6 April Important & Rare New Zealand Art

Important & Rare

Wednesday 6 April 2016

Important & Rare Art 6:30pm Wednesday 6 April 2016 Viewing times Wednesday

30 March

9:00am - 5:30pm

Thursday

31 March

9:00am - 5:30pm

Friday

1 April

9:00am - 5:30pm

Saturday

2 April

11:00am - 4:00pm

* Conditions of Sale p. 111

Sunday

3 April

11:00am - 4:00pm

* Payment may not be made during sale

Monday

4 April

9:00am - 5:30pm

* Works purchased may be uplifted at close of sale or day after 10:00am - 5:00pm

Tuesday

5 April

9:00am - 5:30pm

Wednesday

6 April

9:00am - 1:00pm Auction 6:30pm

* If attending sale, please register for bidding number at viewing * Absentee Bidding Form p. 109

Cover illustration: Inside cover illustration: Inside back cover illustration: Back cover illustration:

Lot 45 C F Goldie Lot 53 M O Stoddart (detail) Lot 46 J B C Hoyte (detail) Lot 42 C McCahon

Other times by appointment

Directors: Richard Thomson, Frances Davies & Grahame Chote 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

Parking During Viewing Days: Available on site during weekend viewing, Saturday 2 & Sunday 3 April. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.

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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2015

at a glance

Gretchen Albrecht sold $20,510

International Art Centre continued to set record prices throughout 2015. Three major sales in the Important, Early & Rare category saw quality works of art, many on the market for the first time, meet with appreciation by responsive buyers.

The March auction saw two works by C F Goldie sold and record auction prices paid for the works of D K Richmond, W A Bowing and Piera McArthur.

A small work by Horace Moore-Jones fetched a record $257,950 only to be exceeded in the July auction when a larger version of Simpson and his Donkey fetched $492,450. The same sale saw Frances Hodgkins’ Monastery Steps achieve $375,200 and Lois White’s Weeping Women set a new auction record of $79,000. Works by the late Sir Peter Siddell continue to trend well with sales of over $170,000 in this auction alone. July’s Important, Early & Rare achieved a post-auction sale rate of 90% with post-auction sales totaling over $2 million, the highest grossing art auction result in two years. November’s Important & Rare catalogue saw a collection of ten works by Peter McIntyre achieve $308,000 along with Don Binney’s Kairara Kaka fetching $140,000.

May was a busy month at International Art Centre with two successful sales of contemporary art. Contemporary & Modern Art and the Barry Pilcher Collection of New Zealand art and sculpture. This single owner sale created a great deal of interest, with a sale rate of over 80%. Several records were achieved, most notably Heather Straka’s St Sebastian which made $21,690.

H Moore-Jones sold $492,450

Our Collectable Art sale category saw sales in February and August. This sales category continues to attract first time buyers, those on limited budgets or astute collectors wanting a bargain. Our final sale of 2015 was December’s Contemporary & Modern auction which saw sales in excess of $480,000.

Peter McIntyre sold $59,790

2016, our 46th year in business, is sure to bring another year of excitement to the market. See you here! * Prices quoted include buyers premium

Don Binney sold $140,000

Lois White sold $79,000

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Peter Siddell sold $67,400

Philip Clairmont sold $34,880

Frances Hodgkins sold $375,200

C F Goldie sold $199,000

Edward Bullmore sold $32,200

D K Richmond sold $32,830 Sir William Fox sold $12,100 Margaret Olley sold $49,245 Peter Siddell sold $43,900 July

Peter Peryer sold $2,345 Felix Kelly sold $17,580

Heather Straka sold $21,690

John Weeks sold $4,750

Karl Maughan sold $14,650

D K Richmond sold $39,865

Robert Ellis sold $26,380

Gavin Hurley sold $7,320

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Collectable Art

Held 23 February

International Art Centre commenced the 2016 auction season with a buoyant sale of collectable art. The wide and varied offering achieved an 87% sale rate, attracting a good crowd supported by lively telephone bidding. Once again the popularity of this sale category was confirmed.

These sales provide an excellent opportunity with many artworks selling for under $5,000. The next Collectable Art auction will be held in August.

Stanley Palmer sold $2,390 Lois McIvor sold $1,758

Aubrey De Lisle sold $1,550

Graham Cooper sold $2,490 Hugh Sawry sold $18,760

David Barker sold $3,165

Clarke Esplin sold $2,580

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Peter Beadle sold $3,165

Colin McCahon sold $6,275

Modern & Contemporary Art Including sculpture & photography

25 May 2016 Consign Today Richard Thomson Luke Davies Ph: +64 9 379 4010 Ph: +64 9 379 4010 richard@artcntr.co.nz luke@artcntr.co.nz Mobile: 027 4751 071 Toll Free 0800 800 322

Paratene Matchitt Murara Ana Te Ao Screenprint, 35 x 50cm below left: Jeff Thompson Spiral sculpture Corrugated steel 33 x 52cm below right: Virginia King Link Bronze sculpture, edition of 10

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1935 - 2011 Bell Tower Oil on board 40 x 61 Signed & dated 1972

PETER SIDDELL

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NIGEL BROWN

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JUDY MILLAR

ESTIMATE $4,000 - 6,000

ESTIMATE $5,000 - 7,000

ESTIMATE $7,000 - 10,000

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b. 1949 Jump Cats Oil on canvas 50 x 40 Signed, inscribed & dated 2000

b. 1957 Untitled

Acrylic on aluminium 90 x 80.5

Signed & dated 2002 verso

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PETER SIDDELL

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JOANNA BRAITHWAITE

ESTIMATE $8,000 - 12,000

ESTIMATE $4,000 - 6,000

1935 - 2011

Black Glass

Oil on board 74 x 57 Signed

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b. 1962 Buoy

Oil on canvas 137 x 122

Signed & inscribed verso

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GARTH TAPPER

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KARL MAUGHAN

ESTIMATE $2,500 - 3,500

ESTIMATE $11,000 - 13,000

PROVENANCE Private Collection, Wellington

1927 - 1999

Prof’s Wife, 1965

Oil on board 28 x 23 Signed

b. 1964 Hokowhitu

Oil on linen 101.7 x 101.7

Signed & inscribed verso

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ANN ROBINSON

ESTIMATE $12,000 - 16,000

PROVENANCE Private Collection, Auckland Purchased 2001 by current owner

b. 1944 Spiral Vase Cast lead crystal vase 63 x 16 Signed & dated 2001

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KUSHANA BUSH

ESTIMATE $4,500 - 6,500

PROVENANCE Private Collection, Dunedin

b. 1983 Bedroom Scene 4 Lurking Tensions 2 : A Shared Lie is A Lie Halved Acrylic, chalk, gouache, pencil on board 59 x 59 Signed, inscribed & dated 2005 verso

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ANS WESTRA

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LAYLA WALTER

ESTIMATE $3,000 - 5,000

ESTIMATE $6,000 - 8,000

PROVENANCE Private Collection, Auckland Purchased 2001 by current owner

b. 1936 Fern

Archival inkjet print 90 x 90

Signed & inscribed verso

b. 1975 Keulemans’ Tui Cast glass, unique, 38 x 20 Signed on base

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ROBYN KAHUKIWA

b. 1940

Te Tui Me Te Wahine

Oil & alkyd resin on canvas 101 x 152 Signed

ESTIMATE

$5,000 - 7,000

PROVENANCE Warwick Henderosn Gallery label affixed verso

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PIERA MCARTHUR

b. 1929 The Artist Listens to the Recital Oil on canvas 137 x 176 Signed & dated 1997 ESTIMATE $5,000 - 7,000 ESTIMATE Purchased directly from the artist, 1997

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DARCY NICHOLAS

ESTIMATE $5,000 - 10,000

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TOM MUTCH

ESTIMATE $3,000 - 5,000

Trust As children we trust We trust in life Love is passed from parent to child, child to parent TOM MUTCH

b. 1945 Rongoueroa

Oil on canvas 188 x 67

Signed, dated 1985

b. 1951

Trust, 1996

Oil on board 110 x 88 Signed

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JOHN WEEKS

ESTIMATE $2,500 - 3,500

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1886 - 1965 Canal Scene - Light & Shade Study Oil on timber panel 26 x 36 Weeks O’Connor Stamp verso

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JOHN WEEKS

ESTIMATE $2,500 - 3,500

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JOHN WEEKS

ESTIMATE $2,000 - 3,000

1886 - 1965 Temple Ruins Oil on card 25 x 35 Weeks O’Connor Stamp vero

1886 - 1965 Hillside Monastery Oil on board 25 x 35 Weeks O’Connor inscribed in pen verso

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TOM MUTCH

ESTIMATE $4,000 - 6,000

b. 1951 All Things Equal Oil on canvas 152 x 122 Signed & dated 2005

SUPERBIRD sings his own song. A song of seeds and eggs trees grass and water. Stop listen. Are you not sick of your own jack hammer orchestra smashing the earth peace. Stop, listen to the universe. It’s a much sweeter sound TOM MUTCH

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EMILY WOLFE

b. 1972 Window

Oil on linen 40.5 x 40.5

Signed & dated 2006 verso

ESTIMATE

$3,000 - 5,000

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MICHAEL SMITHER

b. 1939 The Yellow Boat - Okahu Bay Oil on board 100 x 81 Signed & dated 1998 Inscribed verso ESTIMATE $22,000 - 28,000 PROVENANCE Private Collection, Auckland Purchased from Upstairs Gallery, Whitianga, 1998

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GARTH TAPPER

1927 - 1999 The Preacher Oil on board 55 x 58 Signed & dated 1979

ESTIMATE $7,000 - 10,000

PROVENANCE Purchased directly from the artist by current owner, 1980

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TREVOR MOFFITT

PROVENANCE Purchased from Warwick Henderson Gallery by current owner, 1995

1936 - 2006 Accredited

Human Condition Series II

Oil on board 60 x 60

Signed & dated 1995 Inscribed

ESTIMATE

$8,000 - 12,000

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RAYMOND CHING

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RALPH HOTERE

b. 1939 The Fifth Fairy Watercolour 36 x 50 Signed, inscribed & dated 1969

ESTIMATE $8,000 - 12,000

1931 - 2013 12-XII-87 Black Rainbow at Matauri Bay Dye on silk size 90 x 90 Signed, inscribed & dated12-XII-87

ESTIMATE $27,500 - 35,000

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Study of Douarnenez Market verso

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SYDNEY LOUGH THOMPSON

1877 - 1973

Market at Douarnenez

Oil on board 31 x 40 Signed

Note: Another study of the same market verso. inscribed

Presented in original artist’s frame

ESTIMATE

$8,000 - 12,000

PROVENANCE Purchased directly from the artist by George R Chance, photographer, Dunedin 1946.

George R Chance Estate, Dunedin

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PETER MCINTYRE

ESTIMATE $25,000 - 35,000

PROVENANCE Estate of The Rt Hon Sir Owen Woodhouse ONZ, KBE, DSC Purchased at One Man Exhibition, John Leech Gallery, Auckland 1964

1910 - 1995

The Shotover - Central Otago

Oil on board 73 x 87 Signed

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WILLIAM ALEXANDER (BILL) SUTTON

ESTIMATE $25,000 - 35,000

PROVENANCE Collection of the late Courtney & Doreen Shearer, Christchurch

EXHIBITED Paintings by W A Sutton Library at the School of Engineering, University of Canterbury, December 1968 - February 1969

1917 - 2000 Nearing the Lake Oil on board 90 x 120 Signed & dated 1966

Nearing the Lake is a fine example of Bill Sutton’s work. Executed prior to the artist’s formal forays into abstraction in the 1970s, this is a rare example of Sutton’s painting wherein the spirit of regional painting is married with a raw, abstracted treatment of the landscape.

Upon considering Nearing the Lake, the viewer is immediately confronted by the force and boldness of the delineated forms through which Sutton has composed a striking geometric synthesis of field, road and sky. There is a certain subtle beauty in what this minimalistic work implies: the amorphous fluidity of clouds breathe movement and wind onto the canvas’ atmosphere; the work’s titular promise of a lake seems to lie just beyond the horizon. All in all, this work is an elemental expression of the land, wherein perspective and reality have been flattened and reduced to attain a certain point of abstraction. In deliberately prioritising form and structure, Sutton has strengthened the force of his relationship with his local landscape, affording it an almost transcendental value.

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It is important to note the significance of this painting within the context of Sutton’s oeuvre and stylistic development. Having been trained in a classical, academic style of painting and become respected as one of those artists spearheading regional landscape painting in New Zealand, Sutton’s works were traditionally representative of a certain conventionality of style. Nearing the Lake is unique in that it previews the artist’s shift to a more spiritual, abstracted relationship with the Cantabrian landscape, which he had come to view through fresh eyes following his return from London.

The Canterbury Society of Arts Gallery’s Group Show 66 (29 October – 13 November 1966) exhibited a number of significant works from members of the Christchurch Group including Rita Angus, Colin McCahon, Pat Hanly and Leo Bensemman. Towards the Lake was the second-highest valued work in this show. It was subsequently exhibited at the University of Canterbury as part of an exhibition of Sutton’s paintings, where it was acquired by the present owner.

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SYDNEY LOUGH THOMPSON

1877 - 1973

Sail Boats, Concarneau

Oil on canvas board 32 x 40 Signed

ESTIMATE

$5,000 - 8,000

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SYDNEY LOUGH THOMPSON

1877 - 1973 Becalmed

Oil on board 37 x 45 Signed

ESTIMATE

$5,000 - 8,000

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WILLIAM ALEXANDER (BILL) SUTTON

ESTIMATE $5,000 - 10,000

PROVENANCE Canterbury Society of Arts Private Collection, NSW

EXHIBITED Sixty Fifth Annual Exhibition, cat no. 67 Canterbury Society of Arts Facsimile copy affixed verso

1917 - 2000 The Bridge, Porter River Watercolour 48 x 64 Signed & dated 1945 Inscribed verso

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PETER SIDDELL

ESTIMATE $2,000 - 4,000

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DORIS LUSK

ESTIMATE $6,000 - 10,000

PROVENANCE Louise Beale Gallery, Wellington Purchased from Centre of Contemporary Art Gallery (COCA), Christchurch, 13 September 2001

EXHIBITED The Nelson Suter Art Society Spring Exhibition, Suter Art Gallery, Nelson, October 1985, Cat no.4

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HERBERT HARRY TORNQUIST

ESTIMATE $800 - 1,200

1897 - 1969

Farm on the Coromandel

Oil on board 29.5 x 24.5 Signed

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1935 - 2011 White Villa Oil on board 30 x 46 SIgned & dated 1970

1916 - 1990 Under the Bridge, Clutha River, Central Otago Oil on linen 54 x 81 Signed & dated 1985

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ROBIN WHITE

ESTIMATE $2,000 - 3,000

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PETER MCINTYRE

ESTIMATE $18,000 - 26,000

PROVENANCE Garrick Tremain Collection, Queenstown Purchased from Anderson Park Gallery, Invercargill circa 1972.

Peter McIntyre was guest speaker at an event and had two watercolours on show. Garrick Tremain purchased this present work.

b. 1946 Red Barn Lincoln Silkscreen print, edition of 40 46 x 31 Signed, inscribed & dated 1973

1910 - 1995

Whakapapa River

Watercolour and acrylic on paper 51.5 x 72 Signed

Inscription verso reads The Distant Mountain is Ruapehu

The Whakapapa River originates at Whakapapa skifield on Mount Ruapehu, running down the western slopes of the mountain through Owhango before finally merging with the Whanganui River just east of Kakahi.

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Peter McIntyre had a home at Kakahi overlooking the confluence of the Whanganui and Whakapapa rivers, and painted several landscapes of the Whakapapa River. Ironically after his death the Whakapapa River undermined the white pumice cliffs where his house was built and claimed the house as its own.

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FATU FEU’U

PROVENANCE Collection of the artist

b. 1946 KO’OĀ, Samoan Goddess, 2005-06 Acrylic and oil on macrocarpa wood with Samoan shell necklace attached to solid steel base 222 x 76 Signed & inscribed

ESTIMATE $70,000 - 100,000

Fatu Akelei Feu’u, ONZM was born in Western Samoa. He arrived in New Zealand in 1966, at a time when the place and contribution of Pacific Islanders had yet to be comfortably established in the community. Fatu holds the honorary title of Father of Pacific Arts in New Zealand. In these early years he painted land and seascapes eventually embracing print making and creating large scale sculpture. Today his works encompass a wide range of media. Follow a solo exhibition in 1983 Fatu began referencing Polynesian influences and ‘fa’asmoa (traditional religious and cultural values) in his work. His art is about the spirit and soul of his people and is characterised by symbols of the Pacific - flowers, sea and in his carving, the adoption of traditional methods. Fatu has conducted workshops at Canterbury and Auckland Universities. His major works include the mural Tautai Matagofie in Auckland’s Aotea Centre and the Pathfinder mural in New York.

Feu’u’s work was included in two groundbreaking exhibitions of contemporary Pacific art: Te Moemoea no Iotefa, curated by Rangihiroa Panaho for the Sarjeant Art Gallery in 1990 and Bottled Ocean curated by Jim Viviaeare, which toured New Zealand in 1994 - 1995.

Feu’u was part of the major group exhibition Le Folauga: the past coming forward - Contemporary Pacific Art from Aotearoa, New Zealand at Auckland War Memorial Museum. Le Folauga later toured in Taiwan, the first exhibition of contemporary Pacific art from New Zealand to be shown in a major fine arts museum in Asia. Le Folauga opened at the Kaohsiung Museum of Fine Arts in Taiwan in December 2008 and ran until April 2009 KO’OĀ was commenced in 2005 taking nearly two years to complete.

Carved from a single piece of macrocarpa, Fatu refers to this as his most important work. At over seven feet tall the female deity stands supreme.

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According to Samoan mythologies KO’OĀ was a goddess of love and fertility and a sun worshiper. She was a descendant of the notable paramount family of the Sa Malieto of Sapapalii Savaii.

I carved out the internal organs to symbolise the destruction of Samoan culture by christianity and colonisation. They say the women were left with only the eyes to cry their tears.

But KO’OĀ will always rise up from the ashes like a phoenix to inspire all and give hope to her own people.

Since the arrrival of christianity the name KO’OĀ is today spelt with a T, thus TO’OĀ, and the aiga (family unit of Samoan society) still use this name on certain young women of substance.

FATU FEU’U

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COLIN MCCAHON

ESTIMATE $40,000 - 60,000

PROVENANCE Doug and Nane Green Collection, New Zealand until 1978 Gifted to ICI New Zealand Collection, ICI label affixed verso ICI Collection became Orica Collection, Australia Orica label affxied verso

1919 - 1987 Small Landscape, 1964 Oil on hardboard 54.4 x 42.5 Signed & dated May/June1964 verso

Sotheby’s Australia, 26 August 2002, Lot 531

Deutscher~Menzies, Fine Australian & International Art, Sydney 13/03/2007

Savill Galleries, Sydney, NSW label affixed verso

REFERENCE Colin McCahon online database cm001474

In Colin McCahon's 1964 Small Landscape, sublime rawness is borne by painterly abstraction. Though this may be a relatively modest-sized work, it immediately arrests the viewer's attention and compels a process of dynamic meditative dialogue and exchange. Herein, McCahon's mastery of the New Zealand landscape is beautifully exemplified. By virtue of the sheer force of his spiritual connection with the land, he has succeeded in articulating an impression of Northland. Speaking of his landscape paintings, McCahon described his intention as to “throw people into an involvement with the raw land, and also with raw paint ... like spitting on clay to open the blind man’s eyes”; these words certainly resonate when considering the present work.

the relationship between the land, sky and void is complicated, and there is a certain ambiguity in the attribution of an earthy pigment to the form which would otherwise been presumed to represent the sky. This compels the viewer to grapple with a shifting reality where tangible landforms and intangible abstractions collide. Further, almost instinctively, one becomes absorbed into the void piercing the centre of the canvas which, interrupting the flow of sky and land, draws comparison with Barnett Newman’s zip paintings. The importance of that void, the darkness, lies in what it does not represent; the associated idea of nothingness is one which instils the work with a creationist essentialism.

Small Landscape comes from a deeply personal place for McCahon, and shows that he was capable of realising that which great American Abstract Expressionists such as Mark Rothko were striving for at this time, i.e. marrying something from within his deep subconscious to the land, through a selfaware process of psychic automatism. The internal struggle from which this sublime painting was created is perceptible in the work's three solid forms, which collectively offer something of an oxymoron: the clear delineation and forceful presence of the primal, pared-back landscape, which has been stripped of all extraneous detail to endure as a vibrant colour-field, seems on one-hand to be unshakeable in its permanence. At the same time, however,

The 1960s represents a crucial period in New Zealand’s art historical development: the need for a modern visual identity and relevant artistic language was being keenly felt. Small Landscape is important in that it serves this end by communicating a language of universal creation, spirituality and transcendence in purely New Zealand terms. Where else are we able to encounter such unbridled grappling with the essence of our existence in a way that draws on our own familiar and precious landscape?

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JOHN WEEKS

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JOHN WEEKS

1886 - 1965

Red Shed Beneath Mountains - Atiamuri

Oil on board 30 x 42 Signed

ESTIMATE

$4,000 - 6,000

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1886 - 1965 Abstract Roof Tops Oil on board 26 x 32 ESTIMATE $2,500 - 3,500

DON BINNEY

b. 1940 - 2012 Taumaiti 1 Oil on board 61 x 82 Signed & dated 1962 ESTIMATE $25,000 - 35,000

PROVENANCE Private Collection, USA. Purchased from Ikon Gallery, Auckland, 1963 by current owner

EXHIBITED Don Binney - One Man Show, Ikon Gallery Auckland, October 15-27, 1963

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COLIN MCCAHON

ESTIMATE $25,000 - 40,000

PROVENANCE Ex Collection of Dr Ursula Hoff AO OBE, Melbourne. Australian scholar, academic, curator, writer, critic, and lecturer; Deputy Director of the National Gallery of Victoria, Melbourne (1968–1973); London Adviser of the Felton Bequest (1975–83); author of numerous books, catalogues, articles, reviews, and scholarly publications on art.

Sotheby’s, Australian & International Fine Art, Melbourne, 20/04/2010

EXHIBITED Small Landscapes and Waterfalls Eric Scholes Gallery, Rotorua, 1964 Small Landscapes and Waterfalls Ikon Fine Arts, Auckland, 1964

REFERENCE Colin McCahon online database cm001473

1919 - 1987 Waterfall

Oil on hardboard 21.2 x 21.4

Signed & dated 1964

Savill Galleries, NSW label affixed verso

Light and timelessness. Face-to-face with Colin McCahon’s beautiful 1964 Waterfall painting, these two enduring qualities radiate and instil a sense of

otherworldliness; one which contradicts the evasive and fleeting nature of water falling. There is a potency and ethereal gracefulness to this work which, when experienced firsthand, packs a powerful punch. Considering the work, the viewer’s eye is immediately drawn to the waterfall. Smooth and fluid brushstrokes guide its downwards trajectory, the form assumed resembling the primal ‘T’ of the Egyptian cross (this being a reoccurring visual device in a much of McCahon’s work) and subtle tonal variations illuminating the waterfall. Earthy, ochre tones give Waterfall a grittiness which challenges any idealised, traditionally picturesque qualities we may have otherwise been tempted to ascribe to, or expect from the depiction of a waterfall.

The significance of what Waterfall stands to represent in the wider scheme of McCahon’s artistic identity is twofold. Firstly, there is the close relationship and spiritual connection with New Zealand’s natural landscape - the Fairy Falls in the Waitakere Ranges inspired this painting and formed the basis

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for McCahon’s pure process of artistic distillation in this instance. Secondly, the work’s abstracted formal qualities mark his connection to the global art movement, and unique take on the tradition of Abstract Expressionism.

Following his trip to the United States in 1958, McCahon afforded a new and careful attention to the relationship between canvas, colour, and form, and ultimately came to re-evaluate the act of painting in and of itself. The impact of this approach is clearly perceivable in Waterfall: primal, elemental colours and forms have propelled the painted canvas into such a degree of abstraction that the originally conceived landscape is almost completely opaque, and the viewer is left in something of a spiritual no-man’s land.

McCahon’s Waterfall is a supreme exercise in abstraction, one which prompts us to re-examine our relationship with the land through transforming it into a work of Old Testament-style gravity and fortitude. These words of McCahon’s offer a poetic accompaniment by way of conclusion “Waterfalls fell and raged and became as still silent falls of light for a long time”.

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DON BINNEY

b. 1940 - 2012 Tomtit, Cornwallis Oil on canvas 42 x 30 Signed & dated MMVI ESTIMATE $50,000 - 75,000 PROVENANCE Private Collection, Auckland Don Binney is well known for his clean-edged modernist paintings of birds in the landscapes of New Zealand. In his search for subject, he is inspired by dramatic wilderness areas and environments, which he draws from to express both his passion for painting and his love of ornithology and nature.

In an interview with Patricia Sarr and Tom Turner in 1977, Binney described his motivation for painting: I paint and draw because I’m thoroughly committed to and involved with environmental, natural stimuli - the landscape, the wild-life . . . you must approach the landscape or the bush with reverence.

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CHARLES BLOMFIELD

ESTIMATE $4,500 - 6,500

1848 - 1926

Old Maniaia, Whangarei Heads

Oil on board 30.5 x 46 Signed

Inscribed verso

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LOT 45 CHARLES FREDERICK GOLDIE 1870 - 1947 THE FINAL PORTRAIT

A Noble Relic of a Noble Race A Portrait of Te Wharekauri Tahuna, Ngati Manawa, 1941 ESTIMATE $800,000 - 1,200,000

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CHARLES FREDERICK GOLDIE

1870 - 1947 A Noble Relic of a Noble Race Wharekauri Tahuna Aged 102, Chieftain of the Arawa Tribe Oil on canvas 48.7 x 43.6 Signed & dated 1941 Inscribed verso To Olive from Charlie inscribed on stretcher verso

ESTIMATE $800,000 - 1,200,000

PROVENANCE Extended Goldie family collection 1941 - 2008 Private Collection, Auckland

ILLUSTRATED p. 291 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Waiura Marlborough, 1977

Charles F Goldie’s first Maori portrait completed in 1892 of Kawhena was sold by International Art Centre in November 2013 for $732,800.

It is with great pleasure that we now offer the final painting

by New Zealand’s most widely recognised artist.

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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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Charles Goldie’s 1941 portrait of Wharekauri Tahuna is nothing short of an artistic tour de force. In executing this work, Goldie deployed the technical finesse which he had perfected over the course of an entire career to maximum effect, allowing him to powerfully express the likeness and mana of his sitter. Understood to be his final major work, this portrait heralds the closing of the final chapter in the artist’s magnificent oeuvre - an oeuvre very much at the heart of our national artistic history and identity.

The present work is a sensitive and reverent rendering of Wharekauri Tahuna, comprising careful yet spirited, visible brushstrokes. It has been composed with such precision as to avoid obfuscating the finer detail of the sitter’s visage, but is also expressive enough in its painted manner to enhance the effect of the work's ambient light interplay; illumination is derived from a strong singular light source coming from the left of the painting. This mastery of light and texture renders the portrait lifelike: from the resplendence of Wharekauri’s pounamu to the weave of his garment and tender realism of deep-etched lines in his 102-year old face.

Frontwards-facing and dominating the canvas, Wharekauri's strength and mana are asserted by the work's composition: instead of situating his subject neatly within the confines of the frame, Goldie has opted to create the effect that this is but a momentary framing, wherein some fleeting aspect of his subject has been captured. The enduring impression left on the viewer is of how impressive and majestic the aged Wharekauri, whose literal and metaphorical largesse extends well beyond the confines of the frame, is.

The strong visual impact of this cropped perspective is further enhanced by the ‘Goldie’ frame in which it is presented, a design originated by Goldie’s father.

Having been completed just a few years before the artist’s death in 1947, the portrait epitomises all the formal qualities characteristic of the later period of Goldie’s artistic production. This mature period in his work had been preceded by more than a decade of inactivity, during which time he moved to Sydney, was married and remained there for two years. Goldie’s eventual resumption of painting in the early 1930s (by which time he had returned to New Zealand) saw a radical shift in his expressive technique - the crisp luminosity and inclination to academic formalism which had defined his earlier works was replaced by a much freer treatment of the painted surface.

48 Important & Rare Art 6:30pm Wednesday 6 April 2016

By 1941, when the present portrait was produced, Goldie’s increasingly experimental forays into a more dynamic use of oil paint had led him to fully master the subtleties of a new and eloquent visual language. This instilled his works with a deeper sense of gravitas and atmosphere, as can be encountered in this portrait of Wharekauri.

Wharekauri Tahuna was a tohunga, or priest, from Galatea and of Ngāi Tūhoe. Thought to have been the last man in the Ureweras to bear full-face moko, he was one of Goldie's favoured subjects and features in a number of notable works completed by the artist throughout his career. In 1933, Goldie completed a portrait of Wharekauri, now a prized painting in the collection of Te Papa Tongarewa. An earlier portrait had been completed in 1910, as well as a splendid 1914 work now residing in the collection of Auckland War Memorial Museum. These ultimately speak to the value which Goldie invested in his relationships with sitters: in undertaking these portraits, he was engaging in much more than a perfunctory transaction or process of ethnographic documentation, by actually becoming heavily invested in longstanding relationships. Considering this 1941 portrait of Wharekauri, therefore, the viewer is compelled to appreciate not only the culmination of a lifetime of artistic production, but also to sense the intimacy of a journey spanning decades between Wharekauri and Goldie.

A brief meditation on the painting’s titular description of Wharekauri as A Noble Relic of a Noble Race is fitting by way of conclusion. Whilst aspects of Goldie’s enduring nostalgic attitude towards Maori are undeniably problematic, in this instance there exists a poetic and spiritual undercurrent: one which speaks of Goldie's struggle with his own physical decline, and echoes the fading passage of time. In this way, the final act of painting Wharekauri was an exercise in self-awareness and closure for Goldie, as he returned to paint one of his best-loved subjects towards the end of both Wharekauri's and his own life (a fact he would have been forced to deal with given his own poor health, a likely consequence of lead poisoning).

With this in mind, the presentation of this exceptional portrait to the market is, to say the least, a rare and exciting occurrence.

49

46

JOHN BARR CLARKE HOYTE

ESTIMATE $25,000 - 35,000

PROVENANCE Benjamin Giles Collection, Sydney until 1987 By descent Jennifer Cahill, Sydney Private Collection, Sydney

1835 - 1913 Pink Terrace, Rotomahana Watercolour 40 x 70 Signed & inscribed

Prior to the Tarawera eruption in the early hours of June 10, 1886, the Pink and White Terraces on the shores of Lake Rotomahana near Rotorua, were considered the eighth wonder of the natural world. They were formed over thousands of years from the geothermally-heated, silica-laden water of two large geysers which once cooled, crystallised into giant staircases and waterfalls. Visiting missionaries and European traders were stunned by the beauty of the Terraces and word soon spread attracting growing numbers of visitors. These magnificent natural structures became New Zealand’s earliest and most famous tourist attraction.

The Pink Terraces/ Otukapuarangi in Maori, translates to fountain of the clouded sky whilst the White Terraces/Te Tarata means the tattooed rock. The White Terraces were the larger formation, covering 3 hectares and descending 30 metres. The Pink Terraces were where people went to bathe on the lower levels as the temperature of the water was lukewarm. When Mount Tarawera erupted, Lake Rotomahana was buried, and the Terraces were thought to be lost forever. Paintings such as this, along with early black and white photographs, are visual reminders of a natural creation shrouded in mystery and illusion which lives on in our collective psyche.

J.C. Hoyte was born in England (probably London) on December 22, 1835, the son of Samuel Hoyte, a landowner. In 1860 he and his wife Rose, left England aboard the Egmont bound for Auckland. On arrival, Hoyte is thought to have worked as a customs clerk before embarking on a career as an art tutor, watercolourist and importer of artists’ supplies. He taught drawing and other subjects at the Church of England Grammar School between 1862 and the 1870s, and also at Wesley College in Queen Street and Auckland Grammar School. As his career as a painter developed he travelled extensively through New Zealand and began to play a prominent role in the Auckland art world. In 1869 Hoyte was one of the founders of the Auckland Society of Artists. He was also active in church affairs, serving for a time as vestryman at St Mary’s Church, Parnell. He was a member of the volunteer militia and lived in Scarborough Terrace, Parnell. In addition to his role in the art societies of Auckland and Dunedin in 1880 he was co-founder of the Art Society of New South Wales and a member of the Victorian Academy of Art. This pristine watercolour is an excellent example of a work by J C Hoyte . An inscription and title to the lower right (rarely seen in a work by this artist) further enhances the offering.

50 Important & Rare Art 6:30pm Wednesday 6 April 2016

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47

GEORGE EDMUND PRUDEN

ESTIMATE $8,000 - 12,000

1872 - 1957 Mitre Peak Milford Sound with Pheasant Shooter and Dogs Oil on canvas 91 x 178 Signed & dated 1908

52 Important & Rare Art 6:30pm Wednesday 6 April 2016

48

GEORGE EDMUND PRUDEN

ESTIMATE $8,000 - 12,000

1872 - 1957 Bush Fire in the King Country Oil on canvas 91 x 178 Signed & dated 1908

53

49

EVELYN PAGE

ESTIMATE $25,000 - 35,000

PROVENANCE Estate of Evelyn Page

1899 - 1988

Old Law Courts Wellington

Oil on canvas 49 x 60 Signed

Evelyn Page was commissioned to undertake this painting of the Wellington Law Courts in 1970 – the very same year that her place in the New Zealand art historical canon was cemented with an important retrospective at Wellington’s National Art Gallery. That the commission for this work occurred at such a watershed moment in the artist’s career can be viewed as something of a metaphor: Page’s work was by this point widely celebrated and acknowledged for its modern vivacity and destabilisation of the mundane, tired ways of depicting New Zealand. The capital city’s old Law Courts, on the other hand, stood as a powerful symbol of those deeply ingrained pillars of judicial tradition and establishment in our country. As such, the act of revisiting this traditionalist subject matter through a new and exciting modernist lens was a powerful statement, and truly brought to light the emphatic change achieved by Page in unlocking the potential of a new modern visual language for New Zealand art.

54 Important & Rare Art 6:30pm Wednesday 6 April 2016

When encountering this work, the viewer is immediately struck by what a brilliant expression of painterly expertise it is. Having been heavily influenced

by French masters such as Matisse and Degas, Page has herein adapted this impressionistic language for a uniquely identifiable New Zealand context, and deployed an assured deftness of brushstroke to convey rich and lively collisions of colour. Daring to express colour and form in such a vibrant and confronting manner, Page has also executed perspectival flattening in a manner which contributes to a gracefully synthesised compositional construction: the buildings have been thrust to the forefront of the canvas; all surrounding trees, buildings, and people have been stacked on the same plane of this closely woven composition.

Old Law Courts Wellington adroitly demonstrates of all of the formal qualities which served Evelyn Page as a pioneer of New Zealand modernism, marking this emblematic painting as one of the most significant works by the artist to have been presented to the market in recent years.

55

Although she had not worked with lithography before Hodgkins was praised at the time for her fresh and innovative use of the medium and she herself 'found it interesting and remunerative as a sideline to other works'.

(Kapiti Treasures, Janet Bayley (Edt.l, Mahara Gallery, 2010, p. 36) Moving increasingly away from traditional modes of representation in her works, some objects in Arrangement of Jugs are pared back to their most essential formal elements or depicted through abstract bodies of colour. Essentially disregarding any hierarchy within the objects Hodgkins has employed several perspectives within a single composition giving the effect that some objects appear to float freely in space. The ethereal quality of the abstract forms combined with the objects depicted more literally adds dynamism and vivacity to the work.

The simplified outlines of objects and bold areas of colour in Arrangement of Jugs are typical of Hodgkins' approach to colour and form in the mid to late 1930s and relate strongly to two known watercolours of almost identical titles, Still Life (c.1937) and Arrangement of Jugs (c.1937) suggesting that they may have been working drawings for this lithograph.

ILLUSTRATED: Frances Hodgkins: Kapiti Treasures, Janet Bayley (Edt.), Mahara Gallery, 2010. p. 33 Frances Hodgkins: Paintings and Drawings, lain Buchanan, Elizabeth Eastmond and Michael Dunn, Auckland University Press, 1994. p.151

50

FRANCES HODGKINS

ESTIMATE $10,000 - 15,000

1869 - 1947

Arrangement of Jugs,

Lithograph 45.7 x 61 Signed

Portrait of Frances Hodgkins, E.H McCormick, Auckland University Press and Oxford University Press, 1981. p.123

PROVENANCE

Private Collection, Melbourne

Purchased by current owners grandparents from an exhibition titled Celebrated Contemporary English Artists, Leighton

Gallery of Art, Melbourne, 1938

51

FRANCES HODGKINS

Arrangement of Jugs is a lively and buoyant still life and Hodgkins’ only surviving print. It was commissioned in 1936 by the London based publisher Contemporary Lithographs Ltd as part of a venture to supply a wider audience with quality and affordable original works of art. Arrangement of Jugs is from the suite of fifteen prints by different artists launched in 1938, one of which was purchased by the British Museum.

ESTIMATE $25,000 - 40,000

PROVENANCE Estate Collection, Wellington Purchased from Max Beere, Lewis Paape Gallery

56 Important & Rare Art 6:30pm Wednesday 6 April 2016

1869 - 1947 Untitled

Watercolour 25 x 36

Signed & dated 1913

57

52

MARGARET OLROG STODDART

ESTIMATE $8,000 - 12,000

53

MARGARET OLROG STODDART

ESTIMATE $12,000 - 16,000

1865 - 1934

Otira Gorge

Watercolour 46 x 43 Signed

1865 - 1934 Roses

Watercolour 42 x 55 Signed

58 Important & Rare Art 6:30pm Wednesday 6 April 2016

59

54

MARGARET OLROG STODDART

ESTIMATE $3,000 - 5,000

55

MARGARET OLROG STODDART

ESTIMATE $4,000 - 6,000

56

MARGARET OLROG STODDART

PROVENANCE Purchased by current owners mother from an exhibition at the Academy of Fine Arts, Christchurch, 1935

1865 - 1934

Approaching Storm

Watercolour 25 x 35 Signed

54

1865 - 1934

Blossom, Diamond Harbour

Watercolour 24 x 34 Signed

1865 - 1934

The White House, Cashmere Hills

Watercolour 28 x 36 Signed

Inscribed on original artist’s label affixed verso

ESTIMATE

$8,000 - 12,000

55

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61

57

JOHN BARR CLARKE HOYTE

ESTIMATE $8,000 - 12,000

1835 - 1913

Judges Bay, Auckland

Watercolour 24 x 45 Signed

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58

JOHN BARR CLARKE HOYTE

ESTIMATE $20,000 - 30,000

1835 - 1913 Lake Waikaremoana Watercolour 44 x 66 Signed & dated 1874

Two years prior to Hoyte completing this magnificent watercolour Maori resistance leader Te Kooti visited Lake Waikaremoana. Government forces had made an exploratory expedition into the lake area earlier in 1869.

Military redoubts were established in the area in the 1870s, but by then Te Kooti had moved on. This watercolour depicts the government military camp in the foreground and Maori villages across the other side of the lake.

63

60

60

ROBERT ELLIS

61

PETER MCINTYRE

ESTIMATE $15,000 - 20,000

PROVENANCE Purchased at One Man Exhibition, John Leech Gallery, Auckland, 1964, by current owner. Original gallery label affixed verso

b. 1929 Cityscape

Acrylic on board 55 x 73

Signed & dated 1995

ESTIMATE

$2,500 - 3,500

59

1910 - 1995

Lindis Pass

Oil on board 59 x 79.5 Signed

CORA WILDING

1888 - 1982

Spanish Man Watercolour

Signed & dated 1923

ESTIMATE

$2,000 - 3,000

PROVENANCE Estate of Inness Elliott, sculptor of the Tekapo Sheep Dog

64 Important & Rare Art 6:30pm Wednesday 6 April 2016

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65

62

RITA COOK NEE’ ANGUS

ESTIMATE $14,000 - 18,000

PROVENANCE Ex Collection of Sir & Lady Ivor Richardson, Wellington

63

WILLIAM ALEXANDER (BILL) SUTTON

ESTIMATE $4,000 - 6,000

64

PETER MCINTYRE

ESTIMATE $12,000 - 16,000

62

1908 - 1970 Landscape Near Amberley Watercolour 30.6 x 41.1 Signed & dated 1934

1917 - 2000 The Dome Watercolour 37 x 54 Signed & dated 1982

1910 - 1995

Ruapehu from the Desert Road

Oil on board 49.5 x 74 Signed

63

66 Important & Rare Art 6:30pm Wednesday 6 April 2016

64

67

65

CHARLES BLOMFIELD

ESTIMATE $4,000 - 6,000

66

CHARLES FREDERICK GOLDIE

ESTIMATE $15,000 - 25,000

1848 - 1926 Waihaha River, Lake Taupo Oil on canvas 74.5 x 49 Signed & dated 1888

1870 - 1947 Anaha

Pencil drawing 18 x 11

Signed, inscribed To Olive from Charlie

& dated December 1931

68 Important & Rare Art 6:30pm Wednesday 6 April 2016

69

70 Important & Rare Art 6:30pm Wednesday 6 April 2016

67

RITA ANGUS

1908 - 1970 Mangonui Harbour Watercolour 28 x 38 Signed & dated 1954 ESTIMATE $20,000 - 26,000 PROVENANCE Ex Collection of Sir & Lady Ivor Richardson, Wellington

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.

68

RITA ANGUS

ESTIMATE $2,000 - 4,000

PROVENANCE Same family collection since painted

1908 - 1970 Joy Watson, Friend of Artist Oil on board 45 x 39 Signed & dated 1953

71

69

72 Important & Rare Art 6:30pm Wednesday 6 April 2016

70

69

MAUD SHERWOOD

1880 - 1956

Brittany Market

Watercolour 45 x 53 Signed

ESTIMATE $5,000 - 8,000

70

MAUD SHERWOOD

ESTIMATE $2,500 - 3,500

1880 - 1956 Market Scene, Naples Watercolour 25 x 30.5

71

71

MAUD SHERWOOD

ESTIMATE $2,500 - 3,500

1880 - 1956

Fruit Stall, Brittany

Watercolour 28 x 28.5 Signed

73

72

PETER MCINTYRE

ESTIMATE $8,000 - 12,000

73

JOHN BARR CLARKE HOYTE

1910 - 1995

Boy and Great Dane

Oil on canvas 60 x 50 Signed

1835 - 1913 Russell

Watercolour 29 x 42 Signed

ESTIMATE

$8,000 - 12,000

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75

74

CHRISTOPHER AUBREY

ESTIMATE $10,000 - 15,000

1830 - 1902 The Mirror Lakes, Fiordland Watercolour 46 x 63 Signed & dated 1885

76 Important & Rare Art 6:30pm Wednesday 6 April 2016

75

JOHN BARR CLARKE HOYTE

1835 - 1913 Coromandel

Watercolour 48 x 69 Signed

ESTIMATE

$15,000 - 20,000

75

77

76

A AUSTIN DEANS

ESTIMATE $2,000 - 3,000

PROVENANCE Collection of the late Courtney & Doreen Shearer, Christchurch

77

MAUD SHERWOOD

ESTIMATE $2,000 - 3,000

1915 - 2011

Rangitata River Bed

Watercolour 35 x 25 Signed

1880 - 1956

Tuscan Hills

Watercolour 42 x 48 Signed

78 Important & Rare Art 6:30pm Wednesday 6 April 2016

78

A AUSTIN DEANS

ESTIMATE $6,500 - 8,500

PROVENANCE Collection of the late Courtney & Doreen Shearer, Christchurch

1915 - 2011 Lake and Lyell Glacier Watercolour 75 x 95 Signed & dated 1962

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79

TIM WILSON

ESTIMATE $25,000 - 35,000

PROVENANCE Purchased from Fisher Fine Arts, Christchurch, 2000, label affixed verso

b. 1954 Haast River Diptych, 2000 Oil on two stretched linen panels 61 x 242 Signed & dated 1999 - 2000

80 Important & Rare Art 6:30pm Wednesday 6 April 2016

81

80

80

JOHN BARR CLARKE HOYTE

81

JOHN BARR CLARKE HOYTE

1835 - 1913

Lake Wanaka

Watercolour 32 x 62 Signed

ESTIMATE

$8,000 - 12,000

81

82 Important & Rare Art 6:30pm Wednesday 6 April 2016

1835 - 1913 Mt Egmont Watercolour 24 x 38

ESTIMATE $2,000 - 4,000

82

JOHN BARR CLARKE HOYTE 1835 - 1913 Otira Valley Watercolour 41 x 66 Signed & dated 1874

ESTIMATE $20,000 -30,000

83

85

83

83

84

85

84

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FRANK WRIGHT

1860 - 1923 Cattle by a Stream Watercolour 50 x 67 Signed & dated 1917 ESTIMATE $4,000 - 6,000

DOROTHY KATE RICHMOND

1861 - 1935 Rangitoto from Takapuna Watercolour 25 x 35 Signed & dated 1924 Inscribed on original backing paper verso ESTIMATE $2,500 - 3,500

CAPTAIN WILLIAM HANDCOCK

New Zealand/British 19th Century

Settlers Overlooking Otago Harbour

Watercolour 36 x 55 Signed

ESTIMATE

$3,000 - 5,000

86

86

ALFRED WILSON WALSH 1859 - 1916 Mt Cook Watercolour 22 x 29 Signed & dated 1890 ESTIMATE $800 - 1,200

87

CHARLES DECIMUS BARRAUD

ESTIMATE $5,000 - 8,000

PROVENANCE Purchased from McArthur & Co Auctions, Auckland 1985 Original label affixed verso

1822 - 1897

Waterfall at Waihi, South End of Taupo

Watercolour 25 x 18 Inscribed

87

85

88

LAURENCE WILLIAM WILSON

89

JAMES PEELE

ESTIMATE $4,000 - 6,000

ESTIMATE $1,000 - 1,500

1850 - 1912 Wet Jacket Arm Oil on canvas 52 x 75 Signed & dated 1896

86 Important & Rare Art 6:30pm Wednesday 6 April 2016

1847 - 1905 Dusky Sound Oil on board 30 x 44 Signed & dated 1897

90

WILLIAM MENZIES GIBB

1859 - 1931 Auckland Harbour Oil on canvas 45 x 76.5 Signed & dated 1903 ESTIMATE $5,000 - 10,000

87

92

91

91

SYDNEY LOUGH THOMPSON

92

SYDNEY LOUGH THOMPSON

PROVENANCE Private Collection, Christchurch

93

DOUGLAS BADCOCK

EXHIBITED Sydney Lough Thompson - At Home and Abroad Robert McDougall Art Gallery 1990, label affixed verso

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

ESTIMATE $8,000 - 12,000

1877 - 1973

Wellington Harbour, 1936

Oil on board 38 x 45 Signed

ESTIMATE

$7,000 - 10,000

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1877 - 1973

Spring, Canterbury Farm

Gouache on paper 35 x 50 Signed

ESTIMATE

$3,000 - 5,000

1922 - 2009

Nelson Harbour

Oil on board 45 x 60 Signed

Inscribed & dated 1975 verso

93

89

94

96

94

DOROTHY KATE RICHMOND

ESTIMATE $2,000 - 3,000

95

PETRUS VAN DER VELDEN

ESTIMATE $1,500 - 3,000

PROVENANCE p. 41 Petrus van der Velden, A Catalogue RaisonnĂŠ image number 1.2.2.40 The Petrus van der Velden Art Collection label affixed verso

1861 - 1935 Homestead

Watercolour 27 x 37

Signed & dated 1928

95

90 Important & Rare Art 6:30pm Wednesday 6 April 2016

1837 - 1913 Cottage Interior Oil on board 27 x 34.5 Inscribed verso

97

96

DOUGLAS BADCOCK

ESTIMATE $2,400 - 2,800

1922 - 2009

Looking South, California Coast

Oil on board 30 x 40 Signed Inscribed

97

CHARLES NATHANIEL WORSLEY

1877 - 1973

Cattle Grazing in Coastal Bay

Watercolour 73.7 x 124.5 Signed

ESTIMATE

$8,000 - 12,000

91

98

JOHN DOUGLAS PERRETT

ESTIMATE $4,000 - 6,000

1859 - 1937

Lake Manapouri

Oil on canvas 60 x 90 Signed

92 Important & Rare Art 6:30pm Wednesday 6 April 2016

99

CHARLES BLOMFIELD 1848 - 1926 Lake Wakatipu Oil on canvas 19 x 35 Signed & dated 1888 ESTIMATE $2,500 - 3,500

99

100

100

ALBERT EDWARD ALDIS

101

ERNEST WILLIAM CHRISTMAS

1869 - 1921

Waikato River

Oil on canvas 30 x 45 Signed

ESTIMATE

$1,500 - 2,500

1863 - 1918

Caples River Valley, Fiordland

Oil on canvas 60 x 90 Signed

ESTIMATE

$2,000 - 3,000

101

93

102

JOHN PHILEMON BACKHOUSE

103

HENRY WILLIAM KIRKWOOD

104

HENRY WILLIAM KIRKWOOD

105

HENRY WILLIAM KIRKWOOD

106

JOHN PHILEMON BACKHOUSE

1845 - 1908 North Shore, Auckland Oil on board 10 x 16 Artist’s studio stamp verso

ESTIMATE $1,500 - 2,500

1854 - 1925

Smith Sound

Oil on canvas 60 x 90 Signed & inscribed

ESTIMATE

$4,000 - 6,000

102

1854 - 1925

Lake Te Anau

Oil on board 28 x 63 Signed

ESTIMATE

$1,500 - 2,500

1854 - 1925

George Sound

Oil on board 59 x 44 Signed

ESTIMATE

$1,500 - 2,500

1845 - 1908 Maori Villages with Wakas - A Pair Oil on circular terracotta plates 16 x 16 ESTIMATE $1,000 - 2,000

107

STYLE OF JOHN PHILEMON BACKHOUSE

ESTIMATE $500 - 1,000

1845 - 1908

Mt Egmont

Oil on shell 13 x 15 Inscribed 103

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104

106

106

105

107

108 STYLE OF JOHN PHILEMON BACKHOUSE 1845 - 1908

109 STYLE OF JOHN PHILEMON BACKHOUSE 1845 - 1908

Rotorua

Oil on shell 15 x 17 Inscribed

ESTIMATE $500 - 1,000

108

Maori Village Oil on wooden spoon

ESTIMATE $500 - 1,000 109

95

110

110

JOHN BARR CLARKE HOYTE

111

TOM ESPLIN

ESTIMATE $8,000 - 12,000

ESTIMATE $3,000 - 5,000

1835 - 1913

Marlborough Sounds

Watercolour 29 x 50 Signed

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1915 - 2005

Venetian Canal

Oil on board 28 x 40 Signed

111

112

112

TOM ESPLIN

ESTIMATE $3,000 - 5,000

113

CEDRIC SAVAGE

1915 - 2005

Harbour Near Genoa

Oil on board 23.5 x 33.5 Signed

1901 - 1969

Sardine Boats, Perdika

Oil on board 52 x 69 Signed

PROVENANCE

Purchased from Memorial Exhibition of Paintings

by the Late Cedric Savage, McGregor Wright Gallery,

Wellington, November 1970. Original gallery label affixed verso.Original exhibition catalogue affixed vers o

ESTIMATE

$2,000 - 3,000

113

97

115

114

JOHN BARR CLARKE HOYTE

115

JOHN BARR CLARKE HOYTE

ESTIMATE $1,500 - 2,500

1835 - 1913

Coastal Fishermen

Watercolour 35 x 26 Signed

ESTIMATE

$3,000 - 5,000

1835 - 1913 Fiordland

Watercolour 17 x 24 Signed 114

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116

VERA CUMMINGS

ESTIMATE $4,500 - 6,500

1891 - 1949 Harata Rewiri Tarapata Oil on canvas 20 x 15

117

VERA CUMMINGS

ESTIMATE $4,500 - 6,500

1891 - 1949

Weary With Age

Oil on canvas 20 x 14.5 Signed

99

118

DESIDERIUS ORBAN

ESTIMATE $1,500 - 2,500

Australian 1884 -1986

Landscape with Houses

Oil on board 55 x 78 Signed

PROVENANCE

Estate of The Rt Hon Sir Owen Woodhouse ONZ, KBE, DSC

118

119

ALLAN THOMAS BERNALDO

ESTIMATE $1,750 - 2,500

PROVENANCE Private Collection, Christchurch since 1960s

120

SIR WILLIAM RUSSELL FLINT

ESTIMATE $6,000 - 8,000

Australian 1900 - 1988

The Hay Wagon

Watercolour 46 x 70 Signed

British 1880 - 1969

Girls in the Dunes

Watercolour 25 x 42 Signed

119

100 Important & Rare Art 6:30pm Wednesday 6 April 2016

120

101

121

DOUGLAS BADCOCK

ESTIMATE $2,500 - 3,500

122

DOUGLAS BADCOCK

123

NINA CHALMERS

1922 - 2009

Summer Evening, Lake Wanaka

Oil on board 29 x 39 Signed

Inscribed & dated January 1987

1922 - 2009

Ardgour, Tarras, Central Otago

Oil on board 29 x 39 Signed

Inscribed & dated 1977 verso

ESTIMATE

$2,500 - 3,500

121

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ESTIMATE $1,000 - 2,000

PROVENANCE Collection of the Artist’s Estate Nina Chalmers was a friend of Captain Gilbert Mair, his wife Eleanor Kate Sperry and their artist, artist, K Airini Vane.

124

WILLIAM GEORGE BAKER

122

New Zealand 19th Century A Collection of the artist’s watercolours - approximately 100.

Views of Auckland, Takapuna, Tauranga, the Mahia Peninsula, loggers camp at Kopuawahara - various other topogrpahical subjects. Various Sizes Together with: Three Cat studies by K Airini Vane, friend of the artist with an Australian bird study in watercolour by an unknown artist.

Presented in the artist’s travel case

1864 - 1929 Near Taihape Oil on canvas 91 x 61 Signed & inscribed ESTIMATE $2,500 - 3,500

123

124

103

126

RATA LOVELL-SMITH

127

RATA LOVELL-SMITH

128

RATA LOVELL-SMITH

1894 - 1969

Bealey Valley

Oil on board 40 x 50 Signed

ESTIMATE

$2,500 - 3,500

1894 - 1969

Mason River, Inland Kaikoura Route, 1946

Oil on board 33 x 43 Signed

ESTIMATE

$2,000 - 3,000

125

ERNEST WILLIAM CHRISTMAS

ESTIMATE $1,000 - 1,500

1863 - 1918

The Lilac Sunbonnet

Watercolour 16 x 15 Signed

104 Important & Rare Art 6:30pm Wednesday 6 April 2016

129

1894 - 1969 Lake Brunner, West Coast Oil on board 40 x 50 ESTIMATE $2,000 - 3,000

GEORGE O’BRIEN

1821 - 1888 Otago Landscape Watercolour 18 x 26.5 Signed & dated 1871 ESTIMATE $1,000 - 2,000

126

128

127

129

105

131

130

WILLIAM GEORGE BAKER

ESTIMATE $2,000 - 3,000

131

WILLIAM GEORGE BAKER

ESTIMATE $2,000 - 3,000

1864 - 1929 Greenstone River, West Coast Oil on board 44 x 66 Signed & inscribed

1864 - 1929

Makuri Gorge

Oil on canvas 90 x 60 Signed

130

106 Important & Rare Art 6:30pm Wednesday 6 April 2016

132 133

132

JOHN TOLE

134

ELLEN VON MEYERN

ESTIMATE $2,400 - 2,800

ESTIMATE $700 - 1,000

133

MAUD SHERWOOD

135

LAWRENCE WILLIAM WILSON

1890 - 1967

Bottles, Fruit & Flowers StilLife

Oil on board 30 x 36 Signed

1880 - 1956

Roses and Hydranges

Oil on board 67 x 51 Signed

ESTIMATE $2,000 - 4,000

19th - 20th Century New Zealand Maori Wahine with Baby ‘Ranga’Hawera Watercolour 36 x 24 Signed & dated 1910

134

1850 - 1912 Sunrise, Mary Peaks, George Sound Oil on canvas 39 x 54 Signed & inscribed ESTIMATE $1,000 - 2,000 PROVENANCE George R Chance Estate, Dunedin

135

107

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108 Important & Rare Art 6:30pm Wednesday 6 April 2016

Absentee Bid Form Important & Rare Wednesday 6 April 2016

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109

Recent Prices Realised

Important & Rare - 11 November 2016 - Contemporary & Modern Art 2 December 2015 - Collectable Art 23 February 2016 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium Important & Rare 11 November 2015 1 $3,200 2 $3,000 3 $2,000 4 $2,400 5 $5,250 6 $17,500 8 $8,500 9 $12,000 10 $13,000 11 $8,000 12 $8,500 14 $10,000 15 $1,000 16 $7,000 17 $5,500 18 $7,250 19 $18,000 21 $7,500 23 $45,000 24 $4,250 25 $13,000 26 $6,000 27 $2,500 30 $21,000 31 $3,000 32 $8,000 33 $20,000 35 $120,000 39 $11,000 41 $3,500 44 $1,800 45 $2,750 46 $24,000 47 $51,000 48 $30,000 49 $30,500 50 $28,000 51 $22,000 52 $16,000 53 $23,000 54 $27,000 55 $20,000 56 $16,000 57 $950 58 $3,250 59 $2,000 60 $2,000 64 $7,000 65 $10,000 66 $9,000 67 $8,000 75 $2,000 78 $13,000 79 $4,500 80 $2,700 81 $4,000 82 $8,500 83 $3,750 87 $2,800 89 $6,000 90 $8,000 91 $1,500

92 $1,500 93 $7,500 94 $3,200 96 $5,000 97 $4,750 98 $5,250 99 $1,700 101 $2,000 102 $1,400 105 $1,400 106 $3,300 107 $900 108 $25,000 109 $3,750 113 $3,000 114 $2,100 115 $2,400 116 $2,000 117 $1,600 118 $2,600 119 $1,600 120 $1,900 121 $1,600 122 $1,500 123 $1,000 124 $2,000 125 $1,700 126 $1,900 127 $1,000 128 $1,900 129 $1,500 130 $5,250 131 $2,000 133 $1,400 135 $2,000 137 $300 139 $1,900 140 $500 141 $550 142 $300 Contemporary & Modern Art 2 December 2015 1 $5,250 2 $3,500 3 $600 4 $6,000 5 $1,200 6 $2,000 7 $9,500 8 $9,500 9 $12,500 10 $2,900 12 $1,000 15 $14,500 17 $9,000 18 $6,000 24 $400 25 $2,600 27 $5,250 28 $2,600 29 $500 30 $600

31 $675 32 $3,500 33 $2,750 34 $6,500 35 $3,750 36 $4,250 37 $4,000 38 $2,200 40 $100 41 $750 42 $750 43 $750 45 $25,000 46 $13,500 47 $42,000 49 $22,000 50 $2,100 52 $1,200 53 $1,500 55 $2,000 56 $4,000 57 $4,400 61 $4,250 62 $5,000 63 $700 64 $825 65 $260 66 $1,250 67 $1,000 68 $1,000 69 $1,000 70 $750 71 $800 72 $3,100 73 $3,400 74 $3,100 75 $320 76 $350 77 $300 78 $500 79 $300 80 $200 81 $180 82 $600 83 $400 85 $1,000 86 $425 87 $300 88 $200 89 $300 90 $425 91 $340 94 $2,000 96 $950 97 $1,600 98 $800 101 $900 102 $4,000 103 $3,000 104 $1,400 105 $1,600 106 $500 107 $5,750 108 $4,000 109 $2,500

www.fineartauction.co.nz 110 Important & Rare Art 6:30pm Wednesday 6 April 2016

110 $1,650 111 $950 113 $1,000 115 $300 116 $300 117 $5,750 119 $1,050 121 $3,250 122 $1,700 123 $1,000 124 $1,000 125 $100 126 $2,500 127 $2,500 128 $1,200 129 $1,000 130 $2,200 131 $700 132 $900 133 $1,000 134 $2,800 135 $900 136 $700 137 $1,600 138 $850 139 $1,000 140 $500 141 $500 144 $1,800 145 $300 146 $900 149 $850 150 $900 151 $300 152 $1,150 153 $490 154 $825 155 $1,300 156 $300 157 $300 158 $750 159 $400 160 $500 161 $600 163 $650 169 $2,400 170 $600 171 $1,300 172 $1,025 173 $120 174 $525 Collectable Art 23 February 2016 1 $7,000 2 $240 3 $1,200 4 $1,500 5 $2,200 6 $3,000 7 $300 8 $300 9 $375

10 $300 11 $2,700 12 $300 13 $750 14 $300 17 $5,250 18 $2,200 19 $1,400 20 $1,600 22 $400 23 $4,600 25 $1,050 26 $1,050 27 $1,500 28 $400 29 $1,000 30 $1,850 31 $650 32 $500 33 $400 34 $375 35 $2,750 36 $450 37 $5,250 38 $1,300 39 $700 40 $700 41 $400 42 $2,000 43 $2,400 44 $3,800 45 $1,000 46 $750 47 $1,050 48 $1,950 49 $500 50 $2,000 52 $2,000 53 $1,500 54 $900 55 $950 56 $10,000 57 $800 58 $1,050 59 $1,300 60 $16,000 61 $7,500 62 $750 63 $950 64 $1,200 65 $550 66 $900 67 $3,800 68 $200 69 $500 70 $1,900 71 $3,750 73 $900 74 $400 75 $4,250 76 $900 77 $500 78 $600 79 $500 80 $850

81 $2,000 82 $500 83 $3,500 84 $1,150 86 $1,500 87 $1,400 88 $900 89 $200 90 $1,400 91 $450 92 $2,500 93 $1,300 94 $200 95 $325 96 $180 97 $200 98 $140 99 $600 100 $200 103 $550 104 $200 105 $300 106 $1,000 107 $200 108 $800 109 $175 110 $800 111 $1,050 112 $300 114 $50 115 $100 116 $400 118 $400 121 $2,000 122 $650 123 $1,000 124 $350 126 $500 128 $100 130 $1,400 132 $1,000 133 $900 134 $2,700 135 $950 136 $320 137 $800 138 $100 139 $800 140 $1,100 141 $100 142 $150 143 $400 146 $700 147 $700 151 $125 152 $100 155 $1,550 157 $1,500 158 $500 159 $200 160 $100 162 $300 163 $2,200 164 $100 165 $700 166 $400

167 $400 168 $200 170 $550 171 $550 172 $45 173 $1,000 174 $400 175 $1,750 176 $425 178 $100 179 $900 180 $500 181 $350 182 $450 183 $275 184 $200 185 $200 186 $1,100 187 $550 188 $3,000 189 $300 190 $1,500 191 $1,800 192 $200 194 $2,000 195 $500 196 $100 197 $280 200 $200 201 $300 202 $250 203 $340 204 $200 205 $100 207 $250 208 $2,600 209 $725 210 $300 211 $500 213 $300 214 $200 215 $500 216 $300 217 $700 218 $300 220 $200 222 $200 223 $100 224 $160 225 $125 226 $500 227 $175 228 $500 229 $100 230 $800 231 $375 232 $160 233 $800 234 $200 235 $700 236 $100 237 $350 238 $100 240 $500 241 $50

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 8 April 2016 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.

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

111

Index ALDIS A E....................................................... 100

HODGKINS F.............................................. 50, 51

SAVAGE C..................................................... 113

ANGUS R.......................................................... 68

HOTERE R......................................................... 25

SHERWOOD M.......................69, 70, 71, 77, 133

ANGUS N C R............................................ 62, 67

HOYTE J B C............................ 46, 57, 58, 73, 75,

SIDDELL P................................................. 1, 4, 33

AUBREY C........................................................ 74

..................................... 80, 81, 82, 110, 114, 115

SMITHER M....................................................... 21

BACKHOUSE J P............ 102, 106, 107, 108, 109

KAHUKIWA R.................................................... 12

STODDART M O....................... 52, 53, 54, 55, 56

BADCOCK D............................. 93, 96, 121, 122

KIRKWOOD H W............................ 103, 103, 105

SUTTON W A (BILL)............................... 28, 31, 63

BAKER W G.................................... 124, 130, 131

LOVELL-SMITH R............................. 126, 127, 128

TAPPER G..................................................... 6, 22

BARRAUD C D................................................. 87

LUSK D.............................................................. 34

THOMPSON S L........................ 26, 29, 30, 91, 92

BERNALDO A T.............................................. 119

MAUGHAN K..................................................... 7

TOLE J............................................................. 132

BINNEY D.................................................... 41, 43

MCARTHUR P................................................... 13

TORNQUIST H H................................................ 32

BLOMFIELD C....................................... 44, 65, 99

MCCAHON C............................................ 38, 42

VAN DER VELDEN P........................................ 95

BRAITHWAITE J................................................... 5

MCINTYRE P..............................27, 36, 61, 64, 72

VON MEYERN E............................................. 134

BROWN N.......................................................... 2

MENZIES GIBB W.............................................. 90

WALSH A W..................................................... 86

BUSH K................................................................ 9

MILLAR J............................................................ 3

WALTER L.......................................................... 11

CHALMERS N................................................. 123

MOFFITT T......................................................... 23

WEEKS J.................................... 16, 17, 18, 39, 40

CHING R.......................................................... 24

MUTCH T.................................................... 15, 19

WESTRA A........................................................ 10

CHRISTMAS E W..................................... 101, 125

NICHOLAS D.................................................... 14

WHITE R............................................................ 35

CUMMINGS V ....................................... 116, 117

O’BRIEN G..................................................... 129

WILDING C...................................................... 59

DEANS A A................................................ 76, 78

ORBAN D....................................................... 118

WILSON L W............................................. 88, 135

ELLIS R.............................................................. 60

PAGE E............................................................. 49

WILSON T......................................................... 79

ESPLIN T.................................................. 111, 112

PEELE J............................................................. 89

WOLFE E........................................................... 20

FEU’U F............................................................. 37

PERRETT J D...................................................... 98

WORSLEY C N.................................................. 97

FLINT SIR W R.................................................. 120

PRUDEN G E.............................................. 47, 48

WRIGHT F......................................................... 83

GOLDIE C F............................................... 45, 66

RICHMOND D K........................................ 84, 94

HANDCOCK C W............................................ 85

ROBINSON A..................................................... 8

112 Important & Rare Art 6:30pm Wednesday 6 April 2016

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