IMPORTANT & RARE ART 25.07.23

IMPORTANT & RARE ART

6:00PM TUESDAY 25 JULY 2023

Lot 58 Sydney Lough Thompson The Artist’s Children, Grasse c. 1930

Lot 32 Star Gossage Under Matariki

Wednesday

Thursday

Friday

Saturday

Sunday

Monday

Tuesday

Lot 48 Peter Stichbury Edward Krebs

Contacts & Condition Reports

Richard Thomson

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Grace Alty

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Luke Davies

luke@artcntr.co.nz

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Grace Harris

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Conditions of Sale p. 149

Absentee & telephone bids p. 144

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IMPORTANT & RARE ART 30 03 23

NEW AUCTION RECORDS

International Art Centre’s March auction of Important & Rare Art was a resounding success with numerous record prices achieved. The market responded to an offering of quality works, both traditional and contemporary, with discernment and enthusiasm.

a. Gottfried Lindauer Harawira Te Mahikai, Realised $1.09 million - an auction record

b. Pat Hanly Strong Garden, Realised $68,500

c. Brent Wong Headland Massing Clouds, Realised $44,500

d. Paul Dibble Flight Over Water Below, Realised $33,700

e. Shane Cotton Seven Sisters, Realised $35,500

f. Ralph Hotere Kyrie Eleison No. 5, Realised $96,100

MARCH AUCTION HIGHLIGHTS

b.

c.

e.

d.

f.

Gretchen Albrecht Response

Terry Stringer The Theatre of Memory

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1 MAX GIMBLETT (b. 1935)

Heart

Acrylic on canvas 38 x 37.5

Signed & dated 1984/85 verso

$12,000 - 16,000

PROVENANCE

Private Collection, Auckland Purchased from New Vision Gallery, 1985

2 MILAN MRKUSICH (1925 - 2018)

Chromatic Dark Series No.4

Oil on canvas 51 x 45.5

Signed & dated 1996 verso

$10,000 - 15,000

PROVENANCE

Reuben Paterson: Cream

Glitterdust on canvas 35.5 x 35.5

Signed, inscribed Moisturising Cream & dated 2022 verso

$5,000 - 7,500

6 - 29 October 2022, Page Gallery, Wellington Private Collection, Auckland

3 REUBEN PATERSON (b. 1973)

Moisturising Cream

Crater Lake

Glazed ceramic 12 x 47

Initials impressed on base

$8,000 - 12,000

PROVENANCE

Purchased directly from the artist by current Taranaki owners

4 LEN CASTLE (1924 - 2011)

Bowl

$15,000 - 20,000

5 ALAN PEARSON (1929 - 2019)

Canterbury Madonna and Child Oil on panel 60.5 x 60.5

Signed & inscribed Nike Maddona and Child 1970 verso

Original sketch of this work is held in the collection of the Christchurch Art Gallery Te Puna o Waiwhetu. This work is titled Coral and Alan as Canterbury Madonna

Winter Solstice

Oilstick and metallic pigment on card

50.7 x 42

Signed, inscribed Winter Solstice & dated 7/91

$25,000 - 35,000

PROVENANCE

Private Collection, Otago

6 RALPH HOTERE (1931 - 2013)

Oilstick,

Signed & dated 1991

Signed, inscribed Winter Solstice, Carey’s Bay & dated 1991 on paper matt $12,000 - 16,000

7 RALPH HOTERE (1931 - 2013)

Winter Solstice, Carey’s Bay

pastel, oil on linen affixed to paper

30.5 x 26.5 - image size 17.5 x 15.5

Malcolm Ivan McNeill (b.1945) is a Christchurch based jazz singer. In the early 1970s he lived and worked in England. During this time he toured with friends and jazz greats, John Dankworth and his singer wife Cleo Laine. Malcom has sung and recorded with a range of international performers including Dame Kiri Te Kanawa. He has recorded with the Sydney Symphony Orchestra and has released nine studio albums. In 1990 he received the Commemoration Medal for services to Music and the Trust Bank Excellence Award. His love of music has long been accompanied by a love of art, resulting in a collection of works acquired over 50 years.

WORKS FROM THE MALCOLM MCNEILL COLLECTION LOTS 8 - 14

Mapua Landscape, 1939

Oil on board 41 x 45

Signed

Inscribed Mapua Landscape verso

Another inscription in artist’s hand verso reads: Possession of Rodney Kennedy, 73 Sommerville Street, Dunedin

$35,000 - 45,000

PROVENANCE

Malcolm McNeill Collection Ex Collection for Rodney Kennedy

EXHIBITED

M T Woollaston 1933 - 73, A travelling exhibition organised by the Manawatu Art Gallery and Sponsored by the Queen Elizabeth Arts Council

Original exhibition label affixed verso Exhibited as Landscape with Pine Tree, Cat. no. 31

Untitled

Oil on board 61 x 73.5

$20,000 - 30,000

PROVENANCE

Malcolm McNeill Collection

Purchased from RKS Art

8 TOSS WOOLLASTON (1910 - 98)

9 TEUANE TIBBO (1895 - 1984)

Bill Reed’s Quiet Regionalism - I was performing in Invercargill when I first came across the paintings of Bill Reed. He was teaching at the art school there and a mutual friend suggested I look at some of the work, “Bill could do with the money”... which I understood from trying to make a living in music. Things weren’t going too badly for me, so I ended up buying a few paintings. That’s over 30 years ago. The 80s. Later I sold one to the McDougall Art Gallery and following Christchurch earthquake of 2011, when I went to live in Thailand for a few years. Bill Reed’s paintings have hung on my various walls or at friends places ever since.

I have always loved Boats in a Harbour. It is a jewel of a painting, full of light and gaiety. It embodies both regionalism and modernism in much the same way that Rita Angus’ work does. Not surprisingly Reed, Russell Clark, Bill Sutton and Rita Angus would often go on plein air painting trips together. Reed was best man at Russell Clark’s wedding. This painting is most likely near Moeraki, Otago.

From 1942-45 Bill Reed was in the Field Ambulance Corp stationed in the Pacific Zone. I have a couple of paintings that come from that time - one work is of two island men on a beach sawing a big log; and a portrait of a women wearing a brightly coloured headscarf. There is another little painting, the size of a cigar box lid, of an old woman collecting faggots for a fire. They all display deft, painterly brushwork and a sensitive highly developed colour palette.

Reed never enjoyed the attention that Rita Angus got. In the mad rush of internationalism that has overtaken the New Zealand Art market in recent times, quiet, modest regionalist artworks are too easily overlooked. But his best work is up there with the best of it. A work by Rita Angus, of similar calibre and size, recently sold for over $100,000.

MALCOLM MCNEIL

10

WILLIAM JAMES REED (1908 - 96)

Boats in a Harbour

Watercolour 30.5 x 36.5

Signed $5,000 - 7,500

11 WILLIAM JAMES REED (1908 - 96)

Gathering Faggots

Oil on board 27.5 x 30.5

Signed $2,500 - 3,500

12

WILLIAM JAMES REED (1908 - 96)

Lady with Headscarf

Oil on board 46 x 34.5

Signed $2,000 - 3,000

WORKS FROM THE MALCOLM MCNEILL COLLECTION

13 PHILIP TRUSTTUM (b. 1940)

Arrived

Acrylic on unstretched canvas 89 x 113.5

Signed & dated 21 - 9 - 2017

$3,000 - 5,000

PROVENANCE

Malcolm McNeill Collection

14 PHILIP TRUSTTUM (b. 1940)

Waiting

Acrylic on unstretched canvas 113.5 x 89

Signed & dated 2017

$3,000 - 5,000

PROVENANCE

Malcolm McNeill Collection

15 GRETCHEN ALBRECHT (b. 1943)

Untitled

Watercolour, charcoal and gouache on paper 106 x 69

Signed & dated 1978

$8,000 - 12,000

Blue Lagoon

Oil on board 60 x 75

Inscribed Blue Lagoon verso

$10,000 - 15,000

Teuane Tibbo is best known for her colourful depictions of everyday life from her childhood in Samoa. Born in 1895 in Pago Pago, Samoa, she later lived in Fiji as an adult before moving to Auckland in 1945.

She began painting in the 1960s without any formal training. Pat Hanly introduced Tibbo to Barry Lett, who became her dealer and exhibited her works at Barry Lett Galleries Her first solo exhibition opened in 1964.

Rangitoto

Oil on board 60 x 91

Signed, inscribed Rangitoto verso & dated 1976

$8,000 - 12,000

Her work is held in the permanent collections of Auckland Art Gallery Toi o Tāmaki, Museum of New Zealand Te Papa Tongarewa, The University of Auckland and the National Gallery of Australia.

Since her death in 1984, at the age of 94, she has been included in significant surveys of Pacific art and in 2001 was the subject of the retrospective exhibition, Keep it in the Heart: The Paintings of Teuane Tibbo at Lopdell House, Auckland.

