Issuu

Auction 6:30pm *Tuesday 12 October

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Lot 13 Buck Nin

Lot 5 Adele Younghusband

The Silich Collection

Auction 6:30pm *Tuesday 12 October 2021

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*Viewing Times

International Art Centre, 202 Parnell Road, Auckland

*Level 3 - window viewing by appointment info@internationalartcentre.co.nz or by calling 09 379 4010

Regrettably we are unable to extend an invitation to our normal in house viewing exhibition at this time. However all works are available for inspection by request.

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Parking During Viewing:

Allocated carparks located directly behind International Art Centre

Cover illustration: Lot 3

Back cover illustration: Lot 130

Directors Richard Thomson & Frances Davies

202 Parnell Road, Auckland, New Zealand

Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz

Lot 112 Charles Decimus Barraud

Contacts

Richard Thomson

Ph +64 9 379 4010

richard@artcntr.co.nz

Mobile 0274 751 071

Maggie Skelton

Ph +64 9 379 4010

maggie@artcntr.co.nz

Luke Davies

Ph +64 9 379 4010

luke@artcntr.co.nz

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Conditions of Sale p. 162

Absentee & telephone bids p. 158

202 Parnell Road, Auckland, New Zealand

Telephone + 64 9 379 4010

Toll Free 0800 800 322

www.internationalartcentre.co.nz

TUESDAY 16 NOVEMBER

Titirangi,

COLIN MCCAHON

ENTRIES NOW INVITED

50th Anniversary Spring IMPORTANT & RARE ART auction

An opportunity exists to consign works until the end of September for inclusion in our preeminent IMPORTANT & RARE ART auction. The Spring catalogue currently in preparation features works of the finest quality by leading New Zealand and international artists. One of the offerings of considerable significance, is this exceptional oil on canvas masterpiece by Charles Frederick Goldie. The work is new to the market for the first time since it was purchased by the current owner’s family, directly from the artist, over a century ago.

A Sturdy, Stubborn Chief, Hori Pokai Oil on canvas 30 x 28cm Estimate $500,000 - 750,000

CHARLES FREDERICK GOLDIE

IMPORTANT & RARE ARt - July RESULTS

With two consecutive five million dollar sales, International Art Centre continues to celebrate it’s 50th Anniversary year with the achievement of new art auction records and market highlights in both our Summer and Winter Important & Rare Art auctions.

The recently rediscovered and repatriated Rialto Steps by Frances Hodgkins, from a family collection in Italy, made $313,300 against an estimate of $70,000 - 100,000. Michael Illingworth’s iconic Mr & Mrs Piss-Quick, doubled the previous record

price for a work by this artist when is achieved $468,400. The Widow, one of two works by Charles Frederick Goldie featured in the sale, realised $666,500. This was the second highest price of the year achieved for a work sold at auction. The highest being Banksy’s Keep It Real which fetched $1.7 million in our March sale. A smaller work of an Arawa Chieftainess by Charles Frederick Goldie sold for $444,400. The sale also saw over $650,000 worth of Banksy’s screenprints find new homes.

Frances Hodgkins realised $313,300

Don Binney realised $252,260

Michael Illingworth realised $468,400

C F Goldie realised $666,650

Robert Ellis realised $70,270

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Lot 24 Richard Killeen

The Silich Collection

A mercurial personality, David Silich was as enthusiastic in his art collecting as he was wideranging in his reading and interest in world affairs. Born in Whangarei in 1944, but having built a career in the financial sector in Europe, he had always been attracted to fine craftsmanship, amassing a large collection of medals, medallions and antiquities in his office in Switzerland. Buying New Zealand art only became a major preoccupation in his last decade with his return to living part of each year in the Auckland region.

Initially he was drawn to depictions of the beaches and mountains of the regions, images which reminded him of the country that he had left behind when he had emigrated to London in his twenties. Coming from Northland, he was attracted to the work of modern painters who could evoke the spirit of the north such as Helen Campbell Brown (1917-1986) whose paintings of Mahurangi and Pakiri captured long stretches of sand, sea and blue sky.

Key figures who underpinned the development of the arts in Northland with important connections were also of interest to him. Oil paintings by Adele Younghusband (1878-1969) who had helped establish the Whangarei Art and Literary Society took their place alongside watercolours of Oruaiti Beach and Pohutukawa in bloom at Waipu Cove by Kathleen (Kitty) Airini Vane (1891-1965), the daughter of distinguished surveyor and chronicler of the Battle of Gate Pā, Captain Gilbert Mair.

As well as representational art, David was also keenly interested in the development of abstraction in painting here, understanding and valuing the role of travelling women artists such as Louise Henderson (1902-1994) and Jean Horsley (1913-1997) in connecting the local art scene to radical changes in art in Europe and America in the post-war period.

Always interested in maverick figures who came from the regions (like himself), David ensured that his collection included a Mamaku painting by Ted Bullmore (1933-1978) which dates from the period after the expatriate’s return to Rotorua and the Bay of Plenty in 1969. The largely self-taught Tauranga abstractionist Arthur Dagley (1919-1998) was another

painter whose work David valued for its consistency and uniquely textural approach to port and harbour subjects.

Knowledgeable about the careers of many New Zealand artists, David usually aimed to acquire a range of work by each artist in varying media and of different subjects.

These meaningful connections and coincidences fueled only some of David’s voracious collecting. His acquisition of iconic images of the north was matched by a complementary desire to comprehensively collect nineteenth and early twentieth century classic landscapes of the southern lakes and fiords. Believing that oil paintings of subjects such as Milford Sound were overlooked and underrated treasure in the art market, he pursued works at auction vigorously. Amassing over 50 works by John Douglas Perrett (1859-1937) whose contribution to the development of the landscape tradition in New Zealand has been insufficiently recognized, gave David enormous satisfaction.

Removing works from their frames, he planned to cover cabinets doors and the interior walls of his New Zealand residence with snowy mountains, gushing waterfalls and glacially blue lakes.

On his six monthly visits to Auckland, David would also visit the studios of young artists, buying their work in order to encourage them to continue their practice. In this way, David gained enjoyment from having made a contribution through direct patronage, watching with delight as a new talent entered the local art world.

Although assembled in a remarkably short period of time, the Silich Collection is distinguished by its range and depth, with both emerging and established artists represented. The Silich Collection exhibits a singular ability to provide insight into the careers of many less celebrated artists, as well offer intriguing and unusual examples of works by some famous names. It is a collection built on love of art and the pleasure taken in being surrounded by its beauty. - Linda Tyler

01 MICHAEL SMITHER (b. 1939)

Okahu Bay Boats

Oil/alkyd on board 62 x 30

Signed & dated 2002

Signed, inscribed & dated 2002 verso

Estimate

$8,000 - 12,000

PROVENANCE

Collection of the Artist

Important Works of Art, Webb’s 30/03/2010

Hugely popular with critics and the public alike, and in prestigious public and private collections both in New Zealand and overseas, Michael Smither was appointed a Companion of the New Zealand Order of Merit, for services to the art in the Queen’s Birthday Honours List in 2004. Living near the idyllic Coromandel beach of Opoutere he continues to paint in his 82nd year. His 1967 painting Sea Wall and Kingfisher set the record for the sale of a work by a living artist in New Zealand when it sold at the International Art Centre for $342,000 in October 2019.

Since the 1990s, painter Michael Smither has repeatedly created images based on the patterns made by boats bobbing about in bright sunshine on the glittering waters of Auckland’s Okahu Bay. These works have become increasingly abstract so that just the silhouettes of the bows and the cabins are evident in this painting, stacked vertically to form a column of bright syncopation. Highly coloured works such as this give free rein to Smither’s interest in the connections between colour harmonies and contrasts and those found in music. A talented composer himself, he is interested in evoking the sensation of synaesthesia, where as a note is heard, a colour is seen, connecting the spectrum with the musical scale.

LINDA TYLER

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The Silich Collection 6:30pm Tuesday 12 October

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02 BRENT WONG (b. 1945)

Coastal Hills – Clouds 1984

Acrylic on canvas 45.4 x 57.7

Signed, inscribed & dated 1984 verso

Estimate

$12,000 - 18,000

PROVENANCE

W T Macalister c. 2014

Land and seascapes played a large part in the early work of Otaki-born painter Brent Wong. Growing up in a flat over his uncle’s shop in Vivian Street Wellington, he briefly studied design at Wellington Polytechnic, but was mostly self-taught as a painter. He became fascinated with architecture and mathematical perspective. As his realist style developed, surrealist elements appeared like architectural flying saucers in the sky, making his work unique and highly sought after for public and private collections. The Dowse Gallery in Lower Hutt mounted a survey exhibition of his work in 1978 which ended its tour of the country at the National Art Gallery in Wellington.

By the early 1980s, clouds had begun to play a prominent part in his compositions. In this work, cumulus masses roll in over ochre hills in a generic coastal scene. It is a raw and uninhabited geography, perhaps the Kapiti Coast in late summer where the hills roll down to the sea or a particularly parched part of the East Cape. The sense of geological newness, and the effects of intensive pastoral farming which have denuded the land of its vegetation are instantly recognisable to any New Zealander.

LINDA TYLER

03 CHARLES TOLE (1903 - 1988)

Near Taumaranui 1964 Oil on board 23.8 x 29.4

Signed & dated 1964

Estimate $10,000 - 15,000

PROVENANCE

Important Paintings and Contemporary Art, Art+Object, 26/04/2012

18 The Silich Collection 6:30pm Tuesday 12 October

04 JOHN TOLE (1890 - 1967)

Landscape with River c. 1950 Oil on paper on board 25 x 30.2

Inscribed on original artist’s label affixed verso

Estimate $5,000 - 8,000

PROVENANCE

Important Paintings and Contemporary Art, Art+Object, 26/04/2012

05 ADELE YOUNGHUSBAND (1878 - 1969)

Still Life with Candle and Vase of Flowers

Oil on board 49.5 x 36.6

Signed & dated 1951

Estimate

$8,000 - 12,000

PROVENANCE

John Leech Gallery, 1985

The Tim & Sherrah Francis Collection, Art+Object, 07/09/2016

Described by some as a New Zealand surrealist, Adele Younghusband was a highly spiritual woman who painted one mural for Hamilton’s Anglican Chapel of St Anne, another for the Theosophical Society Building, and a muchloved depiction of Tane, God of the Forests for Mahinerangi at Turangawaewae in Ngāruawāhia.

Her mother’s family came from Great Barrier Island – a sister was botanical artist Fanny Osborne - but Adela Mary Roche was born at Ngaroto in the Waikato where Hungerford Roche (1841-1914), her Dublin-born father, was the first Pākehā to farm. Learning her trade of photographic retouching from pictorialist Harry Gaze (1874-1953) in Hamilton, she studied painting with Horace Moore-Jones (1868-1922) before marrying Gisborne grocer Frank Younghusband in 1905 and bearing him three children.

Unmistakeably modern in her outlook, she divorced her husband in 1917 and moved to Whangārei to open her own photographic business, becoming famous there as the first woman to bob her hair. Daughter Joyce’s death precipitated a move to Dargaville in 1927, but by 1930 she had returned to city life, opening a photographic studio in Devonport before returning to Hamilton in 1934 where she set up the Waikato Society of Arts. After studying with George Bell in Melbourne in 1937, she exhibited her paintings and prints there and in Sydney before returning to New Zealand.

