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Auction Venue 6:30pm Wednesday 10 September Scarborough Gallery, International Art Centre Lower Ground Level 272 Parnell Road, Auckland
Viewing Times Wednesday
3 September
9:00am - 5:30pm
Thursday
4 September
9:00am - 5:30pm
*Friday
5 September
9:00am - 5:00pm
Saturday
6 September
11:00am - 4:00pm
Sunday
7 September
11:00am - 4:00pm
Monday
8 September
9:00am - 5:30pm
Tuesday
9 September
9:00am - 5:30pm
Wednesday
10 September
9:00am - 1:30pm
* Preview lecture see page 9
Absentee Bids Absentee Bidding Form - page 113 Fax to (09) 307 3421 Email bidding instructions info@fineartauction.co.nz Bid via website www.fineartauction.co.nz
Illustrated front cover: Lot 20 Illustrated previous pages: Lot 14
Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz
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Contemporary & Modern Art
Billy Apple $7,620
Brent Wong $52,700 Miranda Parkes $6,155
Mike Petre $17,000
Len Castle $9,380
Peter Siddell $170,000
Consign Today International Art Centre invites consignments for Contemporary & Modern Art - October 2014 Contact Richard Thomson +64 9 379 4010 M 0274 751 071 E richard@artcntr.co.nz Toll Free 0800 800 322 www.fineartauction.co.nz Paul Dibble $12,890
272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz 4
Important, Early & Rare New Zealand’s premier auction category for Important 19th & 20th Century Paintings
Charles F Goldie $573,000
Evelyn Page $198,150
Charles F Goldie $732,800
Consign Today International Art Centre invites consignments for Important, Early & Rare - November 2014 Contact Richard Thomson +64 9 379 4010 M 0274 751 071 E richard@artcntr.co.nz Toll Free 0800 800 322 www.fineartauction.co.nz Colin McCahon $334,000
272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz 5
Lot 19 6detail
Selected works from the Fletcher Trust Collection 6:30pm Wednesday 10 September 2014 The Fletcher Collection was begun in 1962 by Sir
The Collection inherited by the Fletcher Trust had
James Fletcher II and his friend and colleague
been amassed under a mandate to acquire the
George Fraser. Four watercolours by JBC Hoyte
finest works by New Zealand artists. In many cases
were purchased, reputedly for ÂŁ300 and hung in the
this involved purchasing paintings that represented
boardroom of Fletcher Holdings at Penrose, replacing
the high points of periods in the work of our major
photographs of race horses. With the continued
artists. As a result multiple holdings of work by some
acquisition of paintings, many from New Zealand’s
artists was both important and inevitable.
colonial past, an interesting and diverse collection was gradually assembled.
The founders, Sir James Fletcher II and George Fraser, always resolutely maintained that the Collection
In 1967, the company relocated to the present Fletcher
operated primarily for the benefit of staff. Their aim
House, where increased wall space prompted the
was always to have as few works as possible in
decision to commence collecting contemporary
storage.
New Zealand paintings. The Collection increased with the 1981 merger of Fletcher Holdings and Challenge
For a variety of reasons along with a change in
Corporation. In Wellington, Challenge Corporation
staff numbers, the rise of the interactive office and
had maintained its own smaller collection since 1965.
increased use of open-planned spaces, there are
For ten years following the merger, the two collections
fewer walls in Fletcher related office buildings and,
functioned in Auckland and Wellington respectively.
as a consequence, less hanging space for paintings.
In 1991 they were consolidated as a single collection
The Trust has resolved that, rather than hold these fine
in Auckland.
art works in storage, the time has come to reduce the size of the Collection.
During the 1990s the Fletcher Challenge Collection continued to grow while many other corporate
The Trust has decided to offer for sale by auction
art collections were being dismantled. With the
seventy seven selected works from the Collection.
2001 dissolution of Fletcher Challenge Limited, sole
We welcome your interest in this sale.
responsibility and ownership of the Collection passed to the Fletcher Trust. Works from the Collection remained on the walls of the Fletcher Building offices at Penrose.
Lot 37 detail
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Lot 22 8
Invitation PREVIEW LECTURE BY DR ANGELA MACKIE OF THE CATHEDRAL LECTURES Please join us for morning tea as Dr Angela Mackie discusses key works from the catalogue 10:30am - 11:30am Friday 5 September 2014 R.S.V.P. Luke Davies luke@artcntr.co.nz Tel. 09 379 4010
Lot 17 RAYMOND MCINTYRE Self Portrait
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 9
Auction commences 6:30pm All measurements in millimetres
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IAN SCOTT 1945 - 2013
Lattice Drawing no. 67
Acrylic on paper 340 x 340
Signed, inscribed & dated 1982 verso
Estimate $2,000 - 3,000
Provenance:
Fletcher Trust Collection
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IAN SCOTT
1945 - 2013
Lattice Drawing no. 72
Acrylic on paper 340 x 340
Signed, inscribed & dated 1982 verso
Estimate $2,000 - 3,000
Provenance:
10
Fletcher Trust Collection
11
3
PATRICIA FRANCE 1911 - 1995
The Jug & Flowers
Gouache on paper 440 x 380
Signed
Inscribed verso
Estimate $4,000 - 6,000
Provenance:
Fletcher Trust Collection
Reference:
12
p. 157 Painting Out the Past
The Life and Art of Patricia France, Richard Donald
Longacre Press 2008
13
4
DORIS LUSK 1916 - 1990
Onekaka
Watercolour 400 x 620
Signed & dated 1977
Estimate $4,000 - 6,000
Provenance:
14
Fletcher Trust Collection
5
DORIS LUSK 1916 - 1990
Kaikoura Coast
Watercolour 525 x 715
Signed & dated 1983
Estimate $4,000 - 6,000
Provenance:
Purchased from Louise Beale Gallery,
Wellington 22/12/1983. Label affixed verso
Fletcher Trust Collection
15
6
OLIVIA SPENCER BOWER 1905 - 1982
Near Mahurangi
Watercolour 380 x 535
Signed
Estimate $3,000 - 4,000
Provenance:
16
Fletcher Trust Collection
7
OLIVIA SPENCER BOWER 1905 - 1982
Karekare
Watercolour 390 x 520
Signed
Estimate $3,000 - 4,000
Provenance:
Fletcher Trust Collection
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8
JAN NIGRO 1920 - 2012
Abandoned Mine IV
Oil on board 800 x 1210
Signed & dated 1964
Estimate $3,000 - 5,000
Provenance:
Fletcher Trust Collection
Illustrated p. 81 Apple for the Teacher, by
Jan Nigro, David Bateman 1996
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9
RUDOLF GOPAS 1913 - 1983
Wharves
Tempera on board 460 x 600
Signed & dated 1950
Estimate $5,000 - 7,000
Provenance:
Fletcher Trust Collection
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10
MAUD WINIFRED SHERWOOD 1880 - 1956
St Paul de Vence, France
Watercolour 480 x 550
Signed
Estimate $4,000 - 6,000
Provenance: 20
Fletcher Trust Collection
11
MAUD WINIFRED SHERWOOD 1880 - 1956
Variegated Tulips
Watercolour 547 x 455
Signed
Estimate $4,000 - 6,000
Provenance:
Fletcher Trust Collection 21
12
WILFRED STANLEY WALLIS 1891 - 1957
Sails, Abstraction
Oil on board 500 x 380
Estimate $4,000 - 6,000
Provenance:
Ex Wallis Family Collection, Rotorua
Purchased from John Leech Gallery,
Auckland c. 1985
Fletcher Trust Collection
W.S. Wallis was born in Christchurch and educated at
appointed superintendent of the then King George
Christchurch Boys’ High School. After graduating with
Hospital, Rotorua.
