Important & Rare
Wednesday 24 August 2016
INAUGURAL AUCTION IN OUR NEW PREMISES 202 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 www.fineartauction.co.nz
Important & Rare Art 6:30pm Wednesday 24 August 2016 In our new premises, 202 Parnell Road, Auckland
Directors: Richard Thomson, Frances Davies & Grahame Chote 202 PARNELL RD AUCKLAND PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz
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202 Parnell Road International Art Centre are delighted to welcome you to our new
With dedication to exhibiting and selling art in an open and accessible
gallery and auction rooms at 202 Parnell Road.
manner, we operate independently in the art world. This allows a direct and transparent engagement with an ever-expanding local
Our opening in 1971 represents an important moment in the history of
and international clientelle. International Art Centre is a welcoming
the New Zealand art market. Having gone from strength to strength
space where major institutions, connoisseurs, collectors, artists and
throughout the years, we have led the market, set innumerable
enthusiasts cross paths with the local community, the uninitiated,
records, and re-defined the potential of the New Zealand art world.
and those who simply wish to satisfy their curiosities and expand their
Perhaps more important than market-defining considerations, is
cultural horizons.
the role held by International Art Centre as a meeting point and destination.
Building on this community-based acclaim and market excellence, our relocation ensures that International Art Centre continues to
As Parnell’s first art gallery and auction house, the significance of our
move forward as the purveyor of New Zealand's finest and rarest
presence in the community was firmly established from the outset.
historical art, whilst championing the cutting-edge aspects of New
Through reputation, approachability and expertise, we helped
Zealand's contemporary practice.
nurture a strong culture of support for the visual arts and have been joined by many galleries and colleagues over the years in making
Located on one level, our new premises offer ease of flow between
Parnell the Creative Quarter.
gallery and auction space, in addition to easy access and car parking.
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Invitation Evening Preview Join us for a glass of wine at our new 202 Parnell Road premises 5:00pm - 7:30pm Wednesday 17 August 2016
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NEW LOCATION & WHERE TO PARK
VIEWING EXHIBITION TIMES International Art Centre 202 Parnell Road, Auckland
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18 August
9:00am - 5:30pm
Friday
19 August
9:00am - 5:30pm
Saturday
20 August 10:00am - 5:00pm
Sunday
21 August 11:00am - 4:00pm
Monday
22 August
9:00am - 5:30pm
Tuesday
23 August
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Wednesday 17 August 10:00am - 5:00pm 17 August 5:00pm - 7:30pm preview
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Wednesday 24 August
9:00am - 1:00pm Auction 6:30pm
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Parking During Viewing: Allocated carparks located directly behind International Art Centre. Further parking at St John’s Car Park, accessed at 244 Parnell Road, 40 metres up from International Art Centre Parking During Auction: Two large carparks located in Denby Street directly behind International Art Centre. Ample parking available to auction clients on evening of sale.
202 PARNELL RD AUCKLAND PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz
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Auction info
Evening of sale
Conditions of sale
p. 119
Absentee bid form
p. 117
Index
p. 120
Auction Contacts
Please join us from 5.30pm for a glass of wine before the auction Please register for bidding number at viewing or on evening of sale Works purchased may be uplifted at close of sale or day after 10:00am - 5:00pm Payment may not be made during auction
Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071 Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction
Cover illustration: Lot 39 Arndt Back cover:
Lot 33 Albrecht
Inside front cover: Lot 30 Siddell Inside back cover: Lot 45 Barraud Illustrated left:
Lot 17 Weeks
E X T R AO R D I N A RY
A R T
F O R
E X T R AO R D I N A RY
P E O P L E 7
May 2016 Highlights Modern & Contemporary Art With sales of over $750,000 including post sale negotiation, this sale achieved a record total for a Modern & Contemporary Art auction
Modern & Contemporary Art October 2016 Consign Now
Max Gimblett fetched $55,000
Karl Maughan fetched $13,000
info@internationalartcentre.co.nz Toll Free 0800 800 322 Hammer prices shown. These do not include buyers premium
Israel Birch fetched $4,250
Paul Dibble fetched $60,000
Max Gimblett fetched $47,000
Colin McCahon fetched $30,000
Michael Hight fetched $15,000
Michel Tuffrey fetched $7,200
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Michael Parekowhai fetched $2,800
Heather Straka fetched $9,000
Colin McCahon fetched $62,500
Don Binney fetched $92,500
April 2016 Important & Rare highlights
A groundbreaking moment in New Zealand’s art auction history, when for the first time a painting hit the $1 million mark
J B C Hoyte fetched $57,500
C F Goldie fetched $1,175,000
April’s Important & Rare auction saw the 300 strong crowd revel in an evening of unparalleled excitement, responding with cheers each time a record was achieved. It certainly was a golden night to remember and sets a new benchmark for auctions in New Zealand. A tremendously gratifying result for International Art Centre in our 45th year of business. With sales of over $2.5 million the result was one of the best ever for a mixed vendor sale. Consignments are now invited for the next Important & Rare auction in November; Richard Thomson m. 0274 751 071 e. richard@artcntr.co.nz
Colin McCahon fetched $34,000
C F Goldie fetched $80,000
Hammer prices shown. These do not include buyers premium
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CHARLES FREDERICK GOLDIE AND THE VALUE OF THE SECONDARY MARKET On April 6, Charles Goldie’s magnificent 1941 portrait of Wharekauri Tahuna was sold by International Art Centre for $1.3m, making it the most expensive work of art to ever have been sold at auction in New Zealand. The energy and national excitement generated by this record-breaking sale is still palpable and will forever be an important milestone in New Zealand’s art historical narrative. From a market-based perspective, it is obvious that the sale of Wharekauri Tahuna is testament to New Zealand’s burgeoning art market potential. More significantly, however, it represents the maturation of our collective national relationship with Charles Frederick Goldie, and speaks to the inherent value of Goldie’s art as a mainstay of our cultural currency. In considering the various factors which have culminated in such a robust market appetite for Goldie’s paintings, the role of the secondary (auction) market as arbiters of taste and value is paramount. International Art Centre is proud to have played a longstanding role as the leading secondary market vendor for Goldie’s, and as the single major influence in the Goldie market to date. Since 1971, International Art Centre have spearheaded growth in the market with a number of record-breaking Goldie sales. The success of the current market is in many ways the product of this unique and productive relationship which has linked International Art Centre's boundary-pushing sales with the artist’s work over the last 45 years. Extrapolating some of the highlights of these sales over the decades will offer insight into the machinations and motivations of this market:
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Going back to the 1980s, it is interesting to note that despite the overall economic strength and market stability of this era (prior to 1987), prices attained for Goldie's work at auction were not in accordance with the corresponding climate of financial buoyancy. This can be linked to the political and reputational discord being experienced by Goldie’s work at the time. For the market to evolve from this point, a certain academic endurance and culturallydisclaiming acceptance needed to crystallise. Further evidence of the Goldie market’s ability to rebut the economic climate can be found in International Art Centre's 2008 sale of the magnificent 1933 portrait of Hori Pokai. This realised a record price of $454,000, well in excess of its $240,000 - $280,000 estimate, and standing in glorious defiance of the imminent economic downturn: a testament in its own right to the bullishness of the art market. The painting, also known as Sleep ‘tis a Gentle Thing, is an iconic work, and its wholehearted reception by the buying public affirmed the increasingly unshakable nature of Goldie’s market. In considering the 'value' of art, there is a tendency to indulge the notion that art historical truth and reputation are qualities which exist independently of time, place and market fluctuations, and that the financial value of works by major artists - such as Goldie - is derived from this higher academic authority. However, it would be inaccurate to presume that the market appetite for Goldie’s works has been informed by, and followed the trajectory of, his academic reputation.
Rather than responding in a delayed manner to the art historical or institutional climate, the market for Goldie’s work in fact grew as a result of, and in the context of, a process of collaborative exchange between vendor and institution. The fluidity of this market / institutional relationship is perfectly exemplified in the 1992 sale by International Art Centre of two important Goldie works, Darby and Joan and The Widow, to the National Art Gallery for the sum of $900,000 plus GST. Not only did the sale serve to affirm Goldie’s commercial worth, but it also amplified his institutional presence and recognition, solidifying the visibility of his position in the New Zealand art historical canon. In this sense, and particularly with consideration to the Goldie market, it is important to realise that the relationship between market value and 'inherent' artistic value is dynamic, and the two are inextricable. Two years after the sale of Hori Pokai, in 2010, the scene was once again set at International Art Centre as a record price of $573,000 was achieved for the sale of Forty Winks. This sale is of particular interest insofar as it offers an important point of consideration regarding the value of provenance. The portrait is a splendid work, exhibiting the very finest aspects of Goldie’s technical expertise, and is the only known work to have been painted of the sitter Rutene Te Uamairangi. The large scale and superb technical detail of the work magnificently showcase qualities highly sought-after in Goldie’s work. Furthermore, the work came from the collection of Dame Kiri Te Kanawa, affording it a significant additional aspect of cultural value, the elusive aura of its provenance drawing both on the celebrity status and authoritative cultural endorsement implied by the fact of its previous owner. One further interesting aspect of the cultural-economic phenomenon which constitutes the market for Goldie’s work relates to the buying public’s unwavering commitment to the totality of the artist’s oeuvre.
An increase in demand and more profound appreciation of Goldie’s work in recent years has prompted a dedicated approach to the acquisition of his paintings in a manner which extends far beyond a tokenistic mode of acquisition, or trophy collecting. This allencompassing rigour and enthusiasm for the artist’s work has been evidenced by two key sales in particular. In 2012, International Art Centre's momentous sale of Goldie’s 1892 Kawhena achieved what was, at the time, another record price of $732,800. It is important to note that this work, Goldie’s first portrait of a Maori kaumatua, had never before been presented to the market, and did not carry the same degree of celebrity as, say, Forty Winks. Moreover, the highlypolished formal attributes of Kawhena are representative of Goldie’s early technique, and do not necessarily align closely with those most readily-identifiable and classically sought-after aspects of his work. The work is exquisite, and the fact that the market responded so eagerly to a previously unknown, arguably untraditional painting of Goldie’s demonstrates a genuine desire to celebrate the complexity and diversity of his artistic output, rather than just perfunctorily engaging with his trademark style. This brings us back to the most recent sale of Wharekauri Tahuna, which stands in circular witness to the sale of Kawhena, book-ending Goldie’s career as the last-known portrait to have been completed, and once again setting a record for the artist. Notably, this was accompanied in the same sale by an outstanding Goldie drawing which achieved an exceptional hammer price of $80,000 against an estimate of $15,000 - $25,000. Looking ahead from the point of this watershed moment in the New Zealand art market history, the sale of Wharekauri Tahuna will without a doubt pave the way for the market to continue to flourish and break bold new territory in years to come.
