IMPORTANT & RARE ART AUCTION 5 APRIL 2022 by International Art Centre

IMPORTANT & RARE ART

Auction 6:00pm Tuesday 5 April 2022

Lot 60A LATE ENTRY by Anna Lois White

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IMPORTANT & RARE ART Virtual live Auction 6:00pm Tuesday 5 April To participate please register on our bidding platform https://auctions.internationalartcentre.co.nz or Download International Art Centre App on The App Store https://apps.apple.com/us/app/id1525329095 or Googleplay

Viewing times: 202 Parnell Road, Auckland Thursday 31 March 9:00am - 5:00pm Friday 1 April 9:00am - 5:00pm Saturday 2 April 11:00am - 3:00pm Sunday 3 April 11:00am - 3:00pm Monday 4 April 10:00am - 5:00pm Tuesday 5 April 9:00am - 5:00pm Cover illustration: Lot 29 C F Goldie Back cover illustration: Lot 3 Fiona Pardington

Directors Richard Thomson & Frances Davies 202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz

107 LOTS

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107 LOTS

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Lot 56 Felix Kelly

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Contacts and Condition Reports Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mobile 0274 751 071 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz Please register on our bidding platform to participate remotely https://auctions.internationalartcentre.co.nz Conditions of Sale p. 131 Absentee & telephone bids p. 123

202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz

2021 - OUR 50TH YEAR of KEEPING IT REAL 2021 was memorable, both as our 50th Anniversary Year and for record sales achieved in excess of $20 million. With offerings of the highest quality, some repatriated from offshore and others coming to market for the first time in decades, the interest they generated was met with an extraordinary market response. We thank all who played a part of this success; artists, buyers, sellers, industry colleagues, staff and friends.

Banksy realised $1.747 million

Frances Hodgkins realised $313,300

Michael Illingworth realised $468,400

Banksy realised $240,240

Michael Smither realised $234,200

include premium 6*Prices IMPORTANT & RAREbuyer’s ART Tuesday 5 April 2022

Robert Ellis realised $70,270 C F Goldie realised $1,705 million

Gretchen Albrecht realised $84,080 Robyn Kahukiwa realised $64,650

Colin McCahon realised $399,400 Prices include buyer’s premium

Don Binney realised $252,260

UPCOMING TIMED ONLINE AUCTION ART at HOME 16

WORKS FROM THREE PRIVATE COLLECTIONS & THE REMAINDER OF WORKS FROM THE HANGING’S ART GROUP BID ONLINE 14 - 19 APRIL

SIMON MORRIS Outside Acrylic on Aluminium 80 x80cm Est. $1,000 - 1,500

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SAM MITCHELL Mee Lady 2 Acrylic on perspex 32 x 27cm Est. $2,000 - 3,000

ANDREW CURTIS Alice Photograph with lightbox 110 x 73CM Est. $2,000 - 3,000

MARK CROSS Fenceline, Northland Acrylic on board 23 X 49 cm Est. $2,000 - 3,000

RALPH HOTERE (1931 - 2013) Lo Negro Sobre Lo Oro (The Black over the Gold) Lacquer and gold leaf on glass 30 x 20 Signed & dated 1993 $8,000 - 12,000 PROVENANCE Private Collection, Auckland Purchased from RKS Art 8/10/1993 by current owner

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RALPH HOTERE (1931 - 2013) Lo Negro Sobre Lacquer and gold leaf on glass 22 x 17.5 Signed, inscribed & dated 1993 $8,000 - 12,000 PROVENANCE Private Collection, Auckland Purchased from RKS Art 8/10/1993 by current owner

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FIONA PARDINGTON (b. 1961) A60927 Pigment ink on Hahnemuhle photo rag Edition of 10, 166 x 132 Signed verso $30,000 - 40,000

MILAN MRKUSICH (1925 - 2018) Untitled Oil on canvas 45 x 67.5 Signed & dated 1956 $15,000 - 25,000 PROVENANCE Collection of John Lesnie, photographer Purchased from John Lesnie c. 1972 by current Auckland owner

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ROHAN WEALLEANS (b. 1977) Dancing Figures Oil on canvas 43 x 53 $12,000 - 18,000

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MICHAEL SMITHER (b. 1939) Seated Lady Blue on Red Mixed media on paper 92 x 58 Signed & dated 1970 $8,000 - 12,000 PROVENANCE One Man Exhibition, John Leech Gallery, 1970

DICK FRIZZELL (b. 1943) Whare Tiki Acrylic on card 22.5 x 24 Signed, inscribed & dated 16.5.92 $4,000 - 6,000 PROVENANCE Private Collection, purchased from exhibition titled Tiki, Gow Langsford Gallery, Auckland 1992

JOHN COLEY (b. 1935) Cityscape - Christchurch Oil on canvas 122 x 122 Signed & dated 1998 $8,000 - 12,000 PROVENANCE Private Collection, Christchurch Purchased from Dobson Bashford Gallery, 1998

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GRETCHEN ALBRECHT (b. 1943) Layered Sky, Winter, Karekare Watercolour 109.5 x 75 Signed, inscribed & dated 1975 $35,000 - 45,000 PROVENANCE Private Collection, Auckland since c. 1979

GAVIN HURLEY (b. 1973) Untitled, 2013 Oil on hessian 66 x 44 Signed verso $10,000 - 14,000

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BRENDAN WILKINSON (b. 1974) Portrait Ink on paper 55.5 x 38 Signed & dated 2011 $7,500 - 10,000 PROVENANCE Private Collection, Auckland

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ROBERT ELLIS (1929 - 2021) No. 25 Motorway / City Oil on board 120 x 105 Signed & dated 1969 $40,000 - 60,000 PROVENANCE Purchased from Barry Lett Galleries, Auckland 1969 Private Collection, Hawkes Bay Private Collection, Auckland

TOSS WOOLLASTON (1910 - 98) Cable Bay Oil on board 90 x 120 Signed $30,000 - 50,000 PROVENANCE Purchased from Peter McLeavey Gallery, Wellington, 1972 Includes original purchase receipt dated 03 September, 1972 and 8 letters from Toss Woollaston to the original purchaser Vicky Beck dated 1972/73 These documents may be emailed as a PDF on request

GRETCHEN ALBRECHT (b. 1943) Night – Nomadic Geometries (with gold and silver bars) Acrylic on canvas 94 x 183 Signed, inscribed & dated 1995 verso $75,000 - 95,000 PROVENANCE Purchased from Tinakori Gallery Wellington, 2002, by current owners

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ANN ROBINSON (b. 1944) Copper Cobalt Blue Scallop Bowl Cast lead crystal 26 x 38.1 Signed, inscribed #31 NZ & dated 1999 on base $15,000 - 20,000

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BRENDAN WILKINSON (b. 1974) Untitled Watercolour on paper 141 x 105 Signed & dated 2016 $12,000 - 15,000 PROVENANCE Ivan Anthony Gallery, 2016 Private Collection, Auckland

ANDREW MCLEOD (b. 1976) Landscape with Holly Oil on two canvas panels 183 x 298 overall Signed & dated 2013 $50,000 - 75,000 PROVENANCE Ivan Anthony Gallery, 2013 Private Collection, Auckland EXHIBITED Andrew McLeod, New Paintings, 21 August - 14 September 2013 Ivan Anthony Gallery

SIR PETER SIDDELL (1935 - 2011) Governor’s Rock, Karekare Oil on canvas 71 x 137 Signed & dated 1995 $40,000 - 60,000 PROVENANCE Purchased from Artis Gallery, 1999 From the Collection of Sir Wilson & Lady Elisabeth Whineray

In the 1930s, Lord Galway, then Governor General, visited Karekare to enjoy the sun and surf. Split Pin Rock provided an excellent private place where the GG could change into his bathing suit, so the viceregal Bentley was frequently seen parked by the rock, which seventy-five years later is known as Governor’s Rock. p. 188 Peter Siddell, The Art of Peter Siddell, Godwit 2011

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SIR PETER SIDDELL (1935 - 2011) House and Estuary, c. 1980 Oil on canvas 120 x 77 Signed $80,000 - 120,000 PROVENANCE From the Collection of Sir Wilson & Lady Elisabeth Whineray

TOSS WOOLLASTON (1910 - 98) Blackball, 1954 Oil on board 92 x 122 Signed & dated 1954 $40,000 - 60,000

After World War II the Woollastons moved to Greymouth, and the landscape of the West Coast became a major feature in his art. Blackball is a small town on the West Coast approximately 29 km from Greymouth.

PROVENANCE Private Collection, Auckland Purchased from Jonathan Grant Galleries, Auckland 2004

While Blackball, 1954 is not a scene which yields to romantic notions of the landscape, it has a strong and traditional perspective. Sweeping brushstrokes build tension in the work, enhancing the sense of majesty and the unshakable force of the mountains in the background. Woollaston is best known for his spirited renderings of the New Zealand landscape, often muddy and brown-hued in their appearance. One encounters an intrinsic value common to all of his works, i.e. depth and visceral quality; rawness and honesty in relation to the land.

EXHIBITED Contemporary NZ Painting & Sculpture, Auckland City Art Gallery April, 1960 original Auckland Art Gallery label verso

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JEFFREY HARRIS (b. 1949) Untitled 1975 Oil on board 61.5 x 86 Signed & dated 1975 $45,000 - 55,000 PROVENANCE Ex Prospect Collection Purchased from the above collection by current Auckland owner EXHIBITED Otago Museum Foyer, Dunedin, May 1975 Hidden Treasures, Auckland City Art Gallery 7 July - 20 August 1992

Two years after Harris completed Untitled 1975 in 1977 he was awarded the Frances Hodgkins Fellowship. Jeffrey Harris lives in Dunedin and has exhibited widely since his first one man show in 1969. For a brief time in the early 1980’s Harris worked in the United States prior to moving to Melbourne in 1986, returning to New Zealand in 2000. Harris is largely self-taught, listing notable New Zealand artists Michael Smither and Ralph Hotere as his mentors.

Our thanks to the artist for his assistance in cataloging this lot.

MAX GIMBLETT (1931 - 2013) Ice Cold Gesso, acrylic, epoxy, palladium leaf on hessian 38.1 x 38.1 Signed, inscribed Ice Cold & dated 2009 verso $18,000 - 24,000

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KARL MAUGHAN (b. 1964) Campbell Road Oil on canvas 107 x 137 Signed & dated January 2005 verso $30,000 - 40,000 PROVENANCE Private Collection, Wellington since 2005

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COLIN MCCAHON (1919 - 87) North Otago Landscape, 1967 Brush, ink on paper 53 x 41.7 Signed, inscribed & dated 1967 $45,000 - 65,000 PROVENANCE Private Collection, Queenstown McCahon database CM000992

MICHAEL SMITHER (b. 1939) Sarah at the Door, 1967 Commercial stains mixed with PVA on board 59 x 45.5 Signed & dated 1967 $10,000 - 15,000 PROVENANCE Collection of Sarah Smither, Artist’s daughter

In many of Michael’s domestic works, the figure, though to be that of a small child, seems almost monumental. Dominating the space or being objectively equal to anything depicted. However in this work the figure appears as an apparition in the space. It’s like a stage set, one used and adapted for ‘Grandparents at the door’ 1969. Whenever I look at it, it always brings to mind images of Janet Frame’s ‘Angel at my Table’ giving the image added drama, for me anyway! Sarah Smither

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BANKSY (British b. 1975) Toxic Mary Screenprint, edition 229/600 68.5 x 49 Unsigned, (Signed in plate) $40,000 - 60,000 PROVENANCE Private Collection,Whanganui, NZ Purchased at Art Republic, London, 2004, by current owner. Includes original Art Republic tube Certificate of Authenticity from Pest Control

Toxic Mary is an early street art work by Banksy that first appeared as a painting in his exhibition Turf War in 2003. It was a limited edition of 750 prints, with 150 signed and 600 unsigned prints. Toxic Mary is an original spin on one of the most important symbols in the history of orthodox iconographic art: The Madonna and Christ child. Banksy’s half-figure Madonna resembles the style associated with Italian Renaissance art, and is an image which easily embeds itself into popular iconography.

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In Toxic Mary, Banksy satirizes the relationship between mother and child, but also between religious authority and layperson. To a layperson, religion may offer security, but it does not always equal safety. The figure of Madonna is seen feeding a poisonous formula to the infant Christ. Banksy implies that many across the world feel that religion has disproportionately sparked wars, caused death, and fostered a sense of cultural intolerance.

FROM THE COLLECTION OF DAME KIRI TE KANAWa LOTS 27 - 45

CAIO FONSECA (American b. 1959) Tenth Street Painting C96.11, 1996 Mixed media on canvas 65 x 102 Signed $10,000 - 15,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased directly from the artist’s New York City Studio, 1996

Born in New York 1959, Fonseca grew up in an artistic family. His father, Gonzalo Fonseca, was an eminent Latin American sculptor. Deeply tied to these roots, Fonseca left his formal education from Brown University after his freshman year to study painting in Barcelona, Spain with the artist Augusto Torres.

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During this period, Fonseca devoted himself to studying figurative painting until he moved in 1983 to Pietrasanta, a medieval Italian town on the coast of northern Tuscany which captured his heart. Caio stayed there until 1989, honing his distinct abstract style. After two years in Paris, Fonseca returned to Manhattan, New York. Since 1993, Fonseca divides his time between his two studios in Pietrasanta and downtown Manhattan. Consequently, each work is titled either Pietrasanta, Fifth or Tenth Street. Caio’s artworks are held in numerous public collections including: The Metropolitan Museum of Art, Brooklyn Museum of Art, Museum of Modern Art New York, Whitney Museum of American Art, The Smithsonian Institution, The Hirshhorn Museum & Sculpture Garden, The Museum of Fine Arts, Houston and many others.

FREDERIC LLOYD REES (Australian 1895 - 1988) A Small Tribute to Joern Utzon and His Great Buildings Oil on canvas 91 x 106 Signed & dated 1988 $80,000 - 120,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased directly from the artist during a lunch visit to the artist’s home in 1988

CHARLES FREDERICK GOLDIE (1870 - 1947) Marlotte, Paris, 1894 Oil on panel 34.6 x 26.5 Signed, inscribed & dated 1894 Also inscribed & dated 1894 verso Bears original label verso $150,000 - 250,000 PROVENANCE Private Collection, Feilding Fine Art Auction, International Art Centre 26 July 2001 Collection of Dame Kiri Te Kanawa since 2001 ILLUSTRATED p. 68 Goldie, Roger Blackley, Auckland City Art Gallery Toi o Tamaki

EXHIBITED Goldie, 28 June - 28 October 1997, Cat. no. 23 Auckland City Art Gallery Toi o Tamaki Dunedin Public Art Gallery Robert McDougall Art Gallery Te Papa Tongarewa Art Gallery of New South Wales 2 May - 26 July 1998 Marlotte, Paris was completed a year after Goldie’s arrival in Paris at the age of twenty three. He joined the principal Parisian art school Academie Julian and studied under eminent salon and academic painter William Adolphe Bouguereau (1825 - 1905) and French orientalist Gabriel-Joseph-Marie-Augustin Ferrier (1847 - 1914). The Academie Julian was a private art school for painting and sculpture. The talented young expatriate took lodgings in the artistic hub of Montparnasse, the heart of the artists’ quarter. Whilst abroad, young Goldie kept his Auckland benefactors appraised of his progress in Paris. The works he sent for the Auckland Society of Arts 1894 exhibition, were awarded a silver medal.

FROM THE COLLECTION OF DAME KIRI TE KANAWa LOTS 27 - 45

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FRANCES HODGKINS (1869 - 1947) Caudebec-en-Caux Watercolour 50.4 x 32 Signed & dated 1901 $45,000 - 65,000 PROVENANCE Collection of Dame Kiri Te Kanawa International Art Centre, c. 1980

After spending only three months in England in 1901, Frances Hodgkins set out for France, joining the Irish artist Norman Garstin and his wife Augusta and their students at Caudebec-en-Caux, a small town nestling against a steep hill on the north bank of the Seine in Normandy. Garstin had close links to the Newlyn School of Painters, whose practice of painting en plein air was familiar to Hodgkins, having painted out of doors with her father William Hodgkins and sister Isabel in Dunedin. After viewing her work, Garstin insisted that there was nothing he could teach her; rather, she should work alongside the group in her own way. She stayed at the same hotel as the Garstins, along with fellow New Zealand artist Dorothy Kate Richmond and one or two of the wider group, describing her experiences to the ‘little mother’ in New Zealand; This is a charming spot full of quaint old streets & buildings and subjects in plenty for every day in the year. . . We rise betimes and are out by 6.30, work till midday then back to dejeuner, a comprehensive meal consisting of many courses mostly vegetables & very under done meat, puddings never and copious libations of cider. This is a great cider district and the inhabitants get gloriously drunk, after dejeuner we rest till 3, when we all meet in a large room & have afternoon tea and criticise each other’s work, then out again for evening effects. . . [https://completefranceshodgkins. com/objects/29203/letter-from-frances-hodgkinsto-rachel-hodgkins 14 July 1901] Caudebec prides itself on its enormous Gothic cathedral. Unlike numerous artists who recorded its delicate traceries as a backdrop to the bustle of the market in the square beyond, Hodgkins preferred the quieter, narrow streets leading into the main square. Their tall half-timbered houses, with their contrasting stripes of wattle and daub, allowed Hodgkins to focus on compositions that drew the eye skyward while the inclusion of locals making their way back and forth enlivened her scenes. Each time she painted a scene from a different vantage point, experimenting with the changes in perspective.

It is in Dame Kiri Te Kanawa’s work that we have what appears to be the accumulation of Hodgkins’ studies, as if the other watercolours were practice scales for the final musical tour de force. Here our eye is led first into the open foreground, anchored by a strong diagonal of a wall on the left, meeting with what appears to be a small lavoir or washing trough, before continuing on briefly. Its smooth surface provides a resting place for a seated woman engaged in conversation with a workman. Our view is then cut off by a small building, its upper surface rapidly delineated in both straight and curving lathes, separating its sections of pale plaster. The wall stands parallel to the line tall buildings on the left, their ancient facades leaning at odd angles created by the passage of time, each floor punctuated by tiny clusters of windows. The zigzagging roofs and narrow chimney pots draw our eye into the far distance on the right. Hodgkins has used considered, broad brushstrokes in much of the painting, reverting to a fine brush and using its point to block in the outline of the figures, and drawing it across the paper to outline the cobble While she has paid considerable attention to capturing the eccentric individuality of each structure, they serve as a theatrical backdrop for what really interests her most. In the open space in the foreground on the right, Hodgkins has depicted a young boy in a white smock, hand on hip, waiting while his mother’s face turns away from us to speak to the woman standing beside her. Her arm rests behind his back, as if she senses his impatience to be off. Attention should also be paid to the wall which serves as an immediate backdrop to both groups, for while the figures on the right have what appear to be dark wooden doors behind them, in the gap between the group there is a warm passage of warm ochre tones, suggesting an open door leading into a warmly lit room. Her time in Caudebec-en-Caux made Hodgkins determined to make her name as a professional artist; ‘This kind of life quite unfits one for a colonial hereafter – everything is given up to painting we think & talk of nothing else . . . I feel as if I was possessed by a painting devil which is devouring me body and soul & claims all my brains & energy . . https://completefranceshodgkins.com/ objects/29205/letter-from-frances-hodgkins-torachel-hodgkins Damaged by bombing during WWII, Hodgkins’ watercolour of Caudebec stands, not just as a dynamic study of its timbered streets and vibrant peasant life but a reminder of the town’s historical integrity. MARY KISLER

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RAYMOND CHING (b. 1939) Coot Oil on panel 49 x 35.5 Signed $15,000 - 25,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased from Tryon Gallery, London Original Tryon Gallery Label affixed verso ILLUSTRATED p. 131 New Zealand Birds - An Artist’s Field Studies, Paintings Drawings & Text by Raymond Ching Graham Turbott Esq, Reed Methuen 1986

In New Zealand, Australian Coots, Fulica atra, more closely resemble the Dusky Moorhen than any other bird seen. They are slightly larger and, instead of red and yellow on the bill, show a quite distinctive whitish bill and frontal shield. Otherwise Coots appear black from any distance but are in fact coloured a dullish, but attractive, dark grey. Coots also lack the white undertail feathers conspicuous in moorhens and the Pukeko. At closer range the bird’s blue-grey feet and toes, with their curiously shaped lobes, may be seen. The first records in New Zealand of this species date from the last quarter of the nineteenth century, since when their numbers have been slowly increasing. The birds are, however, even today, nowhere common, although flocks of between fifty and a hundred are not unknown.

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Several species of coot range over much of the world and ours, F. a. australis, is barely distinguishable from the European birds, which over much of their range are quite commonly seen and very successful birds. Coots are thoroughly aquatic and, unlike the Dusky Moorhen, will spend much time well out in the open on large bodies of water. Their diet is made up of insects and a variety of water weeds. The birds hide their large, floating nests away among tall reeds, into which will be laid a clutch of seven to nine palish eggs, spotted grey-brown. Text p. 130 New Zealand Birds - An Artist’s Field Studies, Paintings Drawings & Text by Raymond Ching Grahama Turbott Esq, Reed Methuen 1986

RAYMOND CHING (b. 1939) Study for Gyrfalcon Watercolour 24 x 18 Signed, inscribed & dated 1969 $4,000 - 6,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased directly from the artist

RAYMOND CHING (b. 1939) Study for Hen Ptarmigan Watercolour 24 x 18 Signed, inscribed & dated 1969 $4,000 - 6,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased directly from the artist

RAYMOND CHING (b. 1939) Grey Hornbill, 1978 Watercolour 71.1 x 49.5 Signed $20,000 - 30,000 PROVENANCE Collection of Dame Kiri Te Kanawa ILLUSTRATED p. 172 Studies & Sketches of a Bird Painter, Paintings Drawings & Text by Raymond Ching Errol Fuller, Landsdowne Editions, 1981

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RAYMOND CHING (b. 1939) Crocodile, 1982 Oil on board 21 x 32 Signed $10,000 - 15,000

ILLUSTRATED p. 209 Wild Portraits, Paintings & Drawings by Raymond Harris-Ching, Peter Hansard, SeTo publishing Ltd Auckland 1988

PROVENANCE Collection of Dame Kiri Te Kanawa Purchased from International Art Centre, c. 1986

p. 73 Ray Harris-Ching, Masters of the Wild, Carol Sinclair Smith, Gulf Publishing Company, Houston, Texas 1990

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RAYMOND CHING (b. 1939) Crocodile, 1982 Oil on board 21 x 32 Signed $10,000 - 15,000

ILLUSTRATED p. 208 Wild Portraits, Paintings & Drawings by Raymond Harris-Ching, Peter Hansard, SeTo publishing Ltd Auckland 1988

PROVENANCE Collection of Dame Kiri Te Kanawa Purchased from International Art Centre, c. 1986

p. 73 Ray Harris-Ching, Masters of the Wild, Carol Sinclair Smith, Gulf Publishing Company, Houston, Texas 1990

PETER MCINTYRE (1910 - 95) Taupo Oil on board 56 x 67.5 Signed $15,000 - 25,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased from a One Man Exhibition, John Leech Gallery, 1969, original label affixed verso

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RAYMOND CHING (b. 1939) Eurasian Woodcock (Scolopax rusticola) Watercolour 50 x 37 Signed $8,000 - 12,000 PROVENANCE Collection of Dame Kiri Te Kanawa Thanks to Dr Colin Miskelly Curator Vertebrates, Museum of New Zealand Te Papa Tongarewa for assistance in cataloguing this lot

FELIX KELLY (1916 - 94) Lewes Crescent, Brighton Oil on board 55 x 72 Signed $10,000 - 15,000 PROVENANCE Collection of Dame Kiri Te Kanawa Important, Early & Rare, International Art Centre, November 2010 EXHIBITED The Painter’s Brighton, Brighton Museum & Art Gallery July, 1962, original exhibition label affixed verso

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JOHN BARR CLARKE HOYTE (1835 - 1913) Whangaroa Harbour, Northland Watercolour 34 x 61 Signed & dated 1873 $10,000 - 15,000 PROVENANCE Collection of Dame Kiri Te Kanawa

FROM THE COLLECTION OF DAME KIRI TE KANAWa LOTS 27 - 45

JOAN MIRO (Spanish 1893 - 1983) Untitled Original lithograph 26 x 36 $3,000 - 5,000 PROVENANCE Collection of Dame Kiri Te Kanawa Purchased from Coskun & Co, London, c. 1997

PETRUS VAN DER VELDEN (1837 - 1913) Canal Scene, Holland Oil on canvas on board 55 x 85 Original Petrus van der Velden Art Collection label signed by artist’s son Gerrit van der Velden affixed verso $8,000 - 12,000

PROVENANCE Collection of Dame Kiri Te Kanawa ILLUSTRATED p. 55 Petrus van der Velden, A Catalogue Raisonné Volume II, T L Rodney Wilson, Chancery Chambers Publishers 1979 Cat. no. 1.3.2.28 Titled Landscape in this publication

PETER MCINTYRE (1910 - 95) Old Pub, West Coast Gouache on paper 51 x 72.5 Signed $15,000 - 20,000 PROVENANCE Contemporary & Traditional New Zealand & European Art, International Art Centre, 26/07/2001 Collection of Dame Kiri Te Kanawa

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FROM THE COLLECTION OF DAME KIRI TE KANAWa LOTS 27 - 45

RAYMOND CHING (b. 1939) Bald Eagles, Adult Females Pencil on paper 59 x 41.6 Signed & inscribed $3,000 - 5,000 PROVENANCE Collection of Dame Kiri Te Kanawa

PARATENE MATCHITT (1933 - 2021) Untitled Mixed media on paper laid on board 65 x 43 $3,000 - 5,000 PROVENANCE Collection of Dame Kiri Te Kanawa Acquired from the artist, date unknown

ILLUSTRATED p. 172 Studies & Sketches of a Bird Painter, Paintings Drawings & Text by Raymond Ching Errol Fuller, Landsdowne Editions, 1981 The completed work for this study features p. 102 Ray Harris-Ching, Masters of the Wild, Carol Sinclair Smith, Gulf Publishing Company, Houston, Texas 1990

PETER MCINTYRE (1910 - 95) Whakapapa River Oil on canvas 50 x 60 Signed $40,000 - 50,000

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PETER MCINTYRE (1910 - 95) Antarctica Oil on canvas board 62 x 76 Signed $15,000 - 25,000 PROVENANCE Private Collection, Auckland Purchased from International Art Centre 30/9/1991

I sailed into this bay on an American naval icebreaker and was enchanted. There was no night and a hundred thousand Charlie Chaplins in white ties and tails performed for me. This, and Cook’s Bay in Moorea, are two of the most beautiful bays in the whole of the Pacific. Peter McIntyre, Peter McIntyre’s Pacific, A H & A W Reed, 1964

CHARLES FREDERICK GOLDIE Te Hau-Takiri Wharepapa $1,500,000 - 2,500,000 One of the artist’s favourite paintings, this work was gifted to his wife Olive Goldie

At the time of Charles Frederick Goldie's death, there were a number of the artist's favourite paintings hung in his studio. These passed largely to his wife, Olive Goldie. This portrait of Kamariera Te Hau Takiri Wharepapa was one of these paintings. There are only four known portraits of Wharepapa. Two are in the collection of the Auckland Museum and the third is in private ownership. This work, the fourth, is mentioned in a letter Goldie wrote to a Wellingtonian regarding a new commission in 1909.

Wharepapa in Goldie’s studio, c.1901

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CHARLES FREDERICK GOLDIE (1870 - 1947) Te Hau-Takiri Wharepapa Oil on canvas 49 x 43.5 Dated 1933 verso Various inscriptions in artist’s hand verso $1,500,000 - 2,500,000 PROVENANCE Collection of artist, gifted to his wife. Sold by Olive Goldie via Alan Swinton, John Leech Gallery, 5 September 1957 to Jonas Family, purchase receipt included with sale.

Included are several notes in the artist’s hand that show this work was not only one of Goldie’s favourites and part of this private collection, but, as Goldie altered the subsequent commission to paint the fourth known version of Wharepapa, this remains the only three-quarter view of the subject. Also included original documents and receipts with letters to the Jonas family from Olive Goldie and National Art Gallery Director B Maclennan. Born in 1823 in Mangakahia, Kamariera Te Hau Takiri Wharepapa was greatly respected as a Nga Puhi chief. Throughout his life and in his various positions of authority, he was regarded an accomplished orator and respected as a local school committee chairman. In 1863, he traveled to England alongside thirteen other Maori chiefs, aboard the ship Ida Ziegler under the sponsorship of Wesleyan missionary William Jenkins. While in England Wharepapa was presented to Queen Victoria. The trip sought to illustrate the manners and customs of Maori and would include visits to dockyards, arsenals and factories, as well as visits to the Prince and Princess of Wales at Marlborough House and Queen Victoria and her children at Osborne. When visiting Queen Victoria, Wharepapa, who was described by Jenkins as the most intelligent of our party, spoke directly to the Queen expressing joy at the meeting. While in England, Wharepapa met an English housemaid named Elizabeth Reid. The two fell in love and subsequently married on 31 March 1864, at St

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Anne Limehouse, in Stepney, Middlesex. Two months later, their first daughter was born aboard ‘Flying Foam’ on their return journey to New Zealand. The family settled in Maungakahia near the Hokianga harbour, in 1864. While living there, Wharepapa and Elizabeth were key figures in the local community and were instrumental in the opening of a new school. The marriage did not last, with Elizabeth eventually remarrying in Auckland (aged 77), a year before her death in 1920. Wharepapa also died in 1920, at the age of 97, at his birthplace, Mangakahia. Goldie is known to have painted at least four portraits of Wharepapa. Beside the chief’s widely recognised good looks, the subject presumably held interest to Goldie due to being one of the last chiefs to wear the ancient style headdress. Wharepapa usually travelled to Auckland for sittings and was photographed several times in Goldie’s studio. Among the paintings still held in Goldie’s private collection at his death in 1947, were two portraits of Wharepapa. The Rangitira of the old school was a gentleman even if he had a few habits that might not pass muster in a drawing room. Of such a type was Kamariera Wharepapa who belonged to Mangakahia, North Auckland, and was connected with both the Arawa and Nga Puhi tribes. . . Kamariera was a handsome man even in his old age and one can well understand that he must have been a singularly fine looking brave before the fires of youth burned low. . . Kamariera looks in Mr Goldie’s picture, exactly what he was — an aristocrat. Even judged by our own standards, he was a man of singularly lofty ideals and had as chivalrous a code of honour as any a belted knight of the brave days of long ago. GOLDIE, Roger Blackley, Auckland Art Gallery, 1997 Ref: Names of New Zealand Chiefs Visiting England, The Daily Southern Cross, 5 February 1863 Australian and New Zealand Gazette, 20 June 1863, 17 July 1863, 8 August 1863 C F Goldie: Prints, Drawings & Critisim, Glen, J and A. Taylor, 1977

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

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

SIR CEDRIC MORRIS (British 1889 - 1982) Still Life with Irises Oil on canvas 76 x 54.5 Signed & dated 1962 $150,000 - 200,000 PROVENANCE Private Collection, Auckland Purchased 1962 by current owner

Frances Hodgkins first met Cedric Morris in Cornwall in 1918, becoming firm friends with him and his partner Arthur Lett-Haines, commonly known as Lett. Their friendship flourished for the rest of Hodgkins’ life, both valuing their independence but respecting, indeed cherishing the critique each would provide of each other’s work. In 1929, Morris nominated Hodgkins as a member of the Seven and Five Society, which had risen from conservative beginnings to represent the avant-garde in British art. Born into an aristocratic Welsh family, Morris preferred the bohemian life of an artist, and like Hodgkins, found the impetus for his own kind of modernism in Paris, where he and Lett spent extended periods, studying, observing, and in turn, carousing. Lett was also an artist, but often put his own work aside to look after the running of Benton End, near Hadleigh in Suffolk, which replaced The Pound, their original home near Flatford Mill. At Benton End they set up the East Anglian School of Painting and Drawing, some of the more outstanding students being Lucien Freud and Maggie Hambling. While Lett took care of the entertaining, as well as contributing when applicable to teaching, Cedric set about creating what was to become one of Suffolk’s most famous gardens. He planted his garden with the eye of an artist, knowing instinctively how to juxtapose various tones and shades to get the best effect. Irises were his favourites, and he became a renowned breeder, enabling him to create an extensive range of tones, textures, and patterns within his plants. When he painted, however, Morris was able to combine his skills with his brush with his plantsman’s knowledge of the structure of each of his irises. In many of his flower paintings, the plants rise as if from the ground itself, crowding the foreground in its entirety, as if we are looking at a forest, the receptacle containing them hidden from view.

When examined carefully, however, we see that each flower has its own space. Like Hodgkins, he sometimes painted from memory, whereas in his vase still lifes, one senses he has picked his favoured stems to enjoy them in his studio. As a frequent traveller to Europe, as well as North Africa, Morris had plenty of opportunities to buy the kind of vessel we see in Still Life with Irises – an unglazed, earthenware hand-painted vase, the simple red ochre design standing out on the rustic clay form. Unlike Frances Hodgkins, Morris had a home to return to, and was therefore able to collect ceramics for use at Benton End. Hodgkins adored ceramics and porcelain, their forms an integral life of her highly successful still lifes in landscapes, but she learned early on to resist acquiring them, as they inevitably broke in her suitcase. However, as a frequent visitor to Benton End, she could at least enjoy them second hand. Morris is playing games with perspective in Still Life with Irises, for while the table is placed hard up against a corner, its gradation from brown ochre in the foreground to almost black at its furthest edges accentuating its depth, its raised surface breaking down any sense of true perspective. Its angularity is not reflected in his treatment of the plastered wall behind it, which has a much softer treatment, shadows built up with dabs of ochres and bluish greys. Morris has used a loaded brush used to create a dense impasto, so that we sense the texture of the plastered walls, evoking a Mediterranean warmth rather than the chill of an English Spring. The placement of the vase in the foreground again adds to the sense of depth, each iris existing in its own space. The narrow petals of the Dutch irises, some with plicata or coloured edges, bend and bow in the vase, while Morris has painted the broader petals of his favourite bearded irises in a range of pale lilacs, highlighted with delicate tones of yellow ochre. In the foreground he has included three pink and white blooms of Arisaema candidissimum or Chinese cobra lilies. Originally from China, like the irises they are late Spring flowers, indicating the season when Morris painted this beautiful work. Famed for their perfume, their inclusion adds another sensory element, transporting us from the chilly winds of Suffolk to an evocation of sunnier climes. MARY KISLER

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FRANCES HODGKINS (1869 - 1947) Side Entrance Gouache on paper 54 x 43 Signed $80,000 - 120,000

Although the exhibition at the Lefevre Galleries, London, in which Frances Hodgkins’ Side Entrance was included in 1937 was titled New Paintings and Watercolours, this was something of a misnomer. Just before the show opened on 27 October, she wrote to her good friend Dorothy Selby; ‘I am not very excited. I have been bustled into getting ready & have had a lot of work to do, but you won’t see any brand new work I think & I myself don’t know what is being shown. We all hope it may be a success in spite of the political crises & menacing outlook abroad. . .’ (https://completefranceshodgkins.com/ objects/29997/letter-from-frances-hodgkins-todorothy-selby) Despite her original protestations, Hodgkins did attend the exhibition opening, and the show proved a great success. Included in the show were several paintings and watercolours created when staying in Bridgnorth, one of her favourite English villages, including Side Entrance. Hodgkins first introduced elaborately decorated plant pots, garden urns, and other garden ornaments into a series of watercolours done in Flatford Mill, Suffolk in the summer and early autumn of 1930, often setting them beside the riverbank with flowing water beyond. Side Entrance, however, belongs to a slightly later period. Hodgkins returned to similar motifs in 1932 when she was staying in Bridgnorth, but her treatment of these objects had changed over the preceding two years. Her forms were defined more loosely, suggesting a random juxtaposition within each work. These compositions reward close examination. The central narrow passage in Side Entrance opens out onto the riverbank, the building on the left drawn as if it reaches right to the bank, whereas that on the right suggests an open space beyond it. Our eye is drawn to the blue beyond, enhanced by a yellow circle that blends into a greenish haze, not dissimilar to a circular crochet mat, while the two houses opposite seem to float in the water itself. In the foreground on the right a delicate, ornamental chair, its seat tipped upright defying any sort of perspective, appears to have a transparent back made of the brickwork against which it rests. To

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the right, a decorative urn supports a dense clump of bright yellow flowers. Hodgkins was particularly fond of this acidic colour, which found its way into many of her paintings. Flower-draped arbours also appealed, their arched shapes anchoring combinations of abstracted leaves and flowers, framing the view of the river or landscape beyond. It is possible that the arbour included in 1926 (https://completefranceshodgkins. com/objects/26452/river-severn)appears again in Enchanted Garden 1932, https:// completefranceshodgkins.com/objects/26393/ enchanted-garden) where its form is distorted horizontally to provide a broader view of the river and its pleasure boats. In Side Entrance she stretches the arbour vertically to emphasise the narrow gap between the two buildings and soften their angularity. The pink of the roses entwining the arbour migrates as a rosy blush of watercolour on the brick wall to the right. The black crosshatching to the left also appears in other Bridgnorth watercolours, and the urn of flowers and spindly garden chair are also reminiscent but not imitative of similar elements as well. There is a delicious, dreamy aspect to Side Entrance, suggesting that it might have been worked up in her studio from earlier sketches, weaving objects from memory to create a scene that gave her pleasure. Her friend and supporter Geoffrey Gorer also delighted in this kind of composition. Reviewing the Lefevre exhibition, he noted; From her world human beings are almost excluded, but not their products. . . In nearly all Frances Hodgkins’ pictures there is the open air, the landscape, objects either natural or manufactured… which contrast or harmonise with and accent the landscape in which they are placed… With her colour magnificent and free Frances Hodgkins surveys the world of nature and objects, and by the colour transforms it so that it renders an emotion intensely felt and vividly communicated — an emotion sometimes grave and dramatic, but more often gay with the slightly inhuman and profound gaiety of an innocent demiurge who looks on the world he has created and sees that it is good. Geoffrey Gorer, The Art of Frances Hodgkins’, Listener 17 November 1937, pp108 2-3. Reproduced in Art New Zealand, March 1938, pp 160 -3. MARY KISLER

