Fine Art Auction - Part One

FINE & APPLIED ART 11 & 1 2 A P R I L 2 0 1 8

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N E W ZE A L A N D & I NTE RN ATION A L FI N E & A PPLI E D A RT 11 & 12 APRIL 2018 • WELLINGTON PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 11 April 6pm Lot 1 - 70 PART TWO • DAY SALE NEW ZEALAND & INTERNATIONAL FINE ART Thursday 12 April 12noon Lot 200 - 397 PART THREE STUDIO POTTERY & APPLIED ART Thursday 12 April 4pm Lot 400 - 489 WELLINGTON VIEWING Thursday 5 April 5pm - 7pm Opening Preview Friday 6 April 9am – 5pm Sunday 8 April 12noon – 3pm Monday 9 April 9am – 5pm Tuesday 10 April 9am - 5pm Wednesday 11 April 9am - 4pm LOCATION/ENQUIRIES 7 Maginnity Street • PO Box 224, Wellington 6140 Helena Walker, Director of Art Ph (04) 472 1367 • Fax (04) 475 7389 art@dunbarsloane.co.nz • www.dunbarsloane.com BUYERS PREMIUM There is a buyers premium of 17% + GST (19.55%) added to the hammer price ABSENTEE BIDDING If you are unable to attend the auction you may submit an absentee bid (form at reverse or online www.dunbarsloane.com) Telephone bidding can be arranged on lots over $500 in value. Note we assume you have recieved a condition report or inspected the item prior to bidding. To register for this service, contact our office. Telephone lines are limited and are procured on a first registered basis. We accept no responsibility if for any reason we are unable to contact you, and for this reason encourage clients to leave a covering bid.

ILLUSTR ATIONS Front cover: Lot 25 Gordon Walters, Untitled [Koru] Est $50,000 - 70,000 Inside front cover: Lot 23 Brent Wong, Building-Hills Est $18,000 - 26,000 Facing: Lot 32 Grahame Sydney, Fog on the Ohau Canal Est $50,000 - 60,000 Part One Introduction: Lot 24 Toss Woollaston, View over Greymouth Est $26,000 - 34,000 Inside rear cover: Lot 27 Pat Hanly, Pure Painting Est $30,000 - 40,000

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PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 11 April 2017 6pm start Lot 1 - 70

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1 Patr i c k H ay m a n (1 9 1 5 -8 8 ) The Pilgrim/ Pilgrim Brush oil on board signed ‘Hayman’ (lower right); signed, inscribed with title and dated 1982 to reverse 35 x 27cm $2,000 - 4,000

PROVENANCE purchased by the current owner from the artist, whom was a personal friend, London c 1982 Private collection, Wellington

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2 Patr ick H ay man ( 1915- 88) Girl by Window mixed media on paper inscribed with title (lower centre); signed and dated 1972 to reverse 24 x 16.5cm $1,500 - 3,000 PROVENANCE with Galerie Legard, Wellington, July 1986 Private collection, Wellington

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3 Pat r i c k H ay m a n (1 9 1 5 -8 8 ) Still Life with Jug & Grapes gouache on paper signed, inscribed with title and dated 1980 to reverse 17 x 24.5cm $1,500 - 2,500

PROVENANCE purchased by the current owner from the artist, whom was a personal friend, London c 1982 Private collection, Wellington

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4 Patr ick H ay man ( 1915- 88) Hilly Landscape with Trees & Summer Skies oil on board signed ‘Hayman’ (lower right); signed, inscribed with title and dated 1980 to reverse 23 x 19cm $1,000 - 2,000

PROVENANCE purchased by the current owner from the artist, whom was a personal friend, London c 1982 Private collection, Wellington

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5 Ra l ph H ot e r e (1 9 3 1 -2 0 1 3 ) Woman ink on paper signed ‘Hotere’ (lower left) 41.5 x 31cm $4,500 - 7,000

PROVENANCE purchased Dunedin c1986 by current owner Private collection, Wellington

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6 Ralph H ot er e ( 1931- 2013) Aramoana lithograph, limited edition P.P (edition of 40) signed and dated ‘Hotere ‘90’ (lower right) 53 x 66 cm $4,500 - 7,000 PROVENANCE Private collection, Wellington

LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 51, fig. 32.

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7 G ord o n Wa lt e r s (1 9 1 9 -9 5 ) Tawa [1968] screenprint from the Barry Lett Gallery Multiple series 76 x 56cm (sheet) $4,000 - 7,000

PROVENANCE Private collection, Wellington

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8 Ralph H ot er e ( 1931- 2013) Red on Black [1968] screenprint from the Barry Lett Gallery Multiple series 76 x 56cm (sheet) $1,500 - 2,500

PROVENANCE Private collection, Wellington

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9 Robin W h i t e ( b 1 9 4 6 ) Mabel Mitchell’s Place, Waiotemarama, Hokianga silkscreen print, limited edition 37/45 signed and dated ‘R. White July 77’ (lower right) and inscribed with title (lower left) 70 x 47cm $4,000 - 7,000

PROVENANCE Private collection, Kapiti Coast

LITERATURE Robin White New Zealand Painter (Martinborough 1981) p. 65 (col illus); p. 112, 195

11 Pat H a n ly ( 1 9 3 2 - 2 0 0 4 ) Awake Aotearoa, Fire Series silkscreen (edition of 32) signed and dated ‘Hanly ‘83’ & inscribed P.2. (lower right); inscribed with title within image 54 x 65cm $3,000 - 6,000

PROVENANCE Private collection, Wellington

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10 Ro bin W hite ( b 1946) Michael at Allan’s Beach silkscreen print, limited edition 33/45 signed, inscribed with title and dated ‘R. White 10/75’ (upper left) 52 x 30cm $5,000 - 8,000

PROVENANCE Private collection, Wellington

LITERATURE Robin White New Zealand Painter (Martinborough 1981) p. 55 (col illus); p. 109, 176

12 Pat H anly ( 1932- 2004) Pacific Hope screenprint, limited edition 14/35 signed and dated ‘Hanly 84’ (lower right) 52 x 65cm $2,500 - 4,500

PROVENANCE with Marshall Seifert Gallery, Dunedin Private collection, Auckland

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13 Doroth e a [ Dor r i t ] F o st e r B l ac k (Aust r a l i a 1 8 9 1 -1 9 5 1 ) Wings [1927-28] colour linocut on thin paper, ed of 50 printed from four blocks in dark blue, light blue, yellow ochre, red 16 x 23cm, mounted $10,000 - 20,000

PROVENANCE gifted by the artist to M E Pearce as a wedding present, 1931 Estate of John Edward Pearce, Auckland John Pearce is a nephew of Helen Crabb (1920-67), whom was a friend of the artist

EXHIBITED other examples of this print have been exhibited as follows: British Linocuts, Redfern Gallery, London 1929, no 16 Painting and Sculpture by A Group of Seven, Macquarie Galleries, Sydney 1930, no 7 Exhibition of Linocuts, Everyman’s Library, Melbourne 1932, no 3 Catalogue of an Exhibition of Oils, Watercolours, Pastels and Linocut Prints by Dorrit Black, Royal South Australian Society of Arts Gallery, Adelaide 1945, no. 59.

Drawing, Print and Watercolour, Contemporary Art Society, Adelaide 1952, no 4 Dorrit Black 1891-1951, Art Gallery of South Australia, Adelaide, then touring 1975-6, no 51 Dorrit Black 1891-1951, Royal South Australian Society of Arts, Adelaide 2011,cat no 11 Dorrit Black: Unseen Forces, Art Gallery South Australia, Adelaide 2014

LITERATURE Ian North, The Art of Dorrit Black (Art Gallery of South Australia, Adelaide, 1979) plate 9. (b/w illustration), cat L.3.

Stephen Coppel, Linocuts of the Machine Age, Claude Flight & The Grosvenor School (National Gallery of Australia 1995) p. 152-3. (b/w illustration) Tracey Lock-Weir, Dorrit Black, Unseen Forces (Art Gallery of South Australia, Adelaide 2014) p. 150-151 (colour illustration)

Dorrit Black was born in Adelaide 1891, her father an engineer and architect, her mother an amateur artist. After initially training at the South Australian School of Arts and Crafts, she moved to Sydney in 1915 to study at Julian Ashton’s Sydney Art School, where she later became a tutor with the likes of Thea Proctor and Henry Gibbons. Moving to London in 1927 she promptly enrolled at the Grosvenor School of Modern Art, Pimlico. It was here under the tutelage of Claude Flight (1881-1955), the British pioneer of linoleum cut technique, she produced her first colour linocuts. Flight became a lifelong friend and mentor, whose pioneering ideas, advice and encouragement had an enduring effect on her career. Under Flight, Black, and later fellow Australians Eveline Syme (1888-1961) & Ethel Spowers (1890-1947), learnt the principles of modern design; geometric order, the golden section and the underlying rhythms of the modern age.

Black departed London for Paris in late December 1927 and moved briefly to Paris where she studied under Andre Lhote, however her relationship with Flight endured. They wrote regularly from 1928 and he often assisted in the inclusion of her works in English exhibitions.

Wings, 1927-9 is one of Black’s earliest colour linocuts and is prophetic of the Australian 1930’s Art Deco movement. It shows deliberate adherance to Flight’s principle that art should reflect the energy of the modern age The figures are grouped in a shallow space and placed along the divisions of the Golden Mean. The horizon line is brought forward to the picture plane by the straightforward and daring device of having it coincide with the arm of the central figure, uniting the fore and background. It’s success was exemplified by the fact that Flight used the print is his own lectures, writing to Black: ‘I got your prints & had the small one reproduced with 3 others on a slide in my lecture – the Jolly naïve one of the dancing on the sand, I like it so much’ and also by it’s selection for the first organised linocut art exhibition in London held at Redfern Galleries in July 1929.

Black is well-known to have made linocuts for her friends. This particular example is from the Estate of John Edward Pearce of Auckland. Pearce is the nephew of New Zealand artist Helen Crabb (1920-67), a known friend of Black’s, whom she met whilst studying at the Sydney Art School. An inscription to the reverse of the work states that the linocut was given to M C Pearce as a wedding present in 1931. The figures depicted are inscribed from left to right as ‘Florence Taylor, Artist Sydney mid 1920s; Helen Priscilla Crabb (‘Barc’); Dot Hawthorne, Artist Sydney mid 1920’s. Previously the figures depicited in Wings have not been attributed.

Whilst Black declared her prints as editions of 50, she in fact never printed a full edition. The largest recorded edition is 26/50 for The windswept farm. She did not always sign her prints and she never dated them.

Black’s prints very rarely appear at auction. This is the only known impression of Wings to have come to the market.

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14 Paul Dibble ( b 1943) Huia Feather with Celstial Body cast bronze, limited edition 1/5 2nd study etched signature and dated ‘Paul Dibble NZ 2001’ to base 50cm height, 18cm dia (base) $7,000 - 10,000

PROVENANCE purchased Bowen Galleries, Wellington 2001 Private collection, Wellington

15 Roger Mortimer ( b 1956) Arapawa acrylic on canvas signed with initials inscribed with title and dated ‘r m/ mmxi’ (lower right) 32 x 43cm $2,000 - 4,000

PROVENANCE with Ivan Anthony Gallery, Auckland ‘Manakau Exhibition’, July 2012 Private collection, Wellington

16 Jae H oon Lee ( b 1973) Water Phenomena lightjet print on metallic paper (edition of 5) 123 x 122cm $4,000 - 7,000

PROVENANCE purchased Auckland c2012 Private collection, Wellington 14

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17 John Dr aw br idge ( 1930 - 2005) South Coast watercolour and pastel on paper signed and dated ‘John Drawbridge Oct 2004’ (lower right) 76 x 57cm $7,000 - 12,000

PROVENANCE purchased directly from the artist Private collection, Wellington

18 H elen Brown ( 1917- 86) The Bridge oil on board signed ‘Helen Brown’ (lower left) 55 x 74cm $4,000 - 7,000

PROVENANCE Private collection, Hawkes Bay

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19 H elen Brown ( 1917- 86) Dark Island oil on board signed ‘Helen Brown’ (lower right) 44 x 89cm $4,000 - 7,000

PROVENANCE with John Leech Gallery, Auckland, November 1967 Private collection, Hawkes Bay

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20 E ua n Mac l e o d (b 1 9 5 6 ) Napoleon Reef Box oil on panel signed, inscribed with title and dated ‘01 to reverse 24 x 34cm $2,000 - 4,000

PROVENANCE with Bowen Galleries, Wellington Private collection, Wellington

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21 T r e vo r Moff i tt (1 9 3 6 -2 006) Carrying Traps, My Father’s Life Series oil on board signed and dated ‘Moffitt 80’ (lower right); inscribed with title and no. 23 to reverse 59 x 59cm $6,000 - 10,000

PROVENANCE Private collection, Wellington

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22 Don B i n n e y (1 9 4 0 -2 0 1 2 ) Hen & Chicken Islands, Northland acrylic and oil pastel on paper signed and dated ‘Don Binney mm’ (lower right) 54.5 x 75cm $8,000 - 14,000

PROVENANCE Private collection, Wellington

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23 B r e n t Wo n g (b 1 9 4 5 ) Building-Hill acrylic on hardboard signed, inscribed with title, care instructions and dated 1981 to reverse 61 x 76cm $18,000 - 26,000

PROVENANCE purchased Peter McLeavey Gallery, Wellington 1985 Private collection, Wellington

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24 Mo u n tfo r d To s s w i l l [To s s ] Wool l a s ton (1910 - 9 8 ) View over Greymouth [1953] oil on board signed to reverse ‘M. T. Woollaston’ to reverse 59 x 74cm together with oil sketch of Greymouth and Tasman to the reverse $26,000 - 34,000

PROVENANCE gifted to Stan Blackmore by the artist, 1953 by descent Private collection, Wellington

Reverse illustration

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Toss Woollaston bought a villa at 33 Kilgour Road, Greymouth, in April 1949 and painted this iconic Greymouth urban landscape from the veranda of the home while residing there with his family, in 1953.

These were difficult and challenging times for the artist. One positive development during the early 50s was that Toss began to lecture occasionally for the National Council of Adult Education (the organisation was established in 1947 with the objective of promoting adult education and the promotion of the arts). This involvement was encouraged by the new West Coast Adult Education Tutor, Stanley Blackmore (1927-2000); who played an important part in the artist’s life during these early years, and encouraged Toss’s continuance with his art. Toss found this teaching demanding but it provided extra income help alleviate the artist’s isolation in Greymouth.

From 1953, Stan also supported and lived with Toss while Toss’s wife Edith was in Dunedin convalescing. He helped the artist directly, to support his family. There was some question of romantic attachment between Toss and Stan., to whom this work was gifted in 1953.

The work depicts an expansive urban view of Greymouth painted from the artist’s home, and looks down and across to roofs and houses below, out across to a coaling tower in the distance, and beyond to sea and sky, with cloudy greys and a brooding West Coast sky and seascape. The hill on the right is the Cobden Hill, its treatment and the piece itself conveys Toss’s personal and emotional response to landscape in his work, and his early identification of the attitude to nature found in the work of the romantic poets such as Shelley and Wordsworth. It foretells the distinct and engaging beauty of his landscape treatments to come, and the artists ongoing existential struggle with his subject.

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25 G or d o n Wa lt e r s (1 9 1 9 -9 5 ) Untitled [Koru] ink and graphite on wove paper 71.4 x 57.3cm $50,000 - 70,000

PROVENANCE purchased by the current owner Peter McLeavey Gallery, Wellington Private collection, Wellington

Gordon Walters is one of New Zealand’s most important and iconic modernist painters. In the mid-1960s, Gordon Walters emerged as a unique presence in the modern movement in New Zealand. Bestknown for work that fused the influence of geometric, abstraction of European modernist art with the traditional organic forms of Māori and Pacific art.

Walters attended the Wellington Technical School of Art (1935-1944), becoming interested in European modernism through reproductions of works by Yves Tanguy. Travelling to Europe in 1950, he was exposed to works by Mondrian, as well as the pure abstraction of Victor Vasarely. On his return to New Zealand in 1951 he began to research Māori rafter painting and decorative design, visiting museums with fellow artist Theo Schoon and analyzing the forms. Walters modified the fern motif found in Maori meeting houses and traditional Polynesian tattoos, by geometricizing it and alternating positive and negative versions in the manner of the Italian painter Giuseppe Caprogrossi (1900 -1972).

Walters made his first ‘koru paintings’ in 1956, but didn’t show them until 1966 when he first exhibited this painting in Auckland.

His adaptation of the koru has been both admired and criticised by cultural commentators. Walters himself, when discussing the motif, increasingly focused on the fine mechanics of abstraction: ‘What I’ve done to the form is push it more in the direction of geometry.

So that I can have in my painting not only a positive/negative effect of black and white, but I can also have a working of vertical and horizontal, which is equally important.’

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26 Jam e s Patr i c k [ Pat] H a n ly (1 9 3 2 -2 0 0 4 ) Pacific Fire oil and enamel on board signed and dated ‘Hanly 86’ and inscribed with title (upper right); original artist’s label and Vavasour Godkin Gallery label affixed to reverse 120 x 120cm $70,000 - 80,000

PROVENANCE Private collection, Wairarapa The mid 1980s was a period of significant political, social and economic change in New Zealand. The declaration of the country as nuclear free in 1987 became a matter of national pride and collective agreement after a decade of social division. The notion of the South Pacific standing firm against its formidable allies, the Western nuclear powers took hold of the public’s imagination and escalated following the bombing of the Greenpeace vessel Rainbow Warrior and the death of Fernando Pereira on July 10 1985.

It was against this political backdrop that Pat Hanly revisited his first major series, the Fire works produced in London in 1959 and 1960.

The Fire This Time series executed between 1984 and 1986, has a direct and powerful message; one of National unity and freedom.

From 1985 onwards the imagery and technique is freed from earlier constraints. Form is much more expressive and fluid. The treatment of colour is bold and asserts his reputation as one of New Zealand’s foremost colourists.

A pacifist, Pat Hanly’s expressions of dissent were not delivered solely via the medium of paint. He was active in the Peace Movement for many years, including as a founding member of VAANA (Visual Artists Against Nuclear Arms). He was well known for protesting from sailboats on Auckland Harbour. The stylised white form of a ship at the centre of Pacific Fire references this.

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27 Pat H a n ly ( 1 9 3 2 - 2 0 0 4 ) Pure Painting enamel on board signed and dated ‘Hanly 76’ (lower right) and inscribed with title (lower centre right); bears original artist label and inscribed with title and date to reverse 74 x 74cm $30,000 - 40,000

PROVENANCE Sale, International Arts Centre, Auckland 30/10/06 Private collection, Auckland

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28 Michael Smither ( b 1939) Green Boats oil on board 120 x 84cm $30,000 - 40,000

PROVENANCE purchased directly from the artist Private collection, Wellington

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29 Fran c e s H o d g k i n s (1 8 6 9 -1 9 4 7 ) Marrows & Peppers, Tossa gouache on paper signed ‘Frances Hodgkins’ (lower left) 51 x 72 cm $45,000 - 60,000

PROVENANCE Collection of George E. Dix Jnr. Thence by descent Sale, Sotheby’s, London, 25 May 2011 (titled Still Life with Gourds) Private collection, Auckland

EXHIBITED London, Lefevre Galleries, New Paintings & Watercolours, OctoberNovember 1937, most likely no 36

LITERATURE Arthur Howell, Frances Hodgkins Four Vital Years (London 1951) p. 119.

Whitford and Hughes, Frances Hodgkins 1869-1947 (Chichester 1990) no. 23.

Illustrated Above: Pumpkins & Pimenti (Fletcher Trust Collection)

It is highly likely that this work was shown at the Lefevre Galleries under the title Marrows and Peppers, Tossa. It was painted among a series of still life, which included the well-known Pumpkins & Pimenti (Fletcher Trust Collection) [illustrated above] painted in the winter of 1935-36 at Tossa de Mar, Gerona, Spain. It was from here that Hodgkins sent a suite of works to Duncan McDonald of the Lefevre Galleries with an accompanying letter stating: ‘You will see that I. have put a large amount of Frances Hodgkins into them even into the joyless marrows and I. do hope that you will not say that this woman’s work is not worth a penny a day to me. I. am sure you will realise that I. have had to adapt myself to local conditions and to do the best I. can…’

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30 E v e ly n Page (1 8 9 9 -9 3 ) Old Law Courts, Wellington oil on canvas board signed ‘E. PAGE’ (lower left) 49 x 60cm $15,000 - 25,000

PROVENANCE Collection of Frederick and Evelyn Page, Wellington

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31 R i ta An g u s (1 9 0 8 -7 0 ) Study for Fishing Boats, Island Bay watercolour signed and dated ‘RITA ANGUS/49’ (lower right) 28 x 28cm $6,000 - 10,000

PROVENANCE Collection of Frederick and Evelyn Page, Wellington

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32 G raha m e S y d n e y (b 1 9 4 8 ) Fog on the Ohau Canal oil on linen signed and dated ‘GRAHAME SYDNEY 2007’ (lower right) 91 x 101cm $50,000 - 60,000

PROVENANCE purchased by the current vendor directly from the artist Private collection, Christchurch

LITERATURE Grahame Sydney Paintings 1974-2014 (Craig Potton Publishing, 2014) p. 246. (colour illustration), ref p.289.

EXHIBITED Porirua, Pataka Art + Museum, Grahame Sydney: Down South, Recent Paintings 2001-2011 (23 September 2011 – 6 February 2012)

‘One result of the trips to Antarctica was the realisation of how little a painting needed, how beautiful the gentle shifts of tone or hue can be within otherwise empty spaces. Back from the ice I saw the equivilent subtleties when fog came down, and I have loved the minimality of fog ever since. So much is drained away, so much looms unexplained, mysterious and no longer so ordinary when wreathed in fog, or emerging from its smothering chill.’

Grahame Sydney Paintings 1974-2012, p. 289

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33 Joh n Pu l e ( b 1 9 6 2 ) The wind reminds me how palpable and mythical my life was becoming oil and ink on canvas signed and dated ‘J Pule 2003’ (lower centre); inscribed with title (lower right) 200 x 200cm $25,000 - 35,000

PROVENANCE with Bartley Nees Gallery, Wellington 2003 Private collection, Auckland

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34 Ava S e y m o u r ( b 1 9 6 7 ) The Naval & Family C-type photograph, limited edition 1/3 signed, inscribed with titled and dated ‘Ava Seymour 2005’ (lower right) 83 x 240cm $5,000 - 8,000

PROVENANCE with Peter McLeavey Gallery, Wellington, April 2006 Private collection, Auckland

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35 P eter Ro binson ( b 1966) ‘The Going too Far Corner’ oilstick & acrylic on paper signed and dated ‘P R Robinson 2002’ (lower right) 140 x 100cm $15,000 - 25,000

PROVENANCE with Anna Bibby, Auckland March 2004 Private collection, Auckland

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36 Jeffr ey H ar r is ( b 1949) Self Portrait [1973] oil on paper signed and dated ‘Jeffrey Harris 1973’ (lower right) 37 x 26.5cm $2,500 - 4,000

PROVENANCE with Peter Webb Galleries, Auckland 1989 Private collection, Auckland

37 Merv y n W illiams ( b 1940) Evening Blue acrylic on canvas signed, inscribed with title and dated ‘MERVYN WILLIAMS 1992’ to reverse 79 x 65.5cm $4,000 - 7,000

PROVENACE with Warwick Henderson Gallery, Auckland Private collection, Auckland

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38 Robe rt E l l i s ( b 1 9 2 9 ) Nga Taonga 22 Tihema oil on canvas signed, inscribed with title and dated ‘22 Tihema 1993’ (lower left) 163 x 240cm $12,500 - 17,500

PROVENANCE Transpower collection, Wellington

LITERATURE Robert Ellis (Sang Publishing 2014) p. 213, p. 214-215 (colour illustration)

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39 Pe t e r M c I n t y r e (1 9 1 0 -9 5 ) Twilight, A view from above the Whakapapa oil on board inscribed ‘Kakahi [View from the artist’s holiday house]’ to reverse 60 x 74cm $20,000 - 30,000

PROVENANCE with Fisher’s Fine Arts Private collection, Wellington

LITERATURE: Peter McIntyre Kakahi, New Zealand [Wellington 1972], colour plate no 13.

‘The Whakapapa at dusk. In the twilight the river catches the last from the evening sky as it winds to join the Wanganui. The hill in the left middistance was the site of Takapuna, one of the five forts that fell in the battle against the Wanganui maoris back about 1450’

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40 Pe t e r M c I n t y r e (1 9 1 0 -9 5 ) King Country Landscape [1974] oil on board signed ‘PETER MCINTYRE’ (lower right) 60 x 90cm $25,000 - 35,000

PROVENANCE purchased by the vendor’s father from McGregor Wrights, Wellington c1974, thence by descent Private collection, Wellington

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41 P eter McInty r e ( 1910- 95) Rangitikei River, Near Taihape oil on board signed ‘PETER MCINTYRE’ (lower right); signed and inscribed with title to reverse 60 x 71cm $12,000 - 18,000

PROVENANCE Private collection, Australia

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42 P eter McInty r e ( 1910- 95) Grazing Sheep, Wairarapa oil on board signed ‘PETER MCINTYRE’ (lower right) 36 x 46cm $7,500 - 12,500

PROVENANCE Private collection, Australia

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43 Pete r M c I n t y r e (1 9 1 0 -9 5 ) The Awatere oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 49.5 x 60cm $8,000 - 14,000

PROVENANCE Vendor’s parents owned a shop that sold art supplies in Blenheim.

McIntyre had an exhibition in Blenheim c.1964. This and the following lot were unsold and the vendor’s mother subsequently purchased Private collection, Marlborough

44 P eter McInty r e ( 1910- 95) Evening Blenheim oil on canvas board 50.5 x 60cm $3,500 - 6,000

PROVENANCE as per lot 44 Private collection, Marlborough

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45 Dorothy Kate R i c h m o n d (1 8 6 1 -1 9 3 5 ) After the Milking, Early Morning oil on canvas signed and dated ‘D.K. Richmond 1930’ (lower left); signed, inscribed with title to reverse 59 x 59cm $10,000 - 16,000

PROVENANCE Ex Richmond/Campion Estate, Eastbourne Private collection, Wellington

EXHIBITED Canterbury Society of Arts 1931

LITERATURE Art in New Zealand Vol III no 12, June 1931, p. 262 The National Business Review, 8 November 2002 46 Dorothy Kate R i c h m o n d (1 8 6 1 -1 9 3 5 ) Girl with Red Ball, Portrait of Rosalind Atkinson [1900-1977] oil on panel 31.5 x 23.5cm $2,000 - 4,000

PROVENANCE Ex Richmond/Campion Estate, Eastbourne Private collection, Wellington

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47 Claus Edwa r d Fr istrom ( 1864- 1950) A Sunny Afternoon, Seatoun oil on canvas laid down on board signed ‘Edward Fristrom’ (lower right) 19 x 25cm $5,000 - 8,000

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington mid-late 1970s Private collection, Wellington 48 Claus Edwa r d Fr istrom ( 1864- 1950) Windswept Tree oil on canvas laid down on board signed ‘Edward Fristrom’ (lower right) 17 x 24.5cm $2,500 - 4,500

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington mid-late 1970s Private collection, Wellington

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49 Char les Blomfield ( 1848- 1926) Mt Egmont oil on board signed & dated ‘C. Blomfield 1909’ (lower right) 29 x 48.5cm $2,000 - 4,000

PROVENANCE Private collection, North Island

50 P etrus Va n der Velden ( 1837- 1913) Cottage Interior oil on canvas signed ‘Petrus van der Velden’ (lower right) 28 x 42cm $3,000 - 5,000

PROVENANCE Private collection, Wellington

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51 H or atio Gor don Ro bley ( 1840- 1930) Portrait, a fully tattooed Chief “PAORA” Ngatimaru Tribe watercolour heightened with white with detailed ink sketch and inscription to reverse 22.3 x 14.3cm $3,000 - 6,000

PROVENANCE Private collection, Canterbury

52 J oh n Ba r r C l a r k e H oy t e (1 8 3 5 -1 9 1 3 ) Te Hana, Coromandel watercolour signed ‘J C Hoyte’ (lower left 34 x 52cm $14,000 - 20,000

PROVENANCE Private collection, Auckland

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53 S y d n e y Lo u gh T ho m p s on ( 1877- 1973) Lake Wanaka oil on board signed ‘S L Thompson’ (lower right) 37 x 44cm $6,000 - 8,000

PROVENANCE by family descent Private collection, Marlborough

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54 S y d n e y Lo u gh T ho m p so n (1 8 7 7- 1973) Lake Horseshoe, Lewis Pass oil on canvas signed ‘S. L. Thompson’ (lower left) 49 x 64cm $10,000 - 16,000

PROVENANCE with Fisher’s Fine Arts Private collection, Wellington

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55 Melv in Day ( 1923- 2016) Perisimmon, Walnuts and Bottled Cherries oil on canvas signed and dated ‘Day 86’ (lower right) 92 x 182cm $5,000 - 7,500 PROVENANCE Corporate collection, Wellington

56 H elen St ewa rt ( 1900- 83) Portrait of Woman in Blue oil on board signed ‘Helen Stewart’ (upper left) 64 x 49cm $3,000 - 6,000

PROVENANCE Ex Artist’s Estate Private collection, Wairarapa

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57 F r a n c i s M c C r ac k e n (1 8 79- 1959) Still Life with Potted Cyclamen oil on canvas signed ‘F. McCracken’ (lower centre/right) 54 x 45cm $6,000 - 10,000

PROVENANCE Private collection Wellington

FINE ART

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58 P eter Siddell ( 1935- 2011) Western Sky pastel on paper signed & dated 1989 (lower left); inscribed with title to reverse 27 x 39cm $2,000 - 3,000 PROVENANCE Private collection, Wellington

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59 Dor is Lusk ( 1916- 90) Taranaki Coast 2 watercolour and ink signed and dated ‘D. Lusk 1977’ (lower right); inscribed with title to reverse 28 x 42cm $2,000 - 4,000

PROVENANCE Private collection, Wellington

60 Dor is Lusk ( 1916- 90) Landscape watercolour signed and dated ‘D. Lusk 1979’ (lower right) 37 x 53cm $3,000 - 5,000

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61 Mountfor d Tosswill [Toss] Woollasto n ( 1910- 98) Motueka watercolour signed ‘Woollaston’ (lower right) 23 x 30cm $3,000 - 5,000

PROVENANCE Private collection, Wellington

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FINE ART

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62 Melv in Day ( 1923- 2016) Still Life oil on board signed and dated ‘Day 1/60’ (lower right) 45 x 80cm $4,000 - 7,000

PROVENANCE Private collection, Wellington

63 Mar k Cross ( b 1955) Girl with Bucket of Mussels egg tempera on board signed ‘M. R. CROSS’ (lower right) 59 x 39cm $2,000 - 4,000

PROVENANCE purchased by the current owner c 1982 Private collection, Wellington

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64 Mich e l T u ff e ry (b 1 9 6 6 ) Tuis acrylic on paper made from natural fibres signed and dated ‘MICHEL TUFFERY 05’ (lower left) 50 x 120cm $4,000 - 7,000

PROVENANCE Private collection, Wellington

FINE ART

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65 M i c ha e l S m i the r (b 1 9 3 9 ) Untitled [Botanical Study] acrylic on board signed and dated ‘M. D. Smither 1963-64’ (lower left) 68.5 x 92cm $3,000 - 6,000

PROVENANCE Private collection, Hawkes Bay

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66 P h i l i p T ru s tt u m (b 1 9 4 0 ) Untitled oil on board signed ‘P. M. Trusttum’ (centre left) 182 x 120cm $3,000 - 6,000

PROVENANCE Private collection, Wellington

67 P hilip T rusttum ( b 1940) Top 10 [1975] oil on board 272 x 136cm $2,000 - 4,000 PROVENANCE Bosshard Gallery, Dunedin

FINE ART

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68 To m E s p l i n (1 9 1 5 -2 0 0 5 ) European Market Scene oil on board signed ‘Esplin’ (lower left) 30 x 55cm $4,000 - 7,000

PROVENANCE Private collection, Canada

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69 Co l i n Wh e e l e r (1 9 1 9 -2 0 1 2 ) Campbells Butchery oil on canvas signed and dated ‘COLIN V. WHEELER - 2005’ (lower left) 55.5 x 64cm $6,000 - 10,000

PROVENANCE with The Artist’s Room, Dunedin Private collection, Hawkes Bay

FINE ART

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70 M i d to Lat e C 1 9 th G r a n d To u r P hotog r aph Album compossed of 78 albumen images including studio portraiture, landscape & architectural images of Bombay (10); ‘Femme et Fille fallahs’ by Hippolyte Arnoux (fl 1860-90); Egypt & Suez Canal

by The Zangaki Brothers (5); Malta by H. Agius (9); Napoli, Pompei & surrounds by Giacomo Brogi (1822-81) (12), all marked within plate & other images of Gibralter, South of France, Sorrento & surrounds, Italy, variously entitled, unattributed bound in blue cloth with owner’s nameplate to cover 31 x 42cm album overall, internal images of varied sizes $2,000 - 4,000

PROVENANCE Collection of Percy Adams, Nelson. Adams was a renowned Nelson Barrister & collector in late C19th & early C20th Century

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