Fine & Applied Art Auction

DUNBAR SLOANE SINCE 1919

F INE & APPL IED ART AU CTION T HE DAVID C A R S O N- PA R K ER COLLECT IO N 22 & 23 N OV EM BER 2016

FIN E & A PPLI E D A RT T H E DAV I D C A RSO N - PA RK E R A RT & C E R A MI CS CO LLEC T I O N 22 & 23 NOVEMBER 2016 • WELLINGTON PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Tuesday 22 November, 6pm Lot 1 - 84 PART TWO • DAY SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 23 November 12 noon Lot 190 – 395 PART THREE STUDIO POTTERY & APPLIED ART Wednesdsay 23 November, 5pm Lot A1 – A125 WELLINGTON VIEWING Tuesday 15 November Wednesday 16 November Thursday 17 November Friday 18 November Sunday 20 November Monday 21 November Tuesday 22 November

9am – 5pm 9am – 5pm 9am - 5pm 9am – 5pm 12noon – 4pm 9am – 5pm 9am - 4pm

LOCATION/ENQUIRIES 7 Maginnity Street • PO Box 224, Wellington 6140 Helena Walker, Director of Art Ph (04) 472 1367 • Fax (04) 475 7389 helena@dunbarsloane.co.nz • www.dunbarsloane.com BUYERS PREMIUM There is a buyers premium of 17% + GST (19.55%) added to the hammer price

ILLUSTRATIONS Front Cover • Lot 5 Inside Front Cover • Lot 2 Inside Back Cover • Lot 26 Facing Page • Lot 46

ABSENTEE BIDDING • If you are unable to attend the auction you may submit an absentee bid (form located at reverse of catalogue or online www.dunbarsloane.co.nz) • Telephone bidding can be arranged on lots over $1,000 in value. Note we assume you have recieved a condition report or inspected the item prior to bidding. To register for this service, contact our office. Telephone lines are limited and are procured on a first registered basis. We accept no responsibility if for any reason we are unable to contact you, and for this reason encourage clients to leave a covering bid for such a circumstance.

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david carson -parker (19 3 2 -2 012) Dunbar Sloane Ltd and The Arts Foundation are proud to announce the sale of The David Carson-Parker Art & Ceramics Collection.

David Carson-Parker was a very generous and wide-ranging arts patron. He was also a producer, arts administrator, and had numerous governance roles. It is therefore apt that his extensive collection of art work and ceramics is to be sold with all proceeds generously gifted to the Arts Foundation to support the work and development of New Zealand artists.

David was a tireless advocate and generous supporter of the Arts Foundation. A Governor from 2005 until his untimely death in 2012, he would often ring the office with great enthusiasm for a new idea, scheme or solution. He contributed significantly to Governance, with a number of his ideas still observed and valued today. David and his lifelong partner, Jeremy Commons, hosted many Trustee and Governors’ meetings, as well as the Arts Foundation’s Annual General Meeting, at their home in Mt Victoria.

David Carson-Parker at screening of UTU, Cannes, 1983. David was an Associate Producer of the film.

David’s involvement with the Arts Foundation continued his long association with the arts, which he conducted alongside his business career as an accountant and financial consultant. His role in the arts began with the New Zealand Society of Potters, where he was president from 1964-7, before going on to be involved in a number of other disciplines. His numerous positions included President of the Craft Council (1968-72), Chairman of the Printmakers’ Council (1970-73), member of the Downstage Trust Board and Board of Directors of Downstage Theatre (1977-85), and founding member and trustee of The Blumhardt Foundation. He was a Council member and President of the Friends of the Museum of New Zealand Te Papa Tongarewa (1989-98), and on his retirement was awarded life membership. He was also a founding Director and Chairman of the New Zealand Chamber Orchestra Trust and, until 1998, a Trustee of the New Zealand International Festival of the Arts. He was Chair of the New Zealand National Youth Choir (1998-2007) and Deputy Chair of the Embassy Theatre Trust (1996-c2005) David made a significant contribution to the Victoria University MA in Creative Writing.

He established and funded the David Carson-Parker Embassy Prize awarded to a student from the Scriptwriting stream. He was a dedicated supporter of musical and literary activities and events associated with the University and on account of these activities was awarded a Hunter Fellowship from Victoria University in 2009. In his acceptance speech for this award, David enlarged upon his vision: ‘[The] Wellington region has a wealth of cultural activity, energy and talent working at all levels from the grass roots to the apex of achievement. Our challenge is to harness our collective strengths for the mutual benefit of all in a common aim. And in saying ‘WE’, I do not mean only individuals: I also include institutions, local councils, the media and business in the equation. Each is involved one way or another and, drawing on its own particular strength, can make a focused contribution.’

