Part One - NZ & International Fine Art

FINE & APPLIED ART AUCTION 20 & 21 NOVEMBER 2013 FINE & APPLIED ART

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FINE & APPLIED ART AUCTION WEDNESDAY 20 & THURSDAY 21 NOVEMBER 2013

PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART featuring works from THE COLLECTION OF the paul holmes family trust Lots 1 – 81 Wednesday 20 November, 6pm Part two • DAY SALE New Zealand & International Fine Art Lots 200 – 443 Thursday 21 November, 12 noon PART THREE STUDIO CERAMICS & APPLIED ART Lots A1 – A114 Thursday 21 November, 5pm

OPENING PREVIEW • WELLINGTON Thursday 14 November • 5.00 – 6.30 pm

Wellington Viewing Friday 15 November Sunday 17 November Monday 18 November Tuesday 19 November Wednesday 20 November

ILLUSTRATIONS Front Cover • Lot 23 Inside Front Cover • Lot 17 Inside Back Cover • Lot 26 Part One Title Page • Lot 22 Part Two Title Page • Lot 403 Part Three Title Page • A98

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 info@dunbarsloane.co.nz • www.dunbarsloane.com ENQUIRIES Helena Walker Director, Fine & Applied Arts helena@dunbarsloane.co.nz Ph: 027 471 3662 • (04) 472 1367 • (09) 630 9178

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FINE & APPLIED ART HIGHLIGHTS - august 2013

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1 LEN CASTLE slab form vase • $1,640 2 J B C HOYTE Auckland Harbour • $28,150 3 CROWN LYNN hand potted vase • $700 4 MICHAEL SMITHER Walnut • $18,800 5 TERRY STRINGER Bronze of A Lois White • $7,000 6 JOHN TOLE Campsite on Shoreline • $6,160 7 JOHN TOLE The Red Letter Box • $7,600 8 NUGENT WELCH Ruins of Cloth Hall & Cathedral, Ypres • $5,000 9 RALPH HOTERE Mungo • $55,000

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10 GORDON WALTERS Untitled (1966) • $46,900 11 JOHN CRICHTON copper mosaic bowl • $1,350 12 TERRY STRINGER Bronze Floor Standing Table • $16,400 13 DON BINNEY Kereru • $82,000 14 paul dibble The Voyager • $61,000 15 JEFFREY HARRIS Figures in Landscape • $5,000 16 BARRY BRICKELL Fatso jug • $1,050 17 TONY FOMISON Facial Hypertrichosis • $20,500

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MAORI & PACIFIC TRIBAL ARTS AUCKLAND LATE FEBRUARY 2014 Entries currently invited ENQUIRIES Dunbar Sloane Snr Ph +64 9 630 9178 • 0274 713 667 Email dunbar.akl@xtra.co.nz www.dunbarsloane.com ILLUSTRATED Large superb quality C19th Maori kiwi feather kete 26 x 34cm Est $1,800 - 2,500

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ANTIQUE & DECORATIVE ARTs WELLINGTON 5-7 NOVEMBER 2013 Catalogue now available ENQUIRIES Bettina Frith or Anthony Galllagher Ph +64 4 472 1367 Email antiques@dunbarsloane.co.nz www.dunbarsloane.com LOT 648 DEMETRE CHIPARUS Chain Dancer c1925 Est $10,000 - 15,000

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TOY & DOLL WELLINGTON 4 December 2013 Entries closed ENQUIRIES Bettina Frith Ph +64 4 472 1367 Email info@dunbarsloane.co.nz www.dunbarsloane.com ILLUSTRATED Selection of vintage tinplate & modern plastic pedal cars Est range $100 - 1,000

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new zealand & international fine & applied art WELLINGTON MARCH/april 2014 Entries currently invited ENQUIRIES Helena Walker Ph +64 4 472 1367 Email helena@dunbarsloane.co.nz www.dunbarsloane.com

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VALUATION SERVICES • NEW ZEALAND WIDE six specialist valuers with over 200 years combined experience insurance • market • matrimonial • estate division • probate

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DUNBAR SLOANE WELLINGTON

specialising in • NEW ZEALAND & INTERNATIONAL FINE ART • Pottery • antique furnishings • decorative porcelains • oriental • maori artefacts • toys & dolls • antiquarian books & Maps MILITARIA • silver • jewellery • coins & stamps • household estates

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AFFORDABLE ART WELLINGTON LATE JANUARY 2014 Featuring the Print Collection of the Late Don Spiller, Wellington ENQUIRIES Helena Walker Ph +64 4 472 1367 Email art@dunbarsloane.co.nz www.dunbarsloane.com

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PART ONE • EVENING SALE New Zealand & International Fine Art Lots 1 – 81 6pm • Wednesday 20 November 2013

