Dunbar Sloane Wellington

FINE & APPLIED ART AUCTION 21 & 22 AUGUST 2013

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FINE & APPLIED ART AUCTION WEDNESDAY 21 & THURSDAY 22 AUGUST 2013

PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Lots 1 – 91 Wednesday 21 August, 6pm Part two • DAY SALE New Zealand & International Fine Art Lots 200 – 434 Thursday 22 August, 12 noon PART THREE Applied Art Lots A1 – A104 Thursday 22 August, 5pm

OPENING PREVIEW • WELLINGTON Thursday 15 August • 5.00 – 6.30 pm

Wellington Viewing Friday 16 August Sunday 18 August Monday 19 August Tuesday 20 August Wednesday 21 August

ILLUSTRATIONS Front Cover • Lot 18 Inside Front Cover • Lot 20 Inside Back Cover • Lot 1 Opposite Page • Lot 9 Title Page • Lot 19

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

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

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PART ONE • EVENING SALE New Zealand & International Fine Art Lots 1 – 91 6pm • Wednesday 21 August 2013

1 Richard Killeen (b 1946) Untitled (3911) liquitex on paper signed, dated and numbered ‘Killeen 1978 3911’ (lower right), dated ‘1.6.78’ (lower left) 32 x 32cm $2,500 - 4,000 PROVENANCE Private collection, Wellington 1

2 Richard Killeen (b 1946) Untitled (3737) liquitex on paper signed, dated and numbered ‘Killeen 19.1.78 3737’ (lower right) 32 x 32cm $2,500 - 4,000 PROVENANCE Private collection, Wellington

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3 Richard Killeen (b 1946) Interpretation acrylic on paper signed and dated ‘Killeen 20.7.79’ (lower centre/right) and inscribed with title (lower left) 40 x 33cm $3,500 - 5,500 PROVENANCE Private collection, Wellington

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4 Richard Killeen (b 1946) Columns Everywhere watercolour on paper signed and dated ‘Killeen 6.84’ (lower right) and inscribed with title (lower centre right) 75 x 57cm $3,000 - 5,000

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5 Don Binney (1940-2012) Grackle, Veracruz silkscreen, limited edition 15/100 signed and dated ‘DON BINNEY 1970’ (lower right) and inscribed with title (lower right) 61 x 45cm (plate) $2,500 - 4,500

6 Don Binney (1940-2012) Observatory crayon, conte and graphite on paper signed and dated ‘DON BINNEY DEC ‘86’ (lower right) 24 x 19.5cm $3,500 - 5,500 PROVENANCE with Portfolio Gallery, Auckland Private collection, Wellington

7 Don Binney (1940-2012) Motukerea crayon, graphite and ink on paper signed and dated ‘DON BINNEY APRIL ‘88’ (lower right) 29 x 41.5cm $5,000 - 8,000

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PROVENANCE with Portfolio Gallery, Auckland Private collection, Wellington

8 Don Binney (1940-2012) Takahe graphite on paper signed and dated ‘Don Binney/Mt. Bruce, 26 July ‘71’ (lower right) 26 x 31.5cm $4,000 - 7,000 PROVENANCE Purchased directly from the artist by the current owner Private collection, Wellington

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9 Judith [Jude] Rae (b 1955) Mnemosyne’s Mirror oil on linen canvas, 9 panels variously signed and dated ‘91 to the reverse 135 x 135cm overall; 45 x 45cm per panel (9) $15,000 - 25,000 PROVENANCE Private collection, Wellington

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10 Terry Stringer (b 1946) Floor Standing Table cast bronze, unique 1 of 1 72cm height $10,000 - 15,000 PROVENANCE Purchased directly from the artist by the current owner Private collection Wellington

11 Terry Stringer (b 1946) Truth cast bronze, mirror with articulated parts, limited edition 9/10 incised with signature and dated ‘TERRY STRINGER/2002’ (lower right of base) 24cm height $4,000 - 7,000

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PROVENANCE Purchased directly from the artist by the current owner Private collection, Wellington

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12 Terry Stringer (b 1946) A. Lois White cast bronze on marble base, limited edition 9/12 incised with signature and dated ‘TERRY STRINGER ‘78’ (right side of base) 27cm height $3,500 - 5,500

13 Terry Stringer (b 1946) Untitled (Male Torso) cast bronze on marble base incised with signature and dated ‘TERRY STRINGER ‘80’ with personal inscription ‘FOR SIMON’ (lower reverse) 33cm height $2,500 - 4,500