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PETER SIDDELL
ESTIMATE $2,500 - 3,500
PROVENANCE Private Collection, acquired directly from the artist in November 1969 by current owners.
ILLUSTRATED p. 35 The Art of Peter Siddell, Peter Siddell Godwit Publishing, 2011
Six Houses is a forerunner to Siddell’s Time and Space, 2010 This is the earliest dated painting illustrated in The Art of Peter Siddell, Peter Siddell, Godwit Publishing 2011
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PETER SIDDELL
ESTIMATE $1,500 - 2,500
PROVENANCE Private Collection, acquired directly from the artist in 1973 by current owners.
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MICHAEL HIGHT
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1935 - 2011 Six Houses Oil on board 44 x 27.5 Signed & dated 11/69
1935 - 2011 Cabbage Trees Oil on board 60 x 20 Signed & dated 1973
b. 1961 Oil on canvas 50 x 50 Signed, inscribed & dated 2004 ESTIMATE $3,000 - 5,000
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STANLEY PALMER
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GAVIN HURLEY
ESTIMATE $10,000 - 15,000
ESTIMATE $6,000 - 8,000
PROVENANCE Purchased from Anna Bibby Gallery, Auckland 2005
PROVENANCE Purchased from Anna Bibby Gallery, Auckland 2009
b. 1936 Stony Batter - Towards Hautura Oil on linen on board 58.5 x 120 Signed
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b. 1973 Capt. John Smith Oil on linen 70.5 x 55 Signed, inscribed & dated 2009
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NIGEL BROWN
ESTIMATE $2,500 - 3,500
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DARRYN GEORGE
ESTIMATE $7,000 - 9,000
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FRIEDENSREICH STOWASSER HUNDERTWASSER
ESTIMATE $2,000 - 3,000
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FRIEDENSREICH STOWASSER HUNDERTWASSER
ESTIMATE $2,000 - 3,000
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b. 1949 Auckland Escape Plane Acrylic on paper 63 x 48 Signed, inscribed & dated 2000
b. 1970 Rawiri, Poutama Oil on canvas 75 x 50 Signed, inscribed & dated 2006
1928 - 2000 Look at It on a Rainy Day, 1971 Colour serigraph with metal embossing, edition of 2000, 48 x 66 Inscribed & numbered
1928 - 2000 Picaudiere Seeshaupt Giudecca, 1969 Colour serigraph with metal embossing, edition of 3000, 48 x 66 Inscribed & numbered
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DAVID KENNEDY
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PHILIP CLAIRMONT
ESTIMATE $2,500 - 3,500
ESTIMATE $9,000 - 12,000
PROVENANCE Purchased by the artist’s friend Eelco Boswijk in Greece, 1980, current owner by descent
PROVENANCE Private Collection, Wellington
b. 1931 Owl Unique bronze sculpture 13 x 20 Signed & dated 1976 on plaque
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1949 - 1984 Art is My Life Unique hand coloured linocut, 94 x 80 Signed, inscribed & dated 1983
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JOHN PULE
ESTIMATE $14,000 - 18,000
PROVENANCE Gow Langsford Gallery
b. 1962 If You Leave First I Will Follow Oil and oil stick on canvas
 105 x 105 Signed & dated 2012
Exhibited: The Blue Plateau of Polynesian Memory Gow Langsford Gallery, 2012
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TONY DE LAUTOUR
b. 1965 Badlands Coloured acrylic on silk-screen print on canvas 102 x 104 Signed, inscribed & dated 2001 ESTIMATE $6,000 - 8,000
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MIKE PETRE
b. 1964 Field Study #144 Ink, oil & acrylic on canvas 115 x 145 Signed, inscribed & dated 2013 verso ESTIMATE $12,000 - 16,000 PROVENANCE Purchased directly from the artist by current vendor
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ALLEN MADDOX
ESTIMATE $8,000 - 11,000
1948 - 2000 Untitled Oil on canvas 55.5 x 47.5
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PETER SIDDELL
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JOHN WEEKS
ESTIMATE $4,000 - 6,000
ESTIMATE $5,000 - 8,000
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1935 - 2011 North Beach Oil on canvas 30 x 22.5 Signed & dated 1999
1886 - 1965 Group of Five Nudes Tempera on paper 42 x 51 Certificate Authenticity affixed verso
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Michael Illingworth’s Untitled depicts an abstracted landscape in which a mouth-like form and half an eye can be glimpsed at the top of a flowing organic structure. Like previous works, Untitled is much more closely aligned with nature than the grid-like structure of the city or suburbia. As Aaron Lister and Damian Skinner argue: In their celebration of the ‘natural order’, the anthropomorphic landscapes are closely connected to the Adam and Eve paintings. Adam and Eve are depicted in the landscape, not separated from it, and like these landscape paintings symbolise a now lost, natural order. (A Lister and D Skinner, A Tourist in Paradise Lost, p.27) Untitled is also characteristic of Illingworth’s practice in the luminosity of colour that is achieved in the work. The effect is almost that of a stained-glass window, with light seeming to shine through the work, illuminating its gold sections and jewel-like, green speckled background. Illingworth painted and repainted each work for days and weeks at a time until he brought out its hidden depths, just as a jeweller, by working again and again at a stone’s surfaces, manages almost magically to bring out a glowing and intense colour from its core. Mike worked by illumination from within. His best paintings, in every sense, have a mysterious inner life. He learnt this from no one. It is his personal mark. (Kevin Ireland, ‘Michael Illingworth – Out of a Window and into a Garden’ in Aaron Lister and Damien Skinner, A Tourist in Paradise Lost: The Art of Michael Illingworth, Wellington: City Gallery, 2001, p.10 -11.) British born Michael Illingworth developed as a painter in New Zealand from the 1960s through to the 1980s. His first major solo show in New Zealand was at Ikon Gallery in 1963, after returning from several years in London. There, Illingworth had worked at Gallery One as an assistant to art dealer Victor Musgrave, forming friendships with several of the gallery’s artists, and expanding his knowledge of international art. Illingworth’s style and subject matter were unique within predominant painting practices in New Zealand at the time. Several elements can be seen within his painting that bear similarities to the work of artists such as Paul Klee and Joan Miro. Illingworth was one of the key artists at Ikon Gallery and later at Barry Lett Galleries. Today, he is perhaps best known for his figurative works: featuring the so-called ‘Piss-Quicks’ and Adam and Eve figures. Throughout much of his practice, Illingworth critiqued many aspects of bourgeois culture. He focused particularly on what he felt was the alienation of middle-class suburbia. In the late 1960s and 1970s however, and in works such as Untitled, he moved away from such explicit social critique.
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MICHAEL ILLINGWORTH
ESTIMATE $25,000 - 35,000
PROVENANCE Illingworth Estate
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GORDON WALTERS
ESTIMATE $4,500 - 6,500
1932 - 1988 Untitled Oil on canvas 68.5 x 59
1919 - 1995 Rauponga Screenprint, edition 23/50, 56.5 x 76.5 Signed, inscribed & dated 1983
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MICHAEL SMITHER
ESTIMATE $4,000 - 6,000
PROVENANCE Janne Land Gallery, Wellington label affixed verso
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IAN SCOTT
ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Auckland Ex Fletcher Trust Collection
b. 1939 Motumahanga - 4 Panels, Red Border Oil on board 39 x 30.5 Signed & dated 1984 Inscribed verso
1945 - 2013 Lattice #44 Acrylic on canvas 114 x 114 Signed & dated March 1978 verso
In 1978 Scott painted Lattice #44 and Lattice #45. Other than the size of the canvas, the works are identical in colour and composition, Lattice #45 won the Benson & Hedges Art Award in 1978 and features on p. 85 Ian Scott, Warwick Brown, Marsden Press 1997. It measures 1650 x 1650 and is in the collection of Dunedin Public Art Gallery. 20
James Mollison, Director of the National Gallery of Australia and judge of the 1978 Benson & Hedges Art Award said he was looking for an artist who had set himself a task and achieved what he set out to do. All the elements, size, colour, tone and relationships of one colour to another were perfect in this respect. There is no corner-to-corner diagonal and fewer, broader bands. A thin delineating stripe has been introduced inside the band edge. Colours are less intense than in some other Lattices and the elements sit tight inside the frame, with less feeling of run-off. p. 84 Ian Scott, Warwick Brown, Marsden Press 1997.
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MICHAEL SMITHER
To be sold with
MICHAEL SMITHER 12 Polyphonic Cord Screenprint 30 x 63 Signed & dated 1981
ESTIMATE $10,000 - 15,000
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MAX GIMBLETT
ESTIMATE $35,000 - 45,000
PROVENANCE Private Collection, purchased from Gow Langsford Gallery, Auckland
b. 1939 Polyphonic Cord Oil on canvas 227 x 160 Signed & dated 1981
b. 1935 Eagle Leaves of gold, gesso, resin, gelatin, 23.75kt rosanoble gold leaf / wood panel 85 x 84 Signed, inscribed & dated 2015 verso 22
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KARL MAUGHAN
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MICHAEL HIGHT
ESTIMATE $24,000 - 28,000
ESTIMATE $19,000 - 25,000
b. 1964 Beaumont Oil on linen 137.3 x 152.2 Signed, inscribed & dated ‘15 verso
b. 1961 Fighting Hill: Rakaia Gorge Oil on linen 76 x 167.5 Signed, inscribed & dated 2014
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LOUISE HENDERSON
ESTIMATE $6,000 - 8,000
PROVENANCE Private Collection, Auckland John Leech Gallery label affixed verso
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JEFFREY HARRIS
ESTIMATE $18,000 - 25,000
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1902 - 1994 Women and Cat, Jerusalem Charcoal and pastel on paper 72 x 88
b. 1949 On the Beach Oil on canvas 57 x 80 Signed & dated 1978
PROVENANCE Ferner Galleries label verso Private Collection, Wellington
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RITA ANGUS
ESTIMATE $17,000 - 23,000
PROVENANCE Purchased at Important, Early & Rare, International Art Centre, 2011 by current owner. Prior to this Private Collection, France, until returned to New Zealand in 2010.
1908 - 1970 Mangonui, Northland Watercolour 28.8 x 35.8 Signed & dated 1953
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This work is a similar composition to Mangonui, a watercolour from the collection of Museum of New Zealand Te Papa Tongarewa, illustrated p. 143 Life & Vision, edited by William McAloon & Jill Trevelan, Te Papa Press, 2008. Rita Angus visited friends Roy and Joyce Milligan at Mangonui, Northland during the winter 1953 and again in December. By October 1954 she was living in a cottage there and working on landscapes of the surrounding area. Paintings produced at this time, including Mangonui, Northland were exhibited with The Group. When plans to purchase the cottage fell through the artist returned to Wellington in April of 1955.
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ROBERT ELLIS
ESTIMATE $37,500 - 45,000
PROVENANCE Private Collection, since 1965
b. 1929 Road System, River and City Oil on board 123 x 123 Signed & dated 1965
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PETER SIDDELL
ESTIMATE $60,000 - 80,000
PROVENANCE Private Collection, Wellington since 1989
1935 - 2011 Red Carpet Oil on board 60 x 102 Signed & dated 1989. Inscribed verso
Red Carpet is a fine example of Peter Siddell’s work in which a cross-section of urban Auckland has been once again brilliantly reimagined through his unique lens of perspectival linearity and crystal clarity of subject matter. It is difficult to articulate the transcendence of space and time which pervades this work. Through his mastery of the medium of oil painting, Siddell instilled in his work a sharpness comparable to that found in Northern Renaissance art – that is, an egalitarian approach to space and perspective which means that even the minutest of details in the work’s background retain the luminosity of those in the foreground. The result is that the work is hyper-real; larger than life. The charm of Red Carpet can be partially attributed to the tension which Siddell as an artist has successfully navigated herein. The scene has been presented in such a wholly convincing and detailed manner that, on one hand, it seems impossible that it would be accomplishing anything other than holding a mirror to an aspect of the Auckland cityscape as it exists in reality. At the same time, the work’s highlypolished and detailed finish instils it with an otherworldliness and fictitious aura – there is something both alluring and unsettling about the depiction of New Zealand’s most populous city, bearing all the external trappings of civilization, without human presence. The work’s titular red carpet brings focus to the scene, and further enhances the sense of theatricality of Siddell’s work. As works of immense cultural and artistic merit within the fabric of New Zealand’s modern artistic narrative, Siddell’s paintings are highly sought-after by New Zealand collectors and institutions alike; being such a fine example from the artist’s oeuvre, Red Carpet will prove no exception to this.
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RALPH HOTERE
ESTIMATE $30,000 - 40,000
1931 - 2013 A Black Union Jack Mixed media on paper 57 x 41 Signed, inscribed Greetings from the Land of the Wrong White Crowd & dated 1981
A Black Union Jack is a powerful work which goes to the heart of Ralph Hotere’s artistic impetus, breathing the minimalist and modernist force of his revolutionary “black light” into contemporaneous issues of national identity which continue to resonate today. Taking the Union Jack motif and stripping it of all its colour and structural cohesivity, the premise of Hotere’s work is ultimately one of colonial deconstruction, which exists in a void of geometric composition and dynamacity. Hotere’s works were never created to be comfortable and pleasing in and of themselves, nor were they borne of an aesthetic or formal purism. Rather, as seen by the emblazoned “NZ” logo of the current work, they were bastions of revolution, change – works which were deeply infused with a political significance compelling New Zealanders to engage with our darker side, and laying forth a certain beauty as portended by this darkness.
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The black Union Jack was a motif which Hotere returned to over a number of years, but its pertinence in light of the 1981 Springbok Tour is of particular relevance to this work. That the bolder strokes of this work may be interpreted as a swastika is something that, once recognised by the viewer, feels impossible to shake – a reminder of the fascist social politics comprising apartheid in South Africa, and a not-so-subtle protest on Hotere’s part in light of New Zealand’s response to this. The work’s inscription, Greetings from the Land of the Wrong White Crowd, reads almost as a postcard, inferring the external intention of Hotere’s work through which a message was not only being presented to, and for, New Zealand, but to the rest of the world. In this way, the black of A Black Union Jack comprises an infinite abyss and space for the development of cultural self-awareness and collective self-criticism through art.
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MICHAEL SMITHER
ESTIMATE $35,000 - 45,000
b. 1939 The Cricket Match Oil on board 116 x 162 Signed & dated 2002
In its linear clarity, plasticity of form and striking vividness of colour, The Cricket Match is instantly recognisible as a work by Michael Smither. Particularly intriguing is the fact that this painting exists in something of a “middle ground”, mediating the space between Michael Smither’s celebrated expressions of New Zealand locale and nature, and his more intimate interpersonal portraits and scenes of domesticity. The precise composition of this work is of note, for each player has been positioned in such a way as to capture the sense of a fleeting moment in a game of cricket. As viewers, we are compelled to anticipate the trajectory of the ball as we trace the gaze of the bowler and interpret the batter’s poised stance. The significance which has been afforded to each of the players, in poses both candid and contorted, effects an almost sculpturesque quality. Thus, these local sportsmen donning their cricket whites possess a
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certain gravitas and seem almost frozen in time, in the manner of a Greek or Roman statue. Finally, there is an undeniable geometric elegance which underpins the work, elevating the cricket field from its purely functional role to something of higher aesthetic merit, through the careful intersection of lines and meticulously arranged blocks of colour. Although the work was painted in 2002, The Cricket Match was based on a cricket match which was played on the cricket ground at Pukekura Park, New Plymouth, in the early 1990s. The work therefore offers insight into the richness of the time/ space continuum in which Smither operates as an artist, whilst combining the two aspects of his work for which he is so celebrated – the spirit of the Taranaki region, and his quest to capture and express something of the everyday human condition in force.
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GRETCHEN ALBRECHT
ESTIMATE $38,000 - 50,000
b. 1943 Celestial Dome Acrylic on canvas 152.5 x 305 Signed, inscribed & dated 1983 verso
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COLIN MCCAHON
ESTIMATE $350,000 - 450,000
Colin McCahon database, record number cm001097
1919 - 1987 Waterfall Oil on hardboard 85 x 58 Signed & dated 1964
McCahon’s ‘waterfall’ landscapes, reworked ‘through’ Hodges, and relocated environmentally to the Waitakere Ranges west of Auckland, are also based in part, as McCahon was to acknowledge to several of their purchasers, on specific waterfalls in the Waitakere Ranges Regional Park such as the Fairy Falls, Kitekite Falls and Karekare Falls. This important painting, Waterfall 1964, is one of the few larger compositions that draws directly upon specific details of Hodges’ [Cascade Cove], Dusky Bay: water crashing down onto rocks in a pool, banks of golden tree foliage, a yellow (‘Naples yellow’?) scar on the hillside, waves scudding on the pool below. These details and size were soon to be pared back, and a ‘McCahon waterfall’ typically became an elemental white column of falling water, often viewed from an angle so it appeared to silently curve its way through the darkness. In a Christian reading of these works, McCahon’s son, William, has argued that McCahon saw the waterfall: ‘as the earth bleeding —a sacrament of light issuing from the land recalling the blood shed by Christ in his Passion; Christ becoming the earth’.i
In the early 1960s Colin McCahon, as Keeper and Deputy Director of the Auckland City Art Gallery, was instrumental in organising and installing an exhibition entitled Captain James Cook: His Artists and Draughtsmen held at the gallery between October and December 1964. In particular McCahon responded to a painting by William Hodges, the painter who accompanied Cook on his second voyage to the Pacific, [Cascade Cove], Dusky Bay, c. 1775-6, found today in the National Maritime Museum, London. Later in a catalogue note to his own survey show McCahon wrote that his own series of ‘waterfalls’: grew out of William Hodges’ paintings on loan to the Auckland City Art Gallery from The Admiralty London. ‘Hodges and I eventually realized we were friends over the years and got talking about his painting. He was dead and I was about the same. We conversed, through paint (about Naples yellow to start with) - and in 1964 I painted my first waterfall. Hodges is my hero in all these paintings...’ Laurence Simmons p. 32 Colin McCahon, Colin McCahon: A Survey Exhibition, Auckland City Art Gallery, 1972, p. 31, Colin McCahon: A Question of Faith, Marja Bloem and Martin Browne, Stedelijk Museum Amsterdam
As well as the influence of Hodges, there was a second impetus propelling McCahon’s waterfalls. This was his concern for the environment, what we might call his ‘ecological consciousness’. In most of McCahon’s Waterfalls the removal of skyline draws the viewer into the composition, encouraging identification with elemental water, earth and bush. In later catalogue entries McCahon specifically links the Necessary Protection paintings of the 1970s to his earlier Waterfall series and he makes it clear his painting was not done merely to protest the degradation of the landscape, but in some way to stay environmental devastation and depletion, and to restore an equilibrium in human interaction with the earth. ‘I am painting about what is still there and what I can still see before the sky turns black with soot and the sea becomes a slowly heaving rubbish tip. I am painting what we have got now and will never get again. This, in one shape or form, has been the subject of my painting for a very long time.’ p. 216. Nelson: Craig Potton, 2002
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William Hodges [Cascade Cove], Dusky Bay, c. 1775-6 Collection of National Maritime Museum London
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COLIN MCCAHON
1919 - 1987 Caltex, 1965 Synthetic polymer paint on paper 24.7 x 39.8 Signed & dated 1965
ESTIMATE $40,000 - 60,000
Colin McCahon database, record number cm001093
Caltex forms part of a series of 8 drawings that Colin McCahon made as preparatory designs for an unrealized mural intended for the Caltex Oil Offices in Auckland. McCahon considered painting to be a form of direct communication, which is evident here in his combination of form as visual language, and as direct, written language. At this stage in his career, posters and signage had proved to be highly influential forms for McCahon, making him a perfect candidate for the Caltex mural. By combining visual and verbal elements, McCahon had begun to ask the viewer to consider his works both in a literary sense and for their visual effectiveness, pushing the possibilities of the meaning of written words into the structure of the work. Hamish Keith notes, the written paintings are McCahon’s most complex and controversial works, and they provide an insight into his originality and his achievement as a painter p. 131 Colin McCahon: Artist, Gordon H. Brown, A. H. & A. W. Reed Ltd, 1984 In Caltex, McCahon draws upon the Maori motif of the koru, which is simultaneously letter and arrow, grabbing and directing attention. This is thought to be the first time that McCahon utilised the koru in this way. While in some of his works McCahon’s use of text shouts loudly out to the viewer, such as in Tuhoe are the People (a poster for Urewera), 1975, the Caltex series refers back to the cubist-inspired forms of the Titirangi period and as a result these works have an elegance and refinement not often apparent in the pure writing paintings.
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GRETCHEN ALBRECHT
ESTIMATE $15,000 - 20,000
b. 1943 Study for Winged Spill Watercolour 110 x 74 Signed, inscribed & dated 1974
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MILAN MRKUSICH
ESTIMATE $45,000 - 65,000
b. 1925 Emblem X Oil on jute 93 x 90 Signed & dated 1963
PROVENANCE Original label from exhibition Contemporary Painting in New Zealand, Queen Elizabeth II Arts Council, Commonwealth Institute London 6 August – 29 August 1965 affixed verso Insofar as it is emblematic of Milan Mrkusich’s forays into modernism in the early 1960s, Emblem X is aptly named. Herein, Mrkusich has realised an abstract manifesto which integrates a number of philosophical and Jungian-inspired concerns. As viewers and appreciators of Mrkusich’s art, it is impossible to comprehend the complexity and significance of the work in its entirety: the best we can therefore do is allow ourselves to be absorbed, and, in a sense, lose ourselves within this painting. Emblem X was accomplished in 1963, just one year after Mrkusich had started to introduce a heavily-geometric focus into his work, and engage with the expressive and aesthetically lyrical potential of geometric forms. The concentricity and compelling magnetism of the circular form dominates the work; as a recurring motif, it references the totality and metaphysical weight of the “mandala” symbol.
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Whilst it is tempting to assign overt art historical influence based on the aesthetic similarities between a work such as Emblem X and the reductionist aesthetic of Mrkusich’s forbearing European expressionists (think Wassily Kandinsky), or even the gradual breakdown of form by Cubists earlier in the century, it is important to realise that in executing this work, Mrkusich was starting from a point of disconnect and pure abstraction. Emblem X is therefore not the product of a process of deconstruction wherein reality and known forms have been gradually distorted and abstracted, as was the case for earlier abstractionists; rather, it represents the non-referential articulation of the artist’s philosophical and minimalist ideologies. Building upon his earlier Abstract Expressionist colour fields, Mrkusich has created a work which enrichened the language of modernism through offering an intersectional exploration into expressionist and gestural abstraction.
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CHARLES FREDERICK GOLDIE
ESTIMATE $250,000 - 350,000
PROVENANCE An Auckland Estate Collection
1870 - 1947 ‘In Doubt’ An Arawa Chieftainess Maramena Wiari Oil on canvas 26 x 21 Signed & dated 1916
In Doubt, an Arawa Chieftainess is an exquisite portrait of Maramena Wiari, one of Charles Goldie’s lesser-known sitters. Herein, Maramena has been depicted in a frontal pose, engaging with the viewer as she fixes her gaze just beyond us in an expression of serene clarity. Unlike many of Goldie’s portraits where he chose to portray his subjects deep in melancholic meditation, or with eyes sorrowfully downcast, there is a strength to Maramena, one which affirms her mana and allows us to understand something of her spirit. The reference to Doubt in the title echoes another portrait of Maramena which Goldie accomplished around the same time, entitled Distrust, exhibited in Canterbury in 1917. Considering these two works collectively, it becomes clear that Goldie chose to intentionally depict Maramena in a position of tension between two cultures – a concern of particular resonance when considering the early 20th century context of Maori culture.
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This portrait can therefore be considered something of a visual metaphor for the territory being navigated by Maori at the time: though Maramena has been portrayed in European attire and with a pipe, her gaze belies reflection on the changing times, and perhaps her own life, living as she did, in the world of both Pakeha and Maori. Here, Maramena is pictured here against the overt symbolism of a woven flax background. In executing this picture, Goldie struck a balance between the realisation of strikingly beautiful detail (consider the detail of Maramena’s moko, and the deeply-etched lines in her face) and a certain softness which communicates a cognisant soulfulness on her part. There is a spirit of vitality and vivacity to this work which makes it truly special, and distinguishes it as a work of ancestral and spiritual importance; a precious link to our past.
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MINA ARNDT
ESTIMATE $30,000 - 40,000
PROVENANCE Ex Private Collection, Europe
1885 - 1926 Mother & Child Oil on canvas 62 x 64 Signed & inscribed Mother & Child, Trewarveneth Paul Penzance Cornwall verso
The tender domesticity of this fine painting by Mina Arndt makes it a special and rare example of her work. Though strikingly minimalist in its composition, Mother & Child possesses a gravitas which, by virtue of its gentle simplicity, renders the work endearingly compelling. Notably, the image of a mother cradling her child has not been presented against, or applied to an interior backdrop – rather, the integration of domestic space and the two figures depicted within it is thorough; each element exists in dialogue and oneness with the rest of the painting. This is enhanced by the cohesion of light and hue, and subtle tonal graduation across the room. To contextualise the production of this work, a brief overview of Arndt’s career is necessary, for although the painting hasn’t been precisely dated, a consideration of where it lands within the trajectory of her stylistic development offers insight. Further to the completion of her initial artistic training during 1905-6 at Wellington’s Technical College, Arndt moved to London in 1907 with her mother and sisters. There she continued her art studies, one of her tutors being Frank Brangwyn.
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Her descendants believe she also studied the Slade School of Fine Art. During her nearly eight years in Europe Mina Arndt spent several winters working in Cornwall and painting as did fellow New Zealanders, Margaret Stoddart and Frances Hodgkins. Time was spent in Berlin but we know that by 1913 Arndt was again in Cornwall and in the same year exhibiting at the Salon of the Société des Artistes Français in Paris. The painting’s verso inscription affirms the work’s Cornish origins, detailing the location as Trewarveneth Paul Penzance Cornwall where she studied under artist Stanhope Alexander Forbes (1857-1947) RA and founder of the Newlyn School. The subject matter is certainly consistent with the depictions of Cornish women which Arndt returned to time and time again throughout her career. Stylistically, Mother and Child belongs to a later point in Arndt’s career, for it channels the expressionist technique of Arndt’s Berlin-based teacher and mentor, Lovis Corinth. What we are therefore presented with in this work, is an exquisite combination of the artist’s favoured subject matter with her mastery of Modernism.
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LOUIS JOHN STEELE
ESTIMATE $2,000 - 3,000
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CHARLES FREDERICK GOLDIE
ESTIMATE $25,000 - 35,000
PROVENANCE From the Collection of the former owner of Goldie’s residence at Upland Road, Remuera.
1842 - 1918 Prayer Time Oil on panel 17 x 14 Signed Original artist’s label affixed verso
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1870 - 1947 Te Hei - Smiling Eyes Pencil drawing on paper 20 x 14 Signed To be sold with: The artist’s death certificate A facsimile of the artist’s wife Olive Goldie’s death certificate A hand signed Goldie postcard of The Old Sentinel Kapi Kapi
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CHARLES FREDERICK GOLDIE
ESTIMATE $60,000 - 80,000
PROVENANCE An Auckland Estate Collection Purchased from Important, Early & Rare International Art Centre, March 2009 Prior to that, in a private collection in Auckland since 1924.
1870 - 1947 Untitled Portraiture Study Oil on canvas on board 43 x 34 Signed & inscribed ‘Paris’
This work was completed between 1893 and 1898 when at the age of twenty two Goldie enrolled at the cosmopolitan Académie Julian, Paris. For four years he studied under the supervision of eminent Salon painter William-Adolphe Bouguereau. The academic training Goldie received at the Académie indicate that this painting is a life study of a class model, or alternatively a detailed study of an existing work.
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PETER MCINTYRE
ESTIMATE $25,000 - 35,000
1910 - 1995 The Rangitikei River Oil on board 62 x 84 Signed Dated 1975 verso
The Rangitikei River, it’s headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometres, making it one of the New Zealand’s longest rivers. It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometres southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt. The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks.
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Its sheer vertical paapa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities. The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all. The river in the painting flows out of the bush, cutting deep into the white paapa clay to make cliffs that catch the sun and the moon all along its course. Text: Peter McIntyre’s Pacific, A H & A W Reed 1966
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CHARLES BLOMFIELD
1848 - 1926 Pink and White Terraces, Rotomahana - a pair Oil on canvas 31.5 x 41.5 Signed ESTIMATE $25,000 - 35,000
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CHARLES DECIMUS BARRAUD
ESTIMATE $40,000 - 60,000
PROVENANCE Private Collection, Wellington Purchased from International Art Centre, 1992
1822 - 1897 Diamond Lake, Mt. Earnslaw Oil on canvas 75 x 130 Signed & dated 1870
The presentation of Barraud’s 1870 depiction of Mt Earnslaw to the market is a truly special occurrence. Herein, all the technical finesse of the artist’s style is exemplified, and the rare (for Barraud) oil paint medium instils a beautiful glassiness and microscopic incisiveness to the work which is striking to behold.
which were watercolours. The artist’s oil paintings were highly sought-after by both the local and London-based audience for their value as objects of aesthetic and artistic merit, as well as for the fact that they offered superb insight into the natural beauty and topography of New Zealand.
The impressive scale of this painting immediately engages the viewer almost meditatively with the landscape, which is enhanced by Barraud’s mastery of light. Framed by the lush greenery of native New Zealand bush, the eye is drawn to the centre of the painting where a majestic Mt Earnslaw has been captured in harmony with the lake and sky. A powerful sense of atmosphere has been realised through subtle tonal graduation and harmony, which sees the mountains lighten and gradually fade into the clouds, whilst the lake reflects both the mountains and sky.
This work in particular is emblematic of the tradition of New Zealand regional painting in the 19th century: it is evident that concerns of topographical truth, formalism, and natural beauty have been placed at the forefront of the artistic process. In this sense, Barraud’s work calls to mind the European romantic tradition of landscape painting, wherein allegorical references and subtle narratives would infuse the natural surroundings with something of a spiritual significance. As such, it also affords our own national topography the possibility of a richer, universal and philosophical sense of truth.
From 1850 onwards, Barraud had begun to cultivate an international reputation for his accomplished depictions of New Zealand landscapes, the majority of
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JAMES MACLAUGHLAN NAIRN 1859 - 1904 Evening at Silverstream Oil on canvas 56 x 74 Signed & dated 1893
ESTIMATE $30,000 - 40,000
PROVENANCE Exhibited: The Inaugural Exhibition of the Wellington Arts Club, Wellington, July 1883
James MacLauchlan Nairn was a Glasgow-born painter who along with Girolamo Pieri Pecci Ballati Nerli strongly influenced New Zealand painting in the late 19th century. He believed in en plein air or painting outdoors. Nairn studied at the Glasgow School of Art for four years from 1879 before enrolling as a student at the Académie Julian in Paris. During the 1880s he exhibited at the Glasgow Institute of Fine Arts and the Royal Scottish Academy and was associated with the Glasgow Boys - a group of Scottish artists interested in Impressionism.
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ALBIN MARTIN
1813 - 1888 Untitled Landscape Oil on board 37 x 54 ESTIMATE $8,000 - 12,000
Nairn emigrated from Glasgow to Dunedin in 1890 moving north to Wellington in 1891, where he was appointed as an art instructor at the Wellington Technical School. He lectured on art and conducted classes for the study of the nude figure. He introduced Impressionism of the Glasgow School to New Zealand and influenced artists such as Dorothy Kate Richmond, Mabel Hill, Maude Burge and Mary Elizabeth Tripe.. Nairn joined the New Zealand Academy of Fine Arts soon after settling in Wellington and was elected to the governing council from 1890 to 1903. He also formed the Wellington Art Club which met regularly at Nairn’s Pumpkin Cottage. The cottage became a gathering point for Wellington artists. Nairn’s influence was felt throughout New Zealand as he regularly sent works for exhibition in other centres. He married Ellen Smith on 17 March 1898 and they had two daughters, Mari Bhan and Ellen May Victoria. He died at the age of 44 at his home in Wellington on 22 February 1904. Whilst he often worked in watercolour and oil on a small scale, this is a rare large example in oil.
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JOHN BARR CLARKE HOYTE
ESTIMATE $35,000 - 45,000
PROVENANCE Private Collection, Guernsey Purchased from International Art Centre, 2013 and recently repatriated
1835 - 1913 Milford Sound Watercolour 60 x 90 Signed
Part of New Zealand's protected Fiordland, this famous scenic attraction is as unspoilt today as it was when painted by Hoyte in the late 1870s. Milford Sound is the grandest and most northerly of the fiords indenting the south western coastline of the South Island, twenty five kilometres south west of the Hollyford River. This narrow fifteen kilometre canyon occupies the front portion of a glacial trough. It cuts into surrounding mountains through which the sea flows when the glacial ice melts. In a climax of natural beauty, numerous waterfalls cascade from sheer rock walls rising vertically from the sea. Nearest to the head of Milford Sound are the Bowen Falls and midway along the eastern wall, the Stirling Falls.
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One of the highest mountains rising straight up from the sea is Mitre Peak, described by British writer Rudyard Kipling as the eighth wonder of the world, it towers majestically above the rainforested mound known as the Footstool with Mount Phillips to the left. Opposite Mitre Peak, rising from the eastern shore is the Lion and further up the ridge, Mt Pembroke. John Barr Clark Hoyte was considered the leading New Zealand watercolourist of his time. Painting in the romantic English style, Hoyte travelled widely throughout the colony. In 1877 he circumnavigated the South Island, paying particular attention to exploration of Fiordland. The work offered here, with its readily identifiable brushstrokes, subtlety and refinement of palette is the embodiment of 'Hoyteness'.
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BILL HAMMOND
ESTIMATE $50,000 - 80,000
PROVENANCE A Corporate Collection
b. 1947 Untitled (II) 2000 Acrylic paint, pencil and ink on paper 139 x 156 Signed & dated 2000
In Poland, as in other parts of Europe, dark-plumaged crows can occasionally be seen gathered around their deceased own as if mourning for the dead bird. The sight is well-known. The phenomena of these funereal birds standing around carefully studying the victim as a group, has become known as the Crows Funeral for obvious anthropomorphic reasons. What is actually happening, according to recent research, is the crows are trying to identify the cause of death and by association the ‘bringer of harm’ in order to know how to avoid a similar fate. It is now known that where the death has been caused by a creature of prey or human that is identifiable, the participating crows are able to pass this knowledge on to other crows that were not present at the ‘funeral’ and the recognition of the perpetrator persists, and in fact grows for months afterwards. Hammond’s birds, also relatively still, clustered in groups, have also taken on mythic proportions in writing and conversation since the artist’s careerchanging visit to New Zealand’s sub-Antarctic islands in 1989. Immediately on his return his works were populated with attenuated bird figures, sometimes half-human half-bird. The artist’s southern epiphany also awakened an interest in the 19th century ornithologist Sir Walter Buller, who was responsible, almost in equal measure for the lavish documentation of many species that became extinct before the 20th century and for contributing to their extinction through his practice of killing, stuffing and distributing vast numbers of birds for ornithological collections.
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It is clear therefore that the symbolic power of Hammond’s paintings, drawings and lithographs address the threat to New Zealand wildlife by humans, past, present and future. Hammond’s birds stand both as witness and accuser in Buller’s world, for the artist conjures a primordial avian world, not of delicate vulnerability, but of tooth and claw power. His birds lay in wait, watch, stalk and loom over the human forms that occasionally appear in their midst or in the distance. In Untitled (II) from 2000 we are taken behind the scenes. The work seems like a page from the ‘Avian Defence Ministry’s Home Guard Manual’. The bird with its head above the clouds is part of the collective early-warning system. The large bird on the right demonstrates the armoury of the land: strong-arm hills for protection and massive, uprooted trees as weapons. Finally, methods of capture are indicated with the steel hoop surrounding the kneeling figure in the middle foreground. Just as Crows’ funerals are forensic gatherings in order to divine safe passage in the future: to name, know and warn of the enemy; Hammond’s birds gather, in preparation for the inevitable return of devastation. Their premonition of future harm musters them to plan carefully and then to stand with singularly menacing threat, ready to repel their enemies rather than flee. ROB GARRETT
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GARTH TAPPER
ESTIMATE $15,000 - 20,000
1927 - 1999 Racecourse Oil on board 81 x 99 Signed & dated 1976
Languid. An antipodean exhaustion - half pleasure, half resignation. The variety of haptic and emotional sensations conveyed by this painting are exquisitely nuanced given the strident tonal, colour and shape contrasts. Garth Tapper (1927-1999) was a master of the gestures of every part of the body. An acute observer and constantly sketching his observations, he has captured the end-of-day, depleted-pockets postures of these three punters perfectly. Hands droop and barely have energy left to hold papers, betting chits, pens. Eyes gaze into the distance or into the form sheets, vacantly imagining what might have been. Bodies slump in on themselves with spent energy and heat-sapped resignation. Garth Tapper studied at Elam in the late 1940s and then at the Slade - where he found the life drawing “intensive” - and Chelsea School of Fine Art in London in the early 1950s; and then took further studies in France, Spain and Italy, before returning to New Zealand where he taught and in 1964 commenced showing in solo exhibitions at the John Leech Gallery. The Racecourse scene could almost be anywhere, any racetrack, any close-of-day. But it is not. It has a distinctly southern air to it and for Tapper, painted when it was, it draws from the sketches he made during a very happy spell in Sydney in the previous year when he came in contact with what he considered to be “the real world of painting.”
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That the three figures seem to take pleasure in this late afternoon heat and in this tired, worn out moment is resident in the artist’s precise observation of people and in his handling of light and shade, costumes, even skin tones. But it is also the result of the artist’s personal projection onto the scene as he looks back on his six months sabbatical in Australia (1974-75). In Sydney, where he and his family stayed in Clareville, North Sydney, and Tapper had exhibited at the Clareville Gallery and the Barefoot Gallery in Avalon, he was refreshed and revived. The new environment boosted his enthusiasm and gave him great motivation to paint. The sabbatical was the moment he realised it would be possible to retire from teaching after 17 years at Elam and become a full-time artist at the age of 50; and a year after Racecourse was painted that is just what he did. In many ways, the handling of the punters - beaten but not down - and the significant scale of the work signal a new optimism in the artist. Even the sketches he made about this time, of his Elam students drawing, during his final year before retiring have a summery, optimist air. Tapper was ready for the change. Rob Garrett
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JOHN WEEKS
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JOHN WEEKS
ESTIMATE $4,000 - 6,000
ESTIMATE $15,000 - 20,000
1886 - 1965 Nude Composition with Goats Watercolour 48.5 x 50 Certificate of Authenticity affixed verso
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1886 - 1965 Show Time Oil on board 60 x 75 Certificate of Authenticity affixed verso
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RALPH HOTERE
ESTIMATE $10,000 - 20,000
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MICHAEL SMITHER
ESTIMATE $30,000 - 40,000
PROVENANCE Private Collection, Auckland since 1983
Illustrated p 161 Michael Smither Painter, by Ron Sang Publications 2004.
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1931 - 2013 Acre of Wounds From Pine, a poem by Bill Manhire Oil on board 70 x 72 Signed, inscribed & dated 1971
b. 1939 Joseph with Two Front Teeth Oil on board 56 x 65 Signed, inscribed & dated 1971 verso
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SIR MOUNTFORD TOSSWILL WOOLLASTON
ESTIMATE $15,000 - 20,000
PROVENANCE Private Collection, Auckland
1910 - 1998 Untitled, 1960 Oil on cardboard 40 x 46.5
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NIGEL BROWN
b. 1949 Admitting I Am Never Certain Acrylic on canvas 92 x 183 Signed, inscribed & dated 2000
ESTIMATE $15,000 - 20,000
PROVENANCE Private Collection, Auckland Purchased from auction Fine New Zealand Paintings, International Art Centre, November 2004 by current owner
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IVY GRACE FIFE
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OLIVIA SPENCER BOWER
ESTIMATE $4,000 - 6,000
ESTIMATE $4,000 - 6,000
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ARCHIBALD FRANK NICOLL
ESTIMATE $7,000 - 10,000
1905 - 1976 Canterbury Gouache on paper 36 x 40 Signed
1905 - 1982 The Remarkables Watercolour 37.5 x 46.5 Signed
1886 - 1953 A Moonlit Evening Near Cairo Oil on canvas 63 x 75 Signed
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MILAN MRKUSICH
ESTIMATE $25,000 - 35,000
PROVENANCE Collection of the Fletcher Trust Acquired directly from the artist, 1978
b. 1925 Meta Grey - Light Series Oil on canvas 112 x 84 Signed, inscribed & dated 1970 verso
Exhibited: Twenty Paintings 1969 - 1970, Barry Lett Galleries, Auckland 6 - 16 July 1970 Illustrated: p. 76 Mrkusich The Art of Transformation, Alan Wright & Ed Hanfling Auckland University Press, 2009
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FATU FEU’U
ESTIMATE $8,000 -12,000
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b. 1946 Malaga Tutoatasi Acrylic and mixed media 165 x 190 Signed & dated 2012
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JACK DALE MENGENEN
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REGINALD J WAGHORN
Australian 1922 - 2013 Boab Tree Hill Ochre and oil on canvas 87 x 172 Signed verso
ESTIMATE $6,000 - 8,000
ESTIMATE $5,000 - 10,000
PROVENANCE Private Collection, Auckland Purchased by the current owner from exhibition titled Djunba Ceromonies - Jack Dale Flinders Lane Gallery, Melbourne 25 August - 15 September 2001
PROVENANCE Ex Dominion Breweries Collection Ex Simon Manchester Collection Private Collection, Auckland
1898 - 1987 Aratiatia Rapids Oil on board 92 x 114 Signed & dated 1967
An active member of the New Zealand Academy of Fine Arts and the Wellington art scene, Reg Waghorn played a key founding role in the New Zealand Academy of Fine Art becoming President from 1967 until 1971. As an artist, Waghorn was a regular Academy exhibitor from 1925 until 1980. One of his early watercolours featuring ships from the United States Navy in Wellington Harbour, 1942 is in The National Collection of War Art. He was the only artist given official permission to paint Wellington Harbour during this time. During the 1950’s and 60’s the rugged and powerful landscapes of the Volcanic Plateau of the North Island became the focus for much of his work Aratiatia Rapids is perhaps his most ambitious large scale work. Based on a series of watercolour paintings this large oil is created exclusively with a palette knife. Reg Waghorn is represented in a number of public collections throughout New Zealand, including the Hocken Library and Te Papa.
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PETER SIDDELL
ESTIMATE $25,000 - 35,000
1935 - 2011 Eventide Oil on canvas 90 x 150 Signed & dated 2009
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CRAIG PRIMROSE
b. 1956 A Moment in Time Ed Hillary - an authorised portrait Oil on board 50 x 35 Signed & dated 2005 by artist Signed by Ed Hillary ESTIMATE $20,000 - 30,000 PROVENANCE Private Collection, Auckland
A Moment in Time One of twelve studies completed of Sir Ed depicting his life. Sir Ed graced every one of my working studies and paintings of him with his signature. This particular painting depicts Sir Ed in his home in Remuera. To the viewers right is Sir Ed’s study which is significant for this portrait as it is where he planned his many expeditions and wrote many of his books. Quite often when I was sketching Sir Ed he would become quite as he would reminisce on his past. I remember asking him at this particular sitting “where are you Ed?” - his reply “Everest”. This is why I replaced what would have been a view of Rangitoto with Everest and hence the title .... A Moment in Time. Over the course of a decade Sir Edmund Hillary became a mentor and great friend. We shared the odd dram and many yarns. He was and will always be an inspiration. Craig Primrose
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SYDNEY LOUGH THOMPSON
ESTIMATE $8,000 - 12,000
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SYDNEY LOUGH THOMPSON
ESTIMATE $10,000 - 15,000
1877 - 1973 Golden Poplars Oil on canvas 60 x 50 Signed
1877 - 1973 Market, Concarneau Oil on board 32 x 40 Signed
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CHARLES DECIMUS BARRAUD
ESTIMATE $15,000 - 20,000
1822 - 1897 The River Clarence showing the Highest Point - Province of Marlborough Watercolour 44 x 60 Signed & dated 1866
The Clarence River is on northeast South Island of New Zealand. It is 230 kilometres (140 mi) long, the eighth longest river in New Zealand. For its first 50 kilometres, the river runs in a generally southeastern direction. It then turns northeast, running down a long straight valley between the inland and seaward Kaikoura Ranges. At the end of the seaward Kaikouras, the river meanders through undulating hill country before draining into the Pacific Ocean near the town of Clarence. A large part of the river is within the boundaries of Molesworth Station.
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FRANCIS MCCRACKEN
ESTIMATE $5,000 - 10,000
1879 - 1959 Flowers in a Blue Vase Oil on canvas 55 x 46 Signed
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JOHN BARR CLARKE HOYTE
ESTIMATE $12,000 - 16,000
1835 - 1913 Tarawera Watercolour 39.5 x 65 Signed
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71
GRACE JOEL
1865 - 1924 John Tonkin Roberts, CMG, Mayor of Dunedin c. 1906-7 Oil on canvas 81 x 71
ESTIMATE $5,000 - 10,000
PROVENANCE Joel family member, UK Literature: p. 32 The Otago Witness, 27/3/1907
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GRACE JOEL
ESTIMATE $5,000 - 10,000
1865 - 1924 Lady in a Red Dress (Blanche, the artist’s sister) Oil on canvas 59 x 44 Signed & dated 1886 PROVENANCE Joel family member, UK
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A AUSTEN DEANS
ESTIMATE $4,000 - 6,000
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DOUGLAS MACDIARMID
ESTIMATE $4,000 - 6,000
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1915 - 2011 Mount Hutt, Canterbury Oil on board 40 x 70 Signed & dated 1968
b. 1922 Cityscape 1 Oil on canvas 80 x 130 Signed & dated 1971
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NICHOLAS CHEVALIER
ESTIMATE $20,000 - 30,000
PROVENANCE Private Collection, Auckland Purchased by current vendor, Christies. Australia Paintings, Prints & Books, 1986, Lot 184
1828 - 1902 View of Akaroa Watercolour 19.2 x 59.2 Signed & dated 1868
Nicholas Chevalier had studied in Europe and London before travelling to Australia in 1854, where he made paintings and drawings of the goldfields. He worked as a professional artist in Melbourne and introduced chromolithography to Australia. For almost two years in the mid 1860s he travelled widely in New Zealand, sometimes accompanied by his wife, whose diaries record the rigours and hardships endured on some of their journeys. In February 1869, three Chevalier watercolours were exhibited at the Otago Fine Arts Exhibition but there was some disappointment that there were not more. The Press reported: ..... the artist had no works on hand to send, so it is likely that most of them were still overseas. The following year Chevalier was represented by several watercolours including Akaroa (cat no 9), in the Canterbury Art Exhibition held at Canterbury Museum. Text: Nicholas Chevalier An Artist's Journey through Canterbury in 1866 In 1869 Chevalier accompanied the Duke of Edinburgh on his world tour, before returning to live in London. A large body of Chevalier's New Zealand watercolours are held in the national collection in Wellington, gifted by his widow.
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New Order 28 Part II is from a group of works that Pat Hanly created in the period immediately following his return from five years working in London, Amsterdam and Florence. When he returned, he was sceptical about staying in New Zealand, and intended rather to work in Australia, but he was surprised to find a very energetic and supportive environment in Auckland “and a group of artists who showed total commitment”; and so he stayed. Pat Hanly was born in Palmerston North and died in Auckland after a long illness. He was taught by Allan Leary in Palmerston North; by Bill Sutton in Christchurch, when in 1952 he began a three-year Diploma of Fine Arts course at Canterbury University School of Fine Arts; and then in 1957 he travelled to London, where he attended night classes at Chelsea School of Art. Following his return to New Zealand in 1962 Hanly became one of the major figures of, and contributors to, New Zealand’s growing contemporary art scene. 1962 also brought a shift in his aesthetic language. Describing the first major body of work to emerge at that time as somewhat “therapeutic”, the artist noted in 1979 that the New Order was trying to talk about the roughness of New Zealand, its newness and crispness and those physical things. I hadn’t, until that time, been an abstract or expressionist painter. Having resisted that in Europe, I thought it was the only way to really try and talk about this place.”
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PAT HANLY
ESTIMATE $16,000 -- 22,000
PROVENANCE Peter McLeavey Collection, Wellington Fletcher Trust Collection
1932 - 2004 New Order 28 Part II Oil on board 98 x 85.5 Signed & dated 1963
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The painting’s broad, rough markings and sharp curvilinear accents; and bold colours and tones - black, blue, ochre, white and red - suggest Auckland’s clay and sandy beaches, coastal clouds, summer’s deep shadows and the vibrancy of the edge of the Pacific. The plump bottom-like forms in New Order 28 Part II also pre-figure elements of the artist’s next series Figures in Light - in which he became fascinated with the visual intensity of figures in sunlight sitting and lying in the sun on the beaches. With the view of an expatriate, he was sharply critical of the social implications of a “nation sitting around on its bum doing nothing.” New Order 28 Part II is clearly on the cusp of that moment when Hanly is finishing with adjusting to life back in New Zealand and now has something potent to say about it. ROB GARRETT
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GEORGE BALOGHY
ESTIMATE $5,500 - 7,500
b. 1950 Three Kings Oil on canvas 35 x 66 Signed & dated 1999
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KEES BRUIN
ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Christchurch
b. 1954 First Day of Spring Acrylic on card 54 x 75 Signed, inscribed & dated 1990
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RAYMOND CHING
ESTIMATE $10,000 - 15,000
ILLUSTRATED p. 140 Studies and Sketches of a Bird Painter Raymond Ching and Eric Fuller Landsdowne Editions 1981
PROVENANCE Private Collection, Auckland Purchased from International Art Centre, Important Fine Art Auction, 27/03/2003
b. 1939 Hammerhead Watercolour 49.5 x 40.6 Signed, inscribed & dated 1978
A bird that shows some affinity to the storks, but also appears to bear a close relationship to the herons, is the Hammerhead or Hammerkop Scopus umbretta, a unique species with certain primitive features, usually classified within a family of its own. In flight, the bird resembles neithera stork, which flies with the neck extended, nor a heron, which carries its neck drawn right back, but appears instead to adopt a position somewhere in between, with the neck kinked. These birds are regarded with a certain amount of superstitious awe. Many native legends and stories are centred around the species and, fortunately for the Hammerhead, it generally is held to be an omen of bad luck if the birds are killed. Similarly, the nest usually is treated with respect and it is widely believed that Hammerheads enlist the help of other bird species while building. The structure is large is proportion to the size of the bird and may measure over a mere in width and nearly two metres in height. Usually it is situated well clear of the ground in the fork of a tree and often several stout branches may be needed to support its bulk. On this foundation, the nest is constructed from twigs and sticks, which are held together with mud. The exterior is decorated with a variety of materials and an inner chamber is reached via a small, rounded and almost inconspicuous hole in the side. Hammerheads are found throughout much of Africa, south of the Sahara, where they are likely to be seen frequenting waterside places, either singly or in pairs. When feeding, the birds often perform peculiar shuffling movements, probably designed to disturb and flush various little creatures. They feed on all kinds of small aquatic life, hunting with particular vigour during twilight periods. Text Studies and Sketches of a Bird Painter, Raymond Ching and Eric Fuller, Landsdowne Editions 1981
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TWO FINE WATERCOLOURS BY ALFRED WILSON WALSH Alfred Wilson Walsh was born in Kyneton, Victoria the son of William Walsh, a captain in the Australian army and Catherine, née Wilson. The family settled in Otago and young Alfred was educated privately in Dunedin. On leaving school he joined the Public Works Department and like many New Zealand watercolourists worked as a draughtsman. In his own time, Walsh studied painting with George O’Brien and David Hutton, Principal of Dunedin’s School of Art. By the time he was 27 years old he was recognized as a talented and competent artist . In 1886 Walsh was teaching at the Christchurch School of Art and serving as a council member of the Canterbury Art Society. After teaching for 20 years he retired and In 1912 settled at Parnell, Auckland. The last years of his life were spent in Tauranga where he died in 1916 at the age of 57. Walsh painted mainly in North Canterbury and Westland. Although he never travelled abroad and received limited formal training, he is regarded as one of the finest watercolourists New Zealand has produced. The excellence of his work lies in his preceptive ability to capture the illusive and unique qualities of the New Zealand bush. Walsh is represented in all major public galleries in New Zealand
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ALFRED WILSON WALSH
ESTIMATE $2,000 - 3,000
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ALFRED WILSON WALSH
ESTIMATE $2,000 - 3,000
1859 - 1916 Nelson Harbour Watercolour 28.5 x 39 Signed
1859 - 1916 On the Teremakau Watercolour 43 x 63 Signed & inscribed
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THREE RARE WORLD WAR II WATERCOLOURS BY JACK CRIPPEN 83
JACK CRIPPEN
ESTIMATE $1,000 - 2,000
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JACK CRIPPEN
ESTIMATE $1,000 - 2,000
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JACK CRIPPEN
ESTIMATE $1,000 - 2,000
PROVENANCE The three works by Jack Crippen are from the collection of family from the late Lieutenant Colonel H T W Nolan who was with New Zealand Artillery in the Second Division and fought throughout the Italian campaign. Acquired directly from the artist.
1916 - 1988 Cassino Ink and wash on paper 31 x 47 Signed & dated 1944
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MAUD SHERWOOD nee KIMBELL
ESTIMATE $1,500 - 2,500
1880 - 1956 Baxter Watercolour 21 x 20.5 Signed
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1916 - 1988 ACV Macerone Ink and wash on paper 30 x 43 Signed & dated 1944
1916 - 1988 Cathedral S Mauro Ink and wash on paper 38.5 x 37 Signed & dated 1944
Jack W Crippen had a fifty year association with the Auckland Art Society, which he joined at the age of twelve. Later he held a degree from the prestigious Slade School of Art at London University. He served in the Second World War acting as an unofficial war artist. Some of his artworks were included in the Exhibition of Official War Paintings by New Zealand Artists in 1952 Crippen worked as an art teacher at Auckland Grammar School for nearly 30 years
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PIERA MCARTHUR
87
RALPH HOTERE
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NIGEL BROWN
ESTIMATE $4,000 - 6,000
ESTIMATE $3,500 - 4,500
ESTIMATE $3,000 - 4,000
PROVENANCE Purchased from SOCA Gallery, label affixed verso
b. 1929 Spectators and Acquisitions Oil on canvas 112 x 91 Signed
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1931 - 2013 Black Rainbow at Matauri Bay Lithograph, edition 15/30, 55 x 43 Signed, inscribed & dated 1988
b. 1949 Your Way My Way Mixed media on paper 44.5 x 30 Signed, inscribed & dated 1978
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ALLEN MADDOX
ESTIMATE $2,000 - 3,000
1948 - 2000 Untitled Oil on paper 34 x 27 Signed & dated 1981 88
PROVENANCE Denis Cohen Gallery Exhibited 9-20 December 1985, Cat #2 Label affixed verso
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VERA CUMMINGS
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VERA CUMMINGS
ESTIMATE $4,500 - 6,500
ESTIMATE $4,000 - 6000
1891 - 1949 Patera Oil on canvas 27.5 x 22.5 Signed & inscribed
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1891 - 1949 A Hot Day Oil on canvas 29.5 x 24.5 Signed & inscribed
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MARGARET OLROG STODDART
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MARGARET OLROG STODDART
ESTIMATE $4,000 - 6,000
ESTIMATE $4,000 - 6,000
1865 - 1934 A Stream from Ruapehu Watercolour 32 x 26 Signed
1865 - 1934 Goat Creek, Otira Watercolour 46 x 43 Signed
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TIM WILSON
ESTIMATE $15,000 - 20,000
PROVENNCE Purchased from Fishers Fine Arts, label affixed verso
b. 1954 Te Anau Impression II Oil on linen 60 x 120 Signed & dated 2003
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95
GARTH TAPPER
ESTIMATE $3,500 - 5,500
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TIM WILSON
ESTIMATE $5,000 - 8,000
1927 - 1999 Sandy Oil on canvas 47 x 60 Signed & dated 1991
b. 1954 Lake Te Anau Oil on canvas 90 x 60 Signed and dated 1995
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105
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FRANK BARNES
ESTIMATE $1,500 - 2,500
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FRANK BARNES
ESTIMATE $1,500 - 2,500
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1859 - 1941 USS Pateena off Sinclair Heads, Wellington N.Z Oil on board 50 x 72 Signed, inscribed & dated 1911
1859 - 1941 USS Rotomahana in Heavy Seas off the Kaikoura’s Oil on board 50 x 75 Signed & inscribed
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JOHN BARR CLARKE HOYTE
ESTIMATE $7,000 - 10,000
100
JOHN GULLY
ESTIMATE $7,000 - 10,000
1835 - 1913 Dusky Sound Watercolour 31 x 57 Signed
1819 - 1888 View Across the Kaikoura’s Watercolour 39.5 x 60 Signed & dated 1863
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103 101
101
CECIL FLETCHER KELLY
ESTIMATE $1,000 - 1,500
102
STEVE HARRIS
ESTIMATE $2,500 - 3,500
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JOHN BARR CLARKE HOYTE
ESTIMATE $7,000 - 10,000
1878 - 1954 Mt Wakefield, Tasman Valley Watercolour 26 x 36 Signed
b. 1953 A Good Tomato is Something to be Treasured Acrylic on canvas 30 x 40 Signed
1835 - 1913 Cecil Peak, Queenstown Watercolour 30 x 47 Signed
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105 Actual size
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MARY ELIZABETH TRIPE
ESTIMATE $1,000 - 2,000
1870 - 1939 Old Fashioned Roses Watercolour 44 x 56 Signed
105
JAMES & JOSEPH FOY - FOY BROS
James 1844 - 1890 / Joseph 1847 - 1923 Ana Rupene and Child Carte de visite 10 x 6 Inscribed Foy Bros. Thames NZ ESTIMATE $1,000 - 2,000
This rare Foy Bros carte de visite photograph of Ana Rupene with her daughter was made in their Thames studio circa 1874. Studio portraits of Maori were often produced to depict whanau. The Foy Bros photographs of Ana Rupene, Pare Watene, Hori Ngakapa and Tamati Waka Te Puhi formed the basis for portraits painted by Gottfried Lindauer.
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THOMAS REGINALD ATTWOOD
ESTIMATE $2,500 - 3,500
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JOHN DOUGLAS PERRETT
ESTIMATE $2,500 - 3,500
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SIR WILLIAM FOX
ESTIMATE $2,500 - 3,500
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SIR WILLIAM FOX
ESTIMATE $2,500 - 3,500
1865 - 1926 Waka on the Wanganui River Oil on canvas 45 x 75 Signed
1859 - 1937 Cathedral Peaks, Lake Manapouri, New Zealand Oil on canvas 60 x 96 Signed
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107
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1812 - 1893 Near Westoe, Rangitikei Watercolour 35 x 24.5 Inscribed verso
1812 - 1893 Westoe, Rangitikei from Mountain 70 Miles 0ff, 9000 ft high (Ruapehu) Watercolour 25 x 33 Inscribed verso
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HORATIO GORDON ROBLEY
ESTIMATE $500- 1,000
111
JOHN BARR CLARKE HOYTE
ESTIMATE $2,500 - 3,500
1840 - 1930 35th Italian Regiment Watercolour 27.5 x 19.5 Signed, inscribed & dated 1874
1835 - 1913 Lake Manapouri Watercolour 21 x 42 Signed
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OLIVIA SPENCER BOWER
ESTIMATE $2,000 - 3,000
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ARTIST UNKNOWN
ESTIMATE $3,000 - 6,000
1905 - 1982 Cape Reinga Watercolour 37 x 54 Signed
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British 18th Century A Shepherd and His Flock Oil on canvas 46 x 60 Dated 1743
Brian Dahlberg
Highway 8, Canterbury Oil on board 65 x 182cm $12,500
Spring Salon Exhibition 25 August - 8 September in our new gallery located at 202 Parnell Road Auckland
202 PARNELL RD AUCKLAND NEW ZEALAND TELEPHONE + 64 9 366 6045 www.internationalartcentre.co.nz
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Sale categories at International Art Centre Important & Rare Art
Modern & Contemporary Art
Important & Rare auctions are the proven, preeminent sale category for major works offered through the New Zealand art market three times annually. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw Important & Rare auctions realise five of New Zealand's top ten auction prices. The following year saw new records set with the two top prices in Auckland achieved. With the addition of record prices paid in April's recent sale International Art Centre has now achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.
Twice a year our Modern & Contemporary Art auctions play an integral role in enabling market access to the most sought-after artists who have defined New Zealand’s art narrative over the past 50-years. The sale never fails to present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of midcentury modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar. Our new state-of-the-art premises will ensure contemporary art is now exhbited and auctioned in a dynamic and appropriate environment.
Consign Now Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz
202 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 E X P E R I E N C E E Q U A L S R E S U L T S
Expertise Experience Results 114 Important & Rare Art Wednesday 24 August 2016
Always consigning / Always cataloguing Collectable & Affordable Art
Single Owner Auctions & Private Treaty Sales
The buzz generated by our regular Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Collectable Art auctions offer a number lower-priced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.
From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art and a selection of works from the Fletcher Trust Collection.
Consign Now Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz
Decades of experience working with artists, vendors, collectors and institutions mean we possess a sound understanding of the best medium through which to present works to the auction market. For various reasons, you may consider it more appropriate or wish to sell an artwork privately, rather than presenting it publicly to the auction market. Guaranteeing confidence and discretion, our unparalleled and targeted access to a network of collectors means we are able to oversee private sales. For certain works, this has proven to be an especially effective method of sale; we encourage you to get in touch for an obligation-free discussion around the process and how we may best facilitate this.
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116 Important & Rare Art Wednesday 24 August 2016
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Recent Prices Realised
Important & Rare - April 2016 - Contemporary & Modern Art May 2016 - The Relocation Auction July 2016 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium Important & Rare 6 April 2016 1 $4,250 2 $5,500 3 $8,750 4 $8,000 5 $4,750 7 $12,500 11 $6,000 12 $5,500 13 $8,750 15 $2,000 16 $1,200 17 $1,800 18 $2,500 20 $4,200 21 $32,000 22 $5,000 23 $9,500 24 $8,000 26 $9,000 27 $25,000 29 $8,000 30 $7,000 31 $8,250 32 $1,200 33 $6,000 34 $6,500 35 $2,600 36 $19,000 38 $62,500 39 $2,250 40 $2,400 41 $32,000 42 $34,000 43 $92,500 44 $6,600 45 $1,175,000 46 $57,500 47 $5,000 48 $4,700 50 $7,000 53 $12,000 54 $4,000 55 $5,000 56 $10,500 57 $10,750 58 $15,000 59 $1,700 60 $1,500 61 $23,500 62 $10,000 63 $3,500
64 $16,000 65 $3,000 66 $80,000 67 $20,000 68 $7,200 69 $2,250 70 $1,750 71 $1,800 73 $8,000 75 $12,000 76 $3,350 77 $1,800 79 $28,000 80 $8,000 81 $2,800 83 $2,000 84 $2,900 85 $3,250 86 $1,400 87 $4,000 88 $4,200 89 $1,000 90 $5,000 91 $5,000 93 $10,000 94 $1,700 95 $2,000 96 $2,600 97 $6,000 98 $4,000 99 $1,800 100 $800 101 $3,000 102 $1,200 103 $2,000 104 $2,200 105 $2,400 106 $2,400 107 $1,300 108 $1,300 109 $700 110 $7,500 111 $3,500 112 $3,100 113 $1,200 114 $1,200 115 $1,600 116 $9,000 117 $2,700 119 $1,600 120 $6,250 121 $2,200 122 $2,600 123 $2,400
124 $2,000 125 $2,400 126 $2,500 129 $600 130 $2,100 132 $2,200 134 $500 135 $1,400 Modern & Contemporary Art 24 May 2016 1 $2,800 2 $7,500 3 $5,000 4 $5,000 6 $550 7 $7,100 8 $1,350 9 $4,250 10 $2,000 11 $900 13 $2,000 14 $4,900 16 $13,000 18 $1,750 19 $17,500 21 $31,000 23 $30,000 24 $125,000 25 $55,000 27 $47,000 28 $60,000 29 $9,000 32 $34,000 34 $1,800 35 $17,000 37 $4,200 38 $15,000 40 $2,600 41 $19,000 42 $4,200 44 $6,000 46 $22,000 51 $1,200 53 $1,500 54 $1,000 55 $3,500 57 $8,000 58 $1,050 64 $900 65 $1,300
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66 $2,200 68 $1,300 70 $1,500 71 $3,200 72 $900 73 $400 81 $1,900 85 $500 86 $1,100 87 $2,000 88 $850 89 $1,200 90 $1,000 91 $850 92 $900 93 $975 95 $500 97 $600 99 $700 100 $550 =102 $700 103 $700 104 $1,400 105 $1,000 106 $500 107 $1,200 108 $750 109 $750 111 $1,000 112 $1,500 113 $750 114 $3,750 116 $1,300 117 $1,300 118 $800 119 $2,600 123 $800 125 $200 126 $470 127 $5,250 128 $1,850 129 $600 130 $700 132 $350 133 $250 134 $1,850 135 $500 136 $500 137 $550 138 $750 144 $400 145 $250 146 $300 147 $400
148 $300 149 $450 151 $500 152 $500 153 $900 154 $2,800 155 $500 156 $700 157 $300 159 $31,000 The Relocation Auction 14 July 2016 1 $8,000 2 $7,000 3 $5,400 4 $1,200 7 $950 8 $1,100 10 $1,100 11 $1,100 12 $4,750 13 $275 14 $3,400 19 $4,000 20 $100 22 $1,100 23 $650 24 $1,000 25 $400 26 $1,200 27 $1,100 28 $600 29 $375 30 $1,500 31 $1,100 32 $400 33 $1,300 34 $450 35 $575 36 $5,250 38 $500 39 $500 40 $6,000 41 $1,500 42 $1,200 43 $2,600 44 $4,250 45 $2,000 46 $300 47 $1,500 48 $4,000
49 $5,500 50 $4,000 51 $2,200 52 $350 53 $500 55 $3,000 56 $3,000 57 $1,500 58 $1,600 59 $1,600 60 $1,100 61 $550 62 $200 63 $600 64 $100 66 $4,500 67 $2,000 68 $900 69 $2,800 70 $1,600 72 $900 73 $800 74 $5,500 75 $2,250 76 $1,850 77 $400 78 $900 79 $6,500 80 $800 81 $1,050 82 $500 83 $1,600 84 $700 85 $600 86 $2,500 87 $520 89 $2,000 90 $700 91 $800 92 $1,100 94 $300 95 $700 96 $1,200 97 $800 98 $500 99 $700 100 $1,500 101 $800 102 $800 103 $800 104 $550 105 $350 107 $800 108 $400 109 $900
110 $1,500 112 $800 113 $850 114 $425 115 $1,000 116 $450 117 $350 118 $350 119 $950 120 $4,500 121 $450 122 $1,400 123 $350 124 $425 125 $700 126 $225 127 $425 128 $450 129 $950 131 $500 133 $500 134 $400 135 $500 136 $300 137 $175 138 $1,500 142 $500 143 $500 144 $1,650 146 $1,000 147 $575 148 $500 149 $1,000 150 $1,200 151 $1,400 152 $1,250 153 $400 154 $500 156 $600 157 $425 158 $250 159 $600 161 $350 162 $700 164 $450 165 $600 166 $650 167 $750 168 $320 169 $550 170 $600
Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 26 August 2016 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and Surname as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Only Visa and Mastercard accepted - with a 2% surcharge. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 17.25% including GST)
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Index ALBRECHT G.............................................. 33, 36
GULLY J.......................................................... 100
NAIRN J M....................................................... 47
ANGUS R.......................................................... 28
HAMMOND B.................................................. 49
NICOLL A F...................................................... 59
ARNDT M.......................................................... 39
HANLY P........................................................... 76
PALMER S T........................................................ 4
ATTWOOD T R................................................ 106
HARRIS S......................................................... 102
PERRETT J D.................................................... 107
BALOGHY G.................................................... 77
HARRIS J........................................................... 27
PETRE M........................................................... 14
BARNES F................................................... 97, 98
HENDERSON L................................................. 26
PRIMROSE C.................................................... 65
BARRAUD C D........................................... 45, 68
HIGHT M....................................................... 3, 25
PULE J............................................................... 12
BLOMFIELD C................................................... 44
HOTERE R............................................. 31, 53, 87
ROBLEY H G................................................... 110
BROWN N.............................................. 6, 56, 88
HOYTE J B C......................... 48, 70, 99, 103, 111
SCOTT I............................................................. 21
BRUIN K............................................................ 78
HUNDERTWASSER F S................................... 8, 9
SHERWOOD M................................................ 82
CHEVALIER N................................................... 75
HURLEY G........................................................... 5
SIDDELL P..................................... 1, 2, 16, 30, 64
CHING R.......................................................... 79
ILLINGWORTH M ............................................. 18
SMITHER M..................................... 20, 22, 32, 54
CLAIRMONT P................................................. 11
JOEL G....................................................... 71, 72
SPENCER B O........................................... 58, 112
CRIPPEN J............................................ 83, 84, 85
KELLY C F........................................................ 101
STEELE L J......................................................... 40
CUMMINGS V............................................ 90, 91
KENNEDY D...................................................... 10
STODDART M O......................................... 92, 93
DE LAUTOUR T.................................................. 13
MACDIARMID D.............................................. 74
TAPPER G................................................... 50, 95
DEANS A A ..................................................... 73
MADDOX A............................................... 15, 89
THOMPSON S L.......................................... 66, 67
ELLIS R.............................................................. 29
MARTIN A......................................................... 46
TRIPE M E........................................................ 104
FEU’U F............................................................. 61
MAUGHAN K................................................... 24
UNKNOWN ARTIST......................................... 113
FIFE IVY G......................................................... 57
MCARTHUR P................................................... 86
WAGHORN R J................................................ 63
FOX SIR W.............................................. 108, 109
MCCAHON C............................................ 34, 35
WALSH A W............................................... 80, 81
FOY J & J....................................................... 105
MCCRACKEN F............................................... 69
WALTERS G...................................................... 19
GEORGE D........................................................ 7
MCINTYRE P..................................................... 43
WEEKS J.................................................17, 51, 52
GIMBLETT M..................................................... 23
MENEGENEN J D............................................. 62
WILSON T................................................... 94, 96
GOLDIE C F......................................... 38, 41, 42
MRKUSICH M............................................. 37, 60
WOOLLASTON T.............................................. 55
120 Important & Rare Art Wednesday 24 August 2016
202 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz
THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY