IMPORTANT & RARE ART
NEW DATE ( POSTPONED FROM 1 APRIL ) 6:00pm Tuesday 19 May
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Lot 33 Michael Smither
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IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
Lot 40 Toss Woollaston
If you are unable to attend this auction in person, please arrange telephone bidding and absentee bids or register to bid online via Invaluable.com Auction streams live on our Facebook page
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Lot 37 A.Lois White
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IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
Viewing Times International Art Centre, 202 Parnell Road, Auckland Thursday
14 May
10:00am - 5:00pm
Friday
27 March
10:00am - 5:00pm
Saturday
28 March
11:00am - 3:00pm
Sunday
29 March
11:00am - 3:00pm
Monday
30 March
9:00am - 5:30pm
Tuesday
31 March
9:00am - 6:00pm
Auction commences 6:00pm Tuesday 19 May 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
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz
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Lot 39 Grahame Sydney
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Contacts Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mobile 0274 751 071 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz Auction streams live on Facebook Internet bidding Invaluable.com Conditions of Sale p. 123 Absentee & telephone bids p. 117
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COLLECTABLE ART | MODERN | CONTEMPORARY Tuesday 19 May - Entries Invited Auction includes further consignments from Auckland art collector Ron Sang
DENNIS KNIGHT-TURNER Animal Series No. 5 - Set A Watercolour & pen on paper 50 x 37.5cm
DENNIS KNIGHT-TURNER Birds Watercolour on paper 56 x 37.5cm
ENTRIES NOW INVITED Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mobile 0274 751 071 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz
Collectable Art - held 26 February 2020 - results page 119
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Works from the Collection of Ron Sang
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DON BINNEY (1940 - 2012) Kaiarara Kaka, Great Barrier Screenprint, edition of 150, 68 x 42 Signed, inscribed Kaiarara Kaka, Great Barrier & dated 1982 $10,000 - 15,000
PROVENANCE ILLUSTRATED Ron Sang Collection, Auckland p. 167, Ron Sang Architect, Ron Sang Publications, 2016
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LEN CASTLE (1924 - 2011) Large Inverted Volcano (Red) Glazed earthenware 20 x 87 x 20 Initials impressed on base $8,000 - 12,000
PROVENANCE Ron Sang Collection, Auckland Purchased directly from artist, c. 1995
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LEN CASTLE (1924 - 2011) Crater Lake Bowl Glazed ceramic 11 x 44.5 Initials impressed on base & dated 2006 $8,000 - 12,000
PROVENANCE Ron Sang Collection, Auckland Purchased directly from artist, 2006
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4 CHARLES TOLE (1903 - 91) Buildings Near Newmarket, 1952 Oil on board 24.5 x 29.5 Signed Inscribed C. Tole, 60 Ascot Ave, Remuera Nov 1952 & Original artist’s label affixed verso. Label inscribed Buildings Near Newmarket $8,000 - 12,000
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ANN ROBINSON (b. 1944) Twisted Flax Pods Cast glass & resin-coated steel 58 x 30 x 9 $15,000 - 20,000
6 LOUISE HENDERSON (1902 - 94) Ponsonby Girls Oil on board 37 x 32.5 Signed $8,000 - 12,000
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ANN ROBINSON (b. 1944) Small Pod Vase Cast glass 23 x 25 $3,500 - 4,500
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DON BINNEY (1940 - 2012) Te Henga Charcoal on paper 39 x 31 Signed & dated 3 Aug 1966 $6,000 - 8,000
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TERRY STRINGER (b. 1946) Applause Bronze sculpture, Edition of 12, 36 x 12 Signed & dated 2004 $2,500 - 3,500
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10 10 PATRICIA FRANCE (1911 - 95) Woman in Garden Oil on board 45 x 38.5 Signed $3,000 - 5,000
11 PATRICIA FRANCE (1911 - 95) Still Life, Flowers and Fruit Oil on board 38 x 40.5 Signed $2,500 - 3,500
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12 PATRICIA FRANCE (1911 - 95) Still Life by Window Gouache on paper 38.5 x 44 Signed $2,000 - 3,000
13 PATRICIA FRANCE (1911 - 95) Flowers in a Dark Vase Oil on board 44 x 39 Signed $2,000 - 3,000
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ROBERT JAHNKE (b. 1951) Taruke Koura (Lobster Trap), 2005 Stainless steel sculpture 40 x 262 $18,000 - 25,000
PROVENANCE Private Collection Purchased from Takahi Whenua Exhibition Bath Street Gallery, Auckland, 2005
15 ALAN INGHAM (1920 - 94) Nude on a Chair Bronze, edition of 12, 24 x 20 x 11 Mounted to wooden base Signed $3,000 - 5,000
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JOHN WALSH (b. 1954) Policy on Eeling Oil on board 90 x 120 Signed, inscribed Policy on Eeling & dated 2005 verso $15,000 - 20,000
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MICHAEL SMITHER (b. 1939) Mask and Snorkel Oil on board 55.5 x 61 Signed & dated 1997 $30,000 - 40,000
PROVENANCE p. 248 Michael Smither Painter, Trish Gribben, Ron Sang Publication, 2004 ILLUSTRATED p. 248 Michael Smither Painter, Trish Gribben, Ron Sang Publication, 2004
Otama was like achieving a life-long dream, to live beside a clean sea and maybe get some diving time. As luck would have it, another shift in relationships left me struggling to survive financially. So diving took the form of diving into memories and tributes to old diving buddies. Michael Smither Painter, Trish Gribben, Ron Sang Publication, 2004
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MAX GIMBLETT (b. 1935) Five Realms Gesso, acrylic & vinyl polymers, pencil, sharpie, epoxy, oil size, japanese pastel, coloured silver leaf on canvas 54 x 54 Signed, inscribed 5 Realms & dated 2009 on stretcher verso $25,000 - 35,000
PROVENANCE Gow Langsford Gallery, Auckland Private Collection, Auckland
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MICHAEL SMITHER (b. 1939) Rock and Pillar Range Oil on board 17.5 x 90.5 $15,000 - 25,000
PROVENANCE Private Collection, Hawkes Bay Purchased from Dawson’s Gallery, Dunedin, 1972 by current owner The cairns of rocks on the Rock and Pillar Range stirred the imagination to religious fantasies of Christ in the wilderness, right down to sheep caught in thickets of rosehip briars whose berries are like crimson blood against the white snow.
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RALPH HOTERE (1931 - 2013) Drawing for Ian Wedde’s Pathway to the Sea Watercolour 56 x 76 Signed, inscribed Drawing for Ian Wedde’s Pathway to the Sea, Port Chalmers & dated 1975 $10,000 - 15,000
PROVENANCE Private Collection, Auckland Purchased from Dawson’s Gallery, 1974 by current owner
p.100 Michael Smither Painter, Trish Gribben, Ron Sang Publications
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EMILY WOLFE (b. 1972) Lace Curtain with Bird Acrylic on canvas 45.5 x 50.5 $4,000 - 6,000
22 JAMES ROSS (b. 1948) Blue Pool (Allegory of Painting) Oil on four panels 167 x 140 Signed, inscribed Blue Pool (Allegory of Painting) & dated May-June 1987 $5,000 - 8,000
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GRETCHEN ALBRECHT (b. 1943) Garden No. 9 Acrylic on canvas 178 x 120 Signed & dated 1971 $25,000 - 35,000
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NIGEL BROWN (b. 1949) Mother & Child with Tree, No. 3 Oil on board 52 x 55.5 Signed & dated 1976 Signed, inscribed Mother & Child with Tree No. 3 & dated 1976 verso $7,000 - 10,000
25 NIGEL BROWN (b. 1949) Mother and Child with Tree, No. 1 Oil on board 56 x 40 Signed & dated 1976 Inscribed Mother and Child with Tree, No. 1 verso $7,000 - 10,000
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26 PETER STICHBURY (b. 1969) Swoon (Stendhal Syndrome), 2000 Acrylic on linen 107 x 91 Signed, inscribed Swoon (Stendhal Syndrome) & dated 2000 verso $80,000 - 120,000 PROVENANCE Private Collection, Auckland Purchased from Anna Bibby Gallery, Auckland, 2000 EXHIBITED The Alumni, Te Tuhi Centre for the Arts, Auckland, 2008 The Alumni, Dunedin Public Art Gallery, 2008 - 2009 Measure of Strangeness, Artspace curated by Robert Leonard, 2000 The title of Swoon (Stendhal Syndrome) invites curiosity and exploration. Stichbury’s titles form an integral relationship with the content of his work. Stendhal Syndrome is a psychosomatic condition sometimes experienced by an individual engaging with art. Symptoms include rapid heartbeat, dizziness and a sense of being overwhelmed. Visitors viewing the artistic splendours of Florence have long been affected in this way. The staff at Florence’s Santa Maria Nuova hospital are accustomed to tourists suffering from dizzy spells or disorientation after viewing the statue of David, artworks at the Uffizi Gallery and other historic relics of the Tuscan city. In 1979 the Italian psychiatrist Graziella Magherini named the condition after the 19th century author Stendhal, who had written about experiencing an overpowering sense of emotion following a visit to Santa Croce Cathedral in 1817. Swoon (Stendhal Syndrome) is an iconic painting, as relevant today, in our age of instagram influences, as when it was painted twenty years ago. It appears on the cover of the book The Alumni, which accompanied the survey exhibition of Stichbury’s work presented in Auckland and Dunedin in 2008.
ILLUSTRATED Front cover, The Alumni, Peter Stichbury, published by Te Tuhi Centre for the Arts, Auckland 2008, with essays by Emma Bugden, Serena Bentley, Misha Kavka, John Hurrell published on the occasion of Peter Stichbury’s survey exhibition
In 1987 Peter Stichbury graduated from Elam School of Fine Art and won the James Wallace Art Award. Gathering ideas from magazines, the internet, popular culture and his childhood, the artist continues to develop a body of work exploring, interpreting and reflecting upon the nature of identity. Contrary to common opinion, Stichbury’s stunning paintings, art prints and sketches of gorgeous waifs, nerdy yet strangely cool boys or professors aren’t merely the musings of an artist obsessed with surface aesthetics. Whilst fascinated by appearances, his interest cuts deeper and a little darker. Stichbury’s talent lies in making beautiful people look interesting and interesting people look beautiful and it’s proving lucrative, at least for the collectors. Furthermore, the American market is taking notice, a fact reinforced by several appearances of his work at the influential annual ArtLA Fair and the burgeoning fanfare enjoyed through his NYC dealer, to the point where new works are rarely available in his home country.
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PETER STICHBURY (b. 1969) Untitled, Self Portrait Acrylic on canvas 100 x 140 Signed, inscribed ‘Untitled’ & dated 1997 verso $30,000 - 40,000
PROVENANCE Private Collection, Auckland Purchased 1997
I made this painting while at art school, it includes friends and fellow artists from Elam - Florian Habicht, Nicholas Butler, Sam Mitchell - Peter Stichbury
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PETER STICHBURY (b. 1969) Ambriel, 2010 Acrylic on linen 60 x 50 Signed & inscribed ‘Ambriel’ verso $35,000 - 45,000
PROVENANCE Acquired directly from artist by current owner, c. 2011
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RALPH HOTERE (1931 - 2013) Winter Solstice Carey’s Bay Oil pastel on paper 37.5 x 27.5 Signed, inscribed Winter Solstice & dated 1991 $15,000 - $20,000
PROVENANCE Acquired directly from artist by current owner
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STEPHEN BAMBURY (b. 1951) Untitled, 2008 Rust & acrylic on aluminium 79.5 x 79.5 Signed, inscribed IC032896 & dated 2008 verso $20,000 - 30,000
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31 COLIN MCCAHON (1919 - 87) Help, Necessary Protection Charcoal on paper 22.5 x 30 Signed, inscribed Help & small bird flys in for heavens Protection at Muriwai I reach for my crayon and pick up a dead insect & dated 1973 $30,000 - 40,000
Colin McCahon’s Necessary Protection series, represents the Muriwai coastline as a site of spiritual nourishment. The name Necessary Protection was first given to two series of drawings and paintings in 1971 and 1972.
PROVENANCE: Private Collection, Auckland Colin McCahon database record number cm001381
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COLIN MCCAHON (1919 - 87) Two Brush & ink on paper 75 x 55 Signed & dated 1959 $55,000 - 75,000
PROVENANCE Private Collection, Auckland Colin McCahon database record number cm001381
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MICHAEL SMITHER (b. 1939) Chris Cricket Meets Buzzy Bee Oil on board 74.5 x 60.5 Signed & dated 1966 $100,000 - 150,000
PROVENANCE Collection of film maker Tony Hiles, Wellington ILLUSTRATED p 56 Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004 My part on the production of a New Zealand icon. But who killed Chris Cricket? I guess it’s just that we like noisy toys best. Michael Smither Chris Cricket Meets Buzzy Bee can be viewed in various ways: as a lens into the artist’s family life, as an example of Michael Smither’s unique painting style which was contributing to a new language of New Zealand modernism, and of course, as an essential piece of Kiwiana.
which effectively capture the frenetic, immediate energy with which Smither was painting these domestic scenes. ‘Chaos’ reminds us of his status as a parent and participant in these scenes, it also lends a sense of implication, responsibility and mischievous collaboration.
In the initial years following Smither’s graduation from Elam in 1960, he proved himself a bold and experimental artist, and started to identify themes and forms which would be central to his work for decades to come, for example, rock paintings. Given that he was at such a formative stage in his career, the 1960s would have been a watershed moment for Smither regardless of what was going on in his personal life. However, the birth of his children gave sharp focus to this period of his artistic production, and he dedicated himself wholeheartedly to capturing scenes of domestic life.
This portrait, of Smither’s daughter Sarah, is a perfect example of the special, personal tone of these works. The little girl’s interaction with her two toys – Chris Cricket and Buzzy Bee – and her sly, impish expression reflect the openness of a conversation in which the artist is fully present. It is clear that Smither was not merely observing the child in the capacity of neutral artist, but painting a visual dialogue which reflects his own love and involvement in his daughter’s life.
Many of Smither’s best loved works come from this time, including a number of large scale oil paintings that examine the joy and energy – as well as the more mundane aspects – of his family life. It is interesting that the word ‘chaos’ is often used to describe these paintings. Sometimes the word’s application is straightforward – children fighting, tears and moments of tension certainly deserve the term. It may also be because this is one of the few words
It’s impossible to resist the wit and charm of this scene. Through it, we glean some sense of Smither’s sense of humour. Take, for example, the lines of Sarah’s pants which are bunching around her nappy in that particularly toddler-like way, a detail executed with such serious and perfect modulation that it seems almost comical. Or there’s the helpless, terrified expression of Chris Cricket as he’s tucked under the child’s arm. This is just a tiny detour from reality, but it opens up the painting in a new way yet again, inviting us into the mind of Sarah and her childlike imagination.
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34 MICHAEL SMITHER (b. 1939) Summer Evening in Taranaki, 1974 Oil on board 87 x 106.5 Signed $180,000 - 240,000 PROVENANCE Collection of film maker Tony Hiles, Wellington Living under the mountain on hills and land made by volcanic activity seems very risky behaviour but it is something I grew up with, regarding it as normal. p 164 Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004 ILLUSTRATED P 165 Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004 The name Michael Smither often brings to mind images of Mount Taranaki. The breadth of Smither’s contribution to New Zealand art is often thought of, and reflected through his many paintings of the mountain. His identity as an artist and his work’s connection to the New Zealand landscape owe much to this region where he was born, raised a family, and lived for large periods of his life. Many of his paintings of the mountain have been made available in print form, which has furthered the proliferation and recognisability of his work over the years. This was a deliberate decision on the artist’s part, making his work more accessible, and helps explain why we so readily associate Smither with images of the mountain, and vice versa. The wonderful 1970s painting Summer Evening in Taranaki conveys both the personal and epic proportions of this relationship. It is geographically and spiritually specific in its expression of Taranaki. It belongs to one of the most sought-after periods in the artist’s work (and arguably the most technically important). There is brilliance in Smither’s treatment of colour and in the smooth, rolling contours of the land, contrasting with the precision of the houses in the foreground. Combined with the pyramidal forms which sweep the eye towards the mountain’s shrouded peak, this painting has a steady, beating heart beneath its verdant surface. As viewers, we feel like privileged onlookers.
In Smither’s most well-known views of the mountain, Taranaki’s classical formation is pared back to a perfectly shaped cone. The mountain’s topography lends itself particularly well to strong sharp lines and modernist modulation, partly because its form is so pleasingly symmetrical. Smither experimented with depictions of this favoured subject in varying lights, moods and perspectives. In Summer Evening, it has been relegated to the top third of the painting and dominates by implication, rather than by force of presence. This time, the mountain has not been painted as a lone volcanic giant overlooking the surrounding flat land, but is partially hidden, a nestling guardian of civilisation. The presence of homes and people in this scene breathes life into it, making it feel specific as well as timeless. Two children slide down the hill, while another person silhouetted by the backlight of a porch watches them. The suggested motion of these figures, and the transient formations of cloud embracing the mountain, cast the volcano into a state of permanence. Taranaki’s etched lines appear ancient, unshakeable, and fill us with a sense of the maunga’s mana and force.
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A LOIS WHITE (1903 - 84) Spring, 1948 Oil on board 85 x 35 Signed & inscribed Spring verso $70,000 - 100,000
Auckland City Art Gallery By the Waters of Babylon - The Art of A. Lois White exhibition label affixed verso
PROVENANCE Alison Disbrowe (Artist’s niece) Collection until 1996 Traditional & Contemporary Art Auction International Art Centre, 23/04/1996 Private Collection, Auckland EXHIBITED By the Waters of Babylon - The Art of A. Lois White - national touring exhibition organised by Auckland City Art Gallery, 1995 Auckland born Anna Lois White was the daughter of Annie Phillipps and her architect husband, Arthur Herbert White. Both families had helped establish Methodism in New Zealand, and her mother was a leading member of the Mount Albert Methodist Church in Auckland. Throughout her life, Lois struggled to reconcile two sides of her personality: the God-fearing dutiful daughter and the free-spirited creative artist. Lois White attended Epsom Girls’ Grammar School from 1919 until 1922 and is remembered as a gifted pupil, both artistically and academically. Her father died when she was a teenager, and in spite of limited family finances, Mrs White encouraged her daughter to attend the Elam School of Fine Art. In 1924, under the La Trobe Scheme, Archibald Fisher took over the directorship of Elam
A graduate from the Royal College of Art, London and in still in his late twenties, Fisher brought with him an innovative and enthusiastic approach to life drawing and introduced a curriculum focused on figure composition and narrative, particularly contemporary social comment. For Lois White and other young artists, he ‘opened up a new world’. Recognising Lois White’s ability Fisher later employed her as a part-time Elam tutor from 1928 to 1934. She taught figure composition there, and at Takapuna Grammar School. In 1935 White was made a full-time tutor at Elam and for nearly 30 years she was a dedicated teacher, promoting an approach to art based on sound drawing techniques. Among her students was Michael Smither. During the 1970s the sculptor, Terry Stringer taught with White at the Auckland Society of Arts, the two became friends with Stringer acquiring a number of pieces from her studio in Blockhouse Bay. Stringer paid tribute to his fellow artist with the creation in 1978 of her bronze portrait. Stringer drew the attention of Wellington dealer Peter McLeavy to the works of Lois White. In 1977 McLeavey organised White’s first solo exhibition attracting the attention of galleries and collectors. She was 74 years old. Lois White died in Auckland in 1984. Interest in her work was revived posthumously when Auckland Art Gallery held a major 1993 retrospective, By the Waters of Babylon. Spring, featured in this exhibition, supported by other works from a series of female allegories modelled on the artist’s friends and students in symbolic guise. Today, the elegant vitality and mysticism of these work has found a deeper resonance and appreciation. Works by Lois White are held in the collections of Auckland Art Gallery and the Museum of New Zealand Te Papa Tongarewa. Reference: Dictionary of New Zealand Biography, 1998, Nicola Green, New Zealand Women Artists, Anne Kirker, 1986
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A LOIS WHITE (1903 - 84) Ruth and Naomi Watercolour 17 x 11.5 Signed & inscribed Ruth and Naomi $8,000 - 12,000
PROVENANCE Private Collection, Auckland
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A LOIS WHITE (1903 - 84) Programme, c.1930 Gouache on paper 15 x 12 Signed & inscribed $3,000 - 5,000
PROVENANCE Collection of Tony Hiles filmmaker Purchased from Peter McLeavey Gallery, Wellington, 1970s Inscribed Programme, c.1930 by A Lois White - in Peter McLeavey’s hand verso
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A LOIS WHITE (1903 - 84) Bathers, c. 1933 Linocut on paper 19 x 14 Signed & inscribed Bathers $2,500 - 3,500
PROVENANCE Collection of Tony Hiles filmmaker Purchased from Peter McLeavey Gallery, Wellington, 1970s EXHIBITED By the Waters of Babylon - The Art of A. Lois White - national touring exhibition organised by Auckland City Art Gallery, 1995
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GRAHAME SYDNEY (b. 1948) Rock of Ages, Rough Ridge Oil on Linen 91.5 x 122 Signed & dated 2009 $100,000 - 150,000
PROVENANCE Private Collection, Europe Purchased from Gallery Thirty Three, Wanaka, 2009
Grahame Sydney ONZM is best known for his landscapes of Central Otago. His work spans four decades and encompasses oils, egg tempera, watercolours, lithographs, etching, photography and, more recently, film. Rarely exhibiting, Sydney’s works are held in the collections of the major galleries and museums of New Zealand and in private collections through-out the world. Extract from: Timeless Land by Grahame Sydney. Central Otago is Grahame Sydney country. Rough Ridge is part of it. His painting, Rock of Ages, features this freakish stone creature, a remarkable schist outcrop, standing in the fading light of the quiet hour, just before the darkness of night swallows the lonely landscape.
High above hangs the moon, just a sliver and barely visible. In the far distance, where the real mountains rear, pale-orange light fades with the promise of a clear night and a fine day to follow. Grahame’s eye was not only drawn to the remarkable shape of this ancient eroded geological feature. The monster stood sentinel over much more recent events. Beside the Old Dunstan Road on Rough Ridge, this monumental tor has been weathering for thousands of years, he explains in notes on the paintings in his latest book, Grahame Sydney Paintings 1974-2014. Platoons of foot-slogging diggers must have passed it on their long, optimistic trudge to the Dunstan Goldfields in the early 1860s rush, seeing it exactly as we do today.
The ragged ranges in the distance are the southern end of the Remarkables and their neighbour Garvie Range. I know this country well, I photographed and filmed it often, but this is the only painting I’ve ever done of it. - Grahame Sydney
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40 TOSS WOOLLASTON (1910 - 98) Ivan, c. 1936 Oil on hessian on board 64.7 x 50.3 Signed M T Woollaston, & inscribed Painting no. 6, title ‘Ivan’ verso $20,000 - 30,000
41 TOSS WOOLLASTON (1910 - 98) Landscape with Cottage Watercolour 38 x 55 Signed $4,000 - 6,000
PROVENANCE Private Collection, South Island On long term loan to Christchurch Art Gallery 1998 - 2020. Released from the long term loan collection, Christchurch Art Gallery, February 2020 National Gallery Art Gallery label affixed verso EXHIBITED A Retrospective Exhibition: M.T. Woollaston, Colin McCahon. Auckland City Art Gallery, May 1963 Toss Woollaston: A Retrospective, 1992, National Art Gallery, Christchurch Art Gallery - cat. no. 14
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PHILIP CLAIRMONT (1949 - 84) Still Life Oil on hessian 94 x 165 Signed & dated 1981 $100,000 - 150,000
PROVENANCE Private Collection, Auckland
The untimely death of artist Philip Clairmont at age 34 was a great loss. His paintings, prints and drawings are a powerful legacy, as it is through these artworks that we see and feel his talent, energy and highly original vision. Working in a paint-encrusted studio to a soundtrack of Jimi Hendrix or Bob Dylan, Philip Clairmont was the archetypal enfant terrible of New Zealand expressionism. Using strong colours and distorted forms, often choosing an arrangement of domestic objects and interiors as subject matter, his work is unique and readily identifiable. Clairmont studied in Christchurch under Rudi Gopas, graduating from the Canterbury School of Fine Arts in 1970. In 1973 he received a Queen Elizabeth II Arts Council grant, and by 1977 was painting full-time in his Mount Eden home. It was here that TVNZ filmed the 1981 Clairmont documentary and also where he painted the dramatic Still Life. Clairmont was influenced by the works of Vincent van Gogh and Francis Bacon, and also influenced by his close friendships with fellow artists Tony Fomison and Allen Maddox.
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I knew I wanted to be a painter or a bullfighter (and) nothing else. - Philip Clairmont 51
43 FELIX KELLY (1914 - 94 ) ‘African Capriccio’ Post Office, Sierra Leone Oil on board 163 x 233 Signed & dated 1966 $70,000 - 100,000
PROVENANCE Lot 77, Phillips, London, 26 January 1988 Private Collection, UK A small study of this work 16.5 x 21.5cm is illustrated p. 159 Fix; The Art and Life of Felix Kelly, Donald Bassett 2013
Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.
His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s and 70s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Kelly completed paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.
Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and fellow New Zealander Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, windblasted 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.
Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-09. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013. In 1958 and again in 1965 Felix Kelly left for a painting safari in West Africa. It was on his second visit there where he was instructed by the owners of Diamond Mines in Sierra Leone to paint a series of six large paintings for their boardroom. This is thought to be one of those commissioned works.
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RALPH HOTERE (1931 - 2013) A Black Union Jack Enamel on burnished baby iron 132.5 x 123.5 Signed & dated 1989 Signed, inscribed A Black Union Jack, a Celebration Work for 1990?, Port Chalmers & dated 89/90 verso $80,000 - 120,000
PROVENANCE Private Collection, Christchurch
The Union Jack has appeared often in Hotere’s work. Here it is defined in a simple graphic format. The name Union Jack is thought to have evolved from the term ‘jack’ which denotes a small national flag traditionally flown at the bow of a warship. Whether or not this is in fact the derivation is unclear - in naval terms, however, and for Hotere, it is a name and an image that is associated with conflict and war. This is the context in which Hotere has consistently used it. If we look back to the first Sangro paintings and to Winter Landscape, Sangro River from 1963 (a work now held in the collection of the Dunedin Public Art Gallery) there is the same segmentation of the canvas into the pattern of the British flag. The Sangro works are a lament for Hotere’s brother who was killed in action in World War II and is buried at the Sangro River War Cemetery in Italy. They are works commentating on the foolishness of war - a war fought by New Zealanders under British command. More recently, in the Jerusalem Series of 2002-4 Hotere uses the Union Jack collaged into the form of a Star of David. Two of the works in this series are titled This is a Double Union Jack and another This might be a Double Cross Jack. These are images in which the Union Jack evokes the history of Palestine as a British Mandate territory prior to the formation of Israel in 1948. Embedded within the scrawled lettering is the sense of betrayal and desperation felt by those subjected to the ensuing Israeli/Palestinian conflict. It is the same sense of betrayal that Hotere evokes with the burnt and abraded image of the Union Jack in this 1989/90 A Black Union Jack.
The divisions in the upper two quadrants of Hotere’s A Back Union Jack are an inscription of the capital letters NZ with the letters marked out in reverse in the lower half. The earlier Black Union Jack works were a protest against the 1981 tour of New Zealand by the South African rugby team. Hotere was a strong supporter of the anti-apartheid movement. He once stated in an interview that he had taken part in every march in Dunedin opposing the Springbok tour. For someone who has always closely followed rugby this reflected a deep political commitment. A Black Union Jack is part of the Baby Iron Series, which revisited previous themes explored in earlier work. On the back of the image, in Hotere’s handwriting, is the inscription a celebration work for 1990? This was the year South Africa’s then president F W de Klerk announced the government’s intention to abolish apartheid and the impending release of Nelson Mandela after 27 years of imprisonment. At the time it was produced, in late 1989 through early 1990, Hotere’s inscription with a question mark denoted both hope and uncertainty about the fulfilment of de Klerk’s promises. The addition of the qualifier ‘black’ to the title A Black Union Jack plays on multiple meanings: The black of mourning, the black which is this country’s national colour, the black of skin, and the black that is part of the name of our national rugby team. A few years later, in 1985 Hotere created the Black Rainbow series in which the arcing banner of a black rainbow forms an elegy for the sinking of the Greenpeace vessel the Rainbow Warrior. Hotere’s powerful imagery is a heartfelt comment on two major historical events in the history of New Zealand.
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45 EVELYN PAGE (1899- 1988) Lively Conversation at Luncheon Portrait of Edith Campion Oil on canvas board 75 x 59.5 Signed Inscribed Lively Conversation at Luncheon & dated January 1983 verso A signed graphite study of the same subject, dated 1985, included with this lot See illustration below $40,000 - 60,000 PROVENANCE Commissioned by the artist’s friends Edith and Richard Campion Private Collection, Australia ILLUSTRATED p. 51, plate 27, Evelyn Page, Seven Decades, Neil Roberts, Robert McDougall Art Gallery, 1986 EXHIBITED Evelyn Page, Seven Decades, National touring exhibition, cat. no. 67, December 1986 - June 1988
Edith Campion nee Hannah was born in Wellington December 13, 1923. She married theatre director Richard Campion in 1945 and together, in 1952, they formed the New Zealand Players, laying the foundations of professional theatre in New Zealand. She was schooled at Queen Margaret’s and Nga Tawa, before being privately educated from age 13, later attending Wellington’s Victoria University then enrolling in an acting course at the Old Vic Theatre School in London in 1948. She was a member of the Downstage Theatre Trust board. Campion's publications included A Place to Pass Through and Other Stories in 1977 and a 1979 novel collaboration with Frank Sargeson, The Chain & En Route. She had many stories and poems published in Islands, Landfall and NZ Listener, as well as readings of her work on Radio New Zealand. Edith was mother to well known director and screenwriter Anna and Jane Campion.
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Born in 1899, Evelyn Margaret Polson was the youngest of seven children. Her parents John and Elizabeth Polson were straight-laced, “Victorian” as Evelyn described them. Although this was a strictly religious upbringing, she was encouraged to foster a love of music, art and writing from a young age. In 1915, 15-year-old Evelyn joined the Canterbury College School of Arts where her formal training began and she would remain until 1922. She quickly proved herself to be a talented student, receiving numerous accolades and prizes. This was of course a formative time for the young artist, who in addition to learning from teachers Margaret Stoddart, Leonard Booth and Cecil Kelly, forged a number of lifelong friendships and connections with her peers including Ngaio Marsh and Viola Macmillan Brown. She became a member of the Canterbury Society of Arts in 1922. For a period after this, Page focused on music, studying piano with Ernest Empson. Awareness of this musical talent deepens an appreciation her paintings, which have a musical sensitivity to them. Page’s affinity for finding rhythm in composition and colour gives many of her works a deep visual musicality. It was through Empson that she met Frederick Page. In 1931, one of the few works Evelyn completed was a very fine oil portrait of her future husband. Evelyn was one of the founding members of the New Zealand Society of Artists and taught part-time at Christchurch Girls’ School before joining Frederick in
London in 1937. The period that followed was one of exceptional and prolific creative output for her. Over this time, the couple built their network of friends and fellow artists in London, and travelled around Europe. Upon their return to New Zealand, Frederick and Evelyn married and settled in Governors Bay, where they lived for several years. They had two children, Sebastian and Anna. Whilst living there, and over the course of a number of summer painting holidays (a tradition she maintained throughout her life), Evelyn mastered the pure treatment of colour in her work. After Frederick was appointed to set up the School of Music at Victoria University in 1945, the family moved to Wellington. Evelyn and the children lived in Pukerua Bay; she used to travel into the city to visit Frederick and to paint. Her wonderfully expressive portraits of friends and peers, interior still lifes and cityscapes now stand out as a form of protest in response to mainstream modernism. The Pages returned to London and Evelyn attended a summer school in Salzburg. In the 1960s and 1970s, Page’s work assumed a quieter, more interior focus. Living in Waikanae and suffering from arthritis, a slower rhythm sustained her in the final decades of her work. She died in 1988. Page was a visionary, and her works possess a refreshing vivacity of spirit which have stood the test of time.
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CHARLES BLOMFIELD (1848 - 1926) Pink and White Terraces, Rotomahana - A Pair Oil on canvas 34 x 60 Signed & dated 1885 $40,000 - 60,000
PROVENANCE Same family collection since purchased by the current owners family, 1885 Facsimile letters to the owners from the artist post 1886 eruption affixed verso View letter at internationalartcentre.co.nz Charles Blomfield has long been recognised as the most popular early New Zealand painter of the Pink and White Terraces and the surrounding region of Rotorua and Lake Tarawera. This fine pair of works featuring two separate views of the Pink and White Terraces, dated 1885 pre-date the 1886 Tarawera eruption. Blomfield first visited the region during a camping trip in December 1875, commenting that Tarawera and it's Terraces were exceedingly beautiful and graceful. Returning in 1883 he spent six weeks documenting the Pink and White Terraces and their surroundings. Blomfield's meticulous sketches and finished paintings are some of the most important historical records we have of the region. It was reported that by September 1885 orders for his work had been received from throughout Europe, America, Australia and other places. Following the Tarawera eruption, Blomfield realised that the paintings he had made of the Terraces were a valuable record, and declined to sell them. He went on to paint and sell scale copies of these works, for which the prices soon trebled. The story of the Tarawera eruption is a dramatic chapter in New Zealand's history. Eleven days before the eruption, both Maori and European visitors, including the famous Guide Sophia, reported seeing a ghostly Maori war canoe paddling across Lake Tarawera. Guide Sophia consulted her tribe's tohunga, or priest, TĹŤhoto Ariki, and he interpreted the phantom canoe as a bad omen. He believed Maori would be punished for exploiting the area for money without paying due respect to their ancestors.
In the early hours of 10 June, 1886 TĹŤhoto Ariki's prophecy was fulfilled. At Te Wairoa village, about eight kilometres away from the Terraces, people were woken after midnight by a series of violent earthquakes. Around 2 am Tarawera erupted with fountains of glowing lava and a cloud of ash up to ten kilometres high, through which intense lightning flickered. At Te Wairoa, more than sixty people sheltered in Guide Sophia's sturdy hut, which remarkably survived the eruption. Later, craters on the south-west side of the mountain blasted open and a crack 17 kilometres long emitted tons of mud and ash. The Tikitapu bush was completely covered by ash and earthquakes were felt throughout the North Island with the noise of the eruption heard as far south as Blenheim. At the time, many Aucklanders thought they were hearing distant cannon fire. Blomfield decided to see the devastation for himself and returned to the area in October to paint several scenes of the terrible destruction. A world away, fourteen Charles Blomfield paintings were being greatly admired in South Kensington, London at the 1886 Colonial and Indian Exhibition. This major exhibition, which in the words of the Prince of Wales was intended to: stimulate commerce and strengthen the bonds of the British Empire was opened by Queen Victoria and received over five million visitors. Charles Blomfield died at his residence in Wood Street, Freemans Bay, Auckland in 1926. These two fine works, held in the same family collection for 135 years, provide an accurate historical record of the beauty and splendour of the region. They were painted just a year prior to the Tarawera eruption.
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NICHOLAS CHEVALIER (1828 - 1902) Lake Wakatipu - The Lake Watercolour 63 x 124 Signed & dated 1879 $55,000 - 75,000
PROVENANCE Dr Neville Hogg Collection Private Collection, Auckland
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48 TIM WILSON (b. 1954) Tranquility (Hagley River) Oil on Belgian linen 60 x 120 Signed & dated 2004 Inscribed Tranquility (Hagley River) on artist’s label affixed verso $25,000 - 35,000 PROVENANCE Private Collection, Auckland Purchased from artist, 2004
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ALBIN MARTIN (1831 - 88) Tamaki Oil on canvas 11 x 19 Signed & inscribed Tamaki verso $8,000 - 12,000
PROVENANCE Private Collection, United Kingdom Albin Martin received his formal training from English Painter John Linnell along with fellow pupils Joseph Mallord William Turner and David Cox. He arrived in Auckland from Italy in 1851. While managing his farm in East Tamaki he painted and sketched the Auckland isthmus in a style many compared to that of French painter Claude Lorraine. Albin Martin was a founding member of the Auckland Society of Artists and later treasurer for the Auckland Society of Arts and also served on a committee to judge a competition for a design for the then new Auckland Library and Auckland City Art Gallery. Martins work
differed significantly from the topographical style of landscape realism produced by his contemporaries J B C Hoyte and Alfred Sharpe who were also working in Auckland. Martin was a vocal critic of the movement to produce a distinctively New Zealand art. Yet his links with well-known artists in England gave a kind of confidence to the fledgeling art community in Auckland at this time. His original intention of farming had brought little reward, but he had lived by his ideals and typified the cultured gentleman immigrant. He died at Auckland on 7 August 1888, survived by his wife, who died in 1911. Together they had eight children. His works rarely appear on the market.
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50 JUSTIN MAURICE O’BRIEN (Australian 1917 - 96) Madonna and Child Oil on canvas 47 x 35 Signed $15,000 - 25,000 PROVENANCE Private Collection, South Island Justin O’Brien was one of the major Australian artists of his generation. He studied with Edward Smith between 1930 and 1936. During World War II he served in Palestine and Greece before being captured at Ekali and interned, firstly in Athens and then Torun in Poland. In 1944 he was amongst a group of prisoners of war sent to Barcelona in exchange for German prisoners and soon after returned to Australia to be demobilised. During captivity O’Brien studied and was inspired by Byzantine art. The pictures he painted in Torun, with materials supplied by the Red Cross, formed the nucleus of his first Australian exhibition, held in Sydney with another ex-prisoner of war, Jesse Martin.
The Byzantine influence, which gave his early work individuality and style, also informed his mature painting. After the war he taught at Cranbrook School. He moved to Rome in 1967, returning to Australia with exhibitions every two years. A contemporary of Margaret Olley and Jeffrey Smart, O’Brien’s work is represented in State and University collections throughout Australia, the National Gallery of Australia, and the Vatican Museum of Contemporary Art in Rome. In 1987 the National Gallery of Victoria curated a major retrospective exhibition of his work
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ROHAN WEALLEANS (b. 1977) Painting on One Surface with No Tricks No. 2 Oil on canvas 104.5 x 74.5 Signed, inscribed Painting on One Surface with No Tricks No. 2 & dated 2003 verso $7,000 - 10,000
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JUDE RAE (b. 1955) Still Life No. 311 Oil on linen 122 x 137 Signed, inscribed SL311 & dated 2013 verso $30,000 - 40,000
PROVENANCE Jensen Gallery, Auckland Private Collection, Auckland
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53 GARTH TAPPER (1927 - 99) Court of Appeal Oil on canvas 73.5 x 98 Signed & dated 1986 Inscribed Court of Appeal verso $22,000 - 32,000 PROVENANCE Private Collection, Auckland since 1986 Garth Tapper was a master of social portraiture. His body of work is similar to a collection of short stories – slice of life scenes depicting New Zealanders from all walks of life including the working class, publicans, judges and sports players. He did not necessarily seek out moments of high drama or tension, but looked to capture honest, real, every day scenes. Tapper’s work has a candour that is accessible but not overstated, which is how Court of Appeal speaks to the viewer. The painting has a sense of calm reverence: five judges in their robes occupy three different planes in a muted courtroom. Their wood panelled surroundings make for a solemn architectural setting, and as viewers our attention is divided between the rhythm of such a solid, elemental composition – their five red robes like topographical formations in a landscape – and the relationship between the judges. They each assume a different pose and look in different directions, which is Tapper’s clever way of bringing them into conversation with each other. The combination of physical proximity and disconnectedness from each other prompts us as viewers to imagine them to life, to wonder about their temperament and personalities. Tapper introduces a quiet sense of companionableness to the scene with the inclusion of his still life vignette of Johhny Walker Red Label whiskey, water jug and tumblers.
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GARTH TAPPER (1927 - 99) Afternoon Tea Oil on hard board 57 x 78 Signed & dated 1976 $20,000 - 30,000
PROVENANCE Private Collection, Auckland since 1976 At first glance, there is a dark luridness to Tapper’s Afternoon Tea, which is emphasised by the title of the painting. Afternoon Tea calls to mind a sunlit pause within the routine of a day, or perhaps feelings of whimsy and indulgence. In this work however, it serves a different purpose – to let us know that the dingy interior of this pub is in its own orbit of time and space, disconnected from daylight outside. This isn’t an after work bar scene, but a working man’s pitstop in the middle of the day. The insitu lens applied here is typical of the artist’s work: the viewer is not in a position of authority over the scene, but sitting within it – just a table away from the two figures, watching their interaction. The man silhouetted against the window is stocky and wearing a singlet; accompanied by beer bottles, he is a study of masculinity. He appears less aggressive than earnest, leaning forward in reflection or possibly conversation with the other figure. This is Tapper’s talent – he renders simple scenes with open spaces for wondering, for the viewer to create narratives in our mind. The longer one stays in this painting, the more comfortable we feel within the setting of this dim afternoon bar.
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GARTH TAPPER (1927 - 99) Brothers in Law, The Law and its People Oil on canvas 75 x 100 Signed & dated 1987 $20,000 - 30,000
PROVENANCE Private Collection, Auckland since 1987 This work belongs to a series of well-known courtroom portraits completed by Garth Tapper. These paintings are an interesting take on the tradition of legal art. Consider its two main iterations: first, the portraits of judges and barristers which line the walls of courthouses. This is portraiture at a grandiose and formal level – depictions of serious older men in wigs. Secondly, there is the tradition of courtroom sketches, which has a documentary function. In the absence of cameras or live reportage, sketch artists are responsible for capturing the spirit of the courtroom and tone of proceedings. The setting is static and makes it hard to express originality through the visual medium; this results in a sophisticated kind of caricature. Bringing together these traditions of portraiture and court sketching is Brothers in Law. Fluid brushstrokes give this scene a sense of sketchy liveliness. While the lawyer on the right is holding forth in an imploring way, the one on the left is rigid with tension. The two men have been brought to life as individuals in a profile portrait, and the energy of the scene gravitates around them. In the background, the idea of a courtroom sketch comes to life: a red-faced man in a suit sits next to a woman with a severe bun who is leaning forward in anticipation. Close to them, a man checks his watch and someone in the back row has fallen asleep, completing the cycle of courtroom drama and dullness.
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RALPH HOTERE (1931 - 2013) Ekore Au E Ngaro He Kakano I Ruiruia Mai I Rangiatea/ I will Never be Lost The Seed was Sown Even in Rangiatea Mixed media on paper 59 x 39 Signed, inscribed & dated 1972 $18,000 - 28,000
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TREVOR MOFFITT (1936 - 2006) The 13 Year Old Delivery Boy No. 1, the Hokonui Moonshine Series Oil on board 58 x 58 Signed & dated 1997 Inscribed verso $10,000 - 15,000
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58 CHARLES BLOMFIELD (1848 - 1926) Gold Diggers Camp Near Lake Manapouri Oil on board 29 x 44 Signed Inscribed Gold Diggers Camp Near Lake Manapouri verso $10,000 - 15,000
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59 GIROLAMO PIERI BALLATI NERLI (1860 - 1926) Towards Owhata, Lake Rotorua Oil on board Signed $10,000 - 15,000
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60 PETER MCINTYRE (1910 - 95) Early Morning Mist, Ureweras Watercolour 52 x 70 Signed $12,000 - 16,000 Te Urewera is an area of mostly forested, sparsely populated rugged hill country in the northern Hawke’s Bay Region, and some in the eastern Bay of Plenty. Much of it is in the Huiarau, Ikawhenua, and Maungapohatu ranges, and there are also lowland areas in the north. The Waikaremoana and Waikareiti lakes lie in the south-eastern part. It is the rohe (historical home) of Tuhoe tribe, known for their stance on Maori sovereignty. Because of its isolation and dense forest, Te Urewera remained largely untouched by British colonists until the early 20th century.
Te Kooti, the Maori leader, found refuge here from his pursuers among Tuhoe, with whom he formed an alliance. Like the King Country at the time, few Pakeha were prepared to risk entering Te Urewera. In the early 20th century Rua Kenana Hepetipa formed a religious community at Maungapohatu.
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61 PETER MCINTYRE (1910 - 95) Whakapapa River Watercolour 53 x 71 Signed $15,000 - 20,000 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.
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.
Peter McIntyre had a home at Kakahi overlooking the confluence of the Whanganui and Whakapapa rivers, and painted several landscapes of the Whakapapa
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FLOWERS INTO LANDSCAPE
Watercolours by Margaret Olrog Stoddart (1865- 1934) Margaret Olrog Stoddart was born in Diamond Harbour, Canterbury, New Zealand in 1865, one of six children born to Mark Pringle Stoddart and Anna Barbara (nee Schjott). Margaret came from a prosperous and cultured family. Her aunt a noted painter in Edinburgh and her father an admiral’s son from Edinburgh, who was fond of drawing, poetry and reading. In 1876 Stoddart was taken to visit relatives in Edinburgh where she briefly attended a ladies' college. After returning to New Zealand she enrolled at the Canterbury College School of Art (now known as Ilam School of Fine Arts) in its opening year in 1882. During this period she became a member of the Palette Club, an association of artists who were committed to working from nature. A keen tramper, she made numerous trips around Banks Peninsula and the Southern Alps, sketching the landscape and collecting specimens for studies of native plants. Before long she had established a reputation as one of the country's foremost flower painters, and in 1885 was elected to the council of the Canterbury Society of Arts. She spent time visiting friends in the Chatham Islands in both 1886 and 1891. Her travels were recorded in an album which is now held at the Canterbury Museum, along with 12 of her botanical paintings which they acquired in 1890. In 1894 Stoddart travelled to Melbourne, where with the support from Ellis Rowan, the Australian flower painter, she held a successful exhibition.
In 1897 Stoddart left for Europe, visiting Norway and following the popular sketching routes through France, Switzerland and Italy. Her teachers included Norman Garstin, Louis Grier and Charles Lasal. While staying at St Ives in Cornwall, the centre for English impressionism, her artistic interests broadened and landscape clearly emerged as a principal theme. She exhibited widely during nine years away from New Zealand. In Paris she showed at the Salon of the Société des artistes français and the Société nationale des beaux-arts. At an exhibition in 1902 at the Baillie Gallery, London, her work was singled out for praise by the Sunday Times. Before leaving for New Zealand in 1906, she exhibited at the Royal Academy of Arts and with the Society of Women Artists. Stoddart's work continued to develop after her return from Europe. By confronting the starkness of the landscape and painting what became perceived as characteristic regional features, she made a significant contribution to the development of art in Canterbury in the 1920s and early 1930s. She exhibited at the Salon in Paris between 1909 and 1914, and was a regular exhibitor with New Zealand art societies. In 1928 a large retrospective exhibition of her work was held by the Canterbury Society of Arts. Margaret Stoddart died at Hanmer on 10 December 1934. Over the years she had won the admiration of critics and fellow artists and the respect of younger painters, including Rita Angus, Olivia Spencer Bower and Toss Woollaston. Dictionary of New Zealand Biography, Julie King, 1996
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MARGARET OLROG STODDART (1865 - 1934) Primroses Watercolour 15.5 x 23 Signed & dated 1908 $2,000 - 3,000
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63 MARGARET OLROG STODDART (1865 - 1934) White Roses Watercolour 39 x 50 Signed $7,000 - 10,000
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64 MARGARET OLROG STODDART (1865 - 1934) Sheep Driving, Canterbury Watercolour 43 x 46 Signed $5,000 - 8,000
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65 65 MARGARET OLROG STODDART (1865 - 1934) Blossom Orchard Watercolour 24.5 x 34.5 Signed $3,000 - 5,000
66 MARGARET OLROG STODDART (1865 - 1934) Blossom, Diamond Harbour Watercolour 24.5 x 34 Signed $3,000 - 5,000
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67 67 MARGARET OLROG STODDART (1865 - 1934) A Canterbury Stream Watercolour 25 x 34 Signed $3,000 - 5,000
68 MARGARET OLROG STODDART (1865 - 1934) Apple Orchard, Akaroa Watercolour 24 x 35 Signed $3,000 - 5,000
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JOHN WEEKS (1888 - 1965) Road Through the King Country Oil on board 38.5 x 49.5 Certificate of Authenticity signed by Hilda O’Connor affixed verso $2,500 - 3,500
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GOTTFRIED LINDAUER (1839 - 1926) Richard Grattan, Hotelier, Auckland Oil on canvas 65 x 51 Signed & dated 1876 $15,000 - 25,000
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70 PETRUS VAN DER VELDEN (1837 - 1913) Untitled Charcoal on paper 25 x 19.5 Signed $3,000 - 5,000
PROVENANCE Private Family Collection since painted Richard ‘Dick’ Grattan was born in 1844. He was the landlord of the Thames Hotel, Queen Street, which at the time was reputed to be one of Auckland’s finest hotels. Grattan was a popular, open hearted individual, a freemason and member of the Hope of Parnell Lodge. Early records show he died unexpectedly in 1875 whilst playing with his children in the front garden of their home. He was 31 years of age. It is understood the painting was commissioned by Grattan’s friend and Lindauer’s most dedicated patron, Henry Edward Partridge (1848 -1931). Partridge himself amassed a collection of over 70 works by Lindauer, many of which are now held in the permanent collection of Auckland Art Gallery, Toi O Tamaki. This fine portrait was completed after Grattan’s death.
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MIRANDA PARKES (b. 1977) Clowner Acrylic & oil on canvas 100.5 x 100.5 Signed, inscribed Clowner & dated 2006 verso $5,000 - 8,000
PROVENANCE Private Collection, Auckland
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DICK FRIZZELL (b. 1943) Only a Little Bit More and I’ll Be Safe Oil and enamel on canvas 85 x 150 Signed, inscribed Only a Little Bit More and I’ll Be Safe & dated 2014 $25,000 - 35,000
PROVENANCE Private Collection, Waikato EXHIBITED Dick Frizzell In the Waikato, Aesthete, 2014
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PAT HANLY (1934 - 2004) Spring Garden Oil pastel on toned paper 30 x 32.5 Signed, inscribed Spring Garden & dated 1977 verso $8,000 - 12,000
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JAN NIGRO (1920 - 2012) On the Pier Oil on linen 79 x 99 Signed & dated 1985 $3,000 - 6,000
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77 76 FRANCIS MCCRACKEN (1879 - 1959) Still Life With Daffodils Oil on canvas 54 x 45 Signed $8,000 - 10,000
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DOROTHY KATE RICHMOND (1861 - 1935) The Fishing Fleet Watercolour 46 x 62 Signed & dated 1911 $8,000 - 12,000
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DOROTHY KATE RICHMOND (1861 - 1935) Roses in a Blue Vase Watercolour 27.5 x 34 Signed & dated 1918 $800 - 1,200
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JOHN GULLY (1819 - 88) Early South Island Settlement Watercolour 36 x 64 Signed & dated 1879 $10,000 - 15,000
PROVENANCE Property of an Auckland Estate
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FRANCIS MCCRACKEN (1879 - 1959) Anemones Oil on board 57.5 x 42 $12,000 - 15,000
PROVENANCE Property of an Auckland Estate
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81 EDWARD BULLMORE (1933 - 78) Nude Acrylic on paper 70 x 52 Signed $7,000 - 10,000
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82 JOHN WEEKS (1888 - 1965) Moroccan Archway Mixed media on wood 36 x 24 Signed $3,000 - 5,000 Certificate of Authenticity signed by Hilda O’Connor and Alan Swinton affixed verso
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83 83 SYDNEY LOUGH THOMPSON (1877 - 1973) Evening Light, Concarneau Oil on board 38 x 47 Signed $8,000 - 12,000 PROVENANCE Property of an Auckland estate Traditional and Contemporary Art International Art Centre, 28/4/1997
84 DOUGLAS BADCOCK (1922 - 2009) Queenstown Watercolour 44.5 x 63 Signed $1,500 - 2,500
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LAURENCE WILLIAM WILSON (1850 - 1912) Rabbit Hunter, Upokoraro River Watercolour 13 x 36 Signed, inscribed Upokoraro River, Lake Te Anau & dated 1895 $1,000 - 2,000
PROVENANCE Estate of Marcus Hanan, lawyer and former chairman of Dunedin Public Art Gallery
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WILLIAM MATTHEW HODGKINS (1833 - 98) The Beach Mouth of the Tairri River Watercolour 12.2 x 35 Signed, inscribed The Beach Mouth of the Tairri River & dated Dec 1880 $800 - 1,200
PROVENANCE Estate of Marcus Hanan, lawyer and former chairman of Dunedin Public Art Gallery
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87 CHARLES DECIMUS BARRAUD (1822 - 97) The Crows Nest, a Boiling Spring, Waikato Watercolour 14 x 19 Signed Inscribed on separate label mounted within framing $1,000 - 1,500 87
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F A DAVIS (19th Century New Zealand) Historic New Zealand scenes: View of the Hon. William Fox House & Rangitikei River; Old Whau and Store (Palika) Mangaeone Downs; New Whau and Woolshed, Mangaeone Downs, Xmas; New Whau, Mangaeone Downs, Xmas; Watercolour each 14.5 x 28 and one 17.5 x 29 Signed Each work inscribed with title and To Mother & dated 1876 verso $5,000 - 10,000
89 JOHN BARR CLARKE HOYTE (1835 - 1913) Mitre Peak Watercolour 58.5 x 40 Signed $5000 - 8,000
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Landscapes by William Henry Allen (1894 - 1988) From the collection of the Estate of artist’s daughter Sheila William Henry Allen ((1894-1988) was one of a group of British art teachers recruited in the 1920s by William Sanderson La Trobe, the nation’s Superintendent of Technical Education, whose intention it was to greatly improve the quality of art education in New Zealand. W H Allen had attended London’s Royal College of Art from 1919 to 1923. His contemporaries there included Henry Moore and Barbara Hepworth; fellow students Roland Hopkins, Jenny Campbell and Robert Nettleton Field also immigrated to New Zealand and became lifelong friends. The contribution of the La Trobe artists, particularly W H Allen and R N Field had an on-going and profound effect on the development of New Zealand art. Their teaching of early modernism opened the door to an avant-garde post-impressionist period in New Zealand’s art history. They influenced artists such as Toss Woollaston, Colin McCahon and Doris Lusk who embraced these new ideas, attitudes and techniques. Hocken Librarian Sharon Dell says the influence of W H Allen and his fellow La Trobe teachers produced landscapes and portraits in a style that was at first deeply unacceptable to painters and art societies in New Zealand - still entrenched in their Victorian style of art. W H Allen taught in Dunedin and Nelson. He was President of the Suter Art Gallery Society, teaching Workers Education Association (WEA) classes and participating in the Canterbury Summer Schools which attracted artists Doris Lusk and Leo Bensemann to Nelson. Colin McCahon and Toss Woollaston also regularly spent their summers there. After returning to England in the late 1930s, W H Allen’s art and reputation as a teacher were all but lost and until recently, little research done on his contribution to New Zealand art. Following the family’s return to England in 1946 W H Allen taught at the South West Essex School of Art, London, retiring in 1961.
In 2008 a significant collection of W H Allen’s work was repatriated from the United Kingdom and gifted to Dunedin’s Hocken Library. The Tui Rata Frowd bequest contained about 80 artworks including oil paintings and works on paper, and a large archival collection of letters, correspondence, photographs, catalogues and articles relating to William Allen. In 2015 the Hocken Library held a major exhibition, W H Allen & The La Trobe Effect. This exhibition shone a light on W H Allen’s contribution to the emergence of early regionalism in New Zealand. In addition to showcasing W H Allen’s practice the show included works by his La Trobe peers, several of Allen’s students and a sample of work by the early twentieth century British artists associated with the Camden Town Group whose post-impressionist style and subject matter inspired W H Allen, his peers and a swathe of this country’s regionalist painters. International Art Centre thank Robyn Notman and Sharon Dell of the Hocken Library for their assistance.
Sheila Allen (W H Allen’s daughter) was born in New Zealand in 1926. She lived in Dunedin until aged four, when she moved with her mother, father and sister Tui, back to England for a new role for her father. The family returned to New Zealand for a teaching role in Nelson when she was seven - leaving again at age 20. She had told the University of Otago her childhood in New Zealand was idyllic, yet she returned again to live out her years in the UK, eventually having a career as an artist herself, training to be a silversmith in her 70s. Sheila died in early 2018.
90 WILLIAM HENRY ALLEN Village II - Upshires Oil on canvas 45 x 60 Signed $3,000 - 5,000
102 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
90 91 WILLIAM HENRY ALLEN Rolling Hills, Waikato Oil on canvas laid on board 26 x 31 Signed $2,000 - 3,000
92 WILLIAM HENRY ALLEN Dunes Oil on board 30 x 40 Signed $1,000 - 2,000
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MICHAEL SMITHER (b. 1939) From Kati Kara Studio, Taranaki with Gorse Bush Oil on board 24.5 x 64 Signed & dated 1991 $3,000 - 5,000
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MICHAEL SMITHER (b. 1939) Horseshoe Bay, Matapouri Oil on board 27.5 x 33.5 Signed & dated 1985 $3,000 - 4,000
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95 PETER MCINTYRE (1910 - 95) Hong Kong Harbour Watercolour 55 x 74 Signed $3,000 - 5,000
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GRAHAME SYDNEY Roof Study Watercolour 32.5 x 27.5 Signed & dated Jan 1967 $2,000 - 3,000
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ALFRED HENRY O’KEEFFE (1858 - 1941) Otago Coastal Scene Oil on board 21 x 33.5 Signed & dated 1908 $1,500 - 2,500
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98 FRANK WRIGHT (1860 - 23) On the Waipa River Watercolour 25 x 37.5 Signed $800 - 1,200
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The Waipa River is the largest tributary of the Waikato River. It begins its journey to the sea from Pekepeke in the Rangitoto Range in the southern King Country, east of Te Kuiti. From there it flows through land which at the time Wright painted On the Waipa River was native bush, wetlands and peat bogs.
99 JOHN BARR CLARKE HOYTE (1835 - 1913) Bush & Stream, Newmarket Gully Watercolour 21.3 x 15.2 Signed $6,000 - 8,000
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106 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
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JAMES PEELE (1847 - 1905) Milford Sound Oil on canvas 76 x 125 Signed & dated 1897 $3,000 - 5,000
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JAMES PEELE (1847 - 1905) Mt Earnslaw Oil on canvas 49 x 86 Signed & dated 1891 $3,000 - 5,000
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102 EILEEN MAYO (1906 - 94) Woman Reading with Poppies Mixed media on paper 18 x 25.5 Signed $800 - 1,200
102 103 JOHN WEEKS (1888 - 1965) Houses in Vortex Watercolour 27.5 x 22 Signed $1,000 - 2,000
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SAMUEL JOHN LAMORNA BIRCH (1869 - 1955) The Dart Oil on board 25.5 x 26 $800 - 1,200
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108 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
James Watkins
Italy B ig S k y Pa intings
James Watkins has long been one of New Zealand’s most successful young artists. Since leaving Elam School of Art in 2005 he has been represented exclusively by International Art Centre. During the last 15 years his works have been acquired and commissioned by clients and collectors worldwide and James has aptly been christened an ‘art star. Both large and small scale works, including
Extraordinary Art For Extraordinary People
his unique ceramic spheres, feature the trademark Watkins’ Red Roof/Blue Roof Series of contemporary landscape.
In 2019 Watkins created a stunning new series of works confidently exploring the sophisticated realm of cubism. His solo exhibition in April of that year was a complete sellout. This latest collection of paintings saw Watkins transform a tapestry of brilliantly balanced, toned and shaded cubes of colour into stylish landscapes and still lifes. These paintings, so full of light and shade, are truly intriguing. By both retaining and refreshing the palette and essence of earlier works, Watkins constantly presents us with unique and original works of art. - Frances Davies - Director
New Work Currently Available | Commissions Accepted Dusky Light | Oil on Belgian linen | 100 x 100 cm Enquiries fran@artcntr.co.nz | 09 366 6045 109
valuation SERVICES www.internationalartcentre.co.nz
International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection.
Lucien Pissarro (French 1863 - 1944) Landscape through Trees, Tilty Wood Sold by International Art Centre 2012
For valuation enquiries & quotes contact Maggie Skelton maggie@artcntr.co.nz
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322
International Art Centre Appointed Valuers of The Fletcher Trust Collection
Don Binney (1940 - 2012) Frigate Bird, 1979 Oil on canvas board 183 x 152cm Reproduced courtesy of The Fletcher Trust Collection
A D Blake “Ariki” leads “Rainbow” and “Thelma” past the Rangitoto Lighthouse during the 1909 Auckland Anniversary Regatta Oil on canvas 60 x 90cm, Signed & dated 2019-20 NZ$90,000 All three of these yachts are over 100 years old and have been restored to their original glory and now race together again on Auckland’s Waitemata Harbour. A new masterpiece by the world’s leading maritime painter available for sale at International Art Centre
112 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
202 Parnell Road, Auckland Tel + 64 9 366 6045 fran@artcntr.co.nz
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Lot 43 Felix Kelly
114 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
115
Lot 16 John Walsh
116 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
ENTRIES NOW INVITED Important & Rare Art
COLLECTABLE ART
Important & Rare auctions are the proven, pre-
The buzz generated by our Collectable Art auctions
eminent sale category for major works of art offered
reflects the popularity of these sales: an event at
for sale in New Zealand. These auctions take place
which seasoned connoisseurs and budding collectors
three times annually. As we fast approach our 50th
alike converge to appreciate one of the most eclectic
year in business, experience continues to equal
and diverse offerings available to the market. Works
results. 2014 saw Important & Rare auctions realise
span the vital period from mid-century modernism
five of New Zealand’s top ten auction prices. The
through to the cutting-edge of today’s Contemporary
following year saw new records set with the two top
art in New Zealand.
prices in Auckland achieved. With the addition of the record $1.377 million paid for a C F Goldie in April’s
This sale category is an increasingly significant event
2016 sale, International Art Centre achieved the three
in our auction calendar. Offering a number of lower-
highest art auction prices in New Zealand’s history.
priced works from highly-sought after artists in print
Due to an appreciative, and greatly valued clientele of
and edition form, as well as quality works from artists
nationwide and international buyers and sellers we
whose presence on the secondary market is just
look forward to breaking new ground.
beginning to crystallise.
CONTACT Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz
Single Owner Auctions From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections
Maggie Skelton Ph +64 9 379 4010 E. maggie@artcntr.co.nz
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
Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz
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
202 Parnell Road, Auckland www.fineartauction.co.nz
been entrusted to us in recent years.
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Lot Lot3153 Toss Garth Woollaston Tapper
118 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
Absentee Bid Form IMPORTANT & RARE ART 7:00pm Wednesday 1 April 2020 I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. I understand my bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.
REGISTRATION NUMBER NAME ADDRESS EMAIL
TELEPHONE
LOT NUMBER
ARTIST NAME
MAXIMUM BID $NZ excluding buyers premium
Signature ...........................................................................................
/
/ 2020
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
Alternatively, register then bid online www.fineartauction.co.nz
202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 Fax 09 307 3421 email info@internationalartcentre.co.nz www.fineartauction.co.nz
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Index ALBRECHT G....................................................23
MCCRACKEN F...........................................76, 80
ALLEN W H........................................... 90, 91, 92
MCINTYRE P......................................... 60, 61, 95
BADCOCK D......................................................84
MOFFITT T........................................................ 57
BAMBURY S......................................................30
NERLI G P B...................................................... 59
BARRAUD C D.................................................. 87
NIGRO J............................................................ 75
BINNEY D.........................................................1, 9
O’BRIEN J M.....................................................50
BIRCH S J L..................................................... 104
O’KEEFFE A H.................................................. 97
BLOMFIELD C............................................46, 58
PAGE E.............................................................. 45
BROWN N.................................................... 24, 25
PARKES M......................................................... 72
BROWN H..................................................... 1042
PEELE J....................................................100, 101
BULLMORE E................................................... 81
RAE J................................................................. 52
CASTLE L........................................................ 2, 3
RICHMOND D K E...................................... 77, 78
CHEVALIER N.................................................. 47
ROBINSON A.................................................. 5, 8
CLAIRMONT P..................................................42
ROSS J...............................................................22
CUMMINGS V...................................................49
SMITHER M.........................17, 19, 33, 34, 93, 94
DAVIS F A..........................................................88
STICHBURY P.......................................26, 27, 28
FRANCE P......................................... 10, 11, 12, 13
STODDART M O...........62, 63, 64, 65, 66, 67, 68
FRIZZELL D...................................................... 73
STRINGER T....................................................... 7
GIMBLETT M.................................................... 18
SYDNEY G...................................................39, 96
GULLY J ............................................................ 79
TAPPER G.............................................. 53, 54, 55
HANLY P........................................................... 74
THOMPSON S L................................................83
HENDERSON L................................................... 6
TOLE C.................................................................4
HODGKINS W M..............................................86
VAN DER VELDEN P........................................70
HOTERE R............................................20, 44, 56
WALSH J........................................................... 16
HOYTE J B C...............................................89, 99
WEALLEANS R..................................................51
INGHAM A.........................................................15
WEEKS J..............................................69, 82, 103
JAHNKE R......................................................... 14
WHITE A L...................................... 35, 36, 37, 38
KELLY F.............................................................43
WILSON L W.....................................................85
LINDAUER G.....................................................71
WILSON T.........................................................48
MARTIN A.........................................................49
WOLFE E........................................................... 21
MAYO E........................................................... 102
WOOLLASTON T........................................ 40, 41
MCCAHON C............................................... 31, 32
WRIGHT F.........................................................98
120 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium
The Paul & Kerry Barber Collection with Important & Rare Art 23 October 2019 1 2500 2 4000 3 3200 4 12750 5 12500 6 2600 7 5250 8 700 9 10000 10 7500 11 9500 12 15000 15 25000 16 28000 17 3000 18 12750 19 20500 20 24000 21 60000 23 20500 27 12000 29 6400 30 5400 31 31000 32 2800 35 5750 36 17000 37 1550 38 8200 39 4000 41 4500 42 6500 43 5000 44 7500 47 3100 48 4000 49 3100 50 400 51 6000 52 1800 53 3250 54 5000 55 4100 56 3100 57 1700 58 1000 59 22500 61 9000 62 1700 63 5750 64 3750 65 18000
18 1800 19 6000 20 325 21 300 22 1000 24 15000 25 1500 26 1500 27 42000 28 1500 30 28000 31 tbc 32 24000 34 6000 35 40000 37 8000 38 40000 39 48000 41 4200 42 400 44 6700 45 10500 48 1500 52 1800 53 8250 54 3000 56 9000 60 1900 62 13000 64 900 65 950 66 2600 67 3000 68 4300 69 8200 70 1000 71 9500 72 6000 73 16000 75 650 79 600 80 650 81 2200 Modern & 82 2500 Contemporary 27 November 2019 83 525 84 425 85 4000 3 1000 86 1200 4 3000 87 1500 5 3250 88 7250 6 6400 89 1950 7 21000 90 650 8 4300 91 1000 9 3600 95 3100 12 6400 96 1600 13 2750 97 2200 14 4200 98 1600 15 3500 100 5200 16 1100 101 180 17 300 66 26000 67 500000 69 62500 70 285000 71 93000 72 250000 75 23000 76 8000 77 23000 78 28000 80 25000 81 15000 83 4700 84 4200 85 8500 86 22500 87 17000 88 3900 89 5500 90 17000 91 23000 92 6500 95 5000 96 24000 97 10000 98 12000 99 1800 100 10000 101 10500 102 4400 103 2200 106 5600 107 10000 108 4000 109 6000 111 3750 112 2600 114 4500 116 5200 118 900 119 850
102 300 104 8200 106 2200 107 2800 109 1000 110 1800 111 6500 112 1300 113 5300 114 2600 115 1200 116 8500 117 4000 121 1500 122 450 127 700 128 800 131 3250 132 2000 133 1000 135 1500 136 900 137 500 138 300 139 600 140 4600 141 2000 142 800 143 500 144 550 145 650 147 1500 148 1000 150 1300 152 300 153 2500 154 2000 156 400 157 600 158 300 160 750 161 8100 165 700 166 800 167 2200 170 800 171 500 172 800 173 500 176 400 177 270 Collectable Art 26 February 2020 2 1400 3 500 4 600
6 2000 8 1100 10 1400 11 500 12 1675 13 27000 15 11000 16 9000 19 4500 21 30000 22 1000 25 2000 26 1450 28 4400 30 3500 31 27000 32 700 33 600 35 2900 36 3400 37 1800 38 8000 42 1000 43 2100 44 8000 45 2600 46 2500 47 5000 48 4200 50 3500 51 1050 52 2300 56 300 59 950 60 2450 61 1100 62 900 63 3100 68 1200 72 1800 73 2000 74 650 76 250 77 250 78 50 79 140 80 300 81 160 82 260 83 440 84 280 86 2000 87 1400 89 3000 90 3100 91 1100 92 1500 93 1500 94 500
96 1800 97 1500 98 1550 99 1200 106 1250 108 850 109 800 111 2000 112 3000 116 1000 117 3500 118 1000 119 3450 120 1000 121 2300 124 2400 125 1500 126 925 127 850 129 4000 130 2000 132 2500 133 2100 135 650 136 2200 137 800 139 550 141 950 146 2750 147 750 148 1200 149 600 151 850 152 600 153 2100 154 800 156 800 157 800 158 750 159 400 163 1200 164 400 166 500 167 800 169 1000 170 800 171 400 173 600 174 400 176 200 178 300 179 1300 180 400 181 500 183 450
www.fineartauction.co.nz
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122 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
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Lot 6 Louise Henderson
124 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
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 5:00pm Friday 3 April 2020 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.
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. Credit cards: Visa and Mastercard with a 2% surcharge. International Art Centre no longer accepts cheque or cash payments in excess of NZ$10,000. PROTECTED OBJECTS ACT Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/ nz-identity-heritage/protected-objects/exporting
No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction.
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.
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.
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
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.
BUYERS PREMIUM 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)
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Lot 50 Justin O’Brien
126 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May
Lot 18 Max Gimblett
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz
202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz
128 IMPORTANT & RARE ART NEW DATE 6:00pm Tuesday 19 May