Other Adele Younghusband works are held by the Auckland Art Gallery, Te Papa, the National Gallery of Australia, Art Gallery of New South Wales, Rotorua Museum of Art and History, Auckland War Memorial Museum, the Dowse and the Manawatu Art Gallery, with the largest collection of works being the gift she made to the Whangarei Art Museum in 1964, five years before her death.

LINDA TYLER

The Silich Collection 6:30pm Tuesday 12 October

06 ADELE

YOUNGHUSBAND (1878 - 1969)

Abstract Design

Oil on board 43.2 x 45.9

Signed & dated 1964

Signed & inscribed verso

Estimate

$4,000 - 6,000

PROVENANCE

A2 Art, Webb’s, 04/10/2011

The Silich Collection 6:30pm Tuesday 12 October

and particpate

07 PHILIP TRUSTTUM (b. 1940)

Back Garden Oil on board 50 x 63.5

Signed & dated 1973

Signed, inscribed & dated 1973 verso

Estimate

$8,000 - 12,000

PROVENANCE

Important Works of Art, Webb’s 22/09/2008

08 CHARLES TOLE (1903 - 88)

Oil Tanks 1971–6

Oil on board 47 x 60.2

Signed & dated ‘71 - 76

Estimate

$25,000 - 35,000

PROVENANCE

Peter McLeavey Gallery

Tim and Sherrah Francis Collection

Purchased from Hamish McKay Gallery, Wellington, 2010

Precisionism, a sharply defined painting style which concentrates on the abstract geometrical aspects of industrial subjects, was America’s contribution to modernism. Originating in Cubism and Futurism, it held appeal for artists wanting to reduce their compositions to simple shapes with smooth surfaces and little detail, but not go completely abstract. As can be seen in this composition of oil tanks at Port Ahuriri in Napier, Charles Tole was one of the style’s local adherents, although he worked in other modernist modes as well.

Two of the four talented sons of the prominent Crown Commissioner of Lands David Austin Tole, Charles and his brother John Tole (1890-1967) lived out their lives together in a villa at 12 Seaview Road, Remuera. John, a solicitor who was on the council of the Auckland Society of Arts for twelve years, encouraged Charles, a public servant, to start painting in his late thirties. Exhibiting together, their distinctive paintings attracted admiration and critical acclaim, featuring in a three-page article in the first issue of the Year book of the arts in New Zealand which appeared in 1945.

The art historian Eric McCormick selected their works for special notice in his review of the annual Auckland Art Society Exhibition in 1951. Two years later, John was awarded the Bledisloe Landscape Medal for his painting Beyond Taihape. Charles achieved even greater success that his brother by featuring industrial content in his paintings, which he tightly cropped, emphasising the abstract form of the subjects.

Works by the brothers Tole went on to be included in four travelling collections of New Zealand painting to France, Britain, Australia and Russia. They joined with Louise Henderson (1902-1994), Helen Brown (1917-1986) and John Weeks (1886-1965) to form the important Thornhill group of Auckland painters. Works by Charles Tole are now to be found in New Zealand’s major corporate collections, owned by the Bank of New Zealand and Fletcher Trust, as well as in the Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery, Christchurch Art Gallery and the Hocken Library. Both the University of Auckland and Victoria University in Wellington purchased works, and he was championed as a remarkable and significant artist by renowned Wellington dealer Peter McLeavey, prompting collectors Tim and Sherrah Francis to build a large and representative collection of Charles Tole paintings purchased directly from the artist in his lifetime.

The Silich Collection 6:30pm Tuesday 12 October

09 LEN LYE (1901 - 80)

Shadowgraph (Self Portrait with Night Tree) Together with a Photograph Copy of the Original Proof

Ink on gelatin silver print 21.8 x 18.8

Signed, inscribed Warwick NY, / NY 10990 / with Night Tree superimposed / The black silhouette is form a / shadow cast by overhead light / (in 1947 NYC) on unexposed paper, / then dev. & fixed. The same technique / (with stencils) was used in 1952–3 / for the film Color Cry. NYC / A ‘Shadowgraph’ by Len Lye 1947 ; please / return & August dated 1979 verso

Estimate

$8,000 - 12,000

Len Lye is arguably one of the twentieth century’s most original artists; a one-man art movement spanning several countries and multiple media over a lifetime and beyond. As a New Zealander practicing in London during the prewar years, and then a key figure in the post-war New York avant-garde art scene, Lye mapped a unique course through Modernism.

Lye inspires artists to dream, to innovate and to push boundaries. He also proves that an artist from New Zealand can not only be ahead of the times but can also engage the international art world and help mould the course of art history globally in a profound way.

Francis Upritchard

All of a sudden it hit me - If there was such a thing as composing music, there could be such a thing as composing motion. After all, there are melodic figures, why can't there be figures of motion? — Len Lye

The Silich Collection 6:30pm Tuesday 12 October

10 SHANNON NOVAK (b. 1979)

E Flat Major and C Sharp Minor, Mezzo-Piano, Quaver 2010

Acrylic on canvas 83.7 x 83.7

Signed, inscribed & dated 2010 verso

Estimate

$3,000 - 5,000

EXHIBITED

Relative Major and Minor Treads NeoGallery, Brisbane, Australia, 2010

30 The Silich Collection 6:30pm Tuesday 12 October

11 DARRYN GEORGE (b. 1970) Folder #5, 2010

Automotive paint on aluminum 71 x 51

Signed, inscribed & dated 2010 on stretcher verso

Estimate

$5,000 - 8,000

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12 BAYE PEWHAIRANGI RIDDELL (b. 1950)

Tangata Te Whenua

Oxide-stained wood fire earthenware

(two pieces) 140 x 30

Estimate

$5,000 - 8,000

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13 BUCK NIN (1942 - 1996)

Return to the Marae

Synthetic polymer paint on composition board 134.2 x 147.5

Signed & dated 1974

Inscribed Return to the Marae verso

Another inscription verso reads: This painting is supplied with a black light to fluorecse [sic] the painting in darkness. To see this painting to full advantage / A lighting dimmer (-Variac) should be used on ordinary light in the room. This will give an infinite variety of florescent effects as the lights dim and the black light becomes effective

Estimate

$35,000 - 45,000

PROVENANCE

Purchased from Important, Early & Rare

International Art Centre, 28/07/2009

Taught by Elam graduate Selwyn Wilson at Northland College in Kaikohe (where, in 1960, his last year, he was made Dux), Buck Nin was encouraged to go to art school in Auckland. But the culture of that art school was not to his liking, and he left after two years to enrol at the School of Fine Arts at the University of Canterbury. There he studied with expressionist painter Rudi Gopas (1913-1983) and was encouraged to explore his Māori whakapapa, developing a painting style which incorporated the koru and other patterns derived from kowhaiwhai or customary rafter paintings, carving and weaving.

Convincing others of the vitality of the new Māori art which he and his peers were producing in the context of University art schools, he convinced the Canterbury Museum to mount an exhibition of young practitioners in 1966. Called New Zealand Māori Culture and the Contemporary Scene this hugely important exhibition toured first to Wellington then on to Australia, Western Samoa, Singapore, Malaysia, Hong Kong and Japan.

Equally proud of his Ngāti Raukawa, Ngāti Toa and Chinese market-gardening heritage, Buck Nin was one of the founding members of the Māori Artists and Writers Association in 1973, and a renowned educationalist. After art school he returned to Northland to teach at Bay of Islands College in 1967 before moving to the Mormon Church College of New Zealand in Hamilton, where he worked for the next 20 years.

Celebrating the importance of the marae as the cornerstone of a sense of belonging, this painting features interlacing forms in the sky denoting a spiritual connection between Māori and their land as tangata whenua. Delicately highlighted with white paint, these lacy structures are designed to fluoresce under black light just like white clothing at a 1970s disco. Ever energetic in his pursuit of excellence and innovation, Buck Nin completed a PhD in Administration Arts and Management in 1981 and founded Te Wananga o Aotearoa with Rongo Wetere in 1984, participating in over one hundred art exhibitions before his untimely death at the age of 54.

LINDA TYLER

14 GUY NGAN (1926 - 2017)

Tiki Hands Transformation

Synthetic polymer paint on composition

Acrylic and polyurethane on board

90 x 120

Signed & inscribed verso

Estimate

$10,000 - 20,,000

PROVENANCE

Dunbar Sloane, 14/11/2007

ILLUSTRATED

Guy Ngan: Scrapbook No. 1, Guy Ngan, Ron Sang Publications, 2010

The inspiration for Tiki Hands comes from the discovery of new lands by the Polynesian people. Other seafarers have discovered land by design or by mistake. The Polynesians made the biggest discovery of all because the Pacific Ocean is enormous. For anything, there must be a beginning. Some time ago, I noticed that the same place names occurred in Japan and New Zealand – Otaki, for example. Also, the Japanese and Maori languages appeared to be similar. In Japanese, a river is called ‘kawa’, in Maori, it is ‘awa’. I thought there must be a connection. Say that about 10,000 years ago, at the end of the recent Ice Age, there was a tribe in Japan. Like all human beings, they were looking for something better. So, they took to their boats and headed south, searching for more food and a warmer climate. They might have found islands to settle, such as Okinawa and then Taiwan.

Over the years, the people kept moving south, out into the Pacific. Some would get to Indonesia and Fiji, then east to the Marquesas. They would move from there to Tahiti and finally to Hawaii. How did the people know where to go? They had few instruments and no written language.

My theory is this. When you live on an island, you see birds that come and go. When the birds take off and head out to sea, you wonder where they go. They must land somewhere. So, the tribe would sail out, looking for the land where the birds went. If you look at some seabirds, their webbed feet look as if they only have three ‘fingers’. Like early Maori carvings that only have three fingers, I have used these in the ‘Tiki Hands’ paintings. It represents the birds the early Polynesian people might have followed when they set sail into the unknown ocean. When the people found land, they found anchorage. A place to settle down. Perhaps a better place than they had come from. The Anchor Stones represent settling down in a new land. I have much pleasure in showing some of my works that pay homage to the early Pacific people. Courageously,

they discovered so many islands that we unhesitatingly call paradise.

Guy Ngan March 2006

Guy Ngan was a second generation Chinese-New Zealander born in Wellington. In 1928, his parents, frustrated by the way they were often treated, moved with their two sons from Wellington to Guangzhou, China. As the ninth child of fifteen in a family of three wives, Ngan and his brother lived in one of his father’s three homes, where his interest in the arts was encouraged with books and painting materials, while he received a traditional Chinese education. With the outbreak of the Sino-Japanese War in 1937, in 1938 Ngan’s parents sent their two sons back to New Zealand.

Ngan studied Wellington Technical College with sculptor Alex Fraser. Under the advice of Fraser, Ngan traveled to London in 1951 to continue his education at Goldsmiths College while working for well-known sculpture John Skeaping. He went on to attend the Royal College of Art, graduating in 1954 as a Designer of the School of Wood, Metal and Plastics and then, under a scholarship, spent three months at the British School in Rome. After working in the United Kingdom and traveling to Scandinavia and North America, Ngan returned to New Zealand, having been enticed back by Gordon Wilson, the Government Architect. Here he was employed in the Ministry of Works Architectural Division, where he spent four years, followed by ten years as an Associate Partner for Australian based architects Stephenson & Turner.

Ngan continued to develop his artistic practice launching solo exhibitions at galleries including The Dowse (1972), Antipodes Gallery, Wellington (1974), New Vision Gallery, Auckland (1976), The Hastings Cultural Centre (1979) and The Southland Museum and Art Gallery (1979). Ngan built and designed his family home between 1950s and 80s, and from 1944 to 2012, created over forty public woodcarvings, sculptures and murals across New Zealand, with work also commissioned for the Asian Development Bank, Manila, Air New Zealand Tahiti and the United Nations Building, New York. He exhibited frequently at The New Zealand Academy of Fine Arts, Wellington, where he had been a member since the 1940s, and also Director from 1976-’86, championing the creative endeavors of his fellow artists. In 1983, he received an OBE for services to the arts and in 2006, he had a solo exhibition entitled Guy Ngan: Journey: Aluminum Panel, Tiki Hands, and Anchor Stones at City Gallery Wellington. In 2012, at age 86, Ngan was inducted into The Massey University College of Creative Arts Hall of Fame.

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15 TONY DE LAUTOUR (b. 1964)

Cartel 2, diptych 2007

Acrylic on two canvas panels 102 x 304

Each panel 102 x 152.4

Signed, inscribed Cartel 2 & dated 2007 verso

Estimate

$10,000 -15,000

PROVENANCE

Hamish McKay Gallery, 2001

38 The Silich Collection 6:30pm Tuesday 12 October

16 REUBEN PATERSON (b. 1973)

Untitled (Koru)

Glitter dust on canvas 61 x 50.8

Signed & dated 2009 verso

Estimate

$7,000 - 10,000

PROVENANCE

Gow Langsford Gallery

17 PARATENE MATCHITT (b. 1933)

Untitled

PVA on board 46.5 x 68.5

Signed & dated 1965

Estimate

$4,000 - 6,000

PROVENANCE

Antiques & Fine Art, Cordy’s 3/11/2015

A significant difference between modern and traditional oil paints is that the more liquid modern paints did not have the same ability to produce rich impasto effects as Para Matchitt has in this work. Experimenting in a different way, Matchitt painted thick layers of smooth PVA paint over each other, which then allowed him to carve intricate patterns into the drying surface.

18 MERVYN WILLIAMS (b. 1940)

Fusion, diptych 1996

Acrylic on two canvas panels 153 x 168

Each panel 153 x 84

Signed, inscribed & dated 1996 verso

Estimate

$10,000 - 15,000

PROVENANCE

Important Paintings and Contemporary Art

Webb’s, 28/11/2012

A similar work illustrated p. 197

Mervyn Williams From Modernisim to the Digital Age, Edward Hanfling, Ron Sang Publications, 2014

42 The Silich Collection 6:30pm Tuesday 12 October

Signed, inscribed & dated 1978 verso

Estimate $4,000 - 6,000

PROVENANCE

Collectable & Contemporary Art, International Art Centre, 08/12/2011

MAX GIMBLETT (b. 1935) Ming, 1978 Oil on canvas 50.8 x 50.8

20 REUBEN PATERSON (b. 1973)

Untitled (Glitter Abstract) c. 1997

Glitter dust on two canvas boards 17.5 x 126.5

Signed verso

Estimate

$2,000 - 4,000

PROVENANCE

Michael Lett Gallery

The Silich Collection 6:30pm Tuesday 12 October

21 GEOFF THORNLEY (b. 1940)

Untitled 1973

Mixed media on paper 85.3 x 64.5

Artist’s label dated 1973 affixed verso

Estimate

$4,000 - 6,000

PROVENANCE

Important Works of Art, Webb’s 03/08/2010,

Signed & dated 1989

Signed, inscribed & dated 1989 verso

Estimate

$3,000 - 5,000

PROVENANCE

Important Works of Art, Webb’s 30/03/2009

Oil on canvas 83.5 x 88.8

Signed, inscribed & dated 1970 verso

Estimate

$2,000 - 3,000

PROVENANCE

Art Auction, Dunbar Sloane 09/08/2012

22 NIGEL BROWN (b. 1949)

Marae Road 1989

Oil on canvas board 34.5 x 24.5

23 JOHN COLEY (b. 1935) City Nocturne, 1970

24 RICHARD KILLEEN (b. 1946)

People Passing From Stylized Figures and Interiors Series

Oil on board 68.4 x 68.5

Signed, inscribed & dated 9/69 verso

Estimate

$25,000 - 35,000

PROVENANCE

Important Works of Art, Webb’ 27/03/2012

Richard Killeen has been an exhibiting artist since 1967, with dealers in Sydney and New York. Locally he is represented by Ivan Anthony and Peter McLeavey galleries who have placed his works in major corporate and private collections as well as in the collection of each of the major metropolitan public art galleries. There are twenty works in the Museum of New Zealand Te Papa Tongarewa and Killeen’s Post-Modern cut-out series was the subject of Francis Pound’s 1987 PhD dissertation. Major exhibitions devoted to his practice have toured nationally, a distinction previously reserved for first generation modernists Gordon Walters and Colin McCahon.

The son of a signwriter, and with Irish Catholic ancestry, Killeen first came to prominence as a 19-year-old at the Elam School of Fine Arts in 1965 when one of his painting tutors, Colin McCahon, chose him as his assistant on a large commission to paint windows for the Convent Chapel of the Sisters of Our Lady of the Missions in Upland Road, Remuera. The windows are now in the collection of the Auckland Art Gallery.

McCahon noticed that Killeen’s compositions seemed assembled from separate parts, like jigsaw puzzle pieces with stylised figures rendered as flattened shapes applied over a neutral background, casting no shadows. Here the simple primary colours of red, blue and yellow brighten the representation of the banality of everyday life as figures cross in two directions on a city street.

This painting relates to American Pop Art, but also responds to local traditions of Realism which had been dominated by landscape. Neatly attired in suits and shift dresses of a respectable length, Killeen’s figures are city slickers not country hicks; he is characterising New Zealanders as sophisticated and urbane. Using the frame to cut off the figures draws attention to the artificial nature of this realist construction, allowing investigation of figure and field as image and pattern and lending the image a mysterious, symbolic quality.

LINDA TYLER

and

25 ROY GOOD (b. 1945)

Modernism Meets Tāne Mahuta – No. 5 2014

Acrylic on canvas 200 x 100

Signed, inscribed Modernism Meets Tāne Mahuta – No. 5 & dated 2014

Estimate

$8,000 - 12,000

PROVENANCE

Purchased directly from the artist

Modernism Meets Tane Mahuta series of paintings shows Good at his simplest and “blockiest”, just five planes forming a column that flares out at the top, and four relatively pure and flat colours – the three primaries plus a dark almostblack. It is a throwback to the 1970s when Good’s style was more often based on stark interlocking geometries and contrasting colours (as opposed, say, to the interweaving, optically complex configurations of the late 1980s-early 2000s or the earthy palette that emerged in the early 1980s and only really brightened again around 2007, when Good began more earnestly to revisit his 1970s pictorial ideas). The way shapes are stacked vertically brings to mind works such as Colour Column (1973) and Untitled – Column (1974), as well as the Lintel and Column paintings of 1974 and 2009.

Perhaps the most striking comparison is with the large vertical rectangle, Doric (1972), with its glaringly bold primaries and angles that similarly stretch the central column structure. Doric, in title and form, signals an interest in parallels between painting and architecture, as well as finding a lineage for modernist abstraction in the elemental forms of ancient Greece. The tower, both fundamental and aspirational, often grandiosely utopian, is the ultimate modernist statement, from the Eiffel Tower completed in 1889, to Vladimir Tatlin’s unrealised, Constructivist

Monument to the Third International (1923), to Brancusi’s Endless Column (1918), Barnett Newman’s Broken Obelisk (1963-69), and the contrasting towers that came out of the Bauhaus’s drive for efficiency – austere concrete apartment blocks that often ended up being conspicuous reminders in Europe of social inequality, and the glittering glasswall “corporate modernism” of Philip Johnson and others who designed skyscrapers commensurate with the wealth and power of multinational corporations – monuments to capitalism, in contrast to Tatlin’s monument to Soviet communism. So Modernism Meets Tane Mahuta is itself a monument – to the history of modernism that Good has surveyed and effectively represented (a painting of modernism). ended up being conspicuous reminders in Europe of social inequality, and the glittering glass-wall “corporate modernism” of Philip Johnson and others who designed skyscrapers commensurate with the wealth and power of multinational corporations – monuments to capitalism, in contrast to Tatlin’s monument to Soviet communism.

Edward Hanfling Parallel Universe - the Art & Design of Roy Good Te Uru Publication 2018

6:30pm

and

52 The Silich Collection 6:30pm Tuesday 12 October

26 ROY GOOD (b. 1945)

Oblique Column - Rua Pango / Toru Ma

Acrylic on canvas 180 x 150

Signed, inscribed Rua / Toru & dated 2011 verso

Estimate

$8,000 - 12,000

PROVENANCE

Purchased from the Artist

Wallace Art Awards finalist, 2011

ILLUSTRATED

p. 34 Parallel Universe, The Art and Design of Roy Good, Edward Hanfling, Te Uri

Waitakare Contemporary Gallery, 2018

EXHIBITED

Wallace Finalists Exhibition The Dowse

Wellington 2011:

Parallel Universe, The Art and Design of Roy Good CoCA, Christchurch 2019

27 EUAN MACLEOD (b. 1956)

Slab

Oil on canvas 83.5 x 122

Signed, inscribed & dated 8/92 verso

Estimate

$10,000 - 15,000

PROVENANCE

Important Works of Art, Webb’s 30/03/2009

28 RICHARD KILLEEN (b. 1946)

Bang Bang, 1970 - Floating Images Series Oil on board 45.5 x 45.5

Signed, inscribed & dated 4/70 verso

Estimate

$8,000 - 12,000

PROVENANCE

Purchased privately

EXHIBITED

Richard Killeen Paintings April 1969-April 1970

Barry Lett Galleries, 1970

REFERENCE

p. 58 Cut-Outs Killeen, Volume I, Francis Pound, 1991

Exhibited at the artist’s first solo exhibition at Barry Lett Galleries in Auckland in 1970, this important work marks the beginning of Killeen’s shift away from realism towards abstraction. It contains a coded anti-war message, camouflaged by passages of bright dissociated colour. At left are two steel-helmeted soldiers in parallel positions: one faces right in profile heading into the picture, while the other exits left. A yellow cross like a gravestone marker is emblazoned on the top of the advancing helmet, while the number 5 to denote the five senses of sight, hearing, touch, smell and taste mark the humanity of departing figure. Written in capitals on their helmet rims the word “Bang” repeats, giving the work its title, a small acknowledgement of both the popular Nancy Sinatra song of 1965, Pop Art and his teacher McCahon, who introduced text into his religious images in the 1950s.

A seagull, beak cropped out of the picture by the frame, separates the soldiers’ heads. A dark cross placed at the bottom of the painting marks a division between them and the outlined profile with green foliage inside its silhouette. This dreamy and remote head is branded with the abbreviation for this country, NZ. The patches and splashes of red paint connote fire and spilled blood, with a pierced heart painted just below the centre of the composition.

The loss of life and atrocities committed in the Vietnam War cast a spectre over the lives of many of Richard Killeen’s generation. The New Zealand government’s 1951 commitment to ANZUS to “act to meet the common danger” meant that between 1963 and the fall of Saigon in April 1975, more than 3000 New Zealand military and civilian personnel served in Vietnam. Wary of the military draft for young men which Australia had introduced, the 24-year-old Richard Killeen wrote in his green notebook, “I will not serve/I will not fight” echoing the words of Irish author James Joyce, in his novel Portrait of the Artist as a Young Man published during World War I in 1916. Killeen’s painting, completed during April of 1970, a month marked by the pubic and religious commemoration of sacrifices made on both Easter and Anzac Day, is a highly significant work which sums up the artist’s resistance to what he saw as the unholy alliance of nationalism, church and state in the cause of militarism.

LINDA TYLER

29 ROY GOOD (b. 1945)

Here Comes the Star

PVA on canvas 91 x 91

Signed & dated 1971

Estimate

$4,000 - 6,000

PROVENANCE

Purchased privately

Purchased from the Artist

Roy Good has been prominent in both the art and design fields for 52 years. After graduating from Christchurch’s Ilam School of Art, he moved to Auckland in 1966, and began a long association with Television New Zealand (then NZBC), including a stint as Head of Design from 1983-89. As a painter, Good exhibited at the Barry Lett Galleries in the early 1970s, then the Petar/James Gallery, where he was one of a group of abstract artists, including Mrkusich, O’Sullivan, Scott, Thornley and Walters, who, spurred on by their far-sighted dealer Petar Vuletic, rejected more popular local subjects and styles in an attempt to match international standards. In the 1990s Good was frequently engaged in high-profile corporate design projects, and he also taught part-time at the Manukau School of Art and Design and the Auckland School of Interior Design.

In 2007-8, Lopdell House Gallery in Auckland held a survey of his work curated by Ed Hanfling, In Good Form – The Abstract Art of Roy Good, 1967-2007, accompanied by a book of the same title.

In 2018 to mark the 50 years of art practice and exhibiting, Te Uru Waitakere Contemporary Gallery in Auckland published a book titled Parallel Universe - the Art & Design of Roy Good which was launched with an exhibition of the same title at the gallery in Titirangi. The following year the exhibition was hosted by the Centre of Contemporary Art in Christchurch, the artist’s hometown. Roy lives and works in Auckland.

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The Silich Collection 6:30pm Tuesday 12 October

30 MERVYN WILLIAMS (b. 1940) Elegy 1986

Acrylic on canvas 122 x 122

Signed, inscribed Elegy & dated 1986 verso

Estimate

$4,000 - 6,000

PROVENANCE

A2 Art, Webb’s, 25/05/2010

58 The Silich Collection 6:30pm Tuesday 12 October

31 ROY GOOD (b. 1945)

Notched Series – No. 5

Acrylic on jute 90.2 x 90.2

Signed, inscribed & dated 2005 verso

Estimate

$2,000 - 3,000

ILLUSTRATED

p. 111 Parallel Universe, The Art and Design of Roy Good, Edward Hanfling, Te Uri Waitakare Contemporary Gallery, 2018

32 MARK CROSS (b. 1955) Nuances of Tides and Weather

Oil on canvas 83.5 x 121

Signed

Estimate

$10,000 - 15,000

PROVENANCE

Collection of the Artist

Pierre Peters Gallery

Having been associated with the Okahukura Peninsula on the Kaipara Harbour from infancy, a coastline that has informed my work for many years, this is the last painting I have done of that coastline. Over 50 years or more of freedom camping in various locations around the Tapora Coast, I have walked that whole foreshore assimilating the minutiae of its tidal flats, mangrove forests and estuaries through all manner of tides and weather conditions. This painting is based on a remote location Te Ngaio Point, on the southern side of the peninsula where we would camp in the 80’s but is now only accessible by a lengthy trek so hopefully remains as pristine as it always was.

Mark Cross

33 FRANK GROSS (1908 - 63)

Hawea 1949

Oil on canvas board 41.3 x 49.7

Signed & dated 1949

Signed & inscribed verso

Estimate

$3,000 - 5,000

PROVENANCE

Collectable Art, International Art Centre, 07/05/2015

62 The Silich Collection 6:30pm Tuesday 12 October

FRANK GROSS (1908 - 63)

Landscape with Trees

Oil on canvas board 39.3 x 49

Signed & dated 1951

Estimate

$1,500 - 2,500

PROVENANCE

The David Carson-Parker Art Collection; NZ & International Fine Art, Dunbar Sloane 23/11/2016

35 EVELYN PAGE (1899 - 1988)

Old Houses, Lyttelton Oil on canvas board 25 x 37.7

Signed E Polsen

Inscribed Old Houses, Lyttelton verso

Estimate

$12,000 - 18,0000

PROVENANCE

Private Collection, Christchurch

Acquired directly from the artist by previous owner’s family, early 1940s

Released from long term loan to Christchurch Art Gallery. Christchurch Art Gallery titled work as Quail Island, Lyttelton Harbour

Important, Early & Rare, International Art Centre, 31/7/2013

EXHIBITED

Christchurch Art Gallery periodically (loan collection)

Durham Street Gallery, Canterbury Society of Arts 1936

Old Houses Lyttelton or Quail Island Lyttelton Harbour is signed E Polson confirming this as an early work by Evelyn Page circa 1936. From 1930 until 1936 Eve Polson taught art at Craighead in South Canterbury.

During 1936 her first solo exhibition was held at the Durham Street Gallery, Canterbury Society of Arts. The exhibition was a great success with every work selling at the opening. Polson made the grand sum of £300, at the time this was more than her annual salary, enabling her to travel to the United Kingdom in January 1937 where she met Frederick Page. The coupled married the following year at Governors Bay, Christchurch. This painting was shown in her solo exhibition at the Canterbury Society of Arts held 14th December 1936.

36 JOHN HOLMWOOD (1910 - 87)

Raetihi Country 1956

Oil on canvas board 74 x 106

Signed & dated 1956

Signed & inscribed verso

Estimate

$5,000 - 10,000

PROVENANCE

Important, Early & Rare, International Art Centre 01/07/2008

ILLUSTRATED

Landscape Paintings of New Zealand, Christopher Johnstone

37 ERIC LEE JOHNSON (1908 - 93)

Trees in Pakanae Gorge 1949

Gouache on paper on board 27.2 x 38.5

Signed & dated 1949

Signed & inscribed verso

Estimate

$2,000 - 3,000

PROVENANCE

Fine Art Auction, Dunbar Sloane, 21/07/2010

66 The Silich Collection 6:30pm Tuesday 12 October

Few New Zealand artists could have matched the diverse range of work that John Holmwood undertook during his career as a painter, commercial artist and designer. As a boy he Holmwood attended Linley Richardson’s Saturday morning classes. At 14, he was apprenticed to the Railways Advertising Studios, and he also attended evening classes at Wellington Technical School. During the Depression Holmwood was transferred to Christchurch and Dunedin, and in 1934 he took a year’s leave of absence to design posters for an advertising agency in Hong Kong. He returned to the Wellington office and also began to teach drawing part-time at the technical school. He then worked at an advertising agency, replacing Russell Clark who had left to teach in Christchurch. During World War II, Holmwood served in a camouflage unit in the Pacific. On leave he married another designer, Nola Findlay, and with her painted a 120-foot mural for the Railway Court at the 1940 Centennial Exhibition in Wellington. Nola then established a commercial design studio, which Holmwood joined at the conclusion of the war, when he also began to paint regularly for the first time. His first work to enter a public collection was Landscape with Sawmill (1952) which the Auckland City Art Gallery purchased in 1953. In 1957 Holmwood had a successful solo exhibition at the Centre Gallery, Wellington, and in 1958 he was in the Auckland gallery’s Eight New Zealand Painters and a work, The Gardener, was included in a New Zealand exhibition which toured the USSR. Holmwood was elected president of the Auckland Society of Arts in 1971, but when Nola died in 1972 he resigned and moved to England. He ceased painting in 1976 because of poor eyesight. Holmwood made a return visit to New Zealand when the ASA organised John Holmwood. Retrospective Exhibition 1946-1976 in 1984 Holmwood credits his wife Nola for “her drive and

business acumen . . . her backing, understanding and encouragement” which enabled him, after the war, to do more painting:. “It did not matter how good or bad - I can only say that I began to enjoy the world in a new way. I had to paint at night usually, sometimes until 3 am - then five hours sleep and then an excursion to the easel to be flattened or maybe to find a surprise. I would after work come home and perhaps carry out some alterations, but mainly I painted in one go”.

Holmwood described his approach to painting as “expressionistic, emotional” and virtually no other work of his represents this better than Near Raetihi; Holmwood has painted it with passion verging on rage. “The pioneers started this slaughter of the bush”, he wrote at the time, “and it still goes on. You can’t get it back”. We get an insight into his working method from his description of making another painting at this time: it “was painted in about seven hours flat, from a small pencil note made when on a trip passing through Raetihi country”.

Few artists have depicted bush clearing so vividly and with such vehemence, yet, paradoxically, it is tempered by the artist’s poetry and control to make a coherent painting. The composition has a certain symmetry in its “head on” view, the road, hillside beyond, parallel to the horizon line. The dead trees are like dancers in a strange ghostly ballet, a danse macabre, across the front of a stage set. And Holmwood adds an optimistic touch; two of the trees are sprouting new growth.

Christopher Johnstone

38 GARTH TAPPER (1927 - 1999)

Toheroa Pickers

Oil on canvas 101.5 x 76

Signed & dated 1995

Estimate

$8,000 - 12,000

PROVENANCE

Important Works of Art, Webb’s 03/08/2010

39 TREVOR MOFFITT (1936 - 2006)

The Only Catch of the Day 1971

Oil on board 90.2 x 120

Signed & dated 1971

Estimate

$20,000 - 30,000

PROVENANCE

Connoisseurs Collection, Watsons Christchurch, 11/08/2011

ILLUSTRATED

p. 83 Trevor Moffitt A Biography

Chris Ronayne, David Ling Publishing, 2006

40 RUDI GOPAS (1913 - 82)

Galactic Landscape, 1967

PVA and bark on board 75 x 89.5

Signed & inscribed 682 verso

Estimate

$3,000 - 5,000

PROVENANCE

Severel Arts, Christchurch, original label affixed verso

Ex New Zealand Embassy Collection, Japan with related inscription verso

70 The Silich Collection 6:30pm Tuesday 12 October

41 RALPH HOTERE (1931 - 2013)

Nude Study 6, 1971

Ink on paper 29.7 x 21

Signed Estimate

$6,000 - 10,000

PROVENANCE

Important & Rare Art, International Art Centre, 04/04/2017

42 JOHN SHOTTON PARKER (1944 - 2017)

Plein Song, Midwinter Stories 2005

Oil on paper on board 100.2 x 71.2

Signed, inscribed Plein Song, Midwinter Stories & dated 2005

Estimate

$3,000 - 5,000

PROVENANCE

W T Macalister Fine Art, 04/12/2013

43 GIOVANNI INTRA (1968 - 2002)

Counting Is Bad 1996

Acrylic on paper 35.5 x 25.5

Inscribed

Estimate

$2,000 - 3,000

EXHIBITED

The Peter Fay Collection Hamish McKay Gallery, May 1997

44 RICHARD KILLEEN (b. 1946)

Shōsō-in 1973

Oil on board 121.4 x 60.9

Signed, inscribed & dated April 1973 verso

Estimate

$7,000 - 10,000

PROVENANCE

Important Works of Art, Webb’s, 03/08/2010

45 LOUISE HENDERSON (1902 - 1994)

Untitled (Cubist Canal Lock)

Oil on canvas 49.5 x 65

Signed & dated 1952

Estimate

$4,000 - 6,000

PROVENANCE

Fine & Applied Arts, Dunbar Sloane 20/4/2005

74 The Silich Collection 6:30pm Tuesday 12 October

Please

46 LOUISE HENDERSON (1902 - 1994)

The Little Bush Lot, Hokianga c. 1985

Oil on board 118.7 x 68.7

Inscribed verso

Original John Leech Gallery label affixed verso

Estimate

$8,000 - 12,000

PROVENANCE

Important, Early and Rare, International Art Centre, 18/11/2010

Untitled with Head Study verso Oil on hessian 45.7 x 84

Inscribed 3 Dimensional Head & dated 1970 verso

Estimate $10,000 - 15,000

PROVENANCE

Fine Art, Dunbar Sloane, 03/04/2012

Completed during his Honours year studying painting with Rudi Gopas (1913-1983) in 1970 these two works are rare surviving examples of Philip Clairmont’s experimentation with abstraction. He is better known for his representation of recognisable elements in interiors – lightbulbs, couches, staircases, fireplaces – and his self-portraiture, which he described as representations of the inside of his head.

Even more unusually, the back of the rectangular work on hessian shows the lurid head of a baboon, a close evolutionary relative of humans, and a creature famously depicted by two of Clairmont’s Expressionist art heroes, the English painter Francis Bacon (1909-1992) and the Australian Brett Whiteley (1939-1992).

76 The Silich Collection 6:30pm Tuesday 12 October

PHILIP CLAIRMONT (1949 - 84)

Clairmont was an artist who painted very few animals in his short life. Reflecting on his life for a documentary, he remembered, “I wanted to be a painter or a bullfighter or nothing else.” Clairmont did express his admiration for bovines in a painting of a bull, perhaps in a nod to Picasso. But the bravado of this statement about his sense of vocation underscores his remarkable achievement, managing to mount an exhibition of seventy works at Several Arts Gallery in Colombo Street in Christchurch in the late summer of 1970 when he was just 21 years old.

LINDA TYLER

PHILIP

Untitled

Oil on board 118.7 x 68.7

(1949 - 84)

Inscribed verso

Original John Leech Gallery label affixed verso

Estimate

$8,000 - 12,000

PROVENANCE

Fine Art, Dunbar Sloane, 03/04/2012

CLAIRMONT

49 FRANCES HUNT (1890 - 1981)

Cubist Abstract 1963

Oil on board 43 x 34

Signed & dated 1963

Estimate

$2,500 - 3,500

PROVENANCE

Fine & Applied Art Auction, Cordys, 30/04/2007

50 BASIL HONOUR (1897 - 1988)

Abstract Composition

Oil on paper on board 44.5 x 59.5

Signed & dated 1982

Estimate

$1,000 - 1,500

PROVENANCE

Fine & Applied Art Auction, Cordys, 26/11/2007

51 PHILIP TRUSTTUM (b. 1940)

Painting No. 28

Oil on board 121.2 x 107

78 The Silich Collection 6:30pm Tuesday 12 October

Inscribed Painting No. 28 verso

Bishop Suter label affixed verso

Estimate

$2,500 - 3,500

PROVENANCE

Rev. Lester Kyle, Christchurch 1977

Donated by Rev. Kyle to the Bishop Suter Art Gallery Nelson, 1988 for disposal to raise funds for the Suter lecture theatre.

Fine Paintings & New Zealand Works of Art including the The Last Painting by Colin McCahon, Webb’s 14/10/1993

Signed verso

Estimate

$2,000 - 3,000

PROVENANCE

Pierre Peeters Gallery, 2008

Estimate

$2,000 - 3,000

PROVENANCE

Pierre Peeters Gallery, c. 2008

80 The Silich Collection 6:30pm Tuesday 12 October

52 CARL FOSTER (b. 1985) Beach Scene c. 2008

Oil on canvas board 44.5 x 54.5

CARL FOSTER (b. 1985) Bethells Beach (Te Henga) Oil on canvas board 55 x 39.7

Estimate $5,000 - 8,000

PROVENANCE

Ex Collection of the late John Perry Webb’s, 30/10/2001

82 The Silich Collection 6:30pm Tuesday 12 October

54 MELVIN DAY (1923 - 2016) Untitled Oil on canvas 76.8 x 96.6

55 MARK CROSS (b. 1955)

Harmony Amidst Chaos

Watercolour 52 x 72.5

Signed

Inscribed verso

Estimate

$4,000 - 6,000

PROVENANCE

Collection of the Artist

One of my most intricate of watercolour paintings using the dry-point technique, this was a result of an eventful freedom camping trip with the artist John Pule and our children, through Te Erewera to Wairoa and around the East Cape of Te Ika a Maui in the summer of 92-93. Son Mario modelling here while strumming away at one of the driftwood strewn beaches, Omaio, north-east of the Motu River.

Mark Cross

(1919 - 1998) Port Theme No. 7 Acrylic, resin and metal on board

84 The Silich Collection 6:30pm Tuesday 12 October

Estimate $3,000 - 5,000

PROVENANCE

Contemporary & Collectable Art, International Art Centre, 09/05/2013

ARTHUR DAGLEY

57 ARTHUR DAGLEY (1919 - 1998)

Port Triptych

Mixed media on board (three pieces)

90 x 127

Estimate

$8,000 - 12,000

58 ARTHUR DAGLEY (1919 - 1998)

Wharfside No. 3

Acrylic on board 32.4 x 48.4

Signed

Estimate

$2,000 - 3,000

PROVENANCE

Arthur Dagley Studio label affixed verso

59 ARTHUR DAGLEY (1919 - 1998)

Port Series A/3

Acrylic on board 56 x 73.5

Signed & inscribed Port Series A/3

Estimate

$2,000 - 3,000

60 ARTHUR DAGLEY (1919 - 98)

Orb

Acrylic, resin and metal on board

60 x 137.5

Signed & inscribed Orb verso

Estimate

$3,000 - 5,000

ARTHUR DAGLEY (1919 - 98)

Harbourside No. 3

Acrylic on board 30.5 x 60.5

Signed

Signed & inscribed Harbourside No. 3 verso

Estimate

$2,000 - 3,000

The Silich Collection 6:30pm Tuesday 12 October

62 JEFF THOMSON (b. 1957)

Map of New Zealand 2004

Enamel on corrugated iron (three pieces)

180 x 80

Signed & dated 2004 verso

Estimate

$4,000 - 6,000

63 ANDY LELEISI’UAO (b. 1969)

World of Maloana

Acrylic on canvas 91 x 76

Estimate

$4,000 - 6,000

PROVENANCE

Pierre Peeters Gallery, Auckland

64 ANDY LELEISI’UAO (b. 1969)

Crypted Animals

Acrylic on canvas 76 x 101.5

Signed

Estimate

$4,000 - 6,000

PROVENANCE

A2 Art, Webb’s, 21/02/2012

65 JANE EVANS (1946 - 2012)

Marlborough Sounds 1977

Oil on board 61 x 76.5

Signed & dated 1977

Estimate

$4,000 - 6,000

PROVENANCE

Private collection, Nelson

New Zealand & International Fine Art

Dunbar Sloane 24/09/2014

90 The Silich Collection 6:30pm Tuesday 12 October

66 SAMUEL COLERIDGE FARR (1827 - 1918)

Marlborough Oil on board 29.6 x 34.3

Signed & dated 1894

Estimate

$4,000 - 6,000

PROVENANCE

Private Collection UK

Important, Early & Rare

International Art Centre 22/07/2015

Samuel Coleridge Charles Farr was a topographical artist and Canterbury Province’s first architect. He intended to emigrate from England to Auckland, but shipping problems aboard the Monarch en route to Auckland in 1850 saw him land at Akaroa. He settled in Christchurch and

industriously commenced work. Coleridge’s achievements are many, he designing Akaroa’s first church, New Zealand’s first corrugated iron verandahs which provided inexpensive shelter for dwellings and shop fronts, he is also credited with founding Sunday schools throughout Canterbury.

Papers Past record his marriage as the first to be celebrated in Canterbury. As a leading member of the Acclimatisation Society, he was responsible for introducing fish to many of Canterbury’s lakes and rivers and was also instrumental in the introduction of the bumblebee to New Zealand. One of his most notable architectural designs was Christchurch’s Cranmer Court, the former Normal School, sadly the building was demolished following damage sustained in the 2011 earthquake. Farr’s paintings rarely appear at auction as most are held by institutional collections.

Signed & dated 1976

Estimate

$4,000 - 8,000

PROVENANCE

Important, Early & Rare, International Art Centre, 22/11/2012

Signed & dated 1994

Estimate

$5,000 - 10,000

67 PHILIP TRUSTTUM (b. 1940) Engi Oil on hessian on board 121.1 x 91

68 DEAN BUCHANAN (b. 1952 ) Untitled 1994 Oil on hessian 179 x 300

69 JOHN WEEKS (1888 - 1965) Study for Composition, (Nude) Oil on canvas board 48 x 58.2

Signed

Estimate

$8,000 - 12,000

PROVENANCE

John Leech Gallery, Ritchies Fine Arts

Ferner Galleries

Fine Art Auction, Dunbar Sloane, Wellington, 31/08/2011

94 The Silich Collection 6:30pm Tuesday 12 October

Oil on canvas 62 x 90.5

Signed & dated 2001

Estimate

$8,000 - 12,000

PROVENANCE

A2 Art, Webb’s, 31/05/2011

70 STANLEY PALMER (b. 1936)

Aro Tapu

96 The Silich Collection 6:30pm Tuesday 12 October

Please

LOUISE HENDERSON (1902 - 94)

Nightfall 1967

Oil on board 91 x 136.8

Signed & dated 1965

Signed, inscribed & dated 1967 verso

Estimate

$8,000 - 12,000

MARTE SZIRMAY (b. 1946)

Untitled

Patinated aluminum sculpture

30 x 25

Estimate

$1,000 - 1,500

73 LOUISE HENDERSON (1902 - 94)

Abstract No. 4 1967

Oil on canvas 71 x 101.5

Signed & dated 1967

Estimate

$4,000 - 8,000

PROVENANCE

Contemporary & Foreign Art, International Art Centre 20/11/2008

74 THEO SCHOON (1915 - 1985)

Mud Pool

Gelatin silver print 47.5 x 47.5

Estimate

$1,500 - 2,500

Douglas first visited Corsica while he was in the AlpesMaritimes area of the south of France, living and working on a friend’s farm inland of Nice, near the medieval village of Tourrettes-sur-Loup, during 1951. He had just returned to France from New Zealand to make his life as a painter. His friend was a wealthy Parisian antique dealer always in search of fresh finds; when Pierre took time out from his Paris business, they roamed the island together.

Corsica is the most mountainous island in the Mediterranean, more than 200 kilometres offshore. A spectacularly beautiful French territory of craggy peaks, dense pine forests, sheltered coves and beaches, with a distinctly Italian culture. Air travel has made the island more accessible than it was in the 1950s, when the shortest way of getting there was a rough, overnight ferry ride – a long night in a hard deckchair Even today, ferries take about 10 hours to make the crossing, depending on your destination.

For Douglas, the island was everything he had imagined as a child the Mediterranean to be, a place of ancient history, wild rocky vistas and sunbaked landscapes, rich traditions, ramshackle villages, long human continuity and adventure. While the capital Ajaccio, in the south, is the birthplace of Napoleon Bonaparte, Calvi on the north west coast, across the island from Bastia, is reputedly the home of Christopher Columbus.

The air is calm as two centuries back, he wrote home to his parents. Really one takes a leap out of the familiar world. Many burdens are still carried on the head, the women in voluminous black. Toured around marvelling at the hard, rose rocks and cliffs, tawny burnt grass, green sea and dull orange and grey villages…

At one stop we put our heads into a dark stone hole where ancient hags in black were baking bread and cackling like witches. One gave us a little loaf – pure wheat and milk cooked hard, like a piece of exquisite timber, dry from the tomb, to eat.…It is sometime since I saw country that pleased me so heartily – two days at least

Once Douglas settled in Paris, he returned to Corsica to explore and paint for a few leisurely weeks in 1955, 1964 and 1981, captivated as much by the dramatic terrain and intense light as the resilience and hospitality of the people, and the novelty of a distinctly Italian culture on French soil. With his love of the classical world and ancient mythology, here was a place where he could picture himself in a different time.

Later he wrote: On Corsica, travelling very mountainous roads and pink precipitous scenery – very grand and abandoned, and fearful roads, of course. Corsicans are famous for hating work, and this is obvious in the holes in the road, enough to break a car in two, and also in the low standard of hotel accommodation. The whole country very rudimentary still, things like plumbing quite maddening, nowhere do taps run or showers work. One pipeline feeds the entire island I’d say, and if anyone turns on a tap it stops the flow for everyone else.

Here at Algajola, the region has the sort of arid Mediterranean olive valleys and mountain moors that I most particularly like – lots of good sketching, the sun and sea superb. Inland from here there are an amazing number of parched villages and an astonishing number of churches – mostly 18th Century Jesuit and flamboyant but very charming.

A later oil version of this hinterland Corsican Landscape is in the Dunedin Public Art Gallery’s permanent collection. Landscape in Corsica probably came to New Zealand soon after being made in one of the packages of paintings (mostly watercolours) Douglas periodically sent home to friends, composer Douglas Lilburn and Professor Frederick Page (his old university music teacher and husband of his first art mentor Eve Page). The pair – sometimes joined by art philanthropist Dr Ian Prior – acted as voluntary ‘agents’ selling MacDiarmid work under the radar for a number of years within their professional and social networks to help the young painter survive while struggling to find a foothold in the competitive French art market.

Anna Cahill

Biographer Colours of a Life: The Life and Times of Douglas MacDiarmid, 2018

The Silich Collection 6:30pm Tuesday 12 October

75 DOUGLAS MACDIARMID (1922 - 2020)

Landscape in Corsica

Watercolour 31 x 49

Signed & dated 1955

Estimate

$2,000 - 3,000

76 TOSS WOOLLASTON (1910 - 98)

Keith Wells, Mapua c. 1937

Watercolour 24.5 x 17.2

Signed & inscribed verso

Estimate

$2,000 - 4,000

77 DOUGLAS MACDIARMID (1922 - 2020)

New Zealand II (Marlborough Sounds)

Oil on canvas 60 x 92

Signed & dated 1967

Estimate

$3,000 - 5,000

EXHIBITED

One-man exhibition of recent work by Douglas MacDiarmid

Dunedin Festival Week

This seascape is an aerial view of the Marlborough Sounds as seen by Douglas on a late 1968 trip home to New Zealand.

The title and location are confirmed in MacDiarmid’s battered old painting record journal as one of four New Zealand scenes painted back in his Paris studio from sketches made while flying between Auckland and southern cities during 1967 and 1968 visits. The other locations captured were Mount Ngauruhoe; Takitimu Mountains, Southland; and the Canterbury Plains.

All four oil paintings came to New Zealand late in 1969 for Douglas’ one-man show at Dunedin Public Art Gallery from 24 January to 12 February 1970, as guest artist for the city’s 1970 Festival Week. New Zealand II was No 29 in the catalogue of 30 recent works, priced at $175.00.

At the time, Douglas’ landscape and figurative techniques were not in step with current New Zealand painting styles, and his work was not well recieved by some northern art critics. The Dunedin reception, however, was much more generous. Reviewing the exhibition for the Otago Daily Times, on 28 January 1970, local painter Tom Esplin wrote:

In an adjoining room can be found the one-man- show by the expatriate Douglas MacDiarmid, and it will certainly be a surprise to those who know him only by the early work possessed by the Dunedin Public Art Gallery. The sense of colour that as always been his forte is still there, but MacDiarmid has lived in Paris since the last war amid all the artistic excitement of that lively capital. The result is a most arresting and attacking exhibition. The 30 works he displays reflect his increased interest in the figure….. Augmenting this, he presents various landscapes, including four inspired by New Zealand.

His work undoubtedly has a presence. It is a sophisticated, vivacious art that chatters in a cacophony of shapes and brilliant colours, strongly reinforced by a liberal use of a black, bounding line. There is a unity, a personal vision and an immediate impact in his canvases, but his is such an ebullient, vibrant and direct mode of communication that it often wavers on a tightrope of disaster with varying success; but then all stimulating, interpretive art so often has to run close to disaster to achieve its hard-won successes

Unsold paintings were exhibited as a solo selection at the Canterbury Society of Arts Gallery, Christchurch from 1428 February 1970. New Zealand II was purchased from that show.

The pastel version of this painting, titled Flying over Marlborough Sounds, 1968 was one of two from this series sent out to Douglas’ dear friend Helen Hitchings in 1986 to sell in support of her efforts to equip the Wellington cottage of the late Rita Angus – a much-loved mutual friend - as an artists’ residence for the Thorndon Trust.

Anna Cahill Biographer Colours of a Life: The Life and Times of Douglas MacDiarmid, 2018

78 TOSS WOOLLASTON (1910 - 98)

Untitled

Watercolour on gesso on paper

18.8 x 23.2

Signed & dated 1944 verso

Inscribed watercolour on gesso ground prepared by Colin McCahon, Property of Rodney Kennedy, 431 High St. Dunedin on paper affixed verso

Estimate

$3,000 - 5,000

PROVENANCE

Ex Rodney Kennedy Collection John Leech Gallery Art+Object, 22/02/2017

100

The Silich Collection 6:30pm Tuesday 12 October

102 The Silich Collection 6:30pm Tuesday 12 October

Please

79 JOHN WEEKS (1888 - 1965)

Untitled (Abstract Study) Tempera on card 41.2 x 52.2

Estimate

$3,000 - 5,000

80 TOSS WOOLLASTON (1910 - 98)

From Raumati Beach at Sunset

Watercolour on paper 27 x 37

Signed

Inscribed From Raumati Beach at Sunset verso

Estimate

$2,000 - 3,000

81 IVY COPELAND (1888 - 1961)

Coastal View with Figures Oil on board 33.5 x 42

Signed

Estimate

$1,500 - 2,500

82 HELEN BROWN (1908 - 1993)

Pakiri Beach

Oil on board 44.8 x 90.8

Signed

Signed & inscribed verso

Estimate

$4,000 - 6,000

PROVENANCE

Ferner Galleries, original label affixed verso

83 GARTH TAPPER (1927 - 99)

Friday for Hoch c. 1970

Oil on board 31 x 25.5

Signed

Estimate

$1,000 - 2,000

PROVENANCE

Affordable Art, Webb’s,, 20/05/2003

EXHIBITED

One Man Festival. Exhibition, John Leech Gallery, April 1970

ADELE YOUNGHUSBAND (1878 - 1979)

Northland Countryside Oil on canvas 51.5 x 61

Signed & dated 1958

Estimate

$1,500 - 2,500

Sawmilling, West Coast Oil on board 50 x 70

Signed

Estimate

$4,000 - 6,000

Bush Study

Watercolour and pencil on paper

42.4 x 63

Signed

Estimate

$3,000 - 6,000

DOUGLAS BADCOCK (b. 1952)

RAYMOND CHING (b. 1939)

87 JOHN WEEKS (1888 - 1965)

Demolition Abstract

Tempera on board 51 x 40.6

Certificate of authenticity affixed verso

Estimate

$3,000 - 5,000

PROVENANCE

Important, Early & Rare, International Art Centre 18/11/2010

88 JOHN WEEKS (1888 - 1965)

Patterned Landscape Oil on board 38 x 48 Signed

Estimate

$6,000 - 10,000

89 JAN NIGRO (1920 - 2012)

Abandoned Mine IV

Oil on board 80.5 x 121

Signed, inscribed & dated 1964

Estimate

$4,000 - 6,000

PROVENANCE

Ex Fletcher Trust Collection

Selected Works from the Fletcher Trust Collection, International Art Centre, 10/09/2014

Two original Fletcher Challenge labels affixed verso

ILLUSTRATED

p. 81 Apple for the Teacher, by Jan Nigro David Bateman 1996

108 The Silich Collection 6:30pm Tuesday 12 October

Signed

Estimate

$4,500 - 7,500

PROVENANCE

Private Collection, Auckland

Important, Early & Rare, International Art Centre, 14/07/2011

90 JAN NIGRO (1920 - 2012)

Ponsonby Girls Oil on canvas 71.7 x 97.7

110 The Silich Collection 6:30pm Tuesday 12 October

EDWARD BULLMORE (1933 - 78)

Sunset II, Mamaku

Mixed media on paper 43 x 69

Signed & inscribed verso

Estimate

$2,000 - 3,000

PROVENANCE

Important, Early & Rare International Art Centre, 10/11/2011

MICHAEL SMITHER (b. 1939)

New Plymouth Bush 1961 Oil on board 52 x 53

Signed & dated 1961

Estimate

$5,000 - 7,000

PROVENANCE

Collectable Art International Art Centre, 07/05/2015

Signed & inscribed verso

Estimate

$1,500 - 2,500

Signed & dated 1932

Estimate

$1,500 - 2,500

IDA EISE (1894 - 1978) Timber Mill oil on board 38 x 48.5mm

94 IDA EISE (1894 - 1978)

Morning Light, Whitianga 1932 Oil on canvas board 37.5 x 29.3

Signed

Estimate

$2,000 - 3,000

112 The Silich Collection 6:30pm Tuesday 12 October

95 ALBERT EDWARD ALDIS (1869 - 1921)

Waiau River, Gisborne Oil on canvas 37.1 x 51.8

Signed

2,500 - 3,500

PROVENANCE

Important, Early & Rare

International Art Centre, 14/07/2016

96 CECIL FLETCHER KELLY (1879 - 1954)

New Brighton, Christchurch Oil on canvas 50 x 60

Auckland Oil on board 20.8 x 31

Estimate

$4,000 - 6,000

Walter Peak, Lake Wakatipu Oil on board 20.3 x 30.7

Signed & dated 1912

Signed & inscribed verso

Estimate

$2,000 - 3,000

Landscape with Sheep Oil on board 30.4 x 45

Estimate

$3,000 - 5,000

97 CHARLES BLOMFIELD (Attributed) (1848 - 1926)

99 CHARLES BLOMFIELD (1848 - 1926)

98 CHARLES BLOMFIELD (Attributed) (1848 - 1926)

116 The Silich Collection 6:30pm Tuesday 12 October

100 DOROTHY KATE RICHMOND (1861 - 1935)

Black Birch

Watercolour 19.2 x 23.3

Signed & dated 1908

Estimate

$2,000 - 3,000

101 DOROTHY KATE RICHMOND (1861 - 1935)

Goldfish Study

Gouache on paper 40.2 x 40.2

Signed

Estimate

$1,500 - 2,500

Autumn Day in MacKenzie Country

Watercolour 25 x 33.4

Signed & dated 1903

Estimate

$1,500 - 2,500

Mountain Pass, Southern Alps

Watercolour 34 x 52

Signed & inscribed

Estimate

$1,000 - 2,000

102 DOROTHY KATE RICHMOND (1861 - 1935)

103 JAMES CROWE RICHMOND (1822 - 98)

104 BUSTER BLACK (1932 - 2007) City at Night

Signed

Estimate

$3,000 - 5,000

105 MAY GILBERT (1901 - 77) At the Wharf

Signed

Signed & inscribed verso

Estimate

$800 - 1,200

118 The Silich Collection 6:30pm Tuesday 12 October

106

Signed Estimate $800 - 1,200

107 ROY COWAN (1918 - 2006) Forest Path Oil on board 55.5 x 89

Signed Inscribed verso

Estimate

$1,000 - 2,000

MAY GILBERT (1901 - 77) Country Path Oil on board 32.5 x 42.2

108 JOHN GIBB (1831 - 1909) Milford Sound Oil on board 67.5 x 118

Signed & dated 1898

Estimate

$8,000 - 12,000

PROVENANCE

Important, Early & Rare International Art Centre, 10/11/2011

109 JOHN GIBB (1831 - 1909)

Flat Rock off Kawau Island Watercolour on paper 16.7 x 35.4

Signed & dated 1893

Inscribed verso

Estimate

$1,500 - 2,500

110 WILLIAM MENZIES GIBB (1859 - 1931)

Fading Light, Canterbury Oil on canvas 59 x 90

Signed

Estimate

$3,000 - 5,000

PROVENANCE

Important, Early & Rare International Art Centre, 10/04/2013

111 CHARLES DECIMUS BARRAUD

(1822 - 97)

Mount Cook with Surveyors’ Camp

Watercolour on paper 54 x 97

Signed & dated 1885

Estimate

$15,000 - 25,000

PROVENANCE

Fine New Zealand Paintings

International Art Centre, 25/03/2004

International Art Centre, 30/08/2006

112 CHARLES DECIMUS BARRAUD (1822 - 97)

Waterfall at Waihi, South End of Taupō

Watercolour on paper 26 x 18.3

Inscribed on caption affixed to mount

Estimate

$3,000 - 6,000

PROVENANCE

Important, Early & Rare

International Art Centre, 06/04/2016

122 The Silich Collection 6:30pm Tuesday 12 October

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113 WILLIAM HANDCOCK (Working 1860’s)

Settlers Overlooking Otago Harbour c. 1864

Watercolour on paper 36.3 x 56.1

Signed

Estimate

$3,000 - 5,000

PROVENANCE

Important, Early & Rare

International Art Centre, 06/04/2016

124 The Silich Collection 6:30pm Tuesday 12 October

WILLIAM BINZER (c. 1850 - 1920)

Waterfall with Figures Overlooking the Drop Oil on canvas 79.5 x 60

Signed

Estimate

$3,000 - 5,000

PROVENANCE

Important, Early & Rare International Art Centre, 18/11/2010

114

115 CHARLES BLOMFIELD (1848 - 1926)

Oil on board 42.8 x 28.8

Signed & dated 1925

Estimate

$3,000 - 6,000

116 CHARLES BLOMFIELD Attributed (1848 - 1926)

Terrace (Te Otukapuarangi)

Oil on board 48.8 x 75.2

Estimate

$4,000 - 8,000

Pink

Bush Landscape

117 JOHN BARR CLARKE HOYTE (1835 - 1913) Bay of Islands

Watercolour 40.5 x 59.4

Signed

Estimate

$8,000 - 12,000

118 JOHN BARR CLARKE HOYTE (1835 - 1913)

Bob’s Cove, The Remarkables

Watercolour 39 x 66.2

Signed

Estimate

$8,000 - 12,000

128 The Silich Collection 6:30pm Tuesday 12 October

119 JOHN BARR CLARKE HOYTE (1835 - 1913)

Coromandel Coast with Miners

Disembarking

Watercolour & gouache on paper

20.8 x 33.3

Signed

Estimate

$3,000 - 5,000

PROVENANCE

Private Collection, Queensland Fine Art Auction

International Art Centre 18/03/1976

Important, Early & Rare

International Art Centre 31/07/2013

120 JOHN BARR CLARKE HOYTE (1835 - 1913)

Military Encampment - A Pair

Watercolour 15/8 x 23.4

Signed

Estimate

$4,000 - 6,000

PROVENANCE

Fine New Zealand Paintings International Art Centre 27/03/2003

121 EDWARD FRISTROM (1864 - 1950)

Wellington Harbour Oil on board 21.5 x 29.5

Signed

Estimate

$2,500 - 3,500

PROVENANCE

New Zealand & International Fine Art Dunbar Sloane 21/08/2013

Nelson

Watercolour & gouache on paper

17.7 x 34.1

Signed, inscribed & dated 1874

Estimate

$2,000 - 4000

123 JOHN

(1819 - 1903)

Taumarunui, Central North Island

Watercolour 22.9 x 45.5

Inscribed

Estimate

$2,000 - 4000

132 The Silich Collection 6:30pm Tuesday 12 October

Please

122 JOHN KINDER (1819 - 1903)

KINDER

124 JOHN KINDER (1819 - 1903)

Tiki Tapu

Watercolour 24.4 x 35.2

Signed & inscribed

Estimate

$2,000 - 4000

125 JOHN KINDER (1819 - 1903)

Roto Kakahi

Watercolour 27 x 41.8

Signed & inscribed

Estimate

$2,000 - 4000

126 JOHN KINDER (1819 - 1903)

Mount Te Aroha and the Thames Watercolour 28.4 x 45.2

Estimate

$4,000 - 6,000

PROVENANCE

Ex Collection of Artist’s Grandson

John Kinder

Kinder was born in London in 1819, the oldest surviving child of a wealthy merchant who fostered his son’s interest in drawing and architecture from an early age. In 1838 Kinder attended Cambridge University where he studied theology, classics and mathematics and in 1846 was ordained as an anglican clergyman. In 1855 Bishop Selwyn appointed Kinder as headmaster of the new Church of England Grammar School being established in Auckland,New Zealand, he arrived in the colony with his mother and sister, never to return to England.

134 The Silich Collection 6:30pm Tuesday 12 October

Kinder’s life in New Zealand was one of achievement. At one time he lived at 2 Ayr Street, Parnell in the property now known as Kinder House. During his time in Auckland he held services in many churches including St Barnabas in Mechanics Bay, St Andrews in Epsom and St Marks, Remuera. Kinder travelled extensively throughout New Zealand and his passion for painting and photography have provided us with valuable historical records.

Between 1885 and 1891 he sketched throughout the Te Aroha region. The Waihou River and surrounds featured in this work were commonly know as Thames in Kinder’s day, hence the title Mount Te Aroha and the Thames.

During his lifetime Kinder’s watercolours were shown in 1871 and 1873 at the first two exhibitions of the Auckland Society of Artists, of which he was a founding member.

127 ALBIN MARTIN (1813 - 88)

The Homestead, Tāmaki Estuary

Watercolour & gouache on paper 23 x 30

Estimate

$5,000 - 10,000

PROVENANCE

Important, Early & Rare, International Art Centre, 14/07/2011

128 KEITH PATTERSON (1925 - 23)

Quarry

Oil on board 49 x 66.5

Signed & inscribed verso

Estimate

$ 1,000 - 2,000

129 KEITH PATTERSON (1925 - 23)

Farm Gates

Oil on board 41 x 58

Signed & inscribed

Estimate

$1,000 - 2,000

130 KEITH PATTERSON (1925 - 23)

Devonport Window Still Life

Oil on canvas board 120 x 77.5

Signed, inscribed & dated ‘59

Estimate

$2,000 - 4,000

136 The Silich Collection 6:30pm Tuesday 12 October

131

ERIC LEE JOHNSON (1908 - 93)

Hokianga Harbour

Watercolour 36.9 x 56.2

Signed, inscribed & dated 1948

Estimate

$4,000 - 6,000

PROVENANCE

Ex Collection Ministry of External Relations & Trade

Helen Hitchens Gallery, Wellington

Collectable Art, International Art Centre, 25/02/2015

132 ERIC LEE JOHNSON (1908 - 93)

Pines on the Ridge, Mount Tauhara, Taupō

Watercolour 31.2 x 57.2

Signed & dated 1966

Estimate

$1,500 - 2,500

133 ERNEST MERVYN TAYLOR (1906 - 64)

Stranded, Raumati Beach c. 1964

Watercolour 27.2 x 37.2

Signed

Estimate

$1,500 - 2,500

138 The Silich Collection 6:30pm Tuesday 12 October

134 ERIC LEE JOHNSON (1908 - 93)

Rock Drawing Motifs

Coloured & ink on paper 21.8 x 28.7

Estimate

$800 - 1,200

Rock Drawing Motifs

Coloured pencil & ink on paper 22.7 x 29.1

Signed

Estimate

$800 - 1,200

Pohutukawa, Te Kouma

Watercolour & ink on paper 45.6 x 59.9

Signed & dated 1972

Estimate

$1,000 - 2,000

Orere Point

Watercolour 30.5 x 44

Signed & dated 1985

Estimate

$800 - 1,200

135 ERIC LEE JOHNSON (1908 - 93)

136 ERIC LEE JOHNSON (1908 - 93)

137 ERIC LEE JOHNSON (1908 - 93)

138 FRANK WRIGHT (1860 - 1923)

Unloading Timber, North Head and Rangitoto

Watercolour 24 x 39

Estimate $1,500 - 2,500

139 WALTER WRIGHT (1866 - 1933)

Maori Study

Watercolour 26.3 x 38.7

Signed

Estimate $1,000 - 1,500

140 JOHN MCINTOSH MADDEN (1856 - 1923)

Alpine Landscape

Oil on canvas 77.2 x 118.5

Signed

Estimate

$1,000 - 3,000

140 The Silich Collection 6:30pm Tuesday 12 October

141 GEORGE EDMUND PRUDEN (fl. 1900 - 1920s)

Bush Clearing, Mount Egmont (Taranaki) Oil on canvas board 88.4 x 195

Signed & dated 1911

Estimate

$5,000 - 10,000

142 JAMES McMASTER (1862 - 1904)

The Sharpshooter Oil on canvas 76.5 x 143

Signed

Estimate

$5,000 - 10,000

PROVENANCE

Important Fine Art Auction International Art Centre, 27/03/2003

143 ANNA ROBINSON (1899 - 1978)

A Day in the Gallery

Watercolour 40 x 45

Signed

Estimate

$500 - 1,000

144 HELEN BROWN (1917 - 86)

Te Whaiti

Watercolour 45 x 51.5

Signed & inscribed

Estimate

$800 - 1,500

145 JOHN BARR CLARKE HOYTE (1835 - 1913)

Coromandel

Watercolour 20.5 x 41

Signed

Estimate

$1,000 - 2,000

142 The Silich Collection 6:30pm Tuesday 12 October

Please

and

146 HORATIO GORDON ROBLEY

(1840 - 1930)

Portrait of Te Kuha

Watercolour 20.7 x 16

Signed

Inscription on label affixed verso reads: Portrait of Te Kuha. A fully tatued Maori of the Bay of Plenty taken from life. This chief every now and then would get up and make believe to go away unless more tobacco was given. Gordon Robley.

Estimate

$2,000 - 4,000

147 ALFRED SHARPE (b. 1952)

Moehau Mountain Coromandel from Tarakihi

Watercolour 25 x 40.4

Signed

Estimate

$3,000 - 5,000

PROVENANCE

Important, Early & Rare

International Art Centre, 22/11/2012

148

149

KING (1891 - 1984)

Landscape, Hutt Valley Oil on canvas board 28.8 x 37 Signed & inscribed

Estimate

$800 - 1,500

144 The Silich Collection 6:30pm Tuesday 12 October

KING (1891 - 1984)

Bluff Hill Oil on canvas board 27.5 x 34

Estimate $800 - 1,500

150

(1891 - 1984)

Rural Landscape with Barn Oil on canvas board 29.3 x 35.3 Signed

Estimate $800 - 1,500

MARCUS

MARCUS KING

151 ARCHIBALD FRANK NICOLL (1886 - 1952)

Old Farm Oil on canvas board 29.7 x 39.7

Signed

Estimate

$1,000 - 2,000

152 COLIN WHEELER (1919 - 2012)

Lake MacGregor Oil on canvas board 47.7 x 60.2

Signed

Estimate

$2,000 - 3,000

153 COLIN WHEELER (1919 - 2012)

Lake Coleridge Country Oil on board 48.5 x 60.5

Signed

Estimate

$2,000 - 3,000

PROVENANCE

Fine & Applied Art Auction, Cordy’s, 26/11/2007,

154 HENRY WILLIAM KIRKWOOD (1854 - 1925)

South Island Landscape Oil on board 60.5 x 45.5

Signed

Estimate

$2,000 - 3,000

146 The Silich Collection 6:30pm Tuesday 12 October

155 HENRY WILLIAM KIRKWOOD (1854 - 1925)

West Coast Road Oil on board 62 x 46.7

Signed, inscribed West Coast Road & dated 1897

Estimate $2,000 - 3,000

156 LAURENCE WILLIAM WILSON (1850 - 1912)

Mount Cook Oil on canvas 50.9 x 76.6

Signed & inscribed Mount Cook from the [indistinct]

Estimate $4,000 - 6,000

157 HENRY WILLIAM KIRKWOOD (1854 - 1925)

Paritutu, New Plymouth Oil on board 31 x 46.9

Signed, & dated 1913

Inscribed Paritutu, The boy is Fred B Butler aged 10 yrs / Fred B Butler / of NP

Estimate

$1,500 - 2,500

Lake Manapouri

Oil on canvas 50.8 x 76.3

Signed & inscribed L. Manapouri

Estimate

$3,000 - 5,000

158 HENRY WILLIAM KIRKWOOD (1854 - 1925)

159 WILLIAM GEORGE BAKER (1864 - 1929)

Upper Waihou River

Signed & inscribed

Estimate

$8,000 - 12,000

160 WILLIAM

Signed & inscribed

Estimate

$4,000 - 6,000

(1864 - 1929)

161

WILLIAM GEORGE BAKER (1864 - 1929)

Near York Bay Oil on board 59.5 x 90

Signed & inscribed

Estimate

$2,000 - 3,000

148 The Silich Collection 6:30pm Tuesday 12 October

Oil on canvas 91.3 x 137

GEORGE BAKER

Head of George Sound Oil on canvas 59.5 x 90.2

162 EION STEVENS (1952 - 2021)

After della Francesca

Oil on canvas board 61 x 70.5

Signed, inscribed & dated 2002 verso

Estimate

$1,000 - 1,500

163

EION STEVENS (1952 - 2021)

Seascape Number Thirty-Seven

Oil on canvas board 56.2 x 58.7

Signed, inscribed & dated 2002 verso

Estimate

$1,000 - 1,500

164 MERVYN WILLIAMS (b. 1940)

Study (Horizon)

Acrylic on canvas 41.2 x 35.3

Signed, inscribed Study (Horizon) & dated 1992 verso

Estimate

$1,500 - 2,500

150 The Silich Collection 6:30pm Tuesday 12 October

165 PATRICK POUND (b. 1952)

Untitled (Construction)

Mixed media collage of book covers

14.5 x 8.5

Estimate

$600 - 1,000

166 DENYS WATKINS (b. 1945)

Alby 2015

Acrylic on canvas 30.2 x 20.2

Signed, inscribed & dated 2015 verso

Estimate

$1,000 - 1,500

167 KIM PIETERS (b. 1959)

Topology and Feeling 2/8 & 4/8 - A Pair

Graphite, oil, and oil pastel on paper

22.6 x 32.1

Signed, inscribed & dated 2016

Estimate

$800 - 1,200

168 ALAN TAYLOR (1933 - 2016)

Taranaki Mountain

Acrylic on canvas board 59.5 x 49.5

Signed & inscribed Peace, Taranaki verso

Estimate $1,500 - 2,500

169 ALAN TAYLOR (1933 - 2016)

Tumutumu Whenua, Tāmaki Makaurau

Acrylic on canvas board 27.7 x 35.3

Signed Inscribed Tumutumu Whenua, Tāmaki

Makaurau verso

Estimate $1,000 - 1,500

152 The Silich Collection 6:30pm Tuesday 12 October

170 ALAN TAYLOR (1933 - 2016)

Portrait of a Prophet

Acrylic on board 40.5 x 30.2

Signed, inscribed Te Kooti, Portrait of a Prophet & dated 1971

Estimate $2,000 - 3,000

171 MARTIN POPPELWELL (b. 1956)

Untitled 1998

Gouache on handmade paper

51.5 x 75.8

Signed & inscribed mcmxcviii

Estimate $1,000 - 2,000

172 GARETH PRICE (b. 1971)

Mr. Jonathan Dory Pauses During His Morning Paperwork to Contemplate the Dolphin Floating Above His House

Acrylic on canvas 121.9 x 60.8

Signed & dated 2010

Estimate $1,000 - 1,500

173 GARETH PRICE (b. 1971)

King Anarich the Snapper-God Brings

Vigilance to Albany

Acrylic on canvas 76 x 101.4

Signed & dated 2009

Estimate $1,000 - 1,500

174 GARETH PRICE (b. 1971)

In the Not-Too-Distant Future, Two Giant Driftwood Bird People Meet and Fall in Love

Over One Tree Hill, 2008

Acrylic on canvas 61 x 45.5

Estimate $1,500 - 2,500

PROVENANCE Lots 172 - 174

Pierre Peeters Gallery

End of Sale - Thank You

Important & Rare Art

Important & Rare auctions are the proven, preeminent 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.

The buzz generated by our Collectable Art auctions reflects the popularity of these sales: 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. Works span the vital period from mid-century modernism through to the cutting-edge of today’s Contemporary art in New Zealand.

This sale category is an increasingly significant event in our auction calendar. Offering a number of lowerpriced 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.

ALWAYS CONSIGNING ENTRIES NOW INVITED

SINGLE OWNER COLLECTION

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.

ART AT HOME ONLINE AUCTIONS

A quick, easy and reliable solution to affordable consignments. During the 2020 nationwide lockdowns we stayed connected to our clients, keeping them close to our art. The time was spent productively, resulting in the development of our own online bidding platform and App, successfully auctioning works of art with no exhibition viewing, no printed catalogue, while using state-of-the-art technology. All transactions were contactless and we reduced our carbon footprint along the way. While the personal service, excitement and atmosphere of our famous live Parnell Road auctions remain and will continue to grow, the success of this online only platform has encouraged us to retain this as a permanent sale category.

CONTACT

Richard Thomson

Ph +64 9 379 4010

M. 0274 751 071

E. richard@artcntr.co.nz

Maggie Skelton

Ph +64 9 379 4010

E. maggie@artcntr.co.nz

Luke Davies

Ph +64 9 379 4010

E. luke@artcntr.co.nz

www.fineartauction.co.nz

202 Parnell Road, Auckland

Lot 67 Philip Trusttum

valuation SERVICES

www.internationalartcentre.co.nz

International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection. For

Reproduced courtesy of The Fletcher Trust Collection

International Art Centre | Appointed Valuers of The Fletcher Trust Collection

Trevor Moffitt Rakaia River, 1984 Oil on canvas board 89 x 118cm

Absentee Bid Form The Silich Collection

*6:30pm Tuesday 12 October 2021

I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. I understand my bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.

REGISTRATION NUMBER

NAME

ADDRESS

TELEPHONE

We will allocate a bidding number if you don’t already have one

Signature ........................................................................................... / / 2021

I have read and understand the Conditions of Sale. International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids.

Email to info@internationalartcentre.co.nz before 1:00pm day of sale

Alternatively, visit our website www.internationalartcentre.co.nz and place absentee bids online

158 The Silich Collection 6:30pm Tuesday 12 October

ARTIST NAME

Index

ALDIS A 95

BADCOCK D ..................................................... 86

BAKER W G ..................................... 159, 160, 161

BARRAUD C D 111, 112

BINZER W 114

BLACK B 104

BLOMFIELD C .............................. 97, 98, 99, 115

BLOMFIELD ATTRIBUTED ........................... 116

BROWN H ................................................ 82, 144

BROWN N 22

BUCHANAN D 68

BULLMORE E .................................................. 91

CHING R ........................................................... 85

CLAIRMONT P ........................................... 47, 48

COLEY J 23

COPELAND I 81

COWAN R ....................................................... 107

CROSS M .................................................... 32, 55

DAGLEY A .......................... 56, 57, 58, 59, 60, 61

DAY M 54

DE LAUTOUR T 15

EISE I G ...................................................... 93, 94

EVANS J ........................................................... 65

FARR S C .......................................................... 66

FOSTER C 52, 53

FRISTROM E 121

GEORGE D ........................................................ 11

GIBB J ..................................................... 108, 109

GIBB W M ........................................................110

GILBERT M 105, 106

GIMBLETT M 19

GOOD R .......................................... 25, 26, 29, 31

GOPAS R ........................................................... 40

GROSS F ..................................................... 33, 34

HANDCOCK W 113

HENDERSON L 45, 46, 71, 73

HOLMWOOD J ................................................ 36

HONOUR B ...................................................... 50

HOTERE R........................................................ 41

HOYTE J B C 117, 118, 119, 120, 145

HUNT F I 49

INTRA G 43

KELLY C F ........................................................ 96

KILLEEN R ...........................................24, 28, 44

KINDER J ......................... 122, 123, 124, 125, 126

KING M 148, 149, 150

KIRKWOOD W H 154, 155, 157, 158

LEE J E ............... 37, 131, 132, 134, 135, 136, 137, LELEISI’UAO A .......................................... 63, 64

LYE L .................................................................. 9

MACDIARMID D 75, 77

MACLEOD E ..................................................... 27

MADDEN J M .................................................

M ............................................ 171

TRUSTTUM P 7, 51, 67 WATKINS D 166 WEEKS J 69, 79, 87, 88

WHEELER C V ........................................ 152, 153

WILLIAMS M ..................................... 18, 30, 164

WILSON L W .................................................. 156

WONG B 2

WOOLLASTON T 76, 78, 80

WRIGHT

YOUNGHUSBAND

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 4:00pm Friday following auction 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.

The Silich Collection 6:30pm Tuesday 12 October

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre. co.nz before 3:00pm 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.internationalartcentre.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.

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

International Art Centre no longer accepts cheques.

PROTECTED OBJECTS ACT

Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/ nz-identity-heritage/protected-objects/exporting

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

17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

Lot 8 Charles Tole

*Under level 3 auction will run live with telephone and absentee bidding and live bidding via our bidding portal https://auctions.internationalartcentre.co.nz

Bidding from a device?

Apple users: Download the International Art Centre app https://apps.apple.com/us/app/id1525329095

Android users https://play.google.com/store/apps/details?id=com.auctionmobility.auctions.internationalartcentre

202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz

164 The Silich Collection 6:30pm Tuesday 12 October