IMPORTANT & RARE ART - Auction 7:00pm Tuesday 11 August 2020 by International Art Centre

IMPORTANT & RARE ART Auction 7:00pm Tuesday 11 August 2020

Lot 35 John Walsh

IMPORTANT & RARE ART 7:00pm Tuesday 11 August 1

Lot 37 Michael Smither

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IMPORTANT & RARE ART 7:00pm Tuesday 11 August Viewing Times International Art Centre, 202 Parnell Road, Auckland Thursday

6 August

9:00am - 5:30pm

Friday

7 August

9:00am - 5:30pm

Saturday

8 August

10:00am - 4:00pm

Sunday

9 August

11:00am - 4:00pm

Monday

10 August

9:00am - 5:30pm

Tuesday

11 August

9:00am - 5:00pm

Parking During Viewing: Allocated carparks located directly behind International Art Centre Parking During Auction: Upper and lower carparks at rear of International Art Centre Further parking at St Johnâ&#x20AC;&#x2122;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

Lot 00 Damien Hirst

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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 If you are unable to attend the live auction register directly with International Art Centreâ&#x20AC;&#x2122;s online bidding platform www.internationalartcentre.co.nz Visit www.internationalartcentre.co.nz for instructions. With a single sign on you can easily browse catalogues, watch lots and place bids all from the comfort of your mobile device or computer. Conditions of Sale p. 123 Absentee & telephone bids p. 117

COLLECTABLE ART JUNE 30 - POST AUCTION REPORT Banksy fever was witnessed in our salesroom with the offering of three works from a New Zealand collector who had purchased them in London in 2005. Record prices were attained for two of the prints with Soup Can realising NZ$62,460 and Weston Super Mare fetching NZ$49,240. At NZ$54,054 Golf Sale fell short of achieving a world record by NZ$400. Excitingly, all three works were purchased by determined New Zealand bidders leaving under bidders from the USA, England, Japan, Australia and Europe having to wait until next time. The Banksy prints attracted a great deal of public and media attention culminating in one of the most exhilarating sales of our 50 years.

The Collectable Art Auction saw a record price achieved for Michael Parekowhai’s fluorescent light housing with Bosom of Abraham surpassing our November 2019 result and fetching $27,627. Gillie & Marc Schattner’s popular Big Boy, Jasper fetched $20,420 whilst a work by Tim Wilson made $42,042, auction records for both these artists. Another highlight of the evening saw artist Fatu Feu’u stand and recite the words contained in his work, Love Poem. A second round of applause followed when bidding for the mixed media piece quickly rose to $19,219 against an estimate of $8,000 - $10,000, also an auction record for the artist.

The mystery surrounding the works and identity of Banksy is a global phenomenon and during our Banksy journey we were privy to some intriguing whispers regarding the world’s most famously anonymous street artist. We were told he once dated a Kiwi girl, and that whilst it is widely assumed that Banksy lives in the United Kingdom, another Banksy collector advised us this is not the case. One indisputable fact that we can attest to, is the energy, curiosity and general fascination generated by these works of art affirming beyond doubt the power of the printed image. Works by other international artists including Andy Warhol, Joan Miro, Pablo Picasso, Alexander Calder and Feng Zhengjie all exceeded estimates.

Two Gordon Walters prints were on offer. Tama fetched a record $27,627 and Amoka $18,108. The increasingly sought after ceramics of Len Castle, consigned by Auckland collector Ron Sang, were all sold under hammer. A small oil by Michael Smither titled Supply Vessel Ngamotu Wharf, made $9,609, doubling its reserve. Another work by Smither sold for $7,330 against a $2,000 - 3,000 estimate. Karl Maughan’s Aorangi fetched $27,037. All four works by Tom Esplin sold under hammer, as did the four Marcus King paintings. A Goldie print of the Good Joke made $5,100. The sale was attended by a large crowd. Lively bidding took place in the rooms with further action via phone and our online bidding platform. The post lockdown period is proving to be one of considerable buoyancy for the New Zealand and global Art Market.

Banksy realised $49,240

Banksy realised $54,054

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Banksy realised $62,460

Michael Smither $9,609 Fatu Feuâ&#x20AC;&#x2122;u $19,219

Gordon Walters $27,627

Toss Woollaston $17,057 Karl Maughan $27,037

Gillie & Marc Schattner $20,420

Michael Parekowhai $27,627 Ken Kendall $4,924

Tim Wilson $42,040

Tom Esplin $6,306

Gordon Walters $18,018

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Major partners

This exhibition is co-produced by the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne, and the National Museum of Modern and Contemporary Art of Korea, in collaboration with Auckland Art Gallery Toi o Tāmaki.

Media partners

Zhang Xiao Coastline No.2 2009, giclée print © Zhang Xiao

Marti Friedlander, Michael and Dene Illingworth, Coromandel, c. 1977, Image copyright Gerrard and Marti Friedlander Charitable Trust

MARTI FRIEDLANDER PORTRAITS of THE ARTISTS 27 August to 8 November 2020 FREE ENTRY New Zealand Portrait Gallery Te PÅ«kenga Whakaata Shed 11, 60 Lady Elizabeth Lane, Wellington Waterfront www.nzportraitgallery.org.nz

1 DON BINNEY (1940 - 2012) Swoop of the Kotare, Wainamu Screenprint, edition 6/55, Ed. II 66 x 48 Signed, inscribed Swoop of the Kotare, Wainamu & dated 1986, Edition II $12,000 - 18,000 PROVENANCE Private Collection, Auckland Gift to the current owner in acknowledgment of employment, 2004

GORDON WALTERS (1919 - 1995) Kura, 1982 Screenprint, printer’s proof 75 x 56 $8,000 - 12,000 Kura was an edition of 150, several artist’s proofs and one printer’s proof

PROVENANCE Collection of the screenprinter, since 1982 1

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DON BINNEY (1940 - 2012) Kaiarara Kaka, Great Barrier, 1982 Screenprint, printer’s proof 68 x 42 $8,000 - 12,000

Kaiarara Kaka, Great Barrier was from an edition of 150, several artist’s proofs and one printer’s proof

PAT HANLY (1932 - 2004) Sunny Wind, Garden Series Watercolour 54 x 68 Signed, inscribed Sunny Wind & dated 1985 $8,000 - 12,000

PROVENANCE Private Collection, Auckland

PROVENANCE Collection of the screenprinter, since 1982

PETER SIDDELL (1935 - 2011) Havelock Oil on canvas 56.5 x 80.2 Signed & dated 2001 $18,000 - 24,000

PROVENANCE Private Collection, Auckland since 2001 ILLUSTRATED p. 225 The Art of Peter Siddell, Peter Siddell, Godwit Publishers 2011

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Looking up the Kaituna River from near Havelock a window opened in the distant clouds and for a moment I glimpsed Tapuaenuku (2885m) in the Inland Kaikouraâ&#x20AC;&#x2122;s. There was a sense of separation, not only of distance but also of time as I remembered making a winter ascent in 1956. p. 224 The Art of Peter Siddell, Peter Siddell, Godwit Publishers 2011

6 JOANNA BRAITHWAITE (b. 1962) Untitled Oil on canvas 140 x 220 Signed & dated 1988 verso $8,000 - 12,000 PROVENANCE Private Collection Purchased from Brooker Gallery, Wellington May, 1988 by current owner EXHIBITED Joanna Braithwaite Paintings Brooker Gallery, Wellington May 1988 ILLUSTRATED Front cover of the Brooker Gallery exhibition brochure, May 1988 The Dominion, May 1988

MICHAEL PAREKOWHAI (b. 1968) The Bosom of Abraham (Let there be light) Screenprint vinyl on fluorescent light housing edition of 7 122 x 22 $16,000 - 21,000

PROVENANCE Michael Lett, 2006

7 BANKSY (British b. 1974) Jack and Jill (Police Kids) 2005 Screenprint on wove paper, edition 217/350, 50 x 70 Published by Pictures on Walls, London Signed in plate, numbered in pencil over POW embossed stamp Authenticated by Pest Control $25,000 - 35,000 PROVENANCE Private Collection, Auckland Purchased from Pictures on Walls, London, 2005

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Jack and Jill, named after a traditional English nursery rhyme but also referred to as Police Kids, was released by Banksy in 2005 as an edition of 350. There were 200 unsigned prints and 150 signed prints. That same year, the artist also produced 22 limited artist’s proofs on a pink background. Unlike many of Banksy’s works, Jack and Jill was never graffitied on the street and was exclusively released as a screen print. Against a blue sky background, two young children run gleefully towards the viewer, mostly in black and white but highlighted with delicate patches of colour. They skip and are laughing, carefree with summer clothes and bare limbs, and the pigtailed young girl is carrying a basket of fresh flowers. At first glance, the image appears picturesque and innocent, until the viewer sees their bulletproof vests with ‘POLICE’ emblazoned in capital letters across their chests. With this detail, Banksy adds his characteristic ironic twist to the composition, laced with dark humour. The jarring aesthetic of children in bulletproof police jackets is at odds with the supposed freedom and innocence of childhood.

The block sky-blue background behind the children reinforces the impression that this scene is a pastiche of innocence, but they are restricted by their bulky vests, a possible metaphor for the way in which law enforcement is restricting people’s freedom. Referencing the English nursery rhyme, in which Jack and Jill came tumbling down the hill, Banksy’s portrayal could suggest that in this day and age children are smothered by safety regulations, or on the other more sinister hand, are perhaps in need of even greater protection. Banksy is open to interpretation and is just as famous for the unexplained as his mysterious anonymity.

BANKSY (British b. 1974) Soup Can (Original) Screenprint edition of 250, 50 x 36 Numbered 228/250 with publishers Pictures on Walls blindstamp $40,000 - 50,000

PROVENANCE Private Collection, Auckland Purchased from Artrepublic, Brighton, UK 19/07/2006 by current owner. Original purchase receipt available Authenticated by Pest Control

Banksy’s original four-colour screenprint Soup Cans, is a play on Andy Warhols now infamous Pop Art Campbell’s Soup Cans. Banksy has taken the idea that commercial products can be art, as is the Pop Art ethos, but has rendered it in his tongue-in-cheek style with Tesco Value cans of cream of tomato soup. This limited edition screenprint is one of Banksy’s most iconic. Four different variations were released. The number of cans featured on the print and their colours vary. Anonymous street artist Banksy first turned to graffiti as a young, disillusioned adolescent. Inspired by the thriving graffiti community in his home city, Bristol,

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Banksy’s works began appearing on trains and city streets in 1993, and by 2001 his signature, stenciled works had cropped up all over the United Kingdom. Typically crafting his images with spray paint and cardboard stencils, Banksy is able to achieve a meticulous level of detail. His aesthetic is clean and instantly comprehensible due to his unique ability to distill complex political and social statements into simple visual elements. His graffiti, paintings, and screenprints use whimsy and humor to satirically critique war, capitalism, hypocrisy and greed. His anti-establishment wit has had an undeniable impact on today’s contemporary street culture.

DAMIEN HIRST (British b. 1965) For the Love of God Silkscreen print with glaze & diamond dust, edition 30/250, 100 x 73 $20,000 - 30,000

PROVENANCE Private Collection Auckland Purchased in London, 2008 For the Love of God is a 2007 sculpture by British artist Damien Hirst. It consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond. The artwork is Hirst’s dazzling, contemporary memento mori, a reminder of our shared mortality. The work’s title was supposedly inspired by Hirst’s mother, who asked of her son; for the love of God, what are you going to do next? In 2007, art historian Rudi Fuchs, described the work as; out of this world, celestial almost. It proclaims victory over decay. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself.

The works inaugural display was at London’s White Cube Gallery, in the Beyond Belief exhibition. During November–December 2008, Hirst exhibited the diamond skull at the historic Rijksmuseum in Amsterdam. For the Love of God was also displayed in the Palazzo Vecchio, Florence and at Tate Modern, London in 2012. The work has been exhibited in Doha, Qatar and at the Astrup Fearnley Museum of Modern Art in Oslo, Norway. After the sculpture was reportedly sold to an investment group for $100 million, Hirst released two silkscreen prints. A smaller sized rendition in an edition 1,000 and the version featured here, which is glazed with diamond dust and is number 30 of an edition of 250.

10 DAMIEN HIRST (British b. 1965) Entreaty Screenprint on Somerset paper with diamond dust edition 15/25, 143 x 138 Signed $60,000 - 80,000 PROVENANCE Private Collection Auckland Purchased in London, 2008 In the kaleidoscopic screenprint Entreaty, a tondo of jewel-like tones brings to mind a stained-glass window. Intricate layering of colour on the individual wings, and the gradual descending of the butterflies adds depth, mastering the three-dimensionality of glass facets. In creating this effect, Hirst extends the capabilities of the screenprint medium beyond its usual two-dimensional bounds. As Hirst’s works unfold, their seemingly flawless beauty comes under question. What appears to be a perfectly symmetrical image, actually consists of multiple inconsistencies and irregularities. Under a microscopic gaze, the butterflies reveal blemishes and tears in their delicate wings, as they surely would in nature. In relinquishing the pristine ordering of the wild insects, and in including their imperfections rather than concealing them, these works show Hirst to welcomingly surrender to the nature of things. Hirst revisited the theme of butterflies in an installation at London’s Tate Modern in 2012. Two windowless rooms were filled with live butterflies, brought in daily by the butterfly expert from London’s Natural History Museum and swept up by the museum staff when they perished. While some viewers were distressed that the butterflies were not in their natural habitat, others appreciated the opportunity to contemplate the fragility of life. As one viewer commented, There’s a terrific poignancy about them because their lifecycle is so short and they are vulnerable and delicate.

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PETER STICHBURY (b. 1969) Untitled Graphite on paper 73 x 55 Signed & dated 2004 $15,000 - 20,000

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PROVENANCE Private Collection, Auckland Purchased from Starkwhite, 2004 by current owner

PETER STICHBURY (b. 1969) Untitled Graphite on paper 73 x 55 Signed & dated 2004 $15,000 - 20,000

PROVENANCE Private Collection, Auckland Purchased from Starkwhite, 2004 by current owner

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MIKE PETRE (b. 1964) Field Study 351 Ink, graphite, oil & acrylic on canvas 90.5 x 90.3 Signed & inscribed Field Study 351 verso $8,000 - 12,000

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MICHAEL SMITHER (b. 1939) Coromandel View I Oil on board 21 x 121 Signed & dated 2012 $20,000 - 30,000

PROVENANCE Private Collection, Auckland Purchased in 2012 by current owners

LEN CASTLE (1924 - 2011) Crater Lake Bowl - Blue Glazed ceramic 13.5 x 48 Initials impressed on base $10,000 - 13,000

PROVENANCE Private Collection, Auckland Purchased circa 2005 from the annual Auckland Studio Potters end of year exhibition of which Len Castle was guest potter and had a small number of pieces available to purchase.

16 PETER SIDDELL (1935 - 2011) The Northern Club Oil on board 43 x 38.5 Signed $9,000 - 15,000

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PROVENANCE John Leech Gallery label affixed verso

DICK FRIZZELL (b. 1969) Negative Space Oil on canvas 75 x 60 Signed, inscribed Negative Space & dated 9/6/1994 $8,000 - 12,000

PROVENANCE John Leech Gallery label affixed verso

STAR GOSSAGE (b. 1972) She’s at the Doorstep Oil on wood panel 198 x 46 Signed, inscribed She’s at the Doorstep & dated May 2012 verso $8,000 - 12,000

STAR GOSSAGE (b. 1972) How Fragile We Are Oil on board 39 x 39 Signed & dated 2009 $6,000 - 8,000

PROVENANCE Private Collection, Dunedin PAULNACHE, Gisborne

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RALPH HOTERE (1931 - 2013) Pathway to the Sea, Drawing for Ian Wedde Watercolour, ink, pencil and crayon on paper 56 x 76 Signed, inscribed Pathway to the Sea, Drawing for Ian Wedde and dated 1975 $20,000 - 28,000

PROVENANCE Fletcher Challenge Limited Collection Original label affixed verso Private Collection, Auckland

21 RALPH HOTERE (1931 - 2013) In a Dream of Snow Falling Lithograph, edition of 24, 76 x 58 Signed, inscribed In a Dream of Snow Falling & dated 1996 $5,000 - 8,000

22 PAUL DIBBLE (b. 1943) Oars Cast bronze sculpture edition of 3, 48.4 x 15.2 x 15.4 Signed & dated 2003 on top of base $14,000 - 16,000

23 JENNY DOLEZEL (b. 1964) Untitled Oil on canvas 100 x 100 Signed, inscribed Untitled & dated 2011 $15,000 - 20,000 PROVENANCE Private Collection, Dunedin 22

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24 CHARLES TOLE (1903 - 88) Near Huka Oil on board 35 x 40 Signed Inscribed Near Huka verso $15,000 - 25,000 PROVENANCE Private Collection, Auckland Purchased from International Art Centre Traditional & Contemporary Art 24/02/1997

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CHARLES TOLE (1903 - 88) Gold Mine, Waihi Oil on board 35.5 x 40 Signed & dated 1944 $15,000 - 25,000

PROVENANCE Private Collection, Auckland Purchased from Webbâ&#x20AC;&#x2122;s, Important New Zealand Paintings, 10/11/1994

CHARLES TOLE (1903 - 88) Green Meadows Landscape Oil on board 24.5 x 27 Signed & dated 1978 $10,000 - 15,000

PROVENANCE Private Collection, Auckland Purchased from Webbâ&#x20AC;&#x2122;s, Fine New Zealand Paintings & Foreign Paintings, 26/06/2001

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MELVIN DAY (1923 - 2016) Untitled Abstract Oil on board 70 x 85.5 Signed & dated 1958 $5,000 - 8,000

RUDI GOPAS (1913 - 82) Galactic Series Mixed media on board 67 x 77 Signed & dated 1965 $3,000 - 5,000

29 LOUISE HENDERSON (1902 - 94) Party Oil on canvas 120 x 90 Signed $25,000 - 35,000 PROVENANCE Private Collection, Auckland

This painting is a conversation between nine stylish partygoers. They are in the same room, but lost in their own worlds: four couples arranged within a tight picture plane busy kissing, dancing and leaning into each other – and one solitary face cropped in the left foreground. As viewers, we are invited to enjoy this spectacle for the sake of it, to examine and compare the relationships between these people. Given Louise Henderson’s contribution to New Zealand landscape painting and cubism, it can be easy to forget her origin story. She was born and raised in Paris, and moved to New Zealand in her early 20s with her husband. By that point, she had completed formal training as a designer. The artist returned to Paris for a year in 1952 in pursuit of a modern art education. The Party is one example of a work that clearly calls back to her French roots.

With slightly blurred, elegant faces all looking in different directions, it has the spirit of a Renoir. It is chic and lively, and one can well imagine the scene taking place in Paris. At the same time, it is distinctly modern, and distinctly Henderson. The work’s beauty is in the finest details of faceted space and bodies pressed against one other: the delicately blurred arrangement of a floral headpiece, for example, or a sculpted calf plunging solidly into the foreground. The first major survey of Louise Henderson work: From Life was held 2 November 2019 until 20 March 2020 at Auckland Art Gallery. It featured work from across Henderson’s seven-decade career, the exhibition traces the development of the artist’s bold and colourful abstract style.

