Women in Art

Lot 11

Marti Friedlander

Louise Henderson Studio, 1975

Lot 41 Jenny Dolezel In the Listening Room

Lot 36 Star Gossage Oi Boi

Illustrated cover: Lot 37 Star Gossage

Ao Tahi, First Light

WOMEN

IN ART

08 05 24

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+64 9 379 4010

CONDITION REPORTS

Grace Alty

gracealty@artcntr.co.nz

Grace Harris grace@artcntr.co.nz

Luke Davies luke@artcntr.co.nz

AUCTIONEER

Richard Thomson richard@artcntr.co.nz

VIEWING

Wednesday 1 May

2 May

3 May

4 May

5 May

6 May

Tuesday 7 May

Wednesday 8 May

AUCTION

6.00pm Wednesday 8 May

International Art Centre

202 Parnell Rd, Parnell, Auckland

IN CONVERSATION

With Ann Robinson ONZM 11.00am Wednesday 1 May

- 5.30pm

- 5.30pm

RESULTS ACHIEVED

WOMEN IN ART 08 05

We are pleased to introduce our first auction celebrating artworks created by women artists.

The catalogue showcases art spanning several decades, from the early 20th Century through to Contemporary works. The offering features a wide variety of mediums, subject matter and price ranges.

We look forward to welcoming you to the viewing.

IN CONVERSATION

ANN ROBINSON ONZM

International Art Centre is delighted to host world-renowned cast glass artist Ann Robinson. Join us at 11am on Wednesday, 1 May at our Parnell premises to hear Ann discuss her inspiring career that spans over 40 years.

An opportunity to view the Women in Art auction, including a selection of Ann Robinson’s works will follow the event. RSVP

auctions@artcntr.co.nz

WEDNESDAY 1 MAY 11AM Lot

Lot 75 Maud Sherwood

The Camping Ground at Dee-Why, NSW

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1 PAULINE YEARBURY (1926 - 77)

St Francis, Tobias and Friends

Incised Wood Panel 60 x 22

Signed $2,000 - 3,000

PROVENANCE Private Collection, acquired from the artist

2 PAULINE YEARBURY (1926 - 77)

Wake up Saint Francis

Incised Wood Panel 60.5 x 22.5

Signed $2,000 - 3,000

PROVENANCE Private Collection, acquired from the artist

Untitled

Watercolour 34 x 27

$4,000 - 6,000

PROVENANCE

Private Collection, Auckland, acquired from the artist by descent

3 A. LOIS WHITE (1903 - 84)

4 A. LOIS WHITE (1903 - 84)

Untitled

Watercolour 29 x 21.5

$4,000 - 6,000

PROVENANCE

Private Collection, Auckland, acquired from the artist by descent

5

MARGUERITE COTTON (1912 - 97)

Rhythm

Gouache 36.5 x 115.5

Signed & dated 1934

$1,500 - 2,500

By the mid-20th century, there was strong institutional fixation on emerging modernism and landscape art in New Zealand. It is therefore not surprising that Anna Lois White found herself marginalised by the art world throughout her career. Despite the knowledge that her work did not align to institutional tastes or trends, White pursued an individual tradition of classically-inspired symbolism integrating allegorical, art historical, biblical and political concerns. In the 1940s, given the limited materials available during wartime, White had to abandon the large-scale compositions in oil that had dominated her output in the previous decade. She began working on a smaller scale, primarily in watercolour as can be seen in the works illustrated in this catalogue.

A contemporary of White’s, Marguerite Parson (neé Cotton) skillfully preserved moments of time in works of illustrative vibrancy bursting with life as illustrated in Rhythm. Born in Waipori in 1912 Cotton was the only daughter of four. She attended the Canterbury College of Art and in her second year, exhibited in the Academy of Fine Arts 1934 exhibition. 1935 saw Cotton gain a New Zealand Diploma of Fine Arts, being only one of two students to achieve

this in the country. Following her return to Dunedin she enrolled in the night classes being offered at King Edward Technical College. Alongside fellow pupils Anne Hamblett and Doris Lusk, Cotton received a first class pass in both Modelling and Life Drawing.

Early examples of her illustrative style can be seen in the University of Otago’s Capping Book, adorning the 1939 cover. She also illustrated and wrote a children’s colouring book, The Adventure Painting Book. In April 1940, at the onset of the second world war, Cotton wrote to both Major-General Duigan and the Minister of Defence Hon. F Jones, offering her services as a War Artist. Could you and your Defence Council arrange to send me to be New Zealand’s pictorial historian of the day as far as illustrating war events is concerned? I have particularly good health and to live in a uniform in trenches or sleep in a sleeping bag and live on army rations would be an adventure. Women were not considered for the role of War Artist, however like many other female artists during this period, Cotton produced works reflecting the society of the time, such as her 1941 work NZ Industry in Wartime.

6

Nude

Oil pastel on paper 68.5 x 44.5

Signed

$3,000 - 5,000

PROVENANCE

Private Collection, Auckland

7 A. LOIS

84)

Nativity - Study for Birth of Christ

Watercolour 41.5 x 56

$8,000 - 12,000

PROVENANCE

Private Collection, Auckland, acquired from the artist by descent

A. LOIS WHITE (1903 - 84)

WHITE (1903 -

8 EILEEN MAYO (English 1906 - 94)

Rain, Coal & Wood 1977

Relief print, Artists proof II, 35.5 x 54.5

Signed & inscribed

$4,000 - 6,000

9 DORA WILSON (Australian, British 1883 - 1946)

St Francis’ Old Cathedral c.1944

Oil on canvas on board 33 x 40

Signed

$8,000 - 12,000

10 DORIS CLARE ZINKEISEN (Scottish 1897 - 1991)

Dancer’s Revels

Oil on board 50 x 60

Signed & dated 1967 verso

$4,000 - 6,000

Doris Zinkeisen was a Scottish theatrical stage and costume designer, painter, commercial artist and writer.

11 MARTI FRIEDLANDER (1928 - 2016)

Louise Henderson Studio, 1975

Gelatin silver print

39 x 28.5

Inscribed verso

$4,500 - 8,500

Marti Friedlander was one of the most important photographers of twentieth-century New Zealand. In the 1960s and 1970s her work was included in numerous publications, including the New Zealand Herald, the New Zealand Listener and Art New Zealand. It was during this time that she captured the image, Louise Henderson Studio. This portrait depicts Louise Henderson, now known as one of New Zealand’s leading twentieth-century abstract artists, seated directly in the middle of the composition, dressed all in white against an immaterial black background. This emotive, monochromatic capture of an enigmatic subject is characteristic of Friedlander’s style. This is evident too in her iconic image, Eglinton Valley. Here, Friedlander depicts a ubiquitous New Zealand symbol, the sheep. The band of sheep stand close together, gazing warily out at the viewer as if questioning their presence. This is one of Friedlander’s best-known works and was used as the key image for her 2001 solo exhibition at the Auckland Art Gallery. In 1999 Friedlander was made a CNZM for services to photography, in 2011 an Arts Foundation Icon, and the University of Auckland granted her an honorary doctorate in 2016.

Ans Westra remains one of New Zealand’s best known social photographers. Born in the Netherlands in 1936, Westra moved to New Zealand in 1957. By 1962 she was working as a freelance photographer, and in 1964 the first book of her photographs was published. This collection of photographs, entitled Washday at the Pa drew great attention for Westra when it was removed from distribution by the government. It was during

this controversial time when the image Ruatoria, 1964 was captured. Not printed until 1985, this image pictures two Māori women standing proudly in the middle of a home interior. These women have closed eyes and open mouths and appear to be singing to the other women in the room. This scene elicits a joyous response, presenting female strength, support, and comfort. Westra has produced many books of photography throughout her career. In recognition for her work Westra was made a CNZM in 1998, in 2007 she became an Arts Foundation Icon, and in 2015 she received an honorary doctorate from Massey University.

Acclaimed photographer Adrienne Martyn was born in Wellington in 1950. At the age of 18 she moved to Dunedin to train with a commercial photographer. In 1975 her photographs illustrated Australian feminist Kate Jennings’ seminal work Mother I’m Rooted. Since this time, she has been the subject of numerous exhibitions and her work is held in a vast array of collections, including Auckland Art Gallery, Christchurch Art Gallery, and Te Papa. Martyn works across a wide range of subjects, including portraiture, architecture, landscape, and still-life. Her works are often black and white, and her portraits are intimate and thoughtful representations. This is evident in Portrait of Beatrice Grossman, where Martyn presents her female subject in a striking position of power within the picture plane. Dressed all in black with a plain white background, Grossman stands out as a monochromatic force of nature. Grossman was an Auckland Art dealer in the 1980’s. When viewed together, all of these photographic works capture the unique perspectives of female artists and allow us to celebrate their importance to New Zealand art history.

MIRABELLE FIELD

12

MARTI FRIEDLANDER (1928 - 2016)

Eglinton Valley, 1970

Gelatin silver print 21 x 27.5

$5,000 - 8,000

13

ADRIENNE MARTYN (b. 1950)

Portrait of Beatrice Grossman

Gelatin silver print, 33.5 x 34

$1,000 - 2,000

14 ANS WESTRA (1936 - 2023)

Ruatoria 1964

Silver gelatin photograph (printed 1985) 28 x 28

Signed Ans Westra lower right (in artist’s hand)

$3,500 - 5,000

EXHIBITED

Witness to Change: Life in New Zealand (Photographs

1940-1965) City Gallery, 11

November - 8 December, 1985

15 EMILY KARAKA (b. 1952)

Tamaki Makaurau Collective

Deed of Settlement

Oil on hessian laid on board

122 x 76

$2,000 - 3,000

16 LORENE TAUREREWA (b. 1961)

Untitled

Watercolour 41 x 30.5

$1,200 - 2,200

21 FIONA PARDINGTON (b. 1961)

Portrait of a South Island Kokako, Extinct, 2016/2021 Pigment ink on Hahnemuhle Photo rag, edition of 9/10 109 x 144.5 Signed verso $25,000 -

22 FIONA PARDINGTON (b. 1961)

Portrait of a Life Cast of Kakaley (painted), Solomon Islands, 2010 Inkjet print on Hahnemuhle paper, edition 4/10 110

Evie

Acrylic on board 71 x 60

$8,000 - 12,000

EXHIBITED

OLGA, 2016

Evie was part of a series which featured characters from Home and Away – ‘Alf Stewart’ and ‘Drax’ were gifted to the Waikato Museum

Untitled, Yellow

Oil and acrylic on canvas 60 x 60

Signed & dated 2002 verso

$3,000 - 5,000

23 AYESHA GREEN (b. 1987)

24 JUDY MILLAR (b. 1957)

25 SAM MITCHELL (b. 1971)

Forget Me Knots

Acrylic on perspex 48.5 x 42.5

Inscribed I Should Be So Lucky

$5,000 - 7,000

26 HANNAH KIDD (b. 1979)

Everything is Awesome II

Ceramic glazes, steel, corrugated iron, mdf and paint 53.8 x 26.2

$3,500 - 5,500

In contemplating the history of art in New Zealand, it would be difficult for The Group not to come to mind. Formed in Christchurch in the late-1920’s, The Group was an ever-evolving artist collective that exhibited for fifty years. Independence and autonomy were fundamental to its formation, in contrast to the conservatism of dominant exhibiting institutions of the era. The prior celebrated style was naturalistic, and traditional landscape painting reigned supreme.

It was against this backdrop that The Group developed a reputation for fostering both modernity and the unconventional in art. Without championing a specific style or subject, members were united in their flair for experimentation and enthusiasm in their work. Given this innovative spirit, it comes as no surprise that five of the original seven members were young women. By their third annual exhibition in 1929, the ratio of female artists grew to 7-2. As a collective that is largely attributed with shaping the New Zealand modernist movement, the depth of impact from female artists cannot be understated. The Group’s lasting significance is a testament to the women who established its very foundations.

Evelyn Page (1899-1988) was one of these founding artists. Her painting practice explored landscapes, figure and still-life studies that were characterised by lively brushwork and an expressive palette.

Travelling to Europe and Britain undoubtedly had an impact on her works, as with many other artists in The Group who were exposed to international movements like fauvism and cubism overseas.

Rita Angus painting Self portrait, 1936-1937, by Jean Bertram. Te Papa (CA000242/001/0002)

Young Woman in a Bay Window (1982), echoes Ingres’ The Valpinçon Bather, embracing a post-impressionistic painterly application whereby contrasting swathes of colour dance across the canvas in fluid strokes. Influences from abroad are also found throughout the works of French-born Louise Henderson (1902-94), who joined The Group in the early 1930’s. Paintings like Ponsonby Girls incorporate a cubist-like approach, whereby the figures are formed using fragmented features and angular brushwork.

A number of Page and Henderson’s contemporaries joined in subsequent years, each moving away from merely imitating reality in their paintings to develop their own distinctive styles. Many celebrated

female artists were involved in The Group across decades, such as Rita Angus (190870) who was a long-standing member from 1932 until the 1960’s. Angus, alongside other influential members Olivia SpencerBower (1905-82) and Rata Lovell-Smith (1894-1969), were amongst those leading the regionalist movement during the midcentury, often turning to landscape subjects in an array of approaches that captured local identity and a distinguishable sense of place. Spencer-Bower for example, was particularly known for her mastery of the watercolour medium. Her earlier works incorporate more naturalistic drawings of scenes around the Southern region, built up using thin washes of paint in a layered approach. She later developed a looser, more abstract painterly technique.

Untitled Landscape sits somewhere between the two, exemplifying the delicacy and subtle sense of movement that characterised her painting. In later years, contemporary artists such as Gretchen Albrecht (b.1943) made their own unique contributions to The Group and upheld the spaces that the women who came before them had carved out. A candid photograph taken by Olivia Spencer-Bower in 1936 pictures members of The Group in discussion, three of whom have paintings in hand, including Louise Henderson and Rata Lovell-Smith. Not only does the photograph capture the very spirit of the artist collective through the eyes of a female artist, but it proudly centres the contributing women who were integral to its formation and lasting influences.

MADELEINE GIFFORD

Included in this photograph, taken by Olivia Spencer Bower – herself a member of the group – are Rata Lovell-Smith (far left) and Louise Henderson (right). The woman wearing the beret is writer Ngaio Marsh, who also exhibited in the show. Others represented that year included Toss Woollaston and R. N. Field.

Over the course of her career, Evelyn Page painted many portraits - tender, inquisitive portrayals of family members, friends and contemporaries. Many of these works are noted for their directness and freedom of painted expression.

Born in 1899, Evelyn Margaret Polson was the youngest of seven children. Her parents John and Elizabeth Polson were straightlaced, “Victorian” as Evelyn described them. Although this was a strictly religious upbringing, she was encouraged to foster a love of music, art and writing from a young age. In 1915, 15-year-old Evelyn joined the Canterbury College School of Arts where her formal training began and she would remain until 1922. She quickly proved herself to be a talented student, receiving numerous accolades and prizes. This was of course a formative time for the young artist, who in addition to learning from teachers Margaret Stoddart, Leonard Booth and Cecil Kelly, forged a number of lifelong friendships and connections with her peers including Ngaio Marsh and Viola Macmillan Brown.

She became a member of the Canterbury Society of Arts in 1922. For a period after this, Page focused on music, studying piano with Ernest Empson. Awareness of this musical talent deepens an appreciation of her paintings, which have a musical sensitivity to them. Page’s affinity for finding rhythm in composition and colour gives many of her works a deep visual musicality. It was through Empson that she met Frederick Page. 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. Evelyn was one of the founding members of the New Zealand Society of Artists and taught part-time at Christchurch Girls’ School before joining Frederick in London in 1937. The period that followed was one of exceptional and prolific creative output for her. During this period, the couple built their network of friends and fellow artists in London, and travelled around Europe. Upon their return to New Zealand, Frederick and Evelyn married and settled in Governors Bay, where they lived for several years. They had two children, Sebastian and Anna.

Whilst living there, and over the course of a number of summer painting holidays (a tradition she maintained throughout her life), Evelyn mastered the pure treatment of colour in her work. After Frederick was appointed to set up the School of Music at Victoria University in 1945, the family moved to Wellington. Evelyn and the children lived in Pukerua Bay; she used to travel into the city to visit Frederick and to paint.

Her wonderfully expressive portraits of friends and peers, interior still lifes and cityscapes now stand out as a form of protest in response to mainstream modernism. The Pages returned to London and Evelyn attended a summer school in Salzburg. In the 1960s and 1970s, Page’s work assumed a quieter, more interior focus. Living in Waikanae and suffering from arthritis, a slower rhythm sustained her in the final decades of her work. She died in 1988. Page was a visionary, and her works possess a refreshing vivacity of spirit which have stood the test of time.

Oil

Signed

$6,000 - 10,000

The

Watercolour

42.5 x 32 cm

Signed

$15,000 - 25,000

32 LOUISE HENDERSON (1902-94)

Ponsonby Girls

on board 37 x 32.5

33 LOUISE HENDERSON (1902-94)

Green Boat Shed

& gouache

Orange Pod 1995

Cast glass, 1/1 25 x 34

Signed & dated 1995 on base

$20,000 - 30,000

Spore - Lime Green 2014

Cast glass, 45% crystal glass 1/1

51 x 34

Signed, inscribed & dated 2014 on base

$25,000 - 35,000

REFERENCE

The application of fern silhouettes onto the curved vase, with spore lines carved into the surface, was the first of a new series of works for the artist in 2014.

34 ANN ROBINSON (b. 1944)

35 ANN ROBINSON (b. 1944)

36 STAR GOSSAGE (b. 1973)

Oi Boy

Oil and studio detritus on board

100 x 60

Signed, inscribed Oi Boy & dated 2008 - Pakiri verso

$24,000 - 28,000

Born in Otorohanga in 1973, Star Gossage was named for the whetū maramā, the star with five differently coloured points that sits above the crescent moon to symbolise the Ratana faith. Creativity was bred into her. Peter Gossage (1946-2016), her Pakehā father, worked as a scenic artist and graphic designer for TV2 during the 1960s. He met and married Josephine, known as Tilly, a descendant of Rahui Te Kiri Tenetahi (and also an artist), in a Ratana ceremony conducted in Herne Bay in 1971. Peter produced illustrated children’s books telling Māori stories at Tilly’s suggestion, instilling matauranga Māori into the imaginations of Star and their four other children, Marama, Ra, Tahu and Aroha, as well as a generation of other New Zealanders. Several of the Gossage siblings are artists, living on their ancestral Te Kiri land at Pakiri, north of Auckland. From the beach there, they look towards Te Hauturu-o-Toi (resting place of the wind) or Little Barrier Island, which was

once was home to Ngāti Manuhiri, Ngāti Rehua and Ngāti Wai before it was taken and made a nature reserve by the Crown in 1895.

Star’s works reverberate with the wairua or spirit of her Ngati Wai and Ngati Ruanui tupuna but also acknowledge her French, Portuguese, Spanish and English ancestry. She developed her practice at the School of Art in Dunedin where she studied in the early 1990s, mixing found materials such as lime and clay into house paints to build texture into her surfaces. Stylistically her figures resemble those of Dunedin’s Patricia France (1911-1995), an artist who was encouraged to begin painting in her mid-fifties to overcome the depression that had brought her to Ashburn Hall. Like Pat France, Star is influenced by the mysterious and evocative work of the French Symbolist painter Odilon Redon (1840-1916) and the surrealism of Russian-French artist Marc Chagall (1887-1985).

37 STAR GOSSAGE (b. 1973)

Ao Tahi, First Light

Oil and studio detritus on board

80 x 120

Signed & dated 2009

Signed, inscribed Ao Tahi, First Light & dated August 2009 verso

$25,000 - 35,000

Female subjects predominate in both Gossage and France’s work, usually integrated with their environment, as the mother and child with the silhouetted manuka trees are here in the painting Ao Tahi (literally “first light” or dawn). Oi boy from 2008 is an exception, with a seated male figure dominating the composition, his expression dreamy and introspective as he holds a feather quill up in his left hand, seemingly untroubled by being shouted at.

Built into these works is mea tinana or the physical matter (detritus) from the studio at Pakiri which adheres to the surface. In this way, the works carry the materiality of where they were made out into the world, anchoring the paintings in the reality of lived experience. This counters the ethereal

appearance of the figures, achieved through thinning oil paint to suggest a dream or vision. Here are the artist’s own symbolic representations rather than literal depictions of Hinetitama (the goddess of the dawn) or distinct identities. Smudging and scrubbing away at the outlines of her forms, Star blends mother and child together, cloaking them in the golden light of dawn. The closeness of this matrilineal bond contrasts with the separateness of her male figure, the sky behind his head alight with inspiration. Sensibility suffuses these paintings, honouring gentleness and quiet, and balancing masculine and feminine qualities.

LINDA TYLER

38

(b. 1943)

3 N.Y.C

Woodcut on paper, edition 1/10

15 x 30

Signed, inscribed & dated 1983

$4,000 - 6,000

39

(b. 1943)

Studies for Winged Spill

Watercolour 130 x 84

Signed, inscribed & dated 1974

$30,000 - 50,000

GRETCHEN ALBRECHT

GRETCHEN ALBRECHT

41 JENNY DOLEZEL (b. 1964)

In the Listening Room

Oil on canvas 83 x 120

Signed & dated 2000

$25,000 - 35,000

My painting In the Listening Room is an allegory in which reality blends with fiction and boundaries between humanity and nature become blurred - revealing the fragility of life and the complexity of relationships that are formed between beings.

The room in which the creatures inhabit - with it’s spatial ambiguity and playful toying with abstraction - provides an arena to embody one’s otherness, one’s uniqueness - to be heard. Being a good listener is one of the most important and enchanting life skills one can have. Here the room is saying those two, rare, magic words: ‘Go on’. Therefore, for

example, the higher, central plant-like form that grows from the yellow pot, is releasing it’s protective neck-brace - to flourish, while below, a red caped duck-like figure, unselfconsciously collects the introspective heads that float through the picture space, but with a net far too small.

Non-conformity, freedom and entertainment have always been active ingredients in my art, and here they seemed ever more relevant as I painted this when the new millennium dawned. To have the good fortune of being in the highly privileged position of managing all this on a few square metres of canvasespecially as a female artist (with paintings no longer relegated to having been painted by ‘Anonymous’) - there is nothing comparable to this.

JENNY DOLEZEL

Squared off Muzzle

Gouache & pencil on paper

75 x 54.5

Signed, titled & inscribed verso

$6,000 - 8,000

Best Quality

Gouache and pencil on paper

76 x 56

Signed, titled & inscribed verso

$6,000 - 8,000

42 KUSHANA BUSH (b. 1983)

43 KUSHANA BUSH (b. 1983)

44 HYE RIM LEE (b. 1963)

Legs Candyland

C-type photograph, edition of 2

45 x 45

$1,500 - 2,500

45 HYE RIM LEE (b. 1963)

Candyland 2006

C-type photograph, edition 3/5

70 x 70

Signed inscribed & dated verso

$3,500 - 6,500

46 SARA HUGHES (b. 1971)

Runway, 2000

Oil on canvas 58 x 58

Signed, inscribed & dated verso

$800 - 1,200

47 SARA HUGHES (b. 1971)

Melissa 2

Acrylic on linen 80 x 80

Signed, inscribed & dated 2005 verso

$6,000 - 10,000

48 GRETA ANDERSON (b. 1967)

White Swan, Lake Balaton, Hungary

Colour Photograph 2 18 x 25

$1,000 - 2,000

49 SUSANNE KERR (b. 1973)

Rhythm of Wind

Gouache on Hahnemuhle paper

50 x 40

Signed & dated 2020

$4,000 - 6,000

50 LORRAINE RASTORFER (b. 1961)

Schmecken (To Taste)

Acrylic on board 120 x 120

Signed & dated 2008

$7,000 - 10,000

51 STAR GOSSAGE (b. 1973)

Four Sisters

Oil on board 34 x 17

Signed, inscribed & dated Pakiri

May 2006 verso

$3,000 - 5,000

52 GRETCHEN ALBRECHT (b.1943)

North Pole (London 4)

Oil on patinated copper 15 x 30

Signed & dated 2004 verso

$2,000 - 4,000

53 KATHRYN MADILL (b. 1951)

The Shiny World

Oil on gesso on board 32.5 x 51

Signed & dated 2003

$2,000 - 3,000

54 HARIATA ROPATA TANGAHOE (b. 1952)

Contemplation

Oil on board 37 x 29

Signed & dated 2008

$4,000 - 6,000

Signed, inscribed & dated 2008 verso

$5,000 - 7,500

55 TIRA WALSH (b. 1989)

Money Made Me Do It

Oil on canvas 154 x 114

Signed verso $3,000 - 5,000

56 HEATHER STRAKA (b. 1972)

Boating for Beginners Oil on linen laid onto board 15.5 x 30

57 FRANCIS UPRITCHARD (b. 1976)

Untitled Hockey stick, plastic, modelling material 108.5 x 55

Signed & dated 2004 $5,000 - 8,000

58 JUDY MILLAR (b. 1957)

Untitled, 2007

Signed & dated verso

$4,000 - 6,000

59 AIKO ROBINSON (b. 1993)

Signed

60 HANNAH IRELAND (b. 1995)

Something Inbetween

Those Dilated Eyes

Watercolour & acrylic on glass

29.7 x 21

Signed, inscribed & dated

2023 verso

$2,000 - 3,000

EXHIBITED

Hannah Ireland, Running with Scissors, Te Uru Waitakere

Contemporary Gallery

12 August - 12 November 2023

61 PEATA LARKIN (b. 1973)

Whakataunga >V< Resolution (Papakirango)

Acrylic on mixed media

120.3 x 120

$8,000 - 10,000

62 JUDY MILLAR (b. 1957)

Untitled, 2005

Oil on canvas 102 x 71

Signed & dated 2005 verso

$3,500 - 5,500

63

MADELEINE CHILD (b. 1959)

Caramel Corn

Ceramic & glaze, 6 parts 10 x 8

$400 - 800

64

HANNAH JENSEN (b. 1984)

Tulip

Carved Acrylic 90 x 65

Signed & dated 2008 verso

$5,000 - 8,000

69 ELVA BETT (1918 - 2016)

Piper

Screenprint 30.5 x 13.5

Signed, inscribed & dated 1963

$500 - 800

70

SARA HUGHES (b. 1971)

Scales of Economy

Screenprint on Fabriano paper

50.5 x 50.5

Signed, inscribed & dated 2008

$1,000 - 1,500

71 ROBIN WHITE (b. 1946)

On the Beach, Otago Peninsula

Screenprint, edition of 35

53.7 x 35.4

Signed, inscribed On the Beach, Otago Peninsula and dated October 1972

$6,000 - 10,000

In 1968, Elva Bett and her business partner Catherine Duncan opened the Bett-Duncan Gallery on Cuba Street, where they exhibited works of promising and established artists, and Bett held art classes.

Early exhibitions included pottery by Doreen Blumhardt and prints by Greer Twiss and Hamish Keith.

In 1976, Duncan left the gallery which subsequently became the Elva Bett Gallery. Art by emerging artists such as Tony Fomison, Philip Clairmont, Allen Maddox Rita Angus and Robin White were exhibited.

A

Signed & dated 1983

$8,000 - 12,000

72 ROBIN WHITE (b. 1946)

Beginner’s Guide to Gilbertise

Series of five woodcut prints & coversheet 17 x 21

73 FRANCES HODGKINS (1869 - 1947)

Pumpkins, 1952

Collotype, printed by Ganymed Press in 1952 50 x 70.5

Signed in plate

$3,000 - 6,000

74 MAUD SHERWOOD (1880 - 1956)

Still Life with Fuchsias

Watercolour 27.5 x 33

Signed

$1,500 - 2,500

Signed

79 HELEN STEWART (1900 - 83)

Still Life with Fruit

Watercolour & graphite on paper

28 x 35

$1,500 - 2,500

80 GWEN KNIGHT (1888 - 1974)

Untitled, Boats

Watercolour 36 x 47.5

Signed

$1,000 - 2,000

81 HELEN STEWART (1900 - 83)

Lowry Bay, Wellington

Oil on board 59 x 75

Signed

$2,000 - 4,000

82 PEGGY SPICER (1908 - 84)

Maori Life (Pair)

Oil on board 24.5 x 29 each Certificate of Authenticity attached verso

$1,500 - 2,500

83 IDA G EISE (1891 - 1978)

Muddy Creek, Waitakeres

Oil on board 39 x 50 Signed & dated 1941

$1,000 - 2,000

84 IDA H CAREY (1891 - 1982)

Red Parasol

Oil on canvas 60 x 44

$800 - 1,200

88 VIDA STEINERT (1906 - 99)

Nuns on the Beach, c.1965

Oil on canvas

49.5 x 56.5

$6,000 - 8,000

Vida Steinert was a modernist painter, whose work depicted life in New Zealand, specifically local people and landscapes. Steinert worked primarily in oils, watercolours and pencils. Based in Auckland, she became associated with painters Charles Tole, Bessie Christie & Helen Brown.

89

HELEN BROWN (1917 - 86)

Te Whaiti

Watercolour

45 x 51.5

Signed & inscribed

$1,000 - 2,000

90

HELEN BROWN (1917 - 86)

Mahurangi Peninsula

Oil on board 67 x 89

Signed & dated 1966

$7,000 - 10,000

91 JAN NIGRO (1920 - 2012)

Renaissance, 2011

Oil on collage on paper 55 x 67

Signed & dated 2011

$2,000 - 3,500

92 RUBY HUSTON (b. 1938)

Sultans I

Signed & dated 1998

$600 - 1,200

93 RUBY HUSTON (b. 1938)

Still Life With Green Apples

Oil on canvas 45 x 50

Signed & dated 1998

$600 - 1,200

94

GLENDA RANDERSON (b. 1949)

Jennifer, 1982

Oil on linen canvas 122 x 122

Signed

$8,000 - 12,000

97

95 ALICE WHYTE (1880 - 1952)

Boats, Auckland Harbour

Oil on board 39 x 52

Signed

$4,000 - 6,000

96 PATRICIA FRANCE (1911 - 95)

Untitled

Gouache on panel 29 x 31

Signed & dated 1978

$2,500 - 4,500

97

JOAN LINDSEY (b. 1926)

Seabirds No. 1

Oil on board 50 x 80.5

Signed & dated 1972

$1,000 - 2,000

98

JOAN LINDSEY (b. 1926)

Birds Waiting No.3

Oil on board 22.5 x 75.5

Signed & dated 1970

$800 - 1,200

99

Aphrodite

Watercolour 24.5 x 37.5

Inscribed verso Hop. 60

$300 - 500

100 GABRIELLE HOPE (1916 - 62)

Cat with a Fish

Watercolour and pastel

51.7 x 68.1

Signed

$800 - 1,200

Untitled

Acrylic on paper 46 x 36

Signed

$800 - 1,200

GABRIELLE HOPE (1916 - 62)

101 SYLVIA SIDDELL (1941 - 2011)

102

PIERA MCARTHUR (b. 1929)

Pas de Quatre at the Bolshoi

Acrylic, charcoal and oil stick

on paper 48.5 x 63

Signed, inscribed & dated 1990

$2,500 - 3,500

103

ANNIE BAIRD (1932 - 99)

Dunedin City 1987

Watercolour on paper 58.5 x 77

Signed & dated

$2,000 - 3,000

104 JANE EVANS (1946 - 2012)

Larks in Parks, Nelson Street

Theatre

Watercolour 52 x 72

Signed & dated 1981

$4,000 - 6,000

Lot

A. Lois White

Exhibition on view from 6 May

fran@artcntr.co.nz

09 3666 045

www.internationalartcentre.co.nz

Gabryel Harrison - Fleurs

Peonies Never Disappoint

Oil on canvas

91 x 91 cm

$6,500

Lot 12 Marti Friedlander Eglinton Valley, 1970

ABSENTEE BIDDING FORM

INTERNATIONAL ART CENTRE

202 Parnell Road, Auckland

Telephone +64 9 379 4010 Toll Free 0800 800 322

www.internationalartcentre.co.nz

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.

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 3pm day of sale Alternatively, visit our website www. internationalartcentre.co.nz and place absentee bids online or our bidding platform to participate in the auction live and remotely https://auctions.internationalartcentre. PLEASE DOUBLE CHECK

YOUR BIDS - Buyers are reminded that a 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

CONDITIONS OF SALE & A GUIDE TO BUYERS

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

The auctioneer has the right -

(i) to refuse any bid;

(ii) to advance the bidding at his absolute discretion;

(iii) to place a reserve on any lot;

(iv) to place a bid or bids on behalf of the seller;

(v) to withdraw any lot from sale;

(vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price.

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

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

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

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

Each lot shall be paid for and removed at the buyers expense by no later than Friday 10 May 2024 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction.

SUBJECT BIDS

When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES

Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre.co.nz before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security.

Absentee bids can also be left via our website to registered members. Our website www. 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. Uber deliveries within the wider Auckland area can also be arranged.

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)

Illustrated back cover: Lot 33 Louise Henderson The Green Boat Shed

Lot 39 Gretchen Albrecht Studies for Winged Spill