a degree in Medicine from the University of Otago in 1914 he went overseas in 1915 as a medical officer,
After a period in private practice, Wallis returned to
serving in Egypt and later in England. He came
work in the Queen Elizabeth Hospital during World War
back to New Zealand as Chief Medical Officer of
II, attending to wounded returned servicemen. He was
Hospital Transport, Maunganui and was subsequently
awarded an O.B.E. in 1948 for his services to medicine.
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13
EVELYN PAGE 1899 - 1988
View of St Paul’s, London
Oil on canvas 595 x 600
Signed
Estimate $15,000 - 25,000
Provenance:
Fletcher Trust Collection
In 1950 Evelyn Page travelled by ship to England with
piano music of Douglas Lilburn, a former student of
her husband Frederick, who was on sabbatical from
the great English composer. View of St Paul’s, London
the music department of Victoria University. While
is one of a number of oils which convey the bustle,
in London Page spent some time looking at the oil
movement and colour of the city of London which so
sketches of Constable which are held in the Victoria
attracted the artist. This work is an authentic record of
and Albert Museum. She saw an exhibition of works
blustery, grey English winter weather. Page revelled in
by Matthew Smith and introduced herself to him; she
the ‘clear, strong colours waiting to be put on canvas‘
and her husband visited Ivon Hitchens and bought a
when they returned to Wellington. There is subliminal
painting from him. At this time she also painted Ralph
reference to the well known photograph taken during
Vaughan Williams, while her husband played the
the blitz of the smoke surrounding St Paul’s.
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14
JOHN HOLMWOOD 1910 - 1987
Derelict
Oil on board 560 x 760
Signed & dated 1951
Inscribed on artist’s label affixed verso
Estimate $15,000 - 25,000
Provenance:
26
Purchased from Webb’s Auction, July 1987
Fletcher Trust Collection
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15
SYDNEY LOUGH THOMPSON 1877 - 1973
Autumn Evening – Concarneau, Brittany
Oil on canvas 460 x 525
Signed
Estimate $18,000 - 25,000
Provenance:
28
Fletcher Trust Collection
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16
RHONA HASZARD 1901 - 1931
Still Life: Magnolias
Oil on board 420 x 325
Signed
Estimate $15,000 - 20,000
Provenance:
Purchased from John Leech Gallery, Auckland 1985
Fletcher Trust Collection
Exhibited:
Daily Express, Young Artist’s Exhibition,
original label affixed verso
Rhona Haszard, An Experimental Expatriate ,
Hocken Library Touring Exhibition 2002
Illustrated:
p. 59 Rhona Haszard, An Experimental Expatriate
New Zealand Artist Joanne Drayton,
Canterbury University Press, 2002
Born in Thames on the Coromandel Peninsula in 1901,
She worked as an artist on the Channel Island of
Haszard studied at Canterbury College School of
Sark, France, Alexandria and London. She dressed
Art and worked with fellow students Ngaio Marsh,
eccentrically, recommended Radclyffe Hall’s lesbian
Evelyn Page, Rata Lovell-Smith and Olivia Spencer
novel The Well of Loneliness, spoke positively of de
Bower. She was taught by Archibald Nicoll, the newly
facto relationships and advocated vegetarianism
appointed head of the school. A successful future
and unprocessed food. Most significantly, she
seemed assured by her marriage in 1922 to teacher
wanted to paint innovatively and professionally.
and fellow student Ronald McKenzie. However in 1925 she abandoned her marriage and headed to France
Her life was cut short at the age of thirty when she fell
with ex-British army officer and artist Leslie Greener.
from a four-storey tower at Victoria College, Alexandria
They settled in Paris and studied at the Academy
in 1931, the night after her last exhibition opened.
Julian. Her brighter, Post-Impressionist style rapidly brought international recognition, and in London she participated in a number of significant exhibitions. 30
31
17
RAYMOND MCINTYRE 1879 - 1933
Self Portrait
Oil on canvas 61 x 51
Estimate $40,000 - 60,000
Provenance:
McIntyre family collection, London
Purchased from John Leech Gallery, Auckland circa 1990
Fletcher Trust Collection
Raymond McIntyre was an emigre New Zealand artist
did not always endear him to the art establishment.
whose departure was an enormous loss to painting
Consequently, in 1909 at the age of thirty, he left
in this country. Born in Christchurch he studied with
for England where he began an intensive period of
Petrus van der Velden and attended evening classes
study with such noted artists as Walter Sickert and
organised by the Canterbury College School of Art.
William Nicholson.
In 1905 he joined a sketch club where he met Sydney Lough Thompson who had recently returned from
His diverse work included street scenes, a subject he
four years study in Europe. From 1906 -1908 McIntyre
shared with the Camden Town Group, and from 1920
shared a studio in Cathedral Square with Leonard
he began to paint rivers and parks. McIntyre was
Booth who described him as an enthusiastic disciple
also a talented musician, writer, printmaker, theatre
of Whistler. In 1906 -1907 McIntyre was able to observe
and music critic. For some years he was art critic
for himself the new techniques of impressionism when
for the Architectural Review. He was a practising
twenty works by English Art Club members were
Christian Scientist since 1907 and in 1933 refused an
shown at the New Zealand International Exhibition
operation for a hernia. The resulting infection caused
in Christchurch.
his death which could have been prevented if he had permitted medical treatment.
These were to be enormously influential in forming McIntyre’s modern style of painting, a factor which
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NIGEL RODERICK BROWN b. 1949
Walls of Fern for an Axeman
Oil on board 1210 x 772
Signed & dated 1980
Inscribed and dated Titirangi 1980 verso
Estimate $7,000 - 12,000
Provenance:
Barry Lett Galleries, Auckland
Fletcher Trust Collection
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35
19
GRETCHEN ALBRECHT b. 1943
Untitled
Watercolour 1110 x 740
Signed & dated 1974
Estimate $12,000 - 18,000
Provenance:
36
Barry Lett Galleries, Auckland
Fletcher Trust Collection
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20
PATRICK HANLY 1932 - 2004
Torso G
PVA, enamel & acrylic on board 580 x 550
Signed, inscribed & dated 1978
Estimate $35,000 - 45,000
Provenance:
Purchased from Barry Lett Galleries, 1978
Fletcher Trust Collection
Illustrated:
Art New Zealand, Winter 1978
Pat Hanly’s Torso G comes more than a decade
However, arriving at a painting such as Torso G was
after he returns from five years in Europe and marks
not plain sailing for Hanly. There were struggles: Gil
a time in his career when he said that everything, all
Hanly recounts how the artist laboured through
the strands he had been working on, were coming
periods when he felt blocked; being worried he
together. The painting holds within it the discoveries
was too influenced by what he was taught at art
and achievements of several preceding series: the
school; and a difficult “floundering around” period
coastal light of Figures in Light; the tenderness of
following his return to New Zealand when he could
Girls Asleep; the atomised forms and transparency
not really get his eye in after the sunless but otherwise
of Inside the Garden and Molecular; and finally the
frenetically stimulating years in the UK, Holland
mature balance between figure, ground, line and
and Italy. To compound these struggles, his habit
flat, intense colour of The Golden Age.
of destroying works he was not happy with (even buying them back to do so) is well-known. Probably,
Torso G was first shown at Auckland’s Barry Lett
and most importantly, it was ‘the darkness’ that
Galleries early in 1978 and reproduced in Art New
gave birth to this painting and others of its quality
Zealand in the same year. It is tempting to see the
from this period. ‘The darkness’ as Pat Hanly called
‘G’ in the upper left corner as referring to the artist’s
it, was a reductive technique that he devised trying
wife Gil; and perhaps the ‘T’ as Gil’s maiden name
to unlearn what he’d learnt at art school and to see
Taverner, or their daughter Tamsin’s initial, or standing
things afresh. He had a studio in Grafton where he
in for the ‘Torso’ of the title – or all three. Whichever,
blacked out the windows and worked entirely in the
Torso G is Pat Hanly at the top of his game, and
dark; turning on the light later to discover what he’d
evidence that, as his wife Gil Hanly says “he knew
done. This process was both productive and thrilling.
absolutely what he was doing”. ROB GARRETT 38
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21
GORDON WALTERS 1919 - 1995
Untitled
Acrylic on canvas 490 x 610
Estimate $20,000 - 30,000
Provenance:
Fletcher Trust Collection
for the way it forms a Untitled is a remarkable work
His early career was punctuated by a brief but very
stylistic bridge between Walters’ earliest abstract
influential period living in London, Amsterdam and
works and the final fifteen years of his oeuvre while
Paris where he gained first-hand experience of
he took a break from his koru paintings. The work
Paul Klee, Victor Vasarley, Auguste Herbin, Giorgio
also gives us a clue as to the artist’s interest, not only
Morandi, Kazimir Malevich, Theo van Doesburg,
in European abstraction, but the lessons of Dadaism,
Joan Miró, Jean Arp and Piet Mondrian.
and especially of Jean Arp who compared the role of the artist to a plant bearing fruit.
Although by the 1970s he was working in acrylic on canvas, paintings from this period such as Untitled
Walters largely moved between New Zealand
started out as paper collages. Walters would cut out
and Australia throughout his career, working in
a variety of shapes of coloured paper and arrange
Wellington, Auckland, Sydney, Melbourne and
and re-arrange them on a larger sheet until he had
finally Christchurch.
arrived at the composition of forms that best suited him and from there he would commence painting.
40
This is a slow and deliberative process, but it is also
He was careful to explain however that his
open to spontaneous chance discoveries, and these
compositions were not the result of “the law of
two aspects give the artist great freedom to work
senselessness”: they were not, as people have
through numerous possibilities before settling on the
claimed, random.
most satisfying. Here, the lessons of Dadaism and especially of Jean Arp seem important, because
Take a look at the small black shape at the top
it was Arp who also developed both paintings and
right hand corner of Walters’ painting. Is this the
relief sculptures from experiments with paper collage.
result of the operation of the “laws of chance” in
“According to the laws of chance” Arp would drop
the moments when Walters is moving pieces of cut
cut paper shapes (and later torn pieces of paper)
paper around to develop the plan for his painting?
– like fruit from a plant – onto a plane ground and
It could be, but whether it is or not, it reveals the
then arrange his design based on the compositional
artist’s delight in creating surprising shifts and formal
juxtapositions suggested by where the paper pieces
juxtapositions that have a lasting resonance.
landed. ROB GARRETT
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22
MILAN MRKUSICH b. 1925
Meta Grey - Light Series
Oil on canvas 1120 x 840
Signed, inscribed & dated 1970 verso
Estimate $45,000 - 65,000
Provenance:
Fletcher Trust Collection
Acquired directly from the artist, 1978
Exhibited:
Twenty Paintings 1969 - 1970, Barry Lett
Galleries, Auckland 6 - 16 July 1970
Illustrated:
p. 76 Mrkusich The Art of Transformation,
Alan Wright & Ed Hanfling
Auckland University Press, 2009
The Meta Grey series commenced in 1969, is a development from the Corner paintings in that each work is concerned with density of colour rather than with space. They were originally silent, sombre works dominated by the colour grey but later, as here, Mrkusich darkened the tonality to black and brightened the other colour groupings. These light coloured areas at the top act as a positive element while the greys or blacks below are the negative. A quotation from Susan Sontag’s essay Aesthetics of Silence may be useful: “ Traditional art invited a look. Art that is silent engenders the stare. Silent art allows - at least in principle - no release
Barry Lett Galleries, Auckland July 1970
from attention because there has never been any
Meta Grey - Light Series hangs on right wall
soliciting of it. A stare is perhaps as far from history, as close to eternity, as contemporary art can go.“
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GRETCHEN ALBRECHT b. 1943
Snake Charmer
Acrylic on canvas 1500 x 1820
Signed & dated 1976
Inscribed verso
Estimate $15,000 - 20,000
Provenance:
Purchased by Fletcher Challenge Ltd
Bosshard Galleries, Dunedin, 1977
Fletcher Trust Collection
Exhibited:
Elva Bett Galleries, 1976
Bosshard Galleries, Dunedin, 1977, no. 15
Original label’s from both galleries affixed verso
Gretchen Albrecht’s signature arc sweeps across
It was a period where she secured her vision and
Snake Charmer with its curved lines suggesting the
reputation as a leading abstract painter in a manner
sway of the snake charmer’s body and mesmerising
similar to that of American artist Helen Frankenthaler
flute; and the arc that later became synonymous
who in the late 1960s evolved a form of abstraction
with her name is explicitly foreshadowed here with
with transparent bands of horizontal colour.
great confidence and grace. Following
a
decade
of
colour-field
paintings
Gretchen Albrecht was born in Auckland where
that explored stacked and layered chromatic
she continues to live and work. She studied at Elam
relationships, the hemispheres that emerged after
School of Fine Arts, the University of Auckland – where
Albrecht’s year away in the USA and Europe, and
later she was Teaching Fellow in Painting from 1972
during her Frances Hodgkins Fellowship in Dunedin
to1973 – and unlike many of her contemporaries who
from 1981 to 1982 were a shock for New Zealand
travelled immediately after art school, Albrecht did
audiences: shaped canvasses replaced the standard
not go overseas until after a decade of developing
rectilinear stretchers; bold solid colours replaced the
her practice. Snake Charmer comes from what the
watercolour-inspired washes and transparency; and
artist considered to be the emergence of her mature
strident contrasts replaced previously more subtle
style in the 1970s.
shifts of hue.
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All this, at the time, perhaps obscured the constancy
The hemispheres of the early 1980s owe much to the
of Albrecht’s gesture and the way the dimensions of
artist’s travels in 1979, but they also owe much to her
her works corresponded to the scale and expression
own painting that preceded them; and the power
of her body.
of Snake Charmer lies in its complete maturity as a painting as well as in the story it tells of a moment in
In Snake Charmer we can see the familiar wide
which the artist created a bridge to a new way of
sweep of her extended arm in the two red arcs
working.
which plunge from the centre up to the left and right corners; and in the three blue arcs that traverse
ROB GARRETT
the canvas from lower left to high on the right-hand edge. These are the same as those that come to define the hemispheres which first emerge in 1981. It is the same body, the same painterly gesture; but the artist has shifted her expression dramatically and extended her vernacular.
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GRETCHEN ALBRECHT b. 1943
Duality
Oil, wax on paper 1100 x 695
Signed, inscribed & dated 1982
Estimate $7,000 - 10,000
Provenance:
Purchased from International Art Centre
Auction Paintings & Watercolours 20/10/1992
46
Fletcher Trust Collection
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25
STEPHEN BAMBURY b. 1951
Area Series - Red
Acrylic on canvas 1750 x 1750
Signed, inscribed & dated 1980 on
stretcher verso
Estimate $20,000 - 30,000
Provenance:
Benson & Hedges Art Award, 1980 - finalist
Fletcher Trust Collection
Illustrated p. 42 Stephen Bambury
Wynstan Curnow and William McAloon
Craig Potton Publishing 2000
Born in Christchurch, Stephen Bambury studied at
he established a studio in Auckland. He has exhibited
Elam School of Fine Arts graduating in 1975 with a
regularly and widely throughout New Zealand since
Dip.F.A. Hons. In 1979 he received a QEII Arts Council
1975. This work is one of the artist’s Block paintings
grant which he used to travel to North America. In
though unlike most of them, Area Series Red is not
1989 as the first Moet et Chandon Fellow he spent
constructed of two canvasses bolted together. Area
nine months in France. He returned to Paris in 1990,
Series Red was a finalist in the Benson and Hedges
remaining there until 1992. On return to New Zealand
Art award 1980.
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26
MICHAEL SMITHER b. 1939
Hills Of Tongaporutu
Oil on board 1210 x 1210
Signed
Estimate $45,000 - 55,000
Provenance:
Fletcher Trust Collection
Illustrated:
p. 72 Michael Smither Painter
Trish Gribben, Ron Sang Publications, 2004
Tongaporutu is a small pretty coastal settlement 67 kilometres north of New Plymouth at the mouth of the Mokau River lined with picturesque old-style family baches. Michael Smither, as we would expect, gives us a different vision of the place. The folksy charm of Smither’s rural landscapes and domestic scenes have long held the power to conjure warm feels of familiarity and humour. They are homely images. Smither is also the quiet master of New Zealand’s unhomely (unheimlich), creating ripples of something repressed or denied across the calm exterior of our everyday. In Hills of Tongaporutu this is most evident in the way he has used the intensity of green to suggest a quite-literally saturated landscape that is slumping ever downwards towards river and sea, exposing the grey subsoil in over-grazed pastureland; and in my imagination the artist takes us into some uncanny undercurrent with the slits of grey which look much like the eye-slits of hooded subterranean creatures. Hills of Tongaporutu comes in the middle of an incredibly productive two decades for the artist after he moved back to his home town of New Plymouth in 1962 to take up a role as husband, father and fulltime painter. Smither recalls: “It was prolific out
50
of necessity. The prices that one got for paintings in those days were between 12 guineas and … 30 guineas [… and] I had to have, on average, about three or four exhibitions a year of 20 or 30 paintings to meet our financial needs.” This necessity for productivity did not however dull Smither’s eye, nor his passion for paintings that convey something deeper than intriguing forms and beguiling subjects. Perhaps there is a glimpse of what lies beneath the liquefying green of the hills of Tongaporutu in Smither’s story of the time he decided to walk around the coast from New Plymouth to Wanganui. It took nine days and in the end he couldn’t take anymore, not because he was tired, but because of what he saw and felt: “The Taranaki environment is so powerful that it’s hard to show that they have had an effect on it, but they have. The evidence of pollution was all the way along the coast. Just about everywhere you went, there were fences hanging over cliffs and waterfalls of dirty streams. It was just appalling. The most miserable bloody walk I’ve ever taken.” ROB GARRETT
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27
RICHARD KILLEEN b. 1946
Filament, 1973
Oil and acrylic on canvas 1270 x 964
Signed on side of stretcher
Inscribed & dated 1973 verso
Artist Reference 45
Estimate $10,000 - 15,000
Provenance:
Purchased from Petar James Gallery,
Auckland 1973
Fletcher Trust Collection
This work is one of Killeen’s hard edged geometric
The whole of the surface becomes an object in itself,
abstractions made up of repeating forms. This pattern
there being no necessity for a hierarchy of objects
making quality of the work takes precedence over
within the aluminium frame.
the use of imagery or the necessity for a composition.
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28
PATRICK HANLY 1932 - 2004
New Order 28 Part II
Oil on board 980 x 855
Signed, inscribed & dated 1963
Estimate $25,000 - 35,000
Provenance:
Peter McCleavey Collection, Wellington
Fletcher Trust Collection
New Order 28 Part II (1963) is from a group of works
to, New Zealand’s growing contemporary art scene.
that Pat Hanly created in the period immediately
1962 also brought a shift in his aesthetic language.
following his return from five years working in London, Amsterdam and Florence. When he returned, he
Describing the first major body of work to emerge
was sceptical about staying in New Zealand, and
at that time as somewhat “therapeutic”, the artist
intended rather to work in Australia, but he was
noted in 1979 that the “New Order was trying to talk
surprised to find a very energetic and supportive
about the roughness of New Zealand, its newness
environment in Auckland “and a group of artists who
and crispness and those physical things. I hadn’t, until
showed total commitment”; and so he stayed.
that time, been an abstract or expressionist painter. Having resisted that in Europe, I thought it was the
Pat Hanly was born in Palmerston North and died
only way to really try and talk about this place.”
in Auckland after a long illness. He was taught by Allan Leary in Palmerston North; by Bill Sutton in
The painting’s broad, rough markings and sharp
Christchurch, when in 1952 he began a three-year
curvilinear accents; and bold colours and tones
Diploma of Fine Arts course at Canterbury University
- black, blue, ochre, white and red – suggest
School of Fine Arts; and then in 1957 he travelled to
Auckland’s clay and sandy beaches, coastal clouds,
London, where he attended night classes at Chelsea
summer’s deep shadows and the vibrancy of the
School of Art.
edge of the Pacific. The plump bottom-like forms
Following his return to New Zealand in 1962 Hanly
in New Order 28 Part II also pre-figure elements of
became one of the major figures of, and contributors
the artist’s next series – Figures in Light – in which he
54
became fascinated with the visual intensity of figures
clearly on the cusp of that moment when Hanly is
in sunlight sitting and lying in the sun on the beaches.
finishing with adjusting to life back in New Zealand
With the view of an expatriate, he was sharply critical
and now has something potent to say about it.
of the social implications of a “nation sitting around on its bum doing nothing.� New Order 28 Part II is
ROB GARRETT
55
29
RICHARD KILLEEN b. 1946
Ace
Oil on board 1474 x 1220
Signed, inscribed
& dated February 1972 verso
Original artist’s label affixed verso
Estimate $8,000 - 12,000
Provenance:
Purchased from Petar james Gallery,
Auckland 1972
Fletcher Trust Collection
Killeen’s first paintings were of stereotyped suburban
works Killeen’s tendency to detach images from their
imagery close in spirit and intention to the work of the
surroundings in order to present them as signs rather
American Pop artists who brought imagery drawn
than representative facts can be seen.
from mass media into high art. Already in these
56
57
30
IAN SCOTT
31
IAN SCOTT
1945 - 2013
Lattice Drawing no. 32
Lattice no. 44
Acrylic on paper 770 x 560
Acrylic on canvas 1140 x 1140
Image size 120 x 120
Signed & dated March 1978 verso
Signed, inscribed & dated 1981 verso
Estimate $7,000 - 10,000
1945 - 2013
Estimate $1,000 - 1,500 Provenance:
Provenance: 58
Fletcher Trust Collection
Fletcher Trust Collection
REFERENCE: In 1978 Scott painted Lattice No. 44 and Lattice No.
All the elements - size, colour, tone and relationships
45. Other than the size of the canvas, the works are
of one colour to another were perfect in this
identical in colour and composition, Lattice No.
respect. There is no corner-to-corner diagonal and
45 won the Benson & Hedges Art Award in 1978
fewer, broader bands.
and features on p. 85 Ian Scott, Warwick Brown, Marsden Press 1997. It measures 1650 x 1650 and is
A thin delineating stripe has been introduced inside
in the collection of Dunedin Public Art Gallery.
the band edge. Colours are less intense than in some other Lattices and the elements sit tight inside
James Mollison, Director of the National Gallery of
the frame, with less feeling of run-off.
Australia and judge of the 1978 Benson & Hedges
p. 84 Ian Scott, Warwick Brown, Marsden Press 1997.
Art Award said he was looking for an artist who had set himself a task and achieved what he set out to do. 59
32
SIR MOUNTFORT TOSSWILL WOOLLASTON 1910 - 1998
Moon Over Pah Hill
Oil on board 895 x 595
Signed
Estimate $20,000 - 30,000
Provenance:
60
Fletcher Trust Collection
61
33
PHILIP CLAIRMONT 1949 - 1984
Still Life With Jug and Paint Brushes, 1977
Oil on jute 1400 x 930
Estimate $30,000 - 40,000
Provenance:
Ex Collection of Jeffrey Harris (Artist)
Fletcher Trust Collection
Still Life With Jug and Paint Brushes, created in the last decade of Clairmont’s short life embodies many key elements associated with his work. A pupil of Rudolf Gopas, Clairmont’s work was influenced by van Gogh, Francis Bacon and of course his contemporaries Allen Maddox and Tony Fomison. His complex compositions appear spontaneous but there is more to them than meets the eye. Clairmont obsessively painted and repainted familiar objects. This work was completed in his Waikanae garage studio. The photograph to the right shows the small table on which Clairmont arranged objects to be painted, along with mirrors which added drama and distortion to forms he captured on canvas.
62
63
34
RICHARD KILLEEN b. 1946
From Chance & Inevitability
Acrylic on Fabriano paper 770 x 550
Signed, inscribed & dated 1982
Estimate $4,000 - 6,000
Provenance:
Purchased from Peter McLeavey Gallery 1983
Fletcher Trust Collection
Exhibited:
64
Chance and Inevitability Auckland City
Art Gallery, Artist Project No.1. 1982
Chance and Inevitability Robert McDougall
Art Gallery 1982
Chance & Inevitability, Peter McCleavey
Gallery, Wellington 1983
65
Born in Hamilton, Melvin Day began formal art training
historian continuing to paint professionally. Two
at eleven years of age. He attended classes at Elam
retrospective exhibitions were held, one at the
School of Art under the tutelage of John Weeks, Lois
Dunedin Public Art Gallery in 1970 and at the
White and Ida Eise, becoming a full-time student in
Dowse Art Gallery, Lower Hutt the following year. A
1939 and graduating in 1942. Day spent the war
major survey exhibition, Full Circle was held at the
years in the New Zealand Army and then the Royal
Wellington City Art Gallery in 1984. A thoughtful and
New Zealand Air Force. Following this, he taught
scholarly painter, Day’s interest in various periods of
at Ngongataha and in 1954 extended his studies,
western art history is reflected in his work. He studied
gaining a Bachelor of Arts from Victoria University.
and utilised a wide variety of influences from the painters of the Italian Renaissance, to the modernist
From the 1950s onwards Day exhibited widely
works of Cezanne and Braque. In 2003 Day was
throughout New Zealand and in 1961 at the
awarded the CNZM for services to the arts. In 2004
Commonwealth Art Today exhibition in London.
a major survey exhibition Melvin Day - Continuum
Whilst based in London, during the early 1960s, he
was held at City Gallery, Wellington. In 2009, along
attended Professor Anthony Blunt’s lectures at the
with Nigel Brown and John Walsh, he travelled to
Courtauld Institute. Day became fascinated with the
Fiordland to paint the landscape which had inspired
geometric precision employed by Italian Renaissance
Cook’s artist, William Hodges. The journey was
painter, Paolo Uccello, a fascination which resulted in
documented Peta Carey’s film The Waterfall. Day’s
the creation of Day’s celebrated Uccello Series.
portrait of Donald McIntyre was gifted to the New Zealand Parliamentary Services in 2011.
In 1964 Day exhibited alongside Ralph Hotere, Edward Bullmore and Gordon Browne in the Young
Melvin Day’s works are found in many national and
Commonwealth Painters at Whitechapel Gallery,
international public and private collections including
London. For a time he taught in London before
Te Papa Tongarewa, The New Dowse, The Rototua
returning to New Zealand in 1968 and his appointment
Museum, the New Zealand Ministry of Foreign Affairs,
as director of the National Art Gallery of New
the Dunedin Public Art Gallery and the Auckland Art
Zealand. In 1978 he was appointed government art
Gallery.
66
35
MELVIN DAY
36
MELVIN DAY
b. 1923
Huia
Still Life V
Oil on canvas 1370 x 2280
Oil on paper 570 x 770
Signed, inscribed & dated 1984
Signed & dated 1982
Estimate $7,000 - 12,000
Estimate $3,000 - 5,000
b. 1923
Provenance:
Provenance:
Purchased by Fletcher Challenge Ltd,
Wellington 1982
Fletcher Trust Collection
Fletcher Trust Collection
67
37
GEOFF THORNLEY b. 1941
Untitled No. 2
Mixed media 1100 x 1100
Signed, inscribed & dated 1978 verso
Estimate $8,000 - 12,000
Provenance:
Purchased from Petar James Gallery,
Auckland 1978
Fletcher Trust Collection
Untitled No. 2 marks a return to single frame painting
a debate between rival aesthetic methods. Thus
on canvas at the time the artist was involved with
Untitled No. 2 shares some of the qualities of
his Construction works. This is nothing unusual for
confinement and concreteness of the Constructions
Thornley who often indulged in what he calls side by
while also alluding back to the more purely painterly
side production as a means of resolving or extending
work of an earlier period.
68
69
38
GEOFF THORNLEY b. 1942
Untitled
Mixed media 890 x 790
Signed & dated 1977 verso
Estimate $8,000 - 12,000
Provenance:
Purchased from Petar James Gallery,
Auckland 1977
Fletcher Trust Collection
This is one of the last paintings produced by Thornley in
some of the early constructions except that in this
the period immediately before he began his work on
case the work is painted on a single canvas held
the Constructions which were to occupy him for the
within a frame. This is a transitional work in which the
next nine years. In its clear separation of two sharply
artist is moving towards a new style.
contrasted colours it bears a close resemblance to
70
71
39
RALPH HOTERE 1931 - 2013
Port Chalmers Painting No. 8 1972
Acrylic on canvas 1200 x 1200
Estimate $70,000 - 100,000
Provenance:
Collection of the artist
Purchased from John Leech Gallery, Auckland
November 1986
Fletcher Trust Collection
This work was in the collection of the artist until 1986 when Auckland dealer John Gow visited the artist at his home in Carey’s Bay. The artist released the work to be sold directly to the Fletcher Collection at the time.
72
73
40
GEOFF THORNLEY b. 1942
Geoff Thornley has been described by Michael Dunn as One of the most committed of the younger abstract painters working in New Zealand. He studied at Elam School of Art 1960-64 graduating
Stupa 21 (Tryptich)
Mixed media 1070 x 2160 overall
Each panel signed, inscribed
which demonstrated an interest in building up layers
& dated 1971 verso
of colour which was to be one of the hallmarks of his
Estimate $5,000 - 8,000
Provenance:
with a B.F.A. Initially his painting was figurative but by the early 1970s he had evolved an abstract style
art in later decades. This work is the most minimal of three Stupa triptychs, the other two being held in the collections of the Te Papa and the Govett Brewster Gallery, New Plymouth. The artist regards these works produced on a full sheet of Steinbach paper
Purchased from Barry Lett Galleries
( the largest available paper size ) as signatures
Auckland 1972
of my beginnings in which he treated the surface
Fletcher Trust Collection
as a vessel to be filled or as a void to be painted
Exhibited:
Paintings 1971-2, Barry Lett Galleries,
Auckland 1972
74
around using a pure watercolour technique. The title Stupa derives from a mound form found in Indian architecture, which was used to mark out the sacred site on which a temple was to be built. This mound dominates each of the three works.
41
GEOFF THORNLEY
Untitled ( crayon )
Provenance:
Crayon on paper 300 x 210
Purchased from Barry Lett Galleries
Signed & dated 1972
Auckland 1972
b. 1942
Fletcher Trust Collection
Estimate $1,500 - 2,500 Exhibited: Paintings 1971-2, Barry Lett Galleries, Auckland 1972 75
42
ROB MCCLEOD b. 1948
Aqua
Provenance:
Oil on board 1070 x 1110
Purchased from International Art Centre
Signed & dated 1982 verso
Auction Paintings & Watercolours
Estimate $5,000 - 7,000
20/10/1992
76
Fletcher Trust Collection
43
JOHN HURRELL b. 1950
Medium Mesh One
Provenance:
PVA on canvas 1380 x 1250
Fletcher Trust Collection
Signed & inscribed on stretcher verso
Estimate $4,000 - 6,000
77
44
ERIC LEE JOHNSON 1908 - 1993
Casualties
Watercolour 520 x 350
Signed
Estimate $4,000 - 6,000
Provenance:
Fletcher Trust Collection
In the 1930s and 1940s Eric Lee-Johnson was one
Eric Lee-Johnson’s painting Casualties not only tells us
of a number of artists including Christopher Perkins,
about his conservationist sympathies but also about
Russell Clark, Mervyn Taylor, John Holmwood and
his determination to be a modern painter, informed
Gordon Walters who revived the theme of the
about what was happening in the London art circles
destruction of our indigenous forests. They produced
he had recently been a part of. Lee-Johnson was
so many paintings on this theme that they received
also a noted photographer who made many studies
the not altogether flattering name, the Dead Tree
of twisted tree limbs and bark textures. Casualties
School. Although there can be no doubt of their
employs a very fluid watercolour style to depict
conservationist conviction, it is also significant that
slain trees as people engaged in a violent struggle.
they were influenced by English painters such as Paul
It is as though the living, moving trees are frozen in
Nash and Graham Sutherland whose interest in anti-
death. This anthropomorphism underlines the rape of
romanticism had led them to seek subjects which
the land theme. By the 1950s Eric Lee-Johnson had
deflated traditionally romantic notions. Instead of the
abandoned this theme for much softer and more
great oaks of Constable or the soft silver-grey foliage
obviously picturesque works depicting old houses
of the Norfolk School of watercolourists they painted
which were by then being demolished in our town
hard edged images of dead or burned trees, many
and cities.
of them sights imprinted on their minds in the battle ravaged landscapes of World War I.
78
79
45
ALFRED SHARPE 1836 - 1908
Taupiri Gorge From The Kupukupa
Coal Mines, 1876
Watercolour 430 x 610
Estimate $20,000 - 30,000
Provenance:
Fletcher Trust Collection
The scene is Taupiri Gorge from the Kupukupa Coal Mines showing the slate formation of the Hakarimata Range through which the Waikato River has forged a passage. The picture is excellently painted, and is a vast improvement on some of Mr Sharpe’s former productions. New Zealand Herald, 6 March 1876.
80
81
46
JOHN BARR CLARKE HOYTE 1835 - 1913
The White Terraces
Watercolour 320 x 640
Signed & dated 1873
Estimate $15,000 - 20,000
Provenance:
82
Fletcher Trust Collection
47
JOHN BARR CLARKE HOYTE 1835 - 1913
The Golden Crown Stamper Battery,
Towards the end of the last century Thames was
Gold Crown Street, Thames
the largest centre of population in New Zealand
Watercolour 375 x 545
Signed
Estimate $15,000 - 25,000
with 18,000 inhabitants and well over 100 hotels and 3 theatres. The population today stands at approximately 7,000 and now has only 4 hotels in the town centre.
Provenance:
Fletcher Trust Collection
83
48
JOHN KINDER 1819 - 1903
Hauraki, Hokianga
Kinder visited the Hokianga in December 1858
Watercolour 255 x 430
though he himself dated this painting 1857, in error.
Signed, inscribed & dated 1957
On this journey Kinder also visited and painted the
Estimate $5,000 - 8,000
Waima Wesleyan Mission and the small settlement of Horeke, once the site of ship building yards.
Provenance:
Fletcher Trust Collection
49
JOHN KINDER
1819 - 1903
Mt Kakaramea
Kinder visited the area now known as Tongariro
Watercolour 255 x 424
National park in January 1862. He made several
Signed, inscribed & dated 1862
Estimate $5,000 - 8,000
Provenance:
84
Fletcher Trust Collection
paintings of the central North Island mountains, all from the foot of Kakaramea (or Browntop, as it is popularly known). Tongariro and Ruapehu appear in the distance.
85
50
JOHN KINDER
51
JOHN GOULD
1819 - 1903
Waiau Sawmill, Coromandel
Notornis Or Takahe ( Notornis Mantelli)
Watercolour 235 x 380
Lithograph 552 x 718
Signed, inscribed & dated 1861
Inscribed
Estimate $5,000 - 8,000
1804 - 1881
Estimate $2,000 - 3,000
Provenance:
Provenance:
86
Fletcher Trust Collection
Fletcher Trust Collection
52
JOHN GOULD 1804 - 1881
Neomorpha Gouldii ( The Huia )
Lithograph 552 x 356
Inscribed
Estimate $2,000 - 3,000
Provenance:
Fletcher Trust Collection
87
88
53
DIANA THORNLEY
54
PAUL RADFORD
b. 1941
Chromatic
The Gardener
PVA on board 895 x 685
Acrylic on canvas 1200 x 1800
Signed verso
Signed
Estimate $1,000 - 1,500
b. 1957
Estimate $4,000 - 6,000
Provenance:
Provenance:
Fletcher Trust Collection
Fletcher Trust Collection
89
55
DENNIS KNIGHT TURNER 1924 - 2011
Goatshead Series No.100
Watercolour 520 x 340
Signed & dated 1957
Estimate $2,000 - 3,000
Provenance:
90
Fletcher Trust Collection
91
56
RICHARD THOMPSON
57
ROBERT ELLIS
b. 1965
Untitled, Battle Painting - Diptych
Rakaumangamanga, 22 Hurae
Enamel and paving paint on board
Oil on paper 1080 x 750
Larger panel 1130 x 1180
Signed, inscribed & dated 1981
Smaller panel 445 x 260
Estimate $5,000 - 7,000
b. 1929
Estimate $1,000 - 2,000 Provenance:
Provenance:
Purchased from RKS Art, Auckland 1982
Fletcher Trust Collection
Fletcher Trust Collection
Exhibited:
92
Rakaumangamanga, RKS Art
Auckland 14 - 26 June, 1982
93
58
PHILIP TRUSTTUM b. 1940
Sketch
Oil on board 1420 x 960
Signed & dated 1971
Estimate $4,000 - 8,000
Provenance:
94
New Vision Gallery, Auckland 1971
Fletcher Trust Collection
95
59
PHILIP TRUSTTUM b. 1940
Carrying
Provenance:
Oil on paper 750 x 550
Fletcher Trust Collection
Signed 96
Estimate $2,500 - 3,500
60
PHILIP TRUSTTUM b. 1940
Pushing
Provenance:
Oil on paper 750 x 550
Fletcher Trust Collection
Signed
Estimate $2,500 - 3,500 97
61
PHILIP TRUSTTUM b. 1940
Musical Notes
Oil on canvas 1115 x 1825
Inscribed
Estimate $5,000 - 7,000
Provenance:
98
Fletcher Trust Collection
62
JOHN WEEKS 1888 - 1965
Harlequin
Provenance:
Oil on board 450 x 320
Purchased from John Leech Gallery, Auckland
Signed
Ex Artist’s Estate Collection Fletcher Trust Collection
Estimate $3,000 - 5,000 99
63
NICHOLAS CHEVALIER 1828 - 1902
A Majestic Snow Covered Mountainscape
Watercolour 372 x 652
Signed & dated 1874
Estimate $5,000 - 10,000
Provenance:
100
Fletcher Trust Collection
64
PETRUS VAN DER VELDEN 1837 - 1913
Figure In Moonlight
Oil on canvas laid on board 720 x 1130
Estimate $4,000 - 8,000
Provenance:
Fletcher Trust Collection
101
65
KEITH PATTERSON 1925 - 1993
Still Life
Oil on board 545 x 725
Estimate $1,000 - 2,000
Provenance:
Ex Collection Vernon Brown, Architect
Fletcher Trust Collection
102
66
GRACE BUTLER 1886 - 1962
Canterbury Plains
Oil on board 475 x 680
Signed
Born Grace Cumming at Invercargill to Scottish immigrant parents she moved with her family to Norsewood and later, in 1903, to Gisborne. She attended Napier Art School until 1907 by which time she already worked on the staff. She also took private pupils in Gisborne. From 1910-14 she went to the Canterbury School of Art where she was taught by Sydney Lough Thompson, Cecil
Estimate $3,000 - 5,000
Provenance:
Fletcher Trust Collection
Kelly and Leonard Booth. In 1911 she married Guy Raphael Butler remaining until Christchurch until 1918 when she moved to Auckland. She and her husband bought a mountain shack at Arthur's Pass where Grace Butler would indulge in plein air painting, sometimes working even in snow when she was obliged to cover her easel and stand on heated stones. In 1925 she was again taught by Sydney Lough Thompson on one of his return trips from France. It was his post impressionist landscape style which formed the basis of her art. Grace Butler exhibited widely during her lifetime including at the Festival of Britain Exhibition of 1951. She died at Wellington. 103
Abstract Study verso
67
RUDOLF GOPAS 1913 - 1983
Fish And Unicorn - Abstract Study verso
Watercolour 215 x 400
Signed & dated 1952
Gopas was born in Lithuania, and had exhibited widely throughout Europe before arriving in New Zealand in 1949. He settled in Christchurch and gradually established himself as one of the most important immigrant painters. Gopas’ tendency towards
German
Expressionism
encountered
some criticism, partially because the style had not yet been accepted or fully explored by New
Estimate $1,500 - 3,000
Provenance:
Fletcher Trust Collection
Zealand artists. This initial opposition didn’t lessen the influence of the artist who has since been commended for providing what was to become an important stylistic force in New Zealand painting. Michael Dunn has commented that: “Gopas did much to move the focus of painting away from its regionalist and realist fixation to a more expressive and subjective dimension”.
104
It
was
unfortunate
that
Gopas’
unorthodox
approach separated him so distinctly from his contemporary art circles that he was considered by some as insane. However, the artist used his position
68
RUDOLF GOPAS 1913 - 1983
The Remarkables, Queenstown
the traditional methods of formal art training which
Watercolour 390 x 520
he scorned openly. Philip Trusttum was among the
Signed
at the Canterbury School of Art to work against
pupils who were exposed to Gopas’ ideas at this time. This work displays features such as a disregard for spatial recession, bright colours applied loosely and with visible brushstrokes, strong outlining and non-naturalistic forms, which make for an expressionistic work, the kind of which was fairly
Estimate $2,000 - 3,000
Provenance:
Fletcher Trust Collection
radical for Christchurch in the 1950’s.
105
69
CHRISTINE MATHIESON
b. 1954
Moving In
Since graduating Bachelor of Fine Arts at Auckland
Pastel on paper 670 x 1000
University in 1981, Mathieson has been exhibiting
Signed & dated 1984
Estimate $1,000 - 1,500
most regularly, slowly developing her technique, based
on
the
pre
1965
European
abstract
movement, an offshoot of which became the New York Abstract Expressionist school.
Provenance:
Always striving to be more expressive than purely
Brooker Gallery, Wellington
decorative but still aiming to create a thing of
Fletcher Trust Collection
beauty before anything else.
106
70
CHRISTINE MATHIESON b. 1954
Busy Green
I also like to juxtapose colours so that they resonate
Pastel on paper 710 x 1010
off the surface, and for each colour to have a
Signed & dated 1984
Estimate $1,000 - 1,500
Provenance:
Brooker Gallery, Wellington
Fletcher Trust Collection
voice. Someone asked me once “Do your colours sing?� I was able to truthfully answer yes and have been a slave to that creed ever since, not only from the point of view of the resonance of each colour but from the way in which the paint is applied to the support structure. I try to show my life force in every stroke. CHRISTINE MATHIESON
107
71
INGRID BANWELL b. 1957
Delicate Connections
Ingrid Banwell was born at Taupo. She was educated
Oil, enamel on customwood
at schools in Mexico City, Wellington and New York
and rope 1200 x 1500
Signed, inscribed & dated 1985 verso
Estimate $1,500 - 3,000
and graduated from Auckland University School of Fine Arts in 1981. In 1985 she was awarded a QEII Arts Council Travel Grant for study in the USA. Her painted wall constructions made in the mid 1980s experimented with the dividing line between painting and sculpture, the polarities of organic
Provenance:
and geometric constructions and the assimilation
of Oceanic with European art forms to express New
108
Fletcher Trust Collection
Zealand's multi-cultural influences.
72
NEIL FRAZER
73
KEGGIE CAREW
b. 1961
Leaf
Positive Futility Barrier
Oil on canvas 2325 x 3090
Oil on two canvas panels 600 x 720
Signed & dated 1989
Signed & inscribed
Estimate $2,000 - 5,000
Estimate $1,000 - 2,000
b. 1957
109
74
PAUL JACKSON b. 1950
Kete of Plenty
Oil on canvas 350 x 480
Estimate $1,000 - 1,500
Provenance:
Fletcher Trust Collection
75 GEORGE FREDERICK SWAINSON
1829 - 1870
Auckland Harbour from Bastion Rock
Watercolour 235 x 355
Signed, inscribed & dated 1/8/1851
Estimate $1,000 - 1,500
Provenance:
110
Fletcher Trust Collection
76
MAY SMITH
77
THOMAS ARTHUR MCCORMACK
1906 - 1988
Wanganui Island (Triptych)
Seascape
Watercolour 225 x 1335
Watercolour 200 x 245
1883 - 1973
Signed
Signed
Estimate $1,000 - 1,500
Estimate $1,000 - 1,500
Provenance:
Provenance:
Fletcher Trust Collection
Ex collection of Michael Smither
111
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Index ALBRECHT G....................................................... 19, 23, 24
MCCORMACK T A......................................................... 77
BAMBURY S..................................................................... 25
MCINTYRE R.................................................................... 17
BANWELL I....................................................................... 71
MCLEOD R...................................................................... 42
BROWN N R.................................................................... 18
MRKUISCH M.................................................................. 22
BUTLER G......................................................................... 66
NIGRO J............................................................................ 8
CAREW K........................................................................ 73
PAGE E............................................................................ 13
CHEVALIER N.................................................................. 63
PATTERSON K.................................................................. 65
CLAIRMONT P................................................................ 33
RADFORD P.................................................................... 54
DAY M....................................................................... 35, 36
SCOTT I............................................................... 1,2, 30, 31
ELLIS R............................................................................. 57
SHARPE A........................................................................ 45
FRANCE P ........................................................................ 3
SHERWOOD M W..................................................... 10, 11
FRAZER N........................................................................ 72
SMITH M.......................................................................... 76
GOPAS R...............................................................9, 67, 68,
SMITHER M...................................................................... 26
GOULD J................................................................... 51, 52
SPENCER B O ............................................................... 6, 7
HANLY P.................................................................... 20, 28
SWAINSON G F............................................................... 75
HASZARD R..................................................................... 16
THOMPSON R................................................................. 56
HOLMWOOD J............................................................... 14
THOMPSON S L............................................................... 15
HOTERE R........................................................................ 39
THORNLEY G..................................................37, 38, 40, 41
HOYTE J B C.............................................................. 46, 47
THORNLEY D................................................................... 53
HURRELL J....................................................................... 43
TRUSTTUM P .................................................. 58, 59, 60, 61
JACKSON P..................................................................... 74
TURNER D K..................................................................... 55
KILLEEN R.............................................................27, 29, 34
VAN DER VELDEN P....................................................... 64
KINDER J............................................................. 48, 49, 50
WALLIS W S..................................................................... 12
JOHNSON E L................................................................. 44
WALTERS G..................................................................... 21
LUSK D........................................................................... 5, 6
WEEKS J........................................................................... 62
MATHIESON C.......................................................... 69, 70
WOOLLASTON T............................................................. 32
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010 www.fineartauction.co.nz T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 114
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Conditions of Sale & A Guide to Buyers CONDITIONS OF SALE 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 4pm Friday 12 September 2014 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 or paid for whilst auction is in progress. 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 our buyers premium.
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security. Absentee bids can also be left via our website to registered members. International Art Centre 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. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises. Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit. Quote the Lot number(s) 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’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid issues with customs. This does not apply to non New Zealand works. For full details visit www. mch.govt.nz FREIGHT & PACKING International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost. Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area. OTHER ENQUIRIES +64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 17.25% including GST
272 PARNELL ROAD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y 116