25 March 2015 IMPORTANT, EARLY & RARE

Important, Early & Rare 6:30pm Wednesday 25 March 2015

Important, Early & Rare 6:30pm Wednesday 25 March 2015

Front cover: Back cover:

Lot 26 Michael Smither

Lot 61 D K Richmond

Inside front cover:

Lot 36 Brent Wong

Inside back cover

Lot 45 H Moore-Jones

Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

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Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071

Car Parking

Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Auction assistants and administration

Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz

Location map

www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction

Auction Venue

International Art Centre, Scarborough Gallery Lower Ground Level, 272 Parnell Road, Auckland.

On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.

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Parking During Viewing Days: Available on site during weekend viewing, Saturday 21 & Sunday 22 March. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.

Important, Early & Rare 6:30pm Wednesday 25 March 2015

Viewing times Thursday

19 March

9:00am - 5:30pm

Friday

20 March

9:00am - 5:00pm

Saturday

21 March

11:00am - 4:00pm

Sunday

22 March

11:00am - 4:00pm

Monday

23 March

9:00am - 5:30pm

Tuesday

24 March

9:00am - 5:30pm

Wednesday

25 March

9:00am - 1:00pm

Other times by appointment

272 PARNELL RD, AUCKLAND, PO BOX 37 344 AUCKLAND 1151 NEW ZEALAND TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz

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J B C Hoyte sold for $33,100 September 2014

Eillen Mayo sold for $55,690 July 2014

Colin McCahon sold for $334,000 April 2014

Michael Smither sold for $86,785 September 2014

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Philip Clairmont sold for $41,037 September 2014

2014 HIGHLIGHTS In 2014, 50% of the top 10 prices at auction were achieved

by International Art Centre For the second consecutive year International Art Centre achieved the highest price for a painting sold at auction. In 2013 C F Goldie’s Kawhena fetched a record $732,000 and in 2014 his A Noble Relic of a Noble Race made $416,000. Additionally International Art Centre achieved over $1.3 million in auction sales of C F Goldie paintings in 2014.

2014 was a year of continuing success with International Art Centre achieving 50% of the top ten prices at auction and around $7 million in total turnover. Highlights included September’s outstanding sale of works from the Fletcher Trust Collection. Seventy five of the seventy seven works offered have now sold. Raymond McIntyre’s Self Portrait fetched a record $103,000 and was one of three works by this artist sold in our 2014 sales. March saw his Untitled Lady in a Black Hat (Phyllis Cavendish) and Bois de Boulogne fetch $55,000 and $31,600 respectively. Another artist whose original works rarely appear at auction is Dame Eileen Mayo whose Sea Holly achieved a record $55,600. This memorable work was purchased by the Ilene and Laurence Dakin Bequest as a gift to Auckland Art Gallery. A further notable institutional acquisition was Felix Kelly’s The Kiln which fetched $14,070. Two works by Philip Clairmont attracted competitive bidding during the year, Still Life With Jug and Paint Brushes made $41,037 and Country Carnivore Carnival fetched $51,590.

C F Goldie sold for $416,000 October 2014

Celebrating forty four years in Parnell, an exceptional sale rate, the attainment of numerous record prices including five of the top ten prices for auction sales in 2014, International Art Centre remain clear market leaders.

We look forward to more exciting offerings throughout 2015 with continued success and commitment to the New Zealand art market. Should you be considering selling artworks we welcome your confidential, no obligation inquiry.

Other significant C F Goldie Prices achieved in 2014

The Weariness of the Aged

$257,950 - October 2014

Prices quoted include buyers premium

No Koora te Cigaretti

$205,180 - October 2014

Atama Paparangi

$352,900 - April 2014

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Important, Early & Rare Auction July 2015 Important 19th & 20th Century New Zealand Art and Modern Masterpeices

Consign Today

Richard Thomson richard@artcntr.co.nz Toll Free 0800 800 322 or +64 9 3794010 www.fineartauction.co.nz

Pink and White Terraces - A Pair

CHARLES BLOMFIELD Fetched $105,525 including buyers premium April 2014

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz

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Contemporary & Modern Art Auction May 2015 - Consignments invited

GRETCHEN ALBRECHT Towards Seasonal (Blossom) Watercolour 76 x 103cm

Consign Today Toll Free 0800 800 322 or +64 9 379 4010 Richard Thomson richard@artcntr.co.nz Luke Davies luke@artcntr.co.nz www.fineartauction.co.nz Find us on Facebook and Instagram for regular updates

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz

RICHARD KILLEEN From Chance & Inevitability Watercolour 77 x 57 cm

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The Barry Pilcher Collection AUCTION: MAY 2015

A SIGNIFICANT SINGLE OWNER COLLECTION OF CONTEMPORARY NEW ZEALAND PAINTING PHOTOGRAPHY & SCULPTURE HEATHER STRAKA St Sebastian Oil on canvas 63 x 43 cm

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FIONA PARTINGTON Still Life with a Persimmon, Puriri Flowers and a Skull Glass, Pigment inks on epson hot press natural 40 x 55 cm

KARL MAUGHAN Vivian 2007, 2008 Oil on canvas 50 x 60cm

Barry Pilcher’s Collection reflects fifteen years of extraordinary, diverse, passionate and considered acquisition.

Painting, sculpture and photography by emerging, mid-career and established contemporary New Zealand artists have long transformed the Manawatu home of taxation advisor, Barry Pilcher into a haven of artistic endeavour.

Although the Collection has featured in lifestyle and art magazines over the years, it will be exhibited for the first time in its entirety at International Art Centre, prior to auction in May 2015. Catalogue in preparation.

BARRY PILCHER

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MIKE NORRIS Sculptures New subjects Winter 2015

Screech Owl #2 Bronze edition of 9 43 x 51 cm

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H E N R Y K

S Z Y D L O W S K I

Dreamers from the Village Oil on canvas 65 x 85

E X H I B I T I O N

A U G U S T

2 0 1 5

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.internationalartcentre.co.nz Enquiries Frances Davies fran@artcntr.co.nz

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Behind the Twisted Wire NEW ZEALAND ARTISTS IN WORLD WAR I

BEHIND THE TWISTED WIRE _______________________________ New Zealand artists in World War I

A new publication by Jennifer Haworth Behind the Twisted Wire is a companion publication to Jennifer Haworth’s The Art of War: New Zealand war artists in the field 19391945, which has sold around 3,000 copies.

It tells the story of New Zealand artists who served in World War I. The two commissioned war artists, Wellingtonian Nugent Welch and ex-pat New Zealander George Butler, produced nearly 130 paintings of the Western Front. These are now in the National War Art collection in Wellington and most are reproduced in this book.

Also included are the paintings Horace Moore-Jones completed on Gallipoli and the story of his painting Simpson and his donkey.

The book presents the work of soldier-artists such as Arthur Lloyd, George Woolley, John Weeks, Archibald Nicoll, Francis McCracken, Robert Johnson, James Turkington, William Penlington W.H. Gummer and Walter Bowring who painted the home front.

Through the work of these artists the book tells the story of how New Zealand artists responded to the war.

JENNIFER HAWORTH

Jennifer Haworth is well known as both a writer of fiction and nonfiction. She has published three novels to date. The most recent is The Undone Years which tells the story of a New Zealand artist in Paris at the time of the Peace Treaties in 1919. Her fourth novel, No Victors, is based on the New Zealand experience in Italy in World War II and how their stories affected the attitudes of their children.

Order from Wily Publications www.wily.co.nz; jjhaworth@xtra.co.nz or all good bookshops.

Pre-publication sales price from Wily $40.00 plus postage. RRP $49.99

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You are invited to attend and learn more about key works in this catalogue at our

Art Lecture Morning 20 March Preview Lecture and Morning Tea 10:30am - 11:30am Friday 20 March Dr Angela Mackie of the Cathedral Lectures will discuss key works in this catalogue

Please RSVP Luke Davies 09 379 4010 luke@artcntr.co.nz CHARLES F GOLDIE Sold $234,500

ALVIN PANKHURST Sold $56,090 Auction Record

Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz

272 Parnell Road Auckland New Zealand Tel +64 9 379 4010

www.fineartauction.co.nz

PAMELA WOLFE Sold $16,700 Auction Record

RALPH HOTERE Sold $36,340

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Auction 6:30pm Wednesday 25 March *

Payment may not be made during sale

*

Works purchased may be uplifted at

close of sale or day after 10.00am - 5.00pm

*

If attending sale, please register for bidding number at viewing

*

Viewing Times p. 3

*

Conditions of Sale p. 124

*

Absentee Bidding Form p. 121

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1

PETER SIDDELL

PROVENANCE Private Collection, Auckland since 1974

1935 - 2011

Mt Eden

Oil on board 39 x 36

Signed & dated 1974

ESTIMATE $5,000 - 8,000

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ROBERT JAHNKE

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DARCY NICHOLAS

ESTIMATE $6,000 - 8,000

b. 1951

For Christs Sake, Its Just Ixous

Bronze plate and fish on three kauri panels 48.5 x 23.5

Inscribed He(t)ika

ESTIMATE $3,000 - 5,000

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b. 1946 Te Arikinui - The High Born One Acrylic on canvas 102 x 102 Signed & dated

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PETER STICHBURY

ESTIMATE $15,000 - 20,000

PROVENANCE Private Collection, South Island Purchased from Starkwhite, Auckland, 2007

b. 1969 Cratchley Goes to Speed Dating Acrylic on linen 60 x 50 Signed and dated 2007

EXHIBITED

‘Peter Stichbury: Less Than Absolute Zero’,

Starkwhite, October 8 - November 7 2007

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BUCK NIN

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PETER SIDDELL

PROVENANCE Acquired directly from the artist for a Private Collection, Auckland 2004

1942 - 1996 Untitled

Watercolour 52 x 38

Signed & dated 1975

ESTIMATE

$2,500 - 3,500

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1935 - 2011 Looking West Oil on canvas 36 x 51 Signed & dated 2004

ESTIMATE $8,000 - 12,000

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BILL HAMMOND

b. 1947 Pacific Map Acrylic on metal panel 48.5 x 23.5 Signed, inscribed & dated 1988 ESTIMATE $14,000 - 18,000

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RAY CHING

ESTIMATE $8,000 - 12,000

b. 1939 Ghost Who Walks Oil, ink & collage on board 58 x 50 Signed & inscribed Dated 2007 verso

PROVENANCE

Private Collection, Auckland

Purchased at exhibition entitled Ray Ching Autobiography,

October 2008, Artis Gallery, Auckland by current owner.

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LOUISE HENDERSON

1902 - 1994 Landscape 1960

Oil on board 60.5 x 91

Signed, inscribed & dated 1960 verso

ESTIMATE

$7,000 - 10,000

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PHILIP TRUSTTUM

b. 1940 Garden Series No 5 “9.30” Oil on board 75 x 120 Signed & dated 1974

ESTIMATE $8,000 - 12,000

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ROBERT ELLIS

b. 1929

Fused Seashells 1958

Gouache and indian ink on paper 71.5 x 52 Signed

ESTIMATE

$2,000 - 3,000

PROVENANCE Private Collection, Helensville

One of several works based on the notion of seashells fused by nuclear action and transformed into new strange hybrid forms. Atomic bomb tests were being conducted in the Pacific at the time creating considerable anxiety in the region.

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ROBERT ELLIS

b. 1929

Preparatory scheme for

Nightscape with Armillary Sphere

Mixed media on paper 49 x 50 Signed

ESTIMATE

$3,000 - 5,000

PROVENANCE

Private Collection, Helensville

acquired directly from the artist

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Four large 2400 x 2400cm paintings were commissioned by Sky City in Auckland. The completed work, number three in the series, is featured on page 79 Robert Ellis, Ron Sang Publications, with explanatory texts. The preliminary working drawing gives a clear idea of the proposed painting, several minor modifications were later introduced to enhance the initial concept.

International Art Centre thanks Robert Ellis for his assistance in cataloguing these two works.

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EDWARD BULLMORE

1933 - 1978 Nude Study No. 6 Acrylic on paper 76.5 x 51 Signed & dated 1965 ESTIMATE $10,000 - 15,000

PROVENANCE

Purchased from Rotorua’s

Art & History Museum exhibition, 1989

EXHIBITED Edward Bullmore, One Decade On, The Bath-House, Rotorua’s Art & History Museum, 1989

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RALPH HOTERE

1931 - 2013 Black Window Mixed media on paper 39 x 28 Signed, inscribed & dated 1981

ESTIMATE $14,000 - 18,000

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BUCK NIN

PROVENANCE Private Collection, Auckland Purchased 1999

ILLUSTRATED p. 19 Forever Buck Nin Porirua Museum of Arts and Cultures

1942 - 1996

White Island, c. 1986

Acrylic on four panels 240 x 360 overall Signed

ESTIMATE

$50,000 - 80,000

Buck Nin pictured with White Island behind Image from Forever Buck Nin, Porirua Museum of Arts and Cultures

Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori art. Dr Buck Nin's work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.

"Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, and his willingness to work with people from all walks of life.

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EXHIBITED Forever Buck Nin Porirua Museum of Arts and Cultures, Wellington 1998 - 1999 Rotorua Museum, Rotorua Manawatu Art Gallery, Palmerston North Robert McDougall Art Gallery, Christchurch Waikato Museum, Hamilton

Buck was a larger than life person not only because of his physical size but also because of his considerable intellect, his energy, his powerful and often large paintings, and his commitment to the development of art and its people.

The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, spread across a minimalist landscape, like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth Papatuanuku.

History will show him as one of Maoridom's and subsequently New Zealand's great contemporary artists." Darcy Nicholas

Buck Nin along with Ralph Hotere, Selwyn Muru and Sandy Adsett were four of our major senior Contemporary Maori painters. Contemporary Maori sculptors like Arnold Wilson, Fred Graham, Cliff Whiting and Para Matchett were already a major part of the emerging contemporary Maori art movement in the late 50’s. Together these six artists formed the

dynamics of a contemporary Maori art movement that has expanded across the globe. Nin floated the imagery of Maori carvings across the land claiming spiritual ownership. When he died Maoridom lost one of its greatest sons.

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COLIN MCCAHON

He organised painting classes, encouraged individuals and groups to use the Gallery, and soon had poetry readings, music and drama as regular additions to the Gallery’s programme. From the outset he made himself available to painters and sculptors who came to the Gallery seeking advice and practical help and was unstinting of his time and energy in every aspect of art and crafts: this, of course, as well as being responsible with the director for the selection of exhibitions, plus the hanging, packing and care of the temporary exhibitions and the permanent collections.

PROVENANCE Ex Collection of Brenda Gamble Record number cm000385 Colin McCahon online catalogue www.mccahon.co.nz

During all this time he somehow found time to paint and exhibit. Patronage and appreciation came mostly from the South Island where people such as Charles Brasch, Rodney Kennedy, Ron O'Reilly (to name a few collectors of New Zealand painting) and his old art school colleagues, were appreciative of some of the unique qualities of mind and spirit that manifested themselves in Colin's work. These friends, I am sure, sustained Colin at this difficult time because the reception his work received from the Auckland public was usually less than fair; in many cases it was hurtful and insulting.

1919 - 1987 Flowers

Synthetic polymer paint on paper 74.2 x 54.5

Signed & dated1967

ESTIMATE

$40,000 - 60,000

Thinking back to my impression of Colin McCahon as a colleague and friend, my mind’s eye immediately produced a memory image of the first meeting I had with him. It was a morning in the winter of 1953. I was working as secretary to the director of the Auckland City Art Gallery, Mr Eric Westbrook. A man came into the office and asked if he could see the director. A young, very thin, pale man, with dark eyes - worried eyes - a man who obviously had problems. It was Colin McCahon. He had arrived in Auckland the previous day to take up a job offered to him by the director while on a visit to Christchurch a short time earlier. Wintertime in Christchurch meant that there was not much work offering for gardeners; which was the job Colin was doing for a living at the time. No work meant no money to keep a wife and four healthy children, so what money he had he spent on transporting his family to Auckland to live. The staff at the Auckland City Art Gallery at that time consisted of the director, two office staff and the attendants. As it turned out, contrary to his expectations, there was no specific job waiting for Colin. The director had suggested that Colin should work at the Gallery but I think he did not expect Colin to take him at his word: anyway, not immediately. All that could be offered to him was a job as a cleaner! This he agreed to take and started immediately.

Colin found a small summer bach - not nearly big enough, but at least cheap - in French Bay, one of the beautiful bush areas in Titirangi, and he, Anne and the four children settled in. He set about adding to the bach, which was built on a steep hillside among kauri trees, eventually making it into a delightful studio home.

Colin tackled the Gallery job with his usual integrity and soon became a tremendous asset, in that once his official ‘duties’were done, he developed avenues of activities never before embarked on. As soon as the Auckland City Council decided that a professional curator was needed, Colin applied for the position and was selected from the other applicants and offered the post.

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Gallery visitors familiar with the predominantly nineteenth century European tradition of pretty scenery, galloping horses, ruminating cattle, leadinglady style women and literary based historical subjects were baffled and confused when confronted by Colin’s uncompromising, uniquely personal philosophy, his way of painting the New Zealand landscape with Christian theology placed in a New Zealand setting. Unfortunately, they certainly were not speechless, and this led to Colin being subjected to endless interrogations demanding him to ‘explain’ his work and why he chose to paint the way he did. Eventually, when it could no longer be disputed that Colin’s work was important, the adverse criticism died down and his work gained public acclaim and acceptance in the time-honoured tradition of all unique, visionary artists.

In 1964 Colin resigned from the Gallery staff to take up a post as lecturer at the Elam School of Fine Arts, University of Auckland. During the years I worked with Colin I enjoyed his stimulating company and I grew to admire his work and respect him for his quality of mind; a generous spirit, creative energy, loving sympathy and positive criticism - the qualities one seeks and hopes for in close friends but rarely finds embodied in one soul. , . . .For these that you have given me, thanks indeed.

I share in these words by Charles Brasch, from his 1948 poem To Colin McCahon quoted in the Manawatu Art Gallery’s catalogue, McCahon: Religious Works 1946 -1952. I saw this exhibition in 1975 at Barry Lett Galleries, Auckland. It was one of the most impressive exhibitions I have ever seen and experienced. Brenda Gamble, 1977

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BILL HAMMOND

b. 1947 Art Lover. 3 Acrylic on linen 111.5 x 95 Signed, inscribed & dated 1997 ESTIMATE $80,000 - 100,000 PROVENANCE Gregory Flint Gallery 1997

Since 1991 when Bill Hammond repatriated the bird spirits from the Southern Oceans to the Mainland the ominous nature of an Avian waiting pervades his work. Whether passively as in Waiting for Buller (1994) where preserved birds are draped across a table; or aggressively in All Along the Heaphy Highway (1999) where a gang of giant birds sits on a hill watching a lonely and threatened car drive past far below; the sense that hooked bill and claw wait for a time of vengeance lies only thinly veiled below the surface of these and many other works.

The importance of the artist’s visit to the Auckland Islands, 320 kilometres south of Stewart Island, as a participant in the "Art in the Sub Antarctic" project is well-rehearsed. The experience was a revelation and opened a new romantic-gothic path for the artist. In an interview with Gregory O’Brien for Lands and Deeds (Godwit, Auckland, 1996), Hammond described the islands as a kind of lost world, ruled over by beak and claw: “The Auckland Islands are like New Zealand before people got here. It’s bird land [….] It's a beautiful place, but it's also full of ghosts, shipwrecks, death.”

The 1990s was also a haunted and tumultuous time; and perhaps the artist’s gradual processing of his experience of the Auckland Islands served as metaphor for a new decade of “ghosts, shipwrecks, death.” For the 1990s was also a time of loss and of waiting with uncertainty as the structures of the cold war unravelled; the internet emerged to give millennial apocalypse a new twist; the AIDS crisis ballooned; and progressive culture was under siege as strident neo-conservatives achieved success in shutting down exhibitions and museums. As a litmus paper of the time, it is no wonder Hammond’s 1990s works resonate with foreboding.

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Even in Art Lover 3 Hammond’s birds – here with appropriated human bodies – wait with unsettling composure. Whether they wait for judgement day to see ripe justice meted out to those who brought about their extinction, or, for some of their own to return from haunted wandering, or, more whimsically for another art star to rise into their firmament, they exist in a kind of limbo. Spaced apart so as to fill the picture plane with as little overlapping as possible, and rendered in profile, they can remind us of other pictorial limbos: old-fashioned museum displays and printed sales catalogues. Equally their monochrome shapes recall the way paperand-scissors silhouette portraitists make folk art specimens of their subjects.

In the Lover series of 1997, Hammond has transferred the same schemes waiting, spacing and profiles – to round-headed, puffball-coiffed and horse-headed people. Rob Garrett February 2015

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FELIX KELLY

ESTIMATE $8,000 - 12,000

PROVENANCE Ex Private Collection, United Kingdom Private Collection, Melbourne

1914 - 1994

Nuns Floating Over a Dream Landscape, 1958

Oil on board 55 x 42 Signed

Inscribed & dated 1958 verso

ILLUSTRATED

p. 64 Fix The Art and Life of Felix Kelly First & Second Edition

Darrow Press 2008 and Creative Educational Press 2013

Felix Kelly is one of New Zealand's most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper's Bazaar. In the 1950s and 60s he was acknowledged as one of England's top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly's ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly's paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness.

Rapidly, Kelly assembled a client list resembling a page from Who's Who or De Brett's. In late career, his knowledge of architecture led to involvement in

32 Important, Early & Rare 6:30pm Wednesday 25 March 2015

house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.

Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America's Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brushwork, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland's West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.

Felix Kelly has to be one of New Zealand's most individual artistic exports.

A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke's Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett's book Fix; The Art and Life of Felix Kelly, was published in 2013.

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19

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34 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1906 - 1964 On the Beach, Wellington Watercolour 28 x 38 Signed & dated 1957 ESTIMATE $2,500 - 3,500

Note: The two figures in the foreground are the artist’s children, Jane & Ted

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JOHN WEEKS

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FELIX KELLY

ESTIMATE $7,000 - 10,000

1886 - 1965

Luncheon in the Park

Watercolour 13 x 16.2 Signed

Weeks O’Connor Studio Stamp verso

ESTIMATE

$2,500 - 3,500

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E MERVYN TAYLOR

1917 - 1994 Untitled, 1950 Oil on board 37.5 x 50.5 Signed & dated 1950

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EDWARD BULLMORE

1933 - 1978 The Sitters - ‘End of the Road’ Oil on canvas 91.5 x 121.5 Signed & dated 1962 verso ESTIMATE $40,000 - 60,000

PROVENANCE Private Collection, Northland Purchased from Rotorua’s Art & History Museum exhibition 1989

Edward Bullmore: A Surrealist Odyssey, Tauranga Art Gallery 2008 Gus Fisher Gallery, University of Auckland 2009 Eastern Southland Gallery, Gore 2009

ILLUSTRATED p. 70 Edward Bullmore: A Surrealist Odyssey, Penelope Jackson, Tauranga Art Gallery 2008

EXHIBITED Edward Bullmore, One Decade On, The Bath-House, Rotorua’s Art & History Museum, 15 November 1988 8 February 1989

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Edward Bullmore was born in Southland. He attended Canterbury University College alongside Pat Hanly, Bill Culbert and Michael Browne. Having taught at Tauranga Boys’ College in the late 1950s he headed to Florence with his wife Jacqueline. The Bullmores spent six months in Italy then lived in London from 1960 until 1969. During that time, apart from teaching at various art schools, Bullmore exhibited widely and attracted critical attention from the art world. Among his collectors from this era was filmmaker Stanley Kubrick, who featured two of Bullmore’s works in in his 1971 classic A Clockwork Orange.

In between painting the Transition Series and the Cuba Crisis Series (1962), Bullmore completed a small suite of works that were clearly influenced by his immediate surroundings in London. The Sitters show his movement away from painting in a clean crisp manner to a looser handling of paint, helping to create an atmosphere of ambiguity. The subject of this painting can be related to his interest in the theatre; the old tramps in The Sitters could easily be characters from Samuel Beckett’s Waiting for Godot (1953). Bullmore’s bread and butter job at this time in London was as a screen shifter at the Royal Court Theatre, meaning he was familiar with contemporary theatre.

In The Sitters figures are seated on a park bench in close proximity to a church graveyard. His subjects are physically and psychology close to death, their despair is both individual and collective. Interestingly Bullmore’s backdrop of a gothic arched, Victorian church contrasts to the box-like warehouses of post-war London. The mood of the painting is further enhanced by the stark, leafless trees reaching skyward.

Both The Sitters and Transition No. 8 are offered with excellent provenance.

The works are fine examples from the artist’s London years which culminated in his exhibiting with Pablo Picasso and Joan Miro in The Enchanted Domain: Surrealist Art at Exeter City Gallery and Exeter Gallery in 1967. Bullmore’s London period was characterised by experimentation and prolificacy. On his return to New Zealand his work would not meet with the same degree of acceptance as achieved during these London years. Penelope Jackson

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EDWARD BULLMORE

1933 - 1978 Transition No. 8 (Creation Cycle) Oil on board 54.4 x 84.7 Signed & dated 1961 verso ESTIMATE $20,000 - 30,000 PROVENANCE Private Collection, Northland Purchased from Rotorua’s Art & History Museum exhibition 1989 Painted at 117 New Kings Road studio, Fulham, London EXHIBITED Edward Bullmore, One Decade On, The Bath-House, Rotorua’s Art & History Museum, 15 November 1988 8 February 1989

The Transition Series: London 1960-61, Canterbury Gallery, Christchurch

Edward Bullmore: A Surrealist Odyssey, Tauranga Art Gallery 2008

Transition No. 8 is representative of how Bullmore perceived London in the early sixties. As Bullmore’s political awareness grew he saw London and Britain as places in transition. The premonition of the nuclear age was very real and alarming for Bullmore and his expatriate artist friends such as Pat Hanly and Ralph Hotere.

On April 18th, 1960 an estimated 100,000 people gathered in Trafalgar Square to protest against the H-bomb. This event made a huge impression on Bullmore.

Transition was the title he gave this major series, consisting of nine works painted between 1960 - 1961. These years marked Bullmore’s complete stylistic transition from regional realism with biomorphic objects (as in Self Portrait 1959) to a more highly developed surrealism in which he looked outwards at the world, depicting suffering and collective anxieties in a real sense rather than a personal or spiritual sense. The Transition Series also symbolised Bullmore’s personal transition from art teacher and part time provincial New Zealand artist, to that of a professional artist exhibiting in London.

The work is symbolic of his transitioning from the teachings of Bill Sutton and Russell Clark. More specifically, Transition No. 8 is about the transition between creation and death. Made up of three parts, this work is a narrative – an idea perhaps gleaned from works such as Masaccio’s (1401-28) The Rendering of the Tribute Money (which Bullmore would have been familiar with from his time in Florence). Bullmore’s Adam and Eve, alone and banished from the Garden of Eden, rest on a small island, marooned for their sins. On the right hand side, a large androgynous head acts as a surveyor of the scene; this head appears in other works from the same series and is a precursor to the more skeletal heads, that have been exposed to nuclear war, seen in the Cuba Crisis Series (1962). It would appear the sea is the only constant in this desolate scene.

There are recurring motifs throughout this series, such as the head, situated in imagined spaces, including landscapes. Each motif is symbolic such as the boat wreck, eroded over time, which references decline and death. Bullmore included Old Testament characters as metaphors, applying them to a greater and more contemporary issue, that of nuclear armament and warfare.

Stylistically Bullmore’s work at this time was influenced by Italian artist, Giorgio de Chirico (1888 – 1978).

The current owner purchased Transition No. 8 in 1989, from One Decade On. Jacqueline Bullmore gave the subtitle, Creation Cycle to the work subsequent to Bullmore’s death. Penelope Jackson

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RAYMOND MCINTYRE

PROVENANCE Private Collection, Auckland Original McGregor Wright’s label affixed verso

1877 - 1933 Asters

Oil on board 45 x 35 Signed

also Signed & Inscribed Asters on original

McGregor Wright’s label affixed verso

ESTIMATE

$12,000 - 18,000

Asters is really a study of light. Even though the objects depicted – vase, flowers, table-top and wall – are rendered with a luscious impasto materiality, looking closely it is possible to see that McIntyre’s real love here is for the chromatic quality of light. Notice how the shadows are made deep and dark with blue, not black; and notice too how even the dark shadow on the wall, to the right of the vase, is flecked with the same warm crimson used in the flowers. In fact the whole grey wall is speckled with coloured light – pale celadon greens, tender blues, and rose and Paris pinks – that can only have originated as reflected light, bouncing off the flowers and the vase; and to a lesser extent the table. McIntyre has carefully placed the light source behind him for this study so that the whole still life is flooded with light; and so that he can play with all its chromatic effects and create a speckled colour field rather than be drawn into the more conservative and conventional job of rendering the objects’ forms through chiaroscuro.

The other noticeable and slightly discomforting aspect to the work is the almost claustrophobic treatment of space. It is as if McIntyre, in the true spirit of the post-impressionist avant-garde which he was to be deeply influenced by once he did get to Europe, wishes to shock us, at least a little. You can see that he wants to flatten the space as much as possible.

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Asters was most likely painted just before McIntyre left for London in 1909 – yet it is a remarkably impressionist work at a time when there were few opportunities for artists to gain any experience of impressionism in New Zealand. McIntyre was not only lucky; he was an eager pupil. After studying at the Canterbury School of Art he shared a studio in Christchurch with Sydney Lough Thompson who had recently returned from four years studying and working in Europe; and then he was able to observe impressionism first hand, albeit the quieter English version, when twenty works by New English Art Club painters were shown at the New Zealand International Exhibition in Christchurch in 1906–1907.

Although he exhibited with the Canterbury Society of Arts from 1899 to 1910, his impressionist tendencies brought him scorn from the local critics.

They called him a ‘decorative’ painter; and while such criticism arises from a correct observation of the flattened space of his paintings and the all-over brushwork and colour effects, it misses the mark as a judgement of his talent. These so-called decorative paintings were uncomfortable or shocking because they were moving towards a radically new way of painting: ultimately towards the non-objective art of Kandinsky and Malevich’s Black Square. Rob Garrett

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RAYMOND MCINTYRE

1877 - 1933 Cityscape with Red Awning Watercolour 28 x 21 ESTIMATE $15,000 - 20,000 PROVENANCE Private Collection, Auckland Certificate of Authenticity signed by Peter Webb affixed verso

Once Raymond McIntyre reached London in 1909 and began to immerse himself in the European art world his eyes were opened and his painting took strong and long strides in the direction of the post-impressionist avantgarde. Cityscape with Red Awning has all the confidence and informal character of en plein air sketching which the Barbizon school and then the impressionists – for whom working in natural light became particularly important – had made so influential from the mid-19th century. But there is more to this watercolour than immediacy. Following the direction of Les Nabis (1888-1896), who had in turn built upon the example of Cézanne and the encouragement of Gauguin, McIntyre arrived at the point where linear perspective and modelling almost disappear; and a flattened, decorative surface of grid-lines and colour planes emerges.

Composed by the artist from the high vantage point that a flat or an artist’s studio would afford, the cityscape is transformed into a composition of lines. The shapes of buildings, windows, roofs and steeples are recognisable but each is flattened – drawn in outline, patches of over-all pattern and confident planes of transparent colour. All this makes us acutely aware that we are looking at a flat painting surface rather than gazing into an illusionistic space. We know that one building is in front of the next, and the buildings are in front of the sky, and so on; and the artist knows we know all this so he needs to do very little to make this a city-scape. Instead he can pile all his attention into making this more artefact than mimesis. Plus he even has the audacity to contradict what we know: notice how the ‘sky’ seems to come in front of the steeple.

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The scene is cropped tight so that we do not see the ground plane recede into the distance. Diagonal lines are in the minority, making the painting a flattened grid of horizontal and vertical lines and rectilinear forms; and the patterns of windows reinforce this – especially the grids of studio skylights in the top right. Colours conspire to flatten the space too: white is introduced at the top to bring space forward; and the deepest blues which ought to be in the distance are reserved for the foreground buildings. McIntyre has made the visual language of the post-impressionist avant-garde all his own.

McIntyre left New Zealand to immerse himself in “the influence and stimulus of European art” and he would have probably, modestly, admitted that his work became, to use his own words, more interesting “viewed from the standpoint of modern artistic developments in Europe” as a result.

Cityscape with Red Awning – a thoroughly modern work – confirms it.

Rob Garrett

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MICHAEL SMITHER

b. 1939 Boy and Dolphin Oil on board 121 x 61 Signed & dated 1967 ESTIMATE $90,000 - 150,000

PROVENANCE Private Collection, acquired directly from the artist

ILLUSTRATED p. 82 Michael Smither, Painter, Trish Gribben & Ron Sang, Ron Sang Publications 2004

As part of my research to draw and paint dolphins for a dust jacket commission for Maurice Shadbolt’s novel, This Summer’s Dolphin, I went through a steep learning curve in interspecies communication. I prepared a slate board to draw dolphins underwater (at the Napier aquarium). They crowded round to to get a look over my shoulder as I worked. I’m certain that they recognised themselves.

Michael Smither in Michael Smither, Painter, Trish Gribben & Ron Sang, Ron Sang Publications 2004

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272 Parnell Road Auckland New Zealand Tel +64 9 379 4010

www.internationalartcentre.co.nz 45

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MICHAEL SMITHER

b. 1939 Swimmers & Dolphin, 1969 PVA on paper 78 x 53.3 Signed & dated 1969 ESTIMATE $4,000 - 6,000

EXHIBITED Michael Smither, An Introduction Govett-Brewster Art Gallery 1 - 16 December 1984

EXHIBITED Dolphins & Lovers, Barry Lett Galleries 1969

Canterbury Society of Arts 1971

Michael Smither, An Introduction Govett-Brewster Art Gallery 1 - 16 December 1984 - label affixed verso

ILLUSTRATED p. 94 Michael Smither, An Introduction Govett-Brewster Art Gallery 1984

This work was used for the right hand panel in the screenprint Dolphins and Lovers 1969

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MICHAEL SMITHER

b. 1939 Waves onto Wet Sand Hump Oil on board 42 x 64.2 Signed & dated 1980 Inscribed verso ESTIMATE $4,000 - 6,000

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MICHAEL SMITHER

b. 1939 Study for Alfred Road Bridge Pencil on paper 48 x 62 Signed & dated 1966

ESTIMATE $1,000 - 2,000 This drawing is a study for Alfred Road Bridge, 1971, Ron Sang Collection. It features on the cover of Michael Smither, Painter Trish Gribben & Ron Sang, Ron Sang Publications 2004

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MICHAEL SMITHER

b. 1939

Dolphin in Sea of Klein Blue

& Harmonic Chart Painting, 1973

Double Sided

Oil on board 93 x 93 Signed

ESTIMATE

$10,000 - 15,000

30 Harmonic Chart verso

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COLIN MCCAHON

1919 - 1987 Uruwera 8 (Urewera) Acrylic and sawdust on board 30.5 x 30 Signed & dated February 1969 Inscribed verso ESTIMATE $65,000 - 85,000 PROVENANCE Private Collection, Nelson Sutor Gallery, Nelson, Loan Collection, label verso Back of painting

In 1968 Colin McCahon and his wife Anne were driving along Highway 38 past Lake Waikaremoana and through the Urewera Ranges. The small series of Urewera paintings of the following year are the artist’s attempt to analyse the thrill and terror he experienced on that road trip. For it was a landscape first ‘seen’ in the face of possible calamity: “we came … through the Urewera country in pouring rain, wipers packed up, at least fifty slips, large and small on the road … and a great lot of luck not to slide sideways over the edge….

After our crossing I’m … scared to return but I think I must.”

In the 1960s McCahon had a newfound appreciation of the connection of Maori to their lands, gained as a result of his daughter’s relationship with a young Maori man, and he would have sensed the redemptive potential of going back to the place he was scared of; of going into the wilderness as a site for self-exploration. As Gordon H. Brown recorded, in the 1960s McCahon intended his landscapes “to throw people into an involvement with the raw land, and also with raw paint … like spitting on the clay to open the blind man’s eyes.”

What McCahon saw from behind the rain-washed car windscreen, and described in a letter to Anna Caselberg, was a land “for those who have learned how to cry.” A few years earlier he had experimented with adding sand and sawdust to synthetic polymer paint in a group of small, square, almost pure black paintings. He returns to these techniques to analyse his experience of the Urewera’s dark, wet, cold vertical bush bluffs. In Urewera 8 green-black synthetic polymer impregnated with sawdust dominates the hillside and a saturated yellow ochre fills the sky space.

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Framed image

Symbolically the sawdust permits McCahon to indicate, through the way the stipples catch and reflect light, that even the ‘darkness’ will be penetrated by the ‘light.’ But looking at the whole composition, it seems as if he has turned the landscape upside down.

During his drive he says he could not see the sky – it was blotted out – instead the ‘light’ and terror came from a source below, indicated when he wrote that he was amazed they had not slid off the road several times and “down four or five hundred feet into foaming yellow ochre rivers and lakes.” Perhaps, and this may be startling, instead of looking up into a golden sky in this painting, we are looking down a steep slope and into the raging ochre waters. Perhaps.

Nevertheless, whether we look down or up, it seems that McCahon is interested in creating an impression of instability and vertigo, resolved symbolically in the painting’s juxtaposition of a threatening black-green and a redemptive saturated golden light. Rob Garrett

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TOSSWILL WOOLLASTON 1910 - 1998 The Hohonu Oil on board 81.1 x 121.5 Signed & dated 1965 ESTIMATE $25,000 - 35,000 PROVENANCE Private Collection, Nelson Sutor Gallery, Nelson, Loan Collection, label verso

Woollaston’s path to the vigorously compressed space of The Hohonu is a journey of artistic discovery that begins with his first “excited” childhood glimpse of Paul Cézanne’s post-impressionism. Recalling the importance of this moment in 1988 Toss Woollaston said “for some reason I couldn’t stop looking at that painting” even though “I didn’t know the name of Cézanne; and the book said ‘these painters were very doubtful indeed.’”

Hohonu is a range of mountains in Westland, rising abruptly behind the broad boulder-strewn Taramakau River next to the Otira Highway. It is less than an hour’s drive from Greymouth – which is where Woollaston had moved with his family in 1950 to take up his Rawleigh’s sales job in the hope that this would provide more secure income for his family that the seasonal orchard work in Nelson had done. Though the move was misjudged from a financial perspective, Greymouth provided artistic camaraderie at least as he joined the local sketching and painting group for regular excursions. This period was also when Woollaston had the courage to start painting larger works, on the encouragement of Christchurch’s first contemporary art dealer, Hungarian Andre Brooke. The Hohonu comes late in his Greymouth time, just a few years before he and the family returned to the Motueka area, buoyed by the new and highly supportive relationship with thenemerging gallerist Peter McLeavey.

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COLIN MCCAHON

1919 - 1987 Untitled

Pencil on paper 26 x 21

Signed & dated 1940

ESTIMATE

$8,000 - 12,000

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Woollaston’s artistic achievement is heroic when seen in light of his almost total isolation from the European influences which set a course towards his own brand of modernism. The first painting that truly excited him – the small, black and white Paul Cézanne self-portrait reproduced in Arthur Mee’s The Children’s Encyclopaedia – was followed by his studies of Cézanne in “love and awe” in R. N. Field’s Dunedin studio where the young artist was permitted to “paint what you wanted to;” and then by his encounter with Munichtrained Flora Scales. Only a few sessions with Scales confirmed Woollaston’s distrust of vanishing point perspective; and reinforced the importance of “the flatness of the canvas, where objects lay against each other in a series of overlapping planes” and where “colours were no longer to imitate reality but to create harmonies.” Nowadays, the idea that an artist could find his

own way towards the avant-garde discoveries of modernism with so few and only second-hand exposures to key influences is extremely hard to imagine. Yet, in these few contacts Woollaston absorbed and surpassed the lessons of CĂŠzanne. By the mid-1960s and The Hohonu he was piling

one leaning plan upon another; stacking the forms of the mountains – which rise above the up-tilted plane of the Taramakau River – so high that the summits press against the upper frame of the painting in a series of vigorous brush strokes that collapse distance and create painterly mass, presence and immediacy. Rob Garrett

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CHARLES FREDERICK GOLDIE

1870 - 1947 Drowsy - Wiripine Ninia, Ngati Awa Oil on wood panel 19.1 x 14 Signed & dated 1911 ESTIMATE $180,000 - 250,000

PROVENANCE Private Collection, Nelson

ILLUSTRATED p. 219 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977

EXHIBITED GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Catalogue no. 67

In this reflective portrait of Wiripine Ninia, C F Goldie conveys a mood of transition, not only in the life of the old Chieftainess, but of the times in which they both lived. Wiripine Ninia bears traditional moko and talisman greenstone earrings whilst draped in European clothing, emblems of two worlds. The close and sympathetic bond between artist and subject is evident in this work.

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JOHN BARR CLARKE HOYTE

1835 - 1913

Pink Terraces

Watercolour 35 x 58 Signed

ESTIMATE

$18,000 - 25,000

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BRENT WONG

b. 1945 Building, Road, Clouds Oil on hardboard 56 x 64.5 Signed & dated 1976 Inscribed verso ESTIMATE $30,000 - 40,000

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GARTH TAPPER

1927 - 1999 Racecourse

Oil on board 81 x 99

Signed & dated 1976

ESTIMATE

$25,000 - 35,000 Languid. An antipodean exhaustion – half pleasure, half resignation. The variety of haptic and emotional sensations conveyed by this painting are exquisitely nuanced given the strident tonal, colour and shape contrasts.

Garth Tapper was a master of the gestures of every part of the body. An acute observer and constantly sketching his observations, he has captured the end-of-day, depleted-pockets postures of these three punters perfectly.

Hands droop and barely have energy left to hold papers, betting chits, pens.

Eyes gaze into the distance or into the form sheets, vacantly imagining what might have been. Bodies slump in on themselves with spent energy and heat-sapped resignation.

Garth Tapper studied at Elam in the late 1940s and then at the Slade – where he found the life drawing “intensive” – and Chelsea School of Fine Art in London in the early 1950s; and then took further studies in France, Spain and Italy, before returning to New Zealand where he taught and in 1964 commenced showing in solo exhibitions at the John Leech Gallery.

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The Racecourse scene could almost be anywhere, any racetrack, any close-of-day. But it is not. It has a distinctly southern air to it and for Tapper, painted when it was, it draws from the sketches he made during a very happy spell in Sydney in the previous year when he came in contact with what he considered to be “the real world of painting.” That the three figures seem to take pleasure in this late afternoon heat and in this tired, worn out moment is resident in the artist’s precise observation of people and in his handling of light and shade, costumes, even skin tones. But it is also the result of the artist’s personal projection onto the scene as he looks back on his six months sabbatical in Australia (1974-75). In Sydney, where he and his family stayed in Clareville, North Sydney, and Tapper had exhibited at the Clareville Gallery and the Barefoot Gallery in Avalon, he was refreshed and revived. The new environment boosted his enthusiasm and gave him great motivation to paint.

The sabbatical was the moment he realised it would be possible to retire from teaching after 17 years at Elam and become a full-time artist at the age of 50; and a year after Racecourse was painted that is just what he did. In many ways, the handling of the punters – beaten but not down – and the significant scale of the work signal a new optimism in the artist. Even the sketches he made about this time, of his Elam students drawing, during his final year before retiring have a summery, optimist air. Tapper was ready for the change. Rob Garrett

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CHARLES FREDERICK GOLDIE

1870 - 1947 Te Hei, A Ngatiraukawa Chieftainess Oil on canvas 26.5 x 22 Signed & dated 1920 ESTIMATE $130,000 - 160,000 PROVENANCE Private Collection, Melbourne

In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today, and New Zealand has every reason to be proud of him Governor General Lord Bledisloe Reproduced with kind permission of Alister Taylor. C F Goldie: His Life & Painting and C F Goldie: Prints, Drawings & Criticism, Alister Taylor & Jan Glen, 1979

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EUAN MCLEOD

b. 1956 Study Over the Horizon Oil on canvas 76 x 56 Signed, inscribed & dated 1997 verso Brook Gifford Gallery label affixed verso ESTIMATE $5,000 - 7,000

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MARK CROSS

ESTIMATE $40,000 - 50,000

b. 1955

Conquest of Optimism, 1985

Oil on board 118 x 160 Signed

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At this time the world was in a depressing state of anxiety over the fragility of east/west relations and the senselessness of the arms race. We were bombarded with pessimistic media images and it seemed to me that this pessimism was more than a symptom of the potentiality for nuclear war but a major contributing factor to the possible cause. My protagonist in the painting became my pillar of strength and the exaggerated glow from the fish the source of optimism that she carried. The two energy-charged sets of power-lines are a symbol of the potential for constructive dialogue and communication. It was the first time I was confident enough to use a variety of non place-specific elements within a painting and thus break out of the subjectivity of place/identity restrictions that realism almost inevitably finds itself. Mark Cross

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RALPH HOTERE

ESTIMATE $5,000 - 8,000

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RITA ANGUS

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1931 - 2013 Design for Pine - A Poem by Bill Manhire Watercolour and woodblock print on paper 56 x 42 Signed, inscribed & dated 1974

1908 - 1970 Mangonui, Northland Watercolour 28.8 x 35.8 Signed & dated 1953 ESTIMATE $20,000 - 30,000 PROVENANCE Private Collection, France, until returned to New Zeland in 2010.

Private Collection, Auckland

This work is a similar composition to Mangonui, a watercolour from the collection of Museum of New Zealand Te Papa Tongarewa, illustrated page 143 Life & Vision, edited by William McAloon & Jill Trevelan, Te Papa Press, 2008.

Rita Angus visited friends Roy and Joyce Milligan at Mangonui, Northland during the winter 1953 and again in December. By October 1954 she was living in a cottage there and working on landscapes of the surrounding area. Paintings produced at this time, including Mangonui, Northland were exhibited with The Group. When plans to purchase the cottage fell through the artist returned to Wellington in April of 1955.

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BRENT WONG

ESTIMATE $30,000 - 40,000

b. 1945 Untitled 1974 (Landscape With House + Mountains) Acrylic on board 51.8 x 73.8 cm Signed & dated 1974 Inscribed verso

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PIERA MCARTHUR

ESTIMATE $6,000 - 8,000

PROVENANCE Purchased from SOCA Gallery, Auckland, label affixed verso

b. 1929

Three Horsemen & Flag

Acrylic on Canvas 183 x 152 Signed

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HORACE MOORE JONES

ESTIMATE $150,000 - 200,000

1868 - 1922

Simpson and His Donkey

Watercolour 34 x 28 Signed

This World War I painting by Horace Moore-Jones shows a stretcher bearer supporting a badly wounded soldier perched astride a donkey. He is bringing him down a narrow winding path from the cliffs above ANZAC cove to a casualty clearing station. It is an action that probably saved the life of the soldier and it epitomises not only the horror and sacrifice of that disastrous campaign, but also the heroism and ‘mateship’ of those who served. Here the stretcher bearer is portrayed as the ‘good Samaritan’; the religious imagery is deliberate, particularly as Simpson lost his life bringing one of the wounded back to the beach.

In 1917 Moore-Jones toured the country giving lectures supported by his paintings and lanternslides of the Gallipoli campaign. He frequently made mention of the stretcher bearers like Simpson who had so bravely brought the wounded men from the frontline, and said how sad he was that he did not have an illustration of them. In Dunedin he was approached by Mr G.F. Jackson whose brother, serving on Gallipoli, had sent him a photo of a stretcher bearer using a donkey to carry the wounded. Moore-Jones almost immediately turned this photo into a painting which is now probably the version in the Aigantighe Art Gallery in Timaru. Further versions followed and two of them were sent to London to be made into lithographs.

Reproductions of the painting were popular in both Australia and New Zealand and by late 1915 stories began circulating of how Simpson had risked his own life to help his fellow soldiers – he had become a folk-hero. It was not until the 1930s that the Australians started to question the identity of the stretcher bearer – fellow soldiers in Western Australia said that their Simpson was a different man. Eventually James Jackson, the man who had taken the original painting admitted the man in the photo he had taken was Dick Henderson, an Auckland school teacher. Neither Jackson nor Henderson had spoken up earlier because they believed it would destroy the message of the painting. Moore-Jones who died in a Hamilton hotel fire in 1922 believed that he had painted Simpson.

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This version of ‘Simpson’ and his donkey was in the same family hands until sold in 2008 to the current owner. The figures of ‘Simpson’, the wounded soldier and the donkey are very clear, because they are painted against a blue background. This serves to focus attention on the trio arranged in pyramid shape almost like a Renaissance study of the Pieta. The soldier and his donkey tread a narrow path on the edge of a steep precipice carrying the wounded; it’s the narrow ledge between life and death, which Simpson by his brave actions is defeating.

Moore-Jones was studying art in England in 1914 and enrolled in the New Zealand Expeditionary Force shortly after the war started. He was 47 years old and shaved off his greying moustache and darkened his hair so that he appeared younger. He enlisted as a 32 year old. He was sent to Egypt to train as a sapper, but soon after he landed on Gallipoli he was found sketching the landscape and was ordered to present himself and his sketches to Lieutenant-General Birdwood. He recognised that Moore-Jones could make the topographical sketches he so badly needed for his artillery to fire accurately. Until Moore-Jones was invalided in late November 1915, his role was to sketch and paint the landscape of the peninsula.

Moore-Jones was always known as ‘Sapper’, even when he was in London in 1916 where his paintings were displayed and he gave a private audience to the King and Queen. That was his choice. He wanted to remain in the ranks to offer comfort to the sick and wounded while working as a field artist. When the possibility of a commission was raised, he reputedly replied, “Imagine an old chap like me trying to be a Lieutenant.”

Jennifer Haworth: Author of Behind the Twisted War - A Study of New Zealand Artists in World War I & The Art of War - New Zealand War Artists in the Field 1939 - 1945. Wily Publications

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SERGEANT JAMES GARDINER JACKSON

ESTIMATE $1,000 - 3,000

‘Man with a Donkey’ 1915 Reproduction photograph bearing the original pen signed signature of Pte. Richard Alexander ‘Dick’’ Henderson 20 x 15

PROVENANCE

Collection of the late Ernest Esco Brooking, Wellington.

Ernest Brooking was made an honorary member of the

Wellington RSA in 1952 in recognition of his services to blind

ex servicemen and returned servicemen generally. He was still

chairman of trustees for the Blinded Services Funds when he died.

He was also president of the Wellington Commercial Travellers

Association for four terms during World War II. His obituary is affixed verso

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JOHN WEEKS

ESTIMATE $1,000 - 1,500

PROVENANCE John Weeks Estate Collection

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JOHN WEEKS

1886 - 1965

The Ruins of Grevillers Church, France

Pencil drawing on paper 16 x 19 Inscribed

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Ambulances at Grevillers, France1918 Pencil drawing on paper 16 x 19 ESTIMATE $1,000 - 1,500 PROVENANCE John Weeks Estate Collection

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ALFRED AVERY FORRESTER 1895 - 1981 Anzac Cove, Gallipoli Oil on board 43 x 80 Signed & dated 1918 ESTIMATE $15,000 - 20,000

Alfred Forrester was born in Otago in 1895. The Forrester family immigrated from Kings Kettle, Fifeshire, Scotland on the ship Oamaru landing at Port Chalmers in 1879. His father, William Forrester, was a carpenter by trade and the family lived at 13 Percy Street, Weston. The youngest of eight children, Alfred Forrester was educated at Cave School. He married Hazel Isabel Mason of Dunedin in Columba Church, Oamaru 1916. The couple relocated to Dunedin where Forrester received tuition from fellow Scottish artist J C Veitch and W A Bollard. Forrester continued his training under A H O’Keefe in Christchurch. In 1920 he attended the Christchurch School of Art under Cecil F Kelly, and help found the North Otago Art Society that same year.

Forrester returned to Oamaru, establishing a studio where he taught ‘landscape, flower and fruit painting’ to his students. He was also a regular exhibitor with the Otago Art Society. Forrester is buried in the Oamaru Cemetery.

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A Private Collection of watercolours by John Weeks from his time serving in France with the New Zeland Medical Corps John Weeks enlisted in 1917 and served in France with the New Zealand Field Ambulance of the New Zealand Medical Corps. Medical personnel were part of all army operations and Weeks sustained injuries, breaking a leg and both arms. The Auckland Museum holds seven small watercolours painted by him whilst on active service in 1918. After the war, Weeks joined with fellow artists Francis McCracken and Robert Johnson touring some 250 paintings and drawings throughout New Zealand in The Soldiers’ Exhibition.

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HERMAN JOHN SCHMIDT

1872 - 1959

John Weeks - New Zealand Medical Corps

Photograph 55 x 40 Inscribed Mrs Weeks, Northcote verso

ESTIMATE

$800 - 1,200

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JOHN WEEKS

1886 - 1965 Two Bombed French Village scenes & A Normandy Church scene (3) Watercolour 10 x 10 One signed Weeks O’Connor Studio Stamp verso ESTIMATE $2,500 - 3,500

JOHN WEEKS

No. 3 New Zealand Field Ambulance - possibly Louvecourt Watercolour 11.5 x 15.5 Inscribed no. 3 on sign Weeks O’Connor Studio Stamp verso ESTIMATE $2,000 - 3,000

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JOHN WEEKS

ESTIMATE $2,000 - 3,000

A Makeshift Hospital in Chalk Pit, France

Watercolour 13 x 17 Inscribed

Weeks O’Connor Studio Stamp verso

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51

51

53

71

55

54

JOHN WEEKS

Lone Cross, Flanders Watercolour 14 x 9.5 ESTIMATE $1,500 - 2,500 PROVENANCE Artist’s Estate Collection

55

54

72 Important, Early & Rare 6:30pm Wednesday 25 March 2015

FRANK BARNES

H.M.S New Zealand Oil on board 45 x 62 Signed, inscribed & dated 1916 ESTIMATE $2,000 - 3,000 PROVENANCE LOTS 55 - 58 Private Collection, Waikato Same family collection since painted

57

56

56

57

58

FRANK BARNES

1895 - 1981 NZ Hospital Ship Marama Oil on board 30 x 46 Signed, inscribed & dated 1916 ESTIMATE $1,500 - 2,500

FRANK BARNES

NZ Hospital Ship Maheno Oil on board 29 x 45 Signed, inscribed & dated 1916 ESTIMATE $1,500 - 2,500

FRANK BARNES

Maheno, H.M.S New Zealand & Marama Oil on wood panel 14 x 69 Signed, inscribed & dated 1915 ESTIMATE $1,000 - 2,000

58 The Marama and Maheno were the poster ships of New Zealand’s First World War effort. Until 1915 these steamers had carried passengers on the Tasman route. As casualties mounted at Gallipoli, the government aided by a massive public fund raising campaign - converted them into state-ofthe-art floating hospitals.

With the encouragement of the Governor, Lord Liverpool, this fundraising effort helped ensure the ships were fitted out in good time and to the highest standards. Officially known as His Majesty’s New Zealand Hospital Ship (HMNZHS) No. 1 and No. 2, these floating hospitals were crewed by a mixture of civilian seafarers and army medical staff, including nurses. During the Gallipoli Campaign the Maheno carried thousands of wounded soldiers from Anzac Cove to the nearby Greek islands of Lemnos and Imbros. The Marama entered service just after the Allied evacuation from Gallipoli. For the rest of the war - apart from a series of frantic dashes across the English Channel during the Battle of the Somme - both ships were tasked with carrying the seriously wounded from the Western Front on the long haul back to New Zealand. By the war’s end these distinctively marked ‘white ships’ had transported 47,000 patients.

73

59

DOROTHY KATE RICHMOND

ESTIMATE $25,000 - 35,000

PROVENANCE Collection of the artist’s family since 1930

1861 - 1935 Milking Time, Te Awamutu Oil on canvas 81 x 91 Signed & dated 1930

Dorothy Kate Richmond (known as Dolla) was born in Parnell in 1861, the daughter of artist James Crowe Richmond. When Dolla was four years old her mother died and the family moved to Taranaki, then to Nelson around 1869. From these early years, James Richmond passed on a love of drawing and painting to his daughter. In 1873 he took his three eldest children to London. The young Dolla spent time in Zurich and during 1875 and 1876 she was in Dresden. These early travels and a well rounded education of which drawing and painting comprised a key component, laid the foundation for two lifelong pursuits. In 1875, Dolla attended Bedford College for Woman in London and began a two year course at the Slade School of Fine Art. In 1880 the standard of her work gained a Slade scholarship. Returning to Nelson in late 1880 Dolla was one of a small group of New Zealand women artists to have received formal training.

On her return to Nelson she kept house for her father and in 1883 was appointed art mistress at the newly established Nelson College for Girls.

Travels to study and paint in Europe took place in 1885 and with her father in 1889. By 1890 Dolla was working with the local sketch club and had become an artist member of the New Zealand Academy of Fine Arts. She moved with her father to Wellington in 1895 and by 1896 was studying with Glasgow born impressionist, James Nairn. The death of her father in 1898 left Dolla financially independent and once again she departed for Europe.

In 1901 Richmond met fellow expatriate Frances Hodgkins at a summer school at Caudebec, Normandy tutored by English watercolourist Norman Garstin. A close cameraderie developed and together they travelled to France and Italy painting scenes of village life, often en plein air. 1902 saw the pair in Cornwall at the Newlyn artists’ colony. The strong natural light and inexpensive cost of living in St Ives, Newlyn and Penzance attracted artists such as Elizabeth and Stanhope Forbes and New Zealander, Margaret Stoddart, all of whom Dolla worked with.

74 Important, Early & Rare 6:30pm Wednesday 25 March 2015

The following year Richmond and Hodgkins re- joined Garstin, traveling to Belgium and Holland. In a letter home, Hodgkins described Richmond as “the dearest woman with the most beautiful face and expression. I am a lucky beggar to have her as a travelling companion.” While Richmond spent time working in Scotland, Hodgkins painted in North Africa. They returned to Wellington in December 1903 and rented a studio in Bowen Street from which they gave lessons. Richmond is remembered as an admired and inspired teacher. A joint exhibition at McGregor Wright’s Gallery, featured over eighty works from the artists’ European travels. Hodgkins returned to England in 1906.

For the next thirty years Richmond played an active part in the Wellington art scene. From 1904 she was a council member of the New Zealand Academy of Fine Arts and honored with life membership in 1928.

Milking Time, Te Awamutu is a signifcant work. Oils by D. K. Richmond rarely appear on the market and nothing of this size has previously been offered.

The painting features Te Rori, the farm belonging to the artists’ niece and a place Richmond regularly visited. The work has remained in the family collection since it was painted in1930. The broad brushstrokes and confident handling of the medium echo the impressionistic influences of her tutor, James Nairn.

Dorothy Kate Richmond never married and died in Wellington in 1935. Her work is represented in all the major New Zealand galleries including the Turnbull and Hocken Libraries.

75

60

JAMES CROWE RICHMOND

61

DOROTHY KATE RICHMOND

ESTIMATE $4,000 - 6,000

ESTIMATE $8,000 - 12,000

PROVENANCE Collection of the artist’s family

PROVENANCE Collection of the artist’s family

1822 - 1898 The Shetland Isles Oil on canvas 50 x 76 Signed & dated 1856

76 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1861 - 1935 Study for a Frieze Watercolour 39 x 30 Signed & dated 1904

77

63

62

DOROTHY KATE RICHMOND

ESTIMATE $2,500 - 3,500

63

JEAN MCKAY

ESTIMATE $800 - 1,200

64

DOROTHY KATE RICHMOND

ESTIMATE $18,000 - 26,000

62

78 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1861 - 1935 Rural Landscape - Near Te Awamutu Watercolour 34 x 25 Signed & dated 1920

1881 - 1960 York Bay - Richmond Family Home in Foreground Watercolour 29 x 53 Signed & dated 1928

1861 - 1935 Lady of the Lillies Oil on canvas 64 x 48 Signed & dated 1900

64

79

65

WALTER ARMIGER BOWRING

ESTIMATE $8,000 - 12,000

66

SYDNEY LOUGH THOMPSON

ESTIMATE $8,000 - 12,000

1874 - 1931 Hammersmith Bridge Oil on canvas 75 x 60 Signed. Inscribed verso

1877 - 1973

Wellington Harbour, 1936

Oil on board 38 x 45.9 Signed

PROVENANCE

Private Collection

Exhibited at Sydney Lough Thompson At Home and Abroad

Robert McDougall Art Gallery 1990,

label affixed verso

80 Important, Early & Rare 6:30pm Wednesday 25 March 2015

ILLUSTRATED Sydney Lough Thompson At Home and Abroad, Julie King Robert McDougall Art Gallery 1990

81

67

EDWARD BULLMORE

ESTIMATE $3,000 - 5,000

68

DOUGLAS MACDIARMID

ESTIMATE $1,000 - 1,500

1933 - 1978 Mamaku, Rotorua series Watercolour & Ink 38 x 57 Signed & dated 1977

67

b. 1922 Edinburgh

Watercolour 30 x 58

Signed & dated 1956

68

82 Important, Early & Rare 6:30pm Wednesday 25 March 2015

69

69

DOUGLAS MACDIARMID

ESTIMATE $3,000 - 5,000

70

FRANCES HODGKINS

ESTIMATE $10,000 - 15,000

b. 1922 Flowers in a Vase Oil on canvas 46 x 65 Signed & dated 1961

1869 - 1947

Tangiers Market

Watercolour 17 x 11 Signed

70

83

72

71

CHARLES HEMUS

ESTIMATE $2,500 - 3,500

1849 - 1925 Maori Woman Weaving Oil on canvas 37 x 29 Signed & dated 1924

84 Important, Early & Rare 6:30pm Wednesday 25 March 2015

PAUL DIBBLE

b. 1943 Reclining Nude Bronze 20 x 38 Signed & dated 2006 ESTIMATE $2,000 - 3,000

73

FRANCES HODGKINS

1869 - 1947

The Waterwheel, c. 1922

Watercolour 20 x 30.5 Signed

ESTIMATE

$20,000 - 25,000

73

85

75 74

86 Important, Early & Rare 6:30pm Wednesday 25 March 2015

74

JOHN HOLMWOOD 1910 - 1987 Old Man Oil on board 80 x 60 Signed & dated 1952 Inscribed verso

ESTIMATE $3,000 - 5,000

75

PETER MCINTYRE

1910 - 1995

A Maori Elder, Rotorua

Oil on canvas board 54 x 44 Signed

ESTIMATE $9,000 - 12,000

76

PETER MCINTYRE

ESTIMATE $8,000 - 12,000

PROVENANCE Purchased from an exhibition McGregor Wright Gallery, Wellington, circa 1989 Original label with inscription affixed verso

1910 - 1995

Santa Maria della Salute from Grand Canal

Watercolour 72 x 52 Signed

76

87

77

88 Important, Early & Rare 6:30pm Wednesday 25 March 2015

19th Century New Zealand Landscapes in watercolour Lots 77 - 90 77

MARGARET OLROG STODDART

ESTIMATE $4,000 - 6,000

1865 - 1934

La Mer Pacifique - Akaroa

Watercolour 37.5 x 47 Signed

Whilst known as a flower painter Stoddart was also an accomplished landscape watercolorist. She was a member of the School of Art Sketch Club, the National Art Association of New Zealand and the Canterbury Women’s Club, as well as serving as vice president of the Canterbury Society of Arts and the Society for Imperial Culture.

78

ISABEL JANE FIELD

1860 - 1926 Hedge & Stream, Canterbury Watercolour 72 x 49.5 Signed & dated 1899

ESTIMATE $9,000 - 15,000

PROVENANCE By descent for the McLean Family, Dunedin

EXHIBITED Frances Hodgkins and Her Circle Auckland City Art Gallery, June 1954 No. 19 Lent by the Misses McLean/ Isabel Field/ Hedge & Stream, Canterbury; (inscription verso)

Isobel Field was the daughter of prominent watercolour artist William Mathew Hodgkins. Her watercolour landscapes are of exceptional quality. She was taught painting by her father and used to accompany him on sketching trips; her talents were recognised earlier than those of her sister Frances Hodgkins.

78

89

79

JOHN BARR CLARKE HOYTE

ESTIMATE $3,000 - 5,000

80

JOHN BARR CLARKE HOYTE

ESTIMATE $2,000 - 3,000

81

JOHN BARR CLARKE HOYTE

ESTIMATE $20,000 - 30,000

79

1835 - 1913 Mt Egmont, Taranaki Watercolour 24 x 38

1835 - 1913

Queen Charlotte Sound

Watercolour 17 x 32 Signed

1835 - 1913 Coromandel

Watercolour 48 x 69 Signed

80

90 Important, Early & Rare 6:30pm Wednesday 25 March 2015

81 When Hoyte left for Sydney in 1879 the Otago Daily Times wrote Quite free from the too common jealousy of other artists, Hoyte rarely had a word to say against the work of another man. Ever ready to help the amateur or struggling artist with useful advice and example…he made for himself a considerable circle of friends .

91

82

92 Important, Early & Rare 6:30pm Wednesday 25 March 2015

83

82

CHARLES DECIMUS BARRAUD 1822 - 1897 Lake Wakatipu Watercolour 36 x 54 Signed & dated 1870

ESTIMATE $12,000 - 16,000

83

JOHN BARR CLARKE HOYTE

ESTIMATE $12,000 - 16,000

1835 - 1913

Marlborough Sounds

Watercolour 29 x 50 Signed

93

84

JOHN GULLY

ESTIMATE $14,000 - 18,000

1819 - 1898 Lady Bowen Falls Watercolour 80 x 72.5 Signed & dated 1879

Born in the South West of England, John Gully discovered his painting talents while studying under a watercolourist in Bristol. Despite having a love and understanding for watercolour painting, he later went on to become an accountant. His passion was reignited when he visited the Lady Bowen Falls in Milford Sound.

85

CHARLES DECIMUS BARRAUD

1822 - 1897 Lake Coleridge Watercolour 36 x 52 Signed, inscribed N.Z & dated 1870

ESTIMATE $12,000 - 16,000

Born in Surrey, England, in 1822, Charles Decimus Barraud arrived in Wellington in 1849, initially setting up as a chemist in Lambton Quay.

For the next 26 years he travelled extensively throughout the North and South Islands, sketching the various provinces, and recording his watercolour impressions of New Zealand.

84

94 Important, Early & Rare 6:30pm Wednesday 25 March 2015

85

95

86

96 Important, Early & Rare 6:30pm Wednesday 25 March 2015

87

86

NICHOLAS CHEVALIER

87

CHRISTOPHER AUBREY

ESTIMATE $12,000 - 16,000

ESTIMATE $10,000 -15,000

1828 - 1902

Mt Cook from Lake Pukati

Watercolour 50 x 70 Signed

1830 - 1902 Lake Hawea Watercolour 35 x 59 Signed & dated 1887

97

90 88

88

ERNEST ARTHUR CHAPMAN 1847 - 1945 Early Morning, Milford Sound Watercolour 34 x 50 Signed & dated 1904

ESTIMATE $800 - 1,200

89

NICHOLAS CHEVALIER

1828 - 1902 Hawkesbury off Lands End Watercolour 23 x 32 Inscribed & dated 1882

ESTIMATE $1,500 - 2,500

90

JOHN BARR CLARKE HOYTE

1835 - 1913

Whangaroa Northland

Watercolour 17 x 29 Signed

89

98 Important, Early & Rare 6:30pm Wednesday 25 March 2015

ESTIMATE $1,500 - 2,500

91

91

JOHN BARR CLARKE HOYTE

ESTIMATE $8,000 - 12,000

1835 - 1913

Sydney Harbour

Watercolour 38 x 65 Signed

99

92

JOHN GIBB

1831 - 1909 Estuary at Sumner Oil on board 39 x 65 Signed & dated 1890

ESTIMATE $5,000 - 8,000

100 Important, Early & Rare 6:30pm Wednesday 25 March 2015

93

JOHN GIBB

1831 - 1909 Golden Spring, Kaiapoi Oil on canvas 55 x 100 Signed & dated 1899

ESTIMATE $12,000 - 18,000

101

95

95

ALBERT EDWARD ALDIS

ESTIMATE $2,500 - 3,500

1869 - 1921 Auckland Harbour from Ponsonby Oil on panel 11 x 20 Signed with monogram inscribed verso

94

WILLIAM ALLEN BOLLARD

96

ALBERT EDWARD ALDIS

ESTIMATE $5,000 - 7,000

ESTIMATE $2,000 - 3,000

1869 - 1941 Gateway to the Pah, Waikato Oil on board 103 x 79 Signed & dated 1909

102 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1869 - 1921 Untitled Landscapes - A Pair Oil on panels 20 x 30.5 Signed & dated 1889

97

98

97

CHARLES BLOMFIELD

98

ESTIMATE $2,500 - 3,500

96

1848 - 1926 The Outlet to Lake Tekapo Oil on board 32 x 76 Signed & dated 1904

CLAUDE MUNCASTER

1903 - 1974

Building the White Heron Hotel, Parnell

Oil on board 45 x 105 Signed ESTIMATE $2,500 - 3,500

96

103

100

100

SYDNEY LOUGH THOMPSON

101

SYDNEY LOUGH THOMPSON

1877 - 1973

Canterbury Farm

Gouache on paper 35 x 50 Signed

ESTIMATE $3,500 - 5,500

99

ROBERT PROCTOR

1879 - 1935

An Archway

Oil on board 45 x 32 Signed

ESTIMATE $1,000 - 3,000

104 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1877 - 1973

Chapel in Bormes, South France

Oil on canvas 37 x 44 Signed

ESTIMATE $8,000 - 12,000

101

105

102

VERA CUMMINGS

1891 - 1949 Sophia

Oil on canvas 30 x 25 Signed

ESTIMATE

$4,000 - 6,000

106 Important, Early & Rare 6:30pm Wednesday 25 March 2015

103

VERA CUMMINGS

1891 - 1949

Patara Te Tuhi

Oil on canvas 24.5 x 19.5 Signed

ESTIMATE

$4,000 - 6,000

104

VERA CUMMINGS

1891 - 1949

Lighting up

Oil on canvas 19 x 15 Signed

ESTIMATE

$3,000 - 5,000

105

VERA CUMMINGS

1891 - 1949

A Maori Chief

Oil on canvas 24 x 19 Signed

ESTIMATE

$4,000 - 6,000

107

106

DANIEL MACLISE (ATTRIBUTED)

107

ARTIST UNKNOWN

108 Important, Early & Rare 6:30pm Wednesday 25 March 2015

Irish 1806 - 1870 The Abduction of the Sabine Women Watercolour on paper laid on linen 46 x 74

ESTIMATE $5,000 - 10,000

European19th Century Le Grand Chateau Oil on panel 23.5 x 38 Signed GSS

ESTIMATE $500 - 1,000

108

SIR WILLIAM RUSSELL FLINT

ESTIMATE $8,000 - 12,000

British 1880 - 1969

Girls in the Dunes

Watercolour 25 x 42 Signed

109

110

109

GRACE BUTLER

1886 - 1962

Lake Te Anau

Oil on board 35 x 24 Signed

ESTIMATE

$800 - 1,200

110 Important, Early & Rare 6:30pm Wednesday 25 March 2015

110

110

JOSEPH GAUT

1886 - 1962 Ratima Te Rongo, Chief Wairarapa & Miroa the Captive Maiden - A Pair Oil on canvas 65 x 50 One signed & dated 1904. Both inscribed verso ESTIMATE $4,500 - 6,500

111

111

HENRY WILLIAM KIRKWOOD

1854 - 1925 Te Anau Oil on board 24 x 46 Signed & inscribed

ESTIMATE $1,000 - 2,000

112

CHARLES BLOMFIELD

113

112

1848 - 1926 Tongariro River with Trout Fishermen Oil on board 31.5 x 53 Signed & dated 1904 ESTIMATE $4,000 - 6,000

LAWRENCE WILLIAM WILSON

1850 - 1912

Preservation Inlet, Otago, New Zealand

Oil on canvas 50 x 76

Signed & inscribed

ESTIMATE $4,000 - 6,000

113

111

114

ANTONIO ZATTA

1722 - 1804

Nuova Zelanda 1778

Handcoloured copper plate

engraving published Venice 1778

35 x 24

ESTIMATE $4,000 - 6,000 A decorative and highly sought after edition of Cook’s mapping of New Zealand, this edition delineates two islands, tentatively identifying the Southern Island as separate. The map shows Cook’s tracks around the island, along with astronomical observations and includes native and European placenames. Zatta’s map was drawn from information provided in Cook’s Voyages. The decorative cartouche shows a Maori village scene.

115

JAMES COOK

1728 - 1779 Chart of New Zealand, explored in 1769 and 1770 by Lieut: J Cook, Commander of His Majesty’s Bark Endeavor Lithograph with inscriptions

ESTIMATE $1,500 - 2,500 The first complete map of all coastal New Zealand.

The chart was made during Cook’s first voyage and shows the track of the Endeavour with dates and soundings. Although New Zealand had been discovered by Abel Tasman in 1642, it was Cook who discovered that it was not part of the great ‘Terra Australis’. Arriving at Poverty Bay on October 7, 1769, Cook took six months to circumnavigate the islands.

He sailed east of Banks Peninsula and mistook it for an island. Stewart Island is marked as a peninsula.

112 Important, Early & Rare 6:30pm Wednesday 25 March 2015

116

JAMES WYLD

1812 - 1887

Chart of New Zealand, c. 1879

Copper plate etching

ESTIMATE $2,000 - 3,000

James Wyld’s Chart of New Zealand from Original Surveys. To the Right Honourable Secretary of State for the Colonies etc.

117

CAPT. J L STOKES AND COM. B DRURY

19th Century New Zealand

Auckland Harbour and Approaches

Surveyed by Capt. J.L. Stokes, Comr. B. Drury

and the officers of HMS Acheron and Pandor

1849-55 and by Lieut. C.F. Oldham, HMS Lark, 1847

Cartiographic chart 46 x 62

ESTIMATE $1,200 - 1,800 This edition of the chart is thought to be a version re-published in 1914. Other editions were republished in 1872 and 1885. It has similarities to Stokes and Drury’s Entrances to Auckland Harbour, 1896, Auckland Museum Collection.

118

FRANK COXHEAD

An Album Containing 52 Photographs of Early New Zealand Subjects and Beyond Gelatin silver prints all 14 x 19 Signed & inscribed

ESTIMATE $500 - 1,000

All images may be viewed as a PDF on our website.

The full album available for inspection at viewing. www.fineartauction.co.nz

113

119

121

119

TIM WILSON

120

CEDRIC SAVAGE

b. 1954 Manapouri

Oil on canvas 48 x 62

Signed & dated 2003

ESTIMATE

$4,000 - 6,000

120

114 Important, Early & Rare 6:30pm Wednesday 25 March 2015

1901 - 1969 Toledo

Oil on canvas 45 x 55 Signed

ESTIMATE $800 - 1,200

122

121

JANE EVANS

1946 - 2012 On the Terrace Watercolour 51 x 72 Signed & dated 1987 ESTIMATE $4,000 - 6,000

122

TIM WILSON

b. 1954

Matukituki Valley

Oil on canvas 76 x 153 Signed

ESTIMATE

$15,000 - 20,000

115

123

123

125

CHARLES DECIMUS BARRAUD 1822 - 1897 The Blue Lake Watercolour 25 x 40 Signed & dated 1874

ESTIMATE $7,500 - 10,000

124

THOMAS REGINALD ATTWOOD

ESTIMATE $2,000 - 3,000

125

F GREGORY

1865 - 1926 Fiordland

Oil on board 90 x 60 Signed

19th Century New Zealand

Browns Bay, Auckland

Watercolour 24 x 37 Signed

ESTIMATE $2,000 - 3,000

124

126

JOSIAH MARTIN

1843 - 1916 Ariki, Rotomahana 1885 Gelatin silver print 14 x 21 Inscribed and numbered 152

ESTIMATE $700 - 1,000

127

ROBERT NETTLETON FIELD

1899 - 1987 Untitled - Richard Field as a Baby Watercolour 23 x 22 Dated October 1944 ESTIMATE $2,000 - 3,000

128

JOHN PHILEMON BACKHOUSE

ESTIMATE $800 - 1,200

129

ELLEN VON MEYERN

ESTIMATE $800 - 1,200

130

MARY E MORTON MASTERS

1845 - 1908 War Canoe on Taupo Moana Oil on board 7.5 x 12.5 Artist’s Stamp & Inscribed verso

1883 - 1912 Maori Maiden Oil on canvas 60 x 50 Signed & dated 1901

1884 - 1917

Study from Life

Oil on canvas 22 x 30 PROVENANCE Listed p. 171 thesis R.N. Field: The Signed

Inscribed verso Dunedin Years 1925 - 1945.

Anna K C Petersen’s 1987 MA Art

History, University of Canterbury

116 Important, Early & Rare 6:30pm Wednesday 25 March 2015

ESTIMATE $800 - 1,200

73 126

130

129

131

131 127

128

STYLE OF JOHN PHILEMON BACKHOUSE 19th Century New Zealand Maori Encampment Waitekauri Rd & Possibly Freemans Bay - A Pair Oil on board 11 x 15 One inscribed Maori Encampment Waitekauri Rd, New Zealand verso ESTIMATE $2,000 - 3,000

131

117

132

A Private Collection of works by Garth Tapper acquired by the current owner, a friend of the artist 132

GARTH TAPPER

ESTIMATE $3,000 - 5,000

133

GARTH TAPPER

1927 - 1999 The Workers Oil on canvas 29 x 39 Signed & dated 1994. Inscribed verso

1927 - 1999 The Beneficiary Acrylic on paper 69 x 51 Signed & dated 1999 Inscribed verso ESTIMATE $1,000 - 2,000

118 Important, Early & Rare 6:30pm Wednesday 25 March 2015

133

137

136 135 134

134

GARTH TAPPER

ESTIMATE $500 - 800

1927 - 1999

Public Bar

Ink on paper 36 x 26 Signed

135

GARTH TAPPER

136

GARTH TAPPER

ESTIMATE $500 - 800

ESTIMATE $800 - 1,500

GARTH TAPPER

138

GARTH TAPPER

1927 - 1999 Anne at the Kitchen Table Graphite on gesso panel 36 x 26 Signed & dated 1995 Inscribed verso

137

1927 - 1999 The Girls Ink and pastel on paper 27 x 26 Signed, inscribed & dated 1992 verso

1927 - 1999 Karikari Far North Ink & brush on paper 26 x 40 Signed, inscribed & dated 1994 verso

1927 - 1999 No. 14 Cockfight Monoprint 39 x 21 Signed, inscribed & dated 1997 verso

ESTIMATE $300 - 500

ESTIMATE $400 - 600

Thank You - End of Sale

138

119

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120 Important, Early & Rare 6:30pm Wednesday 25 March 2015

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121

Recent Prices Realised

Selected Works from Fletcher Trust Collection held 10 September 2014, Important, Early & Rare held 29 October 2014 and Contemporary & Modern Art held 22 November 2014 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium 10 September, Selected Works from Fletcher Trust Collection 1 $3,750 2 $4,000 3 $5,300 4 $4,500 5 $2,000 6 $3,500 7 $3,000 8 $5,000 9 $4,400 10 $4,000 11 $4,400 12 $4,500 13 $13,000 14 $17,500 15 $15,000 16 $28,000 17 $88,000 18 $11,000 19 $16,000 20 $45,000 21 $22,500 23 $10,000 24 $10,250 25 $15,000 26 $74,000 27 $5,000 29 $5,000 30 $1,500 31 $8,500 32 $25,000 33 $35,000 34 $4,500 35 $9,000 36 $3,000 37 $9,000 38 $5,500 40 $5,500

41 $1,600 42 $3,000 43 $2,000 44 $2,000 45 $26,500 47 $27,500 48 $9,000 49 $8,700 50 $8,000 51 $3,600 52 $3,250 53 $500 54 $5,200 55 $1,200 56 $1,200 57 $8,500 58 $2,800 59 $1,000 60 $1,000 61 $5,000 62 $4,250 63 $9,500 64 $4,000 65 $2,600 66 $3,800 67 $1,500 68 $2,400 69 $800 70 $900 71 $3,000 72 $4,750 73 $700 74 $900 75 $1,600 76 $3,100 77 $3,200 29 October, Important, Early & Rare 1 5600

2 5750 3 3700 6 6750 7 6000 8 10500 11 6000 13 15500 15 4250 17 11250 20 14000 21 7500 22 30000 23 44000 24 16000 25 10000 26 5750 27 28000 28 10000 29 9600 30 4000 31 5000 32 5000 33 2000 34 7000 35 355000 36 12500 38 4750 39 12000 41 190000 43 13500 46 220000 47 11000 49 10500 50 5000 51 5500 54 2600 55 7000 56 9500 57 3000 58 8000 61 17000 62 10250

63 1000 64 7000 67 9000 68 2750 69 1600 70 1900 71 2000 72 1100 73 800 74 2000 75 3200 76 6500 77 3000 79 1500 81 800 82 1300 83 1100 84 1250 85 32,500 26 November, Contemporary & Modern Art 1 3500 2 5100 5 3000 6 3100 7 1500 8 1500 10 700 11 1200 12 1600 13 8000 18 4400 20 8250 21 700 22 6100 24 25000 25 10000 27 3700 28 2300

122 Important, Early & Rare 6:30pm Wednesday 25 March 2015

29 1300 32 6000 34 3000 36 800 37 2500 38 2250 39 4000 41 450 43 2100 44 1000 45 1750 46 1700 47 750 48 4600 50 2100 51 1550 53 1400 54 1600 57 600 58 670 59 750 60 2675 61 2700 63 500 65 700 66 1800 67 900 69 500 71 300 72 400 75 250 77 1000 78 750 79 1000 80 700 83 2500 85 2800 86 2600 88 1300 89 3850 92 1900 93 1100

94 1450 95 650 96 1700 97 400 98 2200 99 1000 100 1200 101 250 102 550 104 1100 106 850 107 1200 109 400 110 1400 111 600 112 100 113 1100 114 200 115 200 116 175 117 200 120 700 121 475 122 850 123 500 126 400 127 1200 128 1600 129 700 131 1100 132 420 133 550 134 550 135 550 137 200 138 1550 140 500 142 600 143 700 145 900 146 500 148 400

150 600 151 700 153 900 154 200 155 900 157 800 158 300 159 1400 160 110 163 700

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Index ALDIS A E............................................................95, 96

GARDINER J J...........................................................46

MCLEOD E................................................................39

ANGUS R...................................................................42

GAUT J....................................................................110

MOORE J H...............................................................45

ATTWOOD T R.........................................................124

GIBB J..................................................................92, 93

MUNCASTER C.........................................................98

AUBREY C.................................................................87

GOLDIE C F........................................................34, 38

NICHOLAS D...............................................................3

BACKHOUSE J P.............................................128, 131

GREGORY F............................................................125

NIN B.....................................................................5, 15

BARNES F ...............................................55, 56, 57, 58

GULLY J.....................................................................84

PROCTOR R..............................................................99

BARRAUD C D............................................82, 85, 123

HAMMOND B.......................................................7, 17

RICHMOND D K ..............................59, 60, 61, 62, 64

BLOMFIELD C....................................................97, 112

HEMUS C...................................................................71

SAVAGE C...............................................................120

BOLLARD W A..........................................................94

HENDERSON L............................................................9

SIDDELL P................................................................1, 6

BOWRING W A.........................................................65

HODGKINS F.......................................................70, 73

SMITHER M........................................26, 27, 28, 29, 30

BULLMORE E...........................................13, 22, 23, 67

HOLMWOOD J.........................................................74

STICHBURY P...............................................................4

BUTLER G.................................................................109

HOTERE R............................................................14, 41

STODDART M O........................................................77

CHAPMAN E A.........................................................88

HOYTE J B C..........................35, 79, 80, 81, 83, 90, 91

TAPPER G..........37, 132, 133, 134, 135, 136, 137, 138

CHEVALIER N......................................................86, 89

JAHNKE R....................................................................2

TAYLOR E M...............................................................19

CHING R.....................................................................8

JOHN S H..................................................................50

THOMPSON S L...............................................100, 101

B DRURY & J L STOKES...........................................117

KELLY F.................................................................18, 21

TRUSTTUM P ..............................................................10

COOK J..................................................................115

KIRKWOOD H W.....................................................111

UNKNOWN ARTIST................................................. 107

COXHEAD F............................................................118

LOUGH T S................................................................66

VON MEYERN E .....................................................129

CROSS M..................................................................40

MACDIARMID D.................................................68, 69

WEEKS J...............................20, 47, 48, 51, 52, 53, 54,

CUMMINGS V.................................102, 103, 104, 105

MACLISE D..............................................................106

WILSON L W............................................................113

DIBBLE P....................................................................72

MARTIN J.................................................................126

WILSON T........................................................119, 122

ELLIS R.................................................................11, 12

MASTERS M E M......................................................130

WONG B.............................................................36, 43

EVANS J...................................................................121

MCARTHUR P............................................................44

WOOLLASTON T.......................................................33

FIELD R N.................................................................127

MCCAHON C..............................................16, 31, 32

WYLD J....................................................................116

FIELD I J.....................................................................78

MCINTYRE R .......................................................24, 25

ZATTA A...................................................................114

FLINT W R................................................................108

MCINTYRE P........................................................75, 76

FORRESTER A A........................................................49

MCKAY J...................................................................63

123

Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final.

The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any

part of the purchase price.

The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

From the time of lot being sold, such lot will be the responsibility of the buyer.

Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 27 March 2015 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction.

SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time.

Estimates are based on hammer price and do not include buyers premium.

124 Important, Early & Rare 6:30pm Wednesday 25 March 2015

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security.

Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid.

Our staff will gladly supply you with a condition report on any lot.

TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service.

PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit.

Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference.

Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared.

Credit cards: Visa and Mastercard accepted with a 2% surcharge.

American Express cards not accepted.

EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises.

OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots.

(Total buyers premium is 17.25% including GST) www.fineartauction.co.nz

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz

THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY