November 2017 web

Important & Rare Art Monday 27 November 2017

Important & Rare Art 6:30pm Monday 27 November

202 PARNELL RD AUCKLAND PO BOX 37 344 TEL +64 9 379 4010 PO Box 37344 Parnell, Auckland 1151 www.fineartauction.co.nz

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Auction info

Evening of sale

Absentee bid form

p. 101

Conditions of Sale

p. 103

Index

p. 102

Please join us from 5.30pm for a glass of wine Auciton commences 6:30pm Please register for bidding number at viewing or on evening of sale Works purchased may be uplifted at close of sale or the following day 10:00am - 5:00pm

Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071 Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction

Payment may not be made during auction

Cover illustration: Lot 50 Back cover:

Lot 19

Inside front cover: Lot 36 Inside back cover: Lot 30

202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 379 4010 www.internationalartcentre.co.nz

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Adam Firth Photography Adam Firth Photogrpahy 4 Important & Rare Art Monday 27 November 2017

Location and car parking

Viewing exhibition times International Art Centre, 202 Parnell Road, Auckland Tuesday

21 November 10:00am - 5:30pm

Wednesday 22 November

9:00am - 5:30pm

Thursday

23 November

9:00am - 5:30pm

Friday

24 November

9:00am - 5:30pm

Saturday

25 November 10:00am - 4:00pm

Sunday

26 November 11:00am - 4:00pm

Monday

27 November

9:00am - 2:00pm (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

202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 379 4010 www.internationalartcentre.co.nz

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Charles F Goldie $440,000

Paul Beadle $31,000 Louis John Steele $425,000

With sales of $2.1 million, several records were attained at August’s Important & Rare auction. The Louis John Steele of Sir John Logan Campbell fetched $425,000. C F Goldie’s Time Tells fetched the highest price of the evening when it sold for $440,000. Record prices were again achieved for a work by Felix Kelly which went for $24,000 along with a bronze by Paul Beadle which fetched $31,000. A record $3,400 was bid for H I Babbage Mending the Nets.

Frances Hodgkins $50,000

Frances Hodgkins $70,000

Frances Hodgkins was well represented in this sale, with four of her works on offer. Mother & Child made $70,000, Corner of the Woods fetched $50,000, Dutch Harbour fetched $45,000 and Farm Piece fetched $42,500. A major Charles Blomfield, Pink & White Terraces at Rotomahana sold for $82,000 with a smaller version White Terraces, from the collection of the Commerce Club, selling for $25,000. A collection of works from the Estate of the late John Malcolm - former President of the Queen Elizabeth II Arts Council were all sold under the hammer. These included works by Gretchen Albrecht, Robert Ellis, Michael Smither, Pat Hanly, Doris Lusk & Bill Sutton.

Felix Kelly $24,000

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Charles Blomfield $82,000

Important & Rare Art

Consign now - April 2018

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 fast 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 $1.175 million plus premium 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 Now Contact Richard Thomson: Ph +64 9 3794 010 Mob 0274 75107 Email richard@artcntr.co.nz Confidentiality assured

CHARLES FREDERICK GOLDIE Fetched $1.377 million April 2016 The first painting to fetch over $1 million at auction in New Zealand and a record price for a Charles F Goldie painting at auction.

On loan to Auckland Art Gallery for three years courtesy of owner.

Ralph Hotere fetched $155,000 November 2016

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International Art Centre Delivering consistent results for 48 years 8 Important & Rare Art Monday 27 November 2017

Modern & Contemporary Art With Collectable Art held 19 September Our most eclectic offering of 2017 was held in September with the combination of our Collectable Art and Modern & Contemporary Art category. Fervent bidding from the floor saw C F Goldie’s vintage print A Good Joke soar to $8,350 - a record price for a Goldie print. Top price of $42,000 went to a Colin McCahon work on paper titled From Elias Series 1958.

International Art Centre's sales of Modern and Contemporary art play an integral role in providing market access to the most sought-after artists many of whom have defined New Zealand's art narrative over the past 50 years. These sales present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of midcentury modernism through to the cutting edge of our national contemporary art discourse. This is an acclaimed and significant event in the auction calendar.

Contact Richard Thomson & Luke Davies: Ph +64 9 379 4010 Mobile 0274 751071 Email richard@artcntr.co.nz luke@artcntr.co.nz

Consign Now / April 2018 Charles F Goldie vintage print $8,350 A record price for a C F Goldie print at auction Prices quoted are hammer price which attract buyers premium of 16.5% plus GST on premium

Max Gimblett $9,250

Reuben Paterson $4,500

Rob McLeod $3,000

Charles McPhee $4,100

Allen Maddox $10,500

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Collectable Art / February 2018

Catalogue includes a collection of Michael Smither screenprints

Consign Now

Catalogue closes mid December

Contact Luke Davies: Ph +64 9 379 4010 Email luke@artcntr.co.nz

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The Wendy Pharazyn & the late Bruce DahL Collection AUCTION FEBRUARY 2018 WELLINGTON COLLECTORS

Sam Duckor-Jones Mandarin Reader Ceramic sculpture 98 x 26 x 25

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MICHAEL SMITHER b. 1939 Mast at Rest Oil on board 16 x 29 Signed & dated 1999 $3,000 - 5,000

Provenance: Private Collection, Bay of Plenty

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JUSTIN SUMMERTON b. 1968 Pink Floyd, The Room Oil on canvas 55 x 70 Signed & dated 2017 $3,200 - 3,800

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Save Chamberlain Park Stanley Palmer, renowned Auckland printmaker and painter, has generously donated Tower to be auctioned in a bid to raise funds for legal costs by a group of concerned Aucklanders to stop Chamberlain Park from being developed by the Albert Eden Local Board.

Save Chamberlain Park Inc want to see the seventy eight year old golf course restored and preserved as a shared green space.

To this end, since 2015 they have been battling the local board.

Save Chamberlain Park Inc wish to spend $30 million replacing the existing 18-hole course with a 9-hole course, playground, astro turf playing fields and potentially an aquatic centre with supporting carparks and roadways. Examples of shared green spaces which work well are Hagley Park in Christchurch, Richmond Public Golf Course in London and the home of golf, St Andrews Links in Scotland. Chamberlain Park is one of only two public 18-hole golf courses servicing the entire Auckland region. It plays an immensley important role in providing access to the sport to those who cannot afford to join a private course.

It is one of the busiest courses in the country.

Stanley Palmer grew up beside Chamberlain Park, memories of roaming the course with his siblings and childhood friends have created a life long affinity with the area. Stanley believes that parks are the invaluable lungs of a city and will become more important as the city grows and intensifies. This view is shared by the Save Chamberlain Park Inc, and it is believed, by many other Aucklanders.

Stanley’s Tower is a depiction of the iconic Mt Eden Shot Tower built in 1914 by the Colonial Ammunition Company.

3 STANLEY PALMER b. 1936 Tower

Bamboo engraving, edition 29/60, 59 x 42

Signed, inscribed & dated 1980

$1,000 - 1,500

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4 JOHN WALSH b. 1954

The War Artist, 2014

Oil on fortified paper 36 x 50 Signed

$3,000 - 5,000 Provenance:

Private Collection, Auckland

Purchased from an exhibition entitled

Gallipoli - John Walsh

Gow Langsford Gallery 29 April - 23 May 2015

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JOHN WALSH b. 1954 Pave an Erewhon Oil on board 62.5 x 122 Signed & dated 2006 $10,000 - 15,000

Provenance:

Private Collection, Auckland

Purchased from John Walsh Exhibition

John Leech Gallery, Auckland 2006

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TONY DE LAUTOUR b. 1965 Snake Box Acrylic on canvas 90 x 70 Signed & dated 2003 $6,000 - 8,000

Provenance:

Purchased Ivan Anthony Gallery,

October 2004, by current owner.

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NIGEL BROWN b. 1949 Names Painting - McCahon Oil on board 120 x 88 Signed & dated 1985 $10,000 - 15,000

Exhibited:

Colin McCahon: On the Road

Somervell Presbyterian Church

Remuera, Auckland

October 2017

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MIKE PETRE b. 1964 Field Study, #46 Ink, graphite, oil & acrylic on canvas 45 x 45 Signed, inscribed & dated 2006 verso $3,000 - 5,000

Provenance:

Private Collection, Bay of Plenty

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REUBEN PATERSON b. 1973 Ceremony Seekers Glitter-dust on Fabriano Paper, edition no. 28/30, 45 x 45 Signed, inscribed & dated 2011 $2,000 - 3,000

Provenance:

Private Collection, Bay of Plenty

10 PETER SIDDELL 1935 - 2011 Island

Acrylic on board 80 x 60

Signed & dated 1981

$4,000 - 6,000 Provenance:

Ex Fletcher Challenge Collection,

original label affixed verso

Private Collection, Auckland

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Works from The Chunn Family Collection, Auckland Lots 11 - 16 11

PAT HANLY 1932 - 2004 Each Thing Its Own Halo Acrylic and enamel on hardboard 89.5 x 90 Signed & dated 1974 $30,000 - 40,000

Provenance:

Chunn Family Collection, Auckland

Purchased from an exhibition at Barry Lett Galleries, 1974

From 1970 until 2005, Von and Jerry Chunn lived in two of the blackpainted Victorian terrace houses at the top of Parnell Road, near the cathedral. The narrow, higgledy-piggledy rooms were stacked with New Zealand art which they had begun collecting when they married in the 1950s. Jerry was a GP-turned-allergist, Von ran a medical bureau, and I was one of their five children.

Choosing together, Von and Jerry purchased paintings and drawings from artists such as Robert Ellis, Michael Smither, Philip Clairmont, Michael Illingworth, Terry Stringer and Dick Frizzell. At the time, many of these now well-established names, were emerging artists such as Pat Hanly

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and Louise Henderson, with whom my parents formed long friendships.

I remember Dad commissioning a portrait of Mum by Jacqueline Fahey, and on a family trip to the South Island Dad taking a detour to drop in on Toss Woollaston who lived outside of Greymouth. My father didn’t know the revered artist and poet, but being Greymouth-born himself, was hopeful of a warm welcome. He was right, and the visit resulted in Dad buying a painting of Moana.

Louise Chunn

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PAT HANLY 1932 - 2004 Thunderland / Manukau Enamel on board 45 x 45 Signed & dated 1975 $8,000 - 12,000

Provenance:

Chunn Family Collection, Auckland

Purchased directly from Pat Hanly, 1975

Illustrated p. 174 Pat Hanly, Gregory O’Brien Ron Sang Publications, 2012

Thunderland / Manukau was inspired by a climb to the top of Auckland’s Mount Eden, just prior to a thunder storm. On reaching the summit Hanly saw, felt and heard the deafening sound of thunder and lightning over the Manukau Harbour - hence the title Thunderland / Manukau

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DON BINNEY 1940 - 2012 Te Henga Oil on canvas 89 x 53.5 Signed, inscribed & dated 1967 $30,000 - 50,000

Provenance:

Chunn Family Collection, Auckland My parents spent a lot of time at Bethells Beach (Te Henga) where they had a bach close to the homestead, so of course they knew Don Binney well. All through our childhood summers he could be seen at his studio down by the duck pond, which we skirted on our route to the southern end of the beach. Binney was already one of the best-known painters in New Zealand and it took some time before they could afford to buy his works.

Geoffrey Chunn

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LOUISE HENDERSON 1902 - 1994 Still Life with Goldfish Bowl Oil on board 60 x 75 cm Signed & dated 1994 $4,000 - 6,000

Provenance:

Chunn Family Collection, Auckland

Purchased directly from the artist

15 MARGARET OLROG STODDART 1865 - 1934

Coastal Cribs

Watercolour 25 x 35 Signed

$2,500 - 3,500 Provenance:

Chunn Family Collection, Auckland

Inherited from Edgar Williams (mountaineer, Christchurch)

Edgar was Von Chunn’s uncle This watercolour depicts two coastal cave cribs east of Taylors Mistake, Christchurch. Stoddart has chosen to paint 25 Deans Landing (before the second story was added) and 26 Hole in the Wall.

Our thanks to Jane Abbott for her assistance in cataloguing this work

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PAT HANLY 1932 - 2004 Doing It Lithograph, edtion of 30, artist’s proof 65 x 55 Signed, inscribed & dated 1987 $1,800 - 2,600

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PAT HANLY 1932 - 2004 Summer Bride + Groom Screenprint, edition of 19, 52 x 63 Signed, inscribed & dated 1990 $1,800 - 2,600

Illustrated p. 24 Pat Hanly, Gregory O’Brien Ron Sang Publications, 2012

Provenance:

Chunn Family Collection, Auckland

Illustrated p. 56, Hanly: A New Zealand Artist, Russell Hayley, 1989

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RALPH HOTERE 1931 - 2013 Black Painting Lacquer on hardboard 60 x 120.5 Signed & dated 1969 verso $40,000 - 60,000

Provenance:

Private Collection, Wellington

Purchased 1970 from Dawsons Gallery,

Dunedin by the current owner.

Exhibited:

Ralph Hotere - Frances Hodgkins Fellowship

Exhibition, Otago Museum, Dunedin 1969

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1969 was a watershed year for Northland born Ralph Hotere. In this year he was awarded the Frances Hodgkins Fellowship at the University of Otago. This led to his permanent move to the Otago region and Port Chalmers. In his enigmatic series of Black Paintings from 1968 and 1969, pinstripe circles or lines pierce the void of the dark backgrounds.

Another work from the Frances Hodgkins Fellowship Exhibition was the first purely abstract painting to enter the collection of Christchurch Art Gallery. It was also the first contemporary painting by a Maori artist to be acquired by the gallery.

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MAX GIMBLETT b. 1935 The Gold Thread Gesso, acrylic and vinyl polmers, Expoxy, Aqua size, copper leaf on canvas 77 x 56 Signed, inscribed & dated 2012 $16,000 - 22,000

Provenance:

Gow Langsford Gallery label affixed verso

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ROY GOOD b. 1945 Untitled Segment Acrylic on canvas 173 x 41 Signed, inscribed & dated 1982 verso $6,000 - 8,000

Exhibited:

Roy Good - Segment Series, New Vision Gallery

9 - 20 August, 1982

A facsimile copy of the exhibition review:

Roger Blackley on Art affixed verso

21 GARTH TAPPER 1927 - 1999 11:00am

Oil on board 51 x 60

Signed & dated 1974

$6,000 - 9,000 20

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Provenance:

Private Collection, NJ, USA

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JOHN PHILEMON BACKHOUSE 1845 - 1908 North Shore Oil on pearl shell 21 x 20 Signed & inscribed $2,500 - 3,500

JOHN PHILEMON BACKHOUSE 1845 - 1908 Maori Chief Oil on shell 13 x 11 $1,000 - 2,000

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24 FRANCIS MCCRACKEN 1879 - 1959 Edinburgh

Oil on canvas 99.2 x 125 Signed

$8,000 - 12,000 Note:

A larger and more detailed version of Edinburgh than the work held in the Collection

of Auckland Art Gallery which carries the same title

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NEIL DAWSON 1948 Preparatory Drawing for Yard sculpture Mixed media on paper 38 x 46 Signed and dated 1978 verso $800 - 1,500

Provenance:

Bootham Collection, Wellington

Purchased from Louise Beale Gallery, Wellington 11/6/1987 25 BESSIE CHRISTIE 1904 - 1983

Still Life

Oil on board 60 x 49.5 cm Signed

$4,000 - 6,000

Provenance:

Bootham Collection, Wellington

Purchased from McGregor Wright Gallery, 28/8/1980

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27 RUSSELL CLARK 1905 - 1966

The Port Hills, Lyttelton

Watercolour 27 x 36.5 Signed

$5,000 - 7,000 Provenance:

Bootham Collection, Wellington

Purchased from McGregor Wright Gallery, 13/11/1981

Works from Audrey & the late Ivan Bootham Collection, Wellington Lots 25 - 29

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29 COLIN MCCAHON 1919 - 1987

Northland, April 59

Brush, ink on paper 62 x 49.5

Signed, inscribed & dated 1959

$30,000 - 40,000

Offered in original frame

Provenance:

Artists Collection

Peter McLeavey

Bootham Collection since early 1960s

Inscription verso reads;

From the Collection of the artist, to Peter McLeavey

to Ivan Bootham This work on paper from McCahon’s Northland Series precedes art historical explanation. Partly, this is because it is so instantly recognisable in both subject matter and style - Northland, April 59 captures the essence of McCahon’s deeply spiritual relationship with the land. It expresses the purity of that point of convergence between sky and landmass.

McCahon’s use of an ink on paper medium lends immediacy to this work: a raw aesthetic smudginess to the conception of Northland geography which the artist knew intimately. And thus we encounter directly his ability to transcend our human condition, and express something of Aotearoa’s unique identity - not in a nationalistic sense, but through a more broadly existential lens.

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COLIN MCCAHON 1919 - 1987 15 Drawings 24 page book of lithographic prints published by Hocken Library 1976, Signed, inscribed for Charles Brasch from Colin McCahon & dated 1959, Lithographic press 26 x 20.5 $3,000 - 5,000

Provenance: Bootham Collection since c. 1977

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The richness and evolution of New Zealand’s art tradition is built on a foundation of intermediary dialogue and exchange. At the very heart of this is the path forged by Colin McCahon. The physical trajectory of Northland, April 59 is emblematic of this – its market origins were with Peter McLeavey Gallery, and the work has since been part of the renowned Bootham art collection.

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30 RICHARD TENNANT COOPER British 1885 - 1957

Windy Corner, Givenchy

Watercolour 31 x 35

Signed, Inscribed & dated 1914

$4,000 - 6,000

Provenance:

Bootham Collection, Wellington

Purchased from Dunbar Sloane Auction, 31/10/1984

Captain Richard Tennant Cooper (1885-1957) was an established painter before he served in World War I with the British army. His paintings, such as this Windy Corner, Givenchy, suggest that in

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1914 he was stationed in Flanders and may have been near Ypres, the subject of some his later paintings. These paintings graphically illustrate the horrors of a war-torn landscape and the effect of war on those who served. His approach is metaphoric using the way the wind is buffeting the soldiers to explain its effect on them. Some of his other wartime paintings are to be found in the National Army Museum and the National Signals Museum.

He was best known as a medical painter whose work showed the negative treatment of disease and treatments on the human body. These works are known for their metaphoric and phantasmic interpretations of the effect of disease on a human being.

Jenny Haworth Author Behind the Twisted Wire: New Zealand Artists in World War I

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31 HERBERT TORNQUIST 1897 - 1969

Tidal Rock

Oil on Canvas 34 x 40 Signed

$1,000 - 1,500

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32 DOUGLAS MACDIARMID b. 1922

Femme avec du Vin

Watercolour 32 x 24 Signed

$1,500 - 2,500

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33 MARK CROSS b. 1955

Aotearoa Umbrella

Oil on board 68 x 77.5 Signed

$8,000 - 12,000 34

PAT HANLY 1932 - 2004 Red Plum Tree Mixed media on paper 54 x 56 Signed, inscribed & dated 1984 $8,000 - 12,000

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ANDY LELEISI’UAO b. 1969 Choirs of Luplatis Part I Acrylic on canvas 91 x 76 Signed, inscribed & dated 2013 verso $4,000 - 6,000

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Two works by Felix Kelly formerly from the Dr MacDonald Critchley Collection, London 36 FELIX KELLY 1914 - 1994

Queens Square, London

Oil on board 30 x 40.5 Signed

$15,000 - 20,000 Provenance:

Arthur Jeffress, London

Queen Square, London Queen Square, is a well-tended garden square in Bloomsbury, central London which dates from the 1700s. One of its most famous residents was the interior designer William Morris. The area has a long association with the medical profession, in particular, neurology. In this painting, the new Albany Wing of the National Hospital for Neurology and Neurosurgery, built in 1881, stands as an impressive backdrop. In Queens Square, London Felix Kelly captures an oasis of calm. Deck chairs, one with books stacked beside it, beckon the viewer across a lawn of daisies and buttercups to the statue of Queen Charlotte at the northern end of the square.

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Besides being a leading British neurologist, Dr MacDonald Critchley (1900 - 1997), was a handsome and dynamic figure with a love of history. A superb public speaker, he was a keen observer of human nature and in his professional life a founder of the British Migraine Trust. His colleagues included fellow neurologists, William Allen Sturge (researcher of the Sturge-Weber syndrome) and Sir Roger Bannister. He lived at Nether Stowey in Somerset. In 2013 the weekly undergraduate teaching round at the National Hospital for Neurology and Neurosurgery at Queen Square was named after him - the Critchley Round.

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37 FELIX KELLY 1914 - 1994

Folly Rock

Oil on board 30 x 40.5 Signed

$12,000 - 16,000 Provenance:

Arthur Jeffress, London, original label affixed verso

Catalogue #SR99/34

Dr MacDonald Critchley Collection Felix Kelly is one of New Zealand's most interesting expatriate artists.

Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers.

He also freelanced as an illustrator and cartoonist for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle.

After the war and his time in the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper's Bazaar. In the 1950s and 60s he was acknowledged as one of England's top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly's ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly's paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who's Who or De Brett's. In late career, his knowledge of architecture led to involvement in house

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design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales.

His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America's Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Of interest to a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland's West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.

Felix Kelly has to be one of New Zealand's most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke's Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett's book Fix; The Art and Life of Felix Kelly, was published in 2013.

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FRANCES HODGKINS 1869 - 1947 Cassis Quarrymen Charcoal on paper 35 x 42 Signed & inscribed $14,000 - 18,000

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39 FRANCES HODGKINS 1869 - 1947

Seated Woman, Provence

Watercolour 50 x 38

Signed & dated 1906

$35,000 - 50,000

Offered in original frame

Provenance:

Dr Mildred Mocatta (1887 - 1984) collection

Adelaide until circa 1965 - then gifted to Australian

sculptor John Dowie (1915 - 2008)

Collection of John Dowie’s niece, Penny Dowie, artist

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Works from the Collection of C F Goldie’s great niece, Auckland Lots 40 - 44 40 CHARLES FREDERICK GOLDIE 1870 - 1947 Sophia

Pencil drawing on paper 24.5 x 19.5

Signed, inscribed To Mater from Charlie

and dated December 1931

$30,000 - 40,000 Provenance:

From the Collection of the artist’s great niece

illustrated p. 223 C F Goldie: His Life & Painting,

Alister Taylor & Jan Glen, 1979.

Guide Sophia Hinerangi was the principal tourist guide of the Pink and White Terraces at Lake Rotomahana. Following their destruction during the Mt Tarawera eruption of 1886 she became a guide at nearby Whakarewarewa, Rotorua. Guide Sophie, as she was widely known, was well educated and bi-lingual. She introduced thousands of visitors to the beauty of the Terraces, acknowledged by Mark Twain as the eighth wonder of the world.

Sophia was born in Kororāreka in the early 1830s. Her mother, Kotiro Hinerangi, was a Ngāti Ruanui woman who had possibly been captured by a Nga Puhi raiding party. Kōtiro married Alexander Grey (or Gray), a Scotsman who had arrived in the Bay of Islands in 1827.

Mary Sophia Gray was baptised by William Williams at Kororareka in 1839. It is thought that Sophia was raised by Charlotte Kemp at the Kerikeri mission station before attending the Wesleyan Native Institution at Three Kings, Auckland. In 1851 Sophia married her first husband, Koroneho (Colenso) Tehakiroe, with whom she had fourteen children. Following her second marriage, to Hori Taiawhio in 1870, she had a further three children.

Tuhourangi tohunga, interpreted the devastating Tarawera eruption as a warning and reflected that the exploitation of the terraces as a tourist attraction showed scant regard for ancestral values. Guide Sophia herself saw these omens as a sign that her time as a guide at Rotomahana was drawing to a close.

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On 10 June 1886, the night of the eruption, over sixty people took shelter in Sophia’s whare at Te Wairoa. Unlike many of the buildings in the village her home withstood the destructive power of the eruption due to its high-pitched roof and strong reinforced timber walls. Tuhoto Ariki also survived the eruption and was dug from his buried house four days later.

Sophia continued her work as a guide when she moved to nearby Whakarewarewa. In 1895 she joined George Leitch’s Land of the Moa Dramatic Company, playing herself on a tour of Australia. In 1896 she was appointed caretaker of the Whakarewarewa Thermal Reserve. A number of royal parties were amongst the many thousands of visitors that Guide Sophia led through Whakarewarewa. She encouraged a number of local women to become guides, helping to establish this occupation as a lucrative form of employment for Tuhourangi women. Sophia was also deeply involved in the New Zealand Women’s Christian Temperance Union, becoming president of the Whakarewarewa branch in 1896. Remembered as a leading light of her generation and a unique personality of that time, Sophia fostered friendship between Maori and Pakeha and showed great courage in adversity. She was a friend and favoured subject the artist C F Goldie.

Guide Sophia died at Whakarewarewa on 4 December 1911.

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RUPERT FARNALL STUDIO Early 20th Century Goldie in his Studio, c. 1908 Silver gelatin photographic print 20 x 25.5 Signed & inscribed Love to Else, Charlie, C F Goldie on original surround Else was Violet Elsie Goldie, the artist’s sister $2,500 - 3,500

Provenance:

Another version of this photograph features

p. 26 GOLDIE, Roger Blackley,

Auckland Art Gallery Toi o Tamaki 1997

In this historical photograph of C F Goldie in his studio, the arrangement of brushes, easel and peacock feathers next to the artist are those which feature in Study of Still Life c. 1890, sold by International Art Centre, Lot 45, Important, Early & Rare, July 2012.

That painting is Illustrated: p. 60 GOLDIE, Roger Blackley Auckland Art Gallery Toi o Tamaki 1997.

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Provenance:

Same image appears as front piece GOLDIE,

Roger Blackley,

Auckland Art Gallery Toi o Tamaki 1997 Rupert Farnell Studio was a photography company operating in Auckland between the early 1900s until 1920. Until now the photographer for these well known images has remained unidentified and their publication has been without attribution. Our recent research confirmed by Roger Blackley, has determined that they are the work of Rupert Farnall Studio.

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RUPERT FARNALL STUDIO Early 20th Century Goldie at the Easel Silver gelatin photographic print 18.5 x 15 Embossed with R Farnell Auckland NZ stamp Signed & inscribed To Mater from Charlie, March 1912 on paper photograph affixed to $2,500 - 3,500

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TWO CERTIFICATES OF MERIT Auckland Band of Hope Union Floral and Industrial Exhibition For C F Goldie aged 14 years, 1st Class for Painting Dated December 6th 1884

& W M Goldie aged 13 years 2nd Class for Monograms Dated December 6th 1884 W M Goldie passed away in 1904 Both signed by D Goldie, president $300 - 500

44 CHARLES FREDERICK GOLDIE 1870 - 1947

Six photographs of C F Goldie paintings:

Atama Paparangi (2), Tamati Waka Nene,

In Dreamland, Maori Land, Ina te Papatahi

A Sullen Slilent, Southern Chief, Tumai Tawhiti

& Hori Pokai

Sepia photographs 21 x 19 all in original mounts

One carries an inscription in C F Goldie’s hand verso that reads:

Tamati Waka Nene, A Chieftain of the Ngapuhu Tribe

This painting was presented by the artist to Lord

Bledisloe and now hangs in the Treaty House at Waitangi

$1,000 - 1,500

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CHARLES FREDERICK GOLDIE 1870 - 1947 A Happy Thought Te Aitu Te Irikau, a Noted Arawa Chieftainess Oil on canvas 26.5 x 21.5 Signed & dated 1922 $240,000 - 280,000

Provenance:

Private Collection, Auckland Exhibited:

A work with the same title and date was exhibited on

long term loan at Auckland Art Gallery between 1929 - 1944

Another version of this work painted on a wood panel is

illustrated p. 262 C F Goldie: His Life & Painting, Alister Taylor

& Jan Glen, 1979.

Te Aitu Te Irikau 1831 - 1914 was a high ranking Arawa Chieftainess from the Bay of Plenty town of Maketu. The historic fall of Te Tumu Pa in May, 1836 took place during her childhood. Te Aitu Te Irikau travelled to Auckland to sit for Charles F Goldie in 1911. He painted up to five further versions posthumously. The earlier versions dated 1911 and 1916 he chose the title Memories whilst a 1918 work was titled A Woman of High Lineage. This is the last known portrait of her and the Goldie aptly titled it A Happy Thought.

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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

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CHARLES FREDERICK GOLDIE 1870 - 1947 ‘Rakapa’ Memories - An Arawa Chieftainess Oil on wood panel 20.1 x 15.1 Signed & dated 1910 $200,000 - 260,000

Provenance:

Private Collection, England until mid 1940s

Acquired by V E Donald, Masterton

Private Collection, Auckland

A newspaper article affixed verso

The newspaper article affixed verso reads: London, May 24, 1927.

Another of Mr C F Goldie's three Academy pictures has been sold.

The purchaser is a lady who lives in the South of England. She has chosen Memories, a Chieftainess of the Arawa Maori. Even before the Royal Academy opened to the public, Mr Goldie's An Aristrocrat - Atama Paparangi A Chieftain of the Rarawas - bore the distinctive red seal which indicates 'Sold'. Memories was priced on the official chart at £262. 0.

1 Originally of Otaki, Rakapa married into Arawa and her waiata were and remain the songs of Rotorua Maori elders as well as those of the Ngati-Toa and Ngati-Raukawa. Rakapas's family by marriage, fought for the colonial government in the North Island Land Wars of the mid-19th century. C F Goldie chose to paint Rakapa on at least five occasions, three times in 1910 and twice in 1911. Another, slightly smaller version is illustrated p. 215 C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979.

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Immaculately portrayed, the artist's masterful treatment of wrinkled skin and greying hair encourages closer scrutiny. This favoured subject bears traditional moko, pounamu/greenstone earings and talisman tiki.

Rakapa was the daughter of Rangi-Topeora and Te Wehi-o-te rangi of Otaki. In the Wellington district Rangi-Topeora, of NgatiToa, was known as a great poetess. She gained celebrity for her masterful character and for the number of songs she composed and chanted, from affectionate addresses to her various lovers to virulent kai-oraora or cursing chants against her enemies.

Her daughter Rakapa, of Otaki, who became the wife of the late Petera te Pukuatua, of the Arawa, inherited Topeora's poetic gifts, and her waiata are favourite songs among the Rotorua elders.

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47 FRANCES HODGKINS 1869 - 1947

Still Life No. 3, 1928

Watercolour 45 x 44 Signed

$45,000 - 65,000 Provenance:

Alix Strachey (née Sargant-Florence) and James

Strachey, the brother of acclaimed British writer

and critic Lytton Stachey (1880 - 1932)

Collection of Simonette Strachey, then bequeathed

to British owner

Private Collection, Melbourne Exhibited:

Claridge Gallery, London, 1928 Alix Strachey (1892 – 1973), née Sargant-Florence, was an American-born British psychoanalyst. She and her husband, translated the publication titled The Standard Edition of the Complete Psychological Works of Sigmund Freud into English.

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48 RUSSELL CLARK 1905 - 1966

Two Heads and Flowers, 1949

Oil on board 38.5 x 49.5 Signed

$20,000 - 30,000 Provenance:

Collection Mrs V Glubb, Christchurch, (label verso)

Private Collection, Christchurch

Exhibitied:

Touring Exhibition

Russell Clark 1905 - 1966 Retrospective Exhibition 1975

Catalogue no. 32

Robert McDougall Art Gallery

Dunedin Public Art Gallery

Nelson Bishop Suter Gallery

Govett Brewster Gallery, New Plymouth

Auckland City Art Gallery Russell Clark emerged onto the New Zealand art scene in the 1930s: a multidisciplinary artist whose approach to modernism distinguished itself by virtue of a bold and unassuming authenticity. Close to a century after he first started to paint, the importance of Clark’s work endures. In the case of Two Heads and Flowers, the fluid energy of his practice seems to hum vibrantly from within the frame. Herein, the viewer will readily perceive the artist’s mastery of a number of formal concerns: light, perspective and colour are expressed to their full potential. This painting elevates the remit of the still-life tradition

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beyond the confines of a formal exercise exploring the question of mortality; it speaks an essential visual language that is uniquely from, and about, New Zealand. In Two Heads and Flowers, each arranged object (but most notably the heads) do not seem to be passively regarded, but to invite an exchange of dynamism. One therefore does not merely look at this highly accomplished work of Clark’s, but also has the sense of being looked at.

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49 HORACE MILLICHAMP MOORE-JONES 1868 - 1922 G.H.Q. Imbros

Watercolour 22 x 42

Signed & dated 1915

$8,000 - 12,000 Provenance:

Private Collection, London Painted whilst stationed on the island of Imbros during the 1915 Gallipoli campaign. The North Aegean island of Imbros lies close to the Gallipoli peninsula. Moore-Jones was stationed here after his talent as a landscape artist was recognised by his military masters.

He was an Auckland born artist who had studied at London’s Slade School of Fine Art. When war broke out, he volunteered to serve as a sapper (a solider who dug trenches and carried out general defensive duties). It was on Gallipoli that his value as a artist was recognised, from that time onwards he worked to make accurate and highly useful topographical studies revealing Turkish positions.

Many of his observations were aerial, made from balloons or aircraft.

Imbros was the headquarters of General Sir Ian Standish Monteith Hamilton, a senior officer in the British Army who commanded the

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Mediterranean Expeditionary Force during the Gallipoli campaign.

The island contained a field hospital, airfield, administration offices and supply depots.

As Moore-Jones was not a commissioned war artist he was free to sell his paintings in Britain, and later in New Zealand. This painting comes from a British collection and may well have been acquired from his 1916 London Exhibition. Two versions of Moore-Jones most famous painting, Simpson (or the Man) and the Donkey, have recently been sold at auction by International Art Centre, one fetching a record $420,000.

Jenny Haworth Author Behind the Twisted Wire: New Zealand Artists in World War I

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Ten paintings by Peter McIntyre 1910 - 1995 50 PETER MCINTYRE 1910 - 1995

Maori Children, East Coast

Oil on board 60 x 75 Signed

$50,000 - 60,000 Provenance:

Private Collection Christchurch since 1966

Peter McIntyre was born in Dunedin. His father, a lithographic artist, founded Dunedin’s Caxton Printing Company. Young McIntyre attended Otago Boys’ High School and the University of Otago. He studied painting under Dunedin artist Alfred O’Keeffe. McIntrye left New Zealand to study at London’s Slade School of Art from 1931 until 1934. He worked in Britain as a free-lance artist until enlisting in 1939 with the 34th Anti-Tank Battery, a New Zealand unit formed in London. In 1941 whilst serving in Egypt, he was appointed as New Zealand’s official war artist by Major General Freyberg. From 1941 to 1945 McIntyre recorded action in Crete, North Africa and Italy. His work was exhibited in New Zealand and Europe and reproduced in magazines such as the Illustrated London News and the New Zealand Listener. His work from this period belongs to the collection of war art at the National Archives in Wellington.

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Returning to New Zealand in 1946 McIntyre began a long and illustrious post war career. He lived and exhibited in Wellington, frequently undertaking painting trips abroad. In 1962 A H & A W Reed published The Painted Years, the first of eight books he would illustrate and write between then and 1981.

In 1970 McIntyre was awarded an OBE. A retrospective exhibition of McIntyre’s war paintings was held at the City Gallery in Wellington in 1995. Opening on 22 July, the show had been visited by more than 22,000 people when the artist died in Wellington on 11 September.

Today he is recognised as one of New Zealand’s most important landscape artists.

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51 PETER MCINTYRE 1910 - 1995

The Rangitikei River, c. 1970

Oil on board 52 x 67 Signed

$25,000 - 35,000 Provenance:

Private Collection, Waikato since c. 1984 Years ago I went far up the Rangitikei beyond Taihape to visit my friend David Russell, whose farm at that time was as far as you could drive up the river into the bush. The river is so deep between high paapa cliffs that down at the bottom where the river flows there is only a sort of twilight, even on a sunny day. Once I crossed the gorge at a wider place in the bush in a tray slung on a logger’s wire rope, and we sat in mid-air watching a large trout feed in the river below where a patch

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of sun broke through the over-hanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white.

Peter McIntyre’s New Zealand, A H & A W Reed 1964

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52 PETER MCINTYRE 1910 - 1995

Rangitikei River

Watercolour 53 x 72 Signed

$24,000 - 28,000 Provenance:

Private Collection, Auckland since c. 1985 For years it’s white cliffs and its green water have been a favourite subject and I have explored every stretch of it, watching the light on the cliffs changed shadows define new shapes.

Peter McIntyre’s Country, A H & A W Reed 1979 The Rangitikei River, it's headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometres, making it one of the New Zealand's longest rivers.

It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometres southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt.

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The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks. Its sheer vertical paapa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities. The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all.

The river in the painting flows out of the bush, cutting deep into the white paapa clay to make cliffs that catch the sun and the moon all along its course.

Peter McIntyre's Pacific, A H & A W Reed 1966

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53 PETER MCINTYRE 1910 - 1995

Japanese Girl

Oil on board 76.5 x 60 Signed

$8,000 - 12,000 Provenance:

Private Collection, Australia

Illustrated plate 25 Peter McIntyre’s Pacific A H & A W Reed 1964

I found the Japanese girl by a temple in Nara and in her I have tried to recapture the sense of repose that gives such dignity to the women of Japan. Her background is an old temple painting of redcrested cranes.

Peter McIntyre, Peter McIntyre’s Pacific A H & A W Reed 1964

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Travels to Antarctica, Hong Kong, Japan, Fiji and other Pacific Islands provided material for McIntyre’s popular publication Pacific.

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54 PETER MCINTYRE 1910 - 1995

Yasawa Girls, Fiji

Oil on board 76.5 x 60 Signed

$8,000 - 12,000 Provenance:

Private Collection, Australia

Illustrated plate 3 Peter McIntyre’s Pacific A H & A W Reed 1964

The Yasawas: We sailed out of Lautoka in Oscar Wright’s boat Sayandra for the Yasawa Islands, a group that lies to the north-west of Veti Levu. Life on Oscar’s boat is gay, informal and sheer bliss. The Yasawas are almost completely unspoiled - the women and children

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put a market on for us under the palms beside the beach.

Peter McIntyre, Peter McIntyre’s Pacific A H & A W Reed 1964

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55 PETER MCINTYRE 1910 - 1995

Town Square

Watercolour 49 x 64 Signed

$4,500 - 6,500

56 PETER MCINTYRE 1910 - 1995

Manuherikia River, Otago

Oil on board 60 x 75 Signed

$17,000 - 24,000

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57 PETER MCINTYRE 1910 - 1995

Maori Boy, Kakahi

Charcoal drawing on paper 60 x 24 Signed

$5,000 - 7,000 Provenance:

Ex Collection of Darcy and Anne Nicholas, Wellington Illustrated:

p. 38 Peter McIntyre’s, Kakahi A H & A W Reed 1972

Maori Boy. Happy with all the carefree ways of his race: but he’ll probably be gone to the city before he’s twenty, Peter McIntyre’s, Kakahi A H & A W Reed 1972

58 PETER MCINTYRE 1910 - 1995

Cook’s Bay, Moorea, Tahiti

Watercolour 54 x 73 Signed

$7,000 - 10,000

Preparatory study for this work is illustrated plate 7 Peter McIntyre’s Pacific A H & A W Reed 1964

Cooks Bay, Moorea, painted from our hut on Moorea. Here Captain Cook anchored on his third voyage. Today the scene is still exactly as Cook saw it.

In the weeks we spent on Moorea beside Cooks Bay we became more and more languid. Our thatched hut was on white sand under palms only feet from the water and Patty burned a deep brown.

They were the handsomest people I had ever seen: The women slim and shapely, the men like dark skinned Greek gods.

Peter McIntyre’s Pacific A H & A W Reed 1964 57

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59 PETER MCINTYRE 1910 - 1995

St Mary’s Church, Parnell, 1981

Watercolour 52 x 72 Signed

$8,000 - 12,000 Provenance:

Private Collection, London since 1981 This watercolour portrays St Mary’s on its original site west of Parnell Road and was painted for, then donated to, the campaign to preserve the cathedral on its original site. The painting was auctioned and bought by the vendor’s mother in 1981. Peter McIntyre retained the copyright, making a limited edition of 150 prints. They were sold to the public to defray the costs of the campaign.

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CHRISTOPHER AUBREY 1830 - 1902 The Rabbiters Hut Watercolour 16 x 28 Signed & dated 1882 $2,500 - 3,500

Country stations and farms commonly employed men to kill rabbits in the 1870s to combat the plague of rabbits. These men, known as Rabbiters, led a solitary life often living remotely in small huts such as the one depicted in this watercolour.

61 NUGENT WELCH 1881 - 1970

Rangitikei Plains

Watercolour 25 x 35 Signed

$1,200 - 1,800

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Arrangement of Jugs is a lively and buoyant still life and Hodgkins' only surviving print. It was commissioned in 1936 by the Londonbased publisher Contemporary Lithographs Ltd as part of a venture to supply a wider audience with quality and affordable original works of art. Arrangement of Jugs is from the suite of fifteen prints by different artists launched in 1938, one of which was purchased by the British Museum.

Although she had not worked with lithography before Hodgkins was praised at the time for her fresh and innovative use of the medium and she herself 'found it interesting and remunerative as a sideline to other works'. (Kapiti Treasures, Janet Bayley (Edt.l, Mahara Gallery, 2010, p. 36) Moving increasingly away from traditional modes of representation in her works, some objects in Arrangement of Jugs are pared back to their most essential formal elements or depicted through abstract bodies of colour. Essentially disregarding any hierarchy within the objects Hodgkins has employed several perspectives within a single

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FRANCES HODGKINS 1869 - 1947 Arrangement of Jugs Lithograph 47 x 62 Signed (by hand) $8,000 - 12,000

composition giving the effect that some objects appear to float freely in space. The ethereal quality of the abstract forms combined with the objects depicted more literally adds dynamism and vivacity to the work.

The simplified outlines of objects and bold areas of colour in Arrangement of Jugs are typical of Hodgkins' approach to colour and form in the mid to late 1930s and relate strongly to two known watercolours of almost identical titles, Still Life (c.1937) and Arrangement of Jugs (c.1937) suggesting that they may have been working drawings for this lithograph.

Illustrated: Frances Hodgkins: Kapiti Treasures, Janet Bayley (Edt.), Mahara Gallery, 2010. p. 33 Frances Hodgkins: Paintings and Drawings, lain Buchanan, Elizabeth Eastmond and Michael Dunn, Auckland University Press, 1994. p.151

63 MAUD SHERWOOD 1880 - 1956

Still Life

Watercolour 64 x 54.5 Signed

$2,000 - 3,000 Provenance:

Ex Stock-in-Trade of

Savill Galleries, Melbourne

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64 JOHN BARR CLARKE HOYTE 1835 - 1913 Whangaroa

Watercolour 32 x 67.5 Signed

$8,000 - 12,000

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65 JOHN BARR CLARKE HOYTE 1835 - 1913

Coromandel Harbour

Watercolour 34 x 52.5 Signed

$10,000 - 15,000

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66 JOHN GIBB 1831 - 1909 Akaroa

Oil on canvas laid on board 60 x 90

Signed & dated 1879

$3,000 - 5,000

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ARTIST UNKNOWN circa 19th Century Untitled - possibly New Hebrides Scene Watercolour 18 x 31 $800 - 1,200

Provenance:

Current owner purchased from The Inventory

of John Howell Books-Part 1, Butterfield and

Butterfield and Swann Galleries

14 February 1985

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68 VERA CUMMINGS 1891 - 1949

Harata Rewiri Tarapata

A Ngapuhi Chieftainess

Oil on canvas 36 x 30 Signed

$10,000 - 15,000

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RAYMOND CHING b. 1939 Little Grebe Watercolour 55.5 x 42 Signed & inscribed $4,000 - 7,000

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SYDNEY LOUGH THOMPSON 1877 - 1973 Almond Blossom, Saint Jeannet Village Oil on canvas 50 x 60 Signed & dated 1964 $12,000 - 16,000

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71 ARCHIBALD FRANK NICOLL 1886 - 1953

Red Barn

Oil on board 30 x 40 Signed

$2,000 - 3,000

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JOHN WEEKS 1886 - 1965 Gypsies at Home Tempera on board 24 x 32 $1,500 - 2,500

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JOHN WEEKS 1886 - 1965 Hereford Street, Christchurch Watercolour 17 x 16 Signed & dated 1921 verso $1,400 - 1,800

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CHARLES DIXON British 1872 - 1934 The Lower Pool Watercolour 27 x 78 Signed, inscribed & dated 1902 $3,000 - 5,000

Provenance:

Purchased in London, 1977 by current owners family 75 GERARD PASSET French b. 1936 Villeneuve-la-Garenne

Oil on canvas 60 x 90 Signed

Inscribed verso

$800 - 1,200

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Provenance:

Purchased in London, 1977 by current owners family

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CHARLES GOLDSBOROUGH ANDERSON British 1865 - 1936 The Iris Garden, the Artist’s Wife Mrs Goldsborough Anderson Oil on canvas board 210 x 98 $1,500 - 3,000

Provenance:

Artist’s Family Collection, Auckland

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CHARLES GOLDSBOROUGH ANDERSON British 1865 - 1936 Evening Occasion, the Artist’s Wife Mrs Goldsborough Anderson Oil on canvas board 217 x 90 $1,500 - 3,000

Provenance:

Artist’s Family Collection, Auckland

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78 MARGARET OLROG STODDART 1865 - 1934

A Quite Stream

Watercolour 23 x 33 Signed

$2,000 - 3,000

79 COLIN VERNON WHEELER 1919 - 2012

Hereford Street, Christchurch

Watercolour 17 x 16 Signed

$1,400 - 1,800

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80 JANE EVANS 1946 - 2012 Clown

Oil on board 74 x 62

Signed & dated 1983

$2,500 - 3,500

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ALICE F WHYTE 1880 - 1952 Scows on the Harbour Watercolour 23 x 34 $1,000 - 1,500

82 ALISON PICKMERE 1908 - 1971

Elizabeth Bay, Sydney

Oil on canvas 38 x 42 Signed

Inscribed verso

$1,200 - 1,800

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83 JAMES FRASER SCOTT 1877 - 1932

Cattle in a Summer Field

Oil on canvas 99 x 124 Signed

$1,000 - 3,000

84 DOUGLAS BADCOCK 1922 - 2009

Skippers Road, Lake Wakatipu in the Distance

Oil on board 60 x 24

Signed & dated 1968 Inscribed Grey Autum Day, Skippers Road verso

$2,500 - 3,500

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CHARLES DECIMUS BARRAUD 1822 - 1897 Manawatu Gorge Watercolour 38 x 71 Signed & dated 1873 $7,000 - 10,000

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86 SIMON MCINTYRE b. 1955

Reflection Series III

Acrylic on paper 60 x 40 Signed

$1,500 - 2,500

87 PHILIPPA BLAIR b. 1945 Archipelago

Oil on canvas 152 x 121

Signed & dated 1998 verso

$2,000 - 3,000 Provenance:

Private Collection

Purchased from exhibition titled

Philippa Blair Southern Crossings

Janne Land Gallery, Wellington

23 May - 13 June 1998

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SIMON CLARK b. 1955 Big Ben Oil & 24 carat gold leaf on board 61 x 61 Signed, inscribed & dated 2013 verso $3,400 - 3,800

89 WILLIAM GEORGE BAKER 1864 - 1929

Lake Waikaremoana

Oil on canvas 45 x 85 Signed

$2,800 - 3,800

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90 CHARLES HENRY HOWORTH 1856 - 1945

Lulworth Cove, Dorset

Watercolour 25 x 35 Signed

$800 - 1,200 90

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A Private Collection of ten rare unique ceramic art pieces by the late Len Castle 1924 - 2011 These distinctive works were collected by a friend of ceramic artist Len Castle and his partner Nancy. The vendors recall Len congratulating them on their choice of what he termed his organic works.

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LEN CASTLE Greece Cycladic, Civilization inspired, Female Form and Cross Stoneware 40 x 25 Impressed initials on base $3,000 - 4,000

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LEN CASTLE Hanging Form Stoneware 30 x 28 Impressed initials on base $800 - 1,200

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LEN CASTLE Large Vase. c. 1965 Stoneware 26 x 25 Impressed initials on base $1,200 - 1,600

LEN CASTLE Globular Vase Stoneware 25 x 20 Impressed initials on base $800 - 1,200 LEN CASTLE Wine Vessel c. 1980 Stoneware 25 x 16 Impressed initials on base $1,000 - 2,000

96 LEN CASTLE Jug

Glazed Ceramic 28 x 17

Impressed initials on base

$400 - 600

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LEN CASTLE Large Vessel, c. 1965 Matt white glaze with highlights 40 x 30 Impressed initials on base $2,300 - 3,000

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98 LEN CASTLE

Rectangular Platter

Stoneware with Rope impressions

6 x 32

Impressed initials on base $700 - 1,000

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LEN CASTLE Small Bowl - From the Magma Flows Series Glazed ceramic 7 x 23 Impressed initials on base $800 - 1,500

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LEN CASTLE Earth Bowl Stoneware 10 x 29 Impressed initials on base $800 - 1,000

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LAWRENCE LEITCH Matiatia Light Acrylic on board 81 x 186 cm

International Art Centre

202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 379 4010 www.internationalartcentre.co.nz

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Auction categories at International Art Centre Important & Rare Art

Modern & Contemporary Art

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 fast 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.

Twice a year our Modern & Contemporary Art auctions play an integral role in enabling market access to the most sought-after artists who have defined New Zealand’s art narrative over the past 50-years. These sales never fail to present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of midcentury modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar. Our new state-of-the-art premises will ensure contemporary art is now exhibited and auctioned in a dynamic and appropriate environment.

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

Expertise Experience Results 98 Important & Rare Art Monday 27 November 2017

Always consigning / Always cataloguing Artists’ Estates & Collectable Art

Single Owner

The buzz generated by our Artists’ Estates & Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Artists’ Estates & Collectable Art auctions offer a number lower-priced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.

From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art and a selection of works from the Fletcher Trust Collection.

Auctions

Consign Now Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz

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Absentee Bid Form Important & Rare Monday 27 November 2017

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I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level.

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Alternatively, register then bid online www.fineartauction.co.nz

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202 PARNELL ROAD AUCKL AND NEW ZEAL AND PH 09 379 4010 www.finear tauction.co.nz

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Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium Artist’s Estates & Collectable Art 4 July 2017 1 2600 2 1600 3 800 4 500 5 6500 6 1500 7 1250 8 500 9 300 10 300 11 500 12 850 13 1000 14 1000 15 850 16 1600 17 1100 18 1600 19 700 20 2600 21 1000 22 275 23 1800 24 200 25 760 26 1000 27 875 28 1000 29 400 30 350 32 450 33 1300 34 1300 35 4400 36 2000 37 1200 38 575 39 350 40 1000 41 1500 42 2700 43 1200 44 300 46 1700 47 300 48 100 49 3100 50 1500 51 500 52 350 53 500 54 400 55 850 56 1800 57 500

58 1600 59 1600 60 800 61 1000 62 450 63 2800 64 2400 65 1700 66 2200 67 1700 68 1600 69 3000 70 6000 71 1750 73 3400 74 4600 80 2600 81 1700 82 1900 83 900 84 800 85 425 86 900 87 1000 88 650 89 100 90 700 92 550 93 1400 94 1000 95 900 96 1700 97 1500 98 500 99 1200 100 500 101 2500 102 1600 103 1000 104 2500 105 4200 107 4000 108 6200 109 3100 110 2200 112 850 114 2750 115 425 117 900 118 2300 120 625 121 3750 123 750 125 1600 126 1100 127 1100 128 200 129 425 130 600

131 2750 133 1400 135 500 137 300 139 100 140 2650 141 300 143 200 144 200 146 300 147 1000 149 1700 150 500 151 1150 152 300 153 1750 154 900 155 250 156 1500 157 300 158 400 159 1300 160 425 161 1500 162 2000 163 1325 164 500 165 500 166 400 167 400 168 700 170 350 171 425 172 1000 173 1100 174 525 175 550 176 400 177 300 178 1100 179 1200 181 200 182 360 184 220 186 500 187 300 190 1200 191 850 192 300 193 200 194 450 195 550 196 500 197 300 198 500 199 450 200 500 201 350 202 250

102 Important & Rare Art Monday 27 November 2017

203 150 204 410 205 900 206 300 207 2200 208 200 209 350 210 200 211 25 212 500 213 200 214 200 215 150 216 100 217 410 Important & Rare 8 August 2017 1 8500 2 8500 3 8000 4 4000 5 1500 6 31000 7 800 8 1000 10 9000 11 1750 12 4750 13 15000 15 7500 16 6000 17 22000 18 4000 19 3750 20 1500 21 3000 22 2600 23 4700 25 11000 26 9500 28 15000 29 12000 30 12000 33 18000 37 24000 38 425000 39 2000 41 440000 42 70000 44 45000 45 50000 46 42500 48 7000 49 82000 50 25000 51 32500 52 18500

57 25000 58 5750 60 12500 61 8500 62 20000 63 7500 64 23000 65 7500 66 27000 69 12500 71 4700 72 4500 75 14000 76 4800 79 900 80 900 81 900 83 3100 84 7100 88 3250 91 700 92 6000 93 2200 94 1600 95 6000 96 700 97 1700 98 3350 99 2600 100 800 103 3000 104 1500 105 2000 106 3400 107 2500 108 5500 109 1300 110 1600 111 2000 113 550 114 1400 116 1750 118 3850 119 1800 Modern & Contemporary Art 19 September 2017 1 5000 2 5750 3 9500 4 10500 6 9250 7 3500 8 3000 9 1800 10 275 11 5000

12 800 14 1400 15 3500 16 2000 17 4500 18 13000 23 3500 29 6500 30 2400 32 3250 33 14000 35 9000 36 3250 38 42000 40 1250 41 3200 43 10500 44 6000 45 7750 50 15000 53 2000 54 6500 55 1000 57 400 58 2250 59 1000 60 1500 66 4250 67 1100 69 2000 71 400 72 500 73 2400 74 2750 75 2000 77 700 78 1500 79 800 80 1200 81 1100 82 1600 83 6000 84 1150 85 1200 87 600 88 1500 89 950 91 2750 95 1600 96 1600 97 1000 98 550 99 8350 100 1400 101 250 102 300 103 325 104 600 105 400

106 600 107 300 108 700 109 4600 111 800 112 4100 113 2750 114 500 116 800 117 300 118 400 119 250 120 140 121 725 122 425 123 275 124 800 125 400 126 150 128 1000 129 200 131 750 132 100 133 100 134 150 135 100 137 900 138 1000 139 600 140 650 142 1750 144 600 145 1900 146 2000 147 1100 148 1100 150 1400 153 1100 154 800 155 150 159 475 160 700 161 400 162 400 167 3500 168 300 169 300 172 300 173 450 174 1200 175 2000 176 1300 177 300 180 550 181 1300 184 1000 185 800 189 200 190 175 191 950

www.fineartauction.co.nz

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 5pm Thursday 29 November 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 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 buyers premium.

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 and registered bidders. There is no charge for this service.

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

Bank deposits: Bank instructions on invoice if paying by direct debit.

Quote the Lot number(s) purchased and Surname 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: Only Visa and Mastercard accepted - with a 2% surcharge.

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

(Total buyers premium is 18.98% including GST)

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Index ANDERSON C G........................................ 76, 77

SCOTT J F......................................................... 83

MOORE-JONES H M ....................................... 49

AUBREY C........................................................ 60

FARNALL STUDIO R.................................... 41, 42

NICOLL A F...................................................... 71

BACKHOUSE J P........................................ 22, 23

GIBB J............................................................... 66

PALMER S........................................................... 3

BADCOCK D................................................... 84

GIMBLETT M..................................................... 19

PASSET G.......................................................... 75

BAKER W G...................................................... 89

GOLDIE C F................................... 40, 44, 45, 46

PATERSON R....................................................... 9

BARRAUD C D................................................. 85

GOOD R.......................................................... 20

PETRE M............................................................. 8

BINNEY D.......................................................... 13

HANLY P....................................11, 12, 16, 17, 34

PICKMERE A.................................................... 82

BLAIR P A......................................................... 87

HENDERSON L................................................. 14

SHERWOOD M................................................ 63

BROWN N.......................................................... 7

HODGKINS F ................................. 38, 39, 47, 62

SIDDELL P......................................................... 10

CASTLE L...91, 92, 93, 94, 95, 96, 97, 98, 99, 100

HOTERE R......................................................... 18

SMITHER M ........................................................ 1

CHING R.......................................................... 69

HOWORTH C H................................................ 90

STODDART M O......................................... 15, 78

CHRISTIE B........................................................ 25

HOYTE J B C............................................... 64, 65

SUMMERTON J................................................... 2

CLARK R..................................................... 27, 48

KELLY F........................................................ 36, 37

TAPPER G......................................................... 21

CLARK S........................................................... 88

LELEISI’UAO A.................................................. 35

THOMPSON S L................................................ 70

COOPER R T.................................................... 30

MACDIARMID D.............................................. 32

TORNQUIST H R................................................ 31

CROSS M......................................................... 33

MCCAHON C............................................ 28, 29

UNKNOWN ARTIST........................................... 67

CUMMINGS V.................................................. 68

MCCRACKEN F............................................... 24

WALSH J......................................................... 4, 5

DAWSON N...................................................... 26

MCINTYRE P................ 50, 51, 52, 53, 54, 55, 56,

WEEKS J...................................................... 72, 73

DE LAUTOUR T.................................................... 6

............................................................. 57, 58, 59

WELCH N.......................................................... 61

DIXON C ......................................................... 74

MCINTYRE S .................................................... 86

WHEELER C V.................................................. 79

EVANS J........................................................... 80

MERIT CERTIFCATES......................................... 43

WHYTE A F....................................................... 81

104 Important & Rare Art Monday 27 November 2017

202 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