New Zealand’s Leading Valuers

CONDITIONS OF SALE

From the Treaty of Waitangi to the nation’s treasures held at Te Papa, our five senior valuers are some of the most trusted and experienced chattel valuers in the country. We have valued approximately $2 billion worth of chattels in the last 12 months.

James Parkinson 022 028 8541 james@dunbarsloane.co.nz

Anthony Gallagher 0274 713 667 antiques@dunbarsloane.co.nz

NEW ZEALAND & INTERNATIONAL FINE & APPLIED ART

WELLINGTON VIEWING SCHEDULE

Friday 17 March 9am - 4pm

Sunday 19 March 12noon - 3pm

Monday 20 March 9am - 4pm

Tuesday 21 March 9am - 4pm

Wednesday 22 March 9am - 4pm

LOCATION

Kiwi Wealth House, 94 Featherston Street

Wellington CBD PO Box 224, Wellington 6140

ENQUIRIES - FINE ART

Rebecca Dagarin

+64 4 472 1367 / art@dunbarsloane.co.nz

ENQUIRIES - APPLIED ART

James Parkinson

+64 4 472 1367 / james@dunbarsloane.co.nz

Live Bidding

Please note we now offer our own live online bidding service. For instruction see our website: www.dunbarsloane.com

Online registrations and absentee bids must be made at least 2 hours before the auction commences, or 24 hours if you are an International client

ABSENTEE & TELEPHONE BIDDING

If you are unable to attend the auction, you can elect to register an absentee or telephone bid. Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to availability.

Buyers Premium

Each lot is subject to 19% + GST buyers premium

NEW ZEALAND & INTERNATIONAL FINE ART PART ONE / EVENING SALE

Wednesday 22 March 2023 6pm start

Lot 1 - 71 ed of 25 signed (lower right)

11 x 13.5cm

$1,600 - $3,000

(lower right)

20 x 14cm

$2,000 - $4,000

Tangihanga wood engraving ed. 10 signed (lower right) 20 x 14cm

$5,000 - $8,000

Literature: Illustrated on page 60 of E. Mervyn Taylor: Artist Craftsman by Bryan James, “Tangihanga, a 1947 beech engraving for Taina. Tangihanga is the mourning for the dead. On some occasions women would ritually cut arms, chests and thighs, often with obsidian or shells. The engraving shows a young widow who has cut herself with a shell on hearing of her loved ones death.

Illustration for Taina by G M Henderson the Winfield Press 1948 page 39

Taina 1948 The Wingfield Press features woodcut Tangihana page 39 together with Bryan James - E. Mervyn Taylor

Artist:Craftsman 2006 Steele Roberts Ltd

$150 - $300

PROVENANCE

PROVENANCE

13 Gordon Walters (1919-1995)

Genealogy III, 1971, (2020) screenprint on archival paper includes Walters Estate blindstamp edition of 100 105 x 79.5cm

$10,000 - $15,000

14 Gordon Walters (1919-1995)

Tahi, 1967 (2021) screenprint on archival paper includes Walters Estate blindstamp edition of 100 105 x 78cm

$10,000 - $15,000

Ralph Hotere (1931 - 2013)

ANZAC lithographic print signed (lower right)

28 x 19cm $7,500 - $12,000

PROVENANCE includes letter to the owner from Ralph Hotere dated 1995 and flyer for the Ralph Hotere Bill Culbert exhibition Pathway to the Sea Aramoana 1991

Shane Cotton Untitled 1993 ink on paper signed and dated (lower right)

19 x 28cm $3,000 - $5,000

Ralph Hotere (1931 - 2013)

Untitled

Widely regarded as one of New Zealand’s most important artists Ralph Hotere’s work is identifiable by its formal constructive abstractionism and his hard-hitting political statements.

Untitled Diptych is believed by many to be Ralph Hotere’s homage to Colin McCahon. In his book Hotere, Out of the Black Window, Gregory O’Brien (Godwit Publishing, 1977 pg.43) discusses the similarities between Hotere and McCahon in particular the intensity and political anger evident in both artist’s treatment of the pictorial surface. The use of Māori culture and Catholic iconography by both artist’s mark the relationship between the land and its inhabitants. For this reason the window is a particularly significant framing device as it represents the passive involvement of the viewer on the landscape. While the paint applied directly to the glass obscures this view, Hotere’s visible brush marks excite the surface while still allowing light to permeate. The arch motif is reminiscent of a cathedral’s stained glass windows and was originally displayed next to another work from 1973, a memoriam to Hotere’s mother, Ana Maria Hotere, who died in 1972. The works were created while Hotere was undertaking his residency at Otago University on the Frances Hodgkin’s Fellowship and were on display in his Dunedin Flat.

Sandy Adsett (b.1939)

Rimu Rimu acrylic on board signed R. Adsett, title inscribed and dated 1977 (on reverse) 92 x 92cm

$13,000 - $25,000

Dr Sandy Adsett is a champion of Māori art histories and practices within Aotearoa – he has been described as the grandmaster of contemporary Māori art and one of the most significant and respected Māori artists of his generation. In spite of these accolades Adsett is a humble practitioner, preferring to celebrate and elevate the work of other artists in the Māori art scene. Adsett is also a generous teacher, facilitating education for the next generation and encouraging his students through large cooperative works. The 2011 Toi Koru exhibition at Pātaka Art+Museum was Adsett’s first major retrospective exhibition and one of only three solo exhibitions to date, despite his in-depth research into the conceptual and aesthetic significance of kōwhaiwhai for over six decades. As described by artist Elizabeth Ellis in an article for the exhibition: “His work is revered as taonga of great significance … He is nevertheless our best-kept secret, having never sought the spotlight. His work as a Māori artist and educator has always been concerned with lifting the mana and wellbeing of his community. Now, it’s our turn to acknowledge him.”

(Jessica Tyson for Te Ao Māori News).

Adsett’s work re-engages with an art practice and history that pre-dates the arrival of Western art in New Zealand. Adsett’s interrogation and extension of traditional kōwhaiwhai is energised by his masterful understanding of colour, form and design. Rimu Rimu from 1977 is a beautiful example of these kōwhaiwhai-based compositions that the artist is best known for. Although the kōwhaiwhai patterns found in Rimu Rimu appear abstract, the forms explore the ecology of the flora and fauna of Aotearoa, representing their unique mauri. His colour choices in Rimu Rimu reveal themselves subtly as the fern fronds unfurl from the darkness. These colour choices, though not traditional, are distinctly New Zealand, found within our densest and most fertile forests.

Like the artist himself, Rimu Rimu is not loud or overbearing. Its amoebic forms are sensitively coiled and contained within the central composition but also punctured left to right spilling and unfurling from outside the border. Kōwhaiwhai patterns have held their significance as a Māori art form for generations. Adsett’s clever use of framing and composition reveal how this art form cannot be contained by time or space and, thanks to his significant work, will continue to permeate the visual language of Aotearoa for generations.

$6,000

PROVENANCE:

Purchased

$8,000

Te Mata hand hammered and incised lead signed 89cm diameter

$6,000 - $12,000

29 Richard Killeen

Searchlight oil on particle board signed (lower right) inscribed with title & dated 1972 on original label affixed to reverse 121 x 81cm $4,800 - $6,000

30 Seraphine