PROVENANCE with A. Lois White 1903-1984 Centenary Tribute, Zealandia Sculpture Garden, Warkworth, 2003 Private collection, Wellington

PROVENANCE Private collection, Wairarapa

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14 Terry Stringer (b 1946) Fortuna cast bronze, limited edition 11/20 incised with signature ‘TERRY STRINGER’ (to reverse of base) 32cm height $3,000 - 5,000 PROVENANCE Purchased directly from the artist by the current owner Private collection, Wellington

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15 Terry Stringer (b 1946) Untitled (Profile/Figure with Globe) cast bronze incised with signature, numbered and dated ‘#592 TERRY STRINGER ‘96’ (to lower edge) 32cm height $1,750 - 3,000 PROVENANCE Private collection, Auckland

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16 Trevor Moffitt (1936-2006) Grape Vine Paddock, Number 3, Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 93’ (lower left); signed and inscribed with title to the reverse 88 x 118cm $8,000 - 12,000 PROVENANCE Private collection, Marlborough

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17 Michael Smither (b 1939) Walnut oil on board signed with initials and dated ‘MDS 75’ (lower left) 37 x 39.5cm $12,000 - 16,000 PROVENANCE Purchased directly from the artist, by the current owner Private collection, Wellington

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18 Don Binney (1940-2012) Kereru oil on board signed and dated ‘DON BINNEY 1965’ (lower left) 60.5 x 71cm $70,000 - 90,000 PROVENANCE Private collection, Wellington

Don Binney is renowned for his landscapes and for his birds. Kereru is what we hope to see in the best Binneys; as such it is almost a study in Binney.

Don Binney was born of the era of examination that was the 1960s in New Zealand, when New Zealanders, and by extension New Zealand artists, were discovering what they thought New Zealand was and how it looked. In Binney’s own words, he felt ‘participant to an emerging national identity’ (Skinner, 6). Binney’s paintings display an oft-cited continuation of the Rita Angus hard white New Zealand light and bold edges, which he shared with artists like Michael Smither and Robin White. This association places him at the crux of modern New Zealand painting: a bridge between the early regionalists and contemporary masters.

While Binney is particularly recognized as a landscape painter with the addition of birds, Kereru’s unique zoomed in focus on the kereru in flight directs attention to an avian motif that has become his trademark. The bird dominates the composition, and is framed by, rather than placed in, a landscape. What little land that is depicted has been abstracted into an undulating curve that echoes the curves of the bird’s own form. This relationship of structure is a perfect depiction of Binney’s chief concern of symbiosis between animal and environment.

Binney’s particular brand of painterly application allows duplicity of viewing, so that what you see is simultaneously so literally paint while also so literally a landscape, a bird. In Keruru, though the bird dominates focus, there is no recession of colour; the sky and land and bird seem to exist on the same plane. The landscape lacks particularity, but then so does the bird, and this lack of particularity serves to make land, sea, and bird iconic.

Amy Stewart

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19 Milan Mrkusich (b 1925) Painting Dark Umber signed ‘Mrkusich ‘68’ and stenciled with title and date to the reverse 60.5 x 60.5cm $25,000 - 35,000 PROVENANCE Private collection, Wairarapa

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20 Gordon Walters (1919-1995) Untitled (1966) acrylic on paper signed and dated ‘Gordon Walters 66’ (lower left) 23.5 x 31.5cm $45,000 - 55,000 PROVENANCE Private collection, Wairarapa

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21 Tony Fomison (1939-1990) facial hypertrichosis (#24) oil on canvas affixed to board signed ‘A Fomison 9-21.5.70’ (upper left) and inscribed with title (upper right) $20,000 - 30,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 3 April 1996, (lot 16) Private collection, Wellington EXHIBITED New Vision Gallery, Auckland 1972 Dawson’s Exhibition Gallery, Dunedin 1972 Dowse Art Gallery, Lower Hutt, Tony Fomison - a survey of his painting and drawing from 1961 to 1979, 1979 toured (titled Hairy Man of Mandalay) cat no 8 (original label attached to the reverse) 30 x 28cm LITERATURE Michael Dunn ‘Tony Fomison - a consideration’ Artist Vol 2, no 2, April 1972 (illustrated) Tony Fomison - a survey of his painting and drawing from 1961 to 1979, Dowse Art Gallery (Lower Hutt 1979) (illustrated) Ian Wedde (Ed), Fomison, What shall we tell them? City Art Gallery (Wellington 1994), p. 107, fig. 35 (colour illustration), p. 9.

In a note for the Dowse Art Gallery survey of 1979, Fomison commented, ‘I was born premature, that little body all covered with hair.’ Other works memorialize Fomison’s sense of himself as marked from birth, for example “I was a Teenage Werewolf “ film 1957, 1970, which was painted as a gift to Philip Clairmont, who declined it. The hairy werewolf can be traced to a book in Fomison’s library (Denis Gifford, A Pictorial History of Horror Movies, London, Hamlyn 1973).

Depicting himself as infected with lyanthropy, ‘the curse that brings out the beast in people’, Fomison represents himself among images derived from horror movies, underground comics, medical texts, and photographs of the diseased, aged, or insane, as well as of contestants in gurning or facepulling competitions.

Ian Wedde (Ed) Fomison, What shall we tell them? (Wellington 1994) p. 152

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22 Colin McCahon (1919-1987) French Bay oil, solpah and sand on wooden panel signed and dated ‘McCahon/ 58’ (lower right); inscribed ‘FRENCH BAY 58/ SOLPAH & SAND/ 10 GNS/ COLIN McCAHON’ to the reverse 54 x 39.5cm $50,000 - 70,000 PROVENANCE Purchased by the artist Richard de Brun Lovell-Smith (1924-2005) from Gallery 91, Christchurch in 1959 before the later exhibition Colin McCahon, Recent Paintings Nov 1958 - August 1959 went on public view Inherited by the present owner from Lovell-Smith Private collection, Christchurch

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23 Paul Dibble (b 1943) The Voyager cast bronze incised with signature ‘Paul Dibble’ to base 281cm height $55,000 - 70,000 PROVENANCE with Gow Langsford Gallery, Auckland, c2002 Private collection, Auckland

24 Ralph Hotere (1931-2013) Mungo incised and burnished steel with applied enamel in sash window frame signed and dated ‘Hotere/ Port Chalmers/ ‘83’ (lower right) 100 x 76.5cm $50,000 - 65,000 PROVENANCE with Gow Langsford Gallery, Auckland Private collection, Auckland Mungo National Park is an isolated area in south-western New South Wales, Australia, which is part of the Willandra Lakes Region. A World Heritage Site., the Park is notable for the discovery. of the remains of the Mungo Man and Lady, the oldest known human remains to have been ritually cremated,. Both were buried on the shore of Lake Mungo, beneath the ‘Walls of China’, a series of lunettes on the South eastern edge of the lake.

Hotere visited the region in 1982 on the Senior Anzac Fellowship. He was fascinated with both the site and also the Australian government’s support and respect for the region. The gridded formation of the work and marked holes/pegs clearly relate to the archaeological history of the area.

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25 Frances Hodgkins (1869-1947) Two merry-go-rounds gouache and pencil on paper signed, inscribed and dated ‘Francis Hodgkins/For Harvey/1921’ (lower left) 50 x 38cm $40,000 - 60,000 PROVENANCE Private collection, United Kingdom Collection of Mr Dunbar Sloane Snr, Wellington Sale, Dunbar Sloane Ltd, Wellington, 5 August 1985 (lot 8, front cover illustration) Private collection, Wellington This image was selected by the New Zealand agent, Mrs Sylvia Bennet of Photo Art Décor, for UNICEF for submission for their annual Christmas card 1986

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26 Theodore Jacques Ralli (Greek, 1852-1909) The Mandolin Player, Cairo oil on canvas signed and dated ‘Ralli 81’ (lower left); inscribed to original paper label affixed to stretcher ‘No. 2….Cairo”/by Ral…Paris/at Messrs Ralli of…/ Fenwick Chambers Liverpool’ 41 x 31.5cm $35,000 - 45,000 PROVENANCE Thought to have been purchased George Walker Auction House, Auckland c1940 by the current vendor’s mother for the sum of 5 pounds Collection of W Teutenberg, Auckland, a direct descendant of the master engraver Anton Teutenberg

Théodore-Jacques Ralli was the most important Greek artist of the 19th century to work in the Academic tradition. His particular form of academic realism was honed under the tutelage of great French Orientalist painter Jean-Léon Gérôme and Jean-Jules-Antoine Lecomte du Nouy at the Ecole des Beaux-Arts in Paris both of whom he studied under until 1880. Exhibiting regularly at The Salon from 1875, he also showed at the Royal Academy in London from 1879.

Ralli’s work clearly shows the influence of his tutor Gérôme, namely in the naturalistic rendering of his idealised subject and the precisely captured details, whilst also illustrating an appreciation for the achievements of 17th century Dutch realists, namely in the organisation of pictorial space.

While many of his European contemporaries working in the Orientalist genre created images drawn from second-hand sources and their own imaginations, Ralli was intimately familiar with the culture, architecture and decoration of North Africa and the Middle East and his works display the breadth of his knowledge. While primarily based in France, and later acquiring French nationality, Ralli spent his winters in his Cairo studio from the mid 1880s until 1904, where the present work was painted.

The artist also travelled extensively in Greece, the Middle East and North Africa finding further inspiration for the romantic mysticism and suggestive sensuality for his oriental paintings.

The present work shows Ralli at the apex of his powers in his depictions of Orientalist subjects. The full glory of Ralli’s discerning eye for detail is evident including the vibrant colours, rich and varied textures and quality of shadow and light. There is an underlying sensuality with the direct glaze of the seated beauty confronting the viewer, mesmerizing our attention.

Not only ethnographically accurate, the work is depicted with great skill, producing a refined and seductive work of art.

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27 John Gully (1819-1888) Blind Bay from one of the Nelson Hills, New Zealand watercolour signed and dated ‘JOHN GULLY/1871’ (lower left) 74 x 130cm $15,000 - 25,000 PROVENANCE This and the following lot were commissioned directly from the artist by Falconer Larkworthy Thence by descent to the present owner, the great-great-grandson of Larkworthy Private collection, UK

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28 John Gully (1819-1888) Sunset on the ranges dividing the Wairau Ranges from Rotoiti, New Zealand watercolour signed and dated ‘JOHN GULLY/1871’ (lower left) 74 x 130cm $10,000 - 20,000

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Falconer Larkworthy spent only a few years in New Zealand but was a significant figure in the country’s economic development. Born 22 March 1833, Weymouth, Dorset, England, he was the son of Ambrose Larkworthy and his wife, Amelia Cooke. Falconer was first married 29 December 1857, Melbourne to Mary Agnes Balston. The marriage produced one son but ended with the mother’s death in childbirth in 1860. On 9 April 1863, he married Elizabeth Anne Clover in London. This second marriage produced two sons and four daughters.

Leaving New Zealand mid 1862, most of Larkworthy’s career in New Zealand banking was spent in London. He was well respected in the London financial community, being recruited to the board of directors of the Commercial Union Assurance Company Limited in 1863. In 1888 he resigned his position with the Bank of New Zealand following a restructuring of the directorate, but continued as managing director of the loan company.

Falconer Larkworthy joined a London firm of merchants trading with India at the tender age of 16, from where he moved to the Oriental Bank Corporation. He was posted to Mauritius and after a period in Cape Town, to Australia. In 1860 he was promoted to manage the Oriental Bank’s branch in Auckland. Larkworthy had not been long in Auckland when the Oriental Bank decided to withdraw from New Zealand. At the same time, some colonists were dissatisfied that all bank profits were going to overseas corporations and as a result the Bank of New South Wales took over much of the business of the Oriental Bank and the Bank of New Zealand was founded. in 1861 Larkworthy agreed to join the Bank of New Zealand as its London manager. However significant gold discoveries in Otago, May 1861 convinced Larkworthy to defer his departure, using his Australian experience to help the Bank of New Zealand compete for banking business in the goldfields.

Larkworthy visited New Zealand in 1880 to sell an estate which was causing him financial difficulties. In 1881 he published a book, New Zealand Revisited, in which he prophesied a rosy economic future for the colony.

He visited again briefly in 1888–89.

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29 George O'Brien (1821-1888) Smith Sound from Hall’s Arm watercolour signed and dated ‘Geo. O’Brien./85’ (lower right) and inscribed with title (lower left) 29.5 x 44cm $4,000 - 7,000

30 John Barr Clarke Hoyte (1835-1913) Milford Sound, NZ watercolour signed ‘JC Hoyte.’ (lower right); inscribed with title on original label attached to the reverse 24.5 x 55cm $2,750 - 4,000

PROVENANCE Private Estate, Marlborough

PROVENANCE by descent from the present owner’s grandmother Private collection, Australia

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31 John Barr Clarke Hoyte (1835-1913) Auckland Harbour watercolour signed ‘J.C.Hoyte.’ (lower left); inscribed with title on original label attached to the reverse 30 x 59cm $27,500 - 35,000 PROVENANCE by descent from the present owner’s grandmother Private collection, Australia

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32 James McLauchlan Nairn (1859-1904) The Lagoon, Picton watercolour signed and dated ‘J. M. Nairn/02’ (lower right), inscribed with title (lower left) 57 x 73cm $10,000 - 15,000 PROVENANCE Private collection, Marlborough

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33 Charles Blomfield (1848-1928) Evening at the Head of Lake Wakatipu from Pigeon Island oil on canvas signed and dated ‘C. BLOMFIELD. 1884’ (lower right); inscribed ‘Evening at the Head of Lake Wakatipu from Pigeon Island/Mt Earnslaw (9000ft) & the Cosmos peaks (8000ft)/by Charles Blomfield, Wood St, Auckland.’ to upper edge of stretched canvas to the reverse 52 x 91cm $20,000 - 30,000 PROVENANCE with Dunbar Sloane Ltd, Auckland, 18 November 2008 (lot 215) Private collection, Auckland

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34 Trevor Moffitt (1936-2006) Gwen Reading oil on board signed and dated ‘Moffitt 79’ (lower right) 72 x 58cm $4,000 - 7,000 PROVENANCE with Canterbury Gallery, Christchurch Private collection, Canterbury

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36 Trevor Moffitt (1936-2006) Preparing Rod No 1 oil on board signed and dated ‘Moffitt 88’ (lower left); signed and inscribed with title to the reverse 58.5 x 58.5cm $4,000 - 7,000 PROVENANCE with Canterbury Gallery, Christchurch Private collection, Canterbury

35 Trevor Moffitt (1936-2006) Arrival in Japan, Human Condition Series II oil on board signed and dated ‘Moffitt 95’ (lower left); inscribed with title to the reverse 90 x 59cm $4,500 - 6,500

37 Trevor Moffitt (1936-2006) Rakaia River Series No 68 oil on board signed and dated ‘Moffitt 84’; inscribed with title to the reverse 45 x 59.5cm $2,500 - 4,000

PROVENANCE with Warwick Henderson Gallery, Auckland Private collection, Auckland

PROVENANCE Private collection, Wellington

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38 Trevor Moffitt (1936-2006) The Drowned Miner oil on board signed and dated ‘Moffitt 70’ (lower right) 54 x 75.5cm $3,500 - 5,500 38

PROVENACE with Victoria University c1970 Private collection, Wellington

39 Douglas MacDiarmid (b 1922) La Place a Tourrettes-sur-Loup, Alpes Maritimes oil on board signed and dated ‘62 (lower centre) 23 x 32cm $3,000 - 5,000 PROVENANCE Private collection, Hawkes Bay

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40 Helen Stewart (1900-1983) Blue and Yellow oil on board signed ‘Helen Stewart’ (lower left); signed and inscribed with title to the reverse 39 x 48cm $2,500 - 4,000 PROVENANCE Private collection, Wairarapa

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41 John Tole (1890-1967) Campsite on Shoreline oil on board signed ‘JOHN TOLE’ (lower left) 38 x 48cm $2,000 - 4,000 PROVENANCE Private collection, Marlborough 42 Charles Tole (1903-1988) The Red Letter Box oil on board signed ‘CHARLES TOLE’ (lower right) 22.5 x 21cm $5,000 - 8,000 PROVENANCE with John Leech Gallery, Auckland 1990 Private collection, Hawkes Bay

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43 Euan Macleod (b 1956) Black Head 2 oil on canvas signed and dated ‘EUAN MACLEOD 3-6/99’, inscribed with title and no 99535 to the reverse 50.5 x 37.5cm $2,200 - 3,200 PROVENANCE with Bowen Galleries, Wellington Private collection, Wellington

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44 Euan Macleod (b 1956) Night/Kiama oil on canvas signed and dated ‘EUAN MACLEOD 4-8/98’, inscribed with title and no 98544 to the reverse 50.5 x 37.5cm $2,200 - 3,200 PROVENANCE with Bowen Galleries, Wellington Private collection, Wellington

45 Allen Maddox (1948-2000) Untitled (1996/1997) oil on canvas signed with initials and dated ‘AM 96/97’ to the reverse 91 x 91cm $17,500 - 25,000 PROVENANCE Purchased directly from the artist, by the current owner, 1997 Private collection, Hawkes Bay

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46 Neil Frazer (b 1966) Liquid Love oil on canvas, diptych signed and dated 2002 to the reverse 182.5 x 272cm overall, 182.5 x 136cm per panel $6,000 - 10,000 PROVENANCE with Milford Galleries, Auckland Private collection, Auckland

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47 Jeffrey Harris (b 1949) Figures in a Landscape pencil heightend with acrylic on paper signed and dated ‘Jeffrey Harris 1986’ (lower left) 55 x 74.5cm $2,000 - 3,500 PROVENANCE with Ray Hughes Gallery, Sydney, 1986 Private collection, Wellington

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48 Jeffrey Harris (b 1949) Landscape Homage to Van Gogh No XIII oil on canvas signed ‘HARRIS’ (upper right); signed, inscribed with title and dated July 1973 to the reverse 41 x 51cm $7,000 - 10,000

49 Jeffrey Harris (b 1949) Woman in Red Hat oil on board signed, inscribed with title and dated July 1971 to the reverse 40.5 x 41cm $7,000 - 10,000

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50 Bill Culbert (b 1935) Cubic Projections black fibreglass sphere with series of drilled pinholes internally filled with electric light signed and numbered ‘B Culbert/17’ (to base) $3,000 - 5,000 PROVENANCE with Whitford Fine Art, London c1990 Private collection, Auckland LITERATURE Mellor, The Sixties Art Scene in London, Barbican Art Gallery 1993, p. 180 (illustration of similar sphere placed in a mirrored chamber) This sculpture is one of a limited edition of multiples produced and sold by the Lisson Gallery, London in 1968. When correctly fitted with a clear 150w bulb, the light emitted from the pinholes will project an image of the bulb filament onto the surrounding surfaces (see detailed image below)

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51 Virginia King (b 1946) Dragonfly (2005) marine grade stainless steel with steel rod and wall bracket 39 x 58 x 6cm $3,000 - 5,000

52 Neil Dawson (b 1948) Touchdown acrylic on steel and mesh, limited edition 3/5 signed, inscribed with title and dated ‘NEIL DAWSON/ 1986/89’ to the reverse 91 x 123cm $4,000 - 7,000

53 Wi Taepa (b 1946) Tangata Tohora [Whale People] cast bronze, limited edition 1/12 incised with signature and dated ‘Wi Taepa/2001’ (lower edge) 82cm height $5,000 - 7,500 EXHIBITED Persona (A Tribute Exhibition dedicated to John Bevan Ford), The Pencil Gallery, Gisborne and Expressions Gallery, Upper Hutt 2006

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54 Bill Hammond (b 1947) Sic Eatin Ko Ko Pops Volga oil on board signed and dated ‘W. Hammond 1986’ (lower left); inscribed with title (upper right) 38.5 x 71.5cm $5,000 - 8,000 PROVENANCE Private collection, Lyttelton

55 Ralph Hotere (1931-2013) Window in Spain watercolour signed and dated ‘Hotere 4-78’ (lower right) and inscribed with title (lower centre/right) 32 x 22cm $4,000 - 6,000 PROVENANCE Formerly the Estate of Toss Woollaston Private collection, Wellington 55

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56 Ralph Hotere (1931-2013) Matauri Bay 12.XII.87 lithograph, limited edition 28/30 signed and dated ‘Hotere/ ‘88’ (lower left) 54.5 x 44cm $3,500 - 5,500 LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) fig 16, p. 41 57 Ralph Hotere (1931-2013) Song Cycle lithograph, limited edition 14/30 signed and dated ‘88 (lower left) 53 x 41.5cm $3,000 - 5,000 LITERATURE Peter Vangioni & Jillian Cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) fig. 20 p. 43 58 Peter Robinson (b 1966) Untitled (1999) acrylic on paper signed and dated ‘P Robinson ‘99’ (lower right) 64.5 x 49.5cm $6,000 - 10,000

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PROVENANCE with Conny Dietzschold Gallery, Melbourne, 2000 Sale, Dunbar Sloane Ltd, Wellington, 4 August 2002 (lot 23) Private collection, Central Otago FINE & APPLIED ART

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59 Ian Scott (1945-2013) Blonde in Red Bikini oil on hardboard signed and dated ‘IAN SCOTT 68’ to the reverse 88 x 130cm $6,000 - 10,000 PROVENANCE Private collection, Northland

60 Nigel Brown (b 1949) Van Gogh in Arama Ave acrylic on paper signed and dated ‘N. Brown ‘78’ and inscribed with title (lower right) 60 x 45cm $2,500 - 4,500 PROVENANCE Private collection, Wellington

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61 Peter Stichbury (b 1969) Untitled (1995) acrylic on board signed and dated ‘Peter Stichbury, 1995’ to the reverse 147 x 122cm $14,000 - 18,000 PROVENANCE Private collection, Waikato

62 Peter James Smith (b 1954) The Fire Sermon oil on linen signed and dated ‘Peter James Smith 2003’ (lower left); signed, inscribed with title and dated to the reverse 60 x 167cm $3,000 - 5,000 PROVENANCE Private collection, Hawkes Bay 61

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63 Stephen Bambury (b 1951) I won’t play culture to your nature chemical action and acrylic on brass, diptych signed and dated ‘S. Bambury. ‘98’ and inscribed with title and medium to the reverse of each panel 122 x 65cm overall; 61 x 65cm per panel $14,000 - 18,000 PROVENANCE Purchased directly from the artist by the current owner Private collection, Auckland

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64 Philippa Blair (b 1945) Bali Cloak oil on shaped canvas signed ‘P. blair ‘85’ (lower right); inscribed with title on original label 188 x 90cm (maximum) $2,500 - 4,000

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65 Guy Ngan (b 1926) Animated Colours oil and polyurethane on board inscribed ‘Tiki Hands Horizon’ (centre left); inscribed with title and dated 1973 on artist label to the reverse 79 x 120cm $6,000 - 8,000 PROVENANCE Collection of the artist Sale, Dunbar Sloane Ltd, Wellington, 15 August 2007 (lot 38) Private collection, Wellington LITERATURE Guy Ngan, Guy Ngan Scrapbook No 1 (Auckland 2010)

66 Philip Trusttum (b 1940) Cranes oil on board signed and dated ‘P Trusttum/74’ (lower right and upper right) 70 x 55cm $3,000 - 5,000 During the early 1970s central Christchurch experienced a building boom.

Trusttum built a deck from this apartment especially to observe this activity and the Crane Series of 1974 resulted.

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67 Petrus Van der Velden (1837-1913) Church is Out oil on canvas signed ‘P van der Velden’ (lower right) 87 x 112cm $8,000 - 12,000 PROVENANCE Collection of Mr G Van Asch, Christchurch; Mrs A Reeves, Nelson; Mrs A Fisher, Christchurch; Mr & Mrs R G Ingham, Kaiapoi LITERATURE T L Rodney Wilson, Petrus Van der Velden (1837-1913) A Catalogue Raisonne (1979) Vol II, p. 40, no. 1.2.2.36, reference p. 19.

68 Petrus Van der Velden (1837-1913) Peasant Girl with Her Suitor (Sweethearts) oil on canvas affixed to board 108 x 70cm $6,000 - 10,000 PROVENANCE Collection of Mr D Watson, Sydney; Melba Van der Velden, Sydney ILLUSTRATED T L Rodney Wilson, Petrus Van der Velden (1837-1913) A Catalogue Raisonne (1979) Vol II, p. 86. no. 1.4.2.45

68

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69 Petrus Van der Velden (1837-1913) Dutch Interior watercolour and pencil heightened with white letter of authenticity from H Fisher & Son Ltd attached to the reverse 35.5 x 52cm $2,000 - 4,000

69

70 Laurence W Wilson (1850-1912) Mt Avalanche, Matukituki River, Otago oil on canvas signed ‘L. W. Wilson’ and inscribed with title (lower left) 50 x 76cm $4,000 - 7,000

71 Laurence W Wilson (1850-1912) Lake Pukahi and Mount Cook, Mackenzie Country oil on canvas signed and dated ‘L. W. Wilson. 1903.’ and inscribed with title (lower left) 51.5 x 76cm $3,000 - 5,000

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71

FINE & APPLIED ART

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72 Carl Maria Nicolaus Hummel (German, 1821-1907) Shepherd Herding Cattle over Mountain Pass oil on canvas signed & dated ‘C Hummel 75’ (lower left) 68 x 97cm $2,000 - 4,000

72

73 Harold Clayton (British, 1896-1979) Still Life with Spring Blooms oil on canvas signed ‘Harold Clayton’ (lower right) 40.5 x 46cm $5,000 - 8,000 PROVENANCE purchased, United Kingdom, c1950 thence by descent, Private Collection, Adelaide Sale, Deutscher Hackett, Melbourne, 29 August 2007 (lot 157) Private collection, Australia

73 74 Margaret O Stoddart (1865-1934) White Chrysanthemums watercolour signed and dated ‘M.O.Stoddart, 1896’ (lower right) 76 x 54cm $4,000 - 7,000 PROVENANCE Private collection, Wellington

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75

75 Margaret O Stoddart (1865-1934) Cream Roses oil on canvas signed ‘M.O.Stoddart.’ (lower right) 51 x 71.5cm $15,000 - 25,000 PROVENANCE with Ferner Galleries Private collection, Auckland

FINE & APPLIED ART

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76 Claus Edward Fristrom (1864-1950) Wellington Harbour oil on board Signed ‘Edward Fristrom.’ (lower left) 22 x 29.5cm $2,000 - 4,000

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PROVENANCE Private collection, Wellington

77 Claus Edward Fristrom (1864-1950) Meandering Stream oil on board signed ‘Edward Fristrom’ (lower left) 21 x 31cm $2,000 - 4,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 29 November 2000 (lot 15) Private collection, Wellington 77 78 Vera CummingS (1891-1949) Portrait of Maori Chieftain oil on canvas signed ‘V Cummings’ (lower right) 20 x 15cm $2,500 - 4,000 PROVENANCE Private collection, Wellington

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79 Frank Barnes (1859-1941) S.S. Waiwera Leaving Wellington with the 2nd NZ Contingent for S. Africa, Jan 20th 1900.

Escort of Steamers Returning to Port oil on board signed ‘FRANK BARNES’ (lower left); inscribed with title and individual vessel’s identified (lower centre) 61 x 91cm $5,000 - 8,000 PROVENANCE with Cordy’s Auckland, 6 August 2007 (lot 51) Private collection, Auckland

FINE & APPLIED ART

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80 Peter McIntyre (1910-1995) Waterfall, Rockpools oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 74 x 60cm $4,000 - 6,000

80

81 Nicolas Dillon (b 1966) Spawning Brown Trout oil on canvas signed and dated ‘Nicolas Dillon 2011’; inscribed ‘Spawning Brown Trout’ as seen in the headwaters of Top Valley Stream, Richmond Ranges, Marlborough, NZ, July 2012’ to the reverse 80 x 120cm $3,000 - 5,000

82 Colin V Wheeler (1919-2012) Mt St Bernard, Mt White Country from Grasmere oil on board signed ‘COLIN. V. WHEELER’ (lower right); signed and inscribed with title to the reverse 36.5 x 59.5cm $2,500 - 4,000 PROVENANCE Private collection, Hawkes Bay

81

83 Tom Esplin (1915-2005) Market Day, Wiltshire oil on board signed ‘Esplin’ (lower right); inscribed with title on original label affixed to the reverse 29.5 x 40cm $5,000 - 8,000 PROVENANCE with Rosslyn Gallery, Dunedin with Tempros Gallery, Wanganui Private collection, Kapiti Coast

82

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84 Tom Esplin (1915-2005) Parador in Spain oil on board signed ‘Esplin’ (lower right); signed and inscribed with title on original label to the reverse 27 x 37cm $5,000 - 8,000 PROVENANCE with H Fisher & Son, Christchurch Private collection, Canterbury

85 Tom Esplin (1915-2005) Port Cudillero, Spain oil on board signed ‘Esplin’ (lower left); signed and inscribed with title on original label affixed to the reverse 40.5 x 52cm $4,000 - 7,000

84

PROVENANCE Private collection, Hawkes Bay

85 FINE & APPLIED ART

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86 Jane Evans (1946-2012) Orchard Landscape (Mapua) oil on board signed ‘Jane Evans ‘77’ (lower right); inscribed with title to the reverse 46.5 x 60cm $6,500 - 10,000 PROVENANCE Gifted to the present owner by the artist Private collection, Kapiti Coast

87 Jane Evans (1946-2012) Spring Blooms acrylic and ink on paper signed ‘Jane Evans ‘77’ (lower right); inscription to the reverse 56 x 37cm $3,000 - 5,000 PROVENANCE Gifted to the present owner by the artist Private collection, Kapiti Coast

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88 Jane Evans (1946-2012) Girl on a Blue Ground oil on canvas board signed and dated ‘Jane Evans ‘82’ (lower left); signed, inscribed with title and medium to the reverse 50 x 39.5cm $5,000 - 8,000

89 Jane Evans (1946-2012) The Blue Overcoat acrylic on board signed and dated ‘74 (lower right); signed, inscribed with title, medium, date and archive no 74A008A to the reverse 64 x 59.5cm $5,000 - 8,000

PROVENANCE Private collection, Nelson

PROVENANCE Private collection, Nelson

FINE & APPLIED ART

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90 Tony Lane (b 1949) Landscape oil, schlagmetal on gesso on panel signed with initials (lower left) and dated '3-99' (lower right); signed, inscribed with title and dated to the reverse 62 x 118cm $3,500 - 5,500

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91 Tony Lane (b 1949) Curtain oil, schlagmetal on gesso on panel signed with initials (lower centre) and dated ‘7.98’ (lower right); signed, inscribed with title and dated to the reverse 48.5 x 61cm $3,000 - 5,000