Our aim for the auction is to to achieve just this.

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JOIN THE ARTS FOUNDATION ON WEDNESDAY 23 NOVEMBER TO CELEBRATE AND HONOUR 11 OF NEW ZEALAND’S FINEST ARTISTS WITH $480,000 IN AWARDS, AND TO THANK OUR EXTRAORDINARY ARTS PATRONS. DETAILS

AWARDS TO BE CELEBRATED

Date: Wednesday 23 November 2016 Time: Doors Open at 6:00pm Venue: Shed 10, Queens Wharf, Auckland Tickets: $68–$75 Tickets include a welcome drink and entry to the exclusive after party

Five $50,000 Laureate Awards Three $25,000 New Generation Awards One $80,000 Harriet Friedlander New York Residency One $10,000 Award for Patronage One Katherine Mansfield Menton Fellowship BUY TICKETS ONLINE AT

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out more about this art work, join us at the awards.

www.thearts.co.nz/events or email rsvp@thearts.co.nz

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T HE david carson-parker art & ceramics collection David Carson-Parker & his lifelong partner Jeremy Commons have been regular figures at Dunbar Sloane Art Auctions over the past 40 years with many of the works in David’s collection sourced from auction. However it was in his capacity as a Trustee with The Blumhardt Foundation, when Dunbar Sloane was entrusted to sell Doreen Blumhardt’s personal collection in 2010, that I experienced David’s great passion and tireless dedication as a patron of the arts.

David Carson-Parker at Opening of Best of Blumhardt exhibition at The Dowse Art Museum, Lower Hutt

David Carson-Parker blue diamond-shaped slab vase

It was also at this time that I discovered David, too, was a very competent potter, learning the practice whilst in Southhampton on his OE. Through his own practice and various roles with the New Zealand Society of Potters, he had a personal relationship with the majority of the potters in his personal collection. David’s mother was a Christian Scientist, and it was through this connection that he met Doreen Blumhardt and her partner Freda Anderson. They quickly became extremely close personal friends, with David often conducting firings for Doreen in her kiln at her Northland home. Many weekends were spent experimenting with glazes, each firing culminating with a moment of apprehension late on a Sunday afternoon, when the pots were finally revealed. In a testament to their friendship, Doreen invited David to become a foundation member of The Blumhardt Foundation. David also had a close personal working relationship with Roy Cowan & Juliet Peter, Muriel Moody, Lorna Ellis, Pat Perrin & Peter Stichbury, all of whom are represented in his extensive collection of ceramics.

Many of the art works in his collection also have a personal connection, from the Doris Lusk (lot 15), which he fell in love with the first time he saw it in the artist’s home, to the Greg Whitecliffe monoprint Man and Dog (lot 224). David was awarded an Honorary Advanced Diploma of Visual Arts by the Whitecliffe College of Art and Design in Auckland in 1994, and he considered it a great honour to have a work by Whitehouse in his personal collection.

Other highlights include Juliet Peter’s Easter Moon (lot 2) which the artist regarded as one of her finest works. Juliet and her husband Roy Cowan were close friends of David and Jeremy and often visited their Mt Victoria home. On these visits she used to go downstairs to sit and contemplate the work for about ten minutes, returning happy and confirmed in her judgment.

It is the varied nature of this collection, from the historical to the contemporary, from John Gully to the Ann Robinson Coconut Ice Bowl, from the range of media involved, and from a variety of estimations, many of them influenced by personal friendships and connections, that gives this collection such life and interest.

Lot 15: Doris Lusk - River Landscape, South Island

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Helena Walker - Director, Fine & Applied Arts

PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART TUESDAY 22 NOVEMBER 2016 • 6PM START LOTS 1 - 84 THE DAVID CARSON-PARKER ART COLLECTION LOTS 1 - 20

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1 Thomas A McCormack (1883-1973) Lady Reading watercolour and indian ink signed ‘T.A.McCormack’ (centre left) 27 x 37cm $1,750 - 3,000

2 Juliet Peter (1915-2009) Easter Moon watercolour signed and dated ‘Juliet Peter/ 66’ (lower right) 51 x 70cm $3,000 - 6,000

In later years McCormack became increasingly interested in the decorative potential of his subject, whether still life, landscape or the human figure. This painting is not a portrait, although the format is similar to several sketches of his wife Mabel.

Juliet Peter and her husband Roy Cowan were close friends and potted with David Carson-Parker.

Juliet regarded this work as one of her finest..

When visiting Carson-Parker & his partner Jeremy Commons, she used to go downstairs to view the work for about10 minutes, returning happy and confirmed in her judgment.