1 Nigel Brown (b 1949) ‘From the Resistance’ David Parkyn at Mangamahu oil on paper signed and dated ‘N. Brown./ 1981’ (lower centre) and inscribed with title (upper) 76 x 54cm $4,500 - 7,000 PROVENANCE with New Vision Gallery, c1984 Private collection, Wellington

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2 Nigel Brown (b 1949) Red Fern for Gauguin mixed media (canvas, paper, board, photocopy, acrylic and oil) on board signed and dated ‘80 NBROWN’ (lower right) and inscribed with title (lower); signed, dated, inscribed with title and medium to reverse 56 x 42cm $4,000 - 6,500 PROVENANCE with RKA Art, Auckland 1982 Private collection, Wellington

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3 Nigel Brown (b 1949) Whatever Love Whatever acrylic and polyester compound on board signed and dated ‘NIGEL BROWN 86’ (lower left) and inscribed with title (lower centre); signed, inscribed with title and dated to the reverse 118 x 178cm $14,000 - 18,000

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4 Jeffrey Harris (b 1949) The Answer is No pastel and acrylic on paper signed & dated ‘J. Harris 1980’ (upper right) 57 x 77cm $3,000 - 6,000

5 JEFFREY HARRIS (B 1949) Untitled (1969) oil pastels on paper signed and dated ‘Jeffrey Harris 1969’ (lower left) 71 x 105cm $3,000 - 6,000

PROVENANCE with Sue Crockford Gallery, Auckland, 1987 Private collection, Wellington

PROVENANCE Private collection, Auckland

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6 JEFFREY HARRIS (B 1949) Girl in the Yellow Hat pastel and acrylic on paper 43 x 69cm $2,500 - 4,000

7 JEFFREY HARRIS (B 1949) Boy with Red Hat pastel and acrylic on paper 43 x 69cm $2,500 - 4,000

PROVENANCE with Denis Cohn Gallery, Auckland, 1983 Private collection, Wellington

PROVENANCE with Denis Cohn Gallery, Auckland, 1984 Private collection, Wellington

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8 DON DRIVER (1930-2011) Painted Relief No 15 acrylic on canvas construction signed, inscribed with title and dated ‘PAINTED RELIEF NO 15’ 1971/ BY DON DRIVER’ on structural support to the reverse 69 x 128cm $4,000 - 8,000 PROVENANCE Private collection, Auckland

9 NEIL DAWSON (B 1948) Slice steel, expanded mesh and strap etched signature and dated ‘NEIL DAWSON 85’ to reverse 94 x 91cm (maximum) $4,000 - 7,000

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PROVENANCE with Denis Cohn Gallery, Auckland, 1985 Private collection, Wellington Note: complete with original installation instructions

10 JUDE RAE (B 1955) Mnemosyne’s Mirror oil on linen, 9 panels variously signed and dated ‘91 to the reverse 135 x 135cm overall; 45 x 45cm per panel (9) $7,500 - 10,000 PROVENANCE Private collection, Wellington

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11 TERRY STRINGER (B 1946) Fallen Idol cast bronze, unique 1 of 1 incised with signature and dated ‘TERRY STRINGER ‘84 1/1’ (lower right edge) 33cm height $4,000 - 7,000 PROVENANCE with Denis Cohn Gallery, Auckland, 1985 Private collection, Wellington 12 EDGAR MANSFIELD (1907-1996) Animism 59 bronze on marble base, limited edition 6/6 Inscribed with initials ‘EM’ and Morris Singer Foundary stamp to base 70cm height, overall $2,000 - 4,000

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PROVENANCE Private collection, Hawkes Bay Born in London1907, Edgar Mansfield emigrated to Hastings, New Zealand in 1911. After four years teaching at the Feilding Agricultural School he returned to London in 1934 to continue his artistic education.

After completing war service, he taught at the London College of Printing from 1948 to 1964 after which he returned to Napier. It was on his return he turned to sculpture. Notably Mansfield was the first president of the Britain’s Guild of Contemporary Bookbinders (1955-1968) and became a Fellow of the Royal Society of British Sculptors in 1980.

13 MARK HILL (B 1969) Dragonfly stainless steel and ceramic sculpture 180cm wing span, 115cm length, 120cm height $3,000 - 5,000 PROVENANCE purchased Mark Hill Exhibition, Dunbar Sloane Auckland, 2007 Private collection, Auckland Born in Whangarei, Mark Hill trained as a graphic designer and photographer at the Queensland College of Art. After his first solo exhibition in 2002, Hill, whom is based in Arrowtown, has been working on commission pieces for a number of private collections in New Zealand and Australia, as well as public works in Katikati, Wanaka, Arrowtown and Queenstown including Queenstown airport & The Hills Golf Course.

14 MARK HILL (B 1969) Bumble Bee stainless steel and ceramic sculpture 53cm height, 54cm length $2,000 - 4,000 PROVENANCE purchased Mark Hill Exhibition, Dunbar Sloane Auckland, 2007 Private collection, Auckland

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15 PAUL DIBBLE (B 1943) An Assemblage of Stillness cast bronze, limited edition 1 of 3 inscribed with signature and dated ‘Paul Dibble 2000’ to base 49 x 53.5 x 10cm $10,000 - 15,000 PROVENANCE with Gow Langsford Gallery, Auckland Private collection, Auckland LITERATURE Paul Dibble, (Auckland 2001) p. 117 (colour illustration)

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‘In An Assemblage of Stillness the equal weighting of the forms is assured and apparently effortless. The separate components are like words linked in a row, like hieroglyphs or pictograms, formally satisfying and with the promise of a message waiting to be decoded: a falling leaf, a tattooed Eve, an elegant urn and a propped-up huia feather collected from some lost paradisial garden.’

Paul Dibble 2001 p. 117.

16 PAUL DIBBLE (B 1943) Soft Geometric 15 [Series 2] cast bronze inscribed with signature and dated ‘Paul Dibble NZ 2004’ to base 65.5 x 26 x 22cm $15,000 - 20,000 PROVENANCE with Gow Langsford Gallery, Auckland Private collection, Auckland

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17 PAUL DIBBLE (B 1943) God’s Own (1996-7) cast bronze, limited edition of 2 173 x 67 x 63cm $35,000 - 45,000 PROVENANCE with Gow Langsford Gallery, Auckland Private collection, Auckland LITERATURE Paul Dibble, (Auckland 2001) pp. 103-105 (colour illustration)

The Pacific as a specific environment thus forms another important aspect of Dibble’s figure-based sculptures. And it is perhaps not surprising that the state of this environment should be of some concern to an artist who loves the sea. More pessimistic, therefore, is the use of the Oceanic nude in God’s Own, also created in 1997. In this bronze, the nude is paired with a burning umbrella. The umbrella is shorthand for the need for protection for a Pacific under stress, symbolised by the burning parrot…As one of only a handful of sculptors in this country perservering with the difficult, expensive and labour-intensive process of bronze casting, Dibble needs to be acknowledged for his major role in maintaining this significant aspect of New Zealand’s European artistic heritage’ Paul Dibble 2001 p.p. 103-105

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18 DORIS LUSK (1916-1990) Night Drive Port Hills oil on canvas board signed ‘D LUSK/1959’ (lower right) 43 x 86cm $15,000 - 25,000 PROVENANCE Collection of the artist c 1960 EXHIBITED Auckland City Art Gallery, Contemporary NZ Painting & Sculpture, August 1960, cat no 1 (original label attached to the reverse)

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19 MICHAEL SMITHER (B 1939) Taranaki, no 24 oil on board signed with initials and dated ‘MDS 71’ (lower right); signed with initials, dated and inscribed with title to the reverse 12 x 27.5cm $12,000 - 18,000 PROVENANCE Private collection, Auckland

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20 MILAN MRKUSICH (B 1925) Painting Dark Umber oil on canvas signed ‘Mrkusich ‘68’ and stencilled with title and date to the reverse 60.5 x 60.5cm $20,000 - 30,000 PROVENANCE Private collection, Wairarapa

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21 TONY FOMISON (1939-1990) Untitled (Three Heads, c1980s) oil on board 28.5 x 58.5cm $20,000 - 30,000 PROVENANCE Private collection, Christchurch

22 TONY FOMISON (1939-1990) Untitled (1985-86) oil on canvas applied to electro-plated breadboard surround inscribed on original label ‘Started at Chamberlain St Grey Lynn early 1985, worked on at Rita Angus Cottage & at Driving Creek 1985-86’ to the reverse 27cm dia, overall; 17cm dia, canvas $10,000 - 15,000 PROVENANCE Private collection, Christchurch

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23 TONY FOMISON (1939-1990) Untitled #139 (1976) oil on jute canvas with arched top inscribed ‘#139’ (lower left and to the reverse of canvas) 79 x 110.5cm $70,000 - 90,000 PROVENANCE with Barry Lett Galleries, 1976 Collection of Rodney Kirk Smith Private collection, Canada with Gow Langsford, Auckland Collection of the Paul Holmes Family Trust

Whilst this painting is not dated, the artist’s serial number #139 reveals it was painted in 1976, while Tony Fomison was living in Gunson Street Ponsonby, and the work first exhibited at Barry Lett Gallery, Auckland.

A large central allegorical head occupies almost the entire canvas, looming against a dimly lit horizon. Rather than literally recording the subject’s features, there is a non-specific likeness, which extends the work beyond the genre of portraiture. This is perhaps deference to the supreme sacredness of the head in Polynesian culture, a profound influence on the artist’s work. We first see earlier versions of such head studies appearing in the 1960s such as the charcoal drawing of the Ngãti Tahu Kaumatua, Takaumu (1963). Significantly by the time #139 was painted, Fomision had moved away from literal titles, replacing these instead with a serial number and allegorical titles such as Ah South Island your music remembers me #125 (1976). His heads no longer represent specific people but the ancestral wisdom embodied in the land. Fomison’s logbook entry referring to the work describes the myriad of different influences stating:

LITERATURE The Tony Fomison Painting Log book, Tony Fomison Studio Papers, E.H. McCormick Research Library, Auckland Art Gallery, 26 August 1976 Ian Wedde (ed), Fomison: What Shall We Tell Them? (Wellington, 1994), Cat. No. 526, p. 175.

EXHIBITED Gow Langsford Gallery, Spring Catalogue 2011, no. 3.

‘Large, frontal foreshortened Polynesian face on round topped canvas.

Although the face kept right throughout the frontal foreshortened aspect of #122 [Isn’t my turn? 1976], it lost its forbidding type of forms & at this stage I attempted to gain for it realism by using photos in my “Foreshortened Face” folder; but the painting resented this intrusion, and rejected them; it was only then, 1 August 1976, that I was able to finish the painting of the lamp black, after an incredible number of faces had traipsed through it.’ 26 August 1976 Tony Fomison Paintings Log Book The landscape on which the central head is positioned should not be overlooked. The muted lighting, dark palette and simple horizon line show the influence of Colin McCahon’s work from the early 1970s, whom Fomison met not long after moving from Christchurch to Auckland in 1973. We also see a reconnection with the South Island landscape of his childhood, with the probable location being Lake Waiwera, Birdlings Flat.

It was here that Fomison’s first serious engagement with taha Maori took place in the context of friendships with Ngai Tahu people in Canterbury while still at high school.

The overall effect is one of dark, foreboding, offering a personal representation of the human condition and its inherent fragility, all of which are essential to Fomison’s oeuvre.

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collection of the paul holmes family trust

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24 ALLEN MADDOX (1948-2000) Untitled (c1979) oil on canvas 175 x 119cm $40,000 - 60,000 PROVENANCE Estate of Allen Maddox with Gow Langsford Gallery, Auckland Collection of the Paul Holmes Family Trust EXHIBITED Gow Langsford Gallery, Spring Catalogue 2011, no. 14.

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25 SHANE COTTON (B 1964) Untitled (2006) acrylic on canvas signed, dated and inscribed ‘UNTITLED SC. 2006’ (lower right) 160 x 180cm $50,000 - 80,000 PROVENANCE with Gow Langsford Gallery, Auckland Collection of the Paul Holmes Family Trust

Shane Cotton’s (Ngapuhi: Ngati Rangi, Ngati Hine, Te Uri Taniwha) work often deals with issues of place – namely, of not having one. The issue of biculturalism, given Cotton’s bicultural background, has been the centre point of his work. This lack of place is not limited to a place in space, but extends to a lack of a place in time. Cotton’s works are often read as puzzles (and this Untitled (2006) is exemplary of his inclination to dub paintings Untitled), but this Untitled (2006) stands as an example of the necessary process of puzzlement that is, at its heart, a process of reflection.

Untitled (2006) exemplifies Cotton’s change in palette from his earlier, earth toned canvases to his later dark blacks and blues. He shifts from one dark palette to another, where colours are less discernible from each other; where lines are not so much blurred as so indistinct.

This metaphorical palette shift echoes Cotton’s shifting interest in the relationship between the future and the past. Similarly, though Untitled (2006) is painted with acrylics, its surface appears to be digital, enhanced by the presence of ‘stop’ and ‘play’ buttons.

A favoured motif of Cotton’s is the mokomokai: the shrunken head. In Untitled, the grotesqueness of the shrunken head confronts the viewer face-to-face, as it hovers in this blue ether – it is placeless and timeless. It surfaces as from a deep, stormy pool, but is also protected by the veneer of an apparently digital screen. The forms within are organic – the birds are skilfully rendered, as is the grotesque head. Cotton confounds the viewer with this digital/analogue paradox that parallels the present-future/ past narrative of Maoridom. The head clenches its teeth from back in history. Its presence here questions what has changed, how far we have come as it languishes in its nothing-place.

Though palette and subject in Untitled (2006) are subdued, almost frightening, the viewer can perhaps find solace in the illumination of the ‘play’ button. Not only does this choice of illumination hint at dynamism, a sense of movement within the canvas, it also signals a progression. The world of Untitled is in motion, it is moving forward. This may be a world of turmoil and questioning, it is also a world of progress.

Amy Stewart

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26 RALPH HOTERE (1931-2013) Whitedrip II acrylic and enamel on corrugated iron with applied cast lead-head nails signed, inscribed with title and dated ‘WHITEDRIP II STUDIO I NBZ PORTCHALMERS/ Hotere 3.12.03’ (centre) also to the reverse 184 x 86cm $140,000 - 170,000 PROVENANCE Collection of the Paul Holmes Family Trust

The late Ralph Hotere painted the White Drip series in response to late broadcaster Paul Holmes’ referring to then UN Secretary General Kofi Annan as a ‘cheeky darkie.’ The fallout was great, but many also jumped to Holmes’ defence highlighting, in Hotere’s eyes, the characteristic defence of such an indefensible display of public racism.

The meanings of black in Hotere’s work are many and sundry, and in a large part to do with death. In White Drip II, though, Hotere keenly deploys his characteristic painterly tropes with his also characteristic humour. The splatter of white (present in so many Hotere works) he names the ‘drip’, perhaps a jibe at Holmes himself. Hotere’s black, in turn, is set up as counterpoint.

Hotere’s format in the White Drip series harkens back to the long, narrow strips of corrugated iron used in 1980’s Aramoana, for example. By hosting his protests on objects as banal as corrugated iron, Hotere quickly, instantly even, banishes the alienation of the canvas in lieu of something immediately recognisable and accessible. Gregory O’Brien notes in his 1997 book on Hotere’s collaborations with New Zealand poets that, like Robert Motherwell’s collages, Hotere’s paintings use ‘the flotsam of everyday life … to pass us through abstractions and back to common experience’ (14).

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The corrugated iron is so typically kiwi – so New Zealand. We are less inclined, however, to think of the deep blackness and red splatter as New Zealand. In White Drip II, Hotere creates a visual metaphor for the issue of casual racism that plagues but also defines New Zealand. Hotere doesn’t embrace the conflict as much as confront it head on. His response to Holmes’ lack of discretion is a visual pun but, like all good metaphors, it can extend itself endlessly into deep layers of social commentary and historical reference.

One of Hotere’s great strengths as a political painter is embodied in White Drip II; being able to retort at once such starkness and subtlety to such blatant racism as was shown by Holmes on the occasion of his rousing comments. Perhaps a virtue of his pacifism, the ability to comment deeply and powerfully yet quietly and with humour defines White Drip II, Hotere, New Zealand painting and New Zealand protest culture in one work.

Amy Stewart

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27 RALPH HOTERE (1931-2013) Aramoana for Ian Wedde’s Pathway to the Sea ink, watercolour and graphite on paper signed and dated ‘Hotere/ ‘75’ (lower centre), inscribed with title (upper centre) 35 x 50cm $15,000 - 20,000 PROVENANCE with RKS Art, Auckland, 1983 Private collection, Wellington

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28 ALLEN MADDOX (1948-2000) Untitled acrylic on paper signed with initials and dated ‘AM 8.2.94’ (lower centre) 72 x 53cm $5,000 - 8,000

29 ALLEN MADDOX (1948-2000) Untitled (1997) oil on canvas signed with initials and dated ‘AM 97’ to the reverse 45 x 45cm $8,000 - 12,000

PROVENANCE with Williams Gallery, Petone Private collection, Hawkes Bay

PROVENANCE with Williams Gallery, Petone Private collection, Wellington

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30 JOHN GULLY (1819-1888) Lake Taupo looking towards Tongariro Range watercolour and pencil signed and dated ‘JOHN GULLY/1866’ (lower right) 45 x 63cm $25,000 - 35,000

31 TIM WILSON (B 1954) Southern Majesty oil on linen signed ‘A.H.T.Wilson’ (lower right); signed, inscribed and dated ‘Fiordland/ Impression/ - A.H.T. Wilson- /08’ to the reverse 126 x 96cm $20,000 - 30,000 PROVENANCE with Harrisons Gallery, Tauranga Private Collection Tauranga

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32 SYDNEY LOUGH THOMPSON (1877-1973) Wind in the Willows, Lake Wanaka oil on canvas signed and dated ‘SLThompson /56’ (lower right) 52 x 63.5cm $10,000 - 15,000 PROVENANCE by descent from the current owner’s father Private collection, Wellington

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33 PETER MCINTYRE (1910-1995) Lake Wanaka oil on board signed ‘PETER MCINTYRE’ (lower right); inscribed with title and dated LAKE WANAKA/ NEW ZEALAND./ PETER McINTYRE/ 1968’ to the reverse of panel 69 x 85cm $15,000 - 25,000

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34 LEO BENSEMANN (1912-1986) East Road, Takaka, Nelson oil on canvas board 60 x 83cm $12,000 - 16,000 LITERATURE Caroline Otto, Leo Bensemann Landscape & Studies (Nelson 2006) p. 40

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35 SIR MOUNTFORD TOSSWILL [TOSS] WOOLLASTON (1910-1998) Devil’s Thumb watercolour signed and dated ‘Woollaston ‘86’ (lower right) 30 x 42cm $3,500 - 5,000 PROVENANCE Estate of the Artist Private collection, Marlborough

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36 SIR MOUNTFORD TOSSWILL [TOSS] WOOLLASTON (1910-1998) Greymouth (c1950) oil on card laid down on canvas originally signed to the reverse of original artists board; signature photographed and image attached to the reverse 45 x 51cm $12,000 - 18,000 PROVENANCE with Warwick Henderson Gallery, Auckland Private collection, Auckland

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37 NICHOLAS CHEVALIER (1828-1902) Lake Wakatipu, Mt Earnslaw watercolour signed ‘N. Chevalier’ (lower left) 30 x 49cm $5,000 - 8,000 PROVENANCE Private collection, Wellington

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38 NICHOLAS CHEVALIER (1828-1902) Sunset on Snow Covered Mountains watercolour signed & 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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39 JOHN BARR CLARKE HOYTE (1835-1913) Akaroa with Onawe Peninsula watercolour signed ‘J.C.Hoyte’ (lower left) 25.5 x 42cm $2,500 - 4,000

40 JOHN BARR CLARKE HOYTE (1835-1913) Calm Coastal Inlet watercolour signed (lower left) 18 x 34.5cm $1,500 - 2,500

PROVENANCE Private collection, Wellington

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41 WILLIAM G BAKER (1864-1924) Hall’s Arm, West Coast Sounds oil on canvas signed ‘W. G. Baker’ and inscribed with title (lower right) 61 x 91.5cm $2,750 - 4,000 PROVENANCE Private collection, Auckland

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42 WILLIAM G BAKER (1864-1924) Awahuri Road, Feilding oil on canvas signed ‘W. G. Baker’ & inscribed with title (lower right) 61 x 92cm $2,000 - 3,500 PROVENANCE Private collection, Auckland

43 WILLIAM G BAKER (1864-1924) Wanganui River oil on canvas signed ‘W. G. Baker’ & inscribed ‘Wanganui R.’ (lower right) 45.5 x 66cm $1,500 - 2,500 PROVENANCE Private collection, Auckland 43

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44 JOHN WEEKS (1886-1965) King Country oil on board studio ‘WEEKS O’CONNOR’ stamp to the reverse 62 x 84cm $3,000 - 6,000

45 GRACE BUTLER (1887-1962) Mount Philistine, Arthurs Pass oil on canvas board signed ‘GRACE BUTLER’ (lower right); inscribed with title to the reverse 44 x 53cm $2,500 - 4,000 PROVENANCE by descent to the current owner Private collection, Canterbury

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EXHIBITED Christchurch, Fisher’s Gallery, Grace Butler, An Exhibition of Oil Paintings, Watercolours, 1960, no 62; original catalogue attached

46 COLIN V WHEELER (1919-2012) On Otago Harbour oil on board inscribed with initials ‘C.V.W.’ (lower right); inscribed with title on original artist’s paper label to the reverse 31 x 41.4cm $2,500 - 4,000 PROVENANCE Private collection, Canterbury

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47 PHILIP CLAIRMONT (1949-1984) Profile: ZIG, Study for painting ink and pencil on paper signed and dated ‘P. Clairmont. 72.’ (lower right) and inscribed with title (lower left) 52 x 37cm $3,000 - 5,000 PROVENANCE Private collection, Auckland 48 PHILIP TRUSTTUM (B 1940) Envelope oil and collage on shaped loose canvas inscribed with title 68 x 73cm $3,000 - 5,000 PROVENANCE with New Vision Gallery, Auckland 1981 Private collection, Wellington

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49 PHILIP TRUSTTUM (B 1940) Bedford (c1978-9) oil on loose canvas signed with stylised initials (centre left) 215 x 182cm $8,000 - 14,000 PROVENANCE with New Vision Gallery, Auckland 1983 Private collection, Wellington

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50 JEFF THOMSON (B 1957) Lacework (1995) corrugated iron panel 256cm length, 66cm width $2,000 - 4,000

51 JEFF THOMSON (B 1957) Lacework (1995) corrugated iron panel 230cm length, 64cm width $2,000 - 4,000

52 JEFF THOMSON (B 1957) Lacework (1995) corrugated iron panel 238cm length, 66cm width $2,000 - 4,000

53 JEFF THOMSON (B 1957) Lacework (1995) corrugated iron panel 242cm length, 66cm width $2,000 - 4,000

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54 STAR GOSSAGE (B 1972) Hauturu 1 oil on canvas affixed to board signed and dated ‘Star Gossage 2003/4’ and inscribed with title to the reverse 51 x 76cm $3,500 - 6,000 PROVENANCE Private collection, Wellington

55 MARK CROSS (B 1955) The Shaded Side signed ‘M. R. CROSS’ (lower left); inscribed with title and dated ‘The Shaded Side/ (Grey Lynn)/ March 1984’ to the reverse 74 x 69cm $3,000 - 6,000 PROVENANCE Private collection, Kapiti Coast 55

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56 ROSS RITCHIE (B 1941) Field Event (1992) oil on canvas with applied smaller canvases signed ‘ROSS RITCHIE’ to the stretcher/reverse 180 x 210cm $5,000 - 8,000 LITERATURE ‘The large work in this series Field Event is a rendering of the Mohr photograph sitting in or possibly beyond the studio. Ambiguities of light and form abound. We are unable to decide what exists within the picture frame. Light comes from conflicting sources. We are variously confronted with a painting of a landscape in a studio, a painting of a painting of the studio with a landscape beyond or a painting of a landscape and studio within a studio. Ritchie cleverly constructs and deconstructs in the same frame. He is interested in creating illusions but he also wants the viewer conscious of this illusion at all times.’

Art New Zealand 63, Winter 1992, p. 40 (b/w illustration)

57 ROSS RITCHIE (B 1941) Male Figure with Rain Cape oil on canvas signed and dated ‘Ritchie 85’ (lower centre left) 75 x 43cm $2,000 - 4,000 57 PROVENANCE with Denis Cohn Gallery, Auckland, 1986 Private collection, Wellington

FINE & APPLIED ART

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58 DON BINNEY (1940-2012) Manuwai Okareka carbon & graphite on paper signed and dated ‘DON BINNEY 2002’ (lower left) 15.5 x 24.5cm $4,000 - 6,000

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PROVENANCE with The Diversion Gallery, Marlborough Private collection, Marlborough

59 DON BINNEY (1940-2012) Observatory crayon, conte and graphite on paper signed and dated ‘DON BINNEY DEC 86’ (lower right) 24 x 19.5cm $2,000 - 4,000 PROVENANCE Private collection, Wellington 59 60 RALPH HOTERE (1931-2013) Waitangi lithograph, limited edition 23/28 signed and dated ‘Hotere/ ‘88’ (lower right); inscribed with title (upper left) 48.5 x 33cm $4,500 - 6,000 PROVENANCE with Molesworth Gallery, Wellington Private collection, Hawkes Bay LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) fig 12. p. 39

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61 MAX GIMBLETT (B 1935) Untitled (Black) 1982 acrylic polymer on paper signed and dated ‘MAX GIMBLETT 1982’ (lower right) 58 x 76cm $2,000 - 4,000 PROVENANCE with Artis Gallery, Auckland, 1986 Private collection, Wellington

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62 MAX GIMBLETT (B 1935) Untitled (Black) 1982 acrylic polymer on paper signed and dated ‘MAX GIMBLETT 1982’ (lower right) 58 x 76cm $2,000 - 4,000 PROVENANCE with Artis Gallery, Auckland, 1986 Private collection, Wellington

63 GRETCHEN ALBRECHT (B 1943) Night Walk lithograph, limited edition 7/40 signed and dated ‘Albrecht 2002’ (lower right) and inscribed with title (lower centre) 56 x 76cm $3,000 - 4,500

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PROVENANCE Private collection, Hawkes Bay

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FINE & APPLIED ART

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64 64 TERRENCE HANDSCOMB (B 1948) I shall have come (1986) oil alkyd on loose canvas 216 x 276cm $4,000 - 7,000 PROVENANCE Private collection, Wellington LITERATURE Tony Green, Terrence Handscomb Surfaces, Art New Zealand 46, p. 68 (colour illustration)

65 PATRICK REYNOLDS (B 1962) Two Bodies 01 (2007) c-type colour print, limited edition of 6 74.5 x 111cm $2,000 - 3,500

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EXHIBITIED Auckland, John Leech Gallery, Patrick Reynolds: Two Bodies, 14 November - 8 December 2007

66 SANDY ADSETT (B 1939) Te Whenua acrylic on hardboard signed and dated ‘Adsett 79’ and inscribed ‘TAHA MAORI’ SERIES/ TITLE TE WHENUA’ to the reverse 95 x 95cm $2,500 - 4,500 66 58

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67 PETER STICHBURY (B 1969) Untitled (1995) acrylic on board signed and dated ‘Peter Stichbury, 1995’ to the reverse 147 x 122cm $7,500 - 10,000 PROVENANCE Private collection, Waikato 67 68 TREVOR MOFFITT (1936-2006) Arrival in Japan, Human Condition Series II oil on board signed and dated ‘Moffitt 95’ (lower left); inscribed with title to the reverse 90 x 59cm $4,500 - 6,500 PROVENANCE with Warwick Henderson Gallery, Auckland Private collection, Auckland

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FINE & APPLIED ART

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69 ROBYN F KAHUKIWA (B 1940) 2/ Bicultural (Whanau Series) oil and oil stick on canvas signed and dated ‘Robyn F. Kahukiwa ‘03’ (lower centre); signed, inscribed with title and dated to reverse 121 x 136cm $6,000 - 10,000 PROVENANCE Private collection, Kapiti Coast

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70 ROBYN F KAHUKIWA (B 1940) Whakapapa of Water oil on canvas signed ‘Robyn F. Kahukiwa 2012’ (lower right) 121 x 213cm $9,000 - 14,000 PROVENANCE Private collection, Kapiti Coast

FINE & APPLIED ART

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71 TONY LANE (B 1949) The Harvest oil on board signed with initials (lower centre); signed, inscribed with title and dated ‘TONY LANE/ 9 Stirling St/ Berhampore/ “The Harvest” 1980’ to the reverse 90 x 120cm $2,000 - 4,000

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72 JOHN S PARKER (B 1944) Plainsong Red oil on canvas signed and dated ‘J S Parker 89’ (lower right) 181 x 121cm $2,500 - 4,500

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73 JOHN S PARKER (B 1944) Plainsong gouache on paper signed and dated ‘J S Parker 90’ (lower right) 80 x 120cm $2,000 - 3,500

74 JAN NIGRO (1920-2012) The Child oil on board signed ‘JAN NIGRO 49’ (lower right) 89 x 56cm $10,000 - 20,000

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 28 April 1998 (lot 83) Jane Evans Artist’s Trust, 1998 Private collection, Nelson LITERATURE Jan Nigro, Apple for the Teacher (Auckland 1996) p. 57 (colour illustration) AWARDS Recipient of Paintings of the Year, Friends of the National Gallery of Victoria (Nigro, 1996 p. 51)

FINE & APPLIED ART

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75 JANE EVANS (1946-2012) Café Portrait III acrylic on board signed and dated ‘72 (lower centre right) 104 x 89cm $6,000 - 10,000 PROVENANCE gifted to the present owner by the artist Private collection, Nelson LITERATURE John Coley, Jane Evans (Christchurch 1997) p. 46 (colour illustration)

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76 JANE EVANS (1946-2012) Untitled [Café Portrait Series] acrylic on board signed & dated ‘Jane Evans/ ‘73’ (lower right); signed, inscribed with title and dated ‘Cafe Portrait Series/ Kings Cross Sydney 1973/ Jane Evans’ to the reverse 90 x 75cm $6,000 - 10,000 PROVENANCE by descent to the current owner Private collection, Nelson

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77 JANE EVANS (1946-2012) Café Portrait IX acrylic on board signed and dated ‘Jane Evans ‘72 (lower right); signed and inscribed with title ‘CAFÉ PORTRAIT IX/ ACRYLIC/ $110-00/ JANE EVANS’ on label to the reverse; inscribed with title to the reverse 76 x 91cm $6,000 - 10,000 PROVENANCE by descent to the current owner Private collection, Nelson

78 JANE EVANS (1946-2012) Mr Mog Edwards [Under Milk Wood Series] oil on board signed and dated ‘Jane Evans/ ‘75’ (lower left) and inscribed ‘ Mr Mog Edwards/ A draper mad with love/ “I will lie by your side like The Sunday Roast’ (upper) 75 x 60cm $5,000 - 8,000 PROVENANCE Private collection, Wellington

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FINE & APPLIED ART

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79 LOIS R MCIVOR (B 1930) Purple Range II (1992) oil on canvas signed ‘MCIVOR’ (lower right) 71 x 91cm $2,000 - 3,500 EXHIBITED Auckland, Ferner Galleries, Lois McIvor Australian Paintings, June 1992

80 PAT HANLY (1923-2004) Woman + Bouquet screenprint, limited edition 48/50 signed and dated ‘Hanly ‘95’ (lower centre) 32.5 x 39.5cm $2,000 - 4,000

PROVENANCE with Williams Gallery, Petone Private collection, Wellington

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81 PAT HANLY (1932-2004) Vacation collage and screenprint, limited edition 15/15 signed and dated ‘Hanly 89’ (lower right) and inscribed with title (lower left) 51.5 x 74cm $2,000 - 3,500