Fine & Applied Arts by Dunbar Sloane Ltd

FINE & APPLIED ARTS 1 1 & 1 2 A U GU ST 2 0 2 1

Co v e r D e ta i l 2 8 : Ri ta A n gu s ( 1 9 0 8 – 1 9 7 0 ) M ou n t S t e w a r t , Wa i a u , N or t h C a n t e r b u r y c.1931-2. o i l o n h a rd b o a rd 40 x 49.5cm $180,000 - 280,000

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART

We d n e s d ay 11 Au g u s t 2021 - 6 p m s t a r t Pa r t O n e - Eve ni n g S al e L ot 1 - 6 8

T h u r s d ay 12 Au g u s t 2021 - 12n oo n s t a r t Pa r t Tw o - Day S al e & A p p li e d A r t s L ot 10 0 - 23 0

T h u r s d ay 12 Au g u s t 2021 - 4 p m s t a r t St u d i o C e r a mi c s & A p p li e d A r t s L ot 3 0 0 - 412

Kiwi Wealth House, Ground Floor 94 Featherston Street, Wellington CBD PO Box 224, Wellington 6140 +64 4 472 1367 / info@dunbarsloane.co.nz

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART

W E LLI N GTO N V I E W I N G SCH E DU LE Friday 6th August 9am - 4pm Sunday 8th August 12noon - 3pm Monday 9th August 9am - 4pm Tuesday 10th August 9am - 4pm Wednesday 11th August 9am - 4pm

L O CAT I O N Kiwi Wealth House, 94 Featherston Street Wellington CBD PO Box 224, Wellington 6140

E N Q U I RI E S Helena Walker Director Fine Arts +64 4 472 1367 / art@dunbarsloane.co.nz

LI V E B I DD I N G Please note we now offer our own live online bidding service. For instruction see our website: www.dunbarsloane.com Online registrations and absentee bids must be made at least 2 hours before the auction commences, or 24 hours if you are an International client

A BSE NTE E & TE LE PH O N E B I DD I N G If you are unable to attend the auction, you can elect to register an absentee or telephone bid. Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to availability.

BU Y E RS PR E M I UM Each lot is subject to 18% + GST buyers premium

NE W ZE AL AND & INTERNATIONAL FINE ART PART ONE / E VENING SALE

Wednesday 11 August 2021 6pm start Lot 1 - 68

1 Don Binney (1940-2012) Grackle, Veracruz silkscreen print, limited edition 15/100 inscribed with title, signed and dated ‘Don Binney 1970’ (lower right) 64 x 46cm $4,000 - $7,000

D UN B AR S L O A NE

2 Don Binney (1940-2012) Pacific Frigate Bird screenprint from the Barry Lett Gallery Multiple series, 1970 55 x 45cm $5,000 - $8,000

3 Don Binney (1940-2012) Swoop of the Kotare, Wainamu screenprint, limited edition 15/55 (Ed II) signed and dated ‘Don Binney 1986, ED II’ (lower right), inscribed with title (lower left) 67 x 47.5cm $9,000 - $15,000

FINE AR T

4 Bill Hammond (1947-2021) Seamless, Gutless, Spotless, Useless (2006) lithograph, limited edition 68/100 signed and dated ‘W D Hammond 2006’ (lower right) 57 x 42cm $7,000 - $10,000

5 Ralph Hotere (1931-2013) Black Window lithograph, AP (edition of 30) signed and dated ‘Hotere ‘88’ (lower centre), inscribed with title (lower right) 42 x 29.5cm $3,500 - $5,500 L IT ERAT U R E Peter Vangioni & Jillian Cassidy, Hotere empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch Art Gallery 2005) p. 38. fig. 11.

6 Ralph Hotere (1931-2013) Black lithograph, limited edition 10/22 signed ‘Hotere’ (lower right); inscribed with title and dated 1998 (lower left) 56 x 62cm $4,500 - $7,000 L IT ERAT U R E Vangioni & Cassidy, Ibid p. 106. fig. 95.

7 Ralph Hotere (1931-2013) Round Midnight ‘June’ lithograph, limited edition 4/24 signed and dated ‘Hotere 2000’ (lower right) & inscribed with title (lower left) 70.5 x 89cm (sheet) $5,000 - $8,000 This work was drawn at Carey’s Bay and handprinted at Papergraphica, Christchurch by Marian Maguire

D UN B AR S L O A NE

L IT ERAT U R E Vangioni & Cassidy, Ibid p. 115. fig. 105

FINE AR T

8 Robin White (b 1946) Oystercatchers silkscreen, limited edition 6/50 signed and dated ‘Robin White May ‘74’ (lower right); inscribed with title (lower right) 62 x 46cm $5,000 - $8,000 E XH IBIT ED Nelson, Collectors’ Exhibition, Suter Art Gallery, 1981 L IT ERAT U R E Robin White New Zealand Painter (Alister Taylor Martinborough 1981) p. 106. no. 161. 9 Robin White (b 1946) This is me at Kaitangata silkscreen, limited edition 29/40 signed and dated ‘Robin White 6/79’ (lower right), inscribed with title (lower left) 50 x 36.5cm (plate) $3,000 - $5,000

L IT ERAT U R E Ibid p. 72 (colour illustration), no. 210, p. 115. 10 Ans Westra (b 1936) Te Hapua (1969), from Māori Portfolio gelatin silver print signed to reverse 22 x 24.2cm $5,000 - $8,000 P ROV EN A N C E purchased {Suite}, Wellington, November 2016 A copy of this photograph is in the collection of Museum of New Zealand Te Papa Tongarewa 11 Ava Seymour (b 1967) White Wedding Invercargill (Health, Happiness and Housing 1997) Type C colour photograph 74 x 92cm $3,000 - $6,000 Provenance purchased Peter McLeavey Gallery, Wellington September 2003 A copy of this photograph is in the collection of The National Gallery of Australia, Canberra (Accession Number: 2005.827)

9 14

D UN B AR S L O A NE

FINE AR T

12 Ian Scott (1945-2013) Untitled (Black & White Lattice) acrylic on paper 43 x 43cm $3,000 - $6,000

D UN B AR S L O A NE

13 Simon Morris (b 1963) ‘1463’ acrylic on aluminium signed, inscribed with title and dated 1994 to label on reverse 30 x 30cm $2,000 - $4,000

14 Gordon Walters (1919-95) Genealogy III (1971) 2020 screenprint on archival paper, limited edition 18/100 Walters Estate blindstamp (lower left); paper label to reverse 105.5 x 80.5cm $6,000 - $10,000

FINE AR T

15 Gina Jones (b 1963) Untitled (After Aranui) painted laser cut steel, paint and LED light 123 x 85 x 5.7cm $8,000 - $14,000 EX H IBI TED Wellington, Tinakori Gallery, 2007

16 Max Gimblett (b 1935) Tiger Tiger Burning Bright screenprint on aluminium, AP/1 (edition of 5) signed and dated ‘Max Gimblett 2016’ and inscribed with title to reverse 38cm quatrefoil $5,000 - $8,000

17 Sam Mitchell (b 1971) ‘Ready Steady Go’ acrylic on perspex inscribed with title, signed and dated 'Sam Mitchell Auckland New Zealand/ August 08’ to reverse 113 x 113cm $12,000 - $18,000 P ROV EN A N C E purchased Anna Bibby, Auckland, 2009 Private collection, Auckland

D UN B AR S L O A NE

FINE AR T

18 Shane Cotton (b 1964) Pararaiha, a Walk in Paradise, Welcome, Veil, Kikorangi, Moerewa suite of six lithographs, A/P 4/4 each signed & dated 'Shane L Cotton 2014' (lower right) and inscribed with titles (lower centre) 56 x 76cm each $10,000 - $15,000

D UN B AR S L O A NE

Shane Cotton produced his first series of lithographic prints in 1998, and a second in 2004. This latter series was produced with the Australian Print Workshop in Melbourne and published by Gow Langsford Gallery. Cotton delicately delineates images that have become synonymous with his work, including the controversial motif of “upoko tuhituhi” or “marked heads”‚ and his iconic birds. In Cotton’s depiction of these ancestors and in referencing their after-life and the heavens, his work can be seen as a way to keep their identity and memory alive.

19 Shane Cotton (b 1964) Untitled (Goldfinch) acrylic, photo etching and aquatint on paper inscribed with title, signed and dated ‘Shane L Cotton 2013’ (lower right) 117 x 117cm $20,000 - $30,000 P RO VENANCE purchased Hamish McKay Gallery, Wellington This work is from the same series as Untitled (Head) ten works in the Collection of Christchurch Art.

It appears to be an archery target, or a pulsing GPS locator beacon. But when you get up close, the surface is softly weathered, as if the pressure of the world around it has worn it away slightly. You become aware of the small painted motifs within the concentric circles and suddenly, rather than looking like something that belongs to space, like the trajectory of an arrow or the flight plan of a plane, you see that the works might equally be concerned with time, that the bands of colour might be read as the rings of a tree or as a model of eternal return.

FINE AR T

20 Tanya Ashken (b 1939) Torso (c. 1968) patinated bronze on wooden base 32cm height, 19cm width (maximum excluding base) $5,000 - $8,000 P RO VENANCE purchased directly from the artist LIT ERATURE Tanya Ashken Jeweller, Silversmith, Sculptor (Cameron Drawbridge 2016) p. 103. Museum of New Zealand Te Papa Tongarewa have a non-patinated bronze version of this edition in their collection. 22

D UN B AR S L O A NE

21 Tanya Ashken (b 1939) Seabird black patinated bronze on aluminium base, limited edition 6/12 stamped mark to base 30cm height, 37cm length, 45cm wide (maximum including base) $5,000 - $8,000 PR O VE N AN C E purchased directly from the artist L I TE R ATU R E Ibid p. 91.

22 Paul Dibble (b 1943) Bird & Kōwhai (2020) cast bronze with 24ct gold, limited edition 7/10 inscribed with signature ‘Paul Dibble’ to base 45cm height, 40cm length, 14cm width $15,000 - $25,000

FINE AR T

23 Heather Straka (b 1972) The Gatekeeper oil on board signed, inscribed with title and dated 2005 to reverse 79 x 52cm $35,000 - $50,000 P RO VENANCE commissioned by the vendor directly from the artist after viewing ‘Paradise Lost’ at Jonathan Smart Gallery, Christchurch, 2005 Private collection, Christchurch

Heather Straka is one of New Zealand’s most conceptually minded mid-career painters. Her work is in major public and private collections and she was the 2008 Frances Hodgkins Fellow and the 2011 William Hodges Fellow. Straka began taking art night classes while still in high school with her sights set on Elam to which she went to study sculpture. Her tutors there included Christine Hellyar and Greer Twiss. After graduating in 1994 she spent five years in France working as an artist assistant for Julia Morison before returning to New Zealand where she graduated from Ilam in 2000 with a Masters of Fine Art. It was during her time in France that, thanks to a paucity of sculptural materials and live exposure to René Magritte’s oeuvre, Straka was moved to paint. Her work since has functioned in a thoroughly surrealist logic, relishing the juxtaposition of unlikely subjects that create a culture clash and confuse our societal codes. Her work strives to unsettle the viewer. However unnerving her paintings can be and despite their initial shock they ring with a deep resonance that is more true to life than immediately recognisable. Burqababes (2014) is a series of women in burqas that mostly cover their faces and torsos but reveal heavily tattooed bare skin. It explores the complex and secret relationships we have with what we hide that underpins our interactions and connections. The Asian (2010) looks at the predicament of a cloning culture with, among other things, a

D UN B AR S L O A NE

recurring tiki brooch foreignised by it’s placement on the cheongsam of a 1940s Shanghai girl. In an interview with the Canterbury Herald 1. Straka says that it has been common in the past to find plastic tiki made in China for sale in New Zealand. These obvious comparisons of ‘real’ and ‘fake’ are blurred and impossible to distinguish when it comes to people face to face. Straka’s groundbreaking exhibition Paradise Lost (2005) copied portraits by Lindauer and Goldie. Using her own highly finished trademark style of serene tonal control and adding elements such as horns, red tinged skin, tattoos, and halos, Straka appropriates specific cultural imagery. Paradise Lost deliberately comments on contemporary New Zealand society by way of acknowledging the different layers and lenses of our shared colonial past. Without asking for permission to ask, her works by their very existence demand an answer from us; who has the right to the imagery used in these paintings? Straka, Lindauer, or indeed in this very instance the subject of the painting, Tukukino Te Ahiātaewa? Tukukino Te Ahiātaewa was a rangatira and land activist of Ngāti Tamaterā living in the 19C. He holds a tewhatewha with huia feathers, a weapon for a chief. His portrait was first done by Gottfried Lindauer in 1878. It was common at that time for Māori subjects of a high rank to commission Lindauer for a portrait. Yet Lindauer’s works

were exhibited in the Colonial and Indian Exhibition of 1886. Acknowledging the then popular ideals of social Darwinism this gives his paintings an anthropological approach more akin at that time to taxidermy than art. It is this cultural tension, between genuine admiration and debasing exoticism, that Straka’s paintings find their roots in. A part of arguably the most compelling series of her career The Gatekeeper was a private commission made after the vendor saw Paradise Lost. The halo signifying sainthood and the heart the divine light of love, Straka modernises Te Ahiātaewa’s presence while also deepening our ability to connect with him. The Gatekeeper revolutionises Lindauer’s narrative, elevating it from unsettling representations of a supposed dying race to a potential acknowledgment of a powerful, full hearted and dignified people. There is no getting around the jarring effects of the cultural crossover, Straka herself saying ‘even though we try to understand another culture, there’s always a disconnect.’ 2. Maeve Hughes 1. Mid Canterbury Herald, December 14th, 2011. P. 13 2. Heather Straka, Francis Hodgkins Fellowship, Thecentral.co.nz 2008, retrieved 2021.

FINE AR T

24 Heather Straka (b 1972) Honeytrap 7 oil on cotton on board signed to label on reverse with original exhibition invite attached 68 x 56cm $16,000 - $28,000 P RO VENANCE purchased Jonathan Smart Gallery, Christchurch, 2015 Private collection, Christchurch

D UN B AR S L O A NE

E X HI B I TED Jonathan Smart Gallery, Christchurch ‘The Honeytrap’, 7-31 October 2015 'The Honeytrap paintings are direct, intimate and sensual - befitting the bare backs and cameo-like oval format of the paintings. The feel is restrained, almost Victorian, but Straka is in her element relishing her (painterly) powers of suggestion, and playing with what she presents and what she denies. We see only shoulders, the nape of a neck and carefully rendered hair. Bra straps and labels

bring contemporary cues to this visual field. But only on occasion do we catch a jaw line or the glimpse of an eyelash. Still, we read plenty into these works, from the confident poise of the dancer to the quietly lowered head of the dark-haired model alongside. We read subtle nuances of pose with aplomb - from the inclination of a cheek, to the drama of shoulder blades pulled taut or on the diagonal, rather than presented flat. We know what is assertive and what is demur, just as if we were the subjects.

The palette is typically Straka - rosebud or fleshpink through grey to her curiously sallow green - as are the controlled thin layers of oil paint. Here, all is care with no responsibility. And everything is utterly beautiful.' 1. Jonathan Smart, https://www.jonathansmartgallery.com/

25 Heather Straka (b 1972) Warrior oil on cotton on board inscribed with title signed and dated 2004 to reverse 52.5 x 31cm $8,000 - $14,000

EXH IBIT E D Dunedin, Heather Straka The First Fleet, Milford Galleries, 28 August - 16 September 2004

Exhibitions/The-Honeytrap/

PR O VE N A N C E purchased Webb’s, Auckland Webb’s, 14 September 2009 (lot 69) Private collection, Auckland

FINE AR T

26 Charles Frederick Goldie OBE (1870-1947) The Diplomatist. Kāmaka, a chieftain of the Ngāti Maniapoto tribe oil on panel signed ‘C. F. Goldie/ 1918’ (upper right); signed and inscribed with title on original paper label affixed to reverse 24.5 x 19.5cm $450,000 - $550,000 P RO VENANCE Inherited from the artist’s brother, Tup Goldie, who was married to the current vendor’s great grandmother by descent Private Estate, North Island LIT ERATURE Alister Taylor & Jan Glen, C. F. Goldie (1870-1947) His Life & Painting (Martinborough 1977) p. 251.

D UN B AR S L O A NE

FINE AR T

D UN B AR S L O A NE

Charles Frederick Goldie painted Te Kamaka, a rangatira of Ngāti Maniapoto, on five occasions between 1916 and 1921. The artist preferred to depict elderly Māori who still wore traditional tā moko and thus frequently reused the same models for multiple compositions. This painting is representative of the domestic scale works that Goldie increasingly produced during the 1910s, intended for middle class collectors. In contrast to his larger brush-textured canvases, these more intimate works were usually painted on wooden panels, with completely smooth surfaces. Such close-up, bust-length paintings allowed Goldie to showcase his skill – derived from his academic training – at

Writing on the 1918 exhibition of the Auckland Society of Arts, the reviewer for the New Zealand Herald observed: “Mr. Goldie’s work consists of small portraits, finished with his characteristic perfection of detail, and splendidly typical of the Maori, in whom he finds such constant inspiration.” (31 May 1918). Amongst the works on display was another painting of Te Kamaka titled “The Whitening Snows of Venerable Eld”: Kamaka An Chieftain of the Maniapoto Tribe (Aged 90 Years). The title of this work is taken from James Thompson’s allegorical poem The Castle of Indolence (1748). Goldie regularly titled his paintings with phrases borrowed from British poetry, further reinforcing the manner in which his paintings reflect Pākehā

depicting closely observed details, contrasting textures and the intricacies of wrinkled and tattooed skin.

sentiments. While this title emphasises Te Kamaka’s age, by calling the present work The Diplomatist Goldie instead focuses on his subject’s intellect and skill. Te Kamaka was involved with the Kīngitanga movement in the Waikato, thus it seems likely that intertribal and cross-cultural diplomacy formed part of his lived experience.

Unlike commissioned portraits, where the sitter pays to be depicted, Goldie paid his models. The traditional garb and adornments they wear were usually drawn from the artist’s own collection of Māori costumes and props, rather than being the personal possessions of his sitters. Both the intricate korowai (tasselled cloak) and pounamu hei tiki worn by Te Kamaka appear in several of Goldie’s other paintings. In this work the Ngāti Maniapoto elder also wears a maka taringa, or sharks tooth earing. An element of theatre is apparent in the various personae that Goldie’s models perform. In many instances the paintings’ anecdotal titles and models’ melancholic demeaners served to reinforce the belief that Māori were a dying race, an inaccurate and problematic view held by many Pākehā during the early twentieth century.

The painting gains much of its visual impact by presenting Te Kamaka in profile against the patterned surface of a raupo whare. During the late nineteenth century, many proponents of aestheticism esteemed the profile portrait for its decorative effect and emotional restraint. At the same time, with the expansion of European colonisation the format was frequently deployed as a tool of ethnography, used to document the physiognomies of different racial types. In this painting, the downward tilt of Te Kamaka’s head imbues the elder with an introspective demeanour, according him the dignity of a thinking, feeling individual. The profile format also allows him a degree of privacy in his thoughts, avoiding the maudlin sentimentality found in some lesser paintings. Thus, what at first sight may appear to be straight-forward depiction, gradually reveals its complex interplay of cultural, aesthetic and emotional conventions and effects. Ralph Body

FINE AR T

27 Charles Frederick Goldie OBE (1870-1947) When Evening Shadows Fall oil on canvas signed & dated ‘C. F. Goldie 1900’ (lower right); inscribed with title on typed paper label to reverse 22 x 30cm $100,000 - $160,000 P RO VENANCE Sale, Webbs’s, Auckland 29th & 30th June 1999 (lot 1216) as 'The Lonely Shore' purchased from the above by the current vendor Private collection, Hawkes Bay LIT ERATURE Leonard Bell ‘A Star is Reborn’ Art New Zealand 84, p. 77. Roger Blackley, Goldie (Auckland Art Gallery 1997), p. 16. (Illustrated in Goldie’s Studio, Hobson’s Buildings , 1900) EX H IBI TED Wellington, New Zealand Academy of Fine Arts, 1900 as ‘There is rapture on the lonely shore. There is a society where non intrude (Byron)’ no. 48. Goldie, Auckland City Art Gallery, 1997, cat no. 17.

D UN B AR S L O A NE

FINE AR T

When Evening Shadows Fall is an intriguing early work by New Zealand’s most celebrated academic artist, Charles Frederick Goldie. The amorphous sea and sky occupy two thirds of this intimate canvas. To the upper left, the evening sun sheds a final, flamelike burnish upon the expanse of cloud as it retreats from the encroaching expanse of violet. With a quirky symmetry, the form of the sandhills mirrors the brighter area of sky. A grey-haired woman sits in deep contemplation, her head resting on her hand as she stares wistfully out to sea. When shown at the New Zealand Academy of Fine Arts in Wellington, the subtle colour harmony of Goldie’s painting led one reviewer to comment on its “misty-mystic atmosphere,”

There is rapture on the lonely shore, There is society, where none intrudes. Childe Harold’s Pilgrimage, 1812.

reflecting that its “strange soft tones” were perhaps intended to evoke “an appropriate allegorical colour-setting” (Evening Post, 18 September 1900). The suggestion of a spiritual state, transcending mere physical existence, is reinforced by the lines from Lord Byron selected by Goldie to accompany his painting:

depicting a stipulated subject. In both its small scale and free brushwork, When Evening Shadows Fall shares qualities with the esquisses Goldie produced in Paris. The calligraphic rendering of marram grass in the present work recalls his depiction of bulrushes in The Finding of Moses (1896, private collection).

This painting was produced during a pivotal transitional phase in Goldie’s career. In mid-1898 the young artist had returned to Auckland following four and a half years of rigorous art studies at the Académie Julian in Paris, a conservative private art school popular with both French and foreign students. Here he had received a traditional art training under the eminent French academicians William Bouguereau and Gabriel Ferrier. Part of the school’s training involved the weekly production of esquisses, rapidly painted compositional sketches

Upon his return to New Zealand, Goldie was keen to capitalise upon the prestige associated with his European art studies. He furnished his studio in the Hobson’s Buildings with a range of exotic bric-à-brac in a manner that evoked the opulent studios of his Parisian masters. When Evening Shadows Fall features in a posed photograph of Goldie in his studio from 1900 (Auckland Art Gallery Toi o Tāmaki). The painting is displayed beside a Japanese silk hanging and below art school studies of the Venus de Milo and a male life model; a bust of Dante Alighieri sits nearby. The photograph shows the ambitious young artist keen to demonstrate his cosmopolitan credentials, with the present painting contributing to the ambiance of fin-de-siècle aestheticism. The other two paintings that Goldie submitted to the 1900 Wellington exhibition were decidely European in subject matter – depictions of Venice and an Arthurian maiden. By contrast, later that year the works he showed at the Auckland Society of Arts included Tamehana, from Life (1900, Auckland Art Gallery Toi o Tāmaki) and One of the Old School (1900, Christchurch Art Gallery Te Puna o Waiwhetū), examples of the portrait studies of Māori for which he achieved renown. It is difficult to establish the ethnicity of the woman depicted in When Evening Shadows Fall. She might have been conceived as a weather-beaten French peasant, but could equally be a Māori kuia, deep in thought on the New Zealand coast. In its very ambiguity, this intimate and intriguing work encapsulates this key phase of Goldie’s development, as he sought to adapt his European art training to his local New Zealand context. Ralph Body

Goldie in His Studio, Hobson's Buildings (1900) Auckland Art Gallery Toi o Tāmaki, gift of the Goldie Family, 1995 Accession no 1995/3/6

D UN B AR S L O A NE

FINE AR T

28 Rita Angus (1908-1970) Mount Stewart, Waiau, North Canterbury c.1931-2. oil on hardboard signed ‘Rita Cook’ in pencil and in brushpoint to the reverse 40 x 49.5cm $180,000 - $280,000 P RO VENANCE Sale, Peter Webb Galleries, 24 July 1985 (lot 178) Private collection, Wellington LIT ERATURE Christchurch Press, 6 September 1932, p. 11. Julie Catchpole ‘The Group’ Thesis, University of Canterbury, 1984 Ed. William McAloon & Jill Trevelyan, Rita Angus Life & Vision (Te Papa Press 2008) p. 33. (colour illustration) Jill Trevelyan, Rita Angus: An Artist’s Life (Te Papa Press 2020) p. 62 - 63. (colour illustration) EX H IBI TED Christchurch, The Group, 1932, no. 70. Dunedin, Otago Art Society, 1932 Rita Angus Life & Vision Touring Exhibition, Te Papa Tongarewa 6 March - 5 July 2009, Dunedin Public Art Gallery 12 November 2008 - 15 February 2009, Christchurch Art Gallery 7 March - 5 July 2009, Auckland Art Gallery 1 August - 1 November 2009, cat no. 17.

A true pioneer of modern art in New Zealand, Rita Angus’ works are among the nation's best-loved paintings - her beloved Cass (1936) is an icon of 20th-century New Zealand art. Cass was a watershed in Angus' own career and for New Zealand landscape painting of the 1930's. It signalled a break from academic traditions expounded at local art schools to a new crisp hard-edged Realism, revitalising the Regionalist tradition. With her fellow Group contemporaries including Colin McCahon and Toss Woollaston, they set the foundations of which contemporary art in New Zealand is based. Angus developed a personal conception of the New Zealand landscape, simplifying it back to its essential nature, while expressing her own distinctive experience of the region. Her work is an expression of her commitment to her country and celebration of place. She was inspired by her environment, the places she lived, and the people she encountered as well as informed by a keen interest in anthropology, history, and Māori culture. She frequently travelled the New Zealand countryside and North Canterbury was a favoured location. A change of scenery meant new subjects and fresh inspiration as well as a chance to escape from the mundane routine of daily life. Mt Stewart, Waiau, North Canterbury, completed c.1931-2 has been identified as Angus’ most significant pre-Cass landscape. Completed five years prior, Mt Stewart is a complex work which anticipates the Cass series in its linear, rhythmic forms. It is a work of two halves, with contrasting view points and style. The top half of the work illustrates the Southern Alps in a naturalistic style with carefully modulated forms. In contrast the Waiau riverbed is depicted from a high viewpoint and employs a much bolder, more vigorous style. The valley and riverbed utilise strong diagonal lines and colour contrasts, while the river is a distinct form in itself, with its modern, bracing zig-zags of colour. Form is flattened and colour simplified with a clear pervading light so key to her oeuvre .

D UN B AR S L O A NE

Exhibited in 1932 at The Group, Christchurch and also the Otago Art Society, the work received critical acclaim. A critic praised the ‘solidarity of form’ and ‘clear light’ in both her and her husband’s work shown in the 1932 Group show ‘Mrs Rita Cook and Mr Alfred Cook see New Zealand in a way that contrasts greatly with the work of those who concern themselves with finding a fragment of landscape of the popular “English” type, and who paint it in a manner suited to that type.” Whilst influential artist and teacher Robert N Field who described the work as ‘a splendid translation of truly New Zealand country’ in response to the Otago Art Society showing. Angus sold little work during her lifetime, but this was partly by choice: even close friends sometimes found it difficult to persuade her to part with her work. When she died in 1970, her family deposited the contents of her studio, numbering more than 600 works, in the National Art Gallery (now Te Papa Tongarewa). Today, few of her works remain in private hands. Mt Stewart was formerly reported as one of Rita Angus' lost works, especially after experts involved in organising the National Art Gallery’s 1982-83 Retrospective Exhibition were unable to trace it. However in 1985 the work was discovered in England by former New Zealander art dealer Lance Crawford. It was subsequently auctioned in Auckland and purchased by the current owners in the same year. Ninety years after it was painted Mt Stewart, Waiau, North Canterbury remains as vivid and captivating as the day it was painted, a true ‘mistresspiece’ of New Zealand art. Helena Walker

FINE AR T

29 Rita Angus (1908-1970) Houses, Thorndon watercolour on paper signed ‘Rita Angus’ (lower right) 36 x 50cm $65,000 - $80,000 P RO VENANCE purchased by Frank & Lyn Corner directly from the artist at her cottage in Thorndon, 1969 Sale, Art + Object, 'The Collection of Frank and Lyn Corner' (lot 69), 18 March 2018 EX H IBI TED Wellington, City Gallery, Rita Angus: live to paint and paint to live, 5 July - 16 September 2001 In 1955 Rita Angus bought a cottage in Sydney Street West in the suburb of Thorndon, Wellington. The houses in this old neighbourhood provided a constant source of imagery in her work for the remainder of her career. Angus has simplified the houses into a series of planes, building up the composition and giving it depth. Their forms, however, remain clearly defined by her careful application of paint. Angus’ concern with simplifying forms into geometric planes shows the influence of the French artist Paul Cézanne (1839 -1906). The sister work of this watercolour entitled 'Houses Wellington' (1964) was exhibited Rita Angus National Art Gallery Touring Exhibition 1982-4, cat. no. 122.

D UN B AR S L O A NE

FINE AR T

30 Frances Hodgkins (1869-1947) Corfe Castle gouache on paper signed and dated ‘Frances Hodgkins 1942’ (lower left) 41.5 x 56cm $100,000 - $160,000 P RO VENANCE Mrs W J Turner, 1942 Redfern Gallery, London, England, c. 1955 Mr & Mrs F H Corner, Wellington Sale, Art + Object, The Collection of Frank and Lyn Corner, 18 March 2018 (lot 67) EX H IBI TED London, Leicester Galleries, Exhibition of Works by Artists of Fame & Promise, August - September 1948, cat. no. 139. (original exhibition label to reverse) London, St George’s Gallery, Homage to Frances Hodgkins, 10 March - 14 April 1949 (original exhibition label to reverse) Wellington, Kirkcaldie and Stains, Frances Hodgkins: works from private collections 1-21 August 1989, cat no. 42. Wellington, Manufacturing Meaning: the Victoria University of Wellington art collection in context, 22 September 1999 31 January 2000 Waikanae, Mahara Gallery, Frances Hodgkins: Kapiti Treasures, 28 February 2 May 2010

Corfe Castle is one of a group of gouaches painted during 1942 and 1943 inspired by Corfe Castle, Dorset where Hodgkins was based for most of the duration of the Second World War. Probably exhibited with other similarly titled works in an exhibition at Lefevre Galleries, London in March 1943. As was usual Hodgkins mined the area on her doorstep using any objects, buildings or forms which attracted her, altered and manipulated them to suit her particular vision and created a visual treat of shapes and colours with great verve and originality. The use of gouache encouraged a lighter palette with an abundant use of white in particular which helps to take the viewer into a dreamy, fantastic world. The presentation is in the English Neo Romantic vein reminiscent of the work of John Piper. This approach became more intense during the war years – almost as a reaction to the resulting privations and strictures inflicted on her and her valued friends and family.

In this image Hodgkins uses motifs and objects such as the Castle itself and her studio in an approach which is both complex and mysterious though the results are superbly balanced. Some motifs and objects are at times only just discernible and never completely defined. There is a delicious ebb and flow of brushwork anchored in a stable composition which is balanced in terms of colour, form and shape from which Hodgkins weaves an organic unity. The dominant structure of the old barn is not permitted to do so because it is surrounded by a host of other equally interesting shapes and forms – Corfe Castle itself appearing in the background. The title of work teases the viewer into searching for it. Corfe Castle is one of the gems from this period and demonstrates Hodgkins undiminished powers even in this last decade of her life. She retained the ability to surprise and delight - the eye is constantly active finding something new and intriguing to contemplate. Tony Mackle

LIT ERATURE Janet Bayley, Frances Hodgkins - Kapiti Treasures (Mahara Gallery 2010) p. 41. Iain Buchanan, Michael Dunn, Elizabeth Eastmond, Frances Hodgkins: Paintings and Drawings (Auckland University Press 1994) p. 162. The Complete Frances Hodgkins Database cat no. FH1213

D UN B AR S L O A NE

FINE AR T

31 Dame Laura Knight DBE RA RWA (British 1877-1970) Basin in a dressing room coloured pencil on buff paper signed ‘Laura Knight’ (lower left) 35 x 25cm $6,000 - $12,000

D UN B AR S L O A NE

PR O VE N AN C E Miss Lascelles, UK inherited by the current owner Private collection, Kapiti Coast E X HI B I TE D London, Leicester Galleries, Exhibition of Works by Mrs Laura Knight ARA, March 1928 (original paper label to reverse)

This work is a study for 'A Theatre Dressing Room' (1935) oil on canvas, 74.5 x 62.9cm (Glasgow Museums Resource Centre (GMRC)

32 Sir William Russell Flint RA (British 1880-1969) On the Beach watercolour signed ‘W.RUSSELL.FLINT’ (lower left) 24.5 x 33cm $8,000 - $16,000 P ROV EN A N C E Gifted as a prize from the Auckland Art Society c.1930s Private Estate, Wellington

FINE AR T

33 Pablo Picasso (Spanish 1881-1973) Face Tankard (Chope Visage) 1959 white earthenware turned pitcher decoration in oxide on white enamel, limited edition 193/300 inscribed ‘Edition Picasso 193/300 Madoura & stamped ‘Edition Picasso & Madoura Plein Feu’ to base 21.3cm height $18,000 - $28,000

D UN B AR S L O A NE

P ROV EN A N C E Private collection, Auckland Sale, Art + Object, Auckland, 6th April 2017 (lot 69) Private collection, South Island

34 Robert Ellis (b 1929) Arepa Omega oil on three panel folding screen, painted front and reverse panels signed, inscribed with title and dated 15 September 1985 to right hand panel 173 x 180cm overall $12,000 - $24,000

FINE AR T

35 Ralph Hotere (1931-2013) Winter Solstice Carey’s Bay oil stick and graphite on paper laid down on board signed and dated ‘Hotere ‘91’ (lower right) and inscribed with title (lower left) 39 x 31.5cm $20,000 - $30,000 P RO VENANCE Sale, Dunbar Sloane, Wellington, 15 November 2006 (lot 45) Private collection, Wellington

D UN B AR S L O A NE

36 Bill Hammond (1947-2021) Head oil on copper inscribed with title, signed and dated ‘W. D. Hammond/1987’ (upper right) 45 .5 x 35.5cm $12,500 - $20,000 PR O VE N AN C E Sale, Art+Object, Auckland, 18 August 2011 (lot 63) Private collection, Wellington

FINE AR T

37 Judy Millar (b 1957) Untitled oil and acrylic on aluminium signed and dated 2009, numbered 00965A to reverse 51 x 76cm $3,000 - $6,000 P ROV EN A N C E with Gow Langsford Gallery, Auckland

38 Kees Bruin (b 1954) ‘The Transfiguration’ at Sumner oil on canvas laid down on board inscribed with title, signed and dated ‘Kees Bruin 1984’ (lower right); signed and inscribed with title to reverse 59.5 x 54.5cm $5,000 - $8,000

P ROV EN A N C E Private collection, South Island

39 Seraphine Pick (b 1964) Roky oil on canvas signed and dated ‘S. Pick 2009’ (lower right) 60.5 x 50.5cm $8,000 - $16,000 E XH IBIT ED Seraphine Pick, Uplands Gallery, Melbourne 2010

D UN B AR S L O A NE

FINE AR T

40 Euan Macleod (b 1956) Geoff with Red Scarf (c. 1984-5) oil on primed paper signed and dated to reverse 75 x 63cm $3,000 - $6,000 P RO VENANCE purchased Bowen Galleries, Wellington Private collection, Wellington

D UN B AR S L O A NE

41 Euan Macleod (b 1956) Geoff, Arundel Street, Glebe (1986) oil on primed paper 76 x 63cm $3,000 - $6,000 PR O VE N AN C E purchased Bowen Galleries, Wellington Private collection, Wellington

42 Euan Macleod (b 1956) Shower oil on canvas signed, inscribed with title and dated ‘Nov 84’ to reverse 174 x 136cm $8,000 - $16,000 P ROV EN A N C E purchased Bowen Galleries, Wellington Private collection, Wellington

FINE AR T

43 Melvin (Pat) Day (1923-2016) Tasman Point 11 oil on canvas signed and dated 2005 (lower right) 112 x 213cm $25,000 - $40,000 P RO VENANCE Originally in the collection of the artist’s wife, late Oroya Day, passed on to the Oroya & Melvin Day Charitable Trust. EX H IBI TED Nelson Provincial Museum, Tracing Tasman Paintings by Melvin Day, 2005 This work was one of the two largest canvases painted by Melvin for his Tracing Tasman exhibition, presented at the Nelson Provincial Museum immediately after its redevelopment in 2005.

D UN B AR S L O A NE

FINE AR T

44 Mountford Tosswill (Toss) Woollaston (1910-98) Burnt Spur oil on board signed and dated ‘Woollaston ‘65’ (lower right); inscribed with title on original The Willeston Gallery Ltd, Wellington paper label to reverse 54.5 x 71cm $18,000 - $30,000 P RO VENANCE purchased The Willeston Gallery Ltd, Wellington by descent to current owner Private Collection, Auckland

D UN B AR S L O A NE

FINE AR T

45 John Weeks (1888-1965) Houses oil on board signed ‘J WEEKS’ (lower left) 22 x 28cm $4,000 - $7,000 P ROV EN A N C E Private collection, Kapiti Coast

46 Melvin (Pat) Day (1923-2016) Still Life with Lemons oil on board signed ‘Day’ (lower left) 14 x 18.5cm $3,000 - $6,000 45

47 Evelyn Page (1899-93) Country Bunch oil on board signed ‘E Page’ (lower left); signed and inscribed with title to reverse 35 x 31cm $25,000 - $35,000 P ROV EN A N C E by descent to current owners Private collection, Tasman E XH IBIT ED Nelson, Collectors’ Exhibition, Suter Art Gallery, 1981no. 197. (original paper label to reverse)

D UN B AR S L O A NE

FINE AR T

48 Trevor Moffitt (1936-2006) Southland Landscape oil on board signed and dated ‘Moffitt 60’ (lower right); inscribed with title and no. 16 to reverse 74 x 49.5cm $10,000 - $20,000 P ROV EN A N C E purchased from Canterbury Galleries c.1982-4 by the current owner Private collection, South Island E XH IBIT ED Invercargill, Public Art Gallery, 1961. The artist’s first solo exhibition.

A review of Trevor Moffitt’s first one-man exhibition which featured 35 works at Anderson Park Gallery shortly before Easter 1961 stated: ‘On Saturday night, about fifty people (attended) the opening...His work covers a wide range...landscapes, still life’s, portraits, and paintings of the human figure... Mr Moffitt’s work has strength and vigour. It;s breath [sic] and vitality may give a mental shock, at first, but the picture will slowly have its effect and give the viewer a pleasant experience. The Art Society has bought one of Mr Moffitt’s paintings which embraces a study of gladioli and still life, for the Civic Collection’ 1. 1. Chris Ronayne, Trevor Moffit a biography (Auckland 2006) p. 54.

D UN B AR S L O A NE

49 Trevor Moffitt (1936-2006) Tunnelling (Gold Mining) oil on board signed & dated ‘Moffitt 68’ (upper right); inscribed with title ‘Tunnelling No 3’ to reverse 51 x 35cm $10,000 - $20,000 P RO VENANCE original owner attended Art School with Trevor Moffitt. by descent to current owner Private Estate, Wellington

50 Trevor Moffitt (1936-2006) Sharpening the axe (My Father's Life) oil on board signed and dated ‘Moffitt 80’ (upper right); inscribed with title and no. 14 to reverse 75 x 59cm $10,000 - $20,000

51 Trevor Moffitt (1936-2006) Pig Paddock No 2 (Canterbury Paddocks) oil on board signed and dated ‘Moffitt 90’ (lower right); inscribed with title and no. 22. to reverse 58.5 x 58cm $5,000 - $8,000

PR O VE N AN C E purchased Canterbury Gallery, Christchurch c. 1980 Private collection, Canterbury

P R OV E N A N C E purchased Canterbury Gallery, Christchurch c. 1990 Private collection, Canterbury

FINE AR T

53 Peter McIntyre (1910-95) King Country watercolour on paper signed ‘PETER MCINTYRE’ (lower right) 52 x 72cm $12,000 - $18,000 P RO VENANCE Private collection, Tasman

D UN B AR S L O A NE

54 Peter McIntyre (1910-95) Return from Crete Indian ink on paper signed ‘Peter McIntyre’ (centre right); inscribed with title (lower right) 63.5 x 52cm $12,000 - $18,000 P ROV EN A N C E Private collection, Wellington L IT ERAT U R E Peter McIntyre: War Artist (Reed 1981) p. 96. as ‘Alexandria and the return from Crete’

FINE AR T

55 John Barr Clarke Hoyte (1835-1913) Te Tarata (The White Terraces) watercolour heightened with white signed and dated ‘J.C. Hoyte 1873’ (lower right) 37 x 64.5cm $20,000 - $30,000 P RO VENANCE Private collection, Australia

D UN B AR S L O A NE

56 Vera Cummings (1891-1949) Portrait of a Māori Chief oil on canvas signed ‘V Cummings’ (lower right) 19 x 14.5cm $7,500 - $12,500 P ROV EN A N C E Private Estate, Wellington

FINE AR T

57 Harry Linley Richardson (1878-1947) Portrait of Two Māori Girls oil on canvas signed ‘H. LINLEY RICHARDSON’ (lower right) 33 x 44cm $3,000 - $6,000 P RO VENANCE Private Collection, Wellington

D UN B AR S L O A NE

58 Harry Linley Richardson (1878-1947) Mrs Raika at Otaki Meeting House oil on canvas signed ‘H. LINLEY RICHARDSON’ (lower right) & inscribed ‘Old Maori Woman with mat’ (upper stretcher), ‘Mrs Raika - Otaki Meeting House, Grand Aunt of Inia Te Wata, painted 1943-4 (lower stretcher) 61 x 51cm together with watercolour & charcoal study of the same sitter, signed (lower right), 27 x 22cm $3,000 - $6,000

59 Harry Linley Richardson (1878-1947) Kōwhai Time oil on canvas signed ‘H. LINLEY RICHARDSON’ (lower right) & inscribed with title to stretcher 63 x 51cm together with coloured pencil study of the same Māori Chieftainess, signed (lower right), 35 x 27cm $3,000 - $6,000

FINE AR T

60 Jeff Thomson (b 1957) / After C F Goldie ‘The Corrugations Etched Upon The Visage Of A Nobleman’ Kamariera Te Hau-Takiri Wharepapa, Nga Puhi’ screenprint & paint on corrugated iron and sheet metal signed ‘After C F Goldie/ JG Thomson/2014’ (centre left) 120 x 103cm $6,000 - $10,000 P RO VENANCE commissioned directly from the artist, 2014 Private collection, Auckland

D UN B AR S L O A NE

61 (detail)

61 Michel Tuffery (b 1966) Equestrian Exercise with Mai and Cook at Vaitepiha Bay oil on canvas, four panels signed and dated ‘M Tuffery 07’ (lower left, first panel) 25.5 x 25cm per panel, 25.5 x 100cm overall $8,000 - $16,000 P ROV EN A N C E purchased ‘First Contact’ Pataka Museum, Porirua, 2007 Private collection, Wairarapa

FINE AR T

62 Fatu Feu’u (b 1946) Nua Nua Fagamalama oil on canvas signed and dated 2011 to reverse 102 x 76cm $3,500 - $6,000 P ROV EN A N C E purchased Aesthete Gallery, Hamilton, 2012 (lot 72) Private collection, Wellington

63 Hariata Ropata Tangahoe (b 1952) Whiringa a ranga acrylic on canvas signed, inscribed with title and dated ‘H R Tangahoe 2001 Whiringa a ranga’ (lower centre) 76 x 60cm $3,000 - $6,000 P ROV EN A N C E Private collection, Kapiti Coast

64 Emily Karaka (b 1952) Two Trees / NZ settlement act / Maungakeikei oil on two co-joined panels original exhibition label to reverse 120 x 118cm $3,000 - $6,000

P ROV EN A N C E Private collection, Kapiti Coast

D UN B AR S L O A NE

FINE AR T

65 Don Binney (1940-2012) EII/Exocet oil and enamel with collage elements on canvas signed and dated ‘DON BINNEY ‘82’ (upper right) 91 x 60cm $18,000 - $26,000 P ROV EN A N C E with John Leech Gallery, 2002 Sale, International Art Centre, Auckland 29 July 2004 (lot 78) The Paul & Kerry Barber Collection IL L U S T RAT E D Elizabeth Caughey and John Gow, Contemporary New Zealand Art 4 John Leech & Gow Langsford Catalogue, 2002 E XH IBIT ED John Leech & Gow Langsford, Auckland, 10 September - 5 October 2002

D UN B AR S L O A NE

66 Michael Smither (b 1939) Overseas Terminal Wellington oil on board signed, inscribed with title and dated ‘M. D. Smither 1987’ to reverse 23.5 x 30cm $4,500 - $8,000 P RO VENANCE Sale, Dunbar Sloane Ltd, Wellington, 21 April 2010 (lot 65) Private collection, Wellington

67 Dick Frizzell (b 1943) Pakiri Still Life #3 oil, enamel & mixed media on board inscribed with title, signed and dated ‘FRIZZELL 1/2/83’ (lower left/centre) 30 x 36cm $4,000 - $7,000

P RO VENANCE originally purchased Denis Cohn Gallery, Auckland, 1983 (original paper label to reverse) Private collection, Wellington

FINE AR T

D UN B AR S L O A NE

68 Karl Maughan (b 1964) White Daisies oil on canvas 140 x 120cm $12,000 - $24,000

FINE AR T

D UN B AR S L O A NE

NE W ZE AL AND & INTERNATIONAL FINE ARTS PART T WO / DAY SALE

Thursday 12 August 2021 12 noon start Lot 100 - 230

FINE AR T

Sam Cairncross (1913-76) Sam Cairncross was twenty years old when he first began painting in his kitchen in Kilbirnie, Wellington. Born in 1913 in Sydney and moving five years later with his parents to Eastbourne he left school aged thirteen to take on a series of odd jobs. In 1943, while working as a hospital porter, he began art classes with Fred Ellis (1892 –1961) and in 1944 he had his first show at the French Maid Cafe in Wellington. In a 1946 solo show Cairncross’s work was noticed by the French Minister to New Zealand. The minister was impressed with the direct conversation Cairncross’s work engaged in with the French Post Impressionism and in 1947 he awarded Cairncross a Government scholarship to study in France. This, at a time when Paris was the mecca of modern painting, made Cairncross a figure of lively curiosity on the New Zealand art scene. After a bumpy start he took to Paris and his work was well reviewed as he struck a good rapport with the artists and critics around him. A letter home to his wife mentions his friendship with Georges Braque, ‘I met Braque the other day and spent the morning in his studio. He is a great painter. I took some of mine along to show him and he liked them very much.’ He became known as ‘the expressionist from the Pacific.’

100 Sam Cairncross (1913-76) Looking Towards Courtenay Place oil on canvas signed & dated ‘64 (lower right) 60 x 75cm $3,000 - $6,000 P RO VENANCE Sale, Dunbar Sloane Ltd, Wellington 16.4.1997 (lot 4)

D UN B AR S L O A NE

Cairncross’s painterly style was always in open acknowledgement of Vincent van Gogh’s. Using vivid colours, impasto and energetic brush strokes this was a style Cairncross would continue to play with for the duration of his career. More than painting in an expressionist style however Cairncross cared that his paintings served his country. On his return to New Zealand he wrote: ‘We have everything here a painter can need in the way of subject matter, and I want to try and do for this country what Van Gogh and Cézanne did for Provence and Paul Gauguin did for Oceania, and I hope I have brought back with me a little of the spirit that moved them to immortalise what they loved’. Safe to say Cairncross achieved what he set out to. While his portraits and landscapes offer whimsical glances into the personal lives of mid-century New Zealanders, husbands and wives, fish and chips, beach days and country walks; his cityscapes offer a grandparent’s eye view of the Wellington that exists today. Taking on an archival significance his careful observations show vehicles of the mid twentieth century with the buildings of the nineteenth century. It is in these works that Cairncross makes his most significant mark combining New Zealand subject matter with imported European style.

101 Sam Cairncross (1913-76) Perrett’s Corner Wellington oil on canvas signed & dated ‘Sam 72-73’ (lower right); signed, inscribed with title and dated to reverse 75 x 100cm $4,000 - $8,000

Cairncross painted and exhibited the rest of his life making his own paints and canvases, framing his own paintings and organising exhibitions for himself around Wellington and New Zealand. He died in 1976 aged 62. Maeve Hughes

100

101

FINE AR T

102

103

D UN B AR S L O A NE

104

102 Sam Cairncross (1913-76) Lambton Quay oil on board signed & dated ‘Sam 1955’ (centre left); signed & inscribed with title to reverse 30 x 39cm $2,000 - $4,000

103 Sam Cairncross (1913-76) The Last Tram oil on board signed (lower right) 34 x 39cm $2,000 - $4,000

105

104 Sam Cairncross (1913-76) Lambton Quay oil on canvas laid down on board signed, inscribed with title & dated 1951 to reverse 40.5 x 29.5cm $1,250 - $2,500

105 Sam Cairncross (1913-76) Bathers oil on canvas signed & dated ‘Sam/ 53’ (lower right); signed, inscribed with title & dated to reverse 29.5 x 29.5cm $1,500 - $3,000 P R OV E N A N C E Sale, Dunbar Sloane Ltd, Wellington 27/8/2003 (lot 15) EXH IBIT E D Porirua, Pataka Sam Cairncross Retrospective 2002

FINE AR T

106

107

108

109

D UN B AR S L O A NE

110

106 Sam Cairncross (1913-76) Self Portrait (Young Sam) oil on board signed & dated ‘Sam/ 50’ (lower right) 14.5 x 10.5cm $750 - $1,250 P RO VENANCE Sale, Dunbar Sloane Ltd, Wellington, 30/8/2006 (lot 240)

107 Sam Cairncross (1913-76) Self Portrait (1950) oil on board signed & dated ‘Sam C/ 1950’ (upper right); signed & inscribed with title to reverse 43 x 36cm $1,000 - $2,000

111

108 Sam Cairncross (1913-76) Self Portrait (1950) oil on board signed & dated ‘Sam/ 50’ (centre right); signed, inscribed with title, dated & bearing address to reverse 24 x 19.5cm $1,000 - $2,000

109 Sam Cairncross (1913-76) Self Portrait (1951) oil on board signed & dated ‘51 (centre right) 23.5 x 19.5cm $1,000 - $2,000

110 Sam Cairncross (1913-76) Last Self Portrait (1976) oil on board signed & dated ‘Sam Cairncross/ 76’ (lower right); inscribed with title to reverse 29.5 x 19cm $1,000 - $2,000 P R OV E N A N C E Collection of the artist’s daughter, Pat Sale, Dunbar Sloane Ltd, Wellington, 30/8/2006 (lot 48)

111 Sam Cairncross (1913-76) Lucy oil on board signed & dated ‘Sam/ 54’ (upper right) 29.5 x 24.5cm $800 - $1,600

FINE AR T

112

113

114

112 Sam Cairncross (1913-76) Moon over McKillop Street, Porirua oil on board signed & dated ‘Sam 74’ (lower right); signed, inscribed with title & dated to reverse 39.5 x 57cm $2,000 - $4,000 P RO VENANCE Sale, Dunbar Sloane Ltd, Wellington, 28/4/1999 (lot 15)

D UN B AR S L O A NE

113 Sam Cairncross (1913-76) Coming Storm oil on board signed & dated ‘Sam C/ 58’ (lower right) 45 x 59cm $1,750 - $3,000 PR O VE N AN C E Sale, Dunbar Sloane Ltd, Wellington, 30/5/2006 (lot 92)

114 Sam Cairncross (1913-76) Pine Trees after Fire, Newtown oil on canvas board signed & dated ‘Sam/ 46’ (lower right); signed, inscribed with title & dated to reverse 70 x 54cm $2,000 - $4,000

115

116

115 Sam Cairncross (1913-76) Yachts pastel on paper signed ‘S. Cairncross 67’ (lower left) 30 x 30cm $800 - $1,600

117

116 Sam Cairncross (1913-76) Dancers ‘Paramata’ pastel on card 30 x 30cm, unframed $800 - $1,600

117 Sam Cairncross (1913-76) Lambton Quay oil on board signed ‘Sam Cairncross’ (lower right); signed, inscribed with title & dated 1966 to reverse 48 x 57cm

PR O VE N AN C E Hutt Art Society Permanent Collection (label to reverse)

$3,000 - $6,000

FINE AR T

118

119

120

121

118 Sam Cairncross (1913-76) Still Life (Apples) oil on canvas laid down on board signed & dated ‘Sam Cairncross/1950’ (lower right); signed & inscribed with title to reverse 29.5 x 39.5cm $800 - $1,600

119 Sam Cairncross (1913-76) Still Life (Citrus Fruit & Teapot) oil on board signed & dated ‘Sam/ 50’ (lower right) 34.5 x 42cm $1,000 - $2,000 84

D UN B AR S L O A NE

120 Sam Cairncross (1913-76) Still Life (Jug & Lemons) oil on board signed & dated ‘Sam Cairncross 75 (lower right); signed, inscribed with title & dated 1975 to reverse 39 x 57cm $1,000 - $2,000

121 Sam Cairncross (1913-76) Fish & Chips oil on board signed & dated ‘Sam/ 59’ (lower right); signed, inscribed with title & dated to reverse 24 x 35cm $400 - $800 P R OV E N A N C E Sale, Dunbar Sloane Ltd, Wellington, 8/11/1995 (lot 138)

122

123

124

122 Sam Cairnrcross (1913-76) The Cross oil on board signed & dated ‘Sam/ 49’ (lower right); signed, inscribed with title & dated to reverse 43 x 58cm $1,000 - $2,000 EX H IBI TED Wellington, Kirkcaldie & Stains, Exhibition of Paintings & Drawings by Sam Cairncross, October 1949 cat no. 1 as ‘Skull and Candle’

125

123 Sam Cairncross (1913-76) Trams oil on board signed & dated ‘Sam/ 57’ (lower right) 21 x 21cm (unframed) $1,250 - $2,500

125 Sam Cairncross (1913-76) La Rue Aux Pretres St Germain-en-Laye oil on canvas signed & dated ‘Sam /48’ (lower right); signed, inscribed with title & dated to reverse 35 x 27cm $1,250 - $2,500

124 Sam Cairncross (1913-76) St Pauls Cathedral, London oil on canvas board signed & dated ‘Sam/ 51’ (lower right) 42 x 35cm $1,250 - $2,500

FINE AR T

126

126 Sam Cairncross (1913-76) Across Wellington Harbour oil on board signed & dated ‘S. Cairncross 73-74’ (lower left); signed, inscribed with title & dated to reverse 56.5 x 75cm $2,000 - $4,000

D UN B AR S L O A NE

127 Juliet Peter (1915-2009) Night Flight North acrylic on board signed & dated ‘Juliet Peter ‘74’ (lower left) 60 x 90cm $4,000 - $7,000 PR O VE N AN C E Sale, Dunbar Sloane Ltd, The Roy & Juliet Cowan Collection of Art & Pottery, 30 September 1999 (lot 207) Private collection, Australia

128 Roy Cowan (1918-2006) Christmas Lilies watercolour signed and dated 1950 (lower left) 57 x 78.5cm $1,750 - $3,000

127

128

FINE AR T

129

130

131

132

133

129 Michael Smither (b 1939) Rocks, Tractor & Mountain screenprint, ltd ed 66/80 signed with initials & dated 2012 (lower right) 49 x 63cm $2,000 - $3,500

131 Michael Smither (b 1939) 2 Rock Pools screenprint, ltd ed 38/80 signed with initials & dated ‘MDS 2017’ (lower right) 60.5 x 40.5cm $1,200 - $2,400

133 Michael Smither (b 1939) Back Beach Road screenprint, 37/74 signed with initials (lower right), inscribed with title (lower centre) 80 x 53.5cm $800 - $1,600

130 Michael Smither (b 1939) Coral Head with Fish screenprint, AP signed with initials & dated 2011 (lower right) 58 x 81cm $1,800 - $2,800

D UN B AR S L O A NE

132 Michael Smither (b 1939) Horizon & Clouds I screenprint, 33/74 signed with initials (lower right), inscribed with title (lower centre) 72 x 44cm $800 - $1,600

134

136

134 Michael Smither (b 1939) Sarah with Baked Beans screenprint, AP (ed of 80) signed with initials & dated ‘07 (lower right) 56 x 42.5cm $1,600 - $2,600 135 Sunday B. Morning after Andy Warhol (American) Mona Lisa #5 - Double Black on Vellum silkscreen print, ltd ed P/P 8/2500, published by Sunday B. Morning with certificate of authenticity to reverse 62 x 86cm $1,600 - $3,000

135

137

136 Sunday B. Morning after Andy Warhol (American) Golden Marilyn (11.40) screenprint on museum board, published by Sunday B. Morning, ltd ed 285/2000 certificate of authenticity, dated 2011 to reverse 91 x 91cm $1,500 - $2,500

137 Sunday B. Morning after Andy Warhol (American) Marilyn Monroe (11.22) screenprint on museum board, published by Sunday B. Morning certificate of authenticity & dated 2018 to reverse 91 x 91cm $1,500 - $2,500 138 No lot

FINE AR T

140

139

142

143

141

139 Don Binney (1940-2012) SOFA Kotare hard ground etching, AP I/XXIV signed & dated 2004 (lower right_ 37 x 55cm $2,000 - $4,000

141 John Drawbridge (1930-2005) Interior No II (Girl Before a Mirror No II) drypoint etching, ltd ed 33/50 signed & dated 1980 (lower right) 67 x 37cm $800 - $1,600

140 Karl Maughan (b 1964) Plume screenprint, AP (ltd ed of 100) signed (lower right) & inscribed with title (lower centre) 75 x 91cm $2,000 - $3,500

142 Nigel Brown (b 1949) Pacific Reading hand coloured woodcut, ltd ed 3/30 signed & dated ‘92 (lower centre) 65 x 86.5cm $1,500 - $2,500

D UN B AR S L O A NE

143 Dick Frizzell (b 1943) Ochre Tiki screenprint, P. P. signed & dated 2006 (lower right) 67 x 55cm $1,000 - $1,600

144

145

146

144 Stanley Palmer (b 1936) Turkish Fort - Kilid Bahr I, Gallipoli Remembered monoprint signed and dated ‘Stanley Palmer 2015’ (lower right); inscribed with title (lower centre) & series (lower left) 57 x 106cm $2,000 - $4,000

147

145 Stanley Palmer (b 1936) Chelsea bamboo engraving, ltd ed 19/100 signed & dated 1988 (lower right) 43 x 67cm $400 - $800

147 Stanley Palmer (b 1936) Whatipu bamboo engraving, ltd ed 34/60 signed & dated 1995 (lower right) 41.5 x 58cm $400 - $800

146 Stanley Palmer (b 1936) Cheek Whatipu bamboo engraving, ltd ed 29/60 signed & dated 1995 (lower right) 41.5 x 58cm $400 - $800

FINE AR T

148

149

150

152

153

148 Archibald Nicoll (1886-1952) Sir Frederic Truby King CMG (1858-1938) oil on canvas signed & dated 1940 (lower left) 84.5 x 69cm $5,000 - $8,000

150 Charles Frederick Goldie (1870-1947) A Good Joke chromolithograph signed & dated 1905 in plate 37 x 30cm $1,500 - $3,000

152 Ida Carey (1891-1982) Portrait of Maori Woman oil on board signed & dated ‘65 (lower left) 45 x 37cm $800 - $1,600

149 Constance L Fidler (British 1904-1971) Portrait of Sir Frederic Truby King oil on canvas signed (lower right) 74 x 59cm $1,000 - $2,000

151 Ida Carey (1891-1982) Portrait of Maori Woman oil on board signed & dated ‘68 (lower left) 45 x 37cm $800 - $1,600

153 Allan Barns-Graham (1906-2006) Nancy oil on board signed (lower right) 39 x 29cm $1,400 - $1,800

151

D UN B AR S L O A NE

156

154

155 157

154 After Thomas Selby Cousins (1840-97) Untitled (Maori girls outside a meeting house) oil on board 43.5 x 29cm $3,000 - $6,000 Provenance Sale, Bonhams New York, 11 November 2010 (lot 6177) A colour wood engraving of this composition was produced by Thomas Selby Cousins c.1880.

155 Late C19th Maori Chief & Chieftainess watercolour 20.5 x 23.5cm $600 - $1,200 156 William George Baker (1864-1929) Mahingapu Creek oil on canvas signed & inscribed with title (lower right) 54.5 x 80cm $3,000 - $6,000

157 William George Baker (1864-1929) Waikato River oil on canvas signed & inscribed with title (lower right) 54.5 x 80cm $3,000 - $6,000

FINE AR T

159

158

160

161

162

158 Grace Butler (1887-1962) Frankton Arm oil on board signed (lower right) 37 x 44cm $750 - $1,250

160 Cecil F Kelly (1879-1954) Governor’s Bay, Lyttelton Harbour oil on board signed (lower right) 41 x 50cm $1,000 - $2,000

159 Cecil F Kelly (1879-1954) Cherry Blossom oil on canvas signed (lower left) 39 x 50cm $1,500 - $2,500

161 Archibald Nicoll (1886-1952) Snow on Arthurs Seat Edinburgh oil on board signed (lower right) 28 x 36cm $750 - $1,250

D UN B AR S L O A NE

162 Olivia Spencer Bower (1905-82) Coastal Scene with Figures on Beach watercolour signed (lower left) 50 x 31.5cm $1,800 - $3,400

163

164

167 165

166

163 Gwen Knight (1888-1974) Pukeiti oil on canvas signed (lower left) 34 x 45cm $1,800 - $3,000

165 T A McCormack (1883-1973) Still Life with Daffodils watercolour signed (lower left) 47 x 30cm $800 - $1,600

164 Gwen Knight (1888-1974) Still Life with White Blooms oil on board signed (lower right) 42 x 59cm $1,400 - $2,800

166 T A McCormack (1883-1973) Still Life with Chinese Vases & Ginger Jar watercolour & Indian ink on paper signed (lower right) 39 x 25cm $1,000 - $2,000

167 Joanna Margaret Paul (1945-2003) Untitled (Still Life with Fruit Bowl) oil on paper signed & dated ‘75 (lower right) 34 x 26.5cm $400 - $800

FINE AR T

169

170

178

168 William (Bill) Hammond (1947-2021) Head Study oil stick and felt tip on buff paper signed and dated ‘W D Hammond/1998’ (lower left) 63 x 59cm (maximum) $1,600 - $3,000

D UN B AR S L O A NE

169 Jacqueline Fraser (b 1956) If They Send Me a Moron. I’ll Reply Like a Moron. Valium mixed media on Italian suiting fabric signed, inscribed with title & dated 11.6.2003 30 x 30cm together with similar work ‘War Lords’ by the same hand (2) $1,000 - $2,000

170 Jacqueline Fraser (b 1956) Liar, Liar, Liar, Trust Me I Know Exactly What I’m Doing. Maclobemide mixed media on French taffeta signed, inscribed with title & dated 22.7.2003 30 x 30cm together with similar work ‘Methadone’ by the same hand (2) $1,000 - $2,000

171

172

173

171 Fiona Pardington (b 1961) Self Portrait (1993) silver gelatin print signed with inscription to reverse 17.5 x 23cm $2,000 - $4,000

172 Fiona Pardington (b 1961) Fairlight in the Kingston Flyercolour photograph, ltd ed. 1/10 artist’s original catalogue label affixed to reverse 21 x 30cm $1,500 - $3,000

173 Fiona Pardington (b 1961) Hand (1991) oil on plywood 206 x 170cm $3,000 - $6,000 P R OV E N A N C E commissioned directly from the artist as a mural at Pictdata Productions Ltd, Kitchener Street, Auckland Private collection, Wellington

FINE AR T

174

175

176

177

174 Wentja Napaltjarri (Australian b c.1945) Sand Hills acrylic on canvas with certificate of authenticity 150 x 65cm $2,500 - $4,000 P RO VENANCE purchased Argyle Gallery, Sydney, October 2005 Private collection, Wellington

D UN B AR S L O A NE

175 Paulus McKinnon (b 1967) Northland Lintel III enamel, polyurethane, reflective vinyl on weatherboard signed, inscribed with title & dated oct 2001 to reverse 16.5 x 93cm $750 - $1,250

176 Euan Macleod (b 1956) Pair Figural Studies pastel & graphite on paper 18.5 x 24.5cm each, framed as one $600 - $1,200 177 Laith McGregor (Australian b 1977) Untitled watercolour, ink, pencil & mixed media on paper signed with initials and dated ‘20 March 2015/13 December 2014’ (lower right) 32 x 24cm $900 - $1,500

178

179

181

180

178 Peter O’Doherty (Australian b 1958) Shadow oil on canvas signed & dated 2002 (lower right); inscribed with title to reverse 46 x 46cm $600 - $1,200 179 Leo Robba (Australian b 1962) Halo oil on board signed, inscribed with title & dated ‘99 to reverse 60 x 120cm $600 - $1,200

182

180 Joanna Braithwaite (b 1962) Flock of Seagulls (2002) oil on paper 14 x 20cm together with ‘Mare with Foal’ (2009) by the same hand, 13.5 x 20.5cm (2) $600 - $1,200

182 Joanna Braithwaite (b 1962) Doggy Dog World (2) diptych, oil on canvas both signed & dated ‘97 to reverse 20.5 x 20.5cm each $800 - $1,600

181 Joanna Braithwaite (b 1962) Untitled (Boy with Emu) oil on canvas 29.5 x 34cm $1,200 - $2,400

FINE AR T

183

184

186

187

185

183 R P Moore (1881-1948) Oriental Bay Wellington black & white panoramic photograph photographers studio stamp (lower right), inscribed with title (lower right) 21.5 x 92cm $600 - $1,200 184 James Bragge (1833-1908) Wellington 1869 black & white panoramic photograph in three sections, printed from original negative Bragge by R H Taylor c1895 initialled RHT (lower right) 64 x 140cm overall $1,000 - $2,000

100

D UN B AR S L O A NE

185 E Mervyn Taylor (1906-64) Tui wood engraving, ed of 50 signed (lower right) 13 x 7.5cm $1,800 - $3,000

187 E Mervyn Taylor (1906-64) Ngauruhoe wood engraving, ed 40. signed (lower right) 6 x 9cm (plate) $1,600 - $3,000

186 E Mervyn Taylor (1906-64) Ruru wood engraving, ed 40. signed (lower right) 9 x 7.5cm $1,800 - $3,000

188 D Gibbs (C19th) Panoramic Study of Nelson watercolour heightened with white signed & dated ‘D Gibb/ 1861’ (lower right) 12 x 83cm $750 - $1,250

188

190

189

191

189 Jane Hobbs (C19th) The White Terraces oil on canvas 58 x 89cm with associated Tarawera literature & ephemera $1,000 - $2,000 P RO VENANCE The artist was the only European survivor of the Tarawera eruption. She was the daughter of Mr & Mrs Hazard, and her father was the schoolmaster at the village of Te Waiora, bordering Lake Tarawera. The work was painted from memory. The artist gifted the work to Mrs Bartlett, a family friend. LIT ERATURE New Zealand Woman’s Weekly, 26 May 1986 ‘The pink & white terraces. Will we ever see such splendour again?’ p. 34. (colour illustration)

192

190 Nugent Welch (1881-1970) Steam Ship at Port watercolour signed (lower left) 23 x 24.5cm $600 - $1,000 191 Frank William Scarborough (British 1860-1939) The Lower Pool London watercolour heightened with white signed (lower right); inscribed with title (lower left) 18 x 24.5cm $1,250 - $2,500

192 Eric Gill (British 1882-1940) Torso: Preliminary Study for Mankind c. 1927 graphite on paper 17.5 x 13cm $1,000 - $2,000 P R OV E N A N C E Gill Family Collection Wolseley Fine Arts Lawrences, Crewkerne Private collection, Canterbury This drawing, almost certainly dating from 1927, is a preliminary study for Eric Gill’s famous torso sculpture Mankind (Tate Britain). This was the central work in his very successful solo show at the Goupil Gallery, London in 1928. It was carved from a large piece of Hoptonwood stone which was in Gill’s possession for some time before he decided to turn it into a personification of womanhood.

FINE AR T

101

195

193

194

196

193 Tom Esplin (1915-2005) Religious Procession, France oil on board signed ‘Esplin’ (lower right); inscribed with title on original label affixed to reverse 38 x 27cm $5,000 - $8,000

194 Peter McIntyre (1910-95) The Drover ink & watercolour wash on paper signed (lower right) 34.5 x 58.5cm $2,000 - $4,000

Provenance Sale, Dunbar Sloane Ltd, 21 July 2010 (lot 73) Private collection, Hawkes Bay

195 Marcus King (1891-1983) Otago Landscape oil on canvas board signed (lower right); signed, inscribed with title to reverse 39 x 49cm $1,500 - $2,500

102

D UN B AR S L O A NE

196 Douglas Badcock (1922-2009) The Remarkables from Frankton oil on canvas board signed & dated ‘Douglas Badcock ‘59’ (lower right) 50 x 62.5cm $1,200 - $2,400

199

197

200

198

201

197 A Austen Deans (1915-2011) Mt Sinclair & Mesopotamia Downs watercolour signed & dated ‘65 (lower left) 35.5 x 53cm $2,000 - $4,000

199 Mary Elizabeth R Tripe (1867-1939) Hillside Farmstead watercolour signed with initials (lower right) 26 x 38cm $1,000 - $2,000

198 A Austen Deans (1915-2011) From the Lookout Peel Forest watercolour signed & dated 1959 (lower right); inscribed with title on original label to reverse 30 x 47cm $1,250 - $2,500

200 John Weeks (1888-1965) Tree Felling watercolour signed (lower right) 10.5 x 14.5cm $500 - $800

201 Ivy Grace Fife (1905-76) Estuary gouache on paper signed (lower left) 24.5 x 34.5cm $500 - $800

FINE AR T

103

202

203

204

205

202 John Weeks (1888-1965) The Bull tempera on paper signed ‘JOHN WEEKS’ (lower right) 42 x 53.5cm $2,000 - $4,000 P RO VENANCE The following five lots are from the Estate of V L Mayclair. Mrs Mayclair inherited these artworks from Mr John O’Connor. John’s mother (Hilda O’Connor) was John Weeks’ partner.

104

D UN B AR S L O A NE

203 John Weeks (1888-1965) Oast House oil on board signed (lower left); bears Weeks O’Connor stamp to reverse 30 x 40cm $1,000 - $2,000 204 John Weeks (1888-1965) King Country Landscape oil canvas Weeks O’Connor Estate stamp to the reverse 41 x 51cm $1,500 - $3,000

206

205 John Weeks (1888-1965) Fishing Boats (possibly Cap D’Azur) oil on canvas Weeks O’Connor Estate stamp to reverse 50 x 50cm $1,000 - $2,000 206 John Weeks (1888-1965) Untitled (European Industrial Scene) oil & tempera on board signed ‘J. Weeks’ (lower right) with Weeks O’Connor Estate stamp to the reverse 58 x 65cm (image) $1,000 - $2,000

207

208

209

210

211 212

207 Russell Clark (1905-66) Figure Sketches Soanatalu (Solomon Islands) c1943 - 1944 graphite on paper inscribed with title (lower right) 25 x 38cm $1,000 - $2,000 P RO VENANCE The following six lots are from the collection of the artist's widow, Mrs Rosalie Clark (now Archer). Note NZ War Archives contain four watercolours by the artist relating to Soanatalu

208 Russell Clark (1905-66) Notes at Falamai (Mono Island) c.1943-44 graphite on paper inscribed with title (lower left) 38 x 25cm $1,000 - $2,000 209 Russell Clark (1905-66) Figure Sketches graphite on paper 25 x 38cm $1,000 - $2,000 210 Russell Clark (1905-66) Two Battleship Studies graphite on paper; ink on paper variously inscribed 37.5 x 25cm; 12.5 x 20cm (2) $1,200 - $2,400

211 Russell Clark (1905-66) Two War Related Studies both graphite on paper one inscribed 37.5 x 25cm; 12.5 x 20cm (2) $1,200 - $2,400 212 Russell Clark (1905-66) Sketches for ‘Small Girl with Hair Ribbons’ 1953-4 watercolour, ink & graphite on paper 34 x 21cm $1,000 - $2,000 L IT E R AT U RE Michael Dunn, The Drawings of Russell Clark (Auckland 1976) p. 80. pl. 86 (colour illustration)

FINE AR T

105

213

215

214

216

213 Tony Lane (b 1949) Curtain schlagmetall and oil paint on gesso panel signed with initials & dated 7.98 (lower); signed, inscribed with title & dated 1998 to reverse 48 x 60cm $2,500 - $4,500 214 Tony Lane (b 1949) Profiles gouache on paper 63 x 94cm $1,000 - $2,000

106

D UN B AR S L O A NE

215 Simon McIntyre (b 1955) Shield acrylic on paper signed & dated ‘93 (lower right) 104.5 x 85cm $600 - $1,000 216 Juliet Peter (1915-2009) Environment lithograph, ltd ed 3/15 signed & dated ‘70 (lower right), inscribed with title (lower centre) 46 x 64cm $500 - $1,000

219

217

220

218

221

217 Philip Trusttum (b 1940) Side of Hill oil on board signed on original label to reverse 34 x 29cm $1,000 - $2,000 218 Joanna M Paul (1945-2003) Marlborough Sounds (1982) pastel on paper, a pair typed label to reverse 22 x 28.5cm each (2) $1,200 - $2,400

219 Kura Te Waru-Rewiri (b 1950) He Kahupapa o nga aka taupiri / Layers of the clinging vine oil on canvas board signed, inscribed with title and dated 02/00 to reverse 30 x 45.5cm $500 - $800

220 John Bevan Ford (1930-2005) Pacific Hoop (The Rim Series) felt tip pen on paper signed (lower right); signed & inscribed with title to reverse 56 x 74cm with letter from the artist $1,750 - $3,000 221 John Bevan Ford (1930-2005) Manawatu Flows to the Sea coloured pencil on paper in original Roger Hicken frame signed (lower right) 21 x 29.5cm $1,000 - $2,000

FINE AR T

107

222

224

223

225

222 John Bevan Ford (1930-2005) Nga Rua Wahia c.1965 oil on board 37 x 137cm $2,000 - $3,500 Note: Painted whilst the artist was attending Teacher’s College

108

D UN B AR S L O A NE

226

223 Fatu Feu’u (b 1946) Uluta Tuli lithograph, ltd ed 21/48 signed & dated ‘98 (lower right) 35.5 x 97cm $600 - $1,000 224 Des Robertshaw (b 1955) Untitled acrylic on board signed (lower right) 99 x 78cm $1,500 - $2,500

225 Alan Pearson (1929-2019) Untitled oil on paper 30 x 41cm $700 - $1,400 226 Darcy Nicholas (b 1945) Mana Wahine oil & acrylic on board signed (lower right); signed, inscribed with title & dated ‘85 to reverse 39 x 56cm $750 - $1,500

227

228

229

230

227 Stephen Howard Sunrise on the Spit triptych, acrylic on board signed, inscribed with title & dated 1987 to reverse 58 x 88cm (central panel); 58 x 43.5cm (left & right panels) $2,000 - $4,000

228 Stephen Howard The Rakaia Late Afternoon acrylic on board signed (lower right); signed, inscribed with title & dated 1987 to reverse 58 x 89cm $1,250 - $2,500

230 Suzanne Herschell South to Kaikoura oil on canvas with original paper label 50 x 101cm $1,000 - $2,000

229 Stephen Howard White Light Maniototo acrylic on board signed (lower right) 89 x 58cm $1,200 - $2,400

FINE AR T

109

110

D UN B AR S L O A NE

Part Three Studio Ceramics & Applied Art Thursday 12 August 2021 4pm start Lot 300 - 412

FINE AR T

111

300 Mirek Smisek Wine Carafe with original cane stopper & handle, impressed mark, 31cm height $400 - $800

301 Mirek Smisek Wine Carafe with original stopper, impressed mark, 31cm height $300 - $600

302 Mirek Smisek Vase impressed mark, 27cm height $200 - $400

303 Mirek Smisek Large Flagon impressed mark, 38cm height $400 - $800

304 Mirek Smisek Deep Footed Bowl entitled ‘Seascape’ on original paper label, impressed mark, 18.5cm dia. $200 - $400

305 Mirek Smisek Deep Footed Bowl impressed mark, 16.5cm dia. $200 - $400

306 Mirek Smisek Deep Footed Bowl impressed mark, 17cm dia. $150 - $300

307 Mirek Smisek Deep Fold Over Rim Footed Bowl impressed mark, 15.5cm dia. $150 - $300

310 Mirek Smisek Early Tankard with other mug & tumbler (2) tankard with signature to base, 10.5cm others with impressed marks, 9.5cm & 8cm heights $100 - $200

311 Mirek Smisek Milk Jug early impressed mark, 13.5cm $100 - $200

308 Mirek Smisek Set of Four Mugs impressed marks, 9.5cm height (one with slight rim chip) $100 - $200

112

D UN B AR S L O A NE

309 Mirek Smisek Set of Six Mugs impressed marks, 9cm height $100 - $200

312 Mirek Smisek Set of Six Tankards decorated with emu & antelope on yellow ground, early signature mark, 11cm height (faults) $400 - $800

313 Mirek Smisek Set of Six Soup Bowls impressed marks, 18.5cm dia. $300 - $600

314 Mirek Smisek Chess Set c.1980, complete with Southland Beech fitted case, impressed marks, King 10.5cm height, Pawn 4.5cm height $1,250 - $2,500

315 Mirek Smisek Lidded Casserole & Plate casserole impressed mark, 26.5cm dia. (hair line crack to base), plate impressed mark, 26cm dia. $100 - $200

316 Mirek Smisek Specimen Vase impressed mark, 21cm height $150 - $300

317 Mirek Smisek Vase & Yunomi (2) vase unmarked, 18.5cm height & yunomi impressed mark, 9cm height $200 - $400

318 Mirek Smisek Ashtray impressed mark, 15.5cm dia. $100 - $200

FINE AR T

113

319 Barry Brickell Bottle Vase impressed mark, 23.5cm height $300 - $600

320 Barry Brickell Bottle Vase impressed mark, 17.5cm height $150 - $300

321 Barry Brickell Table Bowl impressed mark, 24cm dia. (two glaze faults) $150 - $300

322 Barry Brickell Large Table Bowl impressed mark, 36.5cm dia. (rim faults) $200 - $400

323 Jim Greig Faceted Vase impressed mark, 17.5cm height $200 - $400

324 Jim Greig Faceted Vase & Candlestick (2) both with impressed marks, 21.5cm, 31cm heights $200 - $400

325 Jim Greig Coffee Pot impressed mark, 17.5cm height $150 - $300

326 Andrew Van der Putten Two Jugs both with impressed marks, 16.5cm heights $100 - $200

327 John Lawrence Teapot with original swing handle, impressed mark, 23cm height including handle $100 - $200

328 Paul Fisher Phallic Form impressed mark, 27cm height $200 - $400

329 Paul Fisher Lidded Jar impressed mark, 23cm height $150 - $300

330 Graeme Storm Globular Vase impressed mark, 15cm height $150 - $300

114

D UN B AR S L O A NE

331 Barry Brickell Large Lidded Crock impressed mark, 43cm height (repaired) $200 - $400

332 Patricia Perrin Large Onion Pot with original turned wooden stopper & rope handle, 29cm height $800 - $1,000 Provenance purchased from New Vision Gallery, 1976

334 Dame Doreen Blumhardt Bottle Vase slab formed with swollen body, poured black glaze over green ground, impressed mark & paper label to base, 42cm height $800 - $1,600

335 Dame Doreen Blumhardt Bottle Vase slab formed, subtle dribbled brown & pale blue glaze over oatmeal ground, sticker label to base, 32cm height $400 - $800

336 Dame Doreen Blumhardt Slab Vase with coral impressions, paper label to base, 39.5cm height $500 - $800

337 Dame Doreen Blumhardt Large Rectangular Platter slab form with poured cobalt, turquoise, fuchsia & black glaze on oatmeal ground, impressed mark to base, 51cm length $600 - $1,200

338 Dame Doreen Blumhardt Square Platter impressed mark, 36cm width $300 - $600

339 Dame Doreen Blumhardt Large Platter impressed mark, 42cm dia. $300 - $600

333 Muriel Moody Ceramic Sculpture of Woman with Cat on wooden base, part paper label to base, 71cm height (faults/ repaired) $500 - $800

FINE AR T

115

340 Anneke Borren Bowl painted mark, 27.5cm dia. $150 - $300

341 Anneke Borren Footed Punch Bowl with eight matching goblets & ladle, painted mark to base, bowl 23cm height, 22cm dia. $150 - $300

342 Anneke Borren Globular Pot with original turned cover, painted mark & gallery label to base, 15.5cm height $150 - $300

343 Merilyn Wiseman Serving Dish impressed mark, 29.5cm length $150 - $300

344 Chris Weaver Iron Series Serving Bowl with wooden serving implements, impressed mark, 23cm length $150 - $300

345 John Parker Bronze Specimen Vase with Matching Bowl (2) impressed marks, vase 20cm height, bowl 14cm dia. $250 - $450

346 John Parker Pitted Glaze Bowl 26cm dia. $200 - $400

347 John Parker Small Agate Specimen Vase 14cm height $100 - $200

348 Paul Raynor ‘Tim Finn’ Moulded Vase painted with initials, inscribed with title and dated 15/04 to base, 31cm height $300 - $600

