April 2017 web

Important & Rare

Tuesday 4 April 2017

202 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 www.fineartauction.co.nz

Important & Rare Art 6:30pm Tuesday 4 April

202 PARNELL RD AUCKLAND PO BOX 37 344 TEL +64 9 379 4010 www.fineartauction.co.nz

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Adam Firth Photography Adam Firth Photogrpahy 2 Important & Rare Art Tuesday 4 April 2017

LOCATION & WHERE TO PARK

VIEWING EXHIBITION TIMES International Art Centre, 202 Parnell Road, Auckland Tuesday

28 March

9:00am - 5:30pm

Wednesday

29 March

9:00am - 5:30pm

Thursday

30 March

9:00am - 5:30pm

Friday

31 March

9:00am - 5:30pm

Saturday

1 April

10:00am - 4:00pm

Sunday

2 April

11:00am - 4:00pm

Monday

3 April

9:00am - 5:30pm

Tuesday

4 April

9:00am - 1:00pm

Parking During Viewing: Allocated carparks located directly behind International Art Centre Parking During Auction: Upper and lower carparks at rear of International Art Centre Further parking at St John’s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre

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Auction info

Evening of sale

Absentee bid form

p. 115

Conditions of Sale

p. 117

Index

p. 118

Please join us from 5.30pm for a glass of wine Please register for bidding number at viewing or on evening of sale Works purchased may be uplifted at close of sale or the following day 10:00am - 5:00pm Payment may not be made during auction

Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 0274 751 071 Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

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

Cover illustration: Lot 55 Back cover:

Lot 33

Inside front cover: Lot 43 Inside back cover: Lot 20

202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 379 4010 www.internationalartcentre.co.nz

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FRANCES HODGKINS The Dye Yards (The Dyer’s Courtyard) 1903 Watercolour, 305 x 236 mm Courtesy of the Field Collection Trust

Adam Firth Photogrpahy

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Kāpiti Coast District Gallery

FRANCES HODGKINS The Black Scarf (Maori Woman’s Head) 1913 Watercolour on board, 384x 274 mm Courtesy of the Field Collection Trust

CHARLES FREDERICK GOLDIE Fetched $1.377 million April 2016 The first painting to fetch over $1 million at auction in New Zealand and a record price for a Charles F Goldie painting at auciton.

On loan to Auckland Art Gallery for three years courtesy of owner.

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2016 Auction report & highlights 2016 was a momentous year for International Art Centre with a succession of memorable and exciting events. Achieving $1.377 million for the sale of Charles Frederick Goldie’s A Chieftain of the Arawa Tribe - Wharekauri Tahuna, the first painting to be sold for over $1M at auction in New Zealand was a highlight. This painting is now on loan to Auckland Art Gallery. The sale of Wharakauri Tahuna eclipsed International Art Centre’s 2013 record for a work by this artist of $732,800, while consolidating our strong market position in the sale and promotion of C F Goldie’s works. However, perhaps the most significant event of 2016 was our move to sparkling new premises

at 202 Parnell Rd. Previously operating from the same address since 1971 it was time for a refreshing change, affording clients gallery and auction room facilities on one level. This has proved to be a great decision enjoyed by all. Our inaugural Important & Rare sale realised over $2.5M, the highest total for a mixed vendor sale in 2016. This was followed by a further record result as $800,000 worth of art came under the hammer at our Modern & Contemporary auction. Numerous records were attained throughout the year resulting in record turnover for the New Zealand art market as a whole.

Peter Siddell fetched $110,000

Peter McIntyre fetched $26,000

Pat Hanly fetched $80,000 Colin McCahon fetched $62,500

C D Barraud fetched $50,000

Colin McCahon fetched $34,000

J B C Hoyte fetched $57,500

above attract premium4 April 2017 8Results Important & Rarebuyers Art Tuesday

Ian Scott fetched $13,300

Colin McCahon fetched $300,000

Important & Rare Art

Consign now - July 2017

Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand.

These auctions take place three times a year. As we fast approach our 50th year in business, experience continues to equal results.

2014 saw Important & Rare auctions realise five of New Zealand’s top ten auction prices. The following year saw new records set with the two top prices in Auckland achieved. With the addition of the record $1.175 million plus premium paid for a C F Goldie in April’s 2016 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

202 Parnell Road, Auckland - Adam Firth Photography

Entries Invited Now Consign Now Contact Richard Thomson: Ph +64 9 379 4010 Mob 0274 751 071 Email richard@artcntr.co.nz Confidentiality assured

C F Goldie fetched $370,000

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Dick Frizzell fetched $34,000 Michel Tuffery fetched $7,100 Mary McIntyre fetched $17,500

Highlights from 2016 Modern & Contemporary Art Auctions

Heather Straka fetched $9,000 Results above attract buyers premium

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Max Gimblett fetched $55,000

Karl Maughan fetched $31,000

Modern & Contemporary Art 16 May 2017 International Art Centre's sales of Modern and Contemporary art play an integral role in providing market access to the most sought-after artists many of whom have defined New Zealand's art narrative over the past 50 years. These sales present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of mid-century modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar.

Consign Now Entries close 21 April Contact Richard Thomson: Ph +64 9 379 4010 Mobile 0274 751 071

JOHN REYNOLDS Burning Bush, 1992 Mixed media on paper 70 x 80cm

Email richard@artcntr.co.nz

BILLY APPLE, The Given as an Art-Political Statement, 1980, Set of four screen prints

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Artist’s Estates International Art Centre’s decades of experience in the auction arena have been underpinned by the consistent delivery of excellent results for our clients, and over the years we have distinguished ourselves as the trusted, go-to institution for the handling of artist estate sales. Notable artist estates which have in the past been entrusted to International Art Centre include such prominent names as Douglas Badcock, Ruth Brown, Ida Carey, Gaston De Vel, Gabrielle Hope, Kase Jackson, Evelyn Page, William James Reed, Peter & Sylvia Siddell & John Weeks. Acting with discretion, care and the affordance of specialist expertise, we provide an end-to-end service which guarantees ease of process for the vendor.

The delivery of a bespoke marketing approach which will ensure all works, regardless of value, are presented to their best advantage and achieve their full market potential, are part of the service.

Ruth D Browne fetched $2,700 February 2017 establshing a new art auction record for the artist. From Artist’s Estate Collection.

For a confidential, obligation-free discussion around our handling of artist estates, and the services International Art Centre offer.

Contact: Richard Thomson +64 +9 379 4010 richard@artcntr.co.nz Mob. 0274 751 071

Collectable Art

If you are considering selling an artist’s estate or studio collection contact: Richard Thomson +64 +9 379 4010 richard@artcntr.co.nz Mob. 0274 751 071 Luke Davies +64 +9 379 4010 luke@artcntr.co.nz 12 Important & Rare Art Tuesday 4 April 2017

The buzz generated by our regular Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Collectable Art auctions offer a number of lowerpriced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.

February 2017 Auction highlights

Artist’s Estates & Collectable Art International Art Centre commenced the 2017 auction season with an interesting offering of over two hundred paintings in February’s Artist’s Estates & Collectable Art auction. Eleven important Artist’s Estate Collections came under the hammer resulting in a pleasing 95% sale rate on the night. The estate paintings were augmented by mixed vendor entries of Australasian and European artworks.

International Art Centre’s Collectable Art auctions increasingly provide excellent and enjoyable purchasing opportunities for first time buyers through to avid collectors. Positive market response was clearly evident with lively bidding from the floor and on the phones achieving an overall success rate of 86%.

Gabrielle Hope fetched $2,100

Philip Holmes fetched $3,600

Ida Carey fetched $5.600

John Weeks fetched $2.600 Results above attract a buyers premium

Don Binney fetched $10,700

William J Reed fetched $3,000

Peter Siddell fetched $10,500

Peter Beadle fetched $2,000

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Masterpieces from Tate 18 March—16 July 2017 Indemnified by

Exhibition partners

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The presentation of this exhibition is a collaboration between Tate and Auckland Art Gallery Toi o TÄ maki.

Auguste Rodin The Kiss 1901–4 Pentelican marble Tate: Purchased with assistance from the Art Fund and public contributions 1953 Photo credit: ŠTate, London 2017

1 PETER SIDDELL 1935 - 2011 Backyard

Oil on panel 62 x 42

Signed & dated 1983

$12,000 - 18,000

Provenance:

Collection of the artist’s family

Exhibited:

Suburban Morning, Louise Beale Gallery, Wellington

May, 1983

The exhibition leaflet quotes Peter Siddell:

Somewhere in these paintings is a childhood memory

of early mornings as a newspaper delivery boy in

the streets of suburban Auckland.

From the Real World, Works by Alvin Pankhurst, Glenda Randerson, Peter Siddell, Grahame Sydney and Brent Wong Southland Museum and Art Gallery, August 1984

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MICHAEL SMITHER b. 1939 Taranaki Landscape Oil on board 22 x 54 Signed & dated 1974

$15,000 - 20,000

Provenance:

Private Collection, Auckland since c. 2000

Exhibited

Michael Smither Paintings, Barry Lett Galleries, Auckland 1974

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RALPH HOTERE 1931 - 2013 Untitled

Ink on paper 62 x 47.5

Signed, inscribed For Peter & dated 19/9/1970

$7,000 - 10,000

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$1,200 - 1,800

Provenance:

Private Collection Exhibited Roy Good: Spiral Series, Aberhart North Gallery 1990

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ROY GOOD b. 1945 Spiral Series, 1988 Pencil and gouache on paper 39 x 30 Signed, inscribed & dated 1988

ROY GOOD b. 1945 Spiral Series, 1988 Pencil and gouache on paper 35 x 32 Signed, inscribed & dated 1988 $1,200 - 1,800

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PAT HANLY 1932 - 2004

Summer Bride + Groom Screenprint, edtion 18/19, 52 x 63 Signed, inscribed & dated 1990 $2,000 - 3,000

PAT HANLY 1932 - 2004

Bride Groom Accidents Screenprint, edtion 21/25, 52 x 63 Signed, inscribed & dated 1990 $2,000 - 3,000

PAT HANLY 1932 - 2004

Bride + Groom Screenprint, edtion 20/29, 52 x 63 Signed, inscribed & dated 1990 $2,000 - 3,000 Provenance Lots 6 - 8: Acquired directly from the artist by current owners 1990

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IAN SCOTT 1945- 2013 Lattice No 18 Acrylic on canvas 81.4 x 81.4 Signed, inscribed & dated July 1978 verso

$6,000 - 8,000

Provenance:

Collection of the artist’s brother since 1978 Illustrated:

p. 34 Issue #13, Art New Zealand, 1978

Ian Scott’s Lattice No 18 is a unique example as it was the first of his Lattice Series created soley in black and white.

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JENNY DOLEZEL b. 1964

$8,000 - 12,000

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The Rehearsal II Oil on canvas 60 x 76 Signed & inscribed

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RALPH HOTERE 1931 - 2013

Nude Study #2, 1971

Ink on paper 30 x 20 Signed

$5,000 - 7,000

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RALPH HOTERE 1931 - 2013

Nude Study #6, 1971

Ink on paper 30 x 20 Signed

$5,000 - 7,000

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MILAN MRKUSICH b. 1925 Painting Dark Umber Acrylic on canvas 60.5 x 60.5 Signed, inscribed & dated 1968 verso

$18,000 - 28,000

Provenance:

Private Collection since 1968

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NIGEL BROWN b. 1949

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$7,000 - 12,000

$8,000 - 12,000

Our thanks to Piera McArthur for providing the correct title of this work

Haparapara River Area Skyline - near Te Kaha, East Coast Oil on canvas 60 x 75 Signed & dated 1996 Inscribed verso

Nigel Brown has travelled and painted extensively in locations as varied as Antartica, Japan and Russia. He has also organised his own painting trips throughout New Zealand. A favourite area for his plein air work being the East Coast of the North Island. These lesser known, unique works differ from his usual symbolic manner of working.

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PIERA MCARTHUR b. 1929

Eine Kleine Nachtmusik

A Little Night Music

Oil on canvas 152 x 210 Signed

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PETER SIDDELL 1935 - 2011 House in the Hills Oil on board 60 x 80 Signed & dated 1973

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PETER SIDDELL 1935 - 2011 Sea Level, 2000 Oil on canvas 88 x 120 Signed & dated 2000

$5,500 - 8,500

$25,000 - 35,000

Provenance:

Private Collection, Auckland

Provenance:

Private Collection, Auckland

Purchased from Artis Gallery, Auckland 2000

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Illustrated p. 218 - 219 The Art of Peter Siddell, Peter Siddell & Michael Dunn, Godwit publishers 2011

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TOSS WOOLLASTON 1910 - 1998

$7,000 - 9,000

Brown Acre

Watercolour 32 x 46 Signed

Provenance:

Collection of Artaka Art Collective

19 MICHAEL SMITHER b. 1939 Summer

Acrylic on paper 44 x 66

Signed & dated 1987

$6,000 - 8,000

Provenance:

Collection of Artaka Art Collective

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DARRYN GEORGE b. 1970 Atua 5 Oil on canvas 76 x 102 Signed, inscribed & dated 2011 verso

$10,000 - 12,000

Provenance:

Collection of Artaka Art Collective

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PHILIP CLAIRMONT 1949 - 1984

Untitled - Portrait of My Wife

Mixed media on paper 18 x 14 Signed

$6,000 - 8,000

Provenance:

Ex Collection Duncan McKay

Collection of Artaka Art Collective

22 LEO BENSEMANN 1912 - 1986

Karamea Bluff

Oil on board 47 x 78 Signed

$20,000 - 30,000 Provenance:

Collection of Artaka Art Collective

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23 TOSS WOOLLASTON 1910 - 1998

Grey River

Watercolour 26.5 x 37.5 Signed & dated 1961

$5,000 - 7,000

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DON BINNEY 1940 - 2012 Hauturu from Pukematakeo I Crayon on paper 14.6 x 20.5 Signed & dated 2004

$6,500 - 8,500

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LOUISE HENDERSON 1902 - 1994

Coromandel Landscape

Oil on canvas 75 x 103 Signed

$6,000 - 10,000

Provenance:

Private Collection, Auckland

Purchased from exhibition Headlands,

Barrington Gallery, Auckland, 1977

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NIGEL BROWN b. 1949 Lagoon

Oil on board 120 x 80

Signed & dated 1992 Inscribed Based on a Rarotonga Trip verso

$8,000 - 12,000

Pacifica became a preoccupation for Nigel Brown in the early 1990s. Links with a family in Titikaveka, a village in in the Cook Islands and attendance at Pacific Art festivals played their part in inspiring new directions for the artist.

This pacific consciousness also led to the study of Captain Cook and a search for simplicities in symbolism, along with the emergence of contemporary Pacific art.

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NIGEL BROWN b. 1949

$13,000 - 18,000

I May Be, 2000 Oil on linen 83 x 151 Signed, inscribed & dated 2000

Nigel Brown’s I Am paintings began as a prop for an episode of the television series Shortland Street. Later the artist sketched at Muriwai, where his former teacher Colin Mc Cahon had lived and painted. A series of works resulted in several exhibitions echoing Colin McCahon’s Necessary Protection series.

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JOHN WEEKS 1886 - 1965

$7,000 - 10,000

Sporting Life Oil on canvas 71 x 66

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JOHN WEEKS 1886 - 1965

Arab Marketplace

Oil on board 36.5 x 47.5 Signed

Certificate of Authenticity signed

by Allan Swinton & Hilda E

O’Connor affixed verso

$8,000 - 12,000

Provenance:

Ex Artist’s Estate Collection

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30 BUCK NIN 1942- 1996

Banner Moon - Land Protest

Acrylic on board 140 x 125 Signed

Inscribed & dated Hamilton 1992 verso

$10,000 - 15,000 Provenance:

Collection of Darcy & Anne Nicholas, Wellington

Acquired directly from the artist, 1992 Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, approachability and will to work with people from all walks of life. Buck was a larger-than-life character, not only physically but also because of his considerable intellect and energy.

The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, often set against the backdrop of a minimalist landscape.

These patterns spread across the picture plane like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth, Papatuanuku.

Buck Nin, Ralph Hotere, Selwyn Muru and Sandy Adsett are acknowledged as four of our major contemporary Maori painters. Contemporary Maori sculptors like Arnold Wilson, Fred Graham, Cliff Whiting and Para Matchett were already a major part of the emerging Maori art movement in the late 50’s. Together these artists formed the dynamics of a contemporary Maori art movement that has expanded across the globe. Nin floated the imagery of Maori carvings across the land claiming spiritual ownership. When he died Maoridom lost one of its greatest sons. History will show him as one of Maoridom’s and subsequently New Zealand’s great contemporary artists.

Darcy Nicholas

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Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori art. Dr Buck Nin’s work was inspired by both his Maori and Chinese ancestry.

His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.

Darcy and Anne Nicholas are deacessioning their extensive art collection.

Darcy received a Queens Service Order (QSO) for his services to Museums. In 2013 he was given the supreme award for Maori arts, Te Tohu mo Te Arikinui Dame Te Atairangikaahu Te Waka Toi Exemplary Award.

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MARK CROSS

b. 1955

Dark Reef, 1989

Oil on board 120 x 160 Signed

$20,000 - 30,000 Provenance:

Private Collection, Auckland

In 1988 we went to Niue for four months during which time the French were giving conditionally, large aid packages to the Pacific Islands against the background of New Zealand’s antagonism toward nuclear weapons testing.

I saw this as an insidious infiltration, manipulation and exploitation of the naivety of the various island states. The children in their vast lagoon become the islands and weaker countries of the world and the usually harmless, but actually deadly, banded sea krait makes a most appropriate metaphor for the nuclear powers and the eight or so strongest industrialised countries that continue to manipulate and manoeuvre the rest of the world. Mark Cross Born in Auckland in 1955. In 1978 Mark Cross moved with his family to his wife’s village, Liku, in Niue. During these early years Cross developed a strong philosophic and stylistic foundation. There was disillusionment with the institutional oriented nature of the art scene in New Zealand and the isolation provided both the inspiration and lack of distraction needed to develop his work in an individualistic way.

Having achieved this he returned to New Zealand in 1982 seeking a market for his work and since then he has developed a reputation as one of the South Pacific’s leading realist Artists.

Cross now divides his time between studios in Niue and New Zealand and although the work is very specific in it’s detail, reference to these countries

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is restricted to the use of local elements for the creation of a timeless, lateral world where his figures act out and question the foibles of humanity but never try to proffer answers.

The linear perspective of history has been replaced by a cyclical understanding of time, an understanding that the artist has achieved by his closeness to nature while in Niue. Cross’s figures are totally integrated with the landscape and there’s never a feeling that nature is dominated by human kind. This is the basis of a complex philosophy that the artist transfers into his images and in their ethereal, visionary way the works warn of the dire ecological imperatives that face both a small island and a planet.

Mark Cross has achieved through his work a uniqueness that avoids the trappings of regionalism, so often associated with realism, and replaces them with an acutely perceptive world view. During the nineties however the artist has ventured into other areas of art production with the establishment of a sculpture park in the rain forest in the east of Niue. A collaboration with his wife and several other artists, crafts people and musicians saw the creation of the Shrine to Abundance, an installation inside a shipping container that toured Australia, New Zealand and Rarotonga. His paintings however are his main focus and are to be found in many private and corporate collections in Australasia, America and Europe.

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EDWARD BULLMORE 1933 - 1978 Cuba Crisis Oil on canvas 100 x 76 Signed & dated 1962 $25,000 - 35,000

Provenance:

Purchased from the artist by the current owner , c. 1962 Exhibited:

Edward Bullmore 1933-1978, Rotorua Art Gallery, 1979.

Edward Bullmore hailed from Balfour, Southland. He attended Canterbury University College, Christchurch, with Pat Hanly and Bill Culbert. Having taught at Tauranga Boys’ College in the late 1950s he headed to Florence, with his wife and fellow artist, Jacqueline. The Bullmores spent six months in Italy and then in early 1960 relocated to London, staying until the end of 1969. During that time, Bullmoe taught at various art schools, and exhibited widely, attracting critical attention from the art world. Amongst collectors of his work from this era was filmmaker Stanley Kubrick, who featured two of Bullmore’s works in A Clockwork Orange (1971).

Begun in late 1962 and completed in 1963, the Cuba Crisis Series consists of seven works – some are paintings whereas others combine painting and collage. Upon arriving in London, Bullmore’s work almost instantly began to reflect contemporary events and sentiments of a world threatened by nuclear war. Described as ‘nuclear paranoia’, Bullmore was swept up with the feeling of the unknown and fearful of what the future might bring. He was not alone; on April 18 1960, 100,000 people gathered in Trafalgar Square to protest against the ‘H’ bomb. More specifically, against the backdrop of the Cold War, the Cuban Missile Crisis (16-28 October 1962) saw a confrontation between the Americans and Soviets over the former’s ballistic missile deployment in Italy and Turkey, with consequent Soviet ballistic missile deployment in Cuba. The threat of nuclear warfare was very real.

In this work, Bullmore depicts the atrocities of what he imagined a nuclear war could look like. In the foreground, skulls fuse together as if melted or nuked; people have lost their individuality and identity, becoming mere statistics as a result of nuclear warfare. The middle ground, a drop cloth acts as a screen containing mysterious gloomy shapes. Smokey in colour and giving the appearance of shadows, is this the aftermath of a war-torn cityscape? The ambiguity around some elements typifies this series and is symbolic of a population poised, unsure of the future. Rising in the background are two groups of chimneys – they could be industrial but are more likely to

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represent death chambers. The blue sky offers a small glimmer of hope for humankind. This work, as indeed the entire series, is raw and dark in subject matter. It is evocative of a worried man, father, husband and artist. Bullmore had travelled to London to informally further his art education but what he found was a city fearful and attuned to war. The great distance from Southland, New Zealand, was never far from his mind.

Surreal in their content, this series of works were painted with sharp and detailed rendering. The tight and ordered compositions are very much indebted to his formal New Zealand art education. Stylistically more surreal than anything he painted to date, the Cuba Crisis Series called on such antecedents as Picasso’s Guernica and Dali’s grotesque forms in Boiled Beans and Skeletons of Bishops. Bullmore also explored new ways of combining materials in this series by including collage. By not using materials in the conventional manner, Bullmore created rawness, aligned with his thinking of the time. In other works from the series, vertical strips of roughly ripped canvas allude to the disfigurement and double as bandages.

Bullmore spent a decade in London where he taught and exhibited. He made his solo debut at London’s Tama Galleries, with his shaped canvases, and later in 1967 in Exeter exhibiting in a Surrealist exhibition, The Enchanted Domain. Bullmore returned to New Zealand in late 1969 taking up a teaching position at Rotorua Boys’ High School. The Cuba Crisis Series offer scenes of morbidity – grotesque and raw both in subject and how Bullmore executed them. It was not until Bullmore reached London that political crises affected his art and thus changed his way of seeing the external world, and most particularly the landscape. The contrast of a nuked environment compared with New Zealand’s clean and green image was vast.

Penelope Jackson

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33 FELIX KELLY 1914 - 1994

The Kilns, 1955

Oil on board 38 x 52 Signed

$12,000 - 18,000 Provenance:

Ex Collection of Tyrone Power, Beverley Hills, CA, USA

Letter from Arthur Jeffress Gallery dated December 6th, 1961 affixed verso

Exhibited:

Recent Paintings by Felix Kelly, 13 November - 7 December, 1956

Arthur Jeffress, 28 Davies Street, London Label affixed verso Reference:

p. 274 - 275 Fix, The Art and Life of Felix Kelly, Donald Bassett, 2007

Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned.

In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress.

Great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales.

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His most celebrated project was the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s.

Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. A quirky humour pervades his work.

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

The Kilns was sold directly to movie star Tyrone Power, Beverley Hills by London dealer Arthur Jeffress. The work remained in his collection until his death in 1958. Since then it has remained in Beverley Hills, California.

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34 GARTH TAPPER 1927 - 1999

Board Players, 1960

Oil on board 44.5 x 34.5 Signed

Inscribed & dated 1960 verso

$3,500 - 4,500

Provenance; Ex Collection of Dr Lindsay Pool

35 FELIX KELLY 1914 - 1994

A Manor House

Oil on board 57.1 x 72.4 Signed

$10,000 - 15,000

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GARTH TAPPER 1927 - 1999 Black Gold Oil on canvas 140 x 200 Signed & dated 1987

$60,000 - 80,000

Provenance:

Private Collection, Auckland since 1987 Of Waikato born Garth Tapper, art critic Hamish Keith wrote: … he is completely with the mainstream of New Zealand life and reports upon it. He is perhaps the only genuine social observer we have in New Zealand and should be cherished for that.

All of Keith’s observations ring true in Tapper’s major 1987 work, Black Gold. The once familiar sight of road workers clad in grey overalls, leaning on shovels is captured to great effect by Tapper’s erudite brush stokes. Choosing a limited palette of grey, blue, turquoise and white Tapper positions his men at work against a backdrop of soft green hills. The title Black Gold is a reference to the laying of tar-sealed roads and the awarding of lucrative government roading contracts. From a 21st century vantage point the element of social commentary is increasingly appreciated in Tapper’s work. Black Gold was painted in one of the most pivotal decades of New Zealand’s history, and in a year which saw massive reversals of fortune on the world stage.

Tapper studied at Elam School of Fine Arts from 1945-51. A Carnegie Scholarship enabled him to travel and study in Europe. While at the Slade and Chelsea Schools of Art he made contact with Augustus John and Vivian Pitchforth. Returning to New Zealand in late 1953 Tapper taught at various Auckland secondary schools until 1960. He then joined the staff of Elam School of Fine Arts where he lectured for 17 years before retiring in 1977 to paint full time. Tapper is best known for his figurative paintings of New Zealanders at work and play. He painted the New Zealand of his day creating series as diverse as those based on the legal profession, hotel and bar patrons along with gum-diggers and roadside workers. The passage of time sees these paintings gain momentum, not only in the auction room, but more importantly as visual historical commentaries on New Zealand life in the second half of the 20th Century.

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37 GARTH TAPPER 1927 - 1999

Self Portrait

Oil on board 59 x 58

Signed and inscribed

Garth Tapper for

Garth Tapper & dated cheers 1975

$4,500 - 6,500

38

GARTH TAPPER 1927 - 1999 The Operating Theatre Oil on board 60.5 x 64 Signed & dated 1978 Inscription in artist’s hand verso reads: This painting is from a drawing done in the theatre at the time of the operation. I was and still am invited to do a series of drawings and paintings in this theatre. This is the second one. Garth

$8,000 - 12,000

Provenance:

Private Collection, Taranaki

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40 PETER MCINTYRE 1910 - 1995

Blue Skin Bay, Otago

Oil on board 53 x 74 Signed

$25,000 - 35,000 Provenance:

McGregor Wright Gallery, Wellington, 1976

Private Collection, Europe

Private Collection, Canterbury Blueskin Bay is an estuary just over 25 km north of Peter McIntyre’s birthplace, Dunedin. The name Blueskin unofficially describes the rural district which includes the northern slopes of Mount Cargill, the southern slopes of the Kilmog, and the townships of Doctors Point, Waitati, Evansdale, Warrington, and Seacliff.

The tidal lagoon of Blueskin, is known in Maori as Waiputai, historically referred to a wider stretch of coast from Heyward Point to Seacliff, including Purakaunui.The name Blueskin is after Kahuti, a resident Maori personality of the area, whom Pakeha settlers nicknamed for the large amount of Ta moko (traditional Maori tattooing) on his body. The name had been used in the past as the nickname of a notorious 18th-century London criminal, Joseph Blueskin Blake.

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SYDNEY LOUGH THOMPSON 1877 - 1973

At the Bealey

Oil on canvas 50 x 60 Signed

Inscribed on stretcher verso

$8,000 - 12,000

These days the critically endangered, endemic Hector’s Dolphins live in and around the bay and it remains a popular site for gathering clams. Along with families collecting the shellfish for personal consumption, Southern Clams Ltd collects clams commercially for export here.

Returning from World War II, where he served as both a Captain and New Zealand’s official war artist McIntyre began a long and illustrious post war career. He lived and exhibited in Wellington, frequently undertaking painting trips abroad. In 1962 A H & A W Reed published The Painted Years, the first of eight books he would illustrate and write between then and 1981. Travels to Antarctica, Hong Kong, the Pacific Islands and the American West provided material for these popular publications.

Blue Skin Bay, Otago is a fine example and on the market for the first time

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LOT 41 GOTTFRIED LINDAUER 1839 - 1926 Estimate $350,000 - 450,000

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41

GOTTFRIED LINDAUER 1839 - 1926 Chieftainess Ngatai - Raure Oil on canvas 85 x 66.5 Signed & dated 1884 $350,000 - 450,000

Provenance:

Private Collection, Auckland

p. 16 & 17 NZ Early & Rare, International Art Centre,

Auckland, 1972

Sir Apirana Ngata once described Gottfried Lindauer’s paintings as: the shadow-carving of the European artist. This sentiment reframes Lindauer’s practice in terms of its relationship to Maori culture, offering an interesting basis from which to consider this excellent portrait of Chieftainess Ngatai.

The artist undertook his mission of obtaining a cultural pictorial record of Maori with incisiveness and sincerity. As is the case with many of Lindauer’s portraits, this likeness of Chieftainess Ngatai exudes a gentle soulfulness and realism, evoking a sense of the sitter’s mana. The splendour of her ta moko is accented by the hei tiki around her neck and pounamu earring. Two huia feathers adorn her head, elegantly crowning the work’s pyramid-based composition. Interestingly, her right hand is adorned with a European gold band.

This portrait was completed at an interesting time in the artist’s career. Since their initial meeting in late 1875 in Auckland, Lindauer had been working under the patronage of the English businessman Henry Partridge, his remit in this capacity being the documentation of prominent Maori personages.

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In the early 1880s, however, the artist sold his possessions with the intention of returning to Europe. His associate, the Napier-based photographer Samuel Carnell, convinced him to stay and remain in Napier.

With the support of Carnell and Walter Buller, the noted naturalist and ornithologist, Lindauer undertook a new chapter in his work and went on to travel extensively around the North Island, accepting many more portrait commissions. This portrait of Chieftainess Ngatai is an excellent example from this period. Inspired and influenced by Carnell, photographic concerns had became increasingly central to his work. In this large scale portrait, Lindauer’s mastery of light is particularly striking: a single light-source casts the contours and lines of the Chieftainess’ face into subtle relief, contributing to an almost photographic luminosity on the work’s surface.

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LOT 42 GOTTFRIED LINDAUER 1839 - 1926 Estimate $350,000 - 450,000

17

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42

GOTTFRIED LINDAUER 1839 - 1926 Chief Ngatai - Raure Oil on canvas 85 x 66.5 Signed & dated 1884 $350,000 - 450,000

Provenance:

Private Collection, Auckland

p. 16 & 17 NZ Early & Rare, International Art Centre,

Auckland, 1972

Chieftain Ngatai – Raure is emblematic of Lindauer’s practice: not only has the artist succeeded in conveying a sense of the sitter’s reverential grandeur and chiefly status, but also in expressing his humanity and individuality. The penetrating expressiveness of Ngatai’s gaze which extends beyond the confines of the painted dimension seems to wholly encapsulate this.

This work and its companion portrait are understood to depict two members of the Ngatai family of Tauranga, who are related to Chief Hori Ngatai of the Ngaiterangi tribe. Chief Hori was a distinguished warrior and leader who helped defeat the British at Gate Pa in April 1864, and later went on to establish a marae at Whareroa. The acknowledgement of this familial link is not only genealogically relevant, but also symbolically so, for it places the work within a broader artistic and cultural context: Firstly, the portrait’s existence within the artistic tradition of recording, celebrating and seeking to understand Maori community and culture is significant. Auckland Art Gallery’s 2016 exhibition The Maori Portraits: Gottfried

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Lindauer’s New Zealand comprised a formidable showcase to this effect one in which the breadth and excellence of the artist’s Maori portraits were presented on an unprecedented scale. Collectively, these works comprised a tour de force, affirming Lindauer’s portraiture as an artistic tradition and cultural watershed. Chieftain Ngatai – Raure resonates as a splendid work in its own right,one which exists within a narrative of importance to our national cultural and artistic history.

Trained in the 19th century European school of painting, (Vienna Academy of Fine Arts), Gottfried Lindauer brought a degree of painterly formalism to his portraits of Maori. Stylistically speaking, this work alignes to the tradition of classical portraiture. As is typical of this style, the composition of the portrait is without embellishment or adornment (Ngatai has been depicted against a neutral, studio-like backdrop). Symbolic elements such as the intricatelycrafted mere and the magnificent pounamu earring serve to affirm the sitter’s status and provide further clues to his identity.

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43

FRANCES HODGKINS 1869 - 1947

Methodist Chapel

Gouache on paper 48 x 63 Signed

$120,000 - 160,000 Provenance:

Leicester Gallery, London 1937, purchased by Mrs Fielding

bequeathed to Mr L. Schoeman, 6 Steene Rd,

Pinetown South Africa. From notes and inscriptions affixed verso Aucitoned South African, British & Continental Paintings & Sculpture, August 1993, Stephan Welz & Co, Johannesburg,

John Leech Gallery, Auckland, Fisher Fine Arts Christchurch

Private Collection, Christchurch Exhibited:

Frances Hodgkins 1869-1947, John Leech Gallery, June 1998

New Paintings and Watercolours, The Lefevre Gallery, London,

October - November 1937, cat # 27

Biennale di Venezia, British Council at the Galleries of Hertford

House, 17 May - 8 June 1940 cat # 107 British pavillion of Biennale di Venezia was held at Leicester

Gallery, London due to the outbreak of WWII

Paintings and Watercolours, John Leech Gallery, Auckland,

June 1998 Illustrated:

Front cover, Frances Hodgkins on Display, Galleries Dealers &

Exhibitions 1890 - 1950, Roger Collins & Iain Buchanan,

Hockin Library 2000 Literature:

p. 119, 121 & 122 Frances Hodgkins, Four Vital Years, Arthur

Howell, London 1951

p. 497 Letters of Frances Hodgkins, edited by Linda Gill, Published

by Auckland University Press 1993

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Methodist Chapel was one of 26 images chosen by Sir Kenneth Clark for the 1940 Venice Bienale, held in London due to WWII. Hodgkins discusses the significance of this selection in a letter to her brother, Willie Hodgkins: '‌an invitation from the British Council to represent British Art at the Biennial Exhibition in Venice in April - that is to fill a large sized room in the British Pavilion, the other painters being Duncan Grant, Wadsworth & Munnings - each with a room of their own - a very considerable compliment to your sister one is assumed to be either eminent or dead - perhaps a bit of both - before you can qualify for this honour - it is a very important exhibition. p. 497 Letters of Frances Hodgkins, edited by Linda Gill, Published by Auckland University Press 1993

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FRANCES HODGKINS 1869 - 1947 Isabel Jane Hodgkins Watercolour 24 x 16.5 Signed & dated 1891 $15,000 - 25,000

Provenance:

Formally in the collection of Mrs W N Pharazyn, Wellington

(The Pharazyn Collection)

Private Collection, North Island

Illustrated:

p. 282 Works of Frances Hodgkins in New Zealand, E H

McCormick, Auckland Art Gallery 1954

p. 17 Portrait of Frances Hodgkins, E H McCormick, Auckland University press 1981, 1982, 1990

Literature:

Cat #18, p. 124 Works of Frances Hodgkins in

New Zealand, E H McCormick, Auckland Art Gallery 1954 Note:

This work Isabel Jane Hodgkins has been

reproduced in several publications in black and white. This

is the first time it has ever been reproduced in colour.

This small portrait was painted by the artist for her sister’s fiancé, Will Field. It was the subject of an extensive correspondence, some of which bears on the dating of the portrait and incidentally throws light on the artist’s working methods and disposition at the time. Soon after receiving the gift, Will wrote to Isabel, Touching that picture….. I meant to have asked you when writing last how long Fannie was occupied on it. I noticed she dates it 1891, & so I suppose the dear little soul has been pegging away at it for months & all for my undeserveding self……. To this Isabel replied, Fannie desires me to thank you for reminding her that it is 1892 & not 91 as she thought; Fan persists in leading such a very anchorites (if there is such a word) life utterly oblivious of dates, & you have rudely awakened her to the fact that the world is a year older than she thought. The picture took about a week altogether to paint. She is most anxious that you should understand that it is not a case of cold meat hashed up & she has not been lagging away at it for the last12 months. Will then wrote, I was a little relieved to discover that Fannie had not been occupied over that portrait for a period running into two different years. I should like to alter that 1 into 2. I suppose it can be done.

Evidently the change was never made.

Text from p. 124 Works of Frances Hodgkins in New Zealand, E H McCormick, Auckland Art Gallery 1954 Late in 1891 Isabel went to Wellington to spend a holiday with Miss Holmes of the Dunedin Art Club who now lived in the capital. There she met a young lawyer, William Hughes Field, and by the time she returned home early in February 1892 they had agreed to marry. ‘Will’ Field, as he was called by the Hodgkinses (who thus distinguished him from W M and Willie), travelled to Dunedin later that month to act as best man at a friend’s wedding. During his stay he was introduced to Isabel’s family and their engagement was announced. The meeting is commemorated in a photograph taken in the grounds of Cranmore Lodge. It must have been one of Isabel’s off days. She stands behind her parents, awkwardly posed and unbecomingly dressed.

The most relaxed and attractive figures in the group are Fanny and Will, both seated on the ground. They could easily be taken for the engaged couple.

At their first meeting they had indeed become firm friends and Will left with a promise from the dear little girl that she would paint him a likeness of his fiancée. When a few weeks later he received a small portrait of Isabel, he found difficulty in expressing his gratitude for the lovely picture.

I at once give up all thought of finding adequate words, he wrote, & simply say. Fanny, that I do truly & earnestly thank you from the bottom of my heart.

He went on to encourage the young artist with words discerning praise: I trust that you will persevere in this kind of work, for if you do there must surely be a brilliant future before you.

Text from p. 17 Portrait of Frances Hodgkins, E H McCormick, Auckland University press 1981, 1982, 1990

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45

ISABEL JANE FIELD née HODGKINS 1867 - 1950

Clematis

Watercolour 25 x 17

Signed & dated 3/11/1878

$2,500 - 3,500

Where Frances and Isabel excelled, as could have been predicted, was in the visual arts. Isabel in particlular seemed to have inherited her father’s talent. In her early teens she was already painting landscapes in emulation of his own and soon become his companion not only at sessions of the Art Club but in sketching expeditions to the lakes and mountains of Central Otago. She also displayed her skill in two other genres, the flower painting and the still life. Such was her progress that in 1884, before her seventeenth birthday, she was elected a working member of the Otago Arts Society. The following year she sold her first picture, Clematis, painted when she was just 12 years old, and soon her watercolours were hanging with her father’s on the wall of genteel Dunedin drawing rooms.

Reference: p.10 Portrait of Frances Hodgkins, E H McCormick, Auckland University press 1981, 1982, 1990

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66 Important & Rare Art Tuesday 4 April 2017

WILLIAM MATTHEW HODGKINS 1833 - 1898 Wheat Field Watercolour 14.5 x 35.5 $800 - 1,200 Provenance: Lots 45 & 46: Formally in the Pharazyn Collection

47

ISABEL JANE FIELD 1867 - 1950

Country Road

Watercolour 75.5 x 56 Signed

$10,000 - 15,000 Provenance:

Formally in the Pharazyn Collection

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48

EDWARD BULLMORE 1933 - 1978

Mamuku Landscape (Vista 1) Mixed media on paper 76.5 x 56.5 Cerfticate of Authenticty signed by Artist’s widow Jacqueline Bullmore and Director of Bathhouse Museum, John Perry affixed verso $4,000 - 6,000

Provenance:

Private Collection, Rotorua since c. 1977 Exhibited:

Edward Bullmore - A Tribute Exhibition

26 September 2008 - 30 November 2008,

Rotorua Museum

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49

A LOIS WHITE 1903 - 1984 Untitled - Dancing Women Watercolour 42 x 26 $8,000 - 12,000

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50

CHARLES BLOMFIELD 1848 - 1926

Entrance to Wade River, Whangaparaoa Oil on board 20 x 29.5 Signed & dated 1/1/1890 $3,000 - 5,000

Provenance:

Acquired as a gift from the vendors mother, 1973 (see verso)

Prior to that, same family collection since 1900

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52

CHARLES BLOMFIELD 1848 - 1926 Lake Rotoiti Oil on board 29 x 43 Signed & dated 1905 $5,000 - 8,000

CHARLES BLOMFIELD 1848 - 1926 The White Terraces, Rotomahana Oil on canvas 45.5 x 60.5 Signed & dated 1923 $25,000 - 35,000

Provenance:

Private Collection, Auckland

Illustrated in an article titled Lost Terraces and Paintings Add to Fame

Sunday Star Times, October 1998

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53

JOHN BARR CLARKE HOYTE 1873 - 1913

$10,000 - 15,000

Otira Valley Watercolour 41 x 66 Signed & dated 1874

Provenance:

Private Collection, Auckland

54

JOHN BARR CLARKE HOYTE 1873 - 1913

Auckland Harbour from Mr Thornton’s Residence, Remuera

Watercolour 25 x 85 Signed

Inscribed on original label aiffxed verso

$20,000 - 30,000

Provenance:

Private Collection, Auckland

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55

RAY CHING b. 1939 After the Deluge Oil on panel 56 x 68.5 Signed & dated 1993 - 95 $45,000 - 75,000

Provenance:

Private Collection

Purchased from Everard Read Gallery, Johannesburg,

circa 1996

The body of a bird is not just a prodigiously complicated machine … if you randomly shook up the parts over and over again, never in a million years would they fall into the right shape to fly like a swallow, soar like a vulture, or ride the oceanic up-draughts like a wandering albatross, Richard Dawkins, 2011

For the evolutionary scientist, such as Dawkins, or anyone involved in ornithology, Ching’s works are of immense value insofar as they bear rich and vital witness to our ecological narrative: they serve a documentary function, offering insight beyond what we are capable of perceiving with the naked eye.

After the Deluge & Flotilla are two of Ray Ching’s finest paintings, excellent examples of the compositional mastery with which the artist has conceived and realised both works. There is a grace and deftness in the arrangement of the gloriously diverse grouping of birds in After the Deluge. Ching’s technical brilliance is evident: a brilliance which he has applied to the rendering of hundreds of avian narratives over the years, earning him a place in the canon of New Zealand and International art.

A significant milestone in the artist’s early career occurred in 1966 when his work was noticed by the ornithologist Sir William Collins (of Collins publishing): a meeting led to Ching illustrating Readers Digest Book of British Birds. This New Zealand born, British based artist occupies a unique space in both the art world and the zoological community. For Ching, the feat of immersing himself in these two traditionally-distinct spheres has resulted in remarkable international success. His body of work is of documentary and cultural value to both communities and consistently acquired by collectors worldwide.

Take a moment to consider how this text’s opening quote offers an alternative perspective from which to consider these works.

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56 RAY CHING b. 1939 Flotilla!

Oil on panel 96.5 x 109.2

Signed & dated 1993

$90,000 - 115,000 Provenance:

Private Collection

Purchased from Everard Read Gallery, Johannesburg,

circa 1996

Illustrated:

Pg 69, 60, 71 & 72 Voice from the Wilderness by

Raymond Harris-Ching, Saint Publishing 1994

Through the weeks that I have worked, on and off, on the drawing for this painting, a lot of different species were drawn in, taken out, moved up or over or down, fitted in front of this bird or behind that one, until the great raft of birds that I wanted to see would finally float past. The completed drawings shows something of the struggle, stuck and glued together as it is from as many sheets of paper, but finally with the chosen birds doing what I wanted of them.

I wanted to see if I could make the body of beautiful birds just float by, occupying the whole picture as they pass. It seemed important that this be an unrelated group - a gathering of species, exactly and precisely rendered certainly - but with no scientific connection and no ordinary reason to be together. The Black Voted Penguin is from waters off southern Africa, the King Penguin from Antarctica, the Tufted Duck, Eiders and Mallards from Europe, the Ruddy Duck and Wood Duck from North America, the South American Black-Necked Swan, the Mandarin from Asia and lastly the Black Swan and Dusky Moorhen from Australia. There was a Great-Crested Grebe above the top-right Mallard, but only the splash remains, as it dives to escape the snapping attentions of the swan.

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That these birds wouldn’t naturally be together doesn’t mean they can't be or won’t ever be - we change the balance of our world, not always for the better. I felt the things would work best only only if each of the birds was so convincingly painted that you would have to believe they were here, together, and that because they were so very beautiful, you would want to believe it. At nearly four feet square, the panel allows for the birds to be shown not life-size, but large enough to make their presence strongly felt. There are fifteen birds in the final composition which, together make a bold enough arrangements of shapes and colours, for the painting to dominate most other work standing around and about it in the studio during its production.

Voice from the Wilderness, Raymond Harris-Ching, Saint Publishing 1994

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57

RAY CHING b. 1939 A Terrible Event over the Mallee (The Rooster that thought it was a Magpie).

From The Birds of Black Thursday Part 3 Oil on canvas 99 x 119.4 Signed, inscribed & dated 1997 Inscribed verso $25,000 - 35,000

Provenance:

Private Collection

Purchased from Tryon Gallery, London, 1997

In 1998, a significant exhibition entitled The Birds of Black Thursday showcased ten powerful paintings from Ray Ching’s series of the same title. These works had been undertaken as a reflection on, and commemoration of the Black Thursday bushfires in the state of Victoria; A Terrible Event Over the Mallee belongs to the third part of this series.

The devastation of these 1851 bushfires effected over 5 million hectares of land. It is on record that as the fires spread, birds and other wildlife were dropping from the trees in all directions. It is one such moment that we encounter in this work.

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Ching has realised a scene of violent beauty, and there is a real potency to this depiction of a singular plummeting avian life. He has chosen to completely de-contextualise the subject from the surrounding chaotic action in favour of capturing a single moment. One imagines that if this were a film, we would be witnessing this scene in slow-motion. Wings fully spread and resplendent in colour, the work possesses a theatricality of almost-Renaissance proportions, and is striking to behold.

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58

RAY CHING b. 1939 Red Tailed Black Cockatoos Oil on linen 99 x 119.4 Signed & dated 1990 $25,000 - 35,000

Provenance:

Private Collection

Purchased from Tryon Gallery, London, 1996

Belonging to the same incendiary body of work as A Terrible Event Over the Mallee, this captivating painting on linen offers a useful starting point from which to consider Ray Ching’s distinctive handling of realism.

This affords a depth to the work, a challenging and poetic quality which facilitates our engagement with the painting on an even more profound, reflective level.

Paintings from the early decades of the artist’s career, when much of his work served a primarily documentary function, belie a scientific precision and almost-microscopic quality. Ching carried this incisiveness and painstaking attention to photographic realism into his work of later years: works such as Red Tailed Black Cockatoos. Here the cockatoos have been painted with that same beautiful clarity of detail and linear finesse. Interestingly, through the manipulation of atmospheric conditions there has been a blurred, impressionistic lens applied to the scene.

Aesthetic considerations aside, this work also goes to the very roots of a message of ecological preservation. Ching celebrates and affirms the beauty and preciousness of avian wildlife. An appreciation of these works encourages us to value and preserve the lives and habitats of these creatures.

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59 FRANCIS MCCRACKEN 1879 - 1959

Stalls on the Banks of the Seine

Watercolour 43 x 49 Signed

60

MAUD WINIFRED SHERWOOD 1880 - 1956

$3,500 - 4,500

$2,500 - 3,500

Provenance:

Ex Collection of artist friend John Weeks

Found in his studio at time of death

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Mending the Nets, Cassis

Watercolour 42 x 51.5 Signed

Provenance:

Collection of Artist’s Family

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JOHN BARR CLARKE HOYTE 1873 - 1913

$12,000 - 16,000

Lake Wakatipu

Watercolour 39 x 72 Signed

Provenance:

Private Collection, Auckland

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62

TIM WILSON b. 1954 Mount Aoraki (Cook) Oil on three linen panels 76.9 x 459 Signed, inscribed & dated 1998-2002

$60,000 - 80,000

Provenance:

Private Collection, Christchurch

Sold by International Art Centre, 2003

Purchased from Fishers Fine Arts, 2007

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63

EDWARD FRISTROM 1864 - 1950

Mount Tamalpais

Oil on canvas 37 x 44 Signed

$2,500 - 3,500

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64

GOTTFRIED LINDAUER Attributed

Portrait of a Young Maori Woman Oil on canvas laid down on board 33..1 x 25.8 $30,000 - 40,000

Provenance:

Purchased in Australia by current owner the work was

recently repatriated to New Zealand.

It appears that this was a larger work which at

some stage has been cut down and laid on

board. Whilst the technique resonates with that of

Lindauer we have been unable to determine

categoric authentication prior to cataloguing.

Particular attention should be paid to the female subject’s intricate moko.

65 PETER MCINTYRE 1910 - 1995

Vulcan Lane, Auckland

Watercolour & ink on paper 42.5 x 53 Signed

12,000 - 16,000

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66

DOUGLAS BADCOCK 1922 - 2009 Grey Autumn Day, Skippers Road, Lake Wakatipu in the Distance Oil on board 47 x 58.5 Signed & dated 1968 Inscribed verso $2,500 - 3,500

67 SYDNEY LOUGH THOMPSON 1877 - 1973

Rocky Hill from Across the Matukituki River

Oil on board 36.5 x 44.5 Signed

Inscribed verso

$5,000 - 7,000

68 PETER MCINTYRE 1910 - 1995

Lake Wanaka

Oil on board 38 x 50 Signed

$8,000 - 12,000

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70

70

69

ADELE YOUNGHUSBAND 1878 - 1969

Still Life with Sculpture Oil on board 54 x 39 Signed & dated 1958 $15,000 - 20,000

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ALBERT EDWARD ALDIS 1869 - 1921 Waiau River, Gisborne & Waikato River - A Pair Oil on canvas 30 x 45 Signed & dated 1897 $2,500 - 3,500

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JOHN BARR CLARKE HOYTE 1873 - 1913

Milford Sound, West Coast, New Zealand

Watercolour 27 x 52 Signed

Inscribed on backing board verso

$10,000 - 15,000

Provenance:

Private Collection, Australia

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72

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COLIN VERNON WHEELER 1919 - 2012 Herefords in Matagouri Oil on board 60 x 75 Signed & dated 1972 Original artist’s label with inscription affixed verso $4,000 - 6,000

DOROTHY KATE RICHMOND 1848 - 1926 Near Arthur’s Pass Watercolour 39 x 48 Signed & dated 1929 $3,000 - 5,000

MARGARET OLROG STODDART 1865 - 1934

Stream and Bush

Watercolour 35 x 25 Signed

$3,000 - 5,000

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ALFRED WILSON WALSH 1859 - 1916

$1,000 - 1,500

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ALFRED WILSON WALSH 1859 - 1916

$1,000 - 1,500

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HAROLD WILLIAM YOUNG 1869 - 1944

$4,000 - 6,000

Seascape, Kaikoura

Watercolour 41 x 63 Signed

Estuary

Watercolour 26 x 35

Signed & dated 1900

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View of the Waitemata

Oil on canvas 60 x 91 Signed

Provenance:

Same family collection since painted Harold William Young joined the evening newspaper, the Auckland Star as a lithographic artist before becoming a manager of the lithographic department in the early 1900s. In 1913 he left the newspaper and went into business as a professional artist. He became known for his numerous scenes of Auckland’s West Coast and the Waitakeres. Doubly gifted as both poet and painter, Young often illustrated his poems. One of his pen and ink works of Auckland’s Waitemata Harbour was reproduced in New Zealand Graphic, 1913. The Auckland Art Gallery holds a collection of forty three pen and ink drawings and watercolours which may be viewed online. www.aucklandartgallery.com/search/artworks?artist=Harold+Young This rare work has remained in the same Waikato based family for nearly a century and is now on the market for the first time.

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79 JANE EVANS 1946 - 2012 Sunflowers

Gouache and watercolour on paper 61 x 80

Signed & dated 1998

$3,000 - 5,000

80 JANE EVANS 1946 - 2012 Poppies

Watercolour 60 x 76

Signed & dated 1990

$3,000 - 5,000

Jane Evans was born in Nelson 1946 and educated at Nelson College for Girls. She enrolled at the Ilam School of Fine Arts in 1965, and the following year travelled to the UK to attended London’s Waltham Forest Art College.

Following a period of formal study she determined upon a program of selfeducation. This freedom of spirit from a young age resonates throughout a life time’s creation of vibrant, free-flowing works. Evan’s innate understanding and use of colour saw her flower and figurative narratives hit a high spot in the buoyant international art market of the early to mid 1980s. Today, enthusiasm for her work is again being witnessed in the sale room.

After an initial diagnosis of rheumatoid arthritis in 1965, Evans was diagnosed with an ongoing condition that affected her for the rest of her life. Often literally painting through her pain, while adapting her painting methods and media accordingly, Evans stated: Suddenly there was life in front of me and I had to grab it with both hands. It was a compulsive thing for me to express the joys of life. Evans moved to Christchurch in 1967, returning to Nelson in 1971. In 1974 she travelled again to England where she spent three months commencing a series of works showing people visiting and viewing paintings in the London galleries and the lively exchanges at markets such as Portobello Road. Returning home Evans purchased a cottage in Tasman Street which she renovated and lovingly established the garden which became a tremendous source of inspiration for her signature flower paintings. Of this time she said: the garden was an extension of my life. When I turned to watercolours I found myself in touch with this wonderful, loose spontaneous medium that was really exciting.

Passionate about the expressionist works of Matisse, Bonnard and Chagall, Evans said: I am drawn to the painters who express the joy in living. Her paintings resonated with the public and there were waiting lists for her work.

78

JANE EVANS 1946 - 2012 Poinsettia IV Watercolour 75 x 54 Signed & dated 1984 $3,000 - 5,000

In the 1997 New Year Honours, Evans was appointed an Officer of the New Zealand Order of Merit for services to painting. She died peacefully in 2001 at her Nelson home. Eleven of Jane Evans are held in the collection of Nelson’s Suter Gallery

96 Important & Rare Art Tuesday 4 April 2017

79

80

81

JANE EVANS 1946 - 2012 Jimmy’s on the Mall, Queens St Mall, Brisbane Watercolour 75 x 54 Signed, inscribed & dated 1984

$1,800 - 2,600

97

82

ARCHIBALD FRANK NICOLL 1886 - 1953

83

SYDNEY LOUGH THOMPSON 1877 - 1973

$7,000 - 10,000

Wharf at Dusk

Oil on canvas 30 x 21 Signed

$1,000 - 2,000

Market, Concarneau

Oil on board 32 x 40 Signed

98 Important & Rare Art Tuesday 4 April 2017

Mt Cook Oil on canvas 50 x 76 Signed & inscribed

LAURENCE WILLIAM WILSON 1850 - 1912

85

WILLIAM GEORGE BAKER 1864 - 1929

$1,500 - 2,500

$1,500 - 2,500

84

Catlins River, Otago

Oil on canvas 50 x 40 Signed

99

87

86

FRANK WRIGHT 1860 - 1923

Waikato Landscape

Watercolour 38 x 25 Signed

$1,000 - 2,000

87

100 Important & Rare Art Tuesday 4 April 2017

$8,000 - 12,000

88

WILLIAM GEORGE BAKER 1864 - 1929

$4,500 - 6,500

86

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

Maori Life, King Country Oil on canvas 74 x 112 Signed & inscribed

88

101

90 TOM ESPLIN 1915 - 2005

Islands of Santorini

Oil on board 31 x 51 Signed

Inscribed on artist’s label affixed verso

$5,000 - 7,000 91

PEGGY SPICER 1909 - 1984

Emily Place, Auckland

Oil on board 37 x 48 Signed

89 TOM ESPLIN 1915 - 2005 Morocco

Oil on board 27 x 42 Signed

$4,000 - 6,000

$1,500 - 2,500

92 GARTH TAPPER 1927 - 1999

The Stadium from the Volcanic Mountain

Acylic on board 26 x 36 Signed

$1,000 - 2,000 Provenance:

Ex Collection of Dr Lindsay Poole

Ferner Galleries, Auckland label affixed verso

93

PEGGY SPICER 1909 - 1984

Kings Wharf, Auckland

Oil on board 40 x 46 Signed

$1,500 - 2,500

94 NUGENT WELCH 1881 - 1970

Appleby Elms Near Richmond

Watercolour 26 x 37 Signed

$800 - 1,200 Provenance:

Private Collection, Rotorua

90

102 Important & Rare Art Tuesday 4 April 2017

Ex Rotorua Museum Loan Collection

91 93

92

94

103

96

A CLOUET MAP

$1,500 - 1,800

De L’Amerique en General

Hand coloured lithograph 33 x 55

Published Paris 1790 Inscribed

Fascinating map of the Western Hemisphere, noteworthy for

the massive New Zealand and depiction of the Bay of the

West. French text on both sides.

97

95

HORATIO GORDON ROBLEY 1840 - 1930

New Zealand Staff

Watercolour 28 x 38.5 Inscribed

$800 - 1,200

JAMES WYLD 1812 - 1887

Chart of New Zealand

Hand coloured lithograph 78.7 x 55.8 Inscribed: To the Right Honourable The Secretary of

State for the Colonies &c. &c. &c. This Chart of New

Zealand, from Original Surveys Is respectfully dedicate

by his very obdient Servant, James Wyld.

Published London circa 1860

$2,800 - 3,500

98

CAPTAIN JAMES COOK 1728 - 1779

$800 - 1,200

99

River Thames and Mercury Bay in New Zealand; Bay of I slands in New Zealand; Tolaga Bay in New Zealand, 1773 Hand coloured lithograph 32.2 x 44.2 Published London 1778

JULES DUMONT D’URVILLE 1790 - 1842

Akaroa Bay, 1840

Hand coloured lithograph plate 32 x 44 From Atas Pittoresque, Vol. 2., Plate 185,

Published Paris 1790

$800 - 1,200

96

104 Important & Rare Art Tuesday 4 April 2017

98

100

COLONEL GEORGE STODDART WHITMORE

1775 - 1862 Plan of Ngatapa Pa, Poverty Bay taken by Col. Whitmore with the colonial force from the Hau Hau under Te Kooti Lithographed by Boresfield, O. L. W. (surveyor), Published c. 1880 $800 - 1,000

97

99

100

105

102

ARTHUR DAGLEY 1919 - 1998

Slipway No 1

Acrylic on board 45 x 60 Signed

Inscribed verso

$2,000 - 3,000

103

OLIVIA SPENCER BOWER 1905 - 1982

$900 - 1,500

Cactus Flower

Watercolour 56 x 41 Signed

101

WILLIAM MENZIES GIBB 1859 - 1931

Port Chalmers Watercolour 32 x 70 Signed & dated 1904 $1,000 - 2,000

104

CEDRIC SAVAGE 1901 - 1969

Rock, Pohara Beach, Golden Bay

Oil on board 37 x 48 Signed

$800 - 1,200 Provenance:

Private Collection, Rotorua

Ex Rotorua Museum Loan Collection

105

MAUD WINIFRED SHERWOOD 1880 - 1956

$1,000 - 2,000

106

THOMAS ARTHUR MCCORMACK 1883 - 1973

$1,200 - 1,800

Gloxinias

Watercolour 33.5 x 29 Signed

Portrait of the Artist’s Wife Mabel

Gertrude Craddock

Pencil and gouache on paper 39 x 30 Signed

102

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105 103

107 GARTH TAPPER 1927 - 1999 Racehorses

Conte on paper 24.5 x 35 Signed

$400 - 600

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106

Thank you - end of sale

107

107

A new work available at International Art Centre by one of the world’s leading Maritime painters A D Blake

Anthony D Blake Thelma, Waitangi & Rainbow Pass North Head, Auckland’s Waitemata Harbour Oil on canvas 61 x 91 cm Price $75,000 New Zealander A D Blake is one of the world’s foremost maritime artists. Commissioned by the New York Yacht Club to create paintings celebrating their 150th anniversary, Blake’s work is simply in a class of it’s own. This painting is a visual affirmation of quality. All three yachts in this Auckland painting are close competitors and regularly race in Classic Yacht Association of New Zealand events on the Waitemata and Hauraki Gulf.

202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 379 4010 www.internationalartcentre.co.nz

108 Important & Rare Art Tuesday 4 April 2017

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Auction categories at International Art Centre Important & Rare Art

Modern & Contemporary Art

Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand. These auctions take place three times annually. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw Important & Rare auctions realise five of New Zealand’s top ten auction prices.

The following year saw new records set with the two top prices in Auckland achieved. With the addition of the record $1.377 million paid for a C F Goldie in April’s 2016 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Twice a year our Modern & Contemporary Art auctions play an integral role in enabling market access to the most sought-after artists who have defined New Zealand’s art narrative over the past 50-years. These sales never fail to present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of midcentury modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar. Our new state-of-the-art premises will ensure contemporary art is now exhibited and auctioned in a dynamic and appropriate environment.

Consign Now Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz

Expertise Experience Results 110 Important & Rare Art Tuesday 4 April 2017

Always consigning / Always cataloguing Collectable & Affordable Art

Single Owner Auctions & Private Treaty Sales

The buzz generated by our regular Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Collectable Art auctions offer a number lower-priced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.

From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art and a selection of works from the Fletcher Trust Collection.

Consign Now Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz

Decades of experience working with artists, vendors, collectors and institutions mean we possess a sound understanding of the best medium through which to present works to the auction market. For various reasons, you may consider it more appropriate or wish to sell an artwork privately, rather than presenting it publicly to the auction market. Guaranteeing confidence and discretion, our unparalleled and targeted access to a network of collectors means we are able to oversee private sales. For certain works, this has proven to be an especially effective method of sale; we encourage you to get in touch for an obligation-free discussion around the process and how we may best facilitate this.

111

Brian Dahlberg White Island, Bay of Plenty Oil on board 105 x 220 cm Price $26,000

202 PARNELL ROAD AUCKL AND NEW ZEAL AND PH +64 9 379 4010 www.finear tauction.co.nz

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114 Important & Rare Art Tuesday 4 April 2017

Absentee Bid Form Important & Rare Tuesday 4 April 2017

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I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level.

All bids are subject to Conditions of Sale printed in this catalogue.

Alternatively, register then bid online www.fineartauction.co.nz

Registration Bidding Number Name Address Telephone

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International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids.

Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151 before 3pm day of sale

202 PARNELL ROAD AUCKL AND NEW ZEAL AND PH +64 9 379 4010 www.finear tauction.co.nz

115

Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium Modern & Contemporary Art 12 October 2016 1 4250 3 900 5 1500 6 150 7 175 8 150 9 150 11 1600 12 150 13 150 15 1000 16 7500 17 8000 18 9900 19 2450 20 3200 21 1500 22 1200 23 5000 24 1250 27 425 31 650 32 1900 34 1000 35 7500 38 4500 39 9000 40 6750 41 6000 43 7250 46 12000 47 9000 53 2000 57 2700 58 3500 59 2000 60 2800 61 2200 62 1600 63 3800 64 3000 65 1050 67 1000 68 17250 71 200 72 650 73 200 74 1400 75 1100 77 7800 78 2000 79 1800

81 550 82 3000 83 3500 84 200 86 1750 88 200 89 1125 90 3600 91 18000 92 13000 95 1400 96 400 97 525 98 950 99 520 100 4500 101 2000 103 400 106 1100 107 1750 109 800 110 800 112 3900 113 500 114 2050 115 400 117 600 118 1000 119 1000 120 1600 121 300 124 200 125 350 126 600 127 650 129 2200 130 1200 131 2300 132 3650 133 200 134 850 135 1200 136 1150 137 1400 138 2100 139 650 140 1400 141 550 142 250 143 400 146 350 147 1400 148 1000 149 500 150 250 151 700

152 4300 153 1500 155 1100 156 300 157 100 158 325 159 150 160 1600 161 675 162 2200 Important & Rare 23 November 2016 1 $9,500 2 $2,800 3 $2,750 4 $3,250 5 $2,000 8 $2,500 10 $8,500 11 $4,500 12 $3,750 13 $4,000 14 $4,750 15 $8,000 17 $13,300 18 $9,000 19 $6,500 20 $6,250 21 $5,500 22 $3,750 24 $9,000 25 $10,000 26 $2,750 27 $3,750 28 $6,500 30 $11,000 33 $27,000 34 $19,000 35 $80,000 36 $155,000 37 $14,000 40 $265,000 41 $7,500 42 $16,000 46 $24,000 47 $250,000 48 $8,000 49 $2,500 50 $28,000 53 $3,000 54 $16,000 56 $25,000 57 $10,500 60 $11,000

www.fineartauction.co.nz 116 Important & Rare Art Tuesday 4 April 2017

61 $3,750 63 $7,000 64 $8,500 66 $12,000 67 $6,000 68 $6,250 69 $2,400 70 $2,000 72 $3,600 74 $3,500 75 $5,500 79 $1,075 80 $1,200 82 $2,400 83 $8,500 85 $3,750 86 $2,200 87 $1,500 88 $6,000 89 $5,000 90 $4,250 91 $800 93 $1,750 95 $600 97 $2,000 99 $2,000 100 $1,500 101 $1,650 103 $1,750 104 $1,700 106 $2,700 107 $1,750 108 $2,000 109 $2,400 Artist’s Estates & Collectable Art 21 February 2017 1 1500 2 700 3 2100 4 350 5 500 6 2700 7 2400 11 2400 13 1100 14 800 16 800 17 750 18 600 19 425 20 450 21 500 22 800

23 500 24 950 25 1500 26 3900 27 5600 28 3250 29 400 31 400 32 2400 33 2600 34 1200 35 500 36 700 37 500 38 550 39 900 40 3000 41 1000 42 900 43 700 44 325 45 300 46 300 47 350 48 150 49 1100 50 800 51 800 52 625 53 150 54 200 55 280 56 325 57 425 58 450 59 300 60 250 61 200 62 1600 63 1000 64 1200 65 300 66 300 67 300 68 300 69 10500 70 6250 71 1000 72 1300 73 1750 74 1000 76 700 77 850 78 1900 79 700 80 500

81 800 82 3250 84 150 85 200 86 1100 88 650 90 10700 91 425 92 550 93 700 94 750 96 500 97 550 99 175 101 525 102 400 103 325 104 275 106 250 107 250 108 2800 109 1500 110 800 111 500 113 2500 114 800 115 1275 116 2800 117 500 118 1050 119 5750 120 500 121 800 122 600 123 750 124 4000 125 1750 126 2000 127 2025 128 1500 130 700 131 800 132 400 133 900 134 1000 135 400 136 1600 138 900 140 400 141 4000 142 400 143 575 144 600 149 250 151 700 152 1500 153 240

155 250 157 400 158 500 159 550 160 1800 161 400 162 300 164 500 165 500 166 1100 167 850 168 800 169 500 170 1150 171 400 172 900 173 1600 175 400 176 400 178 500 179 375 180 2000 181 1000 182 1500 183 3600 184 2000 185 2000 186 625 187 1150 189 1300 190 300 192 400 193 700 194 400 195 300 196 700 197 160 198 300 199 700 200 500 201 500 202 500 203 220 204 350 206 200 207 260 208 400 209 1400 210 525 211 340 212 300 213 710 214 300 215 510 216 300 217 100 218 250 219 1100

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 7 April 2017 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: Bank instructions on invoice if paying by direct debit.

Quote the Lot number(s) purchased and Surname 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: Only Visa and Mastercard accepted - with a 2% surcharge.

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. 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 16.5% Buyers premium plus GST on premium applies to all lots.

(Total buyers premium is 18.98% including GST)

117

Index ALDIS A E......................................................... 70

GOOD R........................................................ 4, 5

SHERWOOD M W.................................... 60, 105

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

HANLY P..................................................... 6, 7, 8

SIDDELL P............................................... 1, 16, 17

BADCOCK D................................................... 66

HENDERSON L................................................. 25

SMITHER M................................................... 2, 19

BAKER W G................................................ 85, 88

HODGKINS F.............................................. 43, 44

SPENCER B O................................................. 103

BENSEMANN L................................................. 22

HODGKINS W M.............................................. 46

SPICER P..................................................... 91, 93

BINNEY D.......................................................... 24

HOTERE R............................................... 3, 11, 12

STODDART M O............................................... 74

BLOMFIELD C....................................... 50, 51, 52

HOYTE J B C................................... 53, 54, 61, 71

TAPPER G......................... 34, 36, 37, 38, 92, 107

BROWN N............................................ 14, 26, 27

KELLY F........................................................ 33, 35

THOMPSON S L.................................... 39, 67, 83

BULLMORE E ............................................. 32, 48

LINDAUER G............................................... 41, 42

WALSH ALFFED W...................................... 75, 76

CHING R........................................ 55, 56, 57, 58

LINDAUER Attributed G.................................. 64

WEEKS J ..................................................... 28, 29

CLAIRMONT P................................................. 21

CLOUET............................................................ 96

WELCH N.......................................................... 94

COOK C J........................................................ 98

MCARTHUR P................................................... 15

WHEELER C V.................................................. 72

CROSS M......................................................... 31

MCCORMACK T A........................................ 106

WHITE A L......................................................... 49

Dâ•’URVILLE J D.................................................. 99

MCCRACKEN F............................................... 59

WHITMORE C G S.......................................... 100

DAGLEY A...................................................... 102

MCINTYRE P......................................... 40, 65, 68

WILSON T......................................................... 62

DOLEZEL J........................................................ 10

MRKUSICH M................................................... 13

WILSON L W .................................................... 84

ESPLIN T...................................................... 89, 90

NICOLL A F...................................................... 82

WOOLLASTON T........................................ 18, 23

EVANS J......................................... 78, 79, 80, 81

NIN B................................................................ 30

WRIGHT F......................................................... 86

FIELD I J...................................................... 45, 47

RICHMOND D K.............................................. 73

WYLD J............................................................. 97

FRISTROM E...................................................... 63

ROBLEY H G..................................................... 95

YOUNG H WM................................................. 77

GEORGE D...................................................... 20

SAVAGE C..................................................... 104

YOUNGHUSBAND A........................................ 69

GIBB W M....................................................... 101

SCOTT I............................................................... 9

118 Important & Rare Art Tuesday 4 April 2017

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Notes

120 Important & Rare Art Tuesday 4 April 2017

202 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