Fine Art Auction Part I by Dunbar Sloane Ltd

FINE ART AUCTION 10 & 11 AUGUST 2016

FINE ART AUCTION wellington WEDNESDAY 10 & THURSDAY 11 AUGUST 2016

PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Lot 1 – 88 Wednesday 10 August, 6pm The Lex van Hessen Trevor Moffitt Collection Lot 1 - 28 Part two • DAY SALE Fine & APPLIED Art Lot 200 – 393 Thursday 11 August, 12 noon

OPENING PREVIEW • WELLINGTON Thursday 4 August • 5.00 – 6.30pm

Wellington Viewing Friday 5 August Sunday 7 August Monday 8 August Tuesday 9 August Wednesday 10 August

9am – 5pm 12noon – 4pm 9am – 5pm 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 16% + GST (18.4%) added to the hammer price

ILLUSTRATIONS Front Cover • Lot 37 Inside Front Cover • Lot 42 Inside Back Cover • Lot 5 Facing Page • Lot 35

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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PART ONE • EVENING SALE New Zealand & International Fine Art the lex van hessen trevor moffitt collection Lot 1 – 28 6pm • wednesday 10 august 2016

the HISTORY OF THE lex & hannie van hessen trevor moffitt collection Lex and Hannie van Hessen were the single most important patron’s in the career of Trevor Moffitt, one of New Zealand’s leading narrative painters. Dunbar Sloane is delighted to offer this extensive personal collection of these Dutch patrons and return them to New Zealand. The collection spans 30 years of the artist’s oeuvre featuring nine different bodies of work.

Lex van Hessen

Hannie & Trevor 2003

Lex van Hessen of the van Hessen group is one of the world’s leading companies for natural animal casings, primarily for the sausage industry. The company was founded in 1902 and maintains offices and factories in more than 12 countries around the globe. It was for this reason that Lex and his late wife Hannie began travelling to New Zealand in the 1970s. In the latter half of 1987 the van Hessen’s were waiting for an appointment at the New Zealand Freezing Works Association, Wellington and one of Trevor Moffitt’s paintings was hanging at reception, a quintessential Kiwi bloke in a black singlet working in a forest, from My Father’s Life series, caught their eye. On discovering the artist lived in Christchurch, to where they happened to by flying the next day, they contacted the artist and arranged to visit him at home. It was Hannie’s birthday and she immediately fell in love with the works and selected seven paintings as a present, including four from the Solo Father Series. It was on this first encounter that the van Hessen’s discovered the artist was contemplating leaving teaching to concentrate on painting full time. As such Lex suggested that he would commission him to produce a series on the freezing works, believing that his expressionist style would ideally translate to the harsh reality of the abattoir. Moffitt subsequently left his teaching position in the same year and in 1989 embarked on the ambitious commission. The benefactors importantly placed no parameters on the paintings. Subsequent trips to New Zealand from 1987-91 resulted in the purchase of even more paintings whilst the series progressed in earnest. In total 26 works were produced in an astounding three months. Moffitt was requested to personally deliver the works to Amsterdam, in what was to be his first and only trip to Europe. The works were hung in sequence from the sheep in the paddock, to the slaughterhouse, the meat and finally the casings, at the main offices of van Hessen B. V. in Rotterdam. The balance of the van Hessen’s Moffitt collection hung in their apartment and is what is being auctioned in this catalogue. The van Hessen’s patronage greatly enhanced Moffitt’s self-esteem as a painter, in his own words: “It totally changed my life…It changed my life in terms of how good or how bad I am…I think I came back with a helluva lot more confidence… All of a sudden I was looking at this very large number of my own paintings in another country, which is rich in art. Every day I was going to an art gallery and seeing mind-boogling stuff, and every day I was going back to the apartment…and [I’d] think ‘They don’t look so bad in comparison’…It did boost my confidence greatly, I’m sure of that. I think they changed my life.” 1.

Tubing Casings 1989 - Collection of Lex & Hannie van Hessen

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1. Chris Ronayne, Trevor Moffitt – A Biography p. 145.

the lex van hessen trevor moffitt collection

stanley graham series In 1985 Moffitt started to extensively research Stanley Graham, the West Coast mass murderer who killed seven people in October 1941. Along with reading extensive reference material, Moffitt visited Hokitika and all of the relevant sites involved in the shootings. The series itself was begun the following year - 51 oil paintings which roughly chronicled Graham’s lifestyle leading up to the shootings. Describing the series Moffitt stated “I felt an empathy for him. Things were stacked up against him. The narrative was important – how Graham was and how his life got out of control. The lessons of the man are still to be learnt – that lack of communication leads to violence in society.” Alison Gregor, Christchurch Star 17.12.1987

1 Trevor Moffitt (1936-2006) Pouring Rejected Cream onto the Road; Stanley Graham Series oil on board signed and dated ‘Moffitt 87’ (lower right); inscribed with title and number 9 to reverse 58 x 58cm $8,000 - 12,000 LITERATURE Chris Ronayne, Trevor Moffitt, A Biography (Auckland 2006), p. 141.with colour illustration, entitled ‘Graham pouring the rejected cream onto the road’ EXHIBITED Louise Beale Gallery, Wellington 1987 2 Trevor Moffitt (1936-2006) Mustering on Gleneray; My Father’s Life Series oil on board signed and dated ‘Moffitt 79’ (upper right); inscribed with title and number 3 to reverse 59 x 59cm $8,000 - 12,000

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3 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 $8,000 - 12,000

4 Trevor Moffitt (1936-2006) Sheep Paddock No 1; Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 91’ (lower right); inscribed with title and number 29 to reverse 58.5 x 89.6cm $8,000 - 12,000

5 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 $6,000 - 10,000

THE gold miners series On returning to his childhood town Waikaia, Southland in 1962, Moffitt was shocked to discover many of the memories of his childhood had gone. The result - the Gold Miner’s series which was stimulated by this disipation of history.

To quote the artist: “I was looking for an excuse to try and put some figures in a landscape and that seemed the ideal framework to go in on., since my memories at that stage were so filled. ..I was acutely aware that people I had known as a child were dead or dying. They were disappearing fast and when I went back to Waikaia all the evidence had gone too. All the old sluicing claims, places where dredges had worked - just gone...I suppose I found that interesting...the old blokes living in tents. Really amazing lives some of them had lived. They were war heroes, been crippled in mining accidents - had quite heroic lives. But people didn’t seem to want to remember that particularly. But I thought it was worth remembering.” Chris Ronayne, Trevor Moffitt (Auckland 2006) p. 58. 5

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the lex van hessen trevor moffitt collection

6 Trevor Moffitt (1936-2006) Watching Two Chinese Miners oil on board signed and dated ‘Moffitt 79’ (upper left); inscribed with title and number 5 to reverse. Bears Elva Bett Gallery stamp 48 x 59cm $12,000 - 18,000

7 Trevor Moffitt (1936-2006) Untitled (Sluicing in River); Gold Miners Series oil on board signed and dated ‘Moffitt 67’ (lower left) 77 x 45cm $12,000 - 18,000

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the artist as a solo father series In 1983 Moffitt embarked on his iconic The Artist as a Solo Father Series, where once again we see the artist’s quintessential concern for the human condition. However this series is a more personal ode to his own experience, after his wife Alison passed away in 1981. The artist paints himself, faceless. On describing the series to Hannie van Hessen, he states “I had no face, I was nobody, I was nothing.” The loss of his wife leaving him bereft. The works are characterised by their deliberately undramatic nature. There is a melancholy feel to the works conveyed by the muted colours, simple composition and uniform square format, which echo the grief and loneliness of the central, autobiographical figure.

8 Trevor Moffitt (1936-2006) Polishing Silver; Solo Father Series oil on board signed and dated ‘Moffitt 85 (lower left)’; inscribed with title and number 29 to reverse 59 x 58cm $8,000 - 12,000

10 Trevor Moffitt (1936-2006) Drying Dishes; Solo Father Series oil on board signed and dated ‘Moffitt 85’ (lower right); inscribed with title and number 28 to reverse 59 x 59cm $8,000 - 12,000

9 Trevor Moffitt (1936-2006) Making Tomato Sauce; Solo Father Series oil on board signed and dated ‘Moffitt 85’ (lower right); inscribed with title to reverse. Bears Goodman Suter Biennale 1986 paper label to reverse 59 x 59cm $8,000 - 12,000

11 Trevor Moffitt (1936-2006) Cleaning the Bath; Solo Father Series oil on board signed and dated ‘Moffitt 85’ (lower right); inscribed with title and number 30 to reverse 59 x 59cm $7,000 - 10,000

EXHIBITED Goodman Suter Biennale 1986, no 131

12 Trevor Moffitt (1936-2006) Making the Bed; Solo Father Series oil on board signed and dated ‘Moffitt 85’ (lower right) 59 x 59cm $7,000 - 10,000

LITERATURE Chris Ronayne, Trevor Moffitt (Auckland 2006) p. 119-120

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the lex van hessen trevor moffitt collection

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13 Trevor Moffitt (1936-2006) Pig Paddock No 3; Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 90’ (lower centre); inscribed with title and number 3 to reverse 58 x 69cm $8,000 - 12,000

14 Trevor Moffitt (1936-2006) Pig Paddock No 4, Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 90’ (lower left); inscribed with title to reverse 58 x 69cm $8,000 - 12,000

15 Trevor Moffitt (1936-2006) Sheep Paddock No 2, Canterbury Paddocks Series oil on board signed and dated ‘Moffitt 91’ (lower left); inscribed with title and number 30 to reverse 59 x 59cm $6,000 - 10,000

16 Trevor Moffitt (1936-2006) Bluff No 2; Southland Series II oil on board signed and dated ‘Moffitt 88’ (lower right); inscribed with title and number 1 to reverse 88 x 88cm $7,000 - 10,000

17 Trevor Moffitt (1936-2006) Southland Series III, No 4 oil on board signed & dated ‘90 (lower right); inscribed with title and numbered 3 to reverse 89 x 119cm $8,000 - 12,000

15 12

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the lex van hessen trevor moffitt collection

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human condition series A repeated motif, Moffitt produced three different Human Condition Series, the first of which was begun in 1973. The first series acted as a social commentary on the attitudes between men and women in New Zealand without intended judgement; the success of which has been highly debated. Never one to shy away from public controversy, he illustrated adult sexual relationships using a backdrop of prostitution, marriage break-ups, extramarital affairs and woman’s liberation..

18 Trevor Moffitt (1936-2006) Well Gentlemen, Human Condition I Series oil on board signed and dated ‘Moffitt 75’ (upper right); inscribed with title and numbered 18 to reverse 58 x 74.5cm $5,000 - 8,000

19 Trevor Moffitt (1936-2006) Gwen, Human Condition I Series oil on board signed and dated ‘Moffitt 79’ (upper right); inscribed with title and number 21 to reverse 74 x 61cm $6,000 - 10,000

20 Trevor Moffitt (1936-2006) Painting Barbara, Solo Father Series oil on board signed and dated ‘Moffitt 85’ (lower right); inscribed with title and number 4 to reverse 59 x 59cm $8,000 - 12,000

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21 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 $8,000 - 12,000

the lex van hessen trevor moffitt collection

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22 Trevor Moffitt (1936-2006) Southland Series III, No 3 oil on board signed and dated ‘Moffitt 89’ (lower right); inscribed with title to reverse 89 x 119cm $8,000 - 12,000

23 trevor Moffitt (1936-2006) Loading Out; My Father’s Life Series oil on board signed and dated ‘Moffitt 80’ (lower right); inscribed with title to reverse 59 x 59cm $8,000 - 14,000 LITERATURE Chris Ronayne, Trevor Moffitt, A Biography (Auckland 2006), colour illustration

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my father’s life series This series extends Moffitt’s painted biography of his father Gilbert (Bert) started in 1976. Bert was a casual rural labourer with whom Moffitt had a strained relationship. When Trevor refused to leave school, his father didn’t speak to him for many years, leaving him to finance his own schooling, clothing and other necessities. Glbert Moffitt passed away October 1978, which had a significant impact on the artist and the subsequent series. The series show a man in his prime, hardened by labour - almost like documentary stills. These personal remembrances act as a medium to exorcise memories of discord between the two. From the vantage of middle age, Moffitt appreciates more clearly the values and attitudes that motivated his father, that he had earlier rejected in his youth.

the lex van hessen trevor moffitt collection

24 Trevor Moffitt (1936-2006) Cutting Post Lengths; My Father’s Life Series oil on board signed and dated ‘Moffitt 80’ (upper right); inscribed with title and number 25 to reverse 59 x 59cm $8,000 - 12,000

25 Trevor Moffitt (1936-2006) Killing the Catch; My Father’s Life Series oil on board signed and dated ‘Moffitt 80’ (lower left); inscribed with title and number 24 to reverse 59 x 59cm $8,000 - 12,000

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26 Trevor Moffitt (1936-2006) Mountain Series No 5 oil on board signed and dated ‘Moffitt 65’ (lower right); inscribed with title to reverse 65 x 121cm $4,000 - 7,000 EXHIBITED Canterbury Gallery, Trevor Moffitt Early Works Exhibition (exhibition flyer affixed to reverse)

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27 Trevor Moffitt (1936-2006) Southland Landscape oil on board signed and dated ‘Moffitt 61’ (lower right); inscribed with title to reverse 80 x 106cm $4,000 - 7,000

the lex van hessen trevor moffitt collection

private vendors continued 28 Trevor Moffitt (1936-2006) Coastline No 1; South Canterbury Series oil on board signed (lower right); inscribed with title and number 4 to reverse 88 x 88cm $4,000 - 7,000

29 Trevor Moffitt (1936-2006) Driftwood on a Beach oil on board signed â&#x20AC;&#x2DC;Moffittâ&#x20AC;&#x2122; (lower right) 57 x 81cm $3,000 - 6,000 PROVENANCE Private collection, South Island

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PART ONE • EVENING SALE New Zealand & International Fine Art PRIVATE VENDORS Lot 30 - 88 6pm • wednesday 10 august 2016

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30 Ellis L Silas (British, 1885–1972) Wellington Harbour gouache heightened with white signed ‘Ellis Silas’ (lower right) 46 x 71cm, unframed $2,000 - 4,000 PROVENANCE Private collection, Britain Ellis Luciano Silas, was born in London on 13 July 1885. His father was an artist and designer and his mother an opera singer. He was educated by private tutors before working in his father’s studio, where he studied under the well-known artist Walter Sickert. Marine art became his main interest and he painted in English coastal towns. In 1907, he sailed to Australia. On 16 October 1914 Silas joined the Australian Imperial Force as a signaller with the 16th Battalion. He had served in the Royal Naval Volunteer Reserve for three years. Silas was the only artist to paint and sketch actual battle scenes showing Australian soldiers in action at Gallipoli. He was commissioned in 1919 by the Australian War Records Section to paint images of Gallipoli at the initiative of C. E. W. Bean who wanted ex-servicemen to paint from their experiences.

31 Paul Olds (1922-76) Queenstown oil on canvas signed and dated ‘Paul Olds 1951’ (lower right); inscribed with title on original paper label attached to reverse 43 x 56cm $2,000 - 4,000 32 Frederick V Ellis (1892-1961) Worser Bay from 116 Inglis Street, Seatoun oil on canvas board signed and dated ‘F.V.Ellis/42’ (lower left) 54.5 x 63cm $3,000 - 5,000 This is the view from the artist’s living room at the time of the painting 33 Frederick V Ellis (1892-1961) Oriental Bay oil on canvas board signed and dated ‘F.V.Ellis/52’ (lower left) 35 x 38.5cm $2,000 - 4,000

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34 Peter McIntyre (1910-95) Wellington Harbour oil on board signed ‘PETER MCINTYRE’ (lower right); signed and inscribed with title to reverse 42 x 64cm $18,000 - 26,000 PROVENANCE Private collection, Wellington

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35 Peter McIntyre (1910-95) Maori Boy on Beach oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 61 x 49cm $25,000 - 35,000 PROVENANCE purchased One Man Exhibition, November 1964, John Leech Gallery (see original paper label to reverse) Private collection, Auckland

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36 Ann Robinson (b 1944) Curving Vase #6 45% crystal glass in dark steel blue etched signature, dated and numbered â&#x20AC;&#x2DC;Ann Robinson #6/ 2001 N.Z.â&#x20AC;&#x2122; to base with certificate of authenticity from the artist 46.6cm height, 33.1cm depth, 37.4cm width $16,000 - 22,000 PROVENANCE purchased by the current vendor Milford Galleries, Dunedin 2003 Private collection, Wellington

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37 Gretchen Albrecht (b 1943) China (red) acrylic on canvas inscribed with title and dated 2000 to stretcher; bears artistâ&#x20AC;&#x2122;s paper label with reference GAO/000-32 to stretcher 98 x 150cm, oval $12,500 - 20,000 PROVENANCE Private collection, Wellington

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38 Guy Ngan Township oil on board stencilled signature and dated ‘NGAN 1969’ (lower left); inscribed with title on paper label to reverse 123 x 123cm $4,000 - 7,000 PROVENANCE Private collection, Wellington

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39 Brent Wong (b 1945) Hill, Clouds, Gate acrylic on board signed, inscribed with title, artist’s care instructions and dated ‘1989-95’ to reverse 47.4 x 59.7cm $18,000 - 26,000 PROVENANCE purchased Ferner Galleries, Auckland Private collection, Waikato

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40 Jeff Thomson (b 1957) Lacework corrugated iron panel 181cm length, 67cm width $2,000 - 4,000 PROVENANCE Private collection, Wellington

41 Jeff Thomson (b 1957) Cow [Clarabelle] hand painted corrugated iron sculpture 132cm height; 176cm length $5,000 - 8,000 PROVENANCE with Bowen Galleries, Wellington c2004 Private collection, Wellington

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42 Dick Frizzell (b 1943) Lagoon oil on board signed, inscribed with title and dated ‘FRIZZELL 9/2/89’ (lower left) 105 x 120cm $20,000 - 30,000 PROVENANCE purchased Gow Langsford Gallery, Auckland 1989 Private collection, Waikato

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43 Sir M T [Toss] Woollaston (1910-98) Edith Alexander’s (Woollaston) Parent’s House in Cliff Road, Dunedin c. 1936 gouache on board signed ‘Woollaston’ (lower right) 42 x 46.5cm NOTE Portrait to reverse $12,000 - 16,000 PROVENANCE with Peter McLeavey Gallery, Wellington 1992 Sale, Sir Ivor Richardson Art Collection, Wellington, 22 March 2006 Private collection, Wellington

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44 Leo Bensemann After Rain, Takaka [1971] oil on canvas board 65 x 79cm $16,000 - 24,000 PROVENANCE purchased by the vendor’s parents c1983 Private collection, Marlborough LITERATURE Caroline Otto, Leo Bensemann Landscapes & Studies (Nikau Press 2004) p. 69. (colour illustration)

“In his landscapes Mr Bensemann strips away the irrelevant, he selects forms and isolates features that give the landscape of Takaka…a character essential to the location, and he combines this with a very personal and expressive selection of colour that is a register of his own mood and response to the land. His Takaka paintings, for example, painted as they are with heavy greens, greys and clacks are full of dark foreboding” Christchurch Press Review of Rue Pompallier Gallery, Akaroa Retrospective exhibition.

EXHIBITED Akaroa, Rue Pompallier Gallery, Retrospective Exhibition 1972 no 30 ($120), catalogue to be sold with lot FINE ART

45 Colin McCahon (1919-87) Again, Again, Again ink wash on paper signed and dated ‘Colin McCahon’ (lower right) 75 x 54.5cm together with another gouache and ink on paper to the reverse dated and inscribed “From An “Elias” series 1958” (lower right) $40,000 - 60,000 PROVENANCE Private collection, Wellington

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46 Frances Hodgkins (1869-1947) Still Life on Grand Piano gouache on paper signed ‘Frances Hodgkins’ (lower right) 58 x 78cm $30,000 - 40,000 PROVENANCE Sale, Dunbar Sloane Ltd, Wellington, 6 May 1992 (lot 16/ front cover illustration) Private Collection, Auckland This is most likely an experimental work painted around the time of Hodgkin’s association with Ben Nicholson and the Seven and Five society. We would like to thank Tony Mackle for his assistance in authenticating and cataloguing this lot.

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47 Charles Decimus Barraud (1822-97) The Mansion House, Cheviot watercolour and pencil heightened with white signed and dated ‘CD Barraud/ NZ 1875’ (lower right) 73 x 131cm $45,000 - 55,000

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PROVENANCE This painting was one of five that William Robinson commissioned CD Barraud to paint of his Cheviot Hills Estate in North Canterbury. William Robinson was the vendor’s Great Great Grandfather and the painting has been inherited by descent. Private collection, Canterbury

The painting shows the view from the front steps of the Mansion House. The painting indicates Robinson’s intention to produce an English landscape garden. The horses are William & Sara Robinson’s and are held by a groom.

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48 Charles Decimus Barraud (1822-97) Lake Taupo watercolour signed and dated ‘CD. Barraud/ 1889’ (lower left); bears original Frost & Reed Bristol label to reverse 20 x 34.5cm $8,000 - 14,000 PROVENANCE Private collection, UK The work depicts Lake Taupo form the mouth of the Waikato river. The big boat being built on the lake’s edge is possibly the Lake Taupo ferry (from Turangi to Taupo). Uniquely, all three Maori sites have a large carved boundary pole.

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49 Charles Decimus Barraud (1822-97) Round the Rocks, Clyde Quay, McLoughlin’s Farm watercolour and graphite on paper signed ‘C. D. Barraud/1858’ (lower right); title inscribed on original backing board attached to the reverse 24 x 33cm $16,000 - 24,000 PROVENANCE Ex collection of Mrs E. M. Wallace, Levin (1936) Private collection, Auckland

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50 John Gully (1819-1888) Head of the Godley River watercolour heightened with white signed ‘John Gully’ (lower left) 32 x 57cm $8,000 - 14,000 PROVENANCE Private collection, Auckland

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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.

51 Charles Decimus Barraud (1822-97) Mt Egmont from Puketotara Road watercolour and pencil signed with initials, inscribed with title and dated ‘Oct 3rd 1874. C.D.B.’ (lower right) 24 x 34cm $3,000 - 6,000

52 John Gibb (1831-1909) Canterbury Landscape oil on canvas signed ‘J. Gibb 1881’ (lower right); original H Fisher & Son paper label to reverse 61 x 91cm $10,000 - 20,000

PROVENANCE The vendor is a direct descendant of the artist

PROVENANCE Private Estate, Marlborough

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53 Cornelis Vreedenburgh (Dutch 1880-1946) Dutch Canal Landscape oil on panel signed ‘C. Vreedenburgh’ (lower right) 23 x 39cm $4,000 - 7,000 PROVENANCE Private collection, Marlborough (as with following lot) 54 Cornelis Vreedenburgh (Dutch 1880-1946) Snowclad Townscape oil on panel signed ‘C. Vreedenburgh’ (lower right) 23 x 39cm $4,000 - 7,000

55 44

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55 Russian Icon c1840 48 x 38cm $4,000 - 7,000

56 Antonio Dattilo Rubbo (Italian/Australian, 1870-1955) Where Daddy Fell oil on canvas signed and dated ‘A. Dattilo Rubbo/ Sydney 1915’ (lower right); signed, inscribed with title and artist’s address to paper label on reverse 106 x 122cm $7,500 - 12,500 PROVENANCE Private collection, Manawatu

LITERATURE ‘Dominion’ Volume 11, Issue 306 14 September 1918, p 9. “This painting shows a brightly lighted interior, and near a window a table, on which an old man is finding on a map of Flanders the place where his son was killed in action. The son’s widow is turning away in grief, while his son sits in sombre silence on the table and watches the old man’s hands. The boy’s face is a trifle hard, with very set jaws, but these are lads of the type to be found in Sydney. The lighting of the work saves it from the note of too painful tragedy which it would otherwise strike.”

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57 Gordon Walters (1919-95) Kapiti screenprint, limited edition 57/75 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 58 Ralph Hotere (1931-2014) Manhire’s Midnight Windows at Carey’s Bay ‘79 [IV] etching, limited edition 7/10 signed & dated ‘Hotere 1980’ (lower right); inscribed with title (lower left) 53 x 38cm $3,500 - 5,000 PROVENANCE Private collection, Wellington 59 Ralph Hotere (1931-2014) Round Midnight lithograph, limited edition 26/36 signed and dated ‘Hotere 2000’ (lower right) 57 x 76cm $4,000 - 7,000 PROVENANCE Private collection, Wellington 60 Ralph Hotere (1931-2013) Empty Shadows and Making a Shadow corrugated iron, lacquer and lead head nails signed and dated ‘Hotere/Carey’s Bay 2003’ and inscribed with title (lower edge) 188 x 86cm maximum $14, 000 - 20,000 PROVENANCE Private collection, Auckland

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61 Milan Mrkusich (b 1925) Achromatic Dark 1 gouache signed and dated ‘MRKUSICH ‘77’ (lower right) 41 x 33cm $3,500 - 6,000 PROVENANCE Private collection, Wellington

62 Karl Maughan (b 1964) Untitled oil on canvas 37.5 x 35cm $2,500 - 4,500 We would like to thank John Gow for his assistance in authenticating this lot.

63 Judy Millar (b 1957) Permanent Sunset oil wax on gesso on linen, diptych signed and dated ‘J Millar 2000’ and inscribed with title to reverse of both panels 244 x 91cm $10,000 - 20,000 PROVENANCE The New Zealand Post Art Collection

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64 Graham Sutherland O.M. (British, 1903-1980) Landscape with Figures - Study for Impington Decoration ink & gouache on paper signed and dated ‘Sutherland 1944’ (lower left); original artist & gallery labels affixed to verso 10.5 x 20.5cm $2,000 - 4,000 PROVENANCE purchased Marlborough Fine Art Ltd, London, March 1970 (original invoice available) EXHIBITED Moore - Picasso - Sutherland, Marlborough Fine Art, March-April 1970, no. 51 (illustrated)

65 Bill Hammond (b 1947) Castaway Plate, Castaway Goblet. Auckland Islands China indian ink and watercolour on paper signed, inscribed with title and dated ‘W. D. Hammond 1991’ (lower right) 48.5 x 58.5cm $5,000 - 8,000

PROVENANCE Sale, Dunbar Sloane Ltd, 30 August 2000 (lot 40) Private collection, Wellington

66 Michael Shepherd (b 1950) Excavating the Historical (Landscape with Classical Ruins) oil on board inscribed with title (lower centre) and dated ‘91 (upper right) 78 x 120cm $2,500 - 4,000 PROVENANCE with Claybrook Gallery, Auckland The New Zealand Post Art Collection

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67 Nigel Brown (b 1949) “Whatever We Know” acrylic on canvas signed and dated ‘NIGEL BROWN 2003’ (lower left); signed, inscribed with title and dated to reverse 78 x 58cm $7,000 - 12,000 PROVENANCE with Tinakori Gallery, Wellington Private collection, Wellington

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68 Graham Kirk (b 1948) College Street, Wellington acrylic on board signed and dated ‘KIRK 2006’ (lower right); signed, inscribed with title and dated to reverse 150 x 105cm $3,000 - 5,000

70 Robyn Kahukiwa (b 1938) Nga Tamariki a Tane acrylic on canvas signed and dated ‘Robyn F Kahukiwa 2015’ (lower right) 122 x 122cm $5,000 - 8,000

69 Robyn Kahukiwa (b 1938) He Whakamaharatanga [A Memorial] acrylic on canvas signed & dated ‘Robyn F Kahukiwa 2016’ (lower right) 102 x 76cm $3,000 - 5,000

71 Robyn Kahukiwa (b 1938) Nga Tamariki a Tane [Tane’s Children] acrylic on canvas signed & dated ‘Robyn F Kahukiwa 2015’ (lower right) 61 x 46cm $2,000 - 4,000

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66 73 72

72 Piera McArthur (b 1929) Seated Females oil on board signed ‘Piera McArthur’ (lower right) 103 x 72cm $3,500 - 5,000

74 Jane Evans (1946-2012) Nelson Landscape oil on board signed and dated ‘Jane Evans ‘69’ (lower right) 75 x 106cm $3,000 - 5,000

PROVENANCE with Ferner Gallery, Auckland Private collection, Wellington

PROVENANCE Corporate Collection, Wellington

73 Piera McArthur (b 1929) Scenes from The Bolshoi II oil on canvas signed ‘Piera McArthur’ (lower right) 84 x 55.5cm $2,000 - 4,000 PROVENANCE with Exhibitions Gallery, Wellington Private collection, Wellington

75 Patricia France (1911-95) Portrait of Patricia France, her Mother and Aunt oil on board signed (lower left) 44 x 65cm $6,000 - 10,000 PROVENANCE This work was inherited by Murdoch Maclennan directly from the artist. It formerly hung in the artist’s kitchen in Highgate, Dunedin LITERATURE Richard Donald, Painting Out the Past: The Life and Art of Patricia France (Dunedin 2008) p. 104.

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FINE ART

76 Elioth Gruner (Australian 1882-1939) Summer Pastoral oil on canvas board signed ‘GRUNER’ (lower right) 36 x 44cm $6,000 - 10,000 PROVENANCE inherited from the present owner’s grandfather, purchased c1930 Private collection, Nelson 76

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77 Peter McIntyre (1910-95) Sampans, Hong Kong watercolour and indian ink on paper signed ‘PETER MCINTYRE’ (lower right); inscribed with title on original paper label 52 x 72cm $5,000 - 8,000 PROVENANCE Private collection, Wellington

78 Peter McIntyre (1910-95) Lake Taupo oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 40 x 50cm $10, 000 - 16,000 PROVENANCE Private collection, Auckland

FINE ART

79 Tom Esplin (1915-2005) Mediterranean Coastal Town oil on board signed ‘Esplin’ (lower right) 29 x 43.5cm $3,000 - 6,000 PROVENANCE with McGregor Wright Gallery Private collection, Wellington

80 Tom Esplin (1915-2005) The Riviera oil on board signed ‘Esplin’ (lower right); inscribed with title on original paper label to reverse 45.5 x 34cm $3,000 - 6,000 PROVENANCE Private collection, Kapiti Coast

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81 Tom Esplin (1915-2005) Inner Harbour, Polperro oil on board signed ‘Esplin’ (lower right); inscribed with title on original paper label to reverse 30 x 40cm $3,000 - 6,000

PROVENANCE Private collection, Kapiti Coast

82 Tom Esplin (1915-2005) Sirmione, Lake Garda oil on board signed ‘Esplin’ (lower left) 31 x 43cm $3,000 - 6,000 PROVENANCE Private collection, Manawatu

83 Tom Esplin (1915-2005) Fisskarten, Greece oil on board signed ‘Esplin’ (lower left); inscribed with title on original paper label to reverse 27 x 48cm $3,000 - 6,000

PROVENANCE Private collection, Kapiti Coast

FINE ART

84 Olivia Spencer Bower (1905-82) Near Punakaiki watercolour signed ‘OLIVIA SPENCER BOWER’ (lower right) 61 x 48cm $3,000 - 5,000 PROVENANCE purchased by the vendor from Peter McLeavey Gallery, Wellington, April 1974 (original purchase receipt available) This is one of three works Spencer Bower produced on a sketching trip to Westland with Dame Ngaio Marsh c. 1931

85 James McLauchlan Nairn (1859-1904) Near Silverstream watercolour signed and dated ‘Ja. M. Nairn/ .03’ (lower right) 24 x 33cm $2,000 - 4,000 85

PROVENANCE with Lewis Paape Gallery, Lower Hutt Private collection, Wellington

86 Rita Angus (1908-70) Rural Scene coloured pastel on paper signed ‘Rita Angus’ (lower left) 27 x 37.5cm $3,000 - 5,000 PROVENANCE Private collection, Auckland

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87 Margaret Stoddart (1865-1934) Road to the Mountains watercolour signed ‘M. O. Stoddart’ (lower left) 26 x 37cm $5,000 - 7,000 PROVENANCE with Ferner Fine Arts, Auckland 1988 Private collection, Wellington

88 Margaret Stoddart (1865-1934) South Island Landscape watercolour heightened with white on buff paper signed ‘M. O. Stoddart’ (lower left) 36 x 29.5cm $3,000 - 5,000 PROVENANCE Private collection, Wellington

FINE ART

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