Fine & Applied Arts

Fine & Applied Arts 8 & 9 Au gu st 2018

New Zealand & International Fine & Applied Art 8 & 9 AUGUS T 2018 W ELLINGTON Part One – Evening Sale New Zealand & International Fine Art Wednesday 8 August 6pm Lot 1 – 87 Part Two – Day Sale New Zealand & International Fine Art Thursday 9 August 12noon Lot 200 – 396 Photography Lot 233 - 257 Part Three Studio Pottery & Applied Art Thursday 9 August 4pm Lot 400 – 509 Absentee Bidding

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Wednesday 8 August 9am – 4pm

There is a buyers premium of 17% + GST (19.55%) added to the hammer price.

Illustrations Front cover: Lot 24 Don Binney, Dotterel Rising, Te Henga Est $140,000 - 180,000

Thursday 2 August 5pm – 6.30pm Friday 3 August 9am – 5pm Sunday 5 August 12noon – 3pm Monday 6 August 9am – 5pm Tuesday 7 August 9am – 5pm

Location/Enquiries 7 Maginnity Street, Wellington 6140 PO Box 224, Wellington 6140

Inside front cover: Lot 23 Ralph Hotere, Untitled [1973-4] Est $120,000 - 160,000

Helena Walker, Director of Art

Facing: Lot 25 Rita Angus, A Woman Sketching AD 1965 Est $150,000 - 200,000

P +64 4 472 1367 F +64 475 7389 E art@dunbarsloane.co.nz

Part One: Lot 3 Ans Westra, Sunflowers Est $4,000 - 7,000 Inside back cover: Lot 18 Elizabeth Thomson Lepidoptera Est $7,500 - 12,500

www.dunbarsloane.com

Part One New Zealand & International Fine Art

Wednesday 8 August 2018 6pm start Lot 1 - 87

1 Ans Westra (b 1936) Cuba Street, Wellington 1974 vintage silver gelatin print signed ‘A Westra’ (lower right) 24.5 x 25cm (plate); 58 x 48cm (image) $3,000 - 6,000

2 Ans Westra (b 1936) Main Street, Wairoa 1964 vintage silver gelatin print signed (lower right) 27.5 x 27.5cm (image) $3,000 - 6,000

Provenance with Suite Gallery, Wellington 2010

Provenance with Suite Gallery, Wellington 2010 Literature Maori (Wellington 1967) p. 93.

Handboek Ans Westra Photographs (2004) pl. 22., p. 122. (illustrated)

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3 Ans Westra (b 1936) Sunflowers pigment inks on Somerset velvet paper 89 x 89cm $4,000 - 7,000 Provenance with Bowen Galleries, Wellington 2009

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4 Anne Noble (b 1954) Wilhelmina Bay, Antarctica 2005 photographic pigment print, ed of 10 84 x 98.5cm $3,000 - 6,000 Provenance with Bartley and Company, Wellington

A copy of this photograph is in the collection of the Christchurch Art Gallery “Going to Antarctica I wanted to provide two bodies of work, and consider two ways of looking at the landscape. The first was a study of light on the Antarctic landscape – white on white. The second was to consider the landscape formed by the activities and culture of science.”

Anne Noble

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5 Peter Peryer (b 1941) Tulips, St Bathans [2007] c-type photographic print, limited edition 1/15 58 x 78cm $2,500 - 4,500

6 Peter Peryer (b 1941) McRaes Flat Gold Mine [2007] c-type photographic print, limited edition 1/15 60 x 80cm $2,500 - 4,500

Provenance with McNamara Gallery, Wanganui 2008

Provenance with McNamara Gallery, Wanganui 2008

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7 Gretchen Albrecht (b 1943) Possess lithograph, limited edition 18/45 signed and dated ‘Albrecht 82’ (lower right) and inscribed with title (lower centre) 49 x 69cm $2,000 - 4,000

8 Ralph Hotere (1931-2013) Aramoana lithograph, limited edition P. P. (ed of 40) signed and dated ‘Hotere ‘90’ (lower right) 53 x 66cm $4,000 - 6,000 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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9 Ralph Hotere (1931-2013) Winter Solstice lithograph, limited edition 5/17 signed and dated ‘Hotere ‘91’ (lower left), inscribed with title (lower right) 74 x 55cm $4,000 - 6,000

10 Bill Hammond (b 1947) Untitled [2006] lithograph, limited edition 39/100 signed and dated ‘W D Hammond/2006’ (lower right) 57 x 42cm $3,500 - 5,000

Literature Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 63., fig 45.

Provenance Private collection, Wellington

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11 Jeff Thomson (b 1957) Bouquet screenprinted corrugated iron signed and dated ‘J G Thomson 2009’ (lower left) 150 x 115cm (maximum) $7,000 - 10,000 Provenance with Bowen Galleries, Wellington Private collection, Wellington

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12 Jeff Thomson (b 1957) Dog corrugated iron free standing sculpture signed and dated ‘J G Thomson 2001’to tail 102cm height x 40cm width x 103cm length (maximum) $2,000 - 4,000 Provenance acquired directly from the artist Private collection, Manawatu

13 Karl Maughan (b 1964) Flame [1990] oil on canvas inscribed with title and dated on original Gow Langsford Gallery label to reverse 55 x 50.5cm $5,000 - 8,000 Provenance with Gow Langsford Gallery, Auckland Private collection, Hawkes Bay

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14 Denys Watkins (b 1945) Lighthouse at Laguna acrylic on canvas signed and dated ‘Denys Watkins/1992’ and inscribed with title to reverse 170 x 170cm $4,000 - 8,000 Provenance with Sue Crockford Gallery, Auckland 1993

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15 Ngataiharuru Taepa (b 1976) Matu Rau #7 various timbers signed, inscribed with title and dated 2016 to reverse 54 x 54cm $3,000 - 6,000 Provenance with Page Blackie Gallery, Wellington, June/July 2016 Private collection, Wellington

16 Paul Dibble (b 1943) Bird’s Eye View cast bronze, single edition etched signature and dated ‘Paul Dibble 2014 NZ’ to base 39cm height, 28cm width, 17cm depth (maximum) $8,000 - 12,000 Provenance with Zimmerman Art Gallery, Palmerston North Private collection, Manawatu

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17 John Walsh (b 1954) No no they’re friends oil on board signed, inscribed with title and dated 2013 to reverse 29.5 x 46cm $3,000 - 6,000 Provenance with Page Blackie Gallery, Wellington Private collection, Wellington

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18 Elizabeth Thomson (b 1955) Lepidoptera patina, casein and oil-based pigment on six cast bronze moths etched signature and dated 1992 to underside of wings each approximately 12cm length, 20cm width (maximum) $7,500 - 12,500 Provenance with Fox Gallery, Auckland 1993

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19 John Drawbridge (1930-2005) Pacific Coast watercolour and pastel on paper signed & dated ‘John Drawbridge 1994’ (lower right) 75 x 56cm $5,000 - 8,000 Provenance with NZ Academy of Fine Art, Wellington Exhibited Wellington, NZ Academy of Fine Arts, The Family in Art 1994

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20 Tony Fomison (1939-90) Bacchus Michael Angelo pencil on paper signed, inscribed with title and dated ‘A. Fomison 9.3.70/ 20.8.70/10.9-29.10.70’ and inscribed with title (lower left) 43 x 30cm (51 x 36cm sheet) $15,000 - 20,000 Provenance Collection of Beatrice Grossman, Auckland Sale, Webbs, Auckland 27 March 2013, (lot 12) Private collection, Wellington

Exhibited Lower Hutt, The Dowse Art Gallery, Tony Fomison a survey of his painting and drawing from 1961 to 1979, touring exhibition, 1979, cat no. D2.

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21 Jude Rae (b 1955) Strata oil on canvas signed, dated ‘JRae ‘94’ and inscribed with title to reverse 121 x 181cm $16,000 - 24,000

22 Jude Rae (b 1955) Nexus I oil on canvas signed, dated ‘JRae ‘94’ and inscribed with title to reverse 182 x 122cm $16,000 - 24,000

Provenance with Jensen Gallery, Auckland 1995

Provenance with Jonathan Smart Gallery, Christchurch 1995

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23 Ralph Hotere (1931-2013) Untitled [1973-4] oil, brolite lacquer and varnish on two adjoined panels upper panel inscribed ‘Hotere/Port Chalmers/1973-74’ to reverse lower panel inscribed ‘The National Bank, Dunedin’ to reverse 366 x 106.5cm $120,000 - 160,000

Provenance/Awards The National Bank Art Award, 1973 Literature Ralph Hotere Black Light (Te Papa Press 2000) p. 116.

Ralph Hotere (Rong Sang 2008) p. 90.

In 1958 the National Bank of New Zealand began sponsoring a biannual competition for a design for a mural to be executed for one of the Bank’s branch offices. The competition ran until 1980 and produced a number of iconic winners including Roy Cowan’s Abstract Mural [1971] which now hangs in the foyer of The Reserve Bank Building . This striking two panel work by Ralph Hotere was the winner of the 1973 award for the Dunedin branch.

1973 was a key year for Hotere where the enigmatic series of Black Paintings from 1968 and 1969 fused with the Requiem series of 1973-77. The impetus for the series was the tragic suicide of Hotere’s close friend, the musician and composer Anthony Watson (1933-1973) as well as the passing of his mother Ana Maria Hotere, the previous year. The requiem, a sung mass, harks back to the artist’s devout Roman Catholic upbringing, steeped in Catholic liturgy, theology, sacramentalism, mysticism, iconography and Latin texts to which he was to draw inspiration from throughout his career.

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Untitled [1973] consists of three horizontal blocks; two of highly repetitive vertical lines which create a mesmerizing rhythm with a central panel with a pinstripe circle piercing the void of a layer of high gloss lacquer. The thin crisp lines are added onto this immaculate surface with a traditional signwriting tool. These finely delineated, densely packed lines produce rhythms which are an experiment in visual pitch, seeking the perfect harmony between interval and line. They hint at the syncopated rhythms of jazz music to which Hotere often listened. The work is reduced to its essential elements, removing the inessential through constant contemplation and re-evaluation.

Homage is also paid to the American Abstract Expressionist Barnett Newman.

The verticality of the line in the composition references mankind’s verticality on the earth, just as in Newman’s ‘Zip’ paintings.

As well as this significant award, The Requiem series produced two major commissions: the Hamilton Founders Theatre Mural from 1973 and the Godwit/Kuaka mural (Chartwell Collection) of 1977. The controversial Founders Theatre Mural, painted the same year as his award winning entry for the National Bank Art Awards was commissioned by the Hamilton City Council and the Queen Elizabeth II Arts Council. Hotere’s design was chosen from five finalists, which included Colin McCahon and Paratene Matchitt.

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24 Don Binney (1940-2012) Dotterel Rising, Te Henga oil on hardboard signed and dated ‘DON BINNEY 1964’ (lower left); original Commonwealth Institute Exhibition paper label to reverse 103 x 90cm $140,000 - 180,000

Provenance with Uptown Gallery, Auckland Sale, International Art Centre, Auckland, 31 March 1989 (lot 28) Private collection, North Island Literature The Christchurch Press, 12 August 1966 (illustrated) London, Commonwealth Institute Gallery, Contemporary New Zealand Painting 1965, 25 February - 20 March 1965, cat no 5 (b/w illustration) Exhibited London, Commonwealth Institute Gallery, Contemporary New Zealand Painting 1965, 25 February - 20 March 1965, cat no 5 (original label affixed to reverse) Christchurch, Robert McDougall Art Gallery, Contemporary Painting in New Zealand, 6 - 29 August 1965

Dotterell Rising, Te Henga is unquestionably an icon of Don Binney’s much acclaimed Bird paintings from the 1960’s.

Typical of his work from the early 1960s, this powerful visual image plays off the similarities and differences between the bird and the landscape. The form of the dotterell dominates. The landscape is reduced, its exact location secondary to the truth of the painted form. The linear rhythms and the sudden tonal contrasts, with hard black outlines delineating the composition create a highly graphic, yet balanced composition. The paint surface is rough, not yet revealing the delicacy and variety of paint techniques that he developed from 1965 onwards.

The bird and landscape are visually connected, the curves and sweep of landscape echoing closely the forms of the bird. While they never become abstract symbols, the relationship between bird and landscape take on a symbolic significance in the minds of audiences. As Binney states in a 1983 interview: ‘I think a characteristic of…a lot of work from this period, is the structural coordination of bird and land form …

Physical resonance between one shape and the other. Why? Because as an ornithologist I’ve always been thoroughly involved in the way in which land, the environment the creature lives in, modifies the creature. The creature also of course modifies the land: it’s symbiosis really, isn’t it?’ I.

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The importance of the work is signified by its inclusion in the first officially sponsored exhibition to be shown in London 1965, Contemporary painting in New Zealand, an exhibition organised by the Queen Elizabeth II Arts Council of New Zealand on the invitation of the Commonwealth Institute. The exhibition featured 69 art works by 15 artists including Rita Angus, Don Binney, Rudolf Gopas, Pat Hanly, Colin McCahon, W A Sutton, Milan Mrkusich, Don Peebles, Philip Trusttum and Toss Woollaston. The exhibition reflected contemporary painting in New Zealand from 1960-65 aiming to provide as broad a picture as possible with consideration given during the selection process to those artists who had been based and working in New Zealand during this period.

I. Sheridan Keith, ‘A Conversation with Don Binney’ Art New Zealand 28 Spring 1983

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25 Rita Angus (1908-70) A Woman Sketching AD 1965 oil on hardboard signed ‘RITA ANGUS’ (lower right) inscribed ‘Rita Angus - Woman Sketching 1965 AD 31-10-0 (self portrait 2) to reverse 60 x 59cm $150,000 - 200,000

Provenance Private collection, Christchurch Purchased from The Group Show, Durham Street Gallery, Christchurch 1966 Sale, Dunbar Sloane Ltd, August 1985 (lot 7) The Arthur Collection, Wellington Literature Rita Angus, National Art Gallery, New Zealand (National Art Gallery 1982) p. 58 (b/w illustration) The Evening Post, 5 June 1986 ‘Representative Art Wins’, 6 June 1986 Academy Women, A Century of Inspiration exhibition catalogue (New Zealand Academy of Fine Arts 1993), cover illustration, p. 29.

William McAloon & Jill Trevelyan (ed.)

Rita Angus Life & Vision (Te Papa Press 2008) p. 158, p. 168 (colour illustration) Exhibited Group Show, Durham Street Gallery, Christchurch 1966 Elva Bett Gallery, Wellington, Retrospective Academy Women, A Century of Inspiration, New Zealand Academy of Fine Arts, Wellington SeptemberOctober 1993, cat no. 89.

Rita Angus: Life & Vision, Museum of New Zealand Te Papa Tongarewa, touring exhibition 2008-2009 Rita Angus (1908-1970) was a pioneer of Modernist painting in New Zealand, and remains a significant, much-loved and valued artist. In 2006, she was voted New Zealand’s greatest painter in a television poll. I. She studied at the Canterbury College School of Art in Christchurch from 1927-29 under the tutelage of Archibald Nicoll, Cecil Kelly, Richard Wallwork and Leonard Booth, and exhibited for the first time at the Canterbury Society of Arts in 1930. There was little arts infrastructure in New

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Zealand when she began her career—no dealer galleries or funding bodies, and only very basic museums—but she painted throughout her life supported by commercial work, some sales, and her family. Her output includes numerous landscapes and portraits in the traditional manner but also works that expanded what a portrait or landscape could be. She often painted in oils but was also a skilful watercolourist.

a direct quotation from ‘the Egyptian device of presenting figures both frontally and in profile…’ as well as ‘the techniques of placing brightly coloured objects against a neutral background…’ II. Angus has included light blue in her palette which provide bright spots in the painting and cleverly leads the viewer’s eye around it. She wrote that she admired the ancient civilisation ‘for the advanced social status enjoyed by woman.’ III.

Angus undertook a study trip to London from 1958-59 taking art classes at the Chelsea School of Art despite already being an accomplished artist. Her diaries reveal that she visited the city’s galleries and museums to sketch and look at originals. She wrote about wanting to apply what she was seeing to her paintings. Presumably she visited the British Museum where extensive examples of ancient Egyptian art are always on display. Back home in Wellington she continued to mine her sketchbooks and use the methods and techniques she had learned and observed in London.

While in London she became interested in painting the moon, and continued to include it in some of the most important paintings from this 1960s period. Here the moon is a quarter moon perhaps captured during the day. Other elements in the painting include a stylised camellia bush painted in the Egyptian manner and Angus’ cottage in Thorndon. Selfportraiture was an important part of her oeuvre, and one of the things she is best known for. In the first sketches for the work, the main figure was Angus herself.

But in the final painting, while the eyes and nose look like the artist’s, the figure is a more generalised image of an artist sketching. And of course it is important for Angus that a woman is sketching.

In the 1930s Angus made a number of works exploring an interest in Egyptian art—her Cleopatra (1938) self-portrait is the most well-known. After her trip to London, she returned to this subject area and A Woman sketching 1965 AD is one of a number of works which resulted. Its stylised pictorial elements, formal composition and terracotta colours echo ancient Egyptian painting, ceramics and tomb-reliefs—even the title imitates a museum label. Other elements in the painting reference Egyptian symbolism including the cat, the birds in the painting on the easel, and the patterning on the woman’s jersey. Cats are a familiar feature of Egyptian art but birds are also common, and unsurprisingly these are New Zealand birds. The woman’s pose is

Collectors of Angus’ paintings are a devoted group, so it is rare for such a wonderful example of her work to come up for auction.

Mary-Jane Duffy I. TVNZ’s Frontseat announced this on 30 April 2006.

II. William McAloon & Jill Trevelyan (ed.)

Rita Angus Life & Vision (Te Papa Press 2008) p. 158.

III. Ibid p. 111.

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26 Charles Frederick Goldie (1870-1947) Pipi Puzzled, Pipihahuka pencil on paper signed and dated ‘C F Goldie/ 7/11/42’ (lower left); inscribed with pencil ‘pip-haerehuka, Ohinemutu, to David Galbraith, I beg your pardon’ (lower right) 20.5 x 15cm $30,000 - 50,000

Provenance Sale, Barwick’s Auction, Gisborne, 11 July 1970 Collection of Ernest Vogtherr Private collection, Hawkes Bay Literature E. Vogtherr, Your Bid, Sir! (Napier 1969) p. 72. (b/w illustration) Dominion, 2 June 1970 (b/w illustration) Alister Taylor & Jan Glen, C. F. Goldie His Life & Paintings (Martinborough 1977 p.

134 (b/w illustration)) Alister Taylor & Jan Glen, C. F. Goldie Prints, Drawings & Criticism (Martinborough 1979) pl. 13, p. 236-237.

Pipi Haerehuka (Te Ārani), Ngāti Whakaue [? – 1927] was a chieftainess of the Ngatitunuhopu hapu of the Arawa Tribe. She was the thirteenth direct descendant of Tamati Kapu, captain of one of the canoes that arrived on the shores of New Zealand c1350 and the daughter of Haerehuka, the Ngati Whakaue chief. On Christmas Day 1835 Haerehuka murdered a Ngati Haua (Matamata) chief, causing war between Arawa and Te Waharoa. This resulted in the Ngati Haua and Waikato attack on Ohinemutu and the Arawa defeat at Mataipuku. In later years, Haerehuka and his son remained loyal to the British Government and led bands of warriors against the Hauhaus and Kingites.

Pipi was also affectionately known around Ohinemutu as Te Arani because of her liking for oranges. She was once painted by C F Goldie under this name in Memories 1933 (exhibited at Royal Academy, London 1934. His first depiction of her however was produced in 1915. Another followed in 1919 which is also entitled Pipi puzzled [Pipi Haerehuka (Te Ārani), Ngāti Whakaue] oil on panel which is in the collection of Te Papa Tongarewa, purchased 1950 by the former National Gallery.

Goldie continued to paint her after her death in 1927.

This drawing dated November 1942 is one of the regular drawings that Goldie gave to friends and acquaintances, in this case David Galbraith as per personal inscription.

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27 Frances Hodgkins (1869-1947) Rag Doll watercolour signed and dated 1941 (lower right) 42.8 x 40cm $20,000 - 30,000 Provenance Private collection, Dorset, United Kingdom Private collection, Christchurch We would like to thank Mary Kisler & Tony Mackle for their assistance in cataloguing this work

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28 Adele Younghusband (1878-1969) The Scientist oil tempera on board signed and dated ‘Adele Younghusband/ 1951’ (lower left); inscribed with title and signed to reverse 55.5 x 42.5cm $25,000 - 35,000

Provenance Sale, Art+Object, Auckland, 22/11/2011 (lot 25) Private collection, Wellington Exhibited Auckland Art Gallery, Phoenix Group Exhibition: Five Contemporary Painters, September-October 1952 Whangarei Art Museum, Te Manawa Toi, Cursive Line - Adele Younghusband, 16 August - 30 November 2008 Illustrated Cursive Line - Adele Younghusband, Whangarei Art Museum, Te Manawa Toi, exhibition catalogue, p. 19

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29 Sydney Lough Thompson (1877-1973) Almond Tree in Bloom near St Jeannet, Southern France oil on canvas signed ‘S. L. Thompson’ (lower left); inscribed with title to stretcher/reverse 51 x 61cm $16,000 - 26,000 Provenance purchased directly from the artist’s studio Private collection, Canterbury

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30 Sydney Lough Thompson (1877-1973) Terese and her Grape Vines, Grasse, Southern France oil on canvas signed ‘S L Thompson’ (lower right); inscribed with title to reverse stretcher and H Fisher & Son paper label dated June 1957 54 x 65cm $20,000 - 30,000

Provenance purchased directly from the artist’s studio Private collection, Canterbury A similar composition ‘Lavoir en Provence c1930’ is held in the collection of the The Suter Te Aratoi O Whakatū, Nelson. Exhibited La Salon des Artistes Francais, Paris 1931; Robert McDougall Art Gallery, Sydney Lough Thompson at Home and Abroad, Christchurch 1990 cat 49.

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31 Sydney Lough Thompson (1877-1973) Waimakariri Gorge oil on canvas signed ‘S L Thompson’ (lower left) ; inscribed with title and dated 1951 to reverse/stretcher 54 x 65cm $8,000 - 14,000 Provenance purchased directly from the artist’s studio Private collection, Canterbury

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32 Evelyn Page (1899-1993) Courtney Place, Older Wellington oil on board signed ‘E PAGE’ (lower right) 34.5 x 24cm $12,000 - 16,000 Provenance Private collection, Wellington Literature Janet Paul & Neil Roberts, Evelyn Page, Seven Decades (Christchurch 1986) p. 99.

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33 Karl Maughan (b 1964) Harbour View oil on canvas signed and dated ‘KARL MAUGHAN/ MARCH ‘86’ to reverse 66 x 66cm $5,000 - 8,000

34 Louise Henderson (1902-94) Siamese Cat oil on canvas signed and dated ‘Louise/Henderson/ 65’ (upper left) 33 x 25 cm $3,000 - 5,000

Provenance with Fox Gallery, Auckland 1994

Provenance Sale, International Art Centre, Auckland, 10/11/2011 (lot 35) Private collection, Wellington

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35 Douglas MacDiarmid (b 1922) Men hauling a line 1957 oil on board signed and dated ‘MacDiarmid ‘57’ (lower left) 45 x 63cm $3,000 -6,000 Provenance purchased from Douglas Lilburn, 1965 by descent, Private collection, Wellington Exhibited Christchurch, Gallery 91 (later Brooke Gifford Gallery), Douglas MacDiamid Solo Exhibition, July 1959

This scene of fishermen hauling in a catch is evocative of the Marseille area of southern France, a coastline of seaside villages and narrow rocky inlets.

The catch is probably shellfish or sea urchins, a delicacy of the area.

The setting is most likely a kaleidoscope of impressions and observations sketched while travelling. At a time Douglas regularly painted scenes of typical Provencal village life, rendering everyday activities extraordinary in their raw power and energy.

1957 was the year his friend Charles Brasch came to visit him in Paris, and admire his latest work.

We would like to thank Anna Cahill for her assistance in cataloguing this lot.

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36 Sydney Lough Thompson (1877-1973) The Hapuka, Kaikouras oil on board signed ‘S. L. Thompson’ (lower left); inscribed with title to reverse and on original paper label, bears original H. Fisher and Sons paper label to reverse 37.5 x 44 cm $5,000 - 8,000 Provenance purchased by the well-known photographer George Chance, late 1940s - early 1950s from Fisher Fine Art Christchurch, by direct descent to the photographer’s Grandson.

Private collection, Wellington

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37 Cecil Fletcher Kelly (1879-1954) Near Ohau oil on board signed ‘CECIL F KELLY’ (lower right); inscribed with title to reverse 52 x 63cm $2,000 - 4,000

38 Colin V Wheeler (1919-2012) Haystack oil on canvas board signed and dated ‘COLIN V./ WHEELER/ 1945’ (lower right) 29 x 37cm $2,500 - 4,000

Provenance Private collection, Canterbury

Provenance Private collection, Otago

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39 Olivia Spencer Bower (1905-82) The Pohutukawa Tree watercolour signed ‘Olivia Spencer Bower’ (lower left) 45 x 31cm $3,000 - 5,000 Provenance Private collection, Canterbury

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40 Dorothy Kate Richmond (1861-1935) Wairarapa Landscape watercolour signed and dated ‘D. K. Richmond 1922’ (lower left) 24.5 x 35cm $3,500 - 6,500

41 Mountford Tosswill [Toss] Woollaston (1910-98) View from Mahana watercolour signed ‘Woollaston’ (lower right) 31 x 45cm $3,000 - 5,000

Provenance with Ferner Galleries, 1995

Provenance Private Estate, Marlborough

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42 Margaret O Stoddart (1865-1934) New Brighton watercolour signed ‘M. O. Stoddart’ (lower left) 24 x 33.5cm $3,000 - 6,000

43 Margaret O Stoddart (1865-1934) The Estuary watercolour signed ‘M.O.Stoddart’ (lower left) 25 x 34cm $3,000 - 6,000

Provenance with Ferner Galleries, 1995

Provenance Private collection, Canterbury

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44 John Gully (1819-88) The Bealey River watercolour signed and dated ‘J.GULLY 1884’ (lower left) 25 x 35cm $3,000 - 6,000 Provenance Private collection, Canterbury

45 Horatio Gordon Robley (1840-1930) Plan of the Gate Pa, and breach drawn early on the 30th April 1864 indian ink and graphite on paper signed and dated ‘H.G.Robley Lieut and …Musketry/ 68th Light Infantry/1864/ member of the/ Tauranga Savage Club/ 16 Sept. 1922’ (lower right) with numerous annotations 38 x 44cm together with ink and graphite study to reverse of Pukehinahina Pa, signed with numerous annotations $4,000 - 7,000 Provenance by descent from the Bickers Family Private collection, Bay of Plenty

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46 Attributed Samuel Charles Brees (1810-1865) Town of Wellington, Port Nicholson, from Kai-warra-warra Hill watercolour and gum arabic 23.5 x 51cm $3,000 - 5,000

47 Attributed Samuel Charles Brees (1810-1865) Pokaroa & the island of Kapiti watercolour and gum arabic inscribed ‘POKAROA’ (lower right) 17.5 x 37.5cm $2,000 - 4,000

Provenance by descent Private collection, Kapiti Coast

Provenance by descent Private collection, Kapiti Coast

Similar engraving: Brees, Samuel Charles, 1810-1865: Town of Wellington, Port Nicholson, from Kai-warra-warra Hill.

Drawn by S C Brees. Engraved by Henry Melville. [London, 1847]

Similar engraving: [Brees, Samuel Charles] 1810-1865: Pokaroa & the island of Kapiti [Between 1842 and 1845. Drawn

by S C Brees. Engraved by Henry Melville. London, 1849]

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48 John Barr Clarke Hoyte (1835-1913) Te Hana, Coromandel watercolour signed ‘J C Hoyte’ (lower left) 34 x 52cm $12,000 - 18,000 Provenance Private collection, Auckland

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49 John Gibb (1831-1909) Coach Winding Through Otira Gorge oil on canvas signed and dated ‘John Gibb 1893’ (lower left) 60 x 43cm $10,000 - 20,000

John Gibb arrived in Christchurch in 1876 and became known as the doyen of Canterbury painters. He established a studio and visited the Otira Gorge in 1877 and 1885. The might of the Otira River fascinated him along with the contrast of the small Cobb and Co. coach making its way up the gorge road overwhelmed by the sheer scale of the mountains and the river. Gibb’s paintings of the gorge vividly illustrate the grandeur of the landscape. His paintings are represented in all the major public galleries in New Zealand.

In 1865 men began cutting a coach road through the Otira Gorge to reach the West Coast Goldfields. The road was built by labourers with picks, shovels, wheelbarrows and two-horse drags.

Opened in 1866 after facing atrocious weather conditions and after many lives were lost, the gorge became famous for its Cobb and Co. coach journey from Canterbury to the West Coast. Artists were fascinated by the gorge in particular John Gibb, Petrus van der Velden and John Gully, all of whom painted the gorge along with views of the Cobb and Co. coach.

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50 Peter McIntyre (1910-95) Lower Hutt Library and Gardens oil on canvas signed ‘PETER MCINTYRE’ (lower right) 60 x 75cm $8,000 - 14,000 Provenance won in a Lower Hutt City Council raffle by the current owner’s grandparents Private collection, Wellington

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51 Peter McIntyre (1910-95) The Old Woman Range from Galloway with the Manuherikia River, Central Otago oil on canvas board signed ‘PETER MCINTYRE’ (lower right); signed, inscribed with title and no. 543 to reverse 70 x 90cm $20,000 - 30,000 Provenance Private collection, Auckland

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52 Peter McIntyre (1910-95) Parisian Street Scene oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 49 x 59cm $6,000 - 10,000

53 Peter McIntyre (1910-95) Chipmunks, Oregon Woods oil on board signed ‘PETER MCINTYRE’ (lower right) 60 x 74cm $8,000 - 14,000

Provenance Private collection, Hawkes Bay

Provenance Private collection, Canterbury Literature Peter McIntyre’s West (California 1969) pl. 47.

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54 Peter McIntyre (1910-95) Trees in Winter No 2. oil on canvas laid down on board signed ‘Peter McIntyre’ (lower right); inscribed with title to reverse 51 x 69 cm $5,000 - 8,000 Provenance with McGregor Wright’s, Wellington Private Estate, Wellington

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55 Peter McIntyre (1910-95) Evening, Blenheim oil on canvas board 50.5 x 60cm $2,500 - 4,500 Provenance vendor’s parents owned a shop that sold art supplies in Blenheim. McIntyre had an exhibition in Blenheim c1964. This work was unsold and subsequently purchased by the vendor’s mother.

Private collection, Marlborough

56 Peter McIntyre (1910-95) Lambton Quay watercolour & Indian ink on paper signed ‘PETER MCINTYRE’ (lower right) 40 x 50.5cm $5,000 - 8,000 Provenance Private collection, Australia

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57 Edmund Bristow (British, 1787-1876) Milking Time, Hester’s Shed, Eton oil on canvas signed and dated ‘E Bristow 1830’ (lower centre); inscribed with title on handwritten label to reverse 70 x 87cm $5,000 - 8,000 Provenance with William Permain, London (original label to reverse) Private collection, South Canterbury

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58 John Frederick Lewis RA (British 1805-75) Bab-El-Luk, Cairo watercolour and graphite heightened with white on buff paper 42.5 x 30cm $2,000 - 4,000 Provenance Sale, Artist’s Estate, Christie’s 4 May 1877 (lot 272) with P & D Colnaghi & Co Ltd, London, 1972 Private collection, Hawkes Bay

59 John Ruskin (British 1819-1900) Rocky Coast watercolour and graphite heightened with white on paper bears Thos Agnew & Sons Ltd, London and Ruskin Sale 1931 paper labels affixed to reverse 13 x 20.5cm $2,000 - 4,000

60 Camille Pissaro (French 1830-1903) Baigneuse près d’un bois lithograph on chine collé, second edition 15/18 in pencil, with the inkstamp of the artist’s initials within margins 20.5 x 12.5cm (plate) $2,000 - 4,000 Provenance Private collection, Hawkes Bay

Provenance Private collection, Hawkes Bay

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61 Robyn Kahukiwa (b 1938) Hineahuone oil on board signed and dated ‘Robyn F. Kahukiwa ‘83’ (lower right); inscribed with title to reverse 119 x 119cm $8,000- 12,000 Exhibited Waahine Toa: Women in Maori Myth, opened at Wairarapa Arts Centre, then touring New Zealand, 1984

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62 Buck Nin (1942-96) Fighting Tuataras near Port Waikato Heads acrylic and fluorescent paint on canvas signed and dated ‘NIN 90’ (lower right) 159 x 113cm $7,500 - 12,500 Provenance with Fox Gallery, Auckland 1993

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63 John Walsh (b 1954) Kupe and His Companion Survey the Planet Tukurua (Sirius) oil on panel signed and dated ‘J Walsh ‘99’ and inscribed with title to reverse 39 x 38cm $4,000 - 7,000

64 Andre Hemer (b 1961) Paintball (Rip my canvas off, and love me thoroughly…) acrylic on linen signed, inscribed with title and dated ‘07 to reverse 90 x 90cm $2,000 - 4,000

Provenance Sale, International Art Centre, Auckland, 01/07/2008 (lot 3) Private collection, Wellington

Provenance with Bartley and Company, Wellington, 2007

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65 Saskia Leek (b 1970) Untitled [2015] oil on board 46 x 35.5cm $2,000 - 4,000 Provenance with Hamish McKay Gallery, Wellington Private collection, Wellington

66 Ian Scott (1945-2013) Aotearoa “The Promised Land� acrylic on canvas signed, inscribed with title and dated 1990 to reverse 69 x 89cm $5,000 - 8,000 Provenance Private collection, Hawkes Bay

Exhibited Saskia Leek, Common Densities, May/ June 2015

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67 Piera McArthur (b 1929) The Musicians oil on canvas signed ‘Piera McArthur’ (lower right) 121.5 x 121.5cm $5,000 - 8,000

68 Piera McArthur (b 1929) Bishop Pompallier oil on canvas signed ‘Piera McArthur’ (lower right) 71 x 56cm $2,500 - 4,500

Provenance Private collection, Wellington

Provenance Private collection, Wellington

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69 Peter James Smith (b 1954) Eye of the Storm acrylic, oil and pencil on canvas signed and dated ‘Peter James Smith 2002’ (lower centre); signed, inscribed with title and dated 1999 (repainted 2002) to reverse 30 x 168cm $3,500 - 6,000

70 Peter James Smith (b 1954) Astronomer’s Watch acrylic, oil and pencil on canvas signed and dated ‘Peter James Smith1999’ (lower right); signed, inscribed with title and dated 1999 to reverse 30 x 168cm $3,500 - 6,000

Provenance with Michael Nagy Fine Art, Sydney Private collection, Australia

Provenance with Michael Nagy Fine Art, Sydney Private collection, Australia

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71 John Drawbridge (1930-2005) Cloud No 1 watercolour signed and dated ‘John Drawbridge 1974 No. VIII’ (lower right); inscribed with titled on hand written label affixed to reverse 72 x 53cm $4,000 - 7,000 Provenance Private collection, Wellington

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72 Allen Maddox (1948-2000) Untitled oil on loose canvas 77 x 61cm $3,000 - 6,000 Provenance current owner is a descendant of the artist Private collection, Wellington

73 Neil Frazer (b 1961) Untitled oil on canvas signed to reverse 244 x 320cm $3,000 - 6,000 Provenance Estate of Derek Elvy, Wellington This iconic work formerly hung in the Opera House, Wellington

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Trevor Moffitt - The Freezing Works Series Collection of Lex & Hannie van Hessen, The Netherlands

Lex and Hannie van Hessen have been the most influential patrons in Trevor Moffitt’s career. The owner of a 100 year old family business in The Netherlands.

Lex was frequently travelling to New Zealand in the 70s & 80s. His company primarily imports animal casings for the sausage industry.

It was in 1987 while waiting for an appointment in the offices of the ‘New Zealand Freezing Works Association’ that Lex and Hannie van Hessen had their first encounter with the work of Trevor Moffitt.

Hanging on the wall was a work depicting a faceless rural man in a black singlet. The expressionist style made such an impression that Lex and Hannie contacted Trevor the following day and arranged to meet him in Christchurch which coincidentally was the next stop on their travel itinerary.

Multiple paintings were purchased straight from Trevor’s Christchurch studio at the request of Hannie as a birthday gift from Lex. Additionally Lex commissioned the freezing works series.

When asked why he commissioned the series Lex said: ‘It was a combination of love for my work; how impressed I was with Trevor’s way of working; it was to give a little push for Trevor to have some work… because he was going to finish as a teacher; and last but not least to know I could do a deal with Trevor’

This commission did allow Trevor to transition from a teaching career to painting full time. Once Trevor had completed the commissioned works Lex flew him over to The Hague to deliver the paintings. Here Trevor spent seven weeks with Lex and Hannie, visiting galleries and soaking up the rich history and culture of Europe. Initially Trevor was not expecting Lex to purchase all of the paintings, rather just select some, however Lex wanted all of them - the series was to hang in the main office of van Hessen B. V. in Rotterdam.

The 26 painting series shows a journey from sheep in the field to the slaughterhouse and then to casings.

Moffitt was the first New Zealand artist to depict the harsh realities of the abattoir - The gritty backbone of New Zealand industry. A brutal subject matter not explored before. He worked from photographs taken on a visit to the Smithfield Works north of Timaru. His impression of the environment was: ‘I’ve always been impressed at the efficiency by which millions of sheep are despatched in our freezing works. Having worked for years as a sticker in the Southland Freezing Works I see the process as efficient and as humane as possible. I’ll agree it is an activity that New Zealand artists have not wished to contemplate.’

Reflecting on his trip to Europe and the van Hessens: ‘It did boost my confidence greatly, I’m sure of that. I think they changed my life’ The rest of the Van Hessen’s extensive Moffitt collection was sold through Dunbar Sloane in 2016.

Rebecca Stormont

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74 Trevor Moffitt (1936-2006) The Pen oil on board signed & dated ‘Moffitt ‘89’ (upper left) 59 x 59cm $5,000 - 8,000 75 Trevor Moffitt (1936-2006) Termination oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000 76 Trevor Moffitt (1936-2006) Shearing oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000 77 Trevor Moffitt (1936-2006) Slitting oil on board signed & dated ‘Moffitt ‘89’ (lower left) 59 x 59cm $5,000 - 8,000 78 Trevor Moffitt (1936-2006) Draining oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000 79 Trevor Moffitt (1936-2006) Skinning oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

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80 Trevor Moffitt (1936-2006) Hung Carcasses oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

84 Trevor Moffitt (1936-2006) Membrane Processing oil on board signed & dated ‘Moffitt ‘89’ (lower left) 59 x 59cm $5,000 - 8,000

87 Trevor Moffitt (1936-2006) Tubing Casings oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

81 Trevor Moffitt (1936-2006) Butchers oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

85 Trevor Moffitt (1936-2006) Stripping Runners oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

Literature Chris Ronayne, Trevor Moffitt a biography (Auckland 2006) p. 144 (b/w illustration)

82 Trevor Moffitt (1936-2006) On the Conveyor Belt oil on board signed & dated ‘Moffitt ‘89’ (lower right) 59 x 59cm $5,000 - 8,000

Literature Chris Ronayne, Trevor Moffitt a biography (Auckland 2006) p. 142 (b/w illustration)

83 Trevor Moffitt (1936-2006) Intestine Separation oil on board signed & dated ‘Moffitt ‘89’ (lower left) 59 x 59cm $5,000 - 8,000

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86 Trevor Moffitt (1936-2006) Saltwater Soak oil on board signed & dated ‘Moffitt ‘89’ (lower left) 59 x 59cm $5,000 - 8,000

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Part Two - Day Sale New Zealand & International Fine Art

Thursday 9 August 2018 12 noon start Lot 200 - 396

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200 Peter Beadle (b 1933) Yachts & Downtown Wellington oil on board signed (lower left) 60 x 90cm $2,000 - 4,000

201 Peter Beadle (b 1933) Cathedral Peaks from Shallow Bay, Lake Manapouri oil on board signed (lower right); inscribed with title and dated 1982 to reverse 59 x 74cm $2,000 - 4,000

202 Douglas Badcock (1929-2009) Humboldt Range, Glenorchy [1976] oil on board signed (lower left) 44.5 x 60cm together with copy of ‘My Kind of Country’ $1,250 - 2,500

203 Douglas Badcock (1929-2009) At the Beach oil on board signed (lower right) 39.5 x 49.5cm $1,000 - 2,000

204 Peter Beadle (b 1933) Breaksea Sound & Acheron Passage, Fiordland oil on board signed (lower right) 40 x 50cm $1,000 - 2,000

205 Peter Beadle (b 1933) Mt Pembroke, Milford Sounds [1981] oil on board signed (lower right) 40 x 50cm $1,000 - 2,000

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206 Tom Esplin (1915-2005) European Market oil on board signed (lower left) 30 x 50cm $2,500 - 3,500

207 Douglas Badcock (1929-2009) Showery Autumn Afternoon, Shotover oil on board signed and dated ‘77 (lower right) 30 x 39cm $800 - 1,400

208 A Austen Deans (1915-2011) Morning Sun, Chawton oil on board signed & dated 1969 (lower left) 44 x 57cm $1,500 - 2,500

209 A Austen Deans (1915-2011) Haystacks watercolour signed & dated 1947 (lower left) 50 x 35cm $1,000 - 2,000

210 A Austen Deans (1915-2011) Mist Over Mt Somers watercolour signed & dated 1988 (lower left) 22 x 29.5cm $600 - 1,000

211 Cedric Savage (1901-69) Storm Clouds, Motupipi oil on board signed (lower right) 32 x 41.5cm $700 - 1,000

212 Cedric Savage (1901-69) Kiama Beach, NSW oil on board signed (lower right); inscribed with title to reverse 32 x 40cm $800 - 1,400

213 Cedric Savage (1901-69) Boats Poros, Greece oil on board signed (lower right); original label to reverse 44.5 x 60cm $700 - 1,200

214 Frederick Vincent Ellis (1892-1961) Boats at Milford oil on board signed & dated ‘48 (lower right) 39 x 48cm $1,500 - 2,500

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215 Sam Cairncross (1913-76) Woodland oil on board signed & dated 1957 (lower right) 64 x 67cm $500 - 800

216 Sam Cairncross (1913-76) View of Wellington Harbour oil on board signed (lower right) 44 x 54cm $1,000 - 2,000

217 Sam Cairncross (1913-76) The Lake, Featherston oil on board signed & dated ‘74 (lower right) 44 x 57cm $750 - 1,250

218 Marcus King (1891-1984) Farm Building on Hillside oil on board signed & dated ‘20 (lower left) 21.5 x 27.5cm $800 - 1,400

219 Marcus King (1891-1984) Fuller’s House, Dundas Street, Seatoun watercolour signed (lower right) 21 x 23cm $600 - 1,000

220 Owen R Lee (1918-2003) Red Beach oil on board signed (lower right) 30 x 40cm $500 - 800

221 Douglas MacDiarmid (b 1922) Children Playing at Papa Cliff watercolour & pastel signed (lower left) 37 x 22cm $500 - 800 Prov: Ex Helen Hitchings Collection

222 Douglas MacDiarmid (b 1922) View of Grimaud near St Tropez watercolour signed & dated ‘60 (lower centre) 31 x 48.5cm $1,250 - 2,000

223 Douglas MacDiarmid (b 1922) Provincial Landscape above Auribean watercolour signed & dated 1955 (lower left) 30.5 x 49.5cm $1,250 - 2,000

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224 Archibald Frank Nicoll (1886-1952) Streets of Cairo watercolour signed (lower left) 21x 28.5cm $750 - 1,250

225 Archibald Frank Nicoll (1886-1952) Avon River, Christchurch watercolour signed (lower left) 30 x 32.5cm $1,200 - 1,800

226 Dorothy Kate Richmond (1861-1935) Grazing Sheep, Waikanae watercolour heightened with white signed with initials & dated 1903 (lower left) 20.5 x 28.5cm $1,000 - 2,000

227 E Mervyn Taylor (1906-64) Setting Off watercolour signed & dated 1955 (lower right); certificate of authenticity to reverse 26 x 35.5cm $3,000 - 5,000 Provenance: Ex artist’s estate

228 Eric Lee-Johnson (1908-93) Rural Buildings watercolour signed & dated ‘46 (lower right) 36 x 52cm $800 - 1,400

229 Eric Lee-Johnson (1908-93) A Corner near Waimauku Valley watercolour & ink signed (lower left) & dated 1955’ (lower right) 27.5 x 37.5cm $600 - 1,000

230 T A McCormack (1883-1973) River Landscape watercolour signed (lower right) 27 x 37cm $600 - 1,000

231 Nugent Welch (1881-1970) Marlborough Poplars watercolour signed (lower left) 28 x 37cm $500 - 800

232 Nugent Welch (1881-1970) Tawa Flat watercolour & pastel signed (lower right) 28 x 39cm $500 - 800

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Photography

233 Alan Knowles (b 1948) Packing Table (Gingernuts), Biscuits #6 silver gelatin print 46 x 45.5cm $350 - 650

234 Alan Knowles (b 1948) Oven Belt Transfer (Gingernuts), Biscuits #6 silver gelatin print 47 x 46cm $350 - 650

235 Alan Knowles (b 1948) Scrap return incline (Malt), Biscuits Series #11 silver gelatin print 47 x 45.5cm $350 - 650

236 Alan Knowles (b 1948) Chemic Bags, Biscuits #4 silver gelatin print 47 x 46cm $350 - 650

237 Alan Knowles (b 1948) Petanque, Mt Victoria, Sportigraph series #4 silver gelatin print 26 x 37.5cm $350 - 650

238 John Fields (1938-2013) Quality Used Cars, New North Road, Auckland 1969 vintage silver gelatin print 12.5 x 22cm $500 - 800 Literature: Art New Zealand, Autumn 1990 p. 54

239 John Fields (1938-2013) ‘The Saint’ Route 12, near Maungaturoto, Northland 1970 vintage silver gelatin print signed to reverse 14.5 x 22.5cm $500 - 800

240 John Fields (1938-2013) Riders near Napier, 1969 vintage silver gelatin print signed to label on reverse 12.5 x 22cm $500 - 800

241 John Fields (1938-2013) Muriwai Beach [1972] unique vintage silver gelatin print 13.5 x 19.5cm $500 - 800

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242 Andrew Ross (b 1966) Walker and McCluskie’s Panel Beaters, Mansfield St, Newtown, Late August 1998 gold toned silver gelatin 29 x 36cm $500 - 800

243 Andrew Ross (b 1966) Brian Stenner, Rainbow Books, Riddiford St., Newtown, 18/11/2005 gold toned silver gelatin 19.5 x 24cm $500 - 800

244 Andrew Ross (b 1966) Tom Farr, Kia Ora Sheetmetal, Adelaide Road, Newtown 22 November 1999 gold toned silver gelatin 29 x 30cm $500 - 800

245 Andrew Ross (b 1966) Nut and Bolt Room, Accrescent Engineering, Vivian St, 30 August 2000 gold toned silver gelatin 29 x 35cm $500 - 800

246 Andrew Ross (b 1966) Kirsten’s Living Room, Paekakariki, 29 May 2005 gold toned silver gelatin 19.5 x 24cm $500 - 800

247 Andrew Ross (b 1966) Conrad Coom’s Suitcase Collection, Tasman St, Newtown 11 February 2006 gold toned silver gelatin 19.5 x 24cm $500 - 800

248 Catherine Russ Fluid, Traces of You colour photographic print, ltd ed 1/5 signed & dated 2005 to reverse 99 x 99cm $350 - 650

249 Catherine Russ Ghost, Traces of You colour photographic print, ltd ed 1/5 signed & dated 2005 to reverse 99 x 99cm $350 - 650

250 After Len Lye Self-portrait (with night tree) 1947/2008 gelatin-silver photogram, ltd ed 9/250, authorised by the Len Lye Foundation certificate of authenticity to reverse 24 x 19.5cm $500 - 800

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251 Rachael Rakena (b 1967) & Brett Graham Pacific Washup 007 digital still unique print from the video installation ‘UFOB’ 45 x 60cm $1,000 - 2,000

253 Rachael Rakena (b 1967) & Brett Graham Aniwaniwa [Man with Spade] digital still unique print from the video installation ‘Aniwaniwa’, 2007 47 x 59cm $1,000 - 2,000

256 Simon Townsley Pumpjack Maintenance, Rainforest, Gabon photographic print, ltd ed 5/25 signed & dated 2004 (lower) 33 x 100cm (plate) $400 - 800 74

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252 Rachael Rakena (b 1967) & Brett Graham Aniwaniwa [Power Pole] digital still unique print from the video installation ‘Aniwaniwa’, 2007 47 x 59cm $1,000 - 2,000

254 Rachael Rakena (b 1967) & Brett Graham Aniwaniwa [Cabbage Tree] digital still unique print from the video installation ‘Aniwaniwa’, 2007 47 x 59cm $1,000 - 2,000

255 Julian Ward (b 1948) photographic mural print, 2003 149 x 98cm $400 - 700

257 Simon Townsley Well and Pump Station, Gabon photographic print, ltd ed 5/25 signed & dated 2004 (lower) 33 x 100cm (plate) $400 - 800

258 John Pule (b 1962) Restless Spirit I lithograph, ltd ed 6/20 signed & dated (lower left) 76 x 56cm $1,500 - 2,500

259 John Pule (b 1962) Restless Spirit II lithograph, ltd ed 6/20 signed & dated (lower left) 76 x 56cm $1,500 - 2,500

260 John Pule (b 1962) Restless Spirit III lithograph, ltd ed 6/20 signed & dated (lower centre) 76 x 56cm $1,500 - 2,500

261 Simon Kaan (b 1971) Untitled [2005] intaglio woodcut, ltd ed 4/5 signed & dated 2005 (lower right) 36cm dia. $1,600 - 2,400

262 Simon Kaan (b 1971) Untitled [2009] intaglio woodcut signed & dated ‘09 (lower right) 76 x 13cm $800 - 1,400

263 Max Gimblett (b 1935) Fu screenprint, AP signed & dated ‘79 (lower right) 49 x 60cm $400 - 700

264 Richard Killeen (b 1946) How do we learn? set of four screenprints, ltd ed 6/50 all signed & dated 1992 (lower) 28.5 x 24.5cm each (4) $2,000 - 4,000

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265 Stanley Palmer (b 1936) Anawhata and Anna bamboo engraving, ltd ed 11/50 signed & dated 1970-71 (lower right) 47.5 x 61cm $400 - 700

266 Stanley Palmer (b 1936) Whatipu bamboo engraving, ltd ed 42/60 signed & dated 1975 (lower right) 37 x 55cm $400 - 700

267 Stanley Palmer (b 1936) Two Trees - Huia woodblock, ltd ed 12/15 signed & dated 1983 (lower right) 75 x 55cm $350 - 650

268 Marilynn Webb (b 1937) Lake Mahinerangi, being very pink handcoloured engraving signed & dated 86 (lower right) 45.5 x 55.5cm $350 - 700

269 Marilynn Webb (b 1937) Night sky & land shadows, Lake Mahinerangi handcoloured etching signed & dated 1986 (lower right) 60 x 40cm $400 - 700

270 Marilynn Webb (b 1937) Snowfall, Lake Mahinerangi, June 8 handcoloured etching signed & dated 1983 (lower right) 56 x 38.5cm $400 - 700

271 Michael Smither (b 1939) Stony River screenprint, ltd ed 13/72 signed with initials & dated 2011 (lower right) 54 x 78cm $1,000 - 2,000

272 Michael Smither (b 1939) Volcano with Cloud screenprint, 3/40/78 - 172 signed with initials (lower right) 63.5 x 45cm $600 - 1,000

273 Michael Smither (b 1939) Gulls screenprint, ltd ed 37/46 signed with initials & dated ‘81 (lower right) 45 x 64cm $600 - 1,000

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274 Michael Moore (b 1956) Ponga above the Waikato acrylic on canvas signed & dated ‘12 (lower right); inscribed with title to reverse 152 x 101cm $2,000 - 4,000

275 Michael Moore (b 1956) Christmas day beside the Ruamahunga acrylic on board signed & dated ‘13 (lower right); inscribed with title to reverse 123 x 41cm $1,000 - 2,000

276 Michael Moore (b 1956) Rimutaka Tree II acrylic on canvas signed & dated 1997 (lower right) 160 x 25cm $1,000- 2,000

277 Michael Moore (b 1956) House behind the tree, Chatham Island acrylic on canvas signed & dated ‘12 (lower right); inscribed with title to reverse 36 x 51cm $1,000 - 2,000

278 Stanley Palmer (b 1936) Beside the Road, Karamea ‘In the sea mist a telegraph cross’ monoprint signed & dated 1992 (lower right) 100 x 63cm $1,000 - 2,000

279 Lois McIvor (1930-2017) Coromandel VI oil on canvas signed & dated ‘90 (lower right) 62 x 74cm $750 - 1,250

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280 Gordon Crook (1921-2011) Out of Which Something is Made six adjoined acrylic on canvas signed with initials & dated ‘06 to reverse 82 x 102cm Exhibited: Inhabiting the Circle, Mary Newton Gallery 2007 $1,500 - 3,000

285 Philip Trusttum (b 1940) Top 10 [1975] oil on board 272 x 136cm $2,000 - 4,000

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281 Bridget Bidwell (b 1956) A Clear View oil on canvas signed & dated ‘92 (lower right) 118 x 172cm $800 - 1,400

282 Bridget Bidwell (b 1956) Ultra Marine Study acrylic & oil stick on paper signed & dated 92 (lower right) 52 x 72cm $500 - 800

283 Tom Mutch (b 1951) Face the Music triptych, oil on board signed & dated 1985 to reverse of right hand panel 90 x 180cm overall $2,000 - 3,000

284 Tom Mutch (b 1951) Future Totems wooden painted sculpture of four parts 97cm height, 74cm width, 30cm depth maximum $1,000 - 2,000

286 Philippa Blair (b 1945) Lightning Tree oil on canvas signed & dated ‘92 (lower right) 133 x 185cm $750 - 1,250

287 Philippa Blair (b 1945) Headland pastel & charcoal on folded & shaped paper signed & dated ‘89 (centre right) 73 x 78cm maximum $750 - 1,250

288 Glenda Randerson (b 1949) Rag Doll oil on canvas signed & dated ‘94 (lower right) 49.5 x 64.5cm $2,000 - 4,000

289 Robyn Kahukiwa (b 1938) Portrait watercolour signed & dated ‘72 (lower right) 52 x 40cm $2,000 - 3,000

291 George Baloghy (b 1950) Muldoon oil on canvas 62 x 110cm $2,000 - 3,000

292 Tony Lane (b 1949) Untitled oil on canvas signed with initials & dated ‘TL 10-85’ (lower centre) 56 x 143cm $2,000 - 4,000

293 Claudia Pond Eyley (b 1946) Young Women Shield oil on canvas signed & dated 1983-84 (lower right) 88 x 73cm $1,000 - 2,000

294 Nicky Foreman (b 1970) From Where I Stand oil and mixed media on board 85 x 106cm $1,000 - 2,000

290 Anna Hollings (b 1963) The Wedding oil on board signed & dated 1995 (lower left) 47 x 34cm $500 - 800

295 Tony Lane (b 1949) Untitled [Portrait] oil on canvas signed with initials ‘TL’ (lower left) 97 x 47cm $1,500 - 2,500

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296 Melvin [Pat] Day (1923-2016) Pears watercolour & pastel on paper signed (lower right) 15 x 19.5cm $750 - 1,250

297 Geoffrey E Fairburn (1904-57) Geometric Landscape watercolour 26 x 39cm together with two other similar abstract works on paper (3) $400 - 700

298 Janet E Paul (1919-2004) Journey Around My Garden II oil on paper signed (lower left) 90 x 63cm $600 - 1,000

299 Janet E Paul (1919-2004) King’s Funeral etching signed & dated 1972 (lower left); original label to reverse 49.5 x 28.5cm (sheet), unframed $400 - 700

300 Janet E Paul (1919-2004) Portrait etching signed (lower right); inscribed ‘To dear Jane’ (lower left) 36.5 x 31cm (sheet), unframed $300 - 600

301 Janet E Paul (1919-2004) Harvest [1976] etching 28 x 38cm (sheet), mounted/unframed $400 - 700

302 Janet E Paul (1919-2004) Christ on Cross etching signed & dated 1975 (lower right) 16 x 16.5cm (plate) $400 - 700

303 Janet E Paul (1919-2004) View Over Wellington Harbour etching, 3rd state signed & dated ‘80 (lower left) 43 x 34cm (sheet) unframed together with Suburban Lights watercolour (2) $400 - 700

304 Joanna M Paul (1945-2003) Garden Study graphite on paper signed with initials & dated 1970 (lower right) 18 x 13cm $300 - 600

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305 E Mervyn Taylor (1906-64) Tipa releasing Mata [War Canoe 1947] wood engraving, ed 16 signed (lower right) 18 x 12.3cm (plate) $1,500 - 2,500

306 E Mervyn Taylor (1906-64) Bird of Prey wood engraving, ed 12 signed (lower right) 18.3 x 12.5cm (plate) $1,250 - 2,000

307 E Mervyn Taylor (1906-64) Horse on the Marae wood engraving, ed 6 signed (lower right) 8 x 12.3cm (plate) $1,250 - 2,000

308 E Mervyn Taylor (1906-64) Kereru [Bush Pigeon 1947] wood engraving, ed 25 signed (lower right) 7 x 10cm $500 - 1,000

309 E Mervyn Taylor (1906-64) Wood Engravings (The Caxton Press) signed & dated 1946 by the author/artist together with Engravings on Wood (Mermaid Press 1957) $300 - 600

310 Leonard Mitchell (1925-80) Otaki Maori Woman etching signed (lower right); inscribed with title to reverse 11 x 7.5cm (plate) $300 - 600

311 Brendan O’Brien By the Drunken Boat; Pond Song both ink, pencil & collage 8 x 11cm; 8 x 9.5cm (2) $300 - 600

312 R P Moore Hataitai Wellington NZ 18.4.23 black & white panoramic photograph bears photographers stamp 23 x 97cm $400 - 700

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313 Victor Qvistorff (Danish 1883–1953) SS Lyngaa oil on panel signed & dated 1946 (lower left) 16 x 22cm $1,000 - 2,000

314 J Barbour (British) The British & North American Royal Mail Steam Ship SCOTIA off the Cape Race watercolour signed & dated 1877 (lower left) 44 x 66cm $500 - 800

315 David Bates (British 1840-1921) On the Lake Edge watercolour heightened with white signed & dated 1868 (centre) 17 x 29.5cm $300 - 600

316 William Hounsom Byles (British 1872-1924) The Girl in the Mop Cap oil on board signed (lower left) 32.5 x 22.5cm $700 - 1,000

317 Charles Hay Campbell (British 1867–1936) Still Life with Geraniums oil on board signed (lower left) 52 x 42.5cm $600 - 1,000

318 Gaston de Vel (1924-2010) Grapes & Yellow Chrysanthemums oil on canvas signed & dated ‘93 (lower left) 44 x 54cm $800 - 1,400

319 Henry (Harry) Garlick (Australian 1878-1910) Grazing Horses oil on panel signed & dated ‘04 (lower left) 30 x 24.5cm $500 - 800

320 F J Widgery (British 1861 - 1942) River Exe, Woodbury Common, Devon goauche on paper signed (lower left) 17.5 x 27.5cm together with H Hicks gouache of Woodbury Landscape (2) $300 - 600

321 Frank Wright (1860-1923) Punga Ferns watercolour heightened with white signed (lower left) 43 x 26cm $300 - 600

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322 Ken Hunt After Sir Peter Paul Rubens, Portrait of the Artist oil on canvas 75 x 95cm $2,000 - 3,000

323 Phillip John Waddington Harata Rewiri Tarapata [After C F Goldie] oil on canvas signed (upper left) 46 x 36cm $3,000 - 5,000

324 Unknown [Anton] Tumai Tawhiti [After C F Goldie] oil on canvas board signed (lower right) 59 x 49cm $1,000 - 2,000

325 Fernanda Brenner All ‘e Same t’e Pakeha [After C F Goldie] watercolour signed (lower right) 35 x 26.5cm $300 - 600

326 John Philemon Backhouse (1845-1908) Maori Chief oil on shell signed with initials (lower right) 18cm height (maximum) $1,000 - 2,000

327 John Philemon Backhouse (1845-1908) Tongariro oil on shell signed with initials & inscribed with title 19cm height (maximum) $1,000 - 2,000

328 Attributed Christopher Aubrey View Over Featherston watercolour bears signature & dated 1890 (lower left) 28 x 48.5cm $1,000 - 2,000

329 330 A H Messenger (1877-1962) A H Messenger (1877-1962) Illustrations from ‘The Gumdigger’s Story The ‘Die Hards’ Stage a Military Parade

by A. Leigh Hunt’ on Mt Elliot six ink illustrationsvariously signed & monochrome watercolour dated ‘24 of sizes, originally published signed & dated ‘53 (lower right) NZ Life & Forest Magazine Vol III, no 9 18 x 25.5cm (1924) together with two other $300 - 600 watercolours by the same hand (8) $1,500 - 2,500

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331 Euan Macleod (b 1956) Untitled, Antarctic Series acrylic on paper signed & dated ‘10 (lower right) 38 x 57cm $1,500 - 2,500

334 Jeff Thomson (b 1957) Lacework Scroll corrugated iron panel 137cm height, 67cm width, 50cm depth $1,500 - 3,000

336 Denys Watkins (b 1945) Before Science [1986] oil & pastel on paper 99 x 70cm $1,000 - 2,000

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332 Gerda Leenards (b 1946) Winter Night Light acrylic & emulsion on board signed with initials & dated ‘02 (lower left) 63 x 86.5cm $800 - 1,600

333 Quentin MacFarlane (b 1935) Ocean Swell [1991] acrylic on paper signed (lower left) 73 x 55cm $700 - 1,400

335 Jeff Thomson (b 1957) Lacework corrugated iron panel 151 x 64cm $1,000 - 2,000

337 Luise Fong (b 1964) Small Orbit XI Chinese ink, felt & acrylic on canvas signed, inscribed with title & dated 1995 to reverse 40 x 50.5cm $600 - 1,000

338 John S Parker (b 1944) Untitled oil on paper signed & dated ‘91 (lower right) 88 x 63cm $750 - 1,250

339 Ted Dutch (1928-2008) Five Figures screenprint, ltd ed 9/18 signed & dated 1970 (lower right) 53 x 38cm $600 - 1,000

340 John Drawbridge (1930-2005) Girl at a Window No I drypoint etching, ltd ed 31/50 signed (lower right) 62 x 35cm (plate) $600 - 1,000

341 Don Binney (1940-2012) Beyond Wainamu, Te Henga photolithograph multiple 1971, limited re-issue 2003 signed & dated 2003 (lower right) 51 x 71.5cm $800 - 1,400

342 Nigel Brown (b 1949) Cabernet Sauvignon handcoloured woodcut, ltd ed 15/20 signed & dated ‘91 (lower centre) 59.5 x 82cm $1,000 - 2,000

343 Nigel Brown (b 1949) Finding Again the Gods of Imagination handcoloured woodcut, ltd ed 2/15 (pink/green edition) signed & dated 1992 (lower centre) 65.5 x 88cm $800 - 1,600

344 Michel Tuffery (b 1966) Luamea Ole Liti woodblock, ltd ed 24/25 signed & dated ‘88 (lower right) 84 x 60cm $400 - 700

345 Michael Smither (b 1939) Wine Glass screenprint, ltd ed 7/24 signed & dated ‘08 (lower right) 37 x 25cm $400 - 700

346 Michael Smither (b 1939) Sax screenprint, ltd ed 3/25 signed & dated ‘08 (lower right) 37 x 25cm $400 - 700

347 Michael Smither (b 1939) Take 5 screenprint, ltd ed 13/25 signed & dated ‘08 (lower right) 37 x 25cm $400 - 700

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Travel Posters

349 James Northfield (Australian 1887-1973) Canberra, Australia Federal Capital & Garden City colour lithograph for Australian National Travel Association c1934 100.5 x 62cm, linen backed $1,000- 2,000

350 Alex Walter Diggelmann (Swiss 1902-87) Chateau D’Oex, Alpes Vaudoises, Suisse colour lithograph, J C Muller, Zurich, 1933 96 x 63cm, linen backed $1,500 - 3,000

351 M Sainte (French) La Côte d’Azur - L’été (Summer) colour lithograph by Kapp for Paris-LyonMediterrannee (PLM), French Railroad c1930s 97.5 x 60cm, linen backed $1,000 - 2,000

352 V A Mali (Indian 1911-?)

See India/ Ellora offset colour lithograph for Government of India by Bolton Fine Art, Bombay c1930 99.5 x 61cm, linen backed $750 - 1,250

353 Anders Beckman (Swedish 1907-67) Sweden Varmland, An Unspoiled Mekka for Tourists offset colour lithograph, printed J Olsens, Stockholm c.1936 102 x 64cm, linen backed $400 - 700

354 W L Monogr (after Meurling, Swedish) Goto Canal, Sweden colour lithograph, by Meyer & Köster, Gothenburg, Sweden 98 x 56cm, linen backed $300 - 600

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355 The Scandinavian Route, Denmark, Norway, Sweden, Finland via Harwich-Esbjerg colour lithograph for The United Steamship Co. Ltd 1931 99 x 60cm, linen backed $300 - 600

356 Knut Yran (Norwegian 1920-98) Oslo, Norway. Enjoy Your Trip - Go by Ship colour lithograph by Trygve B. Pedersen & Sønn AS for The Norwegian State Railways - Oslo Travel Association, 1962 100 x 63cm $300 - 600

357 Knut Yran (Norwegian 1920-98) Norway. There is a Fjord in your Future Travel by Swedish American Airlines colour lithograph by Trygve B. Pedersen for The Norwegian State Railways Norway Travel Association, 1957 100 x 63cm $300 - 600

358 Norway offset colour lithograph by Gronhadl & Son from colour photograph for Norwegian Travel Association 100 x 61cm $300 - 600

359 Rene Martin (French 1891-1977) Lausanne Ouchy, Suisse offset colour lithograph by A Marsens, 1930 97 x 65cm $300 - 600

360 Charles Rohonyi (1906-98) “Lustiges Belgien” Nacht und Tag in der Ausstellung Colour lithograph by Vanypeco Bruxelles-Anvers, 1958, 79 x 60cm with Visit Tournai City of Art & France Chateau de la Loire, Chambord posters $250 - 500

361 Franz Lenhart (Austrian 1898-1992) Aquileia colour lithograph by Richter & Co., Napoli for ENIT, Italy c.1928, 100 x 65cm with Istria Poster by Piero Coelli & Avx Lacs Italiens (3) $300 - 600

362 Stan Galli New England colour lithograph for United Airlines 102 x 63cm $200 - 400

363 Dirksen Reyn (1924-99) Red Cross 100 Years colour lithograph, printed The Netherlands 105 x 76cm together with two Henri Neveu Red Cross c1950 posters (3) $200 - 400

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364 John Skeaping (British 1901-80) Mare and Foal colour lithograph by The Baynard Press for School Prints Ltd. London, 1945 49 x 76cm together with Michael Rothenstein Timber Felling in Essex from same edition (2) $300 - 600

365 Eileen Mayo (1906-94) Victorian Jug screenprint, ltd ed 10/50 signed (lower right) 47.5 x 32cm $1,000 - 2,000

366 Eileen Mayo (1906-94) Summer Evening linocut, ltd ed 5/30 signed (lower right); original artist label to reverse 45.5 x 34.5cm $1,000 - 2,000

367 Pamela Sinclair MacFarlane (1922-99) Siamese Cat with Prey Mantis linocut signed & dated ‘55 (lower right) 38 x 50cm $300 - 600

368 Roland Hipkins (1894-1951) Polperro, Cornwall [1932] wood engraving signed (lower right) 11 x 14cm (plate) $300 - 600

369 Christian Rohlfs (German 1849-1938) Portrait charcoal over woodcut signed with initials & dated ‘14 (lower left) 23.5 x 11.5cm $300 - 600

370 Nina Negri (Argentinian/French 1909-81) Composition oil on canvas signed (lower right); inscribed with title to reverse 15 x 23cm $500 - 800

371 Jan Nigro (1920-2012) Pioneer Gold Mine (1965) oil on board signed (lower right) 69 x 54cm $1,000 - 2,000

372 Peter McIntyre (1910-95) Gargoyles watercolour & indian ink signed (lower right) 50.5 x 73.5cm $750 - 1,250

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373 Marianne Muggeridge (b 1952) Wellington - Summer from Elizabeth St - to the right screenprint, ltd ed 22/26 signed & dated 1988 (lower left) 76 x 46cm $600 - 1,000

374 Dick Frizzell (b 1943) Rugby World Cup 2011 Seven Lithographic Folio ltd ed 46/300 in original black presentation folio all signed and dated ‘10 (various) 76 x 55.5cm each, all unframed $3,000 - 4,000

375 Dick Frizzell (b 1943) Tower & Capstain, Lynmouth lithograph, ltd ed 13/24 signed & dated 12/2/88 within plate 35 x 41cm $600 - 1,000

376 Peter Waddell (b 1955) Columns [1989] oil on canvas 69 x 99cm $400 - 700

377 Tom Field (b 1938) Summer Blue mixed media on board signed & dated 1990 (lower right) 59 x 65cm $300 - 600

378 Annie Baird (1932-99) Otago Landscape watercolour signed & dated ‘83 (lower right) 58 x 78cm $500 - 800

379 Simon McIntyre (b 1955) Untitled [1991] acrylic on paper signed (lower right) 58.5 x 38cm $300 - 600

380 Jacinda Ardern To Do - Everything $1,000 - 2,000 Provenance: purchased 11/5/2014 at Ponsonby Cruising Cub fundraising auction.

Ardern & Auckland Central MP Nicky Kay were asked to donate a piece of art for fundraiser

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381 Jonathan White (b 1938) Waimana River, Matahi Valley oil on board signed & dated 1970 (lower left) 44 x 59cm $500 - 800

382 Randall Froude Firth of Thames, near Hikuai [1987] oil on canvas signed (lower right) 75 x 101cm $400 - 700

383 Peter Williams Hicks Bay Pathway oil on board signed & dated ‘86 (lower left) 44 x 60cm $300 - 600

384 Allan Crombie Shenandoah Valley, near Murchison oil on board signed (lower right) 49 x 80cm $300 - 600

385 Graham Braddock (b 1942) Open Morning No 2 oil on board signed (lower right) 32.5 x 56cm $400 - 700

386 John Crump (b 1943) Mt Cook oil on canvas board signed (lower right) 50 x 64cm $400 - 700

387 John Crump (b 1943) Approaching Dusk, Mangaroa oil on canvas board signed & dated ‘69 (lower right); inscribed with title to reverse 55 x 71cm $400 - 700

388 John Crump (b 1943) Red Roofed Barn oil on canvas board signed (lower right) 29 x 39cm $300 - 600

389 John Crump (b 1943) Putara Yellow, The Tararuas from Putara, Wairarapa oil on canvas board signed & dated ‘70 (lower left) 31 x 42cm $250 - 300

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390 James Peele (1846-1905) View over Alps oil on board signed & dated 1899 (lower right) 29 x 45.5cm $600 - 1,000

391 John M Madden (1856-1923) Seagulls on Rocky Coast oil on board signed (lower left) 33 x 26cm $400 - 700

392 Paul Martinson (b 1956) Fantails watercolour signed & dated ‘85 (lower right) 43 x 35cm $750 - 1,250

393 Ian Hamlin (b 1960) Farmhouse, Wales oil on canvas board signed & dated ‘83 (lower right) 23 x 34cm $300 - 600

394 Robert McDowell (b 1937) Lake Taupo acrylic on canvas signed & dated ‘85 (lower right) 89 x 120cm $800 - 1,400

395 A Austen Deans (1915-2011) Reclining Nude watercolour signed & dated 1989 (lower right) 34 x 53cm $500 - 800

396 Neville Smitheram (b 1962) Central Plateau [Landscape 72] encaustic oil on paper 38.5 x 118cm $500 - 800

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Part Three Studio Ceramics & Applied Art

Thursday 9 August 2018 4pm start Lot 400 - 509

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400 Crown Lynn handpotted vase, no 15, tiki mark, 19cm height $200 - 400

401 Crown Lynn handpotted ribbed trumpet vase, impressed mark, 25.5cm height $200 - 400

402 Keith Murray, Wedgwood Ale jug with four matching mugs $150 - 250

403 Frank Carpay, Crown Lynn underglaze blue handpainted plate, tiki & handwerk marks, 23.5cm dia $300 - 500

404 Mirek Smisek, Crown Lynn Bohemia Ware vase, incised mark to base, 13.5cm height (rim chipping to base) $600 - 900

405 Mirek Smisek, Crown Lynn Bohemia Ware vase, incised mark to base, 12.5cm height $600 - 900

406 Crown Lynn Faces of Eve lamp, 32.5cm height $750 - 1,250

407 Crown Lynn ribbed spherical vase, fraction 27/9/3 mark, 19cm height $100 - 200

408 Dorothea Thorpe, Crown Lynn Pine pattern dinner ware, three dinner plates, four entrĂŠe plates, three side plates, dessert bowl, sugar & cream (some rim chipping) $150 - 300

409 Crown Lynn model of dog, printed mark, 18cm length $100 - 200

410 Crown Lynn kingfisher frog, impressed no 181, 14cm height together with two other vases, one Crown Lynn $100 - 200

411 Crown Lynn Wharetana Ware tiki dish, unmarked14.5cm length $100 - 200

412 Crown Lynn Wharetana Ware cigarette box, impressed no.

1002 to base, 14cm length (lid repaired, chip to box rim) $300 - 600

413 O C Stephens flower urn, printed mark, 18cm height $100 - 200

414 Elizabeth Lissaman preserve pot and matching dish, Impressed marks, 17cm height, 11cm dia $100 - 200

415 Jovan Rancich NZ Centennial 1840-1940 basket, impressed mark, 20cm dia. (faults) $200 - 400

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416 P Hutson & Co. First Five Anglo-Boer War Contingents Commemorative Jug, impressed marks, 21.5cm height (faults & restoration) $800 - 1,400

417 Luke Adams Hunting Jug, unmarked, 34cm height $1,000 - 1,500

419 Temuka Potteries sailor duck, mottled green, printed mark, 18cm height $600 - 1,000

420 Luke Adams press-moulded teapot, 18cm height (chip to rim) $300 - 500

422 Unknown sculptural vase with three Maori Whare scenes, unmarked, 33cm height (some faults) $200 - 400

423 Lucie Rie stoneware tumbler, off white glaze, impressed mark to base, 11cm height $600 - 1,00

418 Thomas Lovatt, Temuka Potteries twin handled agate ware vase, impressed marks no. GU2, 27cm height $200 - 400

421 Thomas Lovatt, Temuka Potteries pair Maori busts, 18cm height each (slight faults) $1,000 - 1,500

424 St Ives Pottery, England covered jug & small posy vase, impressed marks, 20cm height, 9cm height $50 - 100

425 St Ives Pottery, England selection of eight various, impressed marks (some faults) $100 - 200

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426 Doreen Blumhardt slab sided shallow dish, impressed mark, 35cm length (maximum) $150 - 300

427 Doreen Blumhardt two sushi dishes, impressed marks, one with paper label, 19.5cm length each $150 - 300

428 Doreen Blumhardt two sushi dishes, impressed marks, one with paper label, 19.5cm length each $150 - 300

429 Doreen Blumhardt sushi dish, impressed mark, 19.5cm length $75 - 150

430 Anneke Borren footed vase, painted mark, 16cm height $100 - 200

431 Anneke Borren three piece dinner setting, painted marks, 27,5cm, 19.5cm, 16.5cm dia $100 - 200

432 Anneke Borren wine goblet, mug & unomi, painted marks $100 - 200

433 Anneke Borren specimen vase with two planters, painted marks $100 - 200

434 Juliet Peter free form bowl, impressed mark, 15cm length together with Roy Cowan teapot, incised mark, 17cm height $150 - 250

435 Muriel Moody reclining cat, 30cm length (faults/repairs) $100 - 200

436 Lorna Ellis free form heavily glazed floral tile, 34.5 x 26.5cm (faults) $100 - 200

437 Lawrence Ewing rope handled small flask with cork stopper, 22cm height $100 - 200

438 Estelle Martin anagama fired spherical pot with impressions to body, impressed mark & dated ‘86 to base, 16cm height $300 - 500

439 Estelle Martin bottle vase, impressed mark & dated ‘86, 26cm height together with other vase (2) $75 - 150

440 Graeme Storm moon flask vase, impressed mark, 28cm height $150 - 300

441 Graeme Storm bottle vase, impressed mark, 28cm height together with dish by the same hand, 19cm dia (2) $150 - 300

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442 Mirek Smisek handled flask with cane stopper, impressed mark, 27cm height together with similar vase (faults) $150 - 300

443 Mirek Smisek vase, impressed mark, 27cm height $150 - 300

444 Mirek Smisek vase, impressed mark, 24cm height $150 - 250

445 Mirek Smisek deep footed bowl together with two bowls, impressed mark, 16cm, 18cm, 15cm dia. $150 - 300

446 Mirek Smisek deep footed bowl, impressed mark, 16.5 dia. $100 - 200

447 Mirek Smisek eight wine goblets, impressed marks $75 - 150

448 Mirek Smisek casserole together with six tea bowls, impressed marks $100 - 200

449 Chester Nealie unomi, impressed mark, 8cm height together John Fuller shallow dish & Ross Mitchell-Aynon bowl (2) $150 - 300

450 Chester Nealie celadon & salt glaze floor vase, 1981, 55cm height $1,000 - 2,000 Illustrated: NZ Potter 1981

451 Chester Nealie early double lugged salt glaze wood fired floor vase, 50cm height $800 - 1,400

452 Barry Brickell iron glaze storage crock with kauri lid crafted by Tom Elliott of Driving Creek Railway, 39cm height $600 - 1,000

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453 Barry Brickell deep bowl with wide lip, impressed mark, 26cm dia $300 - 500

456 Barry Brickell small Fatso jug, impressed mark, 13.5cm height $200 - 400

457 Barry Brickell character jug, 26cm height $200 - 400

460 Bruce Martin anagama fired cross hatch floor vase, incised mark & dated 1989, 40cm height (rim chip) $300 - 500

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454 Barry Brickell lobed bowl, impressed mark, 17cm dia $250 - 450

455 Barry Brickell baluster vase, impressed mark, 17cm height $200 - 400

458 Barry Brickell character jug, impressed mark 20cm height $200 - 400

461 Nicholas Brandon massive compressed circular vase, impressed mark, 50cm height (hairline crack/faults) $100 - 200

459 Barry Brickell lidded jug, impressed mark, 18cm height $200 - 400

462 Jack Laird table bowl, incised mark, 33.5cm dia $100 - 200

463 James Greig Sculptural form vase, from the Folding Form Series, early 1980s, incised mark, 26cm height, 34cm width, 18cm depth (maximum) $3,000 - 4,000 Exhibited James Greig: Defying Gravity, The Dowse, Lower Hutt, 10 Dec 2016 – 12 Mar 2017

464 James Greig turning plane form vase, incised mark, 27.5cm height $1,000 - 2,000

465 James Greig turning plane form vase incised mark, 24cm height (slight rim chipping) $600 - 1,000

466 James Greig small turning plane form vase, incised mark, 15cm height $300 - 600

467 James Greig unfolding form bowl, incised mark, 34.5cm length (firing flaws) $800 - 1,600

468 James Greig leaf form dish, incised mark, 26cm length (reverse rim chips) $200 - 400

469 James Greig unfolding form dish, incised mark 20cm length $300 - 500

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470 James Greig leaf form platter, incised mark, 36.5cm length (slight chipping to rims) $200 - 400

471 James Greig bottle vase, incised mark, 24cm height $300 - 500

472 James Greig elongated slab sided vase, incised mark, 41.5cm height (minute high point chip to top corner) $300 - 500

473 James Greig flask vase, incised mark, 14.5cm height $350 - 650

474 Len Castle slab sided bottle vase in Japanese manner c1970, impressed mark, 29cm height $1,000 - 1,500

475 Len Castle hanging form c1990, impressed mark, 42cm length (two small chips to body) $500 - 800

476 Len Castle large shallow bowl in semi matt talc glaze c1970, impressed mark, 42cm $800 - 1,400

477 Len Castle table bowl, impressed mark, 37.5cm dia $400 - 700

478 Len Castle table bowl chun glaze, impressed mark, 33cm dia $600 - 1,000

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479 Len Castle double bird head covered box, impressed mark, 11.5cm length $300 - 600

480 Len Castle two pin dishes c1950s, one with fish motif, the other slip trail effect, 10.5cm, 11cm dia (one with small rim chip) $250 - 350

483 John Parker pair fine bronze specimen vases, 30cm height $500 - 800

486 John Parker blue vase with fluted rim, impressed mark, 26cm height $200 - 400

481 Len Castle early ashtray, broken glass interior glaze, impressed mark, 16cm dia $150 - 250

484 John Parker fine bronze bowl, 27cm dia $300 - 600

487 John Parker small agate specimen vase, impressed mark, 16cm height $125 - 250

482 Len Castle small bowl with chun glaze, impressed mark, 14cm dia (rim chip) $75 - 150

485 John Parker fine bronze bowl, 30cm dia $300 - 600

488 John Parker white glaze specimen vase, impressed mark, 24cm height $125 - 250

489 John Roy ceramic hanging figure with applied floral motifs, painted signature & impressed mark, 30cm length $300 - 500

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490 Richard Parker large green Tang Dynasty glaze slab form diamond platter, paper label to base, dated 2012, 50cm length $600 - 800

491 Richard Parker pair gold glazed chalice vases, paper labels to bases, 26cm heights $600 - 800

492 Raewyn Atkinson Heart Kina vessel, 33cm height, 46cm length $1,500 - 2,500

493 Richard Stratton pair mugs with applied tiki motifs, painted marks $150 - 250

494 Richard Stratton six mugs, various applied motifs, painted marks $300 - 400

495 Manos Nathan earthenware sphere, impressed mark, 13cm height $500 - 700

496 Llew Summers slip cast terracotta sculpture ‘Family Union’, impressed mark, 47cm height (hairline crack) $1,000 - 2,000

497 Geoff Fairburn three various decorative gourds in the manner of Theo Schoon, 53cm, 36cm, 22cm lengths $400 - 600

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498 John Middleditch Tortoise (#654) copper sculpture, stamped signature, no. & dated ‘Middleditch/654 1983’ on applied plaque, signed & inscribed with title to base 21cm height, 42cm length, 22.5cm width $1,250 - 2,000

499 Peter Raos Calla Lily vase, etched signature & dated 1989, 13.5cm height $400 - 600

500 Peter Raos Calla Lily vase, etched signature & dated 1988, 14.5cm height $400 - 600

501 Peter Raos Calla Lily vase, etched signature & dated 1988, 11.5cm height $300 - 500

503 Peter Viesnik slender Lily vase, etched signature & dated ‘87, 25.5cm $150 - 300

504 Lynden Over Huka Falls Series cast glass vase, 2007, 37cm height $500 - 800

506 Garry Nash black gold leaf vase, etched signature & dated 2000, 20cm height $250 - 450

507 John Penman hand blown orange ‘Swirly’ bowl, etched signature & dated 2001, 26cm dia $300 - 500

502 Peter Viesnik Lily paperweight, etched signature & dated ‘95 $100 - 200

505 Jenny Smith dark blue cast glass sculptural form ‘Silk Road: Patterns of Time’, etched mark to base, 25cm dia $750 - 1,250

508 John Penman hand blown frosted yellow ‘Swirly’ bowl, etched signature & dated 2001, 26cm dia $300 - 500

509 Nicole Lucas cast glass blue scent bottle with white stopper, 23cm height (including stopper) $150 - 300

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Alphabetical Index

PART ONE A Albrecht, Gretchen 7 Angus, Rita 25 B Binney, Don 24 Bower, Olivia Spencer 39 Brees, Samuel Charles 47 Bristow, Edmund 57 D Dibble, Paul 16 Drawbridge, John 19, 71 F Fomison, Tony 20 Frazer, Neil 73 L Leek, Saskia 65 Lewis, John Frederick 58 G Gibb, John 49 Goldie, Charles F 26 Gully, John 44 H Hammond, Bill 10 Hemer, Andre 64 Henderson, Louise 34 Hodgkins, Frances 27 Hotere, Ralph 8, 9, 23 Hoyte, John Barr Clarke 48 K Kahukiwa, Robyn 61 Kelly, Cecil Fletcher 37 M MacDiarmid, Douglas 35 McArthur, Piera 67, 68 McIntyre, Peter 50–56 Maddox, Allen 72 Maughan, Karl 13, 33 Moffitt, Trevor 74–86 N Nin, Buck 62 Noble, Anne 4

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P Page, Evelyn 32 Peryer, Peter 5, 6 Pissaro, Camille 60 R Rae, Jude 21, 22 Richmond, Dorothy Kate 40 Robley, Horatio Gordon 45 Ruskin, John 59 S Scott, Ian 66 Smith, Peter James 69, 70 Stoddart, Margaret 42, 43 T Taepa, Ngataiharuru 15 Thomson, Elizabeth 18 Thomson, Jeff 11, 12 Thompson, Sydney Lough 29–31, 36 W Walsh, John 17, 63 Watkins, Denys 14 Westra, Ans 1–3 Wheeler, Colin 38 Woollaston, M. Toss 41 Y Younghusband, Adele 28 PART TWO A Ardern, Jacinda 380 Aubrey, Christopher attributed 328 B Backhouse, John Philemon 326, 327 Badcock, Douglas 202, 203, 207 Baird, Annie 378 Baloghy, George 291 Barbour, J 314 Bates, David 315 Beadle, Peter 200, 201, 204–206 Bidwell, Bridget 281, 282 Binney, Don 341 Blair, Philippa 286, 287 Braddock, Graham 385 Brenner, Fernanda 325 Brown, Nigel 342, 343 Byles, William Hounsom 316

C Cairncross, Sam 215–217 Campbell, Charles Hay 317 Crombie, Allan 384 Crook, Gordon 280 Crump, John 386–389 D Day, Melvin 296 Deans, A Austen 208–210, 395 de Vel, Gaston 318 Drawbridge, John 340 Dutch, Ted 339 E Ellis, Frederick Vincent 214 Eyley, Claudia Pond 293 F Fairburn, Geoffrey E 297 Field, Tom 377 Fields, John 238–241 Fong, Luise 337 Foreman, Nicky 294 Frizzell, Dick 374, 375 Froude, Randall 382 G Garlick, Henry 319 Gimblett, Max 263 H Hamlin, Ian 393 Hipkins, Roland 368 Hollings, Anna 290 Hunt, Ken 322 K Kaan, Simon 261, 262 Kahukiwa, Robyn 289 Killeen, Richard 264 King, Marcus 218, 219 Knowles, Alan 233–237 L Lane, Tony 292, 295 Lee, Owen R 220 Leenards, Gerda 332 Lee-Johnson, Eric 228–229 Lye, Len after 250

Mc MacDiarmid, Douglas 221–223 MacFarlane, Pamela Sinclair 367 MacFarlane, Quentin 333 Macleod, Euan 331 McCormack, T A 230 McDowell, Robert 394 McIntyre, Peter 372 McIntyre, Simon 379 McIvor, Lois 279 M Madden, John M 391 Martinson, Paul 392 Mayo, Eileen 365, 366 Messenger, A H 329, 330 Mitchell, Leonard 310 Moore, Michael 274–277 Moore, R P 312 Muggeridge, Marianne 373 Mutch, Tom 283, 284 N Negri, Nina 370 Nicoll, Archibald 224, 225 Nigro, Jan 371 O O’Brien, Brendan 311 P Palmer, Stanley 265–267, 278 Parker, John S 338 Paul, Janet 298–303 Paul, Joanna M 304 Peele, James 390 Posters 349–363 Pule, John 258–260 Q Qvistorff, Victor 313 R Rakena, Rachael 251–254 Randerson, Glenda 288 Richmond, D K 226 Rohlfs, Christian 369 Ross, Andrew 242–247 Russ, Catherine 248, 249 S Savage, Cedric 211–213 Smither, Michael 271–273, 345–347 Smitheram, Neville 396

T Taylor, E Mervyn 227, 305–309 Thomson, Jeff 334, 335 Townsley, Simon 256, 257 Trusttum, Philip 285 Tuffery, Michel 344 U Unknown 324 W Waddell, Peter 376 Waddington, Phillip John 323 Ward, Julian 255 Watkins, Denys 336 Webb, Marilynn 268–270 Welch, Nugent 231, 232 Widgery, Frederick J 320 Wright, Frank 321 White, Jonathan 381 Williams, Peter 383 PART THREE A Adams, Luke 417, 420 Atkinson, Raewyn 492

M Martin, Bruce 460 Martin, Estelle 438, 439 Middleditch, John 498 Moody, Muriel 435 Murray, Keith 402 N Nash, Garry 506 Nathan, Manos 495 Nealie, Chester 449–451 O Over, Lynden 504 P Parker, John 483–488 Parker, Richard 490, 491 Penman, John 507, 508 Peter, Juliet 434 R Rancich, Jovan 415 Raos, Peter 499–501 Rie, Dame Lucie 423 Roy, John 489

B Blumhardt, Doreen 426–429 Borren, Anneke 430–433 Brandon, Nicholas 461 Brickell, Barry 452–459 C Carpay, Frank 403 Castle, Len 474–482 Crown Lynn 400, 401, 403–412 E Ellis, Lorna 436 Ewing, Lawrence 437

L Laird, Jack 462 Lissaman, Elizabeth 414 Lovatt, Thomas 418, 421 Lucas, Nicole 509

S Smisek, Mirek 404, 405, 442–448 Smith, Jenny 505 St Ives Pottery England 424, 425 Stephens, O C 413 Storm, Graeme 440, 441 Stratton, Richard 493, 494 Summers, Llew 496

F Fairburn, Geoff 497

T Temuka Potteries 418, 419 Thorpe, Dorothea 408

G Greig, James 463–473

U Unknown 422

H P Hutson & Co 416

V Viesnik, Peter 502, 503

K Kuepfer, Tony 479

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Conditions of Sale

1.

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.

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. he Buyer shall pay to Dunbar Sloane T Ltd a premium of 17% 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.

5. 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.

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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).

entries currently invited

NZ & International Fine Art November 2018

Enquiries Helena Walker +64 4 472 1367 art@dunbarsloane.co.nz

entries currently invited

Studio Ceramics & Applied Art November 2018

Enquiries Helena Walker or Bettina Frith +64 4 472 1367 art@dunbarsloane.co.nz

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Buyers Guide If you have not bought from Dunbar Sloane before, please read the following notes. They are set out in the order you are likely to come across them in the process of buying at auction.

Staff will be pleased to answer any questions you may have.

Before 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.

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. 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 R e gistration 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.

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B uy i n g at t h e A u c t ion Please bid clearly and promptly using your bidding number. When you successfully purchase a lot the auctioneer will ask you for your number, and this will show on your invoice.

Appro x i m at e S e l l i n g R at e Auctions are generally conducted at the rate of about 100 lots per hour.

However, this can vary.

Ab sen tee Biddi n g 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.

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 $1,000 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.

Buyers Premium The buyer shall pay to Dunbar Sloane Ltd a premium of 17% of the hammer price plus GST on the premium only–effectively adding 19.55% to the hammer price.

After the auction Pay m e n t Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque or eftpos.

Alternatively payment can be made by telegraphic transfer direct to our bank: (Please add $25NZ to cover New Zealand bank charges) ANZ 06 0501 0524945 00 Swift Code ANZBNZ22 Dunbar Sloane Ltd Please include details of sale date and lot numbers with all payments.

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 and 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.

Purchases are insured for a period of 48 hours after the auction day.

Items must be paid for straight away and a second account for courier/freight charges will follow approximately 6 days later when we have had time to confirm 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.

CATALOGUE IN PREPARaTION

Antiquarian Books & Maps Stamps & Coins 29 August 2018

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

CATALOGUE in preparation

Pacific & Maori Artefacts Natural History Militaria 30 August 2018 Enquiries Bettina Frith Anthony Gallagher +64 4 472 1367 info@dunbarsloane.co.nz

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CATALOGUE online

Wine 25 July 2018

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

Entries invited

Affordable Art & Costume Jewellery September 2018

Enquiries Helena Walker Bettina Frith +64 4 472 1367 info@dunbarsloane.co.nz

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Catalogue Subscription

7 Maginnity Street, Wellington PO Box 224, Wellington 6140, New Zealand P+64 4 472 1367 F+64 475 7389 Einfo@dunbarsloane.co.nz (GST Reg. No. 11–250–866)

Tick

NZ Cost

Europe/USA

Australia/Pacific

Antique & Artefacts

Minimum of 3 catalogues per year

$70.00

$130.00NZ

$100.00NZ

Fine & Applied Art

Minimum of 3 catalogues per year

$70.00

$130.00NZ

$100.00NZ

Affordable Art

Minimum of 2 catalogues per year

$30.00

$50.00NZ

$45.00NZ

Toys & Dolls

Minimum of 1 catalogues per year

$15.00

$30.00NZ

$25.00NZ

Tribal & Maori Artefacts

Minimum of 1 catalogues per year

$25.00

$50.00NZ

$30.00NZ

Rare Books, Maps

Minimum of 2 catalogues per year

$30.00

$50.00NZ

$45.00NZ

All costs are noted in New Zealand dollars. Postage within New Zealand included, overseas subscribers please add costs as noted.

Contact details Full name Address City

Country

Phone

Email

Payment I enclose my cheque payable to Dunbar Sloane Ltd for the above catalogues, alternatively please charge my credit card.

Cheque (enclosed) Credit card:

VISA

AMEX

Mastercard (Please tick one)

Cardholder Name Card Number Expiry Date Cardholder Signature

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ENTRIES INVITED

Antique & Decorative Arts October 2018

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

Entries invited

Fine & Estate Jewellery October 2018

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

Absentee Bidding Form

7 Maginnity Street, Wellington PO Box 224, Wellington 6140, New Zealand P+64 4 472 1367 F+64 475 7389 Einfo@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

Email

SIGNED Lot Number

DATE Title / Description (use block letters)

Maximum Bid Price (excluding premium)

Overseas bidders must complete this section Please also 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 may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. Please provide your credit card details. Alternative methods of payment can be arranged if successful, however we still require this information. NOTE Individual bids registered by overseas bidders must be over $500 in individual value.

Cardholder Name Card Number Expiry Date

VISA

AMEX

Mastercard (Please tick one)

Cardholder Signature

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. Alternative bids can be placed by using the word 'OR' between Lot Numbers. Buyers are reminded that there is a 17% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

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