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.
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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.
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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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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
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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
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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.
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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
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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
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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
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MARGARET OLROG STODDART
ESTIMATE $3,000 - 5,000
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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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JOHN BARR CLARKE HOYTE
ESTIMATE $8,000 - 12,000
1835 - 1913 Judges Bay, Auckland Watercolour 24 x 45 Signed
62 Important & Rare Art 6:30pm Wednesday 6 April 2016
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.
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60
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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
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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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RITA COOK NEE’ ANGUS
ESTIMATE $14,000 - 18,000
PROVENANCE Ex Collection of Sir & Lady Ivor Richardson, Wellington
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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
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67
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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
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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.
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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
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69
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69
MAUD SHERWOOD
1880 - 1956 Brittany Market Watercolour 45 x 53 Signed
ESTIMATE $5,000 - 8,000
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MAUD SHERWOOD
ESTIMATE $2,500 - 3,500
1880 - 1956 Market Scene, Naples Watercolour 25 x 30.5
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71
MAUD SHERWOOD
ESTIMATE $2,500 - 3,500
1880 - 1956 Fruit Stall, Brittany Watercolour 28 x 28.5 Signed
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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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CHRISTOPHER AUBREY
ESTIMATE $10,000 - 15,000
1830 - 1902 The Mirror Lakes, Fiordland Watercolour 46 x 63 Signed & dated 1885
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JOHN BARR CLARKE HOYTE
1835 - 1913 Coromandel Watercolour 48 x 69 Signed ESTIMATE $15,000 - 20,000
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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
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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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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
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JOHN BARR CLARKE HOYTE
81
JOHN BARR CLARKE HOYTE
1835 - 1913 Lake Wanaka Watercolour 32 x 62 Signed ESTIMATE $8,000 - 12,000
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1835 - 1913 Mt Egmont Watercolour 24 x 38 ESTIMATE $2,000 - 4,000
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JOHN BARR CLARKE HOYTE 1835 - 1913 Otira Valley Watercolour 41 x 66 Signed & dated 1874
ESTIMATE $20,000 -30,000
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85
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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
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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
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LAURENCE WILLIAM WILSON
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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
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92
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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
88 Important & Rare Art 6:30pm Wednesday 6 April 2016
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
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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
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1837 - 1913 Cottage Interior Oil on board 27 x 34.5 Inscribed verso
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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
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JOHN DOUGLAS PERRETT
ESTIMATE $4,000 - 6,000
1859 - 1937 Lake Manapouri Oil on canvas 60 x 90 Signed
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99
CHARLES BLOMFIELD 1848 - 1926 Lake Wakatipu Oil on canvas 19 x 35 Signed & dated 1888 ESTIMATE $2,500 - 3,500
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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
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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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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
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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
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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
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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
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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
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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
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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
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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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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
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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
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