Royal Academy in 1871. In 1873, nine paintings were sent to the New Zealand Court at the International Industrial Exhibition in Vienna. In 1886 he exhibited at the India & Colonial Exhibition in London and the Intercolonial Exhibition in Melbourne. He also exhibited works with the Society of British Watercolour Artists in London.

65

61

ALFRED SHARPE 1836 - 1908 Bay of Islands from Paihia Watercolour 41 x 66 Signed, inscribed & dated 1882 40,000 - 60,000

Provenance:

Private Collection, Auckland

Purchased by current owner, National Treasures

International Art Centre, Auckland, March 1993

Profoundly deaf and partly mute, Alfred Sharpe embarked on a three week sketching tour of the Bay of Islands in 1882. Bay of Islands from Paihia is a rare watercolour painted as a result of that journey. This carefully composed work, framed by native foliage, affirms the artist’s close personal relationship with the New Zealand landscape, in one of his poems he refers to the trees and rocks as ‘friends’.

Although Sharpe had established a reputation for finely detailed watercolours of the New Zealand landscape, exhibiting with the Society of Artists and the Auckland Society of Arts, he did not feel he received the deserved level of critical recognition he deserved. This coupled with marital difficulties, contributed to his decision to leave New Zealand for Australia in 1887.

In his book Frames on the Land Francis Pound suggests that Sharpe, like other topographical painters, believed that to make the work artistically pleasing, the subject needed to be idealised but that, the real must be idealised realistically. Francis Pound, Frames on the Land, Collins, 1983.

Set like many of Sharpe’s landscapes at twilight, the painting has a tranquil air. Soft blues and greens predominate, with warmer hues in the pathway leading the eye through the foreground towards the hills of the background.

This watercolour is one of the rare surviving works of the 1880s depicting this historically important area. It was a little over a century earlier that Captain James Cook sailed into the bay in 1769. It was he who named it Bay of Islands, finding it heavily populated by Maori, he was impressed at their industry and intelligence. The name Paihia came from the Bay of Islands Nga Puhi chief Te Pahi 1760 - 1809, who was one of the first Maori leaders to have significant contact with British Colonial officials.

There with friends I am surrounded; There no solitude I feel; And to me her mystic wonders Nature ever doth reveal Alfred Sharpe

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Important,Early& Rare Thursday 10th November 2011

67

61a

61a

68

PETER MCINTYRE 1910 - 1995 The White Cliffs, Rangitikei Oil on board 49.5 x 73.5 Signed 15,000 - 20,000

Important,Early& Rare Thursday 10th November 2011

61b

61b

PETER MCINTYRE 1910 - 1995 Hallett Bay, Antarctica Oil on board 50 x 60 Signed 18,000 - 25,000

Hallett Bay, Antarctica. I sailed into this bay on an American navel icebreaker and was enchanted. There was no night and a hundred thousand Charlie Chaplin in white ties and tails performed for me. This, and Cook’s Bay in Moorea, are two of the most beautiful bays in the whole of the Pacific.

Text: Peter McIntyre Peter McIntyre’s Pacific, 1966

69

62

62

70

JOHN WEEKS 1886 - 1965 Watercarriers and Bathers Tempera on paper 40 x 48 5,000 - 7,500

Important,Early& Rare Thursday 10th November 2011

63

63

JOHN GIBB 1831 - 1909 Milford Sound Oil on canvas on board 67 x 117 Signed 10,000 - 15,000

71

64

RAYMOND CHING b. 1939 White Backed Magpie Watercolour 71.5 x 50 Signed, inscribed & dated 1980 17,000 - 22,000

Provenance:

Private Collection, Waikato

Purchased by current owner from the exhibition Raymond

Ching Paintings and Drawing,

International Art Centre 1980

64

72

Important,Early& Rare Thursday 10th November 2011

65 RAYMOND CHING

b. 1939 Stitchbirds

Watercolour 68.9 x 53.4

Signed & inscribed

14,000 - 18,000 Provenance:

Private Collection, Waikato

Purchased by current owner from the exhibition

Raymond Ching Paintings and Drawing,

International Art Centre 1980

Illustrated: p. 195 New Zealand Birds, An Artist’s Field Studies Raymond Ching

The Stitchbird or Hihi (Notiomystis cincta) is a medium-sized forest species and is one of New Zealand’s rarest birds. Recent DNA analysis has shown it to be the sole representative of another bird family found only in New Zealand whose closest relatives may be the iconic Wattlebirds including the Kokako, Saddleback and the extinct Huia. The shy, attractive Stitchbird is a honeyeater, regularly visiting flax, pohutukawa and puriri.

The laying period is usually November resulting in three to five chicks. Both parents feed the chicks on nectar and small insects.

In 2006 sixty Stitchbirds were released in the Karori Wildlife Sanctuary near Wellington and in October of that year, for the first time in more than 120 years, chicks were hatched on mainland New Zealand. A dedicated conservation programme has been underway at Tiritiri Matangi for some years. However the species is classified as vulnerable, and found in only five locations, amongst which are Little Barrier Island and Mokoia Island in Lake Rotorua as well as the Waitakere Ranges.

Currently the world population is estimated at 1,000 adult birds.

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73

66

66

PETER MCINTYRE 1910 - 1995 Buckingham Palace, London Oil on canvas 50 x 60 Signed 10,000 - 15,000

74

Important,Early& Rare Thursday 10th November 2011

‘It is that sense of something happening, a fullness to life, a feeling of everything being crowded and noisy, that makes London’ Peter McIntyre, 1962

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67

PETER MCINTYRE 1910 - 1995 Royal Courts of Justice, London Oil on canvas 50 x 60 Signed 10,000 - 15,000

The Royal Courts of Justice, commonly called the Law Courts, is the building in the Strand, London which houses the Court of Appeal of England and Wales and the High Court of Justice of England and Wales. This building is a large grey stone edifice in the Victorian Gothic style and was designed in the 1870s by George Edmund Street, a solicitor turned architect.

75

68

68

THOMAS ROSE MILES British fl. 1869 - 1910 Stormy Departure Oil on canvas 90 x 69 Signed 5,000 - 10,000

69

SIR WILLIAM RUSSELL FLINT British 1880 - 1969 Reflections Watercolour 25 x 35 Signed 7,000 - 10,000

69

77

70

71

70

GEORGE CHARLES HAITE British 1855 - 1924 Kirkby, Merseyside Watercolour 35 x 59 Signed 8,000 - 12,000

71

GEORGE CHARLES HAITE British 1855 - 1924 Villefranche, French Riviera Watercolour 32.5 x 72.5 Signed. Inscribed & dated 1910 verso.

Original H Fisher & Son label affixed verso 8,000 - 12,000

72

72

SYDNEY LOUGH THOMPSON 1877 - 1973 Entrance to a Chapel, Provence Oil on canvas 37 x 44 Signed. Inscribed verso 5,000 - 8,000 H. Fisher & Son Christchurch label affixed verso.

Reads: No. 1 Entrance to a Chapel Provence, June 1948

80

Important,Early& Rare Thursday 10th November 2011

73

JOHN WEEKS 1886 - 1965 An Aberdeenshire Harbour Tempera on cardboard 35.5 x 50.5 Signed 4,000 - 6,000

73

81

75

74

Lot 74 Exhibited: Collectors Exhibition Sutor Gallery, Nelson 1981 Label affixed verso

82

Important,Early& Rare Thursday 10th November 2011

74

75

MARGARET OLROG STODDART 1865 - 1934 On the Bridge Watercolour 27 x 18 Signed 5,000 - 8,000

76

THOMAS DERBY RYAN 1864 - 1927 Lake Taupo with Mountains Beyond Watercolour 46.7 x 69.5 Signed 4,000 - 6,000

OWEN HEATHCOTE MERTON 1887 - 1931 Ruined Houses Watercolour 24 x 26.7 Signed 3,000 - 5,000

76

83

78

77

84

Important,Early& Rare Thursday 10th November 2011

77

FRANCIS MCCRACKEN 1879 - 1959 Self Portrait Oil on board 75 x 51.5 Signed 6,000 - 10,000

78

FRANCIS MCCRACKEN 1879 - 1959 Gossip, St Monance Ink & pencil on paper 15 x 20 1,200 - 1,600

79

SYDNEY LOUGH THOMPSON 1877 - 1973 Mackenzie Country Gouache on paper 36.2 x 48.9 Signed 4,000 - 6,000

79

80 SYDNEY LOUGH THOMPSON

1877 - 1973 Stillwater

Gouache on paper 35 x 52

Signed

4,000 - 6,000 Provenance:

Estate of George R. Chance, Dunedin 80

85

82

82

GABRIELLE HOPE 1916 - 1962 From Forrest Hill Road Watercolour on paper 54 x 73.5 1,500 - 2,500

83

GABRIELLE HOPE 1916 - 1962 Mimiwhangataroa Homestead Watercolour 46 x 57 Signed & dated 1962 3,000 - 5,000

81

81

GARTH TAPPER 1927 - 1999 The Young Priest Oil on board 60.5 x 49.5 Signed. Inscribed verso 4,000 - 6,000

86

Important,Early& Rare Thursday 10th November 2011

83

87

85

84

84

CHARLES HENRY HOWORTH 1856 - 1945 Clinton River Fiordland Oil on canvas 74 x 54 Signed 2,500 - 3,500

88

Important,Early& Rare Thursday 10th November 2011

85

GARTH TAPPER 1927 - 1999 Three Horses Oil on canvas 44 x 61 Signed & dated 1983 3,000 - 5,000

86

GARTH TAPPER 1927 - 1999 Self Portrait Oil on board 59 x 58 Signed and inscribed Garth Tapper for Garth Tapper & dated 1975 verso 4,000 - 6,000

86

87

HARRY LINLEY RICHARDSON 1878 - 1947 Portrait of Robyn King Oil on canvas 55 x 33.5 Signed & dated 1943 3,000 - 5,000

87

89

88 JOHN HOLMWOOD

1910 - 1987 Untitled

Pencil on paper 75.5 x 53

Signed & dated 1975

2,000 - 3,000

89

88

90

Important,Early& Rare Thursday 10th November 2011

JOHN HOLMWOOD 1910 - 1987 A Villa Beside the Sea, Puketutu Island Oil on board 55.5 x 74 Signed & dated 1957 6,000 - 8,000

89

91

90

90

CHRISTOPHER PERKINS 1891 - 1968 Rachel Wren - nee Perkins ( Aged2 ) Charcoal on paper 29 x 22.5 Signed & dated 1934 1,500 - 2,000

92

Important,Early& Rare Thursday 10th November 2011

91

91

CHRISTOPHER PERKINS 1891 - 1968 Woman in Profile Charcoal on paper 35.5 x 24 Signed & December 1933 800 - 1,500

92

GOTTFRIED LINDAUER 1839 - 1926 Mrs Schischka Oil on canvas 65 x 49 Signed & dated 1876 8,000 - 12,000

Like the artist himself, Rosalie Schischka was a Bohemian, born in Pilsen. She arrived in New Zealand with her husband Lorenz and seven children in 1864, eventually settling in the Puhoi valley where they farmed 220 acres. Lorenz Schischka died in 1880, his wife surviving another twenty years. She was 73 when Lindauer painted this solemn portrait for which she dressed in the formal mourning attire she probably wore for the rest of her life. The artist has taken considerable care over details of facial expression, jewellery and fabric lending support to the view that this is a portrait from life, unlike many of Lindauer’s Maori subjects which were based on photographs.

PETER SHAW

92

93

93

93

CHARLES BLOMFIELD 1848 - 1927 Mamaku Ranges, Rotorua Oil on board 29.5 x 46 Signed & dated 1899 4,000 - 6,000

94

Important,Early& Rare Thursday 10th November 2011

94

SCHOOL OF CHARLES BLOMFIELD New Zealand 19th Century Southern Mountain Scene Oil on canvas 72 x 95 2,000 - 3,000

95 SCHOOL OF CHARLES BLOMFIELD

New Zealand 19th Century Coromandel

Oil on canvas 89 x 59

1,500 - 2,500

96

96

JOHN PHILEMON BACKHOUSE 1845 - 1908 Mt Egmont Oil on card 6.5 x 15 Signed 2,000 - 3,000

97

JOHN PHILEMON BACKHOUSE 1845 - 1908 Lake Taupo Oil on card 6.5 x 15 2,000 - 3,000

94

95

97

95

99

98

96

Important,Early& Rare Thursday 10th November 2011

98

JOHN BARR CLARKE HOYTE 1835 - 1913 Fern and Stream Study Watercolour 21.3 x 15.2 Signed 1,500 - 2,000

99

MARGARET OLROG STODDART 1865 - 1934 Cathedral in a Landscape Watercolour 25 x 35 Signed 3,500 - 4,500

100

JOHN BARR CLARKE HOYTE 1835 - 1913 Mt Egmont Watercolour 30.5 x 44 Signed 7,000 - 10,000

100

97

101

98

Important,Early& Rare Thursday 10th November 2011

101

SCHOOL OF GOTTFRIED LINDAUER Early 20th Century Anna Rupene and Child Oil on canvas 75 x 60 5,000 - 10,000

102

GEORGE FREDERICK SWAINSON 1829 - 1870 Auckland Harbour from Bastion Rock Watercolour 24 x 35.5 Signed, inscribed & dated 1851 1,200 - 1,800

102

103

VERA CUMMINGS 1891 - 1949 Maggie Papakura Oil on canvas 29.5 x 24.5 Signed 6,000 - 8,000

104

WILLIAM HENRY RAWORTH 1821 - 1904 Bay on Lake Tekapo Watercolour 32.5 x 68.5 Signed, inscribed & dated 1871 3,000 - 4,000

103

104

99

105

106

100

Important,Early& Rare Thursday 10th November 2011

105

JOHN WEEKS 1886 - 1965 A Moist Landscape Oil on plywood panel 20 x 24 Signed 2,500 - 3,500

106

GEORGE CHARLES HAITE 1855 - 1924 Venetian Sails Oil on board 11 x 17 Signed 1,200 - 1,600

107

PETER MCINTYRE 1910 - 1995 Mahurangi, Auckland Oil on canvas 45 x 58 Signed 7,000 - 10,000

107

101

108

102

Important,Early& Rare Thursday 10th November 2011

109

110

108

PETER MCINTYRE 1910 - 1995 Sampans - Hong Kong Watercolour 52 x 74 Signed 7,000 - 10,000

109

LAURENCE WILLIAM WILSON 1850 - 1912 Lake Te Anau Pastel on paper 30 x 45 Signed, inscribed & dated 1886 1,500 - 2,500

Provenance Lots 108 & 109 Estate of George R. Chance, Dunedin

110

LAURENCE WILLIAM WILSON 1850 - 1912 Preservation Inlet Pastel on paper 30 x 45 Signed 1,200 - 1,600

111

LAURENCE WILLIAM WILSON 1850 - 1912 Lake Manapouri from Shallow Bay Pastel 25 x 44 Signed, inscribed & dated 1890 800 - 1,500

111

103

113

112

112

114

104

Important,Early& Rare Thursday 10th November 2011

EDWARD WILLIAM PAYTON 1859 - 1944 Wairoa Falls, Tarawera Watercolour 35 x 24 Signed 800 - 1,200

115

113

TREVOR LLOYD 1854 - 1937 Maori Village Monotone gouache on paper 31.5 x 50 Signed 800 - 1,200

114

ALBERT HENRY FULLWOOD 1863 - 1930 Lake Pukaki Watercolour 37 x 55 Signed 1,500 - 2,500

115

NICHOLAS CHEVALIER 1828 - 1902 Coastal Scene Watercolour 53 x 67 Signed & dated 1888 9,000 - 14,000

105

116

117

116

COLIN WHEELER b. 1919 Thames Street, Oamaru Oil on board 67 x 61 Signed & dated 1980 4,000 - 6,000

106

Important,Early& Rare Thursday 10th November 2011

117

COLIN WHEELER b. 1919 Grainstore, Oamaru Oil on board 70 x 54 Signed & dated 1992 4,000 - 6,000

118

A AUSTEN DEANS b. 1915 The Road To Tekapo Watercolour 34 x 52.2 Signed & dated 2003 4,000 - 6,000

118

107

Well known for his distinctive European village scenes coupled with the heavy application of oil paint by both brush and palette knife, Dunedin based Tom Esplin began working on such subjects in the 1970s. The works found a ready market allowing the artist to return to Europe on regular painting trips with his wife Edith. The couple also travelled widely in China and the Pacific.

In his early years, Scottish born Esplin exhibited at the Royal Society of Artists, London and the Royal Society of Watercolourists, Scotland.

He gained a Diploma of Fine Arts at Edinburgh College, Scotland. Arriving in New Zealand in 1954 the artist spent 30 years as Senior Lecturer and Associate Professor at the University of Otago School of Design. Retirement resulted in a busy life as a successful full time professional artist.

These two works have been in the same private ownership since painted.

119

119

TOM ESPLIN 1915 - 2005 Old Nuremburg Oil on board 32 x 45.5 Signed 3,500 - 5,500

108

Important,Early& Rare Thursday 10th November 2011

120

TOM ESPLIN 1915 - 2005 Positano from the Sea Oil on board 42.5 x 58 Signed 4,500 - 6,500

120

109

121

Douglas Badcock Estate

121

DOUGLAS BADCOCK 1922 - 2009 Autumn, Earnscleugh, Otago Oil on board 30 x 39.5 Signed. Inscribed verso 2,000 - 3,000

122

DOUGLAS BADCOCK Willows and Creek, Speargrass Flat Oil on board 24.4 x 34.5 Signed. Inscribed & dated 1995 verso 2,000 - 3,000

123

DOUGLAS BADCOCK Rocky Landscape, Central Otago Oil on board 51 x 71 Signed. Inscribed verso 4,500 - 6,500

Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the Queen of England's collection and King of Thailand's collection. Douglas was a Kelliher art award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award.

Badcock held his first exhibition in Wellington in 1960, selling out within two days. A review at the time described him as ‘a realistic painter and absolutely sincere with a natural talent and a high technical standard ... A master of the New Zealand landscape, he paints New Zealand as he sees it’. He produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji.

In a Listener article in 2004, Mr Badcock said: ‘paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I’m painting I let the subject reveal itself. Picasso said `I don’t seek, I find’. And finding is a revelation – intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there’s no vision, if we don’t see beauty in nature any more, then we’re nowhere.’

Douglas Badcock passed away in 2009. These works are from the artist’s Estate collection.

122

110

Important,Early& Rare Thursday 10th November 2011

123

111

124

Douglas Badcock Estate

125

112

Important,Early& Rare Thursday 10th November 2011

124

DOUGLAS BADCOCK 1922 - 2009 Snow Cover, Crown Range from Speargrass Flat Oil on board 25 x 34.5 Signed. Inscribed & dated 1995 verso 2,000 - 3,000

125

DOUGLAS BADCOCK Coronet Peak from Speargrass Flat Oil on canvas board 24.4 x 34 Signed. Inscribed & dated 1995 verso 2,000 - 3,000

126

DOUGLAS BADCOCK Fraser Dam, Mid Summer Oil on board 52 x 69 Signed. Inscribed & dated 2001 verso 4,500 - 6,500

126

Douglas Badcock Estate 113

127

127

JOHN DOUGLAS PERRETT British 1859 - 1937 Mt Cook from Lake Tekapo Oil on canvas 72.3 x 118.6 Signed 2,000 - 3,000

114

Important,Early& Rare Thursday 10th November 2011

128 RUDI GOPAS

1913 - 1983 Landscape, 1948

Oil on board 47.5 x 63

Signed & dated 1948

4,000 - 6,000

128

129

MARGARET OLROG STODDART 1865 - 1934 Lavender Fields Oil on canvas 49 x 64 Signed 4,000 - 6,000

129

115

130

131

116

Important,Early& Rare Thursday 10th November 2011

130

HARRY VYE MILLER 1907 - 1986 Akaroa Harbour Charcoal and watercolour 30.5 x 45.5 Signed & dated 1971 800 - 1,200

131

EDWARD BULLMORE 1933 - 1978 Trees, Mamuka Mixed media on paper 41.5 x 67 800 - 1,200

132

R P MOORE 1881 - 1948 Blue and Green Lakes, Rotorua Panoramic black and white photograph 22 x 87 R P Moore Studio stamp & inscribed 400 - 800

133

THOMAS DERBY RYAN 1864 - 1927 Awhinga Watercolour 16.5 x 15.8 Inscribed 800 - 1,200

134

ARTIST UNKNOWN 19th Century A Merchant Ship under Sail Oil on canvas 59 x 85 Signed 800 - 1,200

135

ROBIN WHITE b.1944 The Canoe is in the Bareaka Woodblock, Edition of 20, Artist’s Proof 15 x 20 Signed, inscribed & dated 1983 800 - 1,200

132

134

Thank You End of Sale

133

136

136

Next Auction Collectable & Contemporary Art Thursday 8th December

E M STOKES 19th Century Manukau Heads Watercolour 36 x 57.5 Signed & inscribed 800 - 1,200 135

117

A D Blake ‘Waka’

OIL ON CANVAS 61 X 76CM New works now available for sale

272 Parnell Road Auckland / Ph +64 9 366 6045 / www.internationalartcentre.co.nz EXTRAORDINARY ART FOR EXTRAORDINARY PEOPLE

Robin White Michael at Home (detail) Screenprint

Karl Maughan Untitled (detail)

Louise Henderson Untitled

Steve Harris Still Life with 14th Century Dish

Shay Docking Headlands and Harbour (detail)

Contemporary & Collectable Art Auction 6:00pm Thursday 8th December 2011 Entries close 14th November Viewing commences Friday 2nd December Catalogue online from 25 November www.fineartauction.co.nz

272 Parnell Road Auckland / Ph +64 9 379 4010 / www.fineartauction.co.nz / Skype: fineartauction T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 119

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

Important,Early& Rare Thursday 10th November 2011

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120

Prices Realised 14th July 2011 Important, Early & Rare and 17th August 2011 Contemporary & Collectable Art Auction Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium 14th August Important, Early & Rare 1 $3,000 2 $5,000 3 $5,000 4 $4,650 7 $3,750 8 $6,000 11 $5,000 12 $4,000 13 $7,500 16 $2,750 18 $3,350 19 $4,000 21 $8,250 23 $16,000 24 $2,600 25 $2,000 26 $3,000 27 $2,000 28 $4,000 29 $7,000 31 $1,800 32 $5,450 33 $19,000 34 $PT Sale 35 $55,000 36 $110,000 37 $169,000 38 $41,000 40 $18,000 41 $5,000 42 $7,000 43 $7,000 44 $4,000 46 $41,000 49 $700 50 $7,000

51 $3,600 52 $75,000 53 $8,500 54 $17,500 55 $3,000 56 $8,000 59 $1,200 60 $14,000 61 $10,000 63 $3,250 65 $900 66 $1,800 67 $7,000 68 $14,000 69 $2,400 70 $2,400 73 $22,500 74 $10,000 76 $4,250 78 $2,200 79 $2,200 80 $8,000 82 $3,000 84 $4,700 85 $2,700 86 $2,400 87 $2,800 88 $3,200 90 $11,000 91 $6,000 92 $4,200 94 $2,250 95 $1,800 96 $10,500 97 $2,200 98 $5,800 99 $4,000 100 $1,550 102 $2,700 103 $4,000

104 $1,500 105 $2,600 106 $1,300 107 $1,150 108 $500 109 $1,400 110 $350 111 $1,000 112 $200 113 $500 5th May Contemporary & Collectable 1 $3,500 3 $7,000 4 $1,300 5 $7,600 6 $1,200 7 $750 8 $20,000 9 $2,000 10 $17,500 11 $17,500 12 $2,000 13 $1,400 14 $800 15 $3,500 16 $4,900 17 $3,900 18 $5,100 19 $1,400 21 $400 23 $1,000 24 $1,100 26 $2,250 27 $14,000 28 $1,200 29 $1,800

30 $12,000 31 $650 32 $650 34 $14,500 35 $2,700 36 $2,500 37 $8,600 39 $2,200 40 $3,000 41 $1,400 44 $11,000 49 $2,000 51 $1,750 54 $1,300 56 $1,200 57 $550 58 $2,000 59 $300 60 $1,100 61 $1,200 62 $1,400 63 $500 64 $500 65 $4,300 66 $2,600 67 $4,000 68 $1,450 69 $5,000 71 $4,500 72 $750 73 $650 74 $5,750 75 $200 76 $2,100 77 $2,750 78 $1,600 79 $2,800 80 $1,700 81 $1,600 83 $4,000

84 $2,250 86 $4,000 87 $1,400 88 $500 89 $950 90 $300 91 $900 92 $300 93 $1,000 98 $1,600 99 $200 100 $350 101 $800 101a $3500 103 $4,000 104 $400 105 $550 107 $875 108 $400 109 $200 110 $4,700 111 $1,800 112 $1,800 113 $4,200 114 $4,000 115 $1,000 118 $400 119 $1,500 120 $600 121 $175 122 $450 123 $500 124 $325 125 $550 126 $1,225 127 $2,100 128 $1,000 129 $800 131 $1,200 132 $600

133 $4,100 134 $2,050 135 $500 136 $1,200 137 $1,300 138 $1,400 139 $1,100 140 $2,500 141 $800 142 $300 143 $5,600 144 $600 145 $500 146 $400 147 $350 148 $1,000 149 $1,800 150 $1,000 151 $300 152 $300 153 $1,000 154 $550 155 $800 156 $400 157 $300 158 $400 159 $2,200 160 $2,000 161 $800 162 $600 164 $750 165 $600 166 $200 167 $400 168 $325 169 $2,750 170 $600 171 $600 172 $1,400 173 $550 175 $800

176 $800 177 $800 178 $2,000 179 $1,000 180 $2,000 181 $475 182 $2,800 183 $600 184 $700 185 $1,500 186 $300 189 $200 190 $6,100 191 $525 192 $750 193 $1,100 194 $1,850 195 $600 196 $550 197 $3,000 198 $350 199 $100 200 $950 201 $500 202 $750 203 $100 204 $600 205 $700 207 $150 208 $500 212 $700 216 $500 217 $2,000 218 $150 219 $470 221 $450 223 $800 224 $700 225 $300 226 $600 230 $3,500

121

Index ALBRECHT G

18

HIGHT M

ANGUS R

55

HODGKINS F

BACKHOUSE J P

96

HOLMWOOD J

BADCOCK B

121, 122, 123, 124, 125, 126

HOPE G

6 50, 56 40, 41, 88, 89 82, 83

PERKINS C PERRETT J D PETRE M RAWORTH W H

57, 90, 91 127 20 104

BALL MARTIN

17

BLOMFIELD C

54, 93

HOYTE J B C

59, 98, 100

RYAN T D

76, 133

BLOMFIELD S O C

94, 95

LINDAUER G

92

SHARPE A

61

101

SIDDELL P

1, 5, 11

113

SMITHER M

BULLMORE E CAMPBELL J CHEVALIER N CHING R

13, 14, 131 12 115 43, 44, 64, 65

HOWORTH C

LINDAUER S O G LLOYD R LOVELL-SMITH R

84

46, 47

RICHARDSON H L

STEELE L J

LUSK D

49

STODDART M O

MARTIN A

53

STOKES E M

CLAIRMONT P

9

CUMMINGS V

103

MATCHITT P

DEANS A A

118

MAUGHAN K

19

SYDNEY G

DOLEZEL J

22

MCCAHON C

8

TAPPER G

ELLIS R

21

MCCRACKEN F

ESPLIN T FIELD R N FLINT S W R FULLWOOD A H

119, 120 4 69 114

MCINTYRE P

25, 26

77, 78 37, 38, 39, 61a, 61b, 66, 67, 107, 108

MILES T R

68

WALTERS G

MILLER H V

3, 130

23

MOORE R P

132

GOLDIE C F

51

NICOLL A F

31

HAITE G C HENDERSON L

122

TOLE J UNKNOWN A

63

GULLY J

THOMPSON S L

75

GIMBLETT M

128

TAYLOR E M

MERTON O

GIBB J

GOPAS R

SWAINSON G F

NIGRO J

33, 34

WEEKS J WHEELER C V WHITE A L WHITE R

87

24, 28 52 74, 99, 129 136 102 16, 48 81, 85, 86 10 72, 79, 80 32 134 27 29, 36, 45, 62, 73, 105 116, 117 42 135

60

O’KEEFE A H

58

WILSON L W

70, 71, 106

PAYTON E W

112

WISEMAN H

2

PEARSON A

15

WOOLLASTON T

7

30, 35

Important,Early& Rare Thursday 10th November 2011

109, 110, 111

✃

Absentee Bid Form Important, Early & Rare Art Auction Thursday 10th November 2011 Please bid on my behalf for the following lots up to the price recorded below.

Bids are to be executed as cheaply as is permitted by other bids or reserves, if any, and subject to Conditions of Sale printed in this catalogue.

Registration Bidding Number Name Address Telephone Res

Lot Number

Bus

Email

Artist & Title

Signature..............................................................................................

Bid $NZ excluding buyers premium

/

/ 2011

International Art Centre offers this service to clients unable to attend sale and 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 3pm 10th November

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

123

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

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

the purchase price.

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

From the time of lot being sold, such lot will be the responsibility of the buyer.

Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

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

Each lot shall be paid for and removed at the buyers expense by no later than 4pm Monday 14th November 2011 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 whilst auction is in progress. Payment can also not be made until completion of auction.

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.

124

Important,Early& Rare Thursday 10th November 2011

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue.

Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale.

Please do not be offended if a member of our staff ask for your credit card details as security.

Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot.

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

PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit.

Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference.

Cheques: Accepted by known clients of International Art Centre or at our discretion.

When posting cheques please ensure they are sent to the following address.

International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared.

Credit cards: Visa and Mastercard accepted with a 2% surcharge.

American Express cards not accepted.

EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises.

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

(Total buyers premium is 14.38% including GST) www.fineartauction.co.nz

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

THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY