Fine Art Auction - Part One

DUNBAR SLOANE SINCE 1919

FINE & APPLIED ART AUCTION 5 & 6 A P R IL 2017

FINE & A PPLI E D A RT 5 & 6 APRIL 2017 • WELLINGTON PART ONE • EVENING SALE NEW ZEALAND & INTERNATIONAL FINE ART Wednesday 5 April 6pm Lot 1 - 75 PART TWO • DAY SALE NEW ZEALAND & INTERNATIONAL FINE ART Thursday 6 April 12 noon Lot 200 – 367 PART THREE STUDIO POTTERY & APPLIED ART Thursday 6 April 4pm Lot 400 - 530 WELLINGTON VIEWING Thursday 30 March Friday 31 March Sunday 2 April Monday 3 April Tuesday 4 April Wednesday 5 April

5pm - 7pm Opening Preview 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 17% + GST (19.55%) added to the hammer price

ILLUSTRATIONS Front Cover • Lot 7 Inside Front Cover • Lot 30 Inside Back Cover • Lot 1 Facing Page • Lot 31

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 WEDNESDAY 5 APRIL 2017 • 6PM START LOT 1 - 75

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1 Robin White (b 1946) Florence and Harbour Cone silkscreen print, limited edition 4/40 signed and dated ‘R White 12/75’ (upper right) and inscribed with title (upper left) 63 x 43cm $5,000 - 8,000

2 Robin White (b 1946) White Oystercatcher and Harbour Cone silkscreen print, limited edition 40/50 signed and dated ‘R White June ‘77’ (lower right), inscribed with title (lower left) 59 x 34cm $5,000 - 8,000

PROVENANCE Lot 1 - 8 have been sourced from a Private collection, Waikato

REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 113, #119

REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 58 (col illus); p. 107, #168

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3 Robin White (b 1946) Relatives at the Maketu Church silkscreen print, limited edition 13/50 signed and dated ‘R White ‘74’ (lower right,), inscribed with title (lower left) 58 x 41cm $3,000 - 6,000

4 Robin White (b 1946) Michael at Allan’s Beach silkscreen print, limited edition 31/45 signed and dated ‘R White 10/75’ (upper right) and inscribed with title (upper left) 52 x 30cm $3,000 - 6,000

REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 106, #164

REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 55 (col illus); p. 109, #176

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5 Robin White (b 1946) Allan’s Beach silkscreen print, Proof (limited edition of 60) signed and dated ‘R White ‘77’ (lower left) 89 x 62cm $3,000 - 6,000 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 111, #190 Printed by Mervyn Williams under the supervision of the artist for The Print Club of Art New Zealand

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6 Robin White (b 1946) Mabel Mitchell’s Place, Waiotemarama, Hokianga silkscreen print, limited edition 18/45 signed and dated ‘R White July 77’ (lower right) and inscribed with title (lower left) 70 x 47cm $3,000 - 6,000 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 65 (col illus); p. 112, #195 7 Robin White (b 1946) Victorian Landscape, Mt Eden silkscreen print, limited edition 3/25 signed and dated ‘R White Oct ‘71’ (lower right,), inscribed with title (lower left) 58 x 43cm $3,000 - 6,000 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 46 (col. Illus); p. 94, #94

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8 Robin White (b 1946) Paremata Landscape pencil on paper signed and dated ‘R White. 69.’ (lower right) 25 x 20cm $2,000 - 4,000 REFERENCE Robin White New Zealand Painter (Martinborough 1981) p. 83, #50 EXHIBITED Moller’s Annual Group Show, Auckland 1970 no 51.

9 Gordon Walters (1919-95) Maho screenprint, limited edition 41/50 signed ‘Gordon Walters’ (lower right) 34 x 21cm $4,000 - 7,000 PROVENANCE purchased Tinakori Gallery, Wellington Private collection, Wellington 10 withdrawn 9

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11 Fiona Pardington (b 1961) Ko/Echo, Makomako/ Bellbird From Ka Koriki Te Manu/ The Chorus of the Birds gold tone silver gelatin print, limited edition 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $2,500 - 4,000

12 Fiona Pardington (b 1961) Ngaronga/Absence, Koekoea/Long Tailed Cuckoo gold tone silver gelatin print, limited edition3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $2,500 - 4,000

PROVENANCE Lots 11-14 are ex Corporate collection, Christchurch 13 Fiona Pardington (b 1961) Nga Kau Whakapuke/Zeal, Kaka, Nestor meridionalis, AV 2024, Canterbury Museum gold tone silver gelatin print, limited edition 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $2,500 - 4,000 12

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14 Fiona Pardington (b 1961) Humarika/Gentleness, Whio/Blue Mountain Duck gold tone silver gelatin print, limited edition 3/5 signed, inscribed with title and dated 2004 to reverse 50.5 x 60.5cm $2,500 - 4,000

15 Karl Maughan (b 1964) Untitled 1990 oil on canvas signed and dated 1990 to reverse 120 x 110cm $8,000 - 14,000 PROVENANCE with Brooker Gallery, Wellington, August 1990 Private collection, Wellington EXHIBITED Wellington, ‘Karl Maughan’, Brooker Gallery 25 June - 14 July 1990, cat no 13. (copy of printed catalogue available)

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16 Paul Dibble (b 1943) Rabbit Rhythms cast bronze, limited edition 1/3 etched signature and dated 2014 to base 34 x 15 x 20cm maximum $5,000 - 8,000

17 Jeff Thomson (b 1957) Map of New Zealand corrugated iron in three pieces signed ‘J. G. Thomson 2009’ to reverse in pencil 138cm overall length; 36cm maximum width $3,000 - 6,000

PROVENANCE purchased ‘Paul Dibble on the Road Again’ Page Blackie, Wellington 2015 Private collection, Wellington

PROVENANCE Private collection, Auckland

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18 Jacqueline Fraser (b 1956) Kaikai Beach plastic coated electric 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 $8,000 - 12,000

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 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.

PROVENANCE Corporate collection, Wellington

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THE STANLEY GRAHAM SERIES In 1985 Trevor Moffitt started to extensively research the West Coast Mass Murderer, Stanley Graham, who killed seven people in October 1941. This included Home Guardsman Gregory Hutchison [depicted lot 20] and four police men. Along with reading extensive reference material, Moffitt visited Hokitika and all of the relevant sites involved in the shootings. The resulting series produced 1986-87 consisted of 51 oil paintings which chronicled Graham’s lifestyle leading up to the shootings, his time on the run, in hiding and the tragic events themselves.

Describing what is arguably his most iconic 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 December 1987

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19 Trevor Moffitt (1936-2006) Graham in the Hollow Tree; Stanley Graham Series oil on board signed and dated ‘Moffitt 87’ (lower left); inscribed with title to reverse & no 17.

58 x 58cm $10,000 - 20,000 PROVENANCE with Canterbury Gallery Private collection, Canterbury

20 Trevor Moffitt (1936-2006) 9th October 1941, Graham Shoots the Home Guardsman Greg Hutchison; Stanley Graham Series oil on board signed and dated ‘Moffitt 87’ (lower right); inscribed with title to reverse & no 24.

58 x 58cm $10,000 - 20,000 PROVENANCE purchased directly from the artist 2002 Private collection, Canterbury

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21 Trevor Moffitt (1936-2006) The 13 year old boy delivering Hokonui The Hokonui Moonshine series oil on board signed and dated ‘Moffitt 97’ (upper left); inscribed with title to reverse 58 x 58cm $10,000 - 20,000 PROVENANCE Private collection, Southland 22 Trevor Moffitt (1936-2006) Mary McRae sitting on a barrel of Hokonui The Hokonui Moonshine series oil on board signed and dated ‘Moffitt 97’ (upper right); inscribed with title to reverse 58 x 58cm $10,000 - 20,000 PROVENANCE Private collection, Southland 21

THE HOKONUI MOONSHINE SERIES This series depicts the illegal brewing of Hokonui Moonshine Whiskey in the late 19th century, as initiated by the McRae family clan who emigrated from Ireland to the South Island of NZ. Distilling was very common in the Hokonui Hills in the 1920s and 1930s when much of Southland was officially ‘dry’. To parallel the McRae’s underground alcohol industry, Trevor renders how alcohol influenced rural New Zealand society in the 20th Century. Moffitt’s graphic depiction of Mr Graham (the artist’s childhood neighbour) violently beating his wife, suggests the darker side of our nations’ past, and simultaneously, the artist’s vivid childhood recollection..

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23 Michael Smither (b 1939) Blue Mast I oil and alkyd on board signed with initials and dated ‘MDS ‘98’ (lower right) 96 x 120cm $25,000 - 35,000 PROVENANCE Private collection, Wellington

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24 Don Binney (1940-2012) Donald McLean Westward oil on paper laid down on board signed and dated ‘Don Binney June 1990’ (lower right); inscribed with title (lower left) 55 x 73cm $10,000 - 20,000 PROVENANCE with Warwick Henderson Gallery, Auckland 1990 Private collection, Wellington

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25 Steve Harris (b 1953) Night Windows watercolour signed ‘STEVE HARRIS’ (lower right) 46 x 65cm $3,500 - 5,000 PROVENANCE purchased Bealey Gallery, Christchurch The Schneideman Estate, Christchurch 26 Geoff Williams (b 1966) Dinghy oil on board signed ‘GEOFF WILLIAMS’ (lower right) 58 x 43.5cm $5,000 - 7,000 PROVENANCE Sale, Watson’s, Christchurch, 01/12/2009 (lot 122) Private collection, Christchurch

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27 Geoff Williams (b 1966) Silo (McKenzie Country) acrylic on board signed ‘GEOFF WILLIAMS’ (lower right) 75 x 108.5cm $10,000 - 16,000 PROVENANCE purchased directly from the artist’s Waldronville studio, August 2007 Private collection, Wellington

28 Geoff Williams (b 1966) Reclining Female Nude graphite on paper signed ‘Geoff Williams’ (lower right) 75 x 108.5cm $1,000 - 2,000

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PROVENANCE gifted by the artist when the above work was purchased Private collection, Wellington

29 Grahame Sydney (b 1948) Past Lives, Wedderburn watercolour signed and dated ‘GRAHAME SYDNEY 2008’ (lower left) 51.5 x 73cm $20,000 - 30,000 PROVENANCE Hospice Charity Auction, Dunedin 2008 The Schneideman Estate, Christchurch “The watercolour…”Past Lives, Wedderburn” was painted in May 2008 for the Hospice Charity Auction in Dunedin. It is an abandoned house on a property near Wedderburn on the Maniototo Plains, and one I’ve painted several times in different media and from differing viewpoints - a bit of a favourite spot for me. It’s home to a flock of pigeons, and the occasional overheated sheep seeking shade or shelter, depending on the season.”

Email to John Schneideman from Grahame Sydney 23/12/2009

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30 Grahame Sydney (b 1948) Fun Parlour, Silverton egg tempera on gesso signed and dated ‘GRAHAME C SYDNEY 1981’ (lower left) 59.8 x 80.4cm to be sold with original working drawing of the composition.

Drawn 7/8 Feb ‘81 & painted April-June ’81, Mt Pisa Studio (see illustration below) $100,000 - 150,000 PROVENANCE purchased Bealey Gallery, Christchurch The Schneideman Estate, Christchurch ILLUSTRATED The Art of Grahame Sydney (Dunedin 2000) p. 61, Pl. 50.

‘Silverton is an old mining town 15km from Broken Hill, NSW. The building was being renovated by one James Perrie (sporting three teeth), his dumpy wife, hence the sheets of hardboard. It had variously been butchered...fun parlour, and he was planning an Ice Cream Parlour, given Silverton’s tourist magnetism. While I drew over two mornings in extreme heat, hardly a car stirred the dust and one teenage lad came by on horseback. He tethered the scrawny animal in the full fury of the sun, squatted beside me as I drew, and told me all about his family of eight and his father’s camel-riding... He also mentioned the change in the “town’s” fortunes since it had lately featured in the movie, ‘A Town Like Alice’. In the pub here I watched TV test cricket on rich green grass… seemed a world away. ‘ Grahame Sydney describing ‘Fun Parlour, Silverton’ in a letter to Mr Schneideman

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31 Charles Frederick Goldie (1870-1947) Tamehana oil on canvas signed and dated ‘C. F. Goldie 1900’ (centre right) 49.9 x 39.8cm $300,000 - 400,000 PROVENANCE Sale, Bethune’s, Wellington, September 1962. Work was passed in at 175 Pounds and later sold for 200 Pounds Long term loan, Hastings City Council from 1976 to 2016 The Vogtherr Trust, Hawkes Bay LITERATURE Evening Post, 16 January 1962 (B/W illustration) Auckland Star, 21 September 1962, p. 5. (B/W illustration) E. Vogtherr, Your Bid, Sir! (1969) pp. 74-75.

Hawke’s Bay Herald-Tribune, 18 June 1976 (B/W illustration) Daily Telegraph, 19 June 1976 (B/W illustration) Alister Taylor, C.F. Goldie, His Life & Painting (Martinborough 1977) p. 58-59, colour plate 9., p. 176., entitled ‘Wiremu Tamihana’ Roger Blackley, Goldie (Auckland 1997) p. 14, 82 (colour illustration) EXHIBITED Goldie - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Te Papa Tongarewa, Christchurch Art Gallery, Dunedin Art Gallery, Art Gallery of NSW

This striking profile portrait is the companion piece to Goldie’s best known portrait of 1900, Tamehana from Life, with the two forming a classic ethnographic pairing. The latter was purchased by E. Earle Vaile in the same year and was gifted to the Auckland Art Gallery.

Interestingly both of these works have been previously misidentified.

Alister Taylor’s catalogue raisonne C.F. Goldie, His Life & Painting (1977) identifies the sitter as Wiremu Tamihana, the great Ngati Haua chief also known as ‘The King Maker’. However both works are re-identified by Roger Blackley in his text Goldie and the associated travelling exhibition of 1997. The clue to the sitter’s identity is in the former work’s title ‘from Life’ – Wiremu Tamihana died in 1867 and both works were painted in 1900. Also H. P Sealy’s contemporary description of the sitter in an essay of 1901 as ‘a well-known Native identity’. The name ‘Tamehana’ is relatively common and is the Maori form of Thompson, frequently adopted after the conversion to Christianity.

1900 was a key year in the development of Goldie’s career; it was the year he began his iconic realistic Maori portraiture. The present work is one of his first-ever Maori portraits, as one of three works depicting Maori sitters this year. This was also the first year he presented a range of six portraits, both Pakeha and Maori subjects, at the Auckland Society of Arts, for which he received immediate acclaim in both Auckland and across the country. From this point forward he chose to concentrate primarily on depicting elderly Maori, the ‘noble relics of a noble race’. Immaculately rendered on canvases, which he prepared with a textured ground, the paintings were presented in distinctive kauri frames produced exclusively for Goldie by Auckland framer and art dealer John Leech.

It is notable that Tamehana is depicted in contemporary European dress, not the traditional regalia Goldie’s subjects are more commonly associated with. His portraits are more commonly head-andshoulders images of elderly Māori, their eyes downcast in melancholy – here the subject is depicted in his prime, with a proud bearing.

There is a lack of sentimentality of his later works. The overall air is one of mutual respect, adding to the uniqueness and importance of this work as one of Goldie’s seminal portrait of Maori.

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32 Gottfried Lindauer (1839-1926) Chief Renata Kawepo oil on canvas signed and dated ‘G Lindauer 1895’ (lower right); inscribed with title and dated to reverse of canvas; bears original John Leech label to reverse with original purchase receipt from the Artist, Art Studio Pinfold Road, Woodville, 10 Feb 1896 66 x 54cm $200,000 - 300,000 PROVENANCE Vendor’s great great great grandfather Mr R Harding Esq. was the original purchaser of the painting; there after by descent Private collection, North Island

Renata Tami-ki-Hikurangi Kawepo, born in the early 19th century, was a leader who held great mana over the Heretaunga region. His high rank was gained through descent, his chiefly mother was Te Pakapaka and his father Tumanokia.

In the 1820s Kawepo and his tribe had retreated to the Mahia peninsula to avoid the Waikato invasion. When they heard that Ngati Raukawa and Ngati Te Upokoiri were in occupation of Te Roto-a-Tara, they came to drive them away. Ngati Te Upokoiri and their allies were defeated; Kawepo was put over a fire. Tiakitai sent his brother Tatere to intervene for Kawepo, who was taken off the fire and turned over to Nga Puhi allies of Ngati Te Whatu-i-apiti as their captive.

Held captive for 10 years he was well respected during this time, here he gained his moko and honed his fighting skills. In about 1837 he was taken to the Bay of Islands. It was here he was converted to Christianity and was baptised Renata (Leonard).

In 1842 and 1843 Kawepo accompanied Bishop G. A. Selwyn on his first visitation tour of New Zealand. His literary account of their perilous journey is one of the earliest surviving manuscripts written by a Maori. In 1865 Kawepo's right eye was gouged out after being clubbed on the back of the head by a woman seeking revenge for the killing of her husband. Instead of letting any harm come to this woman Kawepo protected her, considering her actions justified. She later became his wife.

By 1880 Kawepo was considered the senior leader of the Hawkes Bay Maori and greeted the Maori King on his visit to the region in 1883.

Renata died in 1888 at the age of 80. His tangi was attended by 6,000.

He also received a military funeral.

Original purchase receipt signed by artist 1896

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33 Dorothy Kate Richmond (1861-1935) After the Milking, Early Morning oil on canvas signed and dated ‘D. K. Richmond 1930’ (lower left); signed, inscribed with title to reverse 59 x 59cm $25,000 - 35,000 PROVENANCE Ex Artist’s Family Collection with Ferner Galleries, Wellington Private collection, Wellington EXHIBITED Canterbury Society of Arts 1931 Long term loan, Waikato Museum, 2002-2006 Long term loan, Tauranga Art Gallery, 2006-2017 LITERATURE Art in New Zealand Vol III, no 12., June 1931 p. 262.

The National Business Review, 8 November 2002

After Milking, Early Morning was painted by Dorothy Kate Richmond in 1930 on the Champion’s farm, Te Rore, Waikato. The work, one of her rare oils, was previously held in the Richmond Family’s personal collection. It’s selection for the Canterbury Society of Arts annual exhibition in 1931, affirms the high regard the artist and her contemporaries held the work.

Richmond’s interest in farm subjects is strongly evident in her works of the 1930s, when she executed a series of watercolours depicting cows at milking time After Milking, Early Morning is an exceptional early example from the series. The large scale is rare within her oeuvre, which is more noted for small scale intimate watercolours. The painting is remarkable for both its compositional strength and broad colour. Massive trees tower above distant cows, emphasising the imposing scale. The impressionist interplay of foreground shadowing with bright fields in the distance reflect the influence of the Glasgow School and her early teacher, James Nairn.

34 Dorothy Kate Richmond (1861-1935) Radio Masts, Tinakori Hill watercolour signed and dated ‘D. K. Richmond 1912’ (lower right) 23 x 33cm $3,000 - 6,000 PROVENANCE by descent to the artist’s niece with Tinakori Gallery, Wellington Private collection, Wellington

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35 John Weeks (1892-19690 Mentone, South of France oil on board inscribed ‘Gift to Frances/ Jack’ to the reverse certificate of authenticity, John Maconie, John Cordy Ltd, October 1990 50 x 60cm $5,000 - 8,000

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PROVENANCE with John Cordy Ltd, Auckland (ex Auckland Estate) purchased Warwick Henderson Gallery, Auckland, 1990 Private collection, Wellington Research into the subject of the identity of ‘Frances’ has garnered two possible candidates: the Auckland artist Frances Hunt (1890-1981) or Frances Smith both of whom have written correspondence with the artist, available on request.

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36 James McLachlan Nairn (1859-1904) Foveaux Strait oil on canvas signed and dated ‘Jas M. Nairn/ 96’ (lower right); inscribed with artist and title on original E. Murray Fuller, Wellington paper label to reverse 30.5 x 45.5cm $4,000 - 7,000 PROVENANCE Estate of Ernest W Hunt, former director of New Zealand Academy of Fine Arts, Wellington

37 Elioth Gruner (AustraliaN 1882-1939) Coastal NSW Landscape oil on canvas signed and dated ‘GRUNER/ 1931’ (lower right) 34 x 49cm $7,500 - 12,500 PROVENANCE belonged to the vendor’s mother Private collection, Wellington NOTE: Full proceeds from this sale are to be gifted to The Child Poverty Action Group, Wellington

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38 Sydney Lough Thompson (1877-1973) Fishing Boats, Concarneau oil on canvas signed ‘S L Thompson’ (lower right) 38.5 x 48cm $7,500 - 12,500 PROVENANCE purchased by vendor’s mother, Webster’s, Wellington c1970 Private Estate, Wellington

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39 Sydney Lough Thompson (1877-1973) The Inner Harbour, Concarneau oil on board signed ‘S L Thompson’ (lower left); inscribed with title on original McGregor Wright’s paper label to reverse 36 x 44.5cm $7,000 - 12,000 PROVENANCE purchased by the vendor’s father at McGregor Wright’s Gallery, Wellington approx 70 years ago Private collection, Wellington

40 Sydney Lough Thompson (1877-1973) Le Bassin, Fisherfolk, Concarneau, Brittany oil on canvas signed ‘S L Thompson’ (lower left); inscribed with title in pencil to reverse stretcher 46 x 55cm $15,000 -25,000 PROVENANCE purchased Watson & Sons, Christchurch The Schneideman Estate, Christchurch

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41 Francis McCracken (1879-1959) Nocturnal Scottish Port oil on board signed ‘F.McCRACKEN’ (lower left) 29 x 40cm $2,000 - 4,000 PROVENANCE Estate of Ernest W Hunt, former director of New Zealand Academy of Fine Arts, Wellington 42 Archibald F Nicoll (1886-1952) Concarneau Harbour oil on board signed ‘AFNICOLL’ (lower left) 40 x 29cm $2,000 - 4,000 PROVENANCE Estate of Ernest W Hunt, former director of New Zealand Academy of Fine Arts, Wellington

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43 Raymond McIntyre (1879-1933) A Blewbury Cottage c1918 oil on panel signed ‘McIntyre’ (lower right) 34 x 25cm $15,000 - 25,000 PROVENANCE purchased Watson & Sons, Christchurch The Schneideman Estate, Christchurch

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44 Rudolf (Rudi) Gopas (1913-82) Self Portrait oil on board signed and dated ‘Gopas ‘ 54’ (lower right) 54 x 44cm $2,500 - 5,000

45 Rudolf (Rudi) Gopas (1913-82) Self Portrait oil on board signed ‘Gopas’ (lower right) 56 x 48cm $2,500 - 5,000

PROVENANCE Private collection, Canterbury

PROVENANCE purchased by Mrs Schneideman, Dunedin, when she was a student The Schneideman Estate, Christchurch

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46 Rudolf (Rudi) Gopas (1913-82) Fishing Trawler oil on board 48 x 56cm $5,000 - 8,000 PROVENANCE purchased by Mrs Schneideman, Dunedin, when she was a student The Schneideman Estate, Christchurch NOTE When this work was reframed lot 45: Self Portrait was exposed hidden by the previous framing.

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47 Douglas MacDiarmid (b 1922) Via Appia oil on canvas signed and dated ‘MacDiarmid ‘63’ (lower left); inscribed with title to reverse 44 x 59cm $3,000 - 6,000 PROVENANCE Private estate, Wellington 48 Douglas MacDiarmid (b 1922) The Auvergne oil on canvas signed and dated ‘MacDiarmid ‘65’ (lower left); inscribed with title to reverse 71.5 x 49cm $3,000 - 6,000 PROVENANCE Private estate, Wellington

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49 John Drawbridge (1930-2005) Rooftops watercolour signed and dated ‘John Drawbridge Sept 1983’ (lower centre) 74 x 57cm $5,000 - 8,000 PROVENANCE Private collection, Hawkes Bay 50 Allen Maddox (1948-2000) Grid Variation oil on canvas signed with initials and dated ‘AM ‘76’ to reverse 48 x 44cm $4,000 - 6,000 PROVENANCE Private collection, Wellington

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51 Shane Cotton & Dick Frizzell Untitled [1995] oil on canvas signed ‘S.W.C/ Frizzell 20/3/95’ (lower centre) 190 x 276cm $30,000 - 40,000 PROVENANCE Corporate collection, Wellington EXHIBITED Wellington, City Gallery, Stop Making Sense, 11 May - 25 June 1995

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This collaborative work between Shane Cotton & Dick Frizzell was commissioned for the ‘Stop Making Sense’ exhibition held at City Gallery, Wellington. The exhibition consisted of collaborative works

by Maori and Pakeha artists, which addresses cross-cultural issues in a provocative, challenging and contemporary manner, curated by George Hubbard.

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

52 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 $15,000 - 20,000 PROVENANCE Corporate collection, Auckland

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53 Philip Clairmont (1949-84) 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

55 Trevor Moffitt (1936-2006) Folding Sheets; The Artist as a Solo Father Series oil on board signed and dated ‘Moffitt 84’ (lower right); inscribed with title to reverse 59 x 59cm $6,000 - 10,000

PROVENANCE The David Carson-Parker Collection, Wellington Note: Proceeds of this lot are to be gifted to The Arts Foundation of New Zealand

PROVENANCE with Warwick Henderson Gallery, Auckland Private collection, Christchurch

54 Patrick Collins HRHA (Irish 1910-1994) The Prisoners signed ‘Collins’ (lower left); with Ritchie Hendriks Gallery exhibition label bearing title, dated July 1969 to reverse 22.5 x 29.5cm $3,000 - 6,000 PROVENANCE purchased Richie Hendriks Gallery, Dublin Private collection, Auckland

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56 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 no 29 to reverse 58 x 89.5cm $5,000 - 7,000 PROVENANCE The Lex Van Hessen Collection, Netherlands

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57 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 $4,000 - 6,000

58 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 no 3 to reverse 58 x 69cm $4,000 - 6,000

PROVENANCE The Lex Van Hessen Collection, Netherlands

PROVENANCE The Lex Van Hessen Collection, Netherlands

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59 Peter McIntyre (1910-95) Gladioli oil on canvas board signed ‘PETER MCINTYRE’ (lower right) 59.5 x 49.5cm $5,000 - 8,000 PROVENANCE with McGregor Wright’s, Wellington Private estate, Wellington 60 Peter McIntyre (1910-95) The Gull oil on board signed ‘PETER MCINTYRE’ (lower right); inscribed with title and dated May 1974 to reverse 60 x 84cm $8,000 - 14,000 PROVENANCE with McGregor Wright’s, Wellington Private estate, Wellington

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61 Peter McIntyre (1910-95) Trees in Winter no 2. oil on canvas laid down on board signed ‘PETER MCINTYRE’ (lower right); inscribed with title to reverse 51 x 69cm $7,000 - 12,000 PROVENANCE with McGregor Wright’s, Wellington Private estate, Wellington

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62 Peter McIntyre (1910-95) Shotover River oil on board bears signature ‘PETER MCINTYRE’ (lower right in pencil) 49.5 x 68cm $8,000 - 14,000

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

PROVENANCE purchased McGregor Wright’s, Wellington c. 20 years ago Private collection, Wellington

PROVENANCE Private collection, Kapiti Coast

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64 Tom Esplin (1915-2005) Market at Trogir, Yugoslavia oil on board signed ‘Esplin’ (lower right) 34 x 54cm $4,000 - 7,000

65 Tom Esplin (1915-2005) Wroclaw Market, Poland oil on board signed ‘Esplin’ (lower left); original paper label attached to reverse 29 x 42cm $4,000 - 7,000

PROVENANCE with McGregor Wright’s, Wellington Private collection, Wellington

PROVENANCE Private estate, Dunedin

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66 Tom Esplin (1915-2005) Istanbul oil on board signed ‘Esplin’ (lower right) 34 x 37.5cm $2,000 - 4,000 PROVENANCE Private estate, Wellington 67 Tom Esplin (1915-2005) The Hamlet oil on board bears title to label to reverse 34 x 50cm $3,000 - 6,000 66

PROVENANCE Private collection, Auckland 68 Tom Esplin (1915-2005) The Swan, Wiltshire oil on board signed ‘Esplin’ (lower left) 25 x 46cm $3,000 - 5,000 PROVENANCE with McGregor Wright’s, Paraparumu 1999 Private collection, Wellington

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69 Joseph Francis Gilbert (British 1792-1855) Wooded River Scene with Fisherman oil on canvas signed and inscribed ‘J Francis Gilbert/ London’ (lower right); original Lefevre Fine Art Gallery paper label to reverse 71 x 92cm $3,000 - 6,000 PROVENANCE originally purchased in London (date unknown) The Schneideman Estate, Christchurch 70 Charles Decimus Barraud (1822-97) South Island Landscape watercolour heightened with white signed and dated ‘C. D. Barraud/ 72’ (lower left) 35 x 52cm $7,500 - 12,500 PROVENANCE Private collection, Wellington

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71 Jane Evans 1946-2012) Café Portrait IV acrylic on board signed and dated ‘Jane Evans ‘72’ (lower right) 106 x 75cm $4,000 - 7,000 PROVENANCE purchased directly from the artist Private collection, Wellington EXHIBITED Nelson, The Suter Art Gallery, Jane Evans A Commemorative Survey, 1 December 2012 - 24 March 2013

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72 Jane Evans (1946-2012) Flowers in Italian Jug II gouache signed and dated ‘Jane Evans ‘89’ (lower right) ; signed and inscribed with title to reverse 76 x 57cm $3,000 - 5,000

73 Jane Evans (1946-2012) Simple Pleasures gouache signed and dated ‘Jane Evans ‘90’ (lower right) ; signed and inscribed with title to reverse 59.5 x 38cm $2,500 - 4,000

PROVENANCE Lot 72 - 75 were purchased directly from the artist’s studio The Schneideman Estate, Christchurch

PROVENANCE The Schneideman Estate, Christchurch

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74 Jane Evans (1946-2012) Portrait of Woman in Spring Bonnet gouache signed and dated ‘Jane Evans ‘91’ (lower right) 59 x 39cm $2,000 - 3,000

75 Jane Evans (1946-2012) Portrait of Man with Peaked Cap gouache signed and dated ‘Jane Evans ‘91’ (lower right) 59 x 39cm $2,000 - 3,000

PROVENANCE The Schneideman Estate, Christchurch

PROVENANCE The Schneideman Estate, Christchurch

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