Fine & Applied Arts by Dunbar Sloane Ltd

Fine & Applied Arts 4 & 5 S EPTEMB ER 2019

NE W ZE AL AND & INTERNATIONAL FINE & APPLIED ART We d n e s d ay 4 Se p te m b e r 2019, 6 p m Pa r t O n e - Eve ni n g S al e L ot s 1 - 79

T h u r s d ay 5 Se p te m b e r 2019, 12n oo n Pa r t Tw o - Day S al e L ot s 2 0 0 - 36 5

T h u r s d ay 5 Se p te m b e r 2019, 4 p m Pa r t T h r e e - St u d i o C e r a mi c s & A p p li e d A r t s L ot s 4 0 0 - 4 82 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 i ew i n g Sc h e d u l e Opening Preview: Thursday 29 August, 5pm – 6.30pm Friday 30 August, 9am – 5pm Sunday 1 September, 12noon – 3pm Monday 2 September, 9am – 5pm Tuesday 3 September, 9am – 5pm Wednesday 4 September, 9am – 4pm Enquiries Helena Walker, Director Fine Arts +64 4 472 1367 / 0274 713 662 art@dunbarsloane.co.nz PO Box 224, Wellington 6140

Part One New Zealand & International Fine Art

Wednesday 4 September 2019 6pm start Lot 1 - 79

1 Bill Hammond (b 1947) Untitled [2006] lithograph, limited edition 18/100 signed and dated ‘W. D.Hamond/2006’ (lower right) 57 x 42cm $4,000 - $7,000

2 Bill Hammond (b 1947) Green Egg oil on ostrich egg signed and dated ‘W.D. Hammond 2007’ and inscribed with title to egg; signed and inscribed with title on original presentation box $5,000 - $8,000 Provenance Sale, Webb’s, Auckland, 30 June 2008 (lot 552)

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3 Billy Apple (b 1935) Art Brand Logo (Black), 2008 digital print signed ‘Apple’ (centre) 40 x 30cm $3,000 - $5,000 Apple has donated this work as a fundraiser to assist a scout going to the 2019 International Scouting Jamboree in Virginia, USA.

This individual work features Billy Apple's signature in the centre of his logo, which has its origins in his 1962 name change and establishment of his art brand after graduating from the Royal College of Art, London. He became a registered trademark in 2007 with assistance from Minter Ellison Rudd Watts. This formalized his art brand status for an ongoing project that addresses the legal concept of intellectual property. Trademarking in black both covers and provides protection for his logo in all colours.

4 Ralph Hotere (1931-2013) Matauri Bay lithograph, limited edition 28/30 signed and dated ‘Hotere ‘88’ (lower left) 54.5 x 43cm $4,000 - $7,000 Provenance Private collection, Wairarapa Literature Peter Vangioni & Jillian Cassidy, Hotere, Empty shadows and making a shadow (Christchurch 2005) p. 41., fig. 15.

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5 Simon Morris (b 1963) Division acrylic and pencil on four aluminium panels one signed and dated ‘Simon Morris 1994’; all inscribed with title to reverse 30 x 30cm per panel, 60 x 60cm overall installation $1,750 - $3,000

6 Judy Millar (b 1957) Untitled (2003) acrylic on aluminium signed and dated ‘Millar 2003’ to reverse 78 x 50.7cm $3,500 - $5,000 Provenance with Bartley Nees Gallery, Wellington, May 2004 Private collection, Wairarapa

7 Shane Cotton (b 1964) Cave acrylic on paper signed, inscribed with title and dated 2008 (lower right) 76 x 58cm $10,000 - $16,000 Provenance purchased Hamish McKay, Wellington, August 2008 Private Estate, Auckland Exhibited Wellington, Hamish McKay, Shane Cotton New Paintings, 23 August - 13 September 2008

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8 Andrew McLeod (b 1976) Camowhaiwhai oil, gouche and pencil on paper signed and dated 2009 and inscribed with title to reverse 106cm x 74.5cm $3,000 - $5,000

9 Sam Harrison (b 1985) Untitled (Reclining figure) watercolour signed and dated ‘Samuel Harrison 2105’ to reverse/lower right 106 x 74.5cm $2,000 - $4,000

10 Star Gossage (b 1972) Caught in the River oil on board signed and dated 2013 on original Tim Melville Gallery label affixed verso 80 x 80cm $10,000 - $16,000 Provenance Private collection, Auckland Exhibited Auckland, Tim Melville Gallery,’Marae: Star Gossage’, November - December 2013

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11 Melvin (Pat) Day (1923-2016) Egypt oil and encaustic on canvas signed and dated ‘Day 68’ (upper right) 152 x 121cm $8,000 - $16,000 Provenance Private collection, Wellington Literature This work is to be included in the forthcoming publication ed. Greg O'Brien & Mark Hutchins-Pond, Melvin Day: The Artist (VUP, Waikato Museum Te Whare Taonga o Waikato 2019) to be released November 2019 This painting was painted while Melvyn and Aroya Day were in London, before they returned to New Zealand and Melvin (Pat) took up the position of Art Director at the NZ National Art Gallery. It depicts an Egyptian tomb door from the British Art Gallery. 12

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12 Shane Cotton (b 1964) Kenesis: Kotahi Ki Kotahi oil on canvas signed with initials and dated 1999 (lower right); inscribed with title (lower left) 20.3 x 20.3cm $2,000 - $4,000 Provenance Sale, A + O, Auckland 2008

13 Tony de Lautour (b 1965) Balance of Power oil on canvas signed and dated ‘Tony de Lautour 1996’ (lower right); inscribed with title 50 x 60cm $4,000 - $7,000 Provenance purchased Hamish McKay Gallery, Wellington 2006 14 Tony de Lautour (b 1965) Body Corp 2 oil on linen signed with artist’s initials T. d. L and dated 2000 (lower right), inscribed with title (upper centre) 151 x 101cm $7,000 - $12,000 Provenance Private collection, Auckland

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15 Peter Robinson (b 1966) Easy Pay acrylic and oilstick on plywood 100 x 100cm $10,000 - $16,000

16 Peter Robinson (b 1966) The Painting Is Many Things acrylic on canvas 100 x 100cm $16,000 - $20,000

Provenance Purchased from Peter McLeavey Gallery, Wellington c1994-95 Sale, Art+Object, The Tim & Sherrah Francis Collection, 7 September 2016 (lot 19) Private collection, Auckland

Provenance Sale, Webbâ&#x20AC;&#x2122;s, Auckland, 09 April 2015 (lot 26) Private collection, Auckland

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17 Philip Trusttum (b 1940) Fireman acrylic on canvas signed with initials and dated ‘05 (upper and lower left) 182 x 118cm $5,000 - $8,000 Provenance purchased directly from the artist 2006 18 Dick Frizzell (b 1943) Still Life with Sheepskull and Iris oil and enamel on board signed, inscribed with title and dated ‘8/9/82 (upper left) 39.5 x 33cm $3,000 - $6,000 Provenance with Fisher’s Fine Arts, Christchurch 2006 19 Dick Frizzell (b 1943) Fresh Vegetables oil on linen signed, inscribed with title and dated 8/9/2004 (lower right) 180 x 210cm $15,000 - $20,000 Provenance Private Estate, Auckland Illustrated Dick Frizzell, The Painter (Random House 2009) p. 244. (colour illustration) 20 Dick Frizzell (b 1943) Street Sleeping Men enamel on board signed, entitled and dated ‘FRIZZELL/ 6/11/79 (etched lower centre) 89.5 x 94cm $8,000 - $14,000 Provenance Sale, International Art Centre, Auckland, 25 March 2004 (lot 37) Private Estate, Auckland Illustrated Dick Frizzell, The Painter (Random House 2009) p. 86. (colour illustration)

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21 Peter Siddell (1935-2011) White House oil on board signed and dated ‘Peter Siddell 1982’ (lower left) 60 x 39cm $7,500 - $12,500

22 Roy Cowan (1918-2006) Saturno 80 on Conway Hills oil on board signed with initials ‘JCR’ (lower right); inscribed with title on the reverse 94 x 91cm $15,000 - $20,000

Provenance with Denis Cohn Gallery, Auckland, original paper label to reverse Private collection, Auckland

Provenance Sale, Dunbar Sloane Ltd, 11 March 2015 (lot 2) Private collection, Canterbury

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23 Don Binney (1940-2012) Lion Rock, Piha charcoal and Indian ink on paper signed and dated ‘DON BINNEY Jan 1983’ (upper right) 69 x 98cm $6,000 - $10,000

24 Don Binney (1940-2012) Motukorea, Torea - Pango I oil stick and acrylic on paper signed and dated ‘DON BINNEY MM’ (lower right) 40 x 29cm $20,000 - $30,000

Provenance Sale, Dunbar Sloane Ltd, Wellington, 14 May 2014 (lot 7) Private collection, Wellington

Provenance Private collection, Wellington

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25 Raymond Ching (b 1939) Kereru, Tui & The Sparrow (Some nobodies think they are somebody when they interfere in a public row) oil and pencil on board signed ‘Raymond Ching’ (lower centre) 90 x 107.5cm $20,000 - $30,000

Provenance purchased Artis Gallery, Auckland, November 2012 (original catalogue available) Private Estate, Auckland Exhibited Auckland, Artis Gallery, Aesop's Kiwi Fables paintings by Ray Ching, November 2012 Illustrated Aesop’s Kiwi Fables, paintings by Ray Ching (David Bateman, Auckland 2012) p. 171.

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Born in Wellington, Raymond Ching has lived in the UK for many years where he is acclaimed as one of the world’s foremost contemporary wildlife artists. His early reputation was established when he was commissioned to prepare 250 illustrations for The Readers Digest Book of British Birds. Published in 1969, the text went on to become the best-selling ornithological field guide ever. Kereru, Tui & The Sparrow stems from Ching’s highly acclaimed Aesop’s Kiwi Fables Series of 2012. Here he combines his artistic work with his love of stories and fables. The final series of 47 paintings and accompanying text placed the fables and tradition an entirely new location and cast. The anecdotes and fables are told by the inhabitants of New Zealand, mostly birds and in this way Ching is retelling, reinventing and re-imagining them inside the cultural context, flora and fauna of this place.

The final works demonstrate Ching’s visual dexterity; an astonishing mastery of disparate, complex elements; that effortlessly connects the riddle of each fable to the allegorical depiction established.

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26 Michael Smither (b 1939) Aerial Fantasy of Southern Alps oil on board signed and dated â&#x20AC;&#x2DC;M. D. SMITHER 1970â&#x20AC;&#x2122; (lower left); inscribed with title to reverse 121 x 121cm $40,000 - $50,000 Provenance Private collection USA purchased from the above late 1970s, Private collection Wellington Sale, Dunbar Sloane Ltd, Wellington, 30 August 2006 (lot 35) Private Estate, Auckland Michael Smither was inspired to paint this work on a flight home to New Plymouth over the Southern Alps from Dunedin, when he was appointed Frances Hodgkins Fellowship at University of Otago, 1970.

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27 Grahame Sydney (b 1948) Uplands oil on linen signed and dated ‘GRAHAME SYDNEY 2003’; inscribed with title, signed and dated Feb - May, Dunedin 2003 to reverse 50.5 x 60.7cm $40,000 - $50,000

Provenance Sale, Webb’s, Auckland, 06 April 2005 (lot 441) Private collection, Christchurch

Uplands depicts the southern Maniototo landscape, Grahame Sydney is so celebrated for and has earned him the reputation as New Zealand's pre-eminent landscape artist. The visual plane is reduced to three fundamental elements – land, sky and clouds. With no identifiable landmarks, identification of place is mysteriously anonymous imbuing the work with an iconic, majestical power. To quote Brian Turner in 'The Art of Grahame Sydney': “Southern landscapes and Sydney’s work are synonymous for many, yet his landscapes and the objects in them are, together, far more than depictions of Arcadian splendour, mere pastoral idylls. Note the contest hinted at or overt – look for yourself – in so many of them, note that here and there the world seems stilled, there is conveyed a sense of moments of quietus…With understated vehemence Sydney’s art often warns, beware of what appears benign. In essence so many of his paintings are about staying not leaving., about enduring, hanging on. How do you persist and exist here, glory in what you see, respect what has gone before, what remains, and what will live on?...The land tells a story, the dilapidated buildings testify to other stories bound up in the land’s story, and the clouds are transient but keep on coming, forming and reforming. Sydney’s world, his wilderness where the

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spirit is tested and strengthened by pure airiness, great space, is almost always unforested. Or is it? If you can locate yourself here, it is in a forest of loneliness, temperamentally, where you are exposed to yourself and everything else. You need strength of purpose, of character; you need courage to stand up here and not avert your eyes. Only through distance can you find yourself. Beyond the far blue, gold of dune hills and mountains, beneath cirrus edged with gold, there’s self to be reckoned with. Do we explore the land or does it explore us? The question brings to mind Lawrence Durrell’s feeling that mountains watch us, ask if we are watching ourselves in them, And so often when looking at Sydney’s landscapes, I recall James K Baxter’s lyric “High Country Weather” and his lines about red-gold cirrus shining over a high mountain as we ride the upland road.” Brian Turner, “Humanity and Nature – Thoughts on the Art of Grahame Sydney”, The Art of Grahame Sydney (Longacre Press, Dunedin 2000) p. 91-94

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28 Don Binney (1940-2012) Fatbird II oil on board signed and dated ‘D. BINNEY 1965’ (lower right) original London Commonwealth Institute Gallery, Contemporary New Zealand Painting 1965 paper label affixed to reverse entitled ‘Two Fat Birds’ 129 x 52.5cm $250,000 - $350,000 Provenance Collection of Mr W G Lee, Auckland The Margaret & Geoffrey Candy Collection, Nelson Sale, The Candy Collection, Dunbar Sloane Ltd, Wellington, 12 November 1997 (lot 7) as ‘Two Fat Birds’ Private Estate, Auckland Exhibited Ikon Fine Arts, Auckland, 4-16 October 1964 London Commonwealth Institute Gallery, ‘Contemporary New Zealand Painting’, 25 February - 20 March 1965, cat no. 8.

Although dated 1965, Fatbird II was almost certainly first exhibited at the Ikon Gallery in October 1964, as part of Binney’s ‘Recent Paintings’ exhibition. A number of works in that showing were offered for sale on the condition they remained available for the exhibition ‘Contemporary New Zealand Painting’ at the Commonwealth Institute, London, the following year. Fatbird II, although not initially listed as such, was one of five Binney works subsequently confirmed to travel to England.[iii] (It is possible that the artist modified the work after its initial showing and signed it again, hence the adjusted date in the lower right corner.) Don Binney made a point of saying that the bird and landscape paintings in his 1964 exhibition were not self-consciously ‘New Zealand’ works—this in the face of his new-found audience’s reluctance to read them any other way. ‘They are images, directly stated,’ he continued, ‘of forms familiar to and closely observed by the artist as ingredients of an intimate environment.’[i] A sequence of three numbered ‘Fatbird’ paintings is listed in the Ikon Gallery catalogue, of which the first, smallest work is reproduced on the front cover—a work now in the Museum of New Zealand Te Papa Tongarewa collection. Also in the exhibition were such defining works as The Madness of the Pipiwharauroa (1963) and Kotare over Ratana Church, Te Kao (1964). It is likely the girl in Fatbird II was a student at Queen Victoria Maori Girls’ School (now known as Te Kura o Kuini Wikitoria). The schoolgrounds bordered the back of the Binney family’s house in Awatea Road, Parnell. The painting is a revisitation of the central theme in Binney’s well-known Pipiwharauroa in Advent (1962), in which four Maori schoolgirls appear to be in a sing-off with a treebound shining cuckoo, all of them going at it full tilt.

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More resolved than that earlier work, Fatbird II adopts a church-window-like format to frame a two-tiered composition. The majority of Binney’s portrait-format paintings comprise an upper and lower chamber, which allows his subjects to be clearly displayed; unimpeded. Usually a bird occupies the upper half, while below he places an architectural form (such as a church or colonial villa), a cultivated plot of land or, less often, a human subject. In Fatbird II, a simplified hill-line creates a sweeping arabesque across the picture, dividing earth and air, and swooping down to almost touch the girl’s head. Her expressive hands have the indecision or fidgeting nervousness of Fra Angelico’s Virgin Mary in Annunciation-mode. She looks one way while a North Island tomtit (unnamed in the title—uncharacteristically for Binney—but readily identifiable) flies off in the other. A friend of the artist’s, Barry Margan, has noted the theme of ‘blending’ in Fatbird II, a work which brings together ‘landscape, fauna, indigenous inhabitant, and the subtle pressures of European culture and education (through the medium of the school uniform)’. [iii] Beyond any allegorical or symbolic intent, the work is also a bringing together of two agreeable presences from the artist’s ‘intimate environment’. Whatever its raison d’etre, Fatbird II epitomises a phase in Binney’s early career—from 1963 until 1967—which was at once breathless and exhilarating. Gregory O'Brien i. The exhibition was selected and organised by the Queen Elizabeth II Arts Council of New Zealand and was accompanied by a catalogue with notes by P. A. Tomory. iii. Barry Margan, email to Philippa Binney, August 2019

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29 Max Gimblett (b 1935) Ganesha acrylic, polymer and metallic pigments on canvas signed, inscribed with title and dated 1983 to reverse 195 x 195cm maximum $50,000 - $70,000 Provenance commissioned directly from the artist, 1983 Private Estate Auckland

Max Gimblett is a New Zealand-born artist who has devoted his career to a kind of abstract expressionism that explores his interests in Buddhism and spirituality. He has been based in New York since 1972 but has maintained a presence in New Zealand where his work is frequently exhibited and collected. His work is valued for its integration of Western painting methods with panAsian spiritual traditions and art-making practices. Ganesha is one of Max’s early quatrefoil paintings. It was commissioned at the same time as two similar paintings were bought by the Solomon R. Guggenheim Museum in New York and the Queensland Art Gallery, Gallery of Modern Art, Brisbane. In 1982 Max stopped painting to focus on drawing and shape-making. One shape in particular, the quatrefoil, struck him “as very convincing”[i] and something to develop. The quatrefoil is an ancient shape that has long appeared in Christian churches both architecturally and decoratively. It echoes the mandalas of Buddhism, the decorations of Hinduism and the designs of the Pacific. As Max explains: “…when we dream of a mandala, a quatrefoil or a circle or a square with a circle in it, it’s a dream of wholeness, we feel whole. It’s cross-cultural, lets me reach right around the world. It’s in every culture in some aspect as a symbol.”[ii] As the title suggests, the origins of this work are connected to a trip he made to India in 1983. “…I stepped off the plane and … I became Ganesh, I was Ganesh for five weeks, trunk and all.”[iii]

In 1965 Max had started painting with ink and after a time he related his practice to Japanese calligraphy. This tradition and its connection to Zen Buddhism has informed his work since then and together with the quatrefoil shape, has become a signature of his work. But more than that, he has internalised the gestures of calligraphy, amplified and expanded them into a painting context so that his gestures become the content and subject of the work. In contract to Jackson Pollock’s gestural paintings created by layers of paint dripped onto canvas, Max applies paint to his canvas in a performance of mark-making. “… he conceives of his brushwork … as a spiritual performance of direct unmediated action.”[iv] This painting is a record of a performance of particular calligraphic gestures and its pattern is created by an interplay between the brushstrokes and the unpainted canvas beneath. Ganesha was painted at the time when Max also began adding metallic pigments to his paint. He wanted to channel the alchemical qualities of gold and silver and represent their powers of transformation, their preciousness and the sublime. The photograph here can not do the work justice. Its silvery grey metallic surface shimmers and catches the light in unexpected ways and its magnificent scale is best experienced in the ‘flesh’. It is a rose window, an object of contemplation—it makes you think of rivers and mountains and rain—like an abstraction of a Chinese scroll painting. And it embodies many of the interests that Max will continue to develop throughout his career. Mary-Jane Duffy

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[i] Max Gimblett interviewed by Alexandra Munroe in Max Gimblett (2013) Charta: Milan, p42 [ii]. Ibid, p68 [iii]. Ibid, p73 [iv] The Third Mind: American Artists Contemplate Asia 1860-1989, (2009), Guggenheim Museum: New York, p406

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30 Ralph Hotere (1931-2013) Black Painting - Yellow/Green III brolite and lacquer on board signed with stencil and dated â&#x20AC;&#x2DC;69, inscribed with title to reverse 123.5 x 62.5cm $40,000 - $60,000 Provenance GT Moffitt Collection, Christchurch Private Estate, Auckland Literature Ralph Hotere Black Light (Te Papa Press 2000) p. 35 (colour illustration)

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31 Dick Frizzell (b 1943) Asking for it! oil on canvas inscribed with title, signed and dated ‘FRIZZELL 7/8/2000’ (lower right) 200 x 149cm $45,000 - $60,000

Provenance commissioned from the artist via Gow Langsford Gallery, Auckland, 2000 Literature Dick Frizzell - The Painter (Godwit, Auckland 2009) p. 212-3

Asking for It! revisits Dick Frizzell’s iconic Phantom Series of the 1980s. The original series is a nostalgic nod to his childhood preoccupation with comic books and his favourite character, Lee Falk’s, The Phantom. Frizzell's preoccupation with the division of traditional classifications of academic high and low art are clear to see. While obviously engaging with European Art History, there is also a fluent exchange between the art of advertising and pop culture. Considering Kit Walker and his exploits worthy of heroic treatment, Frizzell remembers “I painted up a portrait of a cannibal chief from a Phantom comic as if I was Goldie portraying a Māori chief”. While there is an obvious friction between his commercial and academic influences, Frizzell's success can be in part attributed to his effective engagement with both, while favouring neither. Frizzell agreed to revisit the series in 2000 after Dunbar Sloane personally commissioned him to produce a large scale work featuring the Phantom. In a letter to Dunbar regarding the commission, Frizzell states: 'I've come up with an idea...a bit of action featuring the famous Phantom knock out punch, a killer blow.' The artist is portrayed as an ominous black silhouette surveying the action on the wharf in the background.

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The artist addresses the commission in Dick Frizzell – The Painter: 'Round about this time - as a bit of a sidebar - Gary (at Gow Langsford, my dear old Dealers forever) talked me into revisiting the landscape for a show with my ex-student and friend Karl Maughan. And I think this was the first time I actually returned to a theme - broke into my current line of enquiry with a specific brief. It took a bit of doing...it felt a bit like cheating - backsliding - at complete odds with my Modernist 'linear' training. But, my God, it felt fantastic when they finally got onto the wall! ...And that show broke the dam for me all of a sudden 'going back' seemed like a perfectly natural thing to do. Dunbar Sloane asked Gary if I’d 'do' him a Phantom painting. I hadn’t been there for 25 years or so! But my curiosity was piqued now (could be primed) - how far could you go with this thing before the Art God in the sky would cast you down? Dunbar made me an offer I couldn’t refuse and I went there - did it. And of course it was a completely different experience - the scale, the paint, the treatment - it actually felt more like going forwards than going back. I learnt things!' Dick Frizzell, Dick Frizzell - The Painter p. 212-213

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32 James Patrick (Pat) Hanly (1932-2004) Black Model enamel on board signed, inscribed with title and dated ‘Black Model. Hanly 77’ (upper right); original paper label and title inscribed to the reverse 67.5 x 62.5cm $35,000 - $50,000 Provenance with Brooke Gifford Gallery, Christchurch Private collection, Marlborough Sale, Dunbar Sloane Ltd, Wellington, 14 May 2014 (lot 24) Private Estate, Auckland

33 James Patrick (Pat) Hanly (1932-2004) Joy Condition enamel on board signed and dated ‘Hanly 76’ (lower right); signed, inscribed with title and dated to reverse 44 x 44cm $12,000 - $18,000 Provenance purchased Bosshard Galleries, Dunedin c1976-7 Private collection, Nelson

34 James Patrick (Pat) Hanly (1932-2004) Fire Series: Awake Aotearoa screenprint, limited edition 4/4 signed & dated ‘Hanly 83’ (lower right) 55 x 66 cm $2,500 - $4,000 Provenance Purchased Milford Galleries, Dunedin, 2007

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35 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 - $80,000

Provenance Private collection, New Plymouth Sale, Dunbar Sloane Ltd, Wellington, 29 November 2000 (lot 22) Estate of Noel & Margaret Dick, Lower Hutt Reference Colin McCahon online catalogue ref. cm001824

Kaipara Flats Written belongs to a series of swiftly painted landscapes in full vertical format, drawn from the Muriwai region following the establishment of McCahon’s new studio in the area. Inspiration was drawn from the wild and startling beauty of the surrounding hills and headlands, paying special attention to the Kaipara Flats, situated inland and to the east of Kaipara harbour, in the direct and simply stated landscapes. The coast is a highly spiritual area, believed by Maori to be where souls pass over on their journey from life to death toward Spirit Bay. This spiritual dimension had a profound influence on McCahon and can be sensed within his canvases, through the employment of semi-dissolved and calligraphic brushstrokes and heightened colour creating atmospheric, mystical images with an expressionist quality. Devoid of reference to the picturesque or human habitation the works rely on colour, light and atmospheric effects to make their profound impact. Colour is deliberately intensified to reflect the natural luminosity as well as the elemental vastness of the area, illustrated in Kaipara Flats Written, with strong hues yellow ochre, lyrically capturing the beauty of the area at sunset, a favoured subject of McCahon’s during the period. Produced shortly after his resignation from his teaching position at the Elam School of Art, Auckland University in 1970, the series marks the reintroduction of colour into his work. It reveals his acceptance of the risks involved with becoming a full-time painter, while also marking the series’ importance as a transitory group of works on which McCahon was to develop and reflect upon during the 1970’s.

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36 Evelyn Page (1899-1988) Still Life No. 1 oil on board signed ‘E. PAGE’ (lower left) 38 x 46cm $10,000 - $16,000 Provenance purchased from Academy of Fine Arts, Wellington by the vendor’s parents Private collection, Kapiti Coast

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37 John Weeks (1888-1965) Still Life oil on board signed ‘J Weeks’ (lower right), inscribed with title to reverse 50 x 39 cm $8,000 - $14,000 Provenance purchased NZ Academy Exhibition during WWII Sale, Dunbar Sloane Ltd, Wellington, 14 April 2016 (lot 20) Private collection, Canterbury

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38 Sydney Lough Thompson (1877-1973) The Altar Rails, La Maria Chapelle, Brittany oil on canvas signed ‘S L Thompson’ (lower left) 46 x 55cm $5,000 - $8,000 Provenance Sale, The Sir Ivor Richardson Art Collection, Dunbar Sloane Ltd, Wellington, 22 March 2006 (lot 56) Private collection, Wellington

39 Sydney Lough Thompson (1877-1973) Tourettes Sur Loup oil on canvas signed ‘S L Thompson’ (lower right) 50 x 61cm, unframed $6,000 - $10,000 Provenance Private collection, France

40 Sydney Lough Thompson (1877-1973) Chapelle de Locmaria An Hent oil on canvas signed ‘S L Thompson’ (lower right) 54 x 65cm $5,000 - $8,000, unframed Provenance Private collection, France

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41 Sydney Lough Thompson (1877-1973) Automne, Falcon oil on canvas signed ‘S L Thompson’ (lower right) 50 x 60.5cm, unframed $6,000 - $10,000 Provenance Private Collection, France

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42 Hippolyte Petitjean (French 1854-1929) Landscape at Dawn oil on canvas original James Bourlet & Sons, London paper label to reverse 44 x 64cm $20,000 - $30,000 Provenance Ex Collection of Frank Dickinson, Dunedin The work was purchased London mid/ late 1960s whilst Dickinson was Assistant to the Curator of Prints and Sculpture, Victoria & Albert Museum, London. He later became Director of Dunedin Public Art Gallery. The work was in the loan collection of Dunedin Public Art Gallery 2012-2017

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43 Mahmoud Saïd (Egyptian, 1897-1964) Sans Titre (chevaux galopant) c.1940 pen and Indian ink and wash on paper signed ‘M.SAÏD’ (lower right) 12 x 17cm. (4.3/4 x 6.5/8in.) $7,500 - $12,500 Provenance Samiha Hanem Riad (the artist’s wife); Mahmoud Abdou, Alexandria (acquired from the latter); Samiha Abdou (Galerie Smile), Alexandria (by descent from the latter); Khalaf Tayeh, Alexandria (acquired from the latter); Nadia Khalaf, Cairo (the latter’s wife) Private collection, North Island . Reference The Mahmoud Saïd Project Catalogue Raisonne - New Works http://www.mahmoud-said.com/newwork.html. To be recorded as n° D 360bis

Mahmoud Saïd was the son of Mohamed Pacha Saïd, Prime Minister of Egypt (1910-1914 and again briefly in 1919). Saïd was brought up in a privileged aristocratic milieu, and was educated by foreign private tutors. He was also the uncle of the future queen of Egypt, Safinaz Zulficar, better known as Queen Farida. Saïd went on to attend some of the most prestigious schools in Alexandria and Cairo. In the early 1920s he embarked on a cultural trip across Europe, which included three weeks in Paris in July 1921, whereupon he attended drawing classes at the Académie. as well as Antoine Bourdelle’s school, L’Académie de la Grande Chaumière. Following his father’s wishes, Saïd pursued a career in law, graduating from the French Law School of Cairo in 1919. He was appointed assistant judge at the Mixed Courts of Egypt in 1922, first judge in Alexandria in 1937. He only

resigned from his legal career in 1947, aged 50. Up until that point he had painted in his spare time. Although somewhat figurative in style and sometimes classical in subject matter, Saïd broke away from academic art and the traditions of the West, using them as stepping stones to forge his own signature style. In doing so he became a pioneer of modern Arab painting, producing work that was truly ground breaking. Saïd’s first solo show was organised by the Atelier d’Alexandrie in 1942, and his first major retrospective exhibition was held at the Gezira Centre for Modern Art in 1951. On the occasion of the eighth anniversary of the 1952 revolution, another retrospective exhibition of Saïd’s works took place at the Museum of Fine Arts of Alexandria, comprising 120 paintings. A third comprehensive exhibition would be organised in the same premises a few months after the artist’s death, in 1964.

Mahmoud Saïd passed away at the family home in Gianaclis, Alexandria on his birthday 8 April 1964. The sculptor Dr. Gaber Hegazy was asked to produce plaster casts of the artist’s face and hands, which are now on view at the Mahmoud Saïd Museum in Alexandria. In 1969, the museum was sold to the Ministry of Culture, which also acquired a large part of Saïd’s art collection. The Gianaclis villa was later altered to become what is today’s museum complex. Opened in 1999, it comprises the Museum of Modern Egyptian Art, the Mahmoud Saïd Museum and the Seif and Adham Wanly Museum.

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44 Seif Wanly (Egyptian, 1906-1979) Untitled [Seated Figure] gouache on paper signed â&#x20AC;&#x2DC;seifâ&#x20AC;&#x2122; (upper right) 8 x 7.5cm $8,000 - $14,000 Provenance Private collection the Egyptian artist Khalaf Tayeh (Taie) by descent to current owner Private collection, North Island

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Mohammed Seif al-Din Wanly was born in Alexandria, Egypt, in 1906 into an aristocratic family of Turkish origin. He and his brother, fellow artist Adham Wanly, were educated by private tutors. In 1929, Ottorino Bicchi (1878 - 1949), an Italian painter from Livorno, opened a studio in Alexandria and the Wanly brothers were among his first students. After Bicchi left Egypt in 1934, Seif and Adham established their own studio in Alexandria the following year together with their friends, the painter Ahmad Fahmi and the filmmaker Mohammed Bayoumi. During the 1950's, the two brothers traveled regularly to Europe and visited France, Italy and Spain where they sketched and painted numerous scenes of ballet, opera and theatre performances, as well as landscapes. When sculptor Ahmad Osman (1907-70) established the Faculty of Fine Arts in

Alexandria in 195, Seif was appointed professor within the painting department. In 1959, the Ministry of Culture commissioned the Wanly brothers to record the architectural heritage of Nubia before its flooding due to the construction of the High Dam in Aswan. The same year, when his brother Adham passed away, Seif lived through a difficult period, which was reflected in his work. The Wanly brothers were very close in their life and work. They influenced one another and developed a similar style. Seif only used his first name to sign his paintings while his brother, Adham, signed them by the name of Wanly or E. Wanly (Edham Wanly). Together, they introduced modern pictorial trends in Alexandria and were among the first to depict international subjects, breaking away from the folklorist style of their contemporaries.

45 Adham Wanly (Egyptian, 1908-1959) Untitled (Possible Self Portrait) ink on paper signed ‘Wanly’ (lower right) 9.5 x 8.5cm $1,750 - $3,000 Provenance Private collection the Egyptian artist Khalaf Tayeh (Taie) by descent to current owner Private collection, North Island

46 Georges Hanna Sabbagh (Egyptian 1877-1951) Untitled oil on panel signed ‘G. H. SABBAGH’ (lower left) 12 x 15cm $3,000 - $6,000 Provenance Private collection the Egyptian artist Khalaf Tayeh (Taie) by descent to current owner Private collection, North Island

47 Mohamed Naghi (Egyptian, 1888-1956) Untitled (Landscape) oil on paper signed ‘Naghi’ (lower left); inscribed ‘oeuvre de jeunesse’ to reverse 10 x 16cm $1,250 - $2,500 Provenance Private collection the Egyptian artist Khalaf Tayeh (Taie) by descent to current owner Private collection, North Island

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48 Charles Edward Dixon (British, 1872-1934) Beating out of Hamble, Southampton; Off Calshot, Southampton Water watercolour heightened with white both signed, inscribed with title and dated ‘Charles Dixon ‘08’ (lower left) and ‘Charles Dixon 1913 (lower left) 12 x 37.5cm; 12 x 36.5cm (2) $5,000 - $8,000 Provenance with Robert Perera Fine Arts, UK Private collection, Wellington

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49 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 Sale, Dunbar Sloane Ltd, Wellington, 17 April 2013 (lot 57) Private Estate, Auckland

Born in Russia, Nicholas 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.

The present work, set in Opunohu Bay was completed on this tour. It is a study for Chevalier’s masterpiece Race to the market, Tahiti, 1880, which currently hangs in Art Gallery of New South Wales, Australia.

In 1869 Chevalier left Australia 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.

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50 Charles Decimus Barraud (1822-97) View from Gore Bay, Cheviot, 1873 watercolour heightened with white signed and dated ‘C. D. Barraud/ 1875’ (lower right) 57 x 96cm $25,000 - $35,000 Provenance Private collection, Auckland

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View from Gore Bay is looking towards the cliffs of Port Robinson. The cottage in the foreground was built for William “Ready-Money” Robinson’s wife, Eliza, in 1868.The cottage is registered by the New Zealand Historic Places Trust as a Category II structure (registration number 1769). Mrs Robinson’s cottage is still standing at Gore Bay. It belonged to the Tweedie family in the 1940s to 1970s.

51 Charles Decimus Barraud (1822-1927) Coromandel Harbour watercolour heightened with white signed â&#x20AC;&#x2DC;C D Barraudâ&#x20AC;&#x2122; and dated indistinctly (lower left) 42.5 x 75cm $20,000 - $30,000 Provenance Private collection, Wairarapa, direct descendant of the artist. Private Collection, Wellington

With no formal artist training, Barraud displayed a natural aptitude for drawing from a young age. Born in Surrey, England,1822, he and his wife Sarah emigrated to New Zealand aboard the Pilgrim in 1849. Formally trained as a chemist he continued this profession upon his arrival in Wellington, establishing a business on Lambton Quay. He remained in this profession until 1887, when his premises accidentally burnt down, forcing him to retire. However art remained his passion. After his arrival in New Zealand he travelled widely in his spare time over a large area of both the North and South Islands, sketching in the various provinces, and recording his impressions of New Zealand, many of his works distinctively include local figures. Many

of these sketches he later produced into large scale art works, painting predominantly in watercolour. The climax of this activity came when in 1877 he published New Zealand, Graphic and Descriptive, his publishers being Samson, Low, Marston, Searle, and Rivington, the lithographer being C. F. Kell, while the descriptive material was edited by W. T. L. Travers. The book contained 24 full-page colour lithographs of landscapes and numerous other plain lithographs and woodcuts dealing with aspects of native life in New Zealand

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52 John Barr Clarke Hoyte (1835-1913) From Dunedin Eastwards towards Harbour Entrance watercolour signed ‘J.C.H.’ (lower left) 21 x 43cm $4,000 - $7,000

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Provenance This and the following four lots are from the Estate of fellow artist's Irvine & Margaret Major, Nelson. Irvine Major was born in Christchurch and served in the Middle East and Italy during the Second World War. From 1949 he lived in Nelson where he was an active member of the Suter Art Society, exhibiting regularly and holding various offices. As the art master at Nelson College he counted Laurence Aberhart and Philip Clairmont among his pupils. His work is held in the public collections of Christchurch Art Gallery, The Suter Art Gallery and Te Papa Tongawera.

53 John Barr Clarke Hoyte (1835-1913) Walter Peak, Lake Wakatipu watercolour signed with initials ‘JCH’ (lower left) 17.5 x 29cm $5,000 - $8,000

54 John Barr Clarke Hoyte (1835-1913) Marrington Peaks, Bligh Sound watercolour signed ‘J.C.Hoyte’ (lower left) 31 x 19cm $3,000 - $5,000

55 John Barr Clarke Hoyte (1835-1913) Hole in the Rock watercolour signed ‘J.C.Hoyte’ (lower left) 18 x 39.5cm $4,000 - $7,000

56 John Barr Clarke Hoyte (1835-1913) Coastal Landscape with Ruin watercolour heightened with white signed ‘J.C.H.’ (lower left) 13.5 x 31cm $3,000 - $6,000

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57 Dorothy Kate Richmond (1861-1935) Loading the Schooner, Queens Wharf, Wellington c1904 watercolour 24.5 x 34.5cm $5,000 - $8,000 Provenance The Hursthouse Collection, York Bay, Wellington

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The Hursthouse, Atkinson & Richmond families began their friendship before James Crowe Richmondâ&#x20AC;&#x2122;s arrived in New Zealand, 1850. Richmondâ&#x20AC;&#x2122;s aunt Helen was married to John Hursthouse, and had previously worked with John Staines Atkinson in the United Kingdom. The families remained close, settling in York Bay, Wellington. D K Richmond was the daughter of noted NZ artist James Crowe Richmond. Her father took her to Europe in 1873 where she attended the Slade School of Fine Art, gaining a scholarship.

In the early 1880s she returned to NZ, where she became an active member of the Academy of Fine Arts. She travelled back to Europe with her friend and fellow artist Frances Hodgkins from 1901-3, and on their return they shared a studio in Bowen Street, Wellington. Earning a reputation as an art tutor, she received life membership to New Zealand Academy of Fine Arts in 1928.

58 Frances Hodgkins (1869-1947) Street Scene, Dunedin watercolour signed with monogram and dated â&#x20AC;&#x2DC;98â&#x20AC;&#x2122; (lower right) 14 x 23.7cm $10,000 - $20,000

This work is a study for Street Scene, Dunedin ref: E H McCormick, Work of Frances Hodgkins in New Zealand (Auckland 1954) p. 147. no 95. This work is to be added to Frances Hodgkins online database. We would like to thank Mary Kisler & Tony Mackle for their assistance cataloguing this work.

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59 Marcus King (1891-1984) Diorama of Wellington oil on three boards in boxed frame signed (lower left) 152 x 192 x 20cm $8,000 - $12,000

61 Peter McIntyre (1910-95) New Zealand’s Maritime Welcome to the Queen Waitemata Harbour, Auckland on December 23, 1953 oil on canvas board signed ‘Peter McIntyre’ (lower right) 57 x 83cm $25,000 - $35,000

60 Peter McIntyre (1910-95) The Rio di Cannareggo and the Bridge of the Obelisks watercolour signed (lower right) 52 x 71cm $6,000 - $10,000

Provenance Corporate Collection, Auckland Sale, Dunbar Sloane Ltd, Wellington, 18 November 2015 (lot 35) Private Estate, Auckland

Provenance Private collection, Wellington

‘Anticipating the greatest harbour pageant in our history, the New Zealand artist Mr Peter McIntyre conceived this gay and exciting scene on the Waitemata Harbour, Auckland, on December 23, 1953. Pleasure craft line the course of the Royal yacht Gothic as, proudly flying the Royal Standard, the ship bears the Queen through the portal of her New Zealand realm.’

Literature A photo-lithograph of this oil was specially printed by the Weekly News. Lithograph was inscribed:

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62 Helen Stewart (1900-83) Blue and Yellow oil on board signed ‘Helen Stewart’ (lower left); signed and inscribed with title to the reverse 39 x 48cm $3,000 - $6,000 Provenance Sale, Dunbar Sloane Ltd, Wellington, 21 August 2013 (lot 40) Private collection, Wairarapa

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63 Helen Stewart (1900-83) The Artist’s Garden, Lowry Bay; Looking Out from the Artist’s Garden oil on board; oil on canvas board 29 x 34.5cm; 30 x 39cm (2) $3,000 - $6,000 Provenance purchased directly from the artist’s estate Private collection, Wairarapa

64 Doris Lusk (1916-90) City with a Frozen Lake oil on canvas signed ‘D. Lusk/1987’ (lower left); signed, inscribed with title and dated June 1987 to reverse 54 x 86cm $6,000 - $10,000 Provenance Private collection, Wellington

65 Rudolf (Rudi) Gopas (1913-82) A Baltic Harbour, Lithuania pastel and watercolour on paper signed and dated ‘Gopas 1946’ (lower left) 54 x 42cm $5,000 - $8,000

66 Olivia Spencer Bower (1905-82) Landscape with Aqueduct watercolour signed ‘OLIVIA SPENCER BOWER’ (lower right) 34 x 56cm $2,500 - $4,000

Provenance Purchased direct from the artist on his arrival in NZ by the vendor’s father

Provenance Sale, Dunbar Sloane Ltd, Wellington, 17 November 2010 (lot 50) Private collection, Wellington

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67 Patricia France (1911-95) Women in a garden oil on board signed â&#x20AC;&#x2DC;P. Franceâ&#x20AC;&#x2122; (lower left); inscribed with title and dated 1988 to reverse 48 x 57cm $5,000 - $8,000 Provenance Private Collection, Wairarapa

68 Patricia France (1911-95) Untitled (Two Women in Hats) gouache 39 x 44cm $3,000 - $5,000 Provenance Private Collection, Wairarapa

69 A Lois White (1903-84) Shepherdess c1930 watercolour 12.5 x 19.5cm $7,000 - $12,000 Provenance purchased Peter McLeavey Gallery, Wellington Sale, Dunbar Sloane Ltd , The Sir Ivor Richardson Art Collection, Wellington, 22/03/2006, Lot No. 151 Private collection, Wairarapa

70 A Lois White (1903-84) Laughter c1929 watercolour 8.8 x 17.4cm $6,000 - $10,000 Provenance purchased Peter McLeavey Gallery, Wellington Sale, Dunbar Sloane Ltd, The Sir Ivor Richardson Art Collection, Wellington, 22 March 2006 (lot 150) Private collection, Wairarapa

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71 Sam Mahon (b 1954) The Paul Chase Affair [1983] egg tempera on board, triptych 53 x 154cm (overall) $4,000 - $6,000 Provenance Private collection, Canterbury

72 Trevor Moffitt (1936-2006) Woman About to Leave Home, Human Condition Series oil on board signed and dated ‘Moffitt 74’ (upper right); inscribed with title to reverse 59 x 59cm $6,000 - $10,000 Provenance Sale, Dunbar Sloane Ltd, Wellington, 29 November 2000 (lot 61) Private collection, Wellington

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73 Trevor Moffitt (1936-2006) Dancing with Effie Milne oil on board signed and dated ‘Moffitt 79’ (lower right); inscribed with title and number 32 to reverse, bears Elva Bett Gallery, Wellington stamp 59 x 73cm $6,000 - $10,000 Provenance The Lex & Hannie Van Hessen Collection, Netherlands Sale, Dunbar Sloane Ltd The Van Hessen Moffitt Art Collection, Wellington, 10 August 2016 (lot 21) Private Estate, Auckland

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74 Girolamo Pieri Ballati Nerli (1860-1926) Organ Grinder with Monkey oil on canvas signed ‘GPB Nerli’ (lower right) 52.5 x 39cm $12,000 - $18,000

75 Richard Laishley (1816-97) The Greeting, Thames oil on canvas signed and dated ‘R Laishley 1894’ (lower right) 60 x 44cm $6,000 - $10,000

Provenance Arthur Collection, Wellington c.1952 Sale, Dunbar Sloane Ltd, Wellington, 6 September 2017 (lot 38) Private collection, Wellington

Provenance Sale, Dunbar Sloane Ltd, Wellington, 29 September 1999 (lot 42) Sale, Dunbar Sloane Ltd, Wellington, 14 April 2016 (lot 68) Private collection, Wellington

Literature Peter Entwistle, Michael Dunn and Roger Collins, Nerli, An exhibition of paintings and drawings (Dunedin 1988) p. 131, 142 fig 96 (illustrated)

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Born in Southampton, England in 1816, Richard Laishley studied engraving with Le Cocq, a former pupil of Bartolozzi. The Rev. Laishley moved to New Zealand in 1860, settling in Onehunga until he moved to Melbourne where he lived between 1868 and 1874, after which he returned to New Zealand and based himself in Thames. During his time in New Zealand he exhibited with the Auckland Society of Arts from 1884 to 1887. His shipboard diaries are in the Turnbull Library and some drawings in the British Natural Science Museum

76 Charles Blomfield (1848-1926) View of Wellington & Hutt Valley both oil on board one signed ‘Charles Blomfield’ (lower left), the other (lower right) 15.5 x 30cm each (2) $7,000 - $12,000

77 Charles Decimus Barraud (1822-1927) Lake Mavora watercolour heightened with white signed and dated C. D. Barraud ‘72 (lower left) 35 x 52cm $4,000 - $7,000

Provenance Private collection, Wellington

78 John Gully (1819-88) Head of the Godley watercolour heightened with white signed ‘John Gully’ (lower left) 32 x 57cm $5,000 - $8,000 Provenance Private collection, Auckland Sale, Dunbar Sloane Ltd, Wellington, 10 August 2016 (lot 50) Note a similar composition entitled Sources of the Godley River, Claussen and Godley Glaciers, 3550 ft is housed in the collection of the Alexander Turnbull Library. This is one of twelve paintings of von Haast’s sketches used to illustrate his paper Notes on the Mountains and Glaciers of the Canterbury Province, New Zealand, read to the Royal Geographical Society, London 1864.

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79 Robyn Kahukiwa (b 1940) My Ancestors are always with me oil, enamel and alkyd oil on canvas signed and dated ‘Robyn Kahukiwa ‘95’ (lower right) 121.5 x 91cm $4,500.00 - $7,000.00

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Provenance with Bowen Galleries, Wellington Private collection, Wellington Literature The Art of Robyn Kahukiwa (Reed Publishing 2005) p. 117 (colour illustration)

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Part Two - Day Sale New Zealand & International Fine Art

Thursday 5 September 2019 12 noon start Lot 200 - 365

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200 Sam Cairncross (1913-76) Wellington Harbour oil on board signed (lower right) 58.5 x 73.5cm $1,750 - $3,000 201 Sam Cairncross (1913-76) South Coast, Wellington oil on board signed & dated â&#x20AC;&#x2DC;65 (lower left) 25 x 35cm $1,250 - $2,500

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202 Sam Cairncross (1913-76) Landscape near Auckland oil on board signed & dated â&#x20AC;&#x2DC;72; inscribed with title to reverse 31 x 56cm $2,000 - $4,000 203 Austen A Deans (1915-2011) Lake Manapouri oil on board signed & dated 1970 (lower left) 39.5 x 59.5cm $1,500 - $2,500

204 Austen A Deans (1915-2011) Tasman Glacier watercolour signed (lower left) 25 x 36.5cm $1,000 - $1,600

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205 T A McCormack (1883-1973) The Red Vase watercolour & Indian ink on paper signed (lower left); inscribed with title to reverse 40 x 25.5cm $1,750 - $3,500

207 T A McCormack (1883-1973) Clouds over East Hills Wellington Harbour watercolour signed (lower left); inscribed â&#x20AC;&#x2DC;Lands Breezeâ&#x20AC;&#x2122; to reverse 30.5 x 47.5cm $750 - $1,250

206 T A McCormack (1883-1973) Red Rocks watercolour signed (lower right) 20 x 30cm $500 - $800

208 T A McCormack (1883-1973) Portrait of the artists wife, Mabel (nee Craddock) at 83a Hill Street, Wellington watercolour signed & dated 1924 (lower left) 26.5 x 22.5cm $800 - $1,600

208a Alice Whyte (1880-1952) Boats in Harbour watercolour signed (lower left) 24 x 34cm $2,000 - $3,000

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209 Colin Wheeler (1919-2012) Bannockburn, Central Otago oil on canvas board signed (lower left); bears original artistâ&#x20AC;&#x2122;s paper label with title to reverse 34 x 43cm $3,000 - $5,000 210 Colin Wheeler (1919-2012) Diamond Lake, Paradise oil on board signed (lower left); inscribed with title on original paper label to reverse 39 x 50cm $2,000 - $3,500

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211 Colin Wheeler (1919-2012) Haystacks oil on canvas board signed & dated 1945 (lower right) 29 x 37 cm $1,600 - $2,500 212 Cedric Savage (1901-69) Pigs in Sty oil on board signed (lower right) 32 x 42cm $1,000 - $2,000 Provenance Estate of Irvine & Margaret Major, Nelson

213 Cedric Savage (1901-69) Tarakohe, Nelson oil on canvas board signed (lower right) 36 x 47cm $750 - $1,250

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214 John Weeks (1888-1965) Scottish Courtyard oil on board signed ‘J. Weeks’ (lower left) 48 x 38.5cm $2,000 - $4,000 215 Tom Esplin (1915-2005) European Market Scene oil on board signed (lower left) 27 x 53cm $2,000 - $4,000

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216 Tom Esplin (1915-2005) Little French Township oil on board signed (lower right); inscribed with title to reverse 29 x 44cm $2,000 - $4,000

217 Tom Esplin (1915-2005) Place Du Moulin a Vent, Paris oil on board signed ‘Esplin’ (lower left); inscribed with title to original paper label affixed to reverse 32 x 48cm $2,000 - $4,000 Provenance purchased Antipodes Gallery Ltd, May 1972

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218 Michael Smither (b 1939) 21 Views of St Kilda silkscreen, 1/57/76 - 158 signed with initials ‘MDS’ (lower right) 60 x 68cm $1,000 - $2,000

220 Michael Smither (b 1939) Three Views of St Bathans silkscreen, 1/74/76 - 179 signed with initials (lower right) 49 x 60cm $600 - $1,000

219 Michael Smither (b 1939) Taranaki III screenprint, ltd ed 7/757 signed with initials & dated ‘07 (lower left) 19.5 x 61cm $750 - $1,250

221 Michael Smither (b 1939) Diary of a Mountain screenprint, five sections 82 x 15cm $750 - $1,250

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222 Michael Smither (b 1939) Coral Head with Fish screenprint, ltd ed 47/50 signed with initials & dated 2013 (lower right) 40 x 46cm $1,000 - $2,000 223 Michael Smither (b 1939) Rocks, Tractor & Mountain screenprint, ltd ed 34/80 signed with initials & dated 2012 (lower right) 46 x 60cm $1,600 - $2,600

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224 Michael Smither (b 1939) Blue Flipper screenprint, ltd ed 6/50 signed with initials & dated 2013 (lower right) 68 x 50cm $1,600 - $2,600 225 Don Binney (1940-2012) St Stephens Chapel, Parnell reproduction print, created for delegates to Anglican Synod 1998 signed & dated 1998 (lower right) 25 x 31cm $1,000 - $1,500

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226 Robin White (b 1946) Saying goodbye to Florence (1988) set of six screenprints with title page, ltd ed 4/10 all signed & dated ‘88 (lower right) 24 x 15cm each presented in two frames, title page 29 x 21cm $3,000 - $5,000

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227 Richard Killeen (b 1946) Worry People lithograph, ltd ed 5/12 signed & dated 1998 (lower centre) 76 x 56.5cm $1,250 - $2,500 228 Richard Killeen (b 1946) The monkey’s revenge mixed media on paper signed & dated 18 Dec 1986 (lower right) 38 x 58cm $1,500 - $2,500

229 Bill Hammond (b 1947) Bone Eagle B etching, ltd ed 6/25 signed & dated 2007 (lower right); inscribed with title (lower left) 90 x 15cm $1,600 - $2,600 229a Philip Clairmont (1949-84) Seated Nude linocut, ltd ed 30/30 signed & dated ‘81 (lower right) 71 x 53cm $1,750 - $3,000

230 Jeffrey Harris (b 1949) Death and Love etching, ltd ed 25/50 signed (lower centre), inscribed with title & dated 1977 (lower left) 25 x 18cm $600 - $1,000

231 Jeffrey Harris (b 1949) It All Ends! ink on paper with collage signed and dated 27-1-74 (upper left) 31 x 45.5cm $800 - $1,600

232 Kushana Bush (b 1983) Alabaster Man etching & aquatint, ltd ed 16/20 signed & dated 2014 (lower right) 35.5 x 25.5cm $1,500 - $2,500

233 Andrew Mcleod (b 1976) What you want ink on linen signed (lower right) 18 x 24cm $750 - $1,250

234 Seraphine Pick (b 1964) Wolfman (1993) acrylic & graphite on board 20.2 x 20.2cm $800 - $1,600

235 Liz Maw (b 1966) The Naiad silkscreen print, ltd ed 2/10 signed (lower left) 84 x 40.5cm $1,500 - $2,500

236 Robert Thornley (b 1985) Mother (2008) archival pigment ink photograph, ed of 3 33 x 50cm $800 - $1,600

237 Peter Peryer (1941-2018) Tatau silver gelatin print, edition of 30 18 x 12cm $1,000 - $2,000

238 Fiona Pardington (b 1961) Adolescent Fantasies black albumen photograph with collaged and hand-painted mount signed & dated 1989 to reverse 36 x 35cm $1,000 - $1,600

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239 Dennis Knight Turner (1924-2011) Still Life (1960) oil on board signed ‘Turner’ (lower left) 40 x 55cm $2,000 - $3,000

240 Gwen Knight (1888-1974) Cornish Harbour Scene oil on board signed (lower right) 32 x 39.5cm $800 - $1,600

241 Gwen Knight (1888-1974) The Goldfish Pond gouache on paper signed (lower right) 42 x 55cm $1,500 - $2,500

242 Frank Gross (1908-63) Down at the Wharf watercolour & ink signed & dated 1950 (lower right) 28.5 x 36.6cm $350 - $650

243 Frank Gross (1908-63) Domestic Duties on the Lake’s Edge watercolour & ink signed & dated 1940 (lower right) 30.5 x 35cm $350 - $650

244 Frank Gross (1908-63) Back Yards, Dunedin watercolour and ink signed & dated ‘51 (lower right) 37 x 37.5cm $350 - $650

245 Frank Gross (1908-63) Demolition, Windsor Terrace watercolour & ink signed & dated 1950 (lower left) 27 x 35.5cm together Timber Yard (1946) by the same hand (2) $400 - $700 78

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246 Frank Gross (1908-63) Central Otago Jetty watercolour & felt tip 42 x 60cm $500 - $800

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247 Frank Gross (1908-63) Cubist City Scape graphite on paper signed (lower left) 48 x 59.5cm $500 - $800

249 Frank Gross (1908-63) Akaroa watercolour & felt-tip pen signed (lower left) 47 x 61cm $500 - $800

248 Frank Gross (1908-63) Akaroa felt tip on paper 48 x 53cm $500 - $800

250 Russell Clark (1905-1966) North Country Town (possibly Akaroa Township) watercolour signed to reverse 22 x 34cm $1,500 - $3,000

Provenance Gifted to Irvine Major by the artistâ&#x20AC;&#x2122;s mother, who lived in the the Clark Family home, Barbadoes Street, Christchurch, opposite the Majorâ&#x20AC;&#x2122;s. The compostition is similar to Clark's North Country Town c1925, watercolour, 29.5 x 22cm cat no. 2. exhibited Russell Clark 1905-1966 A Retrospective Exhibition, Robert McDougall Art Gallery Touring Exhibition, 1975

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251 Russell Clark (1905-66) Untitled (Industry) ink on paper signed (lower right) 20 x 26.5cm $800 - $1,600

252 Russell Clark (1905-66) Pair of Illustrations for The New Zealand Listener pen & ink both signed with initials, framed as one 15 x 15cm, 15 x 22cm $800 - $1,600

253 John Buckland Wright (1897-1954) Windy Scene wood engraving, ltd ed 28/30 signed & dated 1946 (lower right) 16 x 20cm $1,250 - $2,000

254 Mabel Annesley (1881-1959) Pig Farm woodblock on tissue, ltd ed 13/20 signed (lower right) 10 x 12cm $300 - $600

255 Juliet Peter (1915-2009) Cats World lithograph signed to reverse 37 x 48cm $450 - $700

256 E Mervyn Taylor (1906-64) Cats colour linocut, ed 25 signed (lower right) 29 x 39cm $600 - $1,000

257 E Mervyn Taylor (1906-64) Sleeping Woman colour linocut, ltd ed of 15 signed (lower right) 32 x 24cm $800 - $1,600

258 E Mervyn Taylor (1906-64) Mushrooms watercolour & graphite on paper signed (lower left) 14 x 13.5cm $350 - $600

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259 Archibald Nicoll (1886-1952) Autumn, Canterbury oil on canvas signed (lower right) 40 x 51cm $1,250 - $2,500

260 Archibald Nicoll (1886-1952) Green Fields oil on board signed (lower left) 21 x 29cm $600 - $1,000

261 Lois Watkins In Hagley Park (1948) oil on board signed (lower right) 30 x 41cm $400 - $700

262 Marcus King (1891-1984) Owen Valley, Nelson c1954 oil on canvas board signed (lower left) 51 x 75cm $1,500 - $2,500

263 Marcus King (1891-1984) Cecil Peak, Wakatipu oil on board signed (lower left) 17 x 22cm $750 - $1,250

264 Marcus King (1891-1984) Hills, Aniseed Valley, Nelson oil on canvas board signed (lower right) 20 x 27.5cm $750 - $1,250

265 Nugent Welch (1881-1970) Red Rocks watercolour signed (lower left) 20 x 28.5cm $500 - $800

266 Nugent Welch (1881-1970) Rural Landscape watercolour signed (lower left) 21.5 x 28cm $500 - $800

267 Flora Scales (1887-1985) Eastern Extension Cable Company’s Ship “Patrol”, Wellington Harbour, early 1920s watercolour signed (lower left) 22.5 x 28.5cm $500 - $800

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268 Charles H Howorth (1856-1945) South Island Fiord oil on canvas signed (lower left) 59 x 90cm $2,000 - $4,000

270 Charles H Howorth (1856-1945) Whanganui River watercolour signed (lower left) 49 x 36cm $500 - $800

269 Charles H Howorth (1856-1945) Aoraki, Mt Cook oil on canvas board signed (lower left) 44 x 29cm $1,000 - $2,000

271 W G Baker (1864-1929) Cosmos Peak, Lake Wakatipu oil on canvas signed (lower left) 39 x 59cm $2,000 - $4,000

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270

272 W G Baker (1864-1929) Near Wellington oil on canvas signed & inscribed with title (lower right) 30.5 x 46cm $600 - $1,200

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273 John Gibb (1831-1909) Coach Winding Through Otira Gorge oil on canvas signed & dated â&#x20AC;&#x2DC;John Gibb 1901â&#x20AC;&#x2122; (lower left) 54 x 39cm $3,000 - $5,000 273a Melvin Vaniman (1866-1912) Wellington 1903 black and white panoramic photograph bears photographers mark (lower right) 38 x 117cm $500 - $800

275

274 Alfred Walsh (1859-1916) Taramakau, West Coast watercolour signed & dated 1892 (lower left) 25.5 x 43cm $700 - $1,000

275 Owen Merton (1887-1931) Coastal Landscape, Wellington watercolour signed with initials & dated 1907 (lower left) 23.5 x 33.5cm $1,750 - $2,500 Provenance The Sir Ivor Richardson Art Collection, Dunbar Sloane Ltd, Wellington, 22 March 2006 (lot 24)

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276

277

276 Magic Lantern Slide of a New Zealand Village (c. 1850) A hand-painted magic lantern slide inscribed â&#x20AC;&#x2DC;New Zealand Villageâ&#x20AC;&#x2122; (upper left/right) glass slide 8cm dia; frame/overall 10 x 18cm $3,000 - $5,000

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277 Magic Lantern Slide of a missionary preaching to a gathering of Maori. (c. 1850) A hand-painted magic lantern slide depicting a missionary proselytising to a group of Maori, gathered around a camp fire. 8cm dia (plate); 10 x 16.5cm overall $3,000 - $5,000

The slide is similar to hand-painted glass slides depicting New Zealand Maori made by W.E. & F. Newton in London in the 1850s. The finely rendered scene shows the Maori, some wearing cloaks and fibre rain capes, their faces illuminated by the glow of the fire, as they listen to the missionary read from a book. The missionary is in the Western dress of the early 1800s and stands before a canvas tent

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278 Phillip Waddington Te Aho Te Rangi Wharepu oil on canvas signed (centre left) 23 x 18cm, oval $4,000 - $7,000 279 Phillip Waddington â&#x20AC;&#x2DC;Contentedâ&#x20AC;&#x2122; Rahapa Hinetapu oil on canvas signed (centre left) 23 x 18cm, oval $4,000 - $7,000 280 Phillip Waddington Te Rauparaha oil on board signed (centre left) 31 x 25cm, oval $4,000 - $7,000 280

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Hugh Littleton Norris British (1863-1942) The following eight works are from the Norris Family Collection, previously of Michelmersh Court, Romsey. Born on 25 March 1863, the third son of Archdeacon Norris of Bristol. Norris was educated at Charterhouse & Trinity College before he became an art student. In his earlier years as a professional artist he shared a studio with Charles Furse. His earlier work included portraits in oils, but his intense love of nature prevailed, and it is as a watercolour artist that his work has long been known. He married Mabel Stevenson of Hedgerley Park, Bucks and they had three sons.

281 Hugh L Norris (British 1863-1942) Ragwort & Thistles watercolour signed (lower right) 23 x 28.5cm $350 - $650

282 Hugh L Norris (British 1863-1942) Cattle Watering, Breamore watercolour signed (lower left) 25 x 35cm $350 - $650

283 Hugh L Norris (British 1863-1942) View from Castle Hill watercolour signed (lower left) 25 x 35cm $350 - $650

284 Hugh L Norris (British 1863-1942) Ivy Clad Winter Trees watercolour signed (lower right) 26 x 36cm $350 - $650

285 Hugh L Norris (British 1863-1942) A Pool above the Bridge watercolour signed (lower right) 25 x 35cm $350 - $650

286 Hugh L Norris (British 1863-1942) A Bend in the Stream watercolour signed (lower right), inscribed with title on 1906 Leicester Gallery exhibition label to reverse 25 x 35cm $350 - $650

287 Hugh L Norris (British 1863-1942) Helibores oil on board signed & dated 1899 (lower left) 24.5 x 35cm, unframed together with two floral botanical watercolour studies by the same hand (3) $350 - $650

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288 Joaquín Domínguez Becquer (Spanish, 1817–1879) Two Spanish dancer costume studies both watercolour and gouache on paper both signed, inscribed and dated ‘Sevilla 1833’ (one lower left, the other lower right); one numbered ‘88’ & other ‘89’ 27 x 18cm each (2) $1,500 - $2,500 289 Edward John Cobbett (British 1815-99) Young Girl with Basket of Apples oil on board signed (lower right) 34 x 24cm $800 - $1,600

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290 James Bretherton (British active 1770-90) After Rembrandt Harmensz. van Rijn (Dutch) Bust of a Man Wearing a High Cap, Three-Quarters Right: the Artist’s Father (?) etching 10 x 9.3cm $400 - 700 Provenance Dr Ginsberg Collection Reference New Hollstein: Dutch & Flemish engravings and woodcuts 1450-1700: Rembrandt I 1625-35, no 1-155 p. 87/ New Hollstein no. 57.

291 James Fraser Scott (1877-1932) Cathedral Interior, Canterbury Cathedral oil on canvas signed & dated 1928 (lower left) 77 x 51cm $750 - $1,250 292 William Hounsom Byles (1872-1924) Smelling the Roses oil on board signed (lower left) 24 x 18.5cm $500 - $800

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293 William H Mander (British 1850-1922) In the Conway Valley, Betws-y-Coed oil on canvas signed & dated ‘07 (lower left) 51 x 76cm $750 - $1,250

294 Frederick M. Sedgwick (?-1922) Hutt River oil on board signed (lower right) 38 x 53cm $500 - $800

295 L W Wilson (1850-1912) Portobello oil on board signed & inscribed with title (lower left) 27 x 45cm $400 - $700

296 William Matthew Hodgkins (1833-98) Waiouru Bush, Lower Taieri watercolour signed with initials (lower right) 25 x 23.5cm $800 - $1,600

297 Henry Grant Lloyd (1829-1904) The Terraces, Rotomahana watercolour signed & dated 1881 (lower left) 44 x 60cm $800 - $1,400

298 Cecil Fletcher Kelly (1879-1954) Fishing Boats, St Ives oil on canvas signed (lower right) 60 x 73 cm $500 - $800

299 Manner of Sydney Lough Thompson Port Vendre, France watercolour bears signature (lower left) 23.5 x 34cm $750 - $1,250

300 Guy Huze (1912-97) Outrigger Vessels gouache on paper signed (lower right) 48 x 62 cm $300 - $600

301 John S Loxton (1903-69) Netting Boat ‘Rosebud’, Port Phillip watercolour signed (lower left) 51 x 73cm $400 - $700

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302 Ernest Buckmaster (Australian 1897-1968) South Island River Landscape oil on canvas signed (lower right) 65 x 85cm $2,000 - $4,000

303 Mark Cross (b 1955) Dry Landscape, Te Paki oil on board signed (lower right); inscribed with title & dated 1984 to reverse 59 x 89cm $1,500 - $2,500

304 Peter Beadle (b 1933) Southland Farm Scene oil on board signed (lower left) 30 x 59cm $1,200 - $1,800

305 R B Watson (1911-80) Grazing Cows oil on board signed (lower right) 35 x 44cm $750 - $1,250

306 Douglas Badcock (1922-2009) Desert near Ravenswood - Evening oil on board signed & dated ‘87 (lower right) 30 x 39cm $500 - $800

307 Ion Brown (b 1942) Wellington Harbour oil on canvas board signed (lower right) 46 x 61cm $1,000 - $2,000

308 Gaston de Vel (1924-2010) Fishing Boats, San Francisco oil on canvas signed & dated ‘90 (lower left) 55 x 45cm $1,000 - $2,000

309 Gaston de Vel (1924-2010) Hillside Village, Santorini oil on canvas signed & dated ‘84 (lower left) 37 x 45cm $600 - $1,000

310 R B Watson (1911-80) Quiet Morning, Chiggio oil on board signed (lower right) 39.5 x 49.5cm $750 - $1,250

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311 Philip Trusttum (b 1940) Ball (1975) mixed media collage inscribed with title (lower right) 34 x 27cm $600 - $1,000

312 Philip Trusttum (b 1940) Head of a Solider mixed media collage signed & dated ‘75 (lower right) 29 x 22cm $600 - $1,000

313 Philip Trusttum (b 1940) Tunnel Fan (1975) mixed media collage 43 x 34cm $600 - $1,000

314 Sandy Adsett (b 1939) Out There acrylic on hardboard signed & dated 2001-2002 to reverse 121 x 111cm $1,000 - $2,000

315 Eion Stevens (b 1952) Tree medic acrylic on board signed & dated ‘13 to reverse 60 x 60cm maximum $1,250 - $2,500

316 Eion Stevens (b 1952) Shanty oil on canvas signed & dated 12/99 to reverse 83 x 71cm $800 - $1,600

317 Gordon Crook (1921-2011) “and out jumps Jack” oil on canvas signed with initials & dated ‘09 (lower right) 92 x 80cm $800 - $1,400

318 Michael Cubey (b 1964) Green River (2006) oil on canvas 46 x 45.6cm $400 - $700

319 Philippa Blair (b 1945) Ventoso (windy) oil on canvas signed & dated 2005 (to reverse) 30.5 x 30.5cm $600 - $1,000

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320 John Walsh (b 1954) Culture being Presented oil on board signed, inscribed with title & dated ‘98 to reverse 30 x 43cm $1,750 - $3,000 Provenance purchased Janne Land, October 1998 321 Ross Ritchie (b 1941) Untitled (Interior) oil on canvas signed & dated ‘90 (upper left) 112 x 78cm $1,250 - $2,500

324

322 Stephen Allwood (b 1959) Cross, Study oil on canvas signed & dated ‘05 (lower right) 106.3 x 76cm $800 - $1,600 323 Allen Maddox (1948-2000) Untitled Crosses (1984) watercolour on paper, two framed as one both signed with initials & dated ‘84 (lower centre) 35 x 27.5cm each (2) $1,200 - $2,400

324 Dean Proudfoot Michael Serenades a New Zealand Landscape oil on canvas signed & dated ‘07 (lower right) 122 x 152cm $1,750 - $3,000

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325 Luise Fong (b 1964) Section, Sonar Series diptych, mixed media on canvas signed & dated 1998 to reverse 35 x 45.5cm each; 70 x 45.5cm overall $1,000 - $2,000

326 Guy Ngan (1926-2017) Series Twenty Eight B lithograph, ltd ed 1/5 signed & dated 1976 (lower right) 73 x 52.5cm $400 - $700

327 Jason Greig (b 1963) Dragonfly (2007) Photo-transfer collage signed 26.4 x 31.7cm $500 - $800

328 John Drawbridge (1930-2005) Horizons, 2001, No II drypoint etching, ltd ed 3/50 signed & dated 2001 (lower right) 29 x 48cm $750 - $1,250

329 John Drawbridge (1930 - 2005) Woman Resting mezzotint, ltd ed 22/100 signed (lower right) 30 x 27.5cm $600 - $1,000

330 Nigel Brown (b 1949) Obelisk Romance lithograph, ltd ed 8/16 signed & dated 1985 (lower centre) 48 x 33cm $500 - $800

331 Marian Maguire (b1962) Odyssey Amphora lithograph ltd ed 7/24 signed & dated 2005 (lower right) 37.5 x 45.5cm $600 - $1,000

332 Fane Flaws (b 1951) Bird with Chilcott Vase screenprint, ltd ed 4/50 signed & dated â&#x20AC;&#x2DC;08 (lower right) 17 x 16.5cm $300 - $600

333 Clifton Pugh (Australian 1924-90) Portrait of Ray (c1986) etching, AP signed (lower left) 57 x 38cm $500 - $800

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334 Michel Tuffery (b 1966) Over The Overside Upolili lithograph, ltd ed 2/20 signed (lower right) 79 x 40.5cm $400 - $700

335 Michel Tuffery (b 1966) Exhibition of Prints, Fa Samoa Fa Palagi, Marshall Seifert Gallery, Dowing St Nov 10-26 hand-coloured woodblock collage signed (lower right) 65 x 45.5cm $300 - $600

336 Michel Tuffery (b 1966) O Le Manatu Lou Tuma I Le Taugaupu, Ose Mafaufauta I Le Mataupu Oloo Totoe, O Loo Ma Talanoa Ma Lou’u Tama three lithographs, triptych,ltd ed 13/28 signed & dated ‘89 (lower) 36 x 34.5 cm each $600 - $1,000

337 Michel Tuffery (b 1966) Ula Sami coloured woodblock, ltd ed 4/10 signed & dated ‘88 (lower right) 62 x 36cm $400 - $700

338 Michel Tuffery (b 1966) Meka Meka lithgograph, ltd ed 4/10 signed & dated ‘85 (lower right) 45 x 33cm $300 - $600

339 Robyn Kahukiwa (b 1940) Haehae Mo Nga - Pepi Kahui pencil & ink on paper signed & dated 2006 (lower right) 58 x 41.5cm $800 - $1,600

340 NZ Vintage Lithographic Poster New Zealand, The Playground of the Pacific, Thousands of Feet Above Worry Level! Mt Cook issued by Publicity Branch, NZ Railways, printed C M Banks, Wgtn 102 x 64cm, linen backed $1,500 - $2,500

341 Stanley Palmer (b 1936) Marae, Pahaoa bamboo engraving, ltd ed 12/100 signed & dated 1988 (lower right) 47.5 x 63.5cm $400 - $700

342 Stanley Palmer (b 1936) From Maungawhau bamboo engraving, ltd ed 13/100 signed & dated 1988 (lower right) 47 x 63cm $400 - $700

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343 Stanley Palmer (b 1936) Abandoned Cowshed - Pakiri, Northland monotype, ltd ed of 6 signed & dated 1988 (lower right) 69 x 105cm $1,000 - $2,000

344 Stanley Palmer (b 1936) Memories of Chelsea monotype, ltd ed 3/6 signed & dated 1987 (lower right) 69 x 104cm $1,000 - $2,000

345 John S Parker (1944-2017) Landscape, Blenheim pastel on paper signed & dated ‘89 (lower left) 63 x 88cm $750 - $1,250

346 Peter Cleverley (b 1954) Chase the exotic oil on Rimu panel signed & dated 2006 (lower right) 18 x 34cm $750 - $1,250

347 Scott Kennedy Riwaka acrylic & ink on canvas signed & dated ‘06 to reverse 40.5 x 51cm $400 - $700

348 Annie Baird (1932-99) Wellington Harbour from Roseneath watercolour signed & dated ‘94 (lower right) 57 x 76cm $500 - $800

349 Annie Baird (1932-99) From Hanover Street, Wadestown watercolour signed & dated 4.1.92 (lower right) 57 x 76cm $500 - $800

350 Annie Baird (1932-99) From Wright’s Hill watercolour signed & dated ‘89 (lower right) 57 x 76cm $500 - $800

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351 355

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351 Philip Markham (b 1939) Towards Manapouri acrylic on board signed & dated ‘87 (lower right) 118 x 77cm $800 - $1,400

353 Philip Markham (b 1939) Farmhouse egg tempera on board signed & dated ‘97 (lower left) 19 x 45.5cm $400 - $700

355 Michael Moore (b 1956) Towards the Central Plateau acrylic on linen signed & dated ‘10 (lower right) 25 x 61cm $800 - $1,600

352 Philip Markham (b 1939) Yachts, Wellington Harbour acrylic on board signed & dated ‘96 (lower right) 15.5 x 28.5cm $400 - $700

354 Michael Moore (b 1956) Southern Wairarapa, Tikouka Forest Series, Study No 1. acrylic on linen signed & dated ‘10 (lower right) 51 x 25cm $800 - $1,600

356 Anya Sinclair (b 1978) Little Muddy Creek oil on canvas signed with initials & dated 2015 to reverse 30 x 21cm $500 - $800

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357 Melvin Day (1923-2016) The Side Show oil on board signed and dated ‘Day ‘51’ (lower left), inscribed ‘The Side Show by Pat Day’ to reverse 44 x 39 cm $2,000 - $3,000 358 Cedric Savage (1901-69) To Afternoon Siesta, Rhodes watercolour signed (lower right) 50 x 53cm $600 - $1,000

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359 Elise Mourant (1921-90) Early Colonial Cottage watercolour & Indian ink on paper signed (lower left) 35 x 47cm $300 - $600

360 Helen Stewart (1900-83) Seascape oil on board signed (lower right) 30 x 40cm together with other landscape study to reverse $800 - $1,600 Provenance Ex Collection of Patricia Fry. Note to reverse attributing the work to Stewart & Grace Cossington Smith (Moss Vale c1938)

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361 Cecil Manson In the Studio oil on board signed (lower right); Paris Salon 1967 stamp & original paper label attached to reverse 60 x 73cm $1,000 - $2,000 362 Cecil Manson Seated Nude No. 14 oil on board signed (lower right) 59 x 44cm $500 - $800

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363 Louise Henderson (1902-94) (Untitled) Figural Study mixed media on paper signed (lower right) 37 x 27cm $1,250 - $2,500

365 Bill Reed (1908-96) Artist and Pot Belly Stove oil on board signed (lower left) 44 x 58cm $1,000 - $2,000

364 Piera McArthur (b 1929) Dedicated Artistâ&#x20AC;&#x2122;s Self Portrait acrylic signed (lower centre) 119 x 78cm $1,750 - $3,000

Provenance Ex Artistâ&#x20AC;&#x2122;s Estate, cat no 45. March 2002

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Part Three Studio Ceramics & Applied Art

Thursday 5 September 2019 4pm start Lot 400 - 482

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400 Mirek Smisek pair condiment carafes, inscribed early mark, 18.5cm height $150 - $300

401 Mirek Smisek shallow footed bowl, early mark, 21cm dia. $150 - $300

402 Mirek Smisek large baluster mantle vase, incised early mark, 31cm height $400 - $800

403 Mirek Smisek wine carafe with original cane stopper & handle, incised early mark, 36cm overall height $200 - $400

404 Mirek Smisek milk jug, incised early mark, 14cm height with oil carafe, impressed mark 16.5cm $100 - $200

405 Mirek Smisek coffee pot, Sugar & Cream, impressed MS mark (3) $150 - $300

406 Mirek Smisek two ovoid specimen vases, impressed marks, 15cm, 11cm heights $100 - $200

407 Mirek Smisek two ovoid specimen vases, early incised mark & impressed mark, 7.5cm, 13cm heights $100 - $200

408 Mirek Smisek unomi, impressed mark, 10.5cm dia. together with cream jug, 11cm height $100 - $200

409 Mirek Smisek charger, impressed mark, 32.5cm dia. $150 - $300

410 Mirek Smisek two plates, impressed marks, 26.5cm, 25.5cm dia. $100 - $200

411 Mirek Smisek pair plates, impressed marks, 26.5cm dia $100 - $200

412 Mirek Smisek pair plates, impressed marks, 26.5cm dia $100 - $200

413 Mirek Smisek pair plates, impressed marks, 26.5cm dia $100 - $200

414 Mirek Smisek shallow dish, impressed mark, 25.5cm dia together with pepper & salts $150 - $250

415 Mirek Smisek jug, impressed mark, 18.5cm height $100 - $200

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416 Mirek Smisek gravy boat on saucer, impressed mark, 12cm dia $75 - $150

417 Mirek Smisek lidded casserole, impressed mark, 29cm dia $100 - $200

418 Mirek Smisek deep footed bowl, impressed mark, 31cm dia. $150 - $300

419 Mirek Smisek squared bowl, impressed mark, 21cm length $100 - $200

420 Bruce Martin ovoid vase, impressed mark, dated â&#x20AC;&#x2DC;88 with original gallery label, 26cm height $300 - $500

420a Bruce Martin sculptural specimen vase, incised mark dated â&#x20AC;&#x2DC;88, 43cm height $150 - $250

421 Chester Nealie lidded floor pot, incised mark, 50cm height (overall) $300 - $500

421a Patricia Perrin onion pot with original cork stopper and rope handle, impressed mark, 20cm overall height $150 - $250

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422

425

422 Crown Lynn Hand Potted ribbed vase, printed mark, no. 24, 18cm height $300 - $500

423 Crown Lynn Hand Potted ribbed vase, light pink glaze, tiki mark, 18.5cm height $400 - $600

426 424

424 Crown Lynn Hand Potted ribbed vase, tiki mark, no. 15, 14cm height $200 - $400

425 Crown Lynn Hand Potted vase, tiki mark with paper label, 12cm height $200 - $300 426 Crown Lynn Hand Potted vase, printed mark, 13cm height $150 - $250

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427 Frank Carpay for Ambacht Volendam pair marriage plates, printed & incised marks, 15.5cm dia. $500 - $800

428 Frank Carpay for Ambacht Volendam plate, printed mark & incised no. 21cm dia. $250 - $450

429 Frank Carpay for Ambacht Volendam pin dish, printed mark, 8cm dia. $100 - $200

430 Crown Lynn model of Spaniel, printed mark, 28cm length $100 - $200

431 Crown Lynn model of Scottie Dog, 18cm height together with Forest Ware NZ model of Bloodhound Puppy, 18cm length $100 - $200

432 P Hutson & Co majolica bread plate ‘Give us this Day our Daily Bread’, impressed mark, 31.5cm dia. (handle restoration) $200 - $400

433 Kenneth Clark majolica bowl, painted initials & dated ‘00, 22cm dia. with narrow neck lustre bottle, 15cm height $200 - $300

434 Roy Rogers two spherical orbs, incised marks, 20cm & 15cm heights $150 - $250

435 Gulielma Dowrick aubergine tulip bowl, signed with initials & dated ‘02 to base, 20.5cm height $150 - $300

436 John Parker brilliant red glazed deep bowl, impressed mark, 27cm dia. $300 - $500

437 John Parker specimen bottle vase, impressed mark, 20cm height $150 - $250

438 John Parker deep bowl, impressed mark, 13.5cm dia. $150 - $250

439 John Parker bottle vase, impressed mark, 17cm height $100 - $200

440 Richard Parker six miniature dishes, paper labels, 6cm ea $100 - $200

441 Richard Parker lug handled vase, paper label, 12.5cm height $100 - $200

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442 Doreen Blumhardt slab built floor vase, impressed mark, 42cm height $400 - 700

443 Doreen Blumhardt hexagonal slab form vase, impressed mark, 40cm height $400 - $700

444 Doreen Blumhardt slender floor vase, form inspired by pregnant woman, impressed mark, 64cm height $700 - $1,200

445 Juliet Peter large footed table bowl, incised mark & paper label, 41cm dia. $350 - $600

446 Roy Cowan elongated platter, unmarked, 44cm length together with Juliet Peter footed dish, incised with initials, 19cm length $200 - $400

447 Len Castle large pouring bowl, impressed mark, 30cm overall dia. $400 - $800

448 Len Castle three graduated dishes, impressed marks, 16cm, 13cm, 9cm dia. $300 - $600

449 Len Castle bird form lidded container, impressed mark, 10cm width $200 - $400

450 Len Castle Korean celadon glaze porcelain bowl c1980s, impressed mark, 19.5cm dia. $250 - $400 Provenance: Marshall Seifert Gallery, October 2002 no. 34

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451 Ruth Castle dyed rattan core woven wall hanging, sunflower pattern, 36cm dia. $100 - $200

452 Ruth Castle dyed rattan core woven wall hanging, check pattern, 25cm dia. $75 - $150

453 Ruth Castle woven rattan fruit basket with handle, 34cm height $100 - $200

454 Ross Mitchell Anyon teapot, impressed mark (minor frit to lid) Prov: Collection of Helen Mason $100 - $200

455 Peter Stichbury two stoppered flasks, impressed marks, one with paper label, 30cm, 18.5cm height $100 - $200

456 Jack Laird charger, incised mark, 37cm dia. together with Justin Gardiner charger, incised mark & dated 1990, 36.5cm dia. (2) $150 - $250

457 Ted Dutch signal figure & other, impressed marks, 11.5cm, 5.5cm together with Doris Dutch elongated platter with Theo Schoon style impressions, impressed mark, 37cm length $150 - $250

458 Scott McFarlane three ceramics: Untitled #208, #202, #343 all painted with initials to reverse, of sizes $400 - $600

459 Rick Rudd two raku sculptural forms, 21cm, 18.5cm heights $200 - $400

460 Owen Mapp ‘He Manaia’ marine ivory carving inlaid with horn, 15cm length, framed 30 x 16cm $300 - $600 461 Owen Mapp ‘Taniwha’ (1984) bone carving, 20.5cm length, framed 30 x 16cm $300 - $600

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462 Barry Brickell locomotive vase, 22cm height $500 - $800

463 Barry Brickell terracotta fountain of graduating tiers, the cones interspaced with saucers (lacking internal support rod) $1,000 - $2,000

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465 James Greig Turning Form vase, impressed mark, 27cm height $600 - $1,000

466 James Greig Turning Form vase, iridescent blue glaze, c1980, incised mark, 24cm height $1,000 - $2,000

467 James Greig Sculptural Vase form, glazed in blue and green on pale blue ground, incised mark, 25cm height $1,000 - $2,000

468 James Greig Sculptural Vase form, in iron glaze, incised mark, 24cm height $1,000 - $2,000

464 James Greig Transformation sculpture, from Transformation Series c1984/5, magnesia and ash glaze, impressed mark to base 111cm height, 51cm width, 33cm depth $7,000 - $10,000

469 Raewyn Atkinson Heart Kina Vessel, paper label to base, 28cm height, 38cm width, 25cm depth (minor firing flaws) $4,000 - $5,000

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Exhibited: Lower Hutt, The Dowse Art Museum, James Greig Defying Gravity, 2017

470 Gavin Chilcott Hand-painted Ashet, signed & dated 1994 to base, 49cm length $600 - $800 471 Paul & Fran Dibble Large Stoneware Slab Vase of zig-zag form, hand-painted with construction workers, and reverse with abstract design, trefoil painted/incised mark & dated 17/5/81, 44cm height (restored) $750 - $1,250 Provenance: Sale, A + O, Auckland, 22 October 2013 (cover illustration)

472 Gregor Kregar Sheep (2003), 35cm length (af) $500 - $800

475 Garry Nash elongated vase, etched signature & dated 2000, 37cm height $300 - 500

473 Louise Purvis, Neighbour (2012) electroplated steel, painted stainless steel nuts & bolts 31cm height, 53cm length, 11cm depth $600 - $1,000 Provenance: Bowen Galleries, Shelter, March 2012

476 Victoria Rodgers Pate de Verre vase $100 - $200 Provenance: purchased Te Papa, 2003

474 Ann Robinson early cast glass footed bowl, light blue colour way, 28cm dia. $1,750 - $3,000 Provenance: gifted to previous owner by the artist

477 Keith Rowe glass vessel, impressed mark, 20cm height together with other encased glass bottle vase, incised ‘SC ‘2003’ to base, 25cm height $100 - $200

478 Paul Dibble cast metal tiki bottle opener, hand-painted, 16cm length $300 - $600

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479 Aiko Groot (b 1972) Squareangle kinetic sculpture, stainless steel, aluminium and electromechanical components, ltd ed 1/3 signed & dated 2002 to reverse 52 x 52cm square $4,000 - $7,000

Aiko Groot says his sculptures are in many ways a reflection of his own ambiguous relationship with technology and our hyper-kinetic society. 'I have always found gizmos interesting, yet I am deeply aware of their often superfluous and dehumanising nature. There is an unmistakeable irony in exploring this ambiguity with the machine by making more of them. This has led me to pursue a re-humanisation

480 Johnny Turner Propeller c2013 granite sculpture on marble base 2.1m height $2,000 - $4,000 481 Terry Stringer (b 1946) Still Life with Torso, Flowers & Seashell cast bronze sculpture, hand-painted on marble plinth inscribed and dated ‘81 with monogram 26cm height, 24cm length, 14cm depth $3,000 - $5,000 482 Charlotte Fisher (b 1959) Red Head (1998) kauri & Australian hardwood 74.4 x 34.6 x 28.9cm $2,000 - 3,000 Provenance purchased Janne Land Gallery, Wellington ‘Charlotte Fisher’ 2001

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of the technical and mechanical; a search for the personality in the machine as it were.' Aiko Groot graduated from Elam School of Fine Arts with a Bachelor of Fine Arts in 1994. His works have appeared at numerous exhibitions around New Zealand and can be found in both public and private collections.

Simon Manchester (1958-2019) We are saddened by the sudden passing of our former Studio Ceramics & Applied Arts Consultant, Simon Manchester in July. Simon's unbridled passion for ceramics, his immense knowledge and friendship will be greatly missed. In memory we have republished Rick Rudd's tribute from Simon's Memorial Service. Most appropriately Simon's collection will live on being bequest to Rudd's Quartz Museum, Whanganui.

Image courtesy of the Manchester Family

"I don’t remember when I first met Simon. It was probably at a major exhibition opening when everyone was loud and excited. Later, when I began buying work for my New Zealand collection, frequenting Dunbar Sloane auctions in Wellington, I came to know him better. In him, I think I recognized a part of myself, the passion and a degree of mad obsession that characterizes the determined collector.

es alike. He amassed over two thousand ceramic works and visitors to his apartment had to be careful where they walked or moved. Every horizontal surface, including most of the floor, was covered with pots. From the tiny to the enormous, even the walls had pieces hanging on them. To Simon big was good but size aside, the collection is liberally scattered with nationally significant pieces.

You wouldn’t call our conversations talking, they were more like ravings, animated discussions about pots, or potters, agreement or disagreement, they were always lively and fun. These conversations often took place late at night on the phone. His knowledge of the history of New Zealand studio ceramics was encyclopedic and he had strong connections to many present day practitioners.

The breadth of his ceramic collection was extensive from the pioneer potters of the early and mid twentieth century, to the Anglo-Oriental influenced potters of the ‘60s and ‘70s, to the newer potters of the ‘80s onwards and to the most important potters of today. In some cases, he would have a few pieces of a potter’s work, rarely one example, often numerous works constituting a collection within the collection. He loved to have variations and multiples, juxtapositions, where pieces could play against and with each other.

Simon began collecting in the late 1980s and in over thirty years bought, sold, handled and processed who knows how many ceramic works. Marked or unmarked, he could identify the works of more potters than anyone else I know. Through this knowledge and experience his collection has become one of, if not the biggest, and certainly one of the most important pottery collections in the country. In handling so many pieces his experienced eye informed his gut instinctively what was merely good and what was really special. Intellectualizing came later. The collection was fluid. Simon was not averse to selling something in order to acquire a more important work and the thrill of the chase was enlivening. The achievement of an exceptional acquisition excited an ecstatic feeling. He got to know and become friends with many of the potters whose works he collected and was a frequent purchasing patron at dealer galleries and auction hous-

Simon’s collection was not just for his own enjoyment. He wanted to share it. There can have been few major curated historical ceramic exhibitions organized by museums or galleries that have not included works borrowed from him. He has always been generous in lending works. In some cases, they could be away for years at a time. When I set up a museum in Whanganui, he offered to lend a group of works, I didn’t even have to ask. He wanted to be a part of what I was doing. When the most recent exhibition, the work of Andy Kingston, Paul Maseyk and Richard Stratton arrived I opened a box to find The Banker’s Dog by Richard Stratton. It’s a ridiculously fragile work. I phoned Simon and said “I don’t even want to lift it out of the box and I’m too scared to have it on show”. He came straight back with “I want it to be seen.” It has certainly been seen and continues to wow visitors.