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JAN NIGRO (1920 - 2012) Bather Acrylic & gouache on paper 50 x 54 Signed & dated 1968 $2,000 - 3,000

BILL HAMMOND (b. 1947) Eleven Etchings, 1981 Etching, edition of 15, in bound case 38 x 39.5 Signed, inscribed Eleven Etchings & dated 1981 on title page $10,000 - 15,000

Note: Each etching differs in size but all are presented on paper 38 x 39.5cm

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1: 2: 3: 4: 5: 6:

Letâ&#x20AC;&#x2122;s Dance Previous Life Untitled Sun Love Untitled

7: Untitled 8: Rockaway Beach 9: 3 Famous Sleepers 10: The Way Things Are 11: Untitled

MARTI FRIEDLANDER (1928 - 2016) Philip Clairmont, 1980 Vintage colour print 28.5 x 28.5 Signed verso $9,000 - 12,000

PROVENANCE Private Collection, Auckland Purchased from FHE Galleries, Auckland FHE Galleries label affixed verso Studio of Marti Friedlander

ILLUSTRATED p. 43 Contemporary New Zealand Painters, Volume I, A-M, Jim and Mary Barr, 1980 Everybody looks at a photograph differently. It all rests on different perceptions. The photographer must trap an image on film which will hold the attention, intrigue people, make them wonder about it. A photograph will eventually reveal its secrets Marti Friedlander, Lens Life, NZ Herald 26 March 2011

PHILIP CLAIRMONT (1949 -84) This Is the Candle to Light Your Way Home Oil on canvas 108 x 75 Signed & inscribed This Is the Candle to Light Your Way Home $60,000 - 80,000

PROVENANCE Private Collection, Wairarapa

Philip Clairmont was one of a small group of neoexpressionists working in New Zealand in the 1970s. Although his paintings channeled the mood and certain techniques of 20th century European expressionism, they belong to a different time and geography – that is, post-modern New Zealand. He was a free-thinking non-conformist, and this work is a classic example of how Clairmont, as an artist defies categorisation. Within a single painted room, there is a universe of depth, light and darkness. The work’s most enchanting quality is its luminosity. Clairmont valued the gesturality of painting, giving an incredible force of energy to his work. We see it in swathes of colour and light. There is religious imagery, too, but the work’s spirituality should not be reduced to the simplicity of a Pentecostal flame metaphor, nor to the suggestion of a crucifix in the outline of the window pane.

At the heart of This Is the Candle to Light Your Way Home, visual truth triumphs. Despite the brightness of colour which emanates from the painting, there is an undeniable sense of mystery. The brilliant yellow is almost unsettling, even blinding. The candle seems to hover suggestively, floating in the forefront of the picture plane. This is intensified by the inscribed message of departure and destination: Candle to light your way home. One thinks immediately of a still-life painting in which the candle represents the flickering passing of life; the calling home to our mortal end. It is the product of built-up layers, a dark foundation that has been built upon to question and distort, to present reality and stretch it out to new depths and proportions.

I knew I wanted to be a painter or a bullfighter and nothing else - Philip Clairmont

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PHILIP CLAIRMONT (1949 -84) “Untitled” or Free Form Window Diptych Mixed media on paper 72.5 x 109 Signed & inscribed “Untitled” or Free Form Window Diptych $20,000 - 25,000

PROVENANCE Private Collection, Auckland Purchased directly from Rachel Powers, Artist’s wife, circa 1983 The untimely death of artist Philip Clairmont at age 34 was a great loss. His paintings, prints and drawings remain 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

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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. 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.

35 JOHN WALSH (b. 1954) Pare to My Place, 2017 Oil on unstretched canvas 156 x 308 Signed $60,000 - 80,000 PROVENANCE Private Collection, Auckland PAULNACHE, Gisborne EXHIBITED Art Central, Hong Kong, 21- 25 March 2017 The image is derived from traditional Pare, door lintel. You pass under them to enter a whare, a house or space. They would often depict an ancestral figure surrounded by aspects of cosmology. We are to negotiate the lores, laws, whakapapa, puzzles to proceed. John Walsh

COLIN MCCAHON (1919 - 87) View from the Top of the Cliff, Muriwai Watercolour 109 x 72.5 Signed, inscribed View from the Top of the Cliff, Muriwai No 1 & dated March April 1971 $100,000 - 150,000

PROVENANCE Private Collection, Auckland Purchased from John Leech Gallery, c. 1989 by current owner REFERENCE McCahon Database www.mccahon.co.nz record number #cm001397 EXHIBITED Earth/Earth Barry Lett Galleries Auckland 19/4/1971 - 30/4/1971 Six identically titled and dated works - Muriwai, March, April 1971 - were included in Earth/Earth The present work was No. 1 from that exhibition

This watercolour was part of a 1971 exhibition at Barry Lett Galleries, called Earth/Earth. For his part, McCahon exhibited six identically titled and dated works alongside landscape paintings by Michael Illingworth, Don Binney, Michael Smither and Toss Woollaston. The catalogue was impressive, capturing a formative moment in New Zealand’s art history. These were five influential artists at the forefront of modern art, united in channeling their environmental activism through art. The message was one of beauty, endurance and, as the catalogue described it, “a chorus of protest”. Some years earlier in 1967, Barry Lett Galleries held another exhibition of McCahon’s work, a solo show titled North Otago Landscapes. While these earlier landscapes bear similarities to the Muriwai watercolours (it is impossible not to be struck by the sublime fields of colour, or the narrative and metaphoric significance of their vast landforms), the viewer may also be inclined to trace the shift in

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McCahon’s practice over this period. The comparison highlights the profound spiritual and artistic clarity of the 1971 watercolours. In View from the Top of the Cliff, Muriwai, McCahon fragments and blurs the boundaries of sea, sky and land. Facets of light rendered in raw, earthy tones recall his kauri paintings of the 1950s. The harmony of colour and composition in this work is paradoxical: it conveys protest and unrest. This is the product of McCahon internalising his landscape, and his ongoing rejection of the tradition of European landscape painting and its picturesque ideals. The artist’s own mind; his unique impressions and spiritually grounded relationship with Muriwai have been turned outwards into this painting. McCahon upheld the act of painting as a sensory, essential gesture. At the same time, his internal consciousness was deeply connected to the land and environmental concerns of the moment. From this point, the artist returned time and time again to paint Muriwai, using the landscape as the basis for his Necessary Protection series which he also started in 1971. He continued to explore the fragility of the Muriwai coast, both as a transcendent, resilient force, and a landscape under threat as we encounter it here. As in the name of the exhibition, Earth/Earth there is repetition in McCahon’s creation and simultaneous exhibition of these six Muriwai works. One may think of this repetition as an artistic rhythm of sorts: the beat of a protest drum, or the sublime meditative state of sky blending into sea into land – a converging state of environmental warning and precious degradation.

MICHAEL SMITHER (b. 1939) Lovers, Dolphin and Yellow Ball Oil on board 90 x 110 Signed & dated 1969 $120,000 - 160,000

PROVENANCE Private Collection, Taranaki Purchased directly from artist, 1969

Lovers, Dolphin and Yellow Ball is a joyful, buoyant painting. A portrayal of two bodies in water intercepted by a swimming dolphin and a floating ball, it demonstrates Smither’s affinity for movement and touch. Time has been suspended to emphasise this: there is the yellow ball about to be pressed and bob against the woman’s hand; her arm reaching up through the air; legs and torsos dragging through water; the dolphin’s long nose splicing the water. For some viewers, this work may call to mind the famous 1950s summer of Opo, the friendly bottleneck dolphin. In January 1969, Maurice Shadbolt published his book This Summer’s Dolphin, based on the story of Opo. The author and his wife had encountered the dolphin in Opononi Harbour, swimming and playing with her in the summer of early 1956. Smither was a friend of Shadbolt’s, and agreed to design the dust jacket for the novel. To prepare for the commission, the artist undertook a period of research, which he describes as a steep learning curve in interspecies communication. Several of the resulting dolphin works and paintings were exhibited at Barry Lett Galleries in 1968, including a series of prints, Dolphins and Lovers. The final dust jacket bears similarities to this painting: it shows a child riding Opo, held gently by a man who guides them through the shallow water.

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The same sense of intimate exchange between human and dolphin is present in this work. More than anything, one is struck by a feeling of uninhibited freedom – freedom that is about more than just the presence of naked bodies, but rather about how we move through the world and relate to each other, and to nature. I discovered Maurice Shadbolt’s work in the Anglican Chaplaincy in Wellington while I was taking a spell from a colour glass window of the transfiguration of Christ with his apostles, which I’d accidentally just broken. From the chaplain’s library I read The New Zealanders and was moved to write to Maurice and tell him how much I enjoyed it. I sensed in him a kindred spirit and great storyteller and we begun a long and fruitful friendship. As part of my research to draw and paint dolphins for a dust jacket commission for Maurice Shadbolt’s novel, This Summer’s Dolphin, I went through a steep learning curve in interspecies communication. I prepared a slate board to draw dolphins underwater (at the Napier Aquarium). They crowded round me to get a look over my shoulder as I worked. I’m certain that they recognised themselves. Michael Smither Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004

38 RALPH HOTERE (1931 - 2013) Mungo Painting Oil on board 77.5 x 69.5 Inscribed Sketch for a Mungo painting, Port Chalmers & To the edge of Wilfredâ&#x20AC;&#x2122;s excavation & 26m to iron peg in red golgol & dated 1983 $35,000 - 45,000 PROVENANCE Private Collection, Auckland Mungo Painting marks the beginning of the artistâ&#x20AC;&#x2122;s Mungo series, inspired by his time spent in New South Wales. The Mungo series addresses the link between social and environmental issues in both New Zealand and Australia and offers a meditation on the length of human existence. The work expresses sentiments of spirituality and humankind's connection to the land, together, these have been a recurring presence at the heart of Hotere's practice. Compositionally, Hotere has adapted the format of the archaeologist's location diagram, showing the positioning of 12 samples within the central portion of the work, and one offset temperature monitor, which sits slightly apart from the central formation. The words Mungo, Gol Gol and Zanci are Aboriginal terms for the different layers of sand in which the human remains were found. Gol Gol is the reddish base layer of sand, Mungo the middle brown sand and Zanci the windborne grey dust and gypsum. The reference to these various layers is enhanced in the work by Hotere's use of understated earthy tones. All of the work's components rest comfortably in the subtle crucifix formation: a frequent motif used by Hotere throughout his work.

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Previous to Mungo series, Hotere had thoroughly developed his distinctive window motif. Specifically framing his works in custom timber frames, Hotere replicated the view from his studio at Aramoana where he observed the injustice imposed on the land and the people. While the previous series of the early 1980s dealt specifically with contemporary issues such as the development of the aluminium smelter at Aramoana and the controversial Springbok Tour, the Mungo series presents a deeper contemplation about time and the binary effects of humans on the land and eventually of the land on human remains. This wider observation about the circle of life culminated with Hotere's production of the large-scale installation work titled Black Phoenix, Collection of Te Papa Tongarewa, which he constructed from the burntout hull and charred debris of a Carey's Bay fishing boat. The symbolism of the mythical Phoenix rising from the ashes to begin a new circle of life, resonates with the necessary acceptance of our own mortality, something which Hotere himself would have been unavoidably confronted with during his time spent at Lake Mungo.

MICHAEL SMITHER (b. 1939) Doubting Thomas Oil on board 91 x 76 Signed & dated 1968 $140,000 - 180,000

PROVENANCE Private Collection, Auckland Purchased from Webb’s Fine New Zealand Paintings, Jewellery & Decorative Arts, 29/06/2004 ILLUSTRATED p. 78 Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004 An important contrast within Michael Smither’s religious genre is that of faith and doubt. Doubting Thomas is like a New Zealand Grünewald; Smither has always been intrigued by Grünewalds Isenheim Altarpiece. The violent punctures left by the crown of thorns pressed onto Christ’s head and the greys, blues and greens that shadow Christ’s body in Doubting Thomas recall the extreme proto-expressionism of the German artist’s work. Grünewald’s multi-panelled Isenheim Altarpiece was conceived as a meditative consolation. Smither says he has deliberately turned Thomas into a type of spiritual hero in this painting, calling the confrontation and acknowledgment of doubt a sign of ethical strength. Smither named one of his sons after the biblical doubter.

Thomas the Apostle, also called Didymus, was one of the Twelve Apostles of Jesus according to the New Testament. Thomas is commonly known as Doubting Thomas because he doubted Jesus’ resurrection when first told of it; later, he confessed his faith, My Lord and my God, on seeing Jesus’ crucifixion wounds. These wounds are rather like the cuts and gashes one finds on a scarred landscape, said Smither. In the early 1980s Smither revisited this scene with a larger version, with the same poses, for St. Joseph’s Church in New Plymouth. This time the Christ Thomas encounter was set amid a throng of apostles, dogs and ordinary citizens. The painting was once borrowed as an inspirational piece for a conference of the Catholic Church in Australia.

The courage to doubt in the face of the great juggernaut of Christianity was illustrated by St Thomas who had the courage to investigate his doubt about the resurrection. As with many parables in the Catholic liturgy, I saw this as a courageous act rather than a cringing doubt Michael Smither Michael Smither Painter, Trish Gribben, Ron Sang Publications 2004

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CHARLES FREDERICK GOLDIE Memories, Rakapa (An Arawa Chieftainess), 1918 $300,000 - 400,000 and

CHARLES FREDERICK GOLDIE Harata Rewiri Tarapata $50,000 - 80,000

CHARLES FREDERICK GOLDIE (1870 - 1947) Memories, Rakapa (An Arawa Chieftainess) Oil on canvas 26 x 20.5 Signed & dated 1918 $300,000 - 400,000

Inscribed on original label affixed verso Memories, Rakapa

PROVENANCE: Private Collection 1918-1965 Purchased by D Potton from International Art Centre, circa 1975 Ex Dick & Rhoda Potton Collection Webb’s, 31/03/2008 ILLUSTRATED: p. 250 C F Goldie: His Life and Painting, Alister Taylor and Jan Glen, 1979. Titled Reverie-Rakapa in this publication Auckland Society of Arts Exhibition Catalogue, 1918 EXHIBITED: Auckland Society of Arts, 1918 London, May 24, 1927: Another of Mr C F Goldie’s three Academy pictures has been sold. The purchaser is a lady who lives in the South of England. She has chosen Memories, a Chieftainess of the Arawa Maori. Even before the Royal Academy opened to the public, Mr Goldie’s An Aristocrat - Atama Paparangi A Chieftain of the Rarawas - bore the distinctive red seal which indicates ‘Sold’. Memories was priced on the official chart at £262.10. Despite being painted by Charles Goldie at least five times, the identity of Rakapa, an Arawa Chieftainess is relatively unknown.

She has, however, been confused with others with this name and links to the Te Arawa iwi (tribe) and rohe (region), including Rakapa Kakohi, a well-known composer of aroha waiata (love songs), who died in Foxton in 1877. She may possibly be Rakapa Manawa of Mourea, near Rotorua, whose name was listed on the 1908 Māori Voter and Electoral Roll, her iwi listed as Te Arawa and her hapū as Ngāti Pikiao and Ngāti Te Takinga. Another possibility is Rakapa (or Te Arani) Epiha, who died in 1925. Source: Christchurch Art Gallery Te Puna O Waiwhetu

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Through his lifetime and legacy, Charles Frederick Goldie greatly influenced our nation’s artistic and cultural consciousness. Born in Auckland on 20 October 1870, one of eight children from the marriage of Maria Partington and David Goldie, he was named after his maternal grandfather, Charles Frederick Partington, builder of the landmark Auckland windmill. In 1883 the young Goldie was enrolled at Auckland Grammar School. His youthful artistic talents shone, and it was not long before he was winning prizes at the Auckland Society of Arts. On leaving school, Louis John Steele become his mentor and tutor. Two of the young artist’s still life paintings so impressed Sir George Grey, that he convinced David Goldie to allow his 22 year old son to attend the Académie Julian in Paris. Goldie spent over four years at the Académie Julian tutored by leading lights of the Paris Salon such as William-Adolphe Bouguereau. In 1898, fully informed in the French academic style, the artist returned to New Zealand and began collaborating with his former tutor Louis John Steele. The two worked on a number of paintings including The Arrival of the Maoris in New Zealand, a large scale history painting after Gericault’s Raft of the Medusa. Before long, however, the relationship deteriorated likely caused by tensions around the former student’s growing success. Goldie went on to open his own studio and establish himself as a successful portraitist of Maori. A visit to Rotorua in 1901 was the first of several field trips during which the artist was introduced to local Maori and persuaded them to sit for portraits. Goldie’s works from this point forward strongly reflect the European tradition in which he was trained, and possess a stunning power and visual clarity. On the one hand, his remarkable dedication to realism belies an ethnographic interest. At the same time, he was also striving to capture the mana of his sitters who included chiefs, tohunga and kaumatua.

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Goldie formed long-standing relationships with several Maori he met and painted around this period, including Wiremu Patara Te Tuhi and Te Aho-o-terangi Wharepu (Ngati Mahuta), Ina te Papatahi (Nga Puhi), and Wharekauri Tahuna (Ngati Manawa). Over the next two decades, Goldie gained national and international acclaim and steady demand formed a strong market for his portraits, a number of which would later be exhibited at the Royal Academy of Arts in London and the Paris Salon throughout the 1930s. In 1920 the artist moved to Sydney, where despite original plans to continue on to Paris, he was married, at age fifty to thirty five year old Olive Cooper. Marriage in Sydney circumvented the Goldie family disapproval of the relationship between Auckland’s famous artist and the milliner from Karangahape Road. After two years in Sydney, apparently disillusioned with his work at this time and suffering from health problems Charles and Olive returned to New Zealand. Goldie’s return to Auckland in 1924, ultimately represented a moment of artistic reckoning. Goldie received encouragement to resume painting from Governor General Lord Bledisloe. Devoting himself once again to his work, he began to apply a more liberal, impressionistic approach to the realisation of his portraits and repainted a number of his former subjects. Works from this later period are distinguished by their soft luminescence, offering a rhythmic departure and disconnection from the rigours of formalism to which he had so strictly adhered in the past. Goldie died in Auckland in 1947, his exquisite, spiritually-charged, often unsettling and ever powerful portraits of Maori having made an unsurpassed contribution to the history of art in New Zealand.

CHARLES FREDERICK GOLDIE (1870 - 1947) Harata Rewiri Tarapata Red conte on paper 22 x 17.5 Signed, inscribed Haere Ra Kia Ora & dated 3/5/06 $50,000 - 80,000

PROVENANCE Private Collection Auckland Webb’s Fine Art, 07/12/2004 ILLUSTRATED Plate I, p. 213 C F Goldie: Prints, Drawings & Criticism, Alister Taylor and Jan Glen, 1979 EXHIBITED: J A Gibb, 105 Cashell Street, Christchurch, Fine Art Department, Picture Framer Art Dealer, 1906 Suspicion, 1906

Harata Rewiri Tarapata, widow of the late Chief Paul of Orakei. Harata (Charlotte) Rewiri Tarapata was the high born descendant of two noted chiefs, Tamati Waaka Nene and Eru Patuone, both early signatories of the 1840 Treaty of Waitangi. She was the daughter of Te Wharerahi of the Hokianga. Harata married Paora Tuhaere, a paramount chief of the Ngati Whatua tribe of Orakei, Auckland since 1868. Her husband had become a Christian early in life, taking the baptismal name of Paora (Paul). He was active as an Anglican lay preacher in hapu and intertribal gatherings, always preaching tolerance and peace. Paora Tuahere was the author of valuable historical accounts of Ngati Whatua history and historical narratives concerning their conquest of Kaipara and Tamaki. Harata was his second wife, and together they had a daughter, Mere. In her youth Harata was acknowledged as a great beauty and became a familiar figure around the Orakei area. As a teenager she had delivered ammunition to Ngāpuhi warriors at Ruapekapeka (1845-46) and other key battles of the New Zealand Wars. In maturity, Harata Rewiri Tarapata became a woman of great mana and was painted on several occasions by Charles Frederick Goldie and his leading pupil, Vera Cummings. Goldie’s major work of this subject titled The Widow was painted in 1903 and is held in 58 Tuesday 11 August the IMPORTANT collection& RARE of TeART Papa Tongarewa.

Charles Frederick Goldie is primarily known as a painter with little attention paid to his drawing skill. Unlike other artist’s, Goldie made very few preparatory studies for his paintings. However, an oil portrait featuring Harata Rewiri Tarapata and titled Suspicion was exhibited at the Auckland Society of Arts the same year as the present conte work. Suspicion is held in a Private Collection. Another oil painting, also completed in 1906 carried the title Portrait of Harata Rewiri Tarapata. All three works are illustrated p. 212 C F Goldie: Prints, Drawings & Criticism, Alister Taylor and Jan Glen, 1979. Harata Rewiri Tarapata is also the subject of one of Goldie’s most famous paintings The Widow, 1903, sold by International Art Centre to the former National Gallery in 1991. It is now held in the Collection of Museum of New Zealand Te Papa Tongarewa. In this version, Te Papa refer her as He wahine mana nui e whakaatuhia ana hei pouaru matapōuri. A woman with great mana [authority], depicted as a sorrowful widow.

42 VERA CUMMINGS (1891 - 1949) Harata Rewiri Tarapata in European Clothing Oil on canvas 25 x 20 Signed $8,000 - 12,000 PROVENANCE Private Collection, Christchurch At the age of eleven Vera Cummings was awarded a scholarship to attend Elam School of Fine Arts. She was one of the youngest pupils to attend the school. From here she became a pupil of Goldie, and was considered the only one to produce the same natural colour of Maori skin as Goldie painted.

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Her studies of Maori were in great demand for sending overseas and as well as choosing the same subjects as Goldie, for example Sophia Grey (Guide Sophia), she painted many other well known Maori from the Auckland area. Text reproduced from p. 157 C F Goldie Prints, Drawings & Criticism Alistair Taylor & Jan Glen. First Published 1979 by Alistair Taylor, Wairua, Martinborough, New Zealand.

43 43 VERA CUMMINGS (1891 - 1949) Wiremu Patara Te Tuhi Oil on canvas 20 x 15 Signed $8,000 - 12,000

44 45

CHARLES FREDERICK GOLDIE (1870 - 1947) A Good Joke Chromolithograph 47 x 35 Signed & dated 1905 in plate $3,000 - 5,000

PROVENANCE Ex Collection of the late of Austral Groves (Strella) Wilson, Australia

44 VERA CUMMINGS (1891 - 1949) Harata Rewiri Tarapata in Maori Cloak Oil on canvas 20 x 15 Signed $8,000 - 12,000 PROVENANCE Ex Collection of the late of Austral Groves (Strella) Wilson, Australia 45

CHARLES BLOMFIELD (1848 - 1926) Pink and White Terraces - a pair Oil on canvas 25 x 34 Signed & dated 1885 $60,000 - 80,000

PROVENANCE Private Collection, Auckland Purchased in the late 1960s by current owners parents 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

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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, Tūhoto 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.

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.

In the early hours of 10 June, 1886 Tūhoto 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.

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. This fine pair provides an accurate historical record of the Terraces. They were painted just a year prior to the Tarawera eruption.

JOHN BARR CLARKE HOYTE (1835 - 1913) Pink & White Terraces Rotomahana with Mount Tarawera Beyond Watercolour 39 x 66 Signed (with initials) $20,000 - 30,000

O-tĹŤ-kapua-rangi (fountain of the clouded sky) - The Pink Terrace

Te Tarata - the tattooed rock - The White Terrace

The Pink and White Terraces were formed by upwelling geothermal springs containing a cocktail of silica-saturated, near-neutral pH chloride water. These two world-famous springs were part of a group of hot springs and geysers, chiefly along an easterly ridge named Pinnacle Ridge (or the Steaming Ranges by Mundy). The main tourist attractions included Ngahapu, Ruakiwi, Te Tekapo, Waikanapanapa, Whatapoho, Ngawana, Koingo and Whakaehu.

The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka Stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached white appearance. The White Terrace was the larger of the two formation, covering in excess of three hectares. They are reportedly the largest silica sinter deposits on earth.

The Pink and the White Terrace springs were around 1,200 metres apart. although the Pink Terrace also contained gold in ore-grade concentrations.

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JOHN BARR CLARKE HOYTE (1835 - 1913) Te Tarata, White Terraces, Rotomahana Watercolour 38 x 64 Signed & dated illegibly $20,000 - 30,000

Mrs Howard Vincent recalls seeing the White Terraces for the first time in The Colonist, 3 March 1886. At last we could see them in their general outline, a silica formation of white terraces in circular steps. We thought it disappointing; but not openly allowing so, we waded through the lukewarm water, about an inch deep, and stood at the bottom of Te Tarata, or the White Terrace. At the first step we came to we were petrified with delight for a moment. Set in a basin of pure white silica, delicately carved and fretted, lay a pool of pale blue water, so pure in colour, so opaque in substance. I wish I could convey to the sight of those who read this the merest reflection of that, heavenly colour, that pale tint found nowhere else upon earth.

As we climbed upwards we saw terrace upon terrace, with each circular brim hanging with beautiful stalactites and sponge and coral formation. The sun, shining through the lace-like fringe on the coraltipped edges set forth a hundred reflections, and we were dazzled by the snowy whiteness of the silica. The water percolates and trickles gently over the petrified drapery of each little cup and basin, each drop leaving its tiny deposit of silica, which in the course of ages has formed the terrace. Papers Past, National Library of New Zealand

49 ALAIN GAZIER (French b. 1956) Lumiere du Matin Oil on canvas 105 x 146 Signed $20,000 - 25,000

50 YAN YA YA (Chinese b. 1964) Sisters of Gobi, 2002 Oil on canvas 160 x 120 Signed $45,000 - 55,000

PROVENANCE Private Collection

PROVENANCE Purchased from an exhibition titled Angels of Warmth HaKaren Art Gallery, Singapore, 2002

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51 RAYMOND MCINTYRE (1879 - 1933) George Street, Dunedin 1907 Watercolour 27.9 x 21.5 Signed & inscribed on original label affixed verso $25,000 - 35,000 PROVENANCE Private Collection, Auckland Purchased from Ferner Galleries, Auckland c. 1992

ILLUSTRATED p. 36 Art New Zealand No. 10 Winter, 1978

REFERENCE p. 108 Raymond McIntyre, A New Zealand Painter, Heinemann Publishers, Auckland City Art Gallery, 1984 EXHIBITED Canterbury Society of Arts, 1905 Raymond Francis McIntyre was born in Christchurch in 1879. The musical and artistic McIntyre family lived in central Christchurch, and later in the suburb of New Brighton. The artist’s father, George McIntyre was mayor of New Brighton Borough in 1901-2. Raymond was educated at Warwick House School until the age of 15 when he went to the Canterbury College School of Art where he studied under Alfred Walsh and Robert Herdman-Smith until 1908. Progressive local painters had formed a sketch club which McIntyre joined. Sydney Thompson, recently returned from four years’ studying and working in Europe, was also a member and the group met regularly at his studio in Cambridge Terrace. McIntyre was able to observe the fresh techniques of impressionism in 1906-7 when 20 works by the New English Art Club painters were shown at the New Zealand International Exhibition in Christchurch. He had been exhibiting landscapes and portraits regularly with the Canterbury Society of Arts since 1899 and by 1908 his loosely brushed paintings blended influences from Petrus van der Velden with English impressionism.

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Local critics were not always impressed. This lack of critical and local artistic success seems to have convinced McIntyre that he should pursue his artistic career in Britain. Arriving in London in February 1909, McIntyre began a period of intensive study and painting. He was taught by William Nicholson, George Lambert and Walter Sickert, among others. He also became socially active in London’s artistic, literary, musical and theatrical circles. He exhibited frequently over the next decade, especially at the Goupil Gallery Salon, the leading international gallery in London at the time. His work diversified in content to include street scenes, a subject McIntyre shared with the Camden Town Group, though his techniques differed greatly from these artists. From late 1920 he also began to paint rivers and parks. He continued exhibiting at the Goupil Gallery Salon and finally had a painting accepted for exhibition at the Royal Academy of Arts in 1924. He ceased to exhibit his work after 1926 although he still painted for his own enjoyment. Continues on next pages

52 RAYMOND MCINTYRE (1879 - 1933) From a Back Window from Queensbury Place Oil on board 36.2 x 26.1 Signed & dated 1923 $35,000 - 45,000 PROVENANCE Private Collection Kaikoura until 1996 Private Collection, Auckland Purchased from Webb’s Important New Zealand Works of Art, 27/03/1996 ILLUSTRATED p. 32 Raymond McIntyre, A New Zealand Painter Heinemann Publishers, Auckland City Art Gallery, 1984

Continued from previous pages: McIntyre was also a writer, printmaker, photographer, theatre and music critic. In 1923 he began contributing art reviews to the London journal Architectural Review. Artists he singled out for praise included Ben Nicholson, Ferdinand Hodler, Erich Heckel and Paul Signac. It was not until several decades after his death that his own achievements were fully recognised. Colin McCahon was a key figure in this process, in 1962 he helped organise an exhibition at the Auckland City Art Gallery, Six New Zealand Expatriates which included twelve of McIntyre’s paintings. In 1984-85 the same gallery organised a retrospective of McIntyre’s work.

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Stylistic similarities can be found between McIntyre’s fauvist works painted around 1918 and held at the Auckland City Art Gallery - and the early works of Toss Woollaston, or of McCahon himself. McIntyre’s paintings featured twice on the cover of Art New Zealand during the 1970s. McIntyre never married, he died in London on 24 September 1933. Along with his family he had become a member of the Church of Christian Science soon after the first congregation was formed in New Zealand in 1907. Believing that disease could be healed by faith, he had not had a curvature of his spine treated and in 1933 refused an operation which resulted in his death.

53 FELIX KELLY (1916 -94) The Earl of Arran, St Agnes, Scilly Isles Oil on board 41.5 x 55 Signed $15,000 - 25,000 PROVENANCE Private Collection, Sydney Terry Clune Galleries, Sydney Original Arthur Tooth & Sons, London, 1963, label attached verso, stock no. C3977 Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike. Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists 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.

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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. 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. 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.

Earl of Arran was a passenger vessel operated by the Ardrossan Steamboat Company from 1860 to 1871 and the West Cornwall Steam Ship Company from 1871 to 1872. This company operated ferry services between Penzance, Cornwall and the Isles of Scilly. Earl of Arran was built by Blackwood and Gordon, Paisley and launched on 25 April 1860 for the Ardrossan Steamboat Company. In 1870 she was sold to the West Cornwall Steam Ship Company which ran pleasure cruises from Penzance along the coast. In 1871 Earl of Arran was providing services between Penzance and the Isles of Scilly. That same year she towed into Penzance an unidentified derelict ship believed to be American, which had four hundred casks of paraffin oil as cargo.

Early in 1872 she was involved in recovering property from the Delaware which had been wrecked on 20 December 1871 on Mincarlo in the Isles of Scilly. Earl of Arran was wrecked on Irishmanâ&#x20AC;&#x2122;s Ledge on the west side of Nornour in the Isles of Scilly on 16 July 1872. The engine-room filled within five minutes, and within ten minutes the saloon was flooded. The captain successfully transferred all 100 passengers and the mail using the life boats to reach safety on Nornour Island. The passengers were returned to Penzance the next day. The wreck was not retrieved. In this work Felix Kelly immortalises Earl of Arran, a noble vessel with an eventful working life.

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TOSS WOOLLASTON (1910 - 98) Landscape Watercolour 31 x 41.5 Signed & dated 1978 $3,000 - 5,000

GARTH TAPPER (1893 - 1984) The Judge Oil on board 38 x 30 Inscribed verso $5,000 - 8,000

DOUGLAS MACDIARMID (b. 1922) The Passengers Oil on board 45 x 60 Signed & dated 1956 $8,000 - 12,000

PROVENANCE Collection of the late Edith Campion

The Passengers, 1956 depicts two people travelling on a train or bus. There is a sense that this woman and man know one another. Their body language suggests a certain estrangement - her head fully turned, gazing out the window, his knitted brow and slumped shoulders. Douglas has always been intrigued by the nuances of non-verbal communication, what he calls the human condition. As a painter, he perfected the art of closely observing without actually appearing to look, always ready with a sketchbook. He says: Years of curiosity have given my peripheral vision unusual powers. I can see a great deal out of the corners of my eyes and always have. People are fascinating. Yet I realise that if you stare, it’s unpleasant and uncomfortable for them. Highly impolite, so I don’t make this mistake but I manage to take in a great deal from one side or the other. During the mid-1950s to 1960s, he painted French people going about their everyday lives. This was MacDiarmid rediscovering his adopted country and providing a fascinating figurative glimpse of the interplay between traditional and modern European

culture. Apart from road trips to the Loire Valley, Provence and the French Riviera, Douglas lived in Paris in 1956. He was busy with commissioned portraits, regularly selling landscapes through a gallery in Montmartre. These passengers were probably observed in August 1955, en route between France and Scotland. Having accepted the offer of a studio, Douglas set off for the Edinburgh International Festival with his great love, the composer, Douglas Lilburn. What is now a sevenhour fast train ride would have taken a couple of days – ample time to study his fellow passengers and make pages of notes and rapid sketches to develop later. The Passengers could have been part of the catalogue of Douglas’ one-man show at Andre Brooke’s Gallery 91 in Christchurch in June/July 1959, or his 1961 Architectural Centre Gallery exhibition in Wellington, which MacDiarmid attended. Anna Cahill Biographer – Colours of a Life: The Life and Times of Douglas MacDiarmid (2018)

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AT HOME & ABROAD Four works by Sydney Lough Thompson 1877 - 1973

Canterbury born Sydney Lough Thompson studied with Van Der Velden in Christchurch from 1895-98 and attended Canterbury School of Art. In 1899 Thompson left for England to study at Heatherleyâ&#x20AC;&#x2122;s Art School in London. In 1901 he was at the Julian Academy in Paris under the tutelage of Bouguereau, but was influenced greatly by the work of the Impressionists. He painted in Brittany in the holidays from 1902-03 exhibiting with The Royal Academy, London and the Paris Salon. Thompson returned to New Zealand in 1905 and was appointed life master at the Canterbury School of Art from 1906-10. His work at this time was mainly portraits. He married and returned to Europe studying for one year under Lucien Simon in Paris. He then settled in Concarneau. From 1918 he spent winters in the south of France. In 1920 he exhibited a one man show in Paris.

He visited New Zealand from 1923-24 and gave some classes. Thompson then returned to France in 1925 where he painted mainly in the south. He returned to New Zealand in 1933 and became a great influence in art circles in Canterbury and was president of Canterbury Art Society in 1936. In 1937 he visited Europe once again, living in Brittany for 30 years until he came back to New Zealand in 1968. In his last years Thompson and his wife spent time touring the South Island in their caravan, settling down in places where he found good painting subjects. He died on a visit to Brittany. His work was included in the 1940 Centennial Exhibition in Wellington. He is represented in public galleries throughout New Zealand.

SYDNEY LOUGH THOMPSON (1877 - 1973) Morning on the Market, Concarneau Oil on canvas 38 x 46 Signed & dated 1916 $20,000 - 30,000

PROVENANCE Private Collection, Auckland Traditional & Contemporary Art, International Art Centre, 23/04/1996 EXHIBITED Sydney Lough Thompson, At Home & Abroad Robert McDougall Art Gallery Christchurch, 1990 ILLUSTRATED p. 122 Sydney Lough Thompson, At Home & Abroad, Julie King Robert McDougall Art Gallery 1990

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58 SYDNEY LOUGH THOMPSON (1877 - 1973) On Concarneau Harbour Oil on canvas 49 x 61.5 Signed $20,000 - 30,000 PROVENANCE Collection of the late John Ballantyne, Christchurch, by descent

80 IMPORTANT & RARE ART Tuesday 11 August

59 SYDNEY LOUGH THOMPSON (1877 - 1973) Sardine Fishermen Resting, Concarneau Oil on canvas 46 x 54 Signed $15,000 - 25,000 PROVENANCE Private Collection, Auckland Easter Art Auction, Dunbar Sloane, Wellington 16/04/1997

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60 SYDNEY LOUGH THOMPSON (1877 - 1973) Arbres en Fleurs, St Jeannet Oil on canvas 46 x 61 Signed $10,000 - 15,000

61 SYDNEY LOUGH THOMPSON (1877 - 1973) Le Ravin - Tourettes, No.1 Oil on canvas 61 x 50 Signed $10,000 - 15,000

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62 SYDNEY LOUGH THOMPSON (1877 - 1973) At the Bealey Oil on canvas 50 x 60 Signed $8,000 - 12,000

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RITA ANGUS (1908 - 70) Study for Detail from Portrait of R Vaughan Williams Watercolour 16 x 16.5 $8,000 - 12,000

PROVENANCE Private Collection, Auckland Purchased from Page Blackie Gallery 2008 Certificate of Authenticity from Page Blackie Gallery affixed verso REFERENCE The finished painting is in the collection of Fletcher Trust. See illustration p.113

Ralph Vaughan Williams studied with Parry at the Royal College of Music, with BrĂźch in Berlin and Ravel in Paris. He was a leading figure, with Holst, in the folk-song revival and shifted the course of English-language hymnody with his English Hymnal (1906). Williams was a teacher of Composition at the Royal College of Music (1919-39), he established a native school of music based on choral and ballad traditions. He composed nine symphonies, operas, ballets, chamber music, and secular and religious vocal music. Notable works include: A Sea Symphony (1910), based on Walt Whitmanâ&#x20AC;&#x2122;s poems, A London Symphony (1914) and The Lark Ascending (1914-20).

Five works by Petrus van der Velden (1837 - 1913) Born in Rotterdam, Van der Velden trained both there and in Berlin. After his arrival in The Hague, he taught at the Pulchri Studio and exhibited in Amsterdam, Rotterdam, London, Manchester and Scotland. He was well established in Dutch art circles and his genre paintings of everyday life on the island of Marken, near Amsterdam were particularly well received. In a letter to his brother Theo, fellow artist Vincent van Gogh described Petrus Van der Velden as a solid, serious painter. In 1890 at the age of 53,Van der Velden emigrated to New Zealand with his wife and three children. The family lived in Christchurch until 1898. As an artist Van der Velden was greatly inspired by the southern landscape and in particular the West Coast's Otira Gorge.

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This became one of his most successful and enduring subjects. By 1894 van der Velden was teaching from his Durham Street studio, his pupils included Sydney Lough Thompson, Robert Proctor, Cecil Kelly, Elizabeth Kelly, Leonard Booth and Raymond McIntyre. In 1898 van der Velden sailed to Sydney. Little is known of his time there, but the expedition was short lived and Petrus returned to New Zealand in 1904, this time residing in Wellington. He continued to exhibit in Christchurch and Wellington. In March 1909 a self-portrait shown by the Canterbury Society of Arts in Christchurch was purchased by Dame Nellie Melba, after whom his daughter was named. He died in Auckland in 1913 and is buried in Waikaraka Cemetery

64 PETRUS VAN DER VELDEN (1837 - 1913) Otira Gorge Watercolour 22 x 15 Signed $2,000 - 4,000 PROVENANCE Private Collection, Auckland Purchased from International Art Centre, Auckland, Art Auction 76, Sept 17, 1976 ILLUSTRATED p. 120 plate 2.1.2.17 Petrus van der Velden - A Catalogue Raisonné, Volume II, T. L. Rodney Wilson, Chancery Chambers Sydney 1979

64 65

PETRUS VAN DER VELDEN (1837 - 1913) Man in a Souwester (Study for ‘The Orphans’) Charcoal on paper 45 x 33 Robert McDougall Art Gallery label affixed verso $2,500 - 3,500

PROVENANCE Collection of David Langley, Christchurch by descent ILLUSTRATED p. 31 plate 1.2.1.33 Petrus van der Velden - A Catalogue Raisonné, Volume II, T. L. Rodney Wilson, Chancery Chambers, Sydney 1979 EXHIBITED Robert McDougall Art Gallery 1963 Exhibition catalogue no. 4

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66 PETRUS VAN DER VELDEN (1837 - 1913) Market Stall, Marken Oil on canvas 110 x 85 Signed $25,000 - 35,000 PROVENANCE Collection of David Langley, Christchurch by descent ILLUSTRATED p. 30 Plate 1.2.2.32 Petrus van der Velden - A Catalogue Raisonné Volume II, T. L. Rodney Wilson, Chancery Chambers, Sydney 1979 Taranaki Herald 15 June 1977 EXHIBITED Robert McDougall Art Gallery, Christchurch exhibition, 1963 Catalogue no. 70 Auckland City Art Gallery, 1976, exhibition Catalogue no. 23 REFERENCE p. 25 Exhibition Catalogue, p. 25 Auckland City Art Gallery 1959

67 68 PETRUS VAN DER VELDEN (1837 - 1913) Untitled Charcoal on paper 25 x 19.5 Signed $3,000 - 5,000

PETRUS VAN DER VELDEN (1837 - 1913) Drought, Australia Oil on canvas laid on board 43 x 33 Robert McDougall Art Gallery label affixed verso $2,500 - 3,500

PROVENANCE Collection of David Langley, Christchurch by descent ILLUSTRATED p. 160 plate 3.2.2.1 Petrus van der Velden - A Catalogue Raisonné, Volume II, T. L. Rodney Wilson, Chancery Chambers, Sydney 1979 EXHIBITED Robert McDougall Art Gallery 1963, exhibition catalogue 69 68

69 JOHN KINDER (1819 - 1903) Shakespeare’s Bay, Picton, Watercolour 26 x 40 Signed & dated 1860 Inscribed Shakespeare’s Bay, Picton, Queen Charlotte Sound $7,000 - 10,000

70 JOHN KINDER (1819 - 1903) The Grove (Mr Beauchamp’s) at the bottom of Queen Charlotte Sound Watercolour 25 x 35 Signed & dated 1872 Inscribed The Grove (Mr Beauchamp’s) at the bottom of Queen Charlotte Sound $4,000 - 6,000

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ISABEL JANE FIELD (1867 - 1950) Landscape Watercolour 23.5 x 49 Signed & dated 1892 $3,000 - 5,000

MARGARET OLROG STODDART (1865 - 1934) Yellow Blossoms with Rosemary Watercolour 44.5 x 59 Signed & dated 1897 $8,000 - 12,000

PROVENANCE Private Collection, Christchurch Purchased 1975 by current owner

PROVENANCE Private Collection, Auckland Purchased from Ferner Galleries, Auckland c. 2000 by current owner

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CHARLES BLOMFIELD (1848 - 1926) Te Aroha and the Upper Thames Oil on canvas 36 x 61 Signed & dated 1885 $8,000 - 12,000

JOHN GIBB (1831 - 1909) Summer Sunset, Kaikoura Oil on canvas laid on board 54 x 98 Signed & dated 1895 8,000 - 12,000

75 PAUL CESAR HELLEU (French 1859 - 1927) Portrait of the Artistâ&#x20AC;&#x2122;s Wife Pastel on paper 65 x 50 Signed $8,000 - 12,000

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GIROLAMO PIERI BALLATI NERLI (1860 - 1926) Laughing Jackasses Oil on canvas laid on board 44 x 71 Signed $8,000 - 12,000 76

PROVENANCE: Collection of David Langley, Christchurch by descent Described by the critic Robert Hughes as having a rather mediocre vision, Nerli was at times the equal of his more famous Australian friends and associates. His range of subjects was more extensive than

some. He could paint portraits, landscapes, figure compositions and scenes of everyday life. If in works like Laughing Jackasses he sometimes revealed a sense of humour that approaches caricature, this does not detract from the seriousness of his other paintings. His subjects drawn from ancient Roman history, his orgia, were among the most controversial of the works he showed in Australia and later New Zealand. His greatest popular successes were with his portraits. They always attracted attention form the critics because Nerli was able to give a sense of style and bravura to what in others hands might have been a dull recording of features and clothing. Text: Nerli, An Italian painter in the South Pacific Michael Dunn, Auckland University Press, 2005

77 TIM WILSON (b. 1954) Lake Te Anau I Oil on canvas 60 x 120 Signed Signed, inscribed Lake Te Anau & dated 2002 verso $20,000 - 30,000 PROVENANCE Fishers Fine Arts label affixed verso

78 TIM WILSON (b. 1954) Fiordland Impressions Oil on Belgian linen 30 x 20 Signed $4,000 - 6,000

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PROVENANCE Wilson Gallery, Queenstown label affixed verso

79 TIM WILSON (b. 1954) Milford Sound Oil on linen diptych 92 x 122 Signed $25,000 - 35,000 PROVENANCE International Art Centre 1999

80 PETER MCINTYRE (1910 - 95) Central Otago Landscape Watercolour 48 x 58.5 Signed $7,000 - 10,000

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81 PETER MCINTYRE (1910 - 95) Dance Rehearsal, Portrait of Eve King Oil on canvas 56 x 40 Signed $8,000 - 12,000

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102 IMPORTANT & RARE ART Tuesday 11 August

OWEN HEATHCOTE MERTON (1887 - 1931) Palm Trees and Buildings Watercolour 34 x 49 Signed and dated 1924 $2,500 - 3,500

JOHN WEEKS (1888 - 1965) Fishing Boats, South of France Watercolour 44 x 56 $3,000 - 5,000

84 TOM ESPLIN (1915 - 88) Corner of Otranto Italy Oil on board 30 x 42 Signed $3,000 - 5,000

85 PIERA MCARTHUR (b. 1929) Successful Socialites Unmasked Oil on canvas 99 x 99 Signed $3,000 - 5,000

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ERNEST MERVYN TAYLOR (1906 - 64) Aphrodite Woodcut, edition of 30, 45.5 x 10 Signed & inscribed Aphrodite 2,000 - 3,000

ILLUSTRATED P. 122 E. Mervyn Taylor Artist: Craftsman, Bryan James, Steele Roberts 2006

86 86 PATRICK HAYMAN (1915 - 88) Lovers Near the Sea Watercolour & ink on canvas board 18 x 24 Signed $1,500 - 2,500 PROVENANCE Private Collection, UK

87 STANLEY PALMER (b. 1936) Broken Trees, Huia Oil on canvas 52.5 x 71 Signed & dated 1970 Signed, inscribed Broken Trees, Huia Cat. 15 New Vision Gallery & dated 1970 verso $4,000 - 6,000

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89 FRIEDRICH HUNDERTWASSER (Austrian 1928 - 2000) Exodus into Space, 1972 Screenprint in colours with metallic embossing, edition 3000, 49.5 x 67.3 Signed $2,000 - 3,000

90 FRIEDRICH HUNDERTWASSER (Austrian 1928 - 2000) Street for Survivors Screenprint in colours with metallic embossing, edition 3000 56.5 x 41 Signed $2,000 - 3,000

91 FRIEDRICH HUNDERTWASSER (Austrian 1928 - 2000) Crusade of the Crossroaders Screenprint in colours with metallic embossing, edition 3000 39 x 58.8 Signed $2,000 - 3,000

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92 PETER MCINTYRE (1910 - 95) Peasant Hut, Mexico Oil on canvas 67 x 80 Signed $4,000 - 6,000

The sun beat down on a rocky wilderness, bare and shimmering in the heat, yet of them all, this was the country I loved at sight. Nothing jarred. People and huts, rocks and animals, melt into a vast pink and ochre mystery and the sky is washed pale by the heat.

ILLUSTRATED Plate 14, Peter McIntyre’s Pacific, A H & A W Reed 1966

A boy with a donkey, a peasant hut with the hay in the tree, grow from the land like plants, timeless and simple in patient poverty. Peter McIntyre - Peter McIntyre’s Pacific A H & A W Reed 1966

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93 TEUANE TIBBO (1895 - 1984) Satele Splili Meeting House Oil on board 32 x 58 Signed $3,000 - 5,000

94 TEUANE TIBBO (1895- 1984) Landscape Oil on board 32 x 38.5 Signed Inscribed Landscape verso $3,000 - 5,000

Tibbo was born in Pago Pago, grew up in Samoa and later lived in Fiji. In 1945 she moved to Auckland with her husband and eight children. During the 1960s and in her 70’s Tibbo began painting, without any formal training after one of her daughters became interested in art. Pat Hanly introduced Tibbo to Barry Lett, who became her dealer and showed her work at Barry Lett Galleries; her first solo exhibition was in 1964. Her work often depicted leisure activities from her Samoan childhood, such as fishing, cricket, swimming, church and picnics.

During this time her works were exhibited alongside those by leading New Zealand artists of the day including Colin McCahon, Ralph Hotere and Don Binney. Her works are now held in the permanent collections of Auckland Art Gallery Toi o Tāmaki, Museum of New Zealand Te Papa Tongarewa and the National Gallery of Australia. In 2002 a retrospective of her work, Keep It in the Heart: The Paintings of Teuane Tibbo was held in Auckland at Lopdell House. In 2009 Tibbo’s daughter Audie Pennefather published a biography of Tibbo’s life, A True & Strange Story : The Life of Teuane Ann Tibbo, artist 1895 -1984.

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95 PATRICIA FRANCE (1911 - 95) Pot of Flowers Oil on board 48 x 38.5 Signed Inscribed Pot of Flowers & dated 1993 verso $2,500 - 3,500

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96 96

96 ROBERT WILKINSON POWNALL (b. Unknown - 1889) Pah, Waitara, From McDonalds Run; Egmont Watercolour 17 x 24 with two other 15 x 23.5 Mt Egmont views One inscribed Egmont $1,000 - 1,500

97 JOHN BARR CLARKE HOYTE (1835 - 1913) Mount Tongariro from Lake Rotaire Watercolour 25 x 37.5 Signed $1,500 - 2,500

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Judy Drew Woman in Red Silk Pastel on black acid free paper 75 x 55 cm $10,250

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Welcoming... JUDY DREW

Judy Drew | Still Life with Ranunculus and Mandarins | Pastel on colourfix textured paper 48 x 68 cm $8,500

Represented in New Zealand by International Art Centre

202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz fran@artcntr.co.nz

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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

Rita Angus (1908 - 70) Dona Nobis Pacem (Vaughan Williams) Oil on canvas 78.6 x 68cm Reproduced courtesy of The Fletcher Trust Collection

Lot 41 Charles Frederick Goldie

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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

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been entrusted to us in recent years.

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Lot 39 Michael Smither

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Absentee Bid Form IMPORTANT & RARE ART 7:00pm Tuesday 11 August 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.

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I have read and understand the Conditions of Sale. International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids. Email to info@internationalartcentre.co.nz before 3pm day of sale Alternatively, visit our website www.internationalartcentre.co.nz and place absentee bids online

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Index ANGUS R...........................................................63

KINDER J....................................................69, 70

BANKSY........................................................... 7, 8

MACDIARMID D............................................... 56

BINNEY D.........................................................1, 3

MCARTHUR P...................................................85

BLOMFIELD C............................................ 46, 73

MCCAHON C.....................................................36

BRAITHWAITE J................................................ 6

MCINTYRE P.........................................80, 81, 92

CASTLE L...........................................................15

MCINTYRE R...............................................51, 52

CLAIRMONT P............................................33, 34

MERTON O.......................................................82

CUMMINGS V.......................................42, 43, 44

NERLI G P B...................................................... 76

DAY M................................................................ 27

NIGRO J............................................................30

DOLEZEL J........................................................23

PALMER S......................................................... 87

ESPLIN T...........................................................84

PAREKOWHAI M............................................. 6a

FIELD I J............................................................71

PETRE M........................................................... 13

FRANCE P......................................................... 95

POWNALL R W ................................................96

FRIEDLANDER M............................................32

SIDDELL P.....................................................5, 16

FRIZZELL D.......................................................17

SMITHER M...........................................14, 37, 39

GAZIER A..........................................................49

STICHBURY P.............................................. 11, 12

GIBB J................................................................ 74

STODDART M O............................................... 72

GOLDIE C F........................................... 40, 41, 45

TAPPER G.......................................................... 55

GOPAS R............................................................28

TAYLOR E M.....................................................88

GOSSAGE S..................................................18, 19

THOMPSON S L.................. 57, 58, 59, 60, 61, 62

HAMMOND B................................................... 31

TIBBO T.......................................................93, 94

HANLY P.............................................................4

TOLE C...................................................24, 25, 26

HAYMAN P........................................................86

VAN DER VELDEN P................64, 65, 66, 69, 68

HELLEU P C...................................................... 75

WALSH J........................................................... 35

HENDERSON L.................................................29

WALTERS G........................................................ 2

HIRST D........................................................ 9, 10

WEEKS J............................................................83

HOTERE R............................................ 20, 21, 38

WILSON T..............................................77, 78, 79

HOYTE J B C......................................... 47, 48, 97

WOOLLASTON T.............................................. 54

HUNDERTWASSER F..........................89, 90, 91

YA YA Y..............................................................50

KELLY F............................................................. 53

118 IMPORTANT & RARE ART Tuesday 11 August

Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium

Important & Rare Art 1 April 2020 1 15000 2 14250 3 15000 4 5250 7 3000 10 3000 11 2000 12 3250 13 2250 19 17000 20 8000 21 4750 23 26000 25 7000 26 52000 28 30000 33 100000 37 3100 38 2500 39 140000 40 21000 42 150000 43 45000 44 67500 46 112000 48 26000 53 20000 54 21000 55 18000 57 11750 59 10000 60 16500 61 17500 62 5100 63 8750 64 4500 65 3000 66 5000 67 4250 68 1800 69 4750 71 13000 72 4500 75 2200 77 11000

53 20000 54 21000 55 18000 57 11750 59 10000 60 16500 61 17500 62 5100 63 8750 64 4500 65 3000 66 5000 67 4250 68 1800 69 4750 71 13000 72 4500 75 2200 77 11000 78 550 Important & Rare 80 11000 82 3000 Art 83 9250 19 May 2020 84 2100 1 15000 85 1200 2 14250 86 1600 3 15000 88 3500 4 5250 89 4500 7 3000 90 2000 10 3000 91 1700 11 2000 93 3500 12 3250 94 3500 13 2250 95 3400 19 17000 97 2400 20 8000 98 700 21 4750 102 900 23 26000 103 2000 25 7000 104 1250 26 52000 28 30000 33 100000 Collectable Art 30 June 2020 37 3100 1 8000 38 2500 39 140000 2 23000 3 23000 40 21000 42 150000 4 15000 5 5750 43 45000 6 1050 44 67500 7 1200 46 112000 8 700 48 26000 78 550 80 11000 82 3000 83 9250 84 2100 85 1200 86 1600 88 3500 89 4500 90 2000 91 1700 93 3500 94 3500 95 3400 97 2400 98 700 102 900 103 2000 104 1250

9 700 10 800 11 900 12 1600 13 800 14 2000 15 1000 16 900 17 150 18 4500 19 2000 20 22500 21 7500 23 2800 24 2800 27 4750 29 7800 30 4000 31 45000 32 41000 33 52000 34 5500 35 2750 36 6500 37 4750 38 14200 39 800 40 500 41 400 42 350 44 550 45 350 47 17000 48 8500 50 650 51 2500 52 1200 53 550 54 5000 55 200 56 2400 57 1800 58 1200 59 6750 60 16000 61 8000 65 2800 66 700 67 1500

68 1000 69 1250 70 4000 71 3900 73 4000 74 700 76 750 78 400 79 700 81 2000 82 2000 83 3950 88 1500 90 2500 91 2750 92 300 93 2000 95 2500 96 1000 97 1700 98 2000 99 6100 100 3250 101 800 102 800 103 2000 104 2000 105 1000 106 1000 107 5000 108 1675 110 800 112 3250 113 4100 114 1600 115 6000 116 3000 117 1100 119 800 121 900 122 35000 123 8000 124 2400 125 7000 126 2000 127 1000 128 750 130 2450 131 5250

132 3750 133 1300 135 5250 136 4750 138 3000 139 800 141 2250 142 200 143 200 144 700 145 1400 146 1000 147 700 151 1000 152 4250 153 1200 154 1500 156 1000 158 500 159 1750 160 1400 163 750 165 400 166 300 167 400 168 1000 169 1800 171 900 172 1000 173 300 174 1000 175 1000

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120 IMPORTANT & RARE ART Tuesday 11 August

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COLLECTABLE | MODERN | CONTEMPORARY ART September 2020

TOM EVERHART (American b. 1952) Paradise | Lithograph | edition of 500 | 57 x 76cm

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

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.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre. co.nz 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.

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Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

Credit cards: Visa and Mastercard with a 2% surcharge.

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 14 August 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. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot â&#x20AC;&#x2DC;subjectâ&#x20AC;&#x2122; 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.

International Art Centre no longer accepts cheques. 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 FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

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.

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Lot 50 Justin Oâ&#x20AC;&#x2122;Brien Lot 50 Yan Ya Ya

124 IMPORTANT & RARE ART Tuesday 11 August

Lot 10 Damien Hirst

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