The Noel and Margaret Dick Art Collection by Dunbar Sloane Ltd

THE NOEL & MARGARET DICK ART COLLECTION 12 JUNE 2019

THE NOEL & MARGARE T DICK A r t Co l l ec t i o n We d nes day 12 June 2019, 6 p m Lot s 1 - 94 Dunbar Sloane Ltd 7 Maginnit y Street We l l i n g t o n C B D w w w. d u n b a r s l o a n e . c o m

V iewing Sc he d ule

Auckland [Selected Highlights] Wednesday 22 May, 9am – 5pm Thursday 23 May, 9am – 5pm Friday 24 May, 9am – 5pm

Wellington [Exhibition Viewing] Opening Preview: Wednesday 5 June, 5pm – 6.30pm Thursday 6 June, 9am – 5pm Friday 7 June, 9am – 5pm Sunday 9 June, 10am – 3pm Monday 10 June, 9am – 5pm Tuesday 11 June, 9am – 5pm Wednesday 12 June, 9am – 4pm

375 Parnell Road, Parnell, Auckland PO Box 37 155, Parnell, Auckland 1151 Dunbar M Sloane, Managing Director +64 9 377 5820 / 021 473 998 auckland@dunbarsloane.co.nz

7 Maginnity Street, Wellington CBD PO Box 224, Wellington 6140 Helena Walker, Director Fine Arts +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz

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The Noel & Margaret Dick Collection

Dunbar Sloane are delighted to present this extraordinary collection to the public and honour a long standing relationship with Noel, Margaret and The Dick Family.

Noel Clifford Dick (1926-1994) met

art and antiques. The pair became

Margaret Eriksen (1930-2018) in 1954

regular auction attendee’s at Dunbar

marrying the following year. It was in

Sloane in their hometown of Wellington,

the same year, the newlyweds moved to

whilst regular business trips to Auckland

Iraq where Noel was transferred by the

facilitated trips to Webb’s and Cordy’s

Nutsan, Engineering Firm. He was

auction houses. Asian ceramics were

quickly promoted to Site Accountant

Noel’s passion, whilst Margaret collected

of Basra- Baghdad Road, where they

First Period Worcester. What they were

remained for three years, until the

in-sync on was their art purchases. They

political situation forced them to move

adopted a standard policy of viewing an

home to New Zealand. A brief period

auction or exhibition, identifying a

in Auckland was followed by a move to

stand-out piece, returning for a second

Lower Hutt, which was to become their

and sometimes third viewing, and if

long-term home, with Noel employed

they still agreed, purchasing said work.

c1961 by Angus Construction, initially as

All works were bought for love, if it

Company Secretary. Angus Construction

appreciated in value, this was of far

was owned by iconic New Zealand

lesser importance.

painter, Rita Angus’ brother Ken. One of the most enjoyable part’s of Noel’s practice was delivering dividend payments to Rita and his interest in New

They began targeting owning a work by each recognized NZ Artist, purchasing historical works in late 70s

Zealand’s art world was suitably piqued.

including Hoyte and Van der Velden.

Concurrently, the naturally inquisitive

remembers bidding on an Alfred Sharp

Margaret became interested in art. Her son Colin remembers frequent family outings to The National Art Gallery from the late 1960s. Colin McCahon was an instant favourite, however Noel took more convincing and was naturally drawn to works of a more historical nature.

They weren’t always successful. Margaret estimated at $15,000 – 20,000, which skyrocketed to $140,000, she later found out it was purchased by the National Art Gallery. They swiftly realised this policy was untenable and began to concentrate on the oeuvre of favoured artists. Colin McCahon’s death in 1987 also redefined their position, and they began to focus

In 1973, Noel established Contractor’s

on his work in particular. Lot 26 Cross V

Bonding Ltd (CBL) under the banner

was purchased by Noel as a Christmas

of Angus Construction. Solid growth

present for Margaret.

resulted in his fulltime employment as General Manager of CBL in 1976, and eventual acquisition of the company by Noel and Margaret in 1982.

Another formative influence was the artist Sam Cairncross. Margaret started art lessons at Naenae College Adult Education under Cairncross’ tuition. She

It was during this period from the late

took these classes for 3 odd years and

1970s that money became more readily

formed a relationship with the artist and

available and the Dick’s could indulge in

his wife Lucy, who became firm friends.

their growing passion for New Zealand

The Dick’s became patron’s as such for

the artist. Their first New Zealand work purchased for the collection is Lot 3 Pine Trees at Sunset (Trees Behind Sam’s House at Porirua) by Sam purchased from an exhibition c1969-70. Angus Construction, under Noel’s influence, often purchased Sam’s works as corporate gifts. I first met Margaret not long after I started working at Dunbar Sloane’s in 2002. After Noel’s death in 1996, Margaret decided to rationalise the collection in 2001 (& later in 2012) selling through our auction rooms. Before this the couple had only ever sold one work in order to purchase a superior work by the same artist. Instead of storing art works away she wished to repatriate them, hoping they would bring their new owner’s as much joy as they had brought her family. Although she seldom purchased, she and her youngest son Colin were regular auction attendees. Margaret was an astute fountain of knowledge, not only on artist’s and art work’s but the auction mart itself. It was always a highlight to visit Margaret, often with Paul Neal, for a cup of tea. I can safely say without bias, she was one of my favourite clients, whom I thought of as a friend. For this reason, I feel very privileged to have been selected to present this astounding collection to the market. Every step has been a joy – from the initial proposal, cataloguing, researching and finally composing this catalogue. In memory of Margaret, I hope this auction does this outstanding collection justice. Helena Walker

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Margaret Dick on The Collection

The following is Margaret’s brief account of the formation and development of this extraordinary collection, as told to Helena Walker in 2012

“I suppose its very beginning goes back to 1957, when in Baghdad, we bought a pair of hunting scenes (in gouache) by the Iranian artist Imani. He is famous for miniature Ivories which we could not afford! Our interest in art continued but family took precedence and it was not until about twenty years later that I was able to enrol in Sam Cairncross’ art classes. They were an absolute joy and the more so because during the classes we would persuade Sam to reminisce about his year’s scholarship in Paris, and in particular, the day on which Braque invited Sam to his home and studio – an honour that Sam never forgot.

We then would purchase a selection of that artist’s works to illustrate their development throughout their career. After Noel’s death, I sought advice and decided to rationalise the collection and sold about a third in 2001. Before this point we had only ever sold one work, in order to purchase a superior work by the same artist. I hope that others may now share in what for many years has been a source of enjoyment and pleasure to the family.” Margaret Dick (2012)

Sam developed our interest in art and on his advice we started regularly visiting exhibitions at NAG and local galleries. At the same time, through business Noel was visiting Rita Angus at her Thorndon Cottage. One night, Noel came home and suggested we commission a work from Rita Angus. I live to rue that day because I said “No!” At that stage, I had not developed an understanding of the symbolism in her work. We began to collect New Zealand artists per year from 1860 onwards and so became regular visitors to auctions. However, we soon realised this was a totally unachievable objective. At that time we were also visiting exhibitions by current artists because we believed that they needed support. Our objective developed to buy works that we both enjoyed by a particular artist.

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1 Sam Cairncross (1913-76) Old Perrett’s Corner oil on board signed and dated ‘Sam ’72’ (lower right); inscribed with title to reverse 58 x 90cm $3,000 - $6,000

2 Sam Cairncross (1913-76) Storm Clouds Over Ocean Beach oil on board signed ‘S. Cairncross’ (lower right), signed, inscribed with title and dated 1960 to reverse 51 x 77cm $2,000 - $4,000

PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 28 July 1999 (lot 6)

P ROV EN AN C E Purchased directly from the artist

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3 Sam Cairncross (1913-76) Pine Trees at Sunset (Trees Behind Sam’s House at Porirua) c.1940 oil on board signed ‘Sam’ (lower right) 60 x 49.5cm $2,000 - $4,000 PROVEN AN CE Purchased directly from the artist This is the first painting that Noel & Margaret purchased.

4 Sam Cairncross (1913-76) Wellington Landscape oil on cardboard signed and dated ‘Sam Cairncross/1963’ (lower right) 24 x 34cm $750 - $1,250 P R O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington, 14 September 1989 (lot 52)

5 Sam Cairncross (1913-76) Lake Rotoiti c.1970 oil on cardboard signed ‘Cairncross’ (lower right) 24.5 x 55cm $750 - $1,250 P R O VE N A N C E Purchased directly from the artist.

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6 T A McCormack (1883-1973) Yellow Orchid watercolour and Indian ink on paper signed ‘T. A. McCormack’ (lower right), inscribed with title to reverse 25 x 20cm $750 - $1,250 PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 22 November 1989 (lot 126)

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7 T A McCormack (1883-1973) Floral Study watercolour and Indian ink on paper signed ‘T. A. McCormack’ (lower left) 33 x 22cm $1,000 - $2,000 P ROV EN AN C E Collection of Nan Berkeley, Waikanae Sale, Webb’s, Auckland (date unknown)

8 T A McCormack (1883-1973) Clouds over East Hills, Wellington Harbour watercolour signed ‘T. A. McCormack’ (lower left); inscribed ‘Lands Breeze’ to reverse 30.5 x 47.5cm $1,500 - $2,500

9 John Drawbridge (1930-2005) Small Hill watercolour and pastel on paper signed & dated ‘John Drawbridge, Aug 1986’ (lower left); inscribed with title to reverse 57 x 75cm $6,000 - $10,000 P R O VE N A N C E Purchased Galerie Legard, Wellington, 1986

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10 John Tole (1890-1967) Still Life oil on board signed ‘JOHN TOLE’ (lower right); inscribed with title and cat no. 46 on original backing board 21.5 x 23cm $3,000 - $6,000 PR O VEN AN CE Sale, Webb’s, Auckland (possibly from Charles Tole Estate Auction)

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11 John Tole (1890-1967) Gas-works oil on board signed ‘JOHN TOLE’ (lower left); original paper label, cat no. 37 to reverse 32 x 25cm $6,000 - $10,000 P ROV EN AN C E Sale, Webb’s, Auckland (possibly from Charles Tole Estate Auction) EX H I B I TED Auckland, Thornhill Group, ‘Exhibition of Paintings’ 1951 (cat no. 21, 10 gns)

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John & Charles Tole 12 John Tole (1890-1967) Viaduct, Central Plateau oil on board signed ‘JOHN TOLE’ (lower left); John Leech paper label to reverse 69.5 x 52cm $20,000 - $30,000 PR O VEN AN CE Sale, Webb’s, Auckland, August 1990 LIT E RATURE Dominion Post, Wellington ‘Art auction prices down’ 1 September 1990

Life-time Aucklander’s John & Charles Tole fly under the radar in New Zealand’s Art History. There is little reference material available on their practice, however in contrast they are well represented in New Zealand’s most significant collections, both public and private, including Te Papa Tongarewa, Christchurch Art Gallery, Auckland Art Gallery, Hocken Collections and The Fletcher Trust. Perhaps this can be accounted for by the remarkable fact that both had very little formal artistic training. John, the older by thirteen years, worked as a lawyer from 1919-1946. It was only then that he began practicing as a fulltime artist. He had taken some lessons in how to work in oils from the English immigrant landscape painter Walter Wright and was influenced through his friendship with Cubist-trained artist and teacher John Weeks (1888-1965). Charles, a civil servant by trade, in contrast only came to the profession in his late 30’s. Encouraged by his brother and Week’s he began painting in his late 30s. He continued as a weekend and occasional painter until his retirement in 1965, which enabled him to increase his artistic output. The Tole Brothers were incredibly close, living together at 12 Seaview Road, Remuera & frequently exhibited together at the Auckland Society of Arts and with The Thornhill Group which included noted artist’s Helen Brown, Louise Henderson, W. S. Wallis and John Weeks himself.

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It is therefore unsurprising that their artistic practices were informed by the same principles. In a letter to Mr Kurt von Meier, lecturer at The University of Auckland, Charles states that ‘we have always been intensely interested in modern developments, both in style and technique, yet we think these elements should not be arbitrarily or consciously striven for but should emerge and flow freely from the subject matter and from the artist’s ‘creative intuition’ towards the expression and communication of his message.’1. Notably the pair featured in the First Year Book of the Arts in New Zealand (ed. Howard Wadman, H. H. Tombs Ltd, 1945). Edward C Simpson stated that while having ‘distinctive and separate individuality as painters’ they shared ‘the same virtue of vigorous form expressed with masculine directness. Their colour is strong and there is never any doubt that they are painting New Zealand.’ They are fundamentally interested in construction. Their brush work is strong and defined. Whether depicting a landscape, still life, industrial scene or an architectural study they ‘are rooted to the ground. That makes it possible…to live with them with a good deal of satisfaction.’ 2.

1. L etter from Charles Tole to Mr von Meier, 28 May 1964 (Alexander Turnbull Library Archives) 2. J C Beaglehole, Opening address Tole Brothers Exhibition, 1957 Architectural Centre Wellington

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13 John Tole (1890-1967) Landscape with Houses tempera on board signed ‘JOHN TOLE’ (lower left); inscribed with title and inscribed cat no. 5 typed paper label and Peter Webb Galleries Ltd paper label, both to reverse 39.5 x 49.5cm $15,000 - $25,000 PR O VEN AN CE Sale, Webb’s, Auckland (possibly from Charles Tole Estate Auction) E X H IBITED Auckland, Thornhill Group, ‘Exhibition of Paintings’ 1951 (cat no. 24, 16 gns) under title ‘Winter Sunlight, Remuera’ Auckland, John Leech Gallery, ‘John Tole’ 2 - 19 October 1973 (cat no. 26)

Exhibition view of Thornhill Group Show, 1951 showing lot 10: Still Life & lot 13: Landscape with Houses, listed as ‘Winter Sunlight, Remuera’ Robin C Wood Photography, sourced from E H McCormack Reseach Library Archive, Auckland Art Gallery

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14 Charles Tole (1903-91) Hawea c1969-70 oil on hardboard signed ‘CHARLES TOLE’ (lower left); with original typed paper label to reverse 34 x 52cm $25,000 - $35,000 PR O VEN AN CE Sale, Webb’s, Auckland, 24 November 1988 (lot 167).

This iconic work by Charles H Tole was the study for the near identical, larger work, ‘Hawea’ awarded 1st Prize, in the inaugural Wanganui Sarjeant Gallery Art Competition, 1970 (see image lower right. Both works depict the M. V. Hawea, the first roll-on, roll-off container ship operating on the New Zealand coast located on the Auckland waterfront. The work was a controversial winner. To quote the Chief Reporter at The Wanganui Herald in an article to Chief Judge and former Director of the National Art Gallery, Stewart Maclennan:

‘Goodness gracious, Mr Maclennan! Do you realise you’ve thrown a bomb into the middle of Wanganui city’s first major art competition? Almost without exception, the treatment was traditional, wasn’t it. But there’s just that one, stark, er mod job that stands out – “Hawea” as study of heaven-knows what, except for that distinguishable ship’s funnel. And this you’ve selected as the prize-winner. Crikey! …your successor at the National Gallery, Mr Melvin Day, identifies Charles Cole’s [sic] “Hawea” as “by far the best constructed picture” in the exhibition. But frankly, I go along with a colleague who boggled at the unveiling last night, then murmured that Mr Cole [sic] could well have dubbed his oil the “Wahine”… because this is just as big a disaster!” 1. His distaste only pronounced by referring to the artist as ‘Mr Cole’.

1. T he Wanganui Herald, ‘A Bomb For City’s Art Competition’, Thursday, March 5, 1970

Charles Tole ‘Hawea’ 1969, oil on hardboard, 1970/2/1.

Cr Phyllis Brown, Chairman of the Art Gallery Committee with Charles, Tole’s

Collection of the Sarjeant Gallery Te Whare o Rehua Whanganui.

‘Hawea’, Wanganui Chronicle, Friday, March 6, 1970, p. 3.

Purchased with Parkes Bequest, 1970

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15 Helen Brown (1917-86) Coastal Scene oil on canvas mounted on board signed & dated ‘HELEN BROWN ‘76 (lower right) 48 x 73.5cm $5,000 - $8,000

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16 Helen Brown (1917-86) Houses of Grafton oil on board signed ‘HELEN BROWN’ (lower right) 46 x 32cm $5,000 - $8,000 P ROV EN AN C E Sale, Webb’s, Auckland, 15 July 1987 (lot 124, illustrated)

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17 John Weeks (1888-1965) Still Life with Magnolias, Zinnias & Apples oil on board certificate of authenticity from Allan Swinton, Director, John Leech Gallery attached to reverse 48 x 38cm $8,000 - $14,000 P R O VE N A N C E Given to Helen Brown by the artist Sale, Webb’s, Auckland (date unknown)

18 John Weeks (1888-1965) Abstract Corals monoprint signed ‘JOHN WEEKS’ (lower right) 33 x 22cm $1,500 - $2,500 PR O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington, 9 April 1986 (lot 34)

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19 A Lois White (1903-84) Winter’s approach watercolour and pencil on paper inscribed with title (lower left), signed ‘A. Lois White’ (lower right) 27.5 x 21cm $10,000 - $16,000 PR O VEN AN CE With Jonathan Grant Galleries (paper label to reverse) R E F EREN CE Nicola Green, By the Waters of Babylon, The Art of A. Lois White (Auckland City Art Gallery 1993) no. 14., p. 46 (colour illustration) This work is the study for ‘Winter’s approach’ 1939, oil on canvas, 65.3 x 49.5cm, Collection of Te Papa Tongarewa, Museum of New Zealand. Winter is portrayed here as a predatory figure with sickly green skin and menacing talons. She emerges from the darkness of the trees to envelop the vulnerable flesh of ‘summer’. World War II was looming when A. Lois White painted this work, which expresses a sense of anxiety about the evil that could overcome peace. Her religious and political allegories made her a major artistic figure in New Zealand from the 1930s to 1950s. She often combined the popular with the political – ‘winter’ here resembles the wicked queen from Walt Disney’s Snow White and the Seven Dwarfs, released the previous year.

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20 Louise Henderson (1902-94) Cubist Still Life oil on canvas signed & dated ‘Louise Henderson/ January 1954 (lower right); inscribed with title and Webb’s paper label to reverse 53 x 84.5cm $25,000 - $35,000 PR O VEN AN CE Ex Collection of Mr & Mrs A. Gifford, Waikowai, Auckland Sale, Webb’s, Auckland 24 July 1985 (lot 185 illustrated) M E D IA ‘Kaleidoscope - Louise Henderson’, Television, 1983 This work is being illustrated in the upcoming publication which will accompany the Louise Henderson survey exhibition to be presented in Auckland (opening November 2019) and Christchurch (opening June 2020).

Louise Henderson developed a local brand of Cubism full of colour and energy. Her vibrant paintings incorporate cubist principles infused with a local flavour and the light of the South Pacific. She was a one of a number of “artists engaged with modernism in order to not only come to grips with their unique identity in New Zealand, but also to enter more fully into the discourse of modernity as it had evolved (and was still evolving) in Europe and America.” 1.‌ Louise was born and grew up in Paris in an environment closely connected to the arts. Her father was at one time secretary to August Rodin and her maternal grandfather gave up a thriving career as an academic painter to become under secretary to the Minister of Culture. Despite signs of a precocious talent, her mother discouraged her from studying painting and she instead studied embroidery, lace and drawing design, and the history of art and craft at the School of Industrie Arts in Paris. In 1925 she married Hubert Henderson and moved to Christchurch for a job at Christchurch Boys High School. In 1926 Louise got her own job at the Canterbury School of Art teaching embroidery and design but also took up painting. She began exhibiting with The Group, a progressive group of artists who included people like Doris Lusk, Rita Angus, Toss Wollaston and Leo Benseman, in 1935. In 1950 she moved to Auckland with her family and made the decision to paint full-time. Her husband built a studio for her in their backyard and she attended classes at Elam School of Fine Arts. It was also at this time that she started a correspondence with ex-patriate artist John Weeks (1886-1965), then considered one of New Zealand’s leading painters, whom she had met in Christchurch. This correspondence

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helped Louise clarify her thinking and approach to painting—which was leaning towards a tentative abstraction. She had ambitions to paint in the ‘modern way’. 2. It may have been Weeks who encouraged her return to Europe in 1952. After seeing an exhibition of cubist painting by Jean Metzinger (1883-1956) in London, she enrolled in classes at his Paris workshop and spent a number of months there studying, drawing and visiting galleries and museums. Back in New Zealand in 1953, she enjoyed considerable exposure and interest in her new work with a survey exhibition organised at the Auckland City Art Gallery almost as soon as she returned. She continued to exhibit regularly in Auckland and Wellington for many years. Her ‘new work’ was a vibrant Cubism characterised by tightly structured repeating shapes and patterns that bring together different views of subjects in the same picture plane. The result is a fragmented and abstracted image whose forms morph and change in front of your eyes. This particular work, Cubist Still Life (1954), is an excellent example of that approach. The still life appears to be a number of items on a table. A couple of chairs frame the table on each side and the scene is contained by the shapes of an architectural setting. The objects in the foreground coloured with exuberant oranges, corals and reds are muted by the blues and greys of the background. This cleverly gives the painting a shifting mood as if a cloud had moved across the sunlight, or an abstracted sense of dappled light. Mary-Jane Duffy 1. Christina Barton, Louise Henderson—the cubist years (Auckland City Art Gallery, 1991) p. 17. 2. Ibid, p. 19.

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21 Rita Angus (1908-70) Evening (c1961-62) From Angus Cottage, Thorndon charcoal and watercolour on paper signed ‘Rita Angus’ (lower right) 35 x 31cm $60,000 - $80,000 PR O VEN AN CE Purchased by Juliet Peter (6 gns) as a gift for her husband’s mother, Mrs E C Cowan inherited by Roy Cowan & Juliet Peter, Wellington, 1968 Sale, Dunbar Sloane Ltd, Wellington, The Roy Cowan & Juliet Peter Collection, 29 & 30 September 1999 (lot 37) E X H IBITED Wellington, NZAFA, Sculpture, Pottery and Graphic Art Exhibition, 1962 (cat no. 86.) Wellington, National Art Gallery, Rita Angus, December 1982 - March 1983 (cat no. 108); touring New Zealand from 1983-4 LIT E RATURE Rita Angus (Wellington 1982) p.182., cat no. 108. M E D IA ‘Kaleidoscope - Rita Angus’, Television, 1983

The wonderful magnolia tree in the garden of her cottage in Sydney Street West was always a source of great joy and inspiration to Rita Angus. There are several images of this tree in a variety of media and seasons in her oeuvre. This one combining her superb draughtsmanship with charcoal and pencil and her equally astonishing technique with watercolour. The shape of the tree in its winter starkness appealed to her strong linear aesthetic just as the darkness of night against the lights from the houses enhances its form and shape. Placing the trunk and branches in the immediate foreground of the image Angus has created an espaliered effect giving the composition a dramatic tension which makes for a most arresting image. A natural silhouette against the suburban night sky. This tension is also underlined by the naturalness of the tree which is in relief against the mathematical structures of the buildings in the background. Using a very restricted palette of blacks, greys and yellows Angus has achieved a masterly interplay of lights and darks capturing the warm glow of the artificial lights against the blackness and shadows of the tree, other vegetation and the night sky. Though dated earlier than the series of night sky works Angus produced during the mid sixties this work does show her fundamental interest in the effects of both natural and artifical lighting or their absence. A small masterpiece in which Angus quietly and deeply demonstrates the mastery of her craft and aspects of the concerns which fuelled her life and art. Tony Mackle

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22 Mountford Tosswill (Toss) Woollaston (1910-98) The dead Christ after Bellini (set in Lyttelton Harbour) oil on board signed and dated ‘Woollaston ‘58’ (lower right); Webb’s paper label to reverse 57.5 x 46cm $35,000 - $50,000 PR O VEN AN CE Collection of M B O’Reilly ex CSA One Man Show, early 1960s Sale, Webb’s, Auckland, 27 November 1986 (lot 181) E X H IBITED Toss Woollaston: A Retrospective, National Art Gallery Touring Exhibition 1991, cat no. 35. (original paper label to reverse) LIT E RATURE Gerald Barnett, Toss Woollaston: An Illustrated Biography (National Art Gallery 1991) p. 66, pl. 26. (illustrated)

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While religious themes are rare in Toss Woollaston’s oeuvre, The dead Christ is a characteristically powerful work, and one that cuts to the quick of his artistic personality. In this compact composition, the pallid, flayed figure of Christ – more alive in fact, than dead – has been relocated to a South Island setting. The origins of the composition lie in Giovanni Bellini’s translucent Dead Christ Supported by Two Angels, circa 1460, yet the earthiness of the work is entirely Woollaston’s. Headlands, either side of the harbour-mouth in the background, are subsumed into the same melee of brushstrokes that renders the two attendant angels – one on either side of the central figure – all but indecipherable. Echoing Cezanne’s ‘bathers’ as it does all the canonical Pietas and Baptisms of Western tradition, the painting transcends its ostensible subject. Infused with the ongoing struggle of life rather than a sense of death, it presents Christ as an exhausted swimmer emerging from the water. Or he might be the sole survivor of a shipwreck, come ashore in a world that is overwhelmingly tactile, physical and visceral.

If not a person of orthodox faith, Woollaston was formed by, and carried through life, a non-conformist, non-sectarian awareness of the spiritual aspect of human life. He saw the role of the artist in close relation to that of the Old Testament prophets and Christ. In a 1943 article he described his approach to art-making: ‘I have no aim but to accept each new thing I may be brought to in painting. Christ didn’t expect His disciples to have aims, he simply said, “Follow me.” So it is in painting… I believe the Bible is as good a textbook for art as for religion, and that modern Christian art is due.’ In the same article he proclaimed: ‘There will never be a New Zealand painter till he forgets he is a New Zealand painter.’ In accord with that proclamation, New Zealand has become a subconscious rather than a conscious presence in The dead Christ after Bellini. A self-portrait at one remove, Woollaston’s painting is a consummate melding of his innate connection with this country and a lifetime of wide-eyed, yet fundamentally questioning, engagement with the Western art tradition. Gregory O’Brien

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23 Mountford Tosswill (Toss) Woollaston (1910-98) Upper Moutere [1947-48] oil on board signed ‘Woollaston’ (lower left) 60 x 59cm $25,000 - $35,000 PR O VEN AN CE Ex Cecil Manson Collection, Wellington Sale, Dunbar Sloane Ltd, Wellington 4 December 1991 (lot 25 colour illustration) E X H IBITED Nelson, Manson’s Studio 1948, cat no 77. (?) Auckland, Auckland City Art Gallery, Woollaston-McCahon Retrospective, 1963, cat no. 26. Manawatu Art Gallery, M. T. Woollaston Works/1933-1973 Touring Exhibition from August 1973-April 1974 no. 47 LIT E RATURE Arts Year Book 1950 M. T. Woollaston Works 1933-1973 exhibition catalogue p. 36. (illustrated) Gerald Barnett, Toss Woollaston (National Art Gallery 1991) p. 56-7 (illustrated) ‘In works like Upper Moutere 1947-8, a high horizon line attenuates the featureless aspect of the landscape. The underlying rhythms of the landscape - or rather, their notation in paint become the subject of the picture... the later paintings tend to sacrifice definition of mass and space for gestural, linear rhythm and a loose-woven surface unity. Line reappears - not schematically, as in the charcoal underdrawings of the thirties paintings - but expressively, even violently, in ‘great swipes of coarse colour’. This approach is evident in the foreground of The Doubles c1942...and yet more consistently in Upper Moutere 1947-8. However it was not fully realised until the following decade, when Woollaston increased the scale of his canvases. Gerald Barnett, Toss Woollaston (National Art Gallery 1991) p. 56

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24 Mountford Tosswill (Toss) Woollaston (1910-98) Bayley’s Hill oil on board signed ‘Woollaston’ (lower right) 90 x 120cm $35,000 - $50,000

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25 Colin McCahon (1919-87) North Otago Landscape 3 synthetic polymer paint on hardboard signed & dated, ‘McCahon, North Otago 1967’ (lower right) inscribed‚ ‘Colin McCahon 3/NORTH OTAGO/PVA 1967’ to reverse 121 x 122cm $400,000 - $600,000 PR O VEN AN CE Sale, Weyburne & Co Ltd, Wellington (no. 93), original receipt undated, pre 1986 E X H IBITED Auckland, Barry Lett Galleries, ‘Colin McCahon: North Otago Landscapes’, 24 October -3 November 1967 (cat no. 3) R E F EREN CE Colin McCahon online catalogue ref. CM000892

Colin McCahon, North Otago Landscape, screenprint from the Barry Lett Galleries, Multiple Series, 1969. Dunbar Sloane Ltd Archives

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This painting is one of the finest examples of Colin McCahon’s North Otago landscapes noted for their simple spatial division of foreground plain, line of rolling hills and sky with a harsh tonal light. The series was exemplified with a stark purity in a multiple screenprint that was published by Barry Lett Galleries in late 1969. There are over 25 large numbered versions of the North Otago subject painted on hardboard and at least eight of these are in public gallery collections including the Stedelijk Museum, Amsterdam, and the National Gallery of Australia, Canberra. When the North Otago landscapes were first shown in 1967, McCahon wrote on the exhibition invitation: ‘These landscapes are based on places I have seen and known… In painting this landscape I am not trying to show any simple likeness to a specific place. These paintings are most certainly about my long love affair with North Otago as a unique and lonely place, they are also about where I am now and where I have been since the time when I was in standards four and five at primary school and living in North Otago.’ In the same catalogue note, McCahon references William Morris Davis who founded the science of geomorphology, the study of landforms, and pioneered a system of landscape analysis, which involved recognizing the long-term, cyclical nature of erosion in shaping the land. A later series of watercolours on paper of the same subject would also acknowledge the influence of a gift McCahon had received at his wedding in 1945: Sir Charles Cotton’s The Geomorphology of New Zealand (1922). McCahon was to title these watercolours The North Otago Landscape as Described by Professor C. A. Cotton and Seen by Colin McCahon.

Taking up the metaphor of erosion in his exhibition invitation, McCahon goes on to suggest that his ‘paintings stand now as part of a search begun in Dunedin, continued in Oamaru and developed by the processes of normal erosion since then.’ The comment indicates how McCahon by this stage understood his culture as rooted in the earth, how its landscapes may be visited, photographed, but how also a painting, like his North Otago Landscape 3, is a transposition, a constant ‘erosion’, of such real country into a country of the mind. The concept of landscape that dominates Western art history is one irresolutely focused on pictorial representation; the landscape is something to be seen at a distance, framed often by a set of conventions, but not to be touched or felt. However, in North Otago Landscape 3 McCahon presents us, I would argue, with a different experience and affect – an animated image. The image is both energetic and raw; the painted surface is intercalated as veils of thick black outlines, shading and green undulations, and it allows us to feel the ancient geological processes that formed the land. McCahon’s composition is a mixture of painterly gesture and pure form that both replicate and disfigure the land, this is a landscape emotionally evoked yet decidedly unpastoral (it is unpeopled and the harsh white sky on top of the background hills is unforgiving). All of which goes to prove that a landscape is also what cultural historian Michel de Certeau called a ‘practiced place,’ a site activated by movements, narratives, actions, labour and signs. Laurence Simmons

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26 Colin McCahon (1919-87) Cross V synthetic polymer paint on board signed & dated ‘McCahon Feb March ‘71 Cross V’ (lower right) 77.5 x 58cm $180,000 - $260,000 E X H IBITED Wellington, Peter McLeavey Gallery, ‘View from the Top of the Cliff: An exhibition of Watercolours by Colin McCahon’ 6-23 April 1971 R E F EREN CE Colin McCahon online catalogue ref. CM000895

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This painting is one of a small series of possibly five paintings that prefigures McCahon’s important Necessary Protection works. All of the Cross paintings were exhibited at the Peter McLeavey Gallery in April 1971 with the title View from the Top of the Cliff. The immediate inclination is to read McCahon’s image as a giant letter ‘I’ or, following his title, as a Tau cross that has been provided with a base upon which to rest upright. But the cliff referred to in the exhibition title is that of Otakamiro Point, Muriwai, where McCahon had his studio at the time. Once you see them, the cliff outlines could almost be read as positive not negative space and thus a resistance to darkness, as opposite from what they seem. ‘Cliffs of fall, wise or deep,’ McCahon wrote on a drawing of the location quoting the writer Dan Davin. The architectonic dark grounds of the cliffs of Otakamiro Point, and the small island Motutara and its gannet colony, appear to offer sobriety but they actually serve to contain and direct the exuberance of the brush lines channelled between them. Several years later in the Jump Series these lines would become dotted and represent the birds that McCahon watched fall between the cliffs and then flit to the sky along a diagonal.

So here in Cross V there is more (potential) action going on than you might expect. The black lines of the adamantine armature swell and contract. The subsequent Necessary Protection paintings depended upon the endless variousness of McCahon’s simple formula first experimented with here: two cliffs, the spaces between, and the sky and sea above and below. The formula offered protection of, but also from, the environment. The Necessary Protection shapes, of course, do spell out an ‘I’. How is one to read this ‘I’ in McCahon’s painting? Francis Pound proposed that the grammatical term for the ‘I’ that is so central to these works, and to many other paintings by McCahon — such as the monumental Victory over Death 2 — is a ‘shifter’. That is to say, the word itself is empty of meaning and awaits various viewers to come along and occupy it. The ‘I’ is not any singular or individualised identity, but a constant series of shifts and substitutions, which can variously include the painter or even the viewer of the painting who must speak the word it addresses. In this way McCahon’s painting offers each of us some ‘necessary protection’ for our lives. Laurence Simmons

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27 Colin McCahon (1919-87) Kaipara Flats Written watercolour wash and water-based crayon on paper signed, inscribed with title and dated ‘McCahon. Kaipara Flats. Written 1971’ (upper left) 75 x 56cm $70,000 - $100,000 PR O VEN AN CE Private collection, New Plymouth Sale, Dunbar Sloane Ltd, Wellington, 29 November 2000 (lot 22) R E F EREN CE Colin McCahon online catalogue ref. cm001824

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28 Colin McCahon (1919-87) Kauri charcoal on paper signed & dated‚ ‘McCahon Dec ‘53’ (lower left) 73.8 x 53.5cm $60,000 - $100,000 PR O VEN AN CE Sale, Webb’s Auckland, 11 August 1986 (lot 142 illustrated) R E F EREN CE Colin McCahon online catalogue ref. CM001199

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29 Colin McCahon (1919-87) Waterfall acrylic on board inscribed ‘Waterfall 1964/McCahon’ to reverse panel; Webbs’ Galleries paper label to reverse 29.5 x 20cm $50,000 - $80,000 PR O VEN AN CE Sale, Webb’s, Auckland, 9 December 1985 (lot 108 illustrated)

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30 Ralph Hotere (1931-2013) Pipiwharauroa, Story of the Shining Cuckoo brolite lacquer & acrylic on board signed & dated ‘Hotere/ ‘77/ Port Chalmers’ to reverse 120 x 64.5cm $60,000 - $100,000 PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 5 August 1987 (lot 17 illustrated)

Ralph Hotere (Te Aupori) is one of Aotearoa New Zealand’s most singular and beloved twentieth century artists. He trained at Auckland Teachers Training College before transferring to Dunedin Training College to specialise in art from 1950-51. In 1961 he won a New Zealand Art Societies Fellowship which allowed him to travel to Europe and study at the Central School of Art, London, for a year. In 1962 he moved to Vence in the south of France where he stayed until 1965. After his return to Aotearoa he enjoyed significant critical attention with his regular exhibitions and was awarded the Burns Fellowship in 1969, moving permanently to Dunedin. Ralph’s work manifests a uniquely local aesthetic that brings international Modernism to local references and material. Stylistically it ranges from tightly executed European and American-influenced abstraction to a raw kind of expressionism influenced by Colin McCahon. Like McCahon, language as imagery was a significant part of his practice. In the 1970s he collaborated with poets Bill Manhire, Ian Wedde, Cilla McQueen and Hone Tuwhare to make works which echoed and expanded poems interacting with them in an open-ended way. His work of this time also featured te reo and the lines of historic poems from his iwi, Te Aupori. In 1977 Ralph was commissioned to paint a mural for the Auckland International Airport. This mural would bring together many of his interests of the preceding years—abstraction, text, local content, slick shiny surfaces, and ‘the art of black’.1. In the months leading up to the completion of the mural, he was hugely prolific—making paintings

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that experimented with different treatments and surfaces, with light and dark, and with text as imagery. He exhibited some of these works at Barry Lett Galleries in New Painting and Test Pieces and this exhibition included Pipiwharauroa, Story of the Shining Cuckoo. The pipiwharauroa (shining cuckoo) features in a number of works from this time as the artist tested the idea of using the bird as the central metaphor in the airport mural. The pipiwharauroa migrates to the Solomon Islands or New Guinea for the winter. In the end, it was rejected in favour of the kuaka (godwit) which presented a more germane metaphor for travel with its migration from distant places. Pipiwharauroa, Story of the Shining Cuckoo sees Ralph experimenting with the visual possibilities of the word pipiwharauroa and includes lines from a poem probably supplied by his father. ‘Pipiwharauroa’ is repeated across the middle of the black surface stretching from edge to edge. Barely visible behind it are words which appear as blots of ghostly yellow graffiti—as if they have been spray painted. Beneath is an area of dark green brush strokes that read almost like bird plumage. This area is underlined by a further line of poetry. The text shimmers against the lacquered black surface and the overall affect is reminiscent of a bushscape with the sounds of the pipiwharauroa piping out over vegetation—a transcendent sound in a dark world. Mary-Jane Duffy 1. Kriselle Baker in Ralph Hotere with Kriselle Baker and Vincent O’Sullivan (Ron Sang Publications, 2008) p. 126.

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31 Ann Robinson (b 1944) Ice Bowl (1998) cast glass, blue/turquoise colourway etched signature & dated 1988 to base 38cm dia., 22cm height $25,000 - $35,000

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32 Melvin (Pat) Day (1923-2016) Somes Island, Wellington Harbour oil on canvas signed and dated ‘Day ‘84’ (lower right) 137 x 228.5cm $30,000 - $40,000 PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 17 April 1991 (lot 19)

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33 Melvin (Pat) Day (1923-2016) Cliff oil and mixed media on board signed and dated ‘Day ‘74’ (lower right); inscribed with title to reverse 53 x 66cm $3,000 - $5,000 PROVEN A N CE Sale, Dunbar Sloane Ltd, Wellington (date unknown)

34 Ralph Hotere (1931-2013) The Mark of the Bull [from Windows in Spain, April 1978 Madrid, Series of 22. no. 12. watercolour on paper mounted on museum board signed and dated ‘Window in Spain/ Hotere 78’ (lower left); inscribed with title (upper left); Webb’s paper label to reverse 32.5 x 24cm $5,000 - $8,000 P R O VE N A N C E Sale, Webb’s, Auckland, 9 December 1985 (lot 199)

35 Peter McIntyre (1910-95) Fishing Boats at Island Bay oil on canvas signed ‘PETER MCINTYRE’ (lower right) 40 x 49cm $20,000 - $30,000 PR O VE N A N C E Presented to J H Phillips, Shell Oil & former Manager of the New Zealand Cricket Team on the occassion of his retirement, 1957 Sale, Dunbar Sloane Ltd, Wellington, 28 July 1999 (lot 26)

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36 Rudolph Gopas (1913-82) Kaikoura Slipway oil on board signed & dated ‘GOPAS/ 61’ (lower right); inscribed with title on Ritchies Fine Art label to reverse 66 x 49cm together with pencil study pencil on paper with colour annotations, 39.5 x 31.5cm of the same work $20,000 - $30,000 PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 8 April 1987 (lot 11, illustrated)

A demanding tutor at the University of Canterbury School of Fine Arts Rudi Gopas brought with him knowledge of twentieth century European art movements, particularly Expressionism which students might not otherwise have experienced at such proximity. This painting of a fishing boat on a slipway highlights aspects of this important movement which Gopas had absorbed from his early art training at the School of Fine Arts in Kaunas, the capital of independent Lithuania, from 1933 to 1938. For Gopas the subject itself is rooted in nostalgia for the Baltic fishing village of Nidden which was near his birthplace in Siluté. Both Lyttleton Harbour and Kaikoura were to become sites of inspiration for his painting and provided Gopas with several subjects similar to this one. The combinations of reds, yellows and blues in this work indicate Gopas’s appreciation of the high-keyed palette which is familiar in expressionist works. He has skilfully worked the predominant complementary blues and reds into areas of colour forming the sea and sky, planks and hull of the boat which assist in balancing the composition.

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The strong uprights of the cradle and the slipway planks are at dramatic diagonals which are as balanced in opposition as are the colours mentioned above. Both these aspects of the painting make an otherwise familiar and unremarkable subject into a rich and dynamic one. The preparatory drawing to be sold in conjunction with the painting is a rich and valuable addition. The drawing indicates the serious and gifted draughtsmanship which underlies the painting. Expressionist, impasto brushwork can often be dismissed as a failure of the ability to draw but this excellent, detailed drawing negates that assumption. It also indicates the sound craftsmanship with which Gopas approached his work and earned him the respect of his students. To quote Jonathan Mane-Wheoki ‘he established an expressionist lineage in New Zealand that continued through the art of his students, including Philip Trusttum, Philip Clarimont, Philippa Blair and Kura Te Waru-Rewiri’.1 This painting and drawing admirably demonstrate how that occurred. Tony Mackle 1. J onathan Mane-Wheoki, Art at Te Papa, (Te Papa Press, 2009) p.241

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37 Rudolph Gopas (1913-82) Farm Sheds with Cart watercolour and Indian ink on paper signed and dated ‘R. Gopas ‘52’ (lower left) 38 x 52cm $800 - $1,400

38 Eric Lee Johnson (1908-93) Lion Rock, Piha watercolour signed and dated ‘Eric Lee-Johnson 44’ (lower left) 25.5 x 35.5cm $1,000 - $2,000 P ROV EN AN C E Sale, Dunbar Sloane Ltd, Wellington, 9 April 1986 (lot 147)

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39 Eric Lee Johnson (1908-93) House at Mahurangi watercolour signed ‘Lee Johnson’ (lower right); inscribed with title to reverse 26.5 x 36cm $1,500 - $2,500

40 Margaret Stoddart (1840-1930) The Red Hut, Arthur’s Pass watercolour heightened with white signed ‘M. O. Stoddart’ (lower right) 43 x 46cm $8,000 - $14,000 P R O VE N A N C E Sale, International Art Centre, Auckland, 28 July 1993 (lot 42) Sale, Dunbar Sloane Ltd, Wellington, 30 August 2000 (lot 22)

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41 Petrus van der Velden (1837-1913) Seatoun Heads (c1907) oil on card 60 x 45cm $5,000 - $8,000 PROVEN AN CE Collection of Mr & Mrs P Field, Waikanae Sale, McArthur & Co, Auckland, 1986 (lot 370) LITERATUR E T L Rodney Wilson, Petrus van der Velden (1937-193) A Catalogue Raisonne: Volume II (Sydney 1979), p. 176, no. 4.1.2.12

42 Petrus Van der Velden (1837-1913) Canal /River Bank oil on board signed ‘P Van der Velden (lower left) 36.6 x 58.6cm $1,500 - $2,500 P R O VE N A N C E The Field Collection, Waikanae Sale, Dunbar Sloane Ltd, Wellington, 29 November 2000 (lot 49) L I T E R AT U R E T L Rodney Wilson, Petrus van der Velden, A Catalogue Raisonne Vol II (Sydney 1979) p. 52, no. 1.3.2.10

43 Archibald Frank Nicoll (1886-1952) Winter Prebbleton c.1930 oil on board signed’Archibald F. Nicoll’ (lower left), inscribed with title to reverse (beneath framing) 32.5 x 50.5cm $4,000 - $7,000 P R O VE N A N C E Sale, Webb’s, Auckland, 15 June 1994 (lot 75) as ‘A Winter Scene, Canterbury’

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44 Major General Horatio Gordon Robley (1840-1930) Whanganui Take Take watercolour heightened with white on paper inscribed with title (lower centre); inscribed with artistâ&#x20AC;&#x2122;s annotations & sketch of tattooing details to reverse 21 x 16cm $4,000 - $7,000 PR O VEN AN CE Sale, Sothebyâ&#x20AC;&#x2122;s, London, 1980 Sale, Dunbar Sloane Ltd, Wellington, 20 April 1989 (lot 182) 60

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45 Mary Elizabeth Tripe (1867-1939) Portrait of Girl in Blue Dress oil on canvas signed with monogram (lower right) 87.5 x 70cm $1,000 - $2,000

46 Attributed William Matthew Hodgkins (1833-98) Mount Cook & Lake Pukaki watercolour heightened with white 40 x 73cm $500 - $1,000

P ROV EN AN C E Sale, Dunbar Sloane Ltd, Wellington, 1 August 1994 (lot 191)

PR O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington 26th October 1988 (lot 40)

47 James McLauchlan Nairn (1859-1904) River Landscape watercolour signed ‘Jas M Nairn’ (lower right) 25 x 35.5m $2,000 - $4,000

48 Roland Hipkins (1894-1951) Autumn Morning from Te Awa, Napier watercolour signed ‘ROLAND HIPKINS’ (lower left) 32 x 38.5cm $1,000 - $2,000

PROVEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 21 October 1987 (lot 59)

P R O VE N A N C E Ex Collection of Sir David Ewen Sale, Dunbar Sloane Ltd, Wellington, 19 August 1976 purchased by Alister Taylor, Martinborough Sale, Webb’s Auckland, 25 July 1985 (lot 135)

49 Harry Linley Richardson (1878-1947) Oyster Gatherers, Coromandel Bay watercolour heightened with white signed ‘H Linley Richardson’ (lower right) 8.5 x 20cm together with another watercolour ‘Grey Day, Manawatu’ by the same hand, unframed (2) $600 - $1,000 PR O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington, 20 August 1986 (lot 178)

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50 E Mervyn Taylor (1906-64) Hine (1956) linocut, limited edition 2/25 signed ‘E. Mervyn Taylor’ (lower right); inscribed with title (lower left) 30.5 x 25.5cm (plate) $2,000 - $4,000 PR O VEN AN CE Purchased Christopher Moore Gallery, Wellington, December 1990 LIT E RATURE Bryan James, E. Mervyn Taylor, Artist: Craftsman (Steele Roberts 2006) p. 119 (illustrated) 62

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51 John Buckland Wright (1897-1954) Bather: Laos wood engraving signed and dated ‘John Buckland Wright ‘36’ (lower right) and inscribed with title (lower left) 15 x 10.5cm (plate) together with similar wood engraving ‘Laotian Dance’ and etching ‘Venus & the Sea Gods’ by the same hand (3) $1,000 - $2,000 P ROV EN AN C E Sale, Dunbar Sloane Ltd, Wellington, 14 February 1994 (lot 170)

52 Mountford Tosswill (Toss) Woollaston (1910-98) The Alps monochrome watercolour signed and dated ‘Woollaston ‘61’ (lower right); Webb’s paper label to reverse 35 x 26.5cm $1,000 - $2,000 P R O VE N A N C E Collection of Dr Neville Hogg, Auckland Sale, Webb’s, Auckland, 12 August 1993 (lot 215)

53 Mountford Tosswill (Toss) Woollaston (1910-98) Kaikoura - A View from a Window watercolour and graphite on paper signed & dated ‘Woollaston ‘64’ (lower right) 29 x 37.5cm $4,000 - $7,000

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54 Eric Lee Johnson (1908-93) Figure on Blue (1965) acrylic on board signed ‘Lee-Johnson’ (lower right); original ‘Waikato Society of Arts $85’ handwritten label to reverse 98 x 37cm $2,000 - $4,000 PR O VE N A N C E Collection of Dr Neville Hogg, Auckland Sale, Webb’s, Auckland, 12 August 1993 (lot 213) E XH I BI T E D Christchurch, Pan Pacific Arts Festival, ‘100 New Zealand Painters’ March 1968, cat no. 18. Auckland, ASA Gallery, ‘Lee-Johnson Exhibition’, August 4-15 1969 55 Freda Simmonds (1912-83) Oystercatcher (Night) oil on canvas laid down on hardboard signed & dated ‘Simmonds 68’ (lower left); inscribed with title to reverse 91 x 121cm $2,000 - $4,000 PR O VE N A N C E Collection of Ministry of Foreign Affairs (paper label to reverse) Sale, Dunbar Sloane Ltd, Wellington, 4 December 1991 (lot 336) 56 Suzanne Herschell Checkmate (1993) oil on board signed (lower right), inscribed with title on original paper label to reverse 118 x 107cm $3,000 - $6,000 64

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57 David Armitage (b 1943) Landscape acrylic and dye on canvas original exhibition paper label to reverse 145 x 131.5cm $2,000 - $4,000 PR O VEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 9 April 1986 (lot 161) E X H IBITED Dunedin Public Art Gallery & QEII Arts Council, David Armitage, A Survey Exhibition 1974 no 32 LIT E RATURE Luit Bieringa, David Armitage: A Survey Exhibition (Dunedin Public Art Gallery 1974), rear cover illustration (copy of catalogue to be sold with art work)

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58 Ross William Ritchie (b 1941) Thought I acrylic on board signed & dated ‘Ritchie ‘64’ (lower right); inscribed with title to reverse with Uptown Gallery & Artides Gallery paper labels to reverse 118 x 121cm $15,000 - $25,000 P ROV EN A N C E purchased Uptown Gallery, 1964 with Artides Gallery, Wellington Sale, Dunbar Sloane Ltd, Wellington, 20 April 1989 (lot 27, illustrated) The companion work ‘Thought 2’ is held in the collection of the Auckland City Art Gallery.

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59 Derek Cowie (b 1956) The Witness oil on canvas signed, inscribed with title and dated 1987 to reverse 242 x 120cm $2,000 - $4,000 PR O VE N A N C E purchased Peter McLeavey Gallery, Wellington E XH I BI T E D Wellington, Peter McLeavey Gallery, ‘Derek Cowie: Recent Paintings’, 7-25 March 1989 60 Gretchen Albrecht (b 1943) Light & Shade acrylic on canvas signed & dated ‘Albrecht ‘76’ (lower right); inscribed with title and dated ‘1976 Sept (or Oct) on paper label to reverse 152 x 162cm $14,000 - $20,000 PR O VE N A N C E Collection of David & Judy Mitchell, Auckland Sale, Webb’s, Auckland, 3 April 2001 (lot 61) E XH I BI T E D Auckland, Barry Lett Galleries, 1972, cat no. 13.

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61 Dick Frizzell (b 1943) Bowl of Fruit oil on canvas signed, inscribed with title & dated ‘FRIZZELL 16/6/2009’ (lower right) 55.5 x 70.5cm $12,500 - $20,000 P R O VE N A N C E Purchased Page Blackie Gallery, Wellington, November 2009

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62 André Bloc (French 1896-1966) Poèmes sur Soie, 1955 including 6 poems by Pierre Guegen and 6 serigraphs by André Bloc serigraphs, limited edition 75/90 all signed 62 x 48cm each, framed (6) with original portfolio $1,000 - $2,000

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63 Buck Nin (1942-96) Awatea oil on board signed ‘NIN’ (lower right) 81 x 60.5cm $2,000 - $4,000 PROVEN AN CE Sale, Dunbar Sloane Ltd, Wellington, 2 December 1998 (lot 36)

64 Louise Lewis (b 1927) Yellow Dahila oil on board signed ‘Louise Lewis’ (lower left); signed and inscribed with title to reverse 102 x 102cm $300 - $600 P R O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington 5 April 1990 (lot 288)

65 Nigel Brown (b 1949) Poet in Suburbia hand coloured linocut, limited edition 8/10 signed and dated ‘Nigel Brown 89’ (lower centre) 26 x 17cm $500 - $1,000 PR O VE N A N C E Purchased Portfolio Gallery, Auckland, August 1990

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66 Eion Stevens (b 1952) Portrait oil on canvas board signed, inscribed with title and dated ‘88 to reverse 57 x 38cm $1,750 - $3,000 PR O VEN AN CE Sale, Webb’s, Auckland, 3 April 2001 (lot 205)

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67 Denys Watkins (b 1945) Character Drawing oil stick on grey paper signed ‘denys watkins’ (lower right) 99 x 69cm $1,750 - $3,000 P ROV EN AN C E Sale, Webb’s, Auckland, 27 April 1989 (lot 68)

68 Phillip Trustrum (b 1940) Garden Series oil on canvas signed with initials & dated ‘PST 73’ (lower right) 25 x 17.5cm $1,000 - $2,000

69 Quentin MacFarlane (b 1935) Towards Kaikoura (1991) acrylic on rag paper signed ‘MacFarlane’ (lower left); Brooker Gallery paper label to reverse 74 x 55cm $2,000 - $4,000

70 Tony Lane (b 1949) Silent Procession c.1979 oil on board signed to reverse 49.5 x 150cm $1,500 - $3,000

P R O VE N A N C E Purchased Brooker Gallery, Wellington, June 1991

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71 Sam Cairncross (1913-76) Rue de Lorraine, Saint Germain oil on canvas signed & dated ‘Sam 48’ (lower right), inscribed with title on stretcher to reverse 45.5 x 61cm $1,250 - $2,000 72 Sam Cairncross (1913-76) Paris oil on canvas signed & dated ‘Sam 52’ (lower right); signed to reverse 25.5 x 35.5cm $1,000 - $2,000 PR O VEN AN CE Ex Collection of Auckland Society of Arts Sale, Webb’s, Auckland, 15 May 1985 (lot 29) 73 Sam Cairncross (1913-76) Rue de Lorraine, Paris oil on board signed & dated ‘Sam 52’ (lower right), inscribed with title to reverse 27 x 37cm $750 - $1,250 PR O VEN AN CE Ex Ministry of Foreign Affairs Collection Sale, Dunbar Sloane Ltd, Wellington, 22 November 1989 (lot 134)

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74 Sam Cairncross (1913-76) Rue Au Chat, Paris oil on board signed & dated ‘Sam Cairncross 1953’ (lower right); signed, inscribed with title and date to reverse 52.5 x 25cm $750 - $1,250 P R O VE N A N C E Sale, Dunbar Sloane Ltd, Wellington, 14 September 1989 (lot 100) 75 Sam Cairncross (1913-76) Sylvia oil on cardboard signed and dated ‘Sam/ 50’ (lower right); inscribed with title to reverse 25 x 19.5cm $500 - $1,000 P R O VE N A N C E Purchased directly from the artist 76 Sam Cairncross (1913-76) Head of Old Lady oil on cardboard signed, inscribed with title and signed to reverse 21.5 x 17cm $300 - $600 P R O VE N A N C E Purchased directly from the artist 77 Sam Cairncross (1913-76) Pot Plant oil on cardboard signed & dated ‘S. Cairncross 75’ (lower right); signed, inscribed with title and dated to reverse 43 x 30.5cm $300 - $600 P R O VE N A N C E Purchased directly from the artist

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78 Trevor Dick (b 1946) Two Botanical Studies ink on paper signed and dated ‘TREVOR DICK 10/85’, ‘TREVOR DICK 9/85’ (lower) 14.5 x 10.5cm; 16.5 x 17.5cm (2) $300 - $600

79 Suzanne Goldberg (1940-99) Volcanic Landscape oil on canvas signed & dated ‘Goldberg ‘73’ (lower right), inscribed with title to reverse 54.5 x 75cm $400 - $800 P ROV EN AN C E Sale, Dunbar Sloane Ltd, Wellington, 26 October 1988 (lot 239)

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80 Shay Docking (1928-98) Headland pastel on paper laid down on board signed (lower right) 40 x 40cm $300 - $600 P R O VE N A N C E Sale, Webb’s, Auckland (original label to reverse)

81 Llew Summers (b 1947) Reclining Nude carved wooden sculpture 29cm height, 54cm length, 22cm depth $1,000 - $2,000

82 Rob Waanders New Zealand Heart Rimu Bowl with Carved Rim inscribed with mark, signature and dated 5/94 to base 50cm dia. $100 - $200

83 Guy Ngan (1926-2017) Bamboo Totem felt tip pen on bamboo signed and dated ‘GUY NGAN O.B.E. PACIFIC CHINESE 2002’ to base 26cm height $100 - $200

P R O VE N A N C E Purchased New Zealand Academy of Fine Arts, Wellington, 22 July 1994

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84 Ann Robinson (b 1944) Four Glass Blown Tulips with red petals and clear stems in tapered cylindrical vase vase 12.5cm height, flowers 28-39cm length each (two flowers af) $3,000 - $6,000 PR O VE N A N C E Sale, Webbâ&#x20AC;&#x2122;s, Auckland, 12 September 1991 (lot 174)

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85 Garry Nash (b 1955) Large Vessel with Red Rim Opalino green glass with gold leaf etched ‘G. Nash ‘94’ to base 40cm height $1,500 - $2,500 PR O VEN AN CE Purchased Avid Gallery, Wellington R E F EREN CE www.garrynash.glass/work#/gold-leafware/ 82

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86 Garry Nash (b 1955) Vase with Applied Decoration encased grey glass with applied palm frond decoration etched ‘G. Nash ‘87’ to base 42cm height, 24cm width (maximum) $1,000 - $2,000

87 Garry Nash (b 1955) Large Multi-coloured Irregular Formed Bowl etched ‘G. Nash ‘98’ to base 26cm height, 46cm dia. (maximum) $1,250 - $2,500

88 Garry Nash (b 1955) Multi-coloured Vase on blue glass ground etched ‘Nash ‘95’ to base 25cm height, 22cm dia. (maximum) $750 - $1,250

PROVEN AN CE Purchased Avid Gallery, Wellington

P R O VE N A N C E Purchased Avid Gallery, Wellington

89 Garry Nash (b 1955) Footed Platter sand blasted frosted yellow over clear glass with etched rim etched ‘G. Nash ‘88’ to foot 41cm dia. $300 - $600

T H E NOEL & MARGARET DICK AR T COLLECT ION

90 Dame Doreen Blumhardt (1914-2009) Spade Form Vase poured chun style glaze over green ground impressed mark 37cm height $300 - $600 PR O VEN AN CE Purchased New Zealand Academy of Fine Arts, October 1992 84

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91 John Featonby Large Ceramic Sphere/Vase impressed mark to base 43cm height $100 - $200 P ROV EN AN CE Purchased Fletcher Challenge Ceramic Awards 1990 (cat no. 43)

92 Melanie Cooper Fine grogged porcelain bowl copper glaze (1989) paper label to base 25.5cm dia. $150 - $300 PR O VE N A N C E Lower Hutt, Dowse Art Museum â&#x20AC;&#x2DC;Lucky 13â&#x20AC;&#x2122;, Feb-April 1989 (cat no. 13)

93 James (Jim) Greig (1936-86) Emblem Series, early 80s inscribed mark to base 40cm height, 24cm width, 22cm depth $2,000 - $3,000

94 James (Jim) Greig (1936-86) Floor Pot, Solid and Void Series slab built stoneware with poured opalescent glaze 52cm height, 62cm width (maximum) $10,000 - $20,000 P R O VE N A N C E Collection of Guy & Jean Ngan, Wellington Sale, Dunbar Sloane Ltd, 27 November 2003 (lot P30)

The Solid & Void series draws upon the concept of the emergence of form from interweaving planes, with the addition of the feeling of negative space exposed by the planes as a dynamic element which shapes form. While inherent in previous works, it is now utilised as a central feature for the first time within this landmark series.

T H E NOEL & MARGARET DICK AR T COLLECT ION

100th Anniversary

FOUR GENERATIONS APPROX. 7,000 AUCTIONS OVER 3 MILLION LOTS SOLD Dunbar Sloane occupies a rare position in New Zealand business life. Since its first auction in 1919 – a century ago – the Wellington based firm has been headed by four generations of the same family, each carrying the distinctive name of the founder Dunbar Sloane.

All have shown entrepreneurial flair, a necessary degree of showmanship when on the auction rostrum, and been tireless in promoting their company in Wellington and nationally. The founder Andrew Dunbar Sloane (1875 to 1955) put the company on a solid footing. His son Clifford Dunbar Sloane (1912 to 1972) loved the auction podium, always seeking to give auction goers a spirited memorable time. Thirdly his son Dunbar Russell Sloane (1942-2017) further built the business and ensured it adapted to the more specialist sales – and glossy, informative catalogues – needed today. Today, in the fourth generation, his son Dunbar Michael Sloane continues to actively follow in this tradition. Surviving for a century is a remarkable achievement in the dynamic and highly competitive auctioneering world. Until the 1970s every town had several competing firms: relatively few exist today. Traditionally many were small family run businesses competing with real estate or stock and station companies that also held regular estate or general auctions. 86

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Changing consumer attitudes have brought enormous and intensifying challenges. Only the fleet footed traditional auctioneering firms have survived, especially under the same management. The famous international auction houses – Christies and Sotheby’s - have had numerous ownership changes. This willingness to adapt to an ever changing business environment has been a characteristic of the Dunbar Sloane family.

In the 1930s, when paintings were usually included in sales with furniture and other items, the firm was holding specialist art sales. In January 1935 it sold a collection of scenic views by Ernest Drake – which must have been a success - as a month later it sold another collection on behalf of Auckland painter J D Perrett. The firm has been at the forefront in actively promoting auctions of international quality in art and antiques, historic books, wine, militaria, Maori artefacts, jewellery, rare manuscripts, collectables and old toys that often attract overseas interest, while continuing to hold regular sales of estate chattels. It had unusual beginnings. Andrew Dunbar Sloane was a chemist with a shop on Lambton Quay. He joined the New Zealand forces at the outbreak of World War I and at 37, as an army captain on hospital ship Maheno, sailed to Turkey in July 1915. The Maheno made five visits to Anzac Beach under steady gun fire to pick up the wounded. The Evening Post later reported he had also been gassed at Gallipoli. This forced a change of career: in those days chemist shops mixed many of their own chemicals with resultant unpleasant fumes. On his return he opted to switch careers promptly converting his shop to an auctioneering and land agency business. He became a registered land valuer in 1924. Earlier in 1919 he had stood for Parliament for the Liberal Party. In campaign meetings for that election he was an outspoken supporter of the “forgotten men” who had served in the merchant marine and who, he said he had seen on the hospital ships working 70 hours on end helping doctors and nurses evacuate injured troops as well as negotiating the ships safely through German minefields. The Evening Post described him in an article at the time as “the erstwhile chemist Dunbar Sloane, a not inconsiderable figure in Wellington’s commercial life, who now wields an auctioneer’s hammer in place of the pestle. “Land is what he now knocks down, after first cracking it up.” Newspaper advertisements from the period show the firm was also active in auctioning properties and land sales in the lower North Island.

In 1931 they staged an “enormous” sale in Levin of “unclaimed cargo of ladies’ high class wear, 2 and 3 piece costumes.” Dunbar Sloane said they had already staged a similar auction in Wellington “that the residents are taking full advantage of.”

2017, shortly before he died, he recalled his father’s reluctance. “He was worried about losing 3000 to 4000 pounds turnover a week while that sale was set up as we needed special lighting. But in our first sale we took about 18,000 pounds. It was amazing.”

In November 1938 The Evening Post reported Dunbar Sloane had begun a series of sales from a major collection of antiques formed by the late “Mr Linley” A highlight was a mahogany Sheraton table which it said was “reputed to have been brought ashore by Captain Hobson on which was signed the Treaty of Waitangi.” This fetched 20 pounds.

By today’s standards the early catalogues are primitive booklets. Most illustrations are in black and white though they graphically highlight changing fashions.

During these years the company continued to hold special catalogued auctions, a notable one being of “the Wilson sale of objects of art, Persian and Chinese carpets” in July 1949. Andrew Dunbar Sloane died in England in 1955. Management of the firm had already passed to his son, Clifford Dunbar Sloane. His nephew Paul Neal – who also became a well-known auctioneer with the firm – described him as a “wonderful auctioneer” who had acted as a mentor to him. His uncle had taught him not to get too nervous “but to get your patter going!” In the immediate post war years under his management the firm thrived helped by the tonnes of army surplus gear the government was selling. It dominated the Wellington auction business and by 1970 had two busy auction rooms operating, including one in Dixon Street. Shortly before his death in 1972 he called in, looking extremely unwell, during a crowded auction there. Paul Williams interrupted the sale from the rostrum to pay him a handsome tribute for his contributions to the auction world. His son, Dunbar Russell Sloane, on taking control cemented the company’s position to become a major force nationally in selling top line fine art, antiques and other items, and competing successfully against vigorous competitors in Auckland, Christchurch and Dunedin. Dunbar Russell Sloane was a risk taker. In the 1960s he had managed to convince his father – who was extremely dubious - to resume staging specialist art sales. In a newspaper interview in

A restless man, he was constantly ready for new ventures. To his immense disappointment, the public company, Dunbar Sloane and European Art, that had been set up to invest in art did not suit public ownership with shareholders demanding regular dividends. Ironically it was bought by Guinness Peat, a company run by Sir Ron Brierley, which in turn some years later ended up with most of its assets being sold. The key to success in the auctioneering business is finding things the public wants to buy and successfully promoting them. Dunbar Russell Sloane regularly visited many parts of the country scouring and appraising items for sale, as continues now in the fourth generation. He also bought stock overseas on frequent buying trips. A keen collector himself he often bought back unusual items that his cousin Paul Neal considered would be difficult to sell, including on one occasion gymnastic equipment from the Queen Mary. Today specialist staff Anthony Gallagher and art expert Helena Walker continue to fulfil this key role from Wellington, travelling widely through the central North and South Islands. His son, Dunbar Michael Sloane, the current managing director is equally active in operating the successful Auckland representative office while also spending much time in the capital, including wielding the auction gavel at major sales. The company has also been fortunate in retaining the expertise of many staff in key roles for many years. Among them is Bettina Frith who is regarded as a national expert in fine china, jewellery and rare toys. The company has built a solid foundation to begin its second century of operations. Terry Hall

T H E NOEL & MARGARET DICK AR T COLLECT ION

Recent Art Highlights

D UN B AR S L O A NE

Illustrated: 1 Gordon Walters Untitled [Koru] work on paper - $95,600 2 Rita Angus, Portrait of Sue - $107,600 3 Dorrit Foster Black Wings colour linocut - $53,800 4 Brent Wong Building-Hill - $47,800 5 Don Binney Dotterel Rising, Te Henga - $496,100 6 Ralph Hotere Untitled [1973-4] - $131,500 7 Rita Angus, A Woman Sketching AD 1965 - $430,400 8 Gottried Lindauer Chief Renata Kawepo - $227,100 9 Colin McCahon Waterfall - $233,000 10 C F Goldie Ena Te Papatahi -

$364,600 11 Don Binney Saddleback - $197,300 12 Frances Hodgkins, Breton Mother & Child - $60,000 13 Charles Tole, Industrial Landscape - $35,900 14

Robin White Florence with Harbour Cone, ltd silkscreen - $17,900 15 Eileen Mayo, Summers End, relief print - $6,000 (NZ Record) 16 Don Binney, Kaiakara Kaka, Great Barrier, silkscreen - $18,500 17 Evelyn Page, Portrait of Diana Mason - $62,000 * Rounded to the nearest hundred and include buyers premium + GST T H E NOEL & MARGARET DICK AR T COLLECT ION

Recent Fine Jewellery Highlights

D UN B AR S L O A NE

Illustrated: 1 Mikimoto cultured pearls - $12,000 2 NZ Colonial Gold 18ct Brooch & Earrings - $137,000 3 18ct Two Stone Diamond Ring - $33,000 4 18ct Emerald & Diamond Ring - $15,650 5 Platinum Solitaire Diamond Ring - $23,300 6 18ct Five Stone Diamond Bridge Ring - $16,000 7 Tiffany & Co Platinum Solitaire

Diamond ring - $38,000 8 Platinum 42stone Diamond Cluster Ring - $13,000 9 NZ 9ct Single Large Cairngorm snap bangle - $8,900 10 9ct Mounted Dog Claw Brooch with inscriptiion from Scotts Expedition - $10,000 11 NZ 15ct Greenstone Panel Bracelet - $10,700 12 Platinum 152stone Diamond Fancy Bracelet $26,000 13 Early C20th Gold Amethyst & Diamond Brooch - $3,000 14 Art Deco Period 18ct White Gold 53stone Emerald & Diamond Brooch - $8,600 15 Victorian S/S and 15ct Diamond Brooch - $2,600 16 Cartier Duck Brooch - $7,400 17 18ct White Gold Diamond Hinged Snap Bangle - $13,000 18 Early C20th Liberty of London 18ct, Platinum Opal and Diamond Pendant $39,400 19 NZ 15ct 15stone Garnet & Moonstone Pendant - $27,000 20 Victorian Gold Renaissance Revival Pendant - $6500 * Rounded to the nearest hundred and include buyers premium + GST

T H E NOEL & MARGARET DICK AR T COLLECT ION

Conditions of Sale

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

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

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

The Buyer shall pay to Dunbar Sloane Ltd a premium of 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.

D UN B AR S L O A NE

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

the same to Dunbar Sloane Ltd in the same condition as at the time of sale and satisfies Dunbar Sloane Ltd had considered in the light of the entry in the Catalogue the Lot is a deliberate forgery then the sale of the Lot will be rescinded and the purchase price of the same refunded. 7. To prevent inaccuracy in delivery, and inconvenience in settlement of Purchase, no Lot can be taken away during the times of sale, nor can any Lot be taken away unless it has been paid for in full. All lots are to be paid for and taken away at the Buyerâ&#x20AC;&#x2122;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).

Alphabetical Index

A Albrecht, Gretchen 60 Angus, Rita 21 Armitage, David 57 B Bloc, Andre 62 Blumhardt, Doreen 90 Brown, Helen 15, 16 Brown, Nigel 65 C Cairncross, Sam 1–5, 71–77 Cooper, Melanie 92 Cowie, Derek 59 D Day, Melvin 32, 33 Dick, Trevor 78 Docking, Shay 80 Drawbridge, John 9

F Featonby, John 91 Frizzell, Dick 61

L Lane, Tony 70 Lewis, Louise 64

G Goldberg, Suzanne 79 Gopas, Rudolph 36, 37 Greig, James 93, 94

M McCahon, Colin 25–29 McCormack, T A 6–8 McIntyre, Peter 35 MacFarlane, Quentin 69

H Henderson, Louise 20 Herschell, Suzanne 56 Hipkins, Roland 48 Hodgkins, William Matthew Attrib 46 Hotere, Ralph 30, 34 J Johnson, Eric Lee 38, 39, 54

N Nairn, J M 47 Nash, Garry 85–89 Ngan, Guy 83 Nicol, Archibald Frank 43 Nin, Buck 63 R Richardson, Harry Linley 49 Ritchie, Ross 58 Robinson, Ann 31, 84 Robley, Horatio Gordon 44

S Simmonds, Freda 55 Stevens, Eion 66 Stoddart, Margaret 40 Summers, Llew 81 T Taylor, E Mervyn 50 Tole, Charles 14 Tole, John 10–13 Tripe, Mary Elizabeth 45 Trustrum, Phillip 68 V van der Velden, Petrus 41, 42 W Waanders, Rob 82 Watkins, Denys 67 Weeks, John 17, 18 White, A Lois 19 Woollaston, Toss 22–24, 52, 53 Wright, John Buckland 51

T H E NOEL & MARGARET DICK AR T COLLECT ION

ENTRIES CURRENTLY INVITED

Applied Arts & Studio Ceramics August 2019

Illustrated Barry Brickell Terracotta Fountain Est $1,000 - 2,000

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

D UN B AR S L O A NE

ENTRIES CURRENTLY INVITED

New Zealand & International Fine Art August 2019

Illustrated Peter Siddell, White House [1982] Est $10,000 - 20,000

Enquiries Helena Walker +64 4 472 1367 art@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

T H E NOEL & MARGARET DICK AR T COLLECT ION

ENTRIES CLOSE 7 JUNE

Fine & Estate Jewellery 30 July 2019

Illustrated Large New Zealand Made Greenstone Pendant on 9ct Chain Est $2,000 - 3,000

Enquiries Bettina Frith +64 4 472 1367 reception@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

D UN B AR S L O A NE

ENTRIES CLOSE 7 JUNE

Antique & Decorative Arts 31 July 2019

Illustrated Pair Famille Verte Temple Lions Formerly Collection of Mr Daniel Ferguson, Kerikeri, now Collection of Noel & Margaret Dick Est $10,000 - 15,000

Enquiries Anthony Gallagher +64 4 472 1367 antiques@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

T H E NOEL & MARGARET DICK AR T COLLECT ION

ENTRIES CURRENTLY INVITED

Antiquarian Books Militaria

Late 2019

Illustrated Original Travel Diaries & Sketch Books of New Zealand Artist John Elder Moultray (1865â&#x20AC;&#x201C;1922) Est $15,000 - 25,000

Enquiries Anthony Gallagher Bettina Frith +64 4 472 1367 antiques@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

D UN B AR S L O A NE

ENTRIES CURRENTLY INVITED

Maori, Oceanic & African Artefacts New Zealand Historical 1 August 2019

Illustrated Late C19th Carved Wooden Wahaika Est $2,000 - 4,000

Enquiries Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz Jeff Hobbs (Wellington) 027 5668822 sulutribal@gmail.com

T H E NOEL & MARGARET DICK AR T COLLECT ION

Buyers Guide

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. These must be requested at least 24 hours before the commencement of auction. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

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. B UY I N G AT T H E A U C T I O N 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. AP P ROX I M AT E S E L L I N G R AT E Fine Art auctions are generally conducted at the rate of about 60 lots per hour. However, this can vary. AB SEN TEE BI D D I 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. TEL EP H ON E BI D D I N G If you are unable to attend the auction, you can elect to bid by telephone. Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and phone lines are procured on a first served basis. 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.

The auction

Buyers Premium

R E GISTRATION To bid at the auction you will need to register for a bidding number either during the viewing or prior to the auction.

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.

100

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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. Items must be paid for within 24 hours and a second account for courier/freight charges will follow as soon as possible 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.

Absentee Bidding Form

7 Maginnity Street, Wellington PO Box 224, Wellington 6140, New Zealand P +64 4 472 1367 F +64 475 7389 E info@dunbarsloane.co.nz

Type of Auction

Auction Date

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

SIGNED Lot Number

DATE Title / Description (use block letters)

Maximum Bid Price (excluding premium)

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.