Works from Artists’ Estates &
Collectable Art Tuesday 21 February 2017
Conditions of Sale & A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 4pm Friday 24 February 2017 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected or paid for whilst auction is in progress. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include our buyers premium.
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security. Absentee bids can also be left via our website to registered members. International Art Centre website www.fineartauction. co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises until full payment is made. Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit. Quote the Lot number(s) Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid issues with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost. Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area. OTHER ENQUIRIES +64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz BUYERS PREMIUM 16.5% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 18.98% including GST LOT 23
Works from Artists’ Estates &
Collectable Art 6:30pm Tuesday 21 February
Cover: Lot 69 Peter Siddell
202 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz
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Artists’ Estates & Collectable Art Auction 6:30pm Tuesday 21 February
Viewing Times Wednesday
15 February
10:00am - 5:30pm
Thursday
16 February
10:00am - 5:30pm
Friday
17 February
10:00am - 5:00pm
Saturday
18 February
11:00am - 3:00pm
Sunday
19 February
11:00am - 4:00pm
Monday
20 February
9:00am - 5:30pm
Tuesday
21 February
9:00am - 2:00pm
Absentee Bidding Absentee Bid Form - page 103 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz Conditions of Sale - inside front cover Email bidding instructions info@fineartauction.co.nz Bid via website www.fineartauction.co.nz
202 PARNELL ROAD AUCKLAND PH +64 9 379 4010 31
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Artist Estates
Consign Today
International Art Centre’s decades of experience in the auction arena have been underpinned by the consistent delivery of excellent results for our clients, and over the years we have distinguished ourselves as the trusted, go-to institution for the handling of artist estate sales. Notable artist estates which have in the past been entrusted to International Art Centre include such prominent names as Ida Carey, Douglas Badcock, Gabrielle Hope, William James Reed & John Weeks. Acting with discretion, care and the affordance of specialist expertise, we provide an end-to-end service which guarantees ease of process for the vendor.
The delivery of a bespoke marketing approach which will ensure all works, regardless of value, are presented to their best advantage and achieve their full market potential, are part of the service. For a confidential, obligation-free discussion around our handling of artist estates, and the services International Art Centre offer. Contact: Richard Thomson +64 9 379 4010 richard@artcntr.co.nz Mob. 0274 751071
Illustrated left: Ruth D Brown 1905 - 2002
Gabrielle Hope 1916 - 1962
John Weeks 1886 - 1967 5
Charles F Goldie sold $1,175,000 + bp April 2016 The first painting to fetch over $1million at auction in New Zealand
Alan Ingham sold $28,000 + bp November 2016 (New auciton record)
Important & Rare Consign Today - April 2017 International Art Centre’s Important & Rare auctions are the proven, pre-eminent sale category for major works offered through the New Zealand art market. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw International Art Centre realise five of New Zealand’s top ten auction prices. 2015 saw new records set with the two top prices in Auckland achieved at our Important and Rare auctions. With the addition of $1.377 million April 2016 sale International Art Centre achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of
nationwide
and international buyers and sellers we look forward to breaking new ground.
Contact Richard Thomson richard@artcntr.co.nz M 0274 751 071or +64 9 379 4010
EDWARD BULLMORE Cuban Crisis, 1962 Oil on canvas 76 x 100 Estimate 25,000 - 35,000 7
Gabrielle Hope 1916 - 1962 Works from the artist’s Estate Collection
Gabrielle Hope was born in Lower Hutt, she attended Auckland’s Diocesan School for Girls and studied at Elam School of Fine arts. The mother of two children, she lived in Whitford, Waiheke Island and in 1950 purchased a home in Tohunga Crescent, Parnell. Gabrielle’s wide circle of friends included fellow artists Helen Brown, Jan Nigro, Louise Henderson, Robert Nettleton Field, Eric Lee Johnson, Colin & Anne McCahon and Lincoln Lee. Her subject matter extensively encompasses still lifes, landscapes, figures, animals and portraits. The influence of Picasso, and an admiration of Frances Hodgkins is reflected in Hope’s work as is her fascination with western and eastern occult philosophies and symbolism. From 1946 she exhibited with the Auckland and Hamilton Society of Arts and the Auckland City Art Gallery in 1955/56. From today’s perspective Gabrielle Hope’s work is more vital and modern than ever. There is an uncompromised bravery of brushstroke, a quality of perception leaving no doubt that she was a woman artist ahead of her time. The artist’s early death at just forty six years of age cut short a career of already considerable achievement.
Gabrielle painting at Lake Taupo, 1962
Gabrielle, On the beach, Hawera, c. 1945
A copy of the publication Gabrielle Hope 1916 1962 Lyric Watercolours, Linda Tyler, published by Gus Fisher Gallery, 2008, available with each lot sold. 9
1 GABRIELLE HOPE City Scape from Trafalgar Street, Onehunga Watercolour 57 x 39 Signed & dated 1962 800 - 1,500 Provenance: Artist’s Estate Collection
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GABRIELLE HOPE Winged VW over Waitemata Watercolour 58 x 90 2,500 - 3,500
Provenance: Artist’s Estate Collection 1
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GABRIELLE HOPE Waitahanui River, Taupo Watercolour 37 x 55 1,500 - 2,500
Provenance: Artist’s Estate Collection
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4 GABRIELLE HOPE Seagull and Fish Skeleton, Waiheke island Gouache on paper 43 x 51 Signed 800 - 1,200 Provenance: Artist’s Estate Collection
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GABRIELLE HOPE Watchman’s Rock , Karekare Watercolour 45 x 58 Artist’s Estate Certificate affixed verso 1,500 - 2,500
Provenance: Artist’s Estate Collection 4
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Ruth Dorothy Browne 1905 - 2002 The Forgotten Antipodean - works from the Artist’s Estate Ruth Browne is the matriarch of a rich artistic lineage. Her son is Wellington-based artist Michael Browne, and her grandson is Auckland artist Matthew. Ruth Browne’s love of painting and drawing became well established in her childhood when, on the family farm in North Canterbury, she saw a woman sitting on a hill near their house, ‘doing something’, which, upon investigation, turned out to be painting. Ruth decided this too would be her vocation. Ruth attended Canterbury College of Art, winning two major prizes along with the CCSA Sketch Club’s self-portrait competition in which Rita Angus was also a finalist. During the 1920s and 1930s, a period in which New Zealand women artists flourished, Ruth Browne aligned herself with Olivia Spencer Bower and Mary Hogg. She travelled to England to study at the Slade School of Fine Art, completing her certificate in one year rather than the usual three. From there Ruth made extended painting trips through the English countryside and to Italy. After her return to New Zealand in 1933 she continued to explore landscape painting but, by the early 1960’s, had begun to develop a level of abstraction that culminated in her final, poured abstract works. She was one of few women artists of her time able to support herself financially through painting sales and to pursue her career with professional purpose.
6 Ruth was artistically progressive and brave. Her early abstractions were playful then quickly moved to more atmospheric work employing a limited palette. Possibly influenced by Jackson Pollock’s paintings, Ruth broke free from old restraints and began to use paint with more abandon. There is a sense of intuitive spontaneity and daring quickness, still drawing on organic form and a closeness to nature that always inspired her to paint. Ruth Browne is represented in private and public collections in New Zealand including Te Papa Tongarewa
Ruth in her Eastborne Studio, 1960
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6 RUTH BROWNE Maori’s, 1950 Oil on linen 45 x 52 Signed 1,500 - 2,500 7 RUTH BROWNE Pohangina Valley, 1960 Oil on linen 72 x 82 Signed 2,500 - 3,500 8 RUTH BROWNE Listening In, 1968 Oil on board 40 x 74 Signed 1,500 - 2,500
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9 RUTH BROWNE Mangaweka, 1955 Oil on linen 85 x 100 Signed 2,500 - 3,500 10 RUTH BROWNE Dorset Cottages, 1980 Oil on linen 45 x 55 Signed 1,200 - 1,400 11 RUTH BROWNE Abstract, c.1958 Oil on board 80 x 100 Signed 2,500 - 3,500
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12 RUTH BROWNE Blue Abstract, 1960 Oil on linen 92 x 102 Signed 2,500 - 3,500
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Kase Jackson 1926 - 2002 Works from the Artist’s Estate One of New Zealand’s first abstract expressionist painters, Kase Jackson participated as an invited artist in the Auckland City Art Gallery Festival Exhibition Unit Two and Object & Image, the 1964 group show alongside works by artist friends Colin McCahon, Louise Henderson and Milan Mrkusich. When Jackson showed his works in the United States of America in the mid to late 1960s a work was acquired for the permanent collection of the Windsor Portrait Gallery. He also has works in the Auckland Art Gallery permanent collection as well as the collection of the Bishop of Aotearoa.
Kase photographed by friend Colin McCahon, Hokianga, c. 1958
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KASE JACKSON Rangitoto - Bimbo Jug Gouache on paper 70 x 51 Signed, inscribed & dated 1987 800 - 1,200
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KASE JACKSON Pines August, Craigavon Mixed media on board 74 x 60 Signed & dated 1987 800 - 1,200
15 KASE JACKSON Untitled Oil on board 76 x 105 Signed & dated 1957 1,500 - 2,500
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Gaston de Vel 1924 - 2010 Works from the artist’s Estate Collection Belgium born De Vel spent his student years at the Academie Royal des Beaux Arts, Brussels, which he attended at age 17 from 1941 to 1945. I was taught to paint directly from life, so I could learn to visualise things as an artist in colour, just like the Impressionists. Now these lessons are in my blood, a part of me. One of his most influential tutors was Alfred Bastien, a friend of Claude Monet and John Singer Sargent. Gaston believes he was one of the last painters to have been taught in the classical and impressionistic fashion by a tutor directly involved with some of the leading artists of that movement. In 1960 he arrived in New Zealand from the Belgium Congo with nothing but peace and safety - it was worth losing everything just for that, Gaston said in an interview with the Auckland Star. He was awarded the Kelliher Art Prize in 1968. The 1980s saw several sellout exhibitions in Auckland and at Lewis Paape Gallery, Lower Hutt. Gaston’s work is part of the permanent collection of Dunedin Public Art Gallery.
Gaston at his easel, India, 1998
16 GASTON DE VEL Nude Oil on canvas 50 x 40 Signed & dated 1973 1,000 - 1,500
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GASTON DE VEL Baubigny Village, Burgundy Oil on canvas 37.5 x 45 Signed & dated 2000 1,500 - 2,500
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GASTON DE VEL Baubigny Village, Burgundy Oil on canvas 37.5 x 45 Signed & dated 2000 1,500 - 2,500
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GASTON DE VEL Monument Valley, Utah, USA Oil on canvas 46 x 55 Signed & dated 1990 1,000 - 1,500
20 GASTON DE VEL Jonquils Oil on canvas 41 x 51 Signed & dated 1968 1,000 - 1,500
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21 GASTON DE VEL Hokianga Oil on canvas 37.5 x 45 Signed & dated 1987 1,000 - 1,500 22 GASTON DE VEL Venice Watercolour 30 x 39.5 Signed & dated 1996 800 - 1,200 23
GASTON DE VEL Public Library Building, Christchurch Oil on canvas 37.5 x 45 Signed & dated 1989 1,000 - 1,500
24 GASTON DE VEL Paris Watercolour 30 x 39.5 Signed & dated 1996 800 - 1,200 20
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Ida Harriet Carey 1891 - 1982 Works from the artist’s Estate Collection The works of popular Waikato artist and teacher Ida Carey have received increased market attention over the past few years. During the 1920s whilst based in Sydney, Ida studied with Italian artist Anthony Dattilo Rubbo (1870 - 1955). Best known as a portrait painter, in the 1960s she began a series featuring Maori women with Moko. A versatile artist, Ida was also a competent painter of interiors, landscapes, still life and a series of ballet scenes. She was a founding member of the Waikato Society of Arts, becoming President in 1934. She succeeded fellow artist Ivy Copeland (1895 - 1961) as a lecturer at Auckland College of Education and taught art in several Hamilton schools. Represented: Christchurch Art Gallery, Rotorua Museum, Waikato Museum. A collection of her paintings are on permanent exhibition at Puke Ariki, New Plymouth.
Ida Carey in her Firth Street, Hamilton studio, c. 1971
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IDA H CAREY Mrs Ngati Te Harewa Watson, New Plymouth, Age 89 Oil on board 58 x 50 1,000 - 1,500
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IDA H CAREY Maori Lady with Moko Oil on board 62 x 47 1,000 - 1,500
27 IDA H CAREY Nicotina Oil on board 60 x 45 1,000 - 2,000
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IDA H CAREY Smoko, East Coast Oil on board 45 x 58 Inscribed verso 2,000 - 3,000
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Ida Carey c. 1971 nfs 32
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IDA H CAREY An Elder Statesman Oil on board 60 x 50 800 - 1,200
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IDA H CAREY Ruby and Family, Te Puke - 1973 Oil on board 59 x 60 Inscribed verso 2,500 - 3,500
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0 JOHN WEEKS LTOT Oil waterc 00 x 00 Signed 0000
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John Weeks 1886 - 1965 Works from the artist’s Estate Collection John Weeks was born in Devonshire, England. His family sailed to New Zealand in 1892, arriving when he was aged 6. His parents ran a dairy farm for several years near Te Awamutu, before settling in rural Northcote, Auckland where the family home was to remain. Weeks soon embarked on part-time classes at Elam Art School from 1907-1909 while working as a signwriter. In the years prior to World War I, Weeks visited England with his family, sketched through New South Wales, and took classes at Sydney Technical College. He returned home in 1915 and later enlisted with the New Zealand Medical Corps in early 1917. Returning from Britain in late 1919, the artist entered a busy period exhibiting nationally and attracting attention and praise. He also taught signwriting and lettering classes alongside part-time study at Canterbury College School of Art, then under the directorship of Archibald Nicoll. In 1923 Weeks travelled to Edinburgh where he lodged with the artist Francis McCracken. He attended Edinburgh College of Art, and the Royal Scottish Academy of Painting where he took life classes. Weeks exhibited with the Academy, and in 1924 his paintings featured in the New Zealand display of the British Exhibition at Wembley. The following year Weeks left for Paris, enrolling in André Lhôte’s Académy Montparnasse in 1926. The School attracted many international students keen to learn Lhôte’s approach to art and
Cubism. At this time Weeks painted in a largely Post-Impressionist manner, his subjects often canals and street scenes. Weeks returned again to Lhôte’s Academy with enthusiasm in early 1929 after a long trip through: Algeria, Morocco, Tunisia via the South of France, Italy and Corsica. On his return to New Zealand he began teaching in1930 at Auckland’s Elam School of Art 1930, retiring in 1954. A diverse and well-respected artist, he was widely regarded as the leading painter and teacher in Auckland in the 1930s and 1940s, and a significant figure in national art. Many artists, including Louise Henderson, sought his advice. Weeks lost around 200 works in a fire at Elam in early 1949. He continued to paint while teaching, caring for his father and managing the family property. In 1954 he took part in the Auckland Art Gallery’s Object and Image exhibition along with Louise Henderson, Colin McCahon, Milan Mrkusich, Ross Fraser and Michael Nicholson. A touring retrospective exhibition of Week’s work, beginning was held in 1955. Ronald O’Reilly, Christchurch City Librarian and art critic, deemed it … a magnificent and monumental show. Weeks received an O.B.E for his services to painting in 1958. Kyla Mackenzie
John Weeks photographed by Herbert Tornquist, 1962
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31 JOHN WEEKS Algiers Pastel on paper 30 x 14 Inscribed 800 - 1,200
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JOHN WEEKS Untitled Landscape Oil on board 24.4 x 34.7 Weeks O’Connor inscribed in pen verso 1,500 - 2,500
33 JOHN WEEKS Full Moon Watercolour 10.5 x 10 Signed 1,000 - 2,000
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JOHN WEEKS An Archway Pastel on paper 32 x 17.5 800 - 1,200
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JOHN WEEKS In the Shade, Algiers Pastel on paper 30 x 23 Signed & inscribed 800 - 1,200
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JOHN WEEKS Tlemcen, Algeria Pastel on paper 30 x 23 Signed & inscribed 800 - 1,200
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JOHN WEEKS By the Seine, Paris c. 1926 Watercolour 21 x 29.5 Certificate of Authenticity from Artist’s Estate affixed verso 800 - 1,500
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JOHN WEEKS Moulay Idriss Pencil drawing on paper 24 x 30.5 Signed & inscribed 500 - 1,000
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39 JOHN WEEKS Edinburgh Street Scene Pastel on paper 32 x 17.5 Signed 800 - 1,200
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William James Reed 1908 - 1996 Works from the artist’s Estate Collection Born in Christchurch Reed attended the Canterbury College of Art in the 1930’s with fellow artists Archibald Nicoll, Richard Wallwork, Olivia Spencer Bower and Russell Clark. Reed had a highly original vision of the New Zealand landscape and his work differed vastly from that of his contemporaries. He saw the landscape as lush, productive and fertile and he portrayed it with strong colours and forms. Reed was strongly influenced by the works of his tutor, John Weeks, his friend and colleague Rita Angus and the British painter Paul Nash. His recognition of the ideological and spiritual crisis facing humanity in the 1930’s resulted in works such as Armageddon and Visitation now in the collection of the Reed Estate. These works have a prophetic quality, pre-dating the bombing of Guernica by some months. At the conclusion of his studies Reed worked for a firm producing pictorial advertising for the movies. Weekends were spent roaming the Port Hills and cycling the Canterbury Plains in search of subject matter. Apart from serving with the Field Ambulance Corp in the Pacific Zone from 1942-45, his life was spent entirely in Otago. Reed’s first solo exhibition was held at the Dunedin Public Art Gallery, his intense passion for the land and its coastline was spiritually as well as emotionally charged. From today’s perspective he is seen as one of the most adventurous members of the School of South Island Painters. Reed taught at the Dunedin School of Art for more than thirty years, a respected and popular tutor, he retired in 1973 continuing to paint till the end of his life. His work is held in major galleries throughout New Zealand.
40 WILLIAM JAMES REED Maori Girls, Moraki Oil on board 45 x 43 Signed 2,500 - 3,500
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41 WILLIAM JAMES REED Symbol for Easter 1995 AD Mixed media on board 47 x 34 Signed 1,000 - 2,000
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42 WILLIAM JAMES REED Crown of Thorns Mixed media on board 63 x 44 Signed 1,000 - 2,000
43 WILLIAM JAMES REED St Francis and the Birds Oil on board 63 x 53 Signed 1,500 - 2,500 Exhibited: William James Reed The Religious paintings International Art Centre 2 - 13 April, 2004
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Robert Browning Watson 1911 - 1980 Works from the Estate of M L Watson Auckland born Rober t Browning Watson was educated at Kings College and Wanganui Collegiate. He went on to gain an honours degree in law from Cambridge University. Watson served with the RNZAF, eventually becoming a stock broker in Wellington. Painting was his true passion and he attended classes at Heatherley’s School of Fine Art, one of London’s oldest independent art schools and at a later time studied under leading Australian portrait painter, Sir William Dargie. In his fifties, Watson travelled both worldwide and throughout New Zealand capturing his journeys on canvas. In 1966 he was placed third in the prestigious Kelliher Art Award, receiving first prize the following year. His work was presented in the Kelliher exhibitions from 1959 - 1968. R.B Watson was represented by McGregor Wright Gallery, he died in Wellington, 1980.
44 R B WATSON The Newsstand, Paris Oil on canvas board 24 x 19 Signed 400 - 600
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45 R B WATSON A Street in Wan Chai, Hong Kong Oil on canvas board 35 x 46 Signed 800 - 1,200 46 R B WATSON Wan Chai, Hong Kong Oil on canvas board 35 x 46 Signed 800 - 1,200 47 R B WATSON Life Class Oil on canvas board 35 x 43 Signed 500 - 1,000 45
48 R B WATSON Summer Landscape, Norfolk Oil on canvas board 35 x 46 Signed 800 - 1,200 49 R B WATSON Fog in the Forrest, Kaitoke Oil on canvas board 40 x 50 Signed 800 - 1,200 50 R B WATSON Winter Landscape, Finland Oil on canvas board 33 x 45 Signed 800 - 1,200
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51 R B WATSON Ladder Street, Hong Kong Oil on canvas board 30 x 40 Signed 800 - 1,200
53 R B WATSON Bessie Oil on canvas board 26 x 21 Signed 300 - 500
52 R B WATSON Thames Barges, Yamouth Oil on board 24 x 41 Signed 400 - 600
54 R B WATSON Cottage in the Hollow, Norfolk Oil on canvas board 20 x 25 Signed 300 - 500
55 R B WATSON The Auction, Elazig, Turkey Oil on board 20 x 22 Signed 300 - 500
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Cyril Whiteoak 1921 -2009 Watercolour Landscapes Ex Artist’s Estate Collection Paintings and sketches by the late landscape artist Cyril Whiteoak are owned by collectors throughout the world. Whiteoak was a keen traveller but the bush and Manukau Harbour views from his Titirangi home studio also inspired his work. Whiteoak spent 30 years teaching at The Auckland Society of Arts and travelled throughout New Zealand as a roving tutor, eventually winning a Bledisloe Award for services to the industry. He trained as an artist and gained high results in a City and Guilds of London Institute exam.
Cyril, photographed in 2008
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CYRIL WHITEOAK The Remarkables, Queenstown Watercolour 35 x 51 Signed & dated 2000 300 - 500
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CYRIL WHITEOAK Flaxmill Bay Watercolour 35 x 51 Signed, inscribed & dated 2000 300 - 500
He was made a Freeman of City London for his efforts - a traditional English honour dating back to medieval times. He served in the Royal Air Force as a medical attendant during World War Two and spent time in Egypt where he covered hospital walls with murals. Whiteoak came to New Zealand in the late 1950s after a brief stint in Australia with his only brother John. He enjoyed many painting trips to places like India, Afghanistan, Europe, China, America and Siberia. Whiteoak was a member of West Auckland Historical Society and the learning network University of The Third Age. He won merit awards in the Kelliher Art Awards in 1965 and 1966.
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CYRIL WHITEOAK Tukituki River, Hawkes Bay Watercolour 35 x 51 Signed, inscribed & dated 2003 300 - 500
59 CYRIL WHITEOAK Mill Bay, Mauganui Watercolour 35 x 51 Signed 300 - 500
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CYRIL WHITEOAK Summer Shade, Estuary and Trees Watercolour 35 x 51 Signed, inscribed & dated 1998 300 - 500
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CYRIL WHITEOAK Gate in Yorkshire Watercolour 35 x 51 Signed & dated 1995 300 - 500
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Peter Siddell 1935 - 2011 Sylvia Siddell 1941 - 2011 Works from the Estate Collection In 1960 Peter Siddell married Sylvia, the couple lived in Auckland where their two daughters were born. From 1972 Siddell painted professionally, holding his first solo exhibition that same year. Peter Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be of actual places, his paintings have a subjective component, and might be better described as magic realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, with the suggestion of events occurring outside the picture area. In this sense, his work can be compared to the metaphysical works of Giorgio de Chirico. Siddell is the second only New Zealand artist to be knighted: the first was Sir Toss Woollaston. When Sylvia Siddell began her career in the 1970s, her art was shaped by the domestic and familiar. She incorporated family life into the process of artmaking as a means of balancing her roles as wife and mother with her activity as an artist. Among other women artists of her generation, Siddell elevated the banal and ordinary occurrences of domestic life to an appropriate and challenging subject for art. Her comments on domesticity contained references to her feelings and frustrations about the wider world continued to inform her work three decades on. The Siddell’s in their studio, Woman’s Weekly, 1977
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PETER SIDDELL Front Door Screenprint, edition of 40, 20 x 15 Signed & dated 1982 500 - 1,000
Provenance: Artist’s Estate Collection
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63 PETER SIDDELL Window Screenprint, edition of 150, 57 x 44 cm Signed, inscribed & dated 1982 800 - 1,200
64 PETER SIDDELL Trellis Screenprint, edition of 75, 50 x 40 Signed & dated 1985 800 - 1,200
Provenance: Artist’s Estate Collection
Provenance: Artist’s Estate Collection
65 SYLVIA SIDDELL Just Looking Pastel on paper 55 x 45 Signed 400 - 600 Provenance: Artist’s Family Collection
66 SYLVIA SIDDELL Pitiable Acrylic on board 30 x 22 Signed 250 - 350 Provenance: Artist’s Family Collection
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67 SYLVIA SIDDELL Absolutely Fabulous Acrylic on board 30 x 22 Signed 250 - 350 Provenance: Artist’s Family Collection
68 SYLVIA SIDDELL Tender Acrylic on board 30 x 22 Signed 250 - 350 Provenance: Artist’s Family Collection
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PETER SIDDELL Pah Homestead Oil on board 38 x 45 Signed & dated 1974 8,000 - 12,000
Provenance Private Collection, Auckland since 1974
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PETER SIDDELL Red Roof Church Oil on board 50 x 40 Signed & dated 1971 4,500 - 6,500
Provenance Private Collection, Auckland since 1971 70 57
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72 CHRISTINE SMITH Cups Oil on paper 98 x 98 Signed 800 - 1,200 71
71 CHARLES MCPHEE Mareva Oil on velvet 88 x 67 Signed 800 - 1,200
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DOUGLAS BADCOCK Old Cart and Barn, Gibbston, Otago Oil on board 35 x 47 Signed & dated 1976 1,000 - 2,000
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PETER SIDDELL Mt Tutoko, Fiordland Oil on board 60 x 98 Signed & dated 1970 800 - 2,000
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75 JOHN LOXTON Old Stock Route, North East Victoria Oil on board 69.5 x 76.5 Signed 2,000 - 3,000
76 BRIAN HALLIDAY Mt Maude, Wanaka Oil on board 29 x 39.5 Signed 500 - 1,000
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NINA CHALMERS A Portfolio of the Artist’s watercolours from New Zealand and Asian travels Approximately eighty unframed watercolours of various sizes Some signed & inscribed 1,000 - 2,000
Provenance: Ex Artist’s Family Collection
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MICHELLE BRYANT Instinct & Orientation Oil on board with carving 97 x 97 Signed, inscribed & dated 2011 1,000 - 1,500
Provenance: Purchased from Smyth Galleries, Auckland, 2013
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SIMON PAYTON Urban Landscapes Oil on twelve canvas panels 94 x 124 Signed & dated 1985 800 - 1,500
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SIMON PAYTON River and Cliffs Composition Oil on twelve canvas panels 94 x 124 Signed & dated 1986 800 - 1,500
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81 BRIAN HALLIDAY Mt Sefton Oil on board 59 x 75 Signed 800 - 1,200 82 TIM WILSON Manapouri Oil on canvas 45 x 60 Signed & dated 1995 3,000 - 4,000 83 RICHARD BYRNES Untitled Unique wooden sculpture 62 x 63 800 - 1200 81
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MARTI FRIEDLANDER Attributed Kelmarna Gardens, Grey Lynn Silver gelatin print 37.5 x 25 Signed, inscribed & dated 2007 800 - 1,200
85 IAN SCOTT Te Aroha Watercolour 35 x 53.5 Signed 500 - 1,000 86 BRONWYN CORNISH Anubis Bronze sculpture with applied Enamel paint 41 x 10 Signed & dated 2008 800 - 1,200 82
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85
86
63
87
PHILIPPA BLAIR NEE HUTCHINSON Long Letter from Space Poem series Dye and acrylic on canvas with crayon edges 200 x 90 Signed & dated 1978 1,800 - 2,500
Provenance: Purchased from Elva Bett, Wellington 1979
88 BILL HAMMOND Give Me a Beat Felt tip pen and ink on paper 18 x 21 Signed, inscribed & dated 7/80 500 - 1,000
88
87
64
89 STANLEY PALMER The Ranges from Glen Eden Bamboo engraving, edition 17/50, 52 x 71 Signed & dated 1967 800 - 1,200 89
Works from the Collection of Neil Vincent McGough, Trombonist, Conductor and ex Chairman of the Northern Regional Arts Council
91
90
90 DON BINNEY Swoop of the Kotare, Waimanu Screenprint edition 96/175, 66 x 48 Signed, inscribed & dated 1980 6,000 - 10,000
92
91
STANLEY PALMER Hikurangi, Ruatoria Bamboo engraving edition 31/60, 37 x 58 Signed, inscribed & dated 1978 400 - 600
92 STANLEY PALMER Leigh Bamboo engraving, edition 7/60, 45 x 66 Signed, inscribed & dated 1976 400 - 600 65
93
PAT HANLY Love Scene B Screenprint, edition 25/26, 48.5 x 63.5 Signed, inscribed & dated 1968 1,000 - 1,500
Provenance: Purchased Auckland, 1968
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94
PAT HANLY In the Garden Screenprint, edition 7/32, 49 x 56 Signed, inscribed & dated 1968 1,000 - 1,500
Provenance: Purchased Auckland, 1968
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66
This is the actual signed screenprint exhibited at Barry Lett Galleries, 1968. The artist applied the watercolour droplets making each print unqiue. The same image was later used to create a Barry Lett Multiple.
95
PAT HANLY Torso: Adventurer Etching, edtion 17/30, 66 x 48 Signed, inscribed & dated 1978 800 - 1,200
96
95
96
TED DUTCH Guardian II Screenprint, edition 2/12, 63.5 x 48.5 Signed, inscribed & dated 1965 500 - 1,000
97
TED DUTCH The King Goes Hunting Screenprint, edition 2/28 35 x 60.2 Signed, inscribed & dated 1965 500 - 1,000
97
67
Works from a Private Estate Collection, Tauranga Lots 98 - 102 98 ERIC LEE JOHNSON Hokianga Ink on paper 24 x 36 Signed 400 - 600 99 JOHN DOUGLAS PERRETT Venice Pastel on paper 22 x 43 200 - 300
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100
DAVID SHENNAN Still Life, Flowers Oil on canvas 60 x 50 Signed, inscribed & dated 1988 verso 1,000 - 2,000
101
DAVID SHENNAN Grafton Bridge Gouache on linen 31 x 26 Signed, inscribed & dated 1988 verso 400 - 600
Provenance: Isobel Thom Jutta Giggenbach and Charlotte Fisher Cemetary Bridge Series, Brooker Gallery, Wellington, 1988 102 DAVID SHENNAN River’s Edge, Port Waikato (Fragments for a History of the Human Landscape) Oil on board 28 x 46 Signed, inscribed & dated 1988 verso 400 - 600 99
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100
101
David Shennan was born in Scotland in 1965. He emigrated to New Zealand in 1974 and studied at the Elam School of Fine Arts University of Auckland 1989 - 1990 gaining a Master of Fine Arts, (First Class Honours). Major influences in these early works may be likened to artist friends, Tony Fomison & Philip Clairmont. As a painter, I am always in search of an ‘allusive’ image. Appearing one way on the surface and then in time, shifting completely into something else. David Shennan, 2016 102
69
Works from the Estate of John Barr 1887 - 1971 Director & Gallery Librarian, Auckland Art Gallery 1913 - 1952 Lots 103 - 107 103
GORDON MINHINNICK After the Loan Collection (Picture by William Roberts) Ink drawing on paper 31 x 26 Signed, inscribed & dated 1934 350 - 450
104
BESSIE CHRISTIE Attributed Hill and Tree Study Oil on board 27.5 x 45 800 - 1,200
103
105 BESSIE CHRISTIE View through the Trees Oil on board 38 x 52 Signed 2,000 - 3,000
104
70
106
ALLAN SWINTON Bush Hut Watercolour 41 x 35 Signed & dated 1945 300 - 500
105
107
107 JOHN GOODCHILD Australian 1898 - 1980 A Glimpse Engraving, edition 8/9, 30.5 x 23 Signed 200 - 400 Together with 2 other engravings Provenance: John Barr Estate 106
71
108
MICHEL TUFFERY Matagi Povi (Northern Bull) Acrylic on tapa 50 x 115 Signed & dated 2004 3,000 - 4,000
Provenance: Purchased from Salamander Gallery, Christchurch by current owner 2004
109 DES ROBERTSHAW From the Rock Pacific Series Acrylic on board 95 x 65 Signed 1,500 - 2,500
72
110
111
110
BING DAWE Eels with Trap Lake Hawdon #1 Oil and acrylic on paper 49 x 32 Signed, inscribed dated 2007 500 - 1,000
111
BING DAWE Eels with Trap Lake Hawdon #2 Oil and acrylic on paper 49 x 32 Signed, inscribed dated 2007 500 - 1,000
112
BING DAWE Eels with Trap Lake Hawdon #3 Oil and acrylic on paper 49 x 32 Signed, inscribed dated 2007 500 - 1,000
112
113 MICHAEL SMITHER Branches Oil on board 22 x 39 Signed & dated 1976 1,400 - 1,800
113
73
114
115
114
74
MICHAEL SMITHER Tom Mutch playing Guitar Charcoal on paper 48 x 39 Signed & dated 1983 500 - 1,000
115
JOHN PULE The Sun is Happy - From the Love Poems Lithograph, edition 21/30 42 x 29 Signed & dated 2002 750 - 1,250
117
00
116
116 TOM ESPLIN A Greek Village Oil on board 49.5 x 37.2 Signed 2,500 - 3,500
117
JAN NIGRO Seated Nude II Pastel on paper 79 x 60 Signed & dated 1993 800 - 1,200
75
118 MAUD SHERWOOD Gloxinia Watercolour 33.5 x 33.5 Signed 800 - 1,500
120
119 MARCUS HOLLY FORD 1914 - 1989 Aldeburgh Seascape Oil on board 50 x 75 Signed 200 - 400 120 JAMES FRASER SCOTT Portrait of U W Goodman, Lawyer, Dunedin Oil on canvas 55 x 45 Signed 1,000 - 2,000
76
121 JAMES FRASER SCOTT Saint-Malo, Brittany Oil on canvas 66 x 80 Signed 1,000 - 3,000 77 77
122 RUTH COLE Mt Eden Oil on board 55 x 75 Signed 400 - 600 123 CEDRIC SAVAGE West Harbour, Fair Havens, Crete Watercolour 58 x 75 Signed 800 - 1,200
123
78
124 STEVE HARRIS Earth Pots Acrylic on canvas 87 x 98 Signed 3,500 - 4,500
125
126
125
GRETCHEN ALRRECHT Coral Reef Lithograph, edition 10/30, 43.5 x 50 Signed, inscribed & dated 2000 1,750 - 2,250
126 PAUL CONEY Daffodils Watercolour 60 x 63 Signed 1,000 - 2,000 127 JOS KIVITS Still Life Oil on canvas 100 x 75 Signed 1,000 - 2,000
127
128 PETER BEADLE Thule Paterson Inlet Stewart Island Oil on canvas board 30.5 x 40.6 Signed 500 - 1,000 128
79
129
LAURENCE WILLIAM WILSON Circular Cove, Lake Manapouri Pastel on paper 29 x 48 Signed & dated 1899 800 - 1,200
130 JOHN DOUGLAS PERRETT Evening of a Grey Day, Lake Te Anau Oil on canvas 45 x 75 Signed 1,000 - 1,500 129
131 THOMAS REGINALD ATTWOOD Smith Sound Oil on board 35 x 55 Signed 800 - 1,200 132 JOHN MCINTOSH MADDEN Nelson Landscape Watercolour 25 x 35 Signed 400 - 600
130
133
JOHN KINDER Dr. Dalliston’s. Mahurangi Watercolour 24.5 x 34.5 Inscribed & dated 1856 1,000 - 3,000
134 JOHN MCINTOSH MADDEN Shipping Scene Oil on board 44.5 x 28.5 Signed 800 - 1,200 135 JOHN MCINTOSH MADDEN Patersons Inlet, Stewart Island Oil on board 20 x 36 Signed 300 - 500 131
80
134 132
136
JOHN MCINTOSH MADDEN Pioneers Hut Oil on board 34 x 49 Signed & dated 1896 1,000 - 1,500
135
133
136
81
137
MABEL HILL Merton College, Oxford Watercolour 25.5 x 37 Signed & dated 1935 400 - 600
138 DOUGLAS BADCOCK Young Poplars, Lake Wakatipu Watercolour 25.5 x 34 Signed 800 - 1,200
137
139
MABEL HILL Brighton, Taieri Watercolour 39 x 38 Signed & dated 1918 800 - 1,200
140 PETER BEADLE Mountain Daisies at Homer Tunnel Oil on canvas board 29 x 39 Signed 500 - 1,000 141 PHILIP HOLMES Tawhana Oil on board 30 x 20 Signed 1,500 - 2,500 142 WILLIAM ALLEN BOLLARD The Clan Alpine in Papeete Watercolour 19 x 35 Signed 400 - 600 138
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139
141
140
142
83
143 DICK FRIZZELL Table/Wine Screenprint, edition 6/100, 60 x 50 Signed, inscribed & dated 2002 600 - 1,000
144
RICHARD KILLEEN Wine Attachments Screenprint, edition 85/100, 56 x 75.5 Signed, inscribed & dated 2002 800 - 1,200
145 DENYS WATKINS Kaki Screenprint, edition 56.5 x 75 Signed, inscribed & dated 2007 450 - 650
146 DENYS WATKINS Kaka Screenprint, edition 15/35, 56.5 x 75 Signed, inscribed & dated 2007 450 - 650
147 DENYS WATKINS Pateke Screenprint, edition 56.5 x 75 Signed, inscribed & dated 2007 450 - 650
143
146 144
145
147
85
150
WILLIAM HENRY RAWORTH Homeward Bound Watercolour 35 x 61 Signed & dated 1899 800 - 1,200
151 CHARLES NATHANIEL WORSLEY Hilltop Village-Europe Watercolour 34 x 24.5 Signed 500 - 1,000
148 GRAHAME SYDNEY Riverbank Lithograph, edition 30/75, 52 x 82 Signed, inscribed & dated 1992 1,000 - 1,400 149
LEONARD MITCHELL Lake Wanaka Oil on board 29.5 x 39.5 Signed & dated 1960 500 1,000
152
TOSS WOOLLASTON Three Portrait Studies Ink on paper 34.5 x 26.5 Signed & dated 1960 800 - 1,200
Together with a copy of publication Woollaston, Erua, limited edition 881/1000 Blackwood and Janet Paul, 1966
153
MARCUS KING Mitre Peak Oil on board 12 x 16 200 - 400
Provenance: Gift to owner on her 15th birthday, 1953
149
86
150
153
154 HENRY WILLIAM KIRKWOOD Dusky Sound Oil on board 15 x 22 Signed 800 - 1,200 151
152
155
GARTH TAPPER Figure Study Mixed media on Paper 33.5 x 32.5 Signed & dated 1977 400 - 600
156
ANNA HOLLINGS A Life Story Oil on canvas 111 x 71 Signed & dated 2000 900 - 1,500
154
155
156
87
159
157
160
158
88
161
157 PETER O’HAGAN Lunch on the Terrace at the Hotel Splendido, Portofino Mixed media on board 44.5 x 50 Signed 800 - 1,200 158 JONATHAN WHITE Barrier Peak from Robb Stream, Fiordland Oil on canvas 65 x 85 Signed 500 - 1,000 159 PEGGY SPICER Houses in Symonds Street Watercolour 30 x 45 Signed 800 - 1,200 160 PETER BEADLE Ski Huts, Coronet Peak, Wakatipu Oil on canvas board 30 x 60 Signed 800 - 1,200 161
CEDRIC SAVAGE In the Shade, Mediterranean Watercolour 25 x 35 Signed & dated 1928 800 - 1,400
162
TED DUTCH Grey Cat II Screenprint, edition 5/30, 35 x 26 Signed & dated 1997 400 - 600
163 ELLA SPICER View of Auckland Watercolour 28 x 39 Signed 800 - 1,200
162
154
164
JOHN F BUCKLEY Roses I Alkyd resin on canvas 100 x 74 Signed & dated 1984 1,500 - 2,500
165
JOHN F BUCKLEY Roses II Alkyd resin on canvas 100 x 74 Signed & dated 1984 1,500 - 2,500
163
165
89
166
166 ARCHIBALD FRANK NICOLL Dutch Village with Windmill Oil on board 35 x 45 Signed 1,000 - 2,000
168
167
MARK MCLEOD Backpacker in Skipper’s Canyon Oil on canvas 75 x 101 Signed, inscribed & dated 20 February 2003 1,000 - 1,500
168 BERNARD ARIS The Dunedin at Sea Watercolour and gouache 51 x 72 Signed 800 - 1,500
167
90
169
WILLIAM JAMES REED Mt Aspiring, Glendhu Watercolour 37.5 x 54.5 Signed & dated 1969 800 - 1,200
169 171
170 PETER BEADLE Wet Jacket Arm Dusky Sound Oil on board 45.5 x 61 Signed 800 - 1,200
170
171
RUSSELL HOLLINGS Rolling Hills, Pakiri Oil on board 68 x 89 Signed & dated 1970 500 - 1,000
172
IRENE DENFORD Hauraki Gulf Islands VI Acrylic on canves 75 x 100 Signed & dated 1990 1,000 - 1,500
172
91
173
173 HENRY WILLIAM KIRKWOOD Early Morning, Cattle Grazing Oil on board 23 x 47 Signed 800 - 1,500
179 ASTON GREATHEAD Mt Cook, Lake Pukakai Oil on board 38 x 55 Signed 300 - 500
174
MICHAEL SMITHER Portrait of a Friend Pencil drawing on paper 41 x 28 Signed & dated 2005 400 - 700
180 ROBERT ELLIS Tiheru Mixed media collage on paper 77 x 58 Signed & dated 1980 1,000 - 2,000
175
BLYTHE FLETCHER Market Scene Gouache on paper 58 x 75 Signed & dated 1929 500 - 1,000
176 THOMAS ARTHUR MCCORMACK Hutt River Watercolour 30 x 47 Signed 1,000 - 1,500
174
177
EDWARD BULLMORE Life study Mother and Child London Graphite on paper 60 x 43 2,000 - 3,000
178 PETER BEADLE Mt Cook and Tasman from the Clearwater West Coast Oil on canvas board 29 x 39 Signed 500 - 1,000 175
92
181 ALISON RYDE Ferry Building Mixed media 52 x 71 Signed 500 - 1,000 182 P MORATH Russell, Bay of Islands Oil on board 52 x 74 Signed 800 - 1,500 183 PHILIP HOLMES Chief with Moko Oil on board 24 x 17 Signed 800 - 1,200 184 PETER BEADLE Stone Cottage, Arrowtown Oil on canvas board 29 x 39 Signed 500 - 1,000
176
177
178
179
180
181
182
183
184
93
186
185
185 JACQUELINE HICK Australian 1919 - 2004 Golden Boys Oil on board 121 x 90.5 Signed 1,500 - 2,500 Provenance: Purchased from The Johnstone Gallery, Brisbane by current owners father
94
186 RAYMOND BEAL American 1867 - 1951 Bridge, USA Oil on board 29 x 39 Signed 400 - 600 187 Y BALA YESSEY Reclining Nude Oil on canvas 44 x 54 Signed 400 - 1,000 188
ALAN E WOLTON South African b. 1954 Roggebaai Cape Oil on board 75 x 111 Signed & dated 1962 800 - 1,200
187
189
189 UAB SANASEN Thailand 1935 - 2010 Still Life, Fruit Oil on canvas 40 x 50 Signed 500 - 1,000
190 SAMUEL JOHN LAMORNA BIRCH British 1869 - 1955 Cornwall Watercolour 18 x 25 Signed 250 - 350
188
190
95
193 LOUIS BOROS Arok Oil on board 71 x 59 400 - 600 194 J C VEITCH Venice Oil on board 29 x 46 Signed 400 - 600
191 LOUISE HENDERSON Untitled Watercolour 42 x 61 Signed 700 - 1,100 192 JAMES R DUNCAN Arrowtown Watercolour 36 x 53 Signed 400 - 600
195 FATU FEU’U Masiofo Screenprint, edition of 29 52 x 72 Signed & inscribed 450 - 650 196 SAM CAIRNCROSS Wanganui Falls Oil on board 49.5 x 37 Signed 500 - 1,000 197 ISOBEL MCBEATH Finca At Can Puig, Mallorca, Spain Oil on board 28 x 38 Signed Belmac 150 - 250 198 PETER J WALLERS Highfield Park Oil on board 62 x 96 Signed 500 - 1,000 199 SUE SCHAARE Jazz Basics Acrylic on canvas 80 x 80 Signed 500 - 1,000
96
199 193 196
200
LOUISE HENDERSON Bush Lean to Pencil on paper 30 x 27 450 - 650
194 197
195
198
200
97
202 ROY DALGARNO The Bathers Graphite and pastel on paper 54 x 71 Signed 750 - 1,250 203 KATHLEEN SALMOND Primroses Oil on board 27 x 29.5 200 - 400
201
201 WILLIAM MENZIES GIBB Hyde Park Watercolour 17 x 26 Signed 400 - 600
204 PAMELA WOLFE Takahe at Hobson Bay Screenprint, edition 9/48, 62 x 46 Signed 200 - 400 205
IAN KINGSTONE Moonlight Serenade Oil on canvas 122 x 91 Signed & inscribed 800 - 1,200
206
ELIZABETH BAILEY As I Walked Past He Sang Me His Song Watercolour 78 x 55 Signed & inscribed 300 - 500
207
DICK FRIZZELL Special Edition Screenprint 121/150 45 x 58 Signed, inscribed & dated 2013 300 - 500
208 DOUGLAS BADCOCK Mt Cook Watercolour 14 x 19 Signed 250 - 450 202
98
207 203
209 PHILIP HOLMES Portrait of Dorian Gray, Florentine Duke Oil on board 51 x 41 Signed 1,000 - 2,000
205
208
204
206
209
99
210 ROY J DICKISON Land forms Tokorahi (North Otago) Oil on board 48 x 78 Signed 600 - 1,000
210
211 CHARLES DECIMUS BARRAUD Scraps from my Sketchbook Lithograph 43 x 31 Inscirbed 150 - 250 212
CYRIL WHITEOAK Manukau Harbour Watercolour 36 x 54 Signed & dated 1958 200 - 400
213 JOS KIVITS Still Life Watercolour 42 x 61 Signed 600 - 800
211
214 ASTON GREATHEAD Mt Cook, Tasman Valley Oil on board 44 x 57 Signed 400 - 600 215 JOHN PAPAS Image 20 Oil on board 29 x 24.2 Signed 200 - 400
212
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216 JOHN CASTLE Indonesia Watercolour 48 x 62 Signed 500 - 1,000 217 PETER J WALLERS Sunset, Coromandel Oil on board 19 x 24 Signed 150 - 250 218 SAFFRON TE RATANA Tiki 6.2 Mixed media on paper 8 x 9 Signed 150 - 250 219
CHRISTINE KING Cafe Societies & Berry Nice - A pair Two watercolours 36 x 26 & 53 x 72 Signed Inscribed & dated 1993 500 - 1,000
214
216
219
217 213
215 219
End of sale - thank you 218
213
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✃
Absentee Bid Form Artists’ Estates & Collectable Art - Tuesday 21 February 2017
Alternatively, register then bid online www.fineartauction.co.nz
I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. 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 Bidding Number Name Address Telephone Home
Lot Number
Mob
Artist and Title
Signature........................................................
Bid $NZ (excl. premium)
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International Art Centre offers this service to clients unable to attend sale. International Art Centre is not responsible for error or failure to execute bids. Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151, before date of sale LOT 27
103
Sale categories at International Art Centre Important & Rare Art
Modern & Contemporary Art
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Twice a year our Modern & Contemporary Art auctions play an integral role in enabling market access to the most sought-after artists who have defined New Zealand’s art narrative over the past 50-years. The sale never fails to present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of midcentury modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar. Our new state-of-the-art premises will ensure contemporary art is now exhibited and auctioned in a dynamic and appropriate environment.
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Expertise Experience Results 104
Always consigning / Always cataloguing Collectable & Affordable Art
Single Owner Auctions & Private Treaty Sales
The buzz generated by our regular Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Collectable Art auctions offer a number lowerpriced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.
From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering singleowner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art and a selection of works from the Fletcher Trust Collection. Decades of experience working with artists, vendors, collectors and institutions mean we possess a sound understanding of the best medium through which to present works to the auction market. For various reasons, you may consider it more appropriate or wish to sell an artwork privately, rather than presenting it publicly to the auction market. Guaranteeing confidence and discretion, our unparalleled and targeted access to a network of collectors means we are able to oversee private sales. For certain works, this has proven to be an especially effective method of sale; we encourage you to get in touch for an obligation-free discussion around the process and how we may best facilitate this.
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Paul Coney Italian Garden Oil on canvas (Diptych) 101 x 244 cm $20,000 New works by Paul Coney available February 2017 107
Index ALBRECHT G..................................... 125 ARIS B................................................ 168 ATTWOOD T R................................... 131 BADCOCK D...................... 73, 138, 208 BAILEY E............................................ 206 BARRAUD C D.................................. 211 BEADLE P.. 128, 140, 160, 170, 178, 184 BEAL R............................................... 186 BINNEY D............................................. 90 BIRCH S J L........................................ 190 BLAIR NEE H P .................................... 87 BOLLARD W A.................................. 142 BOROS L........................................... 193 BROWNE R D...........6, 7, 8, 9, 10, 11, 12 BRYANT M........................................... 78 BUCKLEY J F.............................. 164, 165 BULLMORE E..................................... 177 BYRNES R............................................. 83 CAIRNCROSS S................................. 196 CAREY I....................... 25, 26, 28, 29, 30 CARRINGTON G W.......................... 135 CASTLE J........................................... 216 CHALMERS N...................................... 77 CHRISTIE B......................................... 105 CHRISTIE ATTRIBUTED B..................... 104 COLE R.............................................. 122 CONEY P........................................... 126 CORNISH B......................................... 86 DALGARNO R................................... 202 DAWE B............................. 110, 111, 112 DE VEL G...........................16, 17, 18, 19, .................................... 20, 21, 22, 23, 24 DENFORD I........................................ 172 DICKISON R J ................................... 210 DUNCAN J R..................................... 192 DUTCH TED............................96, 97, 162 ELLIS R............................................... 180 ESPLIN T............................................. 116 FEU’U F.............................................. 195 FLETCHER B....................................... 175 FORD M H......................................... 119
FRIEDLANDER ATTRIBUTED M............. 84 FRIZZELL D................................. 143, 207 GOODCHILD J C............................. 107 GREATHEAD A.......................... 179, 214 HALLIDAY B................................... 76, 81 HAMMOND B..................................... 88 HANLY P.................................. 93, 94, 95 HARRIS S............................................ 124 HENDERSON L.......................... 191, 200 HICK J............................................... 185 HILL M.........................................137, 139 HOLLINGS R...................................... 171 HOLLINGS A..................................... 156 HOLMES P......................... 141, 183, 209 HOPE G................................ 1, 2, 3, 4, 5, JACKSON K............................. 13, 14, 15 KILLEEN R.......................................... 144 KINDER J........................................... 133 KING M............................................. 153 KING C.............................................. 219 KINGSTONE I..................................... 205 KIRKWOOD H W....................... 154, 173 KIVITS J.......................................127, 213 LEE J E................................................. 98 LOXTON J............................................ 75 MADDEN J M................... 132, 134, 136 MCBEATH I........................................ 197 MCCORMACK T A........................... 176 MCLEOD M....................................... 167 McPHEE C.......................................... 71 MENZIES G W ................................... 201 MINHINNICK G................................. 103 MITCHELL L........................................ 149 MORATH P........................................ 182 NICOLL A F....................................... 166 NIGRO J............................................ 117 O’HAGAN P...................................... 157 PALMER S................................ 89, 91, 92 PAPAS J............................................. 215 PAYTON S...................................... 79, 80 PERRETT J D................................. 99, 130
PULE J................................................ 115 RAWORTH W H................................. 150 REED W J................... 40, 41, 42, 43, 169 ROBERTS D........................................ 109 RYDE A.............................................. 181 SALMOND K..................................... 203 SANASEN U....................................... 189 SAVAGE C................................ 123, 161 SCHAARE S....................................... 199 SCOTT I................................................ 85 SCOTT J F.................................. 120, 121 SHENNAN D..................... 100, 101, 102, SHERWOOD M................................. 118 SIDDELL P.................... 62, 63, 64, 69, 70 SIDDELL S...........................65, 66, 67, 68 SMITH C............................................... 72 SMITHER M........................ 113, 114, 174 SPICER P............................................ 159 SPICER E............................................ 163 SWINTON A....................................... 106 SYDNEY G......................................... 148 TAPPER G.......................................... 155 TE RATANA S..................................... 218 TUFFERY M......................................... 108 VEITCH J C........................................ 194 WALLERS P J............................. 198, 217 WATKINS D........................ 146, 145, 147 WATSON R B.........44, 45, 46, 47, 48, 49, .............................. 50, 51, 52, 53, 54, 55 WEEKS J...................... 31, 32, 33, 34, 35, ...........................................36, 37, 38, 39 WHITE J.............................................. 158 WHITEOAK C...........................56, 57, 58, ........................................ 59, 60, 61, 212 WILSON T............................................ 82 WILSON L W...................................... 129 WOLFE P........................................... 204 WOLTON A E..................................... 188 WOOLLASTON T............................... 152 WORSLEY C N................................... 151 YESSEY Y B......................................... 187
202 PARNELL RD, AUCKLAND PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz