Issuu

THE FINE ART OF HELPIN G

An Auction of Fine Art to Benefit the Auckland Division Cancer Society of New Zealand, Inc

Left: Tarkay Catalogue No 87

Below: Corcos Catalogue No 37

An auction of investment-quality international art to aid the Auckland Divi sion Cancer Society of New Zealand , Inc

THE FINE ART OF HELPING

CATALOGUE

AN OFFERING OF WORKS OF ART BY EMERGING NEW ZEALAND ARTISTS AND OUTSTANDING EUROPEAN ARTISTS , INCLUDING IMPRESSIONIST MASTER PIERRE-AUGUSTE RENOIR, MODERN MASTER LAURENT SCHKOLNYK AND BELLE EPOQUE MASTER MANUEL ROBBE

FRIDAY 7th APRIL 1995 The auction is organised by

(jafe_rie .9L[tamira I nternati.ona[ !Jine .9l.rt 20 Fort Street

Auckland

Auction conducted by Peter Webb of Peter

Webb

Galleries

Limited

Estate and Fine Art Auctioneers & Valuers MGAANZ 18 Manukau Road , Epsom , Auckland. P O Box 99251 Telephone: (09) 524-6804 Fax: (09) 524- 7048

THE ART:

SOURCES AND SELECTION

The works of art included in this auction were selected and have been authenticated by Galerie Altamira, International Fine Art, Auckland. Careful collecting and investment criteria were applied in choosing the works to be included, among them: the artist's technical competence and reputation (including a record of successful exhibitions), the visual appeal of the work, and most importantly its quality , collectability, and value. Much of the art offered was chosen specifically for the auction by gallery directors and art experts as being the best of its type available from wide international sources, or comes from the high-quality inventory maintained by Galerie Altamira. In addition, several pieces (among them the Renoir etchings Femme Nue Assise and Femme Nue Couchee, and the Guillaumin Vue pres de Saardam) were obtained directly from the estate of a noted overseas collector of Impressionist works. The aim has been to offer a broad representation of fine art by outstanding artists and make available, at the best possible pnces, works that can be enjoyed and owned with pride for many years.

All the works have been framed to the highest standards using the finest materials available and proper conservation techniques. The art is in contact with only acid-free paper.

Front cover: Conflans Ste Honorine by Manuel Robbe, c. 1927. Catalogue number 49

Back cover: Porticciolo by Mario Soave, 1994 Catalogue number 16

Cancer Society

The Auckland Cancer Society is very pleased to be the beneficiary of this art auction organised by Galerie Altamira, The Fine Art of Helping. The nett proceeds from this auction will go towards maintaining the Society's research and health education programmes and its patient support services throughout Auckland and Northland. We would like to thank Peter Webb for his services as auctioneer and Aotea Gallery for displaying the art works prior to the auction. We feel confident that this Charity Art Auction will become a feature event in Auckland. Thank you for your attendance, for your support of the Society, and for helping to make this evening a success.

( '; r

LVil L Clark IDENT

Auckland Division Cancer Society of New Zealand Inc. 41 Gillies Avenue, Auckland 3. P.O . Box 1724, Auckland • Telephone (09) 524-0023 • Fax {09) 520-0901

1 TORM Fernando 1991 Spring Flower 375 x 298mm Etching in colour with embossing, Signed on German etching paper. in pencil and numbered, 238. From the edition of 250 (several trial proofs with colour and background variations also exist).

5 Pont

St Andre

2 Madeline SCELLIER 1989 Danielle 736 x 266mm colour. in lithograph Original 69. numbered, and pencil in Signed From the regular edition of 250 (several artist's proofs also exist).

5 Rolf RAFFLEWSKI c. 1990 Pont St Andre 180 x 260mm Original lithograph in colour on Signed in pencil, Arches paper. annotated "HC" (hors commerce) From the hors and numbered, 21. commerce edition of 25.

3 Pierre MAS Small Boat in River 251 x 178mm Original lithograph in colour on Signed in pencil and Lana paper. From the regular numbered, 382. artist's (several of 450 edition proofs also exist).

6 Merle IZARD April 736 x 165mm colour. in lithograph Original Signed in pencil, titled and numFrom the regular edibered, 442. tion of 500 (50 artist's proofs also exist).

Pierre MAS Two Small Boats 173 x 254mm colour. in lithograph Original numbered, Signed rn pencil and 383. From the regular edition of 450 (35 artist's proofs also exist).

Urbain HUCHET l 990 Rue Lepic 230 x 310mm Original lithograph in colour on Arches paper. Signed in pencil and From the regular numbered, 72. edition of 360 ( 40 artist's proofs also exist). Created at Aloys Litho, Paris.

Francis D' ARGUIN The Lagoon 1991 576 x 440mm Original lithograph in colour on BFK Rives paper . Signed in pencil and numbered , 122. From the regular edition of 250 (some artist ' s proofs al so exi st).

Pablo PICASSO Bullfighter 260 x 370mm Limited edition colour reproduction from Picas so Toro s y Toreros , Editions Cercle d' Art , 1961. Printed in France. Literature: 'Pi casso ' by Patrick O ' Brian , London , 1976. The works by Picasso in the auction were reproduced in outstanding quality in (and taken from) a publication he and the bullfighter Luis Miguel Dominguin collaborated on, Toros y Toreros. Long before it was produced, Picasso had spoken about a book on an unspecified subject that he was going to publish sometime, and he had said he would like his friend to contribute to it. Eventually, Dominguin wrote an introduction that detailed the nature of the bullfight; Picasso's part was the reproduction of three of his sketchbooks, with all his hesitations, corrections and annotations, together with 16 additional sepia drawings. With .a few exceptions, all of the plates are to do with bullfighting.

In cooperation with Picasso these facsimile editions were produced from the sketchbooks and incorporated into Toros y Toreros, and they stress admirably the manual effort that remains a necessary condition of all artistic creation. Picasso did not sign his work believing that nobody could doubt that it was his genius they were looking at - but was meticulous about dating the images. The sketchbooks were crteated between June 13, 1957 and July 15, 1959, and this work was created towards the end of his labours, July 10, 19 5 9.

Here he depicts the actors in the drama of the fight the ominous bulk of the bull, the peacock-proud and attired bullfighter, the movement in the ring all communicated with an extraordinary economy of means. The gored fighter is thrown by his massive adversary, his confusion and pain beautifully suggested by the red-orange swirls that trace his flight.

10 Pierre MAS Solitude 540 x 387mm Original lithograph rn colour on BFK Rives paper. Signed in pencil and numbered , 171. From the regular edition of 350 (several arti st ' s proofs al so exist) .

Jean-Claude PICOT Paris les Quais 1990 223 x 320mm Original lithograph 10 colour on Arches p aper. Signed in pencil and numbered , 76 . From the regular edition of 250 (2 0 arti st 's proofs also exist) . Created at Aloy s Litho , Paris. The brilliant light of the Mediteranean ports and lively quarters of Paris have been subjects often repeated by artists through the centuries. Jean-Claude Picot has created a body of outstanding works in colour lithography that focus on these subjects, and seven of those works are included in the auction. The influence on the work of Picot is that of the Fauves notably Dufy, Soutine, Vlaminck, Matisse and even von Dangen. His works centre on the people, the beaches, the weather, the feeling of the places he loves, and show clearly his great ability to set mood and feeling through his strong Fauvist use of colour. His landscape works arrive at an ideal vantage point. Each work is perfectly composed and the scene seems to fall into place: There is just the right balance of subject and colour.

12 Linda LE KINFF Serenade 1994 240 x 332mm Original seri graph in colour on wove paper. Signed in pencil and numbered , 301. From the edition of 350 (50 arti st 's proofs al so exi s t). The work of Linda Le Kinff has quickly become enormously popular in Europe, Ja pan and the United States, and there is now growing enthusiasm in Australia for her work. This is the first time her serigraphs have been available in New Zealand, and there has been considerable interest in them. Le Kinff has paid tremendous dues to now become an "overnight" success: Over many years she has studied the art of a number of countries and acquired mastery in a number of techniques -including lithography, gold leaf, tempera, sand and sumi, watercolour and serigraph. Her sensual, flowing lines and the elegance of her models show clearly the influence of Matisse and Modigliani, but in the works included in the auction she shows her own individuality - her skill and gift for expression in a unique and special way. She is a very collectable artist.

13 The Lute

13 Charles COBELLE The Lute 380 x 762mm Original lithograph in colour. Signed in pencil and annotated , "AP". small artist ' s proof edition (aside from the regular edition).

From the

Over a period of about five years, when already in his 70s, Charles Cobelle was commissioned to produce a series of lithographs some 50 years after he first studied at France's prestigious L'Ecole des In Paris he had served as an apprentice to Raoul Dufy Beaux Arts. Primarily a painter (and as a and was also taught by Marc Chagall. result with far less exposure than many graphic artists of today) his total output of graphic work has been less than 30 editions. The works are lyrical and often whimsical studies of a Paris that Cobelle lived in and loved when he studied art and began his career In The Lute, the artist uses the open line as a painter in the 1920s. A gentle evening light is erework. his drawing that characterises ated that seems to be a preview for the performance to begin. The Floating figures in the background and a duet are in a rehearsal: A gaiety and promise of prominent equestrian herald the event. success are conveyed in this soft, wonderful work.

14 Andre BARDET The Marina 1994 463 x 384mm Original serigraph in colour on wove paper. Signed in pencil and numbered , 285. From the regular edition of 350 (50 artist ' s proofs also exist).

15 Ananas 15 Laurent SCHKOLNYK Ananas [Pineapple] 1986 235 x 175mm Original mezzotint in colour, using three plates. Signed "Schkolnyk" in pencil lower right and annotated, " AP". One of only a few artist ' s proofs. Sold out. The total regular edition , also sold out, numbered 50. New Zealand Herald art critic T J McNamara described Schkolnyk as "highly skilled in this demanding technique. His mezzotints not only have the velvety quality characteristic of the medium but also are coloured and show appealing subtlety in the delicate shades of colour achieved." The purchaser of this work art will receive a Certificate

of of

Authenticity and a package of material about informational the artist.

16 Mario SOAVE Porticciolo [The Small Wharf] 1994 500 x 1015mm Acrylic on canvas. Signed lower left. Titled and authenticated by Literathe artist on the reverse. ture : 'Soave: Ai Limiti dell ' irrealta,' Edizioni Quarto Platano, Forte Dei Marmi , 1989.

Mario Soave is one of the major featured artists in the auction. He works in an 'open' studio to which the public have access and it is not unusual for there to be a dozen or more people following his every brush-stroke. His work has a strong reputation achieved and in December, 1994, he was recommended by the again Class magazine as an Italian artist whose work is an excelinvestment. lent 17 Mario SOAVE Collina Toscana [Tuscan Hill] l 994 250 x 397mm Original serigraph in colour, on heavy stamped Istituto Grafico Italiano paper, with printed plate overlays and hand re-touching by the artist. Each original is created from a maximum edition of 150 and is individualised so that no two are the same. Signed in pencil , and bearing the annotation " Retouche." Literature: ' Soave: Ai Limiti dell' irrealta, ' Edizioni Quarto Platano , Forte Dei Marmi, 1989.

18 Pierre-Auguste RENOIR (1841-1919) Sur La Plage, a Berneval [On the Beach at Berneval] c.1892 140 x 95mm Original etching, third state of three. Signed "Renoir" in the plate, lower right. Fine impression from a limited posthumous edition. In the first (extremely rare) state there is a bather in the right middle portion just outside of the composition. Renoir removed that portion from the second and third states. Literature: ' The Graphic Works of Renoir,' Catalogue Raisonne, by Dr Joseph G. Stella. Image 5. Also ' Le Peintre-Graveur Illustre (XIX et XX siecles),' by Loys Deltiel, Volume 17, Paris , 1923. Renoir created three "versions" of this etching, which shows two young girls, with fresh summer dresses and pretty hats, seated on the beach watching a group of bathers in the water. (He had begun to explore the theme of young girls and hats some time before he created this work, and it remained a favourite with him for the rest of his life). In 1888 he had succumbed to his first attack of arthritis, which was to cripple him for the last 20 years of his life, and for the next five years his output of work dropped to a low ebb due to the uncertainty he was struggling to overcome in his attempts to form a new style. Thus in 1891 he wrote: "Four days ago I was 50, and that's a bit old for a man to be seeking the light ... " During this period of disillusionment he spent a great deal of time with Berthe Morisot; they frequently worked together, and it was at about this time the etching was completed. The two models for the work were Berthe Morisot's daughter, Julie Manet, and her cousin, Paule Gobillard. Julie featured regularly as a model in her mother's paintings and later became a quite accomplished artist herself. When Berthe died Julie went to live with Paule and her sister Jeannie. Paule (who also became a reasonably successful artist) was 12 years older than the other two girls and was almost a 'maiden aunt' figure to the two, watching over Julie and Jeannie for many years.

The purchaser of this etching will receive a Certificate of Authenticity and a package of informational material relating to the work, including a background on the subject matter, ill us tratio ns of related works, excerpts from Stella (above) and an article on Renoir's graphic works by Nigel Lambourne.

19 Laurence WRIGHT Dianne 1994 510 x 390mm Acrylic and impasto on panel. Signed and dated by the artist. The Whanganui-based artist now paints full-time; he is selling his work on a regular basis, but this is the first time his art has been offered in Auckland. Wright studied art in his early years, before becoming an engineer, but returned to his first love some years later and has painted consistently since then. Dianne owned the garden in which he spent a lot of time painting.

20 Manuel ROBBE Port de Midi Date unknown [Port at Midday] 218 x 318mm Original aquatint in colour, handpainted by the artist. Signed in pencil by Robbe with his pseudonym "A Lafitte" lower right. Literature: 'Manuel Rabbe: JOO Colour Aquatints, ' Volume I, and ' Manuel Rabbe: 104 Colour Aquatints , ' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: 'Manuel Rabbe: From Impressionism to Symbolism, ' by Schwartz and Kirschen, Galerie Michael, 1987. Also: ' Belle Epoque,' by Victor Arwas, Academy Editions , London , 19 7 8 .

Robbe is a master, and the works included in this auction have been described by New Zealand Herald art critic T J McNamara as "stylish and of great quality and charm, [extending] our knowledge of Robbe's work hitherto seen only in the superb print 'The Duet' in the collection of the Auckland City Gallery." He devised a special method of creating his works of art colouring a la poupee. This involved creating a plate and then with a brush painting it with all the colours simultaneously, to produce a single work. He painted exactly in the style of an artist applying oils to a canvas, producing a soft wash effect in the manner of watercolour. The plate had literally to be repainted to create each image; each work is an original, hand-painted by Robbe, and each is thus different and unique. Wars, floods, fires, vandalism, lack of care and inadequate storage have significantly reduced the number of works of art by Robbe that still exist. But it was only necessary that just one piece survive to establish him as one of the great masters of his craft.

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of informational material relating to the artist and his work.

2 1 Itzchak TARKA Y Lady in Repose 1993 387 x 292mm Original seri graph in colour on Coventry paper. Signed in pencil and numbered , 300. From the regular edition of 350 (35 arti st 's proofs also exi st) . Literature: ' /t zc hak Tarka y : Th e Park West Edition s,' Vol 17, Issue 1, " An Insider ' s Guide to Fine Art Collecting." 1993.

Joseph Jacob 's fascinating sessment of Tarkay and work.

ashis

In the book referred to, Joseph Jacobs, Curator of Painting and Sculpture at The Newark Museum, writes: "In contrast to the works of so many of his contemporaries, it will be impossible to look back on [Tarkay's] work in the twentyfirst century and describe it as dated... He makes the art of the future - the art that lasts and holds up to the test of time." His command of the serigraph process is clear from the works included in the auction: Tarkay works with layers and layers of pigment. The pigment is applied not with a brush but squeezed through a fine screen, and we can see and feel the three-dimensionality: it can be immediately seen that the way he applies the ink virtually transforms the serigraph into a painting.

The purchaser of this work of art will receive a Certificate of Authenticity and a copy of the book 'ltzchak Tarkay: The Park West Paintings," published in 1994, as well as a full copy of

Femme

des

Lettres

22 Avio MATTIOZZI La Femme des Lettres 1989 [The Woman of Letters] 800 x 1250mm Oil and tempera on wood. Signed by the arti st.

As in Cubism and also in Surrealism , at the heart of this work is the quest for "representation of the image through other images and of form through other forms." Letters of the alphabet, which usually combine to create other messages, here create the image of

They are woven toa woman. strong and light in gether colours, their new shapes intertwining to form a stunning collage.

A vio work, the create To to wood on draws Mattiozzi To establish the basic image. give a three-dimensional effect the wood is cut, following the Each image, into many pieces. piece is then painted to enhance the perspective and the work is recreated in its final form.

23 F ANCH (Francois Ledan) 1991 Cocktails in Florence 370 x 290mm Original lithograph in colour on Signed in pencil and Japon paper. numerals , Roman in numbered LXXXVI. From the deluxe edition of 100 (10 artist ' s proofs also exist). d ' Art Atelier the at Created Desjobert, Paris.

talexceptionally an Fanch, ented and creative artist, now lives in the United States but in work graphic his creates Paris, where he spends a part He was accepted of each year. Desjobert, where Atelier the by were created, in works these It is ranked today by 1987. many as the finest lithographic Atelier in Europe and perhaps and still employs the world conand pressman same the ductors who in the past worked Their with Miro and Chagall. chop on a lithograph is conmark international an sidered

excellence.

The idea Fanch had for the this selected for works three emphasise to was auction drawing; they also clearly demabilremarkable his onstrate careity and demonstrate the ful attention he pays to even In the most minute details. an inside us puts he work, this apartment in Florence and captures the mood in a sensual and yet romantic way.

bird two of the peace The framing and narrowing scenes the view balances the striking focal point, the striped tableThe stripes lead us becloth. the and balustrade the yond water below to the city in the by the background, dominated use, The church. dome of the then, of colour gradation in the sky above the distant hills -an creand effective extremely lithographic of the use ative work and the process - softens seals the mood.

24 Giulio CORCOS Vele [Sails] Cup [America's titled: Also 1994 Yachts on the Waitemata] 700 x 900mm Signed lower left. Oil on canvas. Authenticated and dated by the artist on the reverse. Corcos visited New Zealand and Australia to experience the light, life, colour and atmosphere of the countries - and upon his return to

Vele

Italy painted several images that, for him, captured certain essences of the South Pacific. He became fascinated by the movement of racing yachts and the sense of motion, and the contrast of colours was captured by him in this powerful and striking work.

25 Manuel ROBBE La Preparation de Naviguer [Preparing to Sail] Date unknown 460 x 584mm Original aquatint and etching in colour, hand-painted by the artist. Signed by Robbe with his pseudonym "A Lafitte" lower right. Literature: 'Manuel Robbe: 100 Colour Aquatints,' Volume I, and 'Manuel Robbe: 104 Colour Aquatints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: 'Manuel Robbe: Froni Impressionism, to Symbolism,' by Schwartz and Kirschen, Galerie Michael, 1987. Also: 'Belle Epoque,' by Victor Arwas, Academy Editions, London, 197 8.

Robbe's career was already well-established by 1900, when his art received a medal at the Paris World's Fair. He enjoyed success and popularity, was a regular exhibitor at the most important Paris art shows, and his works were very favourably reviewed in the press. Most important of all in establishing him as a highly collectable artist, though, was his acceptance by the influential art dealer Edmond Sagot. By this time Robbe had developed a fascination with harbours - he loved to capture the many activities and he recorded with rare skill the remarkable effects of light on his settings. Here, as the port begins to come to life and a fisherman rows to his boat to get ready to sail, the whole scene is lifted and enhanced by the way in which Robbe uses the soft early-morning light to convey the calm, the peace and the shimmering beauty of the day's start.

The purchaser of this work ( catalogue number

Preparation

Robbe 25)

Naviguer

will receive a Certificate of Authenticity from the leading auhis on Australasia thority in oeuvre, and a package of inrelating material formational to the artist and his work.

26 Laurent SCHKOLNYK Eternite [Endlessness] 1994 175 x 235mm Original mezzotint in colour, using three plates. Signed " Schkolnyk" in pencil lower right and numbered , From a total edition of 80. 47 . Hand-pulled by the artist in Nante s, France. Literature: ' Th e Mezz otint: History and Tec hniqu e,' by Carol Wax , Thames & Hud son , London , 1990 . The purchaser of this work of art will receive a Certificate of Authenticity and a package of informational material about the artist.

27 PICOT Jean-Claude 1990 Mandelieu 235 x 310mm Original lithograph m colour on Arches paper. Signed m pencil and annotated , " AP19 " . From the artist ' s proof edition of 20 , aside from the regular edition. Created at Aloys Litho , Paris.

28 Mario SOAVE Strada di Campagna [Country Road] 1994 500 x 1015mm Acrylic on canvas. Signed lower left. Titled and authenticated by the artist on the reverse . Literature: ' Soav e: Ai Limiti dell ' irrealta, ' Edizioni Quarto Platano, Forte Dei Marmi , 1989. 29 Jeremy KING Kings end 1994 330 x 450mm Original lithograph in colour on wove paper. Signed in pencil and numbered 330. From the regular edition of 3 30 (10 hors commerce al so exist).

30 Karen BUTTERWORTH Catharsis I 1995 770 x 980mm Signed by the Charcoal on paper. arti s t. Karen Butterworth was this year's winner of the prestigious Molly Morpeth Canaday Trust Open Art A ward. Her charcoal drawing won over all the paintings in the competition, and as a result she was commissioned to produce two works expressly for this auction.

These drawings are executed in an expressive manner, conveying feelings ranging from delicacy to aggressive strength. Experimentation with layers of meaning indicated through variation in scale and dynamic

Strada

Campagna

movement in space contrasted with a sense of inertia enriches the impact of the works. The tonalities of the charcoal and sureness of line underscore the artist's intentions.

seated in his saddle, ready to enter the tournament - a Don Quixote who seems to have found a new part to play. He will be handed his lance and then try to calm his nerves for a moment before he faces the b u 11.

3 1 Linda LE KINFF Afternoon 1994 270 x 350mm Original serigraph in colour on wove paper. Signed in pencil and numbered , 297. From the edition of 350 (50 artist ' s proofs al so exi s t ).

32 Pablo PICASSO Picador 260 x 370mm Limited edition colour reproduction from Picasso Taros y Tor e ro s, Edition s Cercle d ' Art , 1961. Printed in France. Literature: ' Pi casso' by Patrick O ' Brian , London , 1976 . The mounted bullfighter (the picador) is at the gates that lead into the ring, proudly

In spite of the speed of execution, Picasso's realism is always breathtaking. Dominguin, a famous bullfighter and Picasso's collaborator on Toros y Toreros, was struck by the truthfulness of the work: We are treated to a view that the picador must often experience just before he enters the ring. The splendour of the attire is brilliantly captured, highlighted with colour crayons, and the whole scene sets the mood exactly: The tension and the quiet just before the drama of the fight.

Chemin

Apres-Midi

33 Charles COBELLE Lovers The 571 x 870mm colour. in lithograph Original Signed in pencil and numbered, 298. From the regular edition of 500 (50 artist's proofs also exist). constant obviously most The element in Cobelle's art is his happiness, an ability gift for to produce works that transand inspire viewer, the port Lovers constantly seek uplift. embrace, caress other, each and float through the air, surflowers flowers; by rounded everyabound foliage and where. In this work, Cobelle's lovers the across gracefully move Paris sky, borne by a horse, as the life of the city continues But it is not the beneath them. city of today - rather a sedate and peaceful time; symbolising early ethereal floating, the

Elegantlydays of new love. a as pose figures dressed moves carriage horse-drawn past the Arc de Triomphe, used the convey artist to the by Paris. of timelessness The charm and fancifulness of the spectacle is heightened by the intrusion of a guitar (music is the language of love), the mythical a figure, floating creature and the profusion of Cobelle literally tells flowers. a story in each part of this litholarge-format wonderful graph.

34 Manuel

ROBBE Apres-Midi en Chemin [Street in the Afternoon]

Date unknown 438 X 592mm Original aquatint lil colour, handpainted by the artist. Signed 111 pencil by Robbe with his pseud

onym "A Lafitte" lower right. Numbers appear in the lower left margin, but their purpose is not clear. Literature: 'Manuel Robbe: JOO Colour Aquatints,' Volume I, and 'Manuel Robbe: 104 Colour Aquatints,' Volume II, by Perussaux and Kirschen , Merrill Chase Galleries, 1979 and 1980. Also: ' Manuel Robbe: From Impressionism to Symbolism,' by Schwartz and Kirsch en, Galerie Michael, 1987. Also: 'Belle Epoque, ' by Victor Arwas, Academy Editions, London , 19 7 8. New Zealand Herald art critic T J McNamara wrote of Robbe: "[He] was one of a group of artists who wanted to move colour printmaking away from reproductions of painting and establish it as an art in its own right. Yet they wanted to preserve painterly effects. "To achieve this, Robbe used brilliantly sophisticated techniques of aquatint etching. Not only were the plates etched in acid, they were also worked with a brush, and each print was slightly differ-ent and therefore unique. The effects gained can be beautiful when rendering the play of light on water and landscape." In this wonderful work, the play of light is quite extraordinary; viewed from a distance, the light seems clearly to be from a ray of sun coming from outside the scene: Robbe is again demonstrating his amazing ability to select (and record) appropriate moments

of the day when the light perfect create to exactly effect he wanted.

was the

A famous critic of the time, Gabriel Mourey, described in 1903 how the foreground of the picture was created: "he [using] excels by a curious, hard wiping which brings up the grain of the paper, making it velvety, grey and mysterious ... "

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of promotional material relating to the artist and his work.

35 Jean-Claude PICOT Antibes l 990 230 x 328mm Original lithograph in colour on Arches paper. Signed in pencil and numbered, 16. From the regular edition of 250 (20 artist's proofs also exist). Created at Aloys Litho, Paris.

36 Laurent SCHKOLNYK Clair de Bleu [Pale Blue Light] 1990 178 x 238mm Original mezzotint rn colour, usrng three plates. Signed "Schkolnyk" in pencil lower right and numbered, 1. From the total edition of 55. Hand-pulled by the artist in Nantes, France. Literature: 'The Mezzotint: History and Te chnique,'

by Carol Wax, Thames & Hudson, 1990. London,

The purchaser of this work of art will receive a Certificate of Authenticity and a package of about material informational artist. the

37 Giulio CORCOS Pescatori 1992 [The Fishermen] 500 x 700mm Oil on canvas. Signed lower left and Authenticated and dated by dated. Exhibithe artist on the reverse. Esposto a Parigi, Al Grand tion: Palais, December 1992.

Pescatori

38 Armand GUILLAUMIN 1919) Vue Pres de Saardam [View near Saardam]

(1841-

1906

140 x 197mm Initialled Original colour etching. "AG" in the plate lower right. A beautiful and valuable work; from the rare, lifetime deluxe edition. Literature: fewer. or 100 Peintres des 'L'Histoire Theodore by Impressionnistes,' Duret, Paris, 1906.

Vue

Pres

Saardam

39 Mario SOAVE Campo di Pane [Field of Wheat] 1994 292 X 292mm Acrylic on terracotta tile. Signed lower centre. Titled and authenticated by the artist on the reverse. Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

40 Urbain HUCHET Jardin du Luxembourg 1990 230 x 330mm Original lithograph rn colour on Arches paper. Signed in pencil and numbered, 58. From the regular edition of 3 60 (40 artist's proofs also exist). Created at Aloys Litho, Paris.

4 1 Manuel ROBBE Port en Crepuscule [Port at Twilight] Date unknown 220 x 320mm Original aquatint in colour, handpainted by the artist. Signed by Robbe with his pseudonym "A Lafitte" lower right. Literature: 'Manuel Rabbe: JOO Colour Aquatints' Volume I, and 'Manuel ' Rabbe: 104 Colour Aquatints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: ' Manuel Rabbe: From Impressionism to Symbolism,' by Schwartz and Kirschen, Galerie Michael, 1987. Also: 'Belle Epoque , ' by Victor Arwas, Academy Editions, London, 1978.

This is a small masterpiece. Very few artists have had Robbe's ability to portray so consistently and with absolute perfection, the sea, the sky, the clouds, and the play of light and he loved showing his extraordinary skills. Here he captures perfectly the darkening day as smoke from the returning boats drifts across to haze the city in the background - but the scene is made also vibrant and alive by a wonderful splash of colour as the dying sun's last rays set alight the sail of the small boat.

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of informational material relating to the artist and his work.

42 ltzchak TARKA Y Tranquility V 1993 387 x 292mm Original serigraph in colour on Coventry paper. Signed in pencil and numbered, 332. From the regular edition of 350 (35 artist's proofs also exist). Literature: '/tzchak Tarkay: The Park West Editions,' Vol 17, Issue 1, "An Insider's Guide to Fine Art Collecting."

All of Tarkay's images strike the same note: a haunting, meditative stillness which is lush, sensuous and ethereal. His oeuvre is dominated by pictures of women who are exceptionally well-dressed and seated in lavish interiors or on terraces. Nothing moves. Even when there are two or more women in the same scene, there is no physical connection between them. They sit or lounge in silence; there is no dialogue or eye contact. There is a sense of isolation which is at odds with the wealth of fine materials in which they are immersed. There is the promise of riches of lush fabrics, furniture, clothing, paintings, expensive food and drink - all of which is in a sense symbolised by the rich, red, sensuous lips of his female sitters. These women have the world's delights at their fingertips. But these riches do not seem to matter. Time prevails over the material world.

This powerful psychology that deals with the transience of the material world is reinforced by Tarkay's handling of the serigraph process. The artist's message is so powerful because of his ability to create rich, sensuous textures, a deep saturated palette and extremely complex but harmonious compositions. His command of the medium can be readily seen in the three works included in the auction. The purchaser of this work of art will receive a Certificate of Authenticity and a copy of the book 'ltzchak Tarkay: The Park West Paintings,' published in 1994, as well as a full copy of Joseph Jacob 's fascinating assessment of Tarkay and his work. 43 Laurent SCHKOLNYK Hommage a Galle [Tribute to Galle] 1988 175 x 232mm Original mezzotint in colour, usrng three plates. The images were scraped and burnished on grounds prepared with a 65-gauge rocker and printed with yellow, magenta and cyan ink on Rives BFK white paper. Signed "Schkolnyk" in pencil lower right and numbered, 30. Hand-pulled by the artist in Nantes, France. Literature: 'The Mezzotint: History and Technique,' by Carol Wax, Thames & Hudson, London, 1990.

This work production ferred to,

was in the

chosen for rethe book redefinitive publi

cation on Mezzotint. on page 266.

It appears

The purchaser of this work of art will receive a Certificate of Authenticity and a package of informational material about the artist. 44 Laurent SCHKOLNYK Eventails [Fans] 1988 175 x 232mm Original mezzotint in colour, using three plates. Signed "Schkolnyk" in pencil lower right and numbered, 55. From a total edition, sold out, of 55. Literature: 'The Mezzotint: History and Technique,'

43 Hommage a Galle

Eventails

by Carol Wax, Thames London, 1990.

& Hudson,

The purchaser of this work of art will receive a Certificate of Authenticity and a package of informational material about the artist.

45 Femme Nue Couchee 45 (1841-1919) RENOIR Pierre-Aug uste Couchee (Tournee a droite) Femme Nue planche 2e c. l 906 [Nude Female on Bed] 139 x 198mm Very rare original etching using sanguine colour on Japan paper, only state. 'The Literature: Excellent impression from the small, deluxe lifetime edition. Image Graphic Works of Renoir,' Catalogue Raisonne, by Dr Joseph G. Stella. 'L 'His to ire des Peintres-Im pressionnist es,' by Theodore Duret, Paris, 14. Also: 1906. Also: ' Die Impressioni sten ,' by Theodore Duret, Berlin, 1909. Also: cover for 'Renoir, Peintre du nu,' Preface, Paris, Bernheim-Je une , 1923.

In the summer of 1894, Pierre-Aug uste and Aline Renoir's son, Jean, it's a reguwas born - to the father's exclamation : "What a mouth; was living Renard, Gabrielle At the time, Aline's cousin, lar oven!" with the family at their home in Cagnes-sur -Mer in the South of She had gone there from Eyssoyes a few months before to France. help with the preparation s for the birth, but planned to work as a nursemaid for only a short time. Renoir, though - who often used his servants as models for his paintShe did, and became his favourite ings - asked Gabrielle to stay on. She remained as a member of and most frequently- used model. She was the model for his Renoir's inner family circle for 20 years. much taken with painting 'Female Nude on a Couch,' and Renoir then created the etchings of Gabrielle. the work

The purchaser of this etching will receive a Certificate of Authenticity and a package of information al material relating to the work, including illustrations of the three etchings, a colour print of the and an (above) Stella excerpts from painting that inspired them, article on Renoir's graphic works by Nigel Lambourne.

46 Amanda LEAR The Olive Grove 480 x 590mm Original lithograph in colour on BFK Rives paper. Signed in pencil and numbered , 140. From the regular edition of 250 (some artist's proofs also exist).

Cafe

Oscar

47 Isaac MAIMON Cafe Oscar 1988-89 527 x 645mm Original serigraph in colour on Arches paper. Signed in pencil and numbered, 1. From the regular edition of 275 (several artist ' s proofs also exist). 48 Jean-Claude PICOT Marc he aux Fleurs Rue d' Antibes a Cannes 1990 343 x 490mm Original lithograph in colour on Arches paper. Signed in pencil and numbered , 87. From the regular edition of 250 (20 artist's proofs also exist). Created at Aloys Litho , Paris.

49 Manuel ROBBE Conflans Ste Honorine [St Honorine Canal] c. 465 x 610mm

1927

*** The work is illustrated on the front cover of this catalogue *** Original aquatint rn colour, and drypoint with roulette, handpainted by the artist. Signed in pencil "Manuel Robbe" lower right. There is a slight crease in the paper, top right. Literature: ' Manuel Rabbe: 100 Colour Aquatints,' Volume I, and 'Manuel Rabbe: 104 Colour Aquatints, ' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries , 1979 and 1980. Also: ' Manuel Rabbe: From Impressionism to Synibolism ,' by Schwartz and Kirschen, Galerie Michael , 1987. Catalogues: ' Manuel Rabbe: 104 Colour Aqua tints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1980. Image 186. Also: 'Manuel Rabbe: From Impressionism to Symbolism.," by Schwartz and Kirschen, Galerie Michael, 1987. Image 156.

After World War I and until his death in 1936, Robbe did not create a lot of work. Because he had achieved fame himself as one of the greatest of peintres-graveurs, other wellregarded artists sought his help to create their works, and he busied himself with assisting them for most of the remainder of his life. When he did though, he was

create himself, even more

evident painstaking and it is from the quality that he has achieved in this work that he It has took special pride in it. all the hallmarks of an outand is standing watercolour one of the great works of his late period. Both of the major art catalogues dealing with Robbe's work feature St Honorine Canal. It was also praised by New Zealand Herald art critic T J McNamara as "a lovely work" and was selected as one of two Rob be masterworks to illustrate his major exhibition in the United States. It is an extraordinarily appealing piece, with a softness that makes it unique. The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of informational material relating to the artist and his work.

50 Mario SOAVE Milford Beach Rangitoto from 1994 500 x 700mm Acrylic on board. Signed lower left. Titled and authenticated by the artist on the reverse. The work was painted during a visit to New Zealand by the artist in February, 1994. Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989. The purchaser of this work of art will receive photos, taken by the

artist, that were used in the composition of the painting.

Rangitoto

from

Milford

5 1 Anita BERMAN Daffodils 1994 460 x 660mm Watercolour on paper. the artist.

Beach

Signed by

After a long background in the textile arts, New Zealand er Anita Berman first explored the possibilities of watercolour painting in England during 1991-93. Her miniature textiles had won numerous awards, been published in books and magazines and exhibited and sold in many countries, and she was seeking new challenges. Her watercolours particularly her images of flowers have since become very popular, and recently the Cancer Society selected two of her daffodil paintings to reproduce on its cards. In her flower paintings, Ms Berman creates a

spontaneous wild look - as the blooms would be found in their rather than natural habitat This neatly arranged in a vase. work was inspired by the dafin Cornwall. fodils

52 Manuel ROBBE Les Bineurs, Ou Les Becheurs [The Diggers] 1905 355 x 298mm Original aquatint rn colour with Signed in ink " Manuel roulette. Robbe" on the image , top left. Very rare; few other impressions , if any. This is believed to be the original impression and was hand-painted ' Manuel Literature: by Robbe . Rabbe: JOO Colour Aquatints,' VolI 04 ume I, and 'Manuel Rob be: Colour Aquatints,' Volume II, by Kirschen , Merrill and Perussaux Chase Gallerie s, 1979 and 1980. Also ' Manuel Rabbe: From Impressionism to Sy mbolism, ' by Schwartz Michael, Galerie Kirschen, and 1987. Also: ' B elle Epoque, ' by Victor Arwas, Academy Editions, Lon' Manuel don , 1978 . Catalogue: Rabbe: I 04 Colour Aquatints,' Volume II , by Perussaux and Kirschen. Merrill Chase Galleries , 1980. Im144. age

Like the Barbizon and Realist him, preceded who artists accurate an maintained Robbe awareness of rural life and crearound works powerful ated appealed which themes those to a broad spectrum of people. In several outstanding prints of which this is one of his he concentrated on greatest with associated activities the

work: among them, figures digging in the field, intentionally suggestive of earlier images of Barbizon master, famed the Millet. Jean-Francois Masterworks of this quality are rare and very rarely available. The Diggers was created and painted by Robbe at the very peak of his career and is an outstanding example of his finest work.

a will receive purchaser The Authenticity of Certificate the leading authority in from oeuvre, Australasia on Robbe 's and a package of informational material relating to the artist and his work.

52 Les Bineurs, Ou Les Becheurs

.\)

.....,.._,, . ,.,..,~~ ·\

'(_'

Femme

Nue

53 (1841Pierre-Auguste RENOIR 191 9) Assise Nue Femme c.1906 [Seated Female Nude] 188 x 149mm Original soft ground etching on Rare. Holland paper, only state. Outstanding impression from a lifetime edition and an excellent example of Renoir's graphic mastery. Literature: 'The Graphic Works of Renoir, ' Catalogue Raisonne, by Dr Joseph G. Stella. Image 12. Also: Peintres des 'L 'Histoire Theodore by ' , Jmpressionnistes Also: Duret, Paris, Floury , 1906. 'Die Impressionisten,' by Theodore Duret, Berlin, B Casirer, 1909.

Assise

It was on Renoir's first trip to Italy in 1881 that he painted the first version of his 'Blonde later he which from Bather,' this for inspiration the drew He etching. outstanding the painted have to claimed picture in the open air on a boat in the Bay of Naples, and the model is Aline Charigot, his accompanied who wife, future him to Italy. Pompeiian the by Impressed wall-paintings he had seen in Naples and the Raphael frescoes he had admired in Rome, timeless, a attempted Renoir

idealised and monumental treatment of the female nude in 'Blonde Bather.' It marked a turning-point in the artist's development and proved to be the prototype for his many later depictions of the female nude. He executed this soft ground etching in 1906, and is known to have been particularly pleased with the effect.

The purchaser of this etching will receive a Certificate of Authenticity and a package of informational material relating to the work, including a colour reproduction of 'Blonde Bather,' excerpts from Stella (above) and an article on Renoir's graphic works by Nigel Lambourne.

Urbain HUCHET Cafe du Dome l 990 248 x 324mm Original lithograph in colour on Arches paper. Signed in pencil and numbered, 35. From the regular edition of 360 ( 40 artist's proofs also exist). Created at Aloys Litho, Paris.

Cafe du Dome

56 54 Mario

Laurent SCHKOLNYK Coupe de Poires [Bowl of Pears] 1986

SOAVE

Campo di Colore [Field of Colour]

1994

250 X 397mm Original serigraph in colour, on heavy stamped Istituto Grafico Italiano paper, with printed plate overlays and hand re-touching by the artist. Each original is created from a maximum edition of 150 and is individualised so that no two are the same. Signed in pencil, and bearing the annotation "Retouche ." Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

157 x 234mm Original mezzotint in colour, using three plates. Signed "Schkolnyk" in pencil lower right and numbered, 15. From a total edition, sold out, of 50. Literature: 'The Mezzotint: History and Technique,' by Carol Wax, Thames & Hudson, London, 19 90.

The purchaser of this work of art will receive a Certificate of Authenticity and a package of informational material about the artist.

58 Manuel ROBBE Deployees Voiles A c. 1921 [In Full Sail]

Cafetiere

Bleue

Laurent SCHKOLNYK Bleue Cafetiere 1989 [Blue Coffee-Pot] 237 x 173mm Original mezzotint 10 colour, using Signed "Schkolnyk" three plates. in pencil lower right and numbered, 50. From the total edition, sold out, of 55. Hand-pulled by the artist in 'The Literature: Nantes, France. Mezzatint: History and Technique,' by Carol Wax, Thames & Hudson, 1990. London,

New Zealand Herald art critic T J McNamara wrote of this control "[Schkolnyk's] work: in notable most is colour over Blue Coffee-Pot where · in addition to the pot • cherries and pears have a rich inner glow." The purchaser of this work of art will receive a Certificate of colour small a Authenticity, Coffee-Pot of the reproduction which was used to illustrate the quality of Schkolnyk's art, and informational of package a artist. the about material

350 x 495mm Original aquatint 10 colour, handSigned in painted by the artist. pencil by Robbe with his pseudonym "A Lafitte" lower right. LitJOO 'Manuel Rabbe: erature : Colour Aquatints,' Volume I, and 104 Colour Aqua'Manuel Rabbe: tints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 'Manuel Also: 1979 and 1980. From Impressionism to Rabbe: and Schwartz by Symbolism,' 1987. Kirschen, Galerie Michael, 'Manuel Rabbe: From Catalogue: Impressionism to Symbolism," by Galerie Schwartz and Kirschen. Image 167. Michael, 1987.

Charles authority, art French "With his Perussaux, wrote: and creativity fantasy, great technique, colour unique his Manuel Robbe gave his works His a most original quality. make virtuosity and technique him one of the greatest artists This is a of the Belle Epoque." with seascape, delightful subtle and delicate colour harmonies, demostrating the great skills referred to by Monsieur Perussaux.

a receive will purchaser The Authenticity of Certificate the leading authority in from oeuvre, Robbe's Australasia on and a package of informational material relating to the artist and his work.

59 Mario SOAVE Il Casolare [The Farmhouse] 1994 1015 x 710mm Acrylic on canvas. Signed lower right. Titled and authenticated by the artist on the reverse. Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

60 Pablo PICASSO The Rider 260 x 370mm Limited edition colour reproduction from Picasso Toros y Toreros, Editions Cercle d' Art, 1961. Printed in France. Literature: 'Picasso ' by Patrick O ' Brian, London, 1976.

Picasso's second sketchbook, the one created in March 1959, is devoted in its first part to bullfighting, the whole theme of Toros y Toreros, but in its second part - and for no known reason - he abandons the fight and turns to his private life and the Spain of Velazques. He creates a series of portraits of his wife, Jacqueline, in period costumes and on a rearing horse. Here we are dazzled by the colours, the majesty and the extraordinary sureness of the artist's draftsmanship. The speed of his hands can be instantly seen in the swirls and the vibrance surrounding the rider, and yet there is nothing 'rushed' about the scene. The real mystery of Picasso is the

paradox of his style -the contrast between the apparent carelessness or awkwardness of his execution, and the real presence of his figures, the movement that he actually suggests. 61 Linda LE KINFF Melody 1994 333 x 240mm Original serigraph in colour on wove paper. Signed in pencil and numbered, 298. From the edition of 350 (50 artist ' s proofs also exist).

Symphonie

62 Linda LE KINFF Symphonie 1994 270 x 350mm Original serigraph in colour on wove paper. Signed in pencil and numbered , 298. From the edition of 350 (50 artist ' s proofs also exist).

63 Mario SOAVE Composizione Floreale [Floral Composition] 1994 700 x 500mm Acrylic on board. Signed lower left. Signed and authenticated by the artist on the reverse. Literature: 'Soave: Ai Limiti dell'irrealta , ' Edizioni Quarto Platano, Forte Dei Marmi, 1989. Soave painted this work on his visit to New Zealand in February of 1994. He wanted to take symbols from Italy and Auckland Girasoli (the sunflowers so typical of his homeland) and Auckland's alwayspresent Rangitoto and blend them into one to express the affinity he felt for New Zealand.

64 Anita BERMAN Poppies in the Wind 510 x 720mm Watercolour on paper. the artist.

1994 Signed by

The paintings of Anita Berman inherit certain qualities from her textile work a love of colour, pattern, shape, detail and contrast. Aspects of her paintings will summon up a response to a greater textile heritage to William Morris, Kaff e Fassett, Liberty and to the decorative art movement, Art Noveau.

She sees her work as part representation and part abstraction and here captures, with freshness and spontaneity, the movement of flowers blown by the wind. An article dealing with Ms Berman's paintings is included in the April, 1994 issue of New Zealand Gardener magazine.

65 Pablo PICASSO Jacqueline 260 x 370mm Limited edition colour reproduction from Picasso Taros y Toreros, Editions Cercle d'Art, 1961. Printed in France. Literature: 'Picasso' by Patrick O'Brian, London, 1976. In contrast to the much more stately and formal approach in The Rider and Pour Jacqueline, here Picasso has put the whole focus on Jacqueline herself her face and head are deliberately out of proportion. The horse, the sky, the distant hills are merely suggested or not developed; the face of his wife though, dressed as a huntress and cloaked in red, is depicted in large and loving detail. It is she he wants to emphasise, for us also to adore. For him, everything else in the picture is unimportant.

66 New York 66

Avio MATTIOZZI 1989 New York 1400 mm dia. Oil on wood.

PICOT Jean-Claude d' Enghein-les-Bains Casino 1990 368 x 482mm Original lithograph in colour on Signed and numArche s paper. From the regular edibered , 69. artist's proofs also (20 tion of 250 exist). Created at Aloys Litho , Paris.

The work is a comparison between the forms created by nature and the forms created by The colours of nature man. are echseen in the clouds are they buildings; the oed in world's apart and yet the one relies on and takes from the other. New York is a vibrant, towerthat buildings with city ing close in and a sky that is not and in this briloften seen liant work A vio Mattiozzi has used the city as a metaphor for With startling effecall cities. tiveness he shows how the majesty and power created by man depends on, is softened by and with interact must ultimately nature.

the found always has Picot charmvillages and harbours In his ing and special places. depictions of them we note the strong particularly of use drawing line against primarily Each cool yet vibrant colours. colour has been chosen to capture the essence and create an emotion rather than provide a the of rendering realistic The works in the aucscene. tion were created during one creative periods of his finest and illustrate why he is becoming regarded as a very imporartist. landscape tant

Manuel Femmes [Women

Escaliers

68 Jean-Claude Escaliers a

Montmartre

PICOT Montmartre

1990 470 x 380mm Original lithograph in colour on Arches paper. Signed in pencil and From the regular numbered, 104. edition of 250 (20 artist's proofs also exist). Created at Aloys Litho, Paris.

ROBBE Boulevards les sur Boulevard] on the

1906 467 x 330mm Original aquatint 111 colour with dry point, hand-painted by the artist. Signed in pencil "Manuel Robbe," lower right. Marc Dardouville, Paris Numbered 70, from an stamp 1.1. Literature: 100. about of edition JOO Colour Aqua'Manuel Rabbe: 'Manuel and I, Volume tints,' Rabbe: J 04 Colour Aquatints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: 'Manuel Rabbe: From, by Symbolism, to Impressionism Galerie Kirschen, and Schwartz 'Belle Also: 1987. Michael, Academy Epoque,' by Victor Arwas, CataEditions, London, 1978. logue: 'Manuel Rabbe: JOO Colour Aquatints,' Volume I, by Perussaux and Kirschen. Merrill Chase GallerImage 43. ies, 1979.

Laurent SCHKOLNYK Magritte a Hommage Magrittej to [Tribute 175 x 262mm Original mezzotint in colour, using Signed "Schkolnyk" three plates. in pencil lower right with title also From a written and numbered, 27. total edition of 55. Hand-pulled by Litthe artist in Nantes, France. History erature: 'The Mezzotint: Wax, Carol by Technique,' and Thames & Hudson, London, 1990.

The purchaser of this work of art will receive a Certificate of Authenticity and a package of about material informational artist. the

and much-praised a is This already masterpiece, timeless chosen for reproduction by the Robbe Herald. Zealand New himself liked it so much, and it was so sought-after, that he later produced a variation of something he is this work known to have done only exAlthough the tremely rarely. second version also was popular, it does not have the fineness and style of this masterwork.

Femmes sur les Boulevards is what of example brilliant a observRobbe was famous for ing and capturing the mode of

Femmes

dress and life-style of women in contemporary Paris... The dress was fashionable, the pace stately and the manners refined. It was La Belle Epoque.

sur

les

Boulevards

Robbe's eye we see a conception close to Renoir, namely: "Is not a woman a flower?"

Robbe's conception of woman differed entirely from that of his contemporary, the troubled Toulouse-Lautrec, who found feelings and sensitivities only in his friends, the ladies of the night, and believed 'honest' women lacked these qualities.

Like Renoir, Robbe held the view that woman was a symbol of infinite charm and should be represented in this way. In his various themes, there is no place for the sick, the frightened or the uncertain. Woman is shown not with those changes imposed by age or fatigue, but always in the fullest plenitude of her beauty.

In contrast, Robbe's approach to the subject of woman resembles that of Renoir; in fact, an eminent critic refers to him as "the Renoir of etching." Note especially the flowers held by the lady -through

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of informational material relating to the artist and his work.

Comconfidence. and scale the menting on his approach artist wrote: "For subject matter I chose flowers and plant garden. own my from forms tinted studies Carefully drawn direct into translated were botanical the where paintings of favour in facts disappeared controlled shapes in a range of The personal colour choices. end results were paintings of colours and shapes multiple but botanically unrecognisable having a life of their own."

Toscana

7 1 Mario

SOAVE Toscana 1994 [Tuscany] 700 x 500mm Acrylic on board. Signed lower centre. Titled and authenticated by the Literature: artist on the reverse. dell ' irrealta,' Limiti Ai 'Soave: Edizioni Quarto Platano, Forte Dei Marmi, 1989.

THOMPSON Nelson 1960s Daffodils No 2 760 x 560mm Signed by Watercolour on paper. the artist. ThNelson Gisbourne-born long-standing a had ompson and gardens for enthusiasm made literal studies of plants and flowers in the 1950s and early 1960s, but the paintings of the later 1960s, of which this is one, transcend those in

On the occasion of a memorial exhibition of Thompson's work Zealand Herald 1992, New in art critic T J McNamara commented: "Thompson was a fine involved an draughtsman Unand consistent painter... Emil of influence the der Nolde, the German Expressionist, the artist launched into a saturated of series colour intense in watercolours Subjects were on wet paper. flower cenof details close-up These energetic and vivid tres. required great expeworks rience in the making to bring " them off.

in died Thompson Nelson In memory of her hus1989. dowas painting this band, nated expressly for the auction Valerie, wife, artist's the by and the full proceeds of the the to being given are sale Canthe of Auckland Division With the paintcer Society. ing, the purchaser will receive Thompson: 'Nelson book, a pre1952-1986,' Paintings pared by Fisher Gallery.

7 3 Karen BUTTERWORTH Catharsis II l 995 770 x 980mm Charcoal on paper. Signed by the artist.

Late

Summer Blooms

74 Joann REA Late Summer Blooms 1994 355 x 451mm Original serigraph in colour on wove paper. Signed in pencil and numbered, 292. From the edition of 350 (50 artist's preoofs also exist).

F ANCH (Francois Ledan) Ballooning over Central Park 1990 648 x 499mm Original lithograph in colour on Japon paper. Signed in pencil and numbered in Roman numerals, LXXXII/C. From the deluxe edition of 100 (17 artist's proofs also ex ist). Created at Atelier D' Art Desjobert, Paris. Fanch avoids careful descriptions and relies on colour to create suggestions and evocations of mood, not unlike the Post-Impressionists and Symbolists near the turn of the century. Here the park is recorded on a bright, luminous and dream-like day. There is a timelessness to the scene created by the placement of the groups of figures caught and made motionless against the contrasting, gentle uplifting of the balloons.

It suggests the influence of Rousseau who used the balloon

75 Giulio CORCOS Girasoli [Sunflower] 1991 800 x 995mm Oil on canvas. Signed lower right. Authenticated and dated by the artist on the reverse.

Ballooning

over

Central

Park

in his paintings of the 1890s, not merely to record the air machine but to use its mood and predictable motion to arrest time so that a sharp focus on the scene could be achieved without a reliance on painted Fanch uses a stained detail. glass-like array of colour areas to fuse the elements of the and landscape architecture, sky to create an overall mood of exuberance and joy in this work. outstanding

77 (1841Pierre-Auguste RENOIR 1919) c.1892 Berthe Morisot 117 x 96mm Original etching , only state. Signed " Renoir" rn rever se in the plate , lower left. From a limited po sthuLiterature : 'Th e mous edition. Graphi c Works of Renoir,' Catalogue Rai sonne, by Dr Joseph G. Stella. Image 4. Also ' Renoir,' by Theodore Duret, Paris, BernheimJeune, 1924.

This is one of Renoir's earliest etchings and the fact that he chose to depict his close friend Berthe Morisot so early in his the underlines career graphics close affection he had for her. Berthe was a beautiful, refined who woman intelligent and of brother married Eugene, the Edouard artist noted the Manet. Renoir Berthe gifted painted several

to close very grew and her beautiful and and Julie, daughter, daughter and mother and together times,

In 1892 Eugene individually. Berthe, who had nursed died. months last the through him life, was grief-stricken of his and never recovered fully from loss. the A portrait by Renoir of Berthe and Julie together was the inspiration for this etching, and the portrait is particularly tellBerthe has become whiteing: She haired · almost overnight. expression world-weary a has and doesn't seem to be able to face the artist but looks away sadly, leaving the limelight to Julie (who was 16 and exceppretty). tionally Julie and her mother became Eugene's after closer even have must but Berthe death, sensed that her own health was asked she because fragile Stephane poet the and Renoir Mallarme to look after Julie. Berthe died on 2 March, 1895, in letter poignant a leaving which she took leave of her daughter: beloved "My dearest little Julie - I love you as I die; I will still love you I beg of you, when I am dead. do not cry; this parting was I would have liked inevitable. to be with you until you married... Work hard and be good you as you always have been; have never caused me one sorDo not row in your little life... I love you more than I cry. can tell you ... "

The will

purchaser of this etching receive a Certificate of Au

thenticity and a package of informational material relating to the work, including a background on the relationship between Renoir and Bertke Morisot, a photo of her family, an illustration of the pastel and the painting (with her daughter, Julie Manet) that inspired Renoir's touching tribute to Bertke, excerpts from Stella (above) and an article on Renoir's graphic works by Nigel Lambourne. 7 8 Laurent

SCHKOLNYK Vase a l'Orientale [Oriental Vase] 1989 238 x 178mm Original mezzotint in colour, using three plates. Signed "Schkolnyk"

Le Remorqueur

rn pencil lower right and numbered, 43. From a total edition, sold out, of 55. Hand-pulled by the artist in Nantes, France. Literature: 'The Mezzotint: History and Technique,' by Carol Wax , Thames & Hudson, London, 1990.

The purchaser of this work of art will receive a Certificate of Authenticity, a small colour reproduction of the Vase which was used to illustrate the quality of Schkolnyk's art, and a package of informational material about the artist. 79 Manuel ROBBE Le Remorqueur [The Tug] c. 1920 445 x 585mm * * Photo below. Details

over.

page.) previous (Shown 79 Manuel ROBBE Remorqueur Le Original aquatint in colour, handSigned by painted by the artist. pseudonym "A his with Robbe Bearing emLafitte" lower right. stamp, publisher's bossed As well, a "L'Estampe Moderne." later-added set of numerals, "711," appears in the lower left margin; the numerals are thought to be an Inventory count of unrelated works carried out on behalf of the family The edition after Robbe's death. to be believed but size is unknown 'Manuel Literature: quite small. Rabbe: JOO Colour Aquatints,' Vol104 ume I, and 'Manuel Rabbe: Colour Aquatints,' Volume II, by Merrill Kirschen, and Perussaux Chase Galleries, 1979 and 1980. From. Im'Manuel Rabbe: Also: by Symbolism,' to pressionism Galerie Kirschen, and Schwartz 'Belle Also: 1987. Michael, Epoque,' by Victor Arwas, Academy 1978. London, Editions, Uncatalogued. expanof fond Exceptionally sive vistas, Robbe often travelled to the French coast where he observed the changing effeet of sea and sky and rethe in activities the corded harbour. This is one of his great seaNoting 'the beautiful scapes: when achieves Rob be effects light,' of play the rendering this work was praised by New Zealand Herald art critic T J McNamara as "a lovely example and a fine portscape."

Tug' 'The of purchaser The will receive a Certificate of Authenticity from the leading auon Australasia in thority Robbe 's oeuvre, and a package rematerial informational of artist and his the to lating work.

80 Manuel ROBBE Garage a Bateaux Date unknown [Boatshed] 490 x 640mm Original aquatint and etching rn colour, hand-painted by the artist. Signed by Robbe with his pseudonym "A Lafitte" in crayon lower right. Literature: 'Manuel Rabbe: I 00 Colour Aquatints,' Volume I, 104 Colour and 'Manuel Rabbe: Aquatints,' Volume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: 'Manuel From Impressionism to Rabbe: and Schwartz by Symbolism.,' Kirschen, Galerie Michael, 1987. 'Belle Epoque,' by Victor Also: Arwas, Academy Editions, London, 19 7 8.

In this work, Robbe captures the quiet, changing effects of nature, much the same way as the Impressionists had done on their canvases. As a student of Century 19th earlier the printmakers who had been fas(Seymour nature by cinated Haden, for example) he carelandscapes his imbued fully light of changes subtle with indicating atmosphere, and effects such studied he that nature. from directly

The humble boat shed at the edge of the river provides the focal point; the grand castle offsets it in its greyness and grandeur and still dominates the work - but Robbe creates a really lovely study by using wonderful, warm autumntonings and capturing perfectly the shimmer and sparkle of the river, to bring the whole scene to life.

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Rob be 's oeuvre, and a package of informational material relating to the artist and his work. 81 Mario SOAVE Vista Sul Mare [Sea View J 1994 250 x 397mm Original serigraph in colour, on heavy stamped Istituto Grafico Italiano paper, with printed plate overlays and hand re-touching by the artist. Each original is created from a maximum edition of 150 and is individualised so that no two are the same. Signed in pencil, and bearing the annotation "Retouche." Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

New Zealand Herald art critic TJ McNamara wrote of Soave: "[He] works in a modern version of the 19th Century Italian Impressionists called 'Macchiaioli' who took their name from their way of painting nature as a collection of spots or patches of colour. Macchia means spot. Soave uses the style to paint pretty pie -

tures of Tuscan and other landscapes and carries it over into some skilfully printed [serigraph] images." This is one of four of Soave's serigraphs included in the auction. 82 Charles COBELLE Music Man 890 x 572mm Original lithograph in colour. Signed in pencil and numbered, 282. From the regular edition of 500 (50 artist's proofs also exist). In his art, Cobelle blends the real and the fantastic because he wants us to take pleasure from the images, to expand our perception, to see more than a photograph can convey. His desire to escape from convention and academic rigours in his graphic works is intentional: nowhere does he attempt a realistic presentation; never does he want his art to lead the viewer to morbid recollections or a range of uneasy emotions.

The Music Man, bearing his musical score, surrounded by violinist and trumpet player (a "herald angel"), is one of Co belle's most striking and powerful compositions. The image of the violinist emerging from the vase of flowers at the right could stand well by itself, but when incorporated into the much greater scene the work becomes outstanding. The richness, the extra-ordinary use of colour and the lushness of the composition make this one of Cobelle's best.

'Victorian Fapaintings called cades,' about the street cafes in Avenue in Victoria Whanganui.

85 Giulio CORCOS Amazzonia II 1994 755 x 1495mm Oil on canvas. Signed lower left. Au thenticated and dated by the artist on the reverse.

The Marina

83 Andre BARDET The Marina 1994 463 x 384mm Original serigraph in colour on wove paper. Signed in pencil and numbered, 285 . From the regular edition of 350 (50 artist's proofs also exist). 84 WRIGHT Laurence 1994 The Letter 510 x 610mm Acrylic and impasto on panel. Signed and dated by the artist. The work is part of a series of

Amazzonia II

86 Jean-Claude PICOT Coup de Vent [Gust of Wind] 527 x 432mm Original lithograph m colour on Arches paper. Signed 1n pencil and (Epreuve annotated, "EA" d'Artiste). From the small artist's proof edition.

Suzanne

87 Itzchak TARKA Y Suzanne 1993 582 x 520mm Original serigraph in colour on Coventry paper. Signed in pencil and numbered, 160. From the regular edition of 350 (35 artist's proofs and 15 hors commerce also exist). Literature: 'Itzchak Tarka y : The Park West Editions,' Vol 17 , Issue 1, "An Insider's Guide to Fine Art Collecting."

This work is reproduced in full colour on page 45 of The Park West Editions book referred to. Tarkay's

serigraphs

are

testi

mony to his skill, to the extraordinary technical richness of printmaking, and the degree to which it can be transformed into a medium of great personal expression. The artist's touch is so prominent, it is hard to believe that for any of his works there could be another example that is even similar in appearance. He creates especially sensuous and rich surfaces, highly varied in colour and texture. In Suzanne there are a variety of shapes, textures and hues, so that the work not only presents

fine images -the vase and flowers, the painting, Suzanne herself in her casually elegant attire, the chair - but also rich, sumptuous and dazzling colours.

The purchaser of this work of art will receive a Certificate of Authenticity and a copy of The Park West Editions book, which of assessment an includes Joseph by oeuvre Tarkay 's and Painting of Curator Jacobs, Newark MuSculpture at The seum,

88 Laurent SCHKOLNYK Hommage a J C LeBlon [Tribute to J C LeBlon 1988 called The Shelf]

also

195 x 290mm Original mezzotint in colour, u sing Signed " Schkolnyk" three plates.

Hommage a J C LeBlon

rn pencil lower right and numbered , From a total edition of 55. 45 . Hand-pulled by the artist in Nantes , 'The Literature: France. M ezz otint: History and Tec hnique,' by Carol Wax , Thame s & Hudson, London , 1990.

The Shelf was chosen for inclusion in a small book about Schkolnyk and his work, and is reproduced in the book in colour. full The purchaser of this work of art will receive a Certificate of the of copy a Authenticity, Schkolnyk about book small referred to above, and a packmaterial informational of age artist. the about

White

Roses

89 Mario SOAVE Distesa Rosa [Pink Landscape] 1994 250 x 397mm Original serigraph in colour, on heavy stamped Istituto Grafico Italiano paper, with printed plate overlays and hand re-touching by the artist. Each original is created from a maximum edition of 150 and is individualised so that no two are the same. Signed in pencil, and bearing the annotation "Retouche." Literature: 'Soave: Ai Limiti dell 'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

90 Linda LE KINFF Cannelle 1994 270 x 353mm Original serigraph in colour on wove paper. Signed in pencil and numbered, 296. From the edition of 350 (50 artist's proofs also exist).

9 1 Anita BERMAN White Roses 1994 500 x 740mm Watercolour on paper. the artist.

Signed by

Anita Berman does not paint on site, but prefers to sketch and gather ideas from which she will later create her painting in a studio, allowing the imaginary to creep in. She loves colour and likes to interact with her environment - recording the beauty and fragility of flowers but adding her own personality. Here the white roses are drawn with charcoal to suggest their fragility and the colour is added not as a background touch, but as an essential element of the whole creation.

92 Amanda LEAR Sunflowe rs 508 x 410mm colour. rn lithograph Original Signed rn pencil and annotated , " EA " (Epreuve d ' Arti ste ) . From the small artist ' s proof edition aside from the regular edition .

93 Pablo PICASSO Jacqueline Pour 260 x 370mm Limited edition colour reproduction from Pic ass o Taros y Toreros, Edition s Cercle d ' Art , 1961. Printed in France. Literature: ' Pi cass o' by Patrick O ' Brian , London, 1976.

The day of March 10, 1959, was devoted to a homage of the Jacqueline. wife, artist's formal in sidesaddle, Riding attire for some ceremony, we refeatures beloved her see Velazquez' of those placing Fantasy Queens and Infantas. from image is mingled with an history; but even in this re-creating of the past there is imaginative creation too, in the virtuosity of his variations on the What earlier painter's colour. woman would not be flattered by so much honour. This is taken from the facsimile edition of the second part of by sketchbook second the Picasso appearing in the publication he and the bullfighter colDominguin Miguel Luis laborated on, Toros y Toreros. In the top right of the image Picasso has written 'Pour

Jacqueline' ) ('for Jacqueline' and then above his signature In French, is the word 'Reine.' 'Queen.' means 'Reine'

94 Laurent SCHKOLN YK Demoiselle a la Lampe 1988 Dragonfly in the Lamp 238 x 178mm Original mezzotint in colour, using Signed " Schkolnyk" three plates. in pencil lower right and numbered , 25. From a total edition, sold out, of 55. Literature : ' The M ezzotint: Hi story and Tec hniqu e,' by Carol Wax , Thames & Hudson , London, 19 9 0.

The purchaser of this work of art will receive a Certificate of Authenticity , a copy of a spebook small produced cially dealing with the art of Laurent of package a and Schkolnyk, about material information al artist. the

95 Manuel ROBBE Les Vieux Bateaux Date unknown [The Old Boats] 340 x 515mm Original aquatint and etching in colour, ha nd-painted by the arti st. Signed by Robbe with his pseudonym " A Lafitte" lower right. Lit100 ' Manu el Rabbe : erature: and , I Colour Aquatints,' Volume 104 Colour Aqua' Manuel Rabbe: tints ,' Volume II , by Perussaux and Kirschen, Merrill Chase Galleries , ' Manu el 1979 and 1980 . Al so: Franz Impressioni sm to Rabb e:

Chemin

Symbolism,,' by Schwartz and Kirschen, Galerie Michael, 1987. Also: 'Belle Epoque,' by Victor Arwas, Academy Editions, London, 197 8.

As a preliminary phase in the evolution of an image, Robbe would frequently make a drawing his momentary study of old boats lying abandoned and stranded gave him the evocations of the place and the time of day that served as a reminder, crucial for the creation of his final work which he completed in the tranquility of his own studio. The end result is a beautiful, evocative work which captures the light and atmosphere in a way no preliminary sketch could ever record.

Fleuri chez Baudy

96 Claude CAMBOUR Chemin Fleuri chez Baudy l 994 590 x 743mm Original lithograph in colour on BFK Rives paper. Signed in pencil and numbered, 24 7. From the regular edition of 350 (50 artist's proofs also exist). Pulled at the Atelier d' Art Desjobert, Paris. 97 Giulio CORCOS Opera House 1994 800 X 1000mm Oil on canvas. Signed lower left. Authenticated and dated by the artist on the reverse.

The purchaser will receive a Certificate of Authenticity from the leading authority in Australasia on Robbe 's oeuvre, and a package of informational material relating to the artist and his work.

Opera House

98 Pierre-Auguste

(1841-1919) RENOIR mi-jambes a De bout, Baigneuse c.1910 [Standing Bather] 168 x 112mm Excellent impression from a posthumous edition. Original etching, only state. 'The Graphic Works of Renoir,' Catalogue Raisonne, by Dr Joseph Literature: 23. Also: 'Manet and the French Impressionists,' by Theodore Image G. Stella. Duret, G Richards, London, 1910. Also: 'Histoire des Peintres Impressionnistes,' by Theodore Duret, 2nd edition, Paris, Floury, 1919. Also: 'Histoire des Peintres Im,pressionistes,' by Theodore Duret, 3rd edition, Paris, Floury, 1923.

By the time Baigneuse Debout was probably Renoir's last etching. he created the work he was confined to a wheelchair, crippled with arthritis, and finding the etching process painful and difficult. But despite this, the work is among his most stunning etchings and portrays one of his fondest subjects - a young girl at the water's edge, eyes downcast, hands modestly covering herself as she bathes in the river. The

etching follows

the

image

created

his

painting

'Nude

the

Water.' It is also strikingly similar to the wonderful 'Young Woman Bathing,' painted in 1888, which depicts a young girl with long hair - not pulled back as in this etching. There is a story about this work: One day the proprietor of a cafe approached Renoir and said: "I remember you; more than 10 years ago you took a room in the house ... " Renoir jumped to the conclusion that he must have left his bill unpaid. "No," said the proprietor, "I found a roll of canvases in your room. Do me the favour of taking them away!" 'Baigneuse' and other equally important works were all in the rol I. ..

The purchaser of this etching will receive a Certificate of Authenticity and a package of informational material relating to the work, including a background on the piece, illustrations of related works, excerpts from Stella (above) and an article on Renoir's graphic works by Nigel Lambourne.

99 Urbain

HUCHET Fete a Chausey 1989 355 x 597mm Original lithograph rn colour on Arches paper. Signed in pencil and numbered, 85. From the regular edition of 360 ( 40 artist's proofs also exist). Created at Aloys Litho, Paris.

100 Mario

SOAVE Vaso di Fiori [Vase of Flowers] 1994 410mm high Acrylic on terracotta pot. Signed. Literature: 'Soave: Ai Limiti dell'irrealta,' Edizioni Quarto Platano, Forte Dei Marmi, 1989.

10 1 Laurent

SCHKOLNYK Vase Avant Seurat [Vase in Front of Seurat painting] 1988 238 x 178mm Original mezzotint in colour, usrng three plates. Signed "Schkolnyk" in pencil lower right and numbered, 1. From a total edition, sold out, of 55. Hand-pulled by the artist in Nantes, France. Literature: 'The Mezzotint: History and Technique,' by Carol Wax, Thames & Hudson, London , 1990.

New Zealand Herald art critic T J McNamara wrote that "the orange and blue of Vase in Front of Seurat make it perhaps the loveliest work ... " The purchaser of this work of art will receive a Certificate of Authenticity, a colour print of the painting seen in the background (Seurat's famous 'Sunday Afternoon on the Ile de Grande-latte), and a package of informational material about Schkolnyk.

102 F ANCH

(Francois Ledan) 1991 Aspen Chalet 373 x 280mm Original lithograph in colour on Signed in pencil and Japon paper. numbered in Roman numerals, XC. From the deluxe edition of 100 (10 Created artist's proofs also exist). at the Atelier d' Art Desjobert , Paris. The decision of Fanch to work with the Atelier d' Art Desjober t in Paris has had a profound his on impact positive and With the influence of work. this Atelier he became established as a leader in the Naive and Delacroix with school Yamagata , but in this work and he Florence, ' in 'Cocktails shows that he has moved beand boundari es those yond into an area that he has made uniquely his own, between the illusionromantic and naive ism. 103 D' ARGUIN Francis 1991 Amateur' s Racing 451 x 597mm Original lithograph in colour on BFK Rives paper. Signed in pencil From the reguand numbered , 3. lar edition of 250 (some artist's proofs also exist).

104 Manuel ROBBE Au Port c. 1921 [At the Port] 314 x 256mm Original aquatint in colour, handSigned by painted by the artist. "A m Robbe with his pseudony

Literatur e: Lafitte" lower right. 100 Colour Aqua'Manuel Rabbe: 'Manuel and I, Volume tints,' ,' VolAquatints Colour 104 Rabbe: ume II, by Perussaux and Kirschen, Merrill Chase Galleries, 1979 and 1980. Also: 'Manuel Rabbe: From by Impressio nism to Symbolism ,' Galerie Kirschen, and Schwartz 'Belle Also: Michael, 1987. Epoque , ' by Victor Arwas, Academy CataEditions, London, 1978. From 'Manuel Rabbe: logue: by ,' Symbolism Impressio nism to Galerie Kirschen, and Schwartz Image 183. Michael, 1987. treasure. genuine a is This Here Robbe has created a romantic mood with a lone boat peacefull y at anchor in a transetting. appealing and quil presents landscape lovely The quietude soothing a and , unspoiled and d unpeople makes us want to be part of It is an excelsuch a world. artist's the of example lent atmoand light of mastery sphere. a receive will purchase r The Authentic ity of Certificat e in authority leading the from oeuvre, Robbe's on Australas ia and a package of informati onal artist the to material relating and his work.

105 Charles COBELL E The Sea 560 x 870mm Signed in Lithograp h in colour. From "AP". , annotated pencil and the small (50 or less) artist's proof

106

Girasoli

edition aside from the regular edition.

Like Chagall, the genius of Cobelle is that because he portrays "unrealistic" figures in unexpected or fanciful surroundings, the viewer can invent whatever the images in them suggest to him or her. His colours are a living, integral part of his pictures and are never passively flat, or banal like an afterthought. They indulge in flights of fancy and invention which do not exactly follow the design but add new perspectives and graduated, blended tones. This is a delightful work, dominated by the mermaids (borne by "sea" horses) symbolising the sea from which all life comes. One carries a guitar to provide music, the language of love, another bears a cornucopia, the goat's horn overflowing with fruit and flowers, the symbol of plenty, and the third carries the trident, symbol of

Neptune, god of the sea. A seated violinist quietly plays as the lazy, unchanging life of a quiet seaside village goes on.

106 Mario SOAVE Girasoli [Sunflowers] 1994 500 x 1015mm Acrylic on canvas . Signed lower right. Titled and authenticated by the artist on the reverse. Literature: ' Soave: Ai Limiti dell ' irrealta, ' Edizioni Quarto Platano , Forte Dei Marmi , 1989.

107 Jean-Claude PICOT Les Trois Cypres 1992 560 x 464mm Original lithograph in colour with embossing on heavy wove paper. Signed in white crayon and numbered , 164 . From the edition of 250 (35 artist ' s proofs also exist). Created at Aloys Litho , Paris.

with

much

of Picot's

work,

he creates a feeling here that we are looking Upon a beautiful place that we know or have dreamed of, and wish to return The heavy embossing and to. his dexterity with colour, combined with his skillful draftsmanship, create a work which attention close both demands composithe to the detail of tion and a few steps back to scene. the experience This work is a lovely synthesis and mountains sea, land, of sky, with the three trees as a Picot uses deep, cool focus. creat a lush work to colours and touches of warm colour to remind us the sum is there -

108

Notre Dame

yet it is not so hot or so powanything provide to as erful more than the light that "lifts" and enhances the scene below.

l O8 Pierre Eugene CAMBIER 1992 Notre Dame 210 x 305mm colour. rn lithograph Original Signed and titled in pencil in the lower right corner and numbered, From the regular edition of 106. 350 (30 epreuve d'artiste also exis t).

Featured

Artists:

THE ART OF MANUEL ROBBE AND LAURENT SCHKOLNYK We are proud to include in this auction major collections of the works of one of the great masters of the Belle Epoque, Manuel Rob be, and an equally important collection created by contemporary master of the mezzotint, Laurent Schkolnyk. Manuel

ROBBE

The

art

[1872-1936]

Manuel

Robbe was immensely popular during the last decade of the 19th and the early part of . the 20th Century. Then, for almost 50 years as Cubism and other schools flourished, he was virtually forgotten, and it is only recently that his genius has been rediscovered. His works are now becoming highly sought-after. Robbe 's aquatints are represented in the collection of the Auckland City Art Gallery, and the private collections of several New Zealanders, but the quality of work included here has rarely before available been for purchase in Australasia. The works in the auction were selected with the aid of Michael Schwartz, one of the foremost authorities on Robbe 's oeuvre and the Rob be family. They represent an outstanding collection from an outstanding master, and presnt a rare opportunity to acquire works of the highest international quality. THE 'FORGOTTEN' MASTER

Manuel Robbe 1872-1936

At the turn of this century, in Paris the tradition of engravers making colour prints after the original paintings of popular artists was flourishing. The demand for colour was

great, and more and more painters of the day were movrng to this process to satisfy the appetite of the buying public. A group of artists revolted against this practice and vowed to create ong1nal works which would bring to the print the tradition of painting. The movement became known as 'peintres-gra veurs,' or 'painters-pri ntmakers.' One of the most historically important of this group was Manuel Robbe (who also signed some of his images with the pseudonym "A. Lafitte"), an artist considered to be one of the most brilliant luminaries in the history of colour printmakin g. Rabbe executed his plates entirely with a brush, painting exactly in the style of an artist applying oils to a canvas and producing soft wash effects in So each proof was an original, hand-painte d by the manner of watercolour . Rabbe and each was thus different and unique. There is no question that he was responsible for lifting the artistic level of colour painting-pri ntmaking to unparalleled heights, and in his book on the Belle Epoque, Victor Arawas notes that "Louis Legrand developed the aquatint to a degree one would consider without peer until one discovered the totally different effects achieved through use of a variation of the same technique used by Manuel Rabbe." The breadth of his talent is only now beginning to emerge, but there are still many gaps in our knowledge of Rabbe and his work.

Early

Career

Rabbe was born in Paris on December 16, 1872, but little is known about Clearly, he was exposed to the revolutionhis childhood and formative years. ary strains of the Impressioni st movement and to an awareness of new literary strands that were reinforced by the Symbolist poets and writers who came to maturity at the end of the 1880s, at the same time Rabbe was entering early manhood. He studied at the Lycees Condorcet and then at the Academie Julian beAgain, knowledge of fore enrolling at the prestigious Ecole des Beaux-Arts. Robbe's activities at this time is very sketchy, but it is known that he exhibited This particular image, his first lithograph at a Parisian gallery late in 1895. developed as a poster and in keeping with the strong emphasis on poster making at the time, helped Rabbe focus his interests on printmaking as a career. By about 1896 Rabbe was establishing himself by actively exhibiting works at the Salon of the Societe des Artistes Francais and, from at least 1898, at the Salon of the Societe Nationale des Beaux-Arts. He also learned the subtleties of printmaking , the intricacies of etching and aquatint, under the tutelage of the master: Eugene Delatre. Rabbe excelled in his depictions of women and his master-work s (an excellent example is Femmes sur les Boulevards) reveal not just his technical mastery - they also demonstrate how well he understood the fashions of the time and the ways in which modish women could be shown to advantage. The Femmes sur les Boulevards reveals that Rabbe was contemporar y dress in fully aware of the ways in which women were asserting and establishing themselves in the Parisian world.

his

Height

By 1900, Robbe was actively experimenting with new methods of printmaking: he used a technique called ' a la poupee' which gave his works the appearance of delicate paintings in which the colouring of each pulled impression was almost as unique as a monotype. At the Paris World's Fair of that year, he received a medal for his contributions to printmaking and his work was being discussed by the leading art journals. There are references to the quality of Robbe's works in a number of publications in the first decade of this century, but the greatest attention was given in the pages of Le Courrier Francais , where numerous examples of his colour prints were reproduced from just after the turn of the century until about 1908.By around the close of the first decade of the 20th century, Robbe had emerged as one of the major chroniclers of French domestic life. His delicately conceived prints proved extremely popular with the public as his fame in France greatly increased by 1910. Alongside his obsession with depicting women and the life of the modern French family are other themes suggesting a long-standing awareness of the traditions of the French countryside and field activities associated with the life of the tillers of the soil - as demonstrated in his masterpiece The Diggers , completed in 1905. There are , as well, a number of seascapes and landscapes that underline the range of his talents. Initially, Rob be studied the landscape because he was mesmerised by the changing effects of the seasons. As a latent Impressionist he looked for opportunities to display his technical abilities in capturing different coloured reflections and the most delicate effects of light.

Expanding

his

Attraction

At the same time as Robbe was achieving success as a maJor printmaker, and possibly as a means of expanding his audience, he adopted a pseudonym ("A. Lafitte") by which he signed some images of marine themes and Brittany subjects. However, not all of the scenes with these representations utilised the name of Lafitte (for example, his famous Bord de la Mer is signed ' Manuel Robbe ' ). He had become so associated with the depiction of women and family life, it is possible he used his nom-de-plume to broaden the appeal of subjects he thought had stronger commercial implications at the time. Whatever the reason -and this will never be known for certain - Robbe increased the range of his images in this particular way and created many outstanding works, especially of marine themes. At the outbreak of war in 1914 he enlisted, became a pilot and was involved in a number of actions. The post-war years were not easy for him; he significantly reduced his output, focussed more on images of the French countryside and scenes of Brittany, and began to specialise in printing the works of other artists. His health deteriorated in the mid-1930s and he died in 1936.

Robbe's

Contribution

An It is obvious that throughout his career Robbe thought as a painter. expansiveness suggestive of an artist trained as a painter pervades his work and it derives much impact from its similarity to oil paintings. He painted his subjects directly , working with considerable freedom and verve to create his impressions. colour Many of the influences on Rob be' s work can be found in the tradition of 19th Century painting itself. It was his grasp of the hues of the Impressionists, the nocturnes of James McNeill Whistler, and the pastel tones of the painters of the 1890s that inspired him in his colour aquatints. Robbe achieved his greatest visibility within the decade of 1899-1910; after that his work was somewhat overlooked due to artistic movements like Cubism - but also to a large degree because of his shyness as an artist and Moreover, as Andrew Bogle of the Auckland disinterest in his own publicity. Because his works were so slow to ink and produce, City Art Gallery noted: they did not receive the same degree of exposure as the colour prints of, say, his contemporary , Toulouse-Lautre c , whose work was printed 111 great numbers as posters. Victor Arawas says Robbe's aquatints were generally in small editions of 35 or 40, even the most popular subjects going only to editions of 60 or 65. (It is believed there were some larger editions , but it is almost impossible to conRobbe very rarely numbered his works and even firm which and how many. Such numbering as does exist is haphazard , difficult more rarely dated them. to follow and often in a hand other than Robbe ' s.) After years of neglect , in the late 1970s following extensive investigation into the 19th century peintres-graveur s (especially by the Merrill Chase Galresearchers were astonleries and later Galerie Michael in the United States), and technical masby, ished to rediscover the outstanding images produced Since then , interest in his works has escalated. tery of, Manuel Robbe.

Laurent

SCHKOLNYK

[1953-

]

will labour for Laurent Schkolnyk is a meticulous artist who endless hours to perfect his image and produce a work of art that deof these Because standard. high extraordinarily his satisfies The works mands his output is limited and his editions quite small. included in the auction are regarded as among the finest examples of his art and they were selected with the aid of the artist himself.

Until now Schkolnyk has had very limited exposure in New Zealand; even so, the amazing quality of his work and his compelling images have already established him as one of the most collectable artists whose work can still be purchased at a reasonable figu re. Schkolnyk 1s a Paris-born and -based artist of international stature,

recognised as a master of the extraordinarily demanding mezzotint process. His works have been shown throughout Europe, Japan and the United States and are included in major private and museum collections (among them the Los Angeles County Museum of Art, The Fine Art Museum of San Francisco, and the National Library of Paris: Cabinet des Estampes.) In the definitive book on the medium, 'The Mezzotint: History and Technique,' author Carol Wax writes: "While mezzotint is currently experiencing a revival . . . few artists have the tremendous skill, the tenacity and technical expertise to do it well." Significantly, the work of only four masters is reproduced in full-colour at least twice in the book - and one of those masters is Laurent Schkolnyk. The artist studied drawing and etching from 1971 until 1978 in the Beaux Arts School in Nantes, France and learnt the mezzotint process as a student of Professor Guimezanes. Immediately upon completing his studies his work was selected for inclusion in an exhibition in Nantes, and shortly after that was shown in Limoges, Galerie Art Contemporain Paris. Since then his exquisite mezzotints have been exhibited and attracted interest worldwide, and are already included in a number of New Zealand collections. Mezzotint is a process born in 17th Century Holland when printmaking had reached a highpoint in widespread use and quality. It requires that the copper plate be pitted with an instrument called a rocker. Once the entire surface has been 'rocked,' the image is then created by burnishing or smoothing out parts of the printed surface. Using three different plates, after rocking and burnishing Schkolnyk first applies yellow, then magenta and finally blue, causing the colours to mix and become seven or eight different hues or tints. The result is a dark, rich velvety image of wonderful quality and subtlety, produced in very small editions. The essence of mezzotint 1s mystery .created by delicately graduated colour tones rather than lines. Few artists rn the 20th Century have mastered this demanding technique and Laurent ' Schkolnyk is one who has . His eye brings it a contempo rary v1s1on, drawing on the traditions of Magritte, Chagall, Mordani and especially Japanese still life, and giving them new meaning.

At right: Laurent Schkolnyk in his atelier in Paris, creates one of his master works .

BIOGRA PHIES BARDET, Andre Bartlet became interested rn painting when just a very young child but after a prodigious beginning his output slowed and for many years he produced very few works. Later he devoted more time to his work and his 'personality' became more and more evident as his work increased. His first exhibition was held in the Champs Elysees , Paris , in 1985 and he has shown consistently since then. He received an 'Honourable Mention' at the Grand Palais , Paris and a silver medal from the European Academy of Arts. His work has been exhibited throughout Europe and for many years he has also been a major contributor to the Japanese Festival in Osaka.

BERMAN, Anita New Zealand-born Anita Berman has worked full-time as an artist since 1982 and has a history of successful exhibitions in New Zealand and overseas. She holds a Diploma of Textile Art from Whitecliffe College of Art and Design, a Diploma of Teaching and a Bachelor of Arts degree from Auckland UniverShe has made extensive studies in design, tapestry, drawing, dyeing and sity. papermaking in New Zealand and Australia, and studied drawing and painting at Heatherley Art School in London. Anita is a member of the British Crafts Council and has been a consistent Her miniature textiles exhibitor with the New Zealand Academy of Fine Arts. in New Zealand exhibitions solo have won numerous awards, and she has had six and one in London - 'Jewels of the Pacific,' an exhibition of 27 miniature tapesDuring two years spent in the UK in the early tries and textile sculptures. 1990s, she lectured at Goldsmith ' s College , gave workshops, participated rn exhibitions and studied drawing and painting. She has been the recipient of 13 awards and merit awards, including the inaugural award for Art in Wool in 1989, and Merit Awards at the 1993 and A number of her 1994 Pumphouse (North Shore) Art Awards for paintings. Society has Cancer the and paintings have been published as greeting cards Her works are represented in just published cards of two of her paintings. many private and public collections, including the Auckland Institute and Museum, the University Grants Committee, Glaxo NZ Ltd, Auckland Children's Hospital and the Manukau City Council.

Karen BUTTERWOR TH, Born and educated rn Australia, Karen Butterworth studied at the Alexander Mackie College of Advanced Education in Sydney, graduating in 1975 In Sydney she taught art and art with a Diploma in Art and Art Education. history at a secondary school and, after coming to live in New Zealand in 1977, Since 1984 she has been a lecturer rn taught at Conan School in Auckland. drawing and painting at the Whitecliffe College of Art and Design, and this

year took up a pos1t1on at the Auckland Institute of Technology, lecturing in Visual Studies and Life Drawing. Karen Butterworth has been an exhibiting artist since 1978, and last year had a solo exhibition at the Drawings Gallery in Auckland. For the last two years she has concentrated more on producing her own work than on teaching, and has developed a strongly individual style. Her drawings in particular are of unusual strength and vibrancy, indicating a finely developed resolution of sometimes complex ideas and passions. She was awarded first prize in the prestigious Molly Morpeth Canaday Trust Open Art Award in 1995, and the judge, Jacob Scott, praised her work highly. Her art is inventive in style and radical in its interpretation of modern social complexities, and has been described as pushing the boundaries in New Zealand contemporary art.

CAMBIER, Pierre Eugene Since 194 7 Cambi er has worked in the demanding technique of watercolour, and has now also become highly proficient in lithography. He is one of the world's finest Realists and his works have been the subject of exhibitions throughout the world. He began to exhibit his art in Paris in 1948 at Salon des Independents with other young artists who did not have gallery representation. Here much of the new art of the early part of the 20th Century was shown for the first time. Following his success there he moved on to the Salon d' Automne, in which the best of new art was exhibited. He participated in these annual shows from 1953 to 1960. Thereafter his works were shown at many galleries, including the Galerie Urban, Paris; Galerie O'Hara, London and Galerie Sothman, Amsterdam. Cambier captures the essence of Parisian light: The works seemingly reflect the exact colours and hues one experiences on a balmy midsummer day. He picks the best vantage point for each scene, capturing the detail of the architecture and the animation of the area. He plays the colours against one another, recreating the perfect reflected tone from medieval brickwork, the patchwork of a market scene, or the sheen of the river Seine. Cam bier continues to work in Paris where he holds a teaching position as Professor of Drawing and Illustration. His works have been collected throughout the world. CAMBOUR, Claude Cambour (born 1940) was introduced to the world of art and artists through Maurice de Vlaminck - his grandfather was Vlaminck's gardener. After a period in Paris, he eventually settled in the region of Gi verny where he set about capturing the beauty of the countryside, its fields, gardens and streams. Inspired by Giverny, the village immortalised by Monet, and its environs, Claude Cambour is following in the footsteps of the French Impressionists. Recognised in art circles for his landscapes, painted out-of-doors, he has developed a style that is stamped with his own inventiveness. It is a style characterised by shimmering sunlight and true, luminous colours. Flower gardens and sparkling waterways are among the subjects Cambour is noted for, and have brought him his greatest acclaim.

COBELLE, Charles Born in Bavaria in 1902 , Cobelle studied at the famous and prestigious L ' Ecole des Beaux Arts in Paris and served as an apprentice of the great Fauvist artist Raoul Dufy. He later migrated to the United States with his great friend and teacher , the surrealist Marc Chagall, from whom his use of light , animation of subject and colouration derive. His works have been actively collected since the 1930s and he has had Although not prolific in the technique , he is a numerous one-man shows. His large scale distinguished printmaker utilising multi-colour 1i thography. works juxtapose the familiar cityscape s of Paris adding the dimension of gaiety and festival. He, like Chagall, is a chronicler of the life of the city of Paris. CORCOS, Giulio Giulio was born rn Rome and is still based in Italy. He trained at the School of Art in that city and for a number of years concentrated exclusively on sketching . In 1987 he began to work in oils and he now is enjoying an increasing Exhibitions of his work have already been held in reputation in that medium. Rome, Bologna and San Francisco. The artist visited Australia and New Zealand and in 1994 painted his interBecause of their pretations of a number of scenes typical of the countries. special interest and quality, two of those works (Anierica 's Cup Yachts on the Waitemata and Opera House) have been included in the auction, along with some of his other paintings.

(Francois Ledan) F ANCH While a student at the Ecole Superieure des Sciences Commerciales in Paris rn 1968, " Fanch " as he signs his work (a Breton nickname for Francois) began to paint, and soon abandoned commercial design in favour of full-time studies In his earlier days he was noted for delightful scenes rn painting and fine art. of his native Brittany, executed in a colourful ' primitive' style. His talent and achievement in painting were quickly recognised by critics and his work was accepted by the two major European exhibitions: the prestigious "Salon des Artistes Francaises " and the " Salon des Peintres temoins de leur temps" . Fanch became involved with printmaking in Paris in 1973 when he learned Since then, he has had more than 25 the difficult technique of lithography. one-man shows including exhibitions at Galerie Malle, Aurray, France; Centrao He has d' Arte Naivo, Milan; Champs-Elysees , Paris , and San Francisco, USA. the and also participated in group shows in Germany , France , Venezuela, Italy USA. Fanch now lives in California, where he maintains an independent atelier. Armand GUILLAUMIN , (1841-1927) is one of the great under-known ImpresGuillaumin Armand sionists: His works are hard to find, extremely collectable and valuable. In his book 'Recollections of a Picture Dealer,' the famous art dealer Ambroise Vollard wrote: " Guillaumin, of all the great Impressionists , has lagged behind most; and yet what works the painter of La Creuse has left us! "

After studying drawing for some years at the Ecole Municipale under the sculptor Caillouet, Guillaumin decided that he wanted to spend his life as an artist - but in those early, unknown days he could not earn a living from art and so he found work on the Paris railway. In his spare time he attended the Academie Suisse, where he became close friends with Pissarro and Cezanne, and exhibited for the first time with them and Manet at the Salon des Refuses rn 1863. He contributed three works to the first-ever Impressionist exhibition rn 1874, and again showed at the exhibitions of 1877, 1880, 1881, 1882 and 1886. He was friends with Renoir, Signac, Seurat and Van Gogh, and was regarded by his contemporaries as an artist of outstanding talent. But Guillaumin was shy and reluctant to promote his work and thus has not achieved the name-recognition of many of his contemporaries. An anecdote Vollard recounts in his book tells us much about how the artist felt about his own work: "When I told him I hoped to bring him some purchasers," Vollard writes, "Guillaumin said -'Look, I hope they are not the sort of people who buy just to cover their walls.' I reassured him that they were not. His face brightened and he said: 'Then I shall look out for them. They are my friends already.'"

HUCHET, Urbain Urbain Huchet was born in Rennes, France, in 1930 and after studying law and owning a textile factory for four years, he decided in 1960 to devote himself entirely to painting. He spent his first three years as an artist in PontA ven, following in the footsteps of the Post-Impressionist, Gauguin, and Symbolist, Emile Bernard, both of whom influenced him a great deal. He is especially noted for his outdoor, street and cafe scenes, generally inspired by the Brittany region. He has been an exhibiting artist since 1960 and has had shows in New York, London, New Orleans, Egypt and Paris.

KING, Jeremy King (born in Engalnd in 1933) studied in the Friend's School in Lancaster, England, the Moreciambe College of Art, and at London University. He has exhibited at the Royal Academy, the Bear Lane Gallery in Oxford, the Thames Gallery in Eton and the Medici Gallery. He is a most versatile and increasingly well-regarded artist, who also teaches pottery and sculpture.

LE KINFF, Linda Linda Le Kinff was born in Paris in 1949 to a French father and Brazilian mother; her career as a painter began in 1969 and the following year she travelled to several countries, finally settling in Italy, where she remained for a number of years. She learned the ancient techniques of tempera, egg painting, and the gold leaf method taught by masters in Florence and Livorne. She also served an apprenticeship in wood engraving and copper engraving, as well as learning the modern techniques of acrylic and airbrushing.

In Paris in 1975 she learned lithography and in 1976 met Okamoto Taro, the In 'Japanese Picasso,' who introduced her to the sand and sumi technique. 1981, she spent six months in Morocco where she worked with Chabia, the poetess of the naive abstraction movement. Le Kinff works without a model, and her inspiration comes from travel, Her influences include the secret sensuality dreams, reading and imagination. of Braque, the drawing of Matisse , the elegance of Modigliani and the maturity of Egon Schieler. She has exhibited widely in Europe , Australia and Japan.

MAIMON, Isaac Maimon , born in Israel in 1955, studied at the renowned Avni Institute of Fine Art in Tel Aviv, graduating in 1976. He has exhibited extensively both in Israel and abroad , and in addition to being a highly regarded artist has taught art at the School of Visual Arts in Beer-Sheba and at the Kaye Art Academy. There is often a twinkle of humour in his work - yet his works are also characterised by their strength - and he has been acclaimed for his unique combination of dreamlike nostalgia and gentle irreverence which, in his soft, warm shades creates a masterful image of a bygone era . His warm palette has been influenced by early 20th Century European Art.

MA TTIOZZI, A vio Now living in New Zealand, Avio Mattiozzi (born in Rome in 1960), has a strong tradition in the arts. _ His earliest artistic leanings were towards classical music, which he studied under the guidance of his grandfather, Maestro Tito However, in later years he realised he was naturally inclined towards Petralia. the figurative arts and architecture, and these tendencies were confirmed during his studies at art schools in Florence and Rome. To complete his studies A vio enrolled at the Faculty of Architecture at La Sapienza University, Rome and from there began his career as an architect and But he believes a complete artist does interior designer in Italy and abroad. not find total expression in one single art form, and consequently has im mersed himself in the exploration of new techniques, new forms of expression and new emotive _outlets. It was in Silvano Galletti's Florentine workshop that Avio learned the technique of wood composition and from this he developed and perfected his own special technique. His subject is reduced to many small, distinct parts , each of Only at the moment of recreation, when which requires separate treatment. the pieces again become a whole , will the total effect of the individual parts The process is time-consuming and demanding, but the impact become clear. of his works is powerful and thought-provoki ng. Avio' s work has been exhibited in Florence, Rome , Paris, Monaco and San Francisco, and 1s included rn collections rn many countries, including New Zealand. PICASSO, Pablo Born in Malaga, Spain, in 1881, Picasso is the 20th Century's most influenHe received his first drawing lessons tial, innovative and renowned artist.

from his father, a drawing teacher , at La Coruna in 1891. In 1895 the family moved to Barcelona where young Pablo brilliantly passed the entry examination to the famous La Lonja Art School. By 1897 he was exhibiting drawings in Barcelona and Madrid, and created his first etching two years later, El Zurdo. The following year saw Picasso in Paris for the first time; he settled there in 1904, renting a studio in the 'Bateau Lavoir. ' He began engraving , then drypoints on celluloid and shortly afterwards created his first woodcuts. From 1909 to 1915 he produced Cubist prints and from 1916 to 1920 did neoclassic, Ingresque etchings. 1919 was the year of his first lithographs and in following years he created a large number of paintings, etchings, engravings and aqua tints. In late 1945 he reverted to lithography, producing his first colour prints in that medium at Mourlot's . From 1953 to 1957 came his aquatints, line engrav ings and lithographs (the Jacqueline series) and in 1958 his first colour linocut. In 1968, from March 16 to October 5 , three weeks before his 87th birthday, he created 357 etchings, line engravings, drypoints, mezzotints and aquatints! In the late 1950s Picasso created a number of drawings - wash for the most part - which, together with a number of colour works , appear in a publication he and the bull-fighter Luis Miguel Dominguin collaborated on, known as Torosy Toreros. It is from this book that the works included in the auction were taken. No person has changed more radically the nature of art. Most museums of modern art throughout the world have examples of his work in their collections and yet, despite his extraordinary productivity , prices for any of his art remain very high and are rising.

PICOT, Jean Claude Since 1956, when he was 23, Picot has been a full-time professional artist. He seriously studied the works of the Fauvist masters Vlaminck, Derain and Matisse and we find the same excitement in his works as we find in those great masters, whose exuberant canvases excited great attention in the first decade of our century, due to their revolutionary use of colour, texture and abstract form. Picot has developed a unique style that recalls a Post -Impressionist appli cation of colour combined with the expressive qualities of line. The world of his art is often one of a happy reflection on relaxation , and his personal 'joie de vivre.' He captures the animation, romance and essence of the landscape. Since 1974 he has exhibited in over 25 one-man shows throughout the world , including the United States, Belgium, Norway and Australia. A master printmaker, he often draws on the Cote d'Azur - its visitors, its beaches, its boat-filled harbours. His work abounds with natural beauty and breathtakingviews charged with the unique light of the Mediterranean. Picot works in a Post-Impressionist manner, reducing flowers, trees, houses and figures to their essential forms. In reviews of Picot's solo exhibitions in Paris, Bordeaux and Oslo, the critics cited the affinities between the masters of the turn -of-the-century Impressionism and early 20th Century Fauvism and Picot , thus beginning to place his work in the art history of important French landscape painters.

REA, Joann One of America's most succesful floral landscape artists, Joann Rea was born in St Louis in 1945 and at the age of five began showing the natural talent that has remained fresh in the works of this primarily self-taught artist. As the 1970s were ending, she was accepted as a student of the master landscape painter, Jacques Hans Gallrein, and her style of painting developed into a mixture of Realism and Impressionism. From Realism she incorporates a steadfast attention to detail. Realism also has given her a kind of 'gardening truth' - that is, her gardens always have the correct types of flowers or trees or shrubs that would be found 1n a particular climate at a particular time of the year. She gives the From Impressionism, Rea adds to her work a love of light. light a force of its own, a strength that emerges from her many strokes that Rea's work has been shown in often recall the intense pointillism of Seurat. important gallery exhibitions across America and Japan.

Pierre-Auguste RENOIR, Of all the great European artists, Renoir (1841-1919) is without question his timeless works are prized one of the best-known and most widely loved; and represented in art museums and great collections in virtually every country in the world. It is not only that he produced stunning visual works; it is also hi s choice of subject-matter and his attitude to that subject-matter that gives his art such broad appeal - it appeals as much to the 'person in the street' as it does to art experts and scholars. Born in Limoges, France, he moved with his family to Paris when he was four years old; at 15 he began work as an apprentice painting on porcelain, and when that factory closed spent several years painting murals and blinds. He then studied art for a period and in 1864 had his painting of 'Esmeralda Dancing with a Goat' accepted for inclusion in the great annual Parisian 'establishment' art exhibition known as The Salon. Along with other artists such as Manet, Degas, Pissarro and Monet, Renoir joined in the experimental approach to painting that became known as Impressionism, but it was not unti I the 1880s that the quality of his work began to be acknowledged. With recognition came security and a change in style. Even more important, he began to concentrate almost exclusively on the subject matter that inspired much of his work for the rest of his life: women and children. He did not make his first etching until he was 49 and already famed as a painter, and in his remaining years he completed only 24 more etchings and The medium attracted him not merely as a the same number of lithographs. painter, but also as a challenge. a graphic extension of his work as Today it is almost impossible to buy a painting by Renoir - even if one could afford the astronomical prices, the simple fact is that his works are so treasured by art museums that they will rarely again ever be offered for sale.

As a result, interest in the only works available - his graphic art - is increas ing as people discover that it is possible to acqmre an original Renoir etching or lithograph at a still-affordale price.

SOA VE, Mario Mario Soave was born in 1955 into a family of artists (his father was a noted sculptor, his older brother also a painter and graphic artist) in Lucca, Italy. He began to paint at a very early age and won his first national competi tion when he was aged 13. After studying at an exclusive art school he entered L' Accademia di Belle Arti in Carrara, from where he graduated with the highesthonours. In his earlier works he experimented, looking for new ways to express him Eventually he began to study landscape, and in that found his greatest self. satisfaction. His ability in that field was immediately recognised and he won national and international competitions, judged by artists and critics of international reputation. His powerful, colourful works have been shown in major galleries and exhibited throughout Italy and the United States, and his graphics and paintings are now included in a large number of collections in Europe and America. He has permanent exhibitions in San Francisco and Forte dei Marmi, near Florence . A feature article on him appeared in the influential magazine 'Arte' in 1988 and since that time interest in his art has continued to grow. 'Money' magazine, a publication dedicated to investments, in its "Art in the 90s " summary and under the heading "Investments Under $50,000 That Are Most Likely to Pay Off," included the art of Mario Soave. Because of his growing reputation in Europe and the West Coast of the United States, Galerie Altamira brought Soave to New Zealand in 1994 and he created several works locally . One of these, Rangitoto from Milford Beach, is included in the auction, along with a number of his other works.

TARKA Y, Itzchak Tarkay has achieved recogmt1on as a leading representative of a new gen eration of figurative artists. The inspiration for his work clearly lies with French Impressionism, the Fauvist works of Matisse and his drawing style from Toulouse Lau trec. While summing up the characteristics of his model subject without relying on the precise copying of natural forms, or the patient assembling of exact detail, Tarkay' s rich tapestry of form and colour is achieved through the use of a silk-screen (serigraph): Many colours are laid over one another and used to create texture and transparency. His work has been honoured at the Interna tional Art Expo and he enjoys enormous popularity wold -wide. While cheap reproductions of his images have spread Tarkay's fame around the world, his original signed serigraphs, created for collectors, are not believed to have been available before in New Zealand.

Nelson THOMPSON, Born in Gisbourne in 1918, it was not until after the Second World War, in which he saw service, that Nelson Thompson began to study art - although by then he had already become quite proficient in pen and ink and pen and He gained the National Diploma of Design (Painting) from the Chelsea wash. School of Art and later was awarded the Ministry of Education's Art Teacher's He Diploma from the Institution of Education attached to London University . married a fellow art student, English-born Valerie Turner-Samuels, and in 1950 returned to New Zealand where he became a lecturer in primary art education at Ard more Teachers' College. After a period teaching art at Penrose High School he returned to Britain at the end of 1958. Two years later he came b~~k to New Zealand and began teaching art at Pakuranga College, where he staye·d- for five years before taking a lectureship in design in the visual arts department 6f the Secondary Teach ers' College in Epsom. Until his retirement in 1979 he travelted, studied again -oin London and rose to head of his department at Epsom. His style in art changed over the years . After the pen and ink sketches and pen and wash of his early career he worked mainly in pen, pencil, pen wax In the late 1950s he painted for the first time in true watercolour, and wash. He also created in graphics - includ prefering its spontaneity and freshness. ing a cover design for the Auckland Festival of the Arts and a design for an By the midAuckland City Art Gallery exhibition of Frances Hodgkins work. of exhibitions and well-known reasonably become had 1960s his watercolours his work had been held outside Auckland. In that decade he discovered the German artist Emil Nolde, and began to create watercolours on Fabriano paper thoroughly saturated in water - art that was popular with the public and the critics. In 1971 Harnish Keith wrote: "This is certainly one of the most beautiful watercolour shows seen here for some time, and it is one of the strongest showings Nelson Thompson has yet made ... they are certainly an essay in just what wetly and lusciously beautiful Thompson continued to create right watercolour as a medium can achieve." up until his death in 1989 and was frequently honoured for his contributions. He is represented in the Auckland City Art Gallery, the National Art Gallery, Wellington and in many private collections overseas and locally, including Air New Zealand, ICI, Fletcher's and Nestles. Laurence WRIGHT, The artist was born in Wellington in 1955 and grew up in Tawa. For six years he was hospitalised with polio, which left him disabled and unable to walk until he was nine. During that time he developed an interest in music and art - a world in which he had some measure of control. He played music and learned art in school before becoming an engineer, but found no satisfaction in his job and left to paint full-time. After three years studying fine arts and a further year working on painting techniques, Wright spent another two years experimenting with different media before he felt confident in his work. Today his paintings range from the surreal to the Impressionistic; he works mainly in acrylics but also uses oils, Wright is based in Whaganui. pastel, water colour and gouache.

Above: Schkolnyk Catalogue No 43 Right: Mattiozzi Catalogue No 66

Catalogue produced by Altair 4, Auckland