Important, Early & Rare 6:30pm Wednesday 31 July 2013
Important, Early & Rare 6:30pm Wednesday 31 July 2013
Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz
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Auction Contacts
Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071
Car Parking
Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz
Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.
Auction assistants and administration Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz
Location map
www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction
Auction Venue
International Art Centre, Scarborugh Gallery Lower Ground Level, 272 Parnell Road, Auckland. On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.
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Parking During Viewing Days: Available on site during weekend viewing, Saturday 27 & Sunday 28 July. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.
Important, Early & Rare 6:30pm Wednesday 31 July 2013
Viewing Times
Wednesday
24 July
9:00am - 5:30pm
Thursday
25 July
9:00am - 5:30pm
Friday
26 July
9:00am - 5:00pm
Saturday
27 July
11:00am - 4:00pm
Sunday
28 July
11:00am - 4:00pm
Monday
29 July
9:00am - 5:30pm
Tuesday
30 July
9:00am - 5:00pm
Wednesday
31 July
9:00am - 1:00pm
Other times by appointment Lot 43 Raymond Ching Anzacs
272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz 3
Sam Stuart $14,650
Sydney Lough Thompson $19,630
Felix Kelly $18,170
Michael Smither $31,650
February, April & May Sales at a Glance International Art Centre commenced its auction season with the successful John Leech Collection. Over 80% of 217 lots were sold. Strong prices were achieved across all genres in this first single-owner collection of 2013. The Important, Early & Rare April sale saw an equally pleasing result. John Gully’s Mt Tasman fetched $62,000. Ongoing support for works by the late Buck Nin continued with The Land is Ours setting a $19,900 auction record. A small work by Sam Stuart Judges Bay, Parnell made $14,650 and Evelyn Page’s Camellias went for $27,550. Hotere’s Observation Point made $39, 800. International Art Centre’s May Contemporary & Collectable Art auction saw the best sale result this year with a 90% success rate. A busy saleroom, along with numerous telephone and absentee bids, responded positively to the sensibly reserved and diverse offering. Evelyn Page $27,550
John Gully $62,000
4 Important, Early & Rare Wednesday 31 July 2013 Peter Siddell $16,400
Trevor Moffitt $11,700
Frances Hodgkins $35,175
Dick Frizzell $12,300
Robert Ellis $12,600
Frances Hodgkins $16,400
Mike Petre $16,400
Peter McIntyre $12,890
Buck Nin $19,900
Ralph Hotere $39,860
5 Trevor Moffitt $11,360
Pat Hanly $21,100
Robert N Field $5,270
Jane Evans $11,700
Forthcoming Auction
Collectable Editions Auction September 2013 Screenprints, photographs, engravings, linocuts & lithography An auction devoted to NZ & Foreign printmaking
Consign Today Contact: Luke Davies +64 9 3794010 luke@artcntr.co.nz
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Pat Hanly
Forthcoming Auction
Contemporary & Collectable Art Auction 6:00pm Thursday 29 August
FATU FEU’U Sur Coise Mixed media on canvas 180 x 214cm Estimate $8,000 - 12,000
Consign Today
NIGEL BROWN Jump Up! 1989 Acrylic on board 70 x 32cm Estimate $3,000 - 5,000
Including works from the Art Line Syndicate Collection
Toll Free 0800 800 322 or +64 9 3794010 Richard Thomson richard@artcntr.co.nz Entries close 6 August
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010
www.fineartauction.co.nz 7
LAWRENCE LEITCH Off Highway 85, Manitoto Acrylic on board 60.5 x 120.5cm
INTERNATIONAL ART CENTRE
272 Parnell Road New Zealand Tel +64 9 379 4010 www.internationalartcentre.co.nz 8 Important, Early & Rare Wednesday 31Auckland July 2013
LAWRENCE LEITCH Paintings of Our Land - The Long White Cloud
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J C Hoyte $102,900 Don Binney $173,000
Peter Siddell $218,000
Important, Early & Rare 2012 Highlights Experience Equals Results
A Lois White $30,800
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Prices quoted include buyers premium
Charles Blomfield $114,300
Photo of Goldie $4,200 Felix Kelly $13,150 Frances Hodgkins $52,000
Don Binney $108,000
10 Important, Early & Rare Wednesday 31 July 2013 Vera Cummings $20,500
Peter McIntyre $36,000
C F Goldie $183,000
D Badcock $9,700
Adele Younghusband $8,8
Garth Tapper $12,500
C F Goldie $284,800 Zatta $5,900
800
Edward Fristrom $9,700
Ralph Hotere $183,000
Edwin Harris $85,780
H G Robley $12,800
W A Sutton $48,000
Beatrix Dobbie $3,400
11 Raymond Ching $57,000
Albrecht $20,000
Brent Wong $11,400
J C Hoyte $59,400
Auction 31 July Wednesday 6:30pm Payment may not be made during sale Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm If attending sale, please register for bidding number at viewing Viewing Times p. 3 Absentee Bidding Form p. 106 Index p. 107 Conditions of Sale p. 108
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SIR PETER SIDDELL
1935 - 2011 Tiled Roof Pastel on paper 33.5 x 55 Signed
ESTIMATE $7,000 - 10,000
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RALPH HOTERE
ESTIMATE $2,500 - 3,500
1931 - 2013 Drawing for Sound Movement Theatre Song Cycle Anatomy of a Dance Ink and lithograph on paper 25 x 18.5 Signed, inscribed & dated 8-75 Inscribed: Dance - John Casserley, Chas Hummell, K Suhadji Music - Jack Body, Barry Mangan Poems - Bill Manhire
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RALPH HOTERE
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RALPH HOTERE
1931 - 2013 1931 - 2013 Drawing for Song Cycle Drawing for Song Cycle Dance Ink on paper 27.5 x 17.5 Watercolour and ink on paper 25 x 18.5 Signed, inscribed & dated 8-75 Signed, inscribed & dated 8-75 Inscribed: Inscribed: Dance - John Casserley, Chas Dance - John Casserley, Chas Hummell Hummell Music - Jack Body, Barry Mangan Music - Jack Body, Barry Mangan Poems - Bill Manhire Poems - Bill Manhire A wind goes out over the fields Photography John McKechnie. A shadow grows where I touch you. What is this distance? ESTIMATE Whose hand is gently waving? $2,500 - 3,500 Manhire
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ESTIMATE $2,500 - 3,500
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ROBIN WHITE
b. 1946 On the Beach, Otago Peninisula Screenprint, edition no. 18 of 35, 55.5 x 37 Signed, inscribed & dated 1972
ESTIMATE $3,000 - 4,000
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DON BINNEY
1940 - 2012 Grackle, Veracruz Screenprint, edition no. 76 of 100, 61 x 45 Signed, inscribed & dated 1970
ESTIMATE $3,500 - 4,500
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ROBIN WHITE
b. 1946 Harbour Cone Screenprint, edition no. 16 of 50 30.5 x 21 Signed, inscribed & dated January 1973
ESTIMATE $1,800 - 2,600
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SIR PETER SIDDELL
1935 - 2011 Villa Oil on board 39.5 x 59 Signed & dated 1973
ESTIMATE $4,000 - 6,000
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JOHN WEEKS
1885 - 1965 Good Signs, Auckland Watercolour 32 x 38 Signed
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ESTIMATE $2,000 - 3,000
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JOHN WEEKS 1885 - 1965 Multicoloured Walls I Oil on canvas board 18.5 x 26 Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso
ESTIMATE $2,500 - 3, 500
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PAUL DIBBLE
b. 1949 Maui Unique bronze sculpture 37.5 x 28 Signed & dated 2003 within casting
ESTIMATE $5,000 - 7,000
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JOHN WEEKS
1885 - 1965 Cubist Composition Pastel on paper 51.5 x 41 Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso
ESTIMATE $4,000 - 6,000
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ROY GOOD
b. 1945 Pacific Corporation - Diptych, 1985 Acrylic on two canvas panels 183 x 75
Signed, inscribed & dated 1985 verso
ESTIMATE $ 3,500 - 5,500
PROVENANCE Private Collection, Auckland