349 Andy Leleisi’uao (b 1969) Leia Leia Leia. Fa’afetai lava (I just want the money) mixed media sculpture, signed to base, 22cm height, 18cm dia. $800 - $1,600

350 Tony De Lautour (b 1965) Untitled (2003) hand-painted plastic money box signed & dated ‘TdL 2003’ to base, 18cm height $800 - $1,400

351 Crown Lynn Polar Bear Bookends black high gloss, one marked 152. to base, 10cm height, 26cm combined length $600 - $1,000

116

D UN B AR S L O A NE

352

Ann Robinson Early Cast Glass Vase light blue & green cast glass, 40cm height $3,000 - $6,000 P RO VENANCE purchased Masterworks, Auckland, August 1990 (original purchase receipt available)

353 Garry Nash Large Handblown Glass Vase multicoloured swirls on red ground, etched signature & dated 2000 to base, 48cm height $1,600 - $3,000 PR O VE N AN C E purchased directly from the artist c. 2000

354 Garry Nash Studio Glass Large Table Bowl orange/yellow frosted with black rim, etched signature & dated 2000 to base, 24cm height, 32cm dia. $500 - $800

355 Garry Nash Glass Etched Vase rose frosted, etched signature & dated ‘93 to base, 30cm height $400 - $700

356 Garry Nash Studio Glass Flattened Ovoid Vase volcanic type frosted red/orange colourway with yellow lip, etched signature & dated 2000 to base, 22cm height $300 - $600

357 Garry Nash Handblown Ovoid Glass Vase white encased, signed & dated 1985 to base, 29cm height $300 - $600

358 Peter Goss (Australian) Art Glass Vase etched signature, dated ‘82 & ‘PSG no. 230’ to base, 13cm height $150 - $250

359 Peter Raos Art Glass Lily Perfume Bottle etched signature & dated 1998 NZ, 15cm height $300 - $600

360 Peter Raos Art Glass Monet Spring Vase etched signature & dated 1995, 10cm height, 11.5cm dia. $350 - $500

361 Peter Raos Art Glass Pacific Domed Paper Weight etched signature & dated 1997, 7cm dia. $200 - $400

362 Peter Viesnik Four Handblown Glass Goblets etched signature & dated ‘90 to base, 22cm heights $200 - $400

FINE AR T

117

363 Peter Stichbury Large Charger impressed mark & paper label, 42cm dia. $300 - $600

364 Michael Lucas Large Footed Platter paper label to base, 45cm dia. $200 - $400

365 Robyn Stewart Koru Form Bowl impressed mark to base, 31cm dia. $350 - $650

366 Roy Cowan Vase of compressed spherical form, upper half painted with continuous band of Ngaio garden scene, incised with JRC mark to base, 25cm height $1,200 - $2,600

367 Roy Cowan Floor Vase salt glaze decorated with blue fern motifs, impressed mark to base with remnants of original paper label, 35cm height $800 - $1,400

368 Roy Cowan Elongated Serving Platter hand painted with stylised fish, incised mark to base, 44.5cm length $300 - $600

369 Roy Cowan Lamp Base unmarked, 21cm height $100 - $200

118

D UN B AR S L O A NE

370 Roy Cowan Coffee Pot incised mark to base, 21cm height $100 - $200

371 Estelle Martin Ikebana Vase anagama fired formed of two joined off set squares, incised mark & dated ‘90 to base, 29cm height $300 - $600

372 Toyohisa Kato Japanese Studio Pottery Vase stoneware with white shino glaze, 14cm height in original wooden case $500 - $800

373 Len Castle Large Bowl tenmoku & iron glaze with ribbed exterior, impressed mark to base, 34cm dia. $800 - $1,600

374 Len Castle Shallow Bowl irregular circular form, impressed mark, 35cm dia. $800 - $1,400

375 Len Castle Colour Glaze Bowl central off-white with rutile to the well & tenmoku exterior, impressed mark, 26.5cm dia. $400 - $800

376 Len Castle Pitted Bowl white over black ground, 20cm dia. $300 - $600

377 Len Castle Bowl chun glaze interior with tenmoku exterior, impressed mark, 20cm dia. $250 - $450

378 Len Castle Large Pouring Bowl c.1980s, impressed mark to base, 24cm dia. $200 - $400

379 Len Castle Pierced Vase tenmoku glaze, c.1990, impressed mark to base, 14cm height $200 - $400

380 Len Castle Beaker Vase c.1970s, with applied rondels, impressed mark to base, 16.5cm height $200 - $400

381 Len Castle Pinched Rim Vase impressed mark to base, 13cm height $200 - $400

382 Len Castle Beaker Vase c 1970, impressed mark to base, 23cm height $200 - $400

FINE AR T

119

383 Len Castle Deep Bowl blue/green glazed interior with oxide exterior, impressed mark to base, 27.5cm dia, 13.5cm height $1,000 - $2,000

384 Len Castle Three Small Volcanic Bowls all with turquoise blue glaze interiors, all with impressed marks to base, 15.5cm dia (2), 12cm dia $600 - $1,200

385 Len Castle Large Sea Secret earthenware with turquoise glaze interior, impressed mark to base, 31cm length, 8cm height $750 - $1,250

386 Len Castle Sea Secret stoneware with central turquoise glazed well, impressed mark, 16cm height $400 - $800

387 Len Castle Fossil Form stoneware, impressed mark, 14cm dia. $400 - $700 L I TE R ATU R E Len Castle Potter (Ron Sang 2002) p. 199 (illustrated)

388 Len Castle Fossil Form shaped as cornucopia, earthenware, impressed mark, 19cm length, 17cm dia. $500 - $800

389 Len Castle Sea Secret impressed mark, 19cm length $300 - $600

390 Len Castle Seaform impressed mark, 15cm dia. $300 - $600

391 Len Castle Salt Cellar & Fossil Form (2) salt cellar with turquoise glaze interior, impressed mark, 11cm dia., fossil form, impressed mark, 9.5cm $150 - $300

120

D UN B AR S L O A NE

392 Len Castle Large Falcon Headed Bowl earthenware, the interior with alkaline blue glaze and silica rubbed exterior, impressed LC mark to base, 45cm dia., 16cm height $5,000 - $8,000 PROVEN A N CE Private collection, Wairarapa

393 Len Castle Large Lava Lake Bowl earthenware, the interior with vibrant swirling lava red glaze, the textured exterior in anthracite grey with sculpted rim, impressed LC mark to base, 51cm width, 14.5cm depth $6,500 - $8,500

P ROV EN A N C E Private collection, Wairarapa L IT ERAT U R E For a similar example see: Len Castle Making the Molecules Dance, p. 16.

FINE AR T

121

394 Len Castle Lava Bowl lava red glaze, impressed mark to base, 36.5cm dia. $1,600 - $3,000

395 Len Castle Square Slab Bottle Vase copper glaze, impressed mark, 30cm height $1,000 - $2,000

396 Len Castle Bottle Vase stoneware copper glaze, impressed mark, 35cm height $800 - $1,400

397 Len Castle Large Stoneware Vase baluster form with ribbed body & bulbous rim, impressed mark, 32cm height $800 - $1,600

398 Len Castle Hanging Form of cycladic form in pale grey finish, impressed mark, 44cm length $1,000 - $2,000

399 Len Castle Hanging Form shaped as an anatomical heart, impressed mark, 30cm length $1,000 - $2,000

400 Len Castle Hanging Bottle Form impressed mark, 47cm (tip repaired) $300 - $600

401 Jim Greig Turning Form Vase incised mark & dated 1980 to base, 25cm height $1,500 - $2,500

402 Jim Greig Landform Bowl incised mark to base, 27cm dia. $800 - $1,400

122

D UN B AR S L O A NE

403 James Patrick (Pat) Hanly (1932-2004) Birds of Peace 16 handpainted Delware enamel titles affixed to hessian signed & dated ‘Hanly 1963 - 64’ on original backing board attached to reverse 41 x 61cm $8,000 - $12,000

FINE AR T

123

404 Geoff Fairburn Decorated Gourd 55cm height $400 - $800

405 Guy Ngan Three Bamboo Totem Poles all decorated with felt tip pen, variously signed & dated 2003, 2005, 2006, 82cm, 68cm, 59cm heights $500 - $800

406 Colin Webster-Watson (1926-2007) Untitled (Fish Form) cast bronze on marble orb with swivelling base, ltd ed 1/6 signed & dated ‘Colin 70’ to base of bronze 47cm height overall $1,000 - $2,000 P ROV EN A N C E Gifted to the vendor’s father by the artist in late 90’s who was a personal friend

407 Theo Janssen Chained Hills 2 bronze & silt stone sculpture on wooden base incised with signature to base, inscribed with title on paper label to base 25cm height, 33cm length, 23cm width $750 - $1,250

124

D UN B AR S L O A NE

408 Brendon Wilkinson (b 1974) Untitled (Stone Arch) mixed media sculpture in hub cap 25.5cm dia. $800 - $1,600

409 Kate Wells (b 1961) Ward Island Dilana Rug, limited edition 1/10 signed, inscribed with title and dated ‘95, crafted by Dave Webb on original label to reverse 160 x 180cm $2,000 - $4,000

410 Kate Wells (b 1961) Golden Geese (Blue/Green) Dilana rug, limited edition 6/20 signed & inscribed with title to underside, crafted by Ralph W. on original label to reverse 200 x 150cm $3,000 - $5,000

411 Feltex Carpets NZ Ltd, Riccarton Carpets Queenstown, New Zealand Souvenir Rug no. 6 fabric label to reverse 69 x 137cm $3,000 - $5,000 412 Feltex Carpets NZ Ltd, Riccarton Carpets Mt Egmont, New Zealand Souvenir Rug no. 4. 139 x 85cm $3,000 - $5,000

FINE AR T

125

ALPHABETICAL INDEX PART ONE

A Ashken, Tanya 20-21 Angus, Rita 28-29 B Binney, Don 1-3, 65 Bruin Kees 38 C Cotton, Shane 18-19 Cummings, Vera 56 D Dibble, Paul 22 Day, Melvin (Pat) 43, 46 E Ellis, Robert 34 F Flint, Sir William Russell 32 Feu’u, Fatu 62 Frizzell, Dick 67 G Gimblett, Max 16 Goldie, Charles Frederick 26-27

126

D UN B AR S L O A NE

H Hammond, Bill 4, 36 Hotere, Ralph 5-7, 35 Hodgkins, Frances 30 Hoyte, John Barr Clarke 55

S Seymour, Ava 11 Scott, Ian 12 Straka, Heather 23-25 Smither, Michael 66

J Jones, Gina 15

T Thompson, Jeff 60 Tuffery, Michael 61 Tangahoe, Hariata Ropata 63

K Knight, Dame Laura 31 Karaka, Emily 64 M Morris, Simon 13 Mitchell, Sam 17 Millar, Judy 37 Macleod, Euan 40-42 Moffitt, Trevor 48-51 McIntyre, Peter 53-54 Maughan, Karl 68 P Picasso, Pablo 33 Pick, Seraphine 39 Page, Evelyn 47 R Richardson, Harry Linley 57-59

W White, Robin 8-9 Westra, Ans 10 Walters, Gordon 14 Woollaston, Mountford Toswill 44 Weeks, John 45

PART TWO B Badcock, Douglas 196 Baker, William George 156, 157 Barns – Graham, Allan 153 Binney, Don 139 Bower, Olivia Spencer 162 Bragge, James 184 Braithwaite, Joanna 180 – 182 Brown, Nigel 142 Butler, Grace 158 C Cairncross, Sam 100 – 126 Carey, Ida 151 – 152 Clark, Russell 207 – 212 Cousins, Thomas Selby 154 Cowan, Roy 128 D Deans, A Austen 197, 198 Drawbridge, John 141 E Esplin, Tom 193 F Feu’u, Fatu 223 Fidler, Constance 149 Fife, Ivy Grace 201 Ford, John Bevan 220 - 222 Fraser, Jacqueline 169, 170 Frizzell, Dick 143

G Gibbs, D 188 Gill, Eric 192 Goldie, Charles Frederick 150 H Hammond, William 168 Herschell, Suzanne 230 Hobbs, Jane 189 Howard, Stephen 227 – 229 K Kelly, Cecil 159, 160 King, Marcus 195 Knight, Gwen 163,164 L Lane, Tony 213, 214 M Macleod, Euan 176 Maughan, Karl 140 McCormack, T A 165, 166 McGregor, Laith 177 McIntyre, Peter 194 McIntyre, Simon 215 McKinnon, Paulus 175 Moore, R P 183 N Napaltjarri, Wentja 174 Nicoll, Archibald 148, 161 Nicholas, Darcy 226

O O’Doherty, Peter 178 P Palmer, Stanley 144 – 147 Pardington, Fiona 171 – 173 Paul, Joanna Margaret 167, 218 Pearson, Alan 225 Peter, Juliet 127, 216 R Robertshaw, Des 224 Robba, Leo 179 S Scarborough, F W 191 Smither, Michael 129 – 134 T Taylor, E Mervyn 185 – 187 Tripe, Mary Elizabeth 199 Trusttum, Philip 217 U Unknown 155 W Warhol, Andy 135 – 137 Waru – Rewiri, Kura Te 219 Weeks, John 200, 202 – 206 Welch, Nugent 190

APPLIED ART B Blumhardt, Doreen 334 – 339 Borren, Anneke 340 - 342 Brickell, Barry 319 – 322, 331 C Castle, Len 373 – 400 Cowan, Roy 366 – 370 Crown Lynn 351 D De Lautour, Tony 350 F Fairburn, Geoff 404 Feltex Carpets 411, 412 Fisher, Paul 328, 329 G Goss, Peter 353 Greig, Jim 323 – 325, 401, 402 H Hanly, James Patrick 403 J Janssen, Theo 407 K Kato, Toyohisa 372 L Lawrence, John 327 Leleisi’uao, Andy 349 Lucas, Michael 364

M Martin, Estelle 371 Moody, Muriel 333 N Nash, Garry 353 – 357 Ngan, Guy 405 P Parker, John 345 - 347 Perrin, Patricia 332 R Raos, Peter 359 – 361 Raynor, Paul 348 Robinson, Ann 352 S Smisek, Mirek 300 – 318 Stewart, Robyn 365 Stichbury, Peter 363 Storm, Graeme 330 V Van der Putten, Andrew 326 Viesnik, Peter 362 W Webster-Watson, Colin 406 Weaver, Chris 344 Wells, Kate 409, 410 Wilkinson, Brendon 408 Wiseman, Merilyn 343

FINE AR T

127

RECENT ART HIGHLIGHTS

OVER $5 MILLION GROSSED LAST YEAR & 95% OF LOTS SOLD

2 5

128

D UN B AR S L O A NE

Illustrated: 1 Charles Frederick Goldie Sad Memories Ngaheke (An Arawa Chieftainess), oil on canvas - $446,600 2 Colin McCahon, Singing woman on pink ground, oil on board - $400,000 3 Michael Parekowhai Jeff Cooper (The Beverly Hills Gun Club), taxidermy sparrow & powder-coated aluminium - $27,800 4 Heather Straka Fate, oil on canvas board - $33,800 5 Fiona Pardington Portrait of a Female Kiwi / Apteryx Haasti c-type print - $55,000 6 Melvin (Pat) Day Breaker Bay, Wellington Harbour, oil on canvas - $52,600 7 Colin McCahon Truth from the King Country Load Bearing Structures, oil on canvas - $96,500 8 Trevor Moffitt Their Running No. 2, oil on board - $23,900 9 Don Peebles Relief Construction, enamel on wooden construction - $23,900 10 Robert Ellis Motorway/City No 18, oil on board - $51,900 11 Buck Nin Dancing on the Flats, acrylic on board - $24,100 12 Manos Nathan Ipu Manaia Parirau - $10,250 13 Gordon Walters Koru, ink on paper - $113,500 * Rounded to the nearest hundred including buyers premium + GST

FINE AR T

129

ENTRIES CURRENTLY INVITED

Affordable & Applied Arts

September 2021

Enquiries Helena Walker +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz

130

D UN B AR S L O A NE

ENTRIES CURRENTLY INVITED

New Zealand & International Fine & Applied Arts November 2021

Enquiries Helena Walker +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 / 021 473 998 auckland@dunbarsloane.co.nz

131

CATALOGUE ONLINE

Antique & Decorative Arts 28 July 2021

ENTRIES CURRENTLY INVITED

October 2021

Enquiries Anthony Gallagher 0274 713 667 antiques@dunbarsloane.co.nz

132

D UN B AR S L O A NE

CATALOGUE ONLINE

Fine & Estate Jewellery 27 July 2021

ENTRIES CURRENTLY INVITED

October 2021

Enquiries Bettina Frith +64 4 472 1367 jewellery@dunbarsloane.co.nz

133

Dunbar Sloane has recently been commissioned to value the entire Art collection of the Museum of New Zealand Te Papa Tongarewa and the entire collection of the National Library. The valuers cover all areas and have completed valuation mandates for the following:

• Te Papa Tongarewa • National Library • Sarjeant Gallery • The Canterbury Museum

New Zealand’s Number One Valuers From the Treaty of Waitangi to the nation’s treasures held at Te Papa, our five senior valuers are some of the most trusted and experienced chattel valuers in the country. We

• The Auckland War Memorial Museum

have valued

• The Rotorua Museum: Te Whare Taonga o te Arawa

chattels in the last

approximately $2 billion worth of 12 months.

• The Waikato Museum: The Whare Taonga o Waikato • Napier Museum and Library • Heritage New Zealand Pouhere Taonga • Kingitangi Taonga: Collections of the Maori King • Whakatane Museum • Archives New Zealand • Parliamentary Services • Te Puni Kokiri: Ministry of Maori Development • Auckland City Council • Wellington City Council • Government House Wellington • Government House Auckland • Nelson Provincial Museum

134

D UN B AR S L O A NE

James Parkinson 022 028 8541 james@dunbarsloane.co.nz Anthony Gallagher 0274 713 667 antiques@dunbarsloane.co.nz

ENTRIES CURRENTLY INVITED

Modern Design Maori, Oceanic, Asian & African Art September 2021

Enquiries Dunbar M Sloane 021 473 998 auckland@dunbarsloane.co.nz James Parkinson 022 028 8541 james@dunbarsloane.co.nz

135

ENTRIES CLOSED

Fine Wine & Spirits

August 2021

Enquiries +64 4 472 1367 info@dunbarsloane.co.nz

136

D UN B AR S L O A NE

CATALOGUE ONLINE

Vintage & Affordable Jewellery 18 August 2021

Enquiries Bettina Frith +64 4 472 1367 jewellery@dunbarsloane.co.nz

137

CONDITIONS OF SALE

The highest Bidder is deemed to be the Buyer, and if during the Auction the Auctioneer considers that a dispute has arisen, the Lot in dispute shall be immediately put up again for sale.

ach Lot sold by the Seller thereof with E all faults and defects therein and with all errors of description and is to be taken and paid for whether genuine and authentic or not and no compensation shall be paid for the same.

2. he Auctioneer has the right to refuse T any bid and to advance the bidding at his absolute discretion. 3. The Seller shall be entitled to place a reserve on any Lot and the Auctioneer shall have the right to bid on behalf of the Seller for any Lot on which a reserve has been placed. Dunbar Sloane Ltd have the right to withdraw or divide any Lot or to combine any two or more Lots at their sole discretion. 4. The Buyer shall forthwith upon the purchase give in his/her name and permanent address. The Buyer may be required to pay down forthwith the whole or any part of the Purchase Money, and if he/she fails to do so,the Lot may at the Auctioneers absolute discretion be put up again and resold.

The Buyer shall pay to Dunbar Sloane Ltd a premium of 18% on the hammer price together with GST at the standard rate on the premium, and agrees that Dunbar Sloane, when acting as agent for the Seller, may also receive commission from the Seller.

138

D UN B AR S L O A NE

Dunbar Sloane Ltd act as agents only and neither they nor the Seller are responsible for any faults or defects in any Lot or the correctness of any statement as the authorship, origin, date, age, attribution, genuineness, provenance or condition of any Lot. ll statements in the Catalogues, A Advertisements or Brochures of forthcoming sales as to any of the matters specified in (b) above are statements of opinion, and are not to be relied upon as statements of representations of fact, and intending purchasers must satisfy themselves by inspection or otherwise as to all of the matters specified in (b) above, as to the physical description of any Lot, and as to whether or not any Lot has been repaired. The Seller and Dunbar Sloane Ltd do not make or give, nor has any person in the employment of Dunbar Sloane Ltd any authority to make or give, any representation or warranty. In any event neither the Seller nor Dunbar Sloane Ltd are responsible for any representation or warranty, or for any statement in the Catalogues, Advertisements or Brochures of forthcoming sales. 6. Not withstanding any other terms of these conditions, if within 7 days after the sale Dunbar Sloane Ltd have received from the Buyer of any Lot notice in writing that in his view the Lot is deliberate forgery and within 9 days after such notification, the Buyer returns the same to Dunbar Sloane Ltd in the same condition as at the time of sale and

satisfies Dunbar Sloane Ltd had considered in the light of the entry in the Catalogue the Lot is a deliberate forgery then the sale of the Lot will be rescinded and the purchase price of the same refunded. 7. To prevent inaccuracy in delivery, and inconvenience in settlement of Purchase, no Lot can be taken away during the times of sale, nor can any Lot be taken away unless it has been paid for in full. All lots are to be paid for and taken away at the Buyer’s expense within two working days from the sale. Purchases, whilst in our care, will be insured for this period (subject to terms and conditions). 8. n failure of a Buyer to take away O and pay for any Lot in accordance with Condition 7, Dunbar Sloane Ltd reserves any other right or remedies. o resell the Lot or cause it to be resold T by public sale, any money paid in part payment being forfeited, any deficiency attending such resale after deducting all costs incurred in connection with the Lot to be made good by the defaulting Buyer, and any surplus to be the Seller's or: To store the Lot or cause it to be stored whether at their own premises or elsewhere at the sole expense of the Buyer, and to release the Lot only after payment in full of the purchase price together with interest there on of 5% above Bank minimum lending rate, the accrued cost of removal, storage and insurance (if any) and all other costs incurred in connection with the Lot. I f the Lot has been in store pursuant to (ii) for more than 6 months, to remove the Lot from store and to exercise the right set out in (i).

SINGLE VENDOR AUCTION

The Captain John Crowder Maritime Collection September 2021 The Captain John Crowder Maritime Collection is one of the finest maritime auctions to come to the market in Australasia featuring a rare & diverse range of all things nautical.

Enquiries Anthony Gallagher +64 4 472 1367 antiques@dunbarsloane.co.nz

139

BUYERS GUIDE If you have not bought from Dunbar Sloane before, please read the following notes. Staff will be pleased to answer any questions you may have. BEFORE AUCTION

2. Absentee Bidding

AFTER THE AUCTION

The terms and conditions under which the buyer acts at a sale are detailed at the back of this catalogue. We recommend that you read and understand these conditions of business before registering to bid at an auction. This sale is subject to the conditions of business printed in this catalogue and to the reserves.

If you are unable to attend the auction, Dunbar Sloane Ltd can bid on your behalf according to your written instructions. This is a free service for intended buyers. Please complete clearly the form at the back of this catalogue and submit it to Dunbar Sloane Ltd at least 24 hours before the sale to ensure it is safely received. Lots will be purchased for you as reasonably as possible, subject to other bids in the room and to reserves.

Payment

Viewing All lots are available for inspection prior to the sale. Although staff will endeavour to answer your enquiries, and give advice, the final decision to bid, is at your discretion and liability.

Pre-Sale Estimates The estimated prices printed below the catalogue descriptions are in New Zealand dollars and are the approximate prices expected to be realised, excluding buyers premium. They are not definitive, they are prepared well in advance of the sale and they are subject to revision.

Condition Reports Dunbar Sloane Ltd will provide a verbal condition report if you would like an opinion on any particular lot prior to purchasing. These must be requested at least 24 hours before the commencement of auction. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

THE AUCTION

3. Telephone Bidding If you are unable to attend the auction, you can elect to bid by telephone (subject to availability). Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to a minimum lot estimate of $500 or greater. Please note that the auctioneer determines the increments in bidding, not the telephone bidder. We accept no responsibility if for whatever reason we are unable to contact you and as such recommend leaving a covering bid. 4. Live Online Bidding We offer live online bidding on our website: www.dunbarsloane.co.nz Registering online does not automatically register to bid, and further identification maybe required, especially if you are an International client.

Selling Rate Fine Art auctions are generally conducted at the rate of about 60 lots per hour. However, this can vary.

Buying at Auction

You are able to bid using the following four methods: 1. Bidding in the Room

BUYERS PREMIUM

To bid at the auction you will need to register for a bidding number at the front desk either during the viewing or prior to the auction. Please bid clearly and promptly using your bidding number.

The buyer shall pay to Dunbar Sloane Ltd a premium of 18% of the hammer price plus GST on the premium only– effectively adding 20.70% to the hammer price.

140

D UN B AR S L O A NE

Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque, eftpos or electronic transfer. Due to the Anti Money Laundering Act we no longer accept cash or cheques for purchases of $10,000 or over. Bank details as follows: Dunbar Sloane Ltd 06 0501 0524945 0 Swift Code ANZBNZ22 Please include details of sale date and lot numbers with all payments. International clients will need to add an additional $25NZD to cover bank transfer fees.

Collection of Purchases Property purchased can be collected as soon as full payment has been received. Any items not collected within seven days of the auction may be subject to a storage fee. Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care. Items must be paid for straight away and a second account for courier/freight charges will follow as soon as possible when we have confirmed courier charges.

Packaging and Transportation We advise buyers to arrange transport and insurance with their preferred provider/s. We accept no responsibility for loss or damage in transit. For smaller items able to be couriered, Dunbar Sloane Ltd can pack and courier for a fee. This is to be paid before the goods leave our premises. We pack with care, however we take no responsibility for damage once your goods leave our premises. It is up to the buyer to arrange insurance to cover any damage or loss in transit.

ABSENTEE BIDDING FORM

94 Featherston Street, Wellington PO Box 224, Wellington 6140, New Zealand P +64 4 472 1367 E info@dunbarsloane.co.nz

Type of Auction

Auction Date

Please bid on my behalf at the above sale for the following lots. These bids are to be executed as low as permitted by other bids or reserves. I agree to comply with the Conditions of Sale as printed in the Catalogue. Full name Address Phone

SIGNED

Lot Number

DATE

Title / Description (use block letters)

Maximum Bid Price (excluding premium)

International Bidders Are required to provide photographic proof of ID – passport or drivers licence together with proof of address – utility bill, bank or credit card statement etc. Failure to provide this will result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. NOTE Individual bids registered by overseas bidders must be over $500 in individual value.

Please double check your bids and read terms below Please submit your bid as early as possible. In the event of identical bids, the earliest will take precedence. 'Buy' bids are not accepted. The limit you leave should be the amount to which you would bid if you were to attend the Sale. Buyers are reminded that there is a 18% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

141

142

D UN B AR S L O A NE

FINE AR T

143

Dunbar Sloane Ltd 94 F e a t h e r s t o n S t r e e t We l l i n g t o n C B D w w w. d u n b a r s l o a n e . c o m