PROVENANCE Collection of the late Dr Richard (Dick) Bomford, UK Purchased from Alex Reid & Lefevre (The Lefevre Galleries), Original Lefevre Galleries label affixed verso

EXHIBITED New Paintings and Watercolours, Alex Reid & Lefevre, (The Lefevre Galleries), 1937 The Complete Frances Hodgkins catalogue raisonné no. FH1316

FRANCES HODGKINS (1869 - 1947) Pergola, c.1936 Gouache on paper 72.3 x 53.3 Signed $100,000 - 200,000 PROVENANCE Collection of the late Anthony Tuer Shawcross Purchased from Alex Reid & Lefevre, (The Lefevre Galleries), Original Lefevre Galleries label affixed verso EXHIBITED New Paintings and Watercolours, The Lefevre Galleries, 1937 To be included in The Complete Frances Hodgkins catalogue raisonné

Pergola was exhibited in New Paintings and Watercolours by Frances Hodgkins at the Lefevre Galleries between October and November in 1937, alongside Side Entrance, c. 1932. A complex composition, it is derived from the highly productive time Hodgkins spent at Tossa de mar on the Costa Brava (Wild Coast) in northern Spain from midSeptember 1935 to early summer 1936. There was a strong Parisian presence among the summer guests, who loved the sparkling blue sea and brilliant skies, Marc Chagall christening it a ‘Blue Paradise’ while Dora Maar photographed her intellectual friends perched on the edge of brightly painted fishing boats pulled up on the shore. Once the autumn winds started to blow, most preferred to return home. But Hodgkins was made of sterner material, the more isolated months giving her the quiet she needed to focus on her compositions without too much interruption. The sweeping curve of the main bay, La Pauma (La Palma), lies spread out below pine-covered hills that rise above the village, marked at one end by the castellated ruins of Vila Vella, the sole remaining medieval fortification on the Catalan coast. When she wasn’t recording its imposing structure, Hodgkins preferred the isolation at the opposite end of the bay, not least when the river, which dried up in the summer months, burst forth once temperatures cooled. Its flow was vital for irrigating the patchwork of fields that provided much of Tossa’s food supply. Hodgkins was drawn, not to the flat rows of vegetables, but rather the infrastructure that supported their growth. Her time in Tossa de mar was extremely productive for Hodgkins, inspiring at least a dozen of the major paintings included in the Lefevre exhibition the

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following year. Pergola is a delight to study, as its location has been unknown until recently. Its subject matter makes witty references to several major works from the 1930s, each painting more refined than the last. Hodgkins first introduced the pergola motif into watercolours painted in St Tropez in 1931, producing an internal floral frame for a local woman washing garments at an outdoor sink., while in several English watercolours in the intervening years, including Side Entrance, it draws the eye through to the view beyond. In Pergola the title is given to a heavily pruned tree on the left-hand side, its arch of truncated branches framing a lone white building. You can always tell when Hodgkins feels on top of her game, for the house takes on an anthropomorphic quality, its unevenly placed windows serving as eyes that gaze quizzically back at us. Floating around but not attached to the pergola are vegetal forms suggestive of seeds, gourds, and marrows, interspersed by white curlicues that rise like wisps of smoke that appear to be ‘embroidered’ on the surface. Patches of ‘blanket stitch’ on the pruned branches heighten this effect. The river itself flows under the bridge in front of the house before being briefly captured in the lavadero in the foreground, where fishermen’s wives gathered daily, scrubbing their washing on the flat tops of the broad stone walls. While Hodgkins has consciously avoided the introduction of such figures into her Tossa paintings, her letters of the time attest to the women’s presence. [https://completefranceshodgkins.com/ objects/29967/letter-from-frances-hodgkins-todorothy-selby] A water barrel on the right, which would have been filled by hand to aid the villagers’ endeavours, stands guard on the right of the wall, while the water, having served its purpose, then gushed beneath the walls before spreading its largesse over the expanse of the beach before reaching the sea. Buildings and walls allowed Hodgkins to introduce reminiscences of Cubist forms, this treatment possibly influenced by the ‘Parisian’ element of Tossa’s summer population. Either side, looking like Indian wigwams, are paller or haystacks, the hay being packed around a central tripod of bamboo. They can be seen in several Tossa paintings, including Spanish Landscape with Stooks in Grey and Pink and Spanish Landscape in Orange, Brown and Green, although in the latter they are to be clad in their freshly cut mantle. Beautifully constructed, its sombre palette of browns and greens lifted by sparkling blues and whites reflective of the local marine environment, Pergola is a masterpiece. MARY KISLER

If Hodgkins’ watercolour of Caudebec-en-Caux demonstrated her skilled handling of the medium and celebrated a type of impressionist approach to landscape, the 1920s saw a marked change of approach. The fishing villages on the French Riviera played a major part in Hodgkins’ ongoing development as a modernist. After staying briefly in St Tropez at the beginning of December 1920, Hodgkins moved west to Cassis before settling for some time in Martigues. Since the 19th century, these villages have been a favoured location for artists, Martigues particularly favoured by André Derain, Raoul Dufy, Camille Corot, and Matthew Smith. Even today Martigues remains a resolute little fishing village, charming when bathed in the warm Mediterranean sun but also prone to being swept by the fierce dusty winds that make their way across north Africa before depositing their grit on its local streets, while surprisingly crisp in winter, when Hodgkins chose to work there. The port sits at the mouth of a huge lagoon known as l’étang de Berre, which makes its way to the sea by way of the Caronte canal. In the port itself, today the original five narrow islets are linked by bridges, making it easy to walk the tiny distance from one strip of land to another. In a letter written to Rachel Hodgkins when Frances first arrived, she noted; Martigues is called the Venice of France. . . A rather grandiloquent name for a very dirty little fishing village, on one of the indefatigable mouths of the Rhone, a few miles to the westward of Marseilles – it’s as filthy as it’s picturesque. . . We thought this a more suitable place for pupils & cheaper & less out of the way and a good half way stage before we push further South towards Spain. . . The food is wonderfully good – floors are cold – light poor, but the dear sun which makes up for all… https:// completefranceshodgkins.com/objects/29522/ letter-from-frances-hodgkins-to-rachel-hodgkins Her more experimental watercolours, however, were all created en plein air, in which she developed a new approach to working with colour, spurred by the cheerful simplicity of her setting. Colour resonates in Martigues, not least in the smaller islets, but the most popular location to set up an easel is Le Miroir aux Oiseaux, or Mirror of Birds.

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A small L-shaped inlet leading off the mouth of one of the canals, artists are attracted to its sheltered location and the effects of the sparkling water when the sun shines. Wrapped around Le Miroir is the Quai Brescon, lined by fisherman’s cottages painted in various hues, either on the whole façade or gaily outlining windows, doors, and shutters. These colours are reflected in the fishermen’s boats, riding at anchor. While Hodgkins’ simplified forms suggest aspects of the Cubist movement in Paris, she was reminded of the simple architecture which had captured her imagination in Morocco in 1901-02, and the way in which their forms are accentuated by the strong Mediterranean light. In Venetian Lagoon, she has rapidly blocked in the patterns of earthenware tiles on roofs, while simplifying the arches of L’Eglise SainteMadeleine-de-l’Île (the Church of St Madeleine of the Island) which can be made out on the left in the background, and the curving forms of the fishing boats drawn up beside the Quai, their brightly painted hulls echoing the myriad colours of windows and doors in the background. Furled sails on the boat on the right provide animation, while an angled wooden mast divides up the structure of the church. But there is another innovation here, which was to become a leitmotif of her Martigues paintings in the five visits made to the village from 1921 – 31. Unlike most fishing ports, which have a constant flow of boats entering and departing port, Le Miroir gets its name from its glassy surface, undisturbed for much of the day once boats have set out to work. What Hodgkins now sought to capture was the effect of reflections on her compositions, as illustrated in the central section of Venetian Lagoon. At each visit throughout the 1920s, she continued to explore the opportunities provided by their shimmering effects, and the contrast they provided with their bustling surroundings. MARY KISLER

FRANCES HODGKINS (1869 - 1947) ‘Venetian Lagoon’ Martigues/France Watercolour 41 x 47 Signed $50,000 - 75,000 PROVENANCE Collection of Helen Stewart, artist Purchased from 47th Annual Exhibition, Academy of Fine Arts Wellington, 1928 Collection of Mrs Louise Ryan, Helen Stewart’s niece. Inherited from the Estate of Helen Stewart, 1983 Held in the family of Mrs Louise Ryan since her death in 2012

EXHIBITED 47th Annual Exhibition, Auckland Society of Arts, Auckland 1928 47th Annual Exhibition, Academy of Fine Arts, Wellington, 1928 48th Annual Exhibition, Auckland Society of Arts, 1929 REFERENCE Frances Hodgkins database number FH0679 completefranceshodgkins.com

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Watch Mary Kisler discuss these works by frances hodgkins

FOLLOW THE LINK https://www.youtube.com/watch?v=IK1ZLkcnT7Q

WILLIAM MATTHEW HODGKINS (1833 - 1898) Mt Cook from the West Watercolour 49.5 x 74.5 Signed & dated 1892 $10,000 - 20,000 PROVENANCE Ferner Galleries, label affixed verso

ANN SHELTON (b. 1967) Frederick B. Butler Collection, Puke Ariki, New Plymouth, Scrapbooks from: Messenger A.H. Historical Articles (espec Taranaki) 1953 April – 1954 July to Air 1955 March – April. 2006 C Type print, edition of 3, 136.5 x 96.5 $7,500 - 10,000 EXHIBITED A Library to Scale, Govett Brewster Art Gallery, 28 July - 9 September 2007 Ann Shelton Dark Matter, Auckland Art Gallery Toi o Tamaki 26 Nov 2016 — 17 Apr 2017 ILLUSTRATED A Library to Scale, Francis Pound, Howie Matill, Rim Books Publishing 2006.

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ALGERNON NEWTON (1880 - 1968) Under a Cloud Shadow Oil on board 19 x 29.5 Signed $8,000 - 12,000 PROVENANCE Private Collection, Hawkes Bay

There is beauty to be found in everything, you only have to search for it; a gasometer can make as beautiful a picture as a palace on the Grand Canal, Venice. It simply depends on the artist’s vision. Algernon Newton

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FELIX KELLY (1916 - 94) Takapuna Tramway, 1942 Tempera on card Signed & dated 1942 $6,000 - 10,000 PROVENANCE Collection of the late Dr Richard (Dick) Bomford, UK Purchased from Alex Reid & Lefevre (The Lefevre Galleries), King Street, London 1942 ILLUSTRATED plate 10, Paintings by Felix Kelly, Introduction by Herbert Read

Felix Kelly left New Zealand in 1935 aged 21. He never returned. It was not so easy to take New Zealand out of Kelly however. Although he established a reputation in the UK and USA as a Neo-Romantic painter of grand houses in the landscape for rich clients, Kelly continued to produce the occasional, increasingly strange recollection of his home country. Takapuna Tramway was painted seven years after his departure from New Zealand. It reflects his life-long infatuation with motorised transport. Trains, trams, paddle steamers, abandoned traction engines, were regulars in his work. Though he grew up in Remuera, as a boy Kelly made frequent trips by ferry to the North Shore

to visit friends, the Suter sisters, at their holiday home at Milford Beach. He knew the Takapuna tramway well. As late as the 1960s he wrote to the Takapuna Council, requesting pictures and details of old North Shore locomotives and of the Mon Desir Hotel. In this painting, the energetic vehicle clatters its way to the Milford terminus observed by a pair of nuns in an adjacent graveyard. Leafless trees gesticulate against a sombre sky. Even the church on the hill looks on aghast, partly because it has been transported from some English county to an alien setting of overhead power-lines and factory chimneys. Most of it is nothing like the Takapuna of Kelly’s childhood. DON BASSETT

SIR GRAHAME SYDNEY (b. 1948) Away to the South Oil on linen 84 x 140 Signed $100,000 - 130,000 PROVENANCE Collection of Hangings Art Group, Dunedin Purchased directly from the artist, 1993 ILLUSTRATED p. 123 Timeless Land, Longacre Press 1995

The Hangings Art Group was formed in 1993 with the sole objective to purchase artworks from the current Frances Hodgkins Fellowship, preferably from the year they were the Fellow. The Frances Hodgkins Fellowship was established in 1962, and is now one of New Zealand’s premier arts residencies. The position is based at the University of Otago in Dunedin, and is awarded annually. The fellowship was created to encourage painters and sculptors in the practice and advancement of their art, to associate them with life in the University, and at the same time to foster an interest in the arts within the University. The Frances Hodgkins Fellowship is named after painter Frances Hodgkins (1869–1947) who was born in Dunedin. Twenty three works of art were acquired over the thirty six year period. Due to current circumstances and delays, remaining deaccesions from the group will be offered in a timed online auction on our Bidding Platform and App in the coming months.

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Sir Grahame Sydney KNZM has become one of New Zealand’s most significant and enduring artists. Awarded an ONZM in 2004 and then knighted in 2021 for services to the Arts, his work spans five decades and encompasses oils, watercolours, egg tempera, lithographs, etching and photography. Rarely exhibiting, Grahame’s works are held in private collections through-out the world and represented in the collections of New Zealand’s major galleries and museums. Always a meticulously slow worker, he generally produces no more than six works a year. Away to the South is painted in the Ranfurly, Ophir Central Otago region. Sydney is a clever magician who plies his craft with great skill and subtlety, making paintings that are seemingly simple, but their plain reality tenders deeper emotions than simple recognition. You don’t just see the land here, you feel it… these hills, these skies give us a voice that is unique, a voice that is evoked by the art of Grahame Sydney. It is the voice of us all - Keith Stewart, Art Critic

SIR GRAHAME SYDNEY (b. 1948) St Bathans Downs Road 2 Oil on linen 50.5 x 60.5 Signed & dated 2010 $60,000 - 100,000 PROVENANCE Private Collection, Otago EXHIBITED Grahame Sydney: Down South Recent Paintings 2001 - 2011 Pataka Museum of Arts and Cultures, 2011/2012

Grahame Sydney: Down South Recent was a survey of Grahame Sydney’s landscape paintings of the decade 2001 - 2011. St Bathans Downs Road 2 featured on the front cover of the exhibition catalogue. It was the artist’s first major public exhibition since On the Road, which toured New Zealand, including Pataka Museum of Arts and Cultures, in 2000. Sydney’s chosen subject matter is Central Otago where he lives in the Cambrian Valley. His luminous, transcendent paintings capture the silent beauty of the landscape with its vast open spaces, treeless tussockclad hills, snow covered mountains and endless skies. They eloquently express his lifelong passion for the area. The consistency of his vision affirms his deep sense of connection to the region. In an interview at the time Grahame Sydney said; It’s difficult to explain why. I just love it in a deep and compelling way. I really don’t need to be anywhere else.

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Sydney has become the definitive painter of Otago’s landscape – you can’t see Central Otago now without being reminded of his work. Sydney paints landscapes that have a deep and particular meaning for him – old, weathered, ‘muscular’ landforms that he knows and understands intimately. The Dunstan Range, Mt St Bathans and the Hawkdun Range, the visual backdrop to his home in the Cambrian Valley constantly recur in his paintings. He revisits them over and over again, never tiring of painting them in a seemingly infinite variety of incarnations. The artist stated; I like paintings to come out of an absolute emotional connection and that builds up over a long time – years and decades sometimes.

SIR GRAHAME SYDNEY (b. 1948) Circus Oil on linen 70.5 x 121.5 Signed & dated 1992 $60,000 - 80,000 PROVENANCE Private Collection, Christchurch REFERENCE A watercolour study of this work is illustrated p.72 The Art of Grahame Sydney, Grahame Sydney, Michael Findlay, Brian Turner, Belinda Jones, Reg Graham, Longacre Press Ltd, Dunedin 2000

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ANNA LOIS WHITE (1903 - 1984) Spring Oil on board 85 x 35 Signed & inscribed Spring verso $70,000 - 90,000 PROVENANCE Collection of Alison Disbrowe (Artist’s niece) until 1996 Traditional & Contemporary Art Auction International Art Centre, 23/04/1996 Private Collection, Auckland EXHIBITED By the Waters of Babylon The Art of A. Lois White Auckland City Art Gallery, 1995 Original Auckland Art Gallery exhibition label affixed verso

Throughout her life Lois struggled to reconcile two sides of her personality: the God-fearing dutiful daughter and the creative artist. She grew up in a financially comfortable middle-class family, and was encouraged in her artistic and intellectual pursuits by her father. During the 1930s and early 1940s Lois White was considered a mainstream Auckland artist with a significant national profile. Many of her figurative compositions were reproduced in local newspapers and the topical allegory of her work was commented on in reviews. Her most controversial painting, ‘War makers’ (1937), is a much-reproduced example of the anti-war commentary she concentrated on during these years. By the late 1930s the war series were interspersed with religious and female allegories, portraiture and mural commissions. The female allegories, modelled on friends and students in symbolic guise, were a consistent attempt to articulate a celebratory approach to female-centred sexuality. They were recognised at the time as lively and vigorous, but nonetheless decorative; their real importance within the body of her work did not fully emerge until her retrospective exhibition, organised by the Auckland City Art Gallery, in 1994.

of the extended range of art materials available in the post-war years. It was also a time when her reputation in Auckland began to fade. Many of her most accomplished paintings were painted and exhibited with the New Group, which she helped form in 1948. These Elam-trained artists were interested in figuration and thorough draughtsmanship, and their work was regarded as a conservative reaction to that of younger artists who were discovering modernism and developing semi-abstract and abstract art. Colin McCahon, keeper of the Auckland City Art Gallery collection from 1954 to 1964, curated a number of contemporary painting exhibitions, but White’s interest in symbolism and her mannered style of representation guaranteed her exclusion from these exhibitions. Without the support of an appreciative audience she became disconsolate and her production declined significantly. Working on at Elam, despite feeling embattled, she was one of the last of the old guard of Fisher’s regime to retire from the school. Two years before her retirement, she and Ida Eise spent a year in Europe, visiting numerous galleries and churches. In 1975 the Wellington dealer Peter McLeavey called at the Blockhouse Bay house White shared with her sister. He was greeted by an artist who thought of herself as ‘old fashioned’. Many of her early compositions were stacked in her studio and garage. In 1977 McLeavey organised White’s first solo exhibition and brought her work to the attention of the galleries and collectors. She was 74 years old. Lois White died in Auckland on 13 September 1984. Her position and individuality in New Zealand art had been obscured by critics linking her work with that of A. J. C. Fisher, and their insistence on viewing her painting within the criteria of modernism. However, her contribution has been reappraised through the 1977 and 1994 exhibitions, the latter revealing the full range of her art. NICOLA GREEN ‘White, Anna Lois 1903 - 1984’ Dictionary of New Zealand Biography, updated 16 December 2003 URL: http://www.dnzb.govt.nz/

The years from 1947 to 1951 marked White’s major period of production. Her painting technique was highly refined and her palette took full advantage

LATE ENTRY LOT 60A 60A

ANNA LOIS WHITE (1903 - 1984) Decoration Varnished watercolour 32 x 25 Signed verso 18,000 - 26,000 PROVENANCE Private Collection, Auckland since painted EXHIBITED Auckland Society of Arts, year unknown

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LATE ENTRY LOT 60A 87

CHARLES BLOMFIELD (1848 - 1926) White Terraces Oil on canvas 43 x 58 Signed & dated 1896 $40,000 - 60,000 The original oak frame was made by Charles Blomfield’s brother Includes the original 32 x 66 cm gold leaf sign made by Charles Blomfield that hung in the window of his Victoria Arcade, Auckland studio and signed first edition copy of Charles Blomfield His Life and Times, Muriel Williams, Hodder and Stoughton, 1979 PROVENANCE Collection of the late Muriel Williams Collection of artist’s daughter Bessie Blomfield, a 21st Birthday gift from her father, Charles Blomfield. The painting has remained in the Blomfield family collection since 1896 and now comes to market for the first time in 126 years ILLUSTRATED p. 72 Charles Blomfield His Life and Times, Muriel Williams, Hodder and Stoughton, 1979.

The rarest and most unusual view of the White Terrace, this perspective was painted by Charles Blomfield while standing in the hot water pools at the bottom of the White Terrace, during his 6-week camping excursion at the sites of the Pink and White Terraces, Lake Rotomahana Rotorua, in the January and February summer of 1885, along with his eldest daughter, 8-year-old Mary, just prior to the Tarawera Eruption on 10th June 1886. This is a direct scale painting of his 1885 original, and was completed in his studio in Victoria Arcade, Auckland. This particular painting was chosen by his daughter Bessie Blomfield for her 21st birthday in 1901, subsequently passed down to Bessie’s daughter Muriel and took pride of place in the Muriel Williams personal collection.

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Charles Blomfield has long been recognised as the pre-eminent early New Zealand painter of the Pink and White Terraces and the surrounding region of Rotorua and Lake Tarawera. Blomfield’s meticulous sketches and paintings are some of the most important historical records we have of the region. The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka Stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached white appearance. The White Terrace were the larger of the two formations, covering in excess of three hectares. They were reportedly the largest silica sinter deposits on earth.

The blank area in the middle of sign advertised opening hours and exhibition details

MELVIN DAY (1923 - 2016) Initium Oil and encaustic on canvas 122 x 152 Signed & dated 1982 $10,000 - 20,000

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JEFF THOMSON (b. 1957) Feather Corrugated iron 215 x 46 Signed & dated 2016 $5,000 - 7,000

GRETCHEN ALBRECHT (b. 1943) Allotment / Fitzroy Watercolour 57.5 x 75 Signed, inscribed To Bob with love, Gretchen & dated 1984 $7,000 - 11,000

PROVENANCE Ex Collection of artist Bob (Robert) Jacks

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TONY LANE (b. 1949) Lacrimosa Gesso & oil on board 140 x 230 Signed, inscribed Lacrimosa & dated 2004 verso $30,000 - 40,000 PROVENANCE Private Collection, Queenstown Purchased from Nadene Milne Gallery Arrowtown, 2004

The Lacrimosa (Latin for weeping/tearful) is a name derived from Our Lady of the Sorrows, a title given to the Virgin Mary, as the bereaved mother of Jesus. It is part of the Dies Iraesequence in the Roman Catholic Requiem Mass. The text is taken from the Latin 18th and 19th stanzas of the sequence. Composers, including Mozart and Verdi have set the text as a musical movement of the Requiem Mass.

PETER MCINTYRE (1910 - 95) Gold Mining in Central Otago Oil on pinex board 130 x 280 Signed $50,000 - 75,000 Includes custom made wooden transport / storage case PROVENANCE Collection of The Ranfurly Veterans’ Trust and Auckland RSA These paintings hung in the dining room of Ranfurly House, Auckland

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PETER MCINTYRE (1910 - 95) Cobb and Co Oil on pinex board 130 x 280 $50,000 - 75,000 Includes custom made wooden transport / storage case PROVENANCE Collection of The Ranfurly Veterans’ Trust and Auckland RSA

FATU FEU’U (b. 1946) Taporoporo Mixed media on canvas 147 x 120 Signed, inscribed Taporoporo Apopo & dated 2002 $10,000 - 15,000 PROVENANCE Private Collection, Auckland since 2000 Warwick Henderson Gallery

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RALPH HOTERE (1931 - 2013) Window in Spain Graphite and watercolour on paper 33 x 24 Signed, inscribed Window in Spain & dated 1978 $12,000 - 16,000 PROVENANCE Warwick Henderson Gallery

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RALPH HOTERE (1931 - 2013) In a dream of Snow Falling Lithograph edition 8/24, 76 x 58 Signed, inscribed & dated 1991 $8,000 - 12,000

STEPHEN BAMBURY (b. 1951) Model Painting (Advaita) Acrylic & oxidised copper leaf on seven aluminium panels, top and bottom measuring 91 x 101, five middle 71 x 101 panels - overall size 537 x 101 Includes transport / storage case Signed, inscribed Model Painting (Advaita) & dated 1993 verso $50,000 - 75,000 PROVENANCE Commissioned for a house designed by Pip Cheshire in the early 1990’s

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JOHN REYNOLDS (b. 1956) Other Shores Mixed media collage on paper 194 x 272 Signed, inscribed & dated 1988 $5,000 - 10,000

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DICK FRIZZELL (b. 1943) No Sweat Oil on board 75 x 61 Signed & dated 18/5/98 $8,000 - 12,000

SANDY ADSETT (b. 1939) Whakamori, On the Edge Acrylic on board 122.5 x 150 Signed & dated 1998 $4,000 - 6,000 PROVENANCE Purchased directly from the artist, 2001

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MICHAEL SMITHER (b. 1939 ) Untitled Trees Oil on board 22 x 35 Signed & dated 1964 $6,000 - 8,000 PROVENANCE Estate of Geoff Fairburn arts, music and literature critic for the Waikato times Acquired directly from the artist, 1964 75

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FRANCIS MCCRACKEN (1879 - 1959) The Quayside, Concarneau Oil on canvas 46 x 54 Original William Hardie Limited, Glasgow label affixed verso $12,000 - 16,000

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IVY GRACE FIFE (1905 - 76) Cass Oil on board 35 x 45 Signed $4,000 - 6,000

JOHN WEEKS (1888 - 1965) Still Life Oil on board 40 x 29.5 Signed $4,000 - 6,000

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79 PROVENANCE Lots 79 - 82 Collection of the late entrepreneur Pamela Williams QSO (1933- 2021). Williams was the founder of Wanganui Seafoods, one of the largest seafood export businesses in New Zealand. She also co-founded five other businesses, including Air Wanganui.

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A generous philanthropist Pam contributed to the Sarjeant Gallery Te Whare o Rehua Whanganui, Whanganui Collegiate School and to numerous other community organisations. Williams was inducted into the New Zealand Business Hall of Fame in 2017.

JOHN GULLY (1819 - 1888) Mount Taranaki Watercolour 46.3 x 83.7 Signed & dated 1868 $20,000 - 30,000

JOHN GULLY (1819 - 1888) Mount Fyfe from Kaikoura Watercolour 34.4 x 62 Signed & dated 1885 $15,000 - 20,000

CHARLES DECIMUS BARRAUD (1850 - 1897) Central Otago Lake and Mountain Scene, with Drovers in Foreground Watercolour 35.5 x 76.7 Signed & dated 1876 $12,000 - 18,000

LAURENCE WILLIAM WILSON (1850 - 1912) Shallow Bay, Lake Manapouri Watercolour 38 x 68.5 Signed & inscribed $6,000 - 8,000

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CHARLES NATHANIEL WORSLEY (1862 - 1923) Entrance, Nelson Harbour from Port Hills Watercolour 74 x 125 Signed $8,000 - 12,000 PROVENANCE Private Collection, Melbourne

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JOHN GULLY (1819 - 1888) Maori Bush Fowlers Watercolour 45 x 60 Signed & dated 1881 $8,000 - 12,000 PROVENANCE Private Collection, Wellington

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RAYMOND CHING (b. 1939) New Zealand Scaup (Aythya novaeseelandiae) Watercolour 37 x 55 Signed and dated 1964 $5,000 - 10,000

RAYMOND CHING (b. 1939) Little Blue Penguin Watercolour 70 x 50 Signed $10,000 - 15,000 ILLUSTRATED p. 49 New Zealand Birds - An Artist’s Field Studies, Paintings Drawings & Text by Raymond Ching Graham Turbott Esq, Reed Methuen 1986

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GARTH TAPPER (1927 - 99) Rugby Players, East Coast Oil on canvas board 110 x 94.5 Signed & dated 1990 $10,000 - 15,000

While harnessing the expressive capacity of monochromatic grey was an impressive skill of Tapper’s, he also revelled in the liberal use of colour. This is clearly so in Rugby Players, East Coast, where clarity of palette has been replaced by an emergent quasi-cubist chaos, and spatial logic abandoned. A Ruatoria match plays out in full force, with monumental figures physically clashing. Though pictured as hulking and in motion, the players appear to each be looking in different directions, almost arrested in mid-air by their thoughts. Throughout his career Garth Tapper developed aspects of both cubism

GARTH TAPPER (1927 - 99) Preview Oil on hardboard 44 x 58.5 Signed & dated 1977 $6,000 - 8,000

and formal realism in his work. The application of these different styles is reflected in these two paintings. However, it was the artist’s choice of subject matter and his ability to capture cultural snapshots and insights into New Zealand life which set his work apart. Tapper excelled in capturing the essence and energy of his subjects, weather it be sports matches, get-to-gethers at the local pub, the drama of the law courts or scenes from rural life, he had the ability to go to the heart of the matter, instilling his work with an enduring sense of nationally resonant truth.

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GEORGE O’BRIEN (1821 - 88) Lake Rotomahana Watercolour 57 x 78.5 Signed $8,000 - 12,000

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MARGARET OLROG STODDART (1865 - 1934) Primroses Watercolour 24 x 35 Signed & dated 1899 $8,000 - 12,000

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SAMUEL COLERIDGE FARR (1827 - 1918) Otago Foreshore Oil on canvas on board 29.5 x 44.5 Signed & dated 1903 $5,000 - 8,000

SAMUEL COLERIDGE FARR (1827 - 1918) Otago River Oil on board 22 x 30 Signed $5,000 - 8,000

CHRISTOPHER AUBREY (1830 - 1902) The Arrival of Cook Watercolour 27.5 x 48 Signed $18,000 - 25,000

SIR WILLIAM FOX (1812 - 93) Near Westoe, Rangitikei Watercolour 34 x 24 Signed & dated 1860 $10,000 - 15,000 94

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GUY NGAN (1926 - 2017) Dynamic Geometry II Acrylic on board 120 x 120 Inscribed on artist’s label affixed verso $15,000 - 20,000

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ROY GOOD (b. 1945) Diamond Series No. 30 Acrylic & varnish on gesso on board 120 x 120 Signed, inscribed & dated 2004 verso $6,000 - 8,000

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OLIVIA SPENCER BOWER (1905 - 82) Woman Playing Piano Pencil on paper 54 x 41.5 Signed $4,000 - 6,000

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EDWARD BULLMORE (1933 - 78) Nude Acrylic on paper 70 x 52 Signed $4,000 - 6,000

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PETER MADDEN (b. 1966) Miss Snow, 2015 Mixed media collage 85 x 66 $14,000 - 20,000 PROVENANCE Private Collection, Auckland Purchased from exhibition Peter Madden, And Then it Broke the Mysterious Crystal of its Inertia 16 Ivan Anthony Gallery September – 9 October, 2015

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JEFF THOMSON (b. 1957) New Zealand Corrugated iron with spray paint & gold foil, three pieces 115 x 52 Signed & dated 2018 verso $4,000 - 6,000 PROVENANCE Private Collection, Auckland

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PRO HART (Australian 1928 - 2006) Creek Crossing Oil on board 45 x 60 Signed Inscribed Creek Crossing verso $4,000 - 6,000 PROVENANCE Private Collection, Wellington Purchased at an exhibition in Canberra 31/05/2000

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VERA CUMMINGS (1891 - 1949) Maori Girl with Tiki Oil on canvas 22 x 17 Signed $8,000 - 12,000

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JEFFREY HARRIS (b. 1949) The Jewess Pastel on paper 15 x 22 Signed & dated 1976 $2,500 - 3,500

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JEFFREY HARRIS (b. 1949) Untitled, 1975 Acrylic on paper 12 x 16.5 Signed & dated 1976 $2,000 -3,000

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JEFFREY HARRIS (b. 1949) Loves Curse Ink on paper 13.5 x 20 Signed & dated Feb 1976 $1,000 - 1,500

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KARL MAUGHAN (b. 1964) Kewbed Oil on paneled box 41.5 x 31.5 Signed & dated 2007 $4,000 - 6,000

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FIONA PARDINGTON (b. 1961) Talia’s Bouquet, Snuffed Candle and Pounamu Arahura, from McCahon Residency, 2013 Pigment ink on Hanemuhle photo rag, edition of 10, 41 x 54 Artist’s label affixed verso $8,000 - 12,000

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FIONA PARDINGTON (b. 1961) Still Life with Pearls and Whangai Karoro, 2011 Pigment ink on Hanemuhle photo rag, edition of 10, 43.3 x 65 $8,000 - 12,000

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Important & Rare Art

COLLECTABLE ART

Important & Rare Art auctions are the proven,

The buzz generated by our Collectable Art auctions

pre-eminent sale category for major works of art

reflects the popularity of these sales: an event at

offered for sale in New Zealand. These auctions take

which seasoned connoisseurs and budding collectors

place three times annually. Now in our 51st year in

alike converge to appreciate one of the most eclectic

business, experience continues to equal results.

and diverse offerings available to the market. Works

2014 saw Important & Rare auctions realise five of

span the vital period from mid-century modernism

New Zealand’s top ten auction prices. The following

through to the cutting-edge of today’s Contemporary

year saw new records set with the two top prices in

art in New Zealand.

Auckland achieved. With the addition of the record $1.7 million paid for a C F Goldie in November 2021

This sale category is an increasingly significant event

sale, International Art Centre achieved the three

in our auction calendar. Offering a number of lower-

highest art auction prices in New Zealand’s history.

priced works from highly-sought after artists in print

Due to an appreciative, and greatly valued clientele of

and edition form, as well as quality works from artists

nationwide and international buyers and sellers we

whose presence on the secondary market is just

look forward to breaking new ground.

beginning to crystallise.

ALWAYS CONSIGNING ENTRIES NOW INVITED 126 IMPORTANT & RARE ART Tuesday 5 April 2022

Single Owner Auctions

ART AT HOME ONLINE only Auctions

From time to time, the secondary market is fortunate

A quick, easy and reliable solution to affordable consignments. During the 2020 nationwide lockdowns we stayed connected to our clients, keeping them close to our art. The time was spent productively, resulting in the development of our own online bidding platform and App, successfully auctioning works of art with no exhibition viewing, no printed catalogue, while using state-of-the-art technology.

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

All transactions were contactless and we reduced our carbon footprint along the way. While the personal service, excitement and atmosphere of our famous live Parnell Road auctions remain and will continue to grow, the success of this online only platform has encouraged us to retain this as a permanent sale category.

years.

CONTACT Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz Maggie Skelton Ph +64 9 379 4010 E. maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz www.internationalartcentre.co.nz 202 Parnell Road, Auckland

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valuation SERVICES www.internationalartcentre.co.nz

International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection.

FRANCES HODGKINS Sea Landscape with Flowers 1932, pencil on paper 470 x 355mm Reproduced courtesy of The Fletcher Trust Collection

International Art Centre | Appointed Valuers of The Fletcher Trust Collection

For valuation enquiries & quotes contact Maggie Skelton maggie@artcntr.co.nz

128 IMPORTANT & RARE ART Tuesday 5 April 2022

202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322

Absentee Bid Form IMPORTANT & RARE ART 6:00pm Tuesday 5 April 2022 I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. I understand my bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.

REGISTRATION NUMBER

We will allocate a bidding number if you don’t already have one

NAME ADDRESS EMAIL

TELEPHONE

LOT NUMBER

ARTIST NAME

MAXIMUM BID $NZ excluding buyers premium

Signature ...........................................................................................

/ 2022

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

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

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Index ADSETT S.......................................................... 74

MATCHITT P..................................................... 45

ALBRECHT G.......................................... 9, 14, 64

MAUGHAN K............................................ 23, 106

AUBREY C.........................................................93

MCCAHON C.....................................................24

BAMBURY S.......................................................71

MCCRACKEN F................................................. 76

BANKSY.............................................................26

MCINTYRE P....................... 37, 43, 46, 47, 66, 67

BARRAUD C D.................................................. 81

MCLEOD A.........................................................17

BLOMFIELD C.................................................. 61

MIRO J.............................................................. 41

BULLMORE E...................................................98

MORRIS SIR C L...............................................49

CHING R...... 31, 32, 33, 34, 35, 36, 38, 44, 85, 86

MRKUSICH M..................................................... 4

COLEY J...............................................................8

NEWTON A....................................................... 55

CUMMINGS V................................................. 102

NGAN G............................................................. 95

DAY M................................................................62

O’BRIEN G.........................................................89

ELLIS R.............................................................. 12

PARDINGTON F................................. 3, 107, 108

FARR S C..................................................... 91, 92

REES F L............................................................28

FEU’U F.............................................................68

REYNOLDS J..................................................... 72

FIFE I G............................................................. 77

ROBINSON A.....................................................15

FONSECA C....................................................... 27

SHELTON A...................................................... 54

FOX SIR W.......................................................94

SIDDELL P...................................................18, 19

FRIZZELL D.................................................. 7, 73

SMITHER M............................................ 6, 25, 75

GIMBLETT M....................................................22

SPENCER B O................................................... 97

GOLDIE C F.................................................29, 48

STODDART M O...............................................90

GOOD R.............................................................96

SYDNEY G............................................. 57, 58, 59

GULLY J................................................79, 80, 84

TAPPER G....................................................87, 88

HARRIS J................................... 21, 103, 104, 105

THOMSON J.............................................63, 100

HART P.............................................................101

VAN DER VELDEN P........................................42

HODGKINS F.................................. 30, 50, 51, 52

WEALLEANS R................................................... 5

HODGKINS W M.............................................. 53

WEEKS J............................................................ 78

HOTERE R.......................................... 1, 2, 63, 90

WHITE A. L.......................................................60

HOYTE J B C.....................................................40

WILKINSON B............................................. 11, 16

HURLEY G......................................................... 10

WILSON L W.....................................................82

KELLY F.......................................................39, 56

WOOLLASTON T........................................ 13, 20

LANE T.............................................................. 65

WORSLEY C N..................................................83

MADDEN P........................................................99

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134 IMPORTANT & RARE ART Tuesday 5 April 2022

NEW PAINTINGS BY

Glendhu Bay, Wanaka | Oil on board | 80 x 150cm | $16,500

BRIAN DAHLBERG NOW AVAILABLE

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202 Parnell Road Parnell Auckland New Zealand | + 64 9 366 6045 | www.internationalartcentre.co.nz | fran@artcntr.co.nz

Lot 21 Jeffrey Harris (detail)

Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre. co.nz before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.internationalartcentre.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.

From the time of lot being sold, such lot will be the responsibility of the buyer.

Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and surname as reference.

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

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

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 4:00pm Friday 8 April 2022 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.

International Art Centre no longer accepts cheques. PROTECTED OBJECTS ACT Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/ nz-identity-heritage/protected-objects/exporting FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. Uber deliveries within the wider Auckland area can also be arranged. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

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Lot 14 Gretchen Albrecht

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