I remember after the earthquake, when he had lost so many pots he was really down. Eventually, he had some pieces restored and began buying more works again. I don’t think anything could quench his passion for ceramics. His enthusiasm was infectious. I wonder how many collectors have been encouraged, inspired and hooked on collecting by his example. Simon has given so much to New Zealand’s ceramic community and environment, as a patron to living potters, by respecting and attempting to raise the desirability and values of works on the secondary market, his involvement with the Blumhardt Foundation and of course, by building a collection of national significance. The Simon Manchester Collection is a testament to his passion and will be his legacy for New Zealand to enjoy. When I visited him less than two weeks ago he expressed the wish that his collection of ceramics should go to the Rick Rudd Foundation, a charitable trust I set up six years ago. I made the promise to him that I would do my very best for it. My hope is that through permanent and temporary exhibitions at Quartz, Museum of Studio and Ceramics in Whanganui and lending to other institutions as Simon has done so often in the past the collection will quietly educate and be enjoyed by as many people as possible. My fellow Trustees and I intend to create a space where his contribution can be contemplated, remembered and celebrated. Whenever we finished our phone conversation Simon would always address me with “my friend” an accolade I shall cherish. Whenever I think of the collection and “should I show it this way? Would Simon like that?” I’ll hope to hear in the ether those two little words softly spoken “SHIT YEAH” Rick Rudd, 25 July 2019

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Alphabetical Index

PART ONE A Apple, Billy 3 B Barraud, Charles Decimus 51, 77 Binney, Don 23, 24, 28 Blomfield, Charles 76 Bower, Olivia Spencer 66 C Chevalier, Nicholas 49 Cotton, Shane 7, 12 Cowan, Roy 22 D Day, Melvin 11 de Lautour 13, 14 Dixon, Charles Edward 48 F France, Patricia 67, 68 Frizzell, Dick 19, 20, 31 G Gimblett, Max 29 Gopas, Rudi 65 Gossage, Star 10 Gully, John 78 H Hammond, Bill 1, 2 Hanly, Pat 32–34 Harris-Ching, Raymond 25 Harrison, Sam 9 Hodgkins, Frances 58 Hotere, Ralph 4, 30 Hoyte, John Barr Clarke 52–56 K Kahukiwa, Robyn 79 King, Marcus 59 L Laishley, Richard 75 Lusk, Doris 64 M McCahon, Colin 35 McIntyre, Peter 61 McLeod, Andrew 8 Mahon, Sam 71 Moffitt, Trevor 72, 73 Millar, Judy 6 Morris, Simon 5 110

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N Naghi, Mohamed 47 Nerli, Girolamo P B 74 P Page, Evelyn 36 Petitjean, Hippolyte 42 R Richmond, Dorothy Kate 57 Robinson, Peter 15, 16 S Sabbagh, Georges Hanna 46 Saïd, Mahmoud 43 Siddell, Peter 21 Smither, Michael 26 Stewart, Helen 62, 63 Sydney, Grahame 27 T Thompson, Sydney Lough 38–41 Trusttum, Philip 17 W Wanly, Adham 45 Wanly, Seif 44 Weeks, John 37 White, Lois 69, 70

PART TWO A Adsett, Sandy 314 Allwood, Stephen 322 Annesley, Mabel 254 B Badcock, Douglas 306 Bair, Annie 348–350 Baker, W G 271, 272 Beadle, Peter 304 Becquer, Joaquin Dominguez 288 Binney, Don 225 Blair, Philippa 319 Bretherton, James 290 Brown, Ion 307 Brown, Nigel 330 Buckmaster, Ernest 302 Bush, Kushana 232 Byles, William Hounsom 292

C Cairncross, Sam 200–202 Clairmont, Philip 229a Clark, Russell 250–252 Cleverley, Peter 346 Cobbett, Edward John 289 Crook, Gordon 317 Cross, Mark 303 Cubey, Michael 318 D Day, Melvin 357 Deans Austin A 203, 204 de Vel, Gaston 308, 309 Drawbridge, John 328, 329 E Esplin, Tom 215– 217 F Flaws, Fane 332 Fong, Luise 325 G Gibb, John 273 Greig, Jason 327 Gross, Frank 242–249 H Hammond, Bill 229 Harris, Jeffrey 230, 231 Henderson, Louise 363 Hodgkins, William Matthew 296 Howorth, Charles H 268–270 Hunt, Ken 370 Huze, Guy 300 K Kahukiwa, Robyn 339 Kelly, Cecil F 298 Kennedy, Scott 347 Killeen, Richard 227, 228 King, Marcus 262–264 Knight, Gwen 240, 241 L Lloyd, Henry Grant 297 Loxton, John S 301 Mc McArthur, Piera 364 McCormack, T A 205 - 208 McLeod, Andrew 233

M Maddox, Allen 323 Maguire, Marian 331 Mander, William H 293 Manson, Cecil 361, 362 Markham, Philip 351–353 Maw, Liz 235 Merton, Owen 275 Moore, Michael 354, 355 Mourant, Elise 359 N Ngan, Guy 326 Nicoll, Archibald 259, 260 Norris, Hugh L 281–287 P Palmer, Stanley 341–344 Pardington 238 Parker, John S 345 Peryer, Peter 237 Peter, Juliet 255 Pick, Seraphine 234 Poster, NZ Vintage 340 Proudfoot, Dean 324 Pugh, Clifton 333 R Reed, Bill 365 Ritchie, Ross 321 S Savage, Cedric 212, 213, 358 Scales, Flora 267 Scott, James Fraser 291 Sedgwick, Frederick M 294 Sinclair, Anya 356 Smither, Michael 218– 224 Stevens, Eion 315, 316 Stewart, Helen 360 T Taylor, E Mervyn 256–258 Thompson, manner of S L 299 Thornley, Robert 236 Trusttum, Philip 311–313 Tuffery, Michel 334–338 Turner, Dennis Knight 239 U Unknown NZ historical 276, 277

V Vaniman, Melvin 273a

K Kregar, Gregor 472

W Waddington, Phillip John 278–280 Walsh, Alfred 274 Walsh, John 320 Watkins, Lois 261 Watson, R B 305, 310 Weeks, John 214 Welch, Nugent 265, 266 Wheeler, Colin 209–211 Wilson, L W 295 Wright, John Buckland 253 White, Robin 226 Whyte, Alice 208a

L Laird, Jack 456

PART THREE A Anyon, Ross Mitchell 454 Atkinson, Raewyn 469 B Blumhardt, Doreen 442–444 Brickell, Barry 462, 463 C Carpay, Frank 427–429 Castle, Len 447–450 Castle, Ruth 451–453 Chilcott, Gavin 470 Clark, Kenneth 433 Cowan, Roy 446 Crown Lynn 422–426, 430, 431

M McFarlane, Scott 458 Mapp, Owen 460, 461 Martin, Bruce 420, 420a N Nash, Garry 475 Nealie, Chester 421 P Parker, John 436–439 Parker, Richard 440, 441 Perrin, Patricia 421a Peter, Juliet 445 Purvis, Louise 473 R Robinson, Ann 474 Rodgers, Victoria 476 Rogers, Roy 434 Rowe, Keith 477 Rudd, Rick 459 S Smisek, Mirek 400–419 Stichbury, Peter 455 Stringer, Terry 481 T Turner, Johnny 480

D Dibble, Paul & Fran 471, 478 Dowrick, Gulielma 435 Dutch, Ted 457 F Fisher, Charlotte 482 G Greig, James 464–468 Groot, Aiko 479 H Hutson & Co 432

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The Noel & Margaret Dick Art Collection Highlights

99% SOLD BY LOT & 136% SOLD BY VALUE 13 NEW AUCTION RECORDS ACHIEVED

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Illustrated: 1 Colin McCahon Kauri - $107,600 2 Rita Angus Evening - $161,400 - New Artist Record for work on paper 3 Toss Woollaston The dead Christ after Bellini- $113,600 4 Ralph Hotere Pipiwhararuroa, Story of the Shining Cuckoo - $101,600 5 Colin McCahon North Otago Landscape 3 - $717,300

6 Louise Henderson Cubist Still Life - $34,700 7 Melvin Day Somes Island, Wellington Harbour- $58,600 - New Artist Record 8 Toss Woollaston Bayley’s Hill $62,200 9 Charles Tole Hawea - $39,400 10 A Lois White Winter’s Approach - $33,500 11 E Mervyn Taylor Hine - $10,200 - New Artist Record 12 John Tole Viaduct, Central Plateau - $45,400 - New Artist Record

* Rounded to the nearest hundred ncluding buyers premium + GST

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Recent Fine Jewellery Highlights

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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 13stone Burmese Ruby & Diamond Cluster Ring - $60,000 7 Tiffany & Co Platinum Solitaire Diamond ring - $38,000 8 Unmounted Aquamarine Gem Stone - $18,000 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

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ENTRIES ENTRIES CURRENTLY CURRENTLY INVITED INVITED

Antique & Decorative Arts November 2019

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

ENTRIES ENTRIES CURRENTLY CURRENTLY INVITED INVITED

Fine & Estate Jewellery November 2019 Enquiries Bettina Frith +64 4 472 1367 reception@dunbarsloane.co.nz Dunbar M Sloane +64 9 377 5820 auckland@dunbarsloane.co.nz

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ENTRIES CURRENTLY INVITED

NZ & International Fine Arts Studio Ceramics & Applied Art November 2019

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

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ENTRIES CLOSED

The Bruce Baxter Estate Model Railway Collection 18 September 2019

Enquiries +64 4 472 1367 reception@dunbarsloane.co.nz

ENTRIES CLOSED

Books & Maps Militaria Stamps & Postcards Pacific Artefacts 2 October 2019 Enquiries Anthony Gallagher +64 4 472 1367 antique@dunbarsloane.co.nz

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Buyers Guide If you have not bought from Dunbar Sloane before, please read the following notes. They are set out in the order you are likely to come across them in the process of buying at auction. Staff will be pleased to answer any questions you may have. Before the auction The terms and conditions under which the buyer acts at a sale are detailed at the back of this catalogue. We recommend that you read and understand these conditions of business before registering to bid at an auction. This sale is subject to the conditions of business printed in this catalogue and to the reserves.

Viewing All lots are available for inspection prior to the sale. Although staff will endeavour to answer your enquiries, and give advice, the final decision to bid, is at your discretion and liability.

Pre-Sale Estimates The estimated prices printed below the catalogue descriptions are in New Zealand dollars and are the approximate prices expected to be realised, excluding buyers premium. They are not definitive, they are prepared well in advance of the sale and they are subject to revision.

Condition reports Dunbar Sloane Ltd will provide a verbal condition report if you would like an opinion on any particular lot prior to purchasing. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

The auction REGISTRATION To bid at the auction you will need to register for a bidding number at the front desk either during the viewing or prior to the auction.

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 Auctions are generally conducted at the rate of about 100 lots per hour. However, this can vary. AB SEN TE E 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.

Telephone Bidding If you are unable to attend the auction, you can elect to bid by telephone (subject to availability). Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to a minimum lot estimate of $500 or greater. Please note that the auctioneer determines the increments in bidding, not the telephone bidder. We accept no responsibility if for whatever reason we are unable to contact you and as such recommend leaving a covering bid.

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

After the auction PAY M E N T Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque or eftpos. Alternatively payment can be made by telegraphic transfer direct to our bank: (Please add $25NZ to cover New Zealand bank charges) ANZ 06 0501 0524945 00 Swift Code ANZBNZ22 Dunbar Sloane Ltd Please include details of sale date and lot numbers with all payments.

Collection of Purchases Property purchased can be collected as soon as full payment has been received. Any items not collected within seven days of the auction may be subject to a storage and fee. Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care. Purchases are insured for a period of 48 hours after the auction day. Items must be paid for straight away and a second account for courier/freight charges will follow approximately 6 days later when we have had time to confirm courier charges.

Packaging and Transportation We advise buyers to arrange transport and insurance with their preferred provider/s. We accept no responsibility for loss or damage in transit. For smaller items able to be couriered, Dunbar Sloane Ltd can pack and courier for a fee. This is to be paid before the goods leave our premises. We pack with care, however we take no responsibility for damage once your goods leave our premises. It is up to the buyer to arrange insurance to cover any damage or loss in transit.

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Conditions of Sale

1. The highest Bidder is deemed to be the Buyer, and if during the Auction the Auctioneer considers that a dispute has arisen, the Lot in dispute shall be immediately put up again for sale. 2. he Auctioneer has the right to refuse T any bid and to advance the bidding at his absolute discretion. 3. The Seller shall be entitled to place a reserve on any Lot and the Auctioneer shall have the right to bid on behalf of the Seller for any Lot on which a reserve has been placed. Dunbar Sloane Ltd have the right to withdraw or divide any Lot or to combine any two or more Lots at their sole discretion. 4. The Buyer shall forthwith upon the purchase give in his/her name and permanent address. The Buyer may be required to pay down forthwith the whole or any part of the Purchase Money, and if he/she fails to do so,the Lot may at the Auctioneers absolute discretion be put up again and resold. he Buyer shall pay to Dunbar Sloane T Ltd a premium of 17% on the hammer price together with GST at the standard rate on the premium, and agrees that Dunbar Sloane, when acting as agent for the Seller, may also receive commission from the Seller. 5. ach Lot sold by the Seller thereof with E all faults and defects therein and with all errors of description and is to be taken and paid for whether genuine and authentic or not and no compensation shall be paid for the same.

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

7. To prevent inaccuracy in delivery, and inconvenience in settlement of Purchase, no Lot can be taken away during the times of sale, nor can any Lot be taken away unless it has been paid for in full. All lots are to be paid for and taken away at the 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).

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)

International Bidders Are required to 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 will result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. NOTE Individual bids registered by overseas bidders must be over $500 in individual value.

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. Buyers are reminded that there is a 17% buyer’s premium on the hammer price plus GST on the premium. See conditions of sale.

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