3 Cedric Savage (1901-69) Australian Estuary [Hawkesbury River] watercolour signed and dated ‘C. Savage/ 27’ (lower left) 51 x 73cm $2,500 - 4,500

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4 Louise Henderson (1902-94) Green & Tropical, Garden Series oil on canvas board 60 x 80cm $3,000 - 6,000

5 John Drawbridge (1950-2005) Two Circles oil on canvas signed and dated ‘John Drawbridge 1969’ (lower right); inscribed with title to reverse 122 x 122cm $10,000 - 20,000 PROVENANCE purchased approximately 40 years ago David considered this a superlative example of Drawbridge’s oeuvre and this was one of his favourite art works, hung with pride of place in his living room.

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6 Philip Trusttum (b 1940) The Tablet oil on board signed ‘TRUSTTUM’ (centre); inscribed ‘”The Tablet”/$300/ New Vision Gallery c/- Mr Hos/ 8 His Majesty Arcade/ Queens St/ Auckland ‘ to reverse 135.5 x 97.5cm $7,500 - 12,500

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7 Philip Clairmont (1949–84) This is the Candle to Light Your Way Home oil on canvas signed with initials ‘P.C’ and inscribed with title (lower right) 106 x 75cm $15,000 - 25,000 PROVENANCE purchased approximately 40-50 years ago

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8 Philip Clairmont (1949–1984) Carnations Before a Mirror pastel, ink and collage on paper signed with initials and dated ‘P. CT 77’ (lower right); inscribed with title and ‘Vase of Chrysanthemums’ (centre right) 57.5 x 39cm $3,000 - 6,000

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9 Philippa Blair (b 1945) Spider Mat oil on loose hanging canvas signed and dated ‘P Blair ‘80’ (lower right); signed and inscribed with title to reverse 178 x 140cm $2,000 - 4,000

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10 Ann Robinson (b 1944) Coconut Ice Bowl pink cast glass 37cm diameter, 23cm height $20,000 - 30,000

The Ice Bowl is significant to Ann Robinson’s practice. As well as being one of her favourite forms aesthetically, they were the first large pieces that Robinson mastered and achieved consistent results with. Using the Ice Bowl as a test piece, she solved many of the challenges associated with glass casting, and was able to use it to experiment and develop her technique.

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11 John Weeks (1888-1965) Autumn - South of France oil on board certificate of authenticity, John Leech Gallery 1967 attached to reverse 23 x 29cm $2,000 - 4,000 EXHIBITED Auckland, John Leech Gallery, John Weeks Retrospective Exhibition, 18 July - 4 August 1967, no. 37.

David greatly admired John Weeks who was one of his favourite artists.

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12 John Weeks (1888-1965) Fishing Boats, South of France watercolour and charcoal on paper 44 x 56cm $3,000 - 6,000

13 Douglas MacDiarmid (b 1922) Landscape, Perpignan oil on canvas signed and dated ‘60 (lower centre/left); John Leech Gallery label to reverse 60.5 x 92cm $2,000 - 3,500

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14 Christopher Perkins (1891-1968) View of Dunster Castle, the Ancestral home of the Luttrell Family oil on canvas 51 x 61cm together with another oil study ‘Sole Bay Inn’ to reverse of canvas (see illustration right) $5,000 - 8,000 This work had special significance to David as his mother was a Luttrell and his family had visited her ancestral home when he was a boy.

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15 Doris Lusk (1916-90) River Landscape, South Island watercolour & graphite heightened with white signed and dated ‘D. Lusk 1972’ (lower right) 51 x 74cm $2,000 - 4,000 15

PROVENANCE purchased directly from the artist c1980s On a visit to Lusk’s house, David instantly fell in love with this work, however the artist refused to part with it. After a lapse of some years, she contacted David offering to sell the work in order to fund an overseas trip. David did not need to be asked twice and instantly purchased the work.

16 Olivia Spencer-Bower (1905-82) Woodland Scene watercolour signed and dated ‘ OLIVIA SPENCER BOWER/ 57’ (lower left) 52 x 72cm $2,000 - 4,000

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17 John Gully (1819-88) Mt Arthur from the Baton Valley watercolour and graphite on paper signed ‘J. Gully’ (lower right); inscribed with title (lower left) 32 x 48cm $3,000 - 6,000

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18 James McLauchlan Nairn (1859-1904) Pastoral Landscape oil on board certificate of authenticity McGregor Wright’s attached to reverse 27 x 37cm $2,000 - 4,000

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EXHIBITED Nelson, Suter Art Gallery, Collector’s Exhibition, 1981 19 Girolamo Pieri Ballati Nerli (1860-1926) European Canal oil on canvas signed ‘GPB Nerli’ (lower left) 29 x 38cm $4,000 - 7,000

20 Girolamo Pieri Ballati Nerli (1860-1926) Gold Miner’s Hut watercolour signed ‘GPB Nerli’ (lower right) 33 x 24cm $3,000 - 6,000

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PART ONE • EVENING SALE New Zealand & International Fine Art PRIVATE VENDORS • Lots 21 - 84

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21 Fiona Pardington (b 1961) Nga Kau Whakapuke / Zeal Kaka, Nestor meridionalis, AV 2024, Canterbury Museum From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

25 Fiona Pardington (b 1961) Ko/ Echo Makomako/ Bellbird From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

22 Fiona Pardington (b 1961) Kite Manu / Witness Totoara/ New Zealand Robin From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6000

26 Fiona Pardington (b 1961) Humarika/ Gentleness Whio/ Blue Mountain Duck Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

23 Fiona Pardington (b 1961) Rerenga/ Fugitive Tieke/ South Island Saddleback From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

27 Fiona Pardington (b 1961) Ngaronga/ Absence Koekoea/ Long Tailed Cuckoo From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

24 Fiona Pardington (b 1961) Wehi/ Fear Kakapo/ Ground Parrot From Ka Koriki Te Manu / The Chorus of Birds gold tone silver gelatin print, ltd ed 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $3,000 - 6,000

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28 Ans Westra (b 1936) James K Baxter’s tangi, Jerusalem, Wanganui, 25 October 1972 gelatin silver print signed to reverse 29 x 24cm $3,000 - 6,000

29 Ans Westra (b 1936) Coronation hui, Turangawaewae marae, Ngaruawahia, 1962 gelatin silver print signed to reverse 28.5 x 24cm $3,000 - 6,000

PROVENANCE with Suite, Wellington Private collection, Manawatu

PROVENANCE with Suite, Wellington Private collection, Manawatu

A copy of this photograph is housed in the collection of the Museum of New Zealand Te Papa Tongarewa

ILLUSTRATED Handboek Ans Westra Photographs (Wellington 2004) p. 14, p. 115

30 Paul Dibble (b 1943) Running Hare cast bronze, limited edition 1/3 engraved signature and dated ‘Paul Dibble NZ 2009’ (to base) 24cm height, 42cm length $4,000 - 7,000

31 Jeff Thomson (b 1957) Map of New Zealand corrugated iron signed and dated ‘J G Thomson 2009’ 138cm overall length; 37cm maximum width $3,000 - 6,000

PROVENANCE Private collection, Manawatu

PROVENANCE Private collection, Auckland

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32 Peter Robinson (b 1966) K.K.K - Kitty Kat Klub oil on buff paper signed and dated ‘P R Robinson 2007’ (lower right) 119 x 89cm $8,000 - 14,000 PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Manawatu

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33 Euan Macleod (b 1956) White Path oil on canvas signed, inscribed with title and dated 2/94 to reverse 77 x 112cm $7,000 - 10,000 PROVENANCE with Bowen Galleries, Wellington Private collection, Wellington 34 Euan Macleod (b 1956) Seascape Study I oil on canvas signed, inscribed with title and dated 7-9/96 to reverse 38 x 51cm $2,000 - 3,500

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PROVENANCE with Bowen Galleries, Wellington 1999 Private collection, Wairarapa

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35 Mountford Tosswill (Toss) Woollaston (1910-98) Tasman Bay from Takaka Hill oil on board signed ‘Woollaston ‘89’ (lower right) 100 x 121cm $40,000 - 50,000 PROVENANCE with Aberhart North Gallery, Auckland c1980s Private collection, Marlborough

A work of the same composition, entitled ‘View from Takaka Hill’ is housed in the collection of The Suter Te Aratoi O Whakatū, Nelson.

Toss Woollaston described this work to Gerard Barnett and was quoted in ‘Art New Zealand’ (1992) stating “My ‘View from Takaka Hill’ in the Suter Gallery has four or five main colours: yellow, blue, orange, dark-grey tending to black, whitish grey (in Motueka township and the sky) and a touch or two of green, heaviest in the bottom right corner.

The blue area is the most compact and isolated in the picture - only a narrow strip separated from the main area by the pine-darkened area representing Kuia [Kina?] Peninsula. The dark grey is the most scattered, if you include in its scope the Mr Richmond Range in the far distance, and the brownish bits in the right-hand yellow hill. But what am I doing - trying to repeat a painting in words. How stupid!

They [words] are, after all... poor substitutes when made to represent paintings. They have better things to do!”