EXHIBITED Pacific Corporation Series Artis Gallery, High Street, 1985 REFERENCE p. 12, NZ Herald, 20 May 1985 Precise, minimal abstract art is also the style of Roy Good at Artis Gallery in High St, Auckland. His works have singularly beautiful surfaces, and the forms have the long, slender curves of lenses in profile. In nearly every work these curves are counterpointed by a sharp triangle, often in black. The most inventive work is a diptych where the tall, sharp triangles are poised against a curve of blue and white and black. Pacific Corpration series 6 also breaks away from the tyranny of the rectangular frame to good effect. This is a small show of only eight works but it is one of considerable distinction. T J McNamara, 1985
Pacific Corporation - Diptych, In situ
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JOHN TOLE
1890 - 1967 Fire Beyond Turangi Oil on hardboard 45 x 59.5 Signed & dated 1975 Title typed on original artist’s label affixed verso
ESTIMATE $5,000 - 8,000
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PROVENANCE Provenance: Allen and Jeny Curnow Estate Exhibited: One Man Exhibition of paintings by John Tole, John Leech Gallery April 1976. Original label affixed verso
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RALPH HOTERE
1929 - 2013 Winter Solstice, Lake Mahinerangi Mixed media on paper 56 x 38 Signed, inscribed & dated 1981
ESTIMATE $30,000 - 40,000
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KEES BRUIN
b. 1954 Reading Oil on canvas 61 x 56 Signed
ESTIMATE $25,000 - 35,000 PROVENANCE Private Collection, Christchurch EXHIBITED Allusion & Illusion, Kees Bruin, Christchurch Art Gallery 2006 REFERENCE Kees Bruin was born in Roxburgh, Central Otago, in 1954. He studied sculpture and later painting at the University of Canterbury School of Fine Arts from 1974, graduating with honours – his teachers included leading Canterbury artists William A. Sutton, Rudolf Gopas, Ted Bracey and Doris Lusk. Bruin also holds a Diploma in Teaching and a certificate in film production. He has worked as a professional artist for almost three decades, participating in solo and group exhibitions throughout New Zealand and internationally.
I like my paintings to give the illusion of being like a big photograph without the major inherent distortions. I try to incorporate an underlying symbolic message within the painting, although this does not always happen. When it does, I am concerned with expressing it as subtly as possible – the Kingdom of God is like buried treasure that one must search for in order to find - Matthew 13:44. KEES BRUIN 22 Important, Early & Rare Wednesday 31 July 2013
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LEN CASTLE
1924 - 2011 Large Earthenware Bowl, 1991 From the series: The magma flows, the magma cools on its way to the ocean Ceramic 13 high x 54 diameter Impressed initials on base
ESTIMATE $4,500 - 6,500
PROVENANCE Purchased by current owner directly from Len Castle, circa 1992 One of two works commissioned in1991 for Treasures of the Underworld, New Zealand Pavilion, World Expo, Seville, Spain. 12 April - 20 October 1992 in partnership with Expo NZ 1992 Ltd and the Queen Elizabeth II Arts Council of New Zealand. The second work from this series is held in Museum of New Zealand Te Papa Tongarewa collection.
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24 Important, Early & Rare Wednesday 31 July 2013
DOUGLAS MACDIARMID
b. 1922 A French Village Oil on canvas remounted on panel 24 x 34.5 Signed & dated 1955
ESTIMATE $1,800 - 2,400
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PAMELA WOLFE
b. 1950 First Light Oil on canvas 130 x 200 Signed, inscribed & dated 2007 verso
ESTIMATE $12,000 - 15,000
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WILLIAM ALEXANDER (BILL) SUTTON
1917 - 2000 Canterbury Plains Watercolour 37 x 50 Signed & dated 1985
ESTIMATE $2,500 - 4,000
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TOSS WOOLLASTON
1910 - 1998 Wellington Harbour Watercolour 27 x 34.5 Signed
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ESTIMATE $4,000 - 6,000
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JOHN WEEKS
ESTIMATE $8,000 - 12,000
1885 - 1965 The Cowhearder Oil on board 76 x 63 Signed
PROVENANCE Ross Sutton Collection Purchased from Peter McCleavy Gallery, Wellington 1976. Original purchase receipt affixed verso
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PHILIP TRUSTTUM
b. 1940 Hannah’s Toys Mixed media on unstretched canvas 231 x 188 Inscribed
ESTIMATE $9,000 - 13,000
PROVENANCE Private Collection, Christchurch Purchased from Brooke Gifford Gallery, 1976
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RALPH HOTERE
1929 - 2013 Mungo Mixed media on board 26 x 27.5 Signed, inscribed & dated 1985
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ESTIMATE $20,000 - 25,000
PROVENANCE Private Collection, Otago
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GORDON WALTERS
PROVENANCE Sir Graeme & Lady Florence Davies collection, London Purchased from New Vision Gallery, Auckland 1973
1919 - 1995 Study for Black on White, 1965 India ink on paper 61.5 x 46 ESTIMATE $35,000 - 45,000
Wellington born Gordon Walters was a pioneer of modernist abstraction in New Zealand. This painter showed an unflinching commitment to abstraction at a time when landscape was the norm. Walters is best known for his Koru works, whose unique stylisation of the Maori koru motif developed out of a phase of experimentation in the 1950s. The geometric spiral form of the koru began appearing consistently in Walters’ work from the late 1950s.
My work is an investigation of positive/ negative relationships within a deliberately limited range of forms; the forms I use have no descriptive value in themselves and are used solely to demonstrate relations. I believe that dynamic relations are most clearly expressed by the repetition of a few simple elements. GORDON WALTERS 30 Important, Early & Rare Wednesday 31 July 2013
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SIR PETER SIDDELL
PROVENANCE Collection of Tony and Patricia Sinclair
ILLUSTRATED p. 92 - 95 The Art of Peter Siddell, Godwit Publishing 2010 A copy of this publication, signed by the artist. is to be sold with this lot
1935 - 2011 A Portrait of Tony and Patsy Acrylic on canvas 120 x 130 Signed & dated 1978 ESTIMATE $150,000 - 220,000
EXHIBITED Contemporary New Zealand Realist Paintings, Auckland Art Gallery 1979 REFERENCE Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978, the same year A Portrait of Tony and Patsy was painted, he won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.
I like to achieve a stillness in my paintings. It's something to do with wanting to freeze a moment in time and regain a bit of the past. SIR PETER SIDDELL 32 Important, Early & Rare Wednesday 31 July 2013
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Through the window can be seen a suggestion of a painting by Don Binney, an artist Patsy and Tony admired. I also included my painting, Avril with Kauri Trees, which they already owned. The house is no longer there but Tony and Patsy still own the painting. SIR PETER SIDDELL p. 92 The Art of Peter Siddell, Godwit Publishing 2010
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GORDON WALTERS
PROVENANCE Sir Graeme & Lady Florence Davies collection, London Purchased from New Vision Gallery, Auckland 1973
ILLUSTRATED p. 18 Gordon Walters: Prints + Design, William McAloon, Adam Art Gallery, Wellington 2004
1919 - 1995 Amoka 1972 Screenprint, edition no. 6 of 25, paper size 100 x 51 Image size 83.7 x 39.2 Signed, inscribed & dated 1972 ESTIMATE $7,000 - 10,000
REFERENCE Walters’ adoption of printmaking was part of a burgeoning interest in the medium in the late 1960s and 1970s. Printmaking enabled Walters to bring his work to a wider audience, and the relatively new medium of screenprinting was perfectly suited to his hard-edged style. Painter and printmaker Mervyn Williams produced most of Walters’ prints and ensured that they were realised to the artist’s exacting standards.
28 KARL MAUGHAN b. 1964
Riverena Oil on linen 122 x 183 Signed, inscribed & dated 2010 verso ESTIMATE $27,000 - 32,000 27
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GORDON WALTERS
PROVENANCE Private Collection, New York
1919 - 1995 Airborne c. 1955 Gouache on paper 22 x 30 Signed & inscribed ESTIMATE $22,000 - 28,000
In 1950, Gordon Walters travelled to Europe, eventually basing himself in London. It was during this time that he viewed works by leading European artists such as Capogrossi, Taeuber-Arp, Vasarley and Herbin. He also had the opportunity to see exhibitions of American art, as well as works by Mondrian and artists of the Bauhaus. The collective works of these artists had a considerable effect on Walters and were formative to his stylistic development. On his return to New Zealand in 1953, Walters began to produce his first abstract works, mainly on paper, completely devoid of figurative representation. He remained very aware of developments in international art through magazine publications such as Art d’Aujourd Hui, while continuing to apply modernist principles to his work. Walters was responsible for paving the way for Modernism in this country. During the 1950s, the majority of artists were concentrating largely on painting nationalist landscapes. It was not until the 1970s that many of his works from the 1950s were finally shown to the public. As discussed by Walters; They were not shown at the time I did them because I considered the climate to be unsympathetic, if not downright hostile to abstraction. Gordon Walters quote p. 31 Parallel Lines: Gordon Walters in context, William McAloon, Auckland City Art Gallery 1994. When viewed in this context, its apparent that Airborne was extremely progressive for its time.
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TREVOR MOFFITT
ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Christchurch since 1984
1919 - 1995 The Artist as a Solo Father - Painting Barbara Oil on board 60 x 60 Signed & dated 1984 Inscribed verso
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It was completed just prior to the first of Walter’s Koru Paintings from 1956. We begin to see Walters working within a defined set of formal aspects, those being colour, shape and composition, in order to achieve a visually harmonious balance. The reduced palette is typical of his gouaches, while simple geometric forms are restricted mainly to variations of the square, circle and rectangle.
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RALPH HOTERE
1929 - 2013 La Mort a les Couleurs du Paon (Death wear the colours of a peacock) Lithograph with hand applied blue, red, purple, gold and green inks, edition of 14, 53.5 x 37.5 Signed, inscribed & dated 1985
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40 Important, Early & Rare Wednesday 31 July 2013
ESTIMATE $5,000 - 7,000
MIKE PETRE
b. 1964 Field Study 196 Ink, graphite, oil & acrylic on canvas 115 x 145 Signed, inscribed & dated 2011 verso
ESTIMATE $11,000 - 15,000
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1929 - 2013 Untitled Nude Ink and watercolour 36.5 x 25 Signed
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RALPH HOTERE
ESTIMATE $4,000 - 6,000
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RALPH HOTERE
1929 - 2013 Oputae Cut Lithograph, edition of 20, 63 x 53 Signed, inscribed & dated 1985
ESTIMATE $3,000 - 5,000
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PAMELA WOLFE
b. 1950 Hedonist Oil on canvas 110 x 200 Signed, inscribed & dated 2008 verso
ESTIMATE $11,000 - 14,000
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RALPH HOTERE
1929 - 2013 Pine 9 - In your Wrists Mixed media on woodblock paper 55 x 42 Signed, inscribed & dated 1979
ESTIMATE $17,000 - 23,000
Bill Manhire, who provided the texts for Hotere’s Pine works, recalls the genesis of that particular collaboration; At one stage, while I was living in London in the early 70s, I sent Ralph a piece of poetry each week. Every so often I would put in the mail a postcard with the word PINE on it – plus a line [of poetry]…Ralph did a series of works – mostly stuff on paper- using bits of that text. I’ve always found pine forests really scary and interesting in the way that Janet Frame did. There was always a plantation near where we were living when I was a child. In that forest the sound quality changed – it was scary and safe all at once. – cathedral, underwater stuff. That was what was in my mind when I wrote the words… The Pine works on paper divide into two series, the first a group of 1972 watercolours which are among Hotere’s most lyrical works…The word PINE surfaces in each image, as well as an assortment of lines from Manhire and a series of numbers, 1 – XlV, which gives the works a ritualistic feeling. A more robust–looking sequence of Pine images, from a year or two later, used woodblock-printed letters as structural elements in a manner more akin to McCahon although, again, the layering of word on top of word made for a more patterned effect. These banner-like configurations of words, which the artist printed on the Royal Columbian hand press at the Bibliography Room at the University of Otago, also echo the artist’s early Pop Art and Op Art influences, the handwritten words offsetting the weighty printed letters with hazy graffiti. Some of the printed letters are damaged, smudged, or they look as if they have been eroded by chemicals or the elements. As always, Hotere’s interest in textures and the imperfections in finish is integral to the complexity and allusiveness he requires of his often minimal visual elements.
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Hotere exploits the multiple meaning of ‘pine’, letting the word commute between the natural world and the world of human emotions and expression. Ian Wedde wrote in the Evening Post in 1990: Hotere has run whole series of puns off titles, and whole series and re-series of works off puns. Because of the silence in the ground of his work, the gestures (the speech) that play upon that silence can do much with very little… The serious aspect of word play is a given of twentieth century literature with such pioneering figures as James Joyce and Gertrude Stein fracturing both the sound and sense of words and phrases to realise new, unpredictable forms. Hotere recognises the potentiality of even the simplest puns – witness the Pine series and, just as spectacularly, the earlier Malady paintings. His works attest to the capacity of language to subvert our expectations, to alter the way we perceive reality. Gregory O’Brien: HOTERE - Out The Black Window: Ralph Hotere’s work with New Zealand Poets, Godwit, City Gallery, Wellington, 1997, Chapter 6: Empty of shadows and making a shadow p. 49 and 51.
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ALVIN PANKHURST b. 1949 About Time Oil on acrylic on canvas 100 x 151 Signed & dated 2006
ESTIMATE $20,000 - 30,000 PROVENANCE Collection of the late Eric & Kathy Hertz reference About Time features Pukaki’s younger relative Tiki. Each viewing of About Time produces an immediate, almost visceral response in the viewer. The great carver Te Umanui has captured vividly the strength and compelling personal beauty of this famed Ngati Whakaue warrior (note the eyelashes: a highly unusual feature for a Maori carving). Pankhurst’s setting on the wild southern West Coast beach provides an appropriately striking setting. But what grips you and holds you there is the intensity in Tiki’s face, the underlying tension in his torso and limbs as you sense his deep effort of will to keep from being submerged by the encroaching sand. This is no passive creature simply enduring his fate, but a fierce determined survivor. Dara McNaught
This was my first Maori painting. I loved every moment I spent looking at it and painting it. Historically, Tiki was an important leader of the Ngati Whakaue people; the weapon in Tiki’s hand denotes him as a great warrior. Tiki was originally carved as one of the gateways to Pukeora Pa on the hill above Ohinemutu in Rotorua. ALVIN PANKHURST 46 Important, Early & Rare Wednesday 31 July 2013
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ALVIN PANKHURST
PROVENANCE Collection of the late Eric & Kathy Hertz
b. 1949 Transition Oil on acrylic on canvas 120 x 184 Signed & dated 2007 ESTIMATE $30,000 - 40,000
REFERENCE From the age of seven Pankhurst was winning school holiday art awards, then cameras, books – even a family holiday to Hawaii, culminating with his winning the 1974 Benson and Hedges National Art Award. International Judge James W. Foster described Pankhurst’s work at that time as a tour de force in its immaculate technique, exquisitely detailed composition, eerie colour and compelling sense of time and place. I have always been a realist/surrealist. My still-life paintings with plant roots showing the passage of time consumed me through the 1970s and 80s, and the last paintings in that series were exhibited at London’s Royal Academy Summer Exhibition in 2001. While Pankhurst was painting a work titled Shifting Sands, which featured a mantelpiece in the sand dunes, it inspired him to paint his first maori painting, About Time, 2006. This and the subsequent maori paintings Transition, 2007 and The Last Stand, 2007 have the meditative inner spirit he sought.
The carver Te Umanui carved Tiki in the early 1800’s with stone and greenstone tools. A famous Ngati Whakaue leader. ALVIN PANKHURST 48 Important, Early & Rare Wednesday 31 July 2013
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ALVIN PANKHURST b. 1949 The Last Stand Oil on acrylic on canvas 120 x 185 Signed & dated 2007
ESTIMATE $25,000 - 35,000 PROVENANCE Collection of the late Eric & Kathy Hertz REFERENCE The Last Stand features the prow of a waka (war canoe) lying partly submerged in a swamp within a rainforest clearing. At first glance it’s a tranquil scene. But there’s a dynamic quality to the waka, as there is with all these paintings. The warrior-like face carved on the prow has an intent, concentrated energy: there’s nothing lost or static about this waka. Is it sinking or emerging from the boggy ground? The trademark double-edged illusion of Pankhurst’s work – the multi-layered source of tension that is so compelling for the viewer – has become a reflection of not just cultural transition but of moral ambiguity. In a defining presentation, he has placed these great Maori figures at the heart of a distinctive, uniquely New Zealand cultural heritage. Dara McNaught
This waka emerging from the deep of the Whirinaki Forest Park outside Rotorua is typical of those used in raiding parties. Maori would sink them to hide their presence, and then bail them out to return home, but did they always return? ALVIN PANKHURST 50 Important, Early & Rare Wednesday 31 July 2013
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FRANCES HODGKINS
PROVENANCE Private Collection, Auckland
Another original hand written label verso reads: Frances Hodgkins Blue Barges No. 2688 - see below
1869 - 1947 Blue Barges Watercolour, pencil, chalk and bodycolour on paper 51 x 41 ESTIMATE $25,000 - 35,000
EXHIBITED Exhibition of works by Frances Hodgkins, The Leicester Galleries, London, October 1941. Purchaser Mrs Andermann Original Leicester Galleries label affixed verso.
The Leicester Galleries label affixed verso
Original artist’s label affixed verso
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EDWARD FRISTROM
1864 - 1950 In the Wellington Gardens Oil on board 29.5 x 22.7 Signed ESTIMATE $8,000 - 12,000 PROVENANCE Private Collection, Christchurch Private Collection, Tasmania
54 Important, Early & Rare Wednesday 31 July 2013
EXHIBITED Paintings by James Nairn and Edward Fristrom, Auckland City Art Gallery 1964, cat no. 52 Catalogue prepared by Colin McCahon, Keeper of the Gallery 1964 Original Auckland City Art Gallery catalogue that accompanied exhibition is available with this lot. Four letters dated 1964 from Auckland City Art Gallery director P A Tomory also available to purchaser.
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EDWARD FRISTROM
1864 - 1950 A Landscape Study Oil on board 28.5 x 19 Signed ESTIMATE $5,000 - 8,000 PROVENANCE Private Collection, Christchurch Private Collection, Tasmania
EXHIBITED Paintings by James Nairn and Edward Fristrom, Auckland City Art Gallery 1964, cat no. 51
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RAYMOND CHING
b. 1939 Anzacs Oil on board 133 x 139 Signed, inscribed Flight from the Ark, Anzacs & dated 2005
ESTIMATE $35,000 - 45,000
PROVENANCE Private Collection, Auckland
EXHIBITED Ray Ching Ark, Artis Gallery April 4 - 29 2007
ILLUSTRATED p. 18 & 19 Ray Ching Ark, Artis Gallery April 4 - 29 2007
In this masterfully painted work, the artist chose a symbolic trio of subjects. The white Dove of Peace hovers above Anzac companions, the Australian Lyrebird and New Zealand’s Tui.
Raymond Ching was born in Wellington, 1939. Now living in the United Kingdom he is one of the world’s most acclaimed wildlife artists. His ability to depict texture from the softness of feathers, to the luminosity of water, is remarkable. Capturing the quick silver character of a bird, the delicacy of its plumage, as well as his translation of feather into paint, spotlights the very essence of the subject. These are the aspects of his work that have attracted international acclaim.
56 Important, Early & Rare Wednesday 31 July 2013
44
EVELYN PAGE née POLSON
1899 - 1988 Old Houses, Lyttelton, circa 1936 Also known as Quail Island, Lyttelton Harbour Oil on board 30 x 43 Signed Inscribed Old Houses, Lyttelton verso Original Money Bros Picture Framers, Christchurch label affxied verso ESTIMATE $12,000 - 16,000
PROVENANCE Private Collection, Christchurch Acquired directly from the artist by the current owner’s family, early 1940s
EXHIBITED Durham Street Gallery, Canterbury Society of Arts 1936
Recently released from long term loan to Christchurch Art Gallery Christchurch Art Gallery titled work as Quail Island, Lyttelton Harbour
REFERENCE Old Houses Lyttelton or Quail Island Lyttelton Harbour is signed E Polson confirming this as an early work by Evelyn Page circa 1936. From 1930 until 1936 Eve Polson taught art at Craighead, a private Christchurch girls school. During 1936 her first solo exhibition was held at the Durham Street Gallery, Canterbury Society of Arts. The exhibition was a great success with every work selling at the opening. Polson made the grand sum of £300, at the time this was more than her annual salary, enabling her to travel to the United Kingdom in January 1937 where she met Frederick Page. The coupled married the following year at Governors Bay, Christchurch. This painting was shown in her solo exhibition at the Canterbury Society of Arts held 14th December 1936.
58 Important, Early & Rare Wednesday 31 July 2013
59
45
CHARLES FREDERICK GOLDIE
PROVENANCE Private Collection, England until mid 1940s Acquired by V E Donald,Masterton Same New Zealand family collection since
EXHIBITED Royal Academy, London 1927
1870 - 1947 Memories - Rakapa, An Arawa Chieftainess Oil on panel 20.1 x 15.1 Signed & dated 1910 Inscribed on original artist’s label affixed verso ESTIMATE $190,000 - 250,000
Originally of Otaki, Rakapa married into Arawa and her waiata were and remain the songs of Rotorua Maori elders as well as those of the Ngati-Toa and Ngati-Raukawa. Rakapas’s family by marriage, fought for the colonial government in the North Island Land Wars of the mid-19th century. C F Goldie chose to paint Rakapa on at least five occasions. Immaculately portrayed, the artist’s masterful treatment of wrinkled skin and greying hair encourages closer scrutiny. This favoured subject bears traditional moko, pounamu/greenstone earings and talisman tiki.
Presented in original Goldie frame
A newspaper article dated 1927 and affixed verso reads: London, May 24, 1927. Another of Mr C F Goldie’s three Academy pictures has been sold. The purchaser is a lady who lives in the South of England. She has chosen Memories, a Chieftainess of the Arawa Maori. Even before the Royal Academy opened to the public, Mr Goldie’s An Aristrocrat - Atama Paparangi A Chieftain of the Rarawas - bore the distinctive red seal which indicates ‘Sold’. Memories was priced on the official chart at £262.10.
In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today. New Zealand has every reason to be proud of him. Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979 60 Important, Early & Rare Wednesday 31 July 2013
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46
FELIX KELLY 1914 - 1994 Georgian House, Milford Wood Gouache on card 31 x 41 Signed & dated 1943
ESTIMATE $7,000 - 10,000 Provenance Private Collection, Europe Exhibited: New Paintings and Drawings by Lucian Freud, Felix Kelly and Julian Trevelyan, Lefevre Gallery, November - December, London 1944, Cat no. 48
ILLUSTRATED Paintings by Felix Kelly, Falcon Press, 1946; 2nd impression 1948. Introduction by Herbert Read.
Milford Wood is a good example of Felix Kelly’s early Neo-Romanticism, and is signed and dated Felix Kelly,‘43’. It was included in the exhibition, New Paintings and Drawings by Lucian Freud, Felix Kelly and Julian Trevelyan at the Lefevre Gallery, New Bond St., London, late 1944. It was also reproduced in the small book, Paintings by Felix Kelly, that was published in 1946 by Falcon Press, London, with an introduction by the important modernist critic and writer Herbert Read. As with several others of the time, the picture includes a generic Georgian house in the background along with a crumbling wall and a bare iron pergola, now lacking the wisteria or rose that once covered it. Two spindly figures walk slowly arm in arm. A dark wood of twisted branches contributes to an oppressive mournfulness. One critic wrote that the human beings in Kelly’s paintings walk in a rarefied atmosphere. The colours are restrained. Kelly comments on an outmoded way of life. Happily, the work retains its original frame, complete with a Lefevre Gallery verso. Its dilapidation is a perfect match for the picture’s subject. Don Bassett
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 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, wind-blasted 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. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddlesteamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work. Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, will be published later this year.
62 Important, Early & Rare Wednesday 31 July 2013
63
47
RHONA HASZARD
ESTIMATE $10,000 - 15,000
48
DOROTHY KATE RICHMOND
1861 - 1935 Black Birch Watercolour 17 x 22 Signed & dated 1908
ESTIMATE $3,000 - 5,000
PROVENANCE Private Collection, United Kingdom since 1920s
1901 - 1931 Sunlight and Shadows Oil on canvas board 37 x 27 Signed
47
64 Important, Early & Rare Wednesday 31 July 2013
48
65
49
SYDNEY LOUGH THOMPSON
ESTIMATE $8,000 - 12,000
PROVENANCE Same family collection since 1940s Letter to owner from artist’s daughter Annette Thompson affixed verso, dated 1993
50
gottfried lindauer
Nicholas Ellison was batman to Alfred William Pomare of the Royal Hussars. On his return to New Zealand he became a Royal Envoy.
1877 - 1973 A Street in Saint Jeannet en Provence Oil on canvas board 44 x 30 Signed
1839 - 1926 Nicholas Ellison (Ngai Tahu) - British Royal Artillery Oil on canvas 84.5 x 65 ESTIMATE $40,000 - 60,000
49
66 Important, Early & Rare Wednesday 31 July 2013
50
67
51
ROY GOOD b. 1945 Colour Column, 1975 Acrylic on canvas 183 x 61
Signed, inscribed & dated 1975 verso
ESTIMATE $3,000 - 5,000
52
raymonD ching
PROVENANCE Private Collection, United Kingdom
b. 1939 Goosanders Oil on board 49 x 82.8 Signed ESTIMATE $12,000 - 16,000
51
68 Important, Early & Rare Wednesday 31 July 2013
52
60
69
53
COLIN VERNON WHEELER
1919 - 2012 MacKenzie Country Oil on board 66 x 89 Signed ESTIMATE $10,000 - 15,000
PROVENANCE Ross Sutton Collection Third prize, Kelliher Art Award 1970 ILLUSTRATED plate 47 The Kelliher, 67 Award Winning Paintings of the New Zealand Landscape and it’s People, Richard King, Orakau House 1979 The saga of James MacKenzie, a Scottish shepherd who arrived in the country around 1850, provides New Zealand with a Robin Hood or Ned Kelly cycle of folk-tales. What is known about MacKenzie is sparse, what has been attributed to the man makes up a rich tapestry of legend. It is certain that MacKenzie removed a thousand sheep from a run in Canterbury and was caught driving the flock towards Otago. He was convicted of sheep stealing and sentenced to five years in Lyttelton jail. After escaping several times he was freed within a year, the authorities found him an expensive embarrassment and he was ordered to leave the country. It has been claimed that MacKenzie was duped into taking the sheep, that he discovered a pass into a realm of rolling foothills known only to the Maori, that his dog, a remarkable collie with whom the shepherd could work wonders, innocently identified her master in the dock and was later hanged as a witch; that she survived to breed a line of ‘super’ sheepdogs; that she understood only Gaelic and that MacKenzie returned to spirit her away. It does appear that MacKenzie claimed title to a block of land vaguely described as bearing north-west from Timaru and midway between the sea and the west coast of the Middle Island. Whatever the truth of the MacKenzie myth, the broad basin of the Tekapo River proudly bears his name. Its shallow valleys and gentle slopes with tussock and snowgrass cover grow excellent Merino wool but power pylons will soon march across the land, bringing electricity from hydro projects planned for the lakes on the mountainous fringe of the MacKenzie Country. Text: The Kelliher, 67 Award Winning Paintings of the New Zealand Landscape and it’s People, Richard King, Orakau House 1979
70 Important, Early & Rare Wednesday 31 July 2013
71
55
54
MARY ELIZABETH TRIPE
ESTIMATE $1,000 - 2,000
55
CHRISTOPHER PERKINS
1891 - 1968 Dorset Coast from Swire Head Oil on board 49 x 60 Signed, inscribed & dated 1960 on original artist’s label affixed verso
ESTIMATE $6,000 - 8,000
1867 - 1939 Cottage with Wysteria Watercolour 35 x 25 Signed
54
72 Important, Early & Rare Wednesday 31 July 2013
56
56
JOHN BARR CLARKE HOYTE
1835 - 1913 Milford Sound Watercolour 60 x 90 Signed
ESTIMATE $35,000 - 45,000
73
57
74 Important, Early & Rare Wednesday 31 July 2013
57
COLONEL ROBERT HENRY WYNYARD
1802 - 1864 Princess Street, 1849 Watercolour and ink 18 x 22 Inscribed & dated 1849
ESTIMATE $25,000 - 35,000
58
ARTIST UNKNOWN
New Zealand 19th Century Ngatimara Tribe. Hauraki Gulf 1847 Watercolour 22 x 18 Inscribed & dated 1847 Paper watermarked R Turner 1837
ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Australia
58
75
59
NICHOLAS CHEVALIER
ESTIMATE $25,000 - 35,000
PROVENANCE Private Collection, Auckland Purchased by current vendor, Christies. Australia Paintings, Prints & Books, 1986 - Lot 184
1828 - 1902 Akaroa Watercolour 19.2 x 59.2 Signed & dated 1868
Nicholas Chevalier had studied in Europe and London before travelling to Australia in 1854, where he made paintings and drawings of the goldfields. He worked as a professional artist in Melbourne and introduced chromo-lithography to Australia. For almost two years in the mid 1860s he travelled widely in New Zealand, sometimes accompanied by his wife, whose diaries record the rigours and hardships endured on some of their journeys. In February 1869, three Chevalier watercolours were exhibited at the Otago Fine Arts Exhibition but there was some disappointment that there were not more. The Press reported: ..... the artist had no works on hand to send, so it is likely that most of them were still overseas. The following year Chevalier was represented by several watercolours including Akaroa (cat no 9), in the Canterbury Art Exhibition held at Canterbury Museum. Text Nicholas Chevalier An Artist’s Journey through Canterbury in 1866 In 1869 Chevalier accompanied the Duke of Edinburgh on his world tour, before returning to live in London. A large collection of Chevalier's New Zealand watercolour paintings is held in the national collection in Wellington, gifted by his widow.
76 Important, Early & Rare Wednesday 31 July 2013
77
60
CAPTAIN RICHARD OLIVER
ESTIMATE $6,000 - 9,000
1811 - 1889 Ihawera Watercolour 36 x 25.5 Inscribed
60
78 Important, Early & Rare Wednesday 31 July 2013
61
62
61
VERA CUMMINGS
ESTIMATE $4,000 - 6,000
PROVENANCE Private Collection, Rhode Island, USA
1891-1949 Maori Woman Oil on canvas 25 x 18 Signed
62
VERA CUMMINGS
ESTIMATE $4,000 - 6,000
PROVENANCE Private Collection, Rhode Island, USA
1891-1949 A Hot Day Oil on canvas 25 x 18
79
63
ALBERT EDWARD ALDIS
PROVENANCE Private Collection, Germany
64
JOHN BARR CLARKE HOYTE
1870 - 1921 Auckland Harbour Oil on canvas 20 x 29 Signed & dated 1890 Inscribed verso ESTIMATE $2,500 - 3,500
63
1835 - 1913 Coromandel Coast with Miners Disembarking Watercolour 20 x 30 Signed ESTIMATE $2,500 - 3,500 PROVENANCE Private Collection, Queensland Purchased by current owner from International Art Centre Art Auction 18/03/1976
65
CHARLES BLOMFIELD
PROVENANCE Private Collection, Auckland Purchased from International Art Centre, circa 1979
1848 - 1926 Pink Terraces Oil on canvas 34.5 x 44.5 Signed & dated 1891 ESTIMATE $15,000 - 20,000
64
80 Important, Early & Rare Wednesday 31 July 2013
65
81
66
REVEREND JOHN KINDER
1819 - 1903 Mount Te Aroha and the Thames Watercolour and bodycolour on paper 28 x 45 Inscribed & dated 1886
ESTIMATE $7,000 - 10,000
PROVENANCE Ex Collection of Artist’s Grandson John Kinder
REFERENCE Kinder sketched the Te Aroha region between 1885 - 1891. The River Waihou that features as subject matter in this work was commonly know as Thames in Kinders day, hence the title Mount Te Aroha and the Thames
67
CHARLES DECIMUS BARRAUD
1822 - 1927 Pukawa Lake from the Te Aute Road, Hawkes Bay Watercolour 28.5 x 48 Signed. Inscribed & dated 1862 on original label affixed verso
ESTIMATE $3,000 - 5,000
PROVENANCE
Private Collection, Queenstown
66
67
82 Important, Early & Rare Wednesday 31 July 2013
69
69
ALFRED SHARPE
ESTIMATE $5,000 - 8,000
1836 - 1908 Native Storehouse Watercolour 22.5 x 41.5 Signed & dated 1879
70
ALFRED SHARPE
ESTIMATE $4,000 - 6,000
1836 - 1908 Off East Cape Islet NZ Watercolour 23 x 42 Signed, inscribed & dated 1879
68
68
LOUIS JOHN STEELE
PROVENANCE Private Collection, United Kingdom
1843 - 1918 Two Maori & Waka Watercolour 6 x 6 Signed, inscribed ‘Auckland’ & dated 1905 verso 800 - 1,200 ESTIMATE $800 - 1,200
70
83
71 This work was thought to be commissioned by Alexander Thomson after the eruption of Mount Tarawera in 1886. There is another work by George O’Brien of a similar subject in the collection of the Otago Early Settlers Museum, Dunedin, titled Mount Tarawera, showing floating pumice after eruption 1886 at Loin Rock Lake Rotomahana. Reference: p 66 Pavilioned In Splendour. George O’Brien’s Vision of Colonial New Zealand. Roger Collins and Peter Entwhistle, Dunedin Public Art Gallery 1986.
84 Important, Early & Rare Wednesday 31 July 2013
72
71
GEORGE O’BRIEN
1821 - 1888 Lake Rotomahana Watercolour 57 x 78.5 Signed ESTIMATE $10,000 - 15,000
72
PETRUS VAN DER VELDEN
1870 - 1921 Landscape also known as Canal Scene, Holland Oil on canvas on board 55 x 85 ESTIMATE $8,000 - 12,000
PROVENANCE Illustrated p. 55 Petrus van der Velden, A Catalogue Raisonné Volume II, T L Rodney Wilson, Chancery Chambers Publishers 1979 Cat. no. 1.3.2.28. Titled Landscape in this publication Original Petrus van der Velden Art Collection label signed by Gerrit van der Velden affixed verso. Titled Canal Scene Holland on this label.
85
74
74
TOM ESPLIN
75
PETER MCINTYRE
1915 - 2005 Vilnius Oil on board 29 x 39 Signed ESTIMATE $4,500 - 6,500
73
73
COLIN VERNON WHEELER
1919 - 2012 Lake Haupiri Station, Mt Harper Oil on board 60 x 48 Signed ESTIMATE $3,000 - 4,000
86 Important, Early & Rare Wednesday 31 July 2013
1910 - 1995 West Coast Beach Watercolour 53 x 74 Signed ESTIMATE $8,000 - 12,000
75
87
76
SYDNEY LOUGH THOMPSON
1877 - 1973 Market in Brittany Oil on board 35 x 43 Signed
ESTIMATE $9,000 - 13,000
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78
77
88 Important, Early & Rare Wednesday 31 July 2013
77
DOUGLAS BADCOCK
1922 - 2009 Old Stone and Brick Cottages Miner’s Relics at Gibbston, Central Otago Oil on board 50 x 71 Signed & dated 1972. Inscribed & dated December 1972 verso
ESTIMATE $3,500 - 5,000
79
78
COLIN VERNON WHEELER
ESTIMATE $2,500 - 3,500
1919 - 2012 Kauru Hill School Oil on board 64 x 73 Signed & dated 2003
79
JOHN BARR CLARKE HOYTE
1835 - 1913 Marlborough Watercolour 32 x 67.5 Signed & dated 1876 ESTIMATE $12,000 - 16,000
89
80
JUSTIN SUMMERTON b. 1968 Bachelor Pad - Cheltenham Beach Oil on canvas 122 x 167 Signed & dated 2013 ESTIMATE $8,000 - 12,000 REFERENCE Justin Summerton says: I've been enjoying the Important, Early and Rare catalogues from the International Art Centre for a while and often sit down with a coffee in a sunny bay window to pour over them - always thinking man I wish I could get a work into this auction. So I set out to paint something worthy. The germ of the idea for this painting came when looking at the cover of a International Art Centre catalogue which featured Charles Blomfield's Cheltenham Beach. I realised that Devonport had greatly changed with the passing of time. I set out to paint the Auckland of today, juxtaposed against Blomfield's interpretation. The work I created is part of the Bachelor Pad series. I've also paid homage to another favourite painter of mine, Gordon Walters. The painting on the easel is of contemporary Auckland with its container port, cranes, harbour bridge and Sky Tower. The modernist work with flipsided koru is in contrast to both the other paintings. There is a link to Walters koru motif which is based on the native New Zealand fern tip mirrored in the pot plant in the right of the painting. I feel privileged that this work is included in this catalogue and by coincidence so are works by both Blomfield and Walters.
90 Important, Early & Rare Wednesday 31 July 2013
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82 81
81
DOUGLAS BADCOCK
1922 - 2009 Lonnekers, Stewart Island Oil on board 39 x 56 Signed. Inscribed & dated 1968 verso
ESTIMATE $4,000 - 6,000
PROVENANCE Artist’s Estate Collection
92 Important, Early & Rare Wednesday 31 July 2013
82
DOUGLAS BADCOCK
ESTIMATE $4,000 - 6,000
PROVENANCE Artist’s Estate Collection
1922 - 2009 Papatowai, Southland, Looking Towards Pillans Head, Inhuka (Long Point) Oil on board 40 x 60 Signed
83
84
83
JOHN WEEKS
1885 - 1965 Landscape with River and Sunny Hills Oil on canvas on board 17.5 x 29 Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso
ESTIMATE $2,500 - 3,500
84
84
A LOIS WHITE attributed 1903 - 1984 Among Lilies Watercolour 23.2 x 20 Together with a study of the same subject Watercolour 23 x 20
ESTIMATE $4,000 - 6,000
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85
K (KITTY) AIRINI VANE
ESTIMATE $8,000 - 12,000
1891 - 1965 Seventy one works on paper featuring New Zealand and Foreign subject matter. Gouache on paper 28 x 44 (average size) and watercolour Most signed, some dated Unframed in storage box, each between conservation tissue
REFERENCE K Airini Vane was the daughter of Captain Gilbert Mair, a hero of the Maori wars and his wife, the artist Kate Sperry who had studied in Rome. Their daughter was born in Wainuiomata in 1891. As a young woman, the outbreak of war in 1914 saw her nursing in Malta. It was here that she met her solider husband the Hon. Ralph Vane, son of the 9th Baron Of Barnard. In the 1920s K Airini Vane painted in Tunisia, Canada, USA, Spain, Turkey, Greece, Italy, Monaco and Guatemala. Her work was accepted by the Royal Academy in 1929. The 1930s saw a return to Malta and time spent in both North and South Africa. Returning to New Zealand in 1939 the artist donated proceeds from the sale of her work to the Red Cross and Navy League. During the Second World War K Airini Vane painted and exhibited in New Zealand and Fiji. Always an inveterate traveller, 1949 saw a return to Europe and North Africa where she worked for a further three years. On her return to New Zealand K Airini vane settled at Langs Beach, Northland. She was a regular exhibitor at the New Zealand Academy of Fine Arts and the Auckland Society of Art until the mid 1950s. In 1957 K Airini Vane was injured in an accident, sadly ending her career as a successful artist. She died in 1965. She is represented in both public and private collections worldwide.
94 Important, Early & Rare Wednesday 31 July 2013
PROVENANCE These seventy one works are being sold as one lot on behalf of the Greg Whitecliffe Memorial Charitable Trust. The Trust was established in 2002 to support and inspire committed young artists seeking a career in the arts. To this end the Trust has supplied eleven promising Year Eight students from various intermediate schools with art materials. It has assisted with funding to enable two artists/designers set up their first business. On the 100th Anniversary of Parnell Primary School the Trust supported a creative initiative which involvied first year Whitecliffe students interested in teaching art. Recently, twelve Whitecliffe BFA students received scholarships to attend workshops in New York, San Francisco and Shanghai. Michele Whitecliffe is passionate about supporting young, emerging artists. All funds raised from the sale of works by K Arini Vane will be used to create scholarships and fund equipment to assist these talent young people make a difference in our community.
Fifteen works illustrated. All seventy one works may be viewed as PDF download www.fineartauction.co.nz
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86
WILLIAM GEORGE BAKER
ESTIMATE $2,500 - 3,500
87
WILLIAM GEORGE BAKER
ESTIMATE $2,500 - 3,500
1864 - 1929 West Coast Road Oil on canvas 39 x 55 Signed & inscribed
86
87
96 Important, Early & Rare Wednesday 31 July 2013
1864 - 1929 Awahuri Road, Fielding Oil on canvas 60 x 90 Signed & inscribed
88
88 GEORGE EDMUND PRUDEN c.1842 - c.1923
Bush Clearing, Mt Egmont Oil on board 90 x 195 Signed & dated 1911
ESTIMATE $4,000 - 6,000
PROVENANCE Collection of the Pruden Family since painted
97
90
90
b. 1939 Little Shag Pencil on paper 22 X 28 Signed & inscribed ESTIMATE $1,500 - 2,500
89
89
PETER MCINTYRE
ILLUSTRATED p. 68 Peter McIntyre’s New Zealand A H & A W Reed Ltd
1910 - 1995 Sheep Sorting Ink on paper 34 x 30 Signed ESTIMATE $2,500 - 3,500
raymonD ching
98 Important, Early & Rare Wednesday 31 July 2013
91
91
CHARLES NATHANIEL WORSLEY
92
ARTIST UNKNOWN
ESTIMATE $800 - 1,200
1862 - 1923 Rezzonico, Lago di Como Watercolour 25 x 70 Signed ESTIMATE $1,500 - 2,500
Napoleonic War, Light Infantry Soldiers Watercolour 20 x 27 Extensive inscription verso
92
99
0
1854 - 1925 Lake Manapouri Oil on canvas 50 x 74 Signed & inscribed
ESTIMATE $3,000 - 5,000
93
93
93
HENRY WILLIAM KIRKWOOD
JOHN ELDER MOULTRAY 1865 - 1922 Trotters Gorge Near Palmerston & West Coast - A Pair Oil on board 30 x 47 One signed ESTIMATE $2,000 - 3,000
94
JOHN BARR CLARKE HOYTE
1835 - 1913 Northland Watercolour 28.5 x 48 Signed
ESTIMATE $4,000 - 6,000
95
HENRY WILLIAM KIRKWOOD 1854 - 1925 Lake Manapouri Oil on canvas 50 x 74 Signed & inscribed ESTIMATE $3,000 - 5,000
PROVENANCE Private Collection, Auckland Purchased from International Art Centre, circa 1978
96
HENRY WILLIAM KIRKWOOD
1854 - 1925 Trout Fishing Oil on board 43.5 x 29.5 Signed
94
100 Important, Early & Rare Wednesday 31 July 2013
ESTIMATE $1,500 - 2,500
Next auction Contemporary & Collectable Thursday 29 August
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97
JOHN GIBB
1831 - 1909 South Island Lake Scene with Sail Boat Oil on canvas 40 x 61.5 Robert McDougall Art Gallery letter of authenticity affixed verso
ESTIMATE $3,000 - 5,000
97
96
101
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010
Representing
KEES BRUIN Extraordinary Realism
Vanitas IV Oil on canvas 46 x 61cm $35,000.00 Also available in GiclĂŠe print 46 x 61cm $2,500 - Edition of 150 www.internationalartcentre.co.nz
102 Important, Early & Rare Wednesday 31 July 2013
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Detail of104 Lot 58 Important, Early & Rare Wednesday 31 July 2013
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Prices Realised Important, Early & Rare held 10 April and Contemporary & Collectable held 9 May 2013. Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium 10 April Important, Early & Rare Lot Result 1 $10,000 2 $4,000 3 $4,000 4 $14,000 5 $4,000 6 $10,500 7 $4,000 10 $11,000 13 $2,800 14 $14,000 15 $17,000 18 $34,000 19 $5,500 20 $19,000 21 $17,000 22 $2,500 24 $3,000 25 $10,000 26 $4,000 28 $2,250 29 $1,100 30 $4,000 32 $15,500 34 $3,500 35 $5,500 36 $23,500 37 $4,000 38 $4,500 39 $3,600 41 $7,000 42 $4,500 43 $16,750 44 $1,500 45 $1,850 47 $6,000 49 $6,600
50 $30,000 51 $52,500 52 $4,250 53 $10,000 54 $5,000 55 $2,000 56 $5,000 58 $2,000 59 $3,000 62 $2,100 63 $15,000 64 $3,200 65 $11,000 66 $2,200 67 $3,000 68 $6,500 69 $3,500 70 $6,500 72 $3,500 73 $3,500 74 $1,000 75 $12,500 76 $1,500 77 $2,500 78 $12,000 80 $11,000 81 $5,500 82 $3,000 83 $18,000 85 $15,000 86 $11,000 87 $8,000 89 $3,200 92 $800 93 $11,000 95 $5,800 96 $2,600 98 $5,800 99 $6,000 101 $2,500
2 $2,300 3 $550 6 $1,000 7 $900 9 $700 10 $700 12 $3,200 13 $5,500 14 $900 15 $7,250 16 $1,400 17 $5,000 20 $500 21 $3,000 22 $1,000 24 $12,000 25 $2,250 26 $8,000 27 $800 30 $3,900 32 $2,000 35 $2,000 38 $1,950 39 $1,325 40 $400 44 $900 45 $350 46 $650 49 $400 52 $3,200 53 $1,000 54 $450 57 $1,000 59 $300 60 $1,500 61 $600 9 May Contemporary 62 $1,150 66 $340 & Collectable Art 67 $11,000 68 $300 1 $3,200 102 $5,500 103 $3,250 104 $3,500 106 $5,500 107 $1,600 108 $2,200 110 $750 111 $1,000 112 $1,200 113 $800 114 $800 115 $3,000 116 $3,400 117 $1,000 118 $5,000 120 $800 124 $2,000 125 $2,200 126 $1,700 127 $2,800 128 $2,300 133 $2,500 134 $800 135 $700 136 $1,500 137 $900 139 $4,000 141 $1,000 142 $2,600 144 $1,500 146 $2,200 147 $1,500 148 $3,600 149 $2,600 150 $7,500
70 $700 71 $500 72 $900 73 $1,150 74 $10,000 75 $1,300 78 $500 79 $500 80 $1,000 81 $400 83 $500 86 $5,000 87 $200 88 $2,200 89 $500 90 $1,000 92 $1,050 93 $1,800 94 $3,500 95 $600 96 $800 98 $500 99 $500 100 $475 101 $1,300 102 $1,750 103 $2,500 104 $1,200 105 $800 106 $900 107 $600 108 $1,200 110 $3,500 111 $3,000 112 $1,500 113 $500 114 $2,000 115 $2,400 118 $400 119 $800
120 $425 121 $1,100 122 $2,200 123 $1,600 124 $900 126 $850 127 $850 129 $875 130 $825 131 $950 132 $1,000 132 $1,000 134 $300 135 $750 136 $300 138 $1,000 139 $900 141 $410 142 $200 143 $1,200 144 $100 145 $180 146 $450 148 $425 149 $300 152 $300 154 $640 155 $400 158 $575 159 $800 161 $350 163 $1,550 164 $550 166 $500 167 $1,000 168 $500 169 $750 170 $400 171 $1,600 172 $1,000
174 $900 175 $1,200 176 $375 177 $300 178 $800 179 $650 180 $1,100 181 $800 182 $800 183 $700 184 $1,000 186 $700 187 $200 189 $1,000 190 $500 191 $300 192 $800 193 $1,350 194 $300 196 $600 197 $720 198 $200 199 $80 200 $750 202 $200 203 $200 206 $550 207 $100 208 $420 209 $1,600 210 $1,550 211 $550 212 $550 213 $150 214 $370 215 $300 216 $200 217 $4,025
105 www.fineartauction.co.nz
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Absentee Bid Form Important, Early & Rare Wednesday 31 July 2013
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.
Alternatively, register then bid online www.fineartauction.co.nz
Registration Bidding Number Name Address Mobile
Telephone
Lot Number
Signature
Artist & Title
...........................................................................................
Max. Bid $NZ excluding buyers premium
/
/ 2013
International Art Centre offers this service to clients unable to attend sale and 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 3pm day of sale
272 PARNELL ROAD AUCKLAND NEW ZEALAND PH 09 379 4010 www.fineartauction.co.nz
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106 Important, Early & Rare Wednesday 31 July 2013
Index ALDIS A E..................................................................63
HOYTE J B C........................................... 56, 64, 79, 94
STEELE L J..................................................................68
BADCOCK D...............................................77, 81, 82,
KELLY F.......................................................................46
SUMMERTON J.........................................................80
BAKER W G.........................................................86, 87
KINDER R J................................................................66
SUTTON W A (BILL)...................................................20
BARRAUD C D..........................................................67
KIRKWOOD H W.................................................95, 96
THOMPSON S L...................................................49, 76
BINNEY D.....................................................................6
LINDAUER G.............................................................50
TOLE J.......................................................................14
BLOMFIELD C............................................................65
MACDIARMID D.......................................................18
TRIPE M E...................................................................54
BRUIN K.....................................................................16
MAUGHAN K............................................................28
TRUSTTUM P...............................................................23
CASTLE L...................................................................17
MCINTYRE P........................................................75, 89
UNKNOWN A......................................................58, 92
CHEVALIER N............................................................59
MOFFITT T..................................................................29
VAN DER V P.............................................................72
CHING R.......................................................43, 52, 90
MOULTRAY J E..........................................................93
VANE K K A...............................................................85
CUMMINGS V.....................................................61, 62
O’BRIEN G ...............................................................71
WALTERS G....................................................25, 27, 30
DIBBLE P....................................................................11
OLIVER C R A...........................................................60
WEEKS J..............................................9, 10, 12, 22, 83
ESPLIN T.....................................................................74
PANKHURST A...............................................37, 38, 39
WHEELER C V...............................................53, 73, 78
FRISTROM E.........................................................41, 42
PERKINS C.................................................................55
WHITE A L..................................................................84
GIBB J........................................................................97
PETRE M....................................................................32
WHITE R...................................................................5, 7
GOLDIE C F..............................................................45
POLSON N P E..........................................................44
WOLFE P.............................................................19, 35
GOOD R.............................................................13, 51
PRUDEN G E.............................................................88
WOOLLASTON T ......................................................21
HASZARD R...............................................................47
RICHMOND D K.......................................................48
WORSLEY C N...........................................................91
HODGKINS F.............................................................40
SHARPE A............................................................69, 70
WYNYARD C R H .....................................................57
HOTERE R........................2, 3, 4, 15, 24, 31, 33, 34, 36
SIDDELL S P.......................................................1, 8, 26
www.fineartauction.co.nz 107
Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 2 August 2013 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 our buyers premium.
108 Important, Early & Rare Wednesday 31 July 2013
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not 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 disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 17.25% including GST) www.fineartauction.co.nz
272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz
THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY