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
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
James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz
www.fineartauction.co.nz
info@internationalartcentre.co.nz
Skype: fineartauction
Adam Firth Photogrpahy
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
Kelly
John Steele
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 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.
Charles Blomfield $82,000
Frances Hodgkins $70,000
Charles F Goldie $440,000
Paul Beadle $31,000
Frances Hodgkins $50,000
Felix
$24,000
Louis
$425,000
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.
November 2016
Ralph Hotere fetched $155,000
International Art Centre
Delivering consistent results for 48 years
Charles F Goldie vintage print $8,350
A record price for a C F Goldie print at auction
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
Prices quoted are hammer price which attract buyers premium of 16.5% plus GST on premium
Charles McPhee $4,100
Allen Maddox $10,500
Max Gimblett $9,250
Reuben Paterson $4,500
Rob McLeod $3,000
The Wendy Pharazyn & the late Bruce DahL Collection
AUCTION FEBRUARY 2018
WELLINGTON COLLECTORS
Sam Duckor-Jones Mandarin Reader
2
Mast at Rest
Oil on board 16 x 29
Signed & dated 1999
$3,000 - 5,000
Provenance:
Private Collection, Bay of Plenty
Oil on canvas 55 x 70
Signed & dated 2017
$3,200 - 3,800
JUSTIN SUMMERTON b. 1968
Pink Floyd, The Room
1 MICHAEL SMITHER b. 1939
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 affnitywiththearea.Stanleybelievesthat 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.
Bamboo engraving, edition 29/60, 59 x 42
Signed, inscribed & dated 1980
$1,000 - 1,500
3 STANLEY PALMER b. 1936 Tower
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
4 JOHN WALSH b. 1954
The War Artist, 2014
Oil on fortified paper 36 x 50
5 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
6 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.
7 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
8 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
9 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 affxedverso Private Collection, Auckland
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
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
12 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
13 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
14 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
16 PAT HANLY 1932 - 2004
Doing It
Lithograph, edtion of 30, artist’s proof 65 x 55
Signed, inscribed & dated 1987
$1,800 - 2,600
Provenance:
Chunn Family Collection, Auckland
Illustrated p. 56, Hanly: A New Zealand Artist, Russell Hayley, 1989
17 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
18 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.
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.
19 MAX GIMBLETT b. 1935
The Gold Thread
Gesso, acrylic and vinyl polmers, Expoxy, Aqua size, copper leaf on canvas 77 x 56
A facsimile copy of the exhibition review: Roger Blackley on Art affxedverso
21 GARTH TAPPER 1927 - 1999 11:00am
Oil on board 51 x 60
Signed & dated 1974
$6,000 - 9,000
Provenance:
Private Collection, NJ, USA
24 FRANCIS MCCRACKEN 1879 - 1959
Edinburgh
Oil on canvas 99.2 x 125
Signed & inscribed
Maori Chief
Oil on shell 13 x 11
$1,000 - 2,000
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
22 JOHN PHILEMON BACKHOUSE 1845 - 1908
North Shore
Oil on pearl shell 21 x 20
$2,500 - 3,500
23 JOHN PHILEMON BACKHOUSE 1845 - 1908
25
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
26
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
27
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
NEIL DAWSON 1948
RUSSELL CLARK 1905 - 1966
BESSIE CHRISTIE 1904 - 1983
Works from Audrey & the late Ivan Bootham Collection, Wellington
Lots 25 - 29
28 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
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.
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.
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
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
31 HERBERT TORNQUIST 1897 - 1969
Tidal Rock
Oil on Canvas 34 x 40
Signed
$1,000 - 1,500
32 DOUGLAS MACDIARMID b. 1922
Femme avec du Vin
Watercolour 32 x 24 Signed
$1,500 - 2,500
Signed
$8,000 - 12,000
Mixed media on paper 54 x 56
Signed, inscribed & dated 1984
$8,000 - 12,000
Acrylic on canvas 91 x 76
Signed, inscribed & dated 2013 verso
$4,000 - 6,000
35 ANDY LELEISI’UAO b. 1969
Choirs of Luplatis Part I
33
MARK CROSS b. 1955
Aotearoa Umbrella Oil on board 68 x 77.5
34 PAT HANLY 1932 - 2004
Red Plum Tree
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, 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.
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.
Queen Square, London
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 affxedverso
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
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.
38 FRANCES HODGKINS 1869 - 1947
Cassis Quarrymen
Charcoal on paper 35 x 42
Signed & inscribed
$14,000 - 18,000
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
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.
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.
41 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.
42 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 affxedto
$2,500 - 3,500
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.
43
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
45 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.
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
46 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 affxedverso
The newspaper article affxedversoreads:London,May24,1927.
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 offcialchartat 262.1 1 0.
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.
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.
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.
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
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.
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 offcerintheBritishArmywhocommandedthe
Mediterranean Expeditionary Force during the Gallipoli campaign. The island contained a field hospital, airfield, administration offces 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
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 offcialwarartistbyMajorGeneralFreyberg.From1941 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.
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.
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
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
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.
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
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
Travels to Antarctica, Hong Kong, Japan, Fiji and other Pacific Islands provided material for McIntyre’s popular publication Pacific.
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
put a market on for us under the palms beside the beach.
Peter McIntyre, Peter McIntyre’s Pacific A H & A W Reed 1964
Town Square
Watercolour 49 x 64
Signed
$4,500 - 6,500
Manuherikia
Oil on board 60 x 75
Signed
$17,000 - 24,000
56 PETER MCINTYRE 1910 - 1995
River, Otago
55 PETER MCINTYRE 1910 - 1995
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
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.
60 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
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
62 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.
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
Signed
$8,000 - 12,000
Signed
$10,000 - 15,000
64 JOHN BARR CLARKE HOYTE 1835 - 1913
Whangaroa
Watercolour 32 x 67.5
65 JOHN BARR CLARKE HOYTE 1835 - 1913
Coromandel Harbour
Watercolour 34 x 52.5
64
66 JOHN GIBB 1831 - 1909
Akaroa
Oil on canvas laid on board 60 x 90
Signed & dated 1879
$3,000 - 5,000
67 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
Signed
$10,000 - 15,000
Signed & inscribed
$4,000 - 7,000
68 VERA CUMMINGS 1891 - 1949
Harata Rewiri Tarapata
A Ngapuhi Chieftainess
Oil on canvas 36 x 30
69 RAYMOND CHING b. 1939
Little Grebe
Watercolour 55.5 x 42
70 SYDNEY LOUGH THOMPSON 1877 - 1973
60
Signed & dated 1964
$12,000 - 16,000
71 ARCHIBALD FRANK NICOLL 1886 - 1953
Red Barn Oil on board 30 x 40
Signed
$2,000 - 3,000
Almond Blossom, Saint Jeannet Village Oil on canvas 50 x
Gypsies at Home Tempera on board 24 x 32
$1,500 - 2,500
Watercolour 17 x 16
Signed & dated 1921 verso
$1,400 - 1,800
72
JOHN WEEKS 1886 - 1965
73
JOHN WEEKS 1886 - 1965
Hereford Street, Christchurch
74 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
Provenance:
Purchased in London, 1977 by current owners family
76 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
77 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:
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
80 JANE EVANS 1946 - 2012
Clown
Oil on board 74 x 62
Signed & dated 1983
$2,500 - 3,500
81 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
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
Watercolour 38 x 71
Signed & dated 1873
$7,000 - 10,000
85 CHARLES DECIMUS BARRAUD 1822 - 1897
Manawatu Gorge
Reflection Series III
Acrylic on paper 60 x 40
Signed
$1,500 - 2,500
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
Big Ben
Oil & 24 carat gold leaf on board 61 x 61
Signed, inscribed & dated 2013 verso
$3,400 - 3,800
86 SIMON MCINTYRE b. 1955
87 PHILIPPA BLAIR b. 1945
88 SIMON CLARK b. 1955
89 WILLIAM GEORGE BAKER 1864 - 1929
Lake Waikaremoana
Oil on canvas 45 x 85
Signed
$2,800 - 3,800
90
HOWORTH 1856 - 1945
Lulworth Cove, Dorset
Watercolour 25 x 35
Signed
$800 - 1,200
CHARLES HENRY
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.
91 LEN CASTLE
Greece Cycladic, Civilization inspired,
Female Form and Cross
Stoneware 40 x 25
Impressed initials on base
$3,000 - 4,000
92 LEN CASTLE
Hanging Form
Stoneware 30 x 28
Impressed initials on base
$800 - 1,200
93 LEN CASTLE
Globular Vase
Stoneware 25 x 20
Impressed initials on base
$800 - 1,200
94 LEN CASTLE
Wine Vessel c. 1980
Stoneware 25 x 16
Impressed initials on base
$1,000 - 2,000
95 LEN CASTLE
Large Vase. c. 1965
Stoneware 26 x 25
Impressed initials on base
$1,200 - 1,600
96 LEN CASTLE
Jug
Glazed Ceramic 28 x 17
Impressed initials on base
$400 - 600
97 LEN CASTLE
Large Vessel, c. 1965
Matt white glaze with highlights 40 x 30
Impressed initials on base
$2,300 - 3,000
98 LEN CASTLE
Rectangular Platter
Stoneware with Rope impressions
6 x 32
Impressed initials on base
$700 - 1,000
99 LEN CASTLE
Small Bowl - From the Magma Flows Series
Glazed ceramic 7 x 23
Impressed initials on base
$800 - 1,500
100 LEN CASTLE
Earth Bowl
Stoneware 10 x 29
Impressed initials on base
$800 - 1,000
Auction categories at International Art Centre
Important & Rare 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.
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Ph +64 9 379 4010
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E. richard@artcntr.co.nz
Always consigning / Always cataloguing
Artists’ Estates & Collectable Art Single Owner Auctions
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.
Consign Now
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Ph +64 9 379 4010
E. luke@artcntr.co.nz
Absentee Bid Form
Important & Rare Monday 27 November 2017
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Registration Bidding Number
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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)