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36 Don Binney (1940-2012) Tokatoka [On the Road to Dargarville] oil on board signed and dated ‘BINNEY 1977-78’ (upper right); original paper label to reverse 50 x 62cm $25,000 - 35,000 PROVENANCE with Gow Langsford Gallery, Auckland c. 1990 Private collection, Waikato

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37 Robin White (b 1946) Paremata Landscape [Bottle Creek] oil on canvas signed and dated ‘ROBIN WHITE 1971. B.CK.’ (lower right) 70 x 39.5cm $25,000 - 35,000 PROVENANCE Private collection, Wellington

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38 Shane Cotton (b 1964) & Dick Frizzell (b 1943) Untitled [1995] oil on canvas signed ‘S.W.C/ Frizzell/ 20/3/95’ (lower centre) 190 x 276cm $60,000 - 75,000 PROVENANCE Corporate collection, Wellington EXHIBITED Wellington, City Gallery, Stop Making Sense, 11 May - 25 June 1995 This collaborative work between Shane Cotton & Dick Frizzell was commissioned for the ‘Stop Making Sense’ exhibition, City Gallery, Wellington. The exhibition consisted of collaborative works by Maori and Pakeha artists , which addressed cross-cultural issues in a provocative, challenging and contemporary manner curated by guest curator, George Hubbard.

The spacial arrangement of floating spheres suggest the realms of outer space, while the artist’s use of letters and textures conjure impressions of something altogether more immediate.

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39 Shane Cotton (b 1964) I thought I was dreaming hand painted mixed media on printed base signed with monogram (lower right) 50 x 50cm $3,000 - 6,000 PROVENANCE purchased directly from the artist, 2012 Private collection, Manawatu 40 Shane Cotton (b 1964) Rolling Moon mixed media on paper signed and dated ‘SWCotton 2012’ and inscribed with title (lower right) 50 x 50cm $3,000 - 6,000 PROVENANCE purchased directly from the artist, 2012 Private collection, Manawatu 41 Shane Cotton (b 1964) Uenuku Kuare acrylic on baseball bat signed and dated ‘S Cotton 2012’ and inscribed with title (to top) 85cm length $3,000 - 6,000 41

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PROVENANCE purchased directly from the artist, 2012 Private collection, Manawatu

42 Chris Heaphy (b 1965) Tuamatawnakatangihangakoauraoutamatateapolaiwhenuakitonatahu diptych, acrylic on linen each panel signed and dated 2004 to reverse; inscribed with title to reverse (left hand panel) 160 x 260cm overall $20,000 - 30,000 PROVENANCE Corporate collection, Auckland

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43 Jacqueline Fraser (b 1956) Kaikai Beach plastic coated electrical wire, balsa wood, braid & raffia sculpture in 16 parts signed, inscribed with title and dated 2/9/1994’ to reverse lower left balsa wood panel of sizes $15,000 - 25,000 PROVENANCE Corporate collection, Wellington Jacqueline Fraser draws on her Maori and feminist roots to produce works which are intuitive and spontaneous with easily accessible materials. Her work is evocative of Maori string games, tukutuku or raranga with the knotting, binding and tying techniques.

Kaikai Beach refers to the Otago beach onto which the Maori prophet Te Kooti was washed up; Fraser’s tribe Ngai Tau cared for him while he was banished from New Plymouth.

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44 Frances Hodgkins (1869-1947) Untitled [1946] - Possibly London after the Blitz gouache on paper signed ‘Frances Hodgkins 46’ (lower left) 36 x 55cm $30,000 - 40,000 PROVENANCE previously owned by UK collector of Hodgkin’s work whom purchased the work from Alex Reid & Lefevre, London Private collection, Wellington The palette and style of this work is very similar to ‘The Croft House, Bradford on Tone’ (1946), illustrated & exhibited Frances Hodgkins, Whitford & Hughes, London 1990, cat no, 31.

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45 Patrick Collins HRHA (Irish 1910-1994) The Prisoners signed ‘Collins’ (lower left); with Ritchie Hendriks Gallery exhibition label bearing title and dated July 1969 to reverse 22.5 x 29.5cm $6,000 - 10,000 PROVENANCE current owner purchased from The Ritchie Hendricks Gallery, Dublin Private collection, Auckland

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46 Róbert Berény (1887–1953) Lady Reading oil on canvas laid down on board signed ‘Berény’ (lower left) 84 x 62cm $80,000 - 120,00 PROVENANCE The current owner’s grandfather purchased the painting, possibly from the artist, sometime in the early 20th century. A German speaking Jew, like tens of thousands of others, they had fled the violence and persecutions that had become endemic to the Russian Empire. They were a wealthy family, from Odessa, and for that they could afford to settle in the civilised provinces of Austria-Hungary rather than start again completely in USA. A cultured man, a lawyer, who became a judge in the town of Trnava Slovakia, where he was also the mayor. Trnava is a small town near Bratislava, which in turn is across the Danube from Vienna.

In the early 1960’s at around 70 years old his wife was permitted to leave communist Czechoslovakia, so she emigrated to New Zealand to be with her only living family. This painting was amongst the possessions she brought with her.

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Róbert Berény was born in Budapest in 1887. As a young man of 17, he studied under the artist Tivadar Zemplényi before moving to study at he Académie Julian in Paris. While there, Berény was particularly influenced by the power of Paul Cézanne’s art. He also adopted some of the uses of color of the Fauve movement, and exhibited at the Salon d’Automne.

Berény was an original member of The Eight (A Nyolcak). This avant-garde art movement of Hungarian painters was active mainly in Budapest from 1909 to 1918. They were connected to PostImpressionism and radical movements in literature and music and led to the rise of modernism in art culture. They were primarily inspired

by French painters and art movements, including Paul Cézanne, Henri Matisse, and Fauvism.

In 1919, Berény was active in the artistic development of the brief Hungarian Democratic Republic, and was the leader of the department for painting in the Art Directorate. After the fall of the republic, Berény emigrated to Berlin, together with numerous other Hungarian artists and writers. He lived and worked there for several years, continuing his emphasis on cubism and expressionism. He did not return to Hungary until 1926.

During the last year of World War II, Berény’s atelier was destroyed, together with many of his works. After the war, under the communist government, he became a teacher in what is now the Hungarian University of Fine Arts in Budapest. He died in 1953. .

Berény came to International prominence recently, when his painting Sleeping Lady with Black Vase, whose whereabouts had been unknown since 1928, was re-discovered by chance in 2009. The art historian Gergely Barki sited the work watching the movie, Stuart Little, with his daughter, where the painting was used as a prop. An assistant set designer had bought the painting cheaply from a California antique store for use in the film, and had kept it in her home after production ended. The painting went on to be sold at auction in Budapest in 2014 for €229,500.

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47 Thomas Childs, William Saunders, Kusakabe Kimbei Rare Late C19th/ Early C20th Photograph Album including hand coloured photographs (30) by Kusakabe Kimbei and others including ‘Irezumi Tattoo of a Bridegroom’ c1880; posed studio images of geishas weaving, playing music and carrying out everyday chores. Also landscape and street scenes c1900-10.

Numerous albumen prints by Thomas Childs, William Saunders and others with views of Peking, Shanghai, Hong Kong, Macau, Canton (numerous bearing titles); various Chinese domestic images including portraiture, activities etc. Other early travel and exploration images including Cairo. album bound in full green morocco with gilt decorated boards and monogram EC to cover 51 x 35cm overall album $10,000 - 15,000 PROVENANCE Current vendor’s grandfather was George William Collins, Harbourmaster in China, late C19th. The album was given as a present when he left China in 1887.

Private collection, Auckland

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48 Burton Brothers Studio New Zealand Views Vol I - III c.1880 set of three black & white photograph albums consisting of: Vol I - 26 Wellington related images; Vol II - 25 North Island images Vol III - 27 South Island images the three albums with half morocco, gilt titled boards, bound by W. J. Lankshear, Wellington numerously stamped and bearing titles 22.5 x 30cm overall $3,000 - 5,000 PROVENANCE Private collection, Kapiti

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49 Charles Blomfield (1848-1926) Maori Chief & Wife oil on board signed and dated ‘C. Blomfield/ 1885’ (lower left); inscribed with title in pencil to reverse 17.5 x 31cm $20,000 - 30,000 PROVENANCE Private collection, Auckland

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50 Charles Blomfield (1848-1926) On Wanganui River oil on board signed and dated ‘C Blomfield/1918’ (lower right) 20 x 29.5cm $4,000 - 7,000

52 Evelyn Page (1899-93) Lorenzo Springs, Hawera oil on board signed ‘E. Polson’ (lower right), inscribed with title to reverse 49 x 63.5 cm $4,000 - 7,000

PROVENANCE Private collection, Auckland

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 8 June 2006 (lot 32) Private Collection, Wellington

51 Horatio Gordon Robley (1840-1930) Chief “Te Kani”. Killed 29th April 1864 watercolour and ink on paper signed ‘H. G. Robley’ (lower left); inscribed with title (lower) 17.5 x 16cm accompanied by descriptive panel/letter (see image) $4,000 - 7,000

53 Vera Cummings (1891-1949) Suspicion - Harata Rewiri Tarapata, Nga Puhi oil on canvas signed ‘V. Cummings’ (lower right); inscribed ‘Suspicion, After Goldie’ to reverse 20 x 15cm $4,000 - 7,000

PROVENANCE Sale, Dunbar Sloane Ltd, Wellington c. 1980 Private collection

PROVENANCE Private collection, Wairarapa

54 Vera Cummings (1891-1949) Maori Woman Smoking Pipe oil on canvas signed ‘V. Cummings’ (lower right) 25.5 x 20.5cm $4,000 - 7,000 PROVENANCE Private collection, Wairarapa

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55 Peter McIntyre (1910-95) The Long Range Desert Group pencil and charcoal on paper signed ‘PETER MCINTYRE’ (lower right) 52 x 63.5cm $6,500 - 8,000 PROVENANCE Private collection, Wellington

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56 Peter McIntyre (1910-95) Parliament Buildings, Wellington watercolour and Indian ink on paper signed ‘PETER MCINTYRE’ (lower right) 37.5 x 48.5cm $3,500 - 6,000 PROVENANCE Private collection, Wellington

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57 Peter McIntyre (1910-95) Wellington Harbour oil on board signed ‘PETER MCINTYRE’ (lower right); signed and inscribed with title to reverse 42 x 64cm $16,000 - 24,000 PROVENANCE Private collection, Wellington

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58 Peter McIntyre (1910-95) Manners Mall, Wellington watercolour signed ‘PETER MCINTYRE’ (lower right) 53 x 72cm $6,000 - 10,000 PROVENANCE Private collection, Wellington

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59 Peter McIntyre (1910-95) Early Morning Mist watercolour and indian ink signed and dated ‘PETER MCINTYRE’ (lower right) 52 x 75cm $3,500 - 6,000

60 Peter McIntyre (1910-95) Bolton Street Cemetery, Wellington oil on board signed ‘PETER MCINTYRE’ (lower right) 60 x 75cm $7,000 - 12,000

PROVENANCE Private collection, Hawkes Bay

LITERATURE Peter McIntyre’s Wellington (Auckland 1975) plate 5.

PROVENANCE Private collection, Wellington

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61 Nicky Foreman (b 1970) Replenish oil & gold leaf on board signed and dated ‘N.J.FOREMAN ‘12’ (lower right) 76 x 50cm maximum $4,000 - 7,000 PROVENANCE with Artis Gallery, Auckland Private collection, Manawatu 62 Bill Hammond (b 1947) Urn acrylic on paper signed, inscribed with title and dated ‘W. D. Hammond/ URN 2011/ Cornwall Road’ (lower left) 28.5 x 20cm $4,000 - 7,000 PROVENANCE with Peter McLeavey Gallery, Wellington Private collection, Manawatu

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63 David Pearce Cloud acrylic on masonite signed, inscribed with titled and dated ‘2012 D. PEARCE CLOUD’ (lower right); inscribed with title and dated to reverse 160cm dia $4,000 - 7,000 PROVENANCE purchased directly from the artist Private collection, Manawatu REFERENCE/ILLUSTRATION Georgia Forrester, Manawatu Standard, 26 April 2016, Artist inspired

by Maori culture and Pakeha identity 64 Michel Tuffery (b 1966) New Zealand Man in the Cook Strait Va Sa acrylic on canvas signed ‘M. TUFFERY’ (lower right) 25 x 25cm $2,500 - 3,500 PROVENANCE purchased Toi Maori, 2009 Private collection, Wellington

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65 Gordon Walters (1919-95) Kapiti screenprint, limited edition 16/75 signed and dated ‘Gordon Walters 84’ (lower right); inscribed with title (lower left) 57.5 x 46cm $5,000 - 8,000 PROVENANCE Corporate collection, Wellington 66 Ralph Hotere (1931-2014) Red lithograph, T/P (limited edition of 20) signed and dated ‘Hotere ‘97’ (lower right); inscribed with title (lower left) 61 x 47cm $4, 500 - 6,000 PROVENANCE with Ferner Galleries, Wellington Private collection, Wellington 67

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LITERATURE Hotere, empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) fig. 87. p. 99. (colour illustration)

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67 Milan Mrkusich (b 1925) Achromatic Dark I gouache signed & dated ‘MRKUSICH ‘77’ (lower right) 41 x 33cm $2,500 - 3,500

68 Paratene Matchitt (b 1933) Old Heart Rimu painted & weathered carved rimu wall hanging sculpture engraved with signature and dated ‘Matchitt/10/94’ (centre right) 84.5 x 112cm maximum $4,500 - 7,000

PROVENANCE Private collection, Wellington

PROVENANCE Corporate collection, Wellington EXHIBITED probably Wellington, Janne Land Gallery, Hearts - An exhibition of recent work, November 1994 The arrow in the heart motif is taken from the flag of Te Kooti. It is part of a complex personal symbolism which for Matchitt represents the last time Maori leadership acknowledged the creativity of its people.

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69 Trevor Moffitt (1936-2006) At School in Japan; Human Condition Series II oil on board signed and dated ‘Moffitt 95’ (lower right); inscribed with title to reverse 58 x 58cm $5,000 - 8,000

72 Trevor Moffitt (1936-2006) Sheep Paddock; Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 91’ (lower right); inscribed with title and number 3 to reverse 57 x 58.5cm $5,000 - 8,000

PROVENANCE Sale, International Art Centre, Auckland, 14/07/2011 (lot 12) Private collection, Wellington

PROVENANCE Lex Van Hessen Collection, Netherlands

70 Trevor Moffitt (1936-2006) Steer Paddock No 1; Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 91’ (lower right); inscribed with title and number 28 to reverse 59 x 78cm $5,000 - 8,000

73 Trevor Moffitt (1936-2006) Southland Landscape oil on board signed and dated ‘Moffitt 61’ (lower right); inscribed with title to reverse 80 x 106cm $3,000 - 5,000

PROVENANCE Lex Van Hessen Collection, Netherlands

PROVENANCE Lex Van Hessen Collection, Netherlands

71 Trevor Moffitt (1936-2006) Pig Paddock No 4; Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 90’ (lower right); inscribed with title to reverse 58 x 69cm $5,000 - 8,000

74 Trevor Moffitt (1936-2006) Driftwood oil on board signed ‘Moffitt’ (lower right) 57 x 81cm $2,000 - 4,000

PROVENANCE Lex Van Hessen Collection, Netherlands

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PROVENANCE Private collection, South Island

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75 Glenda Randerson (b 1949) Kirsten at Waiheke oil on linen signed and dated ‘G.D.Randerson ‘94’ (lower right); signed, inscribed with title and dated to reverse 90.5 x 135cm $2,500 - 4,000 PROVENANCE with Judith Anderson c. 1995 Private collection, Wellington

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76 Peter Siddell (1935-2011) Western Sky pastel on paper signed and dated ‘PETER SIDDELL 1989’ (lower left); inscribed with title to reverse 27 x 39cm $2,000 - 3,500 PROVENANCE Private collection, Wellington

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77 Karl Maughan (b 1964) Creamery Road oil on linen inscribed with title, signed and dated ‘Feb 2011’ to reverse 45.5 x 61cm $3,500 - 6,000 PROVENANCE with Thermostat Gallery, Palmerston North Private collection, Manawatu

78 Piera McArthur (b 1922) Seated Females oil on canvas signed ‘Piera McArthur’ (lower right) 103 x 72cm $2,500 - 4,000 PROVENANCE with Ferner Galleries Private collection, Wellington

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79 Sydney Lough Thompson (1877-1973) Quiet Morning in Concarneau Harbour, Brittany oil on board signed ‘S L Thompson’ (lower left); inscribed with title and dated June 1945 on original Fisher & Sons label to reverse 36.5 x 45cm $7,500 - 12,000 PROVENANCE Private collection, Wellington 80 Margaret Stoddart (1865-1934) South Island Landscape watercolour heightened with white signed ‘M.O. Stoddart’ (lower left) 36 x 29.5cm $2,000 - 3,500

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81 Margaret Stoddart (1865-1934) Craigieburn Range watercolour signed ‘M. O. Stoddart’ (lower left) 37.5 x 28cm $3,000 - 4,500 PROVENANCE Sale, Dunbar Sloane Ltd, 16/04/1997 (lot 21) Private collection, Wellington

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82 Margaret Stoddart (1865-1934) Wharf, Governor’s Bay watercolour signed ‘M. O. Stoddart’ (lower left) 34 x 24.5cm $2,500 - 4,000 PROVENANCE Private collection, Kapiti 83 Margaret Stoddart (1865-1934) Kelly’s Creek watercolour signed ‘M. O. Stoddart’ (lower left) and dated 12.12.1900 to reverse 24.5 x 33.5cm $4,000 - 6,000 PROVENANCE with Fisher Fine Arts Sale, Dunbar Sloane Ltd , Wellington, 18/04/2007 (lot 40) Private collection, Wellington

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84 Pierre Billet (French 1837-1922) Gazing Out to Sea oil on canvas signed & dated ‘Pierre Billet 1882’ (lower left) 38.5 x 55cm $2,000 - 4,000 PROVENANCE Private collection, Auckland

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