16 TEUANE TIBBO (1895 - 1984)

17 TEUANE TIBBO (1895 - 1984)

- 1984)

Still Life Flowers

Oil on board 58.5 x 66.5

Signed $8,000 - 12,000

18

TEUANE TIBBO (1895

19 JOHN DRAWBRIDGE (1930 - 2005)

Untitled

Pencil and watercolour 76 x 58

Signed & dated August 1983

$8,000 - 12,000

20 NIGEL BROWN (b. 1949)

In Passing Light

Oil on linen 84 x 151

Signed & dated 2002

$16,000 - 24,000

EXHIBITED

Nigel Brown: I AM III, Warwick Henderson Gallery, Auckland

ILLUSTRATED

p. B9, New Zealand Herald, Wednesday

July 30 2003

Behind Karamea - Sheds

Oil on linen on board 50.5 x 121

Signed & dated 1997

$12,000 - 18,000

PROVENANCE

Purchased Anna Bibby Gallery, 1997

21 STANLEY PALMER (b. 1936)

Magnolia Tree and Bungalow Oil on canvas 61 x 80

Signed & dated 2009

$55,000 - 75,000

PROVENANCE

Private Collection, Hawkes Bay

Private Collection, Auckland

Purchased directly from the artist, 1999

22 PETER SIDDELL (1935 - 2011)

23 PETER SIDDELL (1935 - 2011)

Houses and Two Volcanoes

Oil on board 29.3 x 60

Signed & dated 1970

$8,000 - 12,000

IMPORTANT

PROVENANCE

Judith Anderson Collection

Purchased from International Art Centre, 2014

ILLUSTRATED

p. 43 The Art of Peter Siddell, Peter Siddell, Random House New Zealand, 2011

24 RALPH HOTERE (1931 - 2013)

Oputae ‘Baby Iron’ Series

Burnished and lacquered baby corrugated iron, Roger Hickin frame, 62 x 134.5

Signed & dated 1984

$100,000 - 150,000

PROVENANCE

Judith Anderson Collection

Purchased 1984

25 CHRIS CHARTERIS (b. 1966)

Tangaroa - God of the Sea

Carrera marble sculpture 60 x 24

$6,000 - 8,000

PROVENANCE

Judith Anderson Collection

26 FIONA PARDINGTON (b. 1961)

Kaka Ake Ake, Canterbury Museum

Pigment inks on Hahnemuhle photorag, edition 9/10, 176 x 140

Signed on label affixed verso $30,000 - 40,000

27 DON BINNEY (1940 - 2012)

Baptism, After Piero: An Adaptation, 2003

Oil and acrylic on canvas 90 x 60

Signed & dated 2003

$350,000 - 450,000

PROVENANCE

Private Collection, Dunedin

Purchased 2003

ILLUSTRATED

Don Binney: Flight Path, Gregory O’Brien

Auckland University Press, 2023

The lone bird which characterised Don Binney’s greatest paintings from the early 1960s onwards was always, in his mind, an emissary or embodiment of spiritual values. Early in his career he was influenced and inspired by the bird-motifs he saw in Maori rock art (it was Theo Schoon who introduced him to this tradition), as he was by the Sun-Bird-God symbol he discovered in pre-Columbian art from the Americas. Importantly, in his mind, the lone bird hovering above the firmament was also the Holy Spirit of Christian tradition. In early paintings such as Pastoral, Te Henga (1965-66) and Tabernacle (1966) he consciously posited a piwakawaka in the role of the Holy Spirit. His art sought to find an accommodation for Christian tradition within the indigenous culture and natural history of Aotearoa.

Perhaps the most overtly ‘Christian’ painting in his oeuvre, Baptism after Piero: An Adaptation is — as the title tells us very specifically a meditation upon and revision of Piero della Francesca’s masterpiece The Baptism of Christ from the mid-15th Century. Binney’s ‘adaptation’ has its origins in the time he spent living in the United Kingdom. ‘For much of 1972-3,’ he wrote, ‘I was living in London and became familiar with Piero della Francesca’s Baptism of Christ in the National Gallery collection. I absorbed much of the painting’s presence and attributes, rather than scrutinising it…’

Binney clearly felt he was partaking in the spirit of the work rather than trying to deconstruct or analyse it. At the same time — and over the years that followed — he paid much attention to the ‘golden section’ and other formal aspects of Piero’s work. ‘Piero della Francesca’s “Baptism” is an immense and multiple visual narrative,’ he wrote, in notes dated 2003. ‘The descending dove of the manifest Holy Spirit seems to visually slip into the space directly above the Baptist’s right hand, which in turn tips a bowl from which the Jordan water pours … onto the head of Christ.’Binney consciously took the elements of the dove, the hand and the flowing water

from the Baptism: ‘I also borrowed and repositioned other features of Piero’s painting … Working studies explored the transition from della Francesca to Binney in linear terms. The final work sought to transcend those linear notions out into a resolution of paint surfaces in my own signature.’

The lone bird always carried a myriad of associations for Binney. It embodied a state of grace, transcience, independence of spirit, freedom, aspiration, the flight of the soul after death He knew well, from school years, the multitudinous birdlife manifest in Romantic poetry (from Shelley’s ‘Ode to a skylark’ to Coleridge’s albatross-tale) yet he always made a point of stating his artistic allegiance to Classicism rather than Romanticism, as such. His paintings were meticulously thought-out and executed in the ‘classical’ tradition. While there were discoveries along the way, and some necessary painterly happenstance, he took pains to plan/organise his works in advance— more so as he grew older.

Baptism might be one of his most assiduously planned works. Using the schema of Piero’s work as his template, he made a number of pencil studies, gridding up the Holy Spirit/bird and fine-tuning its wings and tail-feathers. With similar exactitude, all aspects of the composition were adjusted. The painting might also be his most overt statement of faith. As elaborated upon in the forthcoming monograph Don Binney—Flight Path, Don Binney was a practising Anglican through most phases of his life and, during the last two decades, he became a lay preacher and parishioner at St Albans Anglican church in Balmoral.

Yet the relevance of this painting extends well beyond any conventional notion of Christianity. Binney’s faith was, by his own account, essentially holistic and stretched beyond the human realm.

He believed that birds, animals, trees and other elements of nature were in a direct relationship/ communication with the divine. In this personalised ‘adaptation’, the bird is the over-riding presence— balanced, caught in an upstream, overseeing—while elements of earth, water and air are abundantly present. The human presence—so assertively present in Piero’s originating work—has here been relegated to the outer edge of the image. The viewer is left with a scenario which is almost Zen-Buddhist in its reductivism, which is both devout yet ardent in its non-conformism.

GREGORY O’BRIEN

28 DON BINNEY (1940 - 2012)

Te Henga

Oil on board 74 x 54

Signed, inscribed Te Henga & dated 1971

$130,000 - 170,000

PROVENANCE

Private Collection, Sydney

EXHIBITED

Earth/Earth, An exhibition of Landscape Paintings by Don Binney, Michael Illingworth, Colin McCahon, Michael Smither and Toss Woollaston, Barry Lett Galleries, Auckland, 19 - 30 April 1971

Te Henga, also known as Bethells Beach, on Auckland’s West Coast has been the inspiration for many of Don Binney’s works. The Maori name for the area, Te Henga, is in reference to the long foredunes which run along the beach and look like the Henga or the gunwale of an upturned waka hull. This name originally applied to a wide area of the lower Waitakere River valley, but during the early 1900s the area became popular with visiting European immigrants who began to refer to the area as Bethells Beach after the Bethell Family who live there and still own much of the area.

In 1976 the New Zealand Geographic Board officially named the area Te Henga (Bethells Beach).

Don Binney stated in the catalogue of his 1966 show at Barry Lett Gallery that “an artist’s commitment to an area defines the idiom of the artist as it does the forms, surfaces and innate presence of land that compels his vision. These qualities, seen in the light of year to year experience produce characteristic images which gain in strength from this constant reappraisal.”

In 1962, Binney began painting at Te Henga, and views of Puketotara with indigenous birds became a common motif in his artworks. In birdwatching, Binney said he discovered a passage into the landscape and the opportunity to develop a personal relationship with it.

Binney described himself as a “figurative painter concerned with the psychic metaphor of the environment.” Working in oil, acrylic, charcoal, ink and carbon pencil, many of his works depict the west coast of Auckland and Northland, containing sea, sky, native birds, still life and occasionally, figures.

The following text extracted from: Earth/Earth, Barry Lett Galleries, 1971:

We wanted to add our voice to the chorus of protest over the many conservation issues facing this country and late last year invited these five artists, whose territory has been the land, to contribute paintings and comments. We wanted an exhibition of landscape painting that paid homage to the land and a catalogue of comments that decried its continued destruction.

29 DON BINNEY (1940 - 2012)

Takahe III, 1971

Charcoal, graphite & pastel on paper

76 x 100

Signed, inscribed Takahe III, 1971

$45,000 - 60,000

Kaiarara Kaka, Great

Silk-screenprint, edition 9/150

62.5 x 37

Signed & dated 1982

$15,000 - 20,000

PROVENANCE

Purchased from The Small Gallery, 1982

Accompanied by all original exhibition material & sales receipts

Maungawhau

Pastel on paper 30 x 44.5

Signed & dated 14/03/92

$4,000 - 6,000

30 DON BINNEY (1940 - 2012)

Barrier

31 DON BINNEY (1940 - 2012)

Crater

32 STAR GOSSAGE (b. 1973)

Under Matariki

Oil and studio detritus on board 120 x 80

Signed & dated 2009

$25,000 - 35,000

PROVENANCE

Private Collection, Gisborne

33 AROHA GOSSAGE (b. 1987)

Taonga Tuku Iho

Mixed media on board 83 x 152

Signed, inscribed Taonga Tuku Iho & dated 2018 verso

$6,000 - 8,000

PROVENANCE

Private Collection, Gisborne

Purchased from ARTIS Gallery, Auckland

Island Mentality

Aluminium cut out glued on paper

76 x 56.5

Signed & dated 17.6.87

$8,000 - 12,000

PROVENANCE

Private Collection, Wellington

Purchased from Peter McLeavey Gallery, Wellington

Untitled

Acrylic and oil on canvas 180 x 130

Signed & dated 2018 verso

$35,000 - 45,000

PROVENANCE

Private Collection, Bay of Plenty

Purchased from Gow Langsford Gallery

34 RICHARD KILLEEN (b.1946)

35 JUDY MILLAR (b.1957)

Organisation of the City

Oil on board 76 x 91

Signed & dated 1965

Inscribed BL / 10 - 1965 / No. 13

Organisation of the City, Robert Ellis verso

$45,000 - 65,000

PROVENANCE

Collection of the late Sybil Ferguson, Artist

Purchased 08/12/1965

Original purchase receipt affixed verso

36 ROBERT ELLIS (1929 - 2021)

Kimbolton Valley

Oil on canvas 122 x 147

Signed & dated 11/10/2004

$30,000 - 40,000

PROVENANCE

Private Collection, Auckland

Acquired directly from the artist, 2004

37 KARL MAUGHAN (b.1964)

Ok So We’ll Hikoi Next Month

Oil on board with mimram gloss varnish 89 x 119

Signed, inscribed Ok So We’ll Hikoi Next

Month & dated 2004 verso

$15,000 - 20,000

PROVENANCE

Private Collection, Wellington

Purchased from Janne Land Gallery, Wellington, 2004

Mana

Oil on linen 152 x 101

Signed verso

$30,000 - 40,000

PROVENANCE

Private Collection, Gisborne

Purchased from Paul Nash Gallery

38 JOHN WALSH (b. 1954)

39 JOHN WALSH (b. 1954)

Whenua

Te Huia Kaimanawa

The Huia Who Consumes My Heart (vertical)

In Love Songs, a Sweetheart was Described

Thus

Gelatin silver print, edition of 3

60 x 50

$8,000 - 12,000

EXHIBITED

Whakakitenga Revelation Fiona Pardington, April 15 - May 17, 2003

Jonathan Smart Gallery, Christchurch

Chris and Regan MacNeil Slip into a Parallel Paint Universe While Doing a Seance

Oil on linen 112 x 152

Signed & dated 2019

$10,000 - 14,000

40 FIONA PARDINGTON (b. 1961)

41 TOBY RAINE (b. 1983)

Signed & dated New York, 2017

$15,000 - 18,000

Acrylic

Signed & dated 1973

$45,000 - 65,000

PROVENANCE

Purchased from Govett Brewster

Gallery, New Plymouth 1973

Private Collection, Auckland

Private Collection, Otago

42 ANDRE HEMER (b. 1981)

Deep Surfacing NYC No. 9’

Acrylic and pigment on canvas 125.5 x 89.2

43 GRETCHEN ALBRECHT (b. 1943)

Golden Shadow Summer Landscape

on canvas 151.3 x 85.2

Untitled: Abstract Grid

Oil and collage on board 121 x 116.5

$30,000 - 50,000

PROVENANCE

Ex Collection of Liz and Bill Fumpston

Private Collection, Auckland

44 ALLEN MADDOX (1948 - 2000)

Albert Park

Oil on canvas 200 x 160

Signed & dated July 1990 verso

$45,000 - 65,000

PROVENANCE

Private Collection, Auckland

Purchased by current owners from Gow Langsford Gallery, 1990

45 KARL MAUGHAN (b. 1964 )

46 W.D. (BILL) HAMMOND (1947 - 2021)

Untitled

Acrylic on canvas 24 x 29

Signed & dated 2013

$40,000 - 60,000

PROVENANCE

Private Collection, Wellington

Purchased from Peter McLeavey Gallery, Wellington

Born in Christchurch, Lyttleton based William (Bill) Hammond studied at Ilam School of Fine Arts and the University of Canterbury School of Fine Arts from 1966-69. Before embarking on a career in art, he worked in a sign factory, made wooden toys and was a jewellery designer. He also had a keen interest in music, serving as the percussionist.

Hammond began exhibiting in 1980. His first solo exhibition was held in 1987 by Peter McLeavey at his Wellington gallery. Over the years, a long association between artist and dealer saw twenty further exhibitions of Hammond’s work held at the gallery. Hammond’s interest in music is a theme of his early work in the form of musical references, including song titles and lyrics coupled with popular culture and art history.

A shift in Hammond’s practice came in the early 1990s following his visit to the sub-Antarctic Auckland Islands. Of this visit Hammond says: The Auckland Islands are like New Zealand before people got here. It’s birdland.

The trip inspired him to start painting the humanoid birds which were to become his trademark. Inspiration was also drawn from the work of Sir Walter Buller, the prominent lawyer and ornithologist, known for his picture book A History of the Birds of New Zealand, first published in the early 1870s. Hammond’s paintings present his bird-people in a range of surreal scenarios. His work tackled social and environmental issues, conveying messages about humanity and its status as an endangered species.

Bill Hammond is remembered as one of our most influential contemporary painters. His works are held in leading private and public collections throughout New Zealand and the Victoria and Albert Museum, London.

N.G - Darkening

Acrylic on canvas 154.5 x 244

Signed, inscribed N.G - Darkening & dated 1994 verso

$90,000 - 120,000

47 GRETCHEN ALBRECHT (b. 1943)

48 PETER STICHBURY (b. 1969)

Edward Krebs

Acrylic on linen 100 x 80

Signed, inscribed Edward Krebs & dated 2012 verso

$75,000 - 95,000

PROVENANCE

Tracy Williams Ltd, New York Private Collection, Auckland

Former head of Contemporary Art at Christies, Tracy Williams was Stichbury’s New York dealer located in the West Manhattan neigbourhood of Chelsea, hallowed ground for contemporary artists. Stichbury was represented by Williams in two solo shows, The Proteus Effect, 2010 and The Superflous Man, 2012. Stichbury was the only figurative painter she exhibited and her only artist from New Zealand. She also held positions as Senior Vice President in the Contemporary Art Department at Sotheby’s and directorships at international dealers Michael Klein, Zwirner & Wirth. Williams likened Stichbury’s style to that of Otto Dix and Lucien Freud - I don’t think there is anyone like him (now)

In an article published on American online arts magazine Hyperallergic, critic John Yau wrote of Stichbury’s work: Peter Stichbury is a portrait painter whose work is unlike anyone else that I know of, and I am only stating the obvious.

For all of their nearly oppressive flawlessness, Stichbury’s paintings and drawings do not look back to the repository of classical ideas, but to a world replete with cosmetic surgery, Photoshop, Facebook, Twitter and reality television, just to name a few of the ways society exhibits new and improved faces. Along with Ingres, I would advance that Stichbury belongs to a group of linear portrait painters that includes Christian Schad, Tamara de Lempicka, and early Lucien Freud, particularly “Girl in Bed” (1952), which is of his then wife, Lady Caroline Blackwood, who was known for astonishingly large blue eyes.

The longer you look at Stichbury’s paintings, the weirder they become. It is almost as if the figures in them have become too perfect, too manicured, too controlled.

As viewers, we might have occasion to remember that this control is an illusion, that dissipation and entropy are unavoidable. Stichbury’s fascination with the world of self-representation in the age of digital media goes far beyond the surface — it is a meditation on the lengths to which we will go to avoid being human and aging, and how deeply human such attempts make us.

In 1987 Peter Stichbury graduated from Elam School of Fine Art and won the James Wallace Art Award. Gathering ideas from magazines, the internet, popular culture and his childhood, the artist continues to develop a body of work exploring, interpreting and reflecting upon the nature of identity. Contrary to common opinion, Stichbury’s stunning paintings, art prints and sketches of gorgeous waifs, nerdy yet strangely cool boys or professors aren’t merely the musings of an artist obsessed with surface aesthetics. Whilst fascinated by appearances, his interest cuts deeper and a little darker. Stichbury’s talent lies in making beautiful people look interesting and interesting people look beautiful and it’s proving lucrative, at least for the collectors. Furthermore, the American market is taking notice, a fact reinforced by several appearances of his work at the influential annual ArtLA Fair and the burgeoning fanfare enjoyed through his NYC dealer, to the point where new works are rarely available in his home country.

49 LIZ MAW (b. 1966)

Lady Kathryn and I

Oil on board 151.5 x 111.5

Signed & dated 2011

$80,000 - 120,000

PROVENANCE

Ivan Anthony, Auckland

Goods and Services: Modern and Contemporary Art from a Private Collection, Webb’s 04:07:22

Private Collection, Bay of Plenty

EXHIBITED

Liz Maw New Work, Ivan Anthony, Auckland, 29 June - 23 July 2011

Wellington born Liz Maw graduated from Elam School of Fine Arts in 2002. Drawing on her Catholic background, Maw’s work melds religious iconography and contemporary issues. She also references European old masters but takes celebrities and modern characters as her subjects, including notable portraits of artist Francis Upritchard, natural historian David Attenborough and the late Michael Jackson. Her fantasy figures often depict women and explore the idea of the femme fatale.

Her work is represented in the collections of Auckland Art Gallery Toi o Tāmaki, Chartwell Collection and Te Papa Tongarewa Museum of New Zealand.

50 BANSKY (b. 1974)

Laugh Now

Screenprint edition 311/600

69.5 x 49.5

$80,000 - 100,000

PROVENANCE

Private Collection

This work is accompanied by a Certificate of Authenticity from Pest Control

First created in 2002, Laugh Now was originally commissioned by a nightclub in Brighton Since then, Banksy has recreated this iconic image many times, with several versions appearing as prints in the Existencilism show of 2002, his first solo exhibition in Los Angeles.

Laugh Now depicts a monkey standing upright, his shoulders sloped and his face drawn; although the eyes are in shadow, his expression is one of dejection. He wears a sandwich board with text Laugh now, but one day we’ll be in charge. As is often the case, Banksy has the last laugh.

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.

Goldie formed long-standing relationships with several Maori he met and painted around this period, including Wiremu Patara Te Tuhi and Te Aho-o-te-rangi 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.

51 CHARLES FREDERICK GOLDIE (1870 - 1947)

Memories Tearara, A Chieftainess of the Arawa Tribe, Rotorua, New Zealand

Oil on canvas 46 x 41

Signed & dated 1933

$1,000,000 - 1,500,000

PROVENANCE

Private Collection, Auckland

ILLUSTRATED

p. 134, p. 267 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing, 1977

REFERENCE

p. 183 & 186, GOLDIE, Roger Blackley, Auckland, Art Gallery, 1997.

Note: Goldie refers to this work as ‘Memories’ Pipihaerehuka in his own correspondence to James Cowan 1935

EXHIBITED

London, Royal Academy 1934 - purchased for £262 12d

Goldie’s later career evolved independently of the Auckland art world. Encouraged by Governor General, Lord Bledisloe, Goldie resumed painting around 1930, and embarked on the final body of work in his career This distinctive period was marked by a warmer palette, looser brush and thinner paint application. He re-presented models he had first depicted decades earlier, with titles echoing earlier examples.

The subject Pipi Haerehuka was Chieftainess of Ngatitunuhopu hapu of the Arawa tribe. She was a direct descendant of Tamati Kapu, captain of one of the canoes that arrived c.1350 and the daughter of Haerehuka, the Ngati Whakaue Chief.

Goldie first painted Pipi Haerehuka in 1915 and again in 1919. A favoured subject, he continued to paint her after her death in 1927. On the recommendation of his benefactor, Goldie sent three paintings to London for the 1934 exhibition at the Royal Academy of Arts.

These included: Memories Tearara, A Chieftainess of the Arawa Tribe, Rotorua, New Zealand, the present lot, Thoughts of a Tohunga: Wharekauri Tahuna and An Aristocrat, Atama Paparangi

All three were selected, very well hung and much commented on, among the 1,600 paintings by artists from the Commonwealth. Placing high prices on his works, in order to maintain prestige, two of Goldie’s 1934 oils for the Royal Academy Exhibition: Thoughts of a Tohunga sold for £420. An Aristocrat was sold to Lady Bledisloe for the nominal sum of 100 guineas before it left New Zealand.

The present lot sold to a Miss H W Carnelly for the sum of £262 12d at the Academy Exhibition. These publically celebrated works were duly reported in the local press. In 1935 Goldie was awarded an OBE and the King George V Silver Jubilee Medal.

In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today, and New Zealand has every reason to be proud of him.

Governor General Lord Bledisloe

52 FRANCES HODGKINS (1869 - 1947)

Still Life

Oil on canvas 66.2 x 55.8

Signed lower left: Frances Hodgkins

$450,000 - 650,000

PROVENANCE

Private Collection

St George’s Gallery, London, England

Lucy C Wertheim, London, England

Mr & Mrs Philippe Garner, executors of Lucy C Wer theim’s Estate, London, England, 1971

Private Collection, Auckland

Private Collection, Christchurch

Frances Hodgkins database number

FH0895

EXHIBITED

1947 Pictures by Frances Hodgkins, Manchester Art Gallery, England

1948 An Exhibition of Pictures by Frances Hodgkins, Sponsored by the Isle of Purbeck Arts Club in Association with the Ar ts Council of Great Britain

1953 Famous British women artists: an exhibition of paintings and drawings in the Graves Art Gallery, Sheffield

1989 Frances Hodgkins, Works from Private Collections: An Exhibition Held to Celebrate the Opening of the New Store and Gallery, Kirkcaldie & Stains Limited Wellington

Situating still life subjects in the outdoors was popular amongst the English artists of the inter-war period. Winifred and Ben Nicholson, David Jones, Paul Nash, Christopher Wood and Cedric Morris all painted versions of this leitmotif. Frances Hodgkins made it her specialty, often combining flowers and fruit with interesting ceramics. Of her entire output of paintings, nearly 100 are “open air still lifes”.

Frequenting antique shops and stalls at fairs, she collected old or decorative pottery to be included in her compositions as props. These wares sometimes became her focus as in Spanish Jars, Red Jugs, Phoenician Pottery and Gourds, and the lithograph she was commissioned to make in 1937, Arrangement of Jugs. Some appear in Cedric Morris’s 1917 portrait which shows her seated, dressed in lilac, and reading a book, with a kitchen dresser laden with dishes and jugs beside her. Her love of decorative arts is evident in this still life from 1930 where a painted Italian jug, a blue-and-white oriental porcelain dish and a curved blue glazed sweet bowl are grouped with a flowering begonia in its terracotta pot. To create equilibrium, these four individually lively objects are assigned to the corners of a Japanese black lacquerware tray. This is tipped up towards the viewer so that the supporting shiny surface, sparkling with inlaid mother-of-pearl shell decoration at the centre, can be admired.

The tea tray sits on a four-legged English oak stool, its turned legs perched on stone or brick paving. Although the domestic realm and outdoor scene are merged, to demarcate the indoors from the garden beyond she has used the device of a deerskin floor rug lined with green baize. Her fluent brushwork defines the edge of each form in the composition. The setting is likely to be Pound Farm in Higham, Suffolk, the seventeenthcentury house with a paved and walled garden which had been leased by her friends Cedric Morris and Arthur Lett-Haines since early 1929. Its National Trust listing records that one of the old half-glazed doors to the cross wing survives, and Hodgkins has included this notable feature on the left of her composition. Its expanse of brown panels and small-paned glass acts as a repoussoir device (like a stage flat in the theatre) to lead the eye into the background. She denotes the hand-blown crown glass in the top half of the door in summary fashion, its characteristic bullseye shape merely suggested in the top right four panes.

Morris and Lett-Haines frequently hosted Hodgkins as a houseguest, picking her up in their motorcar from nearby Flatford Mill, (where they had arranged for her to have free use of a studio), or from her lodgings at the White Horse Hotel at East Bergholt. She wrote to Lucy Wertheim (1883-1971), a collector and soon-tobe gallerist, “[I] am glad of the quiet & deep peace of this place but anywhere in England is unsympathetic & difficult for an artist – The sea of green everywhere –The red brick - & the stoney paths & the stoney stares of the villagers – Oh Lord! But the big free Studio at the Mill is a real catch.” As publicity for a solo exhibition at the St George’s Gallery in Hanover Square, London to be held in the autumn of 1930, she was photographed in the Flatford studio, fashionably dressed in a cloche hat and heeled shoes, facing away from the camera towards framed examples of her work on the back wall. She had signed a contract with owner Arthur Howell making him the sole agent for watercolours for three years and giving him right of first refusal on her oils. In May, Hodgkins posted off the last of her Still Life series to him, ahead of the opening in early October. The exhibition was greatly acclaimed, with the reviewer for The Times enthusiastic: “The exhibition ought to confirm and extend the reputation of one of our most original artists.” At the age of 61, Hodgkins was finally an overnight success. Howell later documented this successful period in the artist’s life in his book Four Vital Years

Also in October 1930, Lucy Wertheim, whom Hodgkins had met in Manchester in 1926, opened her eponymous gallery in Burlington Gardens in Mayfair. Despite the difficulties of the Great Depression, she went on to open galleries in Brighton and Manchester as well, representing Hodgkins, Cedric Morris, Christopher Wood and others of their ilk until 1939 when the advent of the Second World War forced her to close. Married to a Belgian shipping magnate, Wertheim collected voraciously, both endowing the Towner Gallery in Eastbourne, and donating 183 works to the Auckland Art Gallery in 1948. The Wertheim collection toured New Zealand galleries in 1952, introducing an audience in Hodgkins’ homeland to the British modernism which was the context for understanding her work.

LINDA TYLER

53 A. LOIS WHITE (1903 - 84)

Collapse

Oil on board 75 x 60

Signed & dated 1944

$100,000 - 150,000

PROVENANCE

Originally purchased from Govett Brewster Gallery, New Plymouth 1973 Private Collection, Auckland Private Collection, Otago

ILLUSTRATED

By the Waters of Babylon: the Art of A. Lois White, Nicola Green, Auckland City Art Gallery, 1993

The Mindless Enemy, Dianne Bardsley & Mike Burr, New House Publisher, 1995 p. 81 The Invention of New Zealand Art & National Identity 1930 1970, Francis Pound, Auckland University Press, 2009

Lois White excelled at geometrical life drawing which was introduced by Englishman Archibald Fisher (18961959) to the Elam School of Fine Arts in 1924. She developed a style characterised by the stylisation and repetition of figures, catching the rhythm of Art Deco and the Jazz Age which defined her youth. Teaching part-time at Elam herself by 1928, the year after she completed study, she became a full-time tutor in 1935, remaining on the staff until 1963, and completed an estimated 400 paintings and 1000 drawings during her career.

Challenged by Fisher to provide a commentary on contemporary life in her art, Lois White painted metaphorical treatments of the defining moments of her era: the advent of radio broadcasting, cinema, the Depression and World War II. Influences from the Australian commercial artist Charles Meere (18901961) and the American Regionalists are evident. Collapse is reminiscent of Thomas Hart Benton’s (1889-1975) wartime series of paintings The Year of Peril (1941-2) which depicted the Nazi threat to American ideals. Like Benton, an avowed Regionalist, White wanted to distinguish her work from surrealism, cubism, impressionism “or any other fancy pants medium”, and described herself as a visualist. Despite this, her forms show a cautious modernist stippling of the surfaces describing forms. With fellow Elam artists who eschewed abstraction, she formed The New Group in 1948, declaring “We see more fully into the soul of the subject. It has been our aim to see not only with our eyes but with our minds.”

Unlike Benton who championed America’s entry into the Second World War after Pearl Harbour, White was a pacifist whose beliefs were rooted in her lifelong Methodism. Her religious subjects such as the Annunciation, Conversion of Saul, Deluge, Foolish Virgins, Eve Tempted as well as the epic resurrected Christ in Religion and Life (1935), link her work to the British paintings of Biblical narratives by Stanley Spencer (1891-1959). Her 1951 painting of Jonah and the Great Fish was selected for display in the Women’s International Art Exhibition at the 1951 Festival of Britain, and her 1935 mural of Christ riding into Jerusalem on the back of a donkey on Palm Sunday was purchased by Te Papa in 1990. The Auckland Art Gallery’s 1994 exhibition of her work, curated by the late Nicola Green, toured to six venues was titled By The Waters of Babylon (after her 1954 painting based on Psalm 137 of the Songs of David), and it resurrected her reputation posthumously.

The importance of Christianity to her conception of a civilised life is evident in this composition, where a church and a traditional house are being forced out by a looming Brutalist housing block. The dark forces of design are joined by a caricature of a banker and a Storm Trooper raising his fist to strike a young man who is stripped to the waist in front of him. Despite being aware of the Nazi persecution of Jews in Germany at the time, White chooses to show the capitalist colluding with the Nazi with Jewish features. When a friend and patron objected to the anti-Semitism, she changed the six-pointed Star of David at the figure’s throat to a five-pointed sheriff’s badge. The same tophatted figure had already appeared in her painting War Makers (1937, in the collection of the Auckland Art Gallery), where she claimed “the main idea behind the composition is the injustice done to youth by the decision of the older generation to have wars and send their sons to be slaughtered and maimed, while many grow fat on the proceeds”.

The political content of Collapse went unremarked by reviewers when it went on display in the Auckland Society of Arts Exhibition in June 1944. Arthur Hipwell commended her synchromism, commenting on the rhythmic design and rich colour. She has ensured that the figures being oppressed are of different ages, wearing clothing in harmonising tones of red, green, blue and brown. Auckland Art Gallery’s preparatory drawing shows how she carefully worked out the diminution and placement of each body so that they appear to fall down like dominoes in a cascade. Civilisation is clearly collapsing, and the immediacy with which Lois White paints this allegory challenges the viewer to intervene.

LINDA TYLER

54 WILLIAM HODGES (1744 - 1797)

A Maori Before a Waterfall in Dusky Bay, 1777

Oil on metal support 30.4 x 45.7

$800,000 - 1,200,000

PROVENANCE

London, Holzapfel Collection

Hamburg, Auktionhaus Stahl, 28 September 2013, lot 378

ILLUSTRATED

p. 64 - 65 p. 149, cat. 2.26

The Art of Captain Cook’s Voyages, Volume Two, The Voyage of the Resolution and the Adventure 1772 - 1775, Rüdiger.

Joppien and Bernard Smith, Melbourne: Oxford University Press, 1985

p. 307, note 43

William Hodges, Cook’s Painter in the South Pacific, Laurence Simmons, Tuituhi, Dunedin: Otago University Press 2011

On Monday 12th April, 1773, a fortnight after his arrival in Tamatea Dusky Sound, Captain James Cook recorded in his journal,

“Being a fine afternoon I took Mr. Hodges to a large Cascade which falls down a high mountain on the South side of the Bay about a League higher up than the Cove where we are anchrd. He took a drawing of it on Paper and afterwards painted it in oyle Colours which exhibits at one view a better description of it than I can give, …1”

While the drawing that Hodges made on the spot at Cascade Cove has not survived, there are three known oil paintings of the subject painted by Hodges upon his return to England. One is the large oil on canvas, Cascade Cove, Dusky Bay, signed and dated ‘Hodges 75’, now in the National Maritime Museum at Greenwich. The second is the small oil on panel, possibly done as a preliminary sketch for the larger oil painting, entitled A Maori before a Waterfall in Dusky Bay, that is now in the collection of the Southland Museum and Art Gallery Niho o Te Taniwha, Invercargill. The third is the oil painting on a metal support offered here. Of this group, the Southland version is most closely related to our picture. It is almost identical in size, viewpoint and composition. This has led to the assumption, first made by Joppien and Smith and repeated by others, that our

painting is a copy of the Southland picture, made by another artist or by some mechanical means.2 However, a close comparison of the two works shows that there are several significant differences, which argue for our painting being a replica painted by Hodges and not a copy made by another artist. For example, the standing Maori figure in our painting has a white whale-bone or albatross feather ear ornament which is absent in the Southland panel. The trunk of the tree emerging from the frothing water is much more clearly defined, as is the clearing in the background on the left with a stream and what appears to be a tent – perhaps a reference to the one erected by the astronomer William Wales at Pickersgill Harbour where the Resolution anchored on arrival in Dusky Sound.

That our painting is by Hodges’s hand is also supported by the sheer quality of the paint application. The treatment of the water cascading down through the rocks and the delicately rendered trees is entirely consistent with Hodges’ technique. Our view is supported by the leading scholar of the works of William Hodges, Professor Geoff Quilley, formerly curator at the National Maritime Museum, Greenwich and organiser of the exhibition on William Hodges held there in 2004.3

William Hodges was the first professionally trained artist to depict New Zealand subjects in the medium of oil painting. He was appointed the official draughtsman for Cook’s second voyage to the Pacific in 1772. During the three-year long voyage Hodges produced dozens of drawings of the places and peoples he encountered. On his return to England in 1775, he was charged with supplying the drawings and paintings to be engraved as illustrations for the official published account of the voyage – a task which occupied him for a further two years. He also worked on large-scale oil paintings for the Admiralty based on the drawings he had done during the voyage.

The paintings that Hodges made from the drawings he had done in the deep south of New Zealand hold a special place in his work. The Resolution reached the safe haven of Tamatea Dusky Sound after three months charting sub-Antarctic waters in the vain hope of discovering their limits. The abundance of fresh water, plentiful seafood and wild game, and the comparative calm of Tamatea must have appeared as a paradise after the long months at sea. Hodges’ paintings of Dusky Sound convey something of this view.

The lush vegetation and cascading fresh water provides a setting in which local Maori are portrayed as at one with nature. The encounters between Cook’s crew and the indigenous inhabitants were peaceful and cordial. Georg Forster recounts that the members of a Maori family were happy to allow Hodges to draw them and even conferred the epithet of ‘tóä tóä’ or tuhituhi on him to acknowledge his practice of mark making.4

So, for many reasons, this sale of the only authentic Hodges painting of Cascade Cove still in private hands, is an opportunity to acquire a rare and significant work of great historical importance. The discerning collector who is serious about assembling a collection that tells the history of painting in this country, will recognise the importance of this work as marking the very beginnings of oil painting in New Zealand.

DAVID MASKILL

1 J.C. Beaglehole (ed.), The Journals of Captain James Cook, II The Voyage of the Resolution and Adventure, Cambridge: Cambridge University Press, 1961, p. 119.

2 see Joppien and Smith in literature section above. Barbara Fogarty, the expert on mechanical paintings, has examined the work and concludes that it is not a mechanical painting or polygraph. Fogarty’s report is available on request.

3 Geoff Quilley and John Bonehill (ed.), William Hodges 1744-1797: The Art of Exploration, New Haven and London: Yale University

Press, 2004. Dr. Quilley’s view that the painting is an authentic work by Hodges’ hand was based on his having viewed the painting in London in 2015. Quilley also attested to the existence of other paintings by Hodges on metal supports.

4 Georg Forster, A voyage round the world, in His Britannic Majesty’s sloop, Resolution, commanded by Capt. James Cook, during the years 1772, 3, 4 and 5, London, 1777, vol. 1, p. 138.

Kingdom

Gesso, resin & 23.75kt Rosanoble gold leaf on wood panel 127 x 127 x 5

Signed & dated 2017 verso

$60,000 - 80,000

PROVENANCE

Private Collection, Bay of Plenty

Purchased from Gow Langsford Gallery

55

MAX GIMBLETT (b. 1935)

56 EVELYN PAGE (1899 - 1988)

Still Life With Apricots

Oil on canvas board 35 x 45

Signed

$65,000 - 80,000

PROVENANCE

Collection of P Condon, Private Collection, Christchurch

EXHIBITED

Evelyn Page SEVEN DECADES, Robert McDougall Ar t Gallery, 1986

Exhibition and loan label’s affixed verso

ILLUSTRATED

p. 51, plate 26, Janet Paul, Neil Rober ts, Evelyn Page

SEVEN DECADES, Robert McDougall Art Gallery, Christchurch, 1986

IMPORTANT

57 GARTH TAPPER (1927 - 99)

The Law and Its People

Oil on marine ply 132 x 231

Signed & dated 1980 verso

$80,000 - 120,000

PROVENANCE

Dr Lindsay Pool Collection

Important Paintings & Contemporary Art, Webb’s 27/03/2014

Private Collection, Auckland

ILLUSTRATED

Detail back cover, Garth Tapper New Zealand Painter, William P Tapper, Tapper

Art, 1998

p. 82 & 83 Garth Tapper New Zealand

Painter, William P Tapper, Tapper Art, 1998

EXHIBITED

The Law and Its People, Ferner Galleries, Auckland, 2008

“The Law and Its People was an amalgam of ’the message, the design, the animation, the juxtapositioning of figures’. It proved a very difficult composition to balance with its many different aspects of law in one room. It included a Judge, the Jury, a problem Maori youth, and a witness stand. I got carried away with the composition and put a skull in to symbolise the intellectual. I wasn’t completely satisfied though. I had reservations about the colour and the tone. Oh! One could go on and on forever.”

GARTH TAPPER

In order to understand his subject Tapper was shown around the old Supreme Court in Auckland and was invited to sit in on a week-long case and draw freely from the press bench.

Text, Garth Tapper New Zealand Painter, William P Tapper, Tapper Art, 1998

58 SYDNEY LOUGH THOMPSON (1877 - 1973)

The Artist’s Children, Grasse c.1930

Oil on canvas 50 x 61

Signed

$40,000 - 60,000

PROVENANCE

Dr Charles Peneaud, Concarneau thence by descent Private Collection, New Zealand

Sydney Thompson made his first trip to Provence in 1915 and around 1925 purchased a house in Grasse. Until 1933 this became the artist’s base in the South of France. With the onset of winter the family would depart Concarneau for the warmth, enjoyment and inspiration of Provence.

In this luminous, impressionistic work the artist’s two young daughters, Annette and Mary, spend time relaxing beneath an arbour of green and gold vines. The blue-grey bridge spanning the canal provides a perfect backdrop and is the subject of a work held in the collection of Christchurch Art Gallery.

59 FELIX KELLY (1914 - 94)

Guernsey c 1962

Oil on board 43 x 56

Signed

$25,000 - 35,000

EXHIBITED

London in the Country and Other Paintings by Felix Kelly, Tuesday 30 October 1962, The Arthur Jeffress Gallery, London, cat no. 11

REFERENCE

p. 281 Fix - The Art and Life of Felix Kelly, Donald Bassett Darrow Press, 2006

Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle.

After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike. Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and fellow New Zealander Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read.

Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, windblasted trees, abandoned locomotives often invested with an eerie watchfulness.

Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.

Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s and 70s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings.

Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time.

A quirky humour pervades his work. Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Douglas Lloyd Jenkins and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-09.

A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013.

60

ALFRED SHARPE (1836 - 1908)

Logging Kauri on the Coromandel

Watercolour 58 x 92

Signed & dated 1882

$80,000 - 120,000

PROVENANCE

Private Collection, Christchurch

Contemporary & Traditional New Zealand & European Art, Auckland, International Art Centre 28:07:2000

ILLUSTRATED

p. 69 The Art of Alfred Sharpe

Roger Blackley, Auckland City Art Gallery Bateman Publishing, 1992

EXHIBITED

The Art of Alfred Sharpe Auckland City Art Gallery, 1992

Landscape, c. 1960

Watercolour and pencil on paper

20.5 x 27.5

$3,000 - 5,000

White Steven

Oil on board 121.7 x 90.5

Signed & dated 1991

$25,000 - 35,000

PROVENANCE

Private Collection, Auckland

61 TOSS WOOLLASTON (1910 - 98)

62 TOSS WOOLLASTON (1910 - 98)

63 PETER MCINTYRE (1910 - 95)

Rangitikei River

Oil on board 60 x 75

Signed

$30,000 - 40,000

Years ago I went far up the Rangitikei beyond Taihape to visit my friend David Russell, whose farm at that time was as far as you could drive up the river into the bush. The river is so deep between high papa cliffs that down at the bottom where the river flows there is only a sort of twilight, even on a sunny day. Once I crossed the gorge at a wider place in the bush in a tray slung on a logger’s wire rope, and we sat in mid-air watching a large trout feed in the river below where a patch of sun broke through the over-hanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white

Text: Peter McIntyre’s New Zealand, A H & A W Reed 1964

The Rangitikei River, it’s headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometres, making it one of the New Zealand’s longest rivers. It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometres southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt. The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks. Its sheer vertical papa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities. The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all.

The river in the painting flows out of the bush, cutting deep into the white papa clay to make cliffs that catch the sun and the moon all along its course.

Text: Peter McIntyre’s Pacific, A H & A W Reed 1966

Otago Coast Line

Oil on board 51 x 70.5

Signed $25,000 - 35,000

64 PETER MCINTYRE (1910 - 95)

Tukituki View, Hawkes Bay

Oil on canvas 101.5 x 231.5

Signed & dated 2016

Inscribed Tukituki View, Hawkes Bay verso

$15,000 - 20,000

PROVENANCE

NKB Gallery Private Collection, Auckland

65

FREEMAN WHITE (b. 1979)

The Publican

Oil on board 99 x 74

Signed & dated 1986

$12,000 - 16,000

PROVENANCE

Collection of the late Kevyn Male

Hallett Bay, Antarctica

Oil on board 58 x 73

Signed $20,000 - 28,000

PROVENANCE

Private Collection, King Country

This Ship is the Icebreaker Northwind (WAGB282)

66 GARTH TAPPER (1927 - 99)

67 PETER MCINTYRE (1910 - 95)

68 PARATENE MATCHITT (1933 - 2021)

Kaiwaiata

Gouache & pastel on paper 69 x 43

Signed & dated 1961

$8,000 - 12,000

69 PARATENE MATCHITT (1933 - 2021)

Te Pakanga XXVIII - Te Pö

The Night of Darkness, 1974

Pen and ink on paper 48 x 66.8

$7,000 - 10,000

Amiomio

Acrylic on hardboard 93.5 x 93.5

Signed inscribed Amiomio & dated 1977 verso

$25,000 - 35,000

PROVENANCE

Private Collection, Otago

Purchased in Rotorua, early 1980s by current owners

70

SANDY ADSETT (b. 1939 )

71 KEES BRUIN (b. 1954)

Eve and Easter Lily, 1996

Oil on canvas 78 x 60

Signed & dated 1995

$40,000 - 60,000

Easter Lily and Eve presents a Lily in details that can almost be smelt and picked, along with a nude reminiscent of Venus in Botticelli’s Birth of Venus and ancient Greek sculptures. This figure symbolises women universally, from Genesis to Picasso’s daughter. This composition, with its strong chiaroscuro suggests both the creation of night and day, and the emerging tension between them.

As with Colin McCahon’s Takaka Night and Day, it references the garden of Eden in a contemporary context.

Text: notes affixed verso

72 KEES BRUIN (b. 1954) Musterion

Oil on canvas 60 x 121

Signed & dated 2001

$30,000 - 40,000

Kees Bruin synthesises traditional realism with contemporary and photo-realistic techniques which portray his views on the world and his reflections on life. Religious themes dominate his art as he draws on the rich iconography and spiritual heritage of Western philosophy to provide a fresh perspective on Christianity. His enduring, enigmatic works intrigue and tease with their tenuous play between the real and the symbolic - what seems to be and what is.

Kees was an invited artist at the 1990 International Artist’s Forum in Holland.

Enamel on board 91 x 91

Signed, inscribed & dated 1974

$38,000 - 48,000

Plain Song April

Acrylic and pastel on paper 79 x 119.5

Signed, inscribed Plain Song April & dated 1997

$6,000 - 9,000

73 PAT HANLY (1932 - 2004)

Lion Rock, Piha

74 JOHN SHOTTON PARKER (1944 - 2017)

Dutch Mandala, 2010

Pencil, ink, acrylic polymer, oil size, Swiss gold leaf / Arches 300 lb Rough

Watercolour & moon gold leaf 58 x 76

Signed & dated 2010

$8,000 - 12,000

PROVENANCE

Private Collection, Auckland

Purchased from Gow Langsford Gallery, 2010

Plain Song: The Upper Wairau Valley

Oil on canvas 103 x 103.5

Signed & dated 2001

$14,000 - 18,000

PROVENANCE

Milford Galleries, Dunedin

75 MAX GIMBLETT (b. 1935)

76 JOHN SHOTTON PARKER (1944 - 2017)

77 RALPH HOTERE (1931 - 2013)

Round Midnight July

Lithograph on paper 56 x 74

Signed, inscribed & dated 2000

$8,000 - 12,000

78 RALPH HOTERE (1931 - 2013)

A Union Jack? 1990

Lithograph, edition 43/50

75 x 56

Signed & dated 1990

$8,000 - 12,000

80

79 RALPH HOTERE (1931 - 2013)

Black Window

Lithograph, edition 22/30 42.5 x 29.5

Signed, inscribed & dated 1988

$4,000 - 6,000

80 RALPH HOTERE (1931 - 2013)

15 All Black Kisses

Pencil on paper 42 x 29.9

Signed, inscribed & dated 1981

$10,000 - 15,000

Alkyd/acrylic

Signed & inscribed

$6,000 - 8,000

PROVENANCE

Private Collection, Auckland

Purchased from ARTIS Gallery, Auckland

Sullivan

Graphite on paper 72 X 54

Signed, inscribed Sullivan & dated 2004

$10,000 - 15,000

PROVENANCE

Private Collection, Auckland

81 RAYMOND CHING (b. 1939)

P. 207 The Blooming Kakapo & the Parakeet

on board 59.5 x 49.5

82 PETER STICHBURY (b. 1969)

83

JUSTIN BOROUGHS (b. 1952)

Lion Red Grandstand

Acrylic on board 60 x 103.5

Signed & inscribed Lion Red Grandstand verso

$8,000 - 12,000

84

GEORGE BALOGHY (b.1950 )

The Queen’s Street

Oil on canvas 50 x 70

Signed $6,000 - 8,000

EXHIBITED

Magic City, ARTIS Gallery, Auckland, 2013

85 MICHAEL HIGHT (b. 1961)

Waimarino County

Oil on linen 76 x 180

Signed & dated 2010

$20,000 - 30,000

MARK

Golden Gatherers (Revisited)

Acrylic on canvas 59.5 x 90

Signed & dated verso June 2012

$15,000 - 20,000

PROVENANCE

Private Collection, Auckland

86

CROSS (b. 1955)

Duck Creek, 2015

Acrylic on canvas 76 x 107

Signed & dated 2015

$30,000 - 40,000

PROVENANCE

Private Collection, Auckland

Everyone knows a place like this setting. It is found within creeks, swamps, rivers and lakes throughout New Zealand. We have all fished, swum or thrown stones into these waters. They all have ducks like the mother Mallard and her young.

The fishing waka has been expertly and painstakingly carved from a totara tree trunk.

The Kotuku - the rare white heron - is a symbol of prestige, uniqueness and spirituality, and signifies everything rare and beautiful. ALVIN PANKHURST

87

ALVIN PANKHURST (b. 1949)

88 PIERA MCARTHUR (b. 1929)

Night at the Opera, Moscow ‘90

Oil on canvas 147 x 100

Signed & dated 1990

$10,000 - 15,000

PROVENANCE

Purchased from SOCA, 1990

89 PIERA MCARTHUR (b. 1929)

Rehearsal Time Moscow ‘90

Oil on canvas 120 x 130

Signed & dated 1990

$8,000 - 12,000

PROVENANCE

Purchased from SOCA, 1990

Planes Bisect - a Conversation with Frank & Piet

Acrylic on canvas 150 x 150

Signed, inscribed Planes Bisecta Conversation with Frank & Piet & dated 2016 verso

$8,500 - 10,500

Parallel Universe - Stacked & Abutted

Acrylic on paper on board 120 x 50

Signed, inscribed Stacked & Abutted & dated 2014 verso

$7,000 - 8,000

90 ROY GOOD (b. 1945)

91 ROY GOOD (b. 1945)

92 FATU FEU’U (b. 1946)

Malofa I

Acrylic on canvas 74.5 x 74.5

Signed & dated 2021

$6,000 - 8,000

The Artist’s Left Hand

Ballpoint pen and conte on paper 28 x 23

Signed & dated 2004

$20,000 - 30,000

PROVENANCE

Henry Wolseley Fine Arts, London label affixed verso

Sotheby’s auction label affixed verso

Private Collection, Bay of Plenty

ILLUSTRATED

p. 197 Henry Moore: Complete Drawings 1977-81

Galerie Dominion, Montreal

The Henry Moore Foundation in Association with Lund Humphries publishers, 1995

93

HENRY MOORE (1898 - 1986)

94 JENNY DOLEZEL (b. 1964)

Untitled

Chalk, gouache and pastel on paper 41.5 x 58.5

Signed & dated 1985

$8,000 - 12,000

95 BARRY BRICKELL (1935 - 2016)

Untitled

Acrylic on canvas 59 x 49

Initialled & dated 07/04

$1,500 - 2,500

Oil on canvas 112.2 x 111.7

Signed, inscribed Night Caller & dated 2015

$10,000 - 14,000

96 JOANNA BRAITHWAITE (b. 1962)

Night Caller

Cutting

Oil on linen 50 x 65.1

Signed, inscribed Railway Cutting & dated 7/6/2019

$20,000 - 30,000

The Tryst

Graphite pencil, ink, conté, carbon, oils and liquin on linen 76 x 61

Signed & dated 2018

$14,000 - 18,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

Ray Ching The Voyage ARTIS Gallery, Auckland, 2018

97 DICK FRIZZELL (b. 1943) Railway

(2001/19)

98 RAYMOND CHING (b. 1939)

Winters Day Rain

Watercolour & pastel on paper 51 x 51

Signed, inscribed Winters Day Rain & dated 1974

$14,000 - 18,000

99 PAT HANLY (1932 - 2004)

The Hall Arm, Doubtful Sound

Oil on linen 91.8 x 167.9

Signed, inscribed & dated 2018

$18,000 - 24,000

100 PETER JAMES SMITH (b. 1954)

Oil on canvas board 39 x 45

Signed $16,000 - 22,000

101 SYDNEY LOUGH THOMPSON (1877 - 1973)

Wharf Scene with Horse and Wagon at Concarneau

Oil

Signed $10,000 - 15,000

102

SYDNEY LOUGH THOMPSON (1877 - 1973)

Wellington Harbour Scene with Boats

on board 34 x 31.5

Mangatawhiri Swamp from Pokeno with Koheroa Pah Beyond

Watercolour 43 x 61

Inscribed View of Mangatawhiri

Swamp from Pokeno - Koheroa Pah in the Distance on original label affixed verso $32,000 - 38,000

PROVENANCE

Ex Collection of Sir & Lady James Fletcher

Important, Early and Rare, International Art Centre, 31/03/2009

103 ALFRED SHARPE (1836 - 1908)

Sunshine & Showers

Watercolour 25.5 x 60.5

$5,000 - 10,000

Milford Sound

Watercolour 32 x 63

Signed

$10,000 - 15,000

104 WILLIAM MATTHEW HODGKINS (1833 - 98)

105 JOHN BARR CLARKE HOYTE (1835 - 1913)

Landscape with Creek

Watercolour 35 x 25

Signed $3,000- 5,000

Untitled, Landscape

Watercolour 27.5 x 38

Signed $4,000 - 6,000

106 MARGARET STODDART (1865 - 1934)

107 OLIVIA SPENCER BOWER (1905 - 82)

Conversation Piece

Oil on board 37 x 45

Signed $3,000 - 5,000

$6,000 - 8,000

Steam Boat Moored On The Seine, Northern France

Gouache on paper 25 x 35

Signed & dated 1926

$1,500 - 2,500

108

JOHN HOLMWOOD (1910 - 87)

109

JOHN WEEKS (1886 - 1965)

110 JAMES MCLAUCHLAN NAIRN (1859 - 1904)

View from Pumpkin Cottage

Oil on canvas 30 X 45 cm

Motuhua

Oil and alkyd on canvas 20 x 29.5

Signed & dated 2016 verso

$3,000 - 5,000

PROVENANCE

ARTIS Gallery, Auckland

A North Island Estate Collection

Fortification, Godley Head

Watercolour 26 x 53.5

Signed & dated 12 Sep ‘70

$4,000 - 6,000

111 MICHAEL SMITHER (b. 1939)

112 GRAHAME SYDNEY (b. 1948)

113 SHANE COTTON (b. 1964)

Appendages Study 10

Oil stick, charcoal & pastel on paper 58 x 76

Signed & dated 1990

$4,000 - 6,000

PROVENANCE

Brooke Gifford Gallery, Christchurch

Original label affixed verso

114 MAX GIMBLETT (b. 1935)

Beauty Kind

Screenprint on 600 gsm archival Fabriano paper, unique 96.5 x 96.5

Signed & dated 2017

$3,000 - 4,000

115 MICHAEL SMITHER (b. 1939)

Pukekura Park, New Plymouth

Oil on board 48.5 x 37.5

Signed $8,000 - 10,000

116 MERVYN WILLIAMS (b. 1940)

Free Fall

Acrylic on canvas 122 x 122

Signed & dated 1982 verso

$3,000 - 5,000

117 JOHN SHOTTON PARKER (1944 - 2017)

Untitled, c.1977-78

Oil on canvas 155 x 122

$4,000 - 7,000

Accompanied by ar tist letter

Grane (the Name of Brunhild’s Horse) I, 2012

Kauri sculpture on granite base 70 x 35

Accompanied by Certificate of Authenticity

$5,000 - 10,000

PROVENANCE

Private Collection, Canterbury Ex Artist’s Estate Collection

Untitled, Two-Sided Bronze Medallion, 1990

Two-sided, limited edition bronze medallion

10 x 10

Accompanied by Certificate of Authenticity

$1,000 - 2,000

ROVENANCE

Private Collection, Canterbury Ex Artist’s Estate Collection

118 LLEW SUMMERS (1947 - 2019)

119 LLEW SUMMERS (1947 - 2019)

120 ROBYN KAHUKIWA (b. 1938)

Hongi IV

Monoprint on paper 76.5 x 60

Signed, inscribed Monoprint made at Printmaking Workshop New York, Hongi IV & dated June 1995

$3,000 - 5,000

121 ROBYN KAHUKIWA (b. 1938)

Wahine with Red Feather Watercolour and acrylic on hand-made paper 39 x 48

Signed & dated 2002

$1,000 - 2,000

122 ROBYN KAHUKIWA (b. 1938)

Wahine with Paua Shell Watercolour and acrylic on handmade paper 58 x 38

Signed & dated 2002

$1,000 - 2,000

PROVENANCE

A North Island Estate Collection

Gregory O’Brien

Available 19 October 2023

Jacketed Hardback, 290 x 240 mm, 400 pages 9781869409661, $89.99

Published by Auckland University Press

Francis Pound

With a Foreword and Afterword by Leonard Bell.

‘Good Lord what a beautiful book. A simply breathtaking immersion into the vivid life and work of a great artist, whose work has received a long-overdue reassessment. Gregory O’Brien has done Binney, and ourselves, proud. Obligatory.’ — Sam Neill

Available 14 September 2023

Jacketed Hardback, 270 x 205 mm, 464 pages 9781869409531, $89.99

Published by Auckland University Press

With Francis Pound accompanying us through the work as guide, critic, wit and enthusiast, Gordon Walters is an extraordinary journey into twentieth-century art.

Absentee Bid Form

6:00pm Tuesday 25 July 2023

IMPORTANT & RARE ART

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

NAME

ADDRESS

TELEPHONE

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

EMAIL

Signature ........................................................................................... / / 2023

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

ARTIST NAME

INSURANCE VALUATIONS

In 1862, Sir George Grey purchased Kawau Island, including what had originally been the Mine Superintendent’s house. He immediately set out to transform it, adding 20 rooms to the original ten using designs by the architect Frederick Thatcher, at the time Grey’s private secretary. The large garden, planned on an Italianate model, was gradually filled with exotic species as part of Grey’s experiments with the acclimatisation of plants.

Most painters who went to Sir George Grey’s estate on Kawau Island had themselves rowed out into the bay in order to make a painting of the picturesque view across the water looking back to the front elevation of what is today known as the Mansion House. However, Alfred Sharpe’s main interest lay in the variety of foliage displayed in the garden of the house’s west front and the building’s architectural details. The result is a unique pictorial record.

International Art Centre provides formal art valuation 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.

In June 1884, Alfred Sharpe included this painting in the second annual exhibition of the Fine Arts Association of New Zealand in Te Whanganui-a-Tara. It was one of 78 exhibits sent from Tāmaki Makaurau for a show comprising 344 works. It was exhibited again in the same year in the splendid ‘show window’ of Phillips and Son’s paint, paperhanging, and picture shop in Queen Street.

In a review of the exhibition, the Star‘s critic observed that ‘the view of Sir George Grey’s house, Kawau, is pretty, though there is a little too much of the architectural drawing about it’. Conservation architects involved in various later restorations of the house have had good reason to think otherwise about this meticulous watercolour.

To discuss an insurance valuation for your collection or individual works of art, contact:

Grace Harris grace@artcntr.co.nz

+64 9 379 4010

ALFRED SHARPE The Garden Front, Sir George Grey’s Mansion, Kawau, 1884 Watercolour on paper 38 x 62 cm - Collection of The Fletcher Trust

IMPORTANT & RARE ART

Important & Rare Art auctions are the proven, preeminent sale category for major works of art offered for sale in New Zealand. These auctions take place three times annually. Now in our 51st year in business, experience continues to equal results. 2014 saw Important & Rare auctions realise five of New Zealand’s top ten auction prices. The following year saw new records set with the two top prices in Auckland achieved. With the addition of the record $1.7 million paid for a C F Goldie in November 2021 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

COLLECTABLE

The buzz generated by our Collectable Art auctions reflects the popularity of these sales: 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. Works span the vital period from mid-century modernism through to the cutting-edge of today’s Contemporary art in New Zealand.

This sale category is an increasingly significant event in our auction calendar. Offering a number of 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 single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years.

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.

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.

Grace

Conditions of Sale and A Guide to Buyers

The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final.

The auctioneer has the right -

(i) to refuse any bid;

(ii) to advance the bidding at his absolute discretion;

(iii) to place a reserve on any lot;

(iv) to place a bid or bids on behalf of the seller;

(v) to withdraw any lot from sale;

(vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price.

The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

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

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

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

Each lot shall be paid for and removed at the buyers expense by no later than 4:00pm Friday 28 July 2023 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction.

SUBJECT BIDS

When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES

Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding in back of catalogue. 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.

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

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

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)

Lot 24 Ralph Hotere Oputae ‘Baby ’Iron Series