Dunbar Sloane Fine & Applied Art Part 1 by Dunbar Sloane Ltd

17 & 18 APRIL 2013

FINE & APPLIED ART AUCTION 17 & 18 APRIL 2013

FINE & APPLIED ART AUCTION

DUNBAR SLOANE WELLINGTON

FINE & APPLIED ART AUCTION WEDNESDAY 17 & THURSDAY 18 APRIL 2013

PART ONE NEW ZEALAND & INTERNATIONAL FINE ART Lots 1 – 108 Wednesday 17 April, 6pm Part two New Zealand & International Fine Art Lots 200 – 474 Thursday 18 April, 12 noon PART THREE Applied Art Lots A1 – A171 Thursday 18 April, 5pm

OPENING PREVIEW • WELLINGTON Thursday 11 April • 5.00 – 6.30 pm

Cover illustration Lot 27 • Ralph Hotere Green

Inside FRONT cover Lot 24 • Bill Hammond Eagle & Bone Inside BACK cover Lot 25 • Richard Killeen Time to change male institutionalised war no 2

Wellington Viewing Friday 12 April Sunday 14 April Monday 15 April Tuesday 16 April Wednesday 17 April

9am – 5pm 11am – 4pm 9am – 5pm 9am – 5pm 9am – 4pm

LOCATION 7 Maginnity Street PO Box 224, Wellington 6140 Ph (04) 472 1367 • Fax (04) 475 7389 art@dunbarsloane.co.nz • www.dunbarsloane.com ENQUIRIES Helena Walker Director, Fine & Applied Arts art@dunbarsloane.co.nz Ph: 027 471 3662 • (04) 472 1367 • (09) 630 9178

PART I

PART ONE New Zealand & International Fine Art Lots 1 – 108 6pm • Wednesday 17 April 2013

1 Paul Dibble (b 1943) Walking the Length of the Island bronze, limited edition 1/3 inscribed with signature and dated ‘Paul Dibble 2000 NZ’ (to the base) 50 x 48 x 11cm $7,000 - 12,000

2 Paul Dibble (b 1943) Defining the Homeland cast bronze, edition 1/3 inscribed with signature and dated 1999 206 x 37 x 28cm $30,000 - 40,000

PROVENANCE with Bowen Galleries, Wellington Private collection, Wellington

PROVENANCE Private collection, Auckland LITERATURE Paul Dibble (Auckland 2001) p. 25, p.112-113

Defining the Homeland 1999…Tall and seemingly unassailable, this large, well crafted bronze could be interpreted as that rare thing, the female heroic figure - a watchful and assertive guardian of a land with a complex and contested cultural heritage. While recalling the heroism of New Zealand commemorative sculpture of old, it looks beyond notions of civic virtue and political power. Instead, Dibble suggests another kind of sculptural tradition for New Zealand, one that focuses on this country’s artistic heritage. His work can be read by everyone and thus remains as democratic as its Victorian predecessors.’ Dorothea Pauli, ‘Moving Forward, Looking Back. Paul Dibble and the Monumental Figure’, Paul Dibble (Auckland 2001) p. 112

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FINE & APPLIED ART

3 Greer Twiss (b 1937) Seated mother with child bronze 25 x 8 x 13cm $2,000 - 3,500 PROVENANCE Collection of Sybil Alice Ferguson, a friend of the artist Private collection, Auckland

4 Jeff Thomson (b 1957) Cow weathered & painted corrugated iron 120 x 210 x 45cm $5,000 - 8,000 PROVENANCE Commissioned directly from the artist Private collection, Hawkes Bay

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5 5 Robin White (b 1946) Hoopers Inlet silkscreen, limited edition 21/50 signed, inscribed with title and dated ‘R WHITE 11/76’ (lower left) 54.5 x 69cm $3,000 - 5,000

LITERATURE Alister Taylor, Robin White, New Zealand Painter, (Martinborough 1981), p. 110, no. 183

6 Robin White (b 1946) Mangaweka silkscreen, limited edition 32/36 signed and dated ‘ROBIN WHITE JULY ‘74’ (lower right); inscribed with title (lower left) 59 x 43cm $4,000 - 7,000 LITERATURE Alister Taylor, Robin White, New Zealand Painter (Martinborough 1981) p. 105

7 Robin White (b 1946) Church on a Hill, Pauatahanui silkscreen, limited edition 8/25 signed and dated ‘ROBIN WHITE MAY 1971’ (lower right), inscribed with title (lower centre) 54 x 40cm (plate) $4,000 - 7,000 LITERATURE: Alister Taylor, Robin White, New Zealand Painter, (Martinborough 1981) p. 91. no. 89

FINE & APPLIED ART

8 Laurence Aberhart (b 1949) Nature Morte (Silence) Savage Club Wanganui, 20 February 1986 gelatin silver print inscribed with title and dated ‘1986/1999 Print #11’ to the reverse 24 x 19cm $4,000 - 6,500

9 Laurence Aberhart (b 1949) Taranaki, Hawera 23 March 1993 (map) gelatin silver print inscribed with title and dated ‘1993 Print #4’ to the reverse 19 x 24cm $3,500 - 5,500

PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Wellington

LITERATURE Art New Zealand, Autumn 1989, 50 p. 50 (illustrated) Laurence Aberhart, Aberhart (Wellington 2007) pl. 1

LITERATURE Laurence Aberhart, Aberhart (Wellington 2007) pl. 180

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10 Laurence Aberhart (b 1949) Fort Bastion, Interior chamber, Orakei (bank below Bastion Point) gelatin silver print inscribed with title to the reverse 18.5 x 23.5cm $3,000 - 4,500 PROVENANCE Private collection, Wellington

11 Laurence Aberhart (b 1949) Interior, Fort Takapuna gelatin silver print inscribed with title to the reverse 18.5 x 23.5cm $3,000 - 4,500 PROVENANCE Private collection, Wellington

This and the following silver gelatin print were originally commissioned for publication in The Military Quarterly,.

FINE & APPLIED ART

12 Peter Robinson (b 1966) Around the World in a Day screenprint on fabric, limited edition of 7 signed and dated ‘PRobinson ‘98’ (upper left/lower right) 106 x 76cm $4,000 - 6,000

13 Tony de Lautour (b 1965) Powderland acrylic on canvas signed and dated ‘Tony de Lautour/2005’ to the reverse 91 x 91cm $7,000 - 10,000

PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Wellington

PROVENANCE with Hamish MacKay Gallery, Wellington, 2006 The Cordyline Collection, Wellington

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14 Chris Heaphy (b 1965) Visions acrylic on linen signed and dated ‘C. HEAPHY 1998’ and inscribed with title (lower right); signed and dated ‘98 to the reverse 114 x 146cm $10,000 - 15,000 PROVENANCE purchased by the current owner directly from the artist Private collection, Marlborough

15 Neil Frazer (b 1961) Ice wall oil on canvas signed and dated ‘Neil Frazer 09’ to the reverse 76 x 76cm $4,000 - 6,000 PROVENANCE The Cordyline Collection, Wellington

FINE & APPLIED ART

16 Shane Cotton (b 1964) Cave acrylic on paper signed and dated ‘Shane Cotton 2008’ and inscribed with title (lower right) 76 x 58cm $16,000 - 20,000 PROVENANCE with Hamish McKay Gallery, Wellington 2008 Private collection, Auckland EXHIBITED Hamish McKay Gallery, Wellington, Shane Cotton New Painting, September 2008

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17 Jeffrey Harris (b 1949) Crucifixion 2 oil on board signed, inscribed with title and dated 2002-2006 to the reverse 29.9 x 22.7cm $10,000 - 15,000

FINE & APPLIED ART

18 Jeffrey Harris (b 1949) 3 Women oil on board signed, inscribed with title and dated June 1972 to the reverse 25.4 x 28.3cm $7,500 - 12,500

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19 Jeffrey Harris (b 1949) Boy on bicycle pencil signed and dated ‘Jeffrey Harris 17.4.70’ and inscribed with title (upper right) 42.5 x 69cm $2,000 - 3,500

20 Allen Maddox (1948-2000) Ask Tony oil on canvas signed with initials, inscribed with title and dated ‘7.82’ to the reverse 68 x 105cm $12,500 - 17,500 PROVENANCE gifted to the current owner by the artist Private collection, Hawkes Bay

FINE & APPLIED ART

21 Bill Hammond (b 1947) Lead Love Lead acrylic on canvas signed and dated ‘W. Hammond/1985’ and inscribed with title (lower left) 76x 51cm $12,000 - 18,000

22 Bill Hammond (b 1947) 2 Couples Drinking Piss acrylic on kauri panel signed & dated ‘W Hammond 1984’ (lower right), inscribed with title (lower centre) 21 x 51cm $6,000 - 10,000 PROVENANCE Private collection, Christchurch LITERATURE Jennifer Hay, Bill Hammond Jingle Jangle Morning, (Christchurch 2007), p. 21. (colour illustration)

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23 Bill Hammond (b 1947) Sic Eatin Ko Ko Pops Volga oil on board signed and dated ‘W. Hammond 1986’ (lower left); inscribed with title (upper right) 38.5 x 71.5cm $8,000 - 14,000 PROVENANCE Private collection, Christchurch

FINE & APPLIED ART

24 Bill Hammond (b 1947) Eagle & Bone acrylic on canvas signed and dated ‘W. Hammond/2007’ (upper right) and inscribed with title (lower right) 100 x 60cm $70,000 - 90,000 PROVENANCE with Peter McLeavey Gallery, Wellington 2007 Private collection, Auckland EXHIBITED Wellington, Peter McLeavey Gallery, Recent Work, 2007 Christchurch, Te Puna O Waiwhetu Christchurch Art Gallery, Bill Hammond Jingle Jangle Morning, 20 July - 22 October 2007; Touring to City Gallery Wellington Te Whare Toi, 16 November 2007 - 10 February 2008 LITERATURE Jennifer Hay, Bill Hammond Jingle Jangle Morning, Christchurch 2007, p. 193. (colour illustration) Jennifer Hay, Bulletin of Christchurch Art Gallery 149, Bill Hammond Jingle Jangle Morning, Winter June-August 2007, p. 15. This work was also used for exhibition promotional posters for Jingle Jangle Morning, a copy of which accompanies this work

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FINE & APPLIED ART

25 Richard Killeen (b 1946) Time to change male institutionalised war No 2 alkyd and pencil on aluminium, 88 pieces each piece labeled with title, number and dated 25 August 1986, no 553 variable $40,000 - 60,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, The Vivienne Leung Collection, 19 August 1998 (lot 22) Private collection, Auckland LITERATURE Francis Pound, Stories we tell ourselves (Auckland 1999) p. 23-25. Similar work illustrated from the same series â&#x20AC;&#x2DC;Time to change male institutionalised warâ&#x20AC;&#x2122; p. 98

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FINE & APPLIED ART

26 Michael Smither (b 1939) The Dreamer oil on board signed with initials and dated ‘MDS 78’ (upper right) 71 x 178cm $50,000 - 70,000 LITERATURE: Trish Gribben, Michael Smither Painter, Ron Sang 2004 p. 154.

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‘This painting began life as Lord of the Feasts. When I painted the St Francis paintings I was still a practicing Catholic. By the time I painted this I had abandoned formal religion, but not the concept of spirituality. This painting began as a rendering of an old wino I saw lying in oblivion in Wellington. As I painted him he began to glow; the light started to come out of his face. He showed me the possibility of sainthood in an ordinary man - St Francis in mufti and ecstasy. The mynah bird is both a predatory element and a prophetic aspect of the sleeper’s dream.’ Michael Smither Gribben, Michael Smither Painter, 2004, p. 154

FINE & APPLIED ART

27 Ralph Hotere (1931-2013) Green lacquer on corrugated iron with cast pewter mountings signed and dated ‘Hotere/Port Chalmers/’97’ and inscribed with title to the reverse of each panel each panel 200 x 85.5cm; overall 200 x 175.5cm $100,000 - 150,000 PROVENANCE Private collection, Auckland Our eyes slide down the dark dark grey (charcoal) iron sheet, as if over a rippled sea with its peaks and troughs, and we almost fall through it. At first it seems vague, this spacious flatness, or rather neutral without real colour, volume without veneer, but soon it begins to possess qualities, signs and life. The descent of our eyes down each sheet of corrugated iron, like slipping down the incline of a newly corrugated roof, occurs as if we were waiting for that moment when a tongue would peel back, like the lid of a sardine can, to catch our fall, revealing a verdant underbelly, green as a spring leaf or a Granny Smith apple. A world otherwise revealed resplendent in a gash. As our eyes sink and glide down each wrinkly panel surface in a sort of fascination they are also caught, inveigled, by a cobwebby filigree of delicate plant-like forms (tiny fern fronds?) that race through the iron almost eating their way forward like etching acid. Then we notice that the upper and lower edges of each corrugated iron sheet are fixed to a support by beaten lead head nails, like little silver humming magnets stuck to a charcoal refrigerator door. Further footholds for our descent, these nail heads are cast mementoes of small objects given to the artist by his friends, they function like the small ex votos of beaten metal one finds in Italian churches, banal and stereotypical in character, humdrum in their mediocrity, but potent in psychic efficacy and private memory. Now standing back from the whole composition, we perceive that the two rippled surfaces of iron are deliberately juxtaposed (a diptych) to concoct a cruciform shape that hovers ephemerally before our eyes. A conjured shape that in its proportions reminds us of Hotere’s shiny black, reflective lacquered paintings of the 1970s, each featuring a perfectly centred, full-length, sharp, coloured slit-like cross. Corrugated iron, invented in England in 1830, introduced into New Zealand in 1850 (it ‘roofed’ the first New Zealand Parliament in 1852), and now regarded as iconic kiwiana, has over the course of his career been framed, painted, lacquered, scratched, sanded, burnished, and scored by Ralph Hotere. Now that Hotere himself has become something of a New Zealand icon, it seems fitting, as writer Geoff Chapple maintains, that behind all the familiar New Zealand icons lies “the unremitting ripple of corrugated iron”. Professor Laurence Simmons

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FINE & APPLIED ART

28 Gottfried Lindauer (1839-1926) Hamiora Maioha oil on canvas signed ‘G. Lindauer’ (lower left) 60 x 50cm $65,000 - 85,000 PROVENANCE Purchased by the vendor’s father, McKearneys, Hastings 1974 Private collection, Hawkes Bay

Gottfried Lindauer (1839-1926), along with Charles F Goldie was New Zealand’s best known painter of Maori subjects in the late nineteenthearly twentieth centuries. Bohemian by birth, Lindauer trained as an artist at the Academy of Fine Arts, Vienna, where he established a successful career as a portrait painter. Emigrating to New Zealand in 1874, Lindauer initially settled in Nelson. A move to Auckland in the mid 1870s however proved crucial. It was there he met prominent businessman and collector Henry Partridge (1848-1931), who was to become his lifelong patron. Partridge commissioned Lindauer to depict numerous portraits of eminent Maori, both living and deceased, as well as large-scale depictions of re-enactments of traditional Maori life and customs over a period of 30 years. Partridge’s aim was to create a pictorial history of Maori at a time when it was widely believed that Maori were dying literally and as a distinct cultural group. The interpretation of Lindauer’s portraits has varied enormously, depending on the viewers socio-cultural contexts. For many colonial Europeans the portraits represented a supposed vanishing Maori culture, as well as being important ethnographic documents providing a valuable record of Maori physiognomy, moko, dress and arefacts. For many Maori, especially the families and descendants of those portrayed, his portraiture was interpreted in an entirely different light. They were viewed and still are to this day, as embodiments of the presence, spirit and mana of the subject, a link between the past and present, and as taonga that need to be protected. As such Lindauer was held in extremely high regard within the Maori community and his mutual respect can be seen in his sensitive handling of his Maori subjects. It is also suggestive of the sympathy and empathy that he as an outsider, a Czech artist in a predominantly Anglo European population understood. The present work is most likely a private commission for the sitters family. Although the identity of the sitter is not recorded, the work is entitled Hamiora Maioha. It is most likely a depiction of either Hamiora Wiremu Maioha (1888 - 1963) of Ngai Tawake hapu of Nga Puhi, resident of the Bay of Islands or Hamiora Te Maioha (1864 - 1929) born Waimate North, Northland, New Zealand on 25 Jan 1864 to Hoani Maioha and Margaret Makere Farley.

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FINE & APPLIED ART

29 Vera Cummings (1891-1949) Maori Chieftain with Huia feather behind his ear oil on canvas signed ‘V.Cummings’ (lower right) 20.5 x 15.5cm $2,500 - 4,000

30 Vera Cummings (1891-1949) Maori Woman with Moko and greenstone earring oil on canvas signed ‘V.Cummings’ (lower right) 20.5 x 15.5cm $2,000 - 3,500

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31 William G Baker (1864-1924) Kenepuru Sound oil on canvas signed ‘W. G. Baker’ and inscribed with title (lower right) 76 x 111cm $4,000 - 7,000

32 John Philemon Backhouse (1845-1908) The Pink Terraces; The White Terraces oil on board both signed with initials (one lower right; the other lower left) each 26 x 37cm (2) $5,000 - 8,000 PROVENANCE Private collection, Taranaki

FINE & APPLIED ART

33 John Barr Clarke Hoyte (1835-1913) Pink Terraces and Lake Rotomahana watercolour signed ‘J.C Hoyte’ (lower left) 33.5 x 56.5cm $15,000 - 25,000 PROVENANCE Private collection, Marlborough

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34 John Barr Clarke Hoyte (1835-1913) Milford Sound watercolour and pencil 53 x 94cm $15,000 - 25,000 PROVENANCE Private collection, Kapiti Coast

FINE & APPLIED ART

35 Alexander Young Jackson CC CMG (Canadian, 1882–1974) Lower St Lawrence oil on board signed ‘A Y JACKSON’ (lower centre right); inscribed with title and dated ‘April 1953’ to the reverse 25 x 33cm $20,000 - 30,000 PROVENANCE Presented to Priory Headquarters by R M MacDonnell, High Commissioner for Canada to The Priory in New Zealand of the Order of St John, 1968

Alexander Young Jackson CC CMG (Canadian, 1882–1974) studied at the Conseil des arts et manufactures, Montréal with Edmond Dyonnet. After a brief period as a graphic artist for a lithograph company in Chicago, Young fought in the First World War. Injured in 1916, he continued service as an official Canadian war artist (1917-1919). Returning to Canada in 1919, Jackson and six fellow artists - Franklin Carmichael, Lawren Harris, Frank Johnston, Arthur Lismer, J E H MacDonald and Frederick Varley formed the Group of Seven (19191930). The group was renowned for its paintings inspired by the Canadian landscape, believing that a distinct style of Canadian art could be developed through direct contact with nature. This was considered bold at the time, as the Canadian wilderness had previously been considered too rugged to be painted, hence initiating the first major Canadian national art movement. The Group was succeeded by the Canadian Group of Painters in the 1933 of which Jackson was again a founding member. In addition to his work with the Group of Seven, his long career included teaching at the Banff School of Fine Arts (1943-1949). In his later years he was artist-in-residence at the McMichael Gallery in Kleinberg, Ontario.

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36 Grahame Sydney (b 1948) Marquee at the Dog Trials watercolour signed and dated ‘G. SYDNEY 1982’ (lower right) 23.5 x 46.5cm $20,000 - 30,000 PROVENANCE Purchased directly from the artist by the current owner, 1982 Private collection, Christchurch LITERATURE Grahame Sydney, Brian Turner, Owen Marshall, Timeless Land (Dunedin 2002) p. 83

FINE & APPLIED ART

37 Melvin [Pat] Day (b 1923) Wellington Heads oil on canvas signed and dated ‘Day 84’ (lower right) 137.5 x 228.5cm $15,000 - 20,000 PROVENANCE Private collection, Wellington

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38 Leo Bensemann (1912-1986) Wainui I oil on board signed with initials and dated ‘LB 77’ (lower right) 62 x 111cm $15,000 - 20,000 PROVENANCE Purchased directly from the artist by the current owner, 1981 Private collection, Kapiti Coast EXHIBITED Christchurch, Brooke Gifford Gallery, 1979 LITERATURE Caroline Otto, Leo Bensemann: Landscapes & Studies (Nelson 2006) p. 81 (colour illustration) Peter Simpson, From Fantastica: The World of Leo Bensemann (Auckland 2011) p. 161-2.

Bensemann begun Wainui I in 1974 and only later finished the work in 1977 and is one of only two works he completed of Wainui. He held the work in high regard commenting in a letter to his daughter Caroline and her husband Paul Otto in January 1974: ‘My dear Caroline and Paul, …I am leaving Nelson on Saturday and may not get another chance to send you (both) loving greetings from this most beautiful place…I came over a week ago last Saturday and the days have melted away in swimming, eating, sleeping and quite a lot of doog painting. In fact I have been painting very well for some reason I cannot understand because I arrived here a worn out nervous wreck…I started a biggish painting of the headland on the other side of Wainui Inlet and am terribly pleased with it - it alone had made the trip up here worthwhile. Something like this: The pretty little island is crowned with vivid green bush and is called Taupo. Out on the horizon you can just see Farewell Spit float like a mirage on a cerulean sea. The hills are olive green and brown gold and the great sweeping golden beach shatters in the right hand corner into Maori fish-hook shapes. Don’t think I will sell this one…’ Otto, Leo Bensenmann: Landscapes & Studies, p. 81.

FINE & APPLIED ART

39 Melvin [Pat] Day (b 1923) Still life with fruit oil on canvas signed and dated ‘Day ‘60’ (lower right); inscribed with title and inscription ‘Oroya Happy Anniversary 1962/Love Pat’ to the reverse 41 x 101cm $6,000 - 10,000

40 Melvin [Pat] Day (b 1923) Inscription mixed media on canvas signed and dated ‘Day 60’ (lower right); inscribed with title to the reverse 79 x 91.5cm $4,000 - 6,000

PROVENANCE with Mark Hutchins Gallery, Wellington Private collection, Wellington

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington,15 November 2006 (lot 12) The Cordyline Collection, Wellington

EXHIBITED Rotorua Museum of Art & History, Melvin Day Continuum, 2005

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THE RUSSELL CLARK COLLECTION The following ten lots (with the exception of lot 47) are from the personal collection of a member of the Clark Family, Christchurch

41 Russell Clark (1905-1966) Japanese Prisoners, Mono pencil signed ‘RUSSELL CLARK’ and inscribed with title (lower left) 39.5 x 49cm $2,000 - 4,000 LITERATURE Michael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 36-7, pl. 24 (illustrated) This work is a study for Japanese prisoners, Mono Island c 1943, National Collection of War Art, Auckland War Memorial Museum (see illustration right)

Japanese Prisoners Mono Island c1943 by Russell Clark [Archives Reference: AAC 898/ 508 NCWA] Archives New Zealand The Department of Internal Affairs Te Tari Taiwhenua

FINE & APPLIED ART

42 Russell Clark (1905-1966) Volcanic Harbour oil on board certificate of authenticity from William A Sutton, 1986 attached to the reverse 39 x 58cm $2,500 - 4,500

43 Russell Clark (1905-1966) Sketch for Auckland Anchor Stone Sculptures watercolour, pencil and ink inscribed with title (lower centre) 35 x 53cm $1,000 - 2,000 LITERATURE Michael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 78-79, pl. 83 (similar study)

44 Russell Clark (1905-1966) Maquetteâ&#x20AC;&#x2122;s for Anchor stones, Bledisloe Building, Auckland hinuera stone 29cm height each, (one af) $1,000 - 2,000

LITERATURE Michael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 79, pl. 84 (original sculptures) These maquetteâ&#x20AC;&#x2122;s are studies for the large Anchor Stones located Bledisloe State Building, Auckland 1959. The sculpture is based on the shape of two historic Maori anchor stones; one Matoahorua stone in the collection of the National Museum and Tainui stone on the grave of Tamati Kingi Te Wetere, Mokau.

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45 Russell Clark (1905-1966) Helmet Head Fired clay sculpture 51cm height $2,000 - 4,000

46 Russell Clark (1905-1966) Portrait Bust hollow modelled concrete 40cm height $1,500 - 2,500 Most likely the same bust depicted in Russell Clark’s painting Two Heads and Flowers 1949, ‘Russell Clark 1905-1966, A Retrospective.Exhibition’, Robert McDougall Art Gallery Catalogue 1975 p. 39.

47 Russell Clark (1905-1966) Sculpture Group 2 oil on board signed ‘Russell Clark’ (lower left); inscribed with title to the reverse 38.5 x 65cm $4,500 - 7,000 PROVENANCE Private collection, Christchurch This work is most likely an alternative study for the Hays Ltd Sculpture, Riccarton, Christchurch

FINE & APPLIED ART

48 Russell Clark (1905-1966) Native Carriers & Guides, Mono. Treasury Islands watercolour, pencil and ink inscribed with title (lower right) 23.5 x 35.5cm $1,000 - 2,000 This work is a study relating to Russell Clarkâ&#x20AC;&#x2122;s, Native guides, Mono Island, 1944, National Collection of War Art, New Zealand. [Archive Reference: AAAC 898/ NCWA 123],

The following three lots were produced for the New Zealand School Journal. From 1940 Russell Clark began his long association as a principal illustrator for the Journal. Over the following years his imagery was to become familiar to a whole generation of primary school children. 49 Russell Clark (1905-1966) Founding fathers of Banks Peninsula ink and pencil 37.5 x 56cm together with another drawing by the same hand, Colonial Settlement, Canterbury (2) $2,000 - 3,000

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50 Russell Clark (1905-1966) Colonial settlement of Canterbury ink and pencil 37.5 x 56cm together with another drawing by the same hand, European & Maori negotiations (2) $2,000 - 3,000

51 Russell Clark (1905-1966) Surveying the settlement of Canterbury ink and pencil 37.5 x 56cm together with another drawing by the same hand, European settler discovering territory with Maori guide (2) $2,000 - 3,000

FINE & APPLIED ART

52 Peter McIntyre (1910-1995) The breakthrough, Minqar, Qa’im, 1942 ink on paper signed ‘PETER MCINTYRE’ (lower right) 18.5 x 31cm $10,000 - 15,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 12 August 2009 (lot 33) Private collection, Australia

New Zealand war artist Peter McIntyre’s remarkable working drawing for The Breakthrough: Minqar, Qa’im records his immediate impression of the Second New Zealand Expeditionary Force’s (2NZEF) breach of its confinement by General Erwin Rommel’s troops in the cliffs above Mersa Matruh in Egypt in June 1942. The 2NZEF has returned to Egypt from Syria, following Rommel’s infiltration of the allied lines and fears for his occupation of Egypt. However, although anticipating support from the 1st Armoured Division, the 2NZEF became quickly encircled by Rommel’s forces and confined in Minqar Qa’im. Lacking in tank support, the 2NZEF decided to strike against the German line, surprising its blockage towards midnight, relying on its infantry to force the breakthrough with rifles and grenades. As they advanced, the 2NZEF’s trucks followed, shelled from both sides by the startled German forces. McIntyre recalled these events when he toured New Zealand as official war artist in1943: ‘There were streams of fire coming from both sides when the Division started to break its way through. The Maori driver of Captain McIntyre’s truck pulled his tin hat down over his eyes and went for his life.’ The war against Rommel in the North African desert presented McIntyre and other war artists with a very different environment to that of the First World War. British war artists faced many problems working in these conditions and both Edward Bawden and Edward Ardizonne admitted that they had trouble adjusting to the vast indefinite desert spaces. McIntyre, however, appears to have responded favourably, appreciating the landscape’s

The breakthough, Minqar, Qa’im, 27-28 June 1942 by Peter McIntyre [Archives Reference: AAAC 898/ 20 NCWA] Archives New Zealand The Department of Internal Affairs Te Tari Taiwhenua

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potential for dramatic contrasts and distinctions between shadow and light, and day and night. Certainly, this sense of drama is evident in his drawing for The Breakthrough: Minqar Qa’im, and was refined even further in the finished painting, now held in Archives New Zealand war art collection (refer image below). McIntyre’s confidence in astutely capturing a fluctuating chiaroscuro of fire and flames against the dead of night was no accident. From his arrival in North Africa in 1941 he had frequently observed the 2NZEF, describing their movements travelling at night. He recalled: ‘It was a fantastic sight, one of the great spectacles of the war, as the entire New Zealand Division advanced across the desert in a huge pall of dust. ‘ Moreover, this initial record of the attack provided an insight into his working methods as an artist. The editing of the damaged tank in the immediate foreground and narrowing of the view of the convoy in the finished painting, accelerates the urgency and movement of the vehicles and their insistence in ensuring that they escape captivity. McIntyre later generously recalled: ‘I think my 2 1/2 years in the Western Desert with the New Zealand Division were the best times in my whole life in the company of men. Do you know what I mean? To me the New Zealand Division in those days was a superb thing. Men at their best in extraordinary circumstances.’ Dr Warren Feeney PHD, Masters Thesis on Peter McIntyre’s War Art, Canterbury University, 1995

FINE & APPLIED ART

53 Tom Esplin (1915-2005) Market Day, Old Stockholm oil on board signed ‘Esplin’ (lower right); inscribed with title to the reverse 38 x 56cm $6,000 - 9,000

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54 Peter McIntyre (1910-1995) Rangitikei River watercolour signed ‘PETER MCINTYRE’ (lower right) 52.5 x 71cm $12,000 - 16,000

FINE & APPLIED ART

55 Mountford Tosswill [Toss] Woollaston (1910-1998) The Grey River oil on board 90 x 120cm $16,000 - 22,000 PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Wellington

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56 Albert Namatijira (Australian/Aboriginal, 1902-1959) Ridges at Ormiston watercolour signed ‘ALBERT NAMATJIRA’ (lower right) 34 x 52.5cm $10,000 - 15,000 PROVENANCE Private collection, Tauranga

FINE & APPLIED ART

57 Nicholas Chevalier (1828-1902) Study for Race to the Market, Tahiti oil on board signed with initials and dated ‘NC. 79’ (lower right) 14.5 x 23cm $20,000 - 30,000 PROVENANCE Private collection, Britain

Born in Russia, Chevalier arrived in Melbourne in 1855 becoming an illustrator for Melbourne Punch and exploring different parts of the region with his friend and fellow artist Eugene von Guerard. In 1865 Chevalier moved to New Zealand. In 1869 Chevalier left Australasia on the royal yacht Galatea in the company of the Duke of Edinburgh. Chevalier had been a member of the entourage for His Royal Highness’s tour of Victoria and Tasmania that began in 1867. Galatea sailed the Pacific and Indian oceans for a year, providing the artist with rich and exotic scenery that inspired his work for years to come. The present work, set in Opunohu Bay was completed on this tour and is a study for Chevalier’s masterpiece Race to the market, Tahiti, 1880, which currently hangs in Art Gallery of New South Wales, Australia.

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58 Girolamo Pieri Ballati Nerli (1860-1926) Apia Harbour, Samoa c1892 oil on canvas signed ‘G. Nerli’ (lower right) 40.5 x 86.5cm $20,000 - 30,000 PROVENANCE Private collection, Britain

In August 1892 Nerli visited Apia, Samoa where he met and painted Robert Louis Stevenson, producing portraits in oil, pastel and charcoal, one of which hangs in the Scottish National Portrait Gallery. A notice in the Samoa Times of 27 August 1892 outlined his plans: ‘By the Lubeck last trip there arrived in Samoa Signor Nerli, an Italian artist. It is the intention of this gentleman to reproduce, principally in oils, some of our magnificent scenery, and also to make some portraits of the Samoan natives, which he proposes to exhibit at the Sydney Exhibition. Signor Nerli informs us that he is prepared to undertake private commissions.’ Nerli produced a number quantity of plein air watercolour sketches in Samoa, a number of which show Stevenson’s house and environs. This previously unrecorded large oil is a notable addition to this rare and much sought after series of work.

FINE & APPLIED ART

59 Girolamo Pieri Ballati Nerli (1860-1926) Rotten Row, Hyde Park, London oil on board signed ‘G. Nerli’ (lower left) 23 x 31cm $4,000 - 6,000 PROVENANCE Private collection, Britain

60 Girolamo Pieri Ballati Nerli (1860-1926) Rowing on the Serpentine, Hyde Park, London oil on board signed ‘G. Nerli’ (lower right) 23 x 30.5cm $4,000 - 6,000 PROVENANCE Private collection, Britain

61 Girolamo Pieri Ballati Nerli (1860-1926) Boat House, Hyde Park, London oil on board signed ‘G. Nerli’ (lower right) 23 x 30.5cm $4,000 - 6,000 PROVENANCE Private collection, Britain

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62 Alfred de Breanski Snr RBA (British, 1852-1928) On Wild Aberdeen oil on canvas signed ‘Alfred de Breanski’ (lower left); signed and inscribed with title to the reverse 76 x 127cm $25,000 - 35,000 PROVENANCE Private collection, Canterbury

FINE & APPLIED ART

63 John Bevan Ford (1930-2005) The Cloak of Changchun acrylic, pastel and ink on paper signed (lower right) 138.5 x 248cm $4,000 - 7,000 PROVENANCE Purchased directly from the artist Private collection, Wellington Bevan Ford was one of New Zealandâ&#x20AC;&#x2122;s pioneers of Contemporary Maori Art. His paintings and sculptures achieved wide recognition with major sculptures in the International Sculpture Parks of Beijing and Changchun (2001). Changchun is the capital and largest city of Jilin province, located in the northeast of the Peopleâ&#x20AC;&#x2122;s Republic of China.

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64 Guy Ngan (b 1926) Mural for Yangtze Restaurant, Wellington acrylic and gold leaf on board 120 x 240cm $2,000 - 3,500

65 Guy Ngan (b 1926) Animated Colours oil & polyurethane on board inscribed â&#x20AC;&#x2DC;Tiki Hands Horizon (centre left); inscribed with title and dated 1973 on original artist label to the reverse 79 x 120cm $8,000 - 12,000 PROVENANCE Collection of the artist Sale, Dunbar Sloane Ltd Wellington, 15 August 2007 (lot 38) Private collection, Wellington LITERATURE Guy Ngan, Guy Ngan Scrapbook no 1 (Auckland 2010)

FINE & APPLIED ART

66 Ralph Hotere (1931-2013) Aramoana lithograph, limited edition P.P signed and dated ‘Hotere ‘90’ (lower right) 53 x 66cm $4,000 - 6,000 LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 51, fig. 32

67 Ralph Hotere (1931-2013) L Mort a les Couleurs du Paon lithograph with hand applied coloured inks, limited edition 4/14 signed and dated ‘Hotere ‘85’ (lower left); inscribed ‘death wear the colours of a peacock (Giono)’ (upper left) 53.5 x 37.5cm $3,500 - 5,500 PROVENANCE with The Small Gallery, Wellington 1986 LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 35, fig. 7

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68 Robin White (b 1946) Along the way of sorrows I-XIV etching, limited edition 15/18 signed ‘Robin White’ (lower right); dated ‘Jerusalem, May 1992’ (lower left) 9 x 90cm (overall); 9 x 6cm (each) $2,000 - 4,000

69 Bill Hammond (b 1947) Waiting for Buller ink and graphite on paper signed with initials and dated ‘WDH/1994’ (upper left) 75 x 56cm $12,000 - 16,000 PROVENANCE with Peter McLeavey Gallery, Wellington, 1995 Private collection, Wellington

FINE & APPLIED ART

70 Pat Hanly (1932-2004) Bride & Groom lithograph, limited edition 26/50 signed and dated ‘Hanly ‘90’ (lower right) and inscribed with title (lower centre) 63 x 50cm $2,000 - 3,000

71 Pat Hanly (1932-1994) The Golden Age reverse intaglio, limited edition 23/30 signed and dated ‘Hanly 79’ (lower right), inscribed with title (lower left) 49 x 50.5cm $2,000 - 4,000 LITERATURE: Neil Rowe, Hanly, The Printer as Printmaker, 1981, p. 40., no. 40

72 60

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72 Pat Hanly (1932-2004) Hope vessel and heart lithograph, limited edition p. 7. signed and dated ‘Hanly ‘86’ (lower right) and inscribed with title (lower left) 35 x 42cm $1,500 - 2,500

73 Gordon Walters (1919-1995) Kura screenprint, limited edition 104/150 signed and dated ‘Gordon Walters 1982’ (lower right), inscribed with title (lower left) 75 x 56.5cm $4,000 - 7,000

74 Barbara Hepworth (British, 1903-1975) Two marble forms, Mykonos lithograph, artist proof signed ‘Barbara Hepworth’ (lower right) 81 x 59cm $2,000 - 4,000 Hepworth made two sets of lithographs with the Curwen Press, London between 1969-71. This work is from the 12 Lithographs series which was published in 1969 from drawings made at the artist’s studio in St Ives. The Aegean Suite, published in 1971, developed from her fascination with Greece following a visit in 1954 with Margaret Gardiner.

75 Richard Killeen (b 1946) Flock of light, 1999 acrylic and gesso on aluminium, 30 pieces each piece inscribed with cat #3358 and indivdually labelled. variable size, 5.5 x 6cm each approximately $3,500 - 5,000

FINE & APPLIED ART

76 Philip Clairmont (1949-1984) Zig: Frontal View (study for painting) ink signed and dated ‘Phil Clairmont Aug 72’ and inscribed with title (lower right) 58 x 53cm $4,000 - 7,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 28 July 1999 (lot 61) Private collection, Wellington

77 Tony Fomison (1939-1990) Girl oil on paper signed with monogram, inscribed with title and dated ‘62 (lower right) 63 x 54cm $5,000 - 7,000 PROVENANCE Collection of Olivia Spencer Bower, Christchurch Sale, N H McCrostie & Co Auctioneers, Christchurch, The Collection of The Late Olivia Spencer Bower (lot 31) Private collection, Canterbury

78 Bill Hammond (b 1947) Untitled oil stick and felt pen on buff paper signed and dated ‘WDHammond/1998’ (lower left) 63 x 59cm (maximum) $2,000 - 4,000

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79 Tony Lane (b 1949) Hand, Tears, Stigmata oil, aluminium leaf and composition ornaments on gesso panel signed with initials (lower left) and dated ‘2.04’ (lower right); signed, inscribed with title and dated to the reverse 73 x 51cm $3,500 - 5,500 PROVENANCE with Mark Hutchins Gallery, Wellington 2004 The Cordyline Collection, Wellington

80 Tony Lane (b 1949) Hand oil, silver leaf on gesso panel signed with initials (lower left) and dated 2/97 (lower right); signed, inscribed with title and dated to the reverse 105 x 105cm (inclusive of frame) $3,500 - 5,500

81 John Parker (b 1944) Not quite white, not quite black oil on paper signed and dated ‘J S Parker 03’ (lower right); inscribed with title (lower centre) 100 x 70cm $2,500 - 4,000

PROVENANCE with Tinakori Gallery, Wellington, 2003 The Cordyline Collection, Wellington

FINE & APPLIED ART

82 Leonard Mitchell (1901-1971) New Zealand Centennial Exhibition Wellington, Nov 1939 - Apr 1940 lithograph archival mounting on linen printed by Whitcombe & Tombs Ltd, 1939 101.5 x 67cm $4,000 - 5,500

83 I Major Canterbury Centennial Celebrations Christchurch April 8th-14th 1940 screenprint archival mounting on linen 87.5 x 56.5cm $2,500 - 3,500

84 Edward Cole (fl. 1930) New Zealand Apples, The Empireâ&#x20AC;&#x2122;s Star Turn. The Dominion of New Zealand lithograph archival mounting on linen c1925-1935 76.5 x 50.5cm $2,000 - 3,000

85 A Amspoker New Zealand, Pan American Worldâ&#x20AC;&#x2122;s Most Experienced Airline screenprint archival mounting on linen printed in USA, 1958 89.5 x 55.5cm $3,000 - 4,500

86 Leonard Mitchell (1901-1971) for New Zealand Government Tourist Department Mt Egmont, 8,260 ft lithograph archival mounting on linen printed by G H Loney, Government Printer, Wellington c1934-1937 99.5 x 66cm $3,000 - 4,000

87 New Zealand Railways, Publicity Branch New Zealand, the playground of the Pacific. Thousands of feet above worry level! Mt. Cook. lithograph archival mounting on linen printed C M Banks Ltd, Lithographer, Wellington, c1933 101 x 64cm $3,000 - 4,000

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FINE & APPLIED ART

88 John Barr Clarke Hoyte (1835-1913) Maori surveying bustling harbour watercolour signed ‘J.C. Hoyte.’ (lower left) 34 x 56.5cm $4,000 - 6,000

89 Nicholas Chevalier (1828-1902) Sunset on Snow Covered Mountains watercolour signed and dated ‘N. Chevalier. 1878’ (lower left); inscribed with title and numbered 360 on original paper label to the reverse 32 x 46cm $3,000 - 6,000 PROVENANCE Collection of W Collingwood Smith, RWS Private collection, Britain

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90 90 Girolamo Pieri Ballati Nerli (1860-1926) Laughing Jackasses oil on board signed ‘GP Nerli’ (centre right) 34 x 60.5cm $14,000 - 18,000 PROVENANCE Collection of the artist 1888-c1893 Sale, Leonard Joel Ltd, Melbourne, 1974 (lot 842) Private collection, Marlborough EXHIBITED Art Society of New South Wales, Annual Exhibition 1888, no 124 (21 Pounds) Otago Art Society, 1948 Centennial Exhibition of Art in Otago (entitled as Amused) original exhibition label attached to the reverse LITERATURE Sydney Morning Herald, 18 September 1888 Financial Review, 4 June 1987, p. 32 (illustrated) Peter Entwisle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 108-110 fig. 28 (illustrated) This work is based on sketches of the front row of Fuller’s Theatre, Sydney

91 Alfred O’Keefe (1858-1941) Tea is Ready oil on canvas signed and dated ‘A. K. O’Keefe 1891’ (lower left); signed and inscribed with title on original label attached to the reverse 68.5 x 50cm $4,000 -6,000

PROVENANCE with Ferner Galleries, Auckland Private collection, Marlborough FINE & APPLIED ART

92 Margaret OlrOg Stoddart (1865-1934) White Chrysanthemums watercolour signed and dated ‘M.O.Stoddart, 1896.’ (lower right) 76 x 54cm $6,000 - 10,000

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93 Frances Hodgkins (1869-1947) Floral study with poppies c1930 gouache signed ‘Francis Hodgkins’ (lower left) 33.5 x 33cm $20,000 - 30,000 PROVENANCE Private collection, Britain

FINE & APPLIED ART

94 James Crowe Richmond (1822-1898) Kepler Mountains, Lake Anau watercolour signed & dated ‘J. C. Richmond 1889’ (lower centre), inscribed with title (lower right) 31 x 52cm $2,500 - 4,000

95 Olivia Spencer Bower (1905-1982) Adele Island, Nelson watercolour signed ‘OLIVIA SPENCER BOWER’ (lower right) 37 x 56cm $2,000 - 3,500 PROVENANCE with Peter McLeavey Gallery, Wellington Sale, Webb’s Auckland, The Richard & Rhoda Potton Collection, 31 March 2008 (lot 1)

This work was painted c1935.

96 Victor Gilbert (French, 1847-1933) Farm yard with dusting of snow oil on board signed ‘Victor Gilbert’ (lower left) 34.5 x 44.5cm $3,000 - 5,000 PROVENANCE by descent to the current owner Private collection, Tauranga

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97 Charles D Barraud (1822-1897) Surveyors crossing the Waikato River watercolour heightened with white signed and dated ‘C.D.Barraud/N.Z. 1863’ (lower right) 34 x 49cm $4,000 - 7,000

98 George O’Brien (1821-1888) Cheltenham Beach, North Head, Auckland Harbour watercolour heightened with white signed ‘GOBrien’ (lower left) 14 x 20cm $3,000 - 5,000 A similar composition by George O’Brien is housed in The Fletcher Trust Collection, Auckland.

FINE & APPLIED ART

100

99 Colin Wheeler (1919-2012) Cromwell Graveyard oil on board signed and dated ‘COLIN V. WHEELER - 1985’ (lower right) 60 x 54cm $2,500 - 4,500

100 Peter McIntyre (1910-1995) Hop Field, Motueka Valley oil on board signed ‘PETER MCINTYRE’ (lower right) 58 x 67cm $4,000 - 7,000 LITERATURE Peter McIntyre’s New Zealand (Wellington 1964) pl. 38

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102

101 Nicolas Dillon (b 1966) Paradise Ducks oil on canvas signed and dated ‘Nicolas Dillon 2009’ (lower right) 80 x 120cm $4,000 - 7,000 PROVENANCE Private collection, Australia

102 Nicolas Dillon (b 1966) Spawning Brown Trout oil on canvas signed and dated ‘Nicolas Dillon 2011’; inscribed ‘Spawning Brown Trout’ as seen in the headwaters of Top Valley Stream, Richmond Ranges, Marlborough, NZ, July 2010’ to the reverse 80 x 120cm $4,000 - 7,000

Born in Blenheim, 1966, Nicolas Dillon has exhibited worldwide including the prestigious ‘Birds in Art’ exhibition at The Leigh Yawkey Woodson Art Museum in Wasau, Wisconsin and the Society of Wildlife Artists, London.

FINE & APPLIED ART

103

104

103 Mountford Tosswill [Toss] Woollaston (1910-1998) South of Greymouth watercolour and pencil signed ‘Woollaston’ (lower right) 33.5 x 50cm $4,000 - 7,000 PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Wellington

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104 Mountford Tosswill [Toss] Woollaston (1910-1998) Pah Hill oil on board signed ‘Woollaston’ (lower right) 59 x 89cm $10,000 - 15,000

105

105 Philip Trusttum (b 1940) Untitled (Garden series) oil on board signed with initials & dated ‘PST/ ‘74’ (lower centre) 39 x 47cm $3,000 - 5,000

106 Gretchen Albrecht (b 1943) Red line acrylic on canvas signed ‘Albrecht’ (lower right); inscribed with titled and dated 1973 on the reverse/stretcher 178 x 83cm $12,000 - 18,000 PROVENANCE Sale, Webb’s, Auckland, 3 April 2001, lot 59 Private collection, Auckland EXHIBITED Elva Bett Gallery, Wellington, August 1978 ($600 - original gallery stamp on the stretcher)

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FINE & APPLIED ART

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107 Jane Evans (1946-2012) Beverley with Agapanthus gouache signed ‘Jane Evans ‘92’ (lower right) 76 x 56cm $4,000 - 7,000 PROVENANCE Purchased directly from the artist Private collection, Marlborough LITERATURE John Coley, Jane Evans, (Christchurch 1997) p. 100 (colour illustration)

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108 Jane Evans (1946-2012) Flowers in Italian vase with books gouache signed and dated ‘Jane Evans ‘90’ (lower right); inscribed with title to the reverse 74 x 56cm $3